Bifurcated Rivets: From FB

Pictures of Debbie

Bifurcated Rivets: From FB

Scam time

Bifurcated Rivets: From FB

Hot House

Bifurcated Rivets: From FB

Sweet Georgie Fame

Bifurcated Rivets: From FB


Slashdot: Islamic State "Laptop of Doom" Hints At Plots Including Bubonic Plague

Foreign Policy has an in-depth look at the contents of a laptop reportedly seized this year in Syria from a stronghold of the organization now known as the Islamic State, and described as belonging to a Tunisian national ("Muhammed S."). The "hidden documents" folder of the machine, says the report, contained a vast number of documents, including ones describing and justifying biological weapons: The laptop's contents turn out to be a treasure trove of documents that provide ideological justifications for jihadi organizations -- and practical training on how to carry out the Islamic State's deadly campaigns. They include videos of Osama bin Laden, manuals on how to make bombs, instructions for stealing cars, and lessons on how to use disguises in order to avoid getting arrested while traveling from one jihadi hot spot to another. ... The information on the laptop makes clear that its owner is a Tunisian national named Muhammed S. who joined ISIS in Syria and who studied chemistry and physics at two universities in Tunisia's northeast. Even more disturbing is how he planned to use that education: The ISIS laptop contains a 19-page document in Arabic on how to develop biological weapons and how to weaponize the bubonic plague from infected animals. ... "The advantage of biological weapons is that they do not cost a lot of money, while the human casualties can be huge," the document states.

Read more of this story at Slashdot.

MetaFilter: Alternate reality photos of her life as a married woman

Staging lives: "Who do you want to be? Or, more accurately, who could you have been? Czech photographer Dita Pepe takes these musings quite literally, re-imaging her life in a hundred different scenarios in her series Self Portraits with Men. Pepe's photographs are disarming in their nonchalant subtly, the artist possessing an uncanny ability to become a seamless member of each family."

"Initially posing with men she knew, Pepe eventually began approaching strangers as potential partners, sometimes including her own daughter in the mix. The portraits manage to transcend age, class and culture. Despite the often immediately recognizable archetypes present, Pepe inhabits each one fully. As single photographs, you cannot spot the stranger."

Recent additions: context-stack

Added by thinkpad20, Fri Aug 29 23:15:18 UTC 2014.

An abstraction of a stack and stack-based monadic context.

Slashdot: Ask Slashdot: What Old Technology Can't You Give Up?

An anonymous reader writes: It's the year 2014, and I still have a floppy drive installed on my computer. I don't know why; I don't own any floppy disks, and I haven't used one in probably a decade. But every time I put together a PC, it feels incomplete if I don't have one. I also have a Laserdisc player collecting dust at the bottom of my entertainment center, and I still use IRC to talk to a few friends. Software, hardware, or otherwise, what technology have you had a hard time letting go? (I don't want to put a hard limit on age, so you folks using flip-phones or playing on Dreamcasts or still inexplicably coding in Perl 4, feel free to contribute.)

Read more of this story at Slashdot.

Hackaday: Google[x]‘s Project Wing


Autonomous delivery is the way of the future. Soon, flocks of flying hover crafts will glide through the air like acrobatic birds of flight bringing home items to those who need them. Whether those objects be food, or electronics, or clothes, pretty much anything under the weight limit of these devices can be sent to people anywhere nearby.

Now, Google has stepped into the ring saying that they are interested in delivering products to individuals in the next few years through an innovation they are calling Project Wing. It aspires to reduce the fiction of moving things around. Google released a video introducing the idea which shows a man calling up a service asking for some food for his dog. Instantly, a small delivery vehicle took off from the ground and flew to the intended destination dropping off a package containing delicious doggy treats.

Google clearly states in the video that this type of system is still years away from a readily available consumer product, but it is the first prototype that the company wants to stand behind. Google has marketed the design pretty well so far, and the musical use of [Norman Greenbaum]‘s classic 1969 rock song ‘Spirit in the Sky’ was an obvious, yet totally awesome addition to the video. We are curious how services similar to this will affect postal delivery jobs in the future, and also what the legal ramifications will be, but all that information will surely be discussed very soon. In the meantime though, Google has released an interest form that will take the names and emails of those who would like to partner with them in an effort to bring autonomous product delivery to the world.

Filed under: drone hacks

Recent additions: apiary-purescript 0.16.0

Added by HirotomoMoriwaki, Fri Aug 29 22:56:22 UTC 2014.

purescript compiler for apiary web framework.

Recent additions: apiary-eventsource 0.16.0

Added by HirotomoMoriwaki, Fri Aug 29 22:56:09 UTC 2014.

eventsource support for apiary web framework.

Recent additions: apiary-authenticate 0.16.0

Added by HirotomoMoriwaki, Fri Aug 29 22:55:56 UTC 2014.

authenticate support for apiary web framework.

All Content: The 41st Annual Telluride Film Festival Preview


Every major film festival cultivates a privileged aura. Sundance asserts the primacy of the American independent and heralds the wonder of the breakthrough discovery. Cannes celebrates the cultural prominence of film as a fabric of French cultural life. Toronto animates a very Canadian brand of egalatarianism and social inclusiveness.

The Telluride Film festival, which kicks off its 41st iteration formally today, is the most furtive. In movie language, Telluride is a noir connoting something shadowy and unknowable, and governed by its own internal logic. As a four-day boutique festival that ends on Labor Day, the festival is a much smaller and more intricate gathering than those of Cannes, Venice, Sundance and Toronto.

The festival unquestionably carries disproportionate power. By its very nature, the festival is mutable, a cultural tastemaker, a showcase for international art cinema and a launchpad for the highly-anticipated and prestigious fall titles that shape the awards narrative.

Increasingly the festival is an insurgent with the ability to secure high-profile premieres of major titles such as "Argo" or "12 Years a Slave," which prompted Toronto's executives to announce a somewhat punitive policy that any film with a previous North American premiere is going to be denied any Toronto screenings the first four days.

Timing (and location) is everything here, and the fact that it unfolds a week before Toronto gives it an undeniable cachet. Unless you own a private jet, Telluride is virtually impossible to get to, increasing the sense of this town as projecting a kind of mystique or otherworldly glow. The festival's central motif is mystery, emphasized by the adroit way the festival's top programmers always withhold the films playing until the day before the festival starts.

This year's program is, on paper, a very impressive melange, a 25-film main program culled from the major international festivals and highly anticipated new works balanced out with a collection of tributes, revivals and the special programs selected by this year's guest directors, the husband and wife team of the very gifted Canadian expressionistic filmmaker Guy Maddin ("Archangel") and the talented film writer Kim Morgan.

Seven of the films in the main program mark the American premieres of titles that played in the very strong Cannes competition, like Bennett Miller's "Foxcatcher," Mike Leigh's "Mr. Turner," the Dardenne Brothers' "Two Days, One Night," Russian director Andrey Zvyagintsev's "Leviathan," Quebecois filmmaker Xavier Dolan's "Mommy" and Tommy Lee Jones' "The Homesman."

The most eagerly anticipated work is "Birdman," Alejandro Gonzalez Innaritu's new film with Michael Keaton as a New York actor who's trying to revive his career. The first film by the director of "Babel" in four years, the reportedly audacious and visually inventive feature received a rapturous response when it opened the Venice Film festival on Wednesday.

Right on the heels of heightened excitement is "Wild," by the talented French-Canadian director Jean-Marc Valee coming off his celebrated "The Dallas Buyers Club," working from an adapted script by Nick Hornsby and Reese Witherspoon trying to find her own stride again.

The other films generating heightened response are "The Price of Fame," the new work by the leading French director Xavier Beauvois ("Of Gods and Men"); Ramin Bahrani's film, "99 Homes," with Michael Shannon, set during the financing and housing crisis; Joshua Oppenheimer's documentary, "The Look of Silence," his follow up to his devastating work on the Indonesian death squads, "The Act of Killing"; Nick Broomfield's "Tales of the Grim Sleeper," about the serial killer who haunted a Los Angeles South Central neighborhood.

Two-time Academy Award-winning actress Hilary Swank is the subject of a career tribute. Her work is bracing and judicious as an independent frontierswoman tasked with transporting a group of damaged women across the Nebraska plains in Jones' feminist-tinged piece, "The Homesman." As part of the celebration, the festival is screening the Western, which constitutes her finest work since Clint Eastwood's "Million Dollar Baby."

If anything, Telluride is too much of a good thing, too much great stuff packed into too narrow a framework. How many chances do you get in life to see Joseph Losey's remake of Fritz Lang's "M," or a director's cut of "California Split," one of Robert Altman's best films from the greatest period? Or there's my candidate for the greatest American filmmaker ever, Orson Welles, represented here with the 66-minute version of his "Too Much Johnson" and the subject of a new documentary, "Magic," by Chuck Workman.

The natural wonder and beauty of this place is a knockout, and now we're about to find out if the films stack up.

Recent additions: apiary-clientsession 0.16.0

Added by HirotomoMoriwaki, Fri Aug 29 22:55:44 UTC 2014.

clientsession support for apiary web framework.

Instructables: exploring - featured: Foolproof Burning Man

I've been to the burn (aka Burning Man) a couple more times than I can count. It is a really, really fun time, but camping on the playa (which is to say, on a dry lake bed in the desert) can be a challenge for the uninitiated.This Instructable is my attempt to compile a bunch of the tips and tricks ...
By: bakunin

Continue Reading »

Disquiet: via

I’d attend a Fire Alarm Panel. Heck, I’d be in the front row.

Cross-posted from

Greater Fool - Authored by Garth Turner - The Troubled Future of Real Estate: Throwing in the towel

GIN modified

Jason makes a lot of money on Bay Street and has a spouse who can’t understand why he’s so cheap. “Just my background,” he says. Later he hints he has about two million in cash, works like a dog at his finance job, and just got notice his executive-style rented house has been sold.

“Now I’m committed. I have to buy, or get a new wife.” The target house (probably an offer this long weekend) is owned by people asking $1.7 million and has been on the market many months. Jason says he gave a verbal of $1.5, and was told the vendors were “highly insulted” by the paltry amount proffered. “Then I found out they’d already bought,” he says. “Not only that, but they bought a place for $1.8 million that was originally listed for $2.5 million. So they can be as insulted as they want.”

Of course, I told him to put the vendor in a vice and show him no mercy. The crumble in prices – even in affluent and snooty parts of the GTA like North Toronto – is now leading to some interesting dynamics. Anyone who believes the realtor hype about ever-increasing prices is missing the real news.

In the upper ranges over $1 million there are no more widespread bidding wars. Activity over the summer has shriveled like a dude in a lake. As I detailed here some days ago, the average price of a SFH in 416 dropped 17% between April and August. Of course there is always a seasonal dip (which is exactly why you should buy before Labour Day), but this year it’s been twice the norm.

That’s a big deal when it comes at the same time as a crash in mortgage rates. As you know, five-year fixed-rate home loans are now available for less than 3%. Variable mortgages are as cheap as a buck ninety-nine, which means carrying a bloated and morbidly obese mortgage is easier than ever.

In fact, that’s just what the Royal Bank had to say this week when it released the latest Affordability Report (love that name).

“Housing across Canada became more affordable in the second quarter of this year because mortgage rates dropped, according to a report from RBC,” says the incisive media coverage. “Even with prices moving higher, homes became more affordable in nearly every market across Canada, according to RBC’s Housing Trends and Affordability Report.”

Of course, this report is a disappointment on many fronts. First, its basic premise is that houses are bought with a 25% down payment, then financed with a five-year fixed mortgage at current rates. Because the average down in Canada is less than 10%, the full absurdity of current house prices is masked.

Second, the bank found that to afford the average two-storey house in Canada (even with that whopper of a down) takes 48% of a family’s pre-tax income. What does that mean? Well, here is the bank’s own explanation:

“An affordability measure of 50% (for example) means that home ownership costs, including mortgage payments, utilities, and property taxes take up 50% of a typical household’s pre-tax income. Qualifying income is the minimum annual income used by lenders to measure the ability of a borrower to make mortgage payments. Typically, no more than 32% of a borrower’s gross annual income should go to ‘mortgage expenses’—principal, interest, property taxes, and heating costs (plus maintenance fees for condos).”

In other words, the average detached house is already unaffordable – even with the lowest mortgage rates since ever. It also suggests banks are routinely exceeding gross debt servicing ratios. Or, where else are all these mortgages coming from?

Of course, Toronto and Vancouver are off the charts. To buy a two-story house in the GTA now takes 65% of the average family’s pre-tax income, and in the Mouldy City that number soars to 85% – which is a tad less than a few months ago when home loans were more expensive. Of course, 85% of gross income is more than 100% of take-home pay, which is why household debt is rising faster in BC than anywhere else.

Jason knows this. In his job he moves vast sums of money and is acutely aware of risk and return. For years he’s resisted buying because it made so much more sense to rent – and his ballooning bank account is evidence. He’s 100% convinced Canadian real estate will fall, the way he watched it happen back in California before coming here five years ago. After all, when most people are gutting their incomes and swallowing debt to buy something they could rent for less, how can the outcome be in doubt?

So here’s his plan: Vultch hard and get a low price. Use a home inspection report to hammer it down further (“There’s always something wrong”). Pay for the place with cash. Borrow 65% of it back on a home equity loan and invest. Write off 100% of the interest expense from his sizeable salary. Mitigate his real estate risk with a nice, balanced, diversified portfolio, financed with a loan costing him 1.5%. “If I make only 5% a year, I’m laughing,” he says, “and I can now sustain a $55,000 annual loss on the house.

“Sure hope it’ll be enough. No new wife, though.”

Slashdot: Study: Social Networks Have Negative Effect On Individual Welfare

An anonymous reader writes: A study of 50,000 people in Italy has found the impact of social networking on individual welfare to be "significantly negative." The researchers found that improvements in self-reported well-being occurred when online networking led to face-to-face interactions, but this effect was overwhelmed by the perceived losses in well-being (PDF) generated by interaction strictly through social networks. The researchers "highlight the role of discrimination and hate speech on social media which they say play a significant role in trust and well-being. Better moderation could significantly improve the well-being of the people who use social networks, they conclude."

Read more of this story at Slashdot.

All Content: The Last of Robin Hood


A title as good as "The Last of Robin Hood" deserves a better movie. In fact, it deserves a good movie. 

That's a shame. If you were fantasy-casting this story of the sad final days of Errol Flynn—who became an international star in 1938's "The Adventures or Robin Hood" and died in 1959, reputedly in the arms of a much younger woman—you might not come up with a better group of actors than the one assembled by the film's writing and directing team, Richard Glatzer and Wash Westmoreland

As the aging but still insatiable Flynn, we have Kevin Kline, who often had a slightly swashbuckling air about him—and a mischievous, a times mad gleam in his eye; they've dyed his hair and youthed him up just a bit with makeup, but he's physically a ringer for Flynn during the period covered in this film, the mid-to-late 1950s. Dakota Fanning is appropriately innocent and then conflicted and ultimately haunted as Beverly Aadland, the chorus line extra that Flynn selects as a concubine and aggressively pursues. Susan Sarandon surely knows a thing or two about the kind of male behavior exhibited by stars like Flynn; she was packaged as a bombshell in her twenties. But you'd never know that from the committed way she plays Beverly's mother, Florence, who'd probably have put her own fame fantasies and monetary goals ahead of her daughter's mental health if she hadn't been conditioned to think that a young woman's first job is to land a successful man and subordinate her identity to his. The supporting roles are filled out by capable character actors, including Bryan Batt (Sal on "Mad Men"), Jane McNeill ("The Walking Dead") and, in a bit part, Max Casella as Stanley Kubrick during his pre-"Lolita" phase. 

The problem—and wow, it's a big one—is that none of these actors have material firm enough to shape into a bona fide performance. The characterizations and dialogue are so early-90s TV-movie bland that not only can you not say that Kline is giving a good or bad performance, you can't even accurately describe what sort of performance he's trying to give. His Flynn consists of nothing more than handsomeness and a dashing grin and a charm that soon turns oily. As Florence, Sarandon is stuck in a one-note predatory stage mom part, with Fanning's Beverly as the prey. If special Oscars were given for Oustanding Performance in an Underwritten Role as an Abused and Self-Decieving Young Woman, Fanning would be a lock to win it, but that's not the same thing as saying that the character is worth spending time with, or that the performance has much to do with the character as conceived by the filmmakers (she's mainly a collection of misfortunes wrapped in an array of splendid outfits).

Nor is it possible to discern what, if anything, the filmmakers are trying to say about the sexism practiced in Hollywood then and now, and encoded in Hollywood's fantasies then and now, or the role that women like Florence played in perpetuating and validating the predatory practices of male movie stars, producers, studio heads and the like (she all but pushes her 15-year daughter into the arms of a man who was middle-aged when she was born). 

Nor does it seem to have any clear point of view on the fact that the movie star's first sexual encounter with Beverly is a rape. It's fine, from a dramatic standpoint, that Beverly fails to recognize it as a rape, and falls in love with Flynn anyway; their relationship was complicated, as they say now, and she was a naive kid, and it was a different time— one in which people did not always recognize flagrant abuses of power as such, and instead chalked them up to The Way Things Sometimes Are. What's not fine is that, by failing to think clearly about what happened, the movie's muddled storytelling takes a 1959 point-of-view on Flynn's exploitation of Beverly, treating it as just something that happened on the road to their troubled but still real love. It's not necessary to condescend to the recent past by asserting that current values are morally superior, but it would've been nice to see some recognition, preferably subtle, of the difference between how we'd characterize the rape now versus what the characters delude themselves into calling (a "seduction"). We're left thinking that the couple did all right considering the age difference and a rocky first date.

The movie's point-of-view on the totality of the central relationship is just as bereft of wisdom. Although "The Last of Robin Hood" knowingly compares itself to Vladimir Nabokov's "Lolita" by having Flynn take a meeting with Casella's Kubrick, who adapted the film in 1962, it's just not in the same weight class as the novel or Kubrick's adaptation of same. "Lolita" had a buoyancy and irony and a boundless spirit of invention, plus a sense of the difference between how people describe their lives and what their lives actually amounted to. In comparison, "Robin Hood" is numbingly prosaic. You're just watching an aging sleaze take advantage of a 15-year old girl while her mother reaps whatever benefits she can. The movie offers no insight, no tragic poetry, no startling yet strangely right filmmaking touches, to compensate for the tawdriness. It's just a straightforward account of people enduring or creating misery.

There are many more failings, including a substandard budget (for a period picture) that could've been used imaginatively but instead seems stretched way, way too thin, and pedestrian storytelling, starting with a flash-forward announcing Flynn's death and then working through the fall-from-innocence storyline in a tediously literal way. "The Last of Robin Hood" is only worth seeing if you're fascinated by the sight of superb actors trying to make bricks without straw, as it were, and failing. This film is both sad and saddening. It could have amounted to so much more.

Instructables: exploring - featured: Revamp Old Artwork

Hey everyone!This was just a little project I've been wanting to do for awhile and finally had a chance to get around to it today. You can take old artwork and revamp it with your favourite quote or a word or whatever you like!This project took me 3 hours to make and cost me $6.75. It would take le...
By: brn1986

Continue Reading » Mojolicious-5.34

Real-time web framework Graph-Reader-OID-0.01

Perl class for reading a graph from OID format.

Planet Haskell: Yesod Web Framework: Announcing Persistent 2

We are happy to announce the release of persistent 2.0

persistent 2.0 adds a flexible key type and makes some breaking changes. 2.0 is an unstable release that we want your feedback on for the soon to follow stable 2.1 release.

New Features

  • type-safe composite primary and foreign keys
  • added an upsert operation (update or insert)
  • added an insertMany_ operation


  • An Id suffix is no longer automatically assumed to be a Persistent type
  • JSON serialization * MongoDB ids no longer have a prefix 'o' character.

Breaking changes

  • Use a simple ReaderT for the underlying connection
  • fix postgreSQL timezone storage
  • remove the type parameter from EntityDef and FieldDef

In depth

Composite keys

The biggest limitation of data modeling with persistent is an assumption of a simple (for current SQL backends an auto-increment) primary key. We learned from Groundhog that a more flexible primary key type is possible. Persistent adds a similar flexible key type while maintaining its existing invariant that a Key is tied to a particular table.

To understand the changes to the Key data type, lets look at a change in the test suite for persistent 2.

       i <- liftIO $ randomRIO (0, 10000)
-      let k = Key $ PersistInt64 $ abs i
+      let k = PersonKey $ SqlBackendKey $ abs i

Previously Key contained a PersistValue. This was not type safe. PersistValue is meant to serialize any basic Haskell type to the database, but a given table only allows specific values as the key. Now we generate the PersonKey data constructor which specifies the Haskell key types. SqlBackendKey is the default key type for SQL backends.

Now lets look at code from CompositeTest.hs

mkPersist sqlSettings [persistLowerCase|
      name  String maxlen=20
      name2 String maxlen=20
      age Int
      Primary name name2 age
      deriving Show Eq
      name  String maxlen=20
      name2 String maxlen=20
      age Int
      Foreign Parent fkparent name name2 age
      deriving Show Eq

Here Parent has a composite primary key made up of 3 fields. Child uses that as a foreign key. The primary key of Child is the default key for the backend.

let parent = Parent "a1" "b1" 11
let child = Child "a1" "b1" 11
kp <- insert parent
_ <- insert child
testChildFkparent child @== parent

Future changes

Short-term improvements

Before the 2.1 release I would like to look at doing some simple things to speed up model compilation a little bit.

  • Speed up some of the compile-time persistent code (there is a lot of obviously naive code).
  • Reduce the size of Template Haskell generation (create a reference for each EntityDef and some other things rather than potentially repeatedly inlining it)

Medium-term improvement: better support for Haskell data types

We want to add better support for modeling ADTs, particularly for MongoDB where this is actually very to do in the database itself. Persistent already support a top-level entity Sum Type and a simple field ADT that is just an enumeration.

Another pain point is serializing types not declared in the schema. The declaration syntax in groundhog is very verbose but allows for this. So one possibility would be to allow the current DRY persistent declaration style and also a groundhog declaration style.

Long-term improvements: Projections

It would be possible to add projections now as groundhog or equeleto have done. However, the result is not as end-user friendly as we would like. When the record namespace issue is dealt with in the GHC 7.10 release we plan on adding projections to persistent.

Ongoing: Database specific functionality

We always look forward to see more databases adapters for persistent. In the last year, a Redis and ODBC]( adapter were added.

Every database is different though, and you also want to take advantage of your database-specific features. esqueleto and persistent-mongoDB have shown how to build database specific features in a type-safe way on top of persistent.


Although the persistent code has no dependency on Yesod, I would like to make the infrastructure a little more independent of yesod. The first steps would be

  • putting it under a different organization on github.
  • having a separate mail list (should stackoverflow be prioritized over e-mail?)

Schneier on Security: Squid Skin Inspires Eye-Like Photodetector

Squid are color-blind, but may detect color directly through their skin. A researcher is working on a system to detect colored light the way squid do.... WWW-Google-DistanceMatrix-0.07

Interface to Google Distance Matrix API. HTML-Element-Replacer-0.02

Simplify the HTML::Element clone() - push_content() ritual

OCaml Planet: Richard Jones: virt-v2v: better living through new technology

If you ever used the old version of virt-v2v, our software that converts guests to run on KVM, then you probably found it slow, but worse still it was slow and could fail at the end of the conversion (after possibly an hour or more). No one liked that, least of all the developers and support people who had to help people use it.

A V2V conversion is intrinsically going to take a long time, because it always involves copying huge disk images around. These can be gigabytes or even terabytes in size.

My main aim with the rewrite was to do all the work up front (and if the conversion is going to fail, then fail early), and leave the huge copy to the last step. The second aim was to work much harder to minimize the amount of data that we need to copy, so the copy is quicker. I achieved both of these aims using a lot of new technology that we developed for qemu in RHEL 7.

Virt-v2v works (now) by putting an overlay on top of the source disk. This overlay protects the source disk from being modified. All the writes done to the source disk during conversion (eg. modifying config files and adding device drivers) are saved into the overlay. Then we qemu-img convert the overlay to the final target. Although this sounds simple and possibly obvious, none of this could have been done when we wrote old virt-v2v. It is possible now because:

  • qcow2 overlays can now have virtual backing files that come from HTTPS or SSH sources. This allows us to place the overlay on top of (eg) a VMware vCenter Server source without having to copy the whole disk from the source first.
  • qcow2 overlays can perform copy-on-read. This means you only need to read each block of data from the source once, and then it is cached in the overlay, making things much faster.
  • qemu now has excellent discard and trim support. To minimize the amount of data that we copy, we first fstrim the filesystems. This causes the overlay to remember which bits of the filesystem are used and only copy those bits.
  • I added support for fstrim to ntfs-3g so this works for Windows guests too.
  • libguestfs has support for remote storage, cachemode, discard, copy-on-read and more, meaning we can use all these features in virt-v2v.
  • We use OCaml — not C, and not type-unsafe languages — to ensure that the compiler is helping us to find bugs in the code that we write, and also to ensure that we end up with an optimized, standalone binary that requires no runtime support/interpreters and can be shipped everywhere.

Slashdot: Particle Physics To Aid Nuclear Cleanup

mdsolar sends this report from Symmetry Magazine: Cosmic rays can help scientists do something no one else can: safely image the interior of the nuclear reactors at the Fukushima Daiichi plant. ... [M]uon tomography is similar to taking an X-ray, only it uses naturally produced muons. These particles don't damage the imaged materials and, because they already stream through everything on Earth, they can be used to image even the most sensitive objects. Better yet, a huge amount of shielding is needed to stop muons from passing through an object, making it nearly impossible to hide from muon tomography. ... By determining how muons scatter as they interact with electrons and nuclei within the item, the team's software creates a three-dimensional picture of what's inside. ... To prove the technology, the Los Alamos team shipped a demo detector system to a small, working nuclear reactor in a Toshiba facility in Kawasaki, Japan. There, they placed one detector on either side of the reactor core. "When we analyzed our data we discovered that in addition to the fuel in the reactor core, they had put a few fuel bundles off to the side that we didn't know about," says Morris. "They were really impressed that not only could we image the core, but that we also found those bundles."

Read more of this story at Slashdot.




(Calgary, AB)
Guitar fuckery
(Victoria, BC)
Pushing speakers like weight
Bong Sample
(Edmonton, AB)
Ovulating oscillators
(Edmonton, AB)
Program, destroy, repeat
(Edmonton, AB)
Sexually touching a map
——————————— WWW-Google-CustomSearch-0.18

Interface to Google JSON/Atom Custom Search.

All Content: As Above, So Below


I wish I could recommend "As Above, So Below" more strongly. It's that rare found-footage film with a strong premise,  a memorably eccentric style, and plenty of energy to burn. It's also poorly conceived, and hard to watch. Normally, that's not such a terrible thing when it comes to B-horror films, the kind of genre fare that handily coasts on chutzpah alone. Then again, the novelty of exploring an already-confined spacesubterranean Parisian catacombs—shot through a conspicuous fish-eye lens is only so endearing. That's the biggest stumbling obstacle preventing viewers from enjoying "As Above, So Below," a movie that's as close as recent horror films have come to approximating the feel of a haunted-house attraction. The film's violent, Richard Simmons-worthy shakey-camerawork evokes "Saving Private Ryan"'s Omaha Beach sequence. There's some great impressionistic visual cues throughout the film, as when dust and rubble scatter around the camera during the film's introductory scene. And the movie's cramped setting makes the film atmospheric enough to be frequently creepy. But when the film's protagonists finally put their rinky-dink digital head-rigs down, you will cheer, and it won't be for them.

Since it's a movie-shaped theme park ride, "As Above, So Below" is bogged down by way too much narrative baggage. Human-shaped plot point Scarlett (Perdita Weeks) is our guide through the French tunnels. A super-smart explorer in search of the Philosopher's Stone, Scarlett enlists the help of fraidy-cat language expert George (Ben Feldman, or Ginsberg from "Mad Men"), stoic cameraman Benji (Edwin Hodge), and full-of-it urban explorer Papillon (Francois Civil). Together with Papillon's companions Souxie and Zed (Marion Lambert and Ali Marhyar), Scarlett's group searches the French catacombs for the Stone, and inadvertently discovers what may or may not be a gateway to Hell. Along the way, they're improbably confronted with a laundry list of goofy ghosts and creepy objects, including a haunted telephone, an impossibly deep pool of blood, a burning car, and a malnourished—and probably undead—French raver named La Taupe (Cosme Castro). 

This gruel-thin scenario is perfectly reasonable when you think of it in the context of crass real-life attractions like Berlin's Grusellkabinett, a haunted house attraction built on top of preserved Nazi bunkers. It's garish and excessive, but seeing stone gargoyles, anorexic witches, and hanged men in the midst of an already creepy setting can be fun when you accept that the name of the game is sheer overkill. Morever, Weeks and Feldman don't have to do much to sell their stick figure protagonists' enthusiasm. Feldman and Weeks are charming enough to make you believe that their characters really want to explore, and are therefore always thinking of new, moronic ways to discover the next secret chamber, push through the next tiny hole, and sneak past that one corpse that looks suspiciously like the Bad Seeds' Warren Ellis. You actually won't find fault with their generic need to see and do things that normal, semi-intelligent people know not to, like take the hood off of a hanged man's face. It's a bad idea, but not an offensive decision in a film that sometimes feels like a series of video-game cut scenes you cannot fast-forward through.

Then again, "As Above, So Below" falters most when it tries to be a movie. When Scarlett's group tries to assert themselves as people (!!!) haunted by personal trauma—dead dads, brothers, guys in cars, etc.—the film drags needlessly. Like, I'm sorry, but if you're going to wander around teeny-tiny tunnels that may or may not be the path to an infernal plane of existence, I don't really care what your pre-Hellmouth life was like. That stuff is for your therapist, not a 93-minute survival-horror adventure.

Still, if I could get a clear view of the ghost of your dead gallic buddy, or the aforementioned gargoyle that possibly (?) has took a bite out of your face, you could throw any number of dead friends, relatives, and notary publics at me. The makers of "As Above, So Below" earn points for trying to make their film look different than the preponderance of found-footage junk. But their distinctive, impressionistic camera-work is also head-splittingly alienating. Even viewers with cast-iron stomachs will want a barf-bag, a bottle of Dasani, and a strong shoulder to rest their head on just to prevent early on-set car-sickness. "As Above, So Below" is novel enough to be worth the price of admission, but you'll think twice before getting back in line for a second visit.

MetaFilter: "For years I lived in the dark, part dead, part asleep...."

"... now, my sight and my world and my life have all returned." Vision: Healing the Blind in Ethiopia [vimeo, 10m]

Cataracts are the leading cause of blindness worldwide, accounting for over half of all cases. The condition is reversible by a simple surgery, but in rural areas and developing countries, access to such care is limited. In Ethiopia, approximately 1.3 million of the country's 86M citizens are blind, and blindness and vision impairment affects ~8-12% of Ethiopians over 40. Poverty, distance to hospitals, lack of escorts, and old age prevent many Ethiopians from obtaining treatment.

The Himalayan Cataract Project is one of several organizations working to bring cataract surgery to unserved populations in the Africa and the Himalayas, where they both provide treatment and train local doctors so that the care is self-sustaining. Recently, HCP organized a team of Ethiopian, American, and Nepali doctors and cured over a thousand Ethiopians of blindness in the space of a week. Vision: Healing the Blind is a short movie, told in the patient's own words, documenting the transformative power of the surgeries. The patients' ululations speak for themselves.

Eric Perlman, who made the movie, has also posted other videos documenting HCP work, including this movie of follow-up interviews with the patients a year and a half later [NB: much is repeated here; follow-ups start around 9:50].

Slashdot: Mozilla To Support Public Key Pinning In Firefox 32

Trailrunner7 writes: Mozilla is planning to add support for public-key pinning in its Firefox browser in an upcoming version. In version 32, which would be the next stable version of the browser, Firefox will have key pins for a long list of sites, including many of Mozilla's own sites, all of the sites pinned in Google Chrome and several Twitter sites. Public-key pinning has emerged as an important defense against a variety of attacks, especially man-in-the-middle attacks and the issuance of fraudulent certificates. The function essentially ties a public key, or set of keys, issued by known-good certificate authorities to a given domain. So if a user's browser encounters a site that's presenting a certificate that isn't included in the set of pinned public keys for that domain, it will then reject the connection. The idea is to prevent attackers from using fake certificates in order to intercept secure traffic between a user and the target site.

Read more of this story at Slashdot.

MetaFilter: "The problem is I'm black. That's the problem."

St. Paul police roughly assault and arrest man, who is black and sitting in public area waiting for his kids. [SLYT] Police defended arrest but all charges were dropped by St. Paul police against 27-year old Chris Lollie. Lollie is filing complaint and now plans on suing.

Twitch: Toronto 2014: Exclusive Trailer For Bulgarian Thriller THE LESSON

What happens when a small-town Bulgarian school-teacher is driven to extreme lengths by loan sharks? A lot of tension, it would appear from this new trailer for Kristina Grozeva and Petar Valchanov's The Lesson making its world premiere in the Contemporary World Cinema program at TIFF. Biled as a "dark and wild Eastern European take on Dardenne Brothers style." We'll have more when the fest unspools next week....

[Read the whole post on]

All Content: The Congress


How to make Hollywood poetically tragic when most of the time it's just plain old depressing? The players are forgotten, abandoned, chewed up, spit out and they die everyday, and the show goes on. Geniuses and visionaries have to conform or remain in obscurity with a black cloud following them for the rest of their professional lives. We may never know the vast array of Faustian bargains director Ari Folman was offered after his 2008 film "Waltz with Bashir" was nominated for an Academy Award. For an analogy we might look to the story of Palestinian animator Ralph Bakshi, whose long, illustrious career came to a public halt after Hollywood neutered his vision of the now-largely-forgotten "Cool World." Bakshi knew what he was doing. Hollywood thought they knew better. Nobody won. Folman apparently skipped a public battle over creative control, choosing instead to make a movie about what happens when artists throw themselves at the mercy of the studio system. In "The Congress," Folman's fourth film and second animation/live-action fusion, talent is an organism to be isolated and studied under a microscope, and genius is more curse than blessing. 

Actress Robin Wright (playing herself) is at the end of her tether. Her son (Kodi Smit-McPhee) is losing his hearing and she can't afford to do anything about it because roles have dried up. She's become too difficult and her last dozen films have bombed. The boss of her studio (a typically slimy Danny Huston; never not a delight) offers her one last role. In exchange for a lifetime in retirement, she will give her digital image to the studio for any use they want to put it to. If they want "Robin Wright" to make movies, they no longer have to ask. They just plug her image into a blue screen setting and make "her" act for them. The idea couldn't be any more distasteful, but after a long hard look at her life, and with her son's condition worsening by the minute, she ultimately signs on the dotted line. Then the film jumps ahead twenty years and turns 2D. What happens next is harder to describe. 

"The Congress," playing fast and loose with a source novel by Stanislaw Lem, splits from its version of reality at the 45-minute mark, and at that point becomes a decadent post-modern classic. Wright is invited to a Futurist Congress by her studio (a "restricted, animated zone") and becomes embroiled in a bizarre bit of mental espionage involving a grizzled rogue played by (who else?) Jon Hamm. If it's difficult to put into words what Wright gets up to when she becomes a cartoon, that's partly by design. Sorting out dream from reality would be difficult enough if everything didn't look like one of Bakshi's loony fantasias. "The Congress" has to be both the dystopian minutia that Jonathan Pryce suffers through in "Brazil," and the high-flying daydreams into which he escapes. The physical properties of the futurist congress are the externalization of Wright's dilemma as an artist. Her personality is a liability and her physical properties only matter inasmuch as they can be repurposed at will by a ravenous audience, so why should the world around her be any different? The congress of the title is a place of limitless possibility, palpable menace and almost unbearable melancholy. After all, who would need to escape to a world of elastic existences except those whose lives were already devoid of meaning?

The film's central question is heartbreaking and clearly required a little soul searching from Folman. His cartoon world is like Plato's retreat for animation buffs. Everywhere you look there are traces of Max Fleischer, Frank Tashlin, R Crumb, Walt Disney, Chuck Jones, Studio Ghibli and, of course, Bakshi. It's a wriggling, hilarious headtrip that any fan of underground cartoons would be thrilled to be trapped in, but Folman isn't content to draw in black and white. "Waltz With Bashir" was a wry mix of "Waking Life," Al Jazeera and "The Things They Carried," and it was angry to its core. In "The Congress," that anger has been replaced with a flamboyant, seductive cafard. Folman knows that without motion pictures, so many lives would be upended. Directors, crew members, actors and critics and thousands more besides who have found their lives' true calling depend on the success of the industry. If tomorrow we could end disease but it meant the end of motion pictures, who would give up fantasy for reality? That is the terrifying core of "The Congress." We need stories to mask the hollowness of existence. Movies have given my life more meaning than any religious text ever has, but they're as distracting as they are enlightening. There is no denying the sense of dread and remorse I felt when, in one particularly dispiriting shot we leave a cartoon garden of Eden for a grimy, hopeless reality redolent of "Children of Men" or "1984." "The Congress" is a roll call of the orgiastic pleasures and bountiful comforts that art provides, and, a reminder of what waits for us when we leave the theater. 

Hackaday: THP Semifinalist: Level, The Ultrawideband Radio Module


When you start looking into the Internet of Things, the first thing you realize is that despite there being grand ideas for Internet connected everything, nobody knows how these things will actually connect to the Internet. There are hundreds of different radio protocols being pushed, and dozens of networking schemes currently in development. The solution to this is a radio module that can do them all, talking to all these modules and serving them up to the Internet. This is the idea of [Hunter Scott]‘s Level, a radio module with a frequency range of 30 MHz to 4.4 GHz. That’ll cover just about everything, including some interesting applications in the TV whitespace.

[Hunter]‘s module is based around TI’s CC430, basically an MSP430 microcontroller and a CC1101 transceiver smooshed together into a single piece of silicon. There’s bit of filtering that makes this usable in the now sorta-empty TV whitespace spectrum, something that a lot of IoT and wireless networking protocols are looking at.

If the form factor of the device looks familiar, that’s because it is; the board itself is Arduino compatible, but not with Arduinos themselves; it will accept shields, though, meaning building a bridge to Ethernet or WiFi to whatever radios this board is talking to is really just a change in firmware.

This board is excellent for experimenting with different radio modules, yes, but it’s also great for experimenting with different radio protocols. [Hunter] has been looking around at different mesh networking protocols.

You can check out [Hunter]‘s two minute video overview, along with a more detailed overview of the schematic below.

SpaceWrencherThe project featured in this post is a semifinalist in The Hackaday Prize.

Filed under: radio hacks, The Hackaday Prize

Twitch: Lund 2014: THE GUEST, V/H/S: VIRAL And THE BABADOOK In First Wave

The Lund International Fantastic Film Festival will celebrate its twentieth anniversary this year! That is a lot of time giving the folks in Lund, Sweden a good dose of international fantastic cinema each year. It's once again time for Scandinavia's leading film festival for films of the fantastique and this year it's our 20th anniversary! We will be celebrating in style with 10 days filled with brilliant films, guests from around the world, parties, seminars and all around fun! As every year we'll also have two competition sections at the festival. Our own The Siren which is awarded to the best International film and The Melies d'Argent awarded to our nominee to the prestigious Melies d'Or which is presented to this years best European fantastic film...

[Read the whole post on]

MetaFilter: Always look both ways when running a red light

This week Allstate Insurance released its 10th annual Best Drivers Report for the 200 largest US cities. It's wicked pissah being at the bottom (again).

The report "tabulates property damage collision frequency of Allstate insured drivers from 2011-2012". This year you can see the raw rankings in addition to new adjusted rankings controlling for population, density and weather.

In first place for the fourth time is Fort Collins, CO: "...the results indicate the average driver in Fort Collins will experience an auto collision every 14.2 years, which is 29.6 percent less likely than the national average of every 10 years"

Planet Haskell: Philip Wadler: Howard on Curry-Howard

When writing Propositions as Types, I realised I was unclear on parts of the history. Below is a letter I wrote to William Howard and his response (with corrections he provided after I asked to publish it). I believe it is a useful historical document, and am grateful to Howard for his permission to publish.

Here is my original request.

Subject: The Formulae-as-Types Notion of Construction

Dear Prof Howard,

My research has been greatly influenced by your own, particularly the paper cited in my subject. I am now writing a paper on the field of work that grew out of that paper, which was solicited for publications by the Communications of the ACM (the flagship of the professional organisation for computer scientists). A draft of the paper is attached.

I would like to portray the history of the subject accurately. I have read your interview with Shell-Gallasch, but a few questions remain, which I hope you will be kind enough to answer.

Your paper breaks into two halves. The first describes the correspondence between propositional logic and simple types, the second introduces the correspondence between predicate logic and dependent types. Did you consider the first half to be new material or merely a reprise of what was known? To what extent do you consider your work draws on or was anticipated by the work of Heyting and Kolmogorov, and Kleene's realisability? To what extent did your work influence the subsequent work of de Bruijn and Martin Lof? What was the history of your mimeograph on the subject, and why was it not published until the Curry Festschrift in 1980?

Many thanks for your consideration, not to mention for founding my field! Yours, -- P

And here is his response: 

Dear Prof. Wadler,

As mentioned in the interview with Shell-Gellasch, my work on propositions as types (p-a-t) originated from my correspondence with Kreisel, who was very interested in getting a mathematical notion (i.e., in ordinary mathematics) for Brouwer's idea of a construction (as explained by Heyting). I was not familiar with the work of Brouwer or Heyting, let alone Kolmogorov, but, from what Kreisel had to say, the idea was clear enough: a construction of  alpha - > beta was to be a construction F which, acting on a construction A of alpha, gives a construction B of beta. So we have constructions acting on constructions, rather like functionals acting on functionals. So, as an approximation,

(1)   let's take "construction" to mean "functional".

But what kind of functionals? In constructive mathematics, a functional is not given as a set of ordered pairs. Rather,

(2)   to give a functional is to give not only the action or process it performs but also to give its type (domain and counterdomain).

Clearly, the type structure is going to be complicated. I set myself the project of finding a suitable notation for the type symbols. So one needs a suitable type symbol for the functional F, above. Well, just take it to be alpha itself (at this point, I was thinking of propositional logic). Suddenly I remembered something that Curry had talked about in the logic seminar during my time at Penn State. If we consider typed combinators, and look at the structure of the type symbols of the basic combinators (e.g., S, K, I), we see that each of the type symbols corresponds to (is isomorphic to) one of the axioms of pure implicative logic. Well! This was just what I needed!

How do we formulate the following notion?

(3)   F is a construction of phi.

Consider the case in which phi has the form alpha - > beta. The temptation is to define "F is a construction of alpha - > beta" to mean "for all A: if A is a construction of alpha, then FA is a construction of beta". Well, that is circular, because we have used if ... then ... to define implication. This is what you call "Zeno’s paradox of logic". I avoided this circularity by taking (3) to mean:

(4)   F is assigned the type phi according to the way F is built up; i.e., the way in which F is constructed.

Thus F is a construction of phi {\em by construction}. Your figure 6 illustrates precisely what I meant by this. (I did not have that beautiful notation at the time but it conveys what I meant.)

To summarize: My basic insight consisted simultaneously of the thoughts (2) and (4) plus the thought that Curry's observation provided the means to implement (2), (4). Let me say this in a different way. The thought (2) was not new. I had had the thought (2) for many years, ever since I had begun to study primitive recursive functionals of finite type. What was new was the thought (4) plus the recognition that Curry's idea provided the way to implement (4). I got this basic insight in the summer of 1966. Once I saw how to do it with combinators, I wondered what it would look like from the vewpoint of the lambda calculus, and saw, to my delight, that this corresponded to the intuitionistic version of Gentzen's sequent calculus.

Incidentally, Curry's observation concerning the types of the basic combinators is presented in his book with Feys (Curry-Feys), but I was unaware of this, though I had owned a copy for several years (since 1959, when I was hired at Penn State). After working out the details of p-a-t over a period of several months, I began to think about writing it up, so I thought I had better see if it is in the book. Well, it is easy enough to find if you know what you are looking for. On looking at it, I got a shock: not only had they extended the ideas to Gentzen's sequent calculus, but they had the connection between elimination of cuts from a derivation and normalization of the corresponding lambda term. But, on a closer look, I concluded that they had {\em a} connection but not {\em the} connection. It turns out that I was not quite right about that either. See my remark about their Theorem 5, below. Not that it would have mattered much for anything I might have published: even if they had the connection between Gentzen's sequent calculus and the lambda calculus, I had a far-reaching generalization (i.e., to Heyting arithmetic).

The above is more detailed than would be required to answer your questions, but I needed to write this out to clarify my thoughts about the matter; so I may as well include the above, since I think it will interest you. It answers one of your questions, "To what extent do you consider your work draws on or was anticipated by the work of Heyting and Kolmogorov, and Kleene's realisability?" Namely, my work draws on the work of Heyting and Brouwer, via Kreisel's explanation of that work to me. None of it was anticipated by the work of Heyting, Kolmogorov or Kleene: they were not thinking of functionals of finite type. Though I was familiar with Kleene's recursive realizability, I was not thinking about it at the time. Admittedly, it touches on ideas about Brouwer's constructions but is far from capturing the notion of a construction (actually, Kleene once made remarks to this effect, I forget where). Because of the relation between constructions and Kleene's recursive realizability, there could have been some unconscious influence; but, in any case, not a significant influence.

"did your work influence the subsequent work of de Bruijn and Martin Lof? " As far as I know, my work had no influence on the work of de Bruijn. His work appears to be completely independent of mine. I do recall that he once sent me a package of Automath material. The project of a computer program for checking existing proofs did not appear very interesting and I did not reply. What I would have been interested in is a program for finding proofs of results that had not yet been proved! Even a proof-assistant would have been fine. Why did he send me the Automath material? I don't recall what year it was. Sometime in the 1970s. Whatever the accompanying letter, it was not informative; merely something like: "Dear Professor Howard, you may be interested in the following material ...". Since that time, I have seen two or three articles by him, and I have a more favorable impression. It is good, solid work. Obviously original. He discovered the idea of derivations as terms, and the accompanying idea of formulae-as-types, on his own. He uses lambda terms but, I think, only for purposes of description. In other words, I don't think that he has the connection between normalization and cut-elimination, but I have not made an extensive examination of his work. In fact, does he use a Gentzen system at all? I just don't know. The latter two questions would easily be answered by anyone familiar with his work. In any case, give him credit where credit is due. There are enough goodies for everyone!

My influence on Martin-Löf? No problem there. I met him at the Buffalo 1968 conference and I told him my ideas. His instant reaction was: "Now, why didn't I think of that?" He had a visiting appointment at UIC for the academic year 1968-1969, so we had lot's of opportunity to talk, and he started developing his own approach to the ideas. In Jan. 1969, mainly to make sure that we were both clear on who had discovered what, I wrote up my own ideas in the form of handwritten notes. By then, Xerox machines were prevalent, so I sent a copy to Kreisel, and he gave copies to various people, including Girard. At least, I think that is how Girard got a copy, or maybe Martin-Löf gave him one. I like Martin-Löf's work. I could say more about this, but the short answer to your question is: Martin-Löf's work originated from mine. He has always given me credit and we are good friends.

On further thought, I need to mention that, in that first conversation, Martin-Löf suggested that the derivations-as-terms idea would work particularly well in connection with Prawitz's theory of natural deduction. I thought: okay, but no big deal. Actually, at that time, I was not familiar with Prawitz's results (or, if at all, then only vaguely). But it was a bigger deal than I had thought, because Prawitz's reductions steps for a deduction correspond direcly to reduction steps for the associated lambda term! Actually, for most purposes, I like the sequent formulation of natural deduction as given in pages 33 and 88 of Sorensen and Urzyczyn (2006). In fact, if we add left-implication-introduction to this (let's confine ourselves to pure implicative logic), the resulting system P# is pretty interesting. All occurrences of modus ponens can be eliminated, not just those which are preceded by left-implication-introduction. This is what I am up to in my JSL 1980 paper, "Ordinal analysis of terms of finite type." Also, the cut rule is easy to derive in P# (just consider, for typed lambda terms: a well-formed term substituted into a well-formed term results in a well-formed term); hence P# is is a conservative extension of the system P* in Part I of my little paper in the Curry Festschrift.

The phrase formulae-as-types was coined by Kreisel in order that we would have a name for the subject matter in our correspondence back and forth. I would assume that the phrase "propositions as types" was coined by Martin-Löf; at least, during our first conversation at the Buffalo 1968 meeting, he suggested that one could think of a type as a proposition, according to the idea that, in intuitionistic mathematics, the meaning of a proposition phi is given by the species of "all" proofs of phi. I use quotes here because we are not talking about a set-theoretic, completed infinity.

"the second [part] intrudes the correspondence between predicate logic and dependent types." I was not thinking about it in that way at all. I wanted to provided an interpretation of the notion of construction to some nontrivial part of intuitionistic mathematics (Heyting arithmetic). Part I of the paper was just the preliminaries for this. Actually, what you say in the pdf is consistent with this. No need for change here.

"Did you consider the first half to be new material or merely a reprise of what was known?" New. But in January of last year I had occasion to take a really hard look at the material in Curry-Feys, pp. 313-314; and I now see that there is a much closer relationship between my Theorem 2 in Part I and their Theorem 5, page 326, than I had thought. The issues here are quite interesting. I can provide a discussion if you want.

In the introduction to my little paper, I mention that Tait had influenced me. Let me say a few words about that. In the summer of 1963 we had conversations in which he explained to me that he had developed a theory of infinite terms in analogy to Schütte's theory of infinite proofs, where normalization (via lambda reductions) of an infinite terms corresponds to cut elimination of the corresponding proof. He did not know what to make of it. He thought of his theory of infinite terms as a sort of pun on Schütte's theory of infinite proofs. But we both agreed that  there must be a deep connection between normalization of lambda terms and Gentzen's cut elimination. We puzzled over this during two or three of our conversations but could not come up with an answer.

As explained in the first paragraph of this e-mail, my work originated with a problem posed by Kreisel; so, at the start of this work, certainly I was not thinking of those conversations with Tait. But, as mentioned above, as soon as I got the basic insight about the relevance of Curry's combinators, I considered how it would work for lambda terms. At that point, I remembered my conversations with Tait. In other words, when I verified that

(5)   cut elimination for a derivation corresponds to normalization for the term,

the conversations with Tait were very much on my mind. Most likely I would have noticed (5) without having had the conversations with Tait. But who knows? In any case, he deserves credit for having noticed the correspondence between derivations and terms. What he did not have was the associated correspondence between propositions and types. In fact, he was not using a general enough notion of type for this. By hindsight we can see that in his system there is a homomorphism, not an isomorphism, from propositions to types.

I need to say a bit more about Tait and types. Since Schütte had extended his system of proofs to transfinite orders, Tait extended his system of terms to transfinite type levels. I already had my own system of primitive recursive functionals of transfinite type. In our very first conversation, we compared out ideas on this topic. This topic requires that one think very hard about the notion of type. Certainly, I had already thought extensively about the notion of type (because of (2), above) before I ever met Tait, but my conversations with him reinforced this tendency. Thoughts about types were very much on my mind when I began to consider (1), (2), above.

As already mentioned, the notes were handwritten and xeroxed; no mimeographs. "why [were they] not published until the Curry Festschrift in 1980?" First let me mention why they got published in the Curry Festschrift. Selden was bringing out the Festschrift for Curry's 80th birthday. He asked me to contribute the notes. I said: "Sure. I'll write up an improved version. I can now do much better." He replied: "No, I want the original notes. It is a historical document." In other words, by that time various copies had been passed around and there were a number of references to them in the literature. So I had them typed up and I sent them in.

Why didn't I publish them before that? Simply because they did not solve the original problem. That was Kreisel's and Gödel’s verdict (Kreisel had shown or described the work to Gödel). In fact, even before communicating the work to Kreisel, I knew that I had gotten only an approximation to the notion of construction, and that more work had to be done. Essentially, the criticism is as follows. In my little paper, I do not provide axioms and rules of inference for proving statements of the form

(3)   F is a construction of phi.

Remember, we have to avoid "Zeno’s paradox of logic"! The answer is that the proofs will look like what you have in Figure 6. In other words, Figure 6 is not only a program; it is also a proof (or: it can be reinterpreted as a proof). But Figure 6 can also be interpreted as an explanation of how a construction (blue) is to be built up in order to have a given type (red). In other words, figures such as Figure 6 implements the idea (4) mentioned near the beginning of this e-mail; i.e., F is assigned the type phi according to the way F is built up.

I hope this tickles you; it certainly tickles me. Of course, the rules of inference are as in Figure 5. So these simple ideas provide the missing theory of constructions; or, at the very least, provide a significant step in that direction.

In Jan. 2013, I exchanged a few e-mails with Tait and Constable on the history of p-a-t. This caused me to take a really careful look at the Curry-Feys book. Here is something I found that really made me laugh: the required theory, whose inferences are of the form given in Figure 5 is already in Curry-Feys. Admittedly, to see this you first have to erase all the turnstyles ( |-- ); Curry seems to have some kind of obsession with them. In particular, erase the turnstiles from the proof tree on page 281. The result is exactly a proof tree of the general form given in your Figure 6. (Hint: (...)X is to be read "X has type (...)". In other words, rewrite (...)X as X : (...).) What does Fbc mean, where F is boldface? Just rewrite Fbc as b -> c. You see? I am an expert. I could probably make money writing a translation manual. In summary, the required theory is essentially just Curry's theory of functionality (more precisely, the appropriate variant of Curry's theory). So, did I miss the boat here? Might I have seen all this in 1969 if only I had had the determination to take a hard look at Curry-Feys? I don't know. It may require the clarity of mind represented by the notation of Figure 5. Do you have any idea when and where this notation came into use?

One more remark concerning my reason for not publishing. Didn't I feel that I had made an important breakthrough, in spite of Kreisel's and Gödel’s criticisms? On the one hand, yes. On the other hand, I had reservations. Except for Martin-Löf, Prawitz, Tait and Girard, very few people showed an interest in the ideas. But maybe Martin-Löf, Prawitz, Tait and Girard should have been enough. You say: "Certainly Howard was proud of the connection he drew, citing it as one of the two great achievements of his career [43]." Should we let that passage stand? Sure. The interview occurred in the spring of 2000. By that time, I was getting lots of praise from the computer science community. So, pride is a peculiar thing. Let me end this on a positive note. In 1969 Prawitz was in the US and came to UIC to give a talk. When he entered the room, he made a beeline for me, looked me in the eye and shook my hand. The message was: Well done! THAT made me proud.

There is more to say; but this answers your questions, I think; so I'll send it to avoid further delay. 

Your pdf, Propositions as Types, is very readable.


MetaFilter: Hypnotic machinery in silk making

The Nishiyama Silk company explains their silk production process from reeling silk out of the boiled cocoons through handweaving the final cloth. Their factory video is a three minutes of hypnotic machine motion (along with some adorable socks on the weavers).

Computer Science: Theory and Application: How to code an Upvote/Downvote system like Reddit uses?

Hi Reddit,

CS student here, interested in making a website. I am curious if there is a tutorial that goes over how to code a voting system similar to what Reddit uses.

Functional requirements:

  • A user can have their own page
  • A user can vote on some content (such as a post or another user's comment)
  • A user's page can show the running total of Upvotes - Downvotes

Pretty much how reddit works. I'm interested in learning how this is all done!


submitted by nsuetv14
[link] [5 comments]

Upcoming Events: Google - Rapid Resume Review Session

Industry & Careers
September 15, 2014 - 11:00am - 12:30pm
ETLC E 2-050A & B – Engineering Employment Centre

Interested students will come at 10:50AM and sign up for a 10 minute rapid resume review slot ​returning​ at their assigned time with a resume.


Computer Science: Theory and Application: Double Major in Computer Science and Statistics -- is it worth it?

I am in my senior year of high school and now I am having to seriously consider what I want my major to be. I have always said computer science, but it wasn't until recently that I fully understood what it meant I would be doing in the field since school is nothing like actually working. The last few months I was considering a major in computer science and a minor in cognitive psychology, because I like artificial intelligence and would enjoy working with that. But I am in statistics right now and find the application of taking data and interpreting it really fascinating. So now I am considering double majoring in computer science and statistics to go into something like data mining.

I just wanted to hear what everyone on this sub thinks about these two options I've been considering. "Enjoying computers" or "liking coding" is nothing like real world application, so if anyone is in either of these fields, or has these degrees, I would really appreciate hearing from you guys. Thanks in advance!

submitted by jmwoliver
[link] [17 comments]

Twitch: FanExpo 2014 Interview: TWIN PEAKS' Ray Wise On Playing Leland Palmer

The annual Fan Expo returns to Toronto this weekend to offer cultists a rare glimpse of larger than life figures from favorite movies, TV shows, comic books and other emblems of pulp fiction. To many cult aficionados, in the land of the bizarre, there is nothing more coveted than David Lynch's Twin Peaks, which celebrates its 25th anniversary this year. To the delight of Peaks die-hards, the Fan Expo has truly outdone itself by bringing a few beloved characters to town for a panel reunion.One such attendee is Ray Wise, who was blessed with the role of a lifetime in Leland Palmer. Few characters run the gambit of the emotional spectrum quite like Leland, and it's hard to fathom an actor who could've done...

[Read the whole post on]

Perlsphere: YAPC::EU videos start appearing online

@yapceu has posted a link to the start of videos from the conference.

YAPC::EU 2014 was the biggest conference in Europe, dedicated to the Perl programming language. lists other Perl conferences and workshops around Europe.

Perlsphere: I learn something about tell(), then abuse it.

I learned a new thing today, or remembered a forgotten one. I can use tell to affect the file handle that $. uses.

It all started very simply. I was going too far in my answer to How do I add the elements of a file to a second one as columns using Perl?, a question I found by looking for the most down voted open questions without an accepted answer. As usual, I thought the answer would be easy. And, for the most part it was.

Then I wanted to make it even easier. I thought Perl might not be necessary at all when we have things like paste and head and tail and other command-line thingys. The problem was a header in one input file and no corresponding header in the other. How could I make paste ignore the header?

I bet there's something that I'm missing, but I started working with the Perl Power Tools version of paste. To fast forward through a file to get to the right starting point, I wanted to look at $. to know when to stop, but that only works for the last read filehandle. To use it on another filehandle, I need to do something to to that handle without disturbing the data. tell was just the thing.

tell( $fh )
readline( $fh ) while $. < $starting_line - 1;

But, now I think that's also stupid because I didn't need the magic because I don't need to know the number of the currently read line:

readline( $fh ) foreach 1 .. $starting_line - 1;

As Perl gives, so Perl takes away (brain cells). Blog: Build a 2.5V to 14V 3A adjustable power supply!

A tutorial on feedback resistors in DC-DC converters and how to build a high current adjustable power supply using an LM2678.

Build a 2.5V to 14V 3A adjustable power supply! - [Link] Blog: Flir One teardown

A look inside Flir’s thermal imaging add-on.

Flir One teardown - [Link] Blog: EEVblog #656 – Pacemaker Monitor Teardown

What’s inside a dial-in pacemaker monitor system?

EEVblog #656 – Pacemaker Monitor Teardown - [Link]

Twitch: Watch The Second Teaser For SHAUN THE SHEEP: THE MOVIE

I think it would be a safe bet to say that Shaun the Sheep is one of the most spun-off characters of any franchise of all time! I dare say, at this point he is probably more popular than his predecessors Wallace & Gromit ever were. Shaun has been in 130 episodes, on multiple DVDs and is the Best BBC Television Character of All Time, as voted in a Radio Times poll. So colour us delighted when Shaun the Sheep: The Movie was announced. And colour us even further delighted with the second teaser trailer. When Shaun decides to take the day off and have some fun, he gets a little more action than he bargained for! Shaun's mischief inadvertently leads to The Farmer being taken away from...

[Read the whole post on]

programming: Yahoo stopping all new development on YUI

submitted by josetavares
[link] [13 comments]

programming: Multiple cursors editing with Emacs

submitted by krekling
[link] [4 comments]

explodingdog: Photo

Schneier on Security: Cell Phone Kill Switches Mandatory in California

California passed a kill-switch law, meaning that all cell phones sold in California must have the capability to be remotely turned off. It was sold as an antitheft measure. If the phone company could remotely render a cell phone inoperative, there would be less incentive to steal one. I worry more about the side effects: once the feature is in...

Twitch: ONE EYED GIRL: Watch The Tense New Trailer For Aussie Thriller

As it gets ready to have its world premiere at the Austin Film Festival in October, there is a new trailer for Nick Matthews' thriller One Eyed Girl. Would you risk your life to save your soul? One Eyed Girl is a dark thriller about Travis, a young psychiatrist haunted by the death of a patient. On the brink of a nervous breakdown, he meets a teenage girl named Grace, who invites him to a city church run by a charismatic leader, Father Jay.In search of answers, Travis is led deeper and deeper into the underworld of a doomsday cult where he's given one last chance for redemption. The film stars Marl Leonard Winter (Van Dieman's Land and Cop Hard) and Tilly Cobham-Hervey (52 Tuesdays). You will find the new...

[Read the whole post on]

programming: Say hello to Assembly [part 1] [Linux x84-64]

submitted by 0xAX
[link] [19 comments]

Hackaday: Hacklet #13 – Chopper Royalty


This week’s Hacklet focuses on two wheeled thunder! By that we mean some of the motorcycle and scooter projects on

hondaskyWe’re going to ease into this Hacklet with [greg duck's] Honda Sky Restoration. Greg is giving a neglected 15-year-old scooter some love, with hopes of bringing it back to its former glory. The scooter has a pair of stuck brakes, a hole rusted into its frame, a stuck clutch, and a deceased battery, among other issues. [Greg] already stripped the body panels off and got the rear brake freed up. There is still quite a bit of work to do, so we’re sure [Greg] will be burning the midnight 2 stroke oil to complete his scooter.

jetbikeNext up is [Anders Johansson's] jaw dropping Gas turbine Land Racing Motorcycle. [Anders] built his own gas turbine engine, as well as a motorcycle to go around it. The engine is based upon a Garrett TV94, and directly powers the rear wheel through a turboshaft and gearbox. [Anders] has already taken the bike out for a spin, and he reports it “Pulled like a train” at only half throttle. His final destination is the Bonneville salt flats, where he hops to break the 349km/h class record. If it looks a bit familiar that’s because this one did have its own feature last month.

firecoates[GearheadRed] is taking a safer approach with FireCoates, a motorcycle jacket with built-in brake and turn signal indicators. [GearheadRed] realized that EL wire or LED strip wouldn’t stand up to the kind of flexing the jacket would take. He found his solution in flexible light pipes. Lit by an LED on each end, the light pipes glow bright enough to be seen at night. [GearheadRed] doesn’t like to be tied down, so he made his jacket wireless. A pair of bluetooth radios send serial data for turn and brake signals generated by an Arduino nano on [Red's] bike. Nice work [Red]!

[Johnnyjohnny] rounds out this week’s Hacklet with his $1000 Future Tech Cafe Racer From Scratch. We’re not quite sure if [Johnny] is for real, but his project logs are entertaining enough that we’re going to give him the benefit of the doubt. Down to his last $1000, [Johnny] plans to turn his old Honda xr650 into a modern cafe racer. The new bike will have electric start, an obsolete Motorola Android phone as its dashboard, and a 700cc hi-comp Single cylinder engine at its heart. [Johnny] was last seen wandering the streets of his city looking for a welder, so if you see him, tell him we need an update on the bike!



That’s it for this week. If you liked this installment check out the archives. We’ll see you next week on The Hacklet – bringing you the Best of!

Filed under: Hackaday Columns, transportation hacks

OUR VALUED CUSTOMERS: While discussing the future of malcontent fandom...

Instructables: exploring - featured: Surfer's Wardrobe/Poncho

Affording a little privacy is easy whilst on the go from your car to the surf! If you need a humble cover so you can change into your swimwear, then this is the Instructable for you! Needs... -Two towels of similar size.-Zip tiesOptional: rivets Instructions: Lay one towel over another.Connect...
By: azükiBEAN

Continue Reading »

new shelton wet/dry: Every day, the same, again

World’s most pierced man barred from Dubai Women college students average 10 hours a day on their cellphones and men students spend nearly eight Hangover Cure Finally Comes to the U.S. Date rape drug-detecting nail polish won’t work There were no associations between childhood family income and subsequent violent criminality and substance misuse When you are in the [...]

Open Culture: Fans Reconstruct Authentic Version of Star Wars, As It Was Shown in Theaters in 1977

I watched Star Wars for the first time in 1977 at the tender age of four. And like a lot of people in my generation and younger, that first time was a major, formative experience in my life. I got all the toys. I fantasized about being Han Solo. And during the summer of ’83, I blew my allowance by watching Return of the Jedi every day for a week in the theater. George Lucas‘ epic space opera is the reason why I spent a lifetime watching, making and writing about movies. And if you asked any movie critic, fan or filmmaker who grew up in the ‘80s, they will probably tell you a similar story.

Over the years though, Lucas succumbed to the dark side of the Force. His prequel trilogy, starting with truly god awful The Phantom Menace (1999), is as visually overstuffed as it is cinematically inert. (Somewhere, there’s a dissertation to be written about how widespread feelings of betrayal from the prequels psychically prepared America for the anxiety and disappointments of the Bush administration.)

Worse, fans who want to console themselves by watching Star Wars as they remember seeing it back in the ‘80s are out of luck. Lucas has been quietly butchering the original movies by adding CGI, sound effects and even whole characters – like (gag) Jar Jar Binks — to successive special edition updates. The problem is these updated versions feel bifurcated. It’s as if two different movies with two different aesthetics were clumsily stitched together. Lucas’ spare, muscular compositions in the original movie sit uneasily next to its cartoony, over-wrought additions. Yet this Frankenstein version is the one that Lucas insists you watch. The original cut is just plain not for sale. Lucas even refused to give the National Film Registry the 1977 cut of Star Wars for future preservation. “It’s like this is the movie I wanted it to be,” said Lucas in an interview in 2004, “and I’m sorry if you saw half a completed film and fell in love with it, but I want it to be the way I want it to be.”

Thankfully, hardcore Star Wars fans are telling Lucas, respectfully, to go cram it. As Rose Eveleth in The Atlantic reports, a dedicated online community has set out to create a “despecialized” edition of Star Wars that strips away all of Lucas’s digital nonsense and restores the movie to its original 1977 state. The de facto leader of this movement is Petr Harmy, a 25-year-old guy from the Czech Republic who with the help of a legion of technically savvy film nerds has pieced together footage from existing prints and older DVD releases to create the Despecialized Edition v. 2.5. (Directions on where you can locate it are here.) Above Harmy talks in detail about how he accomplished this feat. And below you can see some side-by-side comparisons. More can be found on Petr Harmy’s page.




Via The Atlantic

Related Content: 

How Star Wars Borrowed From Akira Kurosawa’s Great Samurai Films

Freiheit, George Lucas’ Short Student Film About a Fatal Run from Communism (1966)

Watch the Very First Trailers for Star Wars, The Empire Strikes Back & Return of the Jedi (1976-83)

Joseph Campbell and Bill Moyers Break Down Star Wars as an Epic, Universal Myth

Hundreds of Fans Collectively Remade Star Wars; Now They Remake The Empire Strikes Back

Jonathan Crow is a Los Angeles-based writer and filmmaker whose work has appeared in Yahoo!, The Hollywood Reporter, and other publications. You can follow him at @jonccrowAnd check out his blog Veeptopus, featuring one new drawing of a vice president with an octopus on his head daily. 

Fans Reconstruct Authentic Version of Star Wars, As It Was Shown in Theaters in 1977 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 Fans Reconstruct Authentic Version of Star Wars, As It Was Shown in Theaters in 1977 appeared first on Open Culture.

Climate Resistance: Does the UK Need Another Climate ‘Unit’?

Imagine that you are a journalist — it’s not hard to do — in need of some information about climate change. Where would you turn to first?

You might start with the UK’s allegedly independent Committee on Climate Change, they are charged by the Climate Change Act 2008 with establishing the UK’s ‘carbon budgets’. Or, of course, for more policy-related matters, you could ring the Department of Energy and Climate Change. Both these organisations have media officers. But perhaps you want more of a science angle. In which case, you could have got in touch with the Met Office. The Met Office scientists do lots of research into climate change and its impacts — work that needs no introduction here — much of which comes out of its Hadley Centre. Or you could get in touch with some of the other academic research departments that have been created over the years: The Climate Research Unit at UAE, or al at UEA, the Tyndall Centre for Climate Research, which has branches at Cardiff University, Newcastle, Cambridge, Manchester, Oxford, Sussex, or Southampton Universities. Or you could get in touch with The Grantham Research Institute on Climate Change and the Environment at the LSE, or it’s sister, The Grantham Research Institute on Climate Change and the Environment at Imperial College, just down the road. There’s The Walker Institute for Climate Research at Reading, The National Centre for Atmospheric Science, which is part of the National Environmental Research Council, which funds and directs an array of research programmes across many research organisations, throughout the UK and beyond.

Perhaps you’re more interested in responses to climate change. In which case, there are the government-backed non-profit companies Carbon Trust, Energy Saving Trust, and The Waste & Resources Action Plan (WRAP). Or there are the departments, quangos, statutory bodies and non departmental public bodies, not already mentioned, like OFGEM, the Dept. for Environment, Food and Rural Affairs, The Environment Agency, The Forestry Commission, and many others.

And of course, let us not forget the charities and NGOS!… Greenpeace, Friends of the Earth, The WWF, The RSPB, and those one-time development and relief charities, who prefer to concentrate on making the weather noce, rather than saving people’s lives, like Oxfam, Tearfund, and Save the Children. An even fuller list can be found on Wikpedia.

In other words, if you wanted to find out about the climate, there are, literally, thousands of people, in hundreds of organisations, with budgets totalling many, many £billions, that you could call on — and that’s before we’ve even considered other individual experts and organisations in other countries. Each of them has a view on climate change and probably wants to share it with you. Every organisation listed above has at least one media officer, if not an entire media team.

(In other words, if you are a journalist, and you’re unsure about where to go for a comment about climate change, you are doing the wrong job, and the discussions about mediocrity in the previous two posts on this blog apply to you absolutely.)

So why, then, has this week seen the birth of a new climate change organisation, the ominously-titled, Energy & Climate Intelligence Unit?

The Energy and Climate Intelligence Unit is a non-profit organisation that supports informed debate on energy and climate change issues in the UK.

We support journalists and other communicators with accurate and accessible briefings on key issues, and work with individuals and organisations that have interesting stories to tell, helping them connect to the national conversation.

But isn’t this is a job that was already being done by The Carbon Brief.

Carbon Brief reports on the latest developments and media coverage of climate science and energy policy, with a particular focus on the UK. We produce news coverage, analysis and factchecks, and publish a daily and weekly email briefing.

Carbon Brief are…

… grateful for the support of the European Climate Foundation, which provides our funding.

And The Energy and Climate Intelligence Unit gladly tells us that,

All of our funding comes from philanthropic foundations. We gratefully acknowledge the support of the European Climate Foundation, the Grantham Foundation for the Protection of the Environment, and the Tellus Mater Foundation.

Tellus Mater are a mysterious organisation

Tellus Mater’s mission is to catalyze a shift to sustainable capitalism: to change the operating rules for capitalism so that finance can better fulfill it’s role in directing the flows of Financial Capital to production systems that preserve and enhance Natural Capital.

Furthering green capitalism strikes me as a categorically political objective. And yet here it seems to be presenting itself as a philanthropic organisation, pursuing indubitably noble, if not value-free objectives, while not listing its supporters, or saying much at all about where its own money comes from.

The Grantham Foundation, of course, is set up from the extraordinary wealth of the super-rich Jeremy Grantham — another mega capitalist, again, note.

And the European Climate Foundation…

was established in early 2008 as a major philanthropic initiative to promote climate and energy policies that greatly reduce Europe’s greenhouse gas (GHG) emissions and to help Europe play an even stronger international leadership role to mitigate climate change.

The group of philanthropists who founded the ECF were deeply concerned over the lack of political action and the lack of general public awareness around the devastating future consequences implied by climate change. They formed the ECF – a ‘foundation of foundations’ – to collaborate in ensuring the necessary transformation from a high-carbon to a low-carbon economy.


The ECF has an annual budget of roughly €25 million. The majority of our funds are re-granted to NGOs and think tanks engaged in bringing about meaningful policy change. Our programme staff collaborate with grantees and experts from the field and funders to design and fund strategies based on a thorough understanding of decision-makers, decision-making processes, and political context. In 2012, we made 181 grants to 102 organisations.

There seems to be a lot of ‘philanthropic’ activity aimed not as much at helping people, as managing the public’s perception of climate change and influencing policy makers. The alleged “lack of general public awareness around the devastating future consequences implied by climate change” is of course, what has concerned all three major political parties, and thus the government, its departments, The United Nations and its organisations, the European Union and its organisations, NGOs, charities, and of course, all manner of public organisations.

It is a puzzling thing… democratic governments, supranational political organisations and charities seem to be out of kilter with the public mood, yet each depend on the public to a greater or lesser extent, for legitimacy. Together, they seem to think it is their role to persuade the public rather than respond to them. It is hard to resist the idea that this gap in fact precedes the political establishment’s embrace of climate change, and that the possibility of the end of the world in fact comes as quite a relief to those who still have positions of power, in spite of that gap.

The Energy & Climate Intelligence Unit (ECIU) demonstrated the need for itself by commissioning a survey. The poll, said the ECIU, “shows widespread misconceptions about energy and climate change”.

It shows that only one in nine (11 percent) of people are aware of the strength of the scientific consensus on man-made climate change, a finding that the ECIU said carries ‘uncomfortable echoes’ of the MMR controversy of 15 years ago.

In fact, the Comres survey asked,

What proportion of climate scientists do you think believe that climate change is mainly the result of human activities?

The answers were as follows:

Almost all 11%
A majority 43%
About half and half 35%
A minority 9%
Almost none 2%

It wasn’t good enough for ECIU that 43% of respondents only said ‘a majority’ — they were ignorant if they didn’t say ‘amost all’. ECIU continue,

Nearly half of the UK population (47 percent) think either that most climate scientists reject the idea that human activities such as fossil fuel burning are the main driver of climate change (11 percent), or that scientists are evenly split on the issue (35 percent). Several recent studies [ Cook et al, Tol, Verheggen et al] show that more than 90% of climate scientists agree that the main cause of climate change is human activity.

In spite of surveys such as Cook et al, the view that scientists are split on a proposition as ambiguously framed as the survey’s is not unreasonable.

For instance, even if one believes i) that climate change is a problem, and that ii) it is a problem caused by industrial emissions, and even that iii) most scientists believe i) and ii), there is the question of degree to which a) climate change is a problem, b) climate change is caused by man, which the proposition in the survey ducks. The problem of ill-defined propositions is rife in climate change science, as I pointed out last year:

Nuccitelli’s survey results are either the result of a comprehensive failure to understand the climate debate, or an attempt to divide it in such a way as to frame the result for political ends. The survey manifestly fails to capture arguments in the climate debate sufficient to define a consensus, much less to make a distinction between arguments within and without the consensus position. Nuccitelli’s survey seems to canvas scientific opinion, but it begins from entirely subjective categories: a cartoonish polarisation of positions within the climate debate.

No less a figure than climate scientist, Professor Mike Hulme, founding director of the Tyndall Centre, joined the debate.

Ben Pile is spot on. The “97% consensus” article is poorly conceived, poorly designed and poorly executed. It obscures the complexities of the climate issue and it is a sign of the desperately poor level of public and policy debate in this country that the energy minister should cite it. It offers a similar depiction of the world into categories of ‘right’ and ‘wrong’ to that adopted in Anderegg et al.’s 2010 equally poor study in PNAS: dividing publishing climate scientists into ‘believers’ and ‘non-believers’. It seems to me that these people are still living (or wishing to live) in the pre-2009 world of climate change discourse. Haven’t they noticed that public understanding of the climate issue has moved on?

The informed member of the public would now know that respectable, consensus, mainstream position on climate change is that,

1. There are serious problems with the historical temperature record, especially as it has been constructed from proxies.
2. There are serious problems with projections of likely future temperature, especially as they have been produced from computer models.
3. There are no detectable signals, attributable to climate change, in statistical records of climate, or losses associate with them.

These are points which emerge from mainstream climate science. They are not the irrational beliefs held by anti-scientific ‘deniers’.

So the scientific understanding of the planet’s past and future climate, once regarded as an essential component of understanding climate change are in fact matters of debate. It might be reasonable for the public to regard the question posed by the survey as trivial. And as Judith Curry points out about the current climate, there are many problems with the claim that ‘more than half of the observed increase in global average surface temperature from 1951 to 2010 was caused by the anthropogenic increase in greenhouse gas concentrations and other anthropogenic forcings together’ — far from speaking for itself, the statement needs unpacking and its premises interrogating. Meanwhile, the Cook et al study deviated from the consensus position in effect by including in its estimation of the ‘consensus’, studies which proceeded from the putative consensus a priori, rather than investigating it. The problem, as I have explained in the article linked to above, is one of a ‘consensus without an object’: most people agree with the consensus without identifying what the point or principle of agreement is, thus the ‘consensus’ is invented ad hoc, to suit whatever is needed from it, in any particular debate. New light has been shed on the study by Jose Duarte.

In the case of the ECIU’s attempt to construct foundations for itself out of the public’s ignorance of science, this new organisation does a good job of mangling its own survey, which aimed to measure the public’s memory of an earlier mangled survey — Cook et al. One can now imagine that someone in the future trying to understand the construction of successive organisations, each built on the failures of previous organisations. There will be some kind of archaeologist, peeling back through mangled surveys and studies, but never reaching the actual point of origin — a climate change big bang.

The problem that exists in the present for the likes of Cook et al’s 97% survey, is that it is not having the desired effect of rousing the masses from their climate science slumber. Yet it was transparently a PR exercise, rather than an attempt to inform the public. So too, for that matter, is the European Climate Foundation’s sister-project, The Climate Brief, a PR exercise. One might recall at this point, another PR exercise:

The Climate Science Rapid Response Team is a match-making service to connect climate scientists with lawmakers and the media. The group is committed to providing rapid, high-quality information to media and government officials.

Climate Science Rapid Response team member scientists are chosen to cover a wide array of topics related to Climate Science. They have been selected based upon their publications in professional peer-reviewed scientific journals.

There is a wide gap between what scientists know about climate change and what the public knows. The scientists of the Climate Science Rapid Response Team understand that better communication can narrow this gap. The media is in the best position to deliver accurate science information to the general public and to our elected leaders but only when they have access to that information. The Climate Science Rapid Response Team is committed to delivering that service. We are advocates for science education.

The climate change communication field now seems crowded with organisations claiming to be able to connect the public, via the media, with climate scientists.

The Climate Science Rapid Response Team seems to have been convened by Richard Hawkins of the Public Interest Research Centre(PIRC). And as we know, it’s all about funding…

PIRC was set up with grants from the Joseph Rowntree Charitable and Social Services Trust. One way or another, JRCT has supported every one of our major ventures over the years.

PIRC has also been core-funded for many years by the 1970 Trust, and grants for individual projects have in the past been given by other organisations including the Consumers Association, Social Science Research Council, Allen Lane Foundation, Artists Project Earth, Dag Hammarskjold Foundation, the Network for Social Change, Nuffield Foundation, Ford Foundation, the Sainsburys Family Trusts and Trocaire. In the past few years have also received support from civil society organisations, including WWF-UK, RSPB, and 10 other conservation organisations for Common Cause for Nature.

So now there are an entire ecosystem of philanthropic organisations, funding other organisations to ‘inform’ an apparently ignorant public for their own good. But each of them fail to alter the balance of public opinion. What has the ECIU got that The Climate Science Rapid Response Team not got? And what have they got that The Carbon Brief hasn’t got? And while we’re there, what have those organisations got that organisations like The Science Media Centre — which also aims to put scientists in front of cameras — have not got?

Paul Matthew in the comments below notes that we should remember the Climate Outreach and Information Network (COIN), which is also funded by the ECF, amongst many others. And Responding To Climate Change (RTCC), which appears to be a project of a private company, Entico, which has substantial contracts with the United Nations. Then there’s the conglomeration of NGOs, ClimateCoalition, and CaCC (Campaign against Climate Change), too — each of which claims to be doing the same thing.

We should examine these claims to be informing the public and raising the level of debate. That is not the effect of any of these organisations. All such sound-byte mines do is encourage lazy, sloppy, cut-and-paste journalism. Churnalism. All the journalist needs to do, now, to write a piece about climate change, is ring up any of these organisations, ask for the officially-sanctioned and hygienic comment, without ever having had to go to the trouble of understanding the debate they are reporting on.

The founder of ECIU is Richard Black, a former BBC journalist, who became known for his palpable activism-cum-journalism — not something which is deserving of criticism in and of itself, but which under the pretence of i) scientific journalism, and ii) the BBC’s commitment to the environmental issue, is rather jarring. Just as there are plenty of ‘units’ established to ‘communicate’ science, and a surfeit of media organisations intent on burdening the public with ‘information’ about climate change, journalists like Black were ten-a-penny. That is the consequence of mediocrity’s ascendency, of course. There was speculation that Black’s notoriously one-sided hectoring became too much, even for the BBC. The notion that the public might not be getting the right messages might not be all that distinct to bitterness at being removed from an organisation which very rarely gets rid of anyone it has put in the public eye.

But journalists removed from such high profile institutions as the BBC’s World Service leave with the connections to the world intact. Hence, Black has been able to assemble quite a team, as Andrew Montford notes, over at Bishop Hill.

Rushanara Ali, MP for Bethnal Green & Bow
Richard Benyon, MP for Newbury
The Rt Rev Richard Chartres, Bishop of London
Dr Fiona Godlee, Editor in Chief, British Medical Journal
Professor Michael Grubb, Professor of International Energy and Climate Change Policy, UCL
Professor Joanna Haigh, Co-Director, Grantham Institute, Imperial College London
Marylyn Haines Evans, Public Affairs Chair, National Federation of Women’s Institutes
Martin Horwood, MP for Cheltenham
Lord Howard of Lympne
Robin Lustig, Journalist and Broadcaster
Rear Admiral Neil Morisetti, Former Commander, UK Maritime Forces
Lord Oxburgh of Liverpool
Lord Puttnam of Queensgate
The Earl of Selborne
Dr Emily Shuckburgh, Head of Open Oceans, British Antarctic Survey
Graham Stuart, MP for Beverley and Holderness
Sir Crispin Tickell, Former Ambassador to the United Nations
Dr Camilla Toulmin, Director, IIED
Lord Turner of Ecchinswell

I shall spare you the biographies. Andrew suggests that this ugly assembly represents ‘the goblin version of the GWPF’, which is certainly the most of it.

This puts me in mind of a recent post by Judith Curry on ‘Institutionalizing Dissent‘. Says Curry,

One of the norms of science is organized skepticism. Those working at the climate science – policy interface (including the IPCC) have worked hard to kill organized skepticism by manufacturing a consensus on climate change. The idea of a climate red team has been put forward by John Christy. Kantrowitz and Biddle have thought through how institutionalizing dissent might actually work. Particularly for climate science, implementing something like this wouldn’t be simple, and actually achieving the desired objectives would be quite difficult.

I’ve previously drawn a distinction between science as a process and science as an institution (or institutions). When institutional science is expected to produce a consensus, it seems to me, it is at the expense of the process of science, to the extent that the scientific process needs an institutional basis (at least for the resources, etc, that scientific research needs). The manufacture of consensus, it seems to me, is equivalent to the manufacture of consent, or at least equivalent to its circumnavigation: who needs a demos, when you have a mandate from the objectivity of science? But the demos doesn’t go away…

This seems to me to be the point of ‘units’, such as the ECIU. Although such organisations have been unsuccessful at reproducing their ideas in the public’s mind, climate institutions have nonetheless multiplied to occupy a great deal of public space. One can think of orthodoxies being established materially, rather than ‘ideologically’, so to speak, to achieve the same effect. This is the construction of consensus, as opposed to its mere manufacture.

When David Cameron was launching his ‘Big Society’ initiatives, I happened to be working with anti-wind farm campaigners, producing films and other research. It struck me how far removed these people were from the lofty heights of green NGOs. With their feet firmly planted in Brussels and Westminster, NGOs are based in huge office complexes, whereas wind farm campaigns really were launched from kitchen tables, by amateurs, who had zero experience of any kind of campaigning, and few contacts to ask for favours from. Although they are characterised — caricatured — as rural, moneyed and privileged (which I found only occasionally to be the case), wind farm campaigners lacked any resources save for what they had in their pockets. Whereas Greenpeace et al have legal teams to take development or planning issues to the High Court, it was beyond the means of most campaigners to apply for judicial review, and would do at huge personal cost and financial risk. There was never any hope of establishing any kind of institutional response to wind energy.

Whether it is in debates about science or energy policy, those debates have been won by the creation of institutions, in something like ‘astroturfing’. But “informing” the public, or claiming to speak for ordinary people isn’t as much the point as simply dominating the public sphere.

At the other end of the world to the wind farm campaigners — and it might as well be the other end of the universe — is the green lobbying and PR effort. Zombie ‘philanthropic’ organisations. The rotting corpses of dead billionaires infect the world of the living. Take, for instance, the words of the European Climate Foundation — funders of The Carbon Brief and The ECIU:

Adopting stricter standards and effective labels for appliances and equipment
All energy-using products made in or imported into the EU must meet minimum energy performance standards and product labels that encourage the production and purchase of more efficient models. The Ecodesign and Energy Labelling directives both established complex processes for designing and adopting new standards and labels. To counter industry efforts to weaken requirements and delay implementation, we support a network of technical experts and NGOs that monitor and participate in the regulatory process and arm policymakers with data and analyses to ensure adoption of the most ambitious, technically and economically feasible requirements. Our work in this arena has already led to notable successes, most recently on boilers and vacuum cleaners.

The ECF are congratulating themselves for having lobbied — spending 25 million Euros a year — the European Union to ban electronic appliances with energy consumption over a certain rating. That meant lightbulbs and washing machines, and just this week, it means vaccum cleaners, and in the future it will mean more and more appliances. It sounds somewhat trivial, but although it means that although washing machines now use less water and less electricity, it means they are less good at cleaning. Ditto, vacuum cleaners with less power are less able to produce a vacuum, and thus less able to clean floors. The policymaker’s conceit is that by setting a standard in law, innovation follows. But there was never a need to force competing manufacturers to find an edge over each other. Now, rather than meeting consumer need, manufacturers have to meet the needs of Europe’s technocrats, and the will of dead billionaires.

And although the consequences are for the consumer, and it seems like so much whinging about not having quite as good an electrical appliance as could be had, the means by which this transformation was acheived was political. The ECF, again:

Our primary geographic focus is on Brussels (the hub of EU policymaking), Germany, the United Kingdom, France, and Poland – five venues that play a critical role determining Europe’s political leadership on climate and energy policy.

The institutions where policies are made should not be the plaything of philanthropic organisations and their benefactors. What business do the ECF, and for that matter Richard Black and the ECIU have in Brussels, Germany, the UK and Poland? They are not elected. They do not stand for public positions.

So don’t be fooled, The Energy & Climate Intelligence Unit does not exist to inform the public, but to deny the public democratic expression. The Energy & Climate Intelligence Unit is not about ‘science’, it is about transforming politics, to take power away from people, to put it in the hands of dead ‘philanthropists’.

Computer Science: Theory and Application: Google SVP Ramaswamy To Inaugurate Brown CS’s IT Leaders Lecture Series

submitted by BrownCompSci
[link] [comment]

The Rhizome Frontpage RSS: Rhizome Today

Art Project 2023 from Enxuto & Love on Vimeo.

Hackaday: Bit-banging Ethernet On An ATTiny85

Ethernet bit banging

[Cnlohr] just published an ingenious but dangerous way to send Ethernet packets using an ATTiny85. The ATtiny directly drives one pair of differential TX wires of a standard Ethernet cable. Doing so will force the TX signal ground to be the same as the ATTiny’s and in some cases may put 48V on your AVR if your cable is plugged into a Power Over Ethernet switch… which may be a problem.

In the video embedded below [cnlhor] explains that the microcontroller is clocked at 20Mhz to bit-bang the Manchester encoded electrical signals. Using a neat trick his home switch will detect his platform as a 10MBit Ethernet switch which can then send hard-coded packets to his computer. As you can guess, each of this packets takes quite a bit of space inside the ATTiny’s flash memory: 2+Kbytes. All of the code used may be downloaded on the creator’s GitHub repository, though he constantly warned us that it shouldn’t be used for real life applications.

Edit: One of our readers also let us know of a similar awesome project called the IgorPlug-UDP. Make sure to check it out!

Filed under: hardware Blog: Makerspaces: A Revolution in Sustainable Production


by Morgana Matus:

Since the first wheels of mass production started turning during the Industrial Revolution, fine craftsmen and DIYers have found it more difficult to sustain their crafts. Until recently, those handmade-focused entrepreneurs who wanted or needed access to the latest technology would have to assemble a large amount of capital for items such as 3D printers or CNC machines. Those who couldn’t afford the high overhead were left to envy those wares and hope for a price decrease.

Makerspaces: A Revolution in Sustainable Production - [Link]

programming: "I am not awesome. I am not a rockstar, superstar, ninja, or guru either."

submitted by buried_treasure
[link] [287 comments]

Colossal: Dreamlike Conceptual Self-Portraits Fused with Dance by Kylli Sparre

Dreamlike Conceptual Self Portraits Fused with Dance by Kylli Sparre surreal self portait conceptual

Dreamlike Conceptual Self Portraits Fused with Dance by Kylli Sparre surreal self portait conceptual

Dreamlike Conceptual Self Portraits Fused with Dance by Kylli Sparre surreal self portait conceptual

Dreamlike Conceptual Self Portraits Fused with Dance by Kylli Sparre surreal self portait conceptual

Dreamlike Conceptual Self Portraits Fused with Dance by Kylli Sparre surreal self portait conceptual

Dreamlike Conceptual Self Portraits Fused with Dance by Kylli Sparre surreal self portait conceptual

Dreamlike Conceptual Self Portraits Fused with Dance by Kylli Sparre surreal self portait conceptual

Dreamlike Conceptual Self Portraits Fused with Dance by Kylli Sparre surreal self portait conceptual

Fine art photographer Kylli Sparre (previously) has continued to create her dance-inspired photographs, almost all of which depict the artist herself in various dreamlike states and situations. Working with outdoor landscapes, and bodies of water or ice, Sparre fuses years of formal ballet training with these dramatic and performative photographs. The artist has a show in Amsterdam next month at Qlickeditions, and you can follow her work more on Facebook.

All Content: Life of Crime


The late great Elmore Leonard, on whose novel “The Switch” this movie is based, gets an executive producer credit on the movie. It’s significant, perhaps, that said credit doesn’t appear until after the movie’s played out. Shows a certain confidence on the part of the other filmmakers: they didn’t feel the need to stack the deck with an emblem of Leonard’s approval at the film’s onset. It turns out, the confidence was warranted: “Life of Crime” is a pretty engaging, and pretty authentically Leonardesque, comedic crime movie. While it doesn’t hit the highs of the very best movies based on the author’s works—those would be Steven Soderbergh’s “Out of Sight” and Quentin Tarantino’s “Jackie Brown,” two outstanding examples of American narrative cinema of the ‘90s—it’s also far less slick and ingratiating than the watchable but very Hollywood-processed likes of “Get Shorty” and “Be Cool.”

The assets of “Life Of Crime” include a relatively credible 1978 Detroit setting, a generous array of seamy characters with seamy aspirations (and interesting ways of talking), and a pretty first-rate cast playing those characters. John Hawkes and the performer usually known as Mos Def, here going by the name Yasiin Bey (no, I don’t know why) are the criminals Louis and Ordell, and yes, these are the same characters who turn up in “Rum Punch,” which was the novel on which “Jackie Brown” is based. For the purposes of this story, both of these bad guys are a little less…awful than they are in Tarantino’s film. Point of fact, they’re kind of likable, especially Louis. He’s first seen being talked into a kidnapping scheme by Bey’s Ordell, who subsequently proves his get-the-criminal-job-done bonafides by facing down an obstreperous pimp. Ordell’s scheme is to kidnap the wife of a corrupt local businessman, and demand as ransom the money he’s been secretly stashing down in a tax-shelter bank in the Bahamas. There are already a lot of holes in this scheme to begin with—Leonard’s crooks are rarely the brightest bulbs on the Christmas tree—but the biggest comes to light after the pair kidnap the disillusioned wife, Mickey, and stash her in the home of an accomplice who’s a Nazi gun nut. That is, Mickey’s husband, stiff-necked drunkard and all-around unpleasant fellow Frank, isn’t all that interested in getting his wife back. And he’s also got a little girlfriend at his Caribbean love nest, and she sees an opportunity in Mickey’s misfortune.

Before I got off on the plot synopsis I was praising the cast, and of course Hawkes and to a lesser degree the artist formerly known as Mos Def are reliable screen goods. As are Tim Robbins as Frank (a role that would have looked tailor-made for Christopher MacDonald 20 years ago), Isla Fisher as Frank’s, um, little chippie, Mark Boone Junior as the Nazi gun nut, and Will Forte as a social peer of the unhappy couple who’s got a weird thing for Mickey. The big surprise here is Aniston, who gives one of her best if not best ever movie performances here. Although she’s the female lead, she really lets herself melt into the ensemble, and I don’t know if it’s the part or if she’s really upped her acting game, but her performance is measured, engrossing, and empathy-generating without any overt striving, cutesy stuff, or sitcom-style tics. She actually develops quite a rapport with Hawkes, not a fellow you expect her to mix with either in character or not. The amusing twists and turns of the script, the multiple instances of bracing humor and consistent tension, help the cast bring this small-scale thriller to the place it clearly wants to be. Well worth seeing, particularly for Leonard people. Blog: How to make a simple wav player using Arduino


How to make a simple wav player using Arduino? This method  is smarter than “Simple Wav Player Using Arduino 1″. which actually should not be given the name “wav player” because it’s not flexible at all for the limitation from Arduino flash. This tutorial and set of kits, is complementary to that. By contrast, it gets greatly improved in the flexibility and sorts out the limitation problem by storing the converted music file into a SD card. Makers can build better music player on this basis.

How to make a simple wav player using Arduino - [Link]

Open Culture: A 56-Song Playlist of Music in Haruki Murakami’s Novels: Ray Charles, Glenn Gould, the Beach Boys & More


Last month we featured the particulars of novelist Haruki Murakami’s passion for jazz, including a big Youtube playlist of songs selected from Portrait in Jazz, his book of essays on the music. But we also alluded to Murakami’s admission of running to a soundtrack provided by The Lovin’ Spoonful, which suggests listening habits not enslaved to purism. His books — one of the very best known of which takes its name straight from a Beatles song (“Norwegian Wood”) — tend to come pre-loaded with references to several varieties of music, almost always Western and usually American.  “The Fierce Imagination of Haruki Murakami,” Sam Anderson’s profile of the writer on the occasion of the release of his previous novel 1Q84, name-checks not just Stan Getz but Janáček’s Sinfonietta, The Rolling Stones’ Sympathy for the Devil, Eric Clapton’s Reptile, Bruce Springsteen’s version of “Old Dan Tucker,” and The Many Sides of Gene PitneyThe title of Murakami’s new Colorless Tsukuru Tazaki and His Years of Pilgrimage, writes The Week‘s Scott Meslow, references Franz Liszt’s ‘Years of Pilgrimage’ suite, “which plays a central role in the novel’s narrative. The pointed reference isn’t exactly a major detour from Murakami.”

Given the writer’s increasing reliance on music and the notion of “songs that literally have the power to change the world,” to say nothing of his “ability to single-handedly drive musical trends,” it can prove an illuminating exercise to assemble Murakami playlists. Selecting 56 tracks, Meslow has created his own playlist (above) that emphasizes the breadth of genre in the music incorporated into Murakami’s fiction: from Ray Charles to Brenda Lee, Duke Ellington to Bobby Darin, Glenn Gould to the Beach Boys. Each song appears in one of Murakami’s novels, and Meslow even includes citations for each track: “I had some coffee while listening to Maynard Ferguson’s ‘Star Wars.’” “Her milk was on the house if she would play the Beatles’ ‘Here Comes the Sun,’ said the girl.” Imagine The Greatest Hits of Bobby Darin minus ‘Mack the Knife.’ That’s what my life would be like without you.” “The room begins to darken. In the deepening darkness, ‘I Can’t Go For That’ continues to play.” It all coheres in something to listen to while exploring Murakami’s world: in your imagination, in real life, or in his trademark realms between. 

To listen to the playlist above, you will first need to download Spotify. Please note that once you mouse over the playlist, you can scroll through all 56 songs. Look for the vertical scrollbar along the right side of the playlist.

Photo above is attributed to “wakarimasita of Flickr”

via The Week

Related Content:

Read 5 Stories By Haruki Murakami Free Online (For a Limited Time)

A Photographic Tour of Haruki Murakami’s Tokyo, Where Dream, Memory, and Reality Meet

Haruki Murakami’s Passion for Jazz: Discover the Novelist’s Jazz Playlist, Jazz Essay & Jazz Bar

In Search of Haruki Murakami, Japan’s Great Postmodernist Novelist

Haruki Murakami Translates The Great Gatsby, the Novel That Influenced Him Most

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.

A 56-Song Playlist of Music in Haruki Murakami’s Novels: Ray Charles, Glenn Gould, the Beach Boys & More 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 A 56-Song Playlist of Music in Haruki Murakami’s Novels: Ray Charles, Glenn Gould, the Beach Boys & More appeared first on Open Culture.

BOOOOOOOM!: Incredible Re-arranged Photographs by Vancouver-based Artist Ed Spence








Vancouver-based artist Ed Spence is making some of my favourite work right now. I dropped by his studio a couple weeks ago and I couldn’t leave without buying a piece. Let me explain to you what you’re looking at.

Ed takes a photograph of a crumpled piece of reflective paper. Then he prints the image and cuts out a section of it using a blade. He carefully cuts up the section into small “pixels” and re-arranges them based on colour. So if you were to run your hand along the finished photograph you would feel the texture of the cut pieces.

You kinda have to see these in person to really get the full effect. Really fantastic stuff! Lots more images below. The one I bought is the next one down.

View the whole post: Incredible Re-arranged Photographs by Vancouver-based Artist Ed Spence over on BOOOOOOOM!.

BOOOOOOOM!: Kamea Hadar and Defer


More collaborative work from my good friend Kamea Hadar and Defer. More images below.

View the whole post: Kamea Hadar and Defer over on BOOOOOOOM!.

Schneier on Security: ISIS Threatens US with Terrorism

They're openly mocking our profiling. But in several telephone conversations with a Reuters reporter over the past few months, Islamic State fighters had indicated that their leader, Iraqi Abu Bakr al-Baghdadi, had several surprises in store for the West. They hinted that attacks on American interests or even U.S. soil were possible through sleeper cells in Europe and the United...

Hackaday: Extrinsic Motivation: Daisy Kite Airborne Wind Turbine


Got another THP entry for ya’ll that didn’t quite make the cut, but is worth sharing. This time we are featuring an airborne wind turbine that, as the project description states, ‘can harvest strong and expansive wind safely and efficiently.’

Ram air kites spin a parachute that in turn transfers torque that can be captured on the ground. In a true hacker spirit way, the rig developed by [Rod] utilizes bike wheels and rollerblade wheels in the design. This homemade generator needs a lot of space to be deployed, but it looks like a nice solution to airborne energy harvesting. [Rod] goes over the specifications for the project throughout the build logs on the page and includes a couple of video describing how it was created and showing what happens when it is released into the air currents outside. Diagrams and models of the open source airborne wind energy generation device are also included.

Below are a few of his videos. Watch them over, and let us know what you think.

SpaceWrencherThis project is an official entry to The Hackaday Prize that sadly didn’t make the quarterfinal selection. It’s still a great project, and worthy of a Hackaday post on its own.


Description Video:

Demo Video:

Filed under: green hacks



My friend Dal is in New York painting in the city, here’s a piece he just finished in Manhattan. His show opens at Jonathan Levine on September 4th. More images below!

View the whole post: DALeast over on BOOOOOOOM!.

BOOOOOOOM!: Rossina Bossio


Paintings by artist Rossina Bossio. More below.

View the whole post: Rossina Bossio over on BOOOOOOOM!.

CreativeApplications.Net: KIKK is back to explore the links between playfulness, creativity and technology

kikk2014_banner_thumbFor the fourth time, KIKK Festival will take over Namur, Belgium to showcase the latest movers and shakers in the worlds of digital art and design. KIKK brings together the world’s most talented creative coders, innovators, designers, artists and researchers.

Planet Lisp: Timofei Shatrov: Living on the edge

Lately my primary Lisp has been a SBCL fork for Windows which is based on SBCL 1.1.4 and is now pretty old. The official release of SBCL for Windows is 1.2.1 so I decided to try it out. The installer managed to delete my old version of SBCL, so there was no way back now. I tried to run it, but it still tried to use .core from the old SBCL. Strange, I’m pretty sure the system environment variables have been updated. Yep, I go to system settings and SBCL_HOME points at the correct directory. I run “cmd” and nope, SBCL_HOME points at the old directory. How could that be? After some mucking about, I save the environment variables again and now it has updated. SBCL now runs from command line. Success?

Ok, so I run SLIME and it tries to use some symbol from SBCL system package which has clearly been removed at some point. My SLIME isn’t even that old, last updated in 2013. I actually installed it via Quicklisp, wonder if this will work? I run SBCL from command line and do (ql:update-all-dists). Lots of libraries get updated, including SLIME 2014-08-01. Oh, this is good stuff.

I start up Emacs, load SLIME and face a certain bug I already faced on another computer. At some point SLIME became, let’s say, not very compatible with Emacs 24.1 and 24.2 series, because Emacs developers did something with ‘cl package and SLIME relies on that change. Guess I’ll have to update Emacs too.

As a result I have been forced to update to a shiny new Lisp stack from 2014. To compare, at work we have to use Python 2.6 (released in 2008) and Django 1.3 (released in 2011 and already deprecated). It’s actually amazing how many libraries still run on Python 2.6. Meanwhile Common Lisp as the language hasn’t changed since like the 80s and yet you must always watch out for compatibility issues! Keep up with the times!

Planet Haskell: Antti-Juhani Kaijanaho (ibid): Licentiate Thesis is now publicly available

My recently accepted Licentiate Thesis, which I posted about a couple of days ago, is now available in JyX.

Here is the abstract again for reference:

Kaijanaho, Antti-Juhani
The extent of empirical evidence that could inform evidence-based design of programming languages. A systematic mapping study.
Jyväskylä: University of Jyväskylä, 2014, 243 p.
(Jyväskylä Licentiate Theses in Computing,
ISSN 1795-9713; 18)
ISBN 978-951-39-5790-2 (nid.)
ISBN 978-951-39-5791-9 (PDF)
Finnish summary

Background: Programming language design is not usually informed by empirical studies. In other fields similar problems have inspired an evidence-based paradigm of practice. Central to it are secondary studies summarizing and consolidating the research literature. Aims: This systematic mapping study looks for empirical research that could inform evidence-based design of programming languages. Method: Manual and keyword-based searches were performed, as was a single round of snowballing. There were 2056 potentially relevant publications, of which 180 were selected for inclusion, because they reported empirical evidence on the efficacy of potential design decisions and were published on or before 2012. A thematic synthesis was created. Results: Included studies span four decades, but activity has been sparse until the last five years or so. The form of conditional statements and loops, as well as the choice between static and dynamic typing have all been studied empirically for efficacy in at least five studies each. Error proneness, programming comprehension, and human effort are the most common forms of efficacy studied. Experimenting with programmer participants is the most popular method. Conclusions: There clearly are language design decisions for which empirical evidence regarding efficacy exists; they may be of some use to language designers, and several of them may be ripe for systematic reviewing. There is concern that the lack of interest generated by studies in this topic area until the recent surge of activity may indicate serious issues in their research approach.

Keywords: programming languages, programming language design, evidence-based paradigm, efficacy, research methods, systematic mapping study, thematic synthesis

Open Culture: Jimi Hendrix, Pink Floyd, Traffic & Other Bands Play Huge London Festival “Christmas on Earth Continued” (1967)

A truly spectacular event, 1967’s “Christmas on Earth Continued”—a super-concert described in one promo poster as an “All Night Christmas Dream Party”—gets sadly remembered as the last major show Syd Barret played with Pink Floyd—ending the set dazed and motionless onstage, his arms hanging limp at his sides. Barrett’s breakdown wasn’t the only thing that kept this massive happening, “the last gasp of the British underground scene,” from taking off as it should have.

As the blog Marmalade Skies recalls, the concert, held in the “vast London Olympia,” had “hopelessly inadequate” publicity.” This, and a “particularly severe winter freeze” meant sparse attendance and “financial disaster for the organizers.” In addition, a planned film of the event failed to materialize, “owing to poor picture quality of the footage.”


Despite all this, it seems, you really had to have been there. The lineup alone will make lovers of 60s psych-rock salivate: Jimi Hendrix Experience, Eric Burdon, Pink Floyd, The Move, Soft Machine, Tomorrow… The Who didn’t make it, but the unbilled Traffic did. We’re lucky to have some of the footage from that winter night. Check out Traffic below (with a very young Steve Winwood), playing “Dear Mr. Fantasy.”

Liberal England blogger Jonathan Calder calls the Traffic clip “priceless” and quotes Marmalade Skies’ vivid description of the nights festivities:

Soft Machine, with Kevin Ayers resplendent in pre-punk black string vest, climaxed with the ultimate Dada version of ‘We did it again’ as Robert Wyatt leapt into a full bath of water, that just happened to be on-stage with them! At least, we assumed it was water. 

Tomorrow powered through their unique mix of heavily Beatles influenced psychedelia. During ‘Strawberry Fields Forever’ Twink (drums) and Junior (bass) performed a mimed fight whilst being subjected to the most powerful strobe light effects I’ve ever witnessed. Steve Howe was a revelation, moving from raga to classical to Barrett – style anarchy with an almost arrogant ease. 

Traffic, still with Dave Mason, even performed ‘Hole in my shoe’. Steve Winwood was into his white cheesecloth period, and their music was so unlike anything else around that they occupied a totally original space. The song, ‘Here we go round the Mulberry Bush’ was very typical of their trippy, watery sound at that time. 

Hendrix – voom! All light shows were killed for his performance. Noel Redding was constantly niggling Jimi, playing bass behind his head as Jimi performed his tricks with his guitar. It was the first time I saw Hendrix with his Gibson Flying Arrow, and the tension on-stage produced some electrifying music.

At the top of the post see Hendrix in backstage footage, effortlessly coaxing some beautiful 12-bar blues from that Gibson flying V. The film clips of him onstage—blowing an obviously very turned-on audience’s collective mind—will convince you this was the only place on earth to be on December 22, 1967.

And that fateful Floyd performance? We don’t seem to have any film, but we do have the audio, and you can hear it below, slightly sped up, it seems. The band were debuting their new 3D lightshow, which—as much as Barrett’s sad loss of his faculties—left quite an impression on the crowd. One anonymous commenter on Calder’s blog, who claims to have seen been in attendance at the tender age of 18, writes, “I was so impressed with the Soft Machine and Pink Floyd lightshows that I bought an old movie projector from a thrift shop and me and my flatmate spent hours putting color slides into the projector grate and watched them melt psychedelically on the wall.” No doubt impressionable youngsters all over the UK indulged in similar kinds of good clean fun, with Piper at the Gates of Dawn on the hi-fi. If like me, you were born too late to experience the zenith of the psychedelic 60s, then flip off the lights, let your trippiest screen saver take over, and listen to Pink Floyd deconstruct themselves below.

via Liberal England

Related Content:

Jimi Hendrix at Woodstock: The Complete Performance in Video & Audio (1969)

Jimi Hendrix Plays the Beatles: “Sgt. Pepper’s,” “Day Tripper,” and “Tomorrow Never Knows”

Pink Floyd Plays With Their Brand New Singer & Guitarist David Gilmour on French TV (1968)

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

Jimi Hendrix, Pink Floyd, Traffic & Other Bands Play Huge London Festival “Christmas on Earth Continued” (1967) 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 Jimi Hendrix, Pink Floyd, Traffic & Other Bands Play Huge London Festival “Christmas on Earth Continued” (1967) appeared first on Open Culture.

Penny Arcade: News Post: The Scintillator

Tycho: Gabriel is constantly impressing himself with what he calls his thinkin’s, which are like little caltrops for the brain.  He once posited that while it was technically true that each cock exists within its own “timeline,” under certain rare conditions it would be possible for a cock to block itself. That’s, uh… huh.  That’s not really applicable to my life. We’ve long considered collecting these things together in one of those Daily Affirmation type calendars, we jot them down when we can, but we discussed for a few harrowing minutes what…

Penny Arcade: Comic: The Scintillator

New Comic: The Scintillator

programming: Sublime Text 3 has just been updated! [x-post from /r/sublimetext]

submitted by fersaq
[link] [132 comments]

TheSirensSound: Rádio Etiópia – My River

By Appointment to Her Majesty the Queen and to Their Late Majesties King George VI, King Edward VII, King William IV, King George V, Queen Victoria, King George IV and to His Late Royal Higness The Prince of Wales ( 1921-1936)


TONY JUSTERINI and ANATOLY BROOKS are the co-founders of Rádio Etiópia. New episodes are posted every Monday set completed apart from the mainstream line of music.


Intro voice led by Ana Ribeiro


Special Guests:

  • - PAULINO – 2nd FRIDAY
  • - FRAY D. JAY – 3rd FRIDAY
  • - JOÃO H – 4th FRIDAY

< < < < < [ [ .COM ] | [ PODCAST ] | [ FACEBOOK ] | [ PHASE 108.1 ] ]. > > > > >



My River
By Anatoly Brooks


01. Ilya – In Blood (0.00:01)
02. Lisa Gerrard – Estelita (0.02:18)
03. The Irrepressibles – New world (live at Limehouse) (0.05:58)
04. I Am Planet – Silene latifólia (0.09:40)
05. Hugar – Inngangur (0.12:26)
06. The Durutti Column – Free from all the chaos (0.13:45)
07. Aidan Baker – HTBDF II (0.19:13)
08. Notwist – Run run run (0.28:11)
09. Imogem Heap – Climb to sakteng (0.33:13)
10. My Brightest Diamond – Dreaming awake (Son Lux mix) (0.36:28)
11. Ulf Wakenius – Requiem for a lost son (0.40:54)
12. Tom Adams – From a great height (0.44:59)
13. Mick Flannery – Even now (0.47:32)
14. I Am Planet – Adelidae (0.50:21)
15. Strand Of Oaks – JM (0.56:18)
16. Desertshore – The morning is open (1.03:29)
17. Desertshore – Echoes of honfleur (1.06:45)
18. Empire! Empire! – Things not worthfixing (1.09:36)
19. Eric Mongrain – Aftermath (1.13:57)

Total Time: 01.19.53
A photo by António Chaves
Sultry voice of Radio Etiopia – Ana Ribeiro



Computer Science: Theory and Application: Is there a complete list of CS papers?

Maybe that is too much to ask, but is there such a thing as a complete list of almost every published CS paper?

Also, is there any way to visualize the field and its divisions?


map thanks $ repliers $ redditThread "r/compsci/comments/2ewadt/is_there_a_complete_list_of_cs_papers" where thanks user = "ty, " ++ show user 
submitted by SrPeixinho
[link] [18 comments]

The Half-Dipper: When Someone Asks You If You Are a God

Disquiet: Disquiet Junto Project 0139: Tech Technique


Each Thursday in the Disquiet Junto group on and at, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate.

This assignment was made in the early evening, California time, on Thursday, August 28, with 11:59pm on the following Monday, September 1, 2014, as the deadline.

These are the instructions that went out to the group’s email list (at

Disquiet Junto Project 0139: Tech Technique
The Assignment: Create and upload a track that exemplifies explain one key process you’ve developed.

Thanks to Karl Fousek, aka analogue01, of Montréal, Canada, for indirectly inspiring this project.

The Junto is as much about musicians listening to and communicating with each other as it is about making their own music. This week’s project aims to combine those two goals. The instructions are simple:

Step 1: Think of a specific technique that you are proud of having developed, perfected, or in some way folded into your work.

Step 2: Produce a short track that includes that technique.

Step 3: Upload the track to the Disquiet Junto group on SoundCloud, and in the notes field associated with the track describe the technique.

Deadline: Monday, September 1, 2014, at 11:59pm wherever you are.

Length: Your finished work should be between 1 and 4 minutes.

Information: Please when posting your track on SoundCloud, include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto.

Title/Tag: When adding your track to the Disquiet Junto group on, please include the term “disquiet0139-techtechnique″ in the title of your track, and as a tag for your track.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track, please be sure to include this information:

More on this 139th Disquiet Junto project — “Create and upload a track that exemplifies one key creative process you’ve developed″ — at:

More on the Disquiet Junto at:

Join the Disquiet Junto at:

Disquiet Junto general discussion takes place at:

The image associated with this track is by Wesley Fryer and was used thanks to a Creative Commons license. Originally posted here:

The Gutters: The Mysteries of The Comics Industry

gutters532 colours

It’s a bizzare industry, as both the reaction and the surprise at the reaction to the Milo Manara Spider-Woman cover have proven. The only thing that can possibly explain it is a scene like the one pictured above. Beyond that, I’m completely lost on this one I’m afraid. Not because I don’t get both sides of the argument, but mainly because I’m flabberghasted by both sides of the argument.

But, you have the chance to educate me, Sohmer, Lar, Will and Aurelie about it this weekend at Fan Expo in Toronto!


Today’s page comes to us from Convention-Friend Gavin Smith:

Gavin Smith is a freelance artist who lives in Indianapolis, Indiana. He is the artist on the comic books “The Accelerators” and “All Superheroes Must Die”. He created and self published his own comic book “Human City”. He is also a 2011 graduate of the Joe Kubert School. Past Clients/Work include: AT&T, New World Videos, Blue Juice Comics, The Gutters/Blind Ferret Entertainment, The Sound Magazine.

Enjoy the weekend, friends! If you’re in Toronto, come say hi!


Saturday Morning Breakfast Cereal (updated daily): August 29, 2014


Paper Bits: Photo

Paper Bits: Barman, six pints of bitter and quickly. The world’s about to...

Barman, six pints of bitter and quickly. The world’s about to end.

Ansuz - mskala's home page: Heading for Denmark

I don't think I have officially mentioned this here on my Web log yet, but here it is: I am moving to Denmark to work as a postdoc in the Scaleable Similarity Search project at the IT University of Copenhagen. This is a one-year temporary position with a possible renewal for a second year.

As I type this, I am in my apartment in Winnipeg, sitting on top of my modular synthesizer in its Pelican case because that is the closest thing to furniture that hasn't been taken away by either the movers or Goodwill. 08.29.2014

New Cyanide and Happiness Comic.

OCaml Planet: Caml INRIA: OCaml 4.02.0 released

Greater Fool - Authored by Garth Turner - The Troubled Future of Real Estate: More ambition

BLIND modified

Time for some follows.

RECO is the housing cop in Ontario. It functions as a regulator of the industry, but without the cut-off-your-glands judiciary clout of the agency that oversees the financial advisory business. Still, RECO can fine agents, suspend licenses and make life reasonably miserable for those who break the rules. The trouble is, unlike the financial and bank cops, RECO doesn’t have a platoon of investigators, inspectors and auditors who make registrants live in fear of breaching the smallest rule.

Hence, the Wild West that now exists in our biggest province, with imitations across the country. In BC, for example, land of yellow helicopters ferrying fake Chinese agents, and condo showrooms with fake Chinese buyers, the Real Estate Council of British Columbia’s turned from watchdog into lapdog, or maybe more like a pet guppy in a plastic bag in your mom’s guest bathroom toilet tank. Egregious malfeasance on the part of professional housing marketers has escaped scot-free.

Well, back to Nancy Taza and her condo-thumping fictional math. Former career realtor and housing consultant Ross Kay says not only is the 31-year-old realtress in contravention of RECO guidelines with the email message posted here yesterday, but also with content posted on her web site and wild-‘n-crazy Facebook page.  (Note: after this post was published Ms. Taza’s FB page, replete with its bikini pictures, was taken offline.)

“While RECO can’t touch TREB or it’s non-registrant staff,” says Kay, “Taza is a different story.  This has been brought to RECO’s attention.”

TAZA modifiedIndeed. A developer, builder or marketing maven  can promise you a 160% return in three years on a two-bedroom condo that isn’t built yet, but it’s a different story entirely when a licensed agent/broker makes the same broad statements. As pointed out here yesterday, there are an astonishing number of people who actually believe it all. Especially when it comes from the lips of a Mercedes-driving, penthouse-dwelling, party-going Amazon.

And here’s another follow for you – the sad saga of Meerai Cho, the go-to lawyer for Toronto’s real estate-buying Korean crowd who mistakenly gave $12 million in condo deposits to a developer who promptly flew to Seoul. The cops figure she’ll eventually face 300 charges, while she’s already been thrown out of the legal profession, and declared bankruptcy. But the victims find themselves in a limbo – covered only marginally for lost deposits by the new home warranty people, and unable to sue a dink who fled the country.

So will they be able to go after Cho’s malpractice insurance policy – blanket coverage all lawyers must carry?

Not so fast.

CHO  One of the blog dogs is an insider, and provides this: “All the stories seem to be leaving out that as a practicing lawyer she’d have malpractice insurance coverage,” he says. “What it would hinge on though, among a million other things, is whether it was a genuine error (which is covered) or fraud (which is isn’t covered by the policy).

“It all depends entirely on what kinds of claims end up in our claims department, but my two cents is that those buyers would be a lot better off if she genuinely just screwed up.”

The Cho saga resumes on October 2, with her next court appearance. Unfortunately for the victims – at least one of whom plopped down $700,000 – the combined local cop/RCMP investigation could take well into 2015, and no insurance payouts are expected until the whole mess has been unpeeled.

There are lessons here, as I’ve pointed out. Despite the fact 70% of Canadians are heavily invested in this one asset, and have placed $1.1 trillion in financing on it, real estate remains basically unregulated. Agents can promise future returns on property that doesn’t exist. Real estate boards can secretly alter published numbers, without consequences. Consumers can be denied access to basic information, like days on market or sales histories. Developers can delay for years handing over product they’ve already sold. And 200 families can lose their life savings and look forward to diddly.

Meanwhile people worry about losing money on a bank stock. It might be different, of course, if there were a tank top involved.

Potz!Blitz!Szpilman!: Diane

Diane (rock), Sliding (on Racetrack Playa, Death Valley), ongoing

Planet Haskell: Functional Jobs: Senior Software Engineer (Functional) at McGraw-Hill Education (Full-time)

This Senior Software Engineer position is with the new LearnSmart team at McGraw-Hill Education's new and growing Research & Development center in Boston's Innovation District. We make software that helps college students study smarter, earn better grades, and retain more knowledge.

The LearnSmart adaptive engine powers the products in our LearnSmart Advantage suite — LearnSmart, SmartBook, LearnSmart Achieve, LearnSmart Prep, and LearnSmart Labs. These products provide a personalized learning path that continuously adapts course content based on a student’s current knowledge and confidence level.

On our team, you'll get to:

  • Move textbooks and learning into the digital era
  • Create software used by millions of students
  • Advance the state of the art in adaptive learning technology
  • Make a real difference in education

Our team's products are built with Flow, a functional language in the ML family. Flow lets us write code once and deliver it to students on multiple platforms and device types. Other languages in our development ecosystem include especially JavaScript, but also C++, SWF (Flash), and Haxe.

If you're interested in functional languages like Scala, Swift, Erlang, Clojure, F#, Lisp, Haskell, and OCaml, then you'll enjoy learning Flow. We don't require that you have previous experience with functional programming, only enthusiasm for learning it. But if you have do some experience with functional languages, so much the better! (On-the-job experience is best, but coursework, personal projects, and open-source contributions count too.)

We require only that you:

  • Have a solid grasp of CS fundamentals (languages, algorithms, and data structures)
  • Be comfortable moving between multiple programming languages
  • Be comfortable with modern software practices: version control (Git), test-driven development, continuous integration, Agile

Get information on how to apply for this position.

OCaml Planet: Functional Jobs: Senior Software Engineer (Functional) at McGraw-Hill Education (Full-time)

This Senior Software Engineer position is with the new LearnSmart team at McGraw-Hill Education's new and growing Research & Development center in Boston's Innovation District. We make software that helps college students study smarter, earn better grades, and retain more knowledge.

The LearnSmart adaptive engine powers the products in our LearnSmart Advantage suite — LearnSmart, SmartBook, LearnSmart Achieve, LearnSmart Prep, and LearnSmart Labs. These products provide a personalized learning path that continuously adapts course content based on a student’s current knowledge and confidence level.

On our team, you'll get to:

  • Move textbooks and learning into the digital era
  • Create software used by millions of students
  • Advance the state of the art in adaptive learning technology
  • Make a real difference in education

Our team's products are built with Flow, a functional language in the ML family. Flow lets us write code once and deliver it to students on multiple platforms and device types. Other languages in our development ecosystem include especially JavaScript, but also C++, SWF (Flash), and Haxe.

If you're interested in functional languages like Scala, Swift, Erlang, Clojure, F#, Lisp, Haskell, and OCaml, then you'll enjoy learning Flow. We don't require that you have previous experience with functional programming, only enthusiasm for learning it. But if you have do some experience with functional languages, so much the better! (On-the-job experience is best, but coursework, personal projects, and open-source contributions count too.)

We require only that you:

  • Have a solid grasp of CS fundamentals (languages, algorithms, and data structures)
  • Be comfortable moving between multiple programming languages
  • Be comfortable with modern software practices: version control (Git), test-driven development, continuous integration, Agile

Get information on how to apply for this position.

things magazine: From up here

A random selection of things / The Evolution of Headphones / IKEA makes its catalogues with 3D rendering software (also discussed at Metafilter) / from 2009, IKEA ditches Futura for Verdana / Dassault Systemes recently modelled the construction of Mulberry harbour and the engineering logistics of D-Day / some of the best urban photography you’ll ever see: On the Roofs. Check their recent images of Hong Kong / people on mefi who have tumblrs, e.g. the great Tomorrowland and My Husband’s Stupid Record Collection / pity those who wake up in Stanton Williams’ forthcoming Riverwalk development; they have to look at the wretched St George Wharf every day of their life.

Perlsphere: PBP: 034 Single-Character Strings

The PBP suggests never using “” or ” for empty strings, and using q{} instead.  Because clearly that’s so much more readable.The concern here is that ” (two single-quotes) might look like ” (a single double quote) on it’s own in some fonts.  I really think that context and, in a modern editor, syntax highlighting, will help keep the difference clear.  I don’t like the quote-like operators, and don’t think it’s worth dragging Perl back into the land of lines full of line-noise with the extra braces to protect some poor sucker from their poor font choice.

Using a pair of double quotes remains unambiguous and is, in my opinion, much clearer.  I’m horrified to discover my empty string might interpolate something by accident!  I just can’t care, and find it too ugly to use.

This is one of the PerlCritic warnings I turn off right away.

Open Culture: The Right and Wrong Way to Eat Sushi: A Primer’s food channel, Munchies, spent time with Naomichi Yasuda and learned the dos and don’ts of eating sushi. And they kindly summarized some practices that are permitted and verboten.

  1. It’s okay to use your fingers to eat cut sushi rolls.
  2. Don’t combine ginger and sushi, or ginger and soy sauce. Ginger is a palate cleanser in between bites.
  3. When dipping sushi into soy sauce, dip fish-side down.
  4. Never shake soy sauce off of sushi. That’s like shaking your wanker in public.

The video above just begins to scratch the surface. If you head over to TheSushiFAQ, you can find a long list of rules and suggestions that will round out your sushi-eating etiquette. Here are some additional tips to keep in mind: Never put wasabi directly in the shoyu dish. And know that Sashimi is only to be eaten with your chopsticks, not with your hands. Got it? There will be a quiz tomorrow.

via Kottke/Munchies

Related Content:

How to Make Instant Ramen Compliments of Japanese Animation Director Hayao Miyzaki

The Best Japanese Commercial Ever? James Brown Sells Miso Soup

What Goes Into Ramen Noodles, and What Happens When Ramen Noodles Go Into You

Cookpad, the Largest Recipe Site in Japan, Launches New Site in English

Learn Japanese Free

MIT Teaches You How to Speak Italian & Cook Italian Cuisine All at Once (Free Online Course)

The Right and Wrong Way to Eat Sushi: A Primer 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 Right and Wrong Way to Eat Sushi: A Primer appeared first on Open Culture.

Arduino Blog: Video mixing chess games on tv in Norway using Ethernet Shield


Heidi Røneid with an Arduino Ethernet microprocessor. (Photo: Tore Zakariassen, NRK)

When The Norwegian Broadcasting (NRK) planned the television broadcast of the Chess Olympiad 2014 in Tromsø, Norway, they encountered a challenge: how to mix video, graphics and the results of many ongoing chess games simultaneously, requiring 16 cameras for the games going on at the same time?


On their blog you can find a long and nice post about how they found the solution using Arduino Uno, Arduino Ethernet Shield and the library for Arduino to control such Atem switchers written by Kasper Skårhøj:

At first, the idea was to use a computer with a webcam for each of the 16 games, then mix video images, background animation and results in software on each of them.

Afterwards the finished mix of images would be streamed to separate channels in our web player, so that the online audience would be able to choose which game they wanted to follow. This solution would also provide our outside broadcasting van (OB van) with 16 finished video sources composed of video, graphics and results. This would make the complex job of mixing all video signals much easier.

After thorough thinking we came to the conclusion that for our web-audience, it would be better to skip the stream of individual games, and spend our resources on building websites that could present all games in the championship via HTML in real time. This would also give the audience the opportunity to scroll back and forth in the moves and recall all the previous games in the championship. We started working on it immediately, and you can find the result on our website


Colossal: Murals Composed of Frenetic Linework by DALeast

Murals Composed of Frenetic Linework by DALeast street art murals birds
Photo by Spencer Elzey

Murals Composed of Frenetic Linework by DALeast street art murals birds
Photo by Spencer Elzey

Murals Composed of Frenetic Linework by DALeast street art murals birds
Photo by Spencer Elzey

Murals Composed of Frenetic Linework by DALeast street art murals birds

Murals Composed of Frenetic Linework by DALeast street art murals birds

Murals Composed of Frenetic Linework by DALeast street art murals birds

Murals Composed of Frenetic Linework by DALeast street art murals birds

Murals Composed of Frenetic Linework by DALeast street art murals birds

Since we last covered work by DALeast, the artist has painted numerous pieces around the world, particularly a number of bird-themes murals in Poland, Spain, and now New York City where he just completed a towering painting of a bird clutching another bird on the side a Manhattan building. Born in China, the muralist/sculptor/painter is currently based out of Cape Town where his use of frenetic lines to compose animals, people, and other forms is almost instantly recognizable. You can follow his lastest adventures on Facebook. (via StreetArtNews)

Update: DALeast opens a solo exhibition at Jonathan Levine Gallery on September 6.

Perlsphere: Task::Date::Holidays

I have just revived a lot of my CPAN distributions after they where stranded in migration. One these distributions is Date::Holidays a wrapper/adapter to modules in the Date::Holidays namespace and related. Since development started up again I have made several releases and I am on a quest to get all of the RTs/issues out of the way.

Some release history:

0.19 2014.08.27 bug fix release, update not required (see below)

- This release addressed reports on failing tests for perl 5.21
The use in this distribution of UNIVERSAL is now deprecated,
see: Github issue [#3] and [RT:98337]

0.18 2014.08.24 feature release, update not required

- Added adapter class for Date::Holidays::BR [RT:63437]

0.17 2014.08.22 maintenance release, update not required

- Migrated from Module::Build to Dist::Zilla

- Fixed issue in some test, which would break if Date::Holidays::DK
was not installed

0.16 2014.08.18 maintenance release, update not required

- Fixed POD error

- Aligned all version numbers

- Added t/kwalitee.t Test::Kwalitee test

- Added t/changes.t Test::CPAN::Changes test

What struck me when I was shifting back and forth between perl versions on my laptop and had to install some of the Date::Holidays modules over and over again, was:

  1. I have to refamiliarize me with my own code
  2. I have to get an overview of what new distributions have been added to the namespace and acquire my attention, I feel like I have been on a looooong holiday
  3. I seriously need to get some work done and get some releases out

Enter Task::Date::Holidays! – using this distribution it will be easy for me to get all of the interesting distributions installed when I have completed point 2, then I can focus on point 3 and point one will solve itself.

Task::Date::Holidays 0.01, contain the following list of distributions:

- Date::Holidays::AT
- Date::Holidays::NO
- Date::Holidays::DK
- Date::Holidays::DE
- Date::Holidays::GB
- Date::Holidays::PT
- Date::Holidays::ES
- Date::Holidays::PL
- Date::Holidays::CZ
- Date::Holidays::KR
- Date::Holidays::SK
- Date::Holidays::FR
- Date::Holidays::BR
- Date::Holidays::CA_ES
- Date::Holidays::USFederal
- Date::Holidays::CA
- Date::Holidays::CN
- Date::Holidays::NZ
- Date::Holidays::AU

Many of these are completely new to me, so this will be very interesting – so expect plenty of releases of Date::Holidays as I chew my way through the list…

jonasbn, Copenhagen

The Rhizome Frontpage RSS: Somebody: A New Messaging Service by Miranda July

Miranda July's messaging service Somebody is presented as part of First Look, the New Museum's ongoing series of digital projects, now co-curated and copresented by Rhizome. Because the app relies on face-to-face interaction, the New Museum (along with other sites around the world) will serve as a "hotspot" for users of the app. 

Miranda July, Somebody, 2014 (still, featuring July). Video, dir. Miranda July. Courtesy the artist and Miu Miu.

"Texting is tacky. Calling is awkward. Email is old." —Miranda July

In Miranda July's 1998 experimental video The Amateurist, a young woman with a jet-black pixie haircut in a stiff professional dress (played by July) studies a TV set displaying a fuzzy surveillance feed of a blonde woman (also played by July), who is squirming in the corner of a small cell. While speaking to the camera, the pixied professional reels off all sorts of absurd quantifications and explanations of the surveilled woman's movements. She maps her emotions to a numbered grid, psychoanalyzes her behavior, quips about her habits, and consistently runs roughshod across boundaries between doctor and patient, subject and object, viewer and viewed, public and private, in what is ultimately an excessive examination without any apparent justification. Since the video was produced, July's body of work has expanded from video and performance to include online works, novels, and feature films—all of which attempt to dissolve boundaries between fictionalized personae, or between the artist and her audience. It's significant to note that July started out in the experimental-video scene of the '90s, since so much of her work is about how the adaptation of new technologies affects us on a very personal level. Regardless of medium, her works reflect how broad social changes inflect our most intimate relations.

Miranda July, The Amateurist (1998). Still image from single channel video.

July's new iOS application, Somebody™, which the New Museum is proud to copresent as part of a distributed international launch with multiple international partners (see list below), continues these profound investigations into the ways technology mediates our interpersonal communications.

July describes this new messaging service in the following way:

"When you send your friend a message through Somebody, it goes—not to your friend—but to the Somebody user nearest your friend. This person (probably a stranger) delivers the message verbally, acting as your stand-in."

Somebody is available as a free download via the iTunes Store, and can be visited for an overview of the work.

An accompanying video by July will also be screened in the New Museum's Lobby. The artist will speak about Somebody at the New Museum on October 9 (details to come).


Notes about Somebody:

• You can choose actions and directions for your stand-in, such as [cry] or [hug]—or write your own.
• The recipient always has the option of declining a delivery before the message is set in motion, if now's not a good time.
• The first sentence of the message is automatically "[Recipient's name]? It's me, [Sender's Name]," thus reminding the stand-in to assume the identity of the sender.
• Somebody uses GPS to locate your friend, then presents you with photos and performance ratings of nearby users so you can choose the best possible delivery person for your message.
• If there's no one nearby, you can choose to "float" your message indefinitely. Users interested in being a stand-in can browse nearby floating messages and pick one to deliver.

Somebody was created with support from Miu Miu. Official Somebody hotspots so far include Los Angeles County Museum of Art (with a presentation by July on September 11); the New Museum (presentation on October 9); Yerba Buena Center for the Arts, San Francisco; Portland Institute of Contemporary Art; the Walker Art Center, Minneapolis; and Museo Jumex, Mexico City. Museum-goers are invited to send and deliver messages in these spaces where there are likely to be other users.

About Miranda July

Miranda July is a filmmaker, artist, and writer. She wrote, directed, and starred in The Future (2011) and Me and You and Everyone We Know (2005), which won a special jury prize at the Sundance Film Festival and four prizes at the Cannes Film Festival, including the Caméra d'Or. July's fiction has appeared in the Paris Review,Harper's magazine, and the New Yorker; her collection of stories, No One Belongs Here More Than You (2007), won the Frank O'Connor International Short Story Award and has been published in twenty-three countries. The nonfictional work It Chooses You was published in 2011. In 2000, July created the participatory websiteLearning to Love You More with artist Harrell Fletcher, and a companion book was published in 2007; the work is now in the collection of the San Francisco Museum of Modern Art. She designed Eleven Heavy Things, an interactive sculpture garden, for the 2009 Venice Biennale, and in 2013, more than a hundred thousand people subscribed to her email-based artwork We Think Alone (commissioned by Magasin 3, Stockholm). In 2014, she debuts the audience participatory performance New Society at the Walker Art Center in Minneapolis and launches the app Somebody, a messaging service created with the support of Miu Miu. The First Bad Man, a novel, will be published in January 2015. Raised in Berkeley, California, July lives in Los Angeles.


First Look is made possible, in part, by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Additional support provided by the Toby Devan Lewis Emerging Artists Exhibitions Fund.

Planet Haskell: Douglas M. Auclair (geophf): Dylan: the harsh realities of the market

So, this is a little case study.

I did everything for Dylan. And when I say everything, I mean everything.  Here's my resumé:

  • I got excited about Dylan as a user, and I used it. I bought an old Mac that I don't ever remember the designation for, it's so '90's old, and got the floppies for the Dylan IDE from Apple research.
I'm not joking.

  • I integrated Dylan into my work at work, building an XML parser then open-sourcing it to the community under the (then) non-restrictive license. I think mine was the only XML parser that was industrial-strength for Dylan. Can't claim originality: I ported over the Common-LISP one, but it was a lot of (fun) work.
  • I made improvements to the gwydion-dylan compiler, including some library documentation (you can see my name right there, right in the compiler code), including some library functionality, did I work on the compiler itself? The Dylan syntax extensions or type system? I don't recall; if not in those places, I know I've looked at those guts: I had my fingers all over parts of the compiler.
I was in the Dylan compiler code. For you ll-types ('little language') that's no big deal.

But ask a software developer in industry if they've ever been in their compiler code. I have, too: I've found bugs in Java Sun-compiler that I fixed locally and reported up the chain.
  • I taught a course at our community college on Dylan. I had five students from our company that made satellite mission software.
  • I effing had commercial licenses bought when the boss asked me: what do we have to do to get this (my system) done/integrated into the build. I put my job on the line, for Dylan. ... The boss bought the licenses: he'd rather spend the $x than spending six weeks to back-port down to Java or C++.
  • I built a rule-based man-power scheduling system that had previously took three administrative assistants three days each quarter to generate. My system did it, and printed out a PDF in less than one second. I sold it, so that means I started a commercial company and sold my software.
I sold commercial Dylan software. That I wrote. Myself. And sold. Because people bought it. Because it was that good.

Hells yeah.

Question: what more could I have done?

I kept Dylan alive for awhile. In industry. For real.

So why is Dylan dead?

That's not the question.

Or, that question is answered over and over and over again.

Good languages, beautiful languages, right-thing languages languish and die all the time.

Dylan was the right-thing, and they (Apple) killed it in the lab, and for a reason.

Who is Dylan for?

That's not the question either. Because you get vague, general, useless answers.

The question is to ask it like Paul Graham answered it for LISP.

Lisp is a pointless, useless, weird language that nobody uses.

But Paul and his partner didn't care. They didn't give a ...


... what anybody else thought. They knew that this language, the language they loved, was built and designed and made for them. Just them and only them, because the only other people who were using it were college kids on comp.lang.lisp asking for the answers for problem-set 3 on last night's homework.

That's what Lisp was good for: nothing.
That's who Lisp was good for: nobody.

Same exact scenario for Erlang. Exactly the same. Erlang was only good for Joe Armstrong and a couple of buddies/weirdos like him, you know: kooks, who believed that Erlang was the right-thing for what they were doing, because they were on a mission, see, and nothing nobody could say could stop them nor stand against them, and all who would rise up against them would fall.


What made Lisp and Haskell and Erlang and Scala and Prolog (yes, Prolog, although you'll never hear that success story publicly, but $26M and three lives saved? Because of a Prolog system I wrote? And that's just one day in one month's report for data? I call that a success) work when nobody sane would say that these things would work?

Well, it took a few crazy ones to say, no, not: 'say' that it would work, but would make it work with their beloved programming language come hell or high water or, worse: indifferent silence, or ridicule, or pity from the rest of the world.

That is the lesson of perl and python and all these other languages. They're not good for anything. They suck. And they suck in libraries and syntax and semantics and weirdness-factor and everything.

But two, not one, but at least two people loved that language enough to risk everything, and ...

They lost.

Wait. What?

Did you think I was going to paint the rosy picture and lie to you and say 'they won'?

Because they didn't.

Who uses Lisp commercially? Or Haskell, except some fringers, or Scala or Clojure or Erlang or Smalltalk or Prolog

... or Dylan.

These languages are defined, right there in the dictionary.

Erlang: see 'career wrecker.'

Nobody uses those languages nor admits to even touching them with a 10-foot (3-meter) pole. I had an intern from college. 'Yeah, we studied this weird language called ML in Comp.sci. Nobody uses it.'

She was blown away when I started singing ML's praises and what it can do.

A meta-language, and she called it useless? Seriously?

Because that's what the mainstream sees.

Newsflash. I'm sorry. Dylan, Haskell, Idris: these aren't main-stream, and they never will be.

Algebraic types? Dependent types? You'll never see them. They're too ... research-y. They stink of academe, which is: they stink of uselessness-to-industry. You'll be dead and buried to see them in this form, even after they discover the eternity elixir. Sorry.

Or you'll see them in Visual Basic as a new Type-class form that only a few Microserfs use because they happened to have written those extensions. Everybody else?


Here's how Dylan will succeed, right now.

Bruce and I will put our heads together, start a company, and we'll code something. Not for anybody else to use and to love and to cherish, just for us, only for us, and it will blow out the effing doors, and we'll be bought out for $40M because our real worth is $127M.

And the first thing that Apple will do, after they bought us, is to show us the door, then convert the code into Java. Or Swift. Or Objective-C, or whatever.

And that's how we'll win.

Not the $40M. Not the lecture series on 'How to Make Functional Programming Work in Industry for Real' afterwards at FLoC and ICFP conferences with fan-bois and -girls wanting to talk to us afterwards and ask us how they can get a job doing functional programming.

Not that.

We'll win because we made something in Dylan, and it was real, and it worked, and it actually did something for enough people that we can now go to our graves knowing that we did something once with our lives (and we can do it again and again, too: there's no upper limit on the successes you're allowed to have, people) that meant something to some bodies. And we did that. With Dylan.


I've done that several times already, by my counting: the Prolog project, the Dylan project, the Mercury project, and my writing.

I'm ready to do that, again.

Because, actually, fundamentally, doing something in this world and for it ... there's nothing like it.

You write that research paper, and I come up to you, waving it in your face, demanding you implement your research because I need it to do my job in Industry?

I've done that to three professors so far. Effing changed their world-view in that moment. "What?" they said, to a person, "somebody actually wants to use this?" The look of bemused surprise on their faces?

It was sad, actually, because they did write something that somebody out there (moiself) needed, but they never knew that what they were doing meant something.

And it did.

Effing change your world-view. Your job? Your research? Your programming language?

That's status quo, and that's good and necessary and dulce and de leche (or decorum, I forget which).

But get up out of the level you're at, and do something with it so that that other person, slouched in their chair, sits up and takes notice, and a light comes over their face and they say, 'Ooh! That does that? Wow!' and watch their world change, because of you and what you've done.

Dylan is for nothing and for nobody.

So is everything under the Sun, my friend.

Put your hand to the plow, and with the sweat of your brow, make it yours for this specific thing.

Regardless of the long hours, long months of unrewarded work, and regardless of the hecklers, naysayers, and concerned friends and parents, and regardless of the mountain of unpaid bills.

You make it work, and you don't stop until it does.

That's how I've won.

Every time.

Perlsphere: Selbstversorger: Eine Bildergeschichte

Zoe wollte heute Bratkartoffeln zum Mittagessen! Kleines Problem an der Sache: Unsere Kartoffelvorräte warten gerade darauf, bei der nächsten Jagd beim nächsten Supermarktbesuch aufgefüllt zu werden. Zum Glück sind gerade Sommerferien und so hatte sie genug Zeit, ihr Mittagessen selbst zu jagen, erlegen, schlachten, auszunehmen und schließlich zu verspeisen.

Open Culture: Ludwig Wittgenstein’s Tractatus Gets Adapted Into an Avant-Garde Comic Opera

Ludwig Wittgenstein, enfant terrible or idiot savant? A student of the great Bertrand Russell and protégé of renowned mathematician and logician Gottlob Frege, the angry young upstart’s Tractatus Logico-Philosophicus put both elder thinkers on notice: The days of their comfortable assumptions were numbered, in a series of austere, cryptic aphorisms and symbolic propositions that make very little sense to those of us who lack the prodigious intellects of Russell and Frege. While Wittgenstein is often dismissed, writes Paul Horwich at New York Times’ philosophy blog “The Stone,” as “self indulgently obscure,” perhaps the real reason many academic philosophers reject his work is that it renders them superfluous. Philosophy, Wittgenstein obliquely claimed in his half-mystical, hyper-logical treatise, “can’t give us the kind of knowledge generally regarded as its raison d’être.”

Given the Tractatus’s firebombing of an entire area of human endeavor, it’s no surprise it hasn’t fared well in many traditional departments, but that hasn’t stopped Wittgenstein’s work from finding purchase elsewhere, influencing modern artists like Jasper Johns, the Coen Brothers, and, not least surely, Finnish avant garde composer and musician M.A. Numminen. This odd character, who caused a stir in the 60s by setting sex guides to music, took it upon himself to do the same for many of the Tractatus’s propositions, and the results are, well…. Listen for yourself. At the top of the post, we have video of Numminen performing the fifth and final movement of his Tractatus suite—the famous final proposition of that strange little book: “Whereof one cannot speak, thereof one must be silent” (“Woven man nicht sprechen kann, darüber muss man schweigen”). Numminen sings this in German, in his high-pitched, creaking voice. The rest of the suite he sings in English. Just above, hear the first movement, “The World Is…,” and below, hear movements 2-4, “In Order To Tell…,” “A Thought Is…,” and “The General Form Of A Truth Function.” He even sings the symbols, in breathless transcription. You can stream and download the full suite at Ubuweb and follow along at the Tractatus hypertext here.



Should Numminen’s tinpan alley-like compositions strike you as a particularly ridiculous setting for Wittgenstein’s genius, fear not; the Motet below (“Excerota Tractati Logico-Philosophici”), by composer Elisabeth Lutyens, treats the eccentric German’s work with a great deal more reverence.

via Leiter Reports

Related Content:

Wittgenstein: Watch Derek Jarman’s Tribute to the Philosopher, Featuring Tilda Swinton (1993)

Bertrand Russell on His Student Ludwig Wittgenstein: Man of Genius or Merely an Eccentric?

Philosopher Portraits: Famous Philosophers Painted in the Style of Influential Artists

Photography of Ludwig Wittgenstein Displayed by Archives at Cambridge

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

Ludwig Wittgenstein’s Tractatus Gets Adapted Into an Avant-Garde Comic Opera 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 Ludwig Wittgenstein’s Tractatus Gets Adapted Into an Avant-Garde Comic Opera appeared first on Open Culture.

TheSirensSound: Troika

Troika Profile

Troika is an atmospheric-experimental rock 3-piece from Christchurch, New Zealand. Their sound ranges from gentle and atmospheric passages to dynamic, intense walls of distortion and feedback. Highly influenced by bands like [ Mogwai ], [ Pink Floyd ], [ Radiohead ], [ Sigur-Ros ], [ Jakob ], [ Godspeed ], [ King Crimson ], [ The Jezabel ]s, [ HDU ], [ Russian Circle ], [ Mono ] and many more. Troika’s textured and ambient sound as often been described with in the local music scene as being intense, unpredictable and surprising.

Band interests
Some likes Cartoons,
Some likes Star trek,
Some like certain TV series,
But all love music in an ecletic kind of way

[ Prototype ]. Opening with a very Jakob-sounding instrumental number called Swarming, Troika, soon move into a zone of their own. Troika (pun intended) are a 3-piece band from Christchurch, comprising Alan Kang on guitar, Dorian Lemonier on drums and David Webber on bass, with all three adding vocals. There’s quite a few different things happening here. Bits of modern Pink Floyd as well as that dynamic style of music as done differently by everyone from God Speed (You Black Emperor), Sigur Ros, Tool etc. The good news is that Troika manage to put their own stamp on it, and at eight decent length tracks, this is less a debut EP as they claim, and much more an excellent debut album of atmospheric, experimental rock. From gentle to aggressive, with artistic licence taken in-between, it was recorded in obviously difficult circumstances (liquefaction anyone?), at Pawn Raid Studios. Since this recording was done last year, the band have been joined by fourth member Vanessa Morrison on keys and vocals, and say they are working on a release that is both darker and more ambient. Expect more goodness. __[ Ania ].

< < < < < [ [ BANDCAMP ] | [ POST OF THE DAY ] | [ FACEBOOK ] | [ .COM ] ]. > > > > >

Troika - Zero-One

Artist – Troika
Album – Zero-One [ 10 OUT OF 10 ]
Release Date – 2014
Genre – Ambient, Instrumental, Post-rock [ ABSOLUTELY EPIC / MUST HAVE ]


1. Reptilian 03:48
2. 11:11 04:54
3. Ghost in the machine 16:48 | 4. Hovering 05:37
ABSOLUTE MUST Troika – Zero-One


Troika - Prototype

Artist – Troika
Album – Prototype [ 10 OUT OF 10 ]
Release Date – 2011
Genre – Ambient, Instrumental, Post-rock, Post-metal [ ABSOLUTELY EPIC / MUST HAVE ]


1. Swarming 05:42
2. Succubus 07:24
3. Siren 03:57
4. Dark Auroras In The Sky 05:46
5. Teacher 05:49
6. Mothsong 03:47
7. Black Butterfly 08:58 | 8. The Eater Of Dreams 07:36
EXQUISITE Troika – Prototype


TheSirensSound: Sucra

Sucra Profile

After the break-up of frenetic post-rockers Shy Guy Says, members RJ Marsan and Jeremy Marsan joined up with guitarist Sean Nielsen and drummer Chris Fanelli to form Sucra. Sucra plays dense, genre-blending post rock. The jazz-influenced rhythm is key, as it guides the band from carefully sculpted melodies to freeform jams to noisy peaks.

This 7-track EP (their first release) covers a lot of ground in 25 minutes: The exultant opener “Dawning” segues into “Bataphobia,” a slithering track that is both unsettling and enthralling. “Uncanny Valley” brings the album to a new level of strangeness, while the crushing “Sedimentary” amps up the intensity. In between, tracks “Sucrateque” and “Dead Air” offer unique, otherworldly glimpses.

‘Sucra’. For a 25-minute EP, Sucra goes lots of places. It’s a meandering post rock album, reminiscent of Slint or Mogwai, but with traces of jazz, ambient, psych, doom and noodly emo. Despite this melting-pot of styles, the album flows very smoothly. Each variation of Sucra’s sensory-prickling rock feels welcome, fitting together like pieces of a narrative. Your only lament may be that it doesn’t last longer. Highlight – “Bataphobia”


Released 07 August 2014

Written by Sucra
Recorded by Pinpoint
Special thanks to Mike Grittani for Cello on tracks 3 and 4.

It may seem like a lot to pack into a short amount of time, but self-titled Sucra is a well-paced, smooth-flowing album. Think of it as an EP that never overstays its welcome.

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

Sucra - Sucra

Artist – Sucra
Album – Sucra [ * * * * * ]
Release Date – 2014
Genre – Post-rock, Post-metal, Experimental [ EXCELLENT ]


1. Dawning 01:53
2. Bataphobia 05:23
3. Interlude 00:50
4. Uncanny Valley 05:25
5. Sucrateque 01:37
6. Dead Air 01:12 | 7. Sedimentary 07:48
Sucra – Sucra


TheSirensSound: Dai Watts

Dai Watts Profile



The new electro-acoustic album from London-based composer, producer and multi-instrumentalist Dai Watts is out now on CD and download. Liminalondon is a “psychogeographical” tour of one of the world’s great capital cities, featuring ten instrumental tracks that interweave “found-sounds” with ambient and left-field electronica, acoustic and electronic beats and contemporary classical minimalism. The field recordings and conversations on the album were captured spontaneously by Dai in a variety of London locations, including The National Portrait Gallery, Hampstead Heath Ponds, Curzon Soho Café, The London Underground, along the banks of the Thames, The O2- not to mention several of London’s finest pubs and bars- with the music being largely written on a laptop and MIDI keyboard at the Southbank Centre by the Thames before being recorded and mixed at The Shed, Dai’s studio in Archway in North London.

‘Liminalondon’ by [ Dai Watts ]
Genres: Ambient Electronic, Music
Released: 26 June 2014 ℗ 2014 Dai Watts

Expressing ‘Liminalondon’ couldn’t be any easier or warmer, it’s simple, yet delicate and fragile field-recordings ambience and an anecdotal of soundscape drove deep in the heart of a luminous city with smooth rising textures and an extended atmospheres reflecting landscaping themes and shifting nature of the habitat. The paramount effect here is one of ambient nuance and clarity perfection: computerized ambient sheets and subtle drones periodically collide with static streams and animate with whispering sequence.

Liminalondon is a top notch listen from the press of the play button in every possible aspect one can think of, straight 10 out of 10 if I may say, the smoothness, yet electro-core rhythmic flow perfectly balances with the digital structures and the movement’s arrangement that will most of all draw attention from the most serious minded fans from the likes of [ Antonymes ], [ bvdub ], [ Plinth ], and [ William Ryan Fritch ] or [ Field Rotation ] for that matter.

That in mind ‘Liminalondon’ is by far more than just an ambient / smooth-tempo type of listen. The album also incorporate one of the most unusual and unique classical figure. The clarity and quality of such amalgamation doesn’t only reside in the plaintive strings and keys touches but it’s more encrypted in the formula of passionate music making. Believe me when say this release is not about how beautiful is the sound but its more about the driven passion that make the sound so beautiful, and this can be felt right across the entire Liminalondon.

Imagine such sound, such elegance, such smoothness, such blend, such passion from the heart, all uniting at once in a cinematic prospect; the result is nothing but an endless rewarding listen. As much as I love ‘Train Tracks and Travelogues Vol 2’ I think ‘Liminalondon’ is indeed the most prominent work by [ Dai Watts ] as the album is full of repeated musical motifs. This is ambient / classical-ambient at its finest and highest peaks. This record is crafted mainly for REPEATED LISTENS and I must say… it’s a sublime success. Once again 10 Out Of 10 and notably one of the most beautiful 2014 ambient albums I’ve come across. I’ll say grab it in an instant.

‘Train Tracks and Travelogues Vol 2′

Dai’s previous release ‘Train Tracks and Travelogues Vol 2′ is also available on both CD and download. Train Tracks and Travelogues Vol.2 features nine electro-acoustic tracks carefully interwoven with audio and field recordings to create over fifty minutes of continuous music. Combining melodic fragments, haunting vocal refrains, beat-based grooves and piano/orchestral minimalism, the album is a unique sonic impression of a journey by rail and sea across Mediterranean Europe and North Africa.

< < < < < [ [ iTUNES ] | [ SOUNDCLOUD ] | [ .COM ][ FACEBOOK ] ]. > > > > >

Dai Watts - Liminalondon

Artist – Dai Watts
Album – Liminalondon [ * * * * * ]
Release Date – 2014
Genre – Ambient, Minimal, Electro, Experimental, Ambient-electronica [ SUPERB ]


01 The Hill
02 The Bridge
03 The Ponds
04 The View
05 Psychogeographer’s Blues
06 Return of the Unreliable Narrator
07 The Whispering Portrait Gallery
08 The River
09 Supervised Desuetude
10 The Homeward Way
Daiwatts – Liminalondon


Dai Watts Train Tracks and Travelogues Vol two

Artist – Dai Watts
Album – Train Tracks and Travelogues Vol.2 [ * * * * * ]
Release Date – 2013
Genre – Ambient, Minimal, Electro, Experimental, Ambient-electronica [ NICE LISTEN / EASY FLOW ]


1 Treno Italiano
2 Isle of Elba
3 Isis in Tunis
4 Tangier in Dreams
5 Lisbon Lament
6 El Camino
7 Ares Masts
8 Ubiquitous Eucalyptus
9 Sous le ciel des Pyrénées
Dai Watts – Train Tracks and Travelogues Vol.2

Dai Watts

Colossal: New Cut Paper Sculptures and Illustrations by Elsa Mora

New Cut Paper Sculptures and Illustrations by Elsa Mora sculpture paper illustration

New Cut Paper Sculptures and Illustrations by Elsa Mora sculpture paper illustration

New Cut Paper Sculptures and Illustrations by Elsa Mora sculpture paper illustration

New Cut Paper Sculptures and Illustrations by Elsa Mora sculpture paper illustration

New Cut Paper Sculptures and Illustrations by Elsa Mora sculpture paper illustration

New Cut Paper Sculptures and Illustrations by Elsa Mora sculpture paper illustration

New Cut Paper Sculptures and Illustrations by Elsa Mora sculpture paper illustration

Artist Elsa Mora recently updated her portfolio with a number of beautiful paper sculptures created for both private clients and exhibition. All of Mora’s pieces are created with little more than acid-free paper and glue which is carefully cut, layered, and assembled to create 2D and 3D images. Several of the pieces are currently at the Racine Art Museum in Wisconsin for a show titled Once Upon A Time: Fairy Tales, Fantasy, and Contemporary Art that runs through August 31. You can see more on her website and over on Facebook. (via Brown Paper Bag)

TheSirensSound: Dead Leaf Echo

Dead Leaf Echo Profile

Brooklyn’s Dead Leaf Echo is an art collective that is releasing their debut LP ‘Thought & Language’ this spring. The album has clear 4AD influences as it was mixed by John Fryer ( Lush, NIN, Depeche Mode ) with artwork by the label’s legendary designer V23′s Vaughan Oliver (Pixies, Bauhaus).

DLE just returned from their east coast tour with Slumberland band Lorelei and played SXSW supporting The Ocean Blue and the Warlocks. They will also be playing TOBs sold out NY show in June. Look for DLE in April on the West Coast playing with Beach Fossils and the Telescopes at The Echo. They’ll continue touring the West along with LA gazers Tennis System and will headline the 20th anniversary of the indie gathering Beautiful Noise festival held in the desert of Arizona, along with Captured Tracks band Half String.

DLE incorporate elements of ambient, baroque, dream-pop, shoegaze, new wave, and goth, and craft every aspect of their sound and vision, with high-art as concept. Chiming guitars in twin stereo reverbs with shimmering vocals and silky basslines. Dead Leaf Echo runs the gamut of what is now possible within the contemporary underground and stands out on the NYC indie music scene.

< < < < < [ 2014 EP TRUE.DEEP.SLEEPER ]. > > > > >

After a stirring 80 shows this year supporting Beach Fossils, Weekend, Whirr, The Warlocks, The Telescopes and The Ocean Blue in USA, DLE begins 2014 in Brooklyn to play their new EP release party at Union Pool on 2/25. They then take the road for for their Candian debut and onward to new cities in the Mid West and South. Reviews for their debut album have been stunning and the band shows no sign of slowing down as they have already entered the studio to begin work on the 2nd album. Get a 1st taste of the new material with the new EP.

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

Dead Leaf Echo - True​.​Deep​.​Sleeper

Artist – Dead Leaf Echo
Album – True​.​Deep​.​Sleeper [ * * * * * ]
Release Date – 2014
Genre – Indie, Shoegaze, Dreamy, Nu-gaze / New-wave [ EXQUISITE ]


1. true.deep.sleeper 03:46
2. so.wrong 04:39
3. blind.Island 02:55
4. heaven.sent.sleeper 05:34
FREE DOWNLOAD Dead Leaf Echo – True​.​Deep​.​Sleeper
STREAM & PURCHASE Dead Leaf Echo – True​.​Deep​.​Sleeper


Dead Leaf Echo - Thought and Language

Artist – Dead Leaf Echo
Album – Thought & Language
Release Date – 2013
Genre – Indie, Shoegaze, Dreamy, Nu-gaze / New-wave [ VERY NICE ]


01. Conception 02:41
02. Kingmaker 04:00
03. Language of the Waves 05:22
04. Memorytraces 04:40
05. Birth 04:18
06. Child 04:02
07. Thought 02:18
08. Dream of the Soft 02:59
09. Heavensent 04:30
10. She Breathes 04:42
11. Flowerspeak 06:22
MEDIAFIRE Dead Leaf Echo – Thought & Language
BANDCAMP STREAM + PURCHASE Dead Leaf Echo – Thought & Language


Dead Leaf Echo - Birth

Artist – Dead Leaf Echo
Album – Birth 7″
Release Date – 2013
Genre – Indie, Shoegaze, Dreamy, Nu-gaze / New-wave [ VERY NICE ]


1. Birth 04:18
2. Etiolated 02:44
Dead Leaf Echo – Birth 7″


Dead Leaf Echo - Kingmaker 7

Artist – Dead Leaf Echo
Album – Kingmaker 7″
Release Date – 2012
Genre – Indie, Shoegaze, Dreamy, Nu-gaze / New-wave [ VERY NICE ]


1. Kingmaker 04:00
Dead Leaf Echo – Kingmaker 7″


Dead Leaf Echo - Act of Truth Split 7

Artist – Dead Leaf Echo
Album – Act of Truth (Split 7″)
Release Date – 2012
Genre – Indie, Shoegaze, Dreamy, Nu-gaze / New-wave [ VERY NICE ]


1. Act of Truth 04:25
Dead Leaf Echo – Act of Truth (Split 7″)


Dead Leaf Echo - Verisimilitude EP

Artist – Dead Leaf Echo
Album – Verisimilitude EP
Release Date – 2011
Genre – Indie, Shoegaze, Dreamy, Nu-gaze / New-wave [ VERY NICE ]


1. Half-Truth (Fryer Remix) 04:54
2. Act of Truth (RxGibbs Falling Away Dub) 05:01
3. Half-Truth (Elika RMX) 03:18
4. Woolgathering (Mark Van Hoen RMX) 05:18
5. Half-Truth (Remakably Spry! Remix) 05:10
6. Act of Truth (DLE RMX) 07:13
Dead Leaf Echo – Verisimilitude EP


Dead Leaf Echo - Truth EP

Artist – Dead Leaf Echo
Album – Truth EP
Release Date – 2010
Genre – Indie, Shoegaze, Dreamy, Nu-gaze / New-wave [ VERY NICE ]


1. Half-Truth 04:38
2. Dance in the Light 04:28
3. Act of Truth 04:23
4. Grey Town 05:15
5. Woolgathering 05:13
6. Trial 05:50
Dead Leaf Echo – Truth EP


Dead Leaf Echo - Half​-​Truth 7

Artist – Dead Leaf Echo
Album – Half​-​Truth 7
Release Date – 2010
Genre – Indie, Shoegaze, Dreamy, Nu-gaze / New-wave [ VERY NICE ]


1. Half-Truth 04:38
2. Babyeyes 03:27
Dead Leaf Echo – Half​-​Truth 7

Dead Leaf Echo

OCaml Planet: Github OCaml jobs: Full Time: Software Developer (Functional Programming) at Jane Street in New York, NY; London, UK; Hong Kong

Software Developer (Functional Programming)

Jane Street is looking to hire great software developers with an interest in functional programming. OCaml, a statically typed functional programming with similarities to Haskell, Scheme, Erlang, F# and SML, is our language of choice. We've got the largest team of OCaml developers in any industrial setting, and probably the world's largest OCaml codebase. We use OCaml for running our entire business, supporting everything from research to systems administration to trading systems. If you're interested in seeing how functional programming plays out in the real world, there's no better place.

The atmosphere is informal and intellectual. There is a focus on education, and people learn about software and trading, both through formal classes and on the job. The work is challenging, and you get to see the practical impact of your efforts in quick and dramatic terms. Jane Street is also small enough that people have the freedom to get involved in many different areas of the business. Compensation is highly competitive, and there's a lot of room for growth.

You can learn more about Jane Street and our technology from our main site, You can also look at a a talk given at CMU about why Jane Street uses functional programming (, and our programming blog (

We also have extensive benefits, including:

  • 90% book reimbursement for work-related books
  • 90% tuition reimbursement for continuing education
  • Excellent, zero-premium medical and dental insurance
  • Free lunch delivered daily from a selection of restaurants
  • Catered breakfasts and fresh brewed Peet's coffee
  • An on-site, private gym in New York with towel service
  • Kitchens fully stocked with a variety of snack choices
  • Full company 401(k) match up to 6% of salary, vests immediately
  • Three weeks of paid vacation for new hires in the US
  • 16 weeks fully paid maternity/paternity leave for primary caregivers, plus additional unpaid leave

More information at

Computer Science: Theory and Application: When Greedy Algorithms are Perfect: the Matroid

submitted by alexeyr
[link] [9 comments]

BOOOOOOOM!: Alessandra De Cristofaro


Illustrations by Alessandra De Cristofaro, based in Rome. More below.

View the whole post: Alessandra De Cristofaro over on BOOOOOOOM!.

Schneier on Security: Hacking Traffic Lights

New paper: "Green Lights Forever: Analyzing the Security of Traffic Infrastructure," Branden Ghena, William Beyer, Allen Hillaker, Jonathan Pevarnek, and J. Alex Halderman. Abstract: The safety critical nature of traffic infrastructure requires that it be secure against computer-based attacks, but this is not always the case. We investigate a networked traffic signal system currently deployed in the United States and...

New Humanist Blog: The scary truth? There’s nobody in charge

Belief in conspiracies surely comes from the same place as belief in gods – the human need to reassure ourselves that the world is ordered.

Cowbirds in Love: Future comic...

I accidentally submitted yesterday’s comic twice.

This is where a comic FROM THE FUTURE is going to go.

Cowbirds in Love: Square and Rectangular Prism

I am so enjoying doing this comic again.

Thank you everyone who is back.

s mazuk: The Truth About Zoe Quinn

The Truth About Zoe Quinn:


We keep trying to change the industry, we #1reasonwhy and #1reasontobe and protest and thinkpiece and organize, but the truth is not much has changed. We talk about how the most recent IGDA game dev survey says the number of women in the industry has doubled, but the truth is that women still make up less than a quarter of the industry’s work force.

I have met some of the most amazing women I have ever known through the game industry. Larger-than-life, funny, warm, sweet, razor-sharp, overeducated women, the kind who laugh too loudly in quiet rooms. It’s been a long time since I’ve heard most of them laugh. One of them IMed me today about how she was leaving the industry and she couldn’t handle the idea of disappointing me but she just couldn’t take it any more, and I told her it was okay, it’s fine, self-care is so important, because it is.

The truth is that after our conversation ended, I put my head in my hands and cried.

I could tell you stories about the voices we’ve lost, the women we’ve scarred, the people we’ve left behind. I want to, but I’m not sure you’d get it. I tweeted earlier today, We should have a war memorial for all of the women we have lost to this. We should lay flowers and grieve and see our reflections in stone. And I meant it. I wish there were a way to honor the people our industry has wronged, and a way to visualize the enormity of what we have lost because of it— some representation of the gap between what games are and what they can be, and the pieces of the bridge between that have fallen away.

yo this is a really, really good article and it makes my fucking chest hurt.

the current state of the games industry and community is not acceptable. and i hope to fuck it’s not sustainable, because jesus christ.

i’m tired of this being something we still have to deal with. 

new shelton wet/dry: First principle, Clarice. Simplicity.

There seems to be wide support for the idea that we are living in an “age of complexity,” which implies that the world has never been more intricate. This idea is based on the rapid pace of technological changes, and the vast amount of information that we are generating (the two are related). Yet consider [...]

new shelton wet/dry: ‘Good habits are here more effectual than good laws elsewhere.’ —Tacitus

Who will guard the guards? In posing the famous question, the Roman poet Juvenal was suggesting that wives cannot be trusted, and keeping them under guard is not a solution—because the guards cannot be trusted either. Half a millennium or so earlier, Plato in The Republic expressed a more optimistic view regarding the guardians or rulers of [...]

s mazuk: can you talk more about achewood's weird deal with homosexuality, bc that always bothered me but a lot of people coo over achewood anyway

i’ve come basically to the conclusion that onstad’s feelings about homosexuality hover somewhere around the area of “it’d probably be really cool to kiss a guy but only if everyone still thought i was tough and cool and masculine”

you’ve got a couple of different vectors of homosexuality - all exclusively male homosexuality mind you - going on with achewood, and it’s pat, pat’s dad, chucklebot, rod huggins, and finally, and probably most importantly, teodor.

the thing we have to keep in mind with achewood is that basically everything feminine is positioned as “bad” and that there’s no greater sin than ruining a dude’s fun, what with this being the constant basis of both ray and roast beef’s worries, especially in regards to women. this is important to keep in mind with the characterization of pat, who went from “mr. no fun” to “gay mr. no fun”. he does all the other things onstad and his characters accuse women of doing, and that’s really fucking important to keep in mind.

then you’ve got pat’s dad, and chucklebot. nothing overtly really wrong with them other than, well, they’re stereotypes. but onstad gets into this weird dichotomy where he’s all about talking about how male homosexuality is cool and chill and great and gay dudes “think in like a second”, but it’s also a punishment, as is the very origin stories of pat’s dad and pat himself. their gayness is a literal fucking curse. and chucklebot? well, chucklebot don’t do shit. barely gets any lines.

rod huggins is pretty much just “gay: the joke” himself to boot.

and then there’s fucking teodor. onstad’s admitted character closest to him, the little bicurious teddy bear, with moments like a dream sequence where a realtor says that people like him can get married here, or whatever, and teodor almost has a panic attack about people assuming he’s gay… only to pull off his mouth and reveal lips covered in lipstick, then be shamed for making such a scene. and then he gets talked into showing up on a gay porno, then walks out of it as he realizes it’s a gay porno, and it turns out the whole gay porno was some kind of fucking test by circus penis. it’s this constant back and forth of bicuriosity where teodor wants to try it, but keeps running away from it, and with the treatment of the feminine, and the worship of the masculine, the way achewood and onstad at large seems to feel about male homosexuality is, well…

"it might be cool to kiss a dude, but only if i looked tough and manly the whole time"

every other gay dude? they get to be a joke. not the joker. the joke.

Disquiet: Corruption in Full

More from Corruption, whose presence in music is of the sort that may best suit SoundCloud’s existence — that may be of the sort that is the result of SoundCloud’s existence. It isn’t about albums, or singles, or videos, or remixes, so much as it’s about the steady, frequent, largely unmediated appearance of unexplained, alternately quotidian, melodic, and noisy sonic fragments — snatches of odd everyday sound, subsets of songs, and crunchy extroversion. Perhaps collectively they form some meta-canvas. “Norma,” the latest of Corruption’s output, is echoed burbles of throaty synth. As an assessment of range, “Tirth” is slomo solo piano, like a broken android Nils Frahm Pinocchio straining for sentience. And “Soak” is weirdly warbly, like a future kalimba designed by Laurie Anderson:

Tracks originally posted by Corruption at The account lacks the “u” but the tracks are signed Corruption in full. / 2014-08-30T00:08:23