Bifurcated Rivets: From FB


Bifurcated Rivets: From FB

These are supposed to look the same? Really?

Bifurcated Rivets: From FB

Fake wine or fake merchant?

Bifurcated Rivets: From FB

Newberry Sons

Bifurcated Rivets: From FB

Good piece on Haden

MetaFilter: A very vector story

The Adobe Illustrator Story. Watch the Illustrator story unfold, from its beginning as Adobe's first software product, to its role in the digital publishing revolution, to becoming an essential tool for designers worldwide

Computer Science: Theory and Application: Are there any open source machine-learning voice/NLP libraries out there?

I've taken a look at CMU Sphinx, Julius, etc, but these all seem extremely cumbersome to implement. Basically anything with a dictionary seems like a very old fashioned way to implement voice control.

Basically I'm looking for something that uses an A.I. engine like to learn speech patterns automatically and continuously listen to voices.

submitted by DudeBigalo
[link] [comment]

Slashdot: Crytek USA Collapses, Sells Game IP To Other Developers

MojoKid (1002251) writes Game developer Crytek's problems have been detailed recently from various source, and it's now clear that it wasn't just the company's UK studios that were affected. Crytek announced today that it has officially moved development of its F2P shooter Hunt: Horrors of the Guilded Age to a German developer, ignoring the fact that the majority of the US team had apparently already quit the company. The problem? Just as in the UK, the US employees weren't getting paid. In a separate announcement, Crytek also declared that development of the Homefront series had passed entirely to developer Deep Silver. The company has stated, "On completion of the proposed acquisition, the Homefront team from Crytek's Nottingham studio would transfer their talents to Koch Media in compliance with English law and continue their hard work on upcoming shooter, Homefront: The Revolution. Both parties hope to finalize and implement a deal soon." It's hard to see this as good news for Crytek. The company can make all the noise it wants about moving from a development studio to a publisher model, but Crytek as a company was always known for two things — the CryEngine itself, adapted for a handful of titles and the Crysis series. Without those factors, what's left?

Read more of this story at Slashdot.

programming: This article describes details about implementation of Commodore 64 emulator written in C#.

submitted by electronics-engineer
[link] [comment]

New Humanist Blog: 9 things we learned this week

From religious freedom to chocolate diplomacy, teenage drug-use to Papal advice, these are the subjects we've been talking about over the last seven days

Slashdot: Countries Don't Own Their Internet Domains, ICANN Says

angry tapir writes The Internet domain name for a country doesn't belong to that country — nor to anyone, according to ICANN. Plaintiffs who successfully sued Iran, Syria and North Korea as sponsors of terrorism want to seize the three countries' ccTLDs (country code top-level domains) as part of financial judgments against them. The Internet Corporation for Assigned Names and Numbers, which oversees the Internet, says they can't do that because ccTLDs aren't even property.

Read more of this story at Slashdot.

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

The Clash had been called sellouts ever since they signed with CBS and made their 1977 debut, so the charge was pretty stale when certain critics lobbed it at their turn to disco-flavored new wave and “arena rock” in 1982’s popular Combat Rock. As Allmusic writes of the record, “if this album is, as it has often been claimed, the Clash’s sellout effort, it’s a very strange way to sell out.” Combat Rock’s hits—“Rock the Casbah” and “Should I Stay or Should I Go”—are catchy and anthemic, respectively, but this hardly breaks new stylistic ground, though the sounds are cleaner and the influences more diffuse. But the true standouts for my money—“Straight to Hell” and “Ghetto Defendant”—perfect the strain of reggae-punk The Clash had made their career-long experiment.

The latter track, an midtempo dub take on the pathos of heroin addiction and underclass angst, features a cameo spoken-word vocal from Allen Ginsberg, who co-wrote the song with Joe Strummer. Far from simply lending the song Beat cred—as Burroughs would for a string of artists, to varying degrees of artistic success—the Ginsberg appearance feels positively essential, such that the poet joined the band on stage during the New York leg of their tour in support of the album. But before “Ghetto Defendant,” there was “Capital Air,” a composition of Ginsberg’s own that he performed impromptu with the band in New York in 1981. As Ginsberg tells it, he joined the band backstage during one of their 17 shows at Bonds Club in Times Square during the Sandinista tour. Strummer invited the poet onstage to riff on Central American politics, and Ginsberg instead taught the band his very own punk song, which after 5 minutes of rehearsal, they took to the stage and played.

Just above, hear that onetime live performance of “Capital Air,” one of those anti-authoritarian rants Ginsberg turned into an art form all its own—ripping capitalists, communists, bureaucrats, and the police state—as the band backs him up with a chugging three-chord jam. Ginsberg wrote the song, according to the Allen Ginsberg Project, in 1980, after returning from Yugoslavia and “realizing that police bureaucracies in America and in Eastern Europe were the same, mirror images of each other finally,” a feeling captured in the lines “No Hope Communism, No Hope Capitalism, Yeah. Everybody is lying on both sides.” Many of these same themes worked their way into “Ghetto Defendant,” written and recorded six months later.

Just above, hear the Combat Rock album version of “Ghetto Defendant.” (The track appeared in longer form on the record’s first, unreleased, incarnation, Rat Patrol From Fort Bragg). Ginsberg’s contributions to the track, which he intones as “the voice of God,” match his free-associative dark humor against Strummer’s narrative concreteness. Off the wall hipster lines like “Hooked on necropolis,” “Do the worm on the acropolis” and “Slamdance the cosmopolis” become elliptical references to Arthur Rimbaud, Salvadorian death squads, and Afghanistan before Ginsberg launches into the Buddhist heart sutra over Strummer’s final chorus. The effect is comic, hypnotic, and disorienting, reminiscent of the sample-based electronic collages groups like Cabaret Voltaire and Throbbing Gristle constructed around the same time. It’s such a perfect symbiosis that the song loses much of its impact without Ginsberg’s nutty offerings, I think, though you can judge for yourself in the live, Ginsberg-less version below.

Related Content:

Rare Live Footage Documents The Clash From Their Raw Debut to the Career-Defining London Calling

The First Recording of Allen Ginsberg Reading “Howl” (1956)

William S. Burroughs “Sings” R.E.M. and The Doors, Backed by the Original Bands

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

Allen Ginsberg & The Clash Perform the Punk Poem “Capital Air,” Live Onstage in Times Square (1981) 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 Allen Ginsberg & The Clash Perform the Punk Poem “Capital Air,” Live Onstage in Times Square (1981) appeared first on Open Culture.

MetaFilter: Bush-era wimp heroes

Why Everybody Hates 'Garden State' in 2014. "When they burst forth in 2004, simply being non-masculine was a bit of a political gesture. It imagined itself as a refusal to play the game of (party) politics. But now it literally looks like guys standing around thinking. Watching any of those films, we're right to ask ourselves: Why was this supposed to mean anything to us? The culture has shifted since 2004." See also, "In Defense of Garden State."

the realist: 60 kilometers

(watch the process for this image and more on The Realist Patreon page.)

Recent additions: snaplet-redis

Added by DmitryDzhus, Thu Jul 31 11:25:48 UTC 2014.

Redis support for Snap Framework DBIx-Class-0.082700_04

Extensible and flexible object <-> relational mapper.

programming: Foldable and Traversable in Haskell

submitted by progfu
[link] [comment]

Hackaday: A 3D(ollar) Scanner


Once you have a 3D printer, making copies of objects like a futuristic Xerox machine is the name of the game. There are, of course, 3D scanners available for hundreds of dollars, but [Joshua] wanted something a bit cheaper. He built his own 3D scanner for exactly $2.73 in parts, salvaging the rest from the parts bin at his local hackerspace.

[Josh]‘s scanner is pretty much just a lazy suzan (that’s where he spent the money), with a stepper motor drive. A beam of laser light shines on whatever object is placed on the lazy suzan, and a USB webcam feeds the data to a computer. The build is heavily influenced from this Instructables build, but [Josh] has a few tricks up his sleeve: this is the only laser/camera 3D scanner that can solve a point cloud with the camera in any vertical position. This potentially means algorithmic calibration, and having the copied and printed object come out the same size as the original. You can check out that code on the git.

Future improvements to [Josh]‘s 3D scanner include the ability to output point clouds and STLs, meaning anyone can go straight from scanning an object to slicing it for a 3D printer. That’s a lot of interesting software features for something that was basically pulled out of the trash.

Filed under: 3d Printer hacks Convos-0.8002

Multiuser IRC proxy with web interface Plack-Middleware-Raygun-0.003

wrap around psgi application to send stuff to

Recent additions: optparse-applicative

Added by PaoloCapriotti, Thu Jul 31 10:36:42 UTC 2014.

Utilities and combinators for parsing command line options WebService-Raygun-0.020

Connect to the API App-single-0.02

An application to run a single instance of a command

BOOOOOOOM!: Kate Tucker


Paintings by artist Kate Tucker, previously featured here. More below.

View the whole post: Kate Tucker over on BOOOOOOOM!.

Twitch: THE HATEFUL EIGHT: First Poster For Tarantino's 70mm Super CinemaScope Western

On Sunday, July 27, Quentin Tarantino confirmed at San Diego's Comic-Con that he is directing The Hateful Eight after all. As you can recall, he was so pissed off after the first draft of the script leaked some months ago that decided to shelve the project. Later, at Cannes, he confessed the wound has been healed, especially after the script live reading he shared in Los Angeles with such stars as Samuel L. Jackson, Kurt Russell, Tim Roth, Michael Madsen, Zoe Bell, and Bruce Dern. Now the Weinsteins and Tarantino have surprised everybody with the first poster of The Hateful Eight, which is bloody amazing and confirms two things: the western is going to be shoot in 70mm Super CinemaScope and is hitting cinemas in...

[Read the whole post on]

Slashdot: "ExamSoft" Bar Exam Software Fails Law Grads

New submitter BobandMax writes ExamSoft, the management platform software that handles digital bar exam submissions for multiple states, experienced a severe technical meltdown on Tuesday, leaving many graduates temporarily unable to complete the exams needed to practice law. The snafu also left bar associations from nearly 20 states with no choice but to extend their submission deadlines. It's not the first time, either: a classmate of mine had to re-do a state bar exam after an ExamSoft glitch on the first go-'round. Besides handling the uploading of completed exam questions, ExamSoft locks down the computer on which it runs, so Wikipedia is not an option.

Read more of this story at Slashdot. Blog: Desolder professionally with NO-CLEAN flux wicks


Desoldering braid makes an invaluable service at development or rework.

Everyone who´s ever tried to suck off a solder from a solder pad by means of a solder absorbing braid (wick) will probably confirm, that this tool belongs to a “must have” equipment of every professional or amateur workplace. What´s the charm of a desoldering braid? Above all in the fact, that it´s able to absorb almost all the solder from a given place, thus the most of components can be loosened very easily. Hand (pneumatic) pump surely has its place, mainly when working with bigger components, but at comparison with a desoldering braid it´s similar like if we compared a broom with a vacuum cleaner.

A quality desoldering braid is usually able to absorb a solder so thoroughly, that only a microscopic layer of a solder will remain on a PCB – as if a board was new, unused. It is very advantageous even at a hand rework of SMT components, because it´s desirable the component to lay directly on a board – not askew in a thick solder layer causing a mechanical tension and able to cause even a malfunction of a component (often at SMT capacitors).

To reach a good functionality of a desoldering wick it should be made of a fine gauge copper wires (without oil residues end similar) and it must be treated with a high quality flux. The cheapest braids usually contain only a rosin-based flux, the better ones have a synthetic flux based, which produce less fumes.

A novelty in our portfolio is the novelty from company CRC Industries – braid SOLDABSORB. We keep Soldabsorb in a width of 1.5 and 2.5mm, packed in a blister in 2 pcs (the price is for 2 pcs). Soldabsorb represents a top-level in this segment and is made of a highly pure copper, fine gauge wires and contains a synthetic NO-CLEAN flux. It means, that the flux residues are non-conductive and non-corrosive and they can be left on a PCB. Very fine wires contribute to a high wicking (absorbing) ability.

The usage of the wick is very simple and is based in 4 steps:

● Place the Soldabsorb wick on the solder joint

● place the tip of the solder iron on the wick and hold shortly

● absorbed solder will change a color of a braid, showing that the process was successful

● when a joint contains a big amount of solder, it may be necessary to cut off a used end of a braid (2-5mm) and repeat the process

In praxis it approves well to adjust temperature of a soldering iron to a slightly higher, than we´d normally need for a given pad and eventually also to use a thicker soldering tip. In especially difficult cases (vias at ground planes of a PCB) it helps to put a small amount of a new solder on a soldering tip, which will decrease an absorbing ability of a braid, it will significantly improve a heat transfer from a tip through a braid to a PCB, thus improving and speeding up an absorption. Before another use of a braid, it´s sufficient to cut off only a very end of a braid (a few mm) fully sucked by a solder.
At the end it´s worth to mention, that after desoldering, it´s good to apply a small amount of solder on a soldering tip to protect it from oxidizing.

Detailed information will provide you the Soldabsorb datasheet.

Desolder professionally with NO-CLEAN flux wicks - [Link]

Computer Science: Theory and Application: Software pipelining on the Mill CPU

submitted by cryp7ix
[link] [comment]

TheSirensSound: Lost In The Riots

Lost In The Riots Profile

Lost in the Riots are a four-piece post rock outfit fighting their way out of Watford, Hertfordshire since 2010. Differing from their hardcore peers, the trio serve up a guitar-driven assault of quiet-loud dynamics laden with unconventional time signatures and occasional vocalism. Their sound is a schizophrenic mix of heavy riffs to aggressively nod your head to and tear jerking, hopeful crescendos.

Band Members Are:

Guitar ~ Adam Edwards,
Guitar ~ James Cook,
Drums ~ Andy Curd
and Bass ~ Robbie Parmenter.

Move On, Make Trails

Released 30 June 2014
Recorded between June 2013 and May 2014
By Adam Edwards and Kyri Demetrioutudio
Mixed by Adam Edwards
Produced by Adam Edwards and Lost in the Riots
Mastered by Ludwig Maier | Artwork by Jessica Webb

For previews and downloads on [ Lost in the Riots ] simply head to the band [ BandCamp ] page and you can preview both tracks but if this help, [ Lost In The Riots ] particular goes for fans of [ mID ] ~ [ Junius ] F~ [ CloudKicker ] and basically all the standard post-rock sound blend with solid progressive elements. .

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

Lost In The Riots - Move On, Make Trails

Artist – Lost In The Riots
Album – Move On, Make Trails
Release Date – 2014
Genre – Instrumental, Post-rock, Post-progressive, Math-core [ AWESOME ]


1. Niamh 01:57
2. She Can’t See Us If We Don’t Move 04:34
3. Kong 04:03
4. Dr Nightmare 04:46
5. Halcyon Days of Summer 05:19
6. Radiance 01:37
7. Homecoming 06:09
8. Hey, Deathwish 04:24
9. Coney Island 05:21
10. Canyons 05:41 | 11. Just Tiny Little Rocks 06:27
Lost In The Riots – Move On, Make Trails

Lost In The Riots - Kong Single

Artist – Lost In The Riots
Album – Kong [ Single ]
Release Date – 2013
Genre – Instrumental, Post-rock, Post-progressive, Math-core [ AWESOME ]


1. Kong 04:03
Lost In The Riots – Kong [ Single ]


Lost In The Riots - Stranger in the Alps

Artist – Lost In The Riots
Album – Stranger In The Alps
Release Date – 2013
Genre – Instrumental, Post-rock, Post-progressive, Math-core [ AWESOME ]


1. Stranger in the Alps
2. Reset, Engage!
3. Loki
4. Pearl River Delta
5. Boats Against the Current
6. Sentinels
7. The City Burned
8. Heartfelt Wolf
9. We Build Cathedrals
Lost In The Riots – Stranger In The Alps


VA - A Cheery Wave

Artist – Various Artists
Album – A Cheery Wave From Stranded Youngsters
Release Date – 2012
Genre – Instrumental, Post-rock, Post-progressive, Math-core [ AWESOME ]


01. Lost in the Riots – I Find Your Lack of Faith Disturbing 04:11
02. What The Blood Revealed – Waiting for the Storm 06:58
03. Lions Are Smarter Than I Am – Galbras 04:16
04. The Rustle of the Stars – Drawing Lines to the End of the World 07:00
05. Karhide – Turing 04:43
06. A Hundred Black Kites – The Last Day 10:04
07. Arbor Lights – Post-Rock/Paper/Scissors 03:59
08. Flies Are Spies From Hell – Nerves Still Beating (edit) 04:30
09. Dead Red Sun – Caverns 03:40
10. Eschar – Singularity 05:54
Various Artists – A Cheery Wave From Stranded Youngsters


Artist – Lost in the Riots
Album – Sinking Ships
Release Date – 2011
Genre – Instrumental, Post-rock, Post-progressive, Math-core [ AWESOME ]


01 Sinking Ships! [05:33]
02 02 I Find Your Lack of Faith Disturb [04:11]
Lost in the Riots – Sinking Ships

Lost In The Riots

MetaFilter: A few alternatives to Dr Google

Dr Google always thinks it's cancer, except when it's lupus. So how do you find reliable health information online? The (US) National Institute on Aging has some good rules of thumb, and the National Library of Medicine has a simple tutorial. Many of us, though, might prefer a list of general trustworthy resources. Here are some of my favorites, including some Australian and UK resources that American MeFites might not know.

For general health information or the "exhaustive list" approach, your friendly government often provides an excellent starting point (and you may find that after scratching the surface, others' governments are just as helpful):
US Centers for Disease Control and Prevention
Health Direct Australia
Better Health Channel (state of Victoria, Australia)
Medline Plus (US National Library of Medicine)

If it *is* cancer, the government is again here to help you:
Cancer Australia
US National Cancer Institute

And there are plenty of nonprofits that want to help
Cancer Help UK
Macmillan Cancer Support
American Cancer Society

Finally, if you want to replace Dr. Google in the most literal sense, (a private company) has a symptom checker that provides top 10, red-flagged (needing urgent attention), and most common diagnoses for your symptom profile, age group, sex and global region of residency.

TheSirensSound: Glories

Glories Profile

Glories is a five piece instrumental band from Birmingham, AL. Disillusioned with the standard “rock band” and inspired by their post-rock forefathers, Glories forges ahead on their own path. After self-recording and releasing their first EP online, the band knew their songs needed a bigger sound and a proper release to capture their complete vision. They enlisted the assistance of Les Nuby (Verbena, Wulture Whale) and his Ol Elegante Studio in Homewood, AL.

Brad Lightfoot, who has done audio engineering for Bottletree Cafe, David Bazan, and Matt & Kim, was also involved in the engineering and mixing of the record. What results is a full-spectrum showcase of what Glories is truly capable of. Cascading cavernous guitars, powerful drums, made-for-movie soundscapes, and delicate synth layers comprise the 48 sprawling minutes that is appropriately titled “Mother Reverb.”

Glories is:

Brandon C. Jones – keys, percussion, edits
Dallas Kelley – guitars, programming, edits
Eric Kimbrell – bass guitars
Zach Cooner – guitars
Adam Blevins – drums, percussion, glockenspiel, vibraphone

Put the Beast Out of Mind

Credits / Released 29th JULY 2014
produced by glories
Engineered by dallas kelley, brandon c. jones, and daniel farris
Mixed and Mastered by daniel farris
All songs written and performed by Glories|  Artwork by merillee challiss

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


Glories - Put the Beast Out of Mind

Artist – Glories
Album – Put the Beast Out of Mind
Release Date – 2014
Genre – Instrumental, Ambient, Post-rock [ ABSOLUTELY BEAUTIFUL SOUND ]


1. Crowns 06:20
2. Of Good Fortunes 06:38
3. Just Be Remembered 07:02
4. An Unquiet Mind 05:44
5. We Will All Go Together 04:44
6. Sonoma 05:20
7. Not Everything, Not Yet 07:09
8. I Can’t Stay Forever 05:59 | 9. Lands 05:41
Glories – Put the Beast Out of Mind


Glories - Mother Reverb

Artist – Glories
Album – Mother Reverb [ * * * * * ]
Release Date – 2013
Genre – Instrumental, Ambient, Post-rock [ ABSOLUTELY BEAUTIFUL SOUND ]


1. Mechanical Mariner 07:41
2. Far From Houses, Far From Doors 08:46
3. Pagan Holiday 09:02
4. Dwelling On 06:43
5. At This Depth 07:49
6. Let’s Not Rush Out and Tell Everyone 08:23
STREAM + FREE DOWNLOAD Glories – Mother Reverb


Recent additions: xml-pipe

Added by YoshikuniJujo, Thu Jul 31 08:15:25 UTC 2014.

XML parser which uses simple-pipe

Recent additions: simple-pipe

Added by YoshikuniJujo, Thu Jul 31 08:09:39 UTC 2014.

simple pipeline library like conduit

Recent additions: optparse-applicative 0.9.1

Added by PaoloCapriotti, Thu Jul 31 08:02:49 UTC 2014.

Utilities and combinators for parsing command line options

Hackaday: This Hackaday Prize Entry Sucks

Sucker [K.C. Lee] is busy working on his entry to The Hackaday Prize, and right now he’s dealing with a lot of assembly. For his entry, that means tiny SMD parts, and the vacuum pen he ordered from DealExtreme hasn’t come in yet. The solution? The same as anyone else who has found themselves in this situation: getting an air pump for an aquarium.

For this quick build until the right tool has time to arrive from China, [K.C.] took an old fish pump and modified it for suction. He doesn’t go over the exact modification to the pump, but this can be as easy as drilling a hole and stuffing some silicone tubing in there.

The ‘tool’ for this vacuum pen is a plastic disposable 0.5mm mechanical pencil. [K,C.] found this worked alright on smaller parts down to 0402 packages, but heavy parts with smooth surfaces – chips, for example – are too much for the mechanical pencil and aquarium pump to handle.

Filed under: tool hacks

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

Any serious reader of Haruki Murakami — and even most of the casual ones — will have picked up on the fact that, apart from the work that has made him quite possibly the world’s most beloved living novelist, the man has two passions: running and jazz. In his memoir What I Talk About When I Talk About Running, he tells the story of how he became a runner, which he sees as inextricably bound up with how he became a writer. Both personal transformations occurred in his early thirties, after he sold Peter Cat, the Tokyo jazz bar he spent most of the 1970s operating. Yet he hardly put the music behind him, continuing to maintain a sizable personal record library, weave jazz references into his fiction, and even to write the essay collections Portrait in Jazz and Portrait in Jazz 2.


“I had my first encounter with jazz in 1964 when I was 15,” Murakami writes in the New York Times. “Art Blakey and the Jazz Messengers performed in Kobe in January that year, and I got a ticket for a birthday present. This was the first time I really listened to jazz, and it bowled me over. I was thunderstruck.” Though unskilled in music himself, he often felt that, in his head, “something like my own music was swirling around in a rich, strong surge. I wondered if it might be possible for me to transfer that music into writing. That was how my style got started.” He found writing and jazz similar endeavors, in that both need “a good, natural, steady rhythm,” a melody, which, in literature, means the appropriate arrangement of the words to match the rhythm,” harmony, “the internal mental sounds that support the words,” and free improvisation, wherein, “through some special channel, the story comes welling out freely from inside. All I have to do is get into the flow.”

With Peter Cat long gone, fans have nowhere to go to get into the flow of Murakami’s personal  jazz selections. Still, at the top of the post, you can listen to a playlist assembled by YouTube user Ronny Po of songs mentioned in Portrait in Jazz, featuring Chet Baker, Charlie Parker, Stan Getz, Bill Evans, and Miles Davis. Should you make the trip out to Tokyo, you can also pay a visit to Cafe Rokujigen, profiled in the short video just above, where Murakami readers congregate to read their favorite author’s books while listening to the music that, in his words, taught him everything he needed to know to write them. And elsewhere on the very same subway line, you can also visit the old site of Peter Cat: just follow in the footsteps taken by A Geek in Japan author Héctor García, who set out to find it after reading Murakami’s reminiscences in What I Talk About When I Talk About Running. And what plays in the great eminence-outsider of Japanese letters’ earbuds while he runs? “I love listening to the Lovin’ Spoonful,” he writes. Hey, you can’t spin to Thelonious Monk all the time.

Related Content:

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

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

1959: The Year that Changed Jazz

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.

Haruki Murakami’s Passion for Jazz: Discover the Novelist’s Jazz Playlist, Jazz Essay & Jazz Bar 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 Haruki Murakami’s Passion for Jazz: Discover the Novelist’s Jazz Playlist, Jazz Essay & Jazz Bar appeared first on Open Culture.

TheSirensSound: Lu_Shush

Lu_shush Profile

Music made by a 20 year old in his room, I make music in an attempt to feel like I used to. “Through extraction and sampling, lu_shush makes malleable soundbits into full-blown narratives. These ‘scapes are potent nostalgia set to swelling electronic-based cadence. It is the sound of ambient experience itself.” Sled Island 2014


2014 – In Person (EP)
2014 – Something Shared
2014 – Classic, Not Your Fault (EP)

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

Lu_Shush - In Person (EP)

Artist – Lu_Shush
Album – In Person (EP)
Release Date – 2014
Genre – Ambient, Electronic, Minimal, Lush-ambient [ LUUUUUSSSHHHH / EXQUISITE ]


1. April24 03:42
2. Ignored 05:00
3. Leaving 03:00
4. Making It Stop 03:10
5. Reminds Me of You 04:45
6. Who Do You Think About When You Die 03:45
7. In Person 03:29
Lu_Shush – In Person (EP)


Lu_shush - Something Shared

Artist – Lu_Shush
Album – Something Shared [ * * * * * ] X 10
Release Date – 2014
Genre – Ambient, Electronic, Minimal, Lush-ambient [ LUUUUUSSSHHHH / EXQUISITE ]


01. breather 00:53
02. your day was good my day was good 01:11
03. i will 03:04
04. MANA 02:12
05. myheadisempty 02:04
06. give 02:20
07. I will do this to the rest of you 03:10
08. Something Shared 02:23
09. mine 03:00
10. worth 04:10
11. MANA (slowtape) 04:22
12. scrapes on my knees 01:56
13. time, distance, apart 02:04
BY ALL MEANS Lu_Shush – Something Shared


Lu_shush - Classic, Not Your Fault (EP)

Artist – Lu_Shush
Album – Classic, Not Your Fault (EP) [ * * * * * ] X 10
Release Date – 2014
Genre – Ambient, Electronic, Minimal, Lush-ambient [ LUUUUUSSSHHHH / EXQUISITE ]


1. all my friends 02:45
2. inside voices 03:10
3. mkngfaces 02:55
4. nobody real close to me 03:28
5. smohking 03:09
BY ALL MEANS Lu_Shush – Classic, Not Your Fault (EP)


programming: Why many programmers don’t bother joining the ACM

submitted by sbicknel
[link] [77 comments]

Slashdot: Vint Cerf on Why Programmers Don't Join the ACM

jfruh writes "The Association for Computing Machinery is a storied professional group for computer programmers, but its membership hasn't grown in recent years to keep pace with the industry. Vint Cerf, who recently concluded his term as ACM president, asked developers what was keeping them from signing up. Their answers: paywalled content, lack of information relevant to non-academics, and code that wasn't freely available."

Read more of this story at Slashdot.

BOOOOOOOM!: Daniel Le Breton




Photos by Daniel Le Breton. More below.

View the whole post: Daniel Le Breton over on BOOOOOOOM!.

TheSirensSound: Silver String Orchestra [ NEWS ]

Silver Screen Orchestra Profile

Nathan Stewart & Kayla Breitwieser, both members of SC post-rock band Pan, began playing music together after forming a relationship in late 2011. Their common interest in instrumental music, along with their similar style of composition, lead to early recordings and a desire to develop a more sophisticated sound. Incorporating a visual component became a staple of each composition–in some cases, helping to develop the song’s movements and purpose. In the summer of 2014, S2O will head to Montreal to record with Howard Bilerman of Hotel2Tango. Their first EP is set to be released in the fall of 2014.

On July 9, 2014, Nicholas Chase Stewart was killed in a car accident. He was only 18 years old. During the moment of the car accident, Silver Screen Orchestra was performing this song live. They would like to dedicate this song to their little brother, Nick, and to all others who have lost their lives far too early. We love you always, Nick. #chaseyourdreams. Fifteen minute- one take, one recording, one camera, live music performance by “Silver Screen Orchestra”. On stage they would be improving music to a TV playing a video of the 1986 space shuttle Challenger disaster.

< < < < < [ [ YOUTUBE ] | [ FACEBOOK ] ]. > > > > >

Silver Screen Orchestra

Quiet Earth: Review of neo-giallo THE STRANGE COLOUR OF YOUR BODY'S TEARS

With 'The Strange Color of Your Bodies' Tears', as with their previous film, 2009's 'Amer', directors Hélène Cattet and Bruno Forzani have crafted an extraordinarily intense and striking visual experience, but one which is so completely void of depth and narrative structure that the average film-goer will likely find it a frustrating and ultimately patience testing affair. I wanted to like this film, and had hoped that Cattet and Forzani might have grown out of their tendency to simply pay homage to other directors' work at the expense of adding anything of their own to their films - a tendency which was exhibited so profoundly in Amer - but it was not to be. In their first film, we saw a paean to the giallo genre, specifically the thrillers of Dario Argento, but in 'Strange [Continued ...]

MetaFilter: TL;DR

Simon and Martina, of the joint blog Eat Your Kimchi, are a married Canadian couple that moved to South Korea in 2008. They have a YouTube series called "TL;DR" in which readers can submit questions about living in Korea, and they will answer them to the best of their ability. In short: "You ask questions. We make videos answering them!" Here's a couple: The Threat of North Korea, Korean Food Etiquette.

Korean vs. North American Beauty Standards

Bullying in South Korea

Five Things You Should Not Do in Korea

Korea vs. Japan

Teenage Pregnancy in South Korea

Pet Culture in Korea

How We Got our Scottish Fold Kitten in Korea

What do Korean Students think of North American Music Videos?

Korean Products We Can't Live Without

How We Became Full-Time YouTubers

YouTube listing here.

MetaFilter: Five Things You Learn Growing Up In (And Escaping) North Korea

Cracked interviews a NK escapee, an ambassador to NK's grandson, and a journalist covering NK. Want more, without any humor (Cracked is pretty restrained for their piece)? BBC on the people smuggling industry, Yeonmi Park on growing up in North Korea, the Guardian on an ordinary day in Pyongyang, Al-jazeera explains how the Kims rule with an iron fist and some recent photographs of ordinary people in North Korea.

Computer Science: Theory and Application: dewDrop : a Social Truth Network Protocol

submitted by gomboloid
[link] [1 comment]

Hackaday: A Lego Game Controller; Just for the Hack of It


[StrangeMeadowlark] decided one day to create this badass Arduino-based gaming controller. Not for any particular reason, other than, why the heck not?!

It looks like a tiny Lego spaceship that has flown in from a nearby planet, zooming directly into the hands of an eager Earthling gamer. With buttons of silver, this device can play Portal 1 and 2, Garry’s Mod, Minecraft, and VisualBoy Advance. Although more work is still needed, the controller does the job; especially when playing Pokemon. It feels like a Gameboy interface, with a customizable outer frame.

Sticky, blue-tack holds a few wires in place. And, most of the materials are items that were found around the house. Like the gamepad buttons on top; they are ordinary tactile switches that can be extracted from simple electronics. And the Legos, which provide an easy way to build out the body console, rather than having to track down a 3D printer and learning AutoCAD.


Communication between the PC and the Arduino inside is done by having the controller pretend to be a USB keyboard, allowing for in-game mapping of the keys. Key presses are sent to the Serial-to-USB chip in buffer specific to the firmware. Not to mention, it gives the option to browse Imgur if the urge arises.

For future iterations, Joysticks might be added. It will take some time to integrate them into the controller, but it will be worth the effort. Another implementation will be the utilization of gamepad firmware instead of emulating a keyboard, which doesn’t report analog values.

Other Lego projects similar to this include this two-axis panning time lapse rig, this custom electronic Lego microcontroller system called the LegoDuino, this obstacle avoiding LEGO rover with CD wheels, this Lego Drawing Machine, and this DIY Spectrophotometer.

Filed under: Arduino Hacks

Disquiet: Time in the Library with Mark Rushton

There are many mysteries to the Internet, among them why Mark Rushton has a total of just 173 followers at the moment on his SoundCloud account. He’s an active and frequent participant in ambient music online, with a deep archive at and a must-subscribe podcast, just to note a few of his outposts. In any case, among his most recent treats is an extended version of an earlier Disquiet Junto entry. Back in June he was among the members to record the sound of their local library and turn it into music. The first take was two minutes, which he found wanting, and so he has extended it by nearly three times. He talks a bit about the source audio in the original post:

I decided I would try to get a recording by checking out a couple of books. There were two people staffing the Service Desk, so there was a chance for additional sounds in the recording. I figured I could easily get a minute’s worth of recording, and I did. The microphone was peeking out of my shirt’s pocket in a rather unobtrusive way. I tried to be quiet and be careful with my breathing as the mic was pointing upwards at my nose.

Since the elevator exit is right around the corner from the Service Desk, I left that sound in. I thought that was an interesting start. Surely if you work the Service Desk you have to hear it all the time.

The extended version takes even more time to locate the musicality in those source elements and create a lithe, gently percussive, quotidian fantasia from them.

Track originally posted for free download at More from Iowa City–based Mark Rushton at

Slashdot: Chinese Government Probes Microsoft For Breaches of Monopoly Law

DroidJason1 writes The Chinese government is investigating Microsoft for possible breaches of anti-monopoly laws, following a series of surprise visits to Redmond's offices in cities across China on Monday. These surprise visits were part of China's ongoing investigation [warning: WSJ paywall], and were based on security complaints about Microsoft's Windows operating system and Office productivity suite. Results from an earlier inspection apparently were not enough to clear Microsoft of suspicion of anti-competitive behavior. Microsoft's alleged anti-monopoly behavior is a criminal matter, so if found guilty, the software giant could face steep fines as well as other sanctions.

Read more of this story at Slashdot.

Potz!Blitz!Szpilman!: Joanna Malinowska

Joanna Malinowska Bering Strait in 14761 B.C., 2007

Hackaday: A Dead Simple, Well Constructed FM Transmitter


[Angelo] is only 15, but that doesn’t mean his fabrication skills are limited to Lego and K’Nex. He’s built himself an amazingly well constructed FM transmitter that’s powerful enough to be received a quarter mile away.

The FM transmitter circuit itself is based off one of [Art Swan]‘s builds, but instead of the solderless breadboard construction you would expect to find in a small demo circuit, [Angelo] went all the way, etching his own PCB and winding his own coil.

Using photosensitized copper clad board, [Angelo] laid out the circuit with Fritzing, etched a board, and went at it with a drill. The components found in the transmitter are pretty standard and with the exception of the trimmer cap and electret mic, can be picked up in the parts drawers of any Radio Shack. He gets bonus points for using a 1/4 – 20 bolt for winding the coil, too.

The power supply for the transmitter is a single 9V battery, the battery connector being salvaged from a dead 9V. Awesome work, and for someone so young, [Angelo] already seems to have a grasp of all the random, seemingly useless information that makes prototyping so much easier. Video below.

Filed under: radio hacks

i like this art: Simon Denny

Portikus_NewManagement-notext 1b96dbd88fcc9cce47495e37806293

Simon Denny

Work from “New Management” at Portikus, Frankfurt.

“Simon Denny’s new body of work for Portikus ranks among the most ambitious the artist has developed to date. Over the period of one year, the artist researched and developed an intricate project that has grown to considerable dimensions – both physically and in terms of its critical content. For two months, the monumental gallery space is turned into an homage to technology, communication, and the relentless need for innovation. Simon Denny has produced an embracing and multi-faceted installation that functions as a documentary of the South Korean technology giant Samsung and its global success story. The exhibition’s title, “New Management”, refers to the legendary management philosophy that Lee Kun-hee, Chairman of the Samsung Group, infamously introduced in the early nineties. “The New Management” principle was first proclaimed in 1993 at a high-level executive meeting at the Kempinski Hotel Frankfurt Gravenbruch near Frankfurt am Main International Airport. Lee flew in his entire top management from around the world for a three-day conference, emphasizing the need to globalize and preparing his employees for a new philosophy of change he was going to introduce in order to turn Samsung into a global market leader in all its sectors. This seminal meeting became known within the company as the “Frankfurt Declaration”.

 While the market success of Samsung that Simon Denny retells is well-known, recontextualizing it in this way highlights its currency and raises questions about globalization, economic dominance, nationalistic aspiration, and expansion. “Change everything but your spouse and kids” and “Change begins with me”, slogans coined by Lee Kun-hee that can be found on Denny’s sculptural elements, have become directly associated with the idea of success in South Korean corporate culture.

 In the introduction to the publication, Simon Denny writes: “In Portikus one sees a fantastic conglomeration of material that tries to monumentalize [Samsung’s] powerful cultural message; arranging imagined and remade objects around excerpts from Lee Kun-hee’s texts and Samsung’s history. I’ve tried to stay close to the context it describes: the global material language of corporate pride and presentation.” In commissioning two different English translations of New Management, a publication in Korean about the philosophy and history of Chairman Lee’s legacy, Denny investigates existing hierarchies. On the one hand, the material carries with it extremely specific cultural and economic meaning and value, and on the other, it forms a part of global culture and public information. The same goes for Samsung’s comic version of New Management and the inclusion of Sam Grobart’s article on Samsung that originally ran in Bloomberg Businessweek. Denny levels the role of the artist with those of the professional from a tech company, a journalist, an independent contractor hired through, and finally the viewer of the work.” – Portikus

Open Culture: An Ivory Coast Cocoa Farmer Gets His Very First Taste of Chocolate

Here is how MetropolisTV, a global collective of young filmmakers and TV producers coming out of Holland, sets up their touching video:

Farmer N’Da Alphonse grows cocoa [in the Ivory Coast] and has never seen the finished product. “To be honest I do not know what they make of my beans,” says farmer N’Da Alphonse. “I’ve heard they’re used as flavoring in cooking, but I’ve never seen it. I do not even know if it’s true.”

It’s great — and yet, in its own way, sad — to watch his face light up as he gets his very first taste…

via Devour

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An Ivory Coast Cocoa Farmer Gets His Very First Taste of Chocolate 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 An Ivory Coast Cocoa Farmer Gets His Very First Taste of Chocolate appeared first on Open Culture. Short: Sad Ending

New Cyanide and Happiness Short.

Disquiet: via

The public bus wording suggests still images in contrast with constant voice surveillance.

Cross-posted from

Hackaday: Aerodynamics? Super Honey Badger Don’t Give a @#*^@!


[Arron Bates] is a pro R/C Pilot from Australia. He’s spent the last few years chasing the dream of a fixed wing plane which could perform unlimited spins. After some promising starts with independently controlled wing spoilers, [Arron] went all in and created The Super Honey Badger. Super Honey Badger is a giant scale R/C plane with the tail of a helicopter and a soul of pure awesome.

Starting with a standard 87″ wingspan Extra 300 designed for 3D flight, [Arron] began hacking. The entire rear fuselage was removed and replaced with carbon fiber tubes. The standard Extra 300 tail assembly fit perfectly on the tubes. Between the abbreviated fuselage and the tail, [Arron] installed a tail rotor from an 800 size helicopter. A 1.25 kW brushless motor drives the tail rotor while a high-speed servo controls the pitch.

[Arron] debuted the plane at HuckFest 2013, and pulled off some amazing aerobatics. The tail rotor made 540 stall turn an easy trick to do – even with an airplane. Flat spins were a snap to enter, even from fast forward flight! Most of [Arron's] maneuvers defy any attempt at naming them – just watch the videos after the break.

Sadly, Super Honey Badger was destroyed in May of 2014 due to a structural failure in the carbon tubes. [Arron] walked away without injury and isn’t giving up., He’s already dropping major hints about a new plane (facebook link).

Watch the control surfaces move in the videos. It’s worth noting that Super Honey Badger carries no gyros or flight stabilization systems. The plane’s every move is in direct response to [Arron's] control inputs.


Filed under: classic hacks, drone hacks

programming: Create your own machine learning powered RSS reader in under 30 minutes

submitted by MajorDeeganz
[link] [23 comments]

Quiet Earth: Video: George Miller Talks MAD MAX: FURY ROAD

Remember that eye melting trailer for Mad Max: Fury Road? Well, it premiered at San Diego Comic-Con 2014 where director and creator of the Mad Max series George Miller also appeared to discuss the forth film in the Mad Max series.

Interestingly enough, Mel Gibson was originally cast until 911 happened and the production crumbled. Goes to show you how long film projects gestate before coming a reality.

Mad Max: Fury Road is scheduled for release in theaters on May 15th, 2015.

Via: [Continued ...]

Twitch: Werner Herzog To Chat Up The Zellners At LA's Sundance Next Fest

Sundance has been up to some very cool things lately - even outside of their marquee January festival. Not the least of which is their Sundance Next Fest taking place August 7-10 in Los Angeles. The fest features six of the festival's coolest films including Life After Beth, The Guest, and Imperial Dreams. The headlining film each night also features a live performance from a hip musical act. Here's how Sundance is describing the fest: Fueled by the renegade spirit of independent artists, Sundance NEXT FEST is a new breed of festival experience celebrating the intersection of music and film. NEXT FEST kicks off with an outdoor screening of a classic Sundance film with Cinespia at the Hollywood Forever Cemetery and continues through the weekend...

[Read the whole post on]

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

401-KEELE modified

Location: Keele Street & 401, Toronto

Jennie asked me how she should borrow, now that her mortgage has come up for renewal. “They’re offering 2.4% for a variable-rate,” she said, “over three years. Or I can get a fixed one for 2.96%, for five years? Whaddya think I should do?”

That was easy. Lock in, Jen, I said. In 2019 you’ll look like a flipping genius.

How defeated all those people must feel who drag their sorry, doomer bottoms here day after day to tell us Canada is just like Japan, that rates can’t go up or the country will collapse, that the US economy’s in tatters or real estate in 416 or YVR will go up forever. Nothing’s been going their way lately, and things fell apart completely on Wednesday.

For months this pathetic blog’s been telling you the American economy’s in renaissance, that rates have but one direction in which to travel, and the peak for housing prices is already in the rear view mirror. The evidence is everywhere, so you might as well get ready.

Jobs are sprouting at the rate of more than 50,000 per week in the US – a pace in place now for six months. Over a million new positions have been created in that time (while Canada added a few new drywallers and condo marketers), dropping the unemployment seriously below ours. No wonder consumer confidence has jumped. This week it hit the highest level in seven years.

House prices are still rising – 9.3% annually across the States right now – down from the torrid 13% rate of a few months ago, thanks to higher mortgage rates. But that’s a good thing, as the recovery was so rapid bidding wars have erupted in most major cities, raising bubble fears.

Corporate profits are vastly exceeding projections. They’re up about 11% so far in 2014, and to date 77% of all big S&P companies reporting quarterly earnings have trumped analysts’ expectations. More importantly, sales are also up and, as you know, it’s all kept stock market values in record territory for the entire year. The market has not had a 10% correction since 2011.

And this week came word the American economy grew by 4% in the second quarter. That’s elephantine. It blew past the most optimist economists. It proved the 2.1% decline in the first three months of the year was directly attributable to the Winter from Hell. And it made idiots of those who looked at an aberrant number and concluded the US was sliding into a depression rivaling theirs.

Of course, economic growth, rising profits, more jobs and surging consumer confidence pretty much guarantee inflation. And that means higher rates.

But don’t stop there. Let’s bring in Janet. As the most powerful woman in the world, Mrs. Yellen just about guarantees that Jennie’s decision to lock in her mortgage (she listened to me) is brilliant. Janet Yellen is the boss of the Fed, the US central bank, which has just decided for the sixth time to reduce its stimulus spending, which we affectionately know as QE.

Your will recall the doomers coming here last year to say that America could never reduce its government bond-buying program because it was hooked on printing money and would crater without it. Pshaw. Too much bullion-licking. The Fed has relentlessly and predictably trashed the stimulus program by tapering back since last December. Where they bought $85 billion a month in bonds a year ago (to lubricate the economy and keep rates low) it will now be $25 billion. By Thanksgiving it will be zero.

What does that mean? Well, this, for starters:

BONDS modified

Bond yields rose on the news, and will likely continue. The five-year Canada bond popped its weasely little head back above the 1.5% level, and I’d say will be about a full percentage point higher by this time next year. On the Fed news, US Treasuries reacted, with the price falling and yields rising. That makes sense. After all, demand for bonds in the US has now fallen by $65 billion a month, so why wouldn’t prices fade? And there’s more slack to come.

So here’s the deal. The US economy has been powering ahead even as government support is scaled back. Jobs are erupting, as are profits and attitudes. The Fed knows this will lead to inflationary pressures, which means there’s a 100% chance its stimulus spending will soon end entirely. The bond market smells it, and is already reacting.

Higher rates will likely throw some water on equity markets, while higher yields will knck back the prices of fixed income assets like bonds, preferreds and (by association) REITs. Finally. For a few months now, almost all financial assets have been looking expensive, so any dip would be a welcome reprieve for those with cash.

Then, in 2015, the Fed will raise its own key rate. I’ll leave you to imagine what that will bring.

Just be happy you didn’t buy a pre-construction condo.

new shelton wet/dry: ‘Friends have all things in common.’ –Plato

Everybody knows that men are women have some biological differences – different sizes of brains and different hormones. It wouldn’t be too surprising if there were some neurological differences too. The thing is, we also know that we treat men and women differently from the moment they’re born, in almost all areas of life. Brains [...]

Potz!Blitz!Szpilman!: South Korean Activists

South Korean Activists, Sending chocolate into North Korea via balloon, 2014

Computer Science: Theory and Application: Everything You Ever Wanted to Know About PNGs

submitted by Ve10x
[link] [17 comments]

All Content: Comic-Con 2014: The Saga of "Batkid Begins"


You’ve probably heard about the event when a small wish made by a five-year-old leukemia survivor blossomed into a social media feel-good event of the year. Panels in Hall H at San Diego Comic-Con may have been packed with lines that started the day before the panels, but the panel for the crowdsourcing campaign for “Batkid Begins” represented a moment in time when the hearts of 25,000 people in San Francisco and 2 billion people worldwide through social media were captivated by Batkid.

Last year, on November 15, San Francisco was turned into Gotham City for one of the most elaborate Make-A-Wish projects. The San Francisco Chronicle published a “Gotham City Chronicle,” the real police chief recorded special messages to call for Batman (Eric Johnston) with his trusty sidekick Batkid to save the day. Originally, Miles was told he was venturing away from his hometown of Tule Lake, CA to pick up a Batman costume in San Francisco. At the hotel, a local TV news broadcast was interrupted with an emergency call for help from police chief Greg Suhr.

When Patricia Wilson of Make-A-Wish Foundation in San Francisco began planning an event for Miles Scott, they hoped for a crowd of 200. And she told the SDCC crowd, “I don’t care what the police chief says, I only asked for 2 cops.” In the end. Academy Award-winning composer Hans Zimmer ("The Lion King") wrote a personalized Batcall for Batkid, 18 Lamborghinis were offered, Apple and Twitter offered to help with the media and Batkid was congratulated by President Obama on Twitter.

The teaser shown to the SDCC crowd left more than a few audience members sniffling. For the panel, Mashable’s deputy editor Chris Taylor acted as emcee introducing the Emmy Award-winning director Dana Nachman (“Witch Hunt,” “Love Hate Love” and “The Human Experiment”), Make-A-Wish director Wilson, Batkid’s Batman (inventor and software engineer Eric Johnston) and the damsel saved from a Riddler’s fiendish bomb (Sue Graham Johnston, Eric’s wife) and Batkid’s Penguin (Lucasfilm software engineer Mike Jutan).

Jutan described how the Penguin waddle evolved and why the Penguin was chosen over, say the Joker. “Caesar Romero’s Joker was too scary for a five-year-old. The Penguin, he’s a silly, waddley guy.” Then there was getting the mascot of the San Francisco Giants, Lou Seal, to AT&T Park so that Batkid could save Lou Seal from the Penguin.

The day overwhelmed the small cast of volunteers and crashed the Make-A-Wish website.  Sue Graham Johnston had no idea so many people would surround her, pushing microphones into her face as she waited to be rescued by Batkid. That proved more frightening than the neon green bomb.

Batkid Day may be over, but this team hopes to finish this documentary. There’s more than enough photos and video to use, but the “Batkid Begins” Indiegogo campaign is currently at 48 percent ($47,850 out of the goal of $100,000). The campaign started mid-July, runs until August 19. Perks include Batkid T-shirts and baseball hats.

There’s already a 10-minute video “Batkid: The Official Make-A-Wish Story” produced by John Crane Films and directed by John Crane, but “Batkid Begin” would be more detailed look into the events, including background material about Miles’ parents, Nick and Natalie.

Some superheroes need super powers. Some superheroes have no problem getting their movies made about fictional feats of dare-doing. Some superheroes need a large cast and crew and a big budget. Not this one. Batkid brought together one city with a simple and naïve wish.

Holy social media, Batman. Sometimes the Internet and social media can help fight the forces of evil, and bring a city together, united against a common enemy (cancer), if you have just the right kind of super hero. For San Francisco in November 2013, that hero was Batkid.


Colossal: Exquisite Japanese Floral Hair Ornaments Handcrafted from Resin by Sakae

Exquisite Japanese Floral Hair Ornaments Handcrafted from Resin by Sakae resin Japan hair flowers fashion

Exquisite Japanese Floral Hair Ornaments Handcrafted from Resin by Sakae resin Japan hair flowers fashion

Exquisite Japanese Floral Hair Ornaments Handcrafted from Resin by Sakae resin Japan hair flowers fashion

Exquisite Japanese Floral Hair Ornaments Handcrafted from Resin by Sakae resin Japan hair flowers fashion

Exquisite Japanese Floral Hair Ornaments Handcrafted from Resin by Sakae resin Japan hair flowers fashion

Exquisite Japanese Floral Hair Ornaments Handcrafted from Resin by Sakae resin Japan hair flowers fashion

Exquisite Japanese Floral Hair Ornaments Handcrafted from Resin by Sakae resin Japan hair flowers fashion

Exquisite Japanese Floral Hair Ornaments Handcrafted from Resin by Sakae resin Japan hair flowers fashion

Exquisite Japanese Floral Hair Ornaments Handcrafted from Resin by Sakae resin Japan hair flowers fashion

Based in Narita City, Japanese artist Sakae creates exquisite hair ornaments known as kanzashi. The traditional hair pieces have been around for quite some time in Japan, but these pieces—each hand-crafted from resin with a delicate brass wire around the edges—are startlingly realistic and the most beautiful we’ve ever seen. Depending on the complexity of the pieces they can take anywhere between 3 and 30 days. If you’re trying to get your hands on one of these, don’t get your hopes up. Sakae only occasionally puts one up for sale. And when she does it’s through Yahoo Auctions in Japan. Her latest auction just closed earlier this week. It attracted 215 buyers and finally sold for 400,000 yen. You can keep up with her (and her auctions) on her Facebook page or see her previous work on flickr. (via Mister Finch)

Quiet Earth: Kickass First Look at THE POSSESSION EXPERIMENT! [Trailer]

Generally speaking, possession movies are all the same. Some evil entity possesses an individual and one or a group of people are usually trying to save the poor soul by performing an exorcism. Occasionally we see a slight change to the formula but generally speaking, they're all cookie cutter exactly what you'd expect. Then there's The Possession Experiment which, rather surprisingly, appears to have a completely different approach to the exorcism story.

Co-written by Mary Dixon and Scott B. Hansen (who also directs), the story here is that for his final assignment, a theology student, with the help of a medium, a priest and a camera crew, offers himself up for possession and streams the entire thing online. He's set up a crowdfunding campaign to raise money to put together his [Continued ...]

Daniel Lemire's blog: Predicting your future performance

The Matthew effect says that “the rich get richer and the poor get poorer”. With this sole principle in mind, you would think that the future is easily predicted. Whoever is rich or famous today is going to be rich or famous tomorrow.

So which programming language should you learn if you are a programmer? The most popular language right now, or the fastest growing language? If you believe in the power of Matthew effect, you should always focus on the most popular language right now, since you believe that challengers are unlikely to succeed.

At a personal level, the Matthew effect can be depressing: your starting position in life determines the rest.

Mazloumian asked an interesting related question. Given a scientist, which is a better indicator of his future success (measured by citations):

  • the total number of citations received so far,
  • the average number of published papers per year,
  • the average annual citations,
  • the annual citations at the time of prediction,
  • the average citations per paper,
  • and so on.

Can you guess the best indicator of future success?

First, it is worth stating that Mazloumian found that the Matthew effect was weak:

Our results have shown that the existing citation indices do not predict citations of future work well, and hence should not be given significant weight in evaluating academic potential. Including various indicators and testing various prediction time horizons, our results are still in agreement with Hirsch’s study “past performance is not predictive of future performance.” Even combining multiple citation indicators did not significantly improve the prediction: apart from citation indicators, no better predictor of the impact of future work exists.

But, if you are going to use a single measure to predict the future success of a scientist, you should go with the annual citations at the time of prediction. This is consistent with saying that the past is a poor predictor of the future.

Of course, the Matthew effect is real. If you start out strong, you will tend to outdo your poorer peers. However, the Matthew effect is often much weaker than people believe. People at the top of their game are beaten by challengers coming from nowhere all the time.

In some sense, it is troubling because it says that we know less than we think we know. When recruiting a scientist, for example, it is very tempting to use his past performance over many years to predict his future performance. But this heuristic is weak.

It also means that it is hard to build lasting capital. Working hard today may not be sufficient to establish a long stream of successes. To keep on succeeding, you need to keep on working hard and be lucky.

On the plus side, it means that if you have not succeeded early, you can always make it big later. It does not mean that it is easy to rise up at the top from the bottom. By definition, only 1% of all players can be part of the top 1%. Even without any Matthew effect, you would still be unlikely to reach the top 1%. What is says however is that life is probably fairer than you think.

So how do you predict someone’s performance? With humility. And this includes yourself. You do not know how well or how poorly you will do in the future. Most times, you should avoid both arrogance and defeatism.

All Content: Video Interview: Chadwick Boseman and Tate Taylor on "Get On Up"


Chadwick Boseman steps into the legendary shoes of the hardest-working man in show business this weekend with the release of Tate Taylor's "Get On Up," the biopic of James Brown. The star of "42" sat down recently with his director to discuss the difficulty of playing one of the most beloved figures in the history of music.

Open Culture: Watch Mad Magazine’s Edgy, Never-Aired TV Special (1974)

1974 was a cynical time. That was the year that Nixon resigned after the grueling Watergate scandal, Vietnam War was finally grinding to a halt and, thanks to the Oil Shock of ’73, the economy was in the toilet. It was also a time when TV execs were scrambling to keep up with America’s rapidly changing cultural tastes. Audiences wanted something with a little edge. The TV adaptation of Robert Altman’s lacerating war comedy MASH became a huge hit. As did All in the Family, about everyone’s favorite armchair bigot Archie Bunker. Saturday Night Live was just a year away from premiering. So it isn’t surprising that execs from ABC approached the “usual gang of idiots” at Mad Magazine — that fount of anti-authoritarian satire — about making a series. The resulting pilot, which was later rebranded as a TV special, never aired because it provided way too much edge for the network. You can watch it above.

The show, culled from some of the better bits from the magazine, features art from Don Martin, Mort Drucker, Al Jaffee and Dave Berg – names that will be very familiar to you if you grew up obsessively reading the magazine as a child, like I did – and the animation was supervised by Jimmy Murakami along with Chris Ishii and Gordon Bellamy.

The network claimed that the show was shelved because it had too much “adult” humor. In this post-South Park, post-Family Guy world, the adult humor in this show, by comparison, seems downright tame. What the Mad Magazine TV Special does have in abundance is withering barbs. Something about translating the cynical, adolescent humor of the magazine from the page to screen made its satire feel much, much sharper. During their parody of The Godfather, called the Oddfather, mafia don Vito Minestrone (groan) tells a group of mobsters that their gang war must stop. “We must stop destroying each other and start destroying the plain, ordinary citizens again. Like normal American businessmen.”

The show’s most caustic zingers, however, are reserved for America’s bloated, complacent auto industry where a Walter Cronkite-like journalist interviews auto exec Edsel Lemon. In five or so minutes, the bit unsparingly lays out why GM and Ford eventually lost out to Toyota and Honda – crappy cars, lousy safety, and an upper management that was as mendacious as it was shortsighted. While field testing a new model, which involved coasting the car down a hill, Lemon quips, “If our prototype can go 500 feet without falling apart we’ll put it into production.” This seemingly explains how the Ford Pinto got made.

In the end, the networks squeamishness with the show was more due to its ridicule of an industry with deep pockets than with its toilet humor. As Dick DeBatolo, the MAD’s maddest writer, who penned much of the show noted, “Nobody wanted to sponsor a show that made fun of products that were advertised on TV, like car manufacturers.”

Related Content:

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Watch 1970s Animations of Songs by Joni Mitchell, Jim Croce & The Kinks, Aired on The Sonny & Cher Show

A Short History of America, According to the Irreverent Comic Satirist Robert Crumb

Watch the First Animations of Peanuts: Commercials for the Ford Motor Company (1959-1961)

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

Watch Mad Magazine’s Edgy, Never-Aired TV Special (1974) 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 Watch Mad Magazine’s Edgy, Never-Aired TV Special (1974) appeared first on Open Culture.

Penny Arcade: News Post: The Talk, By Tavis Maiden

Tycho: It was easy to see variations of ourselves in each Strip Search contestant, which is why kicking them off the show was so difficult.  Like the scholarship we grant, it feels more like choosing losers than winners, because you do way, way more of the former.  Tavis is a point much later in our continuum, much closer to now than most contestants, and I felt it way down. Tavis Maiden makes cartoons, but he essentially was one also; everything about his ratios and personal presentation seemed custom built.  I made what I have made, and have accomplished what I did, because someone…

Quiet Earth: More Drama & New Worlds Revealed in Latest Trailer for Christopher Nolan&rsquo;s INTERSTELLAR

Though the first trailer for Christopher Nolan's Interstellar suggested beautiful things to come, it was a bit difficult to tell what was going on beyond Matthew McConaughey going into space in some attempt to save humanity.

This new trailer offers up a little more footage and is cut in such a way that the story seems far more obvious than before. The earth is dying and the dust bowl is slowly spreading throughout the world. McConaughey and Anne Hathaway are astronauts tasked with finding another world for resettlement while Jessica Chastain and Casey Affleck play the grown up versions of McConaughey's kids. Seems like daddy wasn't ever meant to com [Continued ...]

Twitch: BBC's Terrifying THE BOY FROM SPACE Finally Coming To DVD

British readers of a certain age may well still be haunted by images from the BBC's incredibly disturbing children's TV show The Boy From Space. Created as part of the Beeb's educational Look And Read series, it was originally broadcast in 1971 and again in 1980 and follows the startling discovery of an extra-terrestrial being by two inquisitive young British children. While perhaps a niche nostalgia item that may seem alien to many, The Boy From Space was a hugely influential piece of work when it first came out, and its surreal style and imagery dug deep into the memories and imaginations of a generation, where they have lain dormant until now. The Boy From Space will be released in a 2-disc DVD set by the...

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new shelton wet/dry: ‘Divide each difficulty into as many parts as is feasible and necessary to resolve it.’ –Descartes

Everybody knows that real blurry photos can’t be made sharp after the fact. But that’s exactly the premise of the new Illum camera from a startup called Lytro. Instead of snapping a solitary image, the Illum captures a whole moment—known as the light field—so you can change focus and shift perspective after you’ve taken the shot. [...]

OUR VALUED CUSTOMERS: To his friend...

Quiet Earth: First Poster for Tarantino's HATEFUL EIGHT

Despite threats to the contrary, Tarantino will make The Hateful Eight his next film. Another film that riffs on a classic spaghetti western set-up (even the title seems influenced by Joaquín Luis Romero Marchent's Cut Throats Nine), the story sees a group of mistrustful ne'er-do-wells trapped together after a blizzard diverts their stagecoach.

At the bottom of the poster, it reads that the film will be presented 70mm Super Cinemascope by engagement. Some speculate that Tarantino is planning a release similar to what Paul Thomas Anderson did with The Master.

The film is scheduled for release sometime in 2015.

The Hateful Eight follows the steadily ratcheting tension that develops after a bliz [Continued ...]

The Rhizome Frontpage RSS: August 10 in Rockaway: Trailblazers, a Web Surfing Competition


Sunday, August 10, 1pm
Rockaway Beach Surf Club
302 Beach 87th Street, Rockaway Beach (Subway: Beach 90th)

Surf the classic way
From Amazon to Piratebay

Eight of New York's web surfers will find out who can surf best!

On August 10, Rhizome will host the city's first Trailblazers web surfing competition at Rockaway's premier wave surfing club, hosted by Dragan Espenschied and the whole Rhizome crew.

The rules are simple: competitors have to complete a trail by going from one URL, the start, to another URL, the goal, in less than 10 minutes. Those who don't make it are out.

No Google, No Keyboards, No Back Buttons, No Loggin' In — just hyperlinks and a one-button mouse. The trails remain secret until the start. Only skill will help you here!

Think you can rip with the best? Limited slots are available to participate. Email to sign up. Prizes from Arcangel Surfware await. Check out the previous Trailblazers in Europe, with its format developed by Theo Seemann.

Or just come to watch (no need to RSVP)! Surf's up, partner.

explodingdog: wwnorton: storyofpop: Skiffle was the original DIY music,...



Skiffle was the original DIY music, cut-and-paste, no qualifications necessary; amid the combination of washboard percussion, broom-handle bass, kazoos, and nasal shrieks you can hear the first footsteps on a path that led to Joe Meek, to punk and to jungle.

This urgency and sense of constructing something out of nothing—and doing it right now!—was fundamental to the progression of British pop. Some of Lonnie Donegan’s hits may sound like scrunched-up tinfoil, but the airplay that “Rock Island Line” received on the BBC in 1955 inspired John Lennon, Paul McCartney, and Jimmy Page to pick up guitars for the first time; it’s one of the unlikelier facts of history that a song about illegally transporting pig iron is British pop’s fountainhead. 

From Yeah! Yeah! Yeah!: The Story of Pop Music from Bill Haley to Beyoncé by Bob Stanley, out now in hardcover and ebook.

Skiffle! This is surprisingly punk rock, actually, once it gets going.

Lonnie Donegan is one of my favorites. His version of Frankie and Johnny is one of the most intense songs.

Twitch: Calling All Music Lovers! Sound + Vision 2014 Brings Various Sonic Delights to NYC

Sound + Vision Film Festival, a showcase of music documentaries from world over, celebrates its second outing at FSLC, here in NYC. This year's festival consists of eclectic mix of new films, retrospectives and musical performances and more. The lineup includes spotlights on subjects like a Japanese trance didgeridoo player, seminal atmospheric bands of the late 1980s and early 1990s, a Mexican acoustic duo who combine thrash metal and flamenco, and music created on 1980s video-game hardware.Opening night selection is Beautiful Noise, a documentary on the rise of the influential 'wall-of-sound' scene that started with Cocteau Twins, The Jesus and Mary Chain and My Bloody Valentine. The series concludes with Florian Habicht's Pulp, which follows iconic Brit band Pulp and the lead-up to their reunion...

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Open Culture: The Modern-Day Philosophers Podcast: Where Comedians Like Carl Reiner & Artie Lange Discuss Schopenhauer & Maimonides

The Partially Examined LifeThe History of Philosophy Without Any GapsPhilosophy BitesPhilosophize This!we’ve featured quite a few entertaining and educational fruits of the still-new discipline of podcasting’s inclination toward the very old discipline of philosophy. But the podcast has proven an even better fit for comedians than it has for philosophers. Even if you’ve never downloaded an episode in your life, you’ve almost certainly heard about the medium-legitimizing successes of intelligent, conversational, highly opinionated, or otherwise unconventional funnymen like Ricky Gervais with The Ricky Gervais ShowAdam Carolla with his also-eponymous podcast, and Marc Maron with WTF. Yet nobody dared to explicitly cross podcasting’s comedic and philosophical strengths until last year, when Danny Lobell launched Modern Day Philosophers (web siteitunessoundcloud).

Lobell, himself a pioneer in not just philosophical comedy podcasting but comedy podcasting, and indeed podcasting itself, began his comic-interviewing show Comical Radio a decade ago. “As podcasting grew in popularity,” he writes, “many celebrity comedians started doing similar shows to the one I was doing. [ … ] Before I knew it, what I had once felt was a unique and important undertaking now no longer seemed like it served a purpose in the universe for me.” This dark night of the soul saw him move from New York to Los Angeles, this cradle of so many podcasts comedic and otherwise, where he turned his attention back toward the subjects he neglected in school. He paid special attention to philosophy, but struggled to understand the material. “I realized that my friends, stand up comedians, would make great study partners. I’ve often heard us referred to as the philosophers of our day which I figured sounded like a good enough excuse to approach them.”

And so Lobell has produced 40 episodes and counting featuring philosophical discussions conducted with some of today’s sharpest comics, many of them star podcasters in their own right. One recent conversation finds Lobell in conversation about John Cage — a philosophical figure too often dismissed as primarily an artist — with the cerebral, chance-oriented, and somewhat askew Reggie Watts (top). (The pairing makes especially good sense, since Cage influenced Brian Eno, and Watts has publicly discussed Eno’s influence on his own act.) A few months ago, Lobell talked the suicide-minded Arthur Schopenhauer with the once-suicide-minded Artie Lange (middle). And he even brings in elder statesmen of comedy to talk about matters eternal, such as Carl Reiner on religion, prayer and memory as reflected upon by Maimonides (above). Each episode contains a healthy consideration of not just the work of the philosopher in question, but that of the comedian as well. Personally, I can’t wait to hear what Yakov Smirnoff has to say about his fellow Russian artist-philosopher of note, Fyodor Dostoyevsky.

H/T Mark Linsenmayer, a founder of Partially Examined Life

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Download 100 Free Philosophy Courses and Start Living the Examined Life

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

The Modern-Day Philosophers Podcast: Where Comedians Like Carl Reiner & Artie Lange Discuss Schopenhauer & Maimonides 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 Modern-Day Philosophers Podcast: Where Comedians Like Carl Reiner & Artie Lange Discuss Schopenhauer & Maimonides appeared first on Open Culture.

The New Hobbyist: 3D Printing School: Tools!


I’ve been slowly building up a tool kit since I built my first printer in 2011 so I thought I would make a list of my “must have” 3D printing tools. I found some of these by reading 3D printing blogs and news sites, and while pretty much none of these tools are made specifically for 3D printing, they have turned out to be super helpful.  So here it is: the tools I find essential to my printing process.


Needle Nose Pliers

Starting with my most used tool I’d say some needle nose pliers are pretty much mandatory for any 3D printing tool kit. I use these pretty much every time I print: useful for removing prints from the print bed, pulling off stubborn support material, and safely removing rafts. Of all the tools I’m about to list this one would be the hardest to print without. I’m using some old pliers from a very old tool kit, but any cheap set would be better than nothing.



Craft Spatula

This was recommended to me by Thingiverse user craigmclark and I don’t think I could go back. These spatulas are designed to remove vinyl cut stickers from their backing after cutting with a craft CNC and as it turns out they’re also the perfect shape for removing prints from my print bed. They’re super thin and flex a bit which can help pop off parts that are very well adhered. I’ve been using a Cricut Spatula Tool for the past year and like it a lot.



Diagonal Cutters

I use my cutters for a couple of things and like to have them handy all the time. While my pliers are my go to for removing support material often times they’re a bit too clumsy for delicate parts, I use the cutters when I need to trim away support material rather than tearing it off. I also use them to clip off my filament before feeding it into my extruder, it really helps keep a nice sharp edge on the filament. I’ve been using Xcelite Diagonal Cutters for years and find them to be very reliable.



Gel Super Glue

It’s hard to beat some good glue and I’ve been sticking (get it) with Loctite Gel Control for awhile now. It seems to slightly melt the ABS parts I glue and bonds them to together really well. The “gel control” does delay the glue from setting for about 30 seconds, though this has never prevented me from glueing my fingers together. I’ve seen many sites suggest using an aceatone and ABS slurry for gluing parts together but I’ve never had super glued parts fail, PLUS I can always have it on hand in a bottle (which for me is a lot more handy than mixing up a witches brew of ABS slurry every time I want to repair or connect two printed parts).



Vinyl Applicator Tool

This one is specifically for laying down kapton tape on my build platform. As I posted in this previous post the vinyl applicator is really helpful for pushing air bubbles out of the kapton tape after application. I generally heat my print platform before pushing out air bubbles and have found that my tool has started to deform from use in the past year or so. Though for a ~$5 tool I’ve yet to find a better alternative. I’m not entirely sure where I got mine, it may have come with my Replicator 2X but they can easily be found on Amazon and in most hardware and art supply stores.



Compressed air

I use this to clear my build plates in between prints. I like to minimize transferring the oils from my hands to my build plate and kapton tape. So blowing debris off the bed just makes sense. Not much more to say on this one, no preference on brand either.



Kapton Tape

I’ve been using the same roll of kapton tape since 2011. I ordered it to go with my Thing-o-Matic a long long time ago. It sounds like glass build plates with hairspray has been all the rage for awhile but I’ve never had issues with kapton adhesion, in fact I generally have trouble removing prints more than I have trouble with prints sticking. Both of my printers have been ABS machines with heated beds so this advice may be specific to my machines. I don’t have much experience with non-heated print beds but I’ve heard great things about blue painters tape.



Cleaners and solvents

Lastly I have my supply of cleaning products and acetone. The window cleaner, paper towels, and rubbing alcohol are used during kapton tape application. As I mentioned earlier the acetone can be used as a glue to fuse parts together, made into a slurry to help with print adhesion, and even vaporized to smooth the outside of printed ABS parts. I think this is another ABS only tool, as far as I know acetone doesn’t do much to PLA or other printing materials.

programming: What I learned from answering questions for 30 days on Stack Overflow

submitted by elgillespie
[link] [308 comments]

Twitch: Destroy All Monsters: All The World Is Waiting For You, Wonder Woman

What a difference a year makes. At last year's Comic Con, Wonder Woman was "tricky." At the 2014 event, she was the belle of the ball. Admittedly, it was a slow news year. Zack Snyder's reveal of Gal Gadot's costume for 2016's still horrendously titled Batman v. Superman: Dawn of Justice was the loudest sizzle at an event that keeps itself carefully devoid of steak. Aside from a roaring Mad Max trailer and the announcement of a sequel to Guardians of the Galaxy, what did Wonder Woman have to compete with, news-wise? A King Kong prequel? Let's take a moment to doff our caps to Henry Cavill, who's having the sort of career ignominy we've come to expect of our Superman actors: he's now arguably...

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Colossal: New Conceptual Fine Art Photography from Oleg Oprisco

New Conceptual Fine Art Photography from Oleg Oprisco surreal portraits conceptual

New Conceptual Fine Art Photography from Oleg Oprisco surreal portraits conceptual

New Conceptual Fine Art Photography from Oleg Oprisco surreal portraits conceptual

New Conceptual Fine Art Photography from Oleg Oprisco surreal portraits conceptual

New Conceptual Fine Art Photography from Oleg Oprisco surreal portraits conceptual

New Conceptual Fine Art Photography from Oleg Oprisco surreal portraits conceptual

New Conceptual Fine Art Photography from Oleg Oprisco surreal portraits conceptual

New Conceptual Fine Art Photography from Oleg Oprisco surreal portraits conceptual

Photographer Oleg Oprisco (previously) who lives and works in Kiev, continues to wow us with his vivid style of conceptual photography that places subjects in the middle of surreal and fantastic tableaus. Oprisco spends large amounts of time scouring flea markets and resale shops to collect props, costumes, and other items for each shot which he often sketches beforehand in a sketchbook, with the final shoot requiring 2-3 days of preparation. I love this bit from an interview with 500px earlier this year where he was asked to give advice to amateur/student photographers:

I strongly advise to use your time wisely. Laziness is your worst enemy. Enough looking at photographs taken by your idols. You’ve commented on enough work that you hate. It’s time to take photos. Your best photos. Let go and shoot, shoot, shoot!

All of Oprisco’s work is available as prints which you can inquire about directly. You can see more of his recent work on Flickr and Facebook. (via 500px)

The Rhizome Frontpage RSS: Rhizome Today

Image adapted from John Cuneo's Atlantic illustration

Instructables: exploring - featured: Simple Basement Security System

In this project I will show you how to build a very simple security system for all kinds of rooms. It might be simple but still effective. It is based around an Attiny85 and uses a reed switch and a key switch as inputs to see whether an intruder has accessed the room. A buzzer will then notify you ...
By: GreatScottLab

Continue Reading »

Planet Haskell: wren gayle romano: Transitioning is a mindfuck.

[Content warning: discussion of rape culture and child abuse]

Transitioning is a mindfuck. Doesn't matter how prepared you are, how sure you are, how long and deeply you've thought about gender/sexuality issues. Outside of transitioning1 we have no way of inhabiting more than one position in any given discourse. Sure, we can understand other positions on an intellectual level, we may even sympathize with them, but we cannot empathize with what we have not ourselves experienced, and even having experienced something in the past does not mean we can continue to empathize with it in the present. Julia Serano emphasizes this epistemic limit in her books. And it's no wonder that no matter how prepared you may be, completely uprooting your sense of self and reconfiguring the way the world sees, interprets, and interacts with you is going to fundamentally alter whatever notions you had going into it all.

Since transitioning none of the major details of my identity have changed. I'm still a woman. Still feminine. Still a flaming lesbo. Still kinky, poly, and childfree. Still attracted to the same sorts of people. Still into the same sorts of fashion (though now I can finally act on that). Still interested in all the same topics, authors, and academic pursuits. And yet, despite —or perhaps because of— all this consistency, transitioning is still a mindfuck.

Some thing have changed, in subtle, nuanced, insidious ways. For example, I'm even more attracted to women now than I used to be. (how's that even possible?!) And the tenor of that attraction has changed. I knew I liked girls in a gay way since very early on. I've thought of myself as a lesbian since at least 7th grade (when I learned the word)— without really noticing that calling myself a dyke kinda sorta entails I'm a woman, and well before I understood that feeling like a girl meant I was trans. The funny thing is, in addition to liking girls in a gay way, I also liked them in a straight way. These two forms of attraction feel quite different from one another and, even when both directed at the same target, were easily distinguishable. I use the past tense because since starting HRT my heterosexual attraction to women has decreased over time, zeroing out over the past couple-few months. (Whereas my homosexual attraction to women has increased correspondingly.) This whole experience throws a major wrench into our standard conceptions about "orientation", but that's a topic for another time.

By and large this change hasn't affected who I'm attracted to, except around the periphery. Nevertheless, it has had noticeable effects on my interactions with people. Thanks to the other effects of HRT, the dykes I've always been attracted to have started noticing me. And the increase in my attractions has imbued many of my favorite haunts with a new sexual energy that wasn't there before. It's all very nice, but it takes some getting used to. Suddenly everywhere there's a subtext of queer life I was never privy to, even when living the scene in Portland.

Other things have changed, not so much in myself, but in the ways I am interpreted. In my pre-transition life, I put a lot of myself into raising awareness for the fact that men too are victims of sexual violence, and that men too suffer from depression2. As a survivor of sexual abuse and depression, and as someone who was then-read as being a "man", this raising of awareness was necessary to make a place for myself in the world— especially in feminist and activist circles. Throughout the 1990s and early 2000s as feminist were raising awareness about rape culture, the very same (pseudo)feminists engaged in a discourse of silencing and exclusion against male victims of sexual violence. Opposing this discourse and asserting the right of male survivors to be included in the dialogue surrounding rape culture was a major component of my activism at the time. By disavowing the impact of rape culture and silence culture on men, these pseudofeminists were reinscribing the very culture they sought to raise awareness of. That "feminists" would so blatantly support rape culture is abhorrent. More to the point, this hypocrisy has had very real consequences. Much of the current MRA movement originated from male feminist communities— and many of those male feminist communities were explicitly constructed in order to combat the silencing and marginalization of male survivors by pseudofeminists. The inability of feminists of the 1990s to include men in the discourse on rape culture was foundational to the construction of the MRA movement we must now fight against.

I fought this hypocrisy for years, to the point where I was made a public target in much the same way that TERFs publicly target trans women3. And as pseudofeminists grew ever more entrenched in their erasure of sexual violence against men, I watched as male feminist communities were co-opted and poisoned by the nascent MRA movement. After years of this targeted silencing, I had no choice but to give up on "feminism" entirely, retreating in order to retain and rebuild my sense of self. I alluded to this history earlier, and it took me a decade of isolation before I was willing to engage with feminist communities again. Thankfully much has changed in the meantime, and now "feminist" communities are much more likely to be feminist communities (so far as I've seen). But it's not just the community that has changed. Now when I engage with feminists I am read as being a woman, and my words are received very differently now than before. The lack of alienation is liberating, but at the same time I feel disattached from my history of involvement with feminism. Now, if I argue for the inclusion of men in the discourse on rape culture, I am seen as making this argument from a female positionality; as such, women are far more likely to listen to me, but it feels as though (on this topic in particular) they are less likely to hear what I am saying. As a woman, when I assert that men are often victims of sexual violence and that rape culture has a doubly silencing effect on men since —due to masculine-centrism and homophobia— this violence attacks their gender and sexual identities in addition to the personal, physical, and psychic violation, my words are not received with the same authority as when I uttered those self-same words fifteen years ago. These days it's taken as a position statement, as philosophy, as theory, not as the gritty dirt of reality.

Moreover, these days I do not feel like I can legitimately invoke my personal history in order to receive that authority. The idea of doing so reeks of entitlement and disingenuity. While I do not feel like I would be co-opting the experiences of male survivors, claiming to have any access to male experience now feels deeply inauthentic. All of this despite having experienced the very same things as many men do. My abuser was a woman, and like men who were abused by women, people tried to gaslight me into calling it "getting lucky" instead of calling it rape. Despite having no interest in adopting a male persona, if my history became known it would incur (additional) emasculating, homophobic, and transphobic abuse. The only way to avoid that abuse was to actively position myself as a straight masculine man full of machismo and bravado. Thus, I could either deny myself by masking over my history or I could deny myself by masking over my identity; a devil's choice if ever there was one. Being a queer feminine woman, this devil's choice becomes a twisted form of psychological torture, as the masking identity is the antithesis of who I am, and is moreover an identity I find repugnant; to actively adopt this grotesquery requires I must dehumanize myself, dissociating from everything that gives me nourishment and willfully engaging in degrading acts. While most male survivors of sexual violence are not queer feminine women, those men I have talked to still experienced the devil's choice as psychological torture and for very similar reasons of being forced to actively deny their own identities in order to project an identity they find repulsive. Despite sharing these experiences with cis men and not having had the experiences typical of cis women who've endured sexual violence, I no longer feel like I can authentically access these experiences to speak to the trauma that men endure. At the same time, while it does now feel authentic to frame my history as the sexual abuse of a girl by another girl (for we were both underage), I know that this authenticity does not afford any legitimacy outside of discussing my own experiences. Before, I was silenced by having my experiences excluded from the discourse on rape culture; now, even when listened to, I am silenced by not having a discourse to which my experiences can contribute.

Once again I point out that none of the major details of my identity nor of my history have changed. Who I was at the time of my abuse is no different today than it was a year and a half ago before I transitioned. No new details have come to light. I have not altered my interpretation of that past. In short, nothing has changed. And yet, it seems, everything has changed. As I tweeted yesterday, "even having had clarity for so long, doesn't really seem to help. Clinging to old narratives can become disingenuous." And now I wrestle with that disingenuity, seeking to construct a new narrative to make coherent the detritus of my life. Learning how to position myself as I walk the same paths through the same queer communities I've inhabited all my life. Learning how to vocalize a troubled history I've openly discussed for decades. Learning, somehow, to become the person I have always been, because suddenly nothing has changed.

[1] I do not mean to claim that only transsexuals have the ability to inhabit multiple positions over their lives, rather I mean transitioning in a more general sense. In Self-Made Man Nora Vincent, a cis woman, describes her 18 months posing as a man. This wasn't 18 months of RLE living as a man, but only workaday posing/living as a man. Still, reading her book, it should be clear that this is sufficient to grasp at the immense complexity of how our different positions give rise to very different lived experiences (even if, in the end, Vincent falls back on biological essentialism rather than fully internalizing her experiences). The fact that these 18 months caused her to have a nervous breakdown should be indication enough of how profoundly trans people are affected both by their pre-transition life and by the transition itself.

[2] Throughout the 1990s depression was considered a "woman's disease". As such, many feminist circles at the time were engaged in raising awareness about depression as part of the overarching women's health movement. I don't say much here about my involvement in these groups because, unlike the situation regarding male survivors of sexual violence, feminists raising awareness about depression were welcoming to men and very receptive to male voices and male experiences.

[3] With the important difference that the vast majority of self-proclaimed "feminists" these days are not TERFs, whereas a great many of the self-proclaimed "feminists" in the 1990s were male-exclusionary. Were I to hazard a guess, I'd say that about 20–40% of the online community were actively male-exclusionary, as many as 60–80% of the active community were willing to tolerate or incidentally support their behavior, and less that 5% were willing to actively oppose male-exclusionary behavior. By the late 2000s these proportions had changed significantly since the goals of male-exclusion were, by and large, deemed successful by that point and so were no longer a major point of contention. However, my brief forays into the community at that time indicated that it still wasn't particularly hospitable to girls like me.

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Michael Geist: The Battle Over Tariff 8, Part 2: The Recording Industry’s Surprising Opposition to Songwriter, Composer and Music Publisher Streaming Royalties

Yesterday I posted on the battle over Tariff 8, the Copyright Board of Canada’s new tariff for digital music streaming services that the media has suggested could open the door to popular foreign services migrating to Canada. Despite the initial excitement, the Canadian recording industry, led by Music Canada (formerly the Canadian Recording Industry Association) has taken aim at the decision, which its President Graham Henderson argues:

will further imperil artists’ livelihoods, and threatens to rob them of the fruits of their labour in the new digital marketplace. And it will further undermine the business environment, undercutting the ability of labels and other music companies to make future investments in Canadian talent.

As noted in the post, Re:Sound, the collective responsible for the tariff, has filed for judicial review of the decision and Music Canada is urging its supporters to “like” its Facebook protest page, which it says will help win the fight.

There are two things that make the campaign against the decision particularly striking, however: the industry’s failure to mention to that Tariff 8 is only one of several payments made for music streaming and its opposition to those other payments.

First, the recording industry is seemingly loath to mention that Tariff 8 is only a part of the payments that are made by Internet music streaming companies to rights holders, including performers, songwriters, composers, music publishers, and record labels. As the Board itself notes, the Tariff 8 decision focuses on a limited number of rights that may be triggered by an online music service. It states:

Streaming music over the Internet can involve as many as six rights or sets of rights. These proceedings only concern the equitable remuneration to which performers and makers are entitled when a published sound recording of a musical work is communicated to the public by telecommunication. These two rights always trigger a single payment for any type of sound recording; in the case of sound recordings of musical works, that payment is always made to a collective society authorized by the Board to collect it. Re:Sound administers these rights for the vast majority of eligible performers and makers.

The following exclusive rights are not at play in these proceedings: the right to communicate a musical work to the public by telecommunication; the right to reproduce a musical work; the right to reproduce a sound recording; the right to reproduce any reproduction of an authorized fixation of a performer’s performance for a purpose other than that for which the authorization was given; the rights granted, on November 7, 2012, to Canadian performers and makers over the communication resulting from making available a sound recording to the public.

The Copyright Board established tariffs in 2012 for several of these other rights with SOCAN and CMRRA/SODRAC (CSI). Those tariffs will ensure that music streaming fees go far beyond just Tariff 8.

Second, despite the revenues to be generated by the other tariffs, the recording industry has either opposed or dismissed those royalties, which are provided to songwriters, composers, and music publishers. For example, CRIA intervened in SOCAN and CSI tariff proceeding, arguing its statement of case that the online music tariff proposals were “grossly excessive.”

Rather than standing together as it now suggests, it argued that it did not think that “composers and publishers should share in any increase in profit in the market since, unlike the Objectors [CRIA], they made no investment and took no risk in developing the online market.” CRIA also argued that there should be no minimum royalties since that might harm the development of new services:

CRIA submits that minimum fees are not only unjustified for users who generate revenues but are particularly inappropriate for the online distribution of music, where new legitimate online music services attempting to establish themselves in the market face “competition” from free unauthorized peer-to-peer networks. 

In addition, CRIA emphasized the need to limit revenues by excluding non-compensable activities.  It stated:

the revenue base must be defined so as to exclude any revenue generated by activities that do not trigger any liability under the Tariff. This would include: (i) all downloading or streaming by end-users not located within Canada; (ii) downloading or streaming resulting from promotional use; and (iii) downloading or streaming of music that is not within the Collectives’ repertoire.

It is noteworthy that the Copyright Board does precisely that in the Tariff 8 decision by accounting for activities that do not trigger liability under that tariff, yet now CRIA argues that the tariff is too low.

In fact, not only did CRIA argue for lower payments in the SOCAN and CSI proceeding, but Re:Sound (whose Vice-Chair is Graham Henderson) continued to dismiss their tariffs in its statement of case for Tariff 8. It argued that the evidence was incomplete in setting those rates, that the market had changed, and that a rate structure based on a percentage of revenue was unreliable. Indeed, Re:Sound argued that it had “grave concerns” about a tariff structure based on a percentage of revenue.

The Copyright Board granted Re:Sound its wish: the tariff is not based on a percentage of revenue despite the fact that that approach would have given greater business certainty to new entrants and allowed performers and labels to directly benefit as those businesses grow. Instead, it received a per-play rate lower than it wanted, leading to its public relations blitz against the decision. While many labels have chimed in, SOCAN has unsurprisingly said little, other than releasing a statement that it awaits an updated tariff of its own and that:

SOCAN has proposed a percentage of revenue rate of 8.6 percent. SOCAN will be monitoring the Re:Sound application for judicial review closely as it advances through the court process.

The collective refrained from noting the opposition from the recording industry when songwriters and music publishers seek to be paid, but the public record speaks for itself.

The post The Battle Over Tariff 8, Part 2: The Recording Industry’s Surprising Opposition to Songwriter, Composer and Music Publisher Streaming Royalties appeared first on Michael Geist.

Paper Bits: Samuel Beckett motivational posters. Guys. Guys. Samuel...

Samuel Beckett motivational posters.



Samuel Beckett. Motivational posters.

With cats.

You guys.


All Content: War Story


There’s minimalist filmmaking that’s quietly intriguing, and then there’s emotional detachment that’s stultifying to the point of being nap-inducing. "War Story" falls into the latter category.

Director Mark Jackson’s drama is a chilly study in grief starring Catherine Keener as a war-zone photographer shattered by her experiences in Libya. But Jackson and co-writer Kristin Gore have structured the film as a mystery, so we don’t really know who Keener’s character is or what happened to her until about an hour into the 90-minute running time.

Instead, Keener’s Lee smokes and sulks. She pops pills and avoids calls from her editor. She holes up in the darkness of a sparse Sicilian hotel room that she insists the maid shouldn’t clean. (Actually, all of her interactions with other people are uniformly terse.) When she does leave the room, bleary-eyed, Jackson follows her in long, Dardennes-style tracking shots down bland hotel hallways and through cloudy city streets. There is a numbing evenness in tone to every place she goes and everything she does.

Certainly, a film about a woman suffering from post-traumatic stress disorder shouldn’t be a laugh riot, but it should at least offer some glimmers of humanity to engage us and keep us hanging on. “War Story” is all about withholding key information, but it’s too languid to be engrossing in the first place. It takes an awfully long time to establish Lee’s isolation; the first 13 minutes are essentially wordless.

All kinds of choices are baffling here, beginning with the placement of Keener in this kind of role. So much of what has made her so appealing for so long—especially in her work with Spike Jonze and Nicole Holofcener—is a zesty naturalism, a directness and an earthiness that allow her to make an instant connection, regardless of the character. All of that has been stripped away here, and what’s left is a dour shell.

But Lee thinks she may have found her salvation when she meets Hafsia (Hafsia Herzi), a troubled, young refugee in need of an abortion. Hafsia happens to resemble a young woman in Libya whom she photographed mourning over the body of her slain brother. In this doppelganger, Lee sees an opportunity for spiritual redemption —or perhaps just a distraction from her own troubles. Their relationship is vague as is so much else in the film, but eventually it seems to border on co-dependency, with the two women hiding together in the hotel room and even sharing the same bed, platonically. Even the introduction of Hafsia doesn’t liven things up; she’s as low-key and enigmatic as Lee is.

A meeting with a longtime friend and colleague finally sheds some light on Lee’s plight. He’s played by a barely-there Ben Kingsley in a massive waste of a towering talent. Speaking of baffling decisions, Kingsley is basically on screen for about five minutes, and when we first see him meeting up with Keener, it’s from a distance at a high angle. Their discussion takes place in a dark room in one long, extremely backlit take.

This is supposed to be one of the most significant moments in the film but because of these aesthetic choices, it just doesn’t register. Kingsley’s single scene makes you long for more of him; he’s a forceful presence in a film desperately in need of them.

Perhaps Jackson is trying to recreate for us as viewers the foggy, drug-induced state in which Lee has placed herself as a means of protection or denial or self-soothing. It’s hard to figure it out, as is the intentionally abrupt, open-ended conclusion which feels like a slap in the face after enduring such a slog.



Drawings by artist Soey Milk. More below.

View the whole post: Soey Milk over on BOOOOOOOM!. Blog: Water Level Alarm


Water Level Alarm is a simple project to detect and alarm once the water level in tank or Aquarium reaches at certain level. Circuit is based on popular NPN transistor BC547 which act as switch, Sensor also made on PCB, when the water reaches the sensor PCB, base of transistor connected to positive supply, in consequence transistor act as switch and activate the buzzer.

Water Level Alarm - [Link]

New Humanist Blog: Where is the line between protest and abuse?

There has been a rise in anti-Semitic attacks since the Israeli bombardment of Gaza began.

BOOOOOOOM!: Mike Brodie


At 18, photographer Mike Brodie left home and hopped trains across the United States. He spent three years photographing the train hoppers and vagabonds he encountered. More photos below.

View the whole post: Mike Brodie over on BOOOOOOOM!.

BOOOOOOOM!: Music Video: Jake Bugg “There’s A Beast And We All Feed It” Directed by Bob Harlow


I feel like most of my favourite videos this year are black and white! Director Bob Harlow and the DP Jackson Hunt channeled some Mark Romanek 99 Problems vibes here. Watch the video for Jake Bugg’s “There’s A Beast And We All Feed It” below.

View the whole post: Music Video: Jake Bugg “There’s A Beast And We All Feed It” Directed by Bob Harlow over on BOOOOOOOM!.

Instructables: exploring - featured: How to Prepare and Serve a Watermelon

Impress your friends with this simple but great way to serve a watermelon. Perfect for parties.. Watch this Short and Simple Video Guide: Watch this amazing video guide and learn a great way to prepare and serve a watermelon Getting Started What you n...
By: Dave Hax

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Planet Haskell: Philip Wadler

How do we satisfy our need to keep informed about results that might influence our work ? We (still) read papers and go to conferences. And how does the ACM help ? Well not very well.

  • Aggregating the deluge of information: anyone will tell you that the amount of research material to track and read has grown exponentially. But we still, to this day, have nothing like PUBMED/MEDLINE as a central clearinghouse for publications in CS-disciplines. The ACM DL is one step towards this, but it's a very poor imitation of what a 21st century repository of information should look like. It's not comprehensive, its bibliographic data is more erroneous than one expects, and the search mechanisms are just plain depressing (it's much easier to use Google).
  • Dealing with the changing nature of peer review and publication: Sadly, ACM, rather than acting like a society with its members' interests at heart, has been acting as a for-profit publisher with a some window dressing to make it look less execrable. Many people have documented this far more effectively than I ever could. 
  • Conference services: One of the services a national organization supposedly provides are the conference services that help keep communities running. But what exactly does the ACM do ? It sits back and nitpicks conference budgets, but provides little in the way of real institutional support. There's no infrastructure to help with conference review processes, no support for at-conference-time services like social networking, fostering online discussion and communities, and even modern web support. I only bring this up because all of these services exist, but piecemeal, and outside the ACM umbrella.
Underneath all of this is a slow but clear change in the overall CS research experience. The CRA has been doing yeoman service here: taking the temperature of the community every year with the Taulbee surveys, putting out a best practices document for postdocs after extensive community discussion, and even forming action groups to help gain more support for CS research from the government. Does the ACM do any of this ? Blog: Aquarium Light V1



My first attempt at an LED Aquarium light started as an excuse to buy some of those LED light strips off of eBay. I gutted the old 18″ fluorescent fixtures and soldered together row after row of 18″ RGB LED strips. They mounted to a thin aluminum plate I screwed into the old light housings. I mounted one of those remote-controlled RGB LED controllers in there with a 12V 5A power brick. The remote control let us change the colors, and had a few blinky light modes that I’m sure the fish didn’t appreciate too much. My wife loved it, which is all that really matters.

Aquarium Light V1 - [Link] Blog: DIY Internet of Things Fire Alarm


by Martin @

I purchased a battery operated smoke/fire alarm few days ago and it showed up today. It runs on 9V and will make a loud sound if smoke is detected. My intention was to hook it up with my home automation system so that I would receive alert if it would go off including SMS, pushbullet notification to my phone, email etc.

The Funky v1 is ideal for the purpose because it is really flat/tiny and would fit inside the alarm. It will tap into the piezo siren and sleep until the siren is activated. Upon activation, it will make a wireless transmission to my home automation system (Raspberry Pi running Node-Red) for further processing and alerting me on my phone.

DIY Internet of Things Fire Alarm - [Link] Blog: Curious C-beeper


Electronics DIY published a new build, the Curious C-beeper:

Curious C-Beeper is a fun to build little probe that can be used to quickly detect the capacity of capacitors in pF nF range, test their stability with temperature changes, find broken wires, locate wires, trace wires on PCBs, and to locate live wires behind the walls without touching them. The circuit uses three transistors to make a most unusual capacitance beeper probe. When a capacitor is touched to the probe, the probe beeps at a frequency that varies with capacitance. The frequency change is so steep with capacitance that tiny capacitors may be precisely matched or an exact fixed value may be selected to replace a trimmer in a prototype.


Curious C-beeper - [Link]

TheSirensSound: Maps and Diagrams

The sixth release from Tel Aviv’s False Industries sees a new mini-album from Maps and Diagrams entitled ‘Delius’ available in digital only format… Tim Martin has been releasing under the Maps and Diagrams moniker for a good ten years now, and he’s showing no sign of losing steam with this latest on the False Industries label.

A far cry from the percussive crunchiness of his earlier material, ‘Delius’ is as cool and glassy as a Fox’s Glacier mint, and probably more refreshing too. There’s a fuzzy analogue glow to Martin’s recordings, and ‘Delius’ shows this off better than ever – even in the coldest, most cavernous moments you get the sense that Martin may have bounced everything to tape just to round off those harsh edges a little.

There’s plenty of ‘ambient’ music around right now, but this is one of those rare albums that does more than enough to make you forget the term basically means you shouldn’t be paying attention. Martin’s got enough tension and even noisiness ( check the odd tumble of ‘Child of the Cavern’ ) to keep you coming back for more again and again. HIGHLY RECOMMENDED.

Martin often roughens the smooth sheen of his ambient drones with grainy industrial textures. He also generally excludes beats in the six tracks, even if the clicking pulses in “Child of the Cavern” and “The Last Man on Earth” suggest ties to earlier Maps and Diagrams releases. In keeping with their titles, “Sylvan Spring” is characterized by warm, enveloping swathes of synthetic sound, while “Avalanche” finds billowing vapours gradually building to a climax before deflating. An occasional field recording works its way into the material, and consequently a softly whistling meditation such as “Novachord Spectrum” assumes a somewhat pastoral quality that strengthens its connection to the natural world.

The material repeatedly resists settling into straightforward, easily definable structures; a piece such as “Child of the Cavern,” for instance, unfolds unpredictably, as if the material itself is determining in the moment which path to take. A similar approach characterizes “Yriarte” and “The Last Man on Earth,” which suggest that a fitting reference point for Delius is Fennesz, whose music likewise develops fluidly rather than fits into simple, predetermined structures. All in all, Delius impresses as an understated set whose occasional rough textural treatments can’t hide the gentle heart beating at its core.

[ Cubiculo ]. Taking some time out from making music with Charles Sage as Hessien, Tim Martin brings his Maps and Diagrams project to the surface with four exclusive songs for Fluid Audio. ‘Cubiculo’ features a more structured, loop-based arrangement, drawing attention to a rounded and melodic stencil with focus on subtle, micro-crystalised rhythm, surrounded by a self-assurance and tangled textures with a salute towards the work of Oval and their deconstructed works of the 90′s. ‘Cubiculo’ creates a less-harsh listening environment compared to ‘The Giant Woods’ album on Yuki Yaki released in December 2009 and this is another steadfast release carefully crafted, interwoven with unfolding elements that makes Maps and Diagrams’ compositions so precisely enduring.

< < < < < [ 2014 "Alluvium" ] Update ]. > > > > >

Please note – due to the limited nature of the release, just one copy of each limited edition is available per person. “Alluvium” by Maps and Diagrams is released in two, slightly different limited editions. Edition one is limited to 40 copies and includes three hand-stamped mini CD-r (Alluvium Part I, II & III). Each CD sits inside a wiro-bound hardback book cover and has printed recycled card stock inserts on the inside where each CD is positioned. Each copy is hand-numbered. Edition two is limited to 50 copies and is presented as a 12cm CD-r, this edition features the same material (Alluvium Part I, II & III) as edition one and is packed in hand-stitched manila card sleeves with printed recycled inserts.

< < < < < [ [ False-ind.COM ] | [ Purchase ] ]. > > > > >

Maps and Diagrams - Alluvium I, II & III

Artist – Maps and Diagrams
Album – Alluvium [ * * * * * ]
Release Date – 2014
Genre – Ambient, Electron’, Drone, Experimental[ AWESOME SOUND ]


01. Mica 04:04
02. Hornblende 06:22
03. Lias 02:58
04. Oolite 02:26
05. Variolite 04:20
06. Red 04:22
07. Jasper 03:48
08. Flint 04:32
09. Diluvial 03:33
10. Serpentine 04:48
11. Quartz 02:53
12. Gamboge 05:26
13. Kohle 06:19
14. Gneiss 05:00
Maps and Diagrams – Alluviium


Maps and Diagrams - Snowglobe EP

Artist – Maps and Diagrams
Album – Snowglobe EP [ * * * * * ]
Release Date – 2014
Genre – Ambient, Electron’, IDM, Glitch [ AWESOME SOUND ]


01. Dominoeffect 05:16
02. Jupiter Incidental 05:09
03. QRBG 04:49
04. Astropod 05:04
05. Hebakotb 04:25
06. Triangular Triquerta 04:16
07. Dominoeffect – The New Honey Shade Remix 04:46
08. Jupiter Incidental – Dark Mahoney Remix 03:38
09. QRBG – Ylid Remix 04:00
10. Astropod – bdobcmx 03:32
11. Hebakotb – The Green Kingdom Remix 05:15
12. Triangular Triquerta – Pleq Remix 04:10
FREE DL Maps and Diagrams – Snowglobe EP


M and D - Forste

Artist – Maps and Diagram
Album – Forste
Release Date – 2013
Genre – Ambient, Drone, Experimental, Minimal, Experimental-drone [ AWESOME STUFF ]


01 – Meyeri
02 – Helderberg
03 – Tafelstem
04 – Gaasefjord
05 – Puynax
06 – Goldfuss
BANDCAMP Maps and Diagram – Forste
FILEFACTORY Maps and Diagram – Forste


Maps and Diagrams - Laska

Artist – Maps and Diagrams
Album – Laska
Release Date – 2013
Genre – Ambient, Drone, Experimental, Minimal, Experimental-drone [ AWESOME STUFF ]


01 – Bicolour
02 – Laska
03 – Limosa
04 – Penelope
FILEFACTORY Maps and Diagrams – Laska
STREAM + PURCHASE Maps and Diagrams – Laska


Maps and Diagrams - Cubiculo

Artist – Maps & Diagrams
Album – Cubiculo
Release Date – 2010
Genre – Ambient, Drone, Experimental, Minimal, Experimental-drone [ AWESOME STUFF ]


1. The Melancholy of the Weavers 04:28
2. Kopangyang 04:16
3. Gnomish Twang 04:35
4. Fragments of a Former Moon 04:25
FREE DOWNLOADS Maps & Diagrams – Cubiculo


Artist – Maps & Diagrams
Album – Delius [ * * * * * ]
Release Date – 2012
Genre – Ambient, Drone, Experimental, Minimal, Experimental-drone [ AWESOME STUFF ]


01 – Sylvan Spring
02 – Avalanche
03 – Child of the Cavern
04 – Yriarte
05 – Novachord Spectrum
06 – The Last Man on Earth
Maps & Diagrams – Delius

Maps and Diagrams - The Giant Woods

Artist – Maps and Diagrams
Album – The Giant Woods
Release Date – 2009
Genre – Ambient, Drone, Experimental, Minimal, Experimental-drone [ AWESOME STUFF ]


01. Duplicate
02. Eleemosyn
03. Gauche
04. Last Train Home
05. Navel
06. Savannakhet
07. Shuffel
08. Spirals
09. The World And You
MEDIAFIRE Maps and Diagrams – The Giant Woods
Maps and Diagrams

Perlsphere: Ubuntu 14.04 Trusty: Mapping USB keyboards

I bought a Cherry G84-4700PUCDE-2 keypad about three years ago to have some "special multimedia keys" on the left side of my keyboard. It used to work after some trying until I upgraded to Ubuntu 14.04. The "trusty" release removed support for /lib/udev/findkeys and /lib/udev/keymap and replaced both by something called "hwdb". Converting turned out to be hard, because there are many wrong hints out there spread over the internet.

the waxing machine: lauramashburn43: The Fascinating Sofas and Couches area of the...


The Fascinating Sofas and Couches area of the Special Decor Tips Living Area Retailer is a excellent source of Loveseats, Sectional Sofas, Sleeper Sofas and Settees

Computer Science: Theory and Application: What are some CS teacher's web pages that have great content?

Dear fellow CS enthusiasts,

I stumbled on this page of Prof Charles Lin:

This is exactly what you want to see in a teacher's web page: there is a good bit of content, style is simple, the explanations are brief but excellent, and just right enough to whet your appetite so that you go searching for more to build on.

Prof. Lin's page is pretty old and I cant find his most recent page - this really sucks!

Are there any other teaching pages you have come across, that has stuck to your mind for a good bit? I would absolutely love to see some recommendations.

EDIT: Magnificent stuff, please keep them coming guys!

Plus, extra points if anyone can point to Prof.Lin's current page.

submitted by LaughingJackass
[link] [27 comments]

Penny Arcade: Comic: The Talk, By Tavis Maiden

New Comic: The Talk, By Tavis Maiden

Arduino Blog: Why the NSA Can’t Listen to His Mixtape – Interview with David Huerta


David Huerta is a technologist who recently published a provocative work to make everyone think a little bit more about privacy and what governments should be allowed to do or not:

I work outside the Pokemon business model of catching every user’s data or abusing it for state surveillance. I work instead surrounded by priceless art and in giving it a voice inside and outside the thick, Faraday cage walls of the museum it lives in.

He created an encrypted mixtape and sent it to NSA. The device runs on Arduino and other open hardware and for David is a:

machinery that can be trusted not to spy on you because of the disclosure of its design, schematics and bill of materials to anyone who wishes to inspect, build, or build upon the device. The device contains a soundtrack for the modern surveillance state. It’s designed to be enjoyed only by people I have consented it to be listened to. A second copy of this device will also be sent to the NSA’s headquarters in Maryland, but without the private key needed to decrypt it; a reminder that the rules of mathematics are more powerful than the rules of even the most powerful states.

We got in touch with him and was happy to answer a couple of questions for the blog:

Z: What makes you more uncomfortable about NSA actions which made you react and build this device?

D: The NSA’s mass surveillance encompasses a lot of programs which run counter to what I feel is a fundamental right to privacy. In the US Constitution there’s an expression of that in its fourth amendment.
What the NSA is doing goes against the spirit of that much like petting a cat backwards; It’s the wrong direction to go towards and a cat/society will swipe its paw at the offender.


Z: Arduino community is always interested in understanding how things are made. Where we can find source code and technical specs to build one? It would be great if we all could share more practical knowledge on these topics.

D: The mixtape device is basically just an Arduino and Adafruit wave shield. The code to play each wave file on the SD card on a loop (when unencrypted) is right off their list of examples.
I made one slight modification, which is to turn on a purple LED to indicate when it’s working. Purple is not an easy LED color to source, but it’s the global Pirate Party color and I wanted to give them subtle props for working towards a free and secure internet on the policy side of things.

I will at some point publish a way to do the encryption part of this using a Beaglebone Black and CryptoCape to make it a fully open hardware proof-of-concept, but in this case the SD card encryption was done off-device. I also plan on going through a full tutorial based on that at this year’s Open Hardware Summit in Rome.

Z: You said: “The NSA can read my stupid Facebook updates but without my consent it will never be able to listen to my kick-ass mix tape, even if it’s sitting right in front of them.” – What makes you believe that your encryption is strong enough?

D: The truth is that everyone sucks at information security, including myself, so no one can really make the claim something they’ve built is “NSA-proof.” Generally though, the less hardware and software you have, the less complexity and thus, opportunity for attack vectors or human errors there are. The playlist was kept offline, is not on the Arduino sketch, or anywhere in the hardware except encrypted in the SD card. The only place the audio existed aside from in the various sources I collected it from was on the hard drive of the PC I used to compose the mix tape, which has since been removed and stored offsite and offline. The encryption was also ran by a different machine, and one that I generally keep on my person. This goes beyond mass surveillance capabilities and into TAO/FBI “partyvan” surveillance; I can’t imagine an intelligence analyst is going to go to their very serious boss to explain that they need to expense a vehicle to go after some guy’s mix tape in a city where they won’t even be able to find a parking spot close enough to run a tempest attack from.

ZDo you have the pictures of the inside showing the components and the circuits?

D: They’re not too exciting since its just the Arduino + Wave Shield, but I attached a photo of the unencrypted version (clear acrylic instead of red clear acrylic), which I’ll also be bringing with me to the Open Hardware Summit.



Looking forward to meet him at Open Hadware Summit!

Perlsphere: Plack::App::* namespace is not for apps - so which is the proper CPAN namespace ?

OOps ... I just realized that I had misunderstood the intent of the Plack::App namespace : the top-level Plack doc explicitly says :
DO NOT USE Plack:: namespace to build a new web application or a framework. It's like naming your application under CGI:: namespace if it's supposed to run on CGI and that is a really bad choice and would confuse people badly.
and the 2009 Plack Advent Calendar goes even further with
Think twice before using Plack::App::* namespace. Plack::App namespace is for middleware components that do not act as a wrapper but rather an endpoint. Proxy, File, Cascade and URLMap are the good examples. If you write a blog application using Plack, Never call it Plack::App::Blog, okay? Name your software by what it does, not how it's written.
OK, sorry, I got this wrong when publishing Plack::App::AutoCRUD -- but to my excuse, I'm not alone, several other CPAN authors did the same.

The app is quite young, so it is still time to repair its name (even if this operation will be quite tedious, because it involves changes in all module sources, in the CPAN distribution, in the github repository name, and in the upcoming YAPC::EU::2014 talk). But if I want to be a good citizen and engage into such an operation, what should be the proper name ? The CPAN namespace is becoming a bit crowded, as already noted 2 years ago by Joel Berger. For choosing a name, there seem to be several controversial and perhaps contradictory principles :
  • CPAN is for modules, not for apps  : this was argued in 2008 in a Perlmonk discussion on the same topic ; however, many people replied in disagreement. I disagree too : publishing a Perl app on CPAN fully makes sense because we take advantage of the CPAN infrastructure for tests, dependency management, publication, etc. Furthermore, applications can be extended or forked, just like modules, so CPAN is a perfect environment for sharing.
  • publish under the App::* namespace : this is the PAUSE recommendation. But applications in the App::* namespace are mainly  command-line utilities, which is quite different from Web applications. As a matter of fact, nobody used yet the App::Web namespace -- maybe it's time to start ?
  • use a ::Web or ::WebApp suffix at the end of the module name :  I never saw this as a recommendation, but nevertheless many distributions adopted this approach. This is certainly appropriate if the main goal is to publish a functionality Foo::Bar, and by the way, there is also a web app at Foo::Bar::WebApp. But if the purpose of the whole distribution is just a web app, this approach tends to create a new top-level namespace, which is not considered good practice. Should I choose AutoCRUD::WebApp ? I think not, because other people might want to use the AutoCRUD::* namespace.
  • avoid top-level namespaces : this used to be an important recommendation, but it doesn't seem to be well respected any more :-( -- nowadays I see more and more CPAN distributions taking up top-level names. I won't cite any particular example, not to offend anybody, but it's quite obvious if you look at the list of top-level namespaces .... and unfortunately many of those top-level names give no clue whatsoever about what kind of functionality will be found in the associated distribution.
  • hide the technology underlying your app : the Plack argument above says that the app should be named from its functionality, not from its implementation technology. Well ... I'm not so sure that this is always appropriate. Many modules sit under the Tie::Hash::* namespace, just because they used the tied hash technology, for providing various kinds of functionalities.
    Concerning  "Plack", when I see that keyword in a module name, I know that a) this is Web technology, and b) this will work on any kind of web server (as opposed to modules names containing "Apache" or "Apache2"), and I consider this to be useful information for a potential user. On the opposite, I didn't want to name my module DBIx::DataModel::AutoCRUD, even if it uses DBIx::DataModel quite heavily, because that's not hardwired into the architecture and I could easily imagine a later adaptation for supporting as well DBIx::Class.
So in the end I will probably end up with something like App::Web::AutoCRUD or WebApp::AutoCRUD ... unless somebody comes up with a better suggestion !

PS : see also Catalyst::Plugin::AutoCRUD .. which can be used either as a Catalyst plugin or as an application on its own.

    Planet Haskell: Functional Jobs: Pragmatic Haskell Developer at Anchor Systems (Full-time)

    Opening for additional Haskell developers

    About Anchor

    Anchor Systems, based in Sydney Australia, has successfully been providing managed hosting and infrastructure to clients around the world for almost 15 years. The critical difference in the service we offer our customers often boils down to providing operations expertise and infrastructure configuration balancing the short term needs to get a new installation running with the long term imperatives of security, scalability, and flexibility.

    The engineering department is building the analytics capabilities, internal systems, cloud infrastructure, deployment tooling, and operations practices that will be needed to take the company to the next level. We have every intention of changing the hosting industry to make developing applications — and operating them at scale — easier for people facing massive growth.

    Haskell is the working language for all internal development; the benefits of type safety, resilience when refactoring, and stability over time added to the power of functional programming has already paid dividends. We have a significant programme of work ahead, and we're looking to add further capability as we face these challenges. Interested in helping?


    You'll need to have demonstrable experience programming in Haskell, familiarity with open source development practices, and the ability to tolerate other people refactoring your code.

    Exposure to the harsh realities of IT operations and experience of the thrill of Linux systems administration will stand you in good stead. Knowledge of the history, progress, and problems in configuration management will be helpful.

    A history of contributing to libraries on Hackage would be relevant. More relevant would be a track record of working well in the open (regardless of language or project). Good documentation is as important as good code (a type signature is not sufficient), and command of written English is necessary both to collaborate with your peers and to describe and promote your results.

    A Bachelor's in science, engineering, or xenobiology will be well thought of. Your specific field of study certainly doesn't matter, but how you use computing to solve problems in your chosen field does. A degree in engineering will be a distinct asset. An undergraduate degree in computer science will not be held against you.


    Feel free to reach out to us if you have any questions; we're on IRC in #haskell, on Twitter, and GitHub: afcowie, pingu, thsutton, glasnt, fractalcat, tranma, oswynb, and more. Andrew, Christian, and Thomas will be at ICFP in Gothenburg so please do come say hello if you're interested.

    To apply, send us a PDF copy of your CV to along with the URL to your GitHub account. We also invite you to include a pointer to something that shows you in a good light: a mailing list thread where you argued a contentious position, a piece of particularly thorny code in which you found an elegant solution to a problem, or even an essay or article you've written.

    We don't do international relocations (sorry everyone who wants to work remotely from Hawaii), but we readily sponsor work visas for new hires should they need one. So whether you've just moved to Australia or have been here for generations, give us a shout next time you're in Sydney.

    Get information on how to apply for this position.

    The Half-Dipper: How to Read a Haiku

    Planet Haskell: FP Complete: vectorBuilder: packed-representation yielding for conduit

    This post contains fragments of active Haskell code, best viewed and executed at

    Back in March, I mentioned that we'd be using conduit for high performance analyses. We've been busy working on various aspects of this behind the scenes. This is the first publicly available follow-up since then.

    One issue with financial analyses is bridging the gap between in-memory representations and streaming data. The former allows for higher performance for many forms of analysis, while the latter allows us to deal with far larger data sets and to generate output more quickly for certain analyses.

    We'll be using the vector package almost exclusively for efficient in-memory representations in IAP, and conduit for streaming data. The question comes: what happens when we need to transition from one to the other? There are already functions like yieldMany to yield values from a Vector as a Conduit, and conduitVector or sinkVector to consume values from a Conduit into a packed representation.

    While these solutions are always sufficient, they aren't always optimal. When we're going for high speed analyses, we don't want to waste time boxing unpacked values or allocating extra constructors unnecessarily. This blog post introduces a new tool we're adding to the IAP toolchain (and the conduit toolchain in general): vectorBuilder.

    The problem

    Often times when working with Haskell in a high performance context, the overhead introduced by a linked list representation can be too high. Having an extra constructor around each value, a constructor for each cons cell, and the indirection introduced by having to follow pointers, can completely kill performance. The most common examples of this are the high speedup you can often achieve by replacing String with Text (or sometimes ByteString), or by using Vectors- especially unboxed or storable Vectors.

    conduit has a similar representation of a stream as a list, including the constructor overheads just mentioned. It's not surprising, therefore, that in a situation that a list would be a poor representation, conduits will often suffer similar performance problems. Like lists, some of this overhead is mitigated by shortcut fusion (a.k.a., rewrite rules). But this isn't always the case.

    conduit-combinators provides a helper function which allows us to take back performance, by working with a packed representation instead of creating a bunch of cons cells. It does this by using the vector package's generic mutable interface under the surface, while at a user-facing level providing a simple yield-like function, avoiding the need to muck around with mutable buffers.

    This article will cover how to use this function, some implementation details, and comparisons to other approaches.

    NOTE: At the time of writing, the version of conduit-combinators provided on School of Haskell does not contain the vectorBuilder function, and therefore the active code below will not run.

    Motivating use case

    Let's start with a simple goal: we have chunks of bytes coming in, and we want to (1) duplicate each successive byte so that, e.g. [1, 2, 3] becomes [1, 1, 2, 2, 3, 3] and (2) rechunk the values into vectors of size 512. The original data could be chunked in any way, so we can rely on any specific incoming chunk size (in this case, a known 256 chunk size would be convenient).

    Likely the easiest approach is to convert our stream of chunked values (e.g., ByteString or Vector Word8) into a stream of elements (e.g., Word8), duplicate the individual values, then chunk those back up. Such a solution would look like:

    rechunk1 = concatC
           =$= concatMapC (\x -> [x, x])
           =$= conduitVector 512

    This uses the concatC combinator to "flatten out" the input stream, concatMapC to duplicate each individual Word8, and then conduitVector to create a stream of 512-sized Vectors. In my simple benchmark, this function took 13.06ms.

    But as we can probably guess, this falls into the problem zone described in our introduction. So instead of dealing with things on the individual byte level, let's try to use some higher-level functions operating on Vectors of values instead. Our new approach will be to first mapC over the stream and use vector's concatMap to double each value, and then use takeCE and foldC to extract successive chunks of size 4096. In code:

    rechunk2 =
        mapC (concatMap $ replicate 2) =$= loop
        loop = do
            x <- takeCE 512 =$= foldC
            unless (null x) $ yield x >> loop

    In the same benchmark, this performed at 8.83ms, a 32% speedup. While respectable, we can do better.

    Buffer copying

    Our first approach is optimal in one way: it avoids needless buffer copying. Each Word8 is copied precisely once into an output Vector by conduitVector. Unfortunately, this advantage is killed by the overhead of boxing the Word8s and allocating constructors for conduit. Our second approach avoids the boxing and constructors by always operating on Vectors, but we end up copying buffers multiple times: from the original Vector to the doubled Vector, and then when folding together multiple Vectors into a single Vector of size 512.

    What we want to do is to be able to yield a Word8 and have it fill up an output buffer, and once that buffer is filled, yield that buffer downstream and start working on a new one. We could do that by directly dealing with mutable Vectors, but that's error-prone and tedious. Instead, let's introduce our new combinator function: vectorBuilder (or its unqualified name, vectorBuilderC).

    The idea is simple. vectorBuilder will allocate an output buffer for you. It provides you with a special yield-like function that fills up this buffer, and when it's full, yields the entire buffer downstream for you.

    To use it, we're going to use one other combinator function: mapM_CE, which performs an action for every value in a chunked input stream (in our case, for each Word8 in our input Vector Word8s). Altogether, this looks like:

    rechunk3 = vectorBuilderC 512 $ \yield' ->
        mapM_CE (\x -> yield' x >> yield' x)

    We call yield' twice to double our bytes. vectorBuilder ensures that each output buffer is of size 512. mapM_CE efficiently traverses the incoming Vectors without creating intermediate data structures.

    This version benchmarks at 401.12us. This is approximately 95% faster than our previous attempt!

    Avoiding transformers

    There's something tricky about the yield' function above. Notice how it's not being used in the Conduit monad transformer, but is instead living the base monad (e.g., IO). This is not accidental. Not only does this allow us to use existing monadic combinators like mapM_CE, it also allows for far more efficient code. To demonstrate, let's look at two different ways of doing the same thing:

    bgroup "transformers" $
        let src = return () in
        [ bench "single" $ nfIO $ do
            ref <- newIORef 0
            let incr = modifyIORef ref succ
            src $$ liftIO (replicateM_ 1000 incr)
        , bench "multi" $ nfIO $ do
            ref <- newIORef 0
            let incr = liftIO $ modifyIORef ref succ
            src $$ replicateM_ 1000 incr

    Both of these benchmarks use no conduit features. They both create an IORef, then increment it 1000 times. The difference is that the first calls liftIO once, while the second calls liftIO 1000 times. Let's see the difference in benchmark results:

    benchmarking transformers/single
    mean: 4.292891 us, lb 4.285319 us, ub 4.303626 us, ci 0.950
    std dev: 45.83832 ns, lb 35.04324 ns, ub 59.43617 ns, ci 0.950
    benchmarking transformers/multi
    mean: 93.10228 us, lb 92.95708 us, ub 93.30159 us, ci 0.950
    std dev: 869.6636 ns, lb 673.8342 ns, ub 1.090044 us, ci 0.950

    Avoiding extra liftIO calls has a profound performance impact. The reason for this is somewhat similar to what we've been discussing up until now about extra cons cells. In our case, it's extra PipeM constructors used by conduit's MonadIO instance. I don't want to dwell on those details too much right now, as that's a whole separate topic of analysis, involving looking at GHC core output. But let's take it as a given right now.

    The question is: how does vectorBuilder allow you to live in the base monad, but still yield values downstream, which requires access to the Conduit transformer? There's a trick here using mutable variables. The implementation essentially works like this:

    • Allocate a new, empty mutable vector.
    • Allocate a mutable variable holding an empty list.
    • Start running the user-supplied Conduit function, providing it with a specialized yield function.
    • The specialized yield function- which lives in the base monad- will write values into the mutable vector. Once that mutable vector is filled, the vector is frozen and added to the end of the mutable variable's list, and a new mutable vector is allocated.
    • The next time the user's function awaits for values from upstream, we jump into action. Since we're already forced to be in the Conduit transformer at that point, this is our chance to yield. We grab all of the frozen vectors from the mutable variable and yield them downstream. Once that's done, we await for new data from upstream, and provide it to the user's function.
    • When the user's function is finished, we freeze the last bit of data from the mutable vector and yield that downstream too.

    The upsides of this approach are ease-of-use and performance. There is one downside you should be aware of: if you generate a large amount of output without awaiting for more data from upstream, you can begin to accumulate more memory. You can force the collection of frozen Vectors to be flushed using the following helper function:

    forceFlush :: Monad m => ConduitM i o m ()
    forceFlush = await >>= maybe (return ()) leftover

    This simply awaits for a value, allowing vectorBuilder to clear its cache, and then gives the new value back as a leftover.

    Overall, your goal should be to have a decent trade-off between memory and time efficiency. To demonstrate, try playing around with the functions f1, f2, and f3 in the following code snippet:

    {-# LANGUAGE NoImplicitPrelude #-}
    {-# LANGUAGE FlexibleContexts #-}
    import ClassyPrelude.Conduit
    forceFlush :: Monad m => ConduitM i o m ()
    forceFlush = await >>= maybe (return ()) leftover
    -- Memory inefficient, time efficient
    f1 :: (Int -> IO ()) -> Sink () IO ()
    f1 f = liftIO $ forM_ [1..1000000] f
    -- Memory efficient, time inefficient
    f2 :: (Int -> Sink () IO ()) -> Sink () IO ()
    f2 f = forM_ [1..1000000] $ \i -> do
        f i
    -- Good trade-off
    f3 f = forM_ (chunksOf 10000 [1..1000000]) $ \is -> do
        liftIO $ mapM_ f is
        chunksOf _ [] = []
        chunksOf i x =
            y : chunksOf i z
            (y, z) = splitAt i x
    main = vectorBuilderC 4096 f3
        $$ (sinkNull :: Sink (Vector Int) IO ())

    ByteString and Vector

    It may be surprising to have seen an entire article on packed representations of bytes, and not yet seen ByteString. As a matter of fact, the original use case I started working on this for had nothing to do with the vector package. However, I decided to focus on vector for two reasons:

    1. Unlike bytestring, it provides a well developed mutable interface. Not only that, but the mutable interface is optimized for storable, unboxed, and generic vectors, plus existing helper packages like hybrid-vectors. In other words, this is a far more general-purpose solution.
    2. It's trivial and highly efficient to convert a ByteString to and from a storable Vector.

    To demonstrate that second point, let's try to read a file, duplicate all of its bytes as we did above, and write it back to a separate file. We'll use the toByteVector and fromByteVector functions, which I recently added to mono-traversable for just this purpose:

    {-# LANGUAGE NoImplicitPrelude #-}
    import           ClassyPrelude.Conduit
    import           System.IO             (IOMode (ReadMode, WriteMode),
    double :: (Word8 -> IO ()) -> Sink (SVector Word8) IO ()
    double yield' = mapM_CE $ \w ->
        yield' w >> yield' w
    main :: IO ()
    main = withBinaryFile "input.txt" ReadMode $ \inH ->
           withBinaryFile "output.txt" WriteMode $ \outH ->
           sourceHandle inH
        $$ mapC toByteVector
        =$ vectorBuilderC 4096 double
        =$ mapC fromByteVector
        =$ sinkHandle outH

    Comparison with blaze-builder

    There's a strong overlap between what vectorBuilder does, and how blaze-builder (and more recently, bytestring's Builder type) are intended to be used. I unfortunately can't give any conclusive comparisons between these two techniques right now. What I can say is that there are cases where using a Builder has proven to be inefficient, and vectorBuilder provides a large performance improvement. I can also say that vectorBuilder addresses many more use cases that Builder. For example, at FP Complete we're planning to use this in financial analyses for creating time series data.

    On the other hand, blaze-builder and bytestring's Builder have both had far more real-world tuning than vectorBuilder. They also have support for things such as copying existing ByteStrings into the output stream, whereas vectorBuilder always works by copying a single element at a time.

    So for now, if you have a use case and you're uncertain whether to use vectorBuilder to blaze-builder, I recommend either trying both approaches, or discussing it on one of the Haskell mailing lists to get more feedback.

    Complete code

    The code for most of the blog post above is below. Sorry that it's a bit messy:

    {-# LANGUAGE FlexibleContexts          #-}
    {-# LANGUAGE NoImplicitPrelude         #-}
    {-# LANGUAGE NoMonomorphismRestriction #-}
    import           ClassyPrelude.Conduit
    import           Control.Monad.Primitive (PrimMonad)
    import           Control.Monad.ST        (runST)
    import           Criterion.Main          (bench, bgroup, defaultMain, nfIO,
    import qualified Data.Vector.Generic     as VG
    import qualified System.Random.MWC       as MWC
    import           Test.Hspec              (hspec, shouldBe)
    import           Test.Hspec.QuickCheck   (prop)
    rechunk1 :: ( Monad m
                , VG.Vector vector (Element input)
                , PrimMonad base
                , MonadBase base m
                , MonoFoldable input
             => Conduit input m (vector (Element input))
    rechunk1 = concatC =$= concatMapC (\x -> [x, x]) =$= conduitVector 512
    {-# INLINE rechunk1 #-}
    rechunk2 :: (Monad m, IsSequence a) => Conduit a m a
    rechunk2 =
        mapC (concatMap $ replicate 2) =$= loop
        loop = do
            x <- takeCE 512 =$= foldC
            unless (null x) $ yield x >> loop
    {-# INLINE rechunk2 #-}
    rechunk3 :: ( MonadBase base m
                , PrimMonad base
                , MonoFoldable input
                , VG.Vector vector (Element input)
             => Conduit input m (vector (Element input))
    rechunk3 = vectorBuilderC 512 $ \yield' ->
        mapM_CE (\x -> yield' x >> yield' x)
    {-# INLINE rechunk3 #-}
    main :: IO ()
    main = do
        hspec $ prop "rechunking" $ \ws -> do
            let src = yield (pack ws :: UVector Word8)
                doubled = concatMap (\w -> [w, w]) ws
                res1 = runST $ src $$ rechunk1 =$ sinkList
                res2 = runST $ src $$ rechunk2 =$ sinkList
                res3 = runST $ src $$ rechunk3 =$ sinkList
            res1 `shouldBe` (res2 :: [UVector Word8])
            (res3 :: [UVector Word8]) `shouldBe` (res2 :: [UVector Word8])
            (unpack $ (mconcat res2 :: UVector Word8)) `shouldBe` (doubled :: [Word8])
            case reverse res1 :: [UVector Word8] of
                [] -> return ()
                x:xs -> do
                    (length x <= 512) `shouldBe` True
                    all ((== 512) . length) xs `shouldBe` True
        gen <- MWC.createSystemRandom
        bytes <- replicateM 20 $
            MWC.uniformR (12, 1024) gen >>= MWC.uniformVector gen
            [ bgroup "copy bytes"
                [ bench "rechunk1" $ whnfIO
                    $ yieldMany (bytes :: [UVector Word8])
                   $$ (rechunk1 :: Conduit (UVector Word8) IO (UVector Word8))
                   =$ sinkNull
                , bench "rechunk2" $ whnfIO
                    $ yieldMany (bytes :: [UVector Word8])
                   $$ (rechunk2 :: Conduit (UVector Word8) IO (UVector Word8))
                   =$ sinkNull
                , bench "rechunk3" $ whnfIO
                    $ yieldMany (bytes :: [UVector Word8])
                   $$ (rechunk3 :: Conduit (UVector Word8) IO (UVector Word8))
                   =$ sinkNull
            , bgroup "transformers" $
                let src = return () in
                [ bench "single" $ nfIO $ do
                    ref <- newIORef (0 :: Int)
                    let incr = modifyIORef ref succ
                    src $$ liftIO (replicateM_ 1000 incr)
                , bench "multi" $ nfIO $ do
                    ref <- newIORef (0 :: Int)
                    let incr = liftIO $ modifyIORef ref succ
                    src $$ replicateM_ 1000 incr

    Saturday Morning Breakfast Cereal (updated daily): July 30, 2014

    We'll be announcing a prize for the winner of BAHFest today! So, if you haven't submitted a proposal yet...

    Instructables: exploring - featured: Quick-Release Axe Holster

    PREFACE: Do you like the great outdoors and do you believe an axe is a necessary tool when venturing into the great outdoors? Well my friend(s), if you answered yes to the question above, I have an Instructable for you!This Instructable is the answer to a problem I recurrently noticed when I started...
    By: Cmdr. Vik

    Continue Reading »

    Disquiet: Two Pages from a Diary

    Earlier this month I mentioned that the Downstream section of this site would no longer be restricted to (legally) freely downloadable music, that the section — which makes note of a piece of music daily — would expand to include music that is streamable for free in full. I chose to make the announcment with an appreciative nod to Taylor Deupree’s ongoing near-daily sound diary. This was both because it was a fine example of the sort of format and material that was being bypassed undesirably when the Downstream was restricted to free downloads, and also because an earlier such project by Deupree, back in 2009, had served as a big source of inspiration at the time for the power of casual, mid-process artist posts to provide insight into a musician’s creative process.

    To wit, today’s Downstream entry is another in Deupree’s ongoing series of sonic studio snapshots. Recorded and posted just yesterday, as the track title makes clear, “July 28, 2014″ is a thick, slow-motion tempest of cicada activity: whirring wing beats and crepuscular drone. In an extended liner note, Deupree digs into the technology he used to make the track, all in this case part of his return to modular synthesis. Even if you don’t follow instrumentation with an particular interest, what is of interest is just how new some of this tech was to Deupree at the time of the track’s recording. The newest item, an oscillator, had been played by him for under an hour.

    Here’s another recent piece from Deupree’s sound journal (“July 25, 2014″): a creative use of a sequencer to play a piano-like series of notes, all heard here as if through melted glass:

    Track posted originally at More from Deupree at and the record label he runs,

    i like this art: Sanya Kantarovsky and Ella Kruglyanskaya


    Sanya Kantarovsky and Ella Kruglyanskaya

    “Little Vera” at Kim?, Riga, Latvia.

    “Vera Mukhina (1889-1953) gained acclaim in the sphere of Soviet monumental sculpture after winning the 1937 commission for the Soviet pavilion in the Exposition Internationale des Arts et Techniques dans la Vie Moderne. The resulting sculpture, a towering stainless steel couple entitled The Worker and Kolhoz Woman, quickly became one of the most iconic symbols of Soviet Russia, and an embodiment of the collective socialist ethos. Mukhina’s achievement, a singular one by any female visual artist in the 20th century, has since become a ubiquitous presence in Russian visual culture.

    Artists Sanya Kantarovsky and Ella Kruglyanskaya were invited to devise an exhibition in relation to Vera Mukhina on the account of her 125th anniversary and her background as a native of Riga. As the conversation between the artists evolved, it came to include the voices of fellow artists and thinkers living in Riga, as well as Mukhina herself, whose collected writings became a point of departure.

    This exhibition is comprised of three distinct artistic gestures: a group of posters that are installed both in the exhibition space and in public spaces throughout the city; a site-specific performance culminating in a set of sculptural clay objects; and a documentary video work.
    Six hand-painted and hand-lettered posters installed in the first gallery illustrate a phrase mined from Mukhina’s 1960 book of collected writings. The consequent works take on form both as art objects and mass-produced printed matter. The premier mode of public visual communication of Mukhina’s lifetime is evoked here, both in the visual language of the posters and in the way in which they are positioned to communicate ideas to the public. The quotes in question, focused on celebrating the meaning of décor, ornament and the nude body among other topics, transcend and complicate the socio- political context in which they were originally conceived. The lasting relevance of these ideas, and their playful opposition to modernist rationalism, is brought into high relief.

    A week before the opening of the exhibition, nine students from the sculpture department at the Latvian Art Academy were tasked with replicating Vera Mukhina’s 1951 life size female bronze head entitled The Partisan Woman. The austere and forceful portrait, aimed at representing the spirit of the Soviet resistance against the Nazi invasion, has been largely kept in storage of the Riga Bourse museum since its original gifting by the Soviet government. The process of copying a masterwork re-animates the academic methodology to which Mukhina subscribed, having received her education in Paris under the tutelage of Antoine Bourdelle. Each student was prompted to render only what they could see from their single vantage point within a circle around the sculpture. The sum of the final objects encompasses the original human form, conjuring the culture of collective looking and producing. Considered as discreet sculptures, the clay forms display the subjective and nuanced decision process of their makers.
    The event served as the source for both the sculptural and the video-based elements of the exhibition. In the second exhibition room, the original worktables on which the objects were made serve as their display plinths. A video installed in adjoining room pairs footage of the sculpture students at work with ruminations by the art historian and cultural critic Janis Borgs on Mukhina’s history and his peculiar hobby of copying master works.

    The title of the exhibition is borrowed from Little Vera (Ма́ленькая Ве́ра), a perestroika blockbuster directed by Vasily Pichul in 1989 about an uninhibited young woman named Vera. Also legible as Little Faith in Russian, it was among the first Soviet films to explore themes of unchecked sexuality and societal decay, signaling the impending collapse of the Soviet establishment. When measured against her young cinematic namesake, Mukhina’s agency is amplified: a woman among men and bourgeois among proletarians who has left arguably the largest singular artistic mark of the soviet legacy. The series of artistic gestures that comprise this exhibition reconsider Mukhina’s ideas in relation to collective and personal agency, conjuring the lost possibilities of a collapsed society – ideas, interests and methodologies that hold potential for renewed meaning today.” – Kim?


    OCaml Planet: Functional Jobs: Generalist Engineer at Esper (Full-time)

    What You’ll Do:

    • Work in a small team to brainstorm, design, prototype, plan, execute, and ship out our latest and greatest features.
    • Own a feature within Esper.
    • Own release and QA cycles of your code.
    • Be able to quickly identify a problem, and debug someone else’s code, if need be.

    What You’ll Bring:

    • BS in computer science or equivalent work experience.
    • Strong functional and objective-oriented programming and debugging skills.
    • Experience developing native mobile apps is preferred (Java or Obj-C), but not required

    Working With Us:

    • We’re a startup. Startups, by their nature, are based on speed and effort. You will not have a “typical” job - no 9 to 5, no stupid meetings, no layers, and no TPS reports. Our team works hard. But if you enjoy your work, team trips, and great food, it’s not really work.
    • We’re a proud functional programming (i.e. OCaml) company, but we also use javascript, java, and Obj-C when necessary.
    • We are inquisitive. Outwardly, we are engineers, designers, and product people. Inwardly, we could be airplane designers, mountain climbers, renowned singers, power cyclists, or any number of extraordinary beings.
    • We believe healthy people work better. Esper has standing desks, team hikes, healthy snacks (nuts will make you live longer), and discussions about circadian rhythm, to name a few. We are always updating our workplace to create a healthy environment. Like other startups, we work long hours, cater lunch/dinner, but we make sure to have flexibility for employees and provide full healthcare, vision and dental coverage.

    Get information on how to apply for this position.

    Planet Haskell: Robert Harper: A few new papers

    I’ve just updated my web page with links to some new papers that are now available:

    1. Homotopical Patch Theory” by Carlo Angiuli, Ed Morehouse, Dan Licata, and Robert Harper. To appear, ICFP, Gothenburg, October 2014. We’re also preparing an expanded version with a new appendix containing material that didn’t make the cut for ICFP. (Why do we still have such rigid space limitations?  And why do we have such restricted pre-publication deadlines as we go through the charade of there being a “printing” of the proceedings? One day CS soon will step into its own bright new future.). The point of the paper is to show how to apply basic methods of homotopy theory to various equational theories of patches for various sorts of data. One may see it as an application of functorial semantics in HoTT, in which theories are “implemented” by interpretation into a universe of sets. The patch laws are necessarily respected by any such interpretation, since they are just cells of higher dimension and functors must behave functorially at all dimensions.
    2. Cache Efficient Functional Algorithms” by Guy E. Blelloch and Robert Harper. To appear, Comm. ACM Research Highlight this fall.  Rewritten version of POPL 2013 paper meant for a broad CS audience.  Part of a larger effort to promote integration of combinatorial theory with logical and semantic theory, two theory communities that, in the U.S. at least, ignore each other completely.  (Well, to be plain about it, it seems to me that the ignoring goes more in one direction than the other.)  Cost semantics is one bridge between the two schools of thought, abandoning the age-old “reason about the compiled code” model used in algorithm analysis.  Here we show that one can reason about spatial locality at the abstract level, without having to drop-down to low-level of how data structures are represented and allocated in memory.
    3. Refining Objects (Preliminary Summary)” by Robert Harper and Rowan Davies. To appear, Luca Cardelli 60th Birthday Celebration, Cambridge, October, 2014.  A paper I’ve been meaning to write sometime over the last 15 years, and finally saw the right opportunity, with Luca’s symposium coming up and Rowan Davies visiting Carnegie Mellon this past spring.  Plus it was a nice project to get me started working again after I was so rudely interrupted this past fall and winter.  Provides a different take on typing for dynamic dispatch that avoids the ad hoc methods introduced for oop, and instead deploying standard structural and behavioral typing techniques to do more with less.  This paper is a first cut as proof of concept, but it is clear that much more can be said here, all within the framework of standard proof-theoretic and realizability-theoretic interpretations of types.  It would help to have read the relevant parts of PFPL, particularly the under-development second edition, which provides the background elided in the paper.
    4. Correctness of Compiling Polymorphism to Dynamic Typing” by Kuen-Bang Hou (Favonia), Nick Benton, and Robert Harper, draft (summer 2014).  Classically polymorphic type assignment starts with untyped \lambda-terms and assigns types to them as descriptions of their behavior.  Viewed as a compilation strategy for a polymorphic language, type assignment is rather crude in that every expression is compiled in uni-typed form, complete with the overhead of run-time classification and class checking.  A more subtle strategy is to maintain as much structural typing as possible, resorting to the use of dynamic typing (recursive types, naturally) only for variable types.  The catch is that polymorphic instantiation requires computation to resolve the incompatibility between, say, a bare natural number, which you want to compute with, and its encoding as a value of the one true dynamic type, which you never want but are stuck with in dynamic languages.  In this paper we work out an efficient compilation scheme that maximizes statically available information, and makes use of dynamic typing only insofar as the program demands we do so.  Of course there are better ways to compile polymorphism, but this style is essentially forced on you by virtual machines such as the JVM, so it is worth studying the correctness properties of the translation, which we do here making use of a combination of structural and behavioral typing.

    I hope to comment here more fully on these papers in the near future, but I also have a number of other essays queued up to go out as soon as I can find the time to write them.  Meanwhile, other deadlines loom large.

    [Update: added fourth item neglected in first draft.  Revise formatting.  Add links to people. Brief summary of patch theory paper.  Minor typographical corrections.]

    [Update: the promised expanded version of the forthcoming ICFP paper is now available.]

    Filed under: Programming, Research Tagged: behavioral typing, cache efficient algorithms, compilation, cost semantics, dynamic dispatch, homotopy type theory, ICFP, polymorphism, structural typing, type refinements

    All Content: #229 July 30, 2014

    Sheila writes: Author John le Carré wrote a gorgeous and painful reminiscence of Philip Seymour Hoffman in the New York Times. Le Carre wrote, in part: "... His intuition was luminous from the instant you met him. So was his intelligence. A lot of actors act intelligent, but Philip was the real thing: a shining, artistic polymath with an intelligence that came at you like a pair of headlights and enveloped you from the moment he grabbed your hand, put a huge arm round your neck and shoved a cheek against yours; or if the mood took him, hugged you to him like a big, pudgy schoolboy, then stood and beamed at you while he took stock of the effect." Read the whole thing here.


    The Death of "Superman Lives": What Happened? (2014). Written and directed by Jon Schnepp. Starring Nicolas Cage, Tim Burton, Kevin Smith. Synopsis: A documentary about the proposed 1998 Superman Lives feature film that would have starred Nicolas Cage. Release dates TBD.

    Hunger Games: Mockingjay Part I (2014). Directed by Francis Lawrence. Written by Peter Craig. Starring Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth. Synopsis: Katniss Everdeen reluctantly becomes the symbol of a mass rebellion against the autocratic Capitol. Opens in the US on November 21, 2014.

    The Cut (2014). Directed by Fatih Akin. Written by Fatih Akin, Mardik Martin. Starring Tahar Rahim, Simon Abkarian, Arsinée Khanjian. Synopsis: A dark survival drama set in the midst of the Armenian Genocide. Opens in Germany on October 16, 2014. Other release dates TBD.

    Whiplash (2014). Written and directed by Damien Chazelle. Starring Miles Teller, Melissa Benoist, J.K. Simmons . Synopsis: A young musician struggles to make it as a top jazz drummer. Release dates TBD.

    Dear White People (2014). Written and directed by Justin Simien. Starring Tyler James Williams, Tessa Thompson, Teyonah Parris. Synopsis: A satire that follows the stories of four black students at an Ivy League college where a riot breaks out over a popular African American-themed party thrown by white students. With tongue planted firmly in cheek, the film explores racial identity in post-racial America while weaving a universal story of forging one's unique path in the world. Opens in the US on October 17, 2014.

    Mad Max: Fury Road (2015). Directed by George Miller. Written by Nick Lathouris, Brendan McCarthy. Starring Tom Hardy, Charlize Theron, Rosie Huntington-Whiteley . Synopsis: An apocalyptic story set in the furthest reaches of our planet, in a stark desert landscape where humanity is broken, and most everyone is crazed fighting for the necessities of life. Within this world exist two rebels on the run who just might be able to restore order. There's Max, a man of action and a man of few words, who seeks peace of mind following the loss of his wife and child in the aftermath of the chaos. And Furiosa, a woman of action and a woman who believes her path to survival may be achieved if she can make it across the desert back to her childhood homeland. Opens May 15, 2015.

    Tusk (2014). Written and directed by Kevin Smith. Starring Genesis Rodriguez, Haley Joel Osment, Justin Long. Synopsis: A man is captured by a maniac and tortured, physically and mentally, into becoming a walrus. Opens in US theaters September 19, 2014.

    Before I Go to Sleep (2014). * Teaser trailer * Written and directed by Rowan Joffe. Starring Nicole Kidman, Colin Firth, Mark Strong . Synopsis: A woman wakes up every day, remembering nothing as a result of a traumatic accident in her past. One day, new terrifying truths emerge that force her to question everyone around her. Opens in US theaters on September 12, 2014.

    Horns (2013). Directed by Alexandre Aja. Written by Keith Bunin. Starring Juno Temple, Daniel Radcliffe, Sabrina Carpenter. Synopsis: In the aftermath of his girlfriend's mysterious death, a young man awakens to strange horns sprouting from his temples. Opens in the UK and in the US on October 31, 2014.

    Another Me (2013). Written and directed by Isabel Coixet. Starring Sophie Turner, Jonathan Rhys Meyers, Claire Forlani . Synopsis: A beautiful young girl is haunted by a secret past. Opens in the US on August 22, 2014.

    Altman * Teaser trailer * Directed by Ron Mann. Written by Len Blum. Synopsis: A look at the life and work of American filmmaker Robert Altman. Release dates TBD.

    Hot Tub Time Machine 2 (2014). Directed by Steve Pink. Written by Josh Heald. Starring Rob Corddry, Craig Robinson, Clark Duke. Synopsis: When Lou, who has become the "father of the Internet," is shot by an unknown assailant, Jacob and Nick fire up the time machine again to save their friend. In US theaters on December 25, 2014.

    Fifty Shades of Grey (2015). Directed by Sam Taylor-Johnson. Written by Kelly Marcel . Starring Dakota Johnson, Jamie Dornan, Aaron Taylor-Johnson . Synopsis: Literature student Anastasia Steele's life changes forever when she meets handsome, yet tormented, billionaire Christian Grey. Opens in the US, UK and Ireland on February 13, 2015.

    Honeymoon (2014). Written and directed by Leigh Janiak. Starring Rose Leslie, Harry Treadaway, Ben Huber. Synopsis: Young newlyweds struggle as their honeymoon spirals mysteriously into chaos. In US theaters on September 12, 2014.

    Salomé (2013). Directed by Al Pacino. Written by Oscar Wilde. Starring Al Pacino and Jessica Chastain. Synopsis: The Biblical story of Salome, a girl who agrees to perform the "dance of the seven veils" in return for John the Baptist's head on a silver platter. Release dates TBD.

    2014 Halftime Checklist

    Sheila writes: The folks at The Dissolve have put together a phenomenal "2014 Halftime Checklist," with a huge listing of recommended movies that have opened this year thus far. It covers Hollywood mainstream films, indie films, documentaries, foreign films, and much more. While I've seen many of the films on the list, I have added so many more that I need to see! Check out their checklist, in two parts:
    Part 1
    Part 2

    Free Movies

    The Fast and the Furious (1955). Directed by John Ireland and Edward Sampson. Starring John Ireland, Dorothy Malone, Bruce Carlisle. Synopsis: A man wrongly imprisoned for murder breaks out of jail. He wants to clear his name, but with the police pursuing him, he's forced to take a beautiful young woman, driving a fast sports car, hostage and slip into a cross-border sports car race to try to make it to Mexico before the police get him.

    Watch "The Fast and the Furious."

    The Red House (1947). Directed by Delmer Daves. Starring Edward G. Robinson, Lon McCallister, Judith Anderson. Synopsis: An old man and his sister are concealing a terrible secret from their adopted teen daughter, concerning a hidden abandon farmhouse, located deep in the woods.

    Watch "The Red House."

    Nightmare (1956). Directed by Maxwell Shane. Starring Edward G. Robinson, Kevin McCarthy, Connie Russell. Synopsis: A musician has a nightmare in which he killed a man. When he wakes up he finds evidence that the crime really took place and tries to find the truth with the help of his brother-in-law who is a police officer.

    Watch "Nightmare." 07.30.2014

    New Cyanide and Happiness Comic.

    Penny Arcade: News Post: Your New PAX 10 (Update-chan)

    Tycho: A tradition almost as old as the show itself, we carve out free booth space for searing Indie heat each time.  Every one has a different identity and mission, but the PAX 10 at Prime casts the broadest net.  Anything goes - but then, not everything stays.  Here’s what our superpanel of industry veterans and Penny Arcade staff thought you needed to see.  I updated the post with links to where you can grab some of this stuff now, if you want to: Duet, by Kumobius (App Store) Flickers, by DigiPen’s Neat Snake (Free Download) FRAMED, by LoveShack Entertainment…

    Potz!Blitz!Szpilman!: Azuma Makoto

    Azuma Makoto, Exobiotanica, 2014

    All Content: Thumbnails 7/30/2014



    "Glourious Basterds: A Breakdown of the Opening Chapter." At Matthew Scott Cinematographer, another characteristically superb aesthetic analysis of a filmmaker's work, this time about Quentin Tarantino's 2009 WW 2 potboiler. The annotated/explanatory graphics are quite something.


    "Rian Johnson on Star Wars, Episode VII." By Wendy Weber of The Chicago Sun-Times. The director of Brick and Looper and now the eighth SW movie says the film will be partly inspired by the aviation adventure Twelve O'Clock High and Mikhail Kalatozov's Letter Never Sent. Also something else. Something you don't want him to be inspired by. Trust us.

    "With these films, I am trying to harken back to the original  Star Wars …. Christmas special. We do have Jefferson Starship.”



    "In Praise of Vintage: 10 Classic TV Shows + Where to Watch Them." At his blog Cinematically Insane, Will McKinley provides a handy list of older series, but the piece is really a rebuttal of a Sunday New York Times piece by Neil Genzlinger arguing that old shows are old and who wants to watch a bunch of old shows anyway, old old old. Actually, the title of the Times piece is "Sure, You Loved Lucy, but Vintage Has Its Limits." Related: "Just Shoot Me and The Deep Comfort of Mediocre Sitcoms," by Robert O'Connell, for The Atlantic.  Not really related, but interesting: "The New York Times is a Great Company in a Terrible Business." 

    "What irks me most is Mr. Genzlinger’s reiteration of an endemic prejudice that has existed for years: that 'old' is somehow a flaw. This same perspective inspired colorization a generation ago and leads contemporary distributors and networks to crop (or stretch) shows produced in olde-fashioned 4:3 aspect ratio to widescreen, or to re-do special effects, in an effort to convince younger audiences that a show is of a more recent vintage. It’s the perspective that led to a 500-channel universe in which only one network – Turner Classic Movies – routinely aired black & white programming. And it’s the perspective that led the generation after mine to grow up with less-than-ready access to anything 'classic.'"


    "The Expendables 3 Torrent aand the Techno-Utopian Delusion." For CriticWire, Sam Adams rebuts a piece from The Verge wherein David Pierce argues that it was OK to have downloaded a pirated version of a movie that hadn't opened yet, because he ended up liking it and planned to see it again in a theater later.

    "I'm fairly certain that most critics have torrented content at some point in their career; when a movie is out on Blu-ray overseas and you're offered a low-quality screener defaced with anti-copyright watermarks to review, it's practically dereliction of duty not to. (It bears pointing out that despite the increasing regularity with which distributors furnish critics with cumbersome, unreliable online screeners with "DO NOT COPY" permanently burned into the image, the leaked copy of The Expendables 3 is unblemished, and the movie hasn't been shown to critics anywhere in the world.) But you cross a line when you start arguing that it's not only permissible but harmless. When you start believing that the entities that hold the copyright might consider being grateful, you move into sheer self-justifying delusion.  That's what Pierce does when he argues that the online leak 'might just be the best thing that ever happened to The Expendables 3.'”


    "Attn: Actors, Actresses, Writers, Directors, DPs, Editors, Composers: What's Your Story?" Shadow & Act editor Tambay Obenson issues an open call for entries in a new edition of a kind of mini-oral history project that the site has done in the past.

    "I know that a significant chunk of S&A's audience comprises of actors, actresses, directors, DPs, editors, composers, etc, etc, etc. Some are able to earn a paycheck utilizing their artistic and/or technical skills; others - and I'd say the majority - are what we've labeled the proverbial 'starving artists,' working diligently, relentlessly, struggling to climb this incredibly steep hill, trying to reach some self-defined pinnacle of success - whether personal or professional. And still others exist somewhere between the former and the latter.


    Where do you fall? And, as the title of this post states, what's YOUR story, and would you like to share it with the rest of the world? 

    Think of it as an extension of the successful S&A Filmmaker Diary series which we started 3 years ago, with Matthew Cherry as the guinea pig. I'm looking for your individual stories of struggle and/or success, regardless of what rung on the ladder you are currently on."

    Image of the Day

    A picture from the Twitter page of Lisa and Louise Burns, the now-46 year old "Grady twins" from The Shining, documenting their recent visit to the Stanley Kubrick exhibit's stop in Krakow, Poland.  

    Video of the Day

    "A Celebration of Confusion in Close-Up." Or "Mindfuckness." From Jussi Tarvainen on Vimeo.

    Instructables: exploring - featured: Ardunio powered Moss&Solar Facade Element

    The idea behind this unique facade element is to produce power AND to filter fine dust. We planed it to function autonomously and react to high fine dust pollution.The facade element is made of three rotating prisms.The different surfaces of each prism are covered with moss, which can filter the dus...
    By: croehl

    Continue Reading »

    Jesse Moynihan: Manly Trailer


    explodingdog: I refuse to call it a failure

    I refuse to call it a failure

    explodingdog: I've been a fan for years. I love how dark and twisted your drawings can get. Could you draw, "I refuse to call it a failure"? It's something I've been telling myself over and over after an attempt at something that went bad because of my anxiety. I'd love to have it turned into something funny.

    well, it didn’t turn out funny at all, but I hope you like it anyways. 

    it is up next.



    Instructables: exploring - featured: Pool Side Chair

    My wife wanted some pool side chairs but the ones she saw were over $1000 each so I built my own (to be honest next time i'll stop being such a cheapskate and buy them!!)I had all the wood lying around so have estimated costs (in NZ$) for pounds divide by 2Materials2m 4x4 ($15)5m 4x2 ($20)2m 2x2 ($2...
    By: buck2217

    Continue Reading »

    Colossal: Animal and Insect Sculptures Wrapped in Crocheted Webbing by Joana Vasconcelos

    Animal and Insect Sculptures Wrapped in Crocheted Webbing by Joana Vasconcelos sculpture crochet animals

    Animal and Insect Sculptures Wrapped in Crocheted Webbing by Joana Vasconcelos sculpture crochet animals

    Animal and Insect Sculptures Wrapped in Crocheted Webbing by Joana Vasconcelos sculpture crochet animals

    Animal and Insect Sculptures Wrapped in Crocheted Webbing by Joana Vasconcelos sculpture crochet animals

    Animal and Insect Sculptures Wrapped in Crocheted Webbing by Joana Vasconcelos sculpture crochet animals

    Animal and Insect Sculptures Wrapped in Crocheted Webbing by Joana Vasconcelos sculpture crochet animals

    Animal and Insect Sculptures Wrapped in Crocheted Webbing by Joana Vasconcelos sculpture crochet animals

    In an ongoing series by Joana Vasconcelos, the Portuguese artist has been wrapping various animals—wasps, lizards, snakes, crabs, lobsters, frogs, bull-heads, donkey heads, horse heads, wolves and even cats—in five-needle lace, handmade cotton crochet. But these aren’t any old animals. Vasconcelos has appropriated the ceramic artwork of Rafael Bordalo Pinheiro (1846-1905), one of the most renowned Portuguese artists of the 19th century.

    Each of the pieces “are ambiguously imprisoned/protected by a second-skin in crochet-work,” says Vasconcelos. At once both beautiful and strange, the work stands as a testament to the extraordinary craftsmanship of the artist but also as a one-upmanship of maternal femininity and domesticity. The use of crochet to mummify the ceramic animals “opens up a vast and rich field of interpretation” that challenges our preconceptions of femininity, as well as our notions of tradition and modernity. (via Trendland, Ghost in the Machine)

    explodingdog: Photo

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

    BEWARE OF DOG modified

    “Thought you might like this,” George wrote me. “Kind of unbelievable – a 19% return on investment? Actually, it IS unbelievable.”

    Yawn. Another Toronto condo developer trying to move product to virgin landlords by claiming it’s a fabulous investment. This time the project is Garrison Point, a five-tower mass wedged between two sets of railway tracks overlooking the scenic Gardiner Expressway on the western flank of godless Toronto. Thirty-storey Tower One is now being flogged, with 300 boxes selling from $275,000 (496 square feet with a fabulous view of train wheels) to $1 million.

    Just another few hundred condos added to the 105,000 currently being built or sold in the GTA, where cranes blot out the sun. Just another developer luring the young and the innocent, this time with a year’s free condo fees and guaranteed rent for newbie investors. The marketing is clearly aimed at Gen Yers and Millennials, like so many. But this development is special. It has Erin.

    ERIN  Erin Bury, says the Garrison Point blog she contributes to, “is a first-time home buyer and the Managing Director at 88 Creative. Find her at @erinbury on Twitter.” She’s also young and attractive. And smart. Erin writes a monthly column for the Financial Post and comments on techy stuff for CTV. She’s appeared (says her bio) in the New York Times, Forbes, CNN and Canadian Business. She was named one of Marketing Mag’s top 30 Under 30 whizkids. And she’s the team leader at this leading edge marketing company, housed in a loft full of beams and Apples.

    In short, one helluva endorser – a generational leader and role model to all those pathetic Millennials still living in their mom’s basement. And Erin, amazingly enough, has just bought a unit in Garrison Point! So it must be cool.

    “As a Gen Y first-time purchaser,” Erin writes, “I want to take you through my journey from perennial renter to new condo owner, and show you why it’s easier than you think to own a home, and why pre-construction is an affordable way to own.

    “I’ve lived in downtown Toronto since I graduated from university in 2007 and have been a renter ever since, first with a roommate and now with my boyfriend. I’ve always wanted to buy a home, and for years I’ve considered buying a resale condo, but without a full 20% down payment I was always hesitant to incur CMHC penalties, and putting only 5% down would make my monthly bills too expensive. I know I could move to the suburbs to get a cheaper place, but I love the downtown lifestyle, and have no plans to move to the suburbs (or even north of Bloor) anytime soon.

    “The best alternative to moving to the boonies? Buying a pre-construction condo. I just purchased my first condo at Garrison Point, and here are the reasons I think pre-construction is the way to go.”

    Well, says Erin, buying a condo that doesn’t exist yet gives you more time to save money you don’t yet have to make a down payment, and means you can secure a unit with just 5% down. “Who has $100,000 laying around in their 20’s? Not me.” Plus you can save money for new furniture, moving, and pesky closing costs. Second, buying this way means “you don’t have to worry about market fluctuations,” which is kind of an intriguing thought. “As a first-time buyer you don’t know what to believe, and after years of watching people speculate I’ve learned that no one knows for sure,” Erin says of those who warn that maybe – just, maybe – having 105,000 condos go up at the same time might skew the demand/supply metric. But she’s not worried.

    She also tells her readers this is a great investment. “You’re buying a unit at today’s market price, and moving in 2-3 years down the road when the price per square foot will have inevitably gone up. And when people say it’s only a great investment if the market is doing well… I tell them that if the time isn’t right to sell, I can always rent it out.” Wow. Where do I start?

    Of course, a normal market correction would wipe out Erin’s equity and leave her with a mortgage potentially bigger than the value of the condo. Interest rate increases (which are coming, of course) will make each mortgage renewal more difficult and wound the market. Owners like Erin will always pay more to live in the same unit than it costs to rent – which means she’ll be in negative cash flow if she does bail, can’t sell, and gets a tenant. And, of course, buying an unbuilt condo is like taking out a futures contract. You risk cash today, gambling that three years from now you won’t be crushed.

    But, wait. “Down the road …the price per square foot will have inevitably gone up.” This is Erinomics. Pay attention, kids.

    Finally, why did Erin buy here? She says:

    “So why did I purchase at Garrison Point over the other pre-construction projects in Toronto? Well there are a million reasons I chose this specific development. First is the location – King & Strachan, which is on the streetcar line and also close to Liberty Village. Second is my unit – I purchased a two bedroom-plus-den unit with two balconies and a lot of space, so I can have a family there. Third is the planned community – when completed the project will be five buildings, retail stores, a 4.5-acre park, a planned community pool, and unobstructed views of the lake and downtown thanks to the rail lines on either side. I feel it’s not only a great home for a young family, it’s a great investment.”

    There may be a fourth reason. She’s paid to.

    Erin Bury’s employer, 88 Creative, is owned by BuzzBuzzHome, one of Canada’s most successful condo marketing companies and sites. And Garrison Point is a client of 88 Creative, where Erin is in charge of things as managing director. In fact, her company created the Garrison Point blog that Erin writes, under pretense.

    At least, that’s what 88 Creative claims on its corporate site: “We’ve built the online community using Twitter, Facebook, Instagram, and a Garrison Point blog, directly impacting project registrations and raising the profile of the brand.”

    And here I thought this was the generation of transparency. How naïve of me.

    Trivium: 29jul2014 / 2014-07-31T13:43:08