Bifurcated Rivets: From FB

The miracle of tinned food

Bifurcated Rivets: From FB


Bifurcated Rivets: From FB

Bifurcated Rivets: From FB


Bifurcated Rivets: From FB

Gunshow comic feed: Old Penny

Based on a true frikkin story! I found that old penny but did not get employee of the month tho.... so not based at all.


Computer Science: Theory and Application: I have to give an industry speech about Computer Science, whats a good specific topic I can talk about for 5 minutes?

For business speaking I have to give a 5 minute speech about a specific topic in the CS field. I was thinking about talking about NASA. I do not know much about the field as I am only a freshman, any suggestions?

submitted by soyerom
[link] [1 comment]

MetaFilter: Bye For Now

Noting the passing Saturday of Eric S. Lynch, a.k.a. Eric the Actor, a.k.a. Eric the Midget, a regular caller to The Howard Stern Show.

Lynch's survival to age 39 was a rebellion in and of itself against doctors who said he would not make it through his teens. His first call to the Show was 12 years ago Friday, when he called to defend the honor of one Kelly Clarkson. He became a Stern superstar, often viciously at odds with the Stern Show staff (YouTube links may contain some NSFW language). But he parlayed his career as a Stern Show caller into a brief acting career, appearing on Fringe, In Plain Sight, American Dreams, and Legit. One of his most ardent fans was late-night host Jimmy Kimmel, who today tweeted "Eric the Actor was my all-time favorite @HowardStern caller and I will miss him terribly #ByeForNow." Many others will as well. Eric was one of the greats.

Computer Science: Theory and Application: Proof of Multiplication in TC^0?

I've been looking around for a proof that multiplication can be done in constant-depth polynomial size circuits with unbounded-input threshold gates and not gates but it seems like one of those awkward theorems which is too "obvious" for a published paper and too hard/technical for a wiki. I have been trying to figure it out myself but I don't have it yet. So far the best depth I can get is O(log* n), which still isn't constant. Does anyone know the proof or where I can read about it? Sorry if this is the wrong subreddit.

I can also reduce it to addition of O(log n) bitstrings of O(log n) bits but I still can't get that in constant depth.

submitted by TimTravel
[link] [comment]

Recent additions: hdevtools

Added by SchellScivally, Tue Sep 23 03:06:12 UTC 2014.

Persistent GHC powered background server for FAST haskell development tools

Recent additions: http-streams

Added by AndrewCowie, Tue Sep 23 02:56:04 UTC 2014.

An HTTP client using io-streams

Recent additions: http-common

Added by AndrewCowie, Tue Sep 23 02:55:43 UTC 2014.

Common types for HTTP clients and servers Mesos-1.03

lib/ App-CharmKit-0.002

Perl Framework for authoring Juju charms Apigee-Edge-0.01 'Edge' management API.

s mazuk: unbear: HOLOGRAPHIC CRAB SLAMMER A+ slammer



A+ slammer

Slashdot: US Revamping Its Nuclear Arsenal

FreedomFirstThenPeac writes: As a former Cold Warrior (both launch officer side and staff analytical mathematician side), I now appreciate the bitterness I saw in former WW2 warriors when they would see a Japanese car. According to the NY Times, a new assembly plant in Kansas is "part of a nationwide wave of atomic revitalization that includes plans for a new generation of weapon carriers. This expansion comes under a president who campaigned for 'a nuclear-free world' and made disarmament a main goal of American defense policy." Mind you, Mutual Assured Destruction is a dangerous path, and one we managed to negotiate only because we were lucky (and we were) and because we were careful (and we were). As a strategy, it only works with rational people (e.g., world powers with lots to lose) who might have irrational expectations that they will win in the long run. (The rapid fall of imperialist Russia was helpful — I have seen blackboard talks on this as a mathematical result in game theory. This speed minimized the time we spent in the high-risk regions while transiting from MAD to where we were in the 1990s). The Times article says, "The original idea was that modest rebuilding of the nation’s crumbling nuclear complex would speed arms refurbishment, raising confidence in the arsenal’s reliability and paving the way for new treaties that would significantly cut the number of warheads. Instead, because of political deals and geopolitical crises, the Obama administration is engaging in extensive atomic rebuilding while getting only modest arms reductions in return."

Read more of this story at Slashdot. MooX-Log-Any-0.003

Role to add Log::Any CPAN-Testers-WWW-Reports-3.54

The CPAN Testers Reports website

Hackaday: Topsy Turvy Clock Tells Confusing Time


Looking for a new clock but hate the fact that all the numbers are always in the correct order? Look no further than [Andy]‘s topsy turvy clock which correctly tells time despite the fact that the numbers on the face of the clock are in random positions.

At first glance, the clock looks fairly normal despite the mixed-up numerals. Upon closer inspection, the clock is much more than it appears to be. A battery backed real-time clock keeps track of time, and a microcontroller turns the hands of the clock to where they need to be. The clock uses optical sensors to make sure the hands are in the correct starting position when it is first powered on.

Check out the video below for a better illustration of what the clock looks like when in operation. The hour hand is always pointing at the correct hour, and the minute hand starts every five minutes at the number it would have started at on a normal clock, i.e. at 1:15 the hour hand will point at “one” and the minute hand will point at “three”.

We love this very interesting and unique take. It was inspired by a few other clocks, including a version of the infamous Vetinari “random tick” clock which will drive you crazy in a different way.

Filed under: clock hacks

Recent additions: mvc-updates 1.2.0

Added by GabrielGonzalez, Tue Sep 23 01:53:12 UTC 2014.

Concurrent and combinable updates

Recent additions: pipes-zlib 0.4.1

Added by RenzoCarbonara, Tue Sep 23 01:36:59 UTC 2014.

Zlib and GZip compression and decompression for Pipes streams

MetaFilter: They're making a list checking it twice...

For the cat and free speech lover in your life are these fabulous Vladimir Putin and Kim Jong-un scratching posts. Also a variety of more affordable litter trays.

Twitch: Fantastic Fest 2014 Review: REDEEMER Delivers Awesome MMA-Inspired Action

Ernesto Diaz Esponiza has long been a favorite director in the Twitch world. His impressive ability to keep the action flowing while dabbling in different subgenres has always been commendable. In Mirageman, Diaz Espinsoza married lo-fi action with the tropes of the super hero story. In Mandrill, it was the spy genre. And in Bring Me the Head of the Machine Gun Woman, the Chilean director turned things in a decisively more female orientation with this exploitation spectacular. This year, Ernesto returns with Redeemer - a movie that is not only another foray into a new action subgenre - this the MMA-inspired martial arts actioner, but it also marks the return of the director's action muse. If you missed Marko Zaror during his absence from...

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Instructables: exploring - featured: Arduino TFT Color Clock

You may be familiar with a website in the UK called Colour Clock ( which converts the time into a hex value and then uses that value to update the background color. It's very hypnotic and once you get used to how it works you can actually tell where you are in the day ju...
By: Sound Guy

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MetaFilter: The Great Authorial Hookup Chart, version 1

The Great Authorial Hookup Chart (larger image), or how to connect Bram Stoker to Arthur Miller in 12 connections, and from Oscar Wilde to Roald Dahl in 12 romances (or how to make distracted students pay attention to English and History), from Black Balloon Publishing's Airship Daily blog.

Of course, with less than 50 individuals identified, this is far from exhaustive. The comments mention some ideas for future relationship charts.

Planet Lisp: Joe Marshall: A couple more homographic function tricks

A generalized continued fraction is an expression of the form:
You can partly apply a homographic function to a generalized continued fraction if you have a stream of the ai and bi
(define (partly-apply-general hf nums dens)
  (let ((a (first  hf))
        (b (second hf))
        (c (third  hf))
        (d (fourth hf)))
    (if (empty-stream? nums)
        (values (list a a
                      c c)
        (let ((num (head nums))
              (den (head dens)))
          (values (list (+ (* a den) (* b num)) a
                        (+ (* c den) (* d num)) c)
                  (tail nums)
                  (tail dens))))))

(define (print-hf-general hf nums dens)
  (call-with-values (lambda () (partly-evaluate hf))
    (lambda (term hf*)
      (if (not term)
          (call-with-values (lambda () (partly-apply-general hf nums dens))
            (display term) 
            ;; take reciprocal and multiply by 10
            (let ((a (first hf*))
                  (b (second hf*))
                  (c (third hf*))
                  (d (fourth hf*)))
              (print-hf-general (list (* c 10) (* d 10)
                                      a        b)
                           nums dens)))))))
For example, we can compute pi from this generalized continued fraction:
(print-hf-general (list 0 4 1 0)
              ;; [1 1 4 9 16 25 ...]
       (cons-stream 1
      (let squares ((i 1))
    (cons-stream (* i i) (squares (1+ i)))))
              ;; [1 3 5 7 9 11 ...]
       (let odds ((j 1)) 
     (cons-stream j (odds (+ j 2)))))

; Quit!
A bi-homographic function is a function of the form:
(define (bi-homographic a b c d e f g h)
  (lambda (x y)
    (/ (+ (* a x y) (* b x) (* c y) d)
       (+ (* e x y) (* f x) (* g y) h))))
Like a homographic function, you can partly evaluate a bi-homographic function and generate a continued fraction. You can also partly apply a bi-homographic function to a pair of continued fractions. When you do this, you have a choice of which continued fraction to be the object of the partial application. There's about twice as much nasty math involved, but the gist is that a bi-homographic function takes two continued fractions as arguments and produces one continued fraction as a result.

It turns out that addition, subtraction, multiplication and division are bi-homographic functions, so one can incrementally compute sums and products of continued fractions.

MetaFilter: Is this Joey?

Grantland writer Rembert Browne journeys into the "dark heart" of 90s nostalgia via Central Perk, the museum / tourist trap / coffee dispensary dedicated to the popular television show Friends. The modestly popular show premiered 20 years ago today, and had a number of memorable moments which are fondly remembered by its small, but dedicated group of fans. Friends previously and previously on Metafilter.

Open Culture: Hear Allen Ginsberg Teach “Literary History of the Beats”: Audio Lectures from His 1977 & 1981 Naropa Courses


It’s not often one gets the opportunity to take a course on a major literary movement taught by a founding member of that movement. Imagine sitting in on lectures on Romantic poetry taught by John Keats or William Wordsworth? It may be the case, however, that the Romantic poets would have a hard time of it in the cutthroat world of professionalized academic poetry, a world Allen Ginsberg helped create in 1974 with the founding of his Jack Kerouac School of Disembodied Poetics at Naropa University, almost twenty years after he brought hip modern poetry to the masses with the wildly popular City Lights paperback edition of Howl and Other Poems. (Here you can listen to the first recording of Ginsberg reading that famous poem.)

Dismissed by the modernist old guard as “vacuous self-promoters” in their time, the Beats’ legend often portrays them as paragons of artistic integrity. There’s no reason they couldn’t be both in some sense. The anti-authoritarian pranks and poses gained them notoriety for matters of style, and their dedication to radicalizing American literature provided the substance. As the Academy of American Poets writes, “there is a clear work ethic that reverberates in their lives and in their writing, and in the eyes of many readers and critics, the Beats fostered a sustained, authentic, and compelling attack on post-World War II American Culture,” rejecting both “the stultifying materialism and conformism of the cold war era” and “the highly wrought and controlled aesthetic of modernist stalwarts.”

Thanks to the archives at Naropa, we can hear Ginsberg himself lecture on both the style and substance of Beat literary culture in a series of lectures he delivered in 1977 for his summer course called “Literary History of the Beats.” We’ve previously featured the extensive “specialized reading list” Ginsberg handed students for that class, which he titled “Celestial Homework.” In the first series of lectures—divided in 18 parts in the archive—hear him discuss the list. The Naropa archive describes the first lecture as diving “right into the 40′s lives of Ginsberg, Kerouac, Burroughs, Herbert Huncke, and others living in NYC at that time. From consuming Benzadrine inhalers to the discovery of the void, Ginsberg’s account and analyses are entertaining and lively as well as insightful.” Hear part one of that talk at the top of the post, and part two just above.

Ginsberg focuses on the 40s as the period of Beat origins in his 1977 class. Another section of the course—taught in 1981—covers the 50s, with topics such as “Burroughs’ recommended reading lists,” “Burroughs on drugs and society,” and “the founding of the study of semantics.” Hear the first lecture in that series just above.

Literary History of the Beats will be added to our collection, 1000 Free Online Courses from Top Universities.

Image above was taken by Marcelo Noah.

Related Content:

Allen Ginsberg’s “Celestial Homework”: A Reading List for His Class “Literary History of the Beats”

William S. Burroughs Teaches a Free Course on Creative Reading and Writing (1979)

“Expansive Poetics” by Allen Ginsberg: A Free Course from 1981

13 Lectures from Allen Ginsberg’s “History of Poetry” Course (1975)

Download 55 Free Online Literature Courses: From Dante and Milton to Kerouac and Tolkien

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

Hear Allen Ginsberg Teach “Literary History of the Beats”: Audio Lectures from His 1977 & 1981 Naropa Courses 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 Allen Ginsberg Teach “Literary History of the Beats”: Audio Lectures from His 1977 & 1981 Naropa Courses appeared first on Open Culture.

Slashdot: Assembling a Micro-scale Biochemistry Lab Like Snapping LEGOs Together

An anonymous reader writes: Microfluidic systems promise to bring the same level of precision and control seen in the electronics industry to chemistry and the life sciences. Typically, devices are fabricated at substantial cost and using borrowed techniques from the semiconductor industry. Researchers at the USC Viterbi School of Engineering have invented a system of discrete microfluidic elements akin to those found in electronic board design. It was inspired by the ease with which LEGO bricks are assembled into a larger structure, and finally allows for the rapid prototyping of "Lab-on-Chip" devices. The original paper is published in the Proceedings of the National Academy of Science.

Read more of this story at Slashdot.

Open Culture: The First Color Photos From World War I, on the German Front

Hildebrand 1

On June 28, 1914, Gavrilo Princip assassinated Archduke Franz Ferdinand of Austria. Most of us know this — or at least if we don’t know the exact date, we know it happened in 1914, 100 years ago. We also know that the spark of the killing ignited the international geopolitical tinderbox just waiting to flame into the First World War. Yet as military historians often remind us, no one event can really start a conflict of that unprecedented scale any more than one event can stop it. The second half of the year 1914 saw a series of interrelated crises, responses, counter-crises, and counter responses that, these hundred years on, few of us could cite off the top of our heads.

ww i color photos 3

We can compensate for the century between us and the Great War by reading up on it, of course. Of the countless volumes available, I personally recommend Geoff Dyer’s The Missing of the Somme. But nothing brings home the detailed reality of this ever-more-distant “huge murderous public folly,” in the words of J.B. Priestly, like looking at color photos from the front.

Hildebrand 2

That color photography exists of anything in mid-1910s Europe, much less as momentous and disastrous a period as World War I, still surprises some people. We owe these shots to the efforts of German photographer Hans Hildebrand, as well as to his country’s already-established appreciation for the art and adeptness in engineering its tools. “In 1914, Germany was the world technical leader in photography and had the best grasp of its propaganda value,” writes R.G. Grant in World War I: The Definitive Visual History. “Some 50 photographers were embedded with its forces, compared with 35 for the French. The British military authorities lagged behind. It was not until 1916 that a British photographer was allowed on the Western Front.” But among his countrymen, only Hildebrand took pictures in color.

S. 237: Schützengraben im Oberelsass. (Foto: Hans Hildenbrand)

The overwhelming majority of photos taken during World War I were black and white,” writes Spiegel Online, where you can browse a gallery of eighteen of his photos, “lending the conflict a stark aesthetic which dominates our visual memory of the war.” Hildebrand’s images thus stand out with their almost unreal-looking vividness, a result achieved not simply by his use of color film, but by his relatively long experience with a still fairly new medium. He’d already founded a color film society in his native Stuttgart three years before the Archduke’s assassination, and had tried his hand at autochrome printing as early as 1909.

S. 241: Schützengraben im Oberelsass.(Foto: Hans Hildenbrand)

Though not himself a dyed-in-the-wool propagandist, he did need to pose the soldiers for these photos, due to the lack of a film sensitive enough to capture actual action. Still, they give us a clearer idea of the situation than do most contemporary images. Hardly a glorification, Hildebrand’s work seems to speak to what those of us now, one hundred years in the future, would come to see in World War I: its misery, its oppressive sense of futility, and the haunting destruction it left behind.

Hildebrand 3

via Dangerous Minds

Related Content:

Watch World War I Unfold in a 6 Minute Time-Lapse Film: Every Day From 1914 to 1918

British Actors Read Poignant Poetry from World War I

Frank W. Buckles, The Last U.S. Veteran of World War I

World War I Remembered in Second Life

Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall or on Facebook.

The First Color Photos From World War I, on the German Front 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 First Color Photos From World War I, on the German Front appeared first on Open Culture.

BOOOOOOOM!: Vertical Dancers Waltz on the Walls of Oakland’s City Hall


Amelia Rudolph and Roel Seeber, two aerial performers from a dance group called Bandaloop, perform a breathtaking dance routine on the side of Oakland’s City Hall during the Art + Soul Festival. I didn’t know vertical dancing was a thing. Would be really cool to shoot an entire movie like this, with different backdrops on different buildings. Watch the video below.

View the whole post: Vertical Dancers Waltz on the Walls of Oakland’s City Hall over on BOOOOOOOM!.

Slashdot: Outlining Thin Linux

snydeq writes: Deep End's Paul Venezia follows up his call for splitting Linux distros in two by arguing that the new shape of the Linux server is thin, light, and fine-tuned to a single purpose. "Those of us who build and maintain large-scale Linux infrastructures would be happy to see a highly specific, highly stable mainstream distro that had no desktop package or dependency support whatsoever, so was not beholden to architectural changes made due to desktop package requirements. When you're rolling out a few hundred Linux VMs locally, in the cloud, or both, you won't manually log into them, much less need any type of graphical support. Frankly, you could lose the framebuffer too; it wouldn't matter unless you were running certain tests," Venezia writes. "It's only a matter of time before a Linux distribution that caters solely to these considerations becomes mainstream and is offered alongside more traditional distributions."

Read more of this story at Slashdot.

things magazine: Piece by piece

Conrad Bakker’s ‘Untitled Project’ series are sculptures that replicate common objects. The Robert Smithson Library and Book Club, for example, creates wooden sculptures in the form of classic books, while The Crystal Land is a series of paintings of rock samples / co-branding goes metal: Slayer meets Scion. We can’t think of any other car companies with limited edition band-endorsed cars / Eight Years of Sleep, graphed.

Computer Science: Theory and Application: Damn Cool Algorithms: Levenshtein Automata

submitted by cypherx
[link] [comment]

MetaFilter: Photogenic Pudding

Meet Pudding, the Photogenic Fox That's too Friendly to be Released Into the Wild (SLD'awww)

Hackaday: Freescale and Texas Instruments Goodies and World Maker Faire

Freescale was very kind to Hackaday at Maker Faire this weekend, showing off a few boards and answering a few questions about why old Motorola application notes aren’t available on the Internet.

The Hummingboard from SolidRun comes in an oddly familiar form factor to anyone who has ever handled a Raspberry Pi. It also has an interesting feature: the CPU is on a small module, allowing anyone to upgrade the chipset to something significantly more powerful. In the top of the line configuration, it has a two core iMX6 CPU with a Gig of RAM, LVDS output, and Gigabit Ethernet. All the complex bits for this board are on a single module, allowing anyone to take the module and put it in another project, a la the Intel Edison.

Also in the Freescale booth was the pcDuino, a dual core ARM Cortex A7 with Ethernet, WiFi, and a SATA, with Arduino form factor pinouts. It’s a somewhat niche product, but being able to stack shields on something comparable to a Raspi or BeagleBone is a nice feature.

[Trey German] from Texas Instruments showed off some very cool stuff, including a quadcopter board for a Launchpad microcontroller. This isn’t a board with an IMU and a few servo outputs; this is the whole shebang with a frame, motors, and props. The frame was cut from some odd composite that’s usually used for road signs, and even though it wasn’t flying at the Faire (nothing was flying, by the way), it’s pretty light for a quad made at a board house.

Also from TI was their CC3200 dev board. This is a single chip with an ARM Cortex M4 and a WiFi radio that we’ve seen before. The CC3200 runs TI’s Wiring/Arduino inspired development environment Energia, and at about $30 for the CC3200 Launchpad board, it’s an easy and cheap way to build an Internet of Things thing.

Filed under: Featured, hardware

Slashdot: Service Promises To Leak Your Documents If the Government Murders You

Jason Koebler writes With all the conspiracy theories surrounding some high-profile deaths in recent years, how can you, theoretical whistleblower with highly sensitive documents, be assured that your information gets leaked if you're murdered in some government conspiracy? A new dark web service says it's got your back. "Dead Man Zero" claims to offer potential whistleblowers a bit more peace of mind by providing a system that will automatically publish and distribute their secrets should they die, get jailed, or get injured.

Read more of this story at Slashdot.

Instructables: exploring - featured: Zipper Corset

Make any size corset with zippers and ribbon with this easy technique. This would look amazing over a simple dress or with a fantastic white cotton blouse for an evening out. It might even top off your next Halloween costume! You'll need You'll need:26 8” Long zippers Sewing machine 1 yard of 1...
By: Mark Montano

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Potz!Blitz!Szpilman!: Szpilman Award 2014


Slashdot: The UPS Store Will 3-D Print Stuff For You

mpicpp writes with news that UPS will be expanding their 3D printing services. UPS announced plans Monday to bring in-store 3-D-printing services to nearly 100 stores across the country, billing itself as the first national retailer to do so. With the UPS system, customers can submit their own designs for objects like product prototypes, engineering parts and architectural models that are then printed on a professional-quality 3-D printer made by Stratasys. Prices vary depending on the complexity of the object; an iPhone case would be about $60, while a replica femur bone would be around $325. UPS can also connect customers with outside professionals who charge an hourly rate to help produce a design file for the printer. It generally takes about four or five hours to print a simple object, with more complex items taking a day or more. The program started as a pilot at six locations last year, and UPS says those stores "saw demand for 3-D print continuing to increase across a broad spectrum of customers."

Read more of this story at Slashdot.

Twitch: Mark Dacascos Will Fight For ULTIMATE JUSTICE

It's time for Mark Dacascos to stop cooking and get back to fighting and that's exactly what he's doing, stepping out of Iron Chef mode and back to his Crying Freeman, The Crow and Brotherhood Of The Wolf mode with new international indie Ultimate Justice.Boasting fight scene stalwart Mike Leeder amongst its producers, Ultimate Justice has just launched principal photography with a cast that includes a fistful of ultra talented screen fighters including Mathis Landwehr and Mike Moeller. Expect to see the first shots from the set soon and expect lots of hardcore action....

[Read the whole post on]

Planet Haskell: Philip Wadler: Composable Queries in F# 3.0

James Cheney speaks to the F#unctional Londoners meet-up about our F# library that implements A Practical Theory of Language-Integrated Query.

Instructables: exploring - featured: Water Wheel from Plastic Bottles

This outdoor parent-child project is big fun and has educational aspects: a water wheel from reused bottles and branches is turning in a river's current and is towing a small boat in.Main requirement is a small, fast-running and shallow (mountain) river. You'll also need some empty plastic bottles (...
By: openproducts

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Greater Fool - Authored by Garth Turner - The Troubled Future of Real Estate: Not alone

FOOLS modified

This past Saturday morning dozens of people milled around and pawed through the debris. The Victorian cottage was a mess. Worse than a mess. A thinly-organized landfill site might have better described what was left of 3 James Lane. Despite that, eighteen people had registered to buy it, and when the bidding started, five of them still had their nerve.

They stood in front of this, along with agent Georgia Glover, and went at it.


The 1850s-junker last sold forty years ago, when it changed hands for $33,500, bought by an academic who was apparently living there months ago before his death. Here’s his kitchen:


No doubt, the two-bedroom hovel is a tear-down, despite its heritage designation. The lot is a reasonable size, not immense, but features views across the harbour, in a hood where the average property now changes hands for about $2 million. Given the fact this house is uninhabitable rubble, agent Glover figured $1.8 million might be reasonable.


But as it turned out the winners of the auction (most sales in Australia are done this way) were members of a local family, who shelled out $2.68 million ($2.63 Canadian) – or almost $900,000 more than estimated value.

But, hey. The spring housing market’s just starting to erupt in Sydney and across the country. Mortgage rates are at historic lows. The natives are horny. Banks are throwing in new incentives to sign a monster mortgage. And the federal finance minister says he’s not worried about a housing bubble – even though average prices have risen 11% in the past year alone.

Joe Hockey (like our Joe Owe)says it’s not really the government’s business to be dabbling in the housing market, despite the fact prices are exploding higher in a speculative frenzy, pricing out average families. Besides, he adds, this is just a three-city problem.

JOE modified  “I am naturally hesitant to have government in any way interfere in the market. But, of course, we are in some challenging times when it comes to monetary policy. The Reserve Bank needs to be mindful of some of the domestic challenges, and the quite limited massive growth in real estate prices in parts of Australia. I say that because it’s primarily in pockets of Sydney, pockets of Melbourne and, to a lesser degree, in Brisbane.”

Any of this sound familiar?

Well, it should. The parallels are spooky. What is evident to everyone – in bidding wars for piles of crap like 3 James Lane, for example – is being officially denied by the very agencies that could mitigate the looming disaster. The feds say it’s not their problem. The central bank says rates must stay low or the economy will croak. And the regulator won’t curb mortgage lending for fear of hurting the banks.

Meanwhile those banks are offering customers cash to take new loans, or switch their mortgages of $1 million or more from another lender. At the same time, as this pathetic blog has pointed out earlier, there’s a push on by an influential senator to have Australia adopt the same program Canada has, allowing first-time homebuyers to gut their retirement savings in order to come up with a down payment on a house they can’t actually afford.

And while Australians (like Canadians) balloon their household debt levels and slather over real estate, the economy (like ours) sputters. Growth of 2.9% this year is about to be whacked, according to Nouriel Roubini, who forecasts a 20% plunge in the Australian dollar to about 75 cents thanks to slower times in China and lower commodity values. You see, Australia (like Canada) has a resource-based economy with GDP heavily dependent on exports. So a lot of people worry it’s been building a condo economy that’ll probably blow up.

I thought you might be interested, in case you thought we’re unique. Turns out Canada doesn’t have the corner on myopic, buck-passing politicians or foolish, house-lusty, debt-snorfling citizens. But sometimes when you see others also acting like complete frigging idiots, it’s helpful.

You’re welcome.

Twitch: Win A Copy Of Grady Hendrix's HORRORSTOR!

Ladies and gentlemen, if you're not yet familiar with the peculiar force of nature known as Grady Hendrix then prepare yourself. The co-founder of the New York Asian Film Festival, the man behind the stellar Kaiju Shakedown blog - which has run variously on Variety and now Film Comment - and an occasional (and very much beloved) contributor to things here at Twitch, Hendrix has gone and written himself a novel and we've got five copies to give away.Something strange is happening at the Orsk furniture superstore in Cleveland, Ohio. Every morning, employees arrive to find broken Kjerring bookshelves, shattered Glans water goblets, and smashed Liripip wardrobes. Sales are down, security cameras reveal nothing, and store managers are panicking.   To unravel the mystery, three...

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Open Culture: Let’s Learn Japanese: Two Classic Video Series to Get You Started in the Language

Say the name “Yan-san” to anyone who’s studied Japanese in the last thirty years, and you’ll probably get a reaction of delighted recognition. It means that, inside or outside the classroom, they studied with Let’s Learn Japanese, a series of educational videos produced by the Japan Foundation. The first “season,” if you like, came out in 1984, the time of an enormous Asian economic bubble that made the world’s future look Japanese, sending the language straight to the top of every international business-minded student’s to-do-list. (Sound familiar, current strugglers with Mandarin?) Its hero, a young man of deliberately ambiguous nationality named Yan — the Japanese all address him with the everyday honorific -san — turns up in Japan for a few years of life in Tokyo and works at an architecture firm, helped along by his host family the Katos, his eagerly team-playing co-workers (one of whom introduces himself, in English, with the phase, “We are friends — okay?“), and a variety of helpful citizens and professionals all across the Land of the Rising Sun.

This may sound like dull stuff — the stuff of run-of-the-mill language-learning videos — but Let’s Learn Japanese raised the bar for this sort of thing, in terms of not just production value and teaching effectiveness but sheer rewatchability. In addition to Yan-san’s life among the Japanese people, Let’s Learn Japanese also offers instructional segments led by Mary Althaus, still a professor at Tokyo’s Tsuda College, and imaginative illustrative skits performed by the indefatigable trio of Mine, Kaihō, and Sugihara. In the more advanced Season 2, released over a decade later in 1995, they’ve become the eerily similar Kodama, Andō, and Koyanagi, and Yan-san has become a graduate student with girlfriend troubles. Having watched all 52 episodes several times through, I can vouch for both its entertainment value and its effectiveness. (It also spurred me to start volunteering at the Japan Foundation, Los Angeles.) So can the foreigners who give a hero’s welcome to star Nick Muhrin (who, last I heard, still lives in Japan) when they run into him. I know I’ve learned enough to buy Yan-san a drink.

You can find more useful Japanese-learning materials to supplement all this in our archive of free language lessons. It includes resources ranging from the Foreign Service Institute’s digitized textbooks and tapes to podcasts like the life abroad-oriented Japanesepod101 [iTunes Free - Feed] and the anime-geared Japancast [iTunes Free - Feed]. 皆さんがんばって!

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Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall or on Facebook.

Let’s Learn Japanese: Two Classic Video Series to Get You Started in the Language 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 Let’s Learn Japanese: Two Classic Video Series to Get You Started in the Language appeared first on Open Culture.

Twitch: Drew Struzan To Receive The Saul Bass Award At Key Art Awards

If you do not know the name Drew Struzan one look at his posters will remind you how long he has been a part of your cinematic life. You very likely have had one of his posters adorn your wall at one point. In the world of poster art the man is simply a legend.It was announced that Struzan will receive The Saul Bass Award at THR's Key Art Awards on October 23rd. The Key Art Awards is the awards competition for advertising and communications. If you could slap a poster, key art, teaser art, what have you on or around something there is an award for it. If you designed virtually anything else (web, apps, social media et al) that advertised a film or...

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OCaml Planet: OCaml-Java: New alpha version

A new alpha version has been released, fixing several blocking / annoying bugs.

OCaml Planet: OCaml-Java: Alpha2

The new release, namely 2.0-alpha2, is mainly a bugfix relase, fixing the following issues:

Computer Science: Theory and Application: Weekly question thread: Ask the Cryptographers

I'm doing a trial run for a new subreddit tradition: weekly threads where people who know stuff (scare quotes "experts") answer questions from the unwashed masses of Computer Science (the rest of us).

Today we have a small panel of crypto researchers and professionals:

  • /u/rosulek is an assistant professor of CS at a large US public university. Author of 24 peer-reviewed publications in crypto/security. Research specialty is secure two-party computation, theory & practice. Should be working on writing papers instead of hanging out on reddit.

  • /u/detailsguy is the author of 'Implementing SSL/TLS Using Cryptography and PKI'

  • /u/honestduane has been doing crypto and security software since he started working professionally as a software developer in the early 90s, loves to pick up new skills and relearn things he thought he knew, and is currently working professionally as a cryptographer working with asymmetric public/private key cryptography writing security software for a large company he is not allowed to name here.

  • /u/0day1337 is cryptography enthusiast/researcher in my free time and currently employed as a software developer in Canada. Wrote a whitepaper on rainbowtables in the past and currently a big cryptocurrency user/enthusiast.

If I forgot to include you in the panel or you'd like to get flair & join in, send me a PM.

All levels of questions are welcome (from basic ELI5 "how does crypto work" to recently published research).

submitted by cypherx
[link] [44 comments]

All Content: Barry Lyndon with Monsters: The Directors of “The Boxtrolls”


LAIKA, the company behind “Coraline” and “Paranorman,” has a clear purpose in the way they avoid the standard pitfalls of modern family entertainment. They don’t talk down to kids. They don’t worry about scaring their young viewers. They spark imaginations. And they’re about to do it again this week with their loose adaptation of Alan Snow’s “Here Be Monsters,” now called “The Boxtrolls.” In their gorgeously detailed stop-motion style, directors Graham Annable and Anthony Stacchi bring to life a world of non-verbal Boxtrolls, who can communicate with only one human, a boy named Eggs. When Eggs realizes that the people above the land of the Boxtrolls want them dead, he gets caught in a war of class, pride and cheese. With great voice work by Ben Kingsley, Jared Harris, Nick Frost, Richard Ayoade, Elle Fanning and more, “The Boxtrolls” continues the track record of LAIKA to offer something that’s more than the loud noises and bright colors that seem to be the operating aesthetic for most family films. Annable and Stacchi sat down with us last month to talk about their latest creative effort, and revealed the kind of influences you don’t usually see in 3D entertainment from Terry Gilliam to Russian animation to Jean-Pierre Jeunet to Merchant/Ivory.

When I look at “Coraline,” “Paranorman” and this film, there’s a certain visual continuity. You can tell they’re all from the same company and yet they’re also distinct. How much of that is purposeful, or just by virtue of who you’re working with, and how do you make a film that stands alone at the same time?

ANTHONY STACCHI (AS): Well, they’re distinct in part just by having a different director each time. Travis is overseeing them all and the studio is overseeing them all. Every studio has a culture. In that line, in that evolution, you can see…Henry made certain choices on “Coraline”—the austereness, the theatrical feeling sets, the straight lines, the symmetry. Those choices take it in a certain direction. Chris and Sam had a very distinct look where they wanted a lot of curves and the characters’ faces are very asymmetrical. Big eyes. Chunky. Very 2-D animation inspired. All of that stuff adds to it. And then, technologically, we now have more ability. The crew just knowing better what they’re doing has allowed the faces to get so much more complex. Crawling. Colors that you couldn’t do on “Coraline” that had to be hand-painted. “Paranorman” got better.

GRAHAM ANNABLE (GA): At this stage, the third film out, we have tried to be distinct artistically and filmically, but we have kept what we refer to as The Band—this incredible core of really talented people—together for three stop-motion films. That’s never really happened before. Usually, a studio makes a stop-motion movie and then everyone disbands. That chemistry has to be recreated in a different manner somewhere else. We’ve done three films in a row with the same core of people and that can’t help but create a through line.

AS: [Producer] Travis [Knight] pushes us. And they know there’s going to be another 18 months of pre-production and production and they don’t want to do it the same way. People are trying to figure out a new and better way to do it. In this film, part of the story was this aristocratic society and then the boxtrolls who feed off that society. So there was going to be this feeling of excess—all these costumes and textures. So everybody grabbed on to that and ran with it and each tried to out-do each other.

The background detail is remarkable. Talk a little bit about the importance of having a more complete setting for this one with rooms and costumes and production design that’s as detailed as what’s in the foreground.

AS: The story sort of demanded it. You have a hierarchical world. You wanted Snatcher’s world at the bottom of the city to sort of feel like it belonged there. To also feel empty. Sort of a Victorian mancave. You can’t look at Alan’s illustration style in the book and say it totally inspired the movie but you can sort of look at the grittiness of the lines—the dirty, sooty, Victorian London setting of the story—and see it definitely inspired us. You know, we loved “Oliver Twist,” “The Third Man”…I used to pitch it as like “The Adventures of Baron Munchausen”—you know, the period detail that Terry Gilliam loves in his movies.

And a little Jean-Pierre Jeunet.

GA: Yeah, yeah. When I came on board, I kept telling Tony, “This is great! We’re gonna make 'Delicatessen' for kids! This is amazing!”

You literally DO at one point with the musical saw.

GA: (Laughs). Yeah, yeah. I couldn’t help but bring that kind of stuff into the world. To me, it was so exciting to get to make to a film that looked this lush and this rich. We were allowed to put us much detail as we could into the frame because the setting demanded it; required it. And yet, it also presented a heck of a challenge. Compositionally, we were always like, “This all looks amazing, but we kind of need to know where to look.”

AS: Can we direct the eye? It’s a tribute to the whole camera crew, and using the 3D to direct the eye. People go “Oh, you guys make horror movies for kids,” and we go, “No, we make Merchant/Ivory movies for kids.” We make “Barry Lyndon with Monsters.”

How do the visuals change or do they when the film is cast? Is it mere coincidence that Jared Harris’ character looks like Jared Harris?

AS: It’s funny because Portley-Rind was designed before we got Jared Harris but we did sort of go through a redesign phase. And we were listening to Jared’s voice in that phase but we never look at artwork as trying to do a portrait of him.

But do the visuals change when you have voices behind them?

AS: We had all the silhouettes of the characters, so it kind of guides who you go looking for. It fuels it. Trout’s a big man, and so’s Nick Frost. You do want to feel like the voice resonates in the body of the actor the same way it would in the character. It’s funny that it sometimes happens that you have a character…Tracy Morgan looks nothing like his character but they go together. Richard Ayoade? Looks a little like Pickles. It works both ways.

Snatcher doesn’t really look like Ben Kingsley but it fits.

AS: No. He uses his voice like an instrument. When he showed up for the recording session, he had read the script and seen the character designs, and he talked a lot about Snatcher’s belly. He felt that he was a man who really enjoyed life—he had eaten a lot of cheese, drunk a lot of wine. He was comfortable with his awkward physique, and so he wanted to record reclining in a chair. He felt like his voice would be coming out of his diaphragm in the right way. First day, he needed a chair. I had never heard of anybody asking for that before. Most people want to stand. And you ask for them to stand because, if they’re sitting down, they feel differently. But I wasn’t going to tell Don Logan he couldn’t record leaning back in a chair.

Do you ever worry that some of Snatcher’s plans and devices are going too far for their target audience? Do you have conservations about how scary is too scary?

AS: Travis’ philosophy is that films need to have a dynamic range.

GA: The only way to have the light is to have the darkness, to really feel that full range. To have a full experience with how we connect with a movie. Right from the start, we wanted to make something that was honestly a little bigger and a little brighter than what we had done before. Stop-motion: Everyone does tend to think of “A Nightmare Before Christmas,” “James and the Giant Peach,” “The Corpse Bride.” It gears to darker material. We wanted, as a studio, to challenge ourselves and make a comedy-adventure, and see where we can take it with this medium. Because of what us as artists are interested, there are dark moments in this film, but having the bright, joyous moments to contrast with it is what we feel is worthwhile. You want to feel those big highs and low lows. We’re not Pixar, we’re not Dreamworks, we don’t have the mega-budgets of those studios; that frees us up to go into territory that some of the bigger studios don’t like to get into because they’re terrified of marginalizing or alienating. We get to tell the stories we want to tell.

OK, then how would this film have been different with a mega-budget? How would it look as a Pixar production?

AS: It was considered to be done at Dreamworks. They looked at the book. But things had changed by the time we ended up doing it. They thought it was too dark. It’s funny, their favorite characters were The Cabbageheads, these great characters in the book who were in our draft for a long time but fell out of the movie when we focused on Eggs and the Boxtrolls. It was too many underworld communities.

There are other communities in the book?

GA: Oh yes. The book is endlessly inventive.

AS: It’s Dickensian. You can’t turn around without bumping into a new character, a new plot, a new setting. It’s really….we’re inspired by it and it’s an adaptation of it but it’s really different. Winnie and the Portly-Rinds aren’t in the book. We needed to have an above-ground world in all its prejudices and obsessions, so we created a family and one character in Winnie that Eggs could meet.

Back to a beat earlier. If you have twice the budget, how is this different and did having a low budget help you to find new creative ways to get it done?

AS: I never felt stymied like it wasn’t enough. Stop-motion requires what it requires. We had 30 animators and we had all the great ones we could. We were lucky that we were the only stop-motion movie filming at the time. We couldn’t have hired more with more money. It wouldn’t have helped us there. And we kind of got to do everything we wanted to do. You make the story work. You find how to do it with the means you have. We benefit from the studio having done two previous films. Their CG and stop-motion departments are melded together.

What would this film have been like 10 years ago? Could it have existed?

GA: Not on this scale. Alan had realized this crazy, huge world. We knew we could create a stop-motion film that felt a lot bigger than stop-motion usually does. While it’s part of its inherent charm, you kind of feel trapped on a small set in a lot of stop-motion. They ARE small sets.

AS: You can feel like you’re on a tabletop. We didn’t want that. We wanted at every opportunity to be able to see to the horizon. To treat the stop-motion footage like live-action footage. Rather than have the naïve conceit of “smoke is made of cotton” and “rain is made of gelatin,” we wanted realistic effects. You never get thrown out of the movie. “Fantastic Mr. Fox” is great but it pushed that to a degree where you always knew you were looking at a little doll.

A diorama. But that was intentional.

AS: Oh, yeah, yeah. And it was great. It’s been done great. I think “Coraline” does it a bit too. It was part of their appeal. They embraced the limitations of it, but we really wanted to blow it open.

What art or filmmakers inspired this other than Jeunet?

AS: From the very beginning, I loved the little boy in “Kes.” There’s something about the quality of that boy and that simple human story. He inspired Eggs’ design. David Lean’s “Oliver Twist.” I love the films of this Russian animator named Yuriy Norshteyn; he made this film called “Tale of Tales.” There’s a lot of Russian in there. There are a lot of characters acting in pantomime. I loved the idea of having these boxtrolls who you can’t understand and so their performance comes through their expressions.

GA: That’s what gravitated me to the project. At a certain point during the “Paranorman” schedule, I got a chance to do some work on this project, and he handed me a sequence with no dialogue—just the boxtrolls finding a little baby in the trash. I got to storyboard a whole sequence where nobody said anything. I guess the sensibility I brought to that was what triggered it for Tony and Travis as this is the kind of movie we want to make here.

Instructables: exploring - featured: Zipper Pull Earrings

You can hang almost any small object from an ear wire as long as it's light enough. Zipper pulls are extra perfect, because they have ways to hang them and to hang things from them. This means you can dangle crystals, pearls and other beads from the zipper tab. Depending on the zipper pulls your usi...
By: Rhonda Chase Design

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Twitch: In The Ring With BitTorrent: Todd's Complete Text From The Fantastic Debates

The night before last I took the opportunity to shake hands with Leonard Maltin. I was wearing only a pair of shorts at the time, sweat streaming down my torso and I may or may not have been bleeding. "Thank you so much for coming," I said. "You guys are all fucking nuts," was his reply.Well, yes ... given the circumstances it would be hard to argue against that point. The occasion was the Fantastic Debates, an exercise in ritual violence that has become a cornerstone event at Fantastic Fest in which combatants square off for two rounds of point-counterpoint debate followed by two rounds of boxing. This was my third time participating, though only my second actually fighting - my first go around was...

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Acephalous: SEK on Graphic Policy Radio tonight! Call in and heckle him! Tweet mean stuff!

I’ll be on Graphic Policy Radio again tonight discussing Fox’s new Batman-related show Gotham. The show begins at 10 p.m. EST and you’re more than welcome to call in, tweet at me, or drop me a line on Facebook if you have something you’d like to add to the program — or if you’d just like heckle or berate me. The choice is yours!

Hackaday: Scripting Debug Sessions: Python for GDB Remote Serial Protocol


Are you tired of hammering out the same commands over and over again in GDB? If not, we highly encourage you take more advantage of The GNU Project Debugger, which is a fantastic way to poke around inside your microcontrollers while they’re running a program.

Back to the matter at hand. [Stef] put together a Python program that leverages GDB’s Remote Serial Protocol. He calls it pyrsp and the talk he recently gave about it can be seen below.

The core feature is the ability to add a callback in your C code that triggers the Python script. Think of this a little bit like a print statement, except you have so much more power since it’s Python and GDB doing the “printing”. Anything that can be done at a breakpoint in GDB can now be executed automatically. So if you need to check a group of registers at every loop execution for hundreds of loops your wrists are going to thank you. Better yet, you can use Python to do the sanity checks automatically, continuing when the data is good and alerting you when it’s not. Neat!

Filed under: Microcontrollers

Quiet Earth: Trailer for GOODNIGHT MOMMY is Thoroughly Creepifying

Radius TWC (Snowpiercer), The Weinstein Company's boutique arm, just picked up North American rights to the Austrian horror thriller Goodnight Mommy (Ich Seh Ich Seh). And it looks hella creepy.

Directed by Austrian filmmakers Veronika Franz and Severin Fiala and recently premiered at the Venice and TIFF Film Festivals, the film's trailer promises something special for horror fans.

In the heat of the summer. An isolated house in the countryside between woods and corn fields. Ten-year-old twins wait for their mother. When she comes back, her head wrapped in bandages after plastic surgery, nothing is as it was before.

Stern and distant now, she shuts the family off from the outside world. Starting to doubt that this woman is actually their mother, the boys [Continued ...]

programming: Silicon Valley talent wars: Engineers, come get your $250K salary

submitted by elebot
[link] [59 comments]

Planet Haskell: Russell O'Connor: Hard Drive Failure

A few weeks ago my desktop computer suffered catastrophic hard drive failure. Not only did it not boot, it soon got to the point where even the BIOS would fail to recognise the device. At first I did not worry too much. Although I was not doing automatic backups, I was still doing irregular weekly manual backups of my home directory with tarsnap and I had performed one about three days prior. I was not specifically making backups of my NixOS system and user configuration, but I had some old copies. The configuration files do not change much and they are less important. Importantly, I had backups of my tarsnap keys stored in other places, such as my shell account.

While waiting for a replacement drive to arrive, I realized I had a serious problem. My tarsnap keys were encrypted with my PGP key. I had two specific places where I kept backup of my PGP keys. One place was a USB drive in a safe deposit box. However, at some point I had taken that one out to update it, and then misplaced it before putting it back. Naturally, I had been meaning to get around to replacing that USB drive and the data on it, for some number of years. Also, to my surprise, I had never actually placed my PGP key in my secondary spot.

I was sunk. I had some very old hard drive images with older versions of my PGP key on it, but because I rotate my encryption keys every five years, they were not useful. Within the last five years I had started using full disk encryption. I had some newer hard drive images that also have my PGP keys but I need the passphrases to decrypt these images. I had copies of the passphrase around, but, of course, they were all encrypted with my PGP keys.

After an emotional day and some meditation, slowly my old passphrase came back to me and I was able to decrypt one of my disk images. I was able to rescue my PGP keys and from there I was able to recover everything I had.

I plan to get a bit more serious about distributing copies of my PGP key since I use it so widely. With my PGP key I should be able to always recover everything since I keep all my other key material encrypted with it. Instead of a single USB drive in a safe deposit box, I want to keep two identical USB keys, one at home and one in the box. When I want to update the data, I will update the one at home, swap it with the one in the box, and update the second one and keep it at home until the next update is needed.

I have also gotten more serious about automatic backup. Turns out that NixOS already comes with a tarsnap system service. All that one has to do is place one’s write-only tarsnap key in the appropriate place and specify which directories to back up. I am hoping to make system recovery even easier by also backing up my ~/.nix-profile/manifest.nix, /root/.nix-profile/manifest.nix,/nix/var/nix/profiles/default/manifest.nix, /nix/var/nix/profiles/per-user/*/profile/manifest.nix, /etc/nixos and /var/lib.There are probably a few more things I should back up, like my user profiles, but I am not yet sure how best to do that.

I also want to restart my programme of escrow for my passwords in case something happens to me. I need to improve my documentation of password list to make it easier for others to use. I will use ssss to split my master password and distribute among my escrow agents. The nice thing about public-key cryptography is that I can assign escrow agents without requiring anything from them beyond the fact that they already possess and use PGP keys. I do not even need to inform them that they are my escrow agents. The encrypted components will be stored on my USB drive in the safe deposit box.

Overall, I am glad to have narrowly avoid disaster and have definitely learned some lessons. Check your backup policy everyone!

Quiet Earth: J.J. Abrams Bringing Stephen King's 11/22/63 to HULU

Hulu has ordered a 9-episode straight-to-series order for an adaptation of Stephen King's 2011 book 11/22/63 about a time traveler who goes back to the 60s to stop the Kennedy assassination.

The series will be produced by J.J. Abrams' Bad Robot production company.

“If I ever wrote a book that cries out for long-form, event TV programming, 11/22/63 is it,” King said. “I’m excited that it’s going to happen, and am looking forward to working with J.J. Abrams and the whole Bad Robot team.”

Back in 2012, Jonathan Demme tried to work with King on an adaption, but the union eventually fell apart with Demme stating: "This is a big book, with lots in it. And I loved certain parts of the book for the film more than Stephen did. We're friends, and I h [Continued ...]

Trivium: 22sep2014

Perlsphere: Test::More has lots of crazy new development that's breaking my modules

I still wish we had a way to remove reports from CPAN Testers. The case of a broken Test::More is a really good reason for this.

I received many fail reports for Business::ISBN, which I've been working on lately. However, it's from a test I hadn't touched for things I wasn't working on.

The failure looked odd. I've never heard of Test::More::DeepCheck:

Modification of non-creatable array value attempted, subscript -1 at .../Test/More/ line 82.

Then I noticed that all of the fail reports reported the same development version of Test::More:


Module Need Have
-------------------- -------- ------------
ExtUtils::MakeMaker 0 6.99_14
Test::More 0.95 1.301001_045

There are a few other bad tests for things happening in v5.21, but for the most part I get the black eye on MetaCPAN or CPAN Search from the CPAN Testers using a bad version of Test::More. It happens. Schwern once said that he could break all of CPAN.

The problem, though, is not a broken Test::More but a development version of one that we don't trust yet. I know that Andreas and Slaven want to test everything, but perhaps these sorts of tests don't need to go to CPAN Testers. In the last month I've spent a couple hours tracking down problems that weren't anything to do with anything I did and with what I think is some overzealous new development in Test::More. If you want to write a better is_deeply, make a separate module and let people play with it.

Fortunately, normal users won't have this broken Test::More. Unfortunately, they still get to see the red bars for my module.

Perlsphere: PBP: 042 Heredoc Indentation

The Best Practices suggest that putting a heredoc in a deeply nested function looks funny because it has to be left-justified, and suggests creating a “theredoc” by writing a function that does nothing besides evaluate and return the heredoc.

This does solve the indentation problem, but gets more complex if you’re trying to interpolate a bunch of variables into the heredoc.  You wind up sticking them into a hashref and passing the hashref, then using those in the heredoc.  It makes for quite a complex function, and is not as simple and easy to call as the sample in the book.

It also still leaves the heredoc at the left margin.

The Perl Cookbook, in recipie 1.11, “Indenting Here Documents” suggests using a regular expression to eat all the leading spaces from the heredoc.  You get the heredoc where it has to go and can indent it properly.

I don’t usually bother with either.  Considering that the default perltidy settings will try and avoid breaking long strings by reverse-indenting them as far as needed, it is not unusual to wind up with long strings pushed back to the left margin anyway.  I just stick the heredoc in where it needs to be and am happy.

As I mentioned before, a potentially better solution is to take the literal strings out of the program and put them in data files, fit for internationalization.  But I haven’t done it and can’t tell you the pros and cons.

Disquiet: via

Simple loops. #buddhamachine #tcditto

Cross-posted from

Disquiet: Automation, Sound, Systems, Art

This short video documentary, Tristan Perich: Mind the Machine, by Russell Oliver, explores artist and composer Perich’s processes and thoughts on automation, sound, systems, and art. As Perich describes it, he’s interested in “where the physical world around us meets the abstract world of computation and electronics.” Perich speaks throughout, describing his approach to his work, and the video includes a studio tour — his studio being as much an electronics tinkering zone as it is a musician’s home recording space. He’s at work, for example, on a variation on the microtonal wall that consisted of 1,500 small speakers, and the studio is filled with clear plastic boxes to help him manage all his parts. He connects his own minimalist — “bare bones,” in his words — approach to that of his father, the artist Anton Perich. Like his father, Perich has explored an automated drawing machine, images of which open the film. There’s some especially glorious material toward the end in which a chorus of exposed speaker cones accompany pianist Vicky Chow in a live performance.

The video is a little over 17 minutes long and is streaming at More on Perich at

programming: Nimrod is being renamed to Nim

submitted by bilalhusain
[link] [42 comments]

Penny Arcade: News Post: Disney Infinity: Marvel Super Heroes

Gabe: I got an early copy of the new Disney Infinity: Marvel Super Heroes last week. It actually hits stores tomorrow so I thought I’d share my impressions of the game so far. I’m playing the PS4 version although I’m not sure how much that matters. The reviews for this new 2.0 version are all over the place and that doesn’t surprise me. I can tell you that my impression of the game is absolutely colored by the fact that I played it with my family. I have a wife, and two boys ages 10 and 4. In the last week each of them has come to me at some point and asked me to play Disney Infinity with…

Potz!Blitz!Szpilman!: Kürbisregatta

Kürbisregatta (Ludwigsburg, since 2004)

OUR VALUED CUSTOMERS: While discussing disposable fandom...

Quiet Earth: HR Giger's Cosmos Explored in New Doc DARK STAR: HR GIGER'S WORLD [Trailer]

Though surrealist artist H. R. Giger passed away earlier this year, he will be remembered for generations to come as both an artist that peddled in the dark and twisted and the man behind the design of one of the most enduring monsters in Hollywood.

With her documentary Dark Star: HR Giger's World, filmmaker Belinda Sallin set out to learn more about Giger. Once an outgoing public figure, in the years after his Oscar win for his work on Alien, Giger slowly began to retreat into his own little world and in the last years of his life, the artist rarely found his way out into the public limelight, choosing instead to spend his time at home surrounded by the work that has made him famous.

With unprecedented access to Giger and his home, Sallin has captured what is likely t [Continued ...]

programming: [Part2] I was asked to crack a program in a job interview !

submitted by nullmove
[link] [20 comments]

Colossal: Miniature Window Silhouettes Painted by ‘Pejac’ Interact with the outside World

Miniature Window Silhouettes Painted by Pejac Interact with the outside World windows street art silhouettes

Miniature Window Silhouettes Painted by Pejac Interact with the outside World windows street art silhouettes

Miniature Window Silhouettes Painted by Pejac Interact with the outside World windows street art silhouettes

Miniature Window Silhouettes Painted by Pejac Interact with the outside World windows street art silhouettes

Miniature Window Silhouettes Painted by Pejac Interact with the outside World windows street art silhouettes

Miniature Window Silhouettes Painted by Pejac Interact with the outside World windows street art silhouettes

Miniature Window Silhouettes Painted by Pejac Interact with the outside World windows street art silhouettes

Miniature Window Silhouettes Painted by Pejac Interact with the outside World windows street art silhouettes

Early last month, Spanish artist Pejac (previously) created a fun silhouette artwork commemorating the 40th anniversary of French high-wire walker Philippe Petit’s daring walk between the Twin Towers in New York. In Pejac’s version, a tightrope walker painted in black acrylic on an interior window is shown walking along an airplane contrail several miles away in the sky. The fun optical illusion caught the attention of Sasha Bogojev over at Hi-Fructose who discovered the artist has been creating similar silhouette artworks since 2011. Seen here are a few of our favorites. Photos by Paco Esteve and Silvia Guinovart courtesy the artist. (via Hi-Fructose)

Hackaday: Lulzbot & Lime Green Begonias

Lulzbot, or more specifically Aleph Objects, had a booth at Maker Faire this year, and unlike a lot of other 3D printer manufacturers they’re not afraid to show off what they currently have in development. The latest is code-named Begonia, although when it makes it to production it will probably be called the Lulzbot Mini. It’s a smaller version of their huge Taz 3D printer that trades build volume for a lower price.

The Lulzbot Mini will have a 6x6x6 inch build volume, heated bed, and all the other features you would expect in its larger counterpart. One interesting feature is automated nozzle cleaning and bed leveling. At the start of every print run, the nozzle runs over a small felt pad at the back of the build plate, touches off four metal washers at each corner, and recalculates the GCode for a level print. You can check out a demo of that in the video above.

Also in the works in the Lulzbot labs is a controller panel with an SD card, display, and (I think) a touch interface. Lulzbot didn’t have a demo of this, but rest assured, we’ll post something on that when it’s released. The last time we saw Lulzbot we heard of a 3D scanner project they’re working on that will turn any physical object into an .STL file, without having to mess about in Meshlab. Development on this project is stalled, but that is a very difficult problem. Can’t fault them for that.

Oh, the price for the unannounced Lulzbot Mini? Somewhere around $1300-1400.

Filed under: 3d Printer hacks, Featured

Computer Science: Theory and Application: Artificial Intelligence - foundations of computational agents

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All Content: Thumbnails 9/22/14



"Eleanore Pienta, Molly Plunk and Drew Tobia on 'See You Next Tuesday'": Indie Outlook chats with writer/director Tobia and his two wonderful stars about their must-see indie, now playing through Thursday at Chicago's Facets Cinémathèque. 

“How did you want Mona to come off in the film? [Tobia]: ‘She’s going around and around and she’s not making any progress. But it was important to us that she never felt like a victim. There are these poverty porn movies that come out and everybody goes, ‘These people are so sad.’ I don’t think any of my characters are like that. Clearly they have a lot of emotional trauma but none of them wander around moping about how awful they feel about it. My characters don’t think about the desperation of their situation. They’re just like, ‘Well, here I am.’ I like people who take action in their own hands even if it’s not positive or if it’s just to get reactions out of people. Audiences can certainly pathologize my characters as much as they want, but they’re not presented in a way that’s begging people to do that. Mona still wants to have a connection with people, it’s just hard.’”


"Up From Pain": An amazing essay from Charles M. Blow republished in The New York Times and adapted from his memoir, "Fire Shut Up in My Bones." 

“I was away at college doing much of nothing, just pushing back against sorrow as it pressed down. My mother called. She told me someone wanted to speak to me. There was a silence on the line, and then words: ‘What’s going on, boy?’ It was an older cousin, whom I’ll call Chester. He was at my mother’s house, our house. It had been years since I had heard that voice. ‘What’s going on, boy?’ as if nothing had ever happened, as if everything was buried and forgotten. But betrayal doesn’t work that way. Even when it’s buried, it doesn’t stay buried. It’s still alive down there, scratching its way back to the surface. I don’t recall saying anything or even hanging up. I flung myself down the stairs of the apartment, wearing only pajama pants and a T-shirt. I burst out of the door and bolted to the car. I was engulfed in an irrepressible rage. Everything in me was churning and pumping and boiling. All reason and restraint were lost to it. I was about to do something I wouldn’t be able to undo. Bullets and blood and death. I gave myself over to the idea.”


"We Need To Talk About Kevin (Smith)": Boston film critics Sean Burns and Jake Mulligan have an in-depth discussion on the films and career of Kevin Smith at Movie Mezzanine.

“It’s tough to talk about Kevin Smith films without getting personal, in part because he seems to take these kind of things so personally himself, but mostly I think because for my particular generation he was ‘our guy.’ I was nineteen years old when ‘Clerks’ came out and it’s still impossible to overstate the joy of identification I felt while sitting in New York City’s stuffiest art-house cinema (the dreaded Angelika) and seeing characters just like my old friends and I up there on the big screen. The suburban ennui, the academic discussions of ‘Star Wars’ and pornography, the non-stop masturbation jokes—these were ‘my people,’ and ‘Clerks’ felt like the closest thing I’d ever seen to my own life in a movie. (Hell, not only did I work in a video store, I worked in a video store where Kevin Smith bought LaserDiscs.) Mind you, this was two decades ago, before Twenty-somethings Who Can’t Get Their S—t Together became a genre unto itself. ‘Clerks’ felt fresh, and the rude energy was thrilling. Popular culture has coarsened so much during the intervening decades, it’s easy to forget that in those more Puritanical times the film was initially slapped with an NC-17 just for language alone.”


"Rob Walker reviews THE HAUNTING": At Forced Viewing, "The Nostalgia Critic" producer and writer pens an uproarious review of Jan de Bont's embarrassing 1999 remake of the horror classic.

“The acting in this film both confounds and annoys. And yet it’s almost entertaining — kind of like a bad ‘American Idol’ audition. Liam Neeson seems perpetually confused as Dr. Marrow. Depending on the scene, it goes one of two ways. Is he that crazy, animated Uncle who gets a little too drunk by the punch bowl at every family reunion? Or the mumbling, indignant guy who scratches his head when served the wrong plate of food at The Red Lobster? Either way, it’s a shame. I’ve seen him act — but here? Sigh. Moving on…  Lili Taylor is more than this film deserves. She tries desperately to make the best of her role as Eleanor. Unfortunately, her whispered earnestness comes off like the flaxseed loving lady who passes out those free Chakra cleansing coupons at the Whole Foods. Owen Wilson, meanwhile, stretches himself and plays Luke as a man who looks and sounds a lot like Owen Wilson. Really, the resemblance is uncanny. He’s supposed to be an insomniac. He accomplishes this feat by squinting and wandering his way across the set like an underpaid extra in search of the catering table and its inexhaustible supply of Doritos. And then there’s Catherine Zeta-Jones. She plays the insanely complex role of Theo. Theo is – ready for this? – a bisexual. No, seriously, that’s it. There is literally nothing else to her. For the record, I don’t mind characters “outing” themselves in a movie. After all, this is the cusp of the 21st century we’re talking about. But Claire Bloom’s Theo had dreams, desires, and motivations. You know: character. What’s Zeta-Jones’ motivation? Not a clue. Something to do with Prada boots and fab-fab-fabulous outfits, I take it? Only guessing.”


"Joe Berlinger on Michael Moore and The Changing Market for Documentaries": An invaluable piece from the documentarian posted on IndieWire in response to Moore's 13 rules for documentary filmmaking.

“While there are exceptions to every rule, generally speaking, the big event action movie with special efx is the special exception that people are going out to the theater for. As a result, a lot of narrative drama is migrating to television series (a new golden age of TV drama) and the vast majority of documentary funding comes from television or digital platforms like Netflix. Even Michael's work follows this pattern of decline -- the phenomenal $119 million gross in 2004 for ‘Fahrenheit 9/11’ was followed by ‘Sicko’ in 2007 at $24 million and ‘Capitalism: A Love Story’ ‘only’ grossed $14 million in 2009, far, far less than ‘Fahrenheit 9/11’ just 5 years before. Box Office Mojo estimates that the ‘Capitalism: A Love Story’ gross translated into 1.9 million tickets -- still an extremely impressive number for a documentary (sorry, I have to use that word), but not that impressive when compared to a good rating on HBO for a popular documentary, so why define success by theatrical ticket sales?”

Image of the Day

"How to write a film on a piano: Norman McLaren's visual music": Crystal Chan of BFI explores how McLaren "physically carved soundtracks onto celluloid." 

Video of the Day

Actress Michelle Monaghan names her Five Favorite Female Performances, including Frances McDormand's Oscar-winning turn in "Fargo," at

LLVM Project Blog: LLVM Weekly - #38, Sep 22nd 2014

Welcome to the thirty-eighth issue of LLVM Weekly, a weekly newsletter (published every Monday) covering developments in LLVM, Clang, and related projects. LLVM Weekly is brought to you by Alex Bradbury. Subscribe to future issues at and pass it on to anyone else you think may be interested. Please send any tips or feedback to, or @llvmweekly or @asbradbury on Twitter.

I've been at PyConUK this past weekend so I'm afraid it's another slightly shorter than normal issue. I've been talking about Pyland, a programming game that aims to teach children programming in Python (and of course, runs on Raspberry Pi).

The canonical home for this issue can be found here at

News and articles from around the web

A paper has recently been published about Harmony. In the words of the authors "Harmony is an open source tool (built as an LLVM pass) that creates a new kind of application profile called Parallel Block Vectors, or PBVs. PBVs track dynamic program parallelism at basic block granularity to expose opportunities for improving hardware design and software performance." Their most recent paper on ParaShares describes how they find the most 'important' basic blocks in multithreaded programs.

Richard Pennington has written up some more thoughts on cross compilation configuration for Clang.

Clike is a low-level programming language with an extensible syntax based on C. It of course targets LLVM.

If you want your Emacs editor to automatically disassemble LLVM bitcode inside Emacs buffers, then autodisass-llvm-bitcode is for you.

On the mailing lists

LLVM commits

  • The LLVM MC layer can now write BigObj-style COFF object files. r217812.

  • X86AtomicExpandPass has been removed in favour of using the generic AtomicExpandHooks (which now has the necessary hooks). r217928.

  • llvm-cov's internal API has been reworked. r217975.

Clang commits

  • Clang can now use 'response files' when calling other tools when the length of the command line exceeds system limits. r217792.

  • The -Wbind-to-temporary-copy warning is no longer on by default. r218008.

  • Clang's thread safety analysis gained -Wthread-safety-reference which warns when a guarded variable is passed by reference as a function argument. r218087.

Other project commits

  • libcxx gained some support for using newlib as its C library. r218144.

Arduino Blog: A keyboard for Minecraft addicted to customize the gaming experience


The award-winning Minecraft is a very popular PC game and also pretty addictive. It was originally created  by Swedish programmer Markus “Notch” Persson, later developed and supported on different platforms and recently acquired by Microsoft for 2.5$ billions.

Arduino user lakhanm shared  a DIY keyboard prototyped with Arduino Uno and substituting the basic keyboard controls such as move forwards or backwards. The project is also compatible with most of the Arduino boards. 

Take a look at the circuit below and grab the sketch and bill of materials at this link.



All Content: NYFF 2014 Video Interview: Kent Jones, Director of the New York Film Festival


For my generation, few names loom larger over film criticism than Kent Jones. He's done it all: made films with Martin Scorsese, worked as an archivist, crafted screenplays for esoteric auteurs, written definitive pieces of criticism on major works of art and crafted polarizing state-of-the-art essays that have sent everyone with a cellphone scrambling to add their two cents on twitter. For our purposes, the most important of his recent achievements is becoming the director of The New York Film Festival. It's the last of the major festivals of the year before awards season takes over the consciousness and schedule of cinephiles everywhere, a gathering of a year's worth of singular arthouse achievements and crowd-pleasing genre fare alike. The festival has an eclectic slate and an identity that's hard to quite put into words. I've come to the festival as a spectator many times but I've never had to consider what its place is in the cultural landscape before right now, and I figured there was no better brain to pick than that of Kent Jones. A tall, confident figure, Jones speaks in the most calming register, his consonants like syrup glueing his vowels together. I could listen to him talk about film for hours (which you should do if you have the time) but today you'll have to make do with ten minutes about his vision for and history with the New York Film Festival. Stay tuned for more interviews and coverage from myself and Godfrey Cheshire.

Kent from Scout Tafoya on Vimeo.

Planet Haskell: Tom Schrijvers: Postdoctoral Position in Programming Languages at KU Leuven

The Declarative Languages and Artificial Intelligence (DTAI) group of KU Leuven
(Belgium) invites applicants for a postdoctoral position in the area of
programming languages. This position has been created at the occasion of the
new appointment of prof. Tom Schrijvers as research professor at KU Leuven. The
position's aim is to reinforce the research activities in functional
programming, logic programming and/or programming language theory.

To apply you must hold a recent PhD (or be about to graduate) in one of the
above areas of programming languages. Candidates are expected to have
high-quality publications in peer-reviewed conferences and journals.

The postdoc will work closely with prof. Schrijvers and his PhD students,
participate in ongoing research activities and enjoy the freedom to develop new
lines of research.

The position is for 2 x 1 year and can be further extended. The salary is
competitive and the starting date negotiable.  Moreover, KU Leuven's policy of
equal opportunities and diversity applies to this position.

Please send your application to prof. Tom Schrijvers (tom dot schrijvers at cs
dot kuleuven dot be) by October 15, 2014. Your application should contain:

 - A cover letter explaining your interest in the position.

 - Your curriculum vitae.

 - A short research statement (max. 3 pages).

 - The names and contact details of three people who can, if asked, write
   letters of reference.

The Rhizome Frontpage RSS: Rhizome Today: Incomplete Histories

iGalerie, curated by Claude Closky, Simon Lamunière, Jean-Charles Massera and Benjamin Weil. Designed by Claude Closky.

TheSirensSound: Tunturia

Like the desolate yet majestic plains of the arctic north, Tunturia’s sound is at times both harsh and beautiful combining elements of post-rock, ambient soundscapes and experimental noise. Formed in late 2005 the band quickly became a vehicle through which its members were able to explore concepts and ideas through music. Intricate without being technical, grand in scope without the pretension, lush without losing intensity, the band forged ahead writing new material that at times teetered between the edges of progressive and hauntingly minimal.

Armed with an array of guitar pedals, synth pads and thousands of audio samples Tunturia recorded their debut album in the summer of 2006 in an ambitious studio tour-de-force. The result is Maps, a 10 song album exploring the idea of various world regions traversing the globe both culturally and geographically. As ambitious as this record may seem, it marks only the first phase in the band’s ongoing evolution. With the release of their debut album Maps, instrumental post-rock outfit Tunturia have been very busy. Headlining the first Son / Lumiere Music & Arts showcase in Toronto and using the event as the auspicious occasion needed to launch the record, they soon embarked on a twelve date tour of Eastern Canada bringing their unique blend of atmospheric noise and deftly crafted melodies to a whole new audience.

< < < < < [ 2014 Title "Halls Of Sky" ]. > > > > >

Tunturia is back, is back with a 5 track album! The Canadian collective that explore musical depths have produced Halls of Sky, a continuation of their sonic travels. Whereas Maps and Invisible Cities relied on instrumental sounds, occasionally using voice samples, Halls of Sky sees the band using vocals, an intriguing blend! The album is available in September 2014 as a digipack CD (€10) or a digital download (€0 or more).

“One of the few other bands that can fit into that scenery so beautifully is Toronto’s Tunturia, an on-and-off post-rock group with the best handle on the quiet/loud dynamic this side of Explosions in the Sky. Unlike that instrumental juggernaut, though, Tunturia treats its quiet moments as more than just mechanisms to set up the big climax. When the eruption does come, it also packs a lot more bite (distortion, volume, emotion, awesome) than many of the derivative bands in the genre.” – Knox Road

< < < < < [ [ HALLS OF SKY ] | [ FACEBOOK ] ]. > > > > >

Tunturia - Halls Of Sky

Artist – Tunturia
Album – Halls Of Sky [ * * * * * ]
Release Date – 2014
Genre – Ambient, Experimental, Post-rock [ POST OF THE DAY ]


01 – Ritual
02 – Halls of Sky
03 – And There Goes A Child Of The Universe, No Less Than The Trees
04 – Is It For All Time This Feeling of Joy
05 – Dark Summer Dawn
Tunturia – Halls Of Sky


Artist – Tunturia
Album – Invisible city [ * * * * * ]
Release Date – 2011
Genre – Instrumental, Post-rock, Experimental [ GET IT ]


01. Kitezh
02. Betrayal
03. Battle
04. Sinking
05. Discovery
06. Reflection
Tunturia – Invisible City

Artist – Holoscene / Tunturia
Album – Split [ * * * * * ]
Release Date – 2010
Genre – Instrumental, Post-rock, Post-metal [ BRILLIANT SPLIT ]


01 – Holoscene – Now She is Lost
02 – Tunturia – Of The Valley That Was Paradise They Made a Desert and Called it Peace
Holoscene / Tunturia – Split

Artist – Tunturia
Album – Maps
Year – 2007
Genre – Instrumental, Post-rock


01 Panic Attack 5:20
02 Echoes of an Unmoved Mover 6:35
03 Silence Is Constant 2:18
04 Cast Shadows on Clouds 8:09
05 October 4 1957 (Prologue) 3:03
06 Satellites 7:32
07 Tunturia 4:49
08 These Are the Words 5:48
09 Robots Building Robots Building a Nation 3:38
10 Lost, in the Hidden Forest 8:45
Tunturia – Maps Password –

All Content: "Life Itself" Debuts in London: Dogwoof Weekender


LONDON was one of Roger’s favorite cities and he would have been thrilled to know that the Steve James directed documentary about him, "Life Itself," will be debuting there this week as the opening film of the Dogwoof Weekender.

Dogwoof is a prestigious distributor of independent films celebrating its tenth anniversary as a distributor. Since 2004m it has released over 120 films, including independent films that have won or been nominated for Oscars or BAFTA awards like "The Act of Killing," "Restrepo," And "Blackfish."

"Life Itself" and five other films being distributed by Dogwoof will be exhibited at the ICA. The Institute of Contemporary Art was founded in 1946 by a group of artists, and continues its support of vibrant artistic exchange in the UK. Dogwoof is throwing itself a birthday bash at the ICA from September 26-28 (called Dogwoof Weekender), and chose to open with what it calls “the highly anticipated” showing of LIFE ITSELF on September 26.

Roger had a love affair with London, stemming from his first visit there in 1966 after studying abroad in Cape Town, South Africa on a Rotary fellowship. His book “THE PERFECT LONDON WALK” is still considered an eccentric masterpiece of a tour guide. Read Katie Engelhart’s review of it at here.

To read more about Dogwoof Weekender, or if you are in London, and want to buy a ticket, click here.

Planet Lisp: news: Server migration completed

Thanks to the hard work of everyone in the team we have successfully (it seems) migrated to a new machine.

While a lot of care went into ensuring that all services could be preserved, it is quite unlikely that we didn’t miss something. Please let us know if you find something that used to work but doesn’t anymore by writing to clo-devel(at)

TheSirensSound: Electric Caves

Electric Caves Profile

The warning is that unless the course of history changes, men all over the world will lose their most human qualities, will become soulless automatons and will not even be aware of it. Still sleeping in the midst of the underground, Electric Caves did find praise with the limited release of ‘Solace Furnace Transformation’ in 2011. The album cracked into diverse homes from within government whistleblowers, environmental groups, anarchists, and the entheogen community alike.

Upon networking within those communities, Electric Caves has been invited as an artist to participate in Horizons: Perspectives On Psychedelics, Hour Of The Time’s East Coast Researchers Conference, Occupy Wall St. NYC’s Think-Tank, The NYC Anarchist Book Fair, and the distressed rust-belt town of Braddock, PA. The group continues to captivate live audiences sharing the stage with a diverse range of acts from Philadelphia’s post-metal giants, Rosetta to electro kingpin CX KidtroniK (Atari Teenage Riot, Saul Williams/Trent Reznor collaborator). On September 21st, 2014 ‘History of Illusion’ finds itself a DIY-release with further exploration into the psych through the realms of post industrial, illbient, ambient drone, krautrock, big beat, world music, and shoe gaze.

For fans of:

Zoviet France,
The Prodigy,
NIN Swans,
Tribes Of Neurot,
Death Grips,
Fever Ray.
and Third Eye Foundation,

‘Waiting’ feels like you were dropped off in some abandon mental institution and upon entering you hear some eerie musical ambiance in the distance. You are intrigued to find where the source of this sound generates and protrude into every room closer and closer to its proximity… and just when you think you’ve found the source at the foot of it’s door, it disappears into the cold, dreary darkness in the realms of human torture and control. __[ Rik Clay of The Cosmic Mind ].

“A Breathtaking Landscape” A really great album. A soundtrack for the thinkers that challenges the media, the overabundance of technology, and the definitions of personal freedoms. Informative, experimental, and aesthetically satisfying. There is an appreciation for the use of psychedelics while acknowledging our global responsibility. __[ Mike Lisse ].

“I’m a big fan of ‘real’ mind-altering music. To me the problem with most of this kind of music, is that the truly spicy stuff, often is also very dark. I find that frightning ’cause this music can, if you allow it, get into your mind and emotional state in a very intense way. Now it’s great if what you allow to get in is the good aspects. Most of the material in those days were made by lost, frustrated, and desperate people, so often is their music. A truly dark psychedelic piece can sort of get to you and make you feel that dark nastiness. Maybe that’s the problem overly sensitive people like me have to deal with, just like the darker trips… not all of us can handle them. The material on this album struck me as intensively trippy and creepy.” __[ The Psychedelic Review ].


Electric Caves - History Of Illusion

Artist – Electric Caves
Album – History Of Illusion [ * * * * * ]
Release Date – 2014
Genre – Electro’, Experimental, Industrial, Post-industrial [ SUPER NICE ]


1. Oversocialized 06:38
2. Visualize Industrial Collapse 03:29
3. War On Terror 04:12
4. You Can’t Murder My Soul 07:01
5. Lawful Levitate 04:47 | 6. Pacifier 07:16
Electric Caves – History Of Illusion


Electric Caves - I Am The Beast I Worship

Artist – Electric Caves
Album – Death Grips – I Am The Beast I Worship (Electric Caves Remix)
Release Date – 2014
Genre – Electro’, Experimental, Industrial, Post-industrial [ THE GOOD ONES ]


1. I Am The Beast I Worship 04:17
Electric Caves – Death Grips – I Am The Beast I Worship (Electric Caves Remix)


Electric Caves - Solace Furnace Transformation

Artist – Electric Caves
Album – Solace Furnace Transformation
Release Date – 2011
Genre – Electro’, Experimental, Industrial, Post-industrial, Rap, Dub


01. Waiting 02:53
02. Culture Rape 04:02
03. They Came From Inner Space 01:56
04. Gidget Gein 04:46
05. Natives 05:08
06. High Hopes 05:29
07. Living On Borrowed Time 02:11
08. Vine Of Souls 06:12
09. All flows, All sin 05:31
10. Who Knocked Down Tesla’s Towers? 05:01
11. Through The Fuzz Is True Sight 03:55
12. The Mushroom Jungle In Modern Times 04:32
Electric Caves – Solace Furnace Transformation


Electric Caves - Imagine The Blind Dreaming

Artist – Electric Caves
Album – Imagine The Blind Dreaming
Release Date – 2009
Genre – Electro’, Experimental, Industrial, Post-industrial [ THE GOOD ONES ]


01 – Imagine The Blind Dreaming
Electric Caves – Imagine The Blind Dreaming

Electric Caves

All Content: Why I Left


In early September, TMZ released a surveillance video showing Ray Rice knocking out his then-fiancée Janay Palmer in an Atlantic City casino elevator. Although the incident took place in February of this year, the video sparked debate: Why did she stay? Why did she marry him in March, a day after he was indicted for aggravated assault against her? I don’t know Ray Rice. I don't Janay Rice. None of us do. I can't tell you if that was unusual behavior for either Ray or Janay. The TMZ video inspired Beverly Gooden to start a hashtag conversation #WhyIStayed. While hashtags serve a social purpose, every domestic violence case is different, and not all of them are exciting enough to inspire Internet outrage or feature films. My experiences with domestic violence wouldn’t fit the narrative of cinematic representations nor would they have ignited the same international controversy of the Rice surveillance video.

Cinema has a long attempted to capture the very personal crisis of domestic violence. Movies like the 1984 TV movie "The Burning Bed" re-tell dramatic tales of women who have been beaten down for years, lost their confidence and even their sanity. The movie which starred Farrah Fawcett, is based on the story of Francine Hughes, who, in March of 1977, set fire to the bed where her husband James "Mickey" Hughes was sleeping. Accused of murder, Francine was acquitted by a jury: not guilty by reason of temporary insanity—a defense first used in the U.S. to explain why a rich man killed his wife's lover. Hughes had suffered 13 years of abuse.

The 1992 TV movie, “When No One Would Listen,” is also based on a true story about Pamela Guenther and her husband, and eventual murderer David (renamed Jessica and Gary and played by Michelle Lee and James Farentino). Pamela left, found work and fell in love, but her husband found her safe house and stalked her to her work, shooting her in front of their children in 1987. David had previously been acquitted of killing a neighbor under Colorado's so-called "make-my-day" law which says people can use deadly force against intruders in their homes. Pamela knew what David was capable of and although she was scared she left. But breaking up is hard to do and a Frontline episode documented just how hard Pamela tried and how the legal system failed her.

The 1991 Julia Roberts vehicle “Sleeping with the Enemy” did no favors for people with obsessive-compulsive personality disorder. Roberts’ portrayed a woman who has escaped her abusive OCPD husband in Cape Cod and rebuilds her life in another beautiful setting, Cedar Falls, Iowa. Based on a Nancy Price novel by the same name, the movie was a box office success, although Roger Ebert gave it only 1.5 stars, writing that it was "a slasher movie in disguise, an up-market version of the old exploitation formula where the victim can run, but she can't hide." The movie also doesn't deal with the financial constraints that most women find themselves in when they leave.

In the South Korean 1985 period drama, "Adada," a deaf-mute woman enters a marriage that turns sour and is sent back to her family who refuses her. Left without a home or family, she turns to a poor family friend who also becomes abusive. Her final exit is death; she drowns.

In the 2002 Academy Award-nominated movie, "Twilight Samurai," (Tasogare Seibei), the protagonist's love interest returns home from an abusive marriage. When her husband attempts to force her return, the protagonist, Seibei (Hiroyuki Sanada) defeats him in a duel.

More compelling and complex is the 1994 New Zealand movie, "Once Were Warriors." Against her parents' wishes Beth married Jake. They are both Maori and end up living with their five children in a dirty house. The eldest daughter keeps a journal and the eldest son keeps away. Jake is fired and is satisfied living on the dole, getting drunk at a local pub with friends and getting into fights. The couple has drunken parties and Beth gets hit when they argue.

Beth stays because she, too, is flawed. She is passive and yet passionately loves Jake. They live in poverty clinging to each other in a culture where they have have been made outsiders in their homeland. The Maori subculture is losing against the imported British culture. Yet should the Maori adapt and acculturate? Should the Maori be beaten into submission and passively accept this cultural imperialism? One wouldn't ask why they stay for where else do they have to go?

In a minority culture, criticism of male dominance and even dirty secrets like domestic violence isn't always welcome. Traditions often reinforce traditional roles. The Asian and Pacific Islander Institute’s 2009 study on domestic violence didn’t give statistics for Maori, particularly in New Zealand since it is a U.S. study of a U.S.-based population, but its statistical information indicated that 41 to 61 percent of the Asian or Pacific American respondents had experienced domestic violence.

The 2000 report on domestic violence by the Department of Justice gathered different statistics: "12.8% of Asian and Pacific Islander women reported experiencing physical assault by an intimate partner at least once during their lifetime; 3.8% reported having been raped. The rate of physical assault was lower than those reported by Whites (21.3%); African-Americans (26.3%); Hispanic, of any race, (21.2%); mixed race (27.0%); and American Indians and Alaskan Natives (30.7%). The low rate for Asian and Pacific Islander women may be attributed to underreporting."

I watched "Once Were Warriors" with a man I once loved, but against whom I eventually filed a restraining order. Why do people stay? Because they are afraid of the anger that leaving would provoke, because they will not get the support of their family and friends, because some part of their culture tells them this is part of being a woman, and because love hurts, because the abuse isn't so bad (yet) and because people laugh at jokes about men putting women in their place. People stay because, in this culture, we learn to respond to adversity with violence, and return violence with violence, and, thus, provoke more violence.

The need for violence sparks a need to see vengeance enacted. Take the soul musical version of Cinderella, “Sisterella” which premiered in 1996 at the Pasadena Playhouse. In this adaptation, the protagonist didn’t just end living well and marrying her prince, first she had to punch her stepmother in the stomach. And the audience cheered. In movies like "The Burning Bed" and "Sleeping with the Enemy," the woman gets revenge through violence. That's a very mixed message: a make-my-day or stand-your-ground domestic solution that doesn't work in the real world. Sometimes both partners need counseling in anger management and non-violence.

Why I left was because, in my past, my family also once were warriors. A warrior knows when to fight and when words matter. Why I left was because my father never hit my mother. Why I left was because I knew that had my father been alive, he would have found what was happening unacceptable. And I began a long, lonely journey during which I was stalked, and my car vandalized, and people, mostly men, told me how a proper Japanese woman should behave. Why I left was because I was willing to take that chance, to have faith in God and myself, to shed many friends and find a better, though a less economically stable, life. Why I left is because I don't accept the message of violence and vengeance that the media feeds us today.

TheSirensSound: Irreversible

Irreversible Profile

Atlanta, Georgia’s Irreversible mark a return to the glorious past with their latest release Surface. Gone are the hardcore/alternative elixirs from their last two releases, Ashes and Thorn. Back are the post metal capstones from Sins and Light. I love the reinvention. Not that Ashes and Thorn are bad albums, in fact, they are quite good, but that’s all they are – good. Irreversible are at their best when they are playing expansive, dynamic and mystifying post metal. Surface is another trophy for Irreversible’s mantle and a top-tier listen for atmospheric metal enthusiasts wanting spacey and musing yet thick and supple post metal.

Musically, it’s the most diversified Irreversible album to date because Surface uses every post metal trait in the book. Beautiful noodle-y guitar motifs, crunching layered riffs and minimalist but bruising drum work are at the epicenter. Selective programming and electronics elevate the sound high into the atmosphere and sparse vocal content and some samples facilitate within the music. Post metal’s greatest asset is it’s ability to sound soothing for minutes and then build towards full blown amplification with oppressive instruments in full force – and although crescendo-style songs are pedestrian among bands in this genre, Irreversible are masters of this craft. The production is done well, the bass is especially cavernous, and the vocals, a potpourri of spoken word, clean singing and sludge-style yelling, are rooted precisely beneath the music. The copious atmosphere is ominous and totally disarming.

Yes, I am an Irreversible fan boy, and although they probably aren’t on anyone’s A-list of post metal bands, this should have no bearing on the willingness of post metal devotees to give this album a diligent listen. With 3 songs and 40 minutes of music, Surface begins in near silence and then slowly swells to synth-led ambiance to a massive barrier of bedlam and mayhem. Expressions of both mournful endlessness and immense satisfaction in beauty and human existence signifies Surface’s highs and lows. It effortlessly delves into earthly depths and ascends celestial heights. Irreversible have returned to their prime with distinction and polarity. __[ Metal Storm ].

< < < < < [ [ BANDCAMP ] | [ FACEBOOK ] ]. > > > > >


Artist – Irreversible
Album – Surface
Release Date – 2014
Genre – Ambient, Sludge-metal, Post-rock, Post-metal [ AWESOME ]


1. Degloving Injury 13:57
2. Side Effects Of Living 12:19
3. (Husk) Corpse Pose 14:56
Irreversible – Surface


IRREVERSIBLE - Ashes Remastered + Remixes

Artist – Irreversible
Album – Ashes (Remastered + Remixes)
Release Date – 2013
Genre – Ambient, Sludge-metal, Post-rock, Post-metal [ AWESOME ]


1. Prime 09:06
2. No Pure Conception 07:38
3. The Egregore 08:42
4. Ashes 09:29
5. Peasant – Prime (Torn Down, Rebuilt) 06:58
6. Distal – No Pure Conception (Beautiful Filth) 05:15
7. Crucifiction – The Egregore (Bones Scraped Clean) 05:18 | 8. Ashes (Undone) 13:18
Irreversible – Ashes (Remastered + Remixes


Irreversible - Thorn

Artist – Irreversible
Album – Thorn
Release Date – 2012
Genre – Ambient, Sludge-metal, Post-rock, Post-metal [ AWESOME ]


1. Hellbliss 02:58
2. Scabbed 02:37
3. Black Cross Black Shield 03:54
4. People Who Still Need Help 05:07
5. Ball Bearings and Rat Poison 02:24
6. Heavy With Human Fat 02:25
7. A Sun Dies Every Second 02:28
8. Damaged Psyche (Transparent Fool) 05:47
Irreversible – Thorn


Irreversible - Age

Artist – Irreversible
Album – Age
Release Date – 2006
Genre – Ambient, Sludge-metal, Post-rock, Post-metal [ AWESOME ]


1. Irreversible – –:– 05:13
2. 24:33 08:18
3. Intermission 02:33
4. 13:42 05:20 | 5. 8:22 08:22
Irreversible – Age


Irreversible - Sins

Artist – Irreversible
Album – Sins
Release Date – 2007
Genre – Ambient, Sludge-metal, Post-rock, Post-metal [ AWESOME ]


1. Tambora 08:44
2. Strike Your Heel 01:50
3. Blackness that Spread 02:01
4. Heavy Bones 02:36
5. Sins 10:46
6. Cocytus 04:10
7. …And Beyond the Infinite 03:03
8. Embalmed, Empowered 00:58
9. Iblis 09:57
10. Liberation through hearing in the Intermediate State 03:25
11. Synaesthesia 01:44
Irreversible – Sins


Irreversible - Light

Artist – Irreversible
Album – Light
Release Date – 2009
Genre – Ambient, Sludge-metal, Post-rock, Post-metal [ AWESOME ]


01. Boundary Dissolution 05:58
02. Sacraments 01:39
03. Time Compressing 04:34
04. Elements 02:11
05. Quantum Exposition 06:03
06. Ego Collapsing (free) 04:44
07. Epiphanies 05:21
08. Resonance 16:05
09. Soul Expanding 04:07
10. Paradox Integration 05:59 | 11. Messiahs 02:281
Irreversible – Light


Michael Geist: CIRA Election 2014: Time To Vote

The annual election for the Canadian Internet Registration Authority board of directors opened last week, with voting ongoing until September 24th. All CIRA members (anyone with a dot-ca domain is eligible to become a member) are entitled to vote. I am currently a member of the board having been elected in 2012. Over the past year, CIRA has made great strides in better fulfilling its public interest mandate, most notably by launching the Community Investment Program. The CIP provided grants to 29 organizations for Internet and technology related projects, allocating over $1 million in the process.  I was the chair of the committee and was proud of the wide range of projects and initiatives that will benefit from CIRA funding.

This year’s election features four spots on the board: three positions coming from candidates nominated by an independent nominating committee and one position for candidates nominated by members. There are many great candidates drawn from current board members seeking re-election and new candidates that hope to join the CIRA board for the first time.  With so many strong candidates, it is difficult to endorse specific people.  However, it should be noted that current CIRA Board of Directors chair Susan Mehinagic is one of the nominating committee candidates. Ms. Mehinagic may not be a household name within the Internet community, but she played a pivotal role in helping to launch the CIP in her one year as board chair. She unquestionably deserves member support.

The post CIRA Election 2014: Time To Vote appeared first on Michael Geist.

Colossal: Waltz on the Walls: An Aerial Dance Performance on the Side of Oakland’s City Hall

Waltz on the Walls: An Aerial Dance Performance on the Side of Oaklands City Hall stunts Oakland dance

Waltz on the Walls: An Aerial Dance Performance on the Side of Oaklands City Hall stunts Oakland dance

This surprisingly lovely dance performance was filmed vertically on the side of Oakland’s 18-story City Hall building earlier this month at the Art + Soul Festival. The dancers are Amelia Rudolph and Roel Seeber from Bandaloop. (via The Awesomer)

programming: Vector animations with Python

submitted by laMarm0tte
[link] [30 comments]

Hackaday: Cryogenic Machining: Custom Rubber Parts

Cryogenic Machining Custom Rubber Parts

Fashioning a custom, one-off rubber part for your project isn’t usually an option, but [Ben Krasnow] has an alternative to injection molding and casting: machining frozen rubber.

As [Ben] points out, you can’t exactly pop a sheet of rubber on your mill and CNC the needed shape; the bit will push the material around rather than cut it. Freezing the rubber first, however, allows you to carve into the now-hardened material.

His initial setup consisted of a sheet of aluminum with water drizzled on top, a square of neoprene placed on the water, and a steady stream of -60 to -80C alcohol flowing directly onto the rubber. The water underneath freezes, holding the neoprene in place. This proved problematic as the ice-clamp gives way before the milling is complete. [Ben] later adds some bolts to clamp the pieces down, allowing the milling process finish as planned.

A small plastic tray sits underneath this assembly to capture the alcohol as it runs off, feeding it back with some tubing. [Ben] recommends against a submersible aquarium pump—his initial choice—because the pump stopped working after a few minutes immersed in the chilly alcohol. An external, magnetically-driven pump solved the problem although it does require manual priming.

Stick around after the jump for the video and check out some of [Ben's] other projects, like his quest for the perfect cookie, or CT scanning a turkey.

Filed under: cnc hacks, tool hacks

TheSirensSound: Our Friend, Surrender

Our Friend, Surrender Profile

Our Friend, Surrender is a two man project spread across the US. Originally intended as nothing more then a jam session between friends, both found common ground in their love of post rock. Pursuing the goal of creating beautiful and interesting music that they wanted to hear, Our Friend, Surrender was born. Their debut album ‘The Deceiver & The Chariot’ was recorded and released in July of 2011.


2011 – The Deceiver and The Chariot
2012 – Nadir
2013 – The Empty Quarter
2014 – Collapse​|​Ascend
2014 – Wrap The Sun Around Your Wounds

< < < < < [ [ BANDCAMP ] | [ FACEBOOK ] ]. > > > > >

Our Friend, Surrender - Wrap The Sun Around Your Wounds

Artist – Our Friend, Surrender
Album – Wrap The Sun Around Your Wounds
Release Date – 2014
Genre – Ambient, Instrumental, Post-rock [ EXCELLENT ]


01 – Wrap The Sun Around Your Wounds
Our Friend, Surrender – Wrap The Sun Around Your Wounds


Our Friend, Surrender - Collapse​ Ascend

Artist – Our Friend, Surrender
Album – Collapse​|​Ascend
Release Date – 2014
Genre – Ambient, Instrumental, Post-rock [ EXCELLENT ]


01 – Collapse​|​Ascend
Our Friend, Surrender – Collapse​|​Ascend


Our Friend, Surrender - The Empty Quarter

Artist – Our Friend, Surrender
Album – The Empty Quarter
Release Date – 2013
Genre – Ambient, Instrumental, Post-rock [ EXCELLENT ]


1. Polaris 03:23
2. The Empty Quarter 08:20
3. A Never Setting Sun 03:39
Our Friend, Surrender – The Empty Quarter


Our Friend, Surrender - Nadir

Artist – Our Friend, Surrender
Album – Nadir
Release Date – 2012
Genre – Ambient, Instrumental, Post-rock [ EXCELLENT ]


01 – Nadir
Our Friend, Surrender – Nadir


Our Friend, Surrender - The Deceiver and The Chariot

Artist – Our Friend, Surrender
Album – The Deceiver and The Chariot
Release Date – 2011
Genre – Ambient, Instrumental, Post-rock [ EXCELLENT ]


1. After The Dream 04:37
2. A Thousand Kings 04:52
3. Malraux 04:56
4. The Promise Of First Light 05:44
5. Hope For Who We Are Because Of Who We Were 05:46
6. And Our Crowning Glory (What We Become) 08:09
7. Seventh Seal 07:09
Our Friend, Surrender – The Deceiver and The Chariot

Our Friend, Surrender

TheSirensSound: Long Distance Calling

Long Distance Calling Profile

Münster, Germany [ 2006 – present ]

Long Distance Calling is a post rock band based in Münster, Germany. They played their first show and released their first 4 song demo EP DMNSTRTN in late September 2006. They play an instrumental rock music, based on heavy guitar riffing and shaking hands with psychedelic and calm elements. As most bands with this description tend to explore dark and depressive moods, these guys change between timid beauty and hard boiled reality in a tough play, always based on a driving rhythm section.

The demo EP DMNSTRTN became “demo of the month” in VISIONS magazine and ROCK HARD magazine. Reactions to their debut album , Satellite Bay (2007), were unanimously positive. Their second album, Avoid The Light, was released on 24 April 2009 on Superball Music, and it was produced by Kurt Ebelhäuser.


David Jordan (guitar)
Janosch Rathmer (drums)
Florian Füntmann (guitar)
Jan Hoffmann (bass)
Reimut van Bonn (ambience)

< < < < < [ [ FACEBOOK ] | [ NIGHTHAWK ] ]. > > > > >

Long Distance Calling - Nighthawk

Artist – Long Distance Calling
Album – Nighthawk
Release Date – 2014
Genre – Post-rock, Post-metal, Experimental


01. NH 0223
02. NH 1100
03. NH 0549
04. NH 0319
05. NH 0218
06. NH 0713
07. NH 0423
Long Distance Calling – Nighthawk

Long Distance Calling - The Flood Inside

Artist – Long Distance Calling
Album – The Flood Inside
Release Date – 2013
Genre – Post-rock, Post-metal, Experimental


01. Nucleus (07:12)
02. Inside The Flood (06:42)
03. Ductus (06:49)
04. Tell The End (06:01)
05. Welcome Change (07:06)
06. Waves (06:39)
07. The Man Within (06:34)
08. Breaker (08:14)
09. Black Hole (04:28)
Long Distance Calling – The Flood Inside

Artist – Long Distance Calling
Album – Long Distance Calling
Release Date – 2011
Genre – Post-rock, Post-metal, Instrumental


01 Into the black wide Open 08:33
02 The Figrin D’an Boogie 06:09
03 Invisible Giants 07:11
04 Timebends 08:12
05 Arecibo (Long Distance Calling) 05:54
06 Middleville 08:30
07 Beyond the Void 11:41


01 Black Paper Planes 08:00
02 Fire In The Mountain 08:42
03 I Know You, Stanley Milgram! 08:51
04 Philadelphia Bluntset 06:03
05 The Very Last Day 09:28
06 Metulsky Curse Revisited 10:12
Long Distance Calling – Long Distance Calling [ Limited Edition " Disc 1 & 2 " ]

Artist – Long Distance Calling
Album – Long Distance Calling
Release Date – 2011
Genre – Post-rock, Post-metal, Instrumental


01. Into The Black Wide Open (8:32)
02. The Figrin D’an Boogie (6:08)
03. Invisible Giants (7:25)
04. Timebends (7:57)
05. Arecibo (Long Distance Calling) (5:53)
06. Middleville (8:30)
07. Beyond The Void (11:40)
Long Distance Calling – Long Distance Calling


Artist – Long Distance Calling
Album – DMNSTRTN [ * * * * * ]
Release Date – 2006
Genre – Instrumental, Post-rock


1 Fire in the Mountain 7:38
2 The Metulsky Curse 6:12
3 Red Bug vs. Black Bird 6:18
4 The Very Last Day 11:06
Long Distance Calling – DMNSTRTN Password –

Artist – Long Distance Calling
Album – Satellite Bay [ * * * * * ]
Release Date – 2007
Genre – Instrumental, Post-rock


1 Jungfernflug 10:36
2 Fire in the Mountain 7:28
3 Aurora 8:43
4 Horizon 5:54
5 The Very Last Day 10:23
6 Built Without Hands 8:13
7 Swallow the Water 7:26
Long Distance Calling – Satellite Bay Password –

Artist – Long Distance Calling / Leech
Album – 090208 Ep [ * * * * * ]
Release Date – 2008
Genre – Instrumental, Post-rock


1 Metulsky Curse Revisited
2 Black Bird Vs. Red Bug
3 Intermission
4 Oktober
5 Inspiral
Long Distance Calling / Leech – 090208 Ep Password –


Artist – Long Distance Calling
Album – Avoid The Light [ * * * * * ]
Release Date – 2009
Genre – Instrumental, Post-rock


01 – Apparitions
02 – Black Paper Planes
03 – 359
04 – I Know You Stanley Milgram
05 – The Nearing Grave (ft. jonas renkse)
06 – Sundown Highway
Long Distance Calling – Avoid The Light Password –
Long Distance Calling

programming: "The Mess We're In" by Joe Armstrong - A talk by one of the creators of Erlang on the evolution of computing, programming, and the complexity of our industry.

submitted by speckz
[link] [69 comments]

Perlsphere: Perl 5.20.1 is now available

Perl 5.20.1 has been released, this is the latest stable version of Perl.

Changes include performance enhancements and various bug fixes.

Perl 5.20.1 represents approximately 4 months of development since Perl 5.20.0 and contains approximately 12,000 lines of changes across 170 files from 36 authors.

Open Culture: Butterfly Lands on Flutist’s Face During Flute Competition: The Show Must Go On

Last Monday, Yukie Ota, a Japanese born flutist now living in Chicago, was performing in the first round of the Carl Nielsen International Flute Competition in Denmark, when a butterfly flitted across the stage and landed, rather inconveniently, on the bridge of her nose. Not missing a beat — er, a note — Ota took a quick glance at the critter, and played on, unfazed. On the merits of her performance, Ota made it to the final round of the competition held on Saturday. She eventually lost out to Sébastian Jacot, who apparently played the entire competition with a damaged flute. In other news, you can check out Vladimir Nabokov’s delightful butterfly drawings here.

via NPR H/T Mike S.

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Butterfly Lands on Flutist’s Face During Flute Competition: The Show Must Go On 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 Butterfly Lands on Flutist’s Face During Flute Competition: The Show Must Go On appeared first on Open Culture.

Colossal: Circle of Abstract Ritual: A Stop Motion Timelapse Created from 300,000 Photos of Wildfires, Painted Houses, and Riots

Circle of Abstract Ritual: A Stop Motion Timelapse Created from 300,000 Photos of Wildfires, Painted Houses, and Riots video art timelapse stop motion optical illusion

Circle of Abstract Ritual: A Stop Motion Timelapse Created from 300,000 Photos of Wildfires, Painted Houses, and Riots video art timelapse stop motion optical illusion

Circle of an Abstract Ritual is the latest stop motion timelapse from artist Jeff Frost (previously) who creates short films that defies description. This latest work gathers hundreds of thousands of photographs taken over the last two years during wildfires, riots, and inside abandoned houses where he created a series of optical illusion paintings. Frost says the film “began as an exploration of the idea that creation and destruction might be the same thing,” and that it is in part “a way to get an ever so slight edge on the unknowable.” Whatever it is, or is not, it’s really up to you to decide. I definitely recommend watching through to the end for the scene with trees—keep in mind the entire film was created without digital special effects or graphics. (via Vimeo Staff Picks)

Free Electrons » Blog »: 2014 Q3 newsletter

This article was published on our quarterly newsletter.

Free Electrons is happy to share some news about the latest training and contribution activities of the company.

Kernel contributions

Since our last newsletter, our engineering team continued to make significant contributions to the Linux kernel, especially in the area of supporting ARM processors and platforms:

  • 218 patches from Free Electrons were merged into Linux 3.15, making Free Electrons the 12th contributing company for this release by number of patches. See our blog post.
  • 388 patches from Free Electrons were merged into Linux 3.16, making Free Electrons the 7th contributing company for this release, by number of patches. See our blog post.
  • For the upcoming 3.17 release, we already have 146 patches merged, and we have a lot more work being done for future kernel releases.

The major areas of our contributions were:

  • The addition of an ubiblk driver, which allows traditional block filesystems to be used on top of UBI devices, and therefore on NAND flash storage. Only read-only support is available, but it already allows to make use of the super efficient SquashFS filesystem on top of NAND flash in a safe way.
  • Another major addition is support for the new Marvell Armada 375 and Armada 38x processors. In just two releases (3.15 and 3.16) we almost pushed entire support for these new processors. The network driver for Armada 375 is one missing piece, coming in 3.17.
  • Our maintenance work on the Atmel AT91 and SAMA5 processors has continued, with more conversion to the Device Tree, the common clock framework, and other modern kernel mechanisms. We have also developed the DRM/KMS (graphics) driver for the SAMA5D3 SoC, which has already been posted and should hopefully be merged soon.
  • Our work to support the Marvell Berlin processor has started to be merged in 3.16. This processor is used in various TVs, set-top boxes or devices like the Google Chromecast. Basic support was merged including Device Trees, clock drivers, pin-muxing driver, GPIO and SDHCI support. AHCI support will be in 3.17, and USB and network support should be in 3.18.
  • Additional work was done on support for Allwinner ARM SoCs, especially the A31 processor: SPI and I2C support, drivers for the P2WI bus and the PRCM controller, and support for USB.

We now have broad experience in writing kernel drivers and getting code merged into the mainline tree. Do not hesitate to contact us if you need help to develop Linux kernel drivers, or to support a new board or processor.

Buildroot contributions

Our involvement into the Buildroot project, a popular embedded Linux build system, is going on. We have merged 159 patches in the 2014.05 release of the project (total of 1293 patches), and 129 patches in the 2014.08 release of the project (total of 1353 patches). Moreover, our engineer Thomas Petazzoni is regularly an interim maintainer of the project, when the official maintainer Peter Korsgaard is not available. Some of the major features we contributed: major improvements to Python 3 support, addition of EFI bootloaders, addition of support for the Musl C library.

Regular embedded Linux projects

Of course, we also conducted embedded Linux development and boot time optimization projects for various embedded system makers, with less visible impact on community projects. However, we will try to share generic technical experience from such projects through future blog posts.

New training course: Yocto Project and OpenEmbedded

A large number of embedded Linux projects use embedded Linux build systems to integrate the various software components of the system into a working root filesystem image. Among the solutions available to achieve this, the Yocto Project and OpenEmbedded are very popular.

We have therefore launched a new 3 day Yocto Project and OpenEmbedded training course to help engineers and companies who are using, or are interested in using these solutions for their embedded Linux projects. Starting from the basics of understanding the core principles of Yocto, the training course goes into the details of writing package recipes, integrating support for a board into Yocto, creating custom images, and more.

The detailed agenda of the training course is available. You can order this training course at your location, or participate to the first public session organized on November 18-20 in France.

Embedded Linux training course updated

The embedded Linux ecosystem is evolving very quickly, and therefore we are continuously updating our training courses to match the latest developments. As part of this effort, we have recently conducted a major update to our Embedded Linux course: the hardware platform used for the practical labs has been changed to the popular and very interesting Atmel Xplained SAMA5D3, and many practical labs have been improved to provide a more useful learning experience. See our blog post for more details.

Mailing list for training participants

We have launched a new service for the participants to our training sessions: a mailing list dedicated to them, and through which they can ask additional questions after the course, share their experience, get in touch with other training participants and Free Electrons engineers. Of course, all Free Electrons engineers are on the mailing list and participate to the discussions. Another useful service offered by our training courses!

See more details.

Conferences: ELC, ELCE, Kernel Recipes

The Free Electrons engineering team will participate to the Embedded Linux Conference Europe and Linux Plumbers, next month in Düsseldorf, Germany. Several Free Electrons engineers will also be giving talks during ELCE:

In addition, Thomas will participate to the Buildroot Developers Day, taking place right before the Embedded Linux Conference Europe in Düsseldorf.

See also our blog post about ELCE for more details.

Maxime Ripard and Michael Opdenacker will participate to the Kernel Recipes 2014 conference, on September 25-26 in Paris. Maxime will be giving his Allwinner kernel talk at this conference. See our blog post for more details.

Last but not least, we have recently published the videos of a number of talks from the previous Embedded Linux Conference, held earlier this year in San Jose. A lot of interesting material about embedded Linux! Check out our blog post for more details.

Upcoming training sessions

We have a number of public training sessions dates, with seats available:

Sessions and dates

Schneier on Security: Security for Vehicle-to-Vehicle Communications

The National Highway Traffic Safety Administration (NHTSA) has released a report titled "Vehicle-to-Vehicle Communications: Readiness of V2V Technology for Application." It's very long, and mostly not interesting to me, but there are security concerns sprinkled throughout: both authentication to ensure that all the communications are accurate and can't be spoofed, and privacy to ensure that the communications can't be used...

BOOOOOOOM!: Martine Johanna

MartineJohanna 01

Paintings by artist Martine Johanna, from her solo show “The Grand Illusion of Sanity” which is up right now at Walls Gallery in Amsterdam. See more paintings below!

View the whole post: Martine Johanna over on BOOOOOOOM!.

BOOOOOOOM!: Scott Pommier for Flaunt


Beautiful photos by photographer Scott Pommier for Flaunt Magazine. Watch the short video he directed below.

View the whole post: Scott Pommier for Flaunt over on BOOOOOOOM!. Blog: DIY battery tab resistance fine-spot welder



A fine-spot welder is one of the few equipment where building yourself is cheaper than buying. There are already published a lot of DIY spot welders, this one has some unique features:
It can be used in 2 welding applications: opposed and series configuration.
The construction is kept very simple.
Accurate electrode force adjustment.
It has a solid electrode holder, made of a radiator earthing clamp.
An Arduino microcontroller is used to set the weld time accurately.
Creates a double pulse which improves clamping.
The current can be reduced for welding sensitive parts.

DIY battery tab resistance fine-spot welder - [Link] Blog: Li-ion battery charging guide


by pinomelean @

Lithium based batteries are a versatile way of storing energy; they have one of the highest energy density and specific energy(360 to 900 kJ/kg) among rechargeable batteries.

The downside is that, unlike capacitors or other kinds of batteries, they can not be charged by a regular power supply. They need to be charged up to a specific voltage and with limited current, otherwise they turn into potential incendiary bombs.

And that’s no joke, storing such a high amount of energy in a small and normally tight packaged device can be really dangerous.

Li-ion battery charging guide - [Link] Blog: WENS 540 Handheld 10MHz Oscilloscope and Debug Meter

A very brief look at the new WENS 540 Debug Meter with Charles from Trio Test at the Electronex show stand:
This is NOT a review, or my normal blog content, it’s just a quick look because some people may be interested in it. So please, no silly complaints.
A combination 10MHz oscilloscope, 50000 count meter, 8 channel logic analyser, data logger, serial protocol analyser, and digital pattern generator.

WENS 540 Handheld 10MHz Oscilloscope and Debug Meter - [Link] Blog: DC-DC Boost converter tutorial

How boost converters work and how to build a 50W adjustable boost converter circuit.

DC-DC Boost converter tutorial - [Link] Blog: Basics of Op Amp Gain Bandwidth Product and Slew Rate Limit

by w2aew @

Op amp gain-BW product and slew rate limiting are defined, discussed and demonstrated on the bench. This discussion applies to the majority of general purpose op amps on the market – as most op amps are internally compensated with a single dominant pole. High speed op amps, unconditionally stable op amps, non-unity gain stable op amps, high power opamps, etc. may not follow these characteristics because they are often compensated differently in their design. An LM358N is used for the example circuit. Other popular op amps like the LM741, etc. will behave in a similar way. Sometimes the slew rate limit of a device will be the dominant factor in determining the bandwidth, and other times the gain-bandwidth product will determine the resulting frequency response. The video demonstrates why this happens.

Basics of Op Amp Gain Bandwidth Product and Slew Rate Limit - [Link]

BOOOOOOOM!: Artist Pogo Brilliantly Remixes Disney Films into the Chillest Music


I’ve featured Nick Bertke aka Pogo many times before (see here, and here, and my favourite here), his downtempo remixes of Disney films have swept the Internet several times over. His latest “The Trouble” features samples from Peter Pan, Alice in Wonderland, Aladdin, Mary Poppins, and The Little Mermaid. Watch “The Trouble” below, it will instantly put you in a good mood.

View the whole post: Artist Pogo Brilliantly Remixes Disney Films into the Chillest Music over on BOOOOOOOM!.

BOOOOOOOM!: Adam Amengual


Photos by Brooklyn-based photographer Adam Amengual. More below.

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

Open Culture: New Album Lets You Hear Novelist Michael Chabon Singing in a Punk Band During the ’80s

the bats chabon

The bio on Michael Chabon’s website is one of the most punk rock author bios I’ve ever seen. Clearly, the task of writing it was not left to chance or some publicist.

Where other authors might limit themselves to the strictly professional, Chabon spices things up with details on his bar mitzvah, his failed first marriage, and the births of his children.

Where others’ timelines grow weighty with evidence of increasing fame, his reads more like a diary, written in the third person.

Breaking of Hank Aaron’s pure record of 755 home runs amid the now-commonplace American congeries of hypocrisy, excess, bad faith, racism and lies finally proves too much, and the wrong kind, of baseball sadness; turns his back on the game (8/07)

Penetrates to the secret nighttime heart of Disneyland (9/11)

Given his zest for personal milestones, it’s surprising he didn’t see fit to share that he was once the lead singer in a Pittsburgh punk band. It would have fit nicely between the photo in which he and novelist Jon Armstrong are garbed as strolling Renaissance Festival players and the moment he enters an Oakland crawlspace to begin work on The Mysteries of Pittsburgh.

He might rethink this omission, now that Mindcure Records has released the four-track demo that is his band, the Bats’ only studio recording. Also preserved on vinyl is the author’s sole live outing with the band, a 21st birthday gig at the Electric Banana, shortly before he graduated from the University of Pittsburgh and disappeared into that crawlspace. The label describes his vocals as “snotty.” It’s a compliment in context.

Meanwhile in the Pittsburgh Post Gazette, Chabon recalled the Bats as “a fine little band, a unique assemblage of diverse strengths and quirks, anchored by one of the most rock-solid drummers ever to grace the Pittsburgh scene, and hampered only by the weakness of their goofball frontman.”

Thanks to Mindcure Records, Open Culture readers can sample the self-effacing Pulitzer Prize winner’s vintage vocal stylings, above. In the clip away, we have him singing “Jet Away.” Chabon may think he sounds “awful,” but I don’t hear any cause for shame.  You can pick up your own copy of The Bats’ album, ‘Demo 5:26:84,′ with Chabon on vocals, here.

Related Content:

Patti Smith’s Cover of Nirvana’s “Smells Like Teen Spirit” Strips the Song Down to its Heart

Allen Ginsberg & The Clash Perform the Punk Poem “Capital Air,” Live Onstage in Times Square (1981)

The Ramones, a New Punk Band, Play One of Their Very First Shows at CBGB (1974)

Never Mind the Bollocks, Here’s . . . John Lydon in a Butter Commercial?


Ayun Halliday’s bio is also a bit outside the mold. Follow her @AyunHalliday

New Album Lets You Hear Novelist Michael Chabon Singing in a Punk Band During the ’80s 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 New Album Lets You Hear Novelist Michael Chabon Singing in a Punk Band During the ’80s appeared first on Open Culture.

Cowbirds in Love: Corporate Lapdog

Every time you stand up, you have to either sit down again or give your lapdog up for adoption.

Penny Arcade: News Post: How Do They Work

Tycho: We were invited by NASA to see the SpaceX launch with our sons, though the weather didn’t cooperate while we were there and it had to launch the next day.  The trip was rad, though.  A trip whose core purpose did not occur still managed to be rad.  So, imagine how rad it must have been.  We brought Van (who does PA: The Series) over with us; I think there’s still something good there. The boys got along very well, all things considered.  Also, you can be very interested and even obsessed with technology and still be surprised by how fast it moves. …

Penny Arcade: Comic: How Do They Work

New Comic: How Do They Work

s mazuk: stinkypuff: recite haiku and step on the gas


recite haiku and step on the gas

Saturday Morning Breakfast Cereal (updated daily): September 22, 2014


s mazuk: bestofmidi: beck-lost_cause.mid Beck - Lost Cause MIDI



Beck - Lost Cause

MIDI 09.22.2014

New Cyanide and Happiness Comic.

i like this art: Mary Weatherford


Mary Weatherford

Work from her oeuvre.

“Mary Weatherford was sitting in the middle of Los Angeles’s David Kordansky Gallery the day before the opening of her show “Los Angeles” (extended through June 28), her first with the gallery, inspecting her new paintings. Hanging on the walls were large color-driven abstract paintings, each with a neon light or three, the cords dangling bare, leading into transformers on the floor. Weatherford was racking her brain for memories or moods that connect the “Los Angeles” part of her mind with the part that paints the abstractions in hopes of finding that “voilà” moment that would spur her recall, because something was missing.

“There’s one last painting that needs a title,” said the L.A.-based artist, 51, her flecked eyes intensely scanning the canvas. The painting in question—a bleary murk that might be mistaken for lingering nightfall (or more accurately the “magic hour” that cinematographers call the fading light of sundown), punctuated with a bolt of neon light affixed to the canvas—will ultimately be called 1969, a year that is pregnant with history both societal and personal.

“I knew that I had to make a Los Angeles show,” said Weatherford, who moved with her family to Los Angeles from nearby Ojai at the height of the Civil Rights movement, in the late ’60s. The personal elements are purposefully obscured—the paintings, after they are finished, take on a meaning to Weatherford, and the titles are buried clues to the diaristic impulse. The canvases in the current show feature titles like over Rose Hills (Rose Hills is a cemetery in Whittier, Calif.), Oxnard Ventura, the light in Lancaster (famous for its blooming poppy fields), and apparition in Artesia, each laying out some raw sentiment, whether experiential or mood-driven: family histories and personal memorials abound in the work, but remain obfuscated.

Weatherford has worked with the concept of place for many years, but the neons added another level to her work. Despite being active since the ’80s, her true breakout show wasn’t until 2012, “The Bakersfield Project,” at the Todd Madigan Gallery at California State University at Bakersfield, where she was invited to conceive of a show for which she could collaborate with students. The Bakersfield paintings, in much the same way the L.A. paintings are about Weatherford’s history of Los Angeles, were made in similarly abstract ways about the weird central California town known for oil fields and pistachios. Not being the type of painter that cedes the actual paintbrush, Weatherford originally came up with the idea of adhering neons to the work simply as a way to include the students. The show eventually traveled to LA><Art in Los Angeles.

Her later 2012 show “Manhattan,” at Brennan & Griffin, featured similar location-painting-plus-neons that Weatherford saw as conveying narratives of everyday life related to her time in New York in the ’80s (Varick St. was stepping onto the street in the morning, Wonder Wheel was a trip down to Coney Island, and Empire represented glancing up at the Empire State Building on the way home in the evening).

That show was a look back. After graduating from Princeton, she toiled in New York until 1999, when she moved back to Southern California. She received critical acceptance in the years following, but seemed to be caught in a state of perpetual emergence—reviews in ArtForum and the New York Times in the mid-2000s, inclusion in Christopher Knight’s 2007 “45 Painters Under 45″ article in the L.A. Times, selection to the 2008 California Biennial, a Rachel Kushner article calling her a “new blue chip” artist in 2009. Last year, an anonymous poll of curators, gallerists, and advisors identified her as one of “L.A.’s Hottest Artists.” [For the record, the author of this article organized the poll.]

In “Los Angeles,” her history with the city erupts onto the canvas. Each painting carries a memory or a feeling from her past, albeit with abstract execution—more like representations of an idea of a place. The paintings become gauzy mindscapes (not landscapes, mind you, but something much more vulnerable and cerebral), rendered with Flashe vinyl-based acrylic paint that stains and swirls on the canvas in color fields, before being lyrically interrupted by thin vines of colored neon light. The neon causes a push-and-pull with the viewer’s attention, at times drawing the eye towards it, and at other times disappearing into a negative space that frames the paintings underneath, highlighting the canvas. Shadows play behind the neons, adding new levels of texture, while the cords from the lights themselves act as sculptural, draped lines.

When prodded for specificity, Weatherford provides scant details into her Angeleno past. “My childhood was swimming lessons in Inglewood, and then going over to Exposition Park and then up to [the Los Angeles County Museum of Art],” where she would see the seminal 1971 “Art and Technology” exhibition at the receptive age of nine—the show paired artists like Robert Rauschenberg, Andy Warhol, Richard Serra, Rockne Krebs, Robert Irwin and James Turrell with tech-oriented corporations like Kaiser Industries, GE and IBM. Later, after Weatherford moved to the East Coast to study at Princeton, she would find a catalog of the show in the library there, leading her to identify the works she had had stored in her mind.

“My introduction to the broader possibilities of art happened on a field trip to see that show,” she said about her early education to contemporary practice. The LACMA show’s convergence of historical art practices and technological innovation are hinted at in Weatherford’s simultaneous use of abstract paint and neon as a paint stroke. For their part, the painted areas flirt historically with 1960s Color Field works—particularly Ronnie Landfield and Helen Frankenthaler—and some of the neons “zip” down the middle like a plugged-in Barnett Newman.

“The thing that unites these as ‘Los Angeles’ paintings is the light—not the neons, but in the painting,” Weatherford said, pointing out the grays, browns, ochres and greens that play off each other formally. “Los Angeles used to have ‘smog days,’ when you didn’t have to go to school. I was aware of living in a smog basin from the time I was little. So, what I tried to do in this show was to make the colors dirty.”

To Weatherford, the neons could be the city lights of the Los Angeles she’s conjuring, but more than that, they solved a problem she’d been struggling with for years.

“When I had the idea about the lights two years ago, I realized that it was a way to make a painting about the city and about the 20th century,” Weatherford said. “It’s electricity. It’s Modernism.”” – Art in America

Greater Fool - Authored by Garth Turner - The Troubled Future of Real Estate: Tax this

BENT modified

The reporter was insistent. “Please do not blog about this request at least until the day the story airs,” he said. After all, the last thing they need at the CBC these days is for a pathetic blog to scoop The National. What with budget cuts, job insecurity and dwindling audiences as people migrate online, it’s tough to run a TV and radio empire. At least Kevin O’Leary ratted off.

So the topic when the crew reached the GreaterFool corporate offices high about the ant-like masses was this lame idea in Vancouver of taxing people who buy real estate but don’t live in it. As you may know, this is a meme now among the political class in the Mouldy City. One mayoral candidate, a leftie with zero chance of election, wants to slap fees on foreign buyers. Sadly the mayor succumbed, promising a commission to root out the identity of property owners, presumably so the Asian ones can be punished.

“Is that going to make houses more affordable?,” the associate producer asked as Vlad the camera guy aimed LEDs at me and rolled. This is going to be a short interview, I thought, as I said “no.”

When you think about it, taxing something more that you want to cost less is not exactly brilliant. But this is municipal politics. Up is down. The Van proposal is therefore divorced from making real estate affordable to the average citizen. Instead it’s all about xenophobia and sending a message to offshore buyers that they should stay home. This despite the fact non-resident foreigners buy from a willing local, pay closing costs and fork over property taxes. Plus they maintain, insure and often lease out their real estate to more locals who are subsidized when they live there.

Yes, non-local investors (whether from Saskatchewan or Singapore) don’t live in BC and pay income tax there. But they also don’t gum the health care system, take up space on the SkyTrain, drive at 45 kph in the HOV lane or fill the schools with their offspring.

So the only possible, tenuous connection between some guy from Guangdong buying a Coal Harbour condo he visits once a year and the stupid cost of a dodgy house on the East side, is…well… there isn’t one. It’s fiction. It’s politics. It’s the ugly, unfair lashing back of people who feel entitled to real estate but can’t afford it, looking for someone to hurt as a result, and the office-seekers who manipulate them. Imposing double property tax on people with names that sound Chinese won’t do anything to stop investors and speckers, or bring down the cost of a house. But it will reinforce the city’s burgeoning image as intolerant.

We all know why the median SFH price in 604 is currently $1.1 million. CHMC policies, 5% downpayments, voracious lenders, homeowner tax breaks and realtors using fear and deception to magnify the Asian threat have done the job. Throw in HGTV, Global anchorettes, west coast house lust and the willingness to swallow endless debt, and no wonder the BC savings rate is negative.

When prices normalize, Van blows up. Ironically, the sooner the idiots running the place impose a new house tax, the faster it happens.

BTW, the CBC interview is slated for Sunday night. “Unless something more important happens,” the reporter told me. That shouldn’t be too hard.


Well, if you think interest and mortgage rates will stay low for years to come, go argue with the G-20. These guys just carved in stone what this blog has bleated about for a few years – too-cheap rates for too long create too much risk. So, it won’t be long now.

The finance ministers of the 20 countries that matter wrapped up a conflab on Sunday and issued a communique saying cheap money is turning into a global negative. “We are mindful of the potential for a build-up of excessive risk in financial markets, particularly in an environment of low interest rates,” it stated.

Added our own Joe Owe, present at the meeting to add a colourful splash of panache, “What we are looking at here is an apparent search for return in a low-yield environment and the concern is that we are seeing more investing in higher-risk ventures. If there is a reappraisal it could all of a sudden shoot up in volatility and result in losses and it could be disruptive.”

Translation: You’re borrowing w-a-y too much money to buy Vancouver Specials and slanty semis in Leslieville, and that’s driven prices to unsustainable levels. Once the cost of money drifts back to historic levels, you’re probably screwed. Of course, the G-guys are also worried stock markets have been overly-plumped by low rates, since who wants to own bonds anymore? Plus, whole countries are using cheap money to stimulate growth through borrowing and consumer spending (like us) rather than getting productive and creating jobs.

So, be warned. Next year it all changes. Even the disbelief.

Planet Haskell: Joachim Breitner: Using my Kobo eBook reader as an external eInk monitor

I have an office with a nice large window, but more often than not I have to close the shades to be able to see something on my screen. Even worse: There were so many nice and sunny days where I would have loved to take my laptop outside and work there, but it (a Thinkpad T430s) is simply not usable in bright sun. I have seen those nice eInk based eBook readers, who are clearer the brighter they are. That’s what I want for my laptop, and I am willing to sacrifice color and a bit of usability due to latency for being able to work in the bright daylight!

So while I was in Portland for DebConf14 (where I guess I felt a bit more like tinkering than otherwise) I bought a Kobo Aura HD. I chose this device because it has a resolution similar to my laptop (1440×1080) and I have seen reports from people running their own software on it, including completely separate systems such as Debian or Android.

This week, I was able to play around with it. It was indeed simple to tinker with: You can simply copy a tarball to it which is then extracted over the root file system. There are plenty of instructions online, but I found it easier to take them as inspiration and do it my way – with basic Linux knowledge that’s possible. This way, I extended the system boot script with a hook to a file on the internal SD card, and this file then runs the telnetd daemon that comes with the device’s busybox installation. Then I just have to make the device go online and telnet onto it. From there it is a pretty normal Linux system, albeit without an X server, using the framebuffer directly.

I even found an existing project providing a VNC client implementation for this and other devices, and pretty soon I could see my laptop screen on the Kobo. Black and white worked fine, but colors and greyscales, including all anti-aliased fonts, were quite broken. After some analysis I concluded that it was confusing the bit pattern of the pixels. Luckily kvncclient shares that code with koreader, which worked fine on my device, so I could copy some files and settings from there et voilá: I now have an eInk monitor for my laptop. As a matter of fact, I am writing this text with my Kobo sitting on top of the folded-back laptop screen!

I did some minor adjustments to my laptop:

  • I changed the screen size to match the Kobo’s resolution. Using xrandr’s --panning option this is possible even though my real screen is only 900 pixels high.
  • I disabled the cursor-blink where possible. In general, screen updates should be avoided, so I hide my taffybar (which has a CPU usage monitor) and text is best written at the very end of the line (and not before a, say, </p>).
  • My terminal windows are now black-on-white.
  • I had to increase my font-size a bit (the kobo has quite a high DPI), and color is not helpful (so :set syntax=off in vim).

All this is still very manual (going online with the kobo, finding its IP address, logging in via telnet, killing the Kobo's normal main program, starting x11vnc, finding my ip address, starting the vnc client, doing the adjustments mentioned above), so I need to automate it a bit. Unfortunately, there is no canonical way to extend the Kobo by your own application: The Kobo developers made their device quite open, but stopped short from actually encouraging extensions, so people have created many weird ways to start programs on the Kobo – dedicated start menus, background programs observing when the regular Kobo app opens a specific file, complete replacements for the system. I am considering to simply run an SSH server on the device and drive the whole process from the laptop. I’ll keep you up-to-date.

A dream for the future would be to turn the kobo into a USB monitor and simply connect it to any computer, where it then shows up as a new external monitor. I wonder if there is a standard for USB monitors, and if it is simple enough (but I doubt it).

A word about the kobo development scene: It seems to be quite active and healthy, and a number of interesting applications are provided for it. But unfortunately it all happens on a web forum, and they use it not only for discussion, but also as a wiki, a release page, a bug tracker, a feature request list and as a support line – often on one single thread with dozens of posts. This makes it quite hard to find relevant information and decide whether it is still up-to-date. Unfortunately, you cannot really do without it. The PDF viewer that comes with the kobo is barely okish (e.g. no crop functionality), so installing, say, koreader is a must if you read more PDFs than actual ebooks. And then you have to deal with the how-to-start-it problem.

That reminds me: I need to find a decent RSS reader for the kobo, or possibly a good RSS-to-epub converter that I can run automatically. Any suggestions?

PS and related to this project: Thanks to Kathey!

silk and spinach: Where do conditionals come from?

Given that we want to reduce the number of conditional branches in our code, I wonder whether it is possible to catalogue all of the reasons they exist, so that we might then in turn list a few ways to eliminate each category.

So to that end I’ve listed out those origins of conditionals that I could think of. Is this a fool’s errand? Possibly, but let’s give it a try anyway. Please comment if you can spot any that I have missed, and let’s see if we can grow a “complete” list…

  1. Checking a value returned to me from code I own
    This is the essence of the Null Check smell, and more generally Connascence of Meaning. For example, see this (intentionally bad) code from William C. Wake’s Refactoring Workbook:

    public class Report {
      public static void report(Writer out, List<Machine> machines, Robot robot) throws IOException
        if (robot.location() != null)
          out.write(" location=" + robot.location().name());
        if (robot.bin() != null)
          out.write(" bin=" + robot.bin());
  2. Checking a value returned to me from code I do not own
    For example, in Rails projects we often see code of this kind:

    if User.exists?(:user_id =>
      # ...
      # ...
  3. Checking a parameter passed to me by code I own
    Whenever I write a method that accepts a Boolean parameter, I open myself up to the Control Couple smell. Here’s an example from Piotr Solnica’s blog:

    def say(sentence, loud = false)
      if loud
        puts sentence.upcase
        puts sentence
  4. Checking a parameter passed to me by code I do not own
    Here’s an example from the jQuery documentation:

    var xTriggered = 0;
    $( "#target" ).keypress(function( event ) {
      if ( event.which == 13 ) {
      var msg = "Handler for .keypress() called " + xTriggered + " time(s).";
      $.print( msg, "html" );
      $.print( event );
  5. Checking my own state or attributes
    Here’s an (intentionally bad) example from Martin Fowler’s Refactoring:

    class Employee {
      private int _type;
      static final int ENGINEER = 0;
      static final int SALESMAN = 1;
      static final int MANAGER = 2;
      Employee (int type) {
        _type = type;
      int payAmount() {
        switch (_type) {
          case ENGINEER:
            return _monthlySalary;
          case SALESMAN:
            return _monthlySalary + _commission;
          case MANAGER:
            return _monthlySalary + _bonus;
            throw new RuntimeException("Incorrect Employee");
  6. Checking a value I set previously in this method
    For example:

    public String format(List&lt;String&gt; items) {
      StringBuffer s = new StringBuffer();
      boolean first = true;
      for (String item : items) {
        if (first)
          first = false;
          s.append(", ");
      return s.toString();
  7. Checking the type of an exception thrown by code I own
    Here’s an example from the PHP language documentation:

    function inverse($x) {
        if (!$x) {
            throw new Exception('Division by zero.');
        return 1/$x;
    try {
        echo inverse(5) . "\n";
        echo inverse(0) . "\n";
    } catch (Exception $e) {
        echo 'Caught exception: ',  $e->getMessage(), "\n";
    // Continue execution
    echo "Hello World\n";
  8. Checking the type of an exception thrown by code I do not own
    We often find code such as this in Rails controllers:

    def delete
      schedule_id = params[:scheduleId]
      rescue ActiveRecord::RecordNotFound
        render :json => "record not found"
      rescue ActiveRecord::ActiveRecordError
        # handle other ActiveRecord errors
      rescue # StandardError
        # handle most other errors
      rescue Exception
        # handle everything else
      render :json => "ok"

Is this list anything like complete? Can it ever be?

I wonder if a useful next step might be to write down some general strategies for removing each of these kinds of conditonal…?

Quiet Earth: Fantastic Fest 2014: ABC's OF DEATH 2 has Flashes of Fun and Ambition

Drafthouse Films’ anthology feature “The ABC’s of Death” was an ambitious collection of shorts by 26 directors, each given full creative freedom to tell a quick story about, well, death, and the result was a fairly messy mix where the lows unfortunately outnumbered the highs. The follow-up has the same structure, this time with 26 new directors, and it’s a slightly better collection overall, but if you judge the quality of a movie by how many times you check your watch you might find this one as frustrating as its predecessor.

If you’ve seen the first installment, then you’re already familiar with how each story rolls out: one at a time, we’re treated to a quick segment dedicated to a single letter of the alphabet. There’s a smatte [Continued ...]

Quiet Earth: Fantastic Fest 2014: Aussie Zombie Comedy WYRMWOOD Delivers [Review]

In the last few years we’ve had zombies in Cuba and Africa, zombie found-footage pics, genuinely funny zombie comedies, hell, even “The Walking Dead”’s most recent season was its best so far. If you think about it, the zombie subgenre is the perfect platform for experimentation, and cheap or expensive, dead serious or super-cheesy, heady or just an excuse for excessive gore, there are still new stories to tell. Billed as “Dawn of the Dead” meets “Mad Max”, the new Australian film “Wyrmwood” earns its brain supper by simply being a ton of fun.

After a mysterious meteor shower turns select members of the populace into the undead, brother and sister Barry (Jay Gallagher) and Brooke (Bianca Bradey) are separated by miles of Aust [Continued ...]

Disquiet: via

Great moments in doorbell UI.

Cross-posted from

OCaml Planet: Shayne Fletcher: Correlation Coefficient

Correlation coefficient

It's been a while since we looked at anything from the domain of statistics so here's another little bite-sized piece - a function to compute Pearson's "product moment correlation coefficient".

It's a measure of dependence between two data sets. We'll express it in terms of unbiased standard deviation which I didn't write out before so I'll include that function too.

let unbiased_standard_deviation t =

In statistics and in particular statistical theory, unbiased
estimation of a standard deviation is the calculation from a
statistical sample of an estimated value of the standard deviation
(a measure of statistical dispersion) of a population of values,
in such a way that the expected value of the calculation equals
the true value.

let av = arithmetic_mean t in
let squared_diffs =
List.fold_left (fun acc xi -> ((xi -. av) *. (xi -. av)) :: acc) [] t
in sqrt ((sum squared_diffs)/.((float_of_int (List.length t)) -. 1.0))

let correlation_coefficient x y =

The most familiar measure of dependence between two quantities is
the Pearson product-moment correlation coefficient, or "Pearson's
correlation coefficient", commonly called simply "the correlation
coefficient". It is obtained by dividing the covariance of the two
variables by the product of their standard deviations.

let x_b = arithmetic_mean x in
let y_b = arithmetic_mean y in
let s_x = unbiased_standard_deviation x in
let s_y = unbiased_standard_deviation y in

if s_x = 0. || s_y = 0. then 0.
let f acc x_i y_i =
acc +. ((x_i -. x_b) *. (y_i -. y_b)) in
let n = float_of_int (List.length x) in
let s = List.fold_left2 f 0.0 x y in
s/.((n -. 1.) *. s_x *. s_y)

Perlsphere: What is "the Perl community"?

Prompted by RIBASUSHI's blog post, several discussions, github issue threads, and a long IRC chat with MITHALDU (pro tip: don't get him started! :-), I've been thinking about Perl community. I realised that one of the things I was reacting to was the suggestion that for Perl, "IRC == community". So, what is "the perl community"?

Perlsphere: “I Do Not Want To Use Any Modules”

Almost every day on the Perl groups on LinkedIn (or Facebook, or StackOverflow, or somewhere like that) I see a question that includes the restriction “I do not want to use any modules”.

There was one on LinkedIn yesterday. He wanted to create a MIME message to pass to sendmail, but he didn’t want to install any modules. Because “getting a module installed will have to go though a long long process of approvals”.

And I understand that. I really do. We’ve all seen places where getting new software installed is a problem. But I see that problem as a bug in the development process. A bug that needs to be fixed before anything can get done in a reasonable manner. Here’s what I’ve just written in reply:

Of course it can be achieved without modules. Just create an email in the correct format and pass it to sendmail.

Ah, but what’s the right format? Well, that is (of course) the tricky bit. I have no idea what the correct format is. Oh, I could Google a bit and come up with some ideas. I might even find the RFC that defines the MIME format. And then I’d be able to knock up some code that created something that looked like it would work. But would I be sure that it works? In every case? With all the weird corner-cases that people might throw at it?

This is where CPAN modules come in handy. You’re using someone else’s knowledge. Someone who is (hopefully) an expert in the field. And because modules are used by lots of people, bugs get found and fixed.

A lot of modern Perl programming is about choosing the right set of CPAN modules and plumbing them together. That’s what makes Perl so powerful. That’s what makes Perl programmers so efficient. We’re standing on the shoulders of giants and re-using other people’s code.

If you’re not going to use CPAN then you might as well use shell-scripting or awk.

If you’re in a situation where getting CPAN modules installed is hard, then fixing that problem should be your first priority. Because that’s a big impediment to your Perl programming. And investing time in fixing that will be massively beneficial to you in a very short amount of time.

The obvious solution is to install your own module tree (alongside your own Perl) as part of your application. But that might be overkill in some situations, so you could also consider using the system Perl and asking your sysadmin to install packages from your distribution’s repositories. Of course, that might need a change in process. But it’s a change that is well worth making; a change that will improve your (programming) life immensely.

Update: Some very interesting discussion about this over on Reddit.

The post “I Do Not Want To Use Any Modules” appeared first on Perl Hacks.

Cowbirds in Love: The Most Important Meal

It is important you know that these lions ate them for brunch or later, or else this joke wouldn’t work at all!

Uploads from Anthony Frattaroli: Scan-140920-0024

Anthony Frattaroli posted a photo:


Uploads from Anthony Frattaroli: Scan-140920-0025

Anthony Frattaroli posted a photo:

Scan-140920-0025 / 2014-09-23T04:10:11