uoıʇɔǝןןoɔ uǝʇ-ǝʌıɟ ǝɥʇ

Pusher trailer (HD) 2012

2012-02-15T15:39:00.000-08:00

-----> NOTE TO READERS: My blog is a hot mess right now I am
----->aware of the design flaws, faults and over f*ckedup-ness but
----->due to my recent infatuation with tumblr and getting over a
----->winter cold (still got the sniffles), it all comes down to the
----->realization and acceptance that I won't be able to just "pick-up"
----->HTML5 like I was able to do with vb and javascript. That it is
----->something that I need to take a class or workshop before making things worse. I gotta go. I'll be tweeting

Red Square, Moscow

2012-02-04T19:12:00.000-08:00

Imagine if this was occupy oakland.

This is Moscow, Russia on February 4th, 2012. That date is today.
These are the people protesting the clearly rigged election, resulting in the victory of Vladimir Putin.
This is one of the greatest things I’ve ever seen. Can’t wait to see it here

Socioemotional Selectivity Theory

2012-02-02T08:51:00.000-08:00

“...developed by Stanford psychologist, Laura Carstensen - is a life-span theory of motivation. The theory maintains that as time horizons shrink, as they typically do with age, people become increasingly selective, investing greater resources in emotionally meaningful goals and activities. According to the theory, motivational shifts also influence cognitive processing. Aging is associated with a relative preference for positive over negative information in attention and memory (called the “positivity effect”).Because they place a high value on emotional satisfaction, older adults often spend more time with familiar individuals with whom they have had rewarding relationships. This selective narrowing of social interaction maximizes positive emotional experiences and minimizes emotional risks as individuals become older. According to this theory, older adults systematically hone their social networks so that available social partners satisfy their emotional needs.The theory also focuses on the types of goals that individuals are motivated to achieve. Knowledge-related goals aim at knowledge acquisition, career planning, the development of new social relationships and other endeavors that will pay off in the future. Emotion-related goals are aimed at emotion regulation, the pursuit of emotionally gratifying interactions with social partners and other pursuits whose benefits can be realized in the present.”

Giant Factory Lego Bot-Sorter-Thingy

2012-01-27T00:03:00.001-08:00

Some tracks c/o DJ S.P.E.C.T.R.E

2012-01-21T03:05:00.000-08:00

Mochipet - The New Ark (S.P.E.C.T.R.E. rmx) [Mochipet - Chicxulub Remix Album] [192k preview] by s.p.e.c.t.r.e.S.P.E.C.T.R.E. - Schism [SCHISM EP in stores Jan 24th] by s.p.e.c.t.r.e.
I Just Died In Your Arms (Monster! Monster! Choice Cutz Rmx) by Monster! Monster!

Sutro Tower Sunset Time-Lapse

2012-01-14T08:44:00.001-08:00

Sutro Tower Sunset Time-Lapse, a photo by patrickgibson on Flickr.

The Raid - Trailer

2012-01-12T13:37:00.001-08:00

(those are trillionths of seconds, if you’re counting)

2012-01-05T11:39:00.000-08:00

I actually have no idea what it looks like- then again, that's the point.

A team at Cornell University, with support from Darpa, the Pentagon’s out-there research arm, managed to hide an event for 40 picoseconds (those are trillionths of seconds, if you’re counting). They’ve published their groundbreaking research in this week’s edition of the journal Nature.

This is the first time that scientists have succeeded in masking an event, though research teams have in recent years made remarkable strides in cloaking objects. Researchers at the University of Texas, Dallas, last year harnessed the mirage effect to make objects vanish. And in 2010, physicists at the University of St. Andrews made leaps towards using metamaterials to trick human eyes into not seeing what was right in front of them.Masking an object entails bending light around that object. If the light doesn’t actually hit an object, then that object won’t be visible to the human eye.

Where events are concerned, concealment relies on changing the speed of light. Light that’s emitted from actions, as they happen, is what allows us to see those actions happen. Usually, that light comes in a constant flow. What Cornell researchers did, in simple terms, is tweak that ongoing flow of light — just for a mere iota of time — so that an event could transpire without being observable.The entire experiment occurred inside a fiber optics cable. Researchers passed a beam of green light down the cable, and had it move through a lens that split the light into two frequencies, one moving slowly and the other faster. As that was happening, they shot a red laser through the beams.

Since the laser “shooting” occurred during a teeny, tiny time gap, it was imperceptible.Sure, the team’s got a ways to go before they’re able to mask 30 seconds of action, let alone several minutes. But the research certainly opens up new possibilities. For one, masking super-quick events, like those that occur with data transmission, could help conceal covert computer operations.In the words of Nature editors, the research marks “a significant step towards full spatio-temporal cloaking.” But it could be decades before military personnel will basically be able to zap history, as it happens: According to Cornell scientists, it’d take a machine 18,600 miles long to produce a time mask that lasts a single second.

So I was trying to explain who 'Max Headroom' was to this kid in my building...

2012-01-05T10:19:00.000-08:00

But I had to show him the video in order to put the style and the technology context

Art Of Noise - Paranoimia - Music video - Max Headroom from Algol on Veehd.

Next Level Mixtape

2011-12-29T15:23:00.000-08:00

Next Level Mixtape by cryptex

You know that phat White Stripes 'Seven Nation Army' remix

2011-12-28T13:26:00.000-08:00

that you may have heard in the new G.I. Joe movie trailer? It's by The Glitch Mob and here it is to _dl, listen and enjoy

New Touch

2011-12-28T11:56:00.001-08:00

Jimmy Edgar - New Touch from lucio arese on Vimeo.

Music by Jimmy Edgar
Video directed by Lucio Arese

Unofficial videorelease

http://www.jimmyedgar.com
http://myspace.com/colorstrip
http://www.lucioarese.net

Rift

2011-12-24T10:25:00.001-08:00

Brimstone Gears

2011-12-24T09:40:00.001-08:00

Brimstone Gears, a photo by gavin510 on Flickr.

Prometheus Teaser

2011-12-23T12:38:00.000-08:00

This is why you should get HD if you haven't already: Battleship -Trailer(b)

2011-12-14T09:04:00.000-08:00

a video by raav - drifting UP

2011-12-14T02:16:00.001-08:00

A Drifting Up from raav on Veehd.

3o3v.o1 by Jean Pichot

2011-12-07T19:47:00.001-08:00

3o3v.o1 from Jean Pichot on Vimeo.

Noise / a tb-3o3 and a beat.
written, recorded, arranged, and mastered in ableton live
on a macbook pro.
ver 1 /take 1 oct 19, 011
live, ae

a teaser clip from the upcoming 'Robot Destroy Club' Game

2011-12-07T19:19:00.000-08:00

Helicopter from Jean Pichot on Vimeo.

Short production breakdown teaser for the upcoming Robot Destroy Club game.
Helicopter scene, shot 22, version 3; green grade variation.

C4D, Luxology Modo, AE, soundtrack composed in Ableton Live.

KSPACE.TV ///// M.I.A.’s new video: “Born Free”

2011-11-28T09:37:00.000-08:00

*reposted from kspace.tv
A hoveled apartment complex gets raided: scenes of crack smoking, fatty fornication, and relentless brutality by somesuch security force. Within a sea of carrot-topped and supposed ne’er-do-wells is an/our anti-hero, one FAS-afflicted scowl you could confidently diagnose with ODD. A group of ginger freedom fighters sporting red kaffiyehs hoot and holler, ineffectual. As a short film the video is completely engrossing, a perfect storm of car crash sad, odd, and violent, filmed beautifully and expensively. Something’s happening, right? Respectable minds attempt to unpack: “Faddish political pastiche.” “Goofy political allegory.” “Repositioning tool.” “Like an episode of 24.” It’s notable that the day MIA releases a new video she has also taken over Pitchfork’s twitter account, which so far she has been using for nothing more than self-promotion. I think the music video for an internationally known artist was designed to do the same thing. People have long mused on the political bend of MIA’s work, usually arriving at the crossroads of commerce and not-really-sure. “Born Free” doesn’t stray. Also, the song isn’t that great.

M.I.A, Born Free from ROMAIN-GAVRAS on Vimeo.

This is for Amanda; you know why.

2011-11-27T13:31:00.000-08:00

“I fell in love with her courage, her sincerity, and her flaming self respect. And it's these things I'd believe in, even if the whole world indulged in wild suspicions that she wasn't all she should be. I love her and it is the beginning of everything.” F. Scott Fitzgerald quote

reinforced tunnel

2011-11-21T23:35:00.000-08:00

and exactly what are they doing?

2011-11-17T20:39:00.001-08:00

Murmuration from Sophie Windsor Clive on Vimeo.
A chance encounter and shared moment with one of natures greatest and most fleeting phenomena.

Leftfield - Swords

2011-11-17T08:29:00.000-08:00

Stwory - Hoss

2011-11-12T01:06:00.001-08:00

I have a strong connection with this video. I don't know why,

Images I found today and I want to share

2011-11-07T18:36:00.000-08:00

Limbo VFX test

2011-11-07T09:27:00.001-08:00

'LIMBO' - VFX tests from John Stalberg Jr. on Vimeo.
VFX tests done with BUF for my new feature project -- LIMBO.

"Safe House" Trailer

2011-11-04T14:59:00.000-07:00

Arthur Siegel/“Right of Assembly”. Cadillac Square, Detroit, Michigan, circa 1939

2011-11-04T02:07:00.001-07:00

More Halloween Pics (since today is the day)

2011-10-31T18:36:00.000-07:00

happy halloween

2011-10-30T03:03:00.001-07:00

The day before yesterday

2011-10-25T07:39:00.001-07:00

Was a good day

Twelve Hours- yes, indeed. Aren't you just a little curious to see who and what I posted? Skip the article. Click that link it's right over there,

2011-10-22T13:37:00.001-07:00

Google Mulls Buying Yahoo [REPORT]

The Heavy - Short Change Hero

2011-10-22T09:25:00.000-07:00

iced t

2011-10-21T20:43:00.001-07:00

iced t, a photo by primemundo on Flickr.

Drew Isom, on Soundcloud

2011-10-20T06:23:00.001-07:00

http://soundcloud.com/drewisom Deep Lust House. Melodic with a touch of Groove.

2011-10-18T07:18:00.000-07:00

I am held aloft by angels, even when they seem to have abandoned me
Images and a quote by Richard Baily (1953–2006)

"Hollywood shows little patience with true artistry, let alone a reclusive computer genius like Baily who is an intense, well-preserved graduate of the psychedelic revolution, who sports long dark hair and is seldom seen without his trademark high-heeled women’s shoes."—from a 2003 article by Rene Daadler

Previously: Oskar Fischinger

This reminds me of a night, many years ago in savannah

2011-10-17T23:18:00.001-07:00

femtocell

2011-10-15T20:05:00.000-07:00

I just installed the one I got from Sprint. It blinks a lot.It is a personal base station with a radio unit that is similar to a cell tower radio. The base station uses a low-power antenna to transmit voice and data cellular signals in your home or small office.

So I'm taking this class on Data Visualization

2011-10-13T13:26:00.000-07:00

<p>&amp;lt;div dir="ltr" style="text-align: left;" trbidi="on"&amp;gt;If you don't know what that means or what it's all about here's an example:&amp;lt;br /&amp;gt;&amp;lt;br /&amp;gt;&amp;lt;/div&amp;gt;</p>

It's called MASNAVI. It was posted by an artist named 'raav'

2011-10-08T11:37:00.000-07:00

MASNAVI (in HD)
You can also learn more about the artist raav over here at undream.net

The Grey + The Raven (new trailers posted)

2011-10-07T14:48:00.000-07:00

In The Grey, Liam Neeson leads an unruly group of oil-rig roughnecks when their plane crashes into the remote Alaskan wilderness. Battling mortal injuries and merciless weather, the survivors have only a few days to escape the icy elements – and a vicious pack of rogue wolves on the hunt – before their time runs out.

In this gritty thriller, Edgar Allan Poe (John Cusack) joins forces with a young Baltimore detective (Luke Evans) to hunt down a mad serial killer who's using Poe's own works as the basis in a string of brutal murders. Directed by James McTeigue, the film also stars Alice Eve, Brendan Gleeson and Oliver Jackson-Cohen. When a mother and daughter are found brutally murdered in 19th century Baltimore, Detective Emmett Fields (Luke Evans) makes a startling discovery: the crime resembles a fictional murder described in gory detail in the local newspaper--part of a collection of stories penned by struggling writer and social pariah Edgar Allan Poe. But even as Poe is questioned by police, another grisly murder occurs, also inspired by a popular Poe story. Realizing a serial killer is on the loose using Poe's writings as the backdrop for his bloody rampage, Fields enlists the author's help in stopping the attacks. But when it appears someone close to Poe may become the murderer's next victim, the stakes become even higher and the inventor of the detective story calls on his own powers of deduction to try to solve the case before it's too late

Wanna do/see something really neat?

2011-10-07T08:23:00.000-07:00

gavin was messing around and found...

Since Autumn is upon us...I feel a little introspection is in order

2011-10-03T08:13:00.001-07:00

"And this is what mere humanity always does. It's made up of these inventors or artists, millions and millions of them, each in his own way trying to recruit other people to play a supporting role and sustain him in his make-believe. The great chiefs and leaders recruit the greatest number, and that's what their power is. There's one image that gets out in front to lead the rest and can impose its claim to being genuine with more force than others, or one voice enlarged to thunder is heard above the others. Then a huge invention, which is the invention maybe of the world itself, and of nature, becomes the actual world - with cities, factories, public buildings, railroads, armies, dams, prisons, and movies - becomes the actuality. That's the struggle of humanity, to recruit others to your version of what's real. Then even the flowers and the moss on the stones become the moss and the flowers of a version."
-- Saul Bellow, The Adventures of Augie March, Chapter XIX

I've been a fan since Phantasm....

2011-09-30T06:01:00.000-07:00

Here is Don Coscarelli's next project

Motorhead - ace of Spades [Lego Version] & Let the drummer kick [Typography]

2011-09-28T06:18:00.001-07:00

Motorhead - Ace of Spades - Lego Live by bakounyn

And a video from a song i like

this best describes my mood this afternoon

2011-09-26T13:05:00.001-07:00

o_0

I can't quite recall when our where, but we were together in the city one night..

2011-09-22T01:24:00.001-07:00

Single syllables- then nothing (spechless)

2011-09-21T10:21:00.000-07:00

The comcast techncian just finished my cable modem install. I was like...


5.13 Mbps, and I that was with the ATT Elite DSL package.

Now I'm like...

They sure did get the name right (24.56 Mbps with Performance Internet)

My Glitch In The Club (Cryptex Reglitch)

2011-09-18T16:13:00.001-07:00

\
and here's one more track from my main man Streamline check him out

And with everything else is going on; still somewhat indifferent

2011-09-12T20:57:00.000-07:00

To me being involved in this "thing", and even though vaguely recall a oh-and-by-the-way-if-you-need-for-anything; It was in like July. But that's not really important, because I have stopped listening to his words (and still continue to look up from my screen and grunt some mono-syllabic acknowledgement to his monologue. I still only feel a residual sense of frustration, audacity and now...delight. because I just made this cool graphic in this app called 'Smoke' on the MAC or . Here is an actual live screen capture of this cool thing which is in tile mode 64x64.

my desktop. pretty cool, huh?

So I got this error while trying to login at 10:07am

2011-09-11T10:38:00.000-07:00

Sorry, something went wrong.
And I want to show them this. And I've spent 17 minutes looking for a link. And I'm getting a little punchy with my keyboard and I wanted to blog this because I need to not be doing this right now but I know that I will want to have the option to later. And I should, in all fairness note that I was able to login after a few minutes. But it still pisses me off; since i was only trying to help the programmers & developers with some feedback (which may help them resolve this or other isssue) I just wanted to see and click on a link that would let me send back what the server coughed up (which you can check out below in yellow-ish)

A team of highly trained monkeys has been dispatched to deal with this situation.

If you see them, show them this information:

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BTW: The website I was trying to access - http;//youtube.com

Wasn't expecting my sh*t to be blown away while clicking thru

2011-09-09T21:21:00.000-07:00

This looks incredible

2011-09-09T14:40:00.001-07:00

and commands attention

Mobile Phone Evolution [Infographic]

2011-09-07T04:21:00.001-07:00

I'm messing with a wee bit of code (there should be a working play button adjacent to the links)

2011-09-07T01:43:00.001-07:00


04-bassnectar-blow.mp3
05-bassnectar-the_sound.mp3
06-bassnectar-everybody.mp3
07-bassnectar-blue_state_riddim.mp3
08-bassnectar-force_of_suction.mp3
09-bassnectar-until_next_time.mp3
10-bassnectar-leprechauns_arise.mp3
11-bassnectar-bursting.mp3    
12-bassnectar-enter_the_chamber.mp3
13-bassnectar-in_the_beginning.mp3
14-bassnectar-agent_squish.mp3
15-bassnectar-interpret.mp3
16-bassnectar-parade_into_centuries.m

Archive Mix - Bassnectar ( @Bassnectar ) 2010 IDJ Mixtape.mp3
Archive Mix - Bassnectar ( @Bassnectar ) Podcast Leftfield Downtempo Hyphop.mp3
Archive Mix - Bassnectar ( @Bassnectar ) Smasher Mashe 0007.mp3
Archive Mix - Boreta ( @Boreta ) - Hyperspace Clusterfuck.mp3
Archive Mix - S.P.E.C.T.R.E. - LIVE - BEATPORT LOUNGE 2 21 09.mp3
Archive Mix - S.P.E.C.T.R.E. - Live - Globally Dead 7 18 09.mp3
Archive Mix - S.P.E.C.T.R.E. - Miami Mix 2008.mp3
Archive Mix - S.P.E.C.T.R.E. - Whompcast 009.mp3 Endodontics.mp3

getting there i need to get the source files into a rss feed. all links are direct _dl's

a great pic taken in the old soviet union

2011-09-06T18:31:00.001-07:00

Thoughts on Project Management from someone at Nasa

2011-08-31T11:05:00.000-07:00

Image via Wikipedia
I was chatting with some co-workers of mine today on Project X and the discussion turned to: Why is our project having so much trouble completing all its goals?The answer that I came up with is structural, and drove this blog post.

In short, here's how to structure a project for failure.

Step 1: Create a project with goals A, B, and C.   Fund it reasonably to accomplish those goals.

At this stage, everything is working very well. Proceed to step 2!

Step 2: Involve more than one person in the management and direction of the project.

This step takes many forms. Sometimes it's a committee or board that runs the project, other times it's reporting to multiple bosses and/or centers for guidance. Either way it's critical to ensure that there are at least two people with differing priorities, all of whom have some sort of say in the project.

Step 3: One of the managers adds goals D, and E. No additional funding, or insufficient funding, is provided.

Eventually as your project is initially successful, someone in the management chain will identify things they'd like done which seem a lot like other things you're successfully doing. It's awfully tempting to add this to your project, as you already have skilled workforce performing similar tasks, and they DID see you reading Reddit that one time so clearly you're not all 100% working 100% of the time.

This is the critical stage in project failure - because now the staff has insufficient resources to continue the work.

Step 4: Shoestrings and Duct Tape.
In this stage, the project lacks the resources to fully perform tasks A,B,C,D and E but has no strict prioritization. They either internally prioritize, fully fulfilling A,B,C while shoestrining D and E or, more often, shoestring all the priorities equally. Now they're doing all of the jobs, but at least some and most likely all of them poorly.

Step 5: Management disagrees over prioritization.

In this stage, the project staff have brought up their troubles to management. They can't proceed with the amount of funding and tasks they have to accomplish, and they either need less tasks or more funding.

However - and this is the critical keystone in the bridge of fail - each of the individual managers begins to insist that their priorities are the reasonable ones, and that no extra funding is needed if you'd cut the other guys' stuff.

Manager1: You clearly have enough resources for A,B,C. D and E are unimportant. Therefore, you don't need money.
Manager2: You clearly have enough resources for A,D,E. B and C are unimportant. Therefore, you don't need money.
.... And so on.

The key thing here is that individually each manager is being completely reasonable about their expectations from your project. But collectively, they're being completely UNresasonable.

Step 6: Saving throw vs. Morale

At this stage, the staff executing the project begin making monthly saving throws vs morale. Unless management either provides more resources or less work to do, they stand an increasingly likely chance of having critical staff get fed up and leave for greener pastures.   IF management turns things around at this stage, the project can still be saved. If not.....

Step 7: It's too late.

Beyond this step, it's probably too late to save your project. Even if management gets things turned around with funding and expectations, at this point you've lost too many key staff and your project has too poor a reputation internally to recruit anyone good to come back and work on it.   Project: Failed.

edIT - Amon Tobin - Squarepusher - Bassnectar - and i forget which

2011-08-31T06:32:00.000-07:00

I decided to post some more

I'm in the mood to post music videos and test some greasemonkey scripts

2011-08-31T05:50:00.000-07:00

8 Hours in Brooklyn by NextLevelPictures
All footage was shot within an 8 hour span in Brooklyn, NYC. Several of these shots will be used in part w/ a series of spots we are directing/producing which will be released sometime in the near future.

Top of the morning

2011-08-26T06:33:00.001-07:00

Man. It's way too early to be troubleshooting my friend's wifi network

This is for woogums

2011-08-24T07:51:00.001-07:00

So yesterday I said something that at the time was meant to be humorous and a little (maybe a lot) sarcastic. I could be wrong. But there was an earthquake last night. Which is unrelated. I'm rambling and probably not making much sense. This is how I should have answered your question

Because I love you. Always have. Always will.

I don't know what stage I'm in (v2)

2011-08-22T20:16:00.000-07:00

**now with download link, or play directly in the page**

My uncle Keith passed away yesterday morning. I encourage you to read about him here. I should post some photos, but I'm not quite ready to browse through flickr albums or facebook pages just yet. I did however assemble this track from various beats, samples and rhythms. It feels right to me, and does somewhat encapsulate how I feel, at this time about all this. And I'm just gonna throw it up here, or to Box.net and then I gotta go take care of some things.

New releases from The Glitch Mob

2011-08-21T01:48:00.000-07:00

Here's their latest video and audio tracks. Enjoy.
 
<p>&amp;lt;br /&amp;gt; &amp;lt;br /&amp;gt; </p>

Tunnel Boring Machine Finds Final Resting Place

2011-08-17T17:10:00.000-07:00

Its work complete, one of two 200-ton, 22-foot-tall tunnel boring machines digging the tunnels and caverns that will bring Long Island Rail Road trains into Grand Central Terminal is being buried this week, 14 stories below Park Avenue.

Of course, it's already been underground since 2007 when it began digging the tunnels. But now it's being "buried," or permanently sealed behind a wall at the end of the last tunnel it built and encased in concrete. Believe it or not, it is actually saves money to bury the machine at the end of the tunnel rather than try to retrieve the spent monster from the far end of the tunnel or sell it for scrap.

The machine – even the super-strong tungsten carbide cutters that make up its face – takes a serious beating during the process of digging a tunnel through Manhattan bedrock. There aren't many buyers for a used, beaten-up tunnel boring machine. But sometimes a machine can be sold for scrap metal. In this case, though, MTA Capital Construction's contractor, Dragados, the owner of the machine, would first have to cut it to pieces using blowtorches, then laboriously extricate each piece and transport them through the two-mile tunnel to Sunnyside, Queens, blocking the movement of construction equipment and personnel and causing costly delays to the progress of the project. And, in order to keep the tail end of the tunnel structurally sound if the machine were to be removed, workers would have to build a concrete lining on the last few feet of the tunnel where the machine had been. (In most parts of the tunnel, the tunnel boring machine itself creates the concrete lining as it travels. But it can't do it until it's moved all the way through an area.)

So to prevent these added costs and to keep the tail end of the tunnel structurally sound, workers are sealing the tunnel boring machine in behind a bulkhead and encasing it in concrete to prevent it from oxidizing and decaying over decades. So by supporting the end of the tunnel, the tunnel boring machine in a way will continue to serve a purpose into perpetuity.

The East Side Access project, the nation's largest transportation project, is building a direct connection between the Long Island Rail Road and Grand Central Terminal. It will directly serve about 160,000 customers a day while nearly doubling LIRR train capacity into Manhattan and freeing up seating space throughout the railroad.

Here are some movie trailers I like

2011-08-15T05:11:00.000-07:00

Apollo 18

Killer Elite

Ford Mad Max Interceptor

2011-08-11T04:08:00.000-07:00

I'm not a car person, but this is too cool. It's late and I am too lazy to translate.
A l’occasion de la nouvelle version de Mad Max qui sortira en 2012, Ford a décidé de créer une nouvelle Interceptor, voiture du héros. Visuellement très impressionnante, Tom Hardy endossera le rôle de Max Rockatansky pour conduire ce concept. Plus de visuels de la voiture dans la suite.

I love my country. I can share and express ideas like this openly and freely.

2011-08-10T21:45:00.001-07:00

London Riots. (The BBC will never replay this. Send it out)

2011-08-09T15:39:00.000-07:00

Darcus Howe, a West Indian Writer and Broadcaster with a voice about the riots. Speaking about the mistreatment of youths by police leading to an up-roar and the ignorance of both police and the governement. Intelligent black male.

I see a pattern

2011-08-09T13:54:00.001-07:00

I know what I need to do, but I'm not doing it because I feel like this

2011-08-08T12:46:00.001-07:00

Just trying to get back on track.

Nike Pro Combat | Wieden + Kennedy | Final 3D render concept

2011-08-07T10:15:00.001-07:00

In 2009 Assembly Creative was hired to help Wieden+Kennedy develop 3D concepts for a pitch to Nike. Given a tight deadline we successfully developed multiple 3D concepts for Nike's Pro Combat apparel line. Our work helped W+K define a look and 'character' for the Pro Combat brand. Soon after, David Fincher directed the national broadcast spot titled "NIKE Pro Combat: Trail of Destruction (Alter Ego).

See more preliminary/unused concepts below:

Nike Pro Combat | Wieden + Kennedy | Preliminary 3D render concept

Happy 20th Birthday Internet

2011-08-07T01:13:00.000-07:00

Today is a significant day in the history of the Internet. On 6 August 1991, exactly twenty years ago, the World Wide Web became publicly available. Its creator, the now internationally known Tim Berners-Lee, posted a short summary of the project on the alt.hypertext newsgroup and gave birth to a new technology which would fundamentally change the world as we knew it.
The World Wide Web has its foundation in work that Berners-Lee did in the 1980s at CERN, the European Organization for Nuclear Research. He had been looking for a way for physicists to share information around the world without all using the same types of hardware and software. This culminated in his 1989 paper proposing ‘A large hypertext database with typed links’.
While the initial proposal failed to gain much momentum within CERN, it was later expanded into a more concrete document proposing a World Wide Web of documents, connected via hypertext links. World Wide Web was adopted as the project’s name following rejected possibilities such as ‘The Mine of Information’ and ‘The Information Mesh‘. The May 1990 proposal described the concept of the Web as thus:

HyperText is a way to link and access information of various kinds as a web of nodes in which the user can browse at will. Potentially, HyperText provides a single user-interface to many large classes of stored information such as reports, notes, data-bases, computer documentation and on-line systems help. We propose the implementation of a simple scheme to incorporate several different servers of machine-stored information already available at CERN, including an analysis of the requirements for information access needs by experiments.

The document envisaged the Web as being used for a variety of purposes, such as “document registration, on-line help, project documentation, news schemes and so on.” However, British Berners-Lee and his collaborator Robert Cailliau, a Belgian engineer and computer scientist, had the foresight to avoid being too specific about its potential uses.
In 1990, working on a computer built by NeXT, the firm Steve Jobs launched after being pushed out of Apple in the mid-80s, Berners-Lee developed the first Web browser software called, fittingly, WorldWideWeb. By the end of that year he had a working prototype of the Web running on a server at CERN.

Here’s what that very first browser looked like running on the NeXTStep operating system:

And this is a photo of that photo at CERN:

Tag on Tim Berners-Lee's original NeXT machine -- first Web server

At 3:28am !!Malicious Software!! was identified on the jacksonstudio network

2011-08-06T05:22:00.000-07:00

At 3:28am !!Malicious Software!! was identified on the jacksonstudio network
Let me begin by anthologizing for any inconvenience and/or confusion that this incident brought about.
Next I would like to state that the malware was quickly identified and innoculated, and I have confirmed that nothing harmful in the message(s) was sent from my device.

The software sent out sms txt messages to recipients in my address book.
However, my Sprint Cell Phone Plan includes the 'Text to Landline' feature. And unfortunately calls were made. I am truly sorry about that, because these calls happened at or around 3:45-4:00am

I would also like to note that my systems, the network and firewall were not compromised. I should have told Client "X" that it was too late for me to troubleshoot his laptop, and come by tomorrow. Since he sounded drunk when we spoke on the phone. And I should have known better. And since it was my suggestion to 'check out my new android phone' while I do repairs- I have no one to blame except myself because I should have known better.

I am,
Gavin

She got skillz

2011-08-05T04:27:00.001-07:00

Oakland afterhours

2011-08-05T01:48:00.001-07:00

Arachnaphobia - could apply to this situation

2011-08-04T16:54:00.001-07:00

I've been with ATT/Yahoo DSL for over 5 years now

2011-08-02T19:41:00.000-07:00

and for the last six months, i've been thinking about how I need to get a new ISP. And I keep coming across these subtle hints and suggestions on behalf of the known universe. Here is one such example.

and i don't even use this feature, but that's not the point

And if wasn't for the fact that I kinda screwed up the layout of my tumblr page, because I was trying to do something with my flickr photostream (which I also loathe using). But right now I need to walk away from the keyboard before I go from being slightly agitated to reckless frustration.

2011-08-02T10:34:00.001-07:00

Bierpinsel.

2011-08-01T18:31:00.001-07:00

Bierpinsel., originally uploaded by martinteschner.

Via Flickr:
Wiki: Bierpinsel (beer brush) is the name of a building with a restaurant in the Steglitz, Berlin. It has a height of 46 meters with a shape resembling that of an observation tower - the original architectural idea was that of a tree shape. It was built from 1972 to 1976. de.wikipedia.org/wiki/Bierpinsel

exif: f 8 , 1/160, iso 100, 17mm

by martin teschner 2009
© all rights reserved
teschner.it

I decided to go with PlayerPro

2011-07-31T20:52:00.001-07:00

http://market.android.com/details?id=com.tbig.playerpro

PlayerPro is my recommended choice for audio playback. The PlayerPro let's me customize the UI, edit playlists and this is what really appealed to me, allows for editing and uploading of ID3 tags (and that even includes album art and lyrics). And I haven't even EQ, or the DSP plugins yet. This tottally made my day

Friday night imagery

2011-07-29T17:56:00.000-07:00


from a barnap


walking home from train station

light without heat

All of these images are from my collections on picasa. Follow the link on the left for more.

TRON: LEGACY - Daft Punk's "Derezzed"

2011-07-29T17:46:00.000-07:00

Battleship Trailer

2011-07-29T13:44:00.000-07:00

Data Modeling

2011-07-29T10:37:00.001-07:00

FFFFOUND! | Emilio Gomariz

Scientists at the University of Glasgow have, for the first time, been able to drag light by slowing it down to the speed of sound and sending it through a rotating crystal

2011-07-11T21:05:00.000-07:00

Most people may think the speed of light is constant, but this is only the case in a vacuum, such as space, where it travels at 671million mph.
However, when it travels through different substances, such as water or solids, its speed is reduced, with different wavelengths (colours) travelling at different speeds.
In addition, it has also been observed, but is not widely appreciated, that light can be dragged when it travels through a moving substance, such as glass, air or water – a phenomenon first predicted by Augustin-Jean Fresnel in 1818 and observed a hundred years later.
Prof. Miles Padgett in the Optics Group in the School of Physics & Astronomy, said: “The speed of light is a constant only in vacuum . When light travels through glass, movement of the glass drags the light with it too.
“Spinning a window as fast as you could is predicted to rotate the image of the world behind it ever so slightly. This rotation would be about a millionth of a degree and imperceptible to the human eye.”
In research detailed in the latest edition of the journal Science, researchers Dr Sonja Franke-Arnold, Dr Graham Gibson and Prof Padgett, in collaboration with their colleague Professor Robert Boyd at the Universities of Ottowa and Rochester, took a different approach and set up an experiment: shining a primitive image made up of the elliptical profile of a green laser through a ruby rod spinning on its axis at up to 3,000 rpm.
Once the light enters the ruby, its speed is slowed down to around the speed of sound (approximately 741mph) and the spinning motion of the rod drags the light with it, resulting in the image being rotated by almost five degrees: large enough to see with the naked eye.
Dr Franke-Arnold, who came up with the idea of using slow light in ruby to observe the photon drag, said: “We mainly wanted to demonstrate a fundamental optical principle, but this work has possible applications too.
“Images are information and the ability to store their intensity and phase is an important step to the optical storage and processing of quantum information, potentially achieving what no classical computer can ever match.
“The option to rotate an image by a set arbitrary angle presents a new way to code information, a possibility not accessed by any image coding protocol so far.”
More information: 'Rotary photon drag enhanced by a Slow-Light Medium' - http://www.science … 6038/65.full
Provided by University of Glasgow

Take a look at this (seriously) -- Part 2

2011-07-07T02:25:00.000-07:00

This article originally appeared on Imprint.

Fifty-five years ago Swiss design was at a crossroads. In "Über Typographie" (Schweizer Graphische Mitteilungen, April 1946) Max Bill urged Swiss designers to follow "'asymmetric' or organically formed typography", to reject "the conventional text-image of axial symmetry" and the retreat into historicism that it represented. Jan Tschichold's rebuttal, "Glaube und Wirklichkeit" (SGM, June 1946), repeated his assertion that "The New Typography has not yet been superseded, but it has proved itself to be suitable only for advertising and jobbing. For the book, and particularly for literature, it is completely unsuitable." He defended the need to design some books "in the manner of traditional typography" while allowing that others might be more suitable done in Bill's "functional" typography. The Swiss design that won worldwide recognition in the decades following the Second World War followed the path laid down by Bill rather than that of Tschichold. "Swiss" design became the source of "the International Typographic Style" associated with sans serif type -- usually Helvetica, a face that ironically most Swiss designers rejected -- and grids. (Both essays have been translated into English and published, accompanied by "Über moderne Typographie", an essay by Paul Renner attempting to mediate the conflict, and contextual essays by Christopher Burke and Robin Kinross in "epigraphy Papers 4"(2000), pp. 57-90. (Sadly, the issue is out of print.)

Sophie Taeuber-Arp by Georg Schmidt (Basel: Holbein-Verlag, 1948). Binding, title page spread and two double page spreads. Design by Max Bill.
Tschichold's plea for "the right to work in the way that I find best", whether "newly revived traditional typography" or "functional typography," although ignored by the graphic design community, took root among book designers, especially those in St. Gallen, a town fifty miles east of Zurich. It is an appropriate place since St. Gallen is renowned for the Abbey Library of the Benedictine monastery of St. Gall (established 747) which houses one of the most important collections of early Medieval manuscripts in the world. It is also the home of Zollikofer, a printer founded in 1789 that became a publisher as well, first of newspapers in 1803, then of the trade journal Schweizer Graphische Mitteilungen in 1884, and of books in 1943. (Zollikofer Druck AG is now part of Ringier AG, an international media company.)

Irrweg und Umkehr by Constantin Silens (Zurich: Birkhäuser Verlag, 1945). Jacket. Design by Jan Tschichold.
The first book from Zollikofer Verlag was "Typo-Graphik: Studien und Versuche" by Imre Reiner (1900-1987), a Hungarian-born type designer, book designer and illustrator. Appropriately, it is the first book on display in the exhibition "60 Years of Book Design at St. Gallen, Switzerland" at the AIGA National Design Center in New York City. Reiner studied at the Kunstgewerbeschule (Am Weissenhof) in Stuttgart under F.H.E. Schneidler, a charismatic teacher who followed a middle path between the modernism of the Bauhaus and die neue typographie and the traditional book design of contemporaries such as E.R. Weiss and F.H. Ehmcke. This was similar to the attitude that Rudolf Hostettler (1919-1981), the progenitor of the "St. Gallen" style, adopted in the wake of the Bill/Tschichold debate.

"Typo-Graphik: Studien und Versuche" by Imre Reiner (St. Gallen: Zollikofer AG, 1943). Spread designed by Imre Reiner.

"Typo-Graphik: Studien und Versuche" by Imre Reiner (St. Gallen: Zollikofer AG, 1943). Spread designed by Imre Reiner.
Hostettler, the designer and editor of SGM at the time of the debate, began his career in 1943 at Zollikofer as a layout artist for the journal as well as for the newspaper St. Galler Tagblatt. In 1951, when SGM merged with Typographische Monatsblätter (TM)and Revue Suisse de l'Imprimerie (RSI), he became the chief editor, a position he held until his death. From 1952 on TM became one of the primary outlets for the new Swiss style of design, the magazine that showcased the work of Robert Büchler, Emil Ruder, Karl Gerstner and others. At the same time Hostettler, with Hermann Strehler, established an imprint for SGM which published books about the graphic arts in a new traditional style. Three of the books were written by Hostettler himself: "The Printer's Terms" (1949), "Type: A Selection of Types"(1949) and "Klassierung der Schriften" (1964). Hostettler was thus a man in the middle in the Swiss typographic wars, someone who was able to remain on good terms with protagonists on both sides.
The AIGA exhibition includes all of these books by Hostettler along with Strehler's "Die Buchdruckerkunst im alten St. Gallen" (1967) which he designed. With the exception of squarish "Type," these books typify the St. Gallen style. Jost Hochuli, at the event organized by AIGA on June 16 to celebrate the exhibition, objected to the idea that there is a "St. Gallen style" yet there is no doubt that the books on display (as well as others by Hochuli himself) share some common design attributes and a similar design sensibility. Following Tschichold, the St. Gallen attitude is that books are for reading above all else. Thus, content comes before design. Depending upon the content, the design may be symmetrical (traditional) or it may be asymmetrical or it may be a combination of both. The typeface may be seriffed or sans serif or the two may be used together. Above all, as Hochuli has reiterated on several occasions, the designer must not follow dogma. This open approach is the legacy of Hostettler that Hochuli has passed down in his work, his teaching and his writings. The books in the AIGA exhibition tend to mix symmetry with asymmetry and often to combine serif and sans serif types.

Die Buchdruckerkunst im alten St. Gallen by Hermann Strehler (St. Gallen: Zollikofer, St. Galler Tagblatt, 1967. Title page designed by Rudolf Hostettler.

Die Buchdruckerkunst im alten St. Gallen by Hermann Strehler (St. Gallen: Zollikofer, St. Galler Tagblatt, 1967. Spread designed by Rudolf Hostettler.
The emphasis on books for reading influences their physical appearance. Here again, Tschichold is a guiding spirit. He emphasized the handiness of a book, decrying formats that were too wide, too large or square:

There are three arguments that speak against books whose format approaches the equal-sided rectangle. The first is simply handiness. It is difficult for an unsupported hand to master a square book -- even more difficult than to handle the ugly A5 format. The second argument concerns storage. If these books are wider than 24 cm (9 1/2 in.) they must be put down flat. Yet books should be capable of being stood upright on a shelf so that they can be found quickly and used. For the final argument, I have to make a little detour. It is the hinges on either side of the spine that hold the inner book, the book block, in position. If the inner book is heavy -- regrettably often the case -- then the face of the book will drop, touch the shelf and begin to collect dust, a thing the edges of the cover are supposed to prevent. The longer the spine of the book relative to its width, the better the inner book will remain in position.
-From "On Books that Are Too Wide, Too Large, or Square" (1975), reprinted in "The Form of the Book: Essays on the Morality of Good Design" (Vancouver and Pt. Roberts, Washington: Hartley & Marks, 1991), p. 167

In the same essay Tschichold also argued for books that were not heavy, singling out art paper (the older term for coated paper) as something to be avoided whenever possible. In the AIGA exhibition there is one book in landscape format, one in a near-square format and only two that are true squares. These books look out of place amidst the others, many of which are strikingly narrow. For instance, "Klassierung der Schriften" is 115 x 180 mm, "Die Buchdruckerkunst in alten St. Gallen" is 160 x 250 mm, "Schriftenverzeichnis" (1989) is 162 x 297 mm, "SchreibwerkStadt St. Gallen" (1986/1987) is 134 x 225 mm and the Thomas Mann books (2002) are 125 x 205 mm. (For American readers, the standard 8 1/2 x 11 book is equal to 216 x 279 mm.) These books are not only small but they are light. With one possible exception none are printed on coated paper. (The exhibition includes copies of many of the books on display under glass that visitors can handle.)

"Schriftenverzeichnis" (St. Gallen: Zollikofer, St. Galler Tagblatt,1989). Spread designed by Max Koller.
The two square books are from Tschudy-Verlag, founded by Henry Tschudy (1882-1961) as http://a spin-off of his printing company H. Tschudy & Co. ("Punkt, Cicero und Kaviar" (1982), a book celebrating Tschudy's life was written and designed by Hochuli on the occasion of the centennial of his birth.) They are part of a 44-book series edited by Hans Rudolf Hilty between 1959 and 1964 called Reihe Quadrat-Bücher. No. 11 in the series is "33 konstellationen" (1960) by Eugen Gomringer, the Concrete poet, designed and illustrated by Max Bill. It is set in Neue Haas Grotesk (which later that year was renamed Helvetica by D. Stempel AG). No. 15/16 is "Die dritte Generation: 42 Junge Schweizer kunstler..." (1960) by Hilty was designed by Hochuli's teacher Willy Baus. (For Hochuli's tribute to him see Typotron 6. It is set in Akzidenz Grotesk and uses a self-evident grid. Unfortunately, not enough pages are on display to fully appreciate the grid.

"Die dritte Generation: 42 junge Schweizer Künstler" (St. Gallen: Tschudy-Verlag, 1960). Title page spread. Design by Willi Baus.

"33 konstellationen" by eugen gomringer (St. Gallen: Tschudy-Verlag, 1960). Title page spread. Design by Max Bill. Set in Neue Haas Grotesk.

"33 konstellationen" by eugen gomringer (St. Gallen: Tschudy-Verlag, 1960). Double page spread. Design by Max Bill. Set in Neue Haas Grotesk.
These books are from St. Gall but they are far from the St. Gall "style." Equally far though are two older books by Baus for Tschudy-Verlag: "Von der Kunst und vom Künstler" by Josef Weinheber (1954) and "Ein ABC um alte Segelschiffe" by Albert Saner (1958). Both are set in typefaces by Baus' mentor Rudolf Koch, Marathon for the former and the blackletter Jessenschrift for the latter. (Marathon, one of Koch's least known faces, was singled out for opprobrium by Tschichold in "Glaube und Wirklichkeit.") They are beautiful books -- the balance of the text block in Jessenschrift with the woodcut illustrations of ships by Saner in "Ein ABC" is outstanding -- despite looking like strays from an Arts & Crafts exhibition.

"Ein ABC um alte Segelschiffe" by Albert Saner (St. Gallen: Tschudy-Verlag, 1958). Spread with woodcuts by Albert Saner. Design by Willi Baus.
The St. Gallen style of Hostettler, Hochuli and their students tends to be less self-conscious as well as undogmatic. Typefaces are chosen for their readability, rather than their trendiness. Most are seriffed faces in a classical manner, but not wholly of the past. Along with Bembo, Stempel Garamond and Sabon, there is Trump Medieval, Scala, Trinitè, Collis and Rialto. (The latter three are fonts rarely seen in the United States.) The preferred sans serif is Univers, but there is also Franklin Gothic, Futura and Scala Sans -- and two instances of Helvetica, a face that Hochuli has studiously avoided in his book designs. Text blocks tend to have indented paragraphs -- as Tschichold argued for -- rather than the skipped lines typical of Bill and his followers. Grids are present but rarely overtly so. Despite the small size of most of these books, they have generous margins. The side margins, used often for side notes, keep one's thumbs from covering the main text. Two attributes seem to be specifically typical of Hochuli and his disciples, though the first may be traceable to Hostettler: a preference for anchoring the running heads with a thin rule, and the common use of solidly colored endpapers.
Although Tschichold is the godfather and Hostettler is the father of the St. Gallen style, it is Jost Hochuli (b. 1933) who is the pivotal figure in the exhibition. It is Hochuli who organized the show, handled the installation and designed the accompanying catalogue. After studying at the Kunstgewerbeschule St. Gallen where Willi Baus (1909-1985) was one of his teachers, he worked for Zollikofer under Hostettler. He then spent the year 1959 studying with Adrian Frutiger at the Ecole Estienne in Paris. In 1979 he co-founded the cooperative publisher VGS Verlagsgemeinschaft St. Gallen for whom he has been the chief book designer until recent years. For Typotron AG, a typesetter and printer in St. Gallen, he designed (and sometimes wrote) a series of small booklets from 1983 to 1998 as promotional efforts. Since 2000 he has designed a similar series of booklets for Edition "Ostschweiz".

"Zeichen" by Adrian Frutiger (St. Gallen: Typotron, 1989). Cover, designed by Jost Hochuli.

"Zeichen" by Adrian Frutiger (St. Gallen: Typotron, 1989). Title page. Designed by Jost Hochuli.

"Zeichen" by Adrian Frutiger (St. Gallen: Typotron, 1989). Spread showing the book's grid structure. Designed by Jost Hochuli.
Hochuli paid homage to Hostettler, his friend as well as mentor, in the first Typotron book, "Epitaph für Rudolf Hostettler" (1983), a book not on display in the AIGA exhibition. Instead, "Zeichen" by Adrian Frutiger (Typotron 7, 1989), Hochuli's other mentor, is on display. Hochuli's other works in the show are "Herbstlaub" by Rudolf Widmer (Edition Ostschweiz 4, 2003) and two titles from a 58-book series of the works of Thomas Mann (Berlin: S. Fischer Verlag, 2002).

"Come si fa un libro" by Jost Hochuli (Wilmington, Massachusetts: Agfa Compugraphic, 1989). Spread showing the importance of designing books that can be held comfortably by readers. Design by Jost Hochuli.
Hochuli has had a slow but steadily widening impact on modern book design and typography in the past thirty years. First, through his work, especially that for VGS and Typotron; then through his teaching at the Schüle für Gestaltung in St. Gallen; and more widely through his publications on typography and book design and the traveling exhibitions such as this one that he has orchestrated. In the late 1980s Agfa Compugraphic (now Monotype Imaging) published "Detail in Typography"(1987), "Designing Books" (1990) and "Alphabugs"(1990), each in several languages. "Designing Books" became the central part of "Bücher machine" (St. Gallen: VGS, 1996) -- translated into English as "Designing Books: Practice and Theory" (London: Hyphen Press, 1996; reprinted 2007 but now out of print) -- and "Detail in Typography" was reissued in English in an updated version in 2009 by Hyphen Press. An overview of Hochuli's career can be found in "Jost Hochuli: Printed Matter, Mainly Books" (Sulgen, Switzerland: Niggli, 2002). Through these books, especially the English language edition of "Designing Books", he has become probably the most influential theorist of book design since Jan Tschichold.

"Cultura Sangallensis" by Peter Ochsenbein (St. Gallen: Verlag am Klosterhof, 2000). Title page, designed by Roland Steiger of TGG Hafen Senn Steiger.

"Cultura Sangallensis" by Peter Ochsenbein (St. Gallen: Verlag am Klosterhof, 2000). Spread designed by Roland Steiger of TGG Hafen Senn Steiger.

"Cultura Sangallensis" by Peter Ochsenbein (St. Gallen: Verlag am Klosterhof, 2000). Spread designed by Roland Steiger of TGG Hafen Senn Steiger.
The AIGA exhibition includes several of his students, most notably Roland Steiger (b. 1970) of TGG Hafen Seen Steiger -- the other partners are Dominik Hafen (b. 1967) and Bernhard Senn (b. 1965) -- and Gaston Isoz (b. 1969). Steiger is responsible for "Spitzen umschreiben Gesichter" (1997), "Cultura Sangallensis" by Peter Ochsenbein (2000) and "Leopold Iklé" by Anne Wanner-JeanRichard (2002), the latter two another pair of narrow books. "Spitzen umschreiben Gesichte" is also narrow but it opens vertically, something which Tshichold would surely have criticized, despite the fact that this structure guarantees a strong spine. "Cultura Sangallensis" is unusual in this show for having traditional footnotes. Isoz, who works in Berlin, is represented by Arbeiterlyrik 1842-1932 (2003) and "Geschichte der Partei des gemäßigten Fortschrifts im Rahmen des Gesetzes" (2005). Both of these deviate from the pure St. Gallen style in the use of an exposed binding without a headband. In the latter the boards are flush with the pages, making opening the book and riffling its pages difficult. In its style of illustration it also shows more of the influence of Oldrich Hlavsa (1909-1965), author and designer of the three-volume "Typographia" (1976, 1981 and 1986).
Another of the teachers at the Schüle für Gestaltung in St. Gallen was Max Koller (b. 1933). Koller worked for Zollikofer and later for Gerstner + Kutter and its successor GGK. He is responsible for "Schriftverzeichnis" (1989), the Druckerei Zollikofer type specimen with the lovely patterned letters in the show. Go here for another example of his work for Zollikofer.

"Künstlerheft" by Ian Anüll (St. Gallen: Vexer Verlag, 1987). Spread. Designed by Josef Felix Müller.
There are two other books in the AIGA exhibition that are worth mentioning: "Künstlerheft" by Ian Anüll (St. Gallen: Vexer Verlag, 1987) and "Rund ums Blaue Haus" edited by Ernst Ziegler (St. Gallen: Ophir-Verlag, 1993). Both fit into the St. Gallen style even though they are not designed by individuals with direct connections to Hostettler, Koller or Hochuli. The first is designed by sculptor and painter Josef Felix Müller (b. 1955) for his own Vexer Verlag, a publishing house specializing in books by artists. Künstlerheft is one of the most covetable books in the entire exhibition with its translucent pages that change the images as the pages turn. "Rund ums Blaue Haus" is notable for the way designer Antje Krausch of Atelier Tachezy, Kleger & Partner has used an abstract motif of blue lines derived from the timbers of the titular blue house.
60 Years of Book Design at St. Gallen, Switzerland is a quiet show, one that requires time and patience to reveal its treasures. Hochuli's exhibition design, a model of simplicity and restraint, encourages close reading of the books on display. The cases, arranged in a zig-zag fashion, are lined in gray to make the paper of each book stand out. There are multiple copies of each book so that the viewer can see them from a variety of perspectives -- cover, title page, sample spread for instance -- as should be done for an interactive, three- dimensional object. The downside is that this means only a few titles are in each case, making for a small show. But the intent of Hochuli and the organizers is not quantity but quality and that is something that they have achieved.
The catalogue mentioned above is available for sale at AIGA, but unfortunately it is in German only. For book designers and die-hard book lovers it is still worth purchasing since it is itself an example of the St. Gallen style of bookmaking -- small and light -- and reasonably priced at $20. The one quibble I have with both it and the exhibition labels -- written by Hochuli himself and usually sharply observed -- is that the typefaces used in each book are not routinely noted. For the record, Collis by Christoph Noordzij (TEFF, 1993) is used in the catalogue.

"Buchgestaltung in St. Gallen" by Roland Früh (St. Gallen: VGS Verlagsgemeinschaft St. Gallen, 2008). Jacket. Design by Jost Hochuli.
60 Years of Book Design at St. Gallen, Switzerland
AIGA National Design Center
New York
June 16-July 22
M-Th 11 am to 6 pm
F 11 am to 5 pm
Copyright F+W Media Inc. 2011.

I'm not sure if this image become an icon....

2011-07-04T12:42:00.000-07:00

I just wanted to put that out there. On one hand it's kinda rhetorical. On the other hand- I already know the answer to that question. Feel free to comment or request more information. I just discovered that something weird is going on with my computers right now, which in and of itself is weird but not unexpected, because of multiple device failures.
[FYI/BTW note the time of this post and my current mental state. It is 3am and I'm tired, but my mind is

[this space was intentionally left blank]

I also wanted to do something for Isaac in this post. I wanted to capture part of a conversation we had earlier this afternoon. I was in process of visualizing what the "goal" or "resultant" would "be" and that's when I this thing (see above) and started blogging. And just now I realized that the thing at the top of this can be identified or defined as: an image or an animation or file. It also all those things. I know, and there's more. I don't know how much longer I can keep at this, but now i'm committed to "this" and even if I pass out blogger has this great autosave feature. So where was I.....I see now. image/animation/file and here is a little preview to my answer-

This track is going to be huge...

2011-07-03T15:16:00.001-07:00

I've been a fan and supporter of 'The Glitch Mob' for years now. And I'm not sure if I've mentioned this before, but I've always felt such a deep and meaningful connection to their music. I feel inspired and hopeful. not just because they are using technology to create and express themselves, which they do brilliantly- but in my opinion, it's the collaborative aspect that truly elevates them to the next level. by working with other artists, musicians and fans their work is allowed to evolve, transform and be discovered. And if more people begin to see technology being the foundation for that- the same technology that they see and use every day, then maybe they'll want to learn and do more (like RTFM). And then things will get better. I believe and know that to be true. And since it's the holiday weekend, and depending on where you live, I encourage you to experience the full harmonic range of your digital audio system. a few minutes ago, I personally measured a frequency response of 5hz. while playing this track. Enjoy.

An Artist named Heather, and she is a sculptor.

2011-07-02T15:56:00.000-07:00

Here is some info about heather. I got it from her website. Please check out her site here- or better yet buy her book

From the beginning my twin passions were drawing and horses. My hero was Leonardo da Vinci. I dreamed of becoming an international equestrian artist living in wooded foothills with clear flowing water at my doorstep and horses grazing all around.

I hated the confines of school and was a disruptive student except during blissful art classes. I took A level art two years early and failed all my O levels except English language but miraculously that got me to Walthamstow College to study visual art. There, drawing was regarded as the first essential. I was enthralled and excelled. I went on to the now famous Goldsmiths College in London where sadly, at the time, figurative work was unfashionable. There was a life room, and models too, but no tutors ventured near. They liked and encouraged (typically) 6ft square green canvases with triangles and circles in bold clashing colours and sculptures using planks and blocks of polystyrene.

At the end of the first year I was asked to leave the course. I was told that I did not have the stuff that painters were made from and, if lucky, I might scrape a place somewhere to do graphics. My confidence was shattered. I was not interested in graphics. I liked the country, painting and constructing things from what lay around.

But that was then, and I went on to achieve my dream by virtue of fate, the generosity of others, luck and determination. I went my own way, not always wisely and not always to accolade from the establishment. I began with painting equestrian commissions and my accuracy easily commanded high prices. Ultimately however I found it restricting, I sorely felt the lack of a degree. I was lost and without a style of my own.

I sought advice from Arthur Giadelli, an artist of international standing with a well-deserved reputation for also being a gifted teacher. He told me to go and look at a hedge and draw not what I saw but draw what made a thorn a thorn. And never stop working with horses but find a way to make them mine. I am forever in his debt.

I knew that to exhibit prematurely would be unwise; I had to wait until I had unequivocably found what I was seeking. So I continued with commissioned work while also experimenting. Then out of the blue it came in on the tide. Driftwood. It was like a thunderbolt and I was finally ready to show my work to the world. It was driftwood horses.

The rest is history and for a fuller account you will have to wait for my autobiography. If you can't wait for that try my first book Heather Jansch's Diary a life in the year of... an artists diary, you can buy it online from this site.

For updates of what is happening here join my emailing list or keep an eye on the NEWS section.

The Glitch Mob intro/Derezzed remix -- Regency Ballroom

2011-06-30T00:29:00.000-07:00

'Dead media' never really die

2011-06-22T17:58:00.001-07:00

An NYU professor explains how experimental and 'dead media' can teach us much about product development

By Joab Jackson, IDG News Service
June 16, 2011 10:00 PM ET

The history of technological media is littered with platforms we no longer use. Often called "dead media," many of them actually live on in technologies that are widely used today, and can teach us much about how to design platforms for the future, according to New York University postdoctoral researcher Finn Brunton.

Brunton, who studies societal and historical aspects of digital technology, presented his idea at the Usenix Annual technical conference this week in Portland, Oregon.

He presented many obsolete and obscure technologies that might seem odd today, but Brunton showed how the basic ideas behind them are hidden in current technologies.

"Along with being fascinating and often funny, looking deeply into the history of media can offer us insights into how things work and fail to work," Brunton said. "Media technologies offer narratives to us. When we build a media platform, we are offering stories of how we think the future should be, about how we conceive of thinking and communication."

Radio, television, the Internet, CDs and vinyl records all are examples of successful media, though they represent only a fraction of the attempts to come up with new ways to "store, transmit and represent information," he said.

The history of successful media "is not a history of teleological progress that ends up where we are, but a constant Cambrian explosion of different and diverse forms, most of which don't make it," he said.

Science-fiction writer Bruce Sterling coined the term "dead media" in 1995 for a talk at a new media conference, as a way to remind technologists and marketers that their creations would not always endure. It was a time, just before the Internet took off, when a lot of creative effort was being put into CD-ROMs, a platform that was rapidly displaced by the Internet.

"Much of the new media in Sterling's time was an attempt to sell something and move on. Sterling came to speak against the new, new hotness, by pointing his audience to ... the obsolete, the dysfunctional, the has-been and never-was," Brunton said.

Perhaps the canonical example of the dangers of dead media was the BBC's elaborate Domesday Book project, the results of which the corporation unwisely chose to place on LaserDiscs that ran only on Acorn Computers.

The original Domesday book was a survey of England and Wales in the year 1086 to assess the land, owners and livestock in order to levy taxes. The BBC decided to re-render the book on LaserDisc in 1984, with new input from thousands of people.

"It became virtually unreadable within less than two decades," Brunton said. The Acorn computer was not a successful platform, nor was the LaserDisc.

Yet the work remains available today, though rescuing it from this platform was no easy task. Because the JPG format hadn't been invented yet, all the pictures were rendered as single frames of video, and the underlying code was written in the now-obscure Basic Combined Programming Language.

"This was not just a matter of copying some stuff off of disc to salvage it. This was a huge and expensive project to save this thing," he said, before noting that "the original book, which is now 900 years old, can still [be] read perfectly fine."

Brunton ran through many truly obscure technologies, such as the Dream Machines of the 1960s and 1970s, elaborate contraptions that produced rapid light flickers that people experienced through closed eyes.

The idea was that the flickers would produce images in the viewer's head.

"Why watch reruns of 'Gilligan's Island' when you can watch the endless patterns generated out of your own visual cortex," he said. "So we have ... a piece of abstract art only meant to be seen with your eyes closed."

Columbia Records actually considered marketing the devices. While it may not be possible to buy a Dream Machine today (though Brunton has spied a few homemade models still working in aging Northern Californian hippie communes), the idea of enjoying abstract visual patterns lives on in today's screensavers.

Brunton questioned whether any media is "truly dead," except in rare cases, such as the Rongorongo tablets found at Easter Island, which no one now knows how to read or even decipher the reason they were created.

"Total non-recoverable death is really rare," he said. "We use the term 'dead media,' but most media is in a strained other state."

Even successful media is rarely used for its intended purpose. The TV remote control, for instance, was originally developed to mute out the sound of commercials.

"People often build things for very culturally specific reasons that might then go away. But the hardware is still there, to get taken up anew," he said.

Thomas Edison thought his phonograph would be used to cut sound recordings that could then be mailed to others, effectively making letters one could listen to. Many of the original phonograph cylinder machines had shavers that allowed people to reuse the discs. The idea lives on today in the form of voice mail.

At around the same time, people were thinking up ways to use the telephone to transmit music. One idea was the Telharmonium, a 200-ton electric organ located in a concert hall in New York City, with enormous tone wheels that produced loud sounds that could be used to recreate symphonies. In effect, Brunton said, it was the first synthesizer, and the service was an early example of music streaming.

The idea behind the Telharmonium was that people would subscribe to a service that would allow them to call a number and listen to Telharmonium music being played live. Users would hook up a horn to the phone to listen, and the music was piped into restaurants in lieu of live bands.

"It seems bizarre to us now to think of telephones for music, and records for voice, but it makes sense culturally if you are still thinking of music as a live phenomenon, and think of letters as the fundamental means by which you engage in distant communications with people," Brunton said.

Sometimes technologies are saved by emulation within a new technology. For instance, the software for a legacy PDP-11 micro computer emulator can still be run in a browser. Others get taken up as hobbies. "Plenty of people still know how to do calligraphy, raise carrier pigeons and practice semaphore," he said.

In still other cases, technologies find the niche they are best suited for. Morse code, for instance, "is fantastic for bad, noisy situations," he said. Ham radios and military units still use it to communicate when other methods are impractical. Prisoners use it to tap on walls and pipes. "This is a format where you can communicate by blinking your eyes," he said.

"It's almost as though in the process of dying out from widely adopted casual use, [the media] actually found a space for which it is uniquely suited. Many media do this -- they find a niche after their death that is actually a better fit," he said.

Sometimes the idea driving the media is resurrected in a new form.

He pointed to an 18th-century version of Photoshopping, called black mirrors, or Claude Glass, which were tinted mirrors that transformed reflected images into painterly hues, giving the scenes a picturesque quality.

"This is 18th-century augmented reality. The mirror would subtract the confusing details, distort the perspective, make some colors brighter and others darker," he said.

Often older media offers us a way to understand new technologies. "Prior forms are needed because they act like gateways and handrails" to some new technology, he said.

For example, some digital cameras have a sound file of a shutter clicking that plays as the image is captured, replicating the sound of a mechanical camera.

When it first was introduced, photography itself was often considered "the pencil of nature," as it offered the ability to create instant paintings. Early photographs replicated still-life paintings. Only after a while did people "begin to understand photography as a form in itself."

Other platforms live on specifically because of their obscurity, seen in the trend among some music labels of releasing music only on cassette.

Thanks to the age of MP3s, "there are no obscure albums any more, or obscure bands." Such easy availability, however, can hamper how "cool" a band is viewed by an audience. "Coolness in subcultures has a lot to do with difficulty. How do you separate out the newbies? How do you figure out who really belongs. There has to be kind of a learning curve," he said.

By using cassettes, labels are "deliberately re-introducing friction. It's the work that bonds people together in subculture. It's the work that makes the music feel special and secret."

With the development of new media, basic concepts tend to get invented over and over again, "often independently and in different places," Brunton said.

"Look for moments of flourishing where all these different people are collectively exploring some research space. It's normal for most of them to not make it," Brunton said.

Although Brunton spoke at a conference of technically minded computer programmers and administrators, his lessons were not lost on the audience.

"What was fascinating was the breadth of information and the interrelations between various components, and how things that I barely knew of are strongly pervasive in the systems we are using," said Usenix organizer Dan Klein. "Everything old is new again, and things that are very old we are still using, just under cover."

Iowa Rejects Video Privacy Protection For Cows - Slashdot

2011-06-22T16:53:00.001-07:00

"The Seattle Post Intelligencer reports that an effort to outlaw the undercover recording of animal abuse in livestock operations appears to have stalled in Iowa after previously failing in Minnesota, Florida and New York, with the pushback coming from citizens and activists complaining that the proposals were aimed at protecting an industry that doesn't exhibit enough concern for farm animal welfare. A bill introduced earlier this year to criminalize the actions of activists who make unauthorized hidden videos of animal abuse appeared to be headed for approval in the Iowa Legislature, with proposed penalties including fines of up to $7,500 and up to five years in prison. 'I feel it is wrong to absolutely lie to get a job to try to defame the employer,' says Iowa representative Annette Sweeney, a farmer and Republican legislator who sponsored the bill. But District Attorney James R. Horton, who filed animal cruelty charges against employees and the owner of a large-scale calf-raising farm, says he probably 'wouldn't have a case' if not for covert video provided by an animal protection group, and that 'we wouldn't have anything' in terms of evidence against the suspects in the beating deaths of dairy calves at E6 Cattle Co."

Glitch Mob - Red Dress vs Turning Me On (Hood Internet Mash vs DvDJ Synd...

2011-06-18T02:28:00.000-07:00

from daily motion

2011-06-12T04:08:00.000-07:00

Facelifts and Feedback

2011-06-11T18:49:00.000-07:00

I decided to ditch the eclipse blogger template theme, and embrace the new template design tools. Yes- I am aware of the fact that my pages (contact,media,photo) are missing at this time. This is partially due to my unresolved issues with various addons and widgets as I attempt to embed them. I'm also not entirely pleased with the background image. I would also like to point out that I'm not even at home right now. Be that as it may I'm considering the following backgrounds (from my mobile HD). Let me know which one you like.

Taken on Market St., SF

Taken on Laguna & Market, SF

Taken in the tunnel on Stockton, SF

Taken in my old apt. building


Taken on Market St., SF

The downward spiral of a fortune-cookie writer...

2011-06-05T17:04:00.000-07:00

will not be discussed or revealed at this time.

Watch "Hanna" online, I'm about an hour into it. I like the movie, but I am in awe of what was achieved in post. The sound design and editing in particular. It is hella impressive, and it's old-school. Straight cuts, and quick fades. It's the kind of work I dream about doing- the type the inspires. I completed my system recovery... No wait. Let me rephrase. I recovered the internal HD on the iMac and I stabilized my "half"-laptop. But I haven't got it working right. And, as a result, haven't done any real work in the last 4 days. I could really, really, really use a system engineer because I know what I have to do. I'm not doing it because I'm in this weird mindset. It's this grey area that is normally easy to identify and clearly labeled- like my LAN. But I'm watching Hanna, and I'm not thinking about why my NAS volumes aren't showing up properly- or the policies and permissions that seem to apply themselves whenever they feel like it . And I am pleased with the fact I will not be generating a report, or gathering statistics on how long it would take DataRescue 3 to recover 1TB of my files. I am also indifferent as to why the built-in ethernet adapter on my HP TX1000 laptop is, isn't sending or receiving packets (despite what the bios, control panel, windows services tell me that it is there and working). This fog is tempting me to research, troubleshoot and resolve these technical "anamolies". It works, after all- but it doesn't flow like it should. I'm gonna finish watching the movie now, then see what happens next. Kinda like my so-called-life.

That's a lot to watch....

2011-06-05T02:10:00.001-07:00

YouTube Users Upload 48 Hours of Video Every Minute Online Video News

Users upload about 2 days worth of video per minute, compared to some 24 hours of video per minute 14 months ago
Users watch more than 3 billion videos every single day

The GSX Glitch Playlist

2011-06-02T02:56:00.000-07:00

The Sketchup Show #1: Model a Lantern

2011-05-29T09:56:00.000-07:00