Bifurcated Rivets: From FB


Bifurcated Rivets: From FB


Bifurcated Rivets: From FB


Bifurcated Rivets: From FB

My, this is good

Bifurcated Rivets: From FB


Hackaday: SPATA: shaving seconds and saving brainpower whilst 3D-modeling

If you’ve spent some late nights CADing your next model for the 3D printer, you might find yourself asking for a third hand: one for the part to-be-modeled, one for the tool to take measurements, and one to punch the numbers into the computer. Alas, medical technology just isn’t there yet. Luckily, [Christian] took a skeptical look at that third hand and managed to design it out of the workflow entirely. He’s developed a proof-of-concept tweak on conventional calipers that saves him time switching between tools while 3D modeling.

His build [PDF] is fairly straightforward: a high-resolution digital servo rests inside the bevel protractor while a motorized potentiometer, accelerometer, and µOLED display form the calipers. With these two augmented devices, [Christian] can do much more than take measurements. First, both tools are bidirectional; not only can they feed measurement data into the computer with the push of at button, both tools can also resize themselves to a dimension in the CAD program, giving the user a physical sense of how large or small their dimensions are. The calipers’ integrated accelerometer also permits the user to perform CAD model orientation adjustments for faster CAD work.

How much more efficient will these two tools make you? [Christian] performs the same modeling task twice: once with conventional calipers and once with his tools. When modeling with his augmented device, he performs a mere 6 context switches, whereas conventional calipers ratchet that number up to 23.

In a later clip, [Christian] demonstrates a design workflow that combines small rotations to the model while the model is sculpted on a tablet. This scenario may operate best for the “if-it-looks-right-it-is-right” sculpting mindset that we’d adopt while modeling with a program like Blender.

Of course, [Christian’s] calipers are just a demonstration model for a proof-of-concept, and the accuracy of these homemade calipers has a few more digits of precision before they can rival their cousin on your workbench. (But why let that stop you from modifying the real thing?) Nevertheless, his augmented workflow brings an elegance to 3D modeling that has a “clockwork-like” resonance of the seasoned musician performing their piece.

[via the Tangible, Embedded, and Embodied Interaction Conference]

Filed under: tool hacks

MetaFilter: punchlines for a global audience

Last summer, Tilbury, Essex became Grimsby, North Lincolnshire. Detritus was strewn across the streets to affect the temporal change. Caricatures of slags and obese scroungers marauded up and down the road. Across one of the pulled-down shop shutters was scrawled "HULL R WANKERS", a rivalry that might have made sense a four-hour drive north.
Tim Burrows asks, When Are We Going to Stop Laughing at 'Shit Britain'? Blog: Experimenter Prototyping Board for easy circuit build


Raj over has build a prototyping board that facilitates the building of simple circuits. It includes a regulated power supply for both 3.3V and 5V, four output LEDs, four input switches, a buzzer, a potentiometer and an onboard breadboard. Using this board you can fast prototype your next project.

Experimenter Prototyping Board for easy circuit build - [Link]

Recent additions: rawstring-qm 0.2.1

Added by tolysz, Thu Jan 29 11:43:12 UTC 2015.

Simple raw string quotation and dictionary interpolation

BOOOOOOOM!: Music Video: Onoe Caponoe “Disappearing Jakob”


Another lo-fi hand drawn animated music video by El Tacodor, this time for Onoe Caponoe. Watch “Disappearing Jakob” below.

View the whole post: Music Video: Onoe Caponoe “Disappearing Jakob” over on BOOOOOOOM!. Blog: How to send and receive SMS messages with Arduino

Arduino Tutorial: GSM/GPRS SHIELD (SIM900) SMS Send and Receive Tutorial on Arduino Uno

In this video we are going to see, how easy it is to send and receive SMS messages using the Arduino GSM/GPRS shield (with SIM900 chip) from Tinysine. The shield is capable of sending and receiving SMS messages as well as making and receiving phone calls. It can also connect to the Internet using the GPRS network. But we will take a look at this later on in another video.

In this video, we connect to the GSM network of COSMOTE in Greece and we send an SMS message to a cell phone. Then we reply to Arduino and read the message in the Serial Monitor in the computer.

How to send and receive SMS messages with Arduino - [Link]

Recent additions: tidal 0.4.24

Added by AlexMcLean, Thu Jan 29 11:40:06 UTC 2015.

Pattern language for improvised music Blog: New Vishay Intertechnology IHLP® Inductors in 2020 Case Size Offer High-Temperature Operation to +155 °C


Silicon Labs introduced a new family of high-precision temperature sensors offering industry-leading power efficiency. Silicon Labs’ ultra-low-power Si705x temperature sensors consume only 195 nA (typical average current) when sampled once per second, which minimizes self-heating and enables multi-year coin cell battery operation. Unlike traditional digital temperature sensors, the Si705x devices maintain their accuracy across the full operating temperature and voltage ranges and offer four accuracy levels up to +/-0.3 °C. The sensors are ideal for HVAC, white goods, computer equipment, asset tracking, cold chain storage, industrial control and medical equipment. AEC-Q100-qualified versions are also available for automotive applications.

Traditional approaches to temperature sensing that use thermistors or embedded MCU temperature sensors suffer from poor accuracy and higher power consumption. Although improved accuracy can be achieved through end-of-line calibration, this technique presents additional manufacturing costs and challenges while accuracy is still susceptible to variations in power supply voltage. In contrast, the Si705x sensors’ patented signal processing technology provides stable temperature accuracy over the entire operating voltage and temperature ranges without the need for costly end-of-line production calibration. In addition, the integrated low-power analog design delivers an optimal price/performance solution with up to 35 times better power efficiency than competing temperature sensor products.

New Vishay Intertechnology IHLP® Inductors in 2020 Case Size Offer High-Temperature Operation to +155 °C - [Link] Blog: Windows Bean Loader Enables Wireless Arduino Programming from Surface Pro Tablets


SAN FRANCISCO and MINNEAPOLIS, January 26, 2015 — Punch Through Design, a hardware and software development firm that brings Bluetooth Low Energy hacking to the masses, has released the Windows Bean Loader, the first-ever wireless Arduino programming app for Windows users. Using the loader app, Windows-based developers and hobbyists can easily upload code to their LightBlue Bean and experience the power of Bluetooth Low Energy, without cables or a physical connection to the LightBlue Bean.

“The LightBlue Bean represents a new method of wirelessly interacting with prototypes and projects; says Colin Karpfinger, founder and CEO, Punch Through Design. Previously, only Mac OS X and iOS users could program their Beans, and now we are extending that functionality to Windows users.

The full-featured app, available from the Windows Store, fills a void for Windows-based developers and DIYers looking to create smartphone-controlled devices.

Windows Bean Loader Enables Wireless Arduino Programming from Surface Pro Tablets - [Link] Blog: With a step relay Finder 26 can be saved energy and also installation costs


Compact installation step relays Finder 26 series save energy similarly like latching relays, but they also operate on AC voltage.

Step relays are able to effectively control lighting or other devices and they significantly simplify circuit complexity at the same time. If you´re familiar with a bistable (latching) relay, then you know, that a relay can keep its status (On/Off) even without a power supply. A step relay, which we´d like to introduce to you this time, is mechanically significantly different from latching relays, but it also features this energy-saving property – i.e. maintaining the On/Off status even without a power supply.

A step relay is usually available with an AC coil and it´s very simply controllable by one push-button switch (momentary SPST-NO). The principle of the step relay is in the fact, that a driving coil mechanically moves a contact mechanism in various sequences. Each switching of a relay (switching a power to a coil) moves a mechanism in one “step” further. In the simplest case the sequence looks as On/Off/On/… But it also can be in other way, as illustrated in the attached picture. Step relay are probably the most frequently used for switching of lighting. This is enabled by a fact, that simple push-button switches, controlling a coil, are connected in parallel. In result, the circuitry gets much simpler and to control one or two lighting circuits from several places, it´s necessary to use only 2 wires (moreover only with a small cross-section – say 0,5mm2). Second saving is in a practically zero power consumption of the relay itself, as energy is only necessary to change a relay status.

Finder 26 series is constructed as a “small box”, which can be placed on a panel but also for example – into a common wall installation enclosure. On stock we keep the type, what´s a two-pole (10A) relay with 230Vac coil, with the On/Off sequence. Upon order, we´re able to supply you also versions with 12/24/48/110Vac coils and also modules for usage with 12/24VDC and for usage with illuminated switches.

Detailed information and a comprehensive table about possibilities of usage of particular types will provide you the Finder 26 datasheet. Useful examples of usage of these and also other switching components from Finder will provide you the document „Finder – The Electrician´s guide”.

With a step relay Finder 26 can be saved energy and also installation costs - [Link]

Recent additions: heap 1.0.2

Added by eberlm, Thu Jan 29 11:18:55 UTC 2015.

Heaps in Haskell

Recent additions: tidal 0.4.23

Added by AlexMcLean, Thu Jan 29 11:15:15 UTC 2015.

Pattern language for improvised music

Recent additions: creatur 5.9.2

Added by AmyDeBuitleir, Thu Jan 29 11:11:39 UTC 2015.

Framework for artificial life experiments.

Slashdot: The Big Bang By Balloon

StartsWithABang writes If you want to map the entire sky — whether you're looking in the visible, ultraviolet, infrared or microwave, your best bet is to go to space. Only high above the Earth's atmosphere can you map out the entire sky, with your vision unobscured by anything terrestrial. But that costs millions of dollars for the launch alone! What if you've got new technology you want to test? What if you still want to defeat most of the atmosphere? (Which you need to do, for most wavelengths of light.) And what if you want to make observations on large angular scales, something by-and-large impossible from the ground in microwave wavelengths? You launch a balloon! The Spider telescope has just completed its data-taking operations, and is poised to take the next step — beyond Planck and BICEP2 — in understanding the polarization of the cosmic microwave background.

Read more of this story at Slashdot.

CreativeApplications.Net: The Cathedral of Computation – Ian Bogost

4d55ecb6e-2In this essay Ian Bogost discusses the problems behind algorithms as ‘devotional phenomenon’ akin to god and the way these metaphors tunnel into culture making ‘us forget that particular computational systems are abstractions, caricatures of the world, one perspective among many”. The algorithmic metaphor is just a special version of the machine metaphor, one specifying a particular kind […] Parcel-Track-KR-PostOffice-0.004

Parcel::Track driver for the ePOST Korea (우체국)

Free Electrons » Blog »: Embedded Linux Conference schedule announced, several talks from Free Electrons

The schedule for the upcoming Embedded Linux Conference, which takes place on March 23-25 in San Jose, has been announced and is available publicly at, together with the Android Builders Summit schedule. As usual, there are lots of talks that look very interesting, so we can expect a very useful conference once again.

ELC 2015

This time around, there will be three talks given by Free Electrons engineers:

So, book your tickets, and join us for the Embedded Linux Conference at the end of March!

MetaFilter: Offline underclass

75 million Americans don't have internet. Here's what it's like. App-OverWatch-0.1

Watch over your infrastructure WebService-Syncthing-0.10

Client library for Syncthing API

Computer Science: Theory and Application: Does anyone know where I can find a plain text document that lists hundreds of molecules in molecular form?

I need it for a chemistry game I am making. If y'all can't help me find such a list I'll make one and host it where it can be downloaded.

submitted by Edward_Campos
[link] [1 comment] Parcel-Track-0.004

Driver-based API for tracking parcel Parcel-Track-KR-CJKorea-0.001

Parcel::Track driver for the CJ Korea Express (CJ 대한통운)

Hackaday: Is That a Tuner in Your Pocket…?

As a musician, it’s rare to consistently recognize with the naked ear whether or not a single instrument is in tune. There are a number of electronic devices on the market to aid in this, however if you’re leading into an impromptu performance to impress your friends, using one feels about as suave as putting on your dental headgear before bed. When tuning is necessary, why not do so in a fashion that won’t cramp your style?

To help his music-major friends add an element of Bond-like flare to the chore, [dbtayl] designed a chromatic tuner that’s disguised as a pocket watch, pet-named the “pokey”. The form for the custom casing was designed in OpenSCAD and cut from aluminum stock on a home-built CNC mill. Under its bass-clef bedecked cover is the PCB which was laid out in KiCad to fit the watch’s circular cavity, then milled from a piece of copped-clad board. The board contains the NXP Cortex M3 which acts as the tuner’s brain and runs an FFT (Fast Fourier Transform) that uses a microphone to match the dominant pitch it hears to the closest note. Five blue surface-mount LEDs on the side indicate how sharp or flat the note is, with the center being true.

[dbtayl’s] juxtaposition of circuitry in something that is so heavily associated with mechanical function is a clever play on our familiarity. You can see a test video of the trinket in action below:

Filed under: handhelds hacks, musical hacks

Open Culture: The Little Albert Experiment: The Perverse 1920 Study That Made a Baby Afraid of Santa Claus & Bunnies

The field of psychology is very different than it used to be. Nowadays, the American Psychological Association has a code of conduct for experiments that ensures a subject’s confidentiality, consent and general mental well being. In the old days, it wasn’t the case.

Back then, you could, for instance, con subjects into thinking that they were electrocuting a man to death, as they did in the infamous 1961 Milgram experiment, which left people traumatized and humbled in the knowledge that deep down they are little more than weak-willed puppets in the face of authority. You could also try to turn a group of unsuspecting orphans into stutterers by methodically undermining their self-esteem as the folks who ran the aptly named Monster Study of 1939 tried to do. But, if you really want to get into the swamp of moral dubiousness, look no further than the Little Albert experiments, which traumatized a baby into hating dogs, Santa Claus and all things fuzzy.


In 1920, Johns Hopkins professor John B. Watson was fascinated with Ivan Pavlov’s research on conditioned stimulus. Pavlov famously rang a bell every time he fed his dogs. At first the food caused the dogs to salivate, but after a spell of pairing the bell with dinner, the dogs would eventually salivate at just the sound of the bell. That’s called a conditioned response. Watson wanted to see if he could create a conditioned response in a baby.

Enter 9-month old Albert B., AKA Little Albert. At the beginning of the experiment, Albert was presented with a white rat, a dog, a white rabbit, and a mask of Santa Claus among other things. The lad was unafraid of everything and was, in fact, really taken with the rat. Then every time the baby touched the animals, scientists struck a metal bar behind him, creating a startlingly loud bang. The sound freaked out the child and soon, like Pavlov’s dogs, Little Albert grew terrified of the rat and the mask of Santa and even a fur coat. The particularly messed up thing about the experiment was that Watson didn’t even both to reverse the psychological trauma he inflicted.


What happened to poor baby Albert is hard to say, in part because no one is really sure of the child’s true identity. He might have been Douglas Merritte, as psychologists Hall P. Beck and Sharman Levinson argued in 2009. If that’s the case, then the child died at the age of 6 in 1925 of hydrocephalus. Or he might have been William Albert Barger, as Russ Powell and Nancy Digdon argued in 2012. He passed away in 2007 at the age of 87. He reportedly had a lifelong aversion to dogs, though it cannot be determined if it was a lasting effect of the experiment.

Later in life, Watson left academics for advertising.

You can watch a video of the experiment above.

via Mental Floss

Related Content:

Free Online Psychology Courses

How To Think Like a Psychologist: A Free Online Course from Stanford

Watch Footage from the Psychology Experiment That Shocked the World: Milgram’s Obedience Study (1961)

Hermann Rorschach’s Original Rorschach Test: What Do You See? (1921)

Jonathan Crow is a Los Angeles-based writer and filmmaker whose work has appeared in Yahoo!, The Hollywood Reporter, and other publications. You can follow him at @jonccrow. And check out his blog Veeptopus, featuring lots of pictures of badgers and even more pictures of vice presidents with octopuses on their heads.  The Veeptopus store is here.

The Little Albert Experiment: The Perverse 1920 Study That Made a Baby Afraid of Santa Claus & Bunnies is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.

The post The Little Albert Experiment: The Perverse 1920 Study That Made a Baby Afraid of Santa Claus & Bunnies appeared first on Open Culture.

Computer Science: Theory and Application: Need help with deterlab

I'm using a NS file provided to me and I've already SSH'd into users then into my machine but there's nothing here. My assignment says i need to find JPEGs on this server but there's nothing from what I see. I'm apparently missing something huge?

The ns file /share/education/LinuxDETERIntro_UCLA/intro.ns should be pulling information from this server and posting it onto my node system for me to screw with. It has some download files or something but they aren't showing up.

Edit: If you want to downvote at least leave some feedback.

submitted by ampaterson
[link] [comment]

The Geomblog: More FOCS 2014-blogging

In the spirit of better late than never, some more updates from Amirali Abdullah from his sojourn at FOCS 2014. Previously, he had blogged about the higher-order Fourier analysis workshop at FOCS.

I'll discuss now the first official day of FOCS, with a quick digression into the food first: the reception was lovely, with some nice quality beverages, and delectable appetizers which I munched on to perhaps some slight excess. As for the lunches given to participants, I will think twice in future about selecting a kosher option under dietary restrictions. One hopes for a little better than a microwave instant meal at a catered lunch, with the clear plastic covering still awaiting being peeled off. In fairness to the organizers, once I decided to revert to the regular menu on the remaining days, the chicken and fish were perfectly tasty.

I will pick out a couple of the talks I was most interested in to summarize briefly. This is of course not necessarily a reflection of comparative quality or scientific value; just which talk titles caught my eye.

The first talk is "Discrepancy minimization for convex sets" by Thomas Rothvoss. The basic setup of a discrepany problem is this: consider a universe of $n$ elements, $[n]$ and a set system of $m$ sets ($m$ may also be infinite), $S = \{S_1, S_2, \ldots, S_m \}$, where $S_i \subset [n]$. Then we want to find a $2$-coloring $\chi : [n] \to \{-1, +1 \}$ such that each set is as evenly colored as possible. The discrepany then measures how unevenly colored some set $S_i \in S$ must be under the best possible coloring.

One fundamental result is that of Spencer, which shows there always exists a coloring of discrepancy $O(\sqrt{n})$. This shaves a logarithmic factor off of a simple random coloring, and the proof is non-constructive. This paper by Rothvoss gives the first algorithm that serves as a constructive proof of the theorem.

The first (well-known) step is that Spencer's theorem can be recast as a problem in convex geometry. Each set $S_i$ can be converted to a geometric constraint in $R^n$, namely define a region $x \in R^n : \{ \sum_{j \in S_i} | x_j | \leq 100 \sqrt{n} \}$. Now the intersection of these set of constraints define a polytope $K$, and iff $K$ contains a point of the hypercube $\{-1 , +1 \}^n$ then this corresponds to the valid low discrepancy coloring.

One can also of course do a partial coloring iteratively - if a constant fraction of the elements can be colored with low discrepancy, it suffices to repeat.

The algorithm is surprisingly simple and follows from the traditional idea of trying to solve a discrete problem from the relaxation. Take a point $y$ which is generated from the sphercial $n$-dimensional Gaussian with variance 1. Now find the point $x$ that lies in the intersection of the constraint set $K$ with the continuous hypercube $[-1, +1]^n$. (For example, by using the polynomial time ellipsoid method.) It turns out some constant fraction of the coordinates of $x$ are actually tight(i.e, integer valued in $\{-1, +1 \}$) and so $x$ turns out to be a good partial coloring.

To prove this, the paper shows that with high probability all subsets of $[-1 +1]^n$ with very few tight coordinates are far from the starting point $y$. Whereas with high probability, the intersection of $K$ with some set having many tight coordinates is close to $y$. This boils down to showing the latter has sufficiently large Gaussian measure, and can be shown by standard tools in convex analysis and probabilitiy theory. Or to rephrase, the proof works by arguing about the isoperimetry of the concerned sets.

The other talk I'm going to mention from the first day is by Karl Bringmann on the hardness of computing the Frechet distance between two curves. The Frechet distance is a measure of curve similarity, and is often popularly described as follows: "if a man and a dog each walk along two curves, each with a designated start and finish point, what is the shortest length leash required?"

The problem is solvable in $O(n^2)$ time by simple dynamic programming, and has since been improved to $O(n^2 / \log n)$ by Agarwal, Avraham, Kaplan and Sharir. It has long been conjectured that there is no strongly subquadratic algorithm for the Frechet distance. (A strongly subquadratic algorithm being defined as $O(n^{2 -\delta})$ complexity for some constant $\delta$, as opposed to say  $O(n^2 / polylog(n))$.)

The work by Bringmann shows this conjecture to be true, assuming SETH (the Strongly Exponential Time Hypothesis), or more precisely that there is no $O*((2- \delta)^N)$ algorithm for CNF-SAT. The hardness result holds for both the discrete and continuous versions of the Frechet distance, as well as for any $1.001$ approximation.

The proof works on a high level by directly reducing an instance of CNF-SAT to two curves where the Frechet distance is smaller than $1$ iff the instance is satisfiable. Logically, one can imagine the set of variables are split into two halves, and assigned to each curve. Each curve consists of a collection of "clause and assignment" gadgets, which encode whether all clauses are satisfied by a particular partial assignment. A different such gadget is created for each possible partial assignment, so that there are $O*(2^{N/2})$ vertices in each curve. (This is why solving Frechet distance by a subquadratic algorithm would imply a violation of SETH.)

There are many technical and geometric details required in the gadgets which I won't go into here. I will note admiringly that the proof is surprisingly elementary. No involved machinery or complexity result is needed in the clever construction of the main result; mostly just explicit computations of the pairwise distances between the vertices of the gadgets.

I will have one more blog post in a few days about another couple of results I thought were interesting, and then comment on the Knuth Prize lecture by the distinguished Dick Lipton.

Slashdot: Drone Maker Enforces No-Fly Zone Over DC, Hijacking Malware Demonstrated

An anonymous reader writes A recent incident at the White House showed that small aerial vehicles (drones) present a specific security problem. Rahul Sasi, a security engineer at Citrix R&D, created MalDrone, the first backdoor malware for the AR drone ARM Linux system to target Parrot AR Drones, but says it can be modified to target others as well. The malware can be silently installed on a drone, and be used to control the drone remotely and to conduct remote surveillance. Meanwhile, the Chinese company that created the drone that crashed on the White House grounds has announced a software update for its "Phantom" series that will prohibit flight within 25 kilometers of the capital.

Read more of this story at Slashdot.

s mazuk: A Worker Reads History

Who built the seven gates of Thebes? 

The books are filled with names of kings. 
Was it the kings who hauled the craggy blocks of stone? 
And Babylon, so many times destroyed. 
Who built the city up each time? In which of Lima’s houses, 
That city glittering with gold, lived those who built it? 
In the evening when the Chinese wall was finished 
Where did the masons go? Imperial Rome 
Is full of arcs of triumph. Who reared them up? Over whom 
Did the Caesars triumph? Byzantium lives in song. 
Were all her dwellings palaces? And even in Atlantis of the legend 
The night the seas rushed in, 
The drowning men still bellowed for their slaves. 

Young Alexander conquered India. 
He alone? 
Caesar beat the Gauls. 
Was there not even a cook in his army? 
Phillip of Spain wept as his fleet 
was sunk and destroyed. Were there no other tears? 
Frederick the Greek triumphed in the Seven Years War. 
Who triumphed with him? 

Each page a victory 
At whose expense the victory ball? 
Every ten years a great man, 
Who paid the piper? 

So many particulars. 
So many questions.

- A Worker Reads History, by Bertolt Brecht

(after seeing this)

programming: How a Blind Person Programs

submitted by codey_coder
[link] [7 comments]

Disquiet: Rhythmic Revival

A forthcoming collection by the percussion player Emanative, aka Nick Woodmansey, is getting deserved advance notice, in large part due to an absolutely tremendous cover that Woodmansey has committed with Four Tet, aka Kieran Hebden, of an earlier duet. The subject of their rhythmic revival is a track off the album El Corazón, a 1982 release on the label ECM by Don Cherry and drummer Ed Blackwell. The track is titled “Makondi.” Cherry is best known as a trumpeter, but he doesn’t play trumpet on the original “Makondi,” which is a deeply percussive, mantra-like piece with no clear beginning or end. It is comprised almost entirely of a brief pattern that is repeated with slight variations as it proceeds. In spirit it brings to mind efforts toward a jazz minimalism by folks like Abdullah Ibrahim, Randy Weston, and the Art Ensemble of Chicago. Both the original Cherry-Blackwell recording and the new Woodmansey-Hebden version are the same length, just shy of three minutes and 50 seconds. Hebden is credited with thumb piano on the new take, and Woodmansey with drums and percussion. I seriously played this on repeat for an hour straight yesterday. Today I layered the two versions, new and old, and listened to them in near-sync, which I recommend for the simpatico moiré that results.

Here is the new rendition, off Woodmansey’s forthcoming album The Light Years of the Darkness, which is due out March 2. It’s available for pre-order at As the URL suggests, album sales will fund the foundation named for the late drummer Steve Reid, who played with Fela Kuti, Sun Ra, and Miles Davis, among others:

And here, for comparison (and sync layering), is the original:

New version originally posted at

programming: Turing Test vs CIA Agent, transcript

submitted by willvarfar
[link] [7 comments]

programming: LLVM Adds Options To Do Fuzz Testing

submitted by taliriktug
[link] [3 comments]

Computer Science: Theory and Application: ADHD medication and Writing code. Code is my drug? I don't think this is normal.

So I am wondering what peoples experience with certain ADHD medication and programming and how they deal with it.

I recently started taking medication again to help me at work (Linux Administrator, Helped massively as I haven't taken anything since 2006 ish) and noticed in the past 3 weeks, writing code is literally crack to me, well at least what I imagine crack to be as I have literally never held an addiction before, not even caffeine.

Its like "Oh ********* I just need to write this or I might kill something" and anytime I have time between waiting on commands I work on a little side project to help me at work. If I have gone 4-5 hours without a chance to write code of some kind(Bash 1liners, Javascript utility I'm making, fancy awk stuff) I start going through withdrawals.

First day I started taking it I put like 3000 lines of code into a personal project of mine over the coarse of 18 hours. Straight. Got up like twice to get food and do restroom stuff, This project ive been working on since 2007 on and off with the current code base being restarted in like 2011.

In the past 3 weeks Ive added like another 5000 lines of code to it. To put into prospective I haven't touched it since 2012 and it had a code base of like 8,000 lines.

I also spent about 5 hour and wrote and entire somewhat detailed and balanced mod for the game Factorio despite never doing anything with LUA before. Theres not much actual code to it given the nature of Factorio mods but still.

I'm not really worried about the dosage because outside my code addiction everything has normal after the first 2 days (Well better than normal, I can focus for more than 30 seconds and context switching isn't an issue anymore)

submitted by masshuku
[link] [6 comments]

Disquiet: A Qualitative Social Network

It’s funny, much as I’ve used SoundCloud daily for all these years now, I’ve never really found use, myself, for the stats. Likely, that’s because almost all my focus is on the Groups functionality. I do post a track occasionally, but not with any particular hopes of a broad listenership, just to participate, to float a musical idea, or to mark a milestone, like the addition of a new module to my little synthesizer rig.

For the Disquiet Junto group each week, all I look at is three things:

(1) where we’re at in active users (not members, but accounts that have actually posted tracks, which just topped 500),

(2) the number of tracks in the most recent project (I don’t even keep track of the numbers, but I do note it mentally — we’ve been as high as 70+ in a week and as low as around 10, and we’re generally around 30 or so), and

(3) the number of total tracks (we’re so close to 4,000 in just over three years).

I tend to be more qualitative than quantitative in general, but, yeah, maybe if there were Groups-oriented stats, that’d help me a bit, but I wouldn’t make it a priority. I look at the Junto qualitatively — are folks commenting on each other’s tracks, and is the commentary constructive; are the projects being met with enthusiasm, not so much in terms of number of participants in a given week but the sense that effort was expended by those who did participate; are there any obvious breakouts, in terms of levels of listenership, that sort of thing.

I think I’m more focused on functionality than on stats. You know what I would love would be the ability to transfer a track. I’d love if someone who’s posted a track but didn’t want it associated with their account any longer could transfer it to me, or to someone else.

Note: I originally posted this in a conversation on Facebook, but figured I’d post it here, too.

Hackaday: Raspberry Pi Learns how to Control a Combustion Engine

For his PhD at the University of Michigan, [Adam] designed a Raspberry Pi-based system that controls an HCCI engine, a type of engine which combines the merits of both diesel and gasoline engines. These engines exhibit near-chaotic behavior and are very challenging to model, so he developed a machine learning algorithm on a Raspberry Pi that adaptively learns how to control the engine.

[Adam]’s algorithm needs real-time readings of cylinder pressures and the crankshaft angle to run. To measure this data on a Raspberry Pi, [Adam] designed a daughterboard that takes readings from pressure sensors in each cylinder and measures the crankshaft angle with an encoder. The Pi is also equipped with a CAN transceiver that communicates with a low-level engine control unit.

RasPi HCCI Engine Control[Adam]’s algorithm calculates engine control parameters in real-time on the Pi based on the pressure readings and crankshaft position. The control values are sent over CAN to the low-level engine controller. The Pi monitors changes in the engine’s performance with the new values, and makes changes to its control values to optimize the combustion cycle as the engine runs. The Pi also serves up a webpage with graphs of the crankshaft position and cylinder pressure that update in real-time to give some user feedback.

For all the juicy details, take a look at [Adam]’s paper we linked above. For a more visual breakdown, check out the video after the break where [Adam] walks you through his setup and the awesome lab he gets to work in.

Filed under: Raspberry Pi Comic for 2015.01.29

New Cyanide and Happiness Comic

MetaFilter: Who owns Los Angeles?

Using publicly available data and open source tools to find answers to questions about Los Angeles. What are the most expensive pieces of land in LA County? Which of these has the most expensive "improvement", or building? What is the assessed value of Dodger Stadium? What are the most expensive cities by area in LA County? Who owns the most land? What percentage of the land in the city of LA is devoted to public space? where is the geographic center of LA County?

Rob Rhinehart has written a short guide on how anyone can answer these types of questions using freely available data.

Slashdot: Brain Implants Get Brainier

the_newsbeagle writes "Did my head just beep?" wonders a woman who just received a brain implant to treat her intractable epilepsy. We're entering a cyborg age of medicine, with implanted stimulators that send pulses of electricity into the brain or nervous system to prevent seizures or block pain. The first generation of devices sent out pulses in a constant and invariable rhythm, but device-makers are now inventing smart stimulators that monitor the body for signs of trouble and fire when necessary.

Read more of this story at Slashdot.

TwitchFilm: Review: PROJECT ALMANAC, A Cautionary Time-Travel Thriller For Teens

Something funny happened on the way to delivering a found-footage time-travel movie for teenagers: it grew a heart and developed a conscience. Project Almanac (formerly titled Welcome to Yesterday) features science nerds, unrequited crushes, and an extended concert sequence. All the principal players are teenagers; adults are glimpsed only on occasion for brief bursts of time. The action revolves around high-school tomfoolery by day and scientific experiments in a basement by night. The footage is shot largely in the style of a child playing with a new toy. And yet, out of that agonizing and distracting visual mess, something good and pure gradually emerges, maybe not enough to salvage the movie as a whole, but sufficient to give pause to dismissing it altogether. The set-up...

[Read the whole post on]

s mazuk: sunday-thought: After 2 years I finally got around to making...


After 2 years I finally got around to making some business cards. See you at LAABF.

I think I’m gonna stop reblog graphic design things on thewaxingmachine and just them all here instead

MetaFilter: Sorry, Canada

Reddit user TeaDranks has made a map of the world resizing every country in proportion to its population. The results are fascinating. NPR has a look. As originally seen on Reddit.

MetaFilter: Random Game Map Maker

Dave's Mapper automatically generates tiled RPG/adventure game maps by recombining tiles submitted by artists, with a pile of customization map generation options. Have fun and be inspired, or submit your own tiles.

Slashdot: One-in-five Developers Now Works On IoT Projects

dcblogs writes Evans Data Corp., which provides research and intelligence for the software development industry, said that of the estimated 19 million developers worldwide, 19% are now doing IoT-related work. A year ago, the first year IoT-specific data was collected, that figure was 17%. But when developers were asked whether they plan to work in IoT development over the next year, 44% of the respondents said they are planning to do so, said Michael Rasalan, director of research at Evans.

Read more of this story at Slashdot.

Hackaday: Automated Tea Maker

[Pariprohus] wanted to make an interesting gift for his girlfriend. Knowing how daunting it can be to make your own tea, he decided to build a little robot to help out. His automated tea maker is quite simple, but effective.

The device runs off of an Arduino Nano. The Nano is hooked up to a servo, a piezo speaker, an LED, and a switch. When the switch is turned to the off position, the servo rotates into the “folded” position. This moves the steeping arm into a position that makes the device easier to store and transport.

When the device is turned on to the “ready” position, the arm will extend outward and stay still. This gives you time to attach the tea bag to the arm and place the mug of hot water underneath. Finally the switch can be placed into “brew” mode. In this mode, the bag is lowered into the hot water and held for approximately five minutes. Each minute the bag is raised and lowered to stir the water around.

Once the cycle completes, the Nano plays a musical tune from the piezo speaker to remind you to drink your freshly made tea. All of the parameters including the music can be modified in the Nano’s source code. All of the components are housed in a small wooden box painted white. Check out the video below to see it in action.

Filed under: Android Hacks

Open Culture: Bill Nye the Science Guy Takes the Air Out of Deflategate

Did the weather have anything to do with those balls deflating in New England during the AFC championship game? It’s unlikely, very unlikely. Bill Nye explains why with science, but not without putting the hyped controversy into perspective first. Take it away Bill.

Related Content:

The Physics of a Quarterback’s Pass

Bill Nye, The Science Guy, Says Creationism is Bad for Kids and America’s Future

Watch the Highly-Anticipated Evolution/Creationism Debate: Bill Nye the Science Guy v. Creationist Ken Ham

Bill Nye the Science Guy Takes the Air Out of Deflategate is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.

The post Bill Nye the Science Guy Takes the Air Out of Deflategate appeared first on Open Culture.

Perlsphere: Moving CPAN RT tickets to Github, now improved

When I wrote about migrating RT tickets to Github a couple years ago, it was a quick-and-dirty job. This week, I finally cleaned it up and added some features I'd been missing:

  • Automatically closing the migrated RT ticket with a hyperlink to the new Github ticket
  • Migrating "stalled" RT tickets, as well as "new" and "open" tickets
  • Including all comments, not just the opening one, along with creator email and creation time stamp
  • Including hyperlinks to any file attachments
  • Including a list of all "requestors" email addresses (people following the ticket)
  • Improving distribution name detection for people who don't use Dist::Zilla
  • Adding a "dry-run" mode
  • Adding a "single-ticket" mode

Here's a draft of what a newly migrated ticket might look like (from a test run, not an actual migration, but it shows an attachment):

Migrated ticket example

Or, here's an actual ticket migrated over for IO::CaptureOutput: Bad joining of STDERR + STDOUT in windows [ #55164].

I've created a github repository for this at zzz-rt-to-github to make it easy for people to grab the script or contribute back. The README file there has instructions.


programming: React.js Conf 2015 - Introducing React Native

submitted by back-stabbath
[link] [6 comments]

explodingdog: Crazy Monster Talking About Change

Crazy Monster Talking About Change

Computer Science: Theory and Application: Graph Playground - interactive visualization of graph theory algorithms (try traveling salesman/simulated annealing with ~30 nodes... and give Heroku a moment to spin up the dyno)

submitted by JSPenman
[link] [comment]

Slashdot: Spider Spins Electrically Charged Silk

sciencehabit writes In their quest to make ultrastrong yet ultrasmall fibers, the polymer industry may soon take a lesson from Uloborus spiders. Uloborids are cribellate spiders, meaning that instead of spinning wet, sticky webs to catch their prey, they produce a fluffy, charged, wool-like silk. A paper published online today in Biology Letters details the process for the first time. It all starts with the silk-producing cribellar gland. In contrast with other spiders, whose silk comes out of the gland intact, scientists were surprised to discover that uloborids' silk is in a liquid state when it surfaces. As the spider yanks the silk from the duct, it solidifies into nanoscale filaments. This "violent hackling" has the effect of stretching and freezing the fibers into shape. It may even be responsible for increasing their strength, because filaments on the nanoscale become stronger as they are stretched. In order to endow the fibers with an electrostatic charge, the spider pulls them over a comblike plate located on its hind legs. The technique is not unlike the so-called hackling of flax stems over a metal brush in order to soften and prepare them for thread-spinning, but in the spider's case it also gives them a charge. The electrostatic fibers are thought to attract prey to the web in the same way a towel pulled from the dryer is able to attract stray socks.

Read more of this story at Slashdot.

Perlsphere: The meaning of MetaCPAN favorites

Until now I haven't really been sure what interpretation to put on MetaCPAN favorites, so I haven't favorited anything. You won't be surprised to hear that the PR challenge prompted me to think about favorites, and your response to my interpretation is likely to be "well, yeah, duh!".

explodingdog: Everything’s better the second time around

Everything’s better the second time around

Hackaday: A Camera With Computer Vision

Computer vision is a tricky thing to stuff into a small package, but last year’s Hackaday Prize had an especially interesting project make it into the 50 top finalists. The OpenMV is a tiny camera module with a powerful microcontroller that will detect faces, take a time-lapse, record movies, and detect specific markers or colors. Like a lot of the great projects featured in last year’s Hackaday Prize, this one made it to Kickstarter and is, by far, the least expensive computer vision module available today.

[Ibrahim] began this project more than a year ago when he realized simple serial JPEG cameras were ludicrously expensive, and adding even simple machine vision tasks made the price climb even higher. Camera modules that go in low-end cell phones don’t cost that much, and high-power ARM microcontrollers are pretty cheap as well. The OpenMV project started, and now [Ibrahim] has a small board with a camera that runs Python and can be a master or slave to Arduinos or any other microcontroller board.

The design of the OpenMV is extraordinarily clever, able to serve as a simple camera module for a microcontroller project, or something that can do image processing and toggle a few pins according to logic at the same time. If you’ve ever wanted a camera that can track an object and control a pan/tilt servo setup by itself, here you go. It’s a very interesting accessory for robotics platforms, and surely something that could be used in a wide variety of projects.

Filed under: Crowd Funding, Microcontrollers

OCaml Planet: OCamlPro: Private Release of Alt-Ergo 1.00

After the public release of Alt-Ergo 0.99.1 last December, it's time to announce a new major private version (1.00) of our SMT solver. As usual:

Quick Evaluation

A quick comparison between this new version and the previous releases is given below. Timeout is set to 60 seconds. The benchmark is made of 19044 formulas: (a) some of these formulas are known to be invalid, and (b) some of them are out of scope of current SMT solvers. The results are obtained with Alt-Ergo's native input language.

public release
public release
private release
Proved Valid 15980 16334 17638
Proved Valid (%) 84,01 % 85,77 % 92,62 %
Required time (seconds) 10831 10504 9767
Average speed
(valid formulas per second)
1,47 1,55 1,81

Main Novelties of Alt-Ergo 1.00

General Improvements

  • theories data structures: semantic values (internal theories representation of terms) are now hash-consed. This enables the use of hash-based comparison (instead of structural comparison) when possible

  • theories combination: the dispatcher component, that sends literals assumed by the SAT solver to different theories depending on whether these literals are equalities, disequalities or inequalities, has been re-implemented. The new code is much more simpler and enables some optimizations and factorizations that could not be made before

  • case-split analysis: we made several improvements in the heuristics of the case-split analysis mechanism over finite domains

  • explanations propagation: we improved explanations propagation in congruence closure and linear arithmetic algorithms. This makes the proofs faster thanks to a better back-jumping in the SAT solver part

  • linear integer arithmetic: we re-implemented several parts of linear arithmetic and introduced important improvements in the Fourier-Motzkin algorithm to make it run on smaller sub-problems and avoid some useless executions. These optimizations allowed a significant speed up on our internal benchmarks

  • data structures: we optimized hash-consing and some functions in the "formula" and "literal" modules

  • SAT solving: we made a lot of improvements in the default SAT-solver and in the SatML plugin. In particular, the solvers now send lists of facts (literals) to "the decision procedure part" instead of sending them one by one. This avoids intermediate calls to some "expensive" algorithms, such as Fourier-Motzkin

  • Matching: we extended the E-matching algorithm to also perform matching modulo the theory of records. In addition, we simplified matching heuristics and optimized the E-matching process to avoid computing the same instances several times

  • Memory management: thanks to the ocp-memprof tool (, we identified some parts of Alt-Ergo that needed some improvements in order to avoid useless memory allocations, and thus unburden the OCaml garbage collector

  • the function that retrieves the used axioms and predicates (when option 'save-used-context' is activated) has been improved

Bug Fixes

  • 6 in the "inequalities" module of linear arithmetic

  • 4 in the "formula" module

  • 3 in the "ty" module used for types representation and manipulation

  • 2 in the "theories front-end" module that interacts with the SAT solvers

  • 1 in the "congruence closure" algorithm

  • 1 in "existential quantifiers elimination" module

  • 1 in the "type-checker"

  • 1 in the "AC theory" of associative and commutative function symbols

  • 1 in the "union-find" module

New OCamlPro Plugins

  • profiling plugin: when activated, this plugin records and prints some information about the current execution of Alt-Ergo every 'x' seconds: In particular, one can observe a module being activated, a function being called, the amount of time spent in every module/function, the current decision/instantiation level, the number of decisions/instantiations that have been made so far, the number of case-splits, of boolean/theory conflicts, of assumptions in the decision procedure, of generated instances per axiom, ....

  • fm-simplex plugin: when activated, this plugin is used instead of the Fourier-Motzkin method to infer bounds for linear integer arithmetic affine forms (which are used in the case-split analysis process). This module uses the Simplex algorithm to simulate particular runs of Fourier-Motzkin, which makes it scale better on linear integer arithmetic problems containing a lot of inequalities

New Options

-version-info: prints some information about this version of Alt-Ergo (release and compilation dates, release commit ID)

-no-theory: deactivate theory reasoning. In this case, only the SAT-solver and the matching parts are working

-inequalities-plugin: specify a plugin to use, instead of the "default" Fourier-Motzkin algorithm, to handle inequalities of linear arithmetic

-tighten-vars: when this option is set, the Fm-Simplex plugin will try to infer bounds for integer variables as well. Note that this option may be very expensive

-profiling-plugin: specify a profiling plugin to use to monitor an execution of Alt-Ergo

-profiling <freq>: makes the profiling module prints its information every <freq> seconds

-no-tcp: deactivate constraints propagation modulo theories

Removed Capabilities

  • the pruning module used in the frontend is now removed

  • the SMT and SMT2 front-ends are removed. We plan to implement a new front-end for SMT2 in upcoming releases

explodingdog: The Taco Place

The Taco Place

Instructables: exploring - featured: Shaving Can Safe (that still shoots foam!)

This is something I've wanted to make ever since I saw Jurassic Park way back in 1993. I mean, who doesn't need a clever place to hide their ill-gotten dinosaur DNA? I know I do, that's for sure.So I finally got around to making my own shaving can safe. And here it is!On the basic level this isn't r...
By: seamster

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All Content: Sundance 2015: “Me and Earl and the Dying Girl”


One of the hottest tickets at this year’s Sundance film festival was for a U.S. Dramatic Competition film that entered the event as an under-the-radar offering and ended as the presumptive favorite to win the Grand Jury Prize (and, even more likely, the Audience Award): “Me and Earl and the Dying Girl,” a gorgeously conceived and executed variation on the teen weepie that recalls “Rushmore” and references Werner Herzog while sharing emotional DNA with “The Fault in Our Stars.” I know, weird, right? Yes, this is a special, odd movie, and it’s the kind of unique experience that filmgoers will adore when it descends from the mountains of Park City. “Me and Earl and the Dying Girl” is a stunning sum of its parts: A tonal high-wire act by Jesse Andrews (who adapts his own book), confident direction from “American Horror Story” vet Alfonso Gomez-Rejon, some of the best cinematography of the fest courtesy of Chung-hoon Chung, a breathtakingly perfect score from Brian Eno, and a strong ensemble from top to bottom.

Greg Gaines (Thomas Mann) has built walls to protect himself on the deadly journey through high school. He envisions his high school as not just one that’s broken into cliques but practically functions as a series of warring nations forced into coexistence. The cafeteria is Kandahar. And so Greg mostly avoids as much of it as possible. He knows the right platitudes to hurl at each clique ("Tests? Been there!") as he passes it in the hall, remaining a favored nation without really committing to anyone or anything. His only friend is a kid named Earl (RJ Cyler), who he refers to more as a “co-worker” given that they make short films together and avoid the high school social scene by hanging out in the office of their history teacher (Jon Bernthal), watching “Burden of Dreams.” About those movies that Greg and Earl make—they’re hysterical. The concept is that they take a classic film, usually something they’ve seen through the Criterion Collection, change the title into “something stupid” and then shoot it. So, “Midnight Cowboy” becomes “2:48 Cowboy.” “Breathless” becomes “Breathe Less.” I won’t even tell you what “Apocalypse Now” gets turned into or how “Rashomon” becomes “Monorash.” Some of them are stop-motion animation, some are not—but Greg keeps them largely to himself, another way to distance himself from kids his own age.

The walls that Greg has put up around his life to keep real emotion at bay crash when his mother (Connie Britton) forces him to hang out with a relatively unpopular but sweet girl named Rachel (Olivia Cooke), who was recently diagnosed with cancer. Greg reluctantly gives in, and a “doomed friendship” begins. The film is constantly subtitling events like “The Part Where I Panic Out of Sheer Awkwardness” and which day Greg and Rachel are in in their doomed friendship. Although, as Greg constantly reminds us, this is not the touching, romantic story you might expect from the opening act.

“Me and Earl and the Dying Girl” is more consistently clever than any film with teen characters of the last several years (with the possible exception of the great "Perks of Being a Wallflower"). It’s a film about a young man who was raised on Herzog and the unique cuisine of his eccentric father (Nick Offerman), who could have been a cynical, self-referential mess, but Mann grounds him in something beautifully relatable. He uses his intelligence as a shield, and it’s only when Rachel starts watching his films and becoming his friends that every part of his defensive structure collapses. Greg, Rachel and Earl are characters that Andrews and Gomez-Rejon clearly love, and that love becomes infectious. We enjoy the time we spend with them, making the final act of the film all the more heartbreaking. I’ve never heard a press audience at Sundance more audibly emotional.

The narrative choices and strong performances would be enough to make “Me and Earl” interesting on their own, but the movie rises to something else most of all through Chung’s cinematography and Eno’s score. Chung is Park Chan-wook’s most frequent collaborator, and he brings that low-angle striking sense of composition that he did to projects like “Sympathy For Lady Vengeance” and “Stoker” to a genre that almost never attempts a visual language as daring as this film. Yes, it’s a teen weepie that looks amazing, balancing foreground and background compositions in fascinating ways. There’s a crucial scene between Rachel and Greg that is shot in such a unique way (with her in the foreground, and him in the background, instead of traditional shot-reverse-shot) that it becomes much more emotionally resonant than it otherwise would. And the score is simply stunning, particularly in the way Gomez-Rejon lets Eno go entirely loose in the final act, not just sticking with traditional sweeping strings but finding something better and more effective.

Most teen tearjerkers send you out into the light feeling manipulated and exhausted. Without spoiling anything, I’ll say that “Me and Earl and the Dying Girl” had an opposite effect on me—it made me want to create. It’s a film that values intelligence and artistic pursuits in young people, teaching us that it is how we relate to one another and what we leave behind that really matters. It will never make as much as a blockbuster like “Fault in Our Stars,” but those who fall in love with this movie, and there will be many of those people, will hold it dear to their heart for many years to come. Years after this Sundance has closed, people will be sharing this film.

Open Culture: The Cahiers du Cinéma Selects the Top 100 Movies of All Time

Yesterday I wrote about the hugely influential film journal Cahiers du cinéma. It is not hyperbole to say that the publication not only altered the course of cinema history but it also, most likely, affected the way that you understand film. If you think of The Shining as a Stanley Kubrick movie instead of a Jack Nicholson flick, you can thank Cahiers du Cinema.

In 2008, Cahiers published its list of the 100 best movies of all time. The list is filled with both film school staples and some odd, unexpected entries. Orson Welles’s Citizen Kane tops the list – no surprise there – but coming in at number two is Charles Laughton’s strange fairy tale The Night of the Hunter. European art house masterpieces like The Rules of the Game, M and L’Atalante place high on the list along with Hollywood greats like The Searchers and Singin’ in the Rain. But so does Tod Browning’s cult film Freaks and Nicholas Ray’s baroque western Johnny Guitar.

The highest-ranking film by a Cahiers veteran is Jean Luc Godard’s technology reverie on the evils of Hollywood and the beauty of Brigitte Bardot’s rear-end, Le Mépris. The second highest-ranking movie is Jean Eustache’s little-seen masterpiece The Mother and the Whore  23. Francois Truffaut’s 400 Blows, the clarion call of the French New Wave, and Jean-Luc Godard’s fractured, modernist, effortless cool noir Breathless, also make the list at 58 and 63 respectively.

You can see the entire list below, and perhaps you can use it to build up your Netflix queue. We’ve linked to 11 films you can watch online right now, including Nosferatu above:

1. Citizen Kane – Orson Welles
2. The Night of the Hunter – Charles Laughton
3. The Rules of the Game (La Règle du jeu) – Jean Renoir
4. Sunrise – Friedrich Wilhelm Murnau
5. L’Atalante – Jean Vigo
6. M – Fritz Lang
7. Singin’ in the Rain – Stanley Donen & Gene Kelly
8. Vertigo – Alfred Hitchcock
9. Children of Paradise (Les Enfants du Paradis) – Marcel Carné
10. The Searchers – John Ford
11. Greed – Erich von Stroheim
12. Rio Bravo – Howard Hawkes
13. To Be or Not to Be – Ernst Lubitsch
14. Tokyo Story – Yasujiro Ozu
15. Contempt (Le Mépris) – Jean-Luc Godard
16. Tales of Ugetsu (Ugetsu monogatari) – Kenji Mizoguchi
17. City Lights – Charlie Chaplin
18. The General – Buster Keaton
19. Nosferatu the Vampire (above) – Friedrich Wilhelm Murnau
20. The Music Room – Satyajit Ray
21. Freaks – Tod Browning
22. Johnny Guitar – Nicholas Ray
23. The Mother and the Whore (La Maman et la Putain) – Jean Eustache
24. The Great Dictator – Charlie Chaplin
25. The Leopard (Le Guépard) – Luchino Visconti
26. Hiroshima, My Love – Alain Resnais
27. The Box of Pandora (Loulou) – Georg Wilhelm Pabst
28. North by Northwest – Alfred Hitchcock
29. Pickpocket – Robert Bresson
30. Golden Helmet (Casque d’or) – Jacques Becker
31. The Barefoot Contessa – Joseph Mankiewitz
32. Moonfleet – Fritz Lang
33. Diamond Earrings (Madame de…) – Max Ophüls
34. Pleasure – Max Ophüls
35. The Deer Hunter – Michael Cimino
36. L’Avventura– Michelangelo Antonioni
37. Battleship Potemkin – Sergei M. Eisenstein
38. Notorious – Alfred Hitchcock
39. Ivan the Terrible – Sergei M. Eisenstein
40. The Godfather – Francis Ford Coppola
41. Touch of Evil – Orson Welles
42. The Wind – Victor Sjöström
43. 2001: A Space Odyssey – Stanley Kubrick
44. Fanny and Alexander – Ingmar Bergman
45. The Crowd – King Vidor
46. 8 1/2 – Federico Fellini
47. La Jetée – Chris Marker
48. Pierrot le Fou – Jean-Luc Godard
49. Confessions of a Cheat (Le Roman d’un tricheur) – Sacha Guitry
50. Amarcord – Federico Fellini
51. Beauty and the Beast (La Belle et la Bête) – Jean Cocteau
52. Some Like It Hot – Billy Wilder
53. Some Came Running – Vincente Minnelli
54. Gertrud – Carl Theodor Dreyer
55. King Kong – Ernst Shoedsack & Merian J. Cooper
56. Laura – Otto Preminger
57. The Seven Samurai – Akira Kurosawa
58. The 400 Blows – François Truffaut
59. La Dolce Vita – Federico Fellini
60. The Dead – John Huston
61. Trouble in Paradise – Ernst Lubitsch
62. It’s a Wonderful Life – Frank Capra
63. Monsieur Verdoux – Charlie Chaplin
64. The Passion of Joan of Arc – Carl Theodor Dreyer
65. À bout de souffle – Jean-Luc Godard
66. Apocalypse Now – Francis Ford Coppola
67. Barry Lyndon – Stanley Kubrick
68. La Grande Illusion – Jean Renoir
69. Intolerance – David Wark Griffith
70. A Day in the Country (Partie de campagne) – Jean Renoir
71. Playtime – Jacques Tati
72. Rome, Open City – Roberto Rossellini
73. Livia (Senso) – Luchino Visconti
74. Modern Times – Charlie Chaplin
75. Van Gogh – Maurice Pialat
76. An Affair to Remember – Leo McCarey
77. Andrei Rublev – Andrei Tarkovsky
78. The Scarlet Empress – Joseph von Sternberg
79. Sansho the Bailiff – Kenji Mizoguchi
80. Talk to Her – Pedro Almodóvar
81. The Party – Blake Edwards
82. Tabu – Friedrich Wilhelm Murnau
83. The Bandwagon – Vincente Minnelli
84. A Star Is Born – George Cukor
85. Mr. Hulot’s Holiday – Jacques Tati
86. America, America – Elia Kazan
87. El – Luis Buñuel
88. Kiss Me Deadly – Robert Aldrich
89. Once Upon a Time in America – Sergio Leone
90. Daybreak (Le Jour se lève) – Marcel Carné
91. Letter from an Unknown Woman – Max Ophüls
92. Lola – Jacques Demy
93. Manhattan – Woody Allen
94. Mulholland Dr. – David Lynch
95. My Night at Maud’s (Ma nuit chez Maud) – Eric Rohmer
96. Night and Fog (Nuit et Brouillard) – Alain Resnais
97. The Gold Rush – Charlie Chaplin
98. Scarface – Howard Hawks
99. Bicycle Thieves – Vittorio de Sica
100. Napoléon – Abel Gance

Related content:

The Cahiers du Cinéma Names the 10 Best Films of the Year, from 1951 to 2014

Jean-Luc Godard Gives a Dramatic Reading of Hannah Arendt’s “On the Nature of Totalitarianism”

Jefferson Airplane Wakes Up New York; Jean-Luc Godard Captures It (1968)

700 Free Movies Online: Great Classics, Indies, Noir, Westerns, etc.

Jonathan Crow is a Los Angeles-based writer and filmmaker whose work has appeared in Yahoo!, The Hollywood Reporter, and other publications. You can follow him at @jonccrow. And check out his blog Veeptopus, featuring lots of pictures of badgers and even more pictures of vice presidents with octopuses on their heads.  The Veeptopus store is here.

The Cahiers du Cinéma Selects the Top 100 Movies of All Time is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.

The post The Cahiers du Cinéma Selects the Top 100 Movies of All Time appeared first on Open Culture.

TwitchFilm: Sundance 2015 Interview: Bruce McDonald, Chloe Rose, and Robert Patrick on HELLIONS' Bad Moon Rising

Bruce McDonald is the last filmmaker one can accuse of repeating himself. For the past 20+ years since his Sundance debut, Highway 61, the renegade cowboy director has stayed busy and thoroughly fresh with each new contribution to the Canadian cinematic landscape. Though Bruce has dabbled in many genres, he continuously proves himself as an enemy of the generic with singular visions, united in their abilities to transcend tropes and expectation.Hellions marks McDonald's second entry since his slow-burner, Pontypool, in the genre popularly referred to as horror. But just one look at Hellions' Infrared images is enough to clarify that, at 55 years old, Bruce is as uninterested as ever in playing it safe. Just ask his wife, who, upon hearing of his new foray...

[Read the whole post on]

Greater Fool - Authored by Garth Turner - The Troubled Future of Real Estate: ‘Terrified.’


At least we know more now about Poodlenomics.

Why did the Bank of Canada abruptly cut its key rate, risking what BMO economist Doug Porter says could be a miserable outcome?

“After four years of scolding Canadians about taking on too much debt,” he moans, “the Bank (of Canada) has pretty much said ‘Oh, never mind, we’ve got your back’, despite the fact that the debt/income ratio is at an all-time high of 163 per cent.”

Exactly. We’re just weeks away from a new spring-time Mortgage War with virgins descending on For Sale signs like crazed bugs. Sadly thinking lower rates mean higher prices, the moist ones are setting themselves up for a huge surprise. Because Canada’s sinking. The poodles knew that a week ago. Didn’t let on.

On Wednesday, as oil tanked and the dollar slipped below 80 cents, StatsCan dropped a bomb, restating employment numbers to reflect reality. Job losses were far worse – 11,300 last month rather than the 4,300 originally reported. In all of 2014, while the US created just shy of 3,000,000 new jobs, we added 121,000. And just wait until Target (17,600 layoffs) and the oil patch (perhaps 20,000 thus far) click in, starting in numbers to be released a week from Friday.

The fewest number of people are currently working in Canada since back in 2000, which is a big black eye for a government that slashed interest rates, crushed the dollar and added $170 billion in national debt over the last six years. Now it doesn’t even have the stones to bring forth a budget, or clearly warn people from scarfing down more debt when the party’s clearly over. Sad.

Then, there’s oil, now at $44 and at a 52-week low. Looks like it’s on its way to forty, and likely to stay there for a while. The industry revealed this week expenditures will drop by at least $23 billion in 2015.

Jonathan is a high-end caterer in Calgary. “I have contacts in Suncor, BP, Athabasca, Tourmaline, TransCanada, Spectra, North West Redwater – you name it, and I know someone from there. To be honest, the best info comes from the administrative assistants, though I do know a few higher-ups,” he says.

“Things are bad. Suncor has shut down catering completely and they are re-budgeting for $45 oil (‘Thank God those windows don’t open!’ quipped one of my middle management clients), and I haven’t heard from a few others since the start of the year – and it’s not from lack of trying,” he continues. “Thank God I diversified and got into lawyers and accountants offices, and weddings! I’m sure the oil will come back, but I’m not holding me breath (or putting anyone on account.) One client went so far to tell me that he was ‘terrified.’”

Perhaps you saw this comment posted here earlier today:

“The husband of one of my wife’s good friends is a fly-in/out (Vancouver Island) contractor in the oil patch and has made well over $200k/annum the last few years. This week he was told once his current project is done (a couple of more weeks to go) he won’t have any work until at least June. And that depends on oil prices. He claims 10, 000 people have lost their jobs in Fort Crack over the last week. I have no idea how reliable that number is though.

“This couple are just like all the others, living high on the hog with a big property, toys out the ying-yang and hardly any savings. Now the wife has started looking for work to help pay the bills. Sheesh.”

Or this, from yesterday:

“Neighbours’ son just back from Ft Mac today, fairly high up crane operator, told me that 1000 guys got laid off yesterday, no warning at all, said lots of layoffs happening but no one reports it in the media. Its not just the big names letting people go everyone is battening down the hatches.”

Yes, these are just anonymous words on a blog. They’re anecdotal. None of this is finding its way into the mainstream media, or getting to downtown Vancouver or Toronto, where the big lenders are quickly trying to Hoover up all of the virginal business possible, before it does. But it’s a fair bet the poodles at the Bank of Canada knew this well when they decided to pull the rate lever, once again distributing opiate to the addicted masses.

Meanwhile, CanOils has issued a report nobody in Alberta will want to read:

Less than 20% of leading Canadian oil and gas companies with oil-weighted production will be able to sustain their business long-term at US$50 a barrel. The longer that benchmark prices stay this low, the quicker and deeper the decline in expenditures on exploration and new development – and consequently on Canadian oil production – will be. Externally-sourced finance for development could also be limited; the inevitable writedowns of assets that will accompany the falling oil price could harm companies’ ability to borrow based on their reserves going forward and low share prices may discourage companies from securing finance by issuing equity.

Well, on Wednesday listings in Calgary were up 84% and sales lower by 34%. It’s a train wreck. As I told you yesterday, TD Bank says housing will decline this year in eight of 10 provinces. And are we now seeing cracks in Toronto?

As I told you days ago, sales in the GTA have turned negative on a year/year basis. The price of the average detached house in 416 is lower than it was one year ago. Factor in land transfer tax to buy plus commission to sell, and it’s an asset that’s lost 12% of its value in a year. Are condos next?

In the last few weeks two high-profile condo projects have been abruptly turned into rentals. About 300 buyers are out of luck and will have their deposits returned – with up to three years of interest at the Bank of Canada rate (0.75% per annum). It certainly indicates developers are getting cold  feet about a saturated and volatile market, and see more security in catering to renters.

By the way, Singapore has joined Canada – the 9th country this month to diddle with monetary policy in the face of deflation, oil collapse and stuttering global growth. Like ours, its currency was toppled. Singapore has reduced its expected inflation rate to negative .5%, as real estate values there fall.

Remember all I’ve told you about the transfer of wealth from real assets to financial ones? Looks like it’s here.

All Content: Opening Night of 30th Annual Santa Barbara International Film Festival


Excitement reigned Tuesday night on Santa Barbara’s State Street. On one block, several generations of colorfully garbed concertgoers milled about, ready for a sold out show by the Patti Smith Band at the Granada Theater, while half a block away, another glitzy crowd grew to 1000 outside the Arlington Theater. There, the Santa Barbara International Film Festival - its red carpets rolled out, its searchlights fired up - was kicking off its 30th year.

SBIFF’s Opening Night saw the U.S. premiere of “Desert Dancer,” based on the true story of a young, self-taught dancer in Iran, a country where dancing has been banned since 1979. Set against the 2009 presidential protests, Afshin Ghaffarian (Reece Ritchie) and a group of dancers (including Nazanin Boniadi and Freida Pinto) risk their lives to form an underground dance company and pursue this art form they love.  

Festivalgoers glimpsed stars Ritchie, Boniadi and Pinto, as well as cast member Tom Cullen (currently seen in PBS’s Masterpiece Theatre’s “Downton Abbey”), along with the film’s director, Richard Raymond. Also attending the screening were British director Peter Chelsom (“Hector and the Search for Happiness”) and publisher Chaz Ebert, both of whom are serving this year as festival jurors. 

The after-party drew a happy crowd who’d clearly enjoyed the film. I spoke with one young woman who talked of how, watching it, she thought about the very recent attacks in Paris and the creative freedom she believes we Americans take too much for granted. Another said she liked it very much while her companion admitted she’d just seen Patti Smith but hoped she’d get a chance to see the film soon.

I had an opportunity to meet actor Tom Cullen, a charming Welshman who plays “Tony, Lord Gillingham” on this season’s “Downton Abbey.” I felt compelled to note that many American viewers, having just watched Lady Mary attempt to break their engagement and his refusal to accept it, were now held in suspense. “Just what,” I asked, “was his character going to put poor Lady Mary thru?” Now this was rather a tease on my part, but Cullen’s answer came as a shock. He told me in detail what Lord Gillingham would do in coming weeks. Fortunately, or unfortunately, depending upon your point of view, I will not share that information here as that would be what we call a spoiler. Let’s just say, “Stand by.”

SBIFF runs 11 days this year with more than 200 films from 54 countries to be screened. Each year features many Academy Award nominees with this time no exception. Twenty-four nominees will attend, including Michael Keaton, receiving SBIFF’s Modern Master Award; Ethan Hawke and Patricia Arquette (the American Riviera Award); Eddie Redmayne and Felicity Jones (the Cinema Vanguard Award), and others. 

Excellent annual panels present A-list producers, screenwriters and directors, with the latter being moved this year to a much larger venue - the 2000-seat Arlington Theater - due to the popularity of the event. Directors Damien Chazelle (“Whiplash”), Richard Linklater (“Boyhood”), Bennett Miller (“Foxcatcher”), Laura Poitras (“Citizenfour”), and Morten Tyldum (“The Imitation Game”) will certainly enliven this year’s always great presentation.

A highlight this time is a special event honoring Santa Barbara’s Cousteau Family. “Jean-Michel Cousteau’s Secret Ocean 3D” will have its world premiere with Jean-Michel, the son of the late Jacques Cousteau, and his children, Fabien and Celine, attending and receiving the festival’s Attenborough Award. 

And a personal favorite: Steve James’ superb Roger Ebert documentary, “Life Itself,” will be shown twice at SBIFF. There will be a public screening on January 29th, and a private screening for students on January 31st, with Chaz Ebert in attendance each time. Chaz reports she’s long wanted to attend the Santa Barbara Film Festival, and it’s wonderful to have her here this year.

explodingdog: It Hurts to Swallow

It Hurts to Swallow

TwitchFilm: Rotterdam 2015: REALITY, Not Just Another Headscratcher By Dupieux

French DJ-cum-filmmaker Quentin Dupieux, aka Mr.Oizo, invaded the cinema landscape rather abruptly through his Dadaistic effort Rubber, following a killing tire in a twisted slasher formula. The comic element aside, Dupieux knew what he was up to since the first minute, not only in the opening scene of Rubber, featuring its unforgettable manifesto "No Reason," but also in his films to come. (He had previously tried his hand at filmmaking in the unfinished Nonfilm and the adequately bizarre comedy Steak.)Rubber marked a new chapter in the filmmaker´s career building his own topsy-turvy world. Wrong demonstrated his potential, not only through the absolutely ridiculous story of a dog-obsessed protagonist but mostly through the stylistic and formal solutions that blended into Dupieux´s personally-bred brand of poetics. The expansion...

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explodingdog: You can’t be idealistic all your life new drawings at...

You can’t be idealistic all your life

new drawings at today

TwitchFilm: Rotterdam 2015 Review: A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE, A Masterpiece

Only a few living directors have achieved status in world cinema as Roy Andersson did. Calling him a cult director seems like a huge understatement, even though we are talking about a rather narrow body of work consisting of three features by the now 71-year-old Swedish master (Swedish Love Story and Giliap belonging amidst the "youthful" missteps before the director´s artistic rebirth). Songs from the Second Floor (2000) and You, the Living (2007) can simply be considered timeless, having their proper place not only in the Swedish cinematic trove for the easily identifiable and inimitable Andersson's singular poetics. His latest addition, under the ridiculous English title A Pigeon Sat on a Branch Reflecting on Existence, doesn't differ from the fragmented narrative form he established in his prior...

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Planet Lisp: Quicklisp news: Getting a library into Quicklisp

If there's a library you like, and you'd like to see it available to download and install via the standard Quicklisp dist, here's what to do.

First, make sure the license terms of the code allow for its redistribution. I can't add things with restrictive licenses or with licenses that are missing or unclear.

Second, make sure it works on more than just one implementation of Common Lisp. Quicklisp is for portable libraries. (In the future, I hope to make it easy to create separate new dists specifically for implementation-specific code, but even then, the main Quicklisp dist will be for portable libraries.)

As a side-effect of how I build and test the dist, it must also work on SBCL on Linux/AMD64. That means, unfortunately, that a great portable library that works on three different Windows CL implementations, but not on Linux, cannot be added. I hope to fix this limitation in the future.

Third, make sure the library has certain ASDF system definition metadata: :license, :author, and :description. It also should have a README file in some form or another. A note about the README: it should give at least short overview of what the library is for. "The Foo library is an implementation of Ruby's Snorfle in Common Lisp" is not a good overview; give me an idea of what it actually does, instead, e.g. "The Foo library fetches and parses movie showtime information." It's good to also provide information about how to report bugs and how to contact the author.

Fourth, make sure it builds with ASDF, rather than an external-to-Lisp build mechanism. I can't add libraries that require special configuration or action outside of ASDF. For example, if you have to edit a source file to configure library or resource directories before building, I can't add it to Quicklisp. If the library can be loaded with just (asdf:load-system ...), it's good.

Finally, let me know about it. I prefer to track requests via github's issue system, but you can also send me an email as well. It suffices to write something like "Please add the foo library, which is available from The homepage is"

It's important to note that I don't consider a library's quality or purpose when adding it to Quicklisp. It doesn't matter if you're submitting your own library. If you want it added, and it fits the above criteria, I will almost certainly add it.

There are a few exceptions: projects that require complicated or obscure foreign libraries, projects that can only be downloaded via some ad-laden link system like SourceForge, projects that use CVS, and anything else that makes it difficult for me to fetch or build the project.

When you open a github issue for a library, I'll occasionally update the issue's status. I will add issue comments if I have any problems building, or if any required bit of information (license, ASDF metadata, README) is missing.

Barring any problems, when the github issue for a library is closed, the latest Quicklisp dist has been released and it includes the new library. (Sometimes I mess this up, so if it seems like the library is still missing after a dist update, feel free to get in touch.)

How about updates? Many libraries do not need any extra work to get updated regularly in Quicklisp. For example, if a library can be downloaded from an URL like "", Quicklisp will detect when a new file is posted. For libraries downloaded from version control systems like git, updates are also automatically fetched. Only when a library uses a fixed URL per version is it necessary to open a github issue for updates.

Quicklisp dist updates happen about once per month. If the library is updated upstream, those updates will only be reflected after the next Quicklisp dist update. Each dist update freezes the state of the Quicklisp library "world" until the next monthly update.

If you'd like to see the process in action, watch the quicklisp-projects issue page for a month to see how things typically work.

If you have any questions about the process, feel free to get in touch.

Computer Science: Theory and Application: Intersection of Real Analysis and CS

Does anyone know of important intersections between Real Analysis and CS? I'm taking a real analysis course at my school, and I'd like to either help increase my understanding of real analysis by relating it topics in CS or vice versa. Are there any good fields that relate the two?

submitted by flaming_sousa
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Instructables: exploring - featured: Hornets nest hiding spot

Everyone has locked themsleves out of their house once or twice. That's why they made those plastic rocks that you can hide your keys in. Of course, now the problem is that burglers, hooligains and your meddlesome neighbor can be on the lookout for said plastic-looking rocks and have instant access ...
By: CrazyClever

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new shelton wet/dry: ‘Pittacus said that half was more than the whole.’ —Diogenes Laërtius

The idea that unconscious thought is sometimes more powerful than conscious thought is attractive, and echoes ideas popularized by books such as writer Malcolm Gladwell’s best-selling Blink. But within the scientific community, ‘unconscious-thought advantage’ (UTA) has been controversial. Now Dutch psychologists have carried out the most rigorous study yet of UTA—and find no evidence for it. […] [...]

Penny Arcade: News Post: What Is Your Ghost Plan

Tycho: So I think I need to transform into IT Dad and start controlling some access at the Router Level; a week without regular sleep transformed my son into some kind of marmot.  I solicited tactical advice from others in the caretaker continuum, and learned that not all advice is equally useful. So, a PAX show isn’t really over until my phone connects to my home wireless network.  That’s the actual line.  So now it’s over, and the Long Project of cataloging it may begin.  I saw a couple trends manifest on the showfloor that I’d already been watching,…

TwitchFilm: Slamdance 2015 Review: CONCRETE LOVE, An Intimate, Immaculate Look At A Family Of Architects

We all wish to be immortalized in some way. To be remembered for something extraordinary or meaningful. Most of us will be remembered by the way we loved, who we loved and how we loved. It is what we do spurred on by such degrees of love that sets the rest in motion. Swiss Documentarian Maurizius Staerkle Drux measures these motions through the Böhms, a renowned family of German architects in their third generation. The result is Concrete Love, an extraordinary sensory portrait of the family, both intimate and immaculate in design.We enter the Böhm's lives as matriarch Elisabeth falls ill. Her husband Gottfried, though by most accounts retired for years, continues to work diligently everyday on new designs with pencil and charcoal. He still...

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Open Culture: Richard Dawkins Reads “Love Letters” from “Fans” (NSFW)

Richard Dawkins — some know him as the Oxford evolutionary biologist who coined the term “meme” in his influential 1976 book, The Selfish Gene; others consider him a leading figure in the New Atheism movement, a position he has assumed unapologetically. In recent years, Dawkins has made his case against religion though different forms of media: books, documentaries, college lectures, and public debates. He can be aggressive and snide, to be sure. But he dishes out far less than he receives in return. Just witness him reading the “love letters” (as he euphemistically calls them) that he has received from the general public. They are not safe for work. You can see him reading a previous batch of letters here.

Related Content:

Growing Up in the Universe: Richard Dawkins Presents Captivating Science Lectures for Kids (1991)

Richard Dawkins’ Documentary The God Delusion Tackles Faith & Religious Violence (2006)

Richard Dawkins Explains Why There Was Never a First Human Being

Free Online Biology Courses

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The post Richard Dawkins Reads “Love Letters” from “Fans” (NSFW) appeared first on Open Culture.

OUR VALUED CUSTOMERS: In response to his friend's complaints about the casting of a comedy movie...

Instructables: exploring - featured: Jenga Box

As I watched my 9 year old struggle with loading the cheap cardboard stacking sleeve that came with our Jenga game, I thought to myself, there has to be a better way. Mostly because I had to stop cooking dinner and set up the Jenga stack every time really... Rough Draft... Usually when I build so...
By: aisaacs3

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Colossal: Unsettling Ceramic Tableware by Ronit Baranga Incorporates Realistic Mouths and Fingers










Israeli ceramicist Ronit Baranga‘s “body of work” is unsettling, to say the least. Sculpted from clay, realistic fingers emerge from plates while mouths lurk inside cups. The gnarled fingers and lips seem poised for action. We would most certainly hesitate before using any of these for fear of being bitten.

The mouth is an interesting element for ceramic tableware as its main purpose, at least conventionally, has been to carry food and drink until it reaches the mouth. “I chose to deal with ‘mouth’ as a metaphoric connotation to a border gate,” said Baranga in an interview late last year. “A border between the inner body and the external environment surrounding it.”

Ronit Baranga’s curious works, which blur the border between living and still, were most recently part of the two group exhibitions at Bet-Binyamini Contemporary Ceramics Center in Tel-Aviv. (via I Need A Guide)

Instructables: exploring - featured: Slugitronics - protecting plants with chibitronics

When our lovely friends at Leicester Hackspace invited us to their Chibitronics build night, we knew that we wanted to think outside the box. Chibitronics are electronics component stickers that are very thin and self-adhesive, allowing you to build circuits on paper and surfaces that would not usua...
By: coventrymakerspace

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Colossal: Breath: A Stunning New Collection Film Exploring How We Breathe


Over the past few years the production team at The Mercadantes (formerly known as Everynone) have created a legendary reputation for their unique brand of collection films, where similar objects, ideas, or actions are gathered into a video montage. If you haven’t seen Words, Ball, or especially Symmetry, I recommend spending the next 20 minutes of your life doing that. Their latest film is Breath, a meditation on the myriad ways in which people breath. While it may not sound like much in a description, the short packs an emotional wallop, bouncing between the extremes of life and death to fear and passion. Directed and edited by Daniel Mercadante.

The Geomblog: Streaming @ SODA: Part I

This two part series is written by my student Samira Daruki

Modern graph data sets are too large to fit in the memory. And so the streaming model is one of the more popular and attractive ones for analyzing massive graphs: in this model, for an input graph $G = (V, E)$ with $n$ vertices and $m$ edges, the edges arrive in an arbitrary order in a stream and the algorithm can only use $\tilde{O}(n)$ space. The algorithm is allowed to have several passes over the stream but usually the ideal case is to have just one pass.

For many graph problems such as matching, spanning tree, graph sparsification, approximate distance and counting subgraphs there now exist streaming algorithms with space complexity $O(n \text{poly} (\log n))$. In these algorithms, usually we assume that the nodes of the graphs can be stored in memory but edges cannot. Notice that for constructing  matchings, spanners and sparsifiers, the output size is often $\Omega(n)$, so it forces the streaming algorithm to use $\Omega(n)$ space.

But if you don't need to report the output, then this can be avoided. For an example, see the work of Kapralov, Khanna and Sudan from SODA 2014 which approximates the matching size to a $\text{poly}(\log n)$ factor using $\text{poly}(\log n)$ space in a random stream (where edges appear in a random order rather than arbitrarily)

Thus, the question now is:
can we obtain a $\text{poly}\log$ space streaming algorithm for approximating the solution cost for other graph problems? 
Consider for instance MAX-CUT. There are several results on approximating the maximum cut in graphs in a non-streaming model; the trivial approach is to take a random cut. This selects half of the edges in expectation, resulting in a factor $1/2$-approximation.

Thus implies that in a streaming model we can just count the number of edges $m$ and output $\frac{m}{2}$ which results in a $O(\log n)$-space algorithm. By keeping a sample of the edge set we can get a different tradeoff: a $(1+\epsilon)$-approximation algorithm which uses $O(\frac{n}{\epsilon^2})$ space.

Can we get a streaming algorithm with better than factor-$2$ approximation using just $poly(\log n)$ space?

A paper by Kapralov, Khanna and Sudan in the streaming session of SODA15 this year answers this question. This is the latest in a line of results on streaming graph problems by Kapralov and others from SODA 2012, 2013 and 2014 (mentioned above)

Here is their main result
For any constant $\epsilon > 0$ a single pass streaming algorithm for approximating the value of MAX-CUT  to a factor $2 − \epsilon$ requires $\Omega(\sqrt{n})$ space, even in the random order model.
This result rules out the possibility of $\text{poly}(\log n)$ space, but suggests that $\tilde{O}(\sqrt{n})$ space cost might be possible in some specific settings.

Another major result of this paper is as follows:

For any constant $\epsilon > 0$ a single pass streaming algorithm for approximating MAX-CUT value to factor $1 + \epsilon$ requires $n^{1−O(\epsilon)}$ space in adversarial streams.

The main fact they  use here is the connection between the MAX CUT value and (distance from) bipartiteness:
if a graph $G$ with $m$ edges is $\beta$-far from being bipartite, then maxcut value of $G$ is at most $(1-\beta)m$. 
The other simple observation is that any algorithm that computes a $\gamma$-approximation to MAX CUT distinguishes between bipartite graphs and graphs that are $1-\frac{1}{\gamma}$-far from being bipartite. Thus to show that no streaming algorithm using space $c$ can achieve a $\gamma$- approximation with failure probability at most $\delta$, it's enough enough to show no streaming algorithm using space $c$ can distinguish between bipartite graphs and graphs which are $1- \frac{1}{\gamma}$-far from being bipartite with probability at least $1- \delta$.

Given these facts, now the core idea to prove the main result here is exhibiting a distribution over inputs where $(2-\epsilon)$ approximation to MAX-CUT requires $\Omega(\sqrt{n})$ space.

More precisely, the input graph instances are based on random Erdos-Renyi graphs, which are either bipartite in YES case or non-bipartite in the NO case. In order to achieve a $(2-\epsilon)$-factor gap for the MAX CUT in this structure, we choose the expected degree of vertices to be $\Theta(\frac{1}{\epsilon^2})$.

This way, the input streaming graph can be partitioned and given to the algorithm in $\Omega(\frac{1}{\epsilon^2})$ phases, which can be simulated as a $\frac{1}{\epsilon^2}$-party one-way communication game.

Then, by giving a reduction from a variation of Boolean Hidden Matching(BHM)  called Distributional Boolean Hidden Partition(D-BHP) to the MAX-CUT on the input instance of the problem, and showing that $\Omega(\sqrt{n})$ space is necessary to differentiate between these two cases, the main streaming lower bound result for obtaining approximate MAX-CUT is straightforward.

There are many technical details in performing this reduction, but roughly speaking they show that any algorithm that solves MAX-CUT on the constructed instances must solve the two-party communication problem in at least one of the phases.

There are still some main open problems left in this paper:

  • One is whether breaking $2$-approximation barrier in $\sqrt{n}$ space is possible if we are allowed to have $poly(\log n)$ passes over the input stream?
  • Also it is interesting to think about designing streaming algorithms for other graph problems using $o(n)$ space.

This brings us to another paper presented in this session. In Streaming Algorithms for Estimating the Matching Size in Planar Graphs and Beyond (by Esfandiari, Hajiaghayi, Liaghat, Monemizadeh and Onak), this latter question is answered about finding the maximum matching for planar graphs using $o(n)$ space.

Here is the main result:
If the underlying graph is planar, then there is a streaming algorithm which provides a $O(1)$-approximation solution to maximum matching with high probability using $O(n^{\frac{2}{3}})$ space.
The main idea for proving the result here is to use a known structural graph property:
If we characterize the nodes of the input graph based on the degrees to two groups of light (deg < 9) and heavy (deg > 9) vertices and then define the shallow edges as the ones with  two light endpoints, then we have the following nice property: (Assuming |maximum matching| = m, |shallow edges| = s and | heavy vertices| = h): 
$$ \frac{\max (s, h)}{12} \leq m \leq h + s$$

Then using this structural fact as the main tool, constructing a small size matching (bounded by $c n^{\frac{2}{3}}$) as we read the edges in a greedy manner, and estimating the number of shallow edges and heavy vertices in the induced subgraph by a subset of sampled vertices with size $c n^{\frac{2}{3}}$, we can approximate the size of the maximum matching by a constant factor.

In addition to planar case, they show that similar results for approximating maximum matching in other graph structures such as $d$-degenerate graphs and forests are achievable.

Coming up: parametrized streaming and VERTEX COVER.

programming: Comcast: Simulating shitty network connections so you can build better systems

submitted by sidcool1234
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All Content: Timbuktu


“We are the guardians of all deeds since we arrived in this territory.” So states one of the self-described jihadists who, with his colleagues and some high-caliber weaponry, are presuming to rule a small village and its surrounding grazing land and waters near the place of the film’s title. A thoroughly remarkable and disquieting film from Mali’s Abderrahamane Sissako, “Timbuktu” is also a work of almost breathtaking visual beauty, but it manages to ravish the heart while dazzling the eye simultaneously, neither at the expense of the other. It’s a work of art that seems realized in an entirely organic way.

After a tense scene in which a group of men with automatic weapons chase a gazelle over sandy stretches, seeking to tire out the animal, Sissako’s movie quietly shifts to village life. Undercurrents of dread make themselves known as mere irritants at first. “Roll up your pants, it’s the new law,” a fellow with a gun says to a passing man. A woman selling fish is ordered to put on gloves, to conform to what the fellows with the guns say is Sharia law; she protests that she can’t handle fish with gloves on. A cleric takes exception to some men entering a mosque with their weapons. And so on. Outside the village, a cattleman of modest means, Kidane (Ibrahim Ahmed), lives cheerfully with his wife and daughter. They seem nomadic, spending nights under tents, but the daughter has a cell phone; like almost everyone else in this sub-Saharan world, they seem suspended between the ancient and the post-modern. It’s a condition that brings about its own set of contradictions, contradictions the occupying jihadists abrade. Kidane’s wife, Satima (Toulou Kiki), has for some reason—perhaps her beauty—has caught the intention of the chief of the self-described jihadists, the gentle-eyed Abdelkerim (Abel Jafri). 

One feels that nothing good can come of all this, but the movie’s animating conflict winds up being something rather more altogether Old Testament, at least from the perspective of a Western viewer. After Kidane loses a beloved cow to the spear of a local fisherman, irritated that the beast has wandered into his nets, Kidane foolhardily seeks puts a weapon on his person as he goes to seek justice. The worst happens (and its aftermath is depicted in an incredible long take shot from a considerable distance, a jaw-dropping piece of filmmaking), after which the ruling jihadists swoop in to police the situation, and subsequently advise Kidane to try to place his affairs in order, as he cannot escape the fate that, he and his captors agree, he cannot control. Abdelkerim sees in Kidane’s plight a chance to make a “good” impression on Satima, but he, too, will learn that there are some things beyond his ability to affect. 

This main storyline is only given slightly more emphasis than the other threads this movie weaves into its tragic fabric. Some friends who are put to the lash for the crime of playing music. (And the music in the film, incidentally, is as beautiful as its imagery.) A young woman whose mother objects to a jihadist’s proposal of marriage that later becomes a demand. And so on. The really killing thing about all the conflict that tears this place and its people apart is how calm everyone is about it. Nobody raises his or her voices; nobody raises a hand in impulsive anger. Violence, when it occurs, is done in a very deliberate way. The jihadists need to conduct themselves “properly,” as this conveys their rectitude. But their stance only barely disguises their old-fashioned bullying. The treatment of women in particular is just misogyny with unconvincing window dressing. The jihadist who wants the young woman in marriage expects no argument; the girl is his right. And the fact that he asks for her politely, in the logic he lays out, only underscores his alleged right. It doesn’t matter anyway; if he is refused, he calmly states, “I’ll come again in a bad way.” 

This small-scale totalitarianism that claims to be the way of Islam and is only justified via the barrel of a gun or the point of a lash is depicted by Sissako with pinpoint clarity. As is the hypocrisy, as in Abdelkerim’s decree forbidding tobacco, from which he “secretly” exempts himself. The scene in which his driver, who previously has registered some small objections to the way his boss does things, tells Abdelkerim that he needn’t hide his cigarette use from him, is both smile-inducing and terrifying, because the viewer isn’t sure exactly how much real viciousness Abdelkerim has within him, and how much that viciousness can be triggered by his vanity. Part of what makes “Timbuktu” such a striking film is the way Sissake insists on giving the jihadists full humanity even as he clearly and deeply deplores their actions. This feat of understanding and empathy is just one of the many things that this exceptional film executes exceptionally well. 

CreativeApplications.Net: Jacobsons’s Fabulous Olfactometer – Sensorial prosthesis for air pollution

SHertrich_JFO_red_sideCreated by Susanna Hertrich, Jacobson’s Fabulous Olfactometer (JFO) is a sensorial prosthesis that mimics mammalian ‘flehmen’ when air pollution levels are high. The prosthetic is modeled after a sense organ that enables certain animals to sense odourless chemicals.

Planet Haskell: Well-Typed.Com: How we might abolish Cabal Hell, part 2

In part 1 we looked at an overview of all the various problems that make up “Cabal hell”. We also looked at an overview of a few solutions and how they overlap.

In part 2 and part 3 we’ll look in more detail at the two major solutions to Cabal hell. In this post we’ll look at Nix-style package management, and in the next post we’ll look at curated package collections.

A reminder about what the problems are

You might recall from part 1 this slightly weird diagram of the symptoms of Cabal Hell:

Cabal Hell: the symptoms 

In this part we’re going to pick out a couple of the problems and look them in a bit more detail:

  • Breaking re-installations
  • Type errors when using packages together

Breaking re-installations

There are situations where Cabal’s chosen solution would involve reinstalling an existing version of a package but built with different dependencies.

For example, suppose I have an application app and it depends on zlib and bytestring. The zlib package also depends on bytestring. Initially the versions I am using for my app-1.0 are zlib-0.5 and bytestring-0.9 (Versions simplified for presentation.) Now I decide in the next version of my app, app-1.1, that I want to use a nice new feature in bytestring version 0.10. So I ask cabal to build my application using a more recent bytestring. The cabal tool will come up with a solution using the new bytestring-0.10 and the same old version of zlib-0.5. Building this solution will involve installing bytestring-0.10 and rebuilding zlib-0.5 against it.

Example breakage 1 

What is the problem here?

The problem is the rebuilding of zlib-0.5.

Why is this a problem?

It is a problem because when we install the instance “zlib-0.5 built against bytestring-0.10” we have to delete the pre-existing instance “zlib-0.5 built against bytestring-0.9”. Anything that depended on that previous instance now has a dangling reference and so is effectively broken.

Why do we have to delete the previous instance?

The way installed packages are managed is such that each GHC package database can only have one instance of each package version. Note that having two different versions would be allowed, e.g. zlib-0.4 and zlib-0.5, but having two instances of zlib-0.5 is not allowed. Not deleting the previous instance would involve having two instances of zlib-0.5 (each instance built against different versions of bytestring).

So the root of the problem is having to delete – or if you like, mutate – package instances when installing new packages. Mutable state strikes again! And this is due to the limitation of only being able to have one instance of a package version installed at once.

Type errors when using packages together

The second, orthogonal, problem is that it is possible to install two packages and then load them both in GHCi and find that you get type errors when composing things defined in the two different packages. Effectively you cannot use these two particular installed packages together.

The reason is that the two packages have been built using different versions of some common dependency. For example, I might have zlib built against bytestring-0.9 and binary built against bytestring-0.10. Now if I try to use them together in GHCi (e.g. compressing the result of binary serialisation) then I will get a type error from GHC saying that bytestring-0.9:Data.ByteString.ByteString is not the same type as bytestring-0.10:Data.ByteString.ByteString. And GHC is not wrong here, we really cannot pretend that these are the same types (at least not in general).

Example breakage 2 

This is a variant on the classic “diamond dependency problem” that cabal solved years ago. So why do we still get it? In fact we never hit this problem when building a package with cabal, because cabal’s solver looks for “consistent” solutions. (Recall from part 1, that when we say a “consistent” solution we mean one that uses only one version of any package.)

We can still hit this problem when we install things separately and then use the packages directly with ghc or ghci. This is because cabal does not enforce consistency in the developer’s environment. It only enforces consistency within any set of packages it installs simultaneously.

The fundamental problem is that developers expect to be able to use combinations of their installed packages together, but the package tools do not enforce consistency of the developer’s environment.

In practice this class of problem is currently relatively rare. In part that is because one would often hit the problem above involving re-installing and breaking packages. If however we lifted the limitation on installing multiple instances of the same version of a package, then we would always be able to install new versions and we would instead hit this problem much more frequently.

Nix-style package management

The ideas behind Nix are now over 10 years old. When first reading the published papers on Nix some years ago I was struck by how simple and elegant they are. They also appear to work well in practice, with a full Linux distribution based on them, plus a number of other well-regarded tools.

The key ideas are:

  • A persistent package store. That is, persistent in the sense of an immutable functional data type. Packages are added but never mutated. Old packages can be garbage collected. Just like immutable data structures in Haskell, immutable package stores have several advantages.

  • Working environment(s) that are “views” into the package store. A working environment has a number of packages available, and this is just a subset of all the packages that are installed in the package store. There can be many of these that co-exist and switching the view is simple and cheap.

Contrast this to a traditional approach, e.g. what we have now with Cabal, or Linux distros based on .rpm or .deb. In the traditional approach there is a single environment which is exactly the same as the full set of installed packages. So compared to a traditional approach, we have an extra level of indirection. Having views lets us have a much larger collection of packages installed than we have available in the working environment, and allows multiple environments.

A good illustration of what these ideas give us is to see what happens when we want to add a new package:

  1. We start with our initial environment which points to a bunch of packages from the store.

  2. We compile and install a new package into the store. So far this changes very little, which is a big feature! In particular it cannot break anything. The new installed package can co-exist with all the existing ones. There can be no conflicts (the install paths are arranged to guarantee this). No existing packages have been modified or broken. No environments have yet been changed.

  3. Now we have choices about what to do with environments. Our existing environment is unchanged and does not contain the new package. We can create a new environment that consists of the old environment with the extra package added. In principle both the old and the new environments exist. This is very much like a persistent functional data structure:

    let env' = Map.insert pkgname pkg env

    Both exist, the old one is not changed, and we can decide if we are only interested in the new one or if we want to keep both.

  4. Finally we can, if we want, switch our “current” environment to be the new environment with the new package. So while multiple environments can exist, only one of them is active in our current shell session.

So what have we gained from the added indirection of a persistent store + views?

  • We can install new things without breaking anything, guaranteed.

  • We get atomic rollback if we don’t like the changes we made.

  • Multiple independent environments.

  • Environments that are very cheap to create.

The multiple environments effectively gives us sandboxes for free. In fact it’s better because we can easily share artefacts between sandboxes when we want to. That means far fewer rebuilds, and easy global installation of things built in an isolated environment.

Nix has a few other good ideas, like its functional package description language and some clever tricks for dealing with the messy details of system packages. The key ideas however are the ones I’ve just outlined, and they are the ones that we should steal for GHC/Cabal.

Mechanisms, policies and workflows

The package store and the multiple environments are just a mechanism, not a user interface. The mechanisms are also mostly policy free.

Generally we should start from user requirements, use cases, workflows and the like, and work out a user interface and then decide on mechanisms that will support that user interface. That said, I think it is clear that the Nix mechanisms are sound and sufficiently general and flexible that they will cover pretty much any user interface we decide we want.

So I think our design process should be:

  1. Look at the packaging tool requirements, use cases, workflows etc, and work out a user interface design.

  2. Then figure out how the actions in that user interface translate into operations on the Nix package store and environments.

Addressing the Cabal Hell problems

The Nix approach deals nicely with the problem of breaking re-installations. The Nix mechanisms guarantee that installed packages are never mutated, so no existing installed packages ever break.

The Nix mechanisms do not deal directly with the issue of type errors when using packages together. As we noted before, that requires enforcing the consistency of the developer’s environment. In Nix terms this is a policy about how we manage the Nix environment(s). The policy would be that each environment contains only one version of each package and it would guarantee that all packages in an environment can be used together.

Without wishing to prejudge the future user interface for cabal, I think this is a policy that we should adopt.

Enforcing consistency does have implications for the user interface. There will be situations where one wants to install a new package, but it is impossible to add it to the current environment while keeping all of the existing packages. For example, suppose we have two different web stacks that have many packages in common but that require different versions of some common package. In that case we could not have a consistent environment that contains both. Thus the user interface will have to do something when the user asks to add the second web stack to an environment that already contains the first. The user interface could minimise the problem by encouraging a style of use where most environments are quite small, but it cannot be avoided in general.

While what I am suggesting for consistency is relatively strong, we cannot get away without enforcing some restrictions on the environment. For example if our environment did contain two instances of the same version of a package then which one would we get when we launch GHCi? So my view is that given that we cannot avoid the user interface issues with environment consistency, it is better to go for the stronger and more useful form.

In fact we’ve already been experimenting in this direction. The current cabal sandbox feature does enforce consistency within each sandbox. This seems to work ok in practice because each sandbox environment is relatively small and focused on one project. Interestingly we have had some pressure to relax this constraint due to the cost of creating new sandboxes in terms of compiling. (Allowing some inconsistencies in the environment allows the common packages to be shared and thus only compiled once.) Fortunately this issue is one that is nicely solved by Nix environments which are extremely cheap to create because they allow sharing of installed packages.

Implementation progress

We’ve been making small steps towards the Nix design for many years now. Several years ago we changed GHC’s package database to use the long opaque package identifiers that are necessary to distinguish package instances.

More recently Philipp Schuster did a GSoC project looking into the details of what we need to do to incorporate the Nix ideas within GHC and Cabal. You can see the slides and video of his HiW presentation. We learned a lot, including that there’s quite a lot of work left to do.

Last year Edward Yang and Simon PJ (with advice from Simon Marlow and myself) started working on implementing the “Backpack” package system idea within GHC and Cabal. Backpack also needs to be able to manage multiple instances of packages with the same version (but different deps) and so it overlaps quite a lot with what we need for Nix-style package management in GHC. So Edward’s work has dealt with many of the issues in GHC that will be needed for Nix-style package management.

Another small step is that in GHC 7.10 we finally have the ability to register multiple instances of the same version of a package, and we have the basic mechanism in GHC to support multiple cheap environments (using environment files). Both of these new GHC features are opt-in so that they do not break existing tools.

The remaining work is primarily in the cabal tool. In particular we have to think carefully about the new user interface and how it maps into the Nix mechanisms.

So there has been a lot of progress and if we can keep making small useful steps then I think we can get there. Of course it would help to focus development efforts on it, perhaps with a hackathon or two.


Implementing the Nix approach in GHC/Cabal would cover a major part of the Cabal Hell problems.

In the next post we’ll look at curated package collections, which solves a different (but slightly overlapping) set of Cabal Hell problems. Nix-style package management and curated package collections are mostly complementary and we want both.

BOOOOOOOM!: Video of the Day: “Road Sage” Wild First-Person POV of Bicycle Messengers

roadsage-01roadsage-05 roadsage-04 roadsage-03

This footage by Lucas Brunelle is intense. I love riding my bike but underground bike messenger race culture is as reckless as it gets. People will undoubtedly be excited by this and others are going to be completely infuriated by it. I’m not sharing the video below in support of this (I actually find people like this incredibly annoying when I am driving downtown in a car), I just think it’s a compelling portrait of a culture I don’t really understand.

Watch, if you dare, “Road Sage” by Benny Zenga, below.

View the whole post: Video of the Day: “Road Sage” Wild First-Person POV of Bicycle Messengers over on BOOOOOOOM!.

Open Culture: Hear Gandhi’s Famous Speech on the Existence of God (1931)

A perfect symbol of the mechanisms of British rule over India, the Salt Acts prohibited Indians from access and trade of their own resources, forcing them to buy salt from British monopolies, who taxed the mineral heavily. In 1930, in one of the defining acts of his Satyagraha movement, Mohandas Gandhi decided to defy the Salt Act with a very grand gesture—a march, with thousands of his supporters, over a distance of over 200 miles, to the Arabian Sea. Once there, following Gandhi’s lead, the crowd proceeded to collect sea salt, prompting British colonial police to arrest over 60,000 people, including Gandhi himself.

The 1930 action, the first organized act of civil disobedience after the Indian National Congress’ declaration of independence, got the attention of the Viceroy, Lord Irwin, who had been directing harsh repressive measures against the growing independence movement, and in January of 1931, after his release, Gandhi and Irwin signed a pact. Gandhi agreed to end the movement; Irwin agreed to allow the Indians to make their own salt, and the Indians would have an equal role in negotiating India’s future. British officials were outraged and disgusted. Winston Churchill, for example, staunchly opposed to independence, called the meeting of the two leaders a “nauseating and humiliating spectacle,” saying “Gandhi-ism and everything it stands for will have to be grappled with and crushed.” (Churchill favored letting Gandhi die if he went on hunger strike.)

The terms of the pact, of course, did not hold, and the movement would continue until eventual independence in 1947. But Gandhi had not only succeeded in incurring the wrath of the British colonialists; he had also won many supporters in England. One of them, Muriel Lester, invited the Indian leader to stay with her in London at a community center she had founded called Kingsley Hall. “He enjoyed his stay here,” says the current Kingsley Hall manager David Baker, “and it was wise because if he had stayed in the West End the press would have lampooned him. He wouldn’t have had a life, but here he was left alone and walked around in the streets. He wanted to stay with the people that he lived with in India, i.e. the poor.” However, Gandhi wasn’t totally ignored by the press. While at Kingsley, he delivered a short speech, which you can hear above, and the BBC was there to record it.

In the speech, Gandhi says absolutely nothing about Indian independence, British oppression, or the aims and tactics of the movement. He says nothing at all about politics or any worldly affairs whatsoever. Instead, he lectures on the existence of God, “an indefinable mysterious power that pervades everything,” and which “defies all proof.” Gandhi testifies to “an unalterable law governing everything and every being that exists or lives,” though he also confesses “that I have no argument to convince through reason.” Instead relies on analogies, on things he “dimly perceives,” on the “marvelous researches of [Indian engineer and scientist] Sir J.C. Bose,” and on “the experiences of an unbroken line of prophets and sages in all countries and climes.” It’s not a speech likely to persuade anyone who isn’t already some sort of a believer, I think, but it’s of much interest to anyone interested in the history of Indian independence and in Gandhi’s life and message.

You can read the full text of the speech here, and see footage of Kingsley Hall and a filmed interview with Muriel Lester, discussing Gandhi’s stay, here.

Related Content:

Mahatma Gandhi’s List of the 7 Social Sins; or Tips on How to Avoid Living the Bad Life

Mahatma Gandhi Talks (in First Recorded Video)

Albert Einstein Expresses His Admiration for Mahatma Gandhi, in Letter and Audio

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Hear Gandhi’s Famous Speech on the Existence of God (1931) is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.

The post Hear Gandhi’s Famous Speech on the Existence of God (1931) appeared first on Open Culture.

BOOOOOOOM!: Adam Daily



Some new paintings by artist Adam Daily, previously featured here.


View the whole post: Adam Daily over on BOOOOOOOM!.

Arduino Blog: What have you built with Arduino? Interview 14&15 #MFRome14


Maker Faire Rome video interviews – “What have you built with Arduino?” – A couple of new protagonists for our short series:

  • Bee Uno – Arduino-controlled DJ midi controller, interview with the makers


  • ITIS-LS – F. Giordani students’ quad ambient controller

Explore playlist on Youtube >>

Planet Haskell: Dominic Orchard: Constraint kinds in Haskell, finally bringing us constraint families

Back in 2009 Tom Schrijvers and I wrote a paper entitled Haskell Type Constraints Unleashed [1] which appeared at FLOPS 2010 in April. In the paper we fleshed out the idea of adding constraint synyonyms and constraint families to GHC/Haskell, building upon various existing proposals for class families/indexed constraints. The general idea in our paper, and in the earlier proposals, is to add a mechanism to GHC/Haskell to allow constraints, such as type class or equality constraints, to be indexed by a type in the same way that type families and data families allow types to be indexed by types.

As an example of why constraint families are useful, consider the following type class which describes a simple, polymorphic, embedded language in Haskell (in the “finally tagless“-style [2]) (this example appears in [1]):

class Expr sem where
    constant :: a -> sem a
    add :: sem a -> sem a -> sem a

Instances of Expr provide different evaluation semantics for the language. For example, we might like to evaluate the language for numerical values, so we might try and write the following instance:

data E a = E {eval :: a}

instance Expr E where
     constant c = E c
     add e1 e2 = E $ (eval e1) + (eval e2)

However, this instance does not type check. GHC returns the type error:

    No instance for (Num a)
      arising from a use of `+'
    In the second argument of `($)', namely `(eval e1) + (eval e2)'

The + operation requires the Num a constraint, yet the signature for add states no constraints on type variable a, thus the constraint is never satisfied in this instance. We could add the Num a constraint to the signature of add, but this would restrict the polymorphism of the language: further instances would have this constraint forced upon them. Other useful semantics for the language may require other constraints e.g. Show a for pretty printing. Should we just add more and more constraints to the class? By no means!

Constraint families, as we describe in [1], provide a solution: by associating a constraint family to the class we can vary, or index, the constraints in the types of add and constant by the type of an instance of Expr. The solution we suggest looks something likes:

class Expr sem where
    constraint Pre sem a
    constant :: Pre sem a => a -> sem a
    add :: Pre sem a => sem a -> sem a -> sem a

instance Expr E where
    constraint Pre E a = Num a
    ... -- methods as before

Pre is the name of a constraint family that takes two type parameters and returns a constraint, where the first type parameter is the type parameter of the Expr class.

We could add some further instances:

data P a = P {prettyP :: String}

instance Expr P where
    constraint Pre P a = Show a
    constant c = P (show c)
    add e1 e2 = P $ prettyP e1 ++ " + " ++ prettyP e2


*Main> prettyP (add (constant 1) (constant 2))
"1 + 2"

At the time of writing the paper I had only a prototype implementation in the form of a preprocessor that desugared constraint families into some equivalent constructions (which were significantly more awkward and ugly of course). There has not been a proper implementation in GHC, or of anything similar. Until now.

At CamHac, the Cambridge Haskell Hackathon, last month, Max Bolingbroke started work on an extension for GHC called “constraint kinds”. The new extensions unifies types and constraints such that the only distinction is that constraints have a special kind, denoted Constraint. Thus, for example, the |Show| class constructor is actually a type constructor, of kind:

Show :: * -> Constraint

For type signatures of the form C => t, the left-hand side is now a type term of kind Constraint. As another example, the equality constraints constructor ~ now has kind:

~ :: * -> * -> Constraint

i.e. it takes two types and returns a constraint.

Since constraints are now just types, existing type system features on type terms, such as synonyms and families, can be reused on constraints. Thus we can now define constraint synonyms via standard type synonms e.g.

type ShowNum a = (Num a, Show a)

And most excitingly, constraint families can be defined via type families of return kind Constraint. Our previous example can be written:

class Expr sem where
    type Pre sem a :: Constraint
    constant :: Pre sem a => a -> sem a
    add :: Pre sem a => sem a -> sem a -> sem a

instance Expr E where
    type Pre E a = Num a

Thus, Pre is a type family of kind * -> * -> Constraint. And it all works!

The constraint kinds extension can be turned on via the pragma:

{-# LANGUAGE ConstraintKinds #-}

Max has written about the extension over at his blog, which has some more examples, so do go check that out. As far as I am aware the extension should be hitting the streets with version 7.4 of GHC. But if you can’t wait it is already in the GHC HEAD revision so you can checkout a development snapshot and give it a whirl.

In my next post I will be showing how we can use the constraint kinds extension to describe abstract structures from category theory in Haskell that are defined upon subcategories. I already have a draft note about this (edit July 2012: draft note subsumed by my TFP 2012 submission)
submission if you can’t wait!



[1] Orchard, D. Schrijvers, T.: Haskell Type Constraints Unleashed, FLOPS 2010
, [author’s copy with corrections] [On SpringerLink]

[2] Carrete, J., Kiselyov, O., Shan, C. C.: Finally Tagless, Partially Evaluated, APLAS 2007

CreativeApplications.Net: Internet Age Media Weekend

IAM2015-bluebaby-cover-HIThe first Internet Age Media Weekend connects the future of niche communication in Barcelona.

TOPLAP: Breathing Code conference, 4-5th May 2015, Frankfurt

Screenshot from 2015-01-28 11:46:34Breathing Code is a new conference running in Frankfurt on the 5th May 2015, with evening event the night before. It brings together those interested in live coding with coding live, which is where the code might not be interpreted on the fly, but code is still written in front of an audience to expose thinking and problem solving, for example as part of teaching. It promises to be a fun and engaging cross-disciplinary event. The Call for Contributions is out now.

Planet Haskell: Don Stewart (dons): Contracting Haskell development role at Standard Chartered

The Strats team at Standard Chartered is hiring a developer for a 1 year contracting role in London.

The role is to develop and extend our parsing and validation library for FpML, using the FpML Haskell library to parse and build financial product data into our internal Haskell data types. You will extend our library to support more products, as well as building testing and validation tools (e.g. in QuickCheck) to confirm the soundness and completeness of the implementation.

Ideally you have at least a year’s experience with Haskell. A recent computer science graduate with a few Haskell (or similar typed FP language) courses and maybe open source contributions would be ideal. Advantages if you already have experience with Parsec-like combinator libraries and /or QuickCheck.

You will join an expert team in London, and this is a great opportunity to gain experience using Haskell in production as part of a very experienced team. (We have more than 2 million lines of Haskell, and our own Haskell compiler).

The role requires physical presence on the trading floor in London. Remote work isn’t an option, though some work from home may be possible. No financial background is required.

More info about our development process is in the 2012 PADL keynote, and a 2013 HaskellCast interview.

If this sounds exciting to you, please send CVs to me – donald.stewart @

Tagged: jobs, london

BOOOOOOOM!: Music Video: The Staves “Black & White”


A news anchor finds out her husband, and co-anchor, is cheating on her in this brilliantly edited music video for The Staves. Watch “Black & White” directed by Jack Whiteley, below.

View the whole post: Music Video: The Staves “Black & White” over on BOOOOOOOM!.

50 Watts: Blues Build the Temple

From the print series Blues Build the Temple by Trevor Naud "Twenty-One Prints on 285-Gram Watercolor Paper / Foil-Stamped, Letterpressed Sleeve" (quite a stunning object) Previously: Mapmaker From the print series Blues Build the Temple by Trevor Naud From the print series Blues Build the Temple by Trevor Naud From the print series Blues Build the Temple by Trevor Naud From the print series Blues Build the Temple by Trevor Naud From the print series Blues Build the Temple by Trevor Naud From the print series Blues Build the Temple by Trevor Naud From the print series Blues Build the Temple by Trevor Naud From the print series Blues Build the Temple by Trevor Naud From the print series Blues Build the Temple by Trevor Naud This post first appeared on January 28, 2015 on 50 Watts

New Humanist Blog: What use is a football team's glorious past, if they're losing?

Free Electrons » Blog »: Free Electrons at FOSDEM 2015

FOSDEM BannerFor many open-source developers based in Europe, the FOSDEM is probably the most useful, interesting and exciting conference. Once again this year, several Free Electrons engineers will attend the conference:

  • Maxime Ripard, mainly involved in Allwinner related kernel development, as well as more recently OpenWRT support for Marvell platforms
  • Antoine Ténart, involved in Marvell Berlin related kernel development, and one of the developers of our Yocto Project and OpenEmbedded training course
  • Alexandre Belloni, involved in Atmel processors related kernel development, and also one of our Yocto expert.
  • Thomas Petazzoni, involved in Marvell EBU processors related kernel development, and doing a lot of Buildroot contributions.

If you are attending, and want to know more about Free Electrons, or discuss career or project opportunities, do not hesitate to contact us prior to the conference. Many of us will probably attend a significant number of talks from the Embedded track, so it should be easy to find us.

Last but not least, Alexandre Belloni will be giving a talk about Starting with the Yocto Project, which will take place on Sunday, at 3 PM in room Lameere.

Finally, Thomas Petazzoni has organized and will participate to the Buildroot Developers Meeting organized right after FOSDEM, and sponsored by Google and Mind.

Penny Arcade: Comic: What Is Your Ghost Plan

New Comic: What Is Your Ghost Plan

The Geomblog: Streaming @ SODA: Part II

This is the second of two posts by Samira Daruki on the streaming sessions at SODA 2015. For the first post, see here. 

In the third paper from the streaming graph family in SODA15: "Parameterized Streaming: Maximal Matching and Vertex Cover", Chitnis, Cormode, Hajiaghayi and Monemizadeh introduce a new approach to handling graph streams called  parameterized streaming algorithms. Also, in addition to insertion-only model, they consider the dynamic model of streaming graphs in which the input is a sequence of insertion/deletion on the edges.

This dynamic model of streaming graph processing is popular when the graph size is changing, and has recently received much attention due to breakthroughs by Ahn, Guha and McGregor (one, and two).  Over these two papers, they showed the first results for a number of graph problems over dynamic streams. This has provoked much interest into what can be computed over dynamic graph streams, although still there is not much work on solving graph optimization problems in this model. The challenge here is that when an edge is deleted, sometimes it requires a substantial work to repair the solution again, so we need to make sure that the algorithm has enough information to do so, while keeping only a bounded amount of working space. (ed: not surprisingly, some of these ideas are useful for non-streaming dynamic graph algorithms: witness the paper by Kapron, King and Mountjoy on dynamic connectivity in (randomized) worst-case polylog time from SODA a few years ago)

Returning to parametrized streaming, in this paper instead of solving exactly the optimization problem on the graph stream, the goal is to solve the “parametrized” version of the problem, where the parameter $k$ is given and we want to solve the following decision problem:
Is there a solution with size bounded by $k$? 
The motivation behind parametrizing the problem comes from real world applications in which the solution of the graph problems is small comparing to the size of the input (i.e. sublinear in the size of input). In these cases, the interesting challenge is to solve the optimization graph problems in streaming fashion using space bounded by some function of the “solution size” instead of the “input size”.

To solve the parameterized problems, one of the techniques which is used is kernelization, which uses a polynomial time preprocessing to map the input to another equivalent input of smaller size $f(k)$ (called a kernel) with a new parameter value $k’ \le g(k)$, for a computable function $g$.

In this paper, by combining kernelization techniques with randomized sketch structures, the first streaming algorithms for the parameterized versions of the Vertex Cover problem is obtained. The main idea here is to maintain a maximal matching of underlying graph in a streaming fashion. Then run the well-known kernelization algorithm for Vertex Cover on the maintained maximal matching. The data structure to maintain the maximal matching use the $k$-sample recovery sketching algorithm, which is a generalization of linear sketching for $\ell_0$-sampling, as the main tool and apply it to the neighborhood of each vertex (incident edges) in the resulted matching. So as the edges are inserted or deleted, these sketches can be updated without needing knowledge of the full neighborhood of nodes. However, there are some challenges with deletion of edges: as the edges are deleted we need to have an intelligent mechanism to ensure the matching remains maximal using only limited stored information.

Another nice result here is showing a tight lower bound of $\Omega(k^2)$ (by reducing from the INDEX problem in communication complexity) for the space complexity of any (randomized) streaming algorithms for  parameterized Vertex Cover, which holds even in the insertion-only model.

Besides the general models of insert-only and dynamic, another restricted model in dynamic framework is also discussed in which we know for sure that at time $i$, the size of the vertex cover of underlying graph induced by the edges till that point is at most $k$. With this promise, they develop a dynamic parameterized streaming algorithm whose space usage matches the proved lower bound.

It is interesting to think about other NP-hard problems in the framework of parameterized streaming and explore how kernelization can be helpful in this direction or see whether we can find other powerful hammers to overcome the challenges which arises in designing algorithms for hard problems in streaming setting.

Along with the three papers discussed above, there was another paper on streaming presented at SODA (by Naumovitz and Saks) which provides a deterministic polylogarithmic-space streaming algorithm for approximating distance to monotonicity for a sequence of $n$ numbers, compared to the corresponding randomized result presented at SODA two years ago.

While I won't discuss this work here so as to keep these posts  just about streaming graph algorithms, I encourage the interested readers to take a look at this paper as well, as the last one in the streaming family of SODA15. Comic for 2015.01.28

New Cyanide and Happiness Comic

Ideas from CBC Radio (Highlights): The Trouble with Tolerance, Part 1 (Encore Feb 26, 2007)

Is Canada too tolerant for its own good? Should we tolerate intolerant people? Michael Blake, Genevieve Chornenki, Sunny Yi and producer Sara Wolch tackle the nature and meaning of tolerance in our diverse and seemingly tolerant society.

Saturday Morning Breakfast Cereal (updated daily): January 28, 2015

Fellow dorks! We're here to salvage your Valentine's Day!

Featuring Valentines by David Orr, Rosemary Mosco, Randall Munroe, and myself.

Cowbirds in Love: Mirror of Erised Week: Punches, Hopes, and Mirrors

I am asking this for a friend…

What would you do if you had SEVEN comics you drew for a particular theme week, but your modest Monday to Friday webcomic only had FIVE days to put them up on?

I’m not sure what to do, but maybe you should visit here on Saturday and Sunday to see if I figured out a solution.

I mean, to see if my friend figured out a solution.

Anyway, today’s comic is the midway point of Mirror of Erised week! You’d think it would have been yesterday, but it isn’t!


Instructables: exploring - featured: Cribbage Board Game Box

How to build a finger jointed box with a hinged cribbage board top. Prepare your materials. I used a cribbage board template from The box entire box is made from 1/2" stock, except the bottom, which is ...
By: vudumike

Continue Reading »

BOOOOOOOM!: Kim Dorland


Paintings that document real life experiences as well as ones that seem dream-like by Canadian artist Kim Dorland.

View the whole post: Kim Dorland over on BOOOOOOOM!.

things magazine: Wowed and fluttering

Buoyed by the electro remake of the Twin Peaks soundtrack album, we present a small selection of of retro synth specialists: Full Eclipse / Rat Rios / The Deathless / Galaxy Knife / Robert Parker / Peturbator / / Who Ha / Amplitude Problem / The Astronaut Arcade / 20Six Hundred / see also a trio of MeFi posts: You cannot outrun the past because it is awesome; Retrofuturist 80s Synthwave; the Beyond Synth podcast / some more music things. Badalamenti on creating the music / Albums That Never Were (via MeFi) / SviSound creates handmade guitar pedals, like this Germanium fuzz unit / Pinchplant brings together music tech news from various sources (from where the above video of Konkreet Performer was taken), while Bloc has a brief history of modular synthesis.

Jesse Moynihan: Forming 180


Greater Fool - Authored by Garth Turner - The Troubled Future of Real Estate: The quick & the dead

BIG SMALL from Geoff modified

In a funk over lousy oil-induced earnings at Caterpillar, irritating Greek people and a blizzard, American stocks shed a few hundred points on Tuesday. In fact, so far this year (all 27 days of it), the S&P is down about 1%. In Toronto, despite the oil mess and the dingdongs at the Bank of Canada, the TSX is ahead 1.5%.

This volatility worries some people, especially those who waste their youth and kill brain cells reading sites like the Zero guy. (Suicide is far more efficient, plus you can cancel your Internet provider.) Well, days like these – when you have no idea what’s coming next – show exactly why a balanced and diversified portfolio works.

It’s simple. Take an account that has 60% growth assets (such as large-cap equity ETFs and real estate trusts) and 40% secure stuff (like bonds and preferred shares). When worried money comes out of dipsy stocks, it looks for a safe haven. So while equities get squeezed, bonds get plumped – and the price rises. Or when central banker poodles drop the interest rate, money looks for the best yields, jacking REITs, for example. Or when an unproven leftie who lives in a tenement with his unemployed spouse wins the Greek election, money moves into stable companies in safer lands. The TSX gains.

Since the middle of December, the ETF holding a basket of real estate trusts, XRE, has added about 13%. Bond funds (like XSB or XBB) are ahead 2-4%. Preferreds are up 2%. It all means a balanced and diversified portfolio is positive by several points in the last four weeks despite all the financial mayhem we’re reading about daily.

In contrast, if you like despair, moaning and endless nihilism as much as the wackos who post here daily, there’s always Calgary.

The situation just keeps getting worse, now with monthly sales plunged 36% and active listings swollen by 81.4%. There are 4,500 properties for sale, of which almost 2,700 materialized in the last few weeks. And while there have been Januaries when more houses were up for grabs, this sets a record for the greatest tidal wave of panicked sellers.

No wonder. It seems a safe bet now that oil prices aren’t going anywhere, except maybe down. Goldman Sachs says thirty bucks is possible. Other smarties are projecting a cheap-oil era lasting more than 10 years, with a semi-permanent imbalance between supply and demand. It’s the worst kind of news for the Albertan oil sands, where it costs a relative fortune to dig, heat and suck a barrel of the gooey stuff out of the earth. Of course, this is just what the carnivores in OPEC were hoping for. And are getting.

Suddenly the huge run-up in house prices in Calgary, and to a lesser extent Edmonton and across the line in Saskatoon, looks speculative and rash. When job security and incomes are at stake in a deflationary environment, it matters not how cheap interest rates get or if the banks drop their primes to 2.85% and mortgages to 2%. People used to six-figure salaries now contemplating EI realize quickly how easy it was to buy a house, and what a bitch it is to sell it.

This is the worst part of deflation. Real estate gets illiquid, and the debt grows more difficult to pay. Until you have been in a situation like this – and most people have not, especially the moist Millennials now clamoring for mortgages – you cannot imagine. It’s the deepest of wealth traps.

And expect it to grow deeper, says the brain trust at TD Bank. In fact these guys believe housing prices will fall in eight of 10 provinces this year, with only parts of Ontario and BC being supported by rate-induced hormonal house lust. Even there price gains will be in the 2-3% range

As for Alberta, says TD, expect a 20% sales plunge and prices lower by an average of 3.5% amid “extreme signs of weakness in the housing market.” Of course, it could be a lot worse. And I suspect it will be, given what’s happened in the last thirty days. The layoff avalanche, it seems, has not really started rolling yet. From the hottest province a year ago, Alberta is destined to be the most frigid in terms of growth, possibly slipping into recession.

Now, you may not be able to sell a house in Calgary this month, you also can’t live inside an ETF. So the message here is simple – buy real estate you can afford, as shelter, and never pretend it’s an investment strategy. Follow my Rule of 90 (ninety less your age = % of net worth in your home). Forget mortgage rates. They don’t matter. Ten-year home loans are 1.1% in Japan, and there’s no real estate boom. People in that land have learned in a weak economy nothing beats liquidity.

So, we now have a dangerous, two-city housing bubble, with every other market about to be spanked. Meanwhile, in a world of freaking bankers, morose cowboys, crashing loonies and swooning, house-horny virgins, the dude with the balanced portfolio swaggers serenely through the financial detritus. Make my day, he says.

Disquiet: This Week in Sound: Cars, Visuals, Space, Home

It’s nearly February, and until today I’d yet to produce an edition of this newsletter in 2015. I took a few weeks off at the end of 2014, and the system I’d gotten into fell off track. I realize why, clearly. The benefit (to me) of this newsletter is it gives me a process, a routine, to funnel lots of material I come across in research and in general reading. When I take a break, the system breaks down. One of the issues I have with prolific link-sharing — beyond the weird ahistoricity that has things circulating repeatedly in cycles, with no natural conclusion to their distribution — is sorting out what is and isn’t already on other people’s radar. I try not to, in general, simply link to things, but to layer in some context, to provide some frame, to add to the shared material. In any case, producing this newsletter provides me a system that helps me process the sound-related information I come across daily, weekly. I’m hopeful that getting started again, having cleared the cache of my RSS reader and my Pinboard and my Twitter favorites, will mean this thing will be regular as 2015 gets proceeds.

  • Four Wheels Loud: The overarching automotive-sound story for several years has been about addressing the perceived near silence of hybrids and electric vehicles. But the street, as William Gibson told us, has its own use for things, and the makers of traditional automobiles are making use of the same artificial soundtracks. “Fake engine noise has become one of the auto industry’s dirty little secrets, with automakers from BMW to Volkswagen turning to a sound-boosting bag of tricks. Without them, today’s more fuel-efficient engines would sound far quieter and, automakers worry, seemingly less powerful, potentially pushing buyers away,” writers Drew Harwell of the Washington Post:

  • Visual Noise: Sound art need not make a peep, and sound branding needn’t either. Bruce Mau Design created the new logo for Sonos audio consumer product company, which pulses naturally, as the result of an optical illusion, such as when scrolling up and down a web page:

  • Space Sounds: It seems every week now that the sounds of space are reworking our conception of space as a vacuum. Among the latest is word that the Venus Express spacecraft emitted one last, loud signal before its end of life. Mika McKinnon of explains the sound “was picked up by the European Space Agency monitoring the unmodulated X-band carrier signal on January 19th”:

  • Always Listening: The New York Times managed to publish a cautionary piece about risks from the “smart home” technology that is on the rise, without once mentioning the microphones embedded in some smart-home technology. The story, by Molly Wood, focuses instead on images and data security, and introduces something called the Bitdefender, which is sort of like a virus protector for your home.

This first appeared in the January 27, 2015, edition of the free Disquiet email newsletter:

Disquiet: A Course in Sound

Tomorrow, January 28, marks the start of a new semester of the course I teach on the role of sound in the media landscape. The course unfolds over 16 weeks — 15 weeks of class plus one week off for spring break — and I think I’ll be summarizing it here each week, not just the lecture topics but the resulting class discussion and, when we have them, the special guests and occasional field trips.

Last semester we had someone from BitTorrent and someone from SoundCloud address the class, and we took a field trip to an anechoic chamber at the local research lab of an audio company. The guest speakers aren’t generally lecturers; I usually interview them in front of the students, who also ask questions. The semester prior both the sound artist Robin Rimbaud (Scanner) and the voice actor Phil LaMarr (Samurai Jack, Static Shock) visited via Skype.

I teach the course to a mix of MFA and BA students at the Academy of Art here in San Francisco. This is the sixth semester in a row that I’ve taught the course. I’m taking off next semester, with the intention of teaching it once a year rather than twice a year from now on, to leave room for lots of other projects.

This first appeared in the January 27, 2015, edition of the free Disquiet email newsletter:

Arduino Blog: Design a LEGO- compatible servo holder and print it with Materia 101


This week we are presenting you a new tutorial on 3d printing of Lego-compatible pieces with Materia 101. Kristoffer designed a brick with the parametric 3d modeler FreeCAD that can hold a small servo. Following the 10-step instructions  you can easily add wheels to robots built in LEGO and  use specific servos with different sizes.

Check the previous tutorials on 3d printing with Material 101

Interested in getting in touch and showing your experiments? Join Kristoffer on the Arduino forum dedicated to Materia 101 and give us your feedback.


Quiet Earth: New on Blu-ray and DVD: Open Windows! Big Driver! & More!

I called Open Windows "the most relevant thriller of the year" and, while the movie is shaky at times and the ending is a but of a WTF? I stand by that.

Only the mind of Nacho Vigalando (Time Crimes) could have dreamed up the concept and followed through with it in a way that managed to not seem completely daft. Despite being technically a "techno thriller", the film nods at everything from scifi to Hitchcock to Giallo. Worth a rental folks.


[Continued ...]

Colossal: Air Plant Jellyfish by ‘PetitBeast’









LA-based designer and art director Cathy Van Hoang had the novel idea of using sea urchin shells as upside down planters for air plants to create little aerial jellyfish. She sells them in her Etsy shop, PetitBeast. (via Steampunk Tendencies)

Planet Haskell: The GHC Team: GHC Weekly News - 2015/01/27

Hi *,

It's time for some GHC Weekly news!

  • Austin took the time the past week to check `./validate --slow` failures, and is planning on filing bugs and fixes for the remaining failures soon. Afterwords, we'll immediately begin enabling --slow on Phabricator, so developers get their patches tested more thoroughly.
  • The 7.10 release looks like it will likely not have a 3rd Release Candidate, and will be released in late Feburary of 2015, as we originally expected.
  • The 7.10 branch currently has two showstopping bugs we plan on hitting before the final release. And we'd really like for users to test so we can catch more!
  • Austin Seipp will likely be gone for the coming week in a trip to New York City from the 28th to the 4th, meaning (much to the dismay of cheering crowds) you'd better catch him beforehand if you need him! (Alternatively Austin will be held back due to an intense snowstorm developing in NYC. So, we'll see!)
  • Austin is planning on helping the LLVM support in HEAD soon; after coordinating with Ben Gamari, we're hoping to ship GHC 7.12 with (at least) LLVM 3.6 as an officially supported backend, based on the documentation described in - lots of thanks to Ben for working with upstream to file bugs and improve things!

And in other news, through chatter on the mailing list and Phabricator, we have:

  • Peter Trommler posted his first version of a native Linux/PowerPC 64bit code generator! There's still a lot more work to do, but this is a significantly improved situation over the unregisterised C backend. Curious developers can see the patch at Phab:D629.
  • A long, ongoing thread started by Richard Eisenberg about the long-term plans for the vectorisation code have been posted. The worry is that the vectoriser as well as DPH have stagnated in development, which costs other developers any time they need to build GHC, make larger changes, or keep code clean. There have been a lot of varied proposals in the thread from removing the code to commenting it out, to keeping it. It's unclear what the future holds, but the discussion still rages on.
  • Alexander Vershilov made a proposal to the GHC team: can we remove the transformers dependency? It turns out to be a rather painful dependency for users of the GHC API and of packages depending on transformers, as you cannot link against any version other than the one GHC ships, causing pain. The alternative proposal involves splitting off the transformers dependency into a package of Orphan instances. The final decision isn't yet clear, nor is a winner in clear sight yet!
  • Simon Marlow has started a long thread about the fate of records in future GHC versions. Previously, Adam Gundry had worked on OverloadedRecordFields. And now Nikita Volkov has introduced his records library which sits in a slightly different spot in the design space. But now the question is - how do we proceed? Despite all prior historical precedent, it looks like there's finally some convergence on a reasonable design that can hit GHC in the future.

Closed tickets the past two weeks include: #9889, #9384, #8624, #9922, #9878, #9999, #9957, #7298, #9836, #10008, #9856, #9975, #10013, #9949, #9953, #9856, #9955, #9867, #10015, #9961, #5364, #9928, and #10028.

Planet Haskell: The GHC Team: weekly20150127

Hi *,

It's time for some GHC Weekly news! <Insert funny Austin-ish blurb>

  • Austin took the time the past week to check `./validate --slow` failures, and is planning on filing bugs and fixes for the remaining failures soon. Afterwords, we'll immediately begin enabling --slow on Phabricator, so developers get their patches tested more thoroughly.
  • The 7.10 release looks like it will likely not have a 3rd Release Candidate, and will be released in late Feburary of 2015, as we originally expected.
  • The 7.10 branch currently has two showstopping bugs we plan on hitting before the final release. And we'd really like for users to test so we can catch more!
  • Austin Seipp will likely be gone for the coming week in a trip to New York City from the 28th to the 4th, meaning (much to the dismay of cheering crowds) you'd better catch him beforehand if you need him! (Alternatively Austin will be held back due to an intense snowstorm developing in NYC. So, we'll see!)
  • Austin is planning on helping the LLVM support in HEAD soon; after coordinating with Ben Gamari, we're hoping to ship GHC 7.12 with (at least) LLVM 3.6 as an officially supported backend, based on the documentation described in - lots of thanks to Ben for working with upstream to file bugs and improve things!

And in other news, through chatter on the mailing list and Phabricator, we have:

  • Peter Trommler posted his first version of a native Linux/PowerPC 64bit code generator! There's still a lot more work to do, but this is a significantly improved situation over the unregisterised C backend. Curious developers can see the patch at Phab:D629.
  • A long, ongoing thread started by Richard Eisenberg about the long-term plans for the vectorisation code have been posted. The worry is that the vectoriser as well as DPH have stagnated in development, which costs other developers any time they need to build GHC, make larger changes, or keep code clean. There have been a lot of varied proposals in the thread from removing the code to commenting it out, to keeping it. It's unclear what the future holds, but the discussion still rages on.
  • Alexander Vershilov made a proposal to the GHC team: can we remove the transformers dependency? It turns out to be a rather painful dependency for users of the GHC API and of packages depending on transformers, as you cannot link against any version other than the one GHC ships, causing pain. The alternative proposal involves splitting off the transformers dependency into a package of Orphan instances. The final decision isn't yet clear, nor is a winner in clear sight yet!
  • Simon Marlow has started a long thread about the fate of records in future GHC versions. Previously, Adam Gundry had worked on OverloadedRecordFields. And now Nikita Volkov has introduced his records library which sits in a slightly different spot in the design space. But now the question is - how do we proceed? Despite all prior historical precedent, it looks like there's finally some convergence on a reasonable design that can hit GHC in the future.

Closed tickets the past two weeks include: #9889, #9384, #8624, #9922, #9878, #9999, #9957, #7298, #9836, #10008, #9856, #10009, #10011, #9975, #10013, #9949, #9953, #9856, #9955, #9867, #10015, #9961, #5364, #9928, and #10028.

Quiet Earth: SUNDANCE 2015: ROOM 237 Director Returns with Terrifying Doc THE NIGHTMARE [Clip]

Imagine waking up, seeing someone you don't know in your room and then discovering that you can't move. You can’t run, you can't hide – you're frozen. Sleep paralysis is a real thing and director Rodney Ascher is about to let the world know all about it.

You may recognize Ascher's name. He's the director behind Room 237 (review), the documentary on the conspiracy theories behind Stanley Kubrick's The Shining. For his follow up, Ascher is mixing documentary filmmaking with horror in The Nightmare.

In his new movie, Ascher explores sleep paralysis in a conventional way that is turning out to be more than people bargained for: by re-enacting individual's [Continued ...]

CreativeApplications.Net: Transient Materialization – Ephemeral material-oriented digital fabrication

transient materialization_03Transient Materialization explores the relationship between digital and material-based digital fabrication through n-hedron structure composed mainly of soap foam, which is blown, through a mixture of air and helium, into a foam structure.

s mazuk: spaceleech: habitofsex: JUJU GYPS [ジュジュギプス] - Hakoari no Uta...



JUJU GYPS [ジュジュギプス] - Hakoari no Uta [函アリの唄]
(from V/A - “菫未来派少年展覧会 第一集” flexi, 1986)

JUJU GYPS was a two man unit consisting of Morio Agata (known for his solo album on cult label Vanity and his work with VIRGIN VS) and Lion Merry (known for his solo work, as well as being in a whole lot of bands from the late 70:s and onward). They were featured on two 7” flexi compilations, together with two other bands - MIKAN MUKKU [みかんむくっ], which featured members who would later play in HANIWA-CHAN, and IKIRU [イキル] who were on the "Vazaar" compilation (together with previously posted LIPS) and whose vocalist would later go on to join PHNONPENH MODEL.

These groups arrange a series of concert events named "菫未来派少年展覧会" (= "Sumire Miraiha Shonen Tenrankai" = Violet Futurist Boy Exposition …!). At least two flexis were released on a small imprint run by Morio Agata named Glass Records - either in conjuncture with or to promote said concert events.

This track featured here is from the first of the flexis. Centered around a chopped up sound sample of what sounds like a toy piano or a music box, "函アリの唄" conjures up a childlike, surreal and ominous yet sort of warmly intimate atmosphere. Definitely recommended for fans of PALE COCOON and Pafe Records kind of stuff.

Download MP3

Is it just me, or does song sound like this track from Katamari Damacy:

Colossal: New Moon: An Interactive Light Installation Made from 5,500 Repurposed Light Bulbs







New Moon is an interactive shadow and light sculpture from artists Caitlind r.c. Brown and Wayne Garrett (previously) that was installed twice in Lexington, Kentucky back in February of last year. Built from 5,500 burnt out incandescent bulbs donated by the community, the sculpture allows viewers to manipulate phases of the moon using a large turnstyle. The piece is the fourth in a series of installations using re-appropriated light bulbs, more of which you can explore on their website.

Quiet Earth: Tom Hardy & Gary Oldman Face Off in Period Serial Killer Thriller CHILD 44 [Trailer]

We haven't talked much about the upcoming thriller Child 44 but the concept for this project is just too good to pass up.

Based on Tom Rob Smith's first novel in a trilogy, the story unfolds as a disgraced military police officer (Tom Hardy looking ragged and sporting a wicked Russian accent) investigates a number of child murders by a suspected serial killer. The big twist here is that the investigation takes place in the Soviet Union during Stalin's leadership.

The concept may well be familiar but the setting and period certainly add some unexpected intrigue to the story, not to mention a political element that usually doesn't play a part in your standard serial killer hunt movie. And then there's this cast. Aside from Hardy, the movie also stars Noomi Rapace, Gary Oldman, [Continued ...]

s mazuk: Please be good, please be good.

Please be good, please be good.

Quiet Earth: Cameron Romero's Vietnam-Set ORIGINS Reveals the Rise of the Undead

Radar Pictures announced today that they will produce writer-director Cameron Romero’s ORIGINS. Yep, George Romero's is bringing us a new film set in his father's "Living Dead" universe, taking us back to Vietnam where the dead first rose.

The film’s story is by Romero, who will also direct, with a screenplay by Romero, Darrin Reed and Bryce C. Campbell. The project, which is currently out to cast, was brought into Radar by LaPietra. ORIGINS is scheduled for production later this year.

At the height of the Cold War when the world held its breath and America was at war with itself, one scientist tried to give the world its best hope for survival. Instead, he unleashed its worst nightmare.

“ORIGINS is a great opportunity for me to conti [Continued ...]

All Content: Sundance 2015 Interview: Anna Boden & Ryan Fleck on “Mississippi Grind”


Contrary to some art forms, film does not exist without collaboration. And yet, despite filmmaking being a collaborative effort, there are few directorial teams working in Hollywood today. This makes Anna Boden and Ryan Fleck, the dynamic duo behind “Half Nelson,” “Sugar” and “It’s Kind of a Funny Story,” outliers. Since meeting over 15 years ago at NYU’s TISCH School of Arts, Boden and Fleck have cobbled together a strong filmography—each film imbued with their signature, wear-the-emotions-on-the-sleeve style. Their winning streak continues with “Mississippi Grind,” a road trip movie about two gamblers (played by Ben Mendelsohn and Ryan Reynolds) looking for their big break; the one hand that will allow them to pay off their debts and start fresh. Shortly after the film’s premiere here at this year’s Sundance Film Festival, Boden and Fleck spoke to about the superstitions of gambling (and filmmaking), the research they did in preparation for the movie and how their partnership has changed over the years.

From “Half Nelson” to “Sugar” to “It’s Kind of A Funny Story,” what’s the through line in the films you two choose to make?

RYAN FLECK: Through line: you know, I don't know. I see why you would look for it. I'm just looking for it too. That's not our agenda, but if there is one, you could say – this maybe even sounds a little trite – but most movies have someone searching, you know? Trying to figure out what it means to be a human being, and what it means to try and live together on this planet. And we tend to like complicated people that are not easily explained. So if there's anything, I think that's just what we're interested in seeing as filmmakers, and as an audience. And that's also what we're interested in making as filmmakers.

You two started working together in college, ten years ago?

RF: Yeah.

ANNA BODEN: Longer now.

RF: Fifteen now.

AB: We don't want to age ourselves.

RF: Yeah, it's been about fifteen years.

It's a pretty incredible collaboration.

RF: Yeah, there are the Coen brothers, obviously, which are sort of the staples. The Dardenne brothers. And then there's us [laughs]. There are wonderful teams out there, like the "American Splendor" duo [Robert Pulcini and Shari Stringer Berman]. They've been making movies for a little while as well.

Has much changed over the past fifteen years?

AB: I think a lot's changed. I mean, television has really changed a lot, and changed the way movie people think about working in the storytelling business.

It’s changed your thinking, too?

AB: Not that much yet, but I think it's starting to certainly affect the way that we think about telling stories as we have to become more engaged in these long-form serials.

It’s now a viable option where you don't have to sacrifice your voice.

RF: Yeah. It used to feel like, "Eh, TV. What's good on TV?"

SF: Now it's the opposite. It's like, "What's good in the theater?"

RF: Hopefully "Mississippi Grind" will be good in the theater.

Are you two into gambling?

RF: The truth is, we weren't. And in fact, that was part of the impulse for wanting to make this movie, is I always wanted to learn how to play poker. It seemed like a cool thing. Guys that play poker. That's like a manly thing, right? I wanted to man up and learn how to play poker, so that was part of the fun of making this movie, was that we learned a lot about it.

But it seems you both are interested in diving into the darker side of gambling, which is always there but not always explored.

RF: Yeah, there are ups and downs for sure, as those who play poker know. And the more we learned about it, we became interested in seeing how — there are skilled players, there are really good players — but even the best players can play everything right and can be taken down by almost a draw of a random card.

Did you two always intend on leaving on an optimistic note?

RF: You know, it can certainly go either way, and there will be people who are like, "Oh man." We definitely planted the seed for it – in the images at the end of the movie, he's got the pictures.

AB: I think it is an interesting question about whether we always had that end in mind. And I think that we did; we were really interested from the very impetus in what happens to this guy. We knew it was going to come down to an all-or-nothing roll, or an all-or-nothing card, and what happens to this guy who's always had an excuse to not live up to his responsibilities, and then when he's given what he's always thought he wanted but has never actually had to deal with — that's winning. That was more interesting to us than just having him lose everything, because that's where he was ten years ago. That's where he was five years ago. That where he was a month ago, you know?

Arguably, that’s where he could end up in two days.

RF: There're a lot of casinos on the way back home. He's got a lot of money in that car …

AB: He's always told himself — if only, if only, if only, and then I would — you know?

The way your screenplay taps into the superstitious nature of gambling is spot on.

AB: That's cool. I'm glad you said that. And I'm not a gambler, but I'm very superstitious. A lot of gamblers are, and that's something I really relate to in gamblers. I was deciding what little things I should wear on this trip that were going to make the movie do well or not.

Since neither of you are gamblers, what was your research process like in writing these characters?

AB: You discover the character a little bit as you write, and we weren't writing it based on a specific person. But we certainly did talk to a lot of people and spent time in these places while we were writing the story. I wouldn't say that we did anything based on any particular one, but we drew from a lot of different people we met as we were thinking.

And you two learned how to play?

RF: Yeah. We forced ourselves to — we did the road trip for research, from Iowa to New Orleans. And by the time we got to Tunica, Mississippi, we realized, "We haven't really played poker yet at a table full of strangers." So we entered a sixty-dollar buy-in tournament, and it was the first time I'd ever played.

How was it?

RF: Oh man, I was terrified. My heart was beating. And I still didn't know the rules. So there was one hand where I had two pair, and I was like, "I got this." When do you have two pair? I didn't even realize that that's not even really a great hand. But in any case, I was going all in. I put all these chips in, and people kept raising each other, and this other guy, he turned them over, he had a flush but I didn't even realize what that was. So I'm like, "Do I reach for the chips?” It was so embarrassing.

You should have reached for them just to see their reaction.

RF: (Laughs) No, then they shuffled over to him and I'm like, "What? Do they know the rules here? I got two pair, bro."

AB: I'm pretty sure that I was the one who did that. I’d always understood what the cards meant. I never had a problem with that. I'd played before, but just with friends. I think what I found most interesting and revealing about the process was sitting at a table with these same people for hours. And they're people you'd never otherwise meet and talk to.

All of them have their own reasons for being there.

AB: And also, I think being a female, it made people more talkative than they necessarily were on their own. Because being a female alone at a table, it definitely brought out a …

RF: She did not fit in with this group. She definitely looked like an outsider.

All Content: Speaking for a Generation: Kevin Costner, Anthony Mackie and Mike Binder on "Black or White"


"You always checkmate me with that," Elliot Anderson (Kevin Costner) charges Rowena (Octavia Spencer) in a loaded early exchange that outlines the emerging conflicts of Mike Binder's new drama, "Black or White." Binder's first feature since the 2007 "Reign Over Me," the new film freely intertwines anger and sorrow in examining contentious matters of race, class, social inequality and white privilege. It's very much a work of its time as two radically different families clash over the custody rights of a young mixed-race girl, Eloise (Jillian Estell).

Costner not only stars in and produced the film, he financed it with $9 million of his own money after the traditional avenues of support among studios and affiliated dependents expressed support though balked at the purchase price of the commercially risky feature. In the movie, Costner's Anderson is a wealthy, skilled lawyer reeling from a series of traumatic experiences and now the sole provider for the young girl he has brought up since her birth. Oscar-winner Spencer is his nervy antagonist, a savvy and self-made entrepreneur who operates a series of lucrative Internet and traditional businesses. Her wastrel son Reggie (Andre Holland) is the girl's biological father whom Rowena convinces to claim his parental rights.

Binder based the story on his own nephew, the son of his wife Diane's sister who died from complications of AIDS. "I always thought there was a good story there," Binder said. "I also found there's something very special about biracial children. The little girl has the same qualities of my nephew. She understands both sides of the story. They've got an empathy and intelligence that we just don't have."

Binder wrote the script and sought out the input of Costner, who starred opposite Joan Allen in the director's earlier movie, "The Upside of Anger." Costner said he felt electrified upon encountering Binder's script. "It was a cumulative thing because it was a great writer writing great," Costner said. "As I was reading it, I was reading a great document, an absolute observer of human behavior and situation that didn't have a false step for me. That made the pages turn faster. By the end, it didn't fall apart and I simply thought, this is a miracle of great writing."

By framing his ideas through the prism of a legal procedure, Binder takes on tense and knotted issues of racial authenticity, representation and cultural identity that within the restricted environment of a single courtroom allows for little escape. "It forces you to hang in there because the judge (Paula Newsome) won't let you leave," Costner said. "In that legal procedure, you're thrown into the ring and you can't walk out of there. As long as I had the floor, nobody was going to stop me until I was done. It's only the judge that tells you what's appropriate and what's not."

Binder required another imposing actor of heft and talent as an adversary of Costner's Anderson in order for the courtroom scenes to take full shape. Anthony Mackie plays Rowena's brother, a sharp and capable attorney guided by his own deep principles of responsibility. Mackie also praised the quality of the writing and the range of perspectives.

"It's the most specific and the smartest that I've read about the issue," Mackie said. "With me race is very important. It's not about those who are too old to change. It's about the kids who can grow up and identity with a completely different idea of what the other person across the room is expressing. Kids are born blank slates and we've made it our job to [mess] them up. That's the whole point of the movie. Nobody was fighting for their own good. Everybody was fighting about what they thought was best for the little girl. I had never read that before. I had never experienced somebody who wrote exactly how I feel, as a father with two children. Everything I read [about my character] was something I wanted to say."

Costner has put money into several of his other movies, most notably his Academy Award-winning debut work as a director, "Dances with Wolves." This was a movie out of time, too expensive for art-house tastes and too specialized for mass entertainment. It became clear this was the only viable way to get the movie made.

"You have to be pretty certain to put your money there," Costner said. "I was really certain that this had value. I was certain that other people should be considering this. At the end of the day, when it didn't happen that way, I knew that I had to do it. I had to try and figure it out. I would like to never have to do this again. Everybody that read this, the studios, agreed that it was good. It just didn't fit into the models they were doing. It fits exactly what everybody in this room is about. That's why everybody stopped what they were doing to make this film."

The distributor Relativity acquired the film after its premiere at the Toronto Film festival last fall. The movie fused the personal and the political, binding each of the participants in different ways, allowing Binder the means to tell a story suffused with private meaning, fulfilling Costner's need to create and Mackie's desire for personal significance. Those points all crystallize in the movie's centerpiece of Costner's raw, unmediated testimony. The scene evokes other films from Costner's own past, the summation his passionate district attorney offers in Oliver Stone's "JFK," or a funkier and looser groove in Ron Shelton's "Bull Durham," delivered in a pool room, about the nature of luck, talent and drive. In this movie, Costner's Anderson is hollow and vulnerable man, sodden with drink and in flight from his own anger.

"The scene was just as good the day I read it and I panicked the night before I had to say it," Costner said. "Not in the sense that I wasn't prepared, but it was too good of a speech to leave on the ground. Mackie had too good of a speech when he confronts Reggie. It's too good of a speech Octavia has when she tells Reggie it's time to pull his act together. We know what round we have to win. We can be good in every other phase of the movie, but there's a moment in time why you have Anthony, there's a moment in time why you have Octavia, and I feel very sensitive about those times. Most of the time in movies, nothing is really at stake. Something was really at stake here. I was speaking for my generation's guy, Anthony was speaking for his generation. Actors act. You search out the best parts."

Quiet Earth: PANDEMIC Set to Show us the Apocalypse in First Person POV

Director John Suits (The Scribbler) has made a first-person apocalypse thriller that Content Media are calling a potential gamer changer.

Taking place in the near future Los Angeles where a doctor searches for a cure to a devastating virus, Content film president Jamie Carmichael will start selling the film in Berlin next week.

“The FPS component immerses the viewer right into heart the film – in a hybrid gamer style,” said Carmichael. “We’re incredibly impressed with John and Gabriel’s inventive work.”

“Pandemic” is [Continued ...] / 2015-01-29T12:12:42