Bifurcated Rivets: From FB

Death Poems

Bifurcated Rivets: From FB

Yup

Bifurcated Rivets: From FB

So good

Bifurcated Rivets: From FB

Perfect

Bifurcated Rivets: From FB

Kowloon

All Content: Three Chicago Docs Eligible for Oscar Shortlist

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Three of the year's most acclaimed documentaries are the work of Chicago filmmakers, and they all have a shot at making the Academy Award shortlist. "Life Itself," Steve James's film about the life and work of iconic film critic Roger Ebert, joins "Finding Vivian Maier," co-director Charlie Siskel (nephew of Gene Siskel, Ebert's co-host on "Siskel & Ebert") and executive producer Jeff Garlin's portrait of the Windy City street photographer, and "Red Army," Gabe Polsky's exploration of the hockey team's rise and fall and how it mirrored that of the Soviet Union, as three of the top contenders eligible for the Best Documentary Oscar shortlist.

"Life Itself," a production of Chicago's magnificent documentary company, Kartemquin Films, has been receiving rave reviews since its debut at Sundance in January. The film was screened in the Cannes Classics section of the Cannes Film Festival this past May and premiered in London last month at the Dogwoof Weekender. It has been nominated for Best Documentary by the Gotham Independent Film Awards and won a Founder's Prize at Michael Moore's Traverse City Film Festival. It also earned a Jury Prize at the Documentary Edge Festival in New Zealand and the Best Documentary prize at the 5th American Film Festival in Wrocław, Poland. Cinema Eye included the film on its annual list dubbed "The Unforgettables," highlighting "the year's most notable and significant nonfiction film subjects."

"Finding Vivian Maier," co-directed by Maier's chief curator, John Maloof, debuted last November at DOC NYC and went on to win the Grand Jury Prize at the Miami Film Festival (tying with "The Overnighters" by Jeff Moss), the audience awards for Best Documentary Feature and Best New Director at the Portland International Film Festival, a Founder's Prize at the Traverse City Film Festival and the John Schlesinger Award at the Palm Springs International Film Festival. It has also been nominated for Best Documentary by the International Documentary Association. It's rather lovely to contemplate how Gene and Roger would've reacted to the notion of both a Siskel film and an Ebert film generating serious Oscar buzz during awards season.

"Red Army" has also been earning great reviews on the festival circuit, which included screenings at the Cannes Film Festival and the Chicago International Film Festival, where it won the Audience Choice Award for Best Documentary Feature. It was also a Special Mention in the category of Golden Eye for Best International Documentary Film, alongside Joshua Oppenheimer's "The Look of Silence" (the follow-up to his Oscar nominee, "The Act of Killing"), at the Zurich Film Festival.

2014 is shaping up to be a spectacular year for documentary film all around, and considering the ever-increasing number of On Demand and online platforms, they are more accessible than ever to a wide audience.

The official Academy Award shortlist of Best Documentary contenders will be released in early December. For more info on these films, visit their official sites: "Life Itself" at Magnolia Pictures and Kartemquin Films, "Finding Vivian Maier" and "Red Army" at Sony Pictures Classics.

Recent additions: coordinate 0.0.16

Added by TonyMorris, Fri Oct 31 03:57:00 UTC 2014.

A representation of latitude and longitude

Disquiet: Disquiet Junto Project 148: Peripheral Listening

20141030-peripheral

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

This assignment was made in the evening, California time, on Thursday, October 30, with 11:59pm on the following Monday, November 3, 2014, as the deadline.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 148: Peripheral Listening
The Assignment: Make music inspired by and suitable for listening to while reading William Gibson’s novel The Peripheral.

For this week’s project we’re making music that would make suitable listening material when reading William Gibson’s new novel, The Peripheral. These are the steps:

Step 1: You will make two minutes of loopable background music. The music will be inspired by a phrase from William Gibson’s novel The Peripheral. Think about music that is suitable to reading.

Step 2: Select one of these three phrases, or locate another phrase from the book:

Chapter 6 (“Patchers”): “The square filled with a low moaning, the island’s hallmark soundscape.”

Chapter 32 (“Tipstaff”): “Then a ringing silence, in which could be heard an apparent rain of small objects, striking walls and flagstones.”

Chapter 56 (“The Light in Her Voice Mail”): “The ambient sound was glum as the light, as calculated to unsettle.”

Step 3: Compose a piece of music two minutes in length that is informed by the phrase you have selected.

Step 4: Upload the finished track to the Disquiet Junto group on SoundCloud. Be sure to mention the source phrase from the novel in the text field accompanying your piece.

Step 5: Listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Length: Your finished work should be 2 minutes long.

Upload: Please when posting your track on SoundCloud, only upload one track for this assignment, and include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0148-peripherallistening″ in the title of your track, and as a tag for your track.

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

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

More on this 148th Disquiet Junto project — “Make music inspired by and suitable for listening to while reading William Gibson’s novel The Peripheral″ — at:

http://disquiet.com/2014/10/30/disquiet0148-peripherallistening/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

MetaFilter: Patience

Skyharbor has recently released their new song, Patience. The animation is by Jess Cope and she has been developing a reputation for doing fantastically creative work with other brilliant musicians.

MetaFilter: Happy Jack: The Grave Dancer

"I can't remember where I was the first time I saw the KXVO Pumpkin Dance several years ago, or who sent it to me, but I remember the feeling: that I would one day show this video to my children, and their children after them. It effortlessly combined so many facets of contemporary pop culture: the Ghostbusters theme song, an inane costume, dancing so bad that it's good, and — perhaps most important of all — it ran on a local TV station in Omaha, Nebraska."
-The Story Behind the Greatest Halloween Video Ever in the History of the Internet

Recent additions: hold-em 0.1.0.0

Added by jxv, Fri Oct 31 03:32:08 UTC 2014.

An engine for Texas hold'em Poker

Computer Science: Theory and Application: Why do cs students from the same school don't know the same number of languages?

At work, I know three from ucsd's cse program. Two have already graduated (a quarter apart), while one is an intern with 1-2 more quarters.

When I ask them what languages they know, they each answered different things. I'd assume they'd take the same core classes, so they should know the same languages.

Or am I misunderstanding cs classes?

submitted by basselksolis
[link] [1 comment]

Recent additions: bindings-codec2 0.1.1.0

Added by RickyElrod, Fri Oct 31 03:24:58 UTC 2014.

Very low-level FFI bindings for Codec2

MetaFilter: A little creepy audio fiction for your Halloween-eve enjoyment

Pseudopod 401: The Lighthouse Keeper's Wife Be careful what you wish for, and be careful of things with labels you can't read.

Written by Dave Beynon and read by Wilson Fowlie.

MetaFilter: Very 70s Halloween tv specials. How very? Paul Lynde and KISS very.

Some 70s television programming for your Halloween viewing pleasure:

search.cpan.org: Crypt-NamedKeys-0.0.1

A Crypt::CBC wrapper with key rotation support

Slashdot: France Investigating Mysterious Drone Activity Over 7 Nuclear Power Plant Sites

thygate writes In France, an investigation has been launched into the appearance of "drones" on 7 different nuclear power plant sites across the country in the last month. Some of the plants involved are Creys-Malville en Bugey in the southeast, Blayais in the southwest, Cattenom en Chooz in the northeast, Gravelines in the north, and Nogent-sur-Seine, close to Paris. It is forbidden to fly over these sites on altitudes less than 1 km in a 5 km radius. According to a spokesman of the state electric company that runs the facilities (EDF), there was no danger to the security and production of the plants. However these incidents will likely bring nuclear safety concerns back into the spotlight.

Read more of this story at Slashdot.








search.cpan.org: Bundle-WWW-Scraper-ISBN-Drivers-1.11

a Bundle for WWW::Scraper::ISBN drivers

Hackaday: Improving the Parallax Propeller in an FPGA

The Parallax Propeller is an interesting chip that doesn’t get a lot of love, but since the entire chip was released as open source, that might be about to change: people are putting this chip inside FPGA and modifying the binaries to give the chip functions that never existed in the original.

Last August, Parallax released the source for the P8X32A, giving anyone with an FPGA board the ability to try out the Prop for their own designs. Since then, a few people have put some time in, cleaning up the files, unscrambling ROM images, fixing bugs, and all the general maintenance that an open source microcontroller core requires.

[Sylwester] has grabbed some of the experimental changes found on the Parallax forum and included them as a branch of the Propeller source. There is support for a second 32-bit port, giving the new chip 64 I/O pins, multiply instructions, video generators, hard-coded SD card libraries, and a variant called a microProp that has four cores instead of eight.

You can grab all the updated sources right here and load them up on a DE0 Nano FPGA board. If you’re exceptionally lucky and have the Altera DE2-115 dev board, you’ll also be able to run the upcoming Propeller 2.


Filed under: FPGA, Microcontrollers

Computer Science: Theory and Application: 24 year old special operations vet starting degree in Computer Science this spring. I lack the depth of knowledge base to correctly articulate my desired end state so how could I ever correctly and accurately focus my energy. I need your help.

I just ETSd from the the Army. Spent 5 years and some change chewing rocks and dragging my knuckles through a couple trips downrange. I will be formally introduced to Computer Science January 11th. As I was looking at the course catalog I was overwhelmed by my lack of ability to translate a class name into its real world application or value. I have a very small knowledge base and have been working diligently trying to prepare by reading everything I can get my hands on and working through the Learn Python the Hard Way. I understand that computer science is ambiguous and often misunderstood and is really more about math than code. I am not looking for any advice on learning or where to start.

Through a few deployments I had to have the opportunity to get a small glimpse of the unreal amount of raw intelligence that was able to be turned into actionable intelligence. Through some time spent on google and this realization and amazement I started to dive into what kind of technical infrastructure it would take to execute this and I have been hooked ever since, drinking from the firehose it seems like most of the time. I am on my second time going through Learn Python the Hard Way, jump from language to language on code academy and review math concepts with new effort to "break down problems in an analytical way."

The problem I have come to is that I know my desired end state or at least I know that I want to concentrate my education more towards encryption, information security, privacy, data mining and analysis. I mean my dream job would be being able to have some effect in battling back the aggressive intrusion by the government through the snowden files through.

So understanding that al this information is open source and that you just have to learn. I know what I would tell a new private if he asked me how to become a barrel chested freedom fighter and be able to grow a beard. I would tell him to do it the hard way and work hard as hell, rinse and repeat. But honestly I also know that there is a lot better way of explaining and describing the reality that would better move his career towards special operations or whatever the end goal may be. crawl, walk, run I got it. 5m target before 25m target. I get it and will continue to aggressively seek knowledge and learn what I can without direction but I would appreciate if someone could give me better articulated explanation of what exactly I am interested in and what applications and skill set best sets me up or better to direct my energy in a general direction.

I apologize in advance if this is the inappropriate location for this or if this is just a stupid and naive question but whatever the case I'm going to keep drinking from the firehose!

submitted by realArtVandaley
[link] [4 comments]

Recent additions: test-sandbox 0.0.1.8

Added by junjihashimoto, Fri Oct 31 01:44:17 UTC 2014.

Sandbox for system tests

search.cpan.org: Rstats-0.0126

R language build on Perl

search.cpan.org: Dist-Zilla-Plugin-PerlTidy-0.19

PerlTidy in Dist::Zilla

programming: Learn from Folly source code the new C++11 features.

submitted by david_222
[link] [1 comment]

Instructables: exploring - featured: Undead Hand Silhouettes - Haunted House

Up at work, we are putting together a Haunted House. One of the areas were to have masks hanging against a fabric background that popped against the black light. Unfortunately, the masks looked like big black blobs. I placed my hand against the fabric surface and was taken completely how cool it loo...
By: kieshar

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Computer Science: Theory and Application: The Guts of a Spineless Machine that powers Haskell compiler GHC

submitted by sideEffffECt
[link] [comment]

programming: The Guts of a Spineless Machine that powers Haskell compiler GHC

submitted by sideEffffECt
[link] [comment]

Upcoming Events: Adaptive Representation for Policy Gradient

Graduate Student Seminar
November 5, 2014 - 1:00pm - 2:00pm
CSC 3-33

Much of the focus on finding good representations in reinforcement learning has been on learning complex non-linear predictors of value. Methods like policy gradient, that do not learn a value function and instead directly represent policy, often need fewer parameters to learn good policies. However, they typically employ a fixed parametric representation that may not be sufficient for complex domains. We introduce two algorithms that can learn an adaptive representation of policy:

About the Presenter
Ujjwal Das Gupta
M.Sc. Student
Department of Computer Science
University of Alberta

read more

Computer Science: Theory and Application: UML Help?

I have to make a UML diagram for my Java class project. I was wondering if anyone could help me with UML as I have never used it before. And the googling for help hasn't worked so far.

submitted by Thrar
[link] [comment]

Twitch: Watch Paul Davis' Melies d'Or Winning Short Film THE BODY For 24 Hours Only!

Director Paul Davis has a treat for you this Halloween. Fresh off of a lengthy festival run that culminated with the film being awarded the Melies d'Or as the best genre short film of the year by the European Network Of Fantastic Film Festivals, Davis is making his hugely acclaimed piece The Body available for free online for 24 hours only. And those hours start now.A professional killer (Alfie Allen, GAME OF THRONES) discovers he can get away with anything on Halloween night, including dragging his latest victim around as a prop amidst a sea of oblivious London partiers.Hannah Tointon, Christian Brassington and Jack Gordon also star. Watch the short below....

[Read the whole post on twitchfilm.com...]

programming: Rust: Stability as a Deliverable

submitted by dbaupp
[link] [4 comments]

MetaFilter: AeroMobil Flying Car

On October 29, the Slovakian company AeroMobil began flight-testing their Aeromobil 3.0 flying car.

Slashdot: Researchers Claim Metal "Patch" Found On Pacific Island Is From Amelia Earhart

An anonymous reader writes Amelia Earhart disappeared in 1937, but scientists may have now uncovered where she ended up. Researchers have identified a piece of aluminum, which washed up on a remote Pacific island, as dated to the correct time period and consistent with the design of Earhart's Lockheed Electra. From the article: "The warped piece of metal was uncovered on a 1991 voyage to the island of Nikumaroro in the Republic of Kiribati by The International Group for Historic Aircraft Recovery (TIGHAR), which has spent millions of dollars searching for Earhart's plane in a project that has involved hundreds of people. 'We don't understand how that patch got busted out of (the plane) and ended up on the island where we found it, but we have the patch, we have a piece of Earhart's aircraft,' TIGHAR executive director Ric Gillespie said."

Read more of this story at Slashdot.








search.cpan.org: DBIx-Class-Candy-0.002107

Sugar for your favorite ORM, DBIx::Class

Colossal: Timelapse of the 2014 Albuquerque Hot Air Balloon Fiesta

Timelapse of the 2014 Albuquerque Hot Air Balloon Fiesta timelapse New Mexico hot air balloons balloons

Here’s a fun timelapse of the 2014 Albuquerque Balloon Fiesta (previously) filmed by Knate Myers. The annual event is currently the largest hot air balloon event in the world, seeing over 500 balloon teams take flight over a 9-day period.

Instructables: exploring - featured: Black Sesame Macarons

The third of my series of macaron recipe tutorials. Today, we move on from the exotic Matcha Macarons from last week to yet another exotic flavor: the Black Sesame Macaron. This flavor is unique, and really enhances the fragrance of the macaron cookie. If you like this, don't forget to check out my ...
By: joshpancooking

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Slashdot: New Study Shows Three Abrupt Pulses of CO2 During Last Deglaciation

vinces99 writes A new study shows that the increase of atmospheric carbon dioxide that contributed to the end of the last ice age more than 10,000 years ago did not occur gradually but rather was characterized by three abrupt pulses. Scientists are not sure what caused these abrupt increases, during which carbon dioxide levels rose about 10 to 15 parts per million – or about 5 percent per episode – during a span of one to two centuries. It likely was a combination of factors, they say, including ocean circulation, changing wind patterns and terrestrial processes. The finding, published Oct. 30 in the journal Nature, casts new light on the mechanisms that take the Earth in and out of ice ages. "We used to think that naturally occurring changes in carbon dioxide took place relatively slowly over the 10,000 years it took to move out of the last ice age," said lead author Shaun Marcott, who did the work as a postdoctoral researcher at Oregon State University and is now at the University of Wisconsin-Madison. "This abrupt, centennial-scale variability of CO2 appears to be a fundamental part of the global carbon cycle." Previous research has hinted at the possibility that spikes in atmospheric carbon dioxide may have accelerated the last deglaciation, but that hypothesis had not been resolved, the researchers say. The key to the new finding is the analysis of an ice core from the West Antarctic that provided the scientists with an unprecedented glimpse into the past."

Read more of this story at Slashdot.








Recent additions: json-autotype 0.2.1.3

Added by MichalGajda, Thu Oct 30 23:23:31 UTC 2014.

Automatic type declaration for JSON input data

Slashdot: Google To Disable Fallback To SSL 3.0 In Chrome 39 and Remove In Chrome 40

An anonymous reader writes Google today announced plans to disable fallback to version 3 of the SSL protocol in Chrome 39, and remove SSL 3.0 completely in Chrome 40. The decision follows the company's disclosure of a serious security vulnerability in SSL 3.0 on October 14, the attack for which it dubbed Padding Oracle On Downgraded Legacy Encryption (POODLE). Following Mozilla's decision on the same day to disable SSL 3.0 by default in Firefox 34, which will be released on November 25, Google has laid out its plans for Chrome. This was expected, given that Google Security Team's Bodo Möller stated at the time: "In the coming months, we hope to remove support for SSL 3.0 completely from our client products."

Read more of this story at Slashdot.








Quiet Earth: STARRY EYES: The Dark Side of the Hollywood Dream [Trailer]

It's a common conceit for a movies about Hollywood: bright eyed, naïve woman moves to Hollywood, works a job waiting tables and going on auditions before either giving up on her dream or "making it." Kevin Kolsch and Dennis Widmyer's new film Starry Eyes looks at the dark side of the Hollywood dream.

Newcomer Alex Essoe stars as Sarah, the aforementioned bright eyed wannabe starlet. She's going on auditions, not really booking jobs and then she gets the call back that changes her life. Whether that's for the better or worse is yet to be seen.

Pacts with secret societies or cults, weird transformations and god knows what else plagues Sarah before she's reborn as a star. Or at least I think that's what happens. Either that or she emerges from the cocoon as a monster. Either [Continued ...]

Hackaday: Flaming Jack-o’-lanterns Light up the Night

pumpkins

[misterdob] wanted to spice up his Halloween decor, so he built these flaming concrete jack -o’-lanterns to decorate his walkway. He started with the classic plastic jack-o’-lanterns that trick-or-treaters have been using to collect candy for years. [misterdob] filled the plastic pumpkins halfway with concrete mix, then dropped in metal coffee cans. He then filled the pumpkins up to the top with concrete, shaking them up a bit to avoid air pockets.

Once the concrete had set, [misterdob] cut away the plastic revealing nearly perfect concrete duplicates. He used acid stain to color his creations – though it looks like he missed a spot or two.

We have to disagree with [misterdob's] choice of fuels. In fact, we think he was out of his gourd when he picked gasoline for his flaming pumpkins. Seriously though, gasoline is a horrible choice for a fire pot like this for a multitude of reasons. Gas has a particularly foul odor and its fumes are explosive. If a Halloween prankster were to try kicking one of the pumpkins over, not only would they have a broken foot, they’d also be covered in burning gas.

Thankfully, the folks on [misterdob's] Reddit thread had better fuel suggestions – citronella torch cans with lamp oil and wicks, kerosene, or gel fuel would be better suited for these hot pumpkins.

If you still don’t believe how dangerous gas and its fumes can be, check out this video of a bonfire gone wrong (language warning).


Filed under: classic hacks

Instructables: exploring - featured: Ruben's Tube Fire Scythe Engineering Project / Prop

A Ruben's tube or simply fire tube is a set-up in which flames will become higher or lower according to the frequency of the sound entering the tube. Essentially, the flames act like an oscilloscope for the sound entering the tube.In this project I decided to replicate this effect except, in the spi...
By: Ikkalebob

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Slashdot: Charity Promotes Covert Surveillance App For Suicide Prevention

VoiceOfDoom writes Major UK charity The Samaritans have launched an app titled "Samaritans Radar", in an attempt to help Twitter users identify when their friends are in crisis and in need of support. Unfortunately the privacy implications appear not to have been thought through — installing the app allows it to monitor the Twitter feeds of all of your followers, searching for particular phrases or words which might indicate they are in distress. The app then sends you an email suggesting you contact your follower to offer your help. Opportunities for misuse by online harassers are at the forefront of the concerns that have been raised, in addition; there is strong evidence to suggest that this use of personal information is illegal, being in contravention of UK Data Protection law.

Read more of this story at Slashdot.








Potz!Blitz!Szpilman!: Ben Dalton

Ben Dalton, Rabbit Field, 2004

Twitch: Casper And Frank Return In KLOVN FOREVER! Let The Rejoicing Commence!

Hide your women and children because the world's leading paragons of male misbehavior are headed back to the big screen! Yes, Casper Christensen and Frank Hvam are back together and production has commenced on Danish comedy Klovn Forever.Those who have already seen the original Klovn - distributed in the US by Drafthouse Films as Klown - know why this is cause for celebration. But for those who don't ... oh, you've got some catching up to do and you're going to love doing it. Klovn began life as a long running and immensely popular Danish TV comedy with Christensen and Hvam - both popular comedians and TV personalities - playing somewhat exaggerated versions of themselves and living out every negative male impulse on screen to...

[Read the whole post on twitchfilm.com...]

things magazine: Future Planning Committees

How far ahead are things planned? While it’s shocking to discover that the Marvel Cinematic Universe is primed to fill multiplexes until 2028, it’s not surprising to find that most major companies have long-term planning departments looking into what the markets of 2025 and beyond will look like. Pre-21st century futurology had the big millenial date to focus on – the perfect waypoint for achieving a certain goal (Transport 2000, for example, now the Campaign for Better Transport). 2020 is perhaps the next great ‘vision’ date, although it’s now too close to count as a long-range objective. It’s not hard to find plans for 2025 or even 2035 and 2040. Major infrastructure projects like transportation require long timescales and 2050 is now featuring pretty heavily, certainly in terms of planning for climate change, for example, or the London Infrastructure Plan.

Some cultural events are fixed (nearly) in stone, such as the Tokyo Olympics of 2020, the same year as Dubai’s World Expo, which precedes the 2022 World Cup in Qatar (allegedly). Wikipedia has a timeline of the near future, which tails off into mostly astronomical data by the end (and then segues into the timeline of the far future) and there’s also the much more dystopic (and obviously speculative) Future Timeline website. The above image is from System360, a tumblr.

Twitch: Cineteca Nacional's Muestra 57 Lineup: Ceylan, Dolan, Godard, Cronenberg, Jarmusch, And More

Cineteca Nacional has announced the 14 films that conform the 57th edition of the Muestra International, which kicks off on Friday, November 7. It looks like a recreation of this year's Morelia, which is certainly good news for cinephiles in Mexico City. 10 titles come straight from Morelia, including the Palme d'Or winning film Winter Sleep, Black Coal, Thin Ice, Jean-Luc Godard's Goodbye to Language, David Cronenberg's Maps to the Stars, Güeros, the Swedish black comedy Force Majeure, Dardenne brothers' Two Days, One Night, and the Russian Leviathan. However, most of these films are currently playing at several venues in Mexico as part of the "The Best of Morelia in Mexico City" exhibition, so the real Mexico City premieres that the Muestra 57 will be...

[Read the whole post on twitchfilm.com...]

Open Culture: 44 Essential Movies for the Student of Philosophy

What comes to mind when you hear the phrase “philosophical film”? The Matrix, most likely, an obvious example of a movie—or franchise—that explores timeless questions: Who are we? What is reality? Are our lives nothing more than elaborate simulations programmed by hyperintelligent supercomputers? Okay, that last one may be of more recent vintage, but it’s closely related to that ancient cave allegory of Plato’s that asks us to consider whether our experiences of the world are nothing more than illusions emanating from a “real” world that lies hidden from view. Another influence on The Matrix is Rene Descartes, whose dualistic separation of consciousness and body receives the maximum of dramatic treatment.

But The Matrix is only one film among a great many that concern themselves with classic problems of philosophy. In a 2010 post for Mubi, Matt Whitlock compiled a list of 44 “Essential Movies for a Student of Philosophy.” Along with The Matrix, other films of the past couple decades get mentions—The Truman Show (“the true home of Plato’s Cave in modern movies”), Eternal Sunshine of the Spotless Mind, I Heart Huckabees, Being John Malkovich, Inception. Also appearing on the list are classics like Akira Kurosawa’s Rashomon and Ingmar Bergman’s The Seventh Seal—which illustrates, Whitlock writes, “The Angst of The Absurd.” All of these films appear under the subheading “Famous thought experiments or discussion of a famous philosophical problem.”

http://www.youtube.com/watch?v=hg7qdowoemo

Another category on the list is “Movies featuring a philosopher.” The media-savvy Slavoj Žižek gets two mentions, for 2006’s The Pervert’s Guide to Cinema and 2005’s Žižek! (excerpt above). Since Whitlock compiled the list, Žižek has received yet another feature-length treatment—2012’s The Pervert’s Guide to Ideology. Astra Taylor, director of Žižek!, also included him in 2009’s The Examined Life, alongside Peter Singer, Michael Hardt, Judith Butler, Sunaura Taylor, and Cornel West. After the documentaries, we have “Movies with philosopher as a character,” including Derek Jarman’s Wittgenstein, with Clancy Chassay as the irascible logician (at the top of the post), Roberto Rossellini’s 1958 Socrates, starring Jean Sylvere in the title role, and, of course, Bill and Ted’s Excellent Adventure, with Tony Steedman as “So-Crates” (below).

http://www.youtube.com/watch?v=QnQ_WDtBhvI

The final three subcategories in Whitlock’s list are “Movies featuring the ideas of particular philosophers,” “Movies based on Novels written by famous philosophers,” and “Other.” In the last basket, Whitlock places the PBS string-theory documentary The Elegant Universe and Finnish performance artist M.A. Numminen’s bizarre adaptation of Wittgenstein’s Tractatus. Whitlock narrows the field by ruling out “movies that make you think deep crazy stuff” or those with “some new ‘existential twist’ on common topics.” Instead, he sticks to those films “that (seem to be) incarnations of classic philosophical thought experiments or movies that have a major philosophical problem as a main theme… that include topics that a serious student of philosophy needs to understand.”

Like most such lists, this one doesn’t claim to be definitive, and the four years since its compilation have produced several films that might warrant inclusion. Yet another reference from 2010—William G. Smith’s Socrates and Subtitles: A Philosopher’s Guide to 95 Thought-Provoking Movies from Around the World—casts a wider net. But Whitlock’s list seems to me a very useful starting point for thinking about the relationship between philosophy and film. Below, see the first ten films on the list:

Zizek! (2005)
Examined Life (2008)
Derrida (2002)
The Ister (2004)
The Pervert’s Guide To Cinema (2009)
Being In The World (2010)
Bill And Ted’s Excellent Adventure (2001)
When Nietzsche Wept (2007)
The Last Days Of Immanuel Kant (1994)
The Alchemist Of Happiness (2004)

Take a look at his full list here, and by all means, offer your own suggestions for films that fit the criteria in the comments section below.

Related Content:

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

Watch The Reality of the Virtual: 74 Minutes of Pure Slavoj Žižek (2004)

Watch The Idea, the First Animated Film to Deal with Big, Philosophical Ideas (1932)

Daniel Dennett and Cornel West Decode the Philosophy of The Matrix in 2004 Film

Two Animations of Plato’s Allegory of the Cave: One Narrated by Orson Welles, Another Made with Clay

The Drinking Party, 1965 Film Adapts Plato’s Symposium to Modern Times

Download 100 Free Philosophy Courses and Start Living the Examined Life

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

 

44 Essential Movies for the Student of Philosophy 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 44 Essential Movies for the Student of Philosophy appeared first on Open Culture.

Instructables: exploring - featured: A Shutter Release That Will Outlive Your Camera

Even a super expensive nice camera is only rated for up to 250,000 'clicks' or photos. I have used a few shutter releases in the past, some I have been impressed with. Others failed far quicker than I would have liked. I had recently moved to using a mechanical keyboard, which features independent s...
By: gmjhowe

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new shelton wet/dry: The past, the present, and the future walked into a bar. It was tense.

In the mirror we see our physical selves as we truly are, even though the image might not live up to what we want, or what we once were. But we recognize the image as “self.” In rare instances, however, this reality breaks down. […] How can the recognition of self in a mirror break [...]

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

JOY modified

If you ever wonder why contrarians always get the girl, read the comment section of this blog.

The moaning, drooling and quivering on display yesterday was awesome. Moments after I laid out a case for continued growth in the US economy – and solid reasons to be invested in financial stuff – it began. The dissing of America was classic. The belief markets are manipulated, government stats are rigged, governments run by morons and that central bankers can’t Google was endemic.

It’s staggering how many think the world’s going to end. Just as it’s improving. And that brings us to today’s lesson. It’s simple. Get invested. Stay that way. Stop reading blogs. It’ll kill ya.

Here’s what I mean:

PF CHART

The above is a 10-year chart of a balanced portfolio, with 40% safe stuff (such as bonds and preferreds) and 60% growth (Canadian, US and international ETFSs, plus REITs). This is not theoretical – it’s real. I know. The portfolio was routinely rebalanced to sell winners and buy losers and keep the weightings in line.

Note this: what was invested in 2004 has more than doubled now. The average return over that period is 7.3%. If you had a hundred grand then, you have two hundred now and enough for a new Kia.

This period of time included (a) the greatest stock market crash since the 1930s, (b) the 2011 debt ceiling crisis in the US, (c) the American real estate bubble and collapse, (d) the aftermath of the dot-com/tech plunge, (e) the Euro debt debacle and (f) everything else the doomers sweat over – debt accumulation, Ebola, Miley Cyrus, central banks, Vlad Putin, the Baltic Dry Index, ISIS, food stamps, Hamas, high-frequency trading and Goldman Sachs.

In other words, all the gnashing and flummoxing was for naught. The market timing failed. Those who freaked, selling in dips (because everything was going to zero) or buying the highs (because they were so smart) were creamed. In contrast, people who understood how to invest quietly multiplied their wealth – even through volatile times populated by fools who know everything.

Here’s another chart. Same portfolio. This time it’s about risk.

RISK1 modified

The bottom scale is risk – the further to the right, the greater. The left scale is return. The various dots, with the exception of “TT 60-40” refer to various components of a balanced portfolio – and you can see that emerging markets (EEM) or real estate investment trusts (XRE) are higher risk-higher return than, say, bonds (XBB). The “TT 60-40” is the actual return/risk of the balanced portfolio – averaging 7% over a decade, with considerably less risk than the US stock market (SPY) or Toronto equities (XIU).

This is what a good portfolio should do – give reasonably predictable returns without giant swings, letting you sleep at night and ignore stock market emotion and the bleatings of the nihilist, gold-rubbing losers who pray for pestilence. (By the way, bullion crashed below $1,200 an ounce on Thursday. As expected.)

So here’s the thing: investors with a good, well-built and routinely-maintained portfolio full of boring stuff were able to ignore markets for the last decade, double their money, and get on with their lives. Will this be repeated in the next 10 years? Beats me. But if we have the same events – a boom, several busts, multiple crises, wars, debt, a generational crash and confusion – there’s a decent chance.

In case you missed it, the US economy has just capped the strongest six-month period of growth in more than a decade – the best since 2003. Jobless claims there are now at the lowest level since way back in 2000. Almost 250,000 people were hired last month and the unemployment rate is down to where it was in 2008. Gas prices are set to hit a six-year low, and consumer confidence is increasing. Meanwhile the Fed has stopped its stimulus spending, and the stock market immediately gained 200 points.

So, you can moan and dribble over things you cannot control. Or you can cede life is to be confidently embraced. You only get one.

Twitch: Trailer For Norwegian Sci-Fi DAWN (MORGENRODE) Follows Two Men In Blankets And Rags

Somewhere in Norway, a first-time feature filmmaker picked up a camera to shoot, edit, and direct two men in blankets and rags as they stumble across a barren landscape.The Bergen International Film Festival, where the film premiered on September 30, stated: "Anders Elsrud Hultgreen has made what can only be described as the most artistically ambitious Norwegian sci-fi film ever."One can read that a few ways. That the film is very slow-paced, perfect for art house cinemas. Or, that the film will try your patience as it explores abstract themes of faith, devotion, and martyrdom. I'm leaning toward the later. At times, the film was so dark, that it was hard to discern shapes and what was really going on. However, since most of the...

[Read the whole post on twitchfilm.com...]

Hackaday: Piezo Vacuum Pump for Lightweight Pick and Place

sucks If you’re building a pick and place machine, or even just a vacuum pen, you’ll need some way to pick up tiny part. This means something that sucks, aquarium tubing, and everything that goes with that. A few months ago, [Wayne] found an interesting device called a Micro Blower that will blow small amounts of air from a small, lightweight device. A few modifications later, and he had a piezoelectric vacuum pump for picking up tiny parts.

The Micro Blower [Wayne] found is available on Mouser for about $45, but this device blows. To turn it into something that sucks, he would need to find a way to block up the input side of the pump so it could draw a vacuum. Eventually settling on mounting the blower inside a stack of foam board, [Wanye] glued on a 20 gauge needle and was able to suck up 0603 SMD parts.

The new piezoelectric sucker is extremely light, and the power draw is very reasonable: 18V and 20mA. This would be a great device to mount to a certain pick and place machine without having to run vacuum lines through the mechanics of a motion platform. Video below.


Filed under: tool hacks

new shelton wet/dry: Whether we’ve ever been in love?

People can make remarkably accurate judgments about others in a variety of situations after just a brief exposure to their behavior. Ambady and Rosenthal (1992) referred to this brief observation as a “thin slice.” For example, students could accurately predict personality traits of an instructor after watching a 30-s video clip […] a 2-s look [...]

Colossal: Watch a Japanese Kokeshi Doll Emerge From a Spinning Block of Wood

Watch a Japanese Kokeshi Doll Emerge From a Spinning Block of Wood wood Japan carving

Watch a Japanese Kokeshi Doll Emerge From a Spinning Block of Wood wood Japan carving

In an age of the ubiquitous 3D printer, it’s easy to forget the joy and beauty of handmade craft. Take, for example, the 400-year old Japanese art of creating kokeshi dolls. These traditional wooden figurines were said to have been originally made as souvenirs to sell to people visiting the local hot springs in Northern Japan. Although there are about 10 different styles, each doll is made with an enlarged head and cylindrical body with no arms or legs.

In the video, produced by tetotetote, an organization highlighting the arts and crafts of Sendai, Japan, Yasuo Okazaki woodturns solid blocks into the head and body using just a few tools. Okazaki’s “Naruko” style of making the dolls was passed down to him from his father and features stripes at the top and bottom of the body and bangs with red headdresses. I don’t think there’s anything more soothing and hypnotic than the sights and sounds of watching these dolls emerge from a spinning block of wood.

Ansuz - mskala's home page: Cycle-maximal triangle-free graphs

In January of 2011, I had recently arrived at the University of Manitoba to work as a postdoc with Stephane Durocher. One of the first things he asked me to do was find out how many cycles there are in an n-dimensional hypercube graph, for general n. At the time, he and I both assumed that that meant spending maybe half an hour in the library looking up the answer.

Since then it's been more than three years; thousands of lines of computer code and months of CPU time; we added two more co-authors; we didn't solve the original problem, and didn't completely solve the other problem that we ended up working on, either; but here's a journal paper, anyway, and I think it's pretty interesting. The official definitive version will be free to access until mid-December and then will go behind Elsevier's paywall; the authors' accepted manuscript on arXiv is permanently accessible.

Read the paper if you're interested in the math details; in this entry I'm going to try to tell the story behind the paper, in relatively non-mathematical terms. I'm hoping it'll be of interest to my Web log readers and give you some idea, because I often get asked this, of what I actually do at work.

Quiet Earth: Live Stream Tonight's SAW: 10th Anniversary Q&A Here!

Bookmark this post and tune in tonight at 9:45pm PST / 12:45am EST to watch a live Q&A with the original filmmakers and cast of the most successful Horror Franchise of all time.

Moderated by Evan Dickson from Bloody Disgusting, he will be speaking with director/Writer James Wan, writer/Star Leigh Whannell, Producers Mark Burg & Oren Koules, DP David Armstrong, and cast members Cary Elwes, Shawnee Smith and Jigsaw himself, Tobin Bell.

The event is being held to kick-off the return of the original SAW in theaters this Halloween Weekend.



The original Saw was made for $1.2 Million and grossed more than $100 million worldwide.

Live Stream:

[Continued ...]

Perlsphere: PBP: 053 Localization

The PBP tells us to localize changes to package variables.  This is usually good sense, and prevents your changes from leaking out and messing with other things.

I’ve mentioned this in another entry, because it was natural and fit there.  If you have to change these values, change them.  That’s what they’re for.  Try and keep your change as limited in scope as possible.  That’s what Perl’s odd but handy “local” keyword does.  Use it in good health.

I also mentioned before that perlcritic is sometimes overly picky about this.  There are some things you’re changing and the point is to change them.  You as the engineer know best; shut off the robot’s warning this time, and make your change.

I think doing this automatically is one of the signs of a really experienced and mature Perl engineer.

Twitch: Lucy Liu Will Smuggle Humans In SNAKEHEAD

Lucy Liu, who lately has been investigating crime on the U.S. television show Elementary, will become a human smuggler in Snakehead. Evan Jackson Leong (Linsanity) has written the script and will direct. Liu, a native New Yorker, will play a Chinese immigrant. According to Deadline: [She] arrives penniless to the streets of New York City's Chinatown, until she is mentored in the business of human smuggling by the powerful bosses -- called Snakeheads -- who run a thriving business that preys on the hopes of wannabe immigrants who pay a high price for a piece of the American dream. Motivated by a desire to regain her daughter and reclaim her family, she rises to the top of Chinatown's smuggling business.The article says that Leong, a 6th-generation Chinese-American,...

[Read the whole post on twitchfilm.com...]

Open Culture: Did Bach’s Wife Compose Some of “His” Masterpieces? A New Documentary Says Yes

http://www.youtube.com/watch?v=KDQT5XRZwfo

You may have heard of, or indeed read, Australian conductor Martin Jarvis’ 2011 book Written By Mrs. Bach, which investigates the question of whether Johann Sebastian Bach‘s “cello suites were composed by the German musician’s second wife, Anna Magdalena Bach.” Now, the book has become a documentary — adding the no doubt enriching element of sound to the proceedings — whose trailer you can watch above. In it, according to the Washington Post, “a professor of music, a composer and an American expert in document forensics advance the case.”

“Prof Jarvis said he aims to overturn the ‘sexist’ convention that recognised composers were always a ‘sole male creator,’ to finally reinstate Mrs Bach into the history books,” writes the Telegraph‘s Hannah Furness. “While Anna is known to have transcribed for Bach in his later years, researchers found the handwriting did not have the ‘slowness or heaviness’ usually attributed to someone who is merely copying, but was likely to have flowed from her own mind,” bolstered by “numerous corrections to scores written in her hand, signalling she is likely to have been composing it as she went along.” A terribly intriguing question, but as with the question of Shakespearean authorship, who held the pen now matters less than what came out of it.

The works under scrutiny here include “Bach’s unaccompanied cello suites, of which there are six — the first of them popularized as the theme of the film Master and Commander: The Far Side of the World“; “the aria that begins and ends perhaps the most famous keyboard work of all time, The Goldberg Variations“; and “a portion of the two-book masterwork originally composed for the harpsichord known as the The Well-Tempered Clavier.” That information comes from the Post, who also offer clips of these pieces. We’ve embedded them here for you to enjoy — and, no matter who wrote them, you certainly will. How often in history, after all, do you encounter both man and wife who can compose for the ages?

via The Washington Post

Related Content:

All of Bach for Free! New Site Will Put Performances of 1080 Bach Compositions Online

A Big Bach Download: All of Bach’s Organ Works for Free

The Genius of J.S. Bach’s “Crab Canon” Visualized on a Möbius Strip

Video: Glenn Gould Plays the Goldberg Variations by J.S. Bach

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.

Did Bach’s Wife Compose Some of “His” Masterpieces? A New Documentary Says Yes 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 Did Bach’s Wife Compose Some of “His” Masterpieces? A New Documentary Says Yes appeared first on Open Culture.

programming: Do not disturb: why programmers need doors

submitted by jessdawson
[link] [159 comments]

Quiet Earth: Change of Heart: SyFy’s 12 MONKEYS Doesn't Look Completely Terrible [Trailer]

I haven't been kind on SyFy's upcoming "12 Monkeys" TV show. I fully admit part of the hesitancy is the fact that this looks like a long play on a pretty great movie but having recently seen the possibilities of how well a TV show based on a good movie can turn out (I'm speaking specifically of the terrific "Fargo"), I admit to having softened a little on the upcoming show, particularly after seeing this trailer.

The show stars Amanda Schull and Aaron Stanford as Kathryn and Cole respectively and as much as SyFy keeps calling this a "complete re-imagining," this trailer, even more so than the previous, is riffing heavily on the movie. Not necessarily a bad thing but I hope they give themselves [Continued ...]

Hackaday: Hackaday Munich: DJ Muallem, Workshop Info, and More

Muallem

DJ Muallem

btn-get_ticketsIf you don’t have your ticket to the Hackaday Prize Party at Hackaday Munich you better scramble for one. We are excited to announce that [muallem] is the DJ for the event. He is the driving force behind the music at the Bob Beaman Club in Munich and is sure to deliver a set to remember. Don’t take our word for it, we’ve been cranking his Soundcloud channel for a couple of days now and it’s hard to wait the two weeks left before the party starts.

Workshop details whether you have a ticket or not

For those able to show up during the afternoon we have started to post details about the workshops. One point of confusion has been the All-day tickets versus the Workshop tickets. Here’s a rundown:

  • Workshop tickets were limited based on the hardware we are able to bring to the event with us.
  • All day tickets are welcome to participate in the workshops if you bring your own hardware to hack. Of course you are also welcome to come and watch, visit, or work on a completely separate hardware hack of your own!

If you have a ticket you’ll want to check out the details about getting a head start (by pre-loading embedded development software and learning a bit about the challenges). If you don’t have a workshop ticket we’re recommending hardware you can bring in order to participate.

So far we’ve posted about the Roboto and Moog workshops but will add details about Reverse Engineering and Computer Vision workshops soon!

The Hackaday Prize: Space Trip or Cash?

There has been a brewing debate about whether the winner of The Hackaday Prize (who will be revealed live at Hackaday Munich) will take the Trip to Space or grab the $196,418 in cash. Tell us which what you would do and why.


Filed under: Featured, The Hackaday Prize

Electronics-Lab.com Blog: DIY LED Matrix Display with Bluetooth support

ReyPlaying

LED matrices are a popular mean of displaying text, graphics, and animated information at gas stations, convenient stores, and many other public places. Raj’s new project is about making a Bluetooth-enabled 8×64 LED matrix display, where you can send the text messages through a smartphone over a Bluetooth connection. He used Arduino as the main controller and an HC-06 Bluetooth adapter to receive data from the smartphone. He has shared all of his design files and Arduino firmware on his blog.

DIY LED Matrix Display with Bluetooth support - [Link]

Computer Science: Theory and Application: What did “The Art of Computer Programming” look like before TeX?

Knuth developed TeX in response to the technology used for typesetting the first volume of TAoCP being no longer available and all the replacements producing shitty quality.

I'd like to know what this original edition of the first volume looked like. Are there any scans or photos available? I want this to be able to understand the improvements TeX brought to scientific typesetting.

submitted by FUZxxl
[link] [23 comments]

All Content: Thumbnails 10/30/14

Thumb_force-copy

1.

"David Lowery ('Ain't Them Bodies Saints') Talks Ruben Östlund's 'Force Majeure'": A superb analysis from a superb filmmaker at The Talkhouse.

Ruben Östlund’s ‘Force Majeure’ opens with a family posing for an offscreen photographer. They’re staggered in classical fashion — dad, mum, daughter and son — against the backdrop of the Alpine ski chalet where they’ve gone on vacation. Over the course of a single shot, a disembodied voice directs the family into a series of nuclear tableaux; it is just distended enough to do that wonderful thing that opening shots do sometimes, which is to function as an abstract of an entire film. Everything you need to know about this movie is laid out at once: theme, form, tone, principal cast — everything is there but Vivaldi. Not to fear, however — the Italian composer comes on in full force moments later, as a montage of the French Alps unfurls to the climactic strains of his Concerto No. 2 in G Minor. As controlled avalanches cascade across the screen, the final movement of ‘L’estate’ resounds in all its baroque glory. I spent some time thinking about this music after watching the film. The movement in question is intended to evoke a summer storm, and on its own terms it does just that. But is it the decades of cinematic appropriation that have left it fraught with irony? Those opening measures are as difficult to take seriously in a movie as they are to misuse: they lend themselves naturally to cinematic juxtaposition, and they also tell us exactly what to expect from the film at hand. Here, just as that opening shot did, they promise a comedy of social errors; they ensure the deconstruction of something rather grand.”

2.

"The Last Great Movie I Saw: Rick Perlstein on 'Life Itself'": The author of "The Invisible Bridge: The Fall of Nixon and The Rise of Reagan" tells Keith Phipps of The Dissolve why he found Steve James's documentary on the life of Roger Ebert to be a profound moviegoing experience.

“I think, just on the level of content and story and message, I found it profound. The film includes this quote: ‘We are who we are: where we were born, who we were born as, how we were raised. We’re kind of stuck inside that person, and the purpose of civilization and growth is to be able to reach out and empathize a little bit with other people. And for me, the movies are like a machine that generates empathy.’ Which is amazing itself. I mean that’s what writing and reading is all about and what art is all about. It kind of speaks to his wisdom and generosity, but the whole film is a portrait of this guy, this man, Roger Ebert, and the wisdom he’s been able to achieve. It has this amazing sensibility that’s kind of marked out by that one quote, which is that some parts of our life are given, whether it’s your talents, your preferences, your proclivities, maybe even your ideological proclivities, your body, your parents, your upbringing, your health, and you can’t do anything about that other than make sense of it and accept it. And then some parts of our lives are chosen. In his case, whether to drink or whether not to drink. How to practice his citizenship and his craft. How to treat other people. ‘Life Itself’ is kind of about negotiating those two stark realities of human existence. I’ve never seen that expressed so effectively in a piece of art.”

3.

"Matthew McConaughey, You're All Wrong About the Redskins": In Indian Country Today Media Network, Jacqueline Keeler, founder of Eradicating Offensive Native Mascotry, responds to comments the actor made in his interview with GQ.

“Mr. McConaughey, I read your comments in the recent GQ interview, and what grabbed me was this observation you made: ‘What interests me is how quickly it got pushed into the social consciousness. We were all fine with it since the 1930s, and all of a sudden we go, ‘No, gotta change it’?’ Indeed what did happen? I can tell you, Mr. McConaughey, it is that Native people are using social media and the result has been magical. Hashtaggery some call it, but it’s what we do to be heard. In a concentrated burst Native people have been working together to trend hashtags like #NotYourMascot nationally. The group I founded, Eradicating Offensive Native Mascotry exists as a grassroots, Native social media collective. Together we get Native people from across the country and even Canada tweeting a hashtag over four hours in one night in order to get it to trend. We call these Twitterstorms. Poetic, I guess, and if you want to mine commonly held imagery of Native people just think of  a Thunderbird or a coming storm seen high over prairie releasing its burst in one large downpour. That’s us and in one night we can average 18,000 tweets and reach over 17 million timelines. And a lot of it is educational in nature, about actual Native lives versus stereotypes like the ones the Redsk*ns promotes.”

4.

"Beatrice Welles on Completing 'The Other Side of the Wind'": The iconic director's youngest daughter tells Ray Kelly of Wellesnet about completing her father's final film, left incomplete in the 1970s.

“My work for my father is – and always has been – to do what he would have wanted. Not what I would have wanted but what he would have wanted. His heart was broken numerous times by studios and individuals taking away or changing his films. So how could this be all right after his death? It was the same cycle all over again. Look at what happened with ‘The Magnificent Ambersons’ and ‘Touch of Evil.’ It really broke his heart. We all know he made his movies in the editing room – he said so himself publicly many times. It seemed a travesty to me to allow the same thing to happen with ‘Wind.’ […] From my perspective for the past 29 years, I protected ‘Wind,’ like a lioness protects her cubs, as I have tried with everything else.”

5.

"Strutting and Fretting Offstage": "The Wire" star Brandy Burre tells Lauren Sandler of The New York Times about coming out of retirement to make a film about herself.

“Ms. Burre, 40, is now a single mother with two children: Henry, 8, and Stella, 4. And the alternative life she has made for herself here is the subject of ‘Actress,’ a new documentary directed by Robert Greene, her neighbor. The film, which is being released next month, looks at the unanticipated costs of opting out of the marketplace for the dream of artisanal parenthood: loss of creative outlets, financial independence, romance. Or as Ms. Burre puts it bluntly in the film, ‘Disenfranchisement from my own life.’ One morning last month, Ms. Burre sat at the kitchen table in her 1860 house at the foot of Mount Beacon and tried to explain just how she got here. Midway through her story, Mr. Greene, 38, joined in, letting himself into Ms. Burre’s house as he often does. ‘This is the set of the movie,’ he said, holding a mug of tea he had brought over with him and surveying the kitchen with its vintage dishware and curtains stitched from tea towels.”

Image of the Day

Slate's David Rosenberg presents an enlightening glimpse at "the secret dual lives of people living with mental illness."

Video of the Day

The fabulous Jenny Slate, star of "Obvious Child," tells Vanity Fair how she's "not allowed to use her Marcel the Shell voice during 'romantic encounters.'"


Acephalous: New Internet Film School column: Why good horror should damn near bore you to tears

ringu00005

 On the Japanese version of Ringu and why she's having so much fun up there. Sample:

The most interesting visual element in this shot is the perspective implied by the camera placement. By partially obscuring the view of Reiko Asakawa, Nakata suggests that this might be a point-of-view shot, thereby planting in the minds of the audience the idea that perhaps she’s being watched—and that the audience might be sharing the perspective of whoever (or whatever) is doing the watching. The fact that the camera is perfectly still here adds to the unease, because that lack of movement alone suggests the watcher may (or may not) be in plain sight, yet is undetected and wishes to remain so. In classic horror fashion, Nakata wants his audience to inhabit the mind and perspective of a stalker.

And you know what? Being a stalker is dull...

 

Colossal: Steel Animal Sculptures by Byeong Doo Moon at ‘Sculpture by the Sea’

Steel Animal Sculptures by Byeong Doo Moon at Sculpture by the Sea wire steel sculpture animals
Our memory in your place. 2014. Photo by GCImagery.

Steel Animal Sculptures by Byeong Doo Moon at Sculpture by the Sea wire steel sculpture animals
Our memory in your place. 2014. Photo by Deepwarren.

Steel Animal Sculptures by Byeong Doo Moon at Sculpture by the Sea wire steel sculpture animals
Our memory in your place. 2014. Photo by Deepwarren.

Steel Animal Sculptures by Byeong Doo Moon at Sculpture by the Sea wire steel sculpture animals
I have been dreaming to be a tree. 2011.

Steel Animal Sculptures by Byeong Doo Moon at Sculpture by the Sea wire steel sculpture animals
I have been dreaming to be a tree. 2011.

Steel Animal Sculptures by Byeong Doo Moon at Sculpture by the Sea wire steel sculpture animals
I have been dreaming to be a tree. 2011.

Steel Animal Sculptures by Byeong Doo Moon at Sculpture by the Sea wire steel sculpture animals
I have been dreaming to be a tree. 2011. Photo by Francisco Martins.

South Korean sculptor Byeong Doo Moon unveiled a new stainless steel sculpture as part of Sculpture by the Sea 2014 earlier this month in Sydney. The intricately welded peacock is titled “Our memory in your place” and is a stylistic companion to Moon’s 2011 sculpture, a deer with an unwieldy set of antlers that resembles tree limbs. The annual sculpture event is now in its 18th year and runs through November 9th. You can see plenty more photos of this year’s participants on their website. (via Visual News)

All Content: A Complex Life: HBO’s Unforgettable “Olive Kitteridge”

Thumb_olivekitteridge03

Few films have tapped into the seemingly conflicting emotions that exist in the human soul at exactly the same moment as HBO’s stellar “Olive Kitteridge,” a delicate, beautiful mini-series starring Frances McDormand, Richard Jenkins, Rosemarie DeWitt, Peter Mullan, Bill Murray and more. Cinematic fiction is so often about characters with simply defined emotions. This protagonist is happy. This villain is vengeful. This hero is in love. It’s much harder, and takes actors of the caliber assembled for this production, to sketch characters who both love and hate at the same time; who feel regretful and content simultaneously; who wouldn’t change a thing but can’t shake their depression. Stretched out over 4 hours on two nights, with each hour playing like a distinct chapter in a book, “Olive Kitteridge” provides the richness of character and setting that is more common in narrative fiction than cinema.

The episodic, nearly Raymond Carver-esque feel of “Olive Kitteridge” is due to the fact that writer Jane Anderson has adapted the mini-series from a collection of short stories by Elizabeth Strout, which won the Pulitzer Prize. The stories span 25 years, and six of them have been adapted into four episodes here. Each episode feels focused in its own narrative, with different characters taking center stage but all of the narrative threads play into the unpredictability of life and the complexity of human emotion. As the HBO tagline says, “There’s no such thing as a simple life.”

Take the second episode, easily the best of the four and one of the best hours of TV this year, which spends a lot of time on two elements—the return of a suicidal young man to town, coinciding with the wedding of Chris Kitteridge (John Gallagher). Olive is faced with stark reminders of the past and future in a former friend of her son in whom she can see the open wounds of his mother’s depression, and that ultimate emotional whirlpool that is a child’s wedding. There are unexpected life interruptions in “Olive Kitteridge” that don’t feel manipulative. When a character dies unexpectedly or saves a life unexpectedly, it fits into the narrative fabric of the overall piece. And reflects something about reality rarely captured. A life-saver may have been planning to kill himself mere moments before. The start of a happy life can be suddenly ended by a tragedy. Kids get married, kids get divorced. We can’t predict the future and we can’t live in the past. We may think someone is perfect for someone else, only to watch them grow up into a manipulative asshole. We may think someone is the wrong fit, but not be able to say so.

Of course, all of this rich subtext wouldn’t work without the kind of complex performers that Lisa Cholodenko (“The Kids Are All Right”) expertly assembled for this project. It’s undeniable that Kitteridge, with her blend of world-weariness and cynicism, fits like a glove for Frances McDormand, but that doesn’t make what she does here any less remarkable. The opening scene of the second episode, in which Olive is basically intervening in a suicide and knows it but can’t say it, is a master class in acting. It’s one of the best scenes of the year in all of television. Richard Jenkins is a perfect acting partner for her, offsetting Olive’s pessimism with a wide-eyed will to see the good in everyone. In the first episode, Jenkins’ Henry hires a new employee (Zoe Kazan) at his pharmacy, and develops a clear attraction for the naïve girl who is the opposite of his bitter wife. The way Jenkins plays Henry’s longing for a bit more joy while still maintaining the character of a man who seems unlikely to do anything about his new feelings contains real depth. Bill Murray doesn’t show up until night two, as a widower who draws closer to Olive. Even small roles, like those filled out by DeWitt, Ann Dowd, John Gallagher and more, are expertly cast and directed.

“Olive Kitteridge” won’t be for everyone. There are long scenes of repetitive dialogue that too often reinforces the happy-sad duality in the Kitteridge marriage, and the piece could arguably have been a bit more visually striking. I also wonder if the mini-series wouldn’t have been stronger overall with more episodes, and their accompanying time to invest in supporting characters who sometimes feel like devices more than people. (It was once considered for a whole season, which I think would have been better—four hours feels like both too little time to really get to know the whole town and too much time to get to know just the Kitteridges.) Also, the third episode is constructed around a major, unexpected event that feels overly scripted. I liked “Olive” more in its quiet beats than its loud ones, the latter often feel like narrative constructions designed to reveal the buried secrets, resentments and feelings just below the surface. As it has to be, “Olive Kitteridge” is structured to capture the major events of a 25-year span, the moments that will be remembered on a death bed. But it’s the truthful writing and performances between those moments that make it memorable, that make it something remarkably close to life.

Hackaday: Reverse Engineering a Blu-ray Drive for Laser Graffiti

Coastermelt

There’s a whole lot of interesting mechanics, optics, and electronics inside a Blu-ray drive, and [scanlime] a.k.a. [Micah Scott] thinks those bits can be reused for some interesting project. [Micah] is reverse engineering one of these drives, with the goal of turning it into a source of cheap, open source holograms and laser installations – something these devices were never meant to do. This means reverse engineering the 3 CPUs inside an external Blu-ray drive, making sense of the firmware, and making this drive do whatever [Micah] wants.

When the idea of reverse engineering a Blu-ray drive struck [Micah], she hopped on Amazon and found the most popular drive out there. It turns out, this is an excellent drive to reverse engineer – there are multiple firmware updates for this drive, an excellent source for the raw data that would be required to reverse engineer it.

[Micah]‘s first effort to reverse engineer the drive seems a little bit odd; she turned the firmware image into a black and white graphic. Figuring out exactly what’s happening in the firmware with that is a fool’s errand, but by looking at the pure black and pure white parts of the graphic, [Micah] was able guess where the bootloader was, and how the firmware image is segmented. In other parts of the code, [Micah] saw thing vertical lines she recognized as ARM code. In another section, thin horizontal black bands revealed code for an 8051. These lines are only a product of how each architecture accesses code, and really only something [Micah] recognizes from doing this a few times before.

The current state of the project is a backdoor that is able to upload new firmware to the drive. It’s in no way a complete project; only the memory for the ARM processor is running new code, and [Micah] still has no idea what’s going on inside some of the other chips. Still, it’s a start, and the beginning of an open source firmware for a Blu-ray drive.

While [Micah] want’s to use these Blu-ray drives for laser graffiti, there are a number of other slightly more useful reasons for the build. With a DVD drive, you can hold a red blood cell in suspension, or use the laser inside to make graphene. Video below.


Filed under: hardware

The Rhizome Frontpage RSS: Announcing the Inaugural Prix Net Art Awardees: JODI & Kari Altmann

After extensive deliberation, the Prix Net Art jury—comprising curators Michael Connor, Samantha Culp, Zhang Ga, and Sabine Himmelsbach—is proud to announce that inaugural $10,000 Prix Net Art is awarded to artist duo JODI, with a $5,000 Award of Distinction granted to Kari Altmann. Explore their work below.

Jury Statement:

The internet is more than just a canvas, medium, or publishing platform for art. The internet is a system that links human and machine intelligence to produce politics, economics, culture, and subjectivities. To make "internet art" is to intervene in, or participate mindfully in, these processes.

For this inaugural edition of the Prix Net Art, the top award was given in recognition of the rich tradition of web-based art. Following the release of the first widely used web browser in 1993, a number of artists embraced the web for its aesthetic and political possibilities, particularly as a way of reaching far-flung publics with a minimum of resources. JODI were key figures in this generation, often disrupting the web—its HTML and other code—in order to make its processes and effects more transparent. Throughout their careers, they have remained committed to the internet, in its changing forms over the years, as a contested and vital site for artistic practice.

The Award of Distinction, in contrast, is given this year in recognition of future directions and possibilities for internet art. Kari Altmann's practice is especially important in regard to the changing role of the artist in a highly networked culture. Referring to her practice as "based in the cloud," she works as an artist embedded within internet culture, forming collaborations and sharing images across Tumblr, Instagram, and other social media platforms and apps. Altmann works fluidly across the web and the gallery space, considering each artistic medium as another kind of file format, and each artwork as a node in an evolving, collaborative, and networked system in which she is also a node.

While the selected artists have differing approaches—and, in fact, are only two examples of possible practice in a field defined by diversity of form—they both reflect a sophisticated understanding of the internet not simply as a space or an object, but as a series of processes. Through intervention and participation, they find ways to make these processes more comprehensible, and to contest and critique their effects.


ABOUT JODI

JODI, or jodi.org – a Netherlands-based artist duo comprising Joan Heemskerk (1968, the Netherlands) and Dirk Paesmans (1965, Brussels) – pioneered web-based art in the mid-1990s. By radically disrupting the conventions and functions of systems such as webpages, computer programs, video and computer games, mobile apps, and other digital technologies, JODI's work destabilizes the relationship between computing technology and its users. JODI continue to work in the widest possible variety of media and techniques, from installations, software and websites to performances and exhibitions.

JODI's work is featured in most art historical volumes about electronic and media art, and has been exhibited widely at venues such as Documenta-X, Stedelijk Museum, ZKM, ICC (Tokyo), CCA Glasgow, Guggenheim Museum (New York), Centre Pompidou, Eyebeam, FACT (Liverpool), and Museum of the Moving Image (New York), among others.

EXPLORE SELECTED WORKS

wwwwwwwww.jodi.org (1995)

A screen of garbled green text looks like a broken website, until the viewer checks the HTML code through the browser's "View Source" function and realizes that the page is generated from a text drawing of a nuclear missile. The code also includes the <blink> tag, which in legacy browsers makes the text flash on and off, adding to the chaotic effect.

Geo Goo (2008) 

A software-driven artwork built on Google Maps that uses "dropped pins" and other default features for creating user-generated maps as the raw materials for a frenetic animation.

asdfg.jodi.org (1998)

This website uses only a few lines of code to create an abstract animation consisting of rapidly changing blocks of black and white text displayed against flashing backgrounds. The site is broken up into a series of individual pages, each of which offers a slightly different variant and appears for a few moments before redirecting the user to the next in the series.

http://tatatataa.cn (2009)

A blank grey webpage where the overenthusiastic voice of video game character Duke Nukem (voiced by American actor Jon St. John) narrates the menu options (Open, Edit, Save, etc.) of the ubiquitous, free TextEdit program for Mac.

Folksomy.net (2008)

For this project, JODI collected and categorized a vast set of YouTube videos of what they describe as "people doing strange things with computers": smashing laptops, singing about their love of HTML, using keyboards as skateboards. Past iterations of the site have allowed users to choose from obscure categories such as "win" (for Windows) or "cub" (for office cubicles); the site now streams a selection of four videos at a time according to a predetermined logic.

ZYX (2012)

An app that uses the iPhone's built-in motion-tracking capabilities to guide the user through a series of pointless gestures. Each time a gesture is performed correctly, the phone clicks; when the full sequence has been completed, the device sounds an alarm in celebration.


ABOUT KARI ALTMANN

Kari Altmann (1983, USA) is an American artist who works fluidly across multiple platforms and formats. Working in an online ecosystem of memes, brands, trends, algorithms, prosumer software, and other communal imaging systems, Altmann creates, tracks, and intervenes in microgenres of content that constantly evolve through her own online management. Her work often uses survival fantasy aesthetics from various sources to create new imagery that pushes this visual logic to its extremes. She circulates the resulting images back through her social networks, where they generate new meanings and versions. A resulting work can take many forms, from a reproducible meme to an installation of objects and performers to an audio mix. Altmann is one of the most influential artists involved in recent discourse around the term "post-internet" and its offshoots.

Recent featured projects include a solo web commission, Soft Mobility Abstracts, for the New Museum, New York; "Extinction Marathon" for Serpentine Gallery, London; and "Art Post Internet" at Ullens Center, Beijing. She has done projects for and with Art Dubai, The Goethe Institute, Fade to Mind, Rhizome, Mixpak, Dis Magazine, Nero Magazine, and many more. She also collaborates with peers in many industries as an artist, creative director, and ghost producer.

EXPLORE SELECTED WORKS

R-U-IN?S (2009-ongoing)

A collaborative project initiated by Kari Altmann in which a network of participants (described by the artist as "search bots for each other") search and arrange content into evolving categories—"new black market civilizational tropes," per Altmann. The evolution of the project's organizing logic could only be fully grasped by following the network over time: "Posting an image of a Toshiba TV with a canyon on the display could yield 10 videos of Toshiba products, 4 variations of demo canyon imagery, and 20 images of name-brand displays almost instantly."

Altmann's tags for this project: "handheld, blackmarket, brands, lens, optics, frames, petrosumer, fetish, viral, architecture, tribe, trade, tradeshow, etc."

Participants: Iain Ball, Emily Jones, Nick Lalla, Sam Hancocks, Matteo Giordano, Sebastian Moyano, Matei Samihaian, Silvia Saitoc, and many more.

Read more about this project here.

Soft Mobility Abstracts (2013-ongoing)

A stream of content that evolved across multiple platforms, including Vine, Tumblr, Instagram, and a standalone site, Soft Mobility Abstracts takes the logic of art direction and branding around “mobility” to an ambiguated extreme. Altmann's image stream evoked a merging of urban and off-grid survival actions, the tactility of card swipes and the hard, hi-tech surfaces of smart cities.

Altmann's tags for this project: "softmobility, security, swipe, footprint, credit, roaming, handheld, etc."

Resting Point (Native Arrangement, Vital Signs, Tribal Council) (2013-ongoing)

Altmann organized a series of similar content about action and acceleration into this small installation that took the form of a digitally-manipulated jpeg. After circulating only as a digital file, Resting Point was turned into an actual installation in 2014; documentation of this exhibition was then fed back into the network where it continues to evolve.

Altmann's tags for this project: "action, acceleration, anxiety, curve, arc, vitality, spine, leap, arrow, throttle, control, ergonomic, debt, decline, custom interior, stroke, sweep, horizon, vista, primitive, exchange, etc."


 

Electronics-Lab.com Blog: Linear Technology 2A buck converter is 93% efficient at 2MHz

TypAppx600

by Steve Taranovich @ edn.com:

With many switching buck regulators on the market today that are capable of improving an automotive system design it is hard to choose the optimum one for your design. I patricularly like a new Linear Technology solution, the LT8609, a 2A, 42V input synchronous step-down switching regulator because it is unique in that it does not require an external flyback diode (sometimes called a snubber diode, freewheeling diode, suppressor diode, suppression diode, clamp diode or catch diode) which is a diode used to eliminate flyback, which is the sudden voltage spike seen across an inductive load when its supply voltage is suddenly reduced or removed. This makes for less external components.

Linear Technology 2A buck converter is 93% efficient at 2MHz - [Link]

Electronics-Lab.com Blog: 20W Audio Amplifier

20W_Amp_PIC

This project is designed to operate with minimum of external components. This amplifier offers high quality and high performance audio at very low distortion. Project is based on nationals LM1875 IC. The IC is thermal and short circuit protected.

The LM1875 is a monolithic power amplifier offering very low distortion and high quality performance for consumer audio applications, the project work on single supply. Device overload protection consists of both internal current limit and thermal shutdown.

20W Audio Amplifier - [Link]

Quiet Earth: Impressive First Look at Alex Garland's Directorial Debut EX MACHINA [Trailer]

It was only a matter of time before writer Alex Garland made the leap to directing. With writing credits that include 28 Days Later, Sunshine and Dredd (review), we know what Garland is capable of in the story department (though his scripts often suffer from third actor problems) and from the looks of this trailer for his directorial debut Ex Machina, he’s got a hell of an eye as well because this trailer is looking spectacularly good.

Ex Machina stars Domhnall Gleeson as Caleb Smith, a programmer who wins a competition to spend a week at the mountain retreat of his employer’s reclusive CEO Nathan Bateman, played here by Oscar Isaac. Caleb [Continued ...]

BOOOOOOOM!: Video of the Day: Trippy Hand Drawn Animation by Gabe Mangold

gabemangold-lastex2

Okay, this animation by Gabe Mangold is a masterpiece, and there wasn’t a single frame that I could pick that would do it justice. It’s the freshest hand-drawn animation I’ve seen in a long time. The song, Girl Seizure” by Last Ex, is wonderfully strange already but the video takes it to another dimension altogether. Found via our Booooooom Vimeo Group.

Watch the animation below!

View the whole post: Video of the Day: Trippy Hand Drawn Animation by Gabe Mangold over on BOOOOOOOM!.

Perlsphere: Veure Update: Missions

Just a quick update for those who are following the progress of Veure. Here's the current character stats page.

That's just a hint of some of what's new.

I've done quite a bit of work revamping the inventory system as a necessary precursor to the mission system. I've also implemented NPCs. We've also hired a great developer, Yaroslav Polyakov to work part-time on Veure. Here's some of his initial work prototyping the "cockpit".

(Note: the page isn't actually smaller. I just widened my browser so you could see the cockpit background)

That "mini-map" of the larger 3-D rotating star map is lovely. It only shows the stars that you have the navigation skill to get to. You can click on a star to navigate directly to it.

The reputation system is now in place and mission lines are going to be differentiated by reputation. If you want to take some upper-level missions for independents, you'll have to gain enough reputation to earn their trust. Of course, that might hurt your reputation with others ...

And as luck would have it, we have a good friend here in La Rochelle who loves science fiction, gaming, and also has a bit of a writing background. We're going to be working with her to flesh out NPCs and missions. I've already started to integrate the procedural mission generation into the game, but only as a "suggestion" and quests will still be hard-coded (maybe we'll auto-generate on the fly later, but for now, it's always "the simplest thing that can possibly work").

Naturally, every two steps forward puts us one step back, but we're getting closer all the time.

Open Culture: Man Hauls a Piano Up a Mountain in Thailand and Plays Beethoven for Injured Elephants

http://www.youtube.com/watch?v=RKcks_4uLmA

If we’ve featured Jazz for Cows on Open Culture, then why not Classical Music for Elephants? Actually, they’re not just any elephants featured above. They’re old, injured, handicapped, sometimes blind elephants who live in the mountains of Thailand. And the gentleman playing a slow movement from Beethoven’s “Pathétique Sonata” is Paul Barton. On his Youtube channel, Barton mentions that he hauled his piano into the mountains, to Elephantstay – a refuge for the animals. And, emphatically, he tells us that the piano’s keys are made of plastic, not of ivory, seeing that the trade of ivory has caused elephants so much misery.

http://www.youtube.com/watch?v=hjsu3SGAdLs

Barton has a playlist of 23 videos of elephants and his piano playing, the most viral of which was another clip where Barton plays a 12 bar blues on the piano with Peter the Elephant. Peter’s participation was entirely impromptu and completely of his own accord. You can see a photo gallery of Paul and the elephants here, and catch a radio interview with him here.

via Twisted Sifter

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Man Hauls a Piano Up a Mountain in Thailand and Plays Beethoven for Injured Elephants 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 Man Hauls a Piano Up a Mountain in Thailand and Plays Beethoven for Injured Elephants appeared first on Open Culture.

New Humanist Blog: The ethics of the terraces

In football's murky moral world, where should fans draw the line?

BOOOOOOOM!: Maciek Jasik

maciekjasik08

“A Thousand Souls”, photos by Brooklyn-based photographer Maciek Jasik. More photos below.

View the whole post: Maciek Jasik over on BOOOOOOOM!.

Electronics-Lab.com Blog: Banguino – 8-bit Processing Module

dtx2-4008c_large_1

by dimitech.com:

Banguino brings the most popular hobby and DIY development platform in the world into a single chip DTX module and offers full backwards compatibility with the most used worldwide Arduino board – the model ‘Uno’.

Bonus features include an on-board power supply to generate +5V and +3.3V to the user’s external circuit, a microSD connector and additional 10 configurable digital I/O ports. There are also two software controllable LEDs on board as well as a USB-to-UART bridge. Banguino provides a highly integrated solution for building simple or complex circuits and benefiting from the large variety of already existing Arduino-compatible code.

Banguino – 8-bit Processing Module - [Link]

Electronics-Lab.com Blog: Building a simple VGA-adapter for 8-bit self made computer

vga-first-image-displayed

by aehparta @ tldr.fi:

My lifetime project: building an 8-bit computer using Z80 CPU. This week I had a bad flu and could not do anything useful so I decided to dig up my old plans for this project. I first re-designed many things, like power, CPU-board, IO-board and so on (my old plans were around 10 to 15 years old). After some thought I realized: When I get even the CPU-board working, I want to display some stuff! So why not build the display adapter first. Plus I planned to build the adapter in a way that it can be used separately from the computer itself. Easy thing to start with.

Building a simple VGA-adapter for 8-bit self made computer - [Link]

BOOOOOOOM!: Moneyless

teopirisi-moneyless02

Paintings by Teo Pirisi aka Moneyless, currently showing at White Walls in San Francisco. More images below.

View the whole post: Moneyless over on BOOOOOOOM!.

programming: Today is Dennis Ritchie Day

submitted by tuneladora
[link] [181 comments]

BOOOOOOOM!: Clare Grill

claregrill-04

Paintings by New York-based artist Clare Grill. More below.

View the whole post: Clare Grill over on BOOOOOOOM!.

Perlsphere: Upcoming Training

I have a few training courses coming up in the next few weeks which I thought you might be interested in.

Firstly, the London Perl Workshop is on 8th November. I’ll be giving a two hour talk on “Perl in the Internet of Things“. As always, the workshop is free, but please register on the site and star my talk if you’re planning on attending.

Then the week after I’m running two two-day courses in conjunction with FLOSS UK. On Tuesday 11th and Wednesday 12th it’s “Intermediate Perl” and on Thursday 13th and Friday 14th it’s “Advanced Perl Techniques”. Full details and a booking for are on the FLOSS UK web site.

Note: If you’re interested in the FLOSS UK courses, then please don’t pay the eye-watering non-member price (£720!) Simply join FLOSS UK (which costs £42) and then pay the member price of £399.

Hope to see you at one of this courses.

The post Upcoming Training appeared first on Perl Hacks.

Open Culture: Charlie Chaplin Goes on a Comical Cocaine Bender and Saves the Day in Modern Times (1936)

http://www.youtube.com/watch?v=3ykdb8Zen-o

When you think of drug movies, flicks like Easy Rider, Drugstore Cowboy and pretty much everything by Cheech and Chong might spring to mind. Add to this list Charlie Chaplin’s masterpiece Modern Times. In the movie, Chaplin’s iconic Little Tramp character does a whole lot of blow and ends up a better man for it. You can see a clip above.

After getting mistaken for a Communist demonstrator, the Tramp is thrown in the clink. In the prison mess hall, a hulking prisoner sitting next to him refuses to let him have any of the communal bread. Meanwhile, the shifty looking guy on the other side of him dumps a bunch of “nose powder” into a saltshaker before getting hauled away by the prison guards. Chaplin sprinkles liberal amounts of this “salt” on his meal and soon he starts showing all of the telltale symptoms of cocaine use – bugged out eyes, excessive energy and unshakeable self-confidence. He also shows some less common side effects like compulsive twirling and a propensity to jam food in his ear.

With his newfound chemical courage, Chaplin not only faces down this thuggish neighbor but he also single-handedly thwarts a prison break. The authorities are so pleased with Chaplin’s coke-addled heroics that they release him. So remember, kids, drugs can get you out of (and more likely back into) jail.

Of course, this wasn’t the first time that Chaplin depicted drug use in his movies. In his classic short Easy Street, Chaplin’s love interest, a virginal pastor’s daughter, gets locked in a basement with a remarkably energetic heroin addict. You can watch it below. And if you’re jonesing for some more Chaplin, there are 65 Free Chaplin Movies you can watch right here.

http://www.youtube.com/watch?v=eLF-aLPwfrg

Charlie Chaplin Goes on a Comical Cocaine Bender and Saves the Day in Modern Times (1936) 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 Charlie Chaplin Goes on a Comical Cocaine Bender and Saves the Day in Modern Times (1936) appeared first on Open Culture.

Planet Haskell: Functional Jobs: Senior Software Engineer at Soda Software Labs (Full-time)

Role: Senior Software Engineer Primary Location: Manchester, UK Employee Status: Permanent (Full Time) Salary: Competitive, with share options possible

Company Overview

Soda Software Labs are searching for a world class software engineer to help with the design and development of their flagship FinTech product PROFILE. At the heart of the product is a behavioural analysis platform which mines social data and performs analysis to provide insight for a number of industry verticals. The role offers the opportunity to join a small but fast growing company, to innovate in a number of industries and to get in at the ‘ground level’ within the fascinating space of BIG and social data.

The Role

We are looking for someone who not only has a proven track record of working with complex systems, but someone who has the passion, drive and motivation to continually develop our products to the highest standard.Typical duties of the role will involve:

Investigating current applications to improve their functionality Testing the product to ensure that it operates satisfactorily Confidently training and liaising with users Producing specifications and agreeing proposals Costing new or modified systems Writing new software and operating manuals

Knowledge and Skills

We are looking for an experienced senior-level software engineer, with experience across a range of programming languages of at least 2 or 3 different paradigms i.e. Java and C#/.NET being classified as a single language on the wider spectrum (as is C++).

The candidate needs to have functional programming knowledge of one or more of the following: Lisp/Scheme Erlang ML/OCaml Haskell Scala Python Ruby

A good understanding of social platform APIs such as Twitter API, Facebook API, LinkedIn API is also essential.

Additional Experience

3-4 years’ experience as a test/ software engineer Degree educated, preferably in a relevant subject such as computer science, software engineering, physics, mathematics or electronics Excellent critical thinking and analytical skills Ability to work to another’s design Commercial awareness Good communication skills

You'll be joining a well funded FinTech start up in the centre of Manchester with a work hard (but sometimes play hard too) culture. Moreover, it's the chance to get in at ground level with a business that has an extremely strong team and huge ambition. If this sounds like your kind of place, we'd love to hear from you.

Get information on how to apply for this position.

OCaml Planet: Functional Jobs: Senior Software Engineer at Soda Software Labs (Full-time)

Role: Senior Software Engineer Primary Location: Manchester, UK Employee Status: Permanent (Full Time) Salary: Competitive, with share options possible

Company Overview

Soda Software Labs are searching for a world class software engineer to help with the design and development of their flagship FinTech product PROFILE. At the heart of the product is a behavioural analysis platform which mines social data and performs analysis to provide insight for a number of industry verticals. The role offers the opportunity to join a small but fast growing company, to innovate in a number of industries and to get in at the ‘ground level’ within the fascinating space of BIG and social data.

The Role

We are looking for someone who not only has a proven track record of working with complex systems, but someone who has the passion, drive and motivation to continually develop our products to the highest standard.Typical duties of the role will involve:

Investigating current applications to improve their functionality Testing the product to ensure that it operates satisfactorily Confidently training and liaising with users Producing specifications and agreeing proposals Costing new or modified systems Writing new software and operating manuals

Knowledge and Skills

We are looking for an experienced senior-level software engineer, with experience across a range of programming languages of at least 2 or 3 different paradigms i.e. Java and C#/.NET being classified as a single language on the wider spectrum (as is C++).

The candidate needs to have functional programming knowledge of one or more of the following: Lisp/Scheme Erlang ML/OCaml Haskell Scala Python Ruby

A good understanding of social platform APIs such as Twitter API, Facebook API, LinkedIn API is also essential.

Additional Experience

3-4 years’ experience as a test/ software engineer Degree educated, preferably in a relevant subject such as computer science, software engineering, physics, mathematics or electronics Excellent critical thinking and analytical skills Ability to work to another’s design Commercial awareness Good communication skills

You'll be joining a well funded FinTech start up in the centre of Manchester with a work hard (but sometimes play hard too) culture. Moreover, it's the chance to get in at ground level with a business that has an extremely strong team and huge ambition. If this sounds like your kind of place, we'd love to hear from you.

Get information on how to apply for this position.

OCaml Planet: OCamlCore Forge News: Calendar v2.04

A new version of calendar, aka calendar v2.04, is available.

Jesse Moynihan: Album Reviews 001 : Wigwam

When I used to follow Peter Bagge’s comic “HATE”, I really got a kick out of reading his album reviews in the back pages. Meanwhile I post reviews on rateyourmusic.com sort of a lot. So maybe it’s more cool if I post reviews of new/old albums I’m excited about on my own website? Right? It makes more sense to me. So as an intro here’s a review of two Wigwam albums I wrote for rateyourmusic.

Wigwam: Fairyport

High energy, melodically and harmonically creative jazz rock album that took me by surprise. I’ve listened through “Fairyport” 4 or 5 times and it’s still blooming in my soul. Apparently these guys were a big deal in Finland but I never heard of them until a week ago. Even the parts that settle into jazz rock-walking-the-bass-cliché still manage to thrill for some reason. Perhaps because these sections inevitably break into powerfully original chord changes and moody melodies. At times their sensibilities remind me of a harder edged Steely Dan, with touches of Zappa and early Chicago.

The main thing I want to express here is how powerful this recording is. It really explodes with cerebral and emotional energy. The songwriting over-all is up there in the highest planes of the poppy, jazzy, proggy masters. This is creative, confident art, and one of my favorite discoveries of the year. My one beef with the album is the second track, “Lost Without A Trace” which is lyrically very lame and maybe should have been cut. Oh well! Every record has their “Sloop John B”!

Wigwam: Being

Simultaneously tighter, more consistent, proggier, but less appealing than Fairyport, for my tastes. I could do without the old man, Gabriel-esque monologue early on.

Once knee deep in the meat of the album though, I find these songs to be tightly wound, knotty puzzles worthy of repeat exploration. The challenge is slightly unappealing at times, but also a wonder, and endlessly impressive. With each chord change lies a complex rhythmic and melodic arrangement. It’s weird how sometimes it almost sounds like Stevie Wonder jamming, but with higher sophistication and demand.

The key to Wigwam is Jukka Gistavson’s piano and his soul seeking vocals. I can hear his struggle to Know on both Being and Fairyport; reflected both in his lyrics and in his melodic structures, which feel like climbing treacherous and holy mountains: sometimes disturbing, enlightening, and triumphant.

For me, this was the end of the road for Wigwam. Their later albums don’t seem to hold any appeal for me. Being is a grower, and I feel like I may raise my rating of it a year from now. Regardless, there is without a doubt, genius all over this album.

*additional thought: I’ve had this secret fantasy over the years of somehow becoming a producer/confidant to Stevie Wonder while orchestrating a comeback album that would flex the psychedelic and jazzy/proggy aspects of his songwriting: only barely hinted at in his catalog, yet definitely present in tiny bits. Totally eschewing the funk aspect for super gnarly compositions and analog synth sounds. Why is this my fantasy? I DON’T KNOW! I have the same fantasy of being a producer for Billy Corrigan, but for different reasons. Anyway, Wigwam’s Being is basically that Stevie Wonder fantasy come true, so I guess I don’t have to maneuver my way into his social circle and somehow convince him to let me be his new tastemaker.

Cowbirds in Love: Sincerity

Addendum:

Today’s comic is really important to me. It was borne out of hours of ruminating over the times I’ve been cruel and times I’ve been callous. The times I didn’t feel too ashamed to admit to are illustrated here. I usually keep things pretty close to the chest even more than this, but, as they say, “on Halloween, you tell the truth”.

I am so so lucky to have the friends I have.

There are people I didn’t stand up for. There are people I didn’t listen to and hear. I have wronged people with words and I have wronged people with silence. I am trying my best to be more kind to others than I was to those people. I don’t know if that is enough.

That, and draw this comic, I guess?

Incidentally, the comic was also borne out of a deep love for The Great Pumpkin mythos. Charles Schulz created such a beautiful concept he could use to touch on hope, disappointment, faith, religion, pride, sincerity, and beagle/mythical figure mix-ups. I feel a little sacrilegious even drawing Linus fan-fiction, but I hope the place of love I am coming from will absolve me of missteps in this regard.

—-

I used a desaturated version of this image for texture in the above comics. It was available under this license, so everything is legit.

Tea Masters: Winter 2014 Fushou Shan Oolong


Cultivar: Qingxin (ruanzhi) Oolong
Origin: Fushou Shan (near Lishan), Taiwan
Elevation: 2200-2500 m
Harvested by hand on October 10th, 2014
Process: low oxidized and rolled. Not roasted.

The Fushou Shan Oolong plantation is famous for its high elevation and its government and military connections. It's run by veterans from the Armed forces, and mainly supplies public officials with tea for gifts. It carries a lot of prestige, because it's the plantation that supplies the President's office and all tea drinking generals!  

Reputation and quality can be 2 different things. And any plantation faces the same problems with changing weather: some batches turn out better than others. What doesn't change is the soil and quality of the location. Since this is the first time I'm having an Oolong from Fushou Shan, I'm very curious to see how good it is. The silver teapot will help me push the leaves to their limit.

The dry leaves have a fresh color and big size. It looks very even (no sign of mixing). The rolling isn't as tight as that from Da Yu Ling or Lishan leaves. The dry smells are wonderfully light, flowery and almost perfume like (lavender and vetiver). The scents are like a breeze of sunny mountain air!

Let's brew!
There's a trend to more and more mixing of leaves even in high mountain Oolongs. Farmers tend more and more to mix several batches from the same season together. This allows them to make their quality more even and create bigger quantities of one tea. Top quality and average quality mixed together will produce a good tea, but it will lack the purity and character of a specific day's harvest. With this October 10th harvest, we are still using a highly selective approach and liked loved this batch.
The brew shines clear and bright. Excellent transparency. The flower scents are very light and delicate.
Sweet sunshine!
But what impresses even more is the energy of the aftertaste. High mountain is often compared to Champagne, because the taste feels effervescent, sparkling. With this Fushou Shan Oolong, the bubbly feel is similar a top Champagne: very small 'bubbles' and very long persistence of this effervescence. The feeling appears progressively and feels both deep and harmonious. It takes some concentration to experience it. This type of refined aftertaste requires and deserves your full attention.
And then it's bliss.
Pure
bliss.
High mountain relaxation.
A look at this leaf shows how incredibly big the bud is growing (this is a sign of the high altitude of this plantation). This Fushou Shan Oolong is my new gold medalist!
The mouthfeel is very comfortable. The body feels more relaxed and the mind peacefully awake. I'm glad that I had it outside to show you the beauty of this tea. However, it's indoors, in a quiet place, that I enjoyed its delicate energy the most! As usual for this kind of tea, I recommend fewer leaves and longer brewing times!

It's now available here in my online boutique.
Champagne!

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


Potz!Blitz!Szpilman!: Silke Otto-Knapp

Silke Otto-Knapp, Seascapes and Moondresses, 2014

Perlsphere: Grant Report: Modern OO Programming in Perl (Book) - Oct 2014

Toby Inkster reports in his blog that the book took a back seat to other duties this month. He is continuing to develop the basic ideas, most recently in the form of a talk that he will present at the London Perl Workshop. Toby has shared this <SPOILER_ALERT> material </SPOILER_ALERT>.

MAJ

Explosm.net: Short: Werewolf

New Cyanide and Happiness Short.

Open Culture: Modern Art Was Used As a Torture Technique in Prison Cells During the Spanish Civil War

http://www.youtube.com/watch?v=jJZ-fmjDQRw

We’ve all got those friends or family members who consider “modern art” a form of torture. Next time they complain about an exhibition you bring them to, just tell them how relieved they should feel that they didn’t fight in the Spanish Civil War — not just for the obvious reasons; they could have found themselves subject not just to actual torture, but torture directly inspired by modernist aesthetic principles. “A Spanish art historian has found evidence that suggests some Civil War jail cells were built like 3-D modern art paintings in order to torture prisoners,” reports BBC News. “The cells were built in 1938 for the republican forces fighting General Franco’s Fascist Nationalist army, who eventually won power.” The finding comes from historian Jose Milicua, who discovered references to these modern-art cells among court papers from “the 1939 trial of French anarchist Alphonse Laurencic, a republican, by a Franco-ist military court.”

modernartastorture

 

“During the trial,” the BBC article continues, “Laurencic revealed he was inspired by modern artists, such as surrealist Salvador Dali and Bauhaus artist Wassily Kandinsky” to create the six-foot-by-four-foot cells placed secretly in Barcelona (see a re-creation above), which featured “sloping beds at a 20-degree angle that were almost impossible to sleep on,” “irregularly shaped bricks on the floor that prevented prisoners from walking backwards or forwards,” walls “covered in surrealist patterns designed to make prisoners distressed and confused,” and lighting effects “to make the artwork even more dizzying.” Evidence also indicates that, elsewhere in Spain, Nationalist prisoners “were forced to watch Salvador Dali and Luis Bunuel’s film Un Chien Andalou,” especially an endless loop of its “graphic sequence of an eyeball being cut open” (at the top of the post).

Ironically, those imprisoned in such cells would have wound up there in the name of their fascist cause, which like the Franco-backing Nazi regime in Germany, considered modernism “degenerative.” Presumably, they didn’t leave their imprisonment with any more sympathetic idea of modern art than the one they’d gone in with. “A subcurrent of shock and provocation has always lurked within avant-garde art, which deliberately sets out to challenge bourgeois convention and to elicit a strong response” writes the New York Times‘ John Rockwell. “My own experience has been that opponents of new art are much too quick to presume provocation, let alone provocation intended literally to torture. Still, there can be no doubt that outrage was and is a goal of some artists, even if they rarely pushed it to the logical extreme that Laurencic took it.” You can learn more about this unusually artistic form of warfare in this All Things Considered interview with art historian Victoria Combalia. (Listen below.) And do try to suppress those fantasies of throwing your more Philistine acquaintances in there for an hour or two.

Related Content:

Restored Version of Un Chien Andalou: Luis Buñuel & Salvador Dalí’s Surreal Film (1929)

The Nazi’s Philistine Grudge Against Abstract Art and The “Degenerate Art Exhibition” of 1937

How the CIA Secretly Funded Abstract Expressionism During the Cold War

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.

Modern Art Was Used As a Torture Technique in Prison Cells During the Spanish Civil War 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 Modern Art Was Used As a Torture Technique in Prison Cells During the Spanish Civil War appeared first on Open Culture.

Arduino Blog: The making-of an animatronic baby alien

alienpuppet

Eva Taylor works at EKT Workshop and built an animatronic rod puppet Alien as a masterwork research project for the National Institute of Dramatic Art (NIDA) in Sydney Australia. It was inspired by the “bambi burster” built for the film Alien 3, although her creature is somewhat different.

The animatronics are controlled via a Playstation 3 controller, using a servoshock module between the controller and an Arduino Uno board:

It contains and 8 way 2 stage tail mechanism and animatronic lips, jaw and tongue. The remaining parts are rod controlled. A myriad of techniques were deployed in its construction – the torso and limbs were hand-carved from Queensland Maple while the joints were custom made from recycled parts of RC cars and planes. The skeleton of the tail was custom made from acrylic and cut on a laser cutter. The head contains an underskull of fibreglass, dental acrylic teeth and silicone skin. The muscle groups are also made of deadened, encapsulated silicone.

She shared with us the video above showing the main phases of the making-of process, while the one below gives you an idea of how  the puppet looks like in a more dramatic piece:

Greater Fool - Authored by Garth Turner - The Troubled Future of Real Estate: 50 shades of taper

50 modified

Warning: The following post deals with explicit fiscal and monetary policy. It does not contain flogging or whipping. Jian Ghomeshi has left the site. The safe word is ‘yellen.’

Cast your mind back to the summer of 13. Fed boss Bernanke said his central bank would start to taper back on its stimulus spending, as the US economy was gaining strength. Of course, many people went nuts. Stocks turned volatile, bond prices tanked and yields spiked. Juicy assets like preferred shares and real estate investment trust fell about 15% in value. This pathetic blog was overrun by people screaming ‘sell’, while the contras said ‘buy.’

For years Washington has been soaking up massive quantities of bonds – $85 billion a month through most of 2013, for example. Why? To inject rivers of cash into the US economy so corps will create jobs, and keep interest rates low by Hoovering up bonds.

It worked. Unemployment went from over 10% to under 6%. Families paid off $1.5 trillion in low-cost mortgages. Corporate profits plumped to pre-recession levels. The stock market gained 160%. The American economy resumed growing at 4%, and inflation stayed under 2%.

After toeing to the edge of the economic abyss in early 2009, it all came back. Now the once-massive government deficit is at an eight-year low, plus consumer confidence has shot up with more jobs, affordable houses and cheaper gas. No, it’s not all ponies and rainbows. But by every measure that counts – productivity, employment, inflation, GDP (check out today’s news) – the storm is well passed.

The metalheads and bullion-lickers refuse to believe this, and were arguing up to 2 pm Wednesday that if the Yanks actually withdrew this stimulus, stocks would tank, the US cleave and the Z-times begin. Fail. Not even close.

For all of 2014 the Fed, now run by the sweet old lady, Janet Yellen, has been ratcheting back on its stimulus (known as QE, or Quantitative Easing). That $85 billion had been tapered back to just $10 billion by this week, and is now kaput. The Fed did exactly what it said it would, and this should have surprised nobody.

It’s a remarkable achievement. We’ll all benefit from it.

In an orderly fashion for a year, the tap has been turned off. Far from starving the economy of cash, ushering in recession, killing markets or precipitating a crash in bond prices and a spike in interest rates, it’s been serene. The S&P is 14% higher than a year ago this week, and the TSX is ahead 11% – even after its blow-off two weeks ago. The US dollar has surged along with the recovery, which has knocked commodities and gasoline prices lower. Over 80% of companies currently reporting quarterly profits are ahead of expectations. Over 60% have higher sales.

So, what now?

Easy. More of the same. US interest rates will rise, but not until later in 2015 when the bankers are sure the economy can take higher mortgage costs and tighter business loans. Yellen has made it clear there’s no rush. It all depends on jobs. But, without a doubt, rates will normalize. People borrowing to buy houses in Toronto or Calgary today will not be renewing at 3% or less.

As for investors, this might be a Goldilocks moment. Not too hot – with the removal of all that stimulus money and Fed hand-holding. Not too cold – with inflation expected to come back with oil prices and sustained growth. Stocks have weathered tapering just fine. Bonds, ditto. Investors who bought the dips – like REITs last summer or the TSX weeks ago – now look smarter than Jian in a frock. With a paddle.

Well, if you’ve been quivering in cash since 2009, believed the gold nuts in 2011, or haven’t built a balanced portfolio because you thought rates would rocket and stocks waver, it’s time to reassess. The US is fine. Europe is about to do its own QE, and the results will be similar. China’s weird, but unstoppable. Corporations are fat. There’ll be no pandemic, and the ISIS numbnuts are losing.

We’re running out of things to worry about. Unless you just bought a condo.

Penny Arcade: News Post: Underworld, Part Two

Tycho: We got to Australia about the time a PST person would normally wake up, but then we tried to do the sorta prescribed thing where you stay awake all day to get your head straight for the new place.  I don’t know if it worked all the way.  Everything seems to be contained within a parenthetical which denotes its contents are not to be trusted. I guess I did spend almost the entire day absorbing We Can Remember It For You Wholesale (Vol. 5), a prodigious volume of Philip K. Dick stories which can double ably as a bludgeon.  Philip K. Dick is unique among authors in that a…

Planet Haskell: Keegan McAllister: A taste of Rust (yum) for C/C++ programmers

If, like me, you've been frustrated with the status quo in systems languages, this article will give you a taste of why Rust is so exciting. In a tiny amount of code, it shows a lot of ways that Rust really kicks ass compared to C and C++. It's not just safe and fast, it's a lot more convenient.

Web browsers do string interningto condense the strings that make up the Web, such as tag and attribute names, into small values that can be compared quickly. I recently added event logging support to Servo's string interner. This will allow us to record traces from real websites, which we can use to guide further optimizations.

Here are the events we can log:


#[deriving(Show)]
pub enum Event {
Intern(u64),
Insert(u64, String),
Remove(u64),
}

Interned strings have a 64-bit ID, which is recorded in every event. The Stringwe store for "insert" events is like C++'s std::string; it points to a buffer in the heap, and it owns that buffer.

This enum is a bit fancier than a C enum, but its representation in memory is no more complex than a C struct. There's a tag for the three alternatives, a 64-bit ID, and a few fields that make up the String. When we pass or return an Event by value, it's at worst a memcpyof a few dozen bytes. There's no implicit heap allocation, garbage collection, or anything like that. We didn't define a way to copy an event; this means the String buffer always has a unique owner who is responsible for freeing it.

The deriving(Show) attribute tells the compiler to auto-generatea text representation, so we can print an Eventjust as easily as a built-in type.

Next we declare a global vector of events, protected by a mutex:


lazy_static! {
pub static ref LOG: Mutex<Vec<Event>>
= Mutex::new(Vec::with_capacity(50_000));
}

lazy_static! will initialize both of them when LOG is first used. Like String, the Vec is a growable buffer. We won't turn on event logging in release builds, so it's fine to pre-allocate space for 50,000 events. (You can put underscores anywhere in a integer literal to improve readability.)

lazy_static!, Mutex, and Vec are all implemented in Rust using gnarly low-level code. But the amazing thing is that all three expose a safe interface. It's simply not possible to use the variable before it's initialized, or to read the value the Mutex protects without locking it, or to modify the vector while iterating over it.

The worst you can do is deadlock. And Rust considers that pretty bad, still, which is why it discourages global state. But it's clearly what we need here. Rust takes a pragmatic approach to safety. You can always write the unsafe keywordand then use the same pointer tricks you'd use in C. But you don't need to be quite so guarded when writing the other 95% of your code. I want a language that assumes I'm brilliant but distracted :)

Rust catches these mistakes at compile time, and produces the same code you'd see with equivalent constructs in C++. For a more in-depth comparison, see Ruud van Asseldonk's excellent series of articlesabout porting a spectral path tracer from C++ to Rust. The Rust code performs basically the same as Clang / GCC / MSVC on the same platform. Not surprising, because Rust uses LLVMand benefits from the same backend optimizations as Clang.

lazy_static! is not a built-in language feature; it's a macro provided by a third-party library. Since the library uses Cargo, I can include it in my project by adding

[dependencies.lazy_static]
git = "https://github.com/Kimundi/lazy-static.rs"

to Cargo.toml and then adding


#[phase(plugin)]
extern crate lazy_static;

to src/lib.rs. Cargo will automatically fetch and build all dependencies. Code reuse becomes no harder than in your favorite scripting language.

Finally, we define a function that pushes a new event onto the vector:


pub fn log(e: Event) {
LOG.lock().push(e);
}

LOG.lock() produces an RAII handle that will automatically unlock the mutex when it falls out of scope. In C++ I always hesitate to use temporaries like this because if they're destroyed too soon, my program will segfault or worse. Rust has compile-time lifetime checking, so I can do things that would be reckless in C++.

If you scroll up you'll see a lot of prose and not a lot of code. That's because I got a huge amount of functionality for free. Here's the logging module again:


#[deriving(Show)]
pub enum Event {
Intern(u64),
Insert(u64, String),
Remove(u64),
}

lazy_static! {
pub static ref LOG: Mutex<Vec<Event>>
= Mutex::new(Vec::with_capacity(50_000));
}

pub fn log(e: Event) {
LOG.lock().push(e);
}

This goes in src/event.rsand we include it from src/lib.rs.


#[cfg(feature = "log-events")]
pub mod event;

The cfg attributeis how Rust does conditional compilation. Another project can specify

[dependencies.string_cache]
git = "https://github.com/servo/string-cache"
features = ["log-events"]

and add code to dump the log:


for e in string_cache::event::LOG.lock().iter() {
println!("{}", e);
}

Any project which doesn't opt in to log-eventswill see zero impact from any of this.

If you'd like to learn Rust, the Guide is a good place to start. We're getting close to 1.0and the important concepts have been stable for a while, but the details of syntax and libraries are still in flux. It's not too early to learn, but it might be too early to maintain a large library.

By the way, here are the events generated by interning the three strings foobarbaz foo blockquote:

Insert(0x7f1daa023090, foobarbaz)
Intern(0x7f1daa023090)
Intern(0x6f6f6631)
Intern(0xb00000002)

There are three different kinds of IDs, indicated by the least significant bits. The first is a pointer into a standard interning table, which is protected by a mutex. The other two are created without synchronization, which improves parallelism between parser threads.

In UTF-8, the string foois smaller than a 64-bit pointer, so we store the characters directly. blockquote is too big for that, but it corresponds to a well-known HTML tag. 0xb is the index of blockquote in a static listof strings that are common on the Web. Static atoms can also be used in pattern matching, and LLVM's optimizations for C's switch statements will apply.

OUR VALUED CUSTOMERS: Regarding MARVEL's recent movie announcements...


Quiet Earth: First Look at Indie Fantasy Epic MYTHICA: A QUEST FOR HEROES [Trailer]

While Asylum Films has made a name for itself ripping off big budget scifi and action movies and producing tons of schlock for SyFy, Arrowstorm Entertainment has survived with fantasy titles that have been mostly crowd funded. For some reason, I can't sit through Snakes on a Train but give me The Crown and the Dragon (trailer), the fist of Arrowstorm's movies I watched, and I'm more than OK. In part it's the fact that many of the movies feature female leads and for some reason, the mediocre effects don't really distract as much as they do in other movies.

Mostly it's the subject matter, I prefer a good fantasy yarn to almost anything else, and with their new [Continued ...]

Colossal: Portraits Painted on Film Negatives by Nick Gentry

Portraits Painted on Film Negatives by Nick Gentry portraits painting film

Portraits Painted on Film Negatives by Nick Gentry portraits painting film

Portraits Painted on Film Negatives by Nick Gentry portraits painting film

Portraits Painted on Film Negatives by Nick Gentry portraits painting film

Portraits Painted on Film Negatives by Nick Gentry portraits painting film

Portraits Painted on Film Negatives by Nick Gentry portraits painting film

Portraits Painted on Film Negatives by Nick Gentry portraits painting film

Portraits Painted on Film Negatives by Nick Gentry portraits painting film

British artist Nick Gentry (previously) created a new series of portraits by painting on cut film negatives, part of an ongoing effort to repurpose obsolete media—he’s widely known for his paintings on floppy disks—which he uses as a backdrop for his portraiture. The new pieces are part of an upcoming show titled Synthetic Dreams at Robert Fontaine Gallery in Miami in November. You can see some of Gentry’s most recent work in his online gallery.

All Content: #238 October 29, 2014

Sheila writes: Ebertfest 2015 may seem like a long way off, but it's really just around the corner. I wanted to alert you to the fact that passes for the 17th annual Ebertfest go on sale on November 1, this Saturday! Ebertfest will take place Wednesday, April 15th, through Sunday, April 19th, next year. You can find out more information here, as well as watch the video of Tilda Swinton's now-famous conga line, led through the Virginia Theatre in honor of Roger.



Trailers


2001 (1968). New trailer for the U.K. re-release Directed by Stanley Kubrick. Written by Stanley Kubrick and Arthur C. Clarke . Starring Keir Dullea, Gary Lockwood, William Sylvester. Synopsis: Humanity finds a mysterious, obviously artificial, object buried beneath the Lunar surface and, with the intelligent computer H.A.L. 9000, sets off on a quest. Opens in the UK in a limited re-release on November 28, 2014.



Zero Motivation (2014). Written and directed by Talya Lavie. Starring Dana Ivgy, Nelly Tagar, Shani Klein. Synopsis: A zany, dark, & comedic portrait of everyday life for a unit of young, female Israeli soldiers. The Human Resources Office at a remote desert base serves as the setting for this cast of characters who bide their time pushing paper and battling in computer games, counting down the minutes until they can return to civilian life. Amidst their boredom and clashing personalities, issues of commitment - to friendship, love, and country - are handled with humor and sharp-edged wit. Opens in the US on December 3, 2014. Other release dates TBD.



The Gambler (2014). Directed by Rupert Wyatt. Written by William Monahan. Starring Jessica Lange, Mark Wahlberg, Brie Larson . Synopsis: A literature professor with a gambling problem runs afoul of gangsters. Opens in the US on December 19, 2014. Opens in the UK on May 1, 2015.



The Look of Silence (2014). Directed by Joshua Oppenheimer. Synopsis: A family that survives the genocide in Indonesia confronts the men who killed one of their brothers. Release dates TBD.



The Better Angels (2014). Written and directed by A.J. Edwards. Starring Jason Clarke, Diane Kruger, Brit Marling . Synopsis: The story of Abraham Lincoln's childhood in the harsh wilderness of Indiana and the hardships that shaped him, the tragedy that marked him for ever and the two women who guided him to immortality. Opens in the US on November 7, 2014.



Thou Wast Mild and Lovely (2014). Written and directed by Josephine Decker. Starring Joe Swanberg, Sophie Traub, Robert Longstreet. Synopsis: There are places you go, where the things you do will matter to a lot of people. Then there are places you will go, where the things you will do matter only to a very few. But to those few, they will matter - a lot. Release dates TBD.



Drug Lord: The Legend of Shorty (2014). Written and directed by Angus MacQueen. Synopsis: A documentary that chronicles the hunt for the notorious Mexican drug lord El Chapo. Release dates TBD.



Suite Francaise (2014). Directed by Saul Dibb. Written by Saul Dibb and Matt Charman. Starring Margot Robbie, Ruth Wilson, Michelle Williams. Synopsis: During the early years of German occupation of France, romance blooms between Lucile Angellier, a French villager and Bruno von Falk, a German soldier. Release dates TBD.



Avengers: Age of Ultron (2015). Written and directed by Joss Whedon. Starring Robert Downey Jr., Chris Evans, Mark Ruffalo . Synopsis: When Tony Stark tries to jumpstart a dormant peacekeeping program, things go awry and it is up to The Avengers to stop the villainous Ultron from enacting his terrible plans. Opens in the UK on April 24, 2015. Opens in the US on May 1, 2015.



Magician: The Astonishing Life and Work of Orson Welles (2014). Directed by Chuck Workman. Synopsis: "Magician: The Astonishing Life and Work of Orson Welles" looks at the remarkable genius of Orson Welles on the eve of his centenary - the enigma of his career as a Hollywood star, a Hollywood director (for some a Hollywood failure), and a crucially important independent filmmaker. Opens in the US in limited release on December 12, 2014.



The Search (2014). Written and directed by Michel Hazanavicius. Starring Bérénice Bejo, Annette Bening, Maksim Emelyanov. Synopsis: A woman who works for a non-governmental organization (NGO) forms a special relationship with a young boy in war-torn Chechnya. Opens in France on November 26, 2014. Other release dates TBD.



Before I Disappear (2014). Written and directed by Shawn Christensen. Starring Shawn ChristensenFatima Ptacek, Emmy Rossum, Ron Perlman, Paul Wesley . Synopsis: At the lowest point of his life, Richie gets a call from his estranged sister, asking him to look after his eleven-year old niece, Sophia, for a few hours. Release dates TBD.



Dying of the Light (2014). Written and directed by Paul Schrader. Starring Nicolas Cage, Anton Yelchin, Alexander Karim . Synopsis: Veteran CIA agent Evan Lake has been ordered to retire. But when his protégé uncovers evidence that Lake's nemesis, the terrorist Banir, has resurfaced, Lake goes rogue, embarking on a perilous, intercontinental mission to eliminate his sworn enemy. Opens in the US on December 5, 2014.



Top Five (2014). Written and directed by Chris Rock. Starring Adam Sandler, Rosario Dawson, Kevin Hart. Synopsis: A comedian tries to make it as a serious actor when his reality-TV star fiancé talks him into broadcasting their wedding on her TV show. Opens in the US on December 12, 2014.






"It's Just a Cat!"


Sheila writes: Just in time for Halloween, here's a supercut (or cat?) of many terrifying "it's just a cat!!" moments from horror.



30 Best American Independent Horror Films


Sheila writes: The writers over at The Dissolve have compiled a list of their favorite American independent horror films. The introduction states: "From independent professional producers like Roger Corman to intrepid first-timers (and sometimes only-timers) assembling a small crew and making a movie on their own terms, American independent filmmaking has a long, honorable tradition of low-budget scares. In time for Halloween and in conjunction with a month devoted to American independent horror, The Dissolve decided to determine the 30 best examples of this tradition." Go check out the full list! Which films would you choose?


Free Movies


Stalag 17 (1953). Directed by Billy Wilder. Starring William Holden, Don Taylor, Otto Preminger. Synopsis: When two escaping American World War II prisoners are killed, the German POW camp barracks black marketeer, J.J. Sefton, is suspected of being an informer.

Watch "Stalag 17."



Black Magic (1949). Directed by Gregory Ratoff, Orson Welles (uncredited) . Starring Orson Welles, Nancy Guild, Akim Tamiroff . Synopsis: Hypnotist uses his powers for revenge against King Louis XV's court.

Watch "Black Magic."



Blanche Fury (1948). Directed by Marc Allégret. Starring Valerie Hobson, Stewart Granger, Michael Gough . Synopsis: Ambitious poor relation Blanche Fullerton accepts a job as governess from her wealthy cousins who have adopted the name Fury since they acquired the ancestral home of the Fury family. Blanche plots to become the lady of the manor but her illicit passion for the vengeful, obsessed Philip Thorn sets off a string of tragic events, including murder.

Watch "Blanche Fury."



All Content: Goodbye to Language

Thumb_goodbyetolanguage-2014-1

Yes, but what is Godard trying to say?

This is the question, the question, the question critics ask, and have asked, since Jean Luc-Godard made his first feature, "Breathless," back in 1959. And with his latest, "Goodbye to Language," they're asking it again. 

What is it? Where to begin? Much of the film is built around a young couple at a lake house who do a lot of arguing and also spend a lot of time naked. (Much of this feels like a self-parody of European art cinema tendencies: How can I get people to sit still for an extended discussion of politics and language? By having attractive people take their clothes off, of course.But these characters one just anchor points for, essentially, a feature length montage, much of it quickly edited, with few shots held longer than three or four seconds. The style might be irritating in a traditional narrative film. But it seems of a piece in a movie that is partly about (Godard's films are always "about" more than one thing—and often only partly about any of them) the impossibility of focusing, concentrating, and comprehending history, and politics, and the written and spoken word, then making all of it make some kind of sense, if only to yourself. If Terrence Malick tried to make a Godard film in the spirit of Godard, it might look something like this, though with less prolonged discussion of Hitler, the Holocaust, colonialism, imperialism and other favorite Godard subjects, but with Godard's cryptic voice-over aphorisms ("This morning is a dream. Each person must think that the other is the dreamer"). 

Did I mention it's in 3-D? It's in 3-D. And Godard's use of 3-D is the most original since Werner Herzog's "The Cave of Forgotten Dreams." Herzog's brilliance was counterintuitive (at least from a commercial standpoint). He put a technical process that's often deployed in service of spectacle and violence and instead used it in the most mundane (and therefore revelatory) manner: to give an added sense of presence, of "you are there-ness," to very long takes, of a camera gliding through plant life (a snake's-eye view) or an unseen viewer (us) scrutinizing an ancient mural, or listening to an expert tell us about that mural while shifting nervously from foot to foot. 

Godard deploys the technology in a cheeky way (of course he does; he's Godard!). Here, 3-D becomes one more element in Godard's career-long fascination with exploring cinema's formal properties, its grammar and technique and technology—the better to show how films can tell or elide a story, reveal or obfuscate the truth, or just kill screen time by distracting us with pretty pictures or jokes. There are a lot of pretty pictures in this movie, and a lot of jokes, and they're not all corrosive or politically minded. Sometimes Godard seems to just be doing them because he wants to do them—because he wants to try something new, or different. Other times the film combines pretty pictures and jokes to create an oxymoron: a gorgeous sight gag. 

The film often superimposes two titles or subtitles over each other, collage-style, or allows people or objects in the frame to partly obscure written words; at a New York screening of "Goodbye to Language" a few weeks back, the first time the film played around with text in this way, you could see a few critics sort of leaning to one side, as if attempting to see around whatever was on top of the thing that they wanted to see. The movie also uses 3-D to create something like 2 1/2 D, by which I mean, you're aware of separate planes within the same image, seemingly separated by indeterminate space, yet each plane is two-dimensional, which means the net effect is like looking through a series of scrims, each emblazoned with a silkscreened image. (Godard has contributed episodes to two 3-D anthology films, "The Three Disasters" and "The Bridges of Sarajevo." Clearly this format is not just a lark to him.)

Shooting in digital video again, the 83-year old director plays with color saturation, exposure, light and shadow. In shots taken through the windshield of a car zipping down a highway at night, the blacks have been crushed so that you can't see any background detail; red taillights in the background become splashes of red. In a shot of roses in a green field, the red of the flowers has been cranked up so that the color smears and seems to be trying to escape the petals, like spirits escaping a body. An intriguingly Malick-ian point-of-view shot looking up at trees festooned with fall leaves favors two colors: orange for the leaves and violet for the sky. And of course there are lots and lots and lots of shots of dogs. Godard loves dogs.

Meanwhile the film's multiple narrators go full-steam ahead, peppering the soundtrack with thoughts and fragments of thoughts, some of them overlapping. Some music cues are cut off abruptly, as if somebody had pressed the "Stop" button on a recording. We hear that cinema is the enemy and savior of memory, that the state is at war with its people. The camera lingers over a shot of a sink superimposed over a shot of bisected oranges and lemons superimposed over a red substance (blood) slowly spreading through water. 

The film continually circles back to its rhetorical center—the idea that existence is about trying to reconcile the "real" world with the subjective experience of the world, and the names and notions we use to catalog and define the world—but the digressions are what make it sing, or scat-sing. "I will barely say a word," says a voice on the soundtrack—maybe Godard?—adding, "I am looking for poverty in language." Given that the film is itself so richly expressive in every sort of language (written, spoken, visual) this seems like yet another wonderful joke, one that somehow doubles as a lament. "Goodbye to Language" will be catnip to anyone who continues to appreciate Godard and find him fascinating, and toxic to anyone who read this review and thought, "No thanks." It's a rapturous experience, mostly, though tempered by a certain Godardian crankiness. Watching it is, I would imagine, as close as we'll get to being able to be Godard, sitting there thinking, or dreaming. It's a documentary of a restless mind. 

Charles Petzold: My Week at Xamarin Evolve 2014

I've been to a lot of developers conferences over the decades, but never before had I been an employee of the company that staged the event. Consequently, it was fascinating getting an inside view of the massive amount of preparation required for Xamarin Evolve 2014, the largest cross-platform mobile developers conference in the world, and just as exciting spending the week at Evolve in Atlanta earlier this month.

... more ...

Paper Bits: "What I am curious about is why it is bad, or, what is the particular machinery of badness that..."

“What I am curious about is why it is bad, or, what is the particular machinery of badness that produced a product that emits “this is all awful” background radiation?”

- Destiny and Writing

Climate Resistance: The Green Blob in Academe

Catherine Mitchell is Professor of Energy Policy at the University of Exeter. She is also one of the academics behind a joint venture between Exeter University and the Engineering and Physical Sciences Research Council, called IGov: ‘Innovation, Governance and Affordability for a Sustainable Secure Economy’.

IGov is a four year research project aiming to understand and explain the nature of sustainable change within the energy system, focusing on the complex inter-relationships between governance and innovation. The project is housed in the University of Exeter’s Energy Policy Group and is funded by the Engineering and Physical Sciences Research Council (EPSRC). Our approach is to examine theories of change alongside actual practice in the UK and a number of comparison countries. The ultimate objective is to develop a framework for governance that better enables practices to change and the UK to move towards a sustainable, secure and affordable energy system. IGov is about new thinking for energy.

Needless to say, I find this stuff weird.

Why? First, leaving aside what we know about the Green Blob (we’ll come back to that), I find the growing nexus between the academy and the state weird. ‘A government of all the talents’, as Gordon Brown called it, seems to make at least superficial sense. But it leads to the grim politics that Gordon Brown will be remembered for. Expertise, though a necessary thing for governments to draw from, given undue prominence, is corrosive to the democratic sphere. Second, it seems to me that Academe’s growing role as outsourced policymakers invariably attracts the dimmest academics, who nonetheless are now able to campaign for “change” under the cover of academic prestige, rather than out in the public sphere, amongst the hoi polloi. I don’t think that is a healthy way to construct policy.

For example… What business is it of Exeter University to lobby for ‘sustainable change within the energy system’? Who asked them to devise plans to get ‘the UK to move towards a sustainable, secure and affordable energy system’?

That’s not to criticise academics for having views — and stating them — about how the world should be organised, if it should be organised at all. But put it this way, would IGov ask an academic who is critical of its aims to join it? No. But neither is it open to public criticism, yet it has influence in the public sphere.

On Monday, Professor Mitchell posted an article to the IGov blog, criticising David Rose’s Mail on Sunday article on the Green Blob, which Barry Woods and I helped with. Mitchell says ‘It is the Black Fog the Daily Mail needs to worry about, not the Green Blob’. After dismissing the article as ‘reactionary, evidence-free journalism which provides a small part of a whole picture, thereby giving the wrong view’, she makes her argument that the fossil fuel lobby — the Black Fog — is far more extended into policymaking than the Green Blob is.

One thing we can be certain of is that it is not the green blob which is somehow taking over parliament. The ‘black fog’ which supports fossil fuels and the conventional energy system is far bigger, and has a far greater impact across the globe, and in Britain.

To make her point, she uses research from the IEA, OECD and IMF, which claims that subsidies for fossil fuels are much greater than the subsidies for renewables. This is a proxy, on Mitchell’s view, for the extent of the lobbying either sector does. I thought I’d email Professor Mitchell, to explain why she’s wrong.

Dear Professor Mitchell,

As one of the reporters on the Mail on Sunday story you refer to in your recent blog post, I was interested in your comments that the ‘Black Fog’ should concern the Daily Mail {sic} more than the ‘Green Blob’. Being a freelance researcher on energy and climate matters, a number of your other comments also concerned me.

You express the view that the article represented ‘reactionary, evidence-free journalism which provides a small part of a whole picture, thereby giving the wrong view’.

In fact a substantial amount of research was undertaken for the article, and some was produced beforehand. The bulk of the evidence for the claims made in the article exist in the published reports of the organisations referred to – a requirement of US (though sadly not UK) law. I have provided some links below this email.

The reports published by the US, UK and Brussels-based organisations referred to all emphasise their roles in campaigning for planned coal-fired generating capacity in the UK to be cancelled, and their success in bringing about national and EU legislation. We show that The Hewlett Foundation alone made grants of $0.5 billion to ClimateWorks, which is the major donor in turn of the European Climate Foundation (ECF), who make further grants from a €25 million budget to organisations to lobby for policy change. We found further substantial grants are made directly between ClimateWorks and ECF’s funders and their beneficiaries.

You go on to claim that a greater problem than the effect of ‘green blob’ funding over policy-making is the black fog, which is ‘taking over parliament’. The only evidence you offer in support of this claim is the ‘direct public subsidies to different energy sectors’, revealed in reports by the International Energy Agency (IEA), IMF and OECD. I believe that you may have misunderstood the research you cite.

The summary of the report you linked to makes the claim that “The global cost of fossil-fuel subsidies expanded to $544 billion in 2012 despite efforts at reform. Financial support to renewable sources of energy totalled $101 billion.” However, what is not explained is how these figures are produced.

The IEA explain their methodology: “It compares average end-user prices paid by consumers with reference prices that correspond to the full cost of supply.” The OECD explain the problem with this approach. As the price paid by the consumer after duty and so on is generally greater than the reference price, the IEA do not consider that Britain subsidises the fossil fuel sector. And so on the IEA’s analysis, no country in Europe or North America subsidises its fossil sector, either. We can, on the terms of your own argument, then, determine that the size of the ‘black fog’ is zero, and that its influence in Westminster and in Brussels is zero.

The OECD’s analysis, which is drawn from the same data, does claim that Britain subsidises the fossil fuel sectors. But it admits that ‘The scope of what is considered “support” is here deliberately broad, and is broader than some conceptions of “subsidy”’. Taking the case of Britain, for example, the OECD looked at the tax benefits enjoyed by gas companies, and found the sector to be subsidised in 2011 to the amount of £3.631 billion. However, this includes £3.51 billion of ‘subsidy’ in the form of a reduced rate of VAT on domestic energy. If this is a subsidy at all, it is a consumer subsidy, not a producer subsidy. The remainder – £121 million is dwarfed by the amount the sector pays to the Treasury.

Returning to the IEA’s analysis, further investigation shows, too, that it includes in the largest part subsidies to poor consumers not to producers.

Neither analyses suggest, as you claim that ‘direct public subsidies’ are paid to ‘fossil energy sectors’ at all, much less in Britain. In fact, a PWC survey of the oil and gas sector found that it contributed more than £30bn to the Treasury. No subsidies are paid to the fossil sectors. And what the OECD claims is a ‘subsidy’ in the form of reduced rates of VAT on fuel and power in the UK is in fact a consumer benefit that is equally applied to green energy – it just happens that less of it is produced, so it draws less subsidy. In this respect, the OECD’s analysis is extremely misleading. My own research shows that, even taking the OECD’s analysis at face value, when we compare the ‘subsidies’ given to green and brown sectors on a unit-for-unit basis, the renewable sector enjoys thirteen times the subsidy that the fossil fuel sector received.

You are right to say that claims about the ‘green blob’ influencing policy should be seen in the context of the efforts of ‘black fog’ to do the same. However, you are wrong to suggest that our investigation did not attempt to do this.

In fact, I spoke to a number of green organisations’ press officers about the new EU 2030 targets and the effect of industry lobbying on both sides of the debate on the Friday before publication. The Greenpeace European Office, for example, were adamant that there was such resistance to the new targets, but were unable to identify it in the terms of the article, or quantify such intervention, beyond reference to the Magritte Group, which, the spokeswoman admitted, did not seem to have intervened in the discussion about 2030 targets. A spokesman for Climate Action Network Europe told me that “the business voice has been very divided, with some being more or less on the same page as NGOs… Big multinational companies, not just renewable energy companies”. We did not look into commercial support for green policies, though we had the opportunity to point out that substantial commercial interests exist in them, and are involved with ECF beneficiaries, and have working relationships with them and politicians.

Had the organisations we spoke to – and we spoke to quite a few – been able to offer us evidence that the ‘black fog’ had intervened in the way that the ‘green blob’ has intervened, this detail would have been in the article. However, and as the article pointed out, there is only one organisation which could be described in that way. But it is very poorly funded and it refuses donations from people with interests in the energy sector.

It does not seem unreasonable, therefore, to suggest that the black fog may be nothing more than a figment of the green blob’s imagination, and that if any such lobbying effort exists, its effect is negligible. After all, the ‘green blob’, as they themselves claim, were successful in closing down the planned Kingsnorth coal-fired power station replacement, and in securing a promise of ‘no new coal without CCS’ from the previous and coalition governments.

I am surprised that it needs to be pointed out to a professor of energy policy that the OECD, EIA and IMF reports on subsidies have no place in a discussion about energy policy lobbying, and are themselves misleading measures of the energy market. If the lobbying funded by American billionaires simply went to arguing for more cash for the renewable energy sector, it might be harder to criticise them. But the consequences of yet more and further-reaching policies such as the Climate Change Act and the new 2030 targets will be felt more by people outside of the energy sector than within it. Even with the EU’s targets, it seems unlikely to me that the fossil sector’s bottom line will be affected – the EU’s 2030 targets and CCA will not close down the world market for fossil fuels.

You are entitled to your own research interests and political preferences, of course. But it looks like you have dismissed an article out of hand, on a university blog, without the substance to back it up, merely on the basis of prejudices. If the point of academic expertise is to cheerlead preferred policies, and to shout ‘boo’ at Big Oil and the wrong kind of newspapers, we can surely add them to the list of organisations recruited into the Green Blob. It seems to me that you have done precisely what you accuse the Mail on Sunday of doing – namely, ‘reactionary, evidence-free journalism which provides a small part of a whole picture, thereby giving the wrong view.’

If I have misunderstood your blog post, however, I would be grateful for your explanation. Otherwise, I hope that you will be correcting your blog post.

Best wishes,

Ben Pile.

————–

ECF grantees:- http://europeanclimate.org/home/how-we-work/our-grantees/
ECF Annual Report 2013:- http://europeanclimate.org/wp-content/uploads/2014/04/ECF-2013-annual-report-web.pdf
ClimateWorks donors:- https://web.archive.org/web/20131127175640/http://www.climateworks.org/about/funders/

Hewlett Foundation grant database:- http://www.hewlett.org/grants/search

Hewlett Foundation statement of support for ClimateWorks:- “That is why the Hewlett Foundation decided to make a five-year, $100 million a year commitment, beginning in 2008, to ClimateWorks. ClimateWorks Foundation is a clearinghouse for this work, coordinating and supporting an international network of regional climate foundations in each of the world’s top carbon-dioxide-emitting regions-the United States, the European Union, China, India, and Latin America, as well as one to monitor the preservation of forests. The ClimateWorks Foundation is governed and led by a board of preeminent civic, business and scientific leaders from around the world and committed to supporting and sharing the best approaches to combating climate change from every corner of the world.” — http://www.hewlett.org/philanthropys-role-fighting-climate-change

Packard Foundation grant database:- http://www.packard.org/grants/grants-database
Includes the following grants to ClimateWorks:-
2014 – $66,100,000 – http://www.packard.org/grants/grants-database/climateworks-foundation-8/
2013 – $250,000 – http://www.packard.org/grants/grants-database/climateworks-foundation-7/
2013 – $66,100,000 – http://www.packard.org/grants/grants-database/climateworks-foundation-6/
2012 – $66,100,000 – http://www.packard.org/grants/grants-database/climateworks-foundation-5/
2011 – $66,100,000 – http://www.packard.org/grants/grants-database/climateworks-foundation-4/
2010 – $46,757,793 – http://www.packard.org/grants/grants-database/climateworks-foundation-3/
2009 – $40,400,000 – http://www.packard.org/grants/grants-database/climateworks-foundation-2/
2008 – $33,400,000 – http://www.packard.org/grants/grants-database/climateworks-foundation/

McKnight Foundation grant database:- http://www.mcknight.org/grant-programs/grantees
Includes the following grants to ClimateWorks:-

http://www.mcknight.org/grant-programs/grantees?query=ClimateWorks&year=&program_area=

Year Approved: 2008 – Grant Amount: $16,000,000
Year Approved: 2010 – Grant Amount: $26,000,000
Year Approved: 2013 – Grant Amount: $1,000,000

Oak Foundation grant database:- http://www.oakfnd.org/grants
Includes the following grants to ECF;-
2009 – $1,700,000 – http://www.oakfnd.org/node/2909
2011 – $2,938,505 – http://www.oakfnd.org/node/4136
2012 – $6,825,710 – http://www.oakfnd.org/node/4490
2013 – $468,270 – http://www.oakfnd.org/node/5163
2013 – 4,771,798 – http://www.oakfnd.org/node/5162

And hte following donations to ClimateWorks:-
2008 – $600,000 – http://www.oakfnd.org/node/3363
2010 – $2,000,000 – http://www.oakfnd.org/node/3367
2011 – $3,750,000 – http://www.oakfnd.org/node/4190
2012 – $2,400,000 – http://www.oakfnd.org/node/4488

ClimateWorks 2011 Annual Report:- http://www.climateworks.org/imo/media/doc/ClimateWorks%20Foundation_2011%20Annual%20Report.pdf
ClimateWorks 2010 Annual Report:- http://www.climateworks.org/imo/media/doc/ClimateWorks%202010%20annual%20report.pdf
ClimateWorks 2009 Annual Report:- http://www.climateworks.org/imo/media/doc/CWFAnnualReport2009.pdf

In which the following grants to are listed:

In 2009, CW gave $64,858,769 to regional climate foundations, which
included $10,100,000 to ECF
In 2011, CW gave $83,446,516 to regional climate foundations, which
included $13,632,557 to ECF

in 2010:
European Climate Foundation – To support E.U. programs – $13,775,200
European Climate Foundation – To help track, assess, and compare
countries’ climate mitigation – $963,000
European Climate Foundation – To support the Deutsche Umwelthilfe
“Soot-Free for the Climate” European diesel filter campaign – $715,000
European Climate Foundation – To support carbon capture and storage
(CCS) strategy and grants management – $1,000,000
TOTAL: $16,453,200

ClimateWorks 2012 990 form:- http://pdfs.citizenaudit.org/2013_11_EO/26-2303250_990_201212.pdf — in which CW declares that it made $25,367,175 in grants to
European organisations.

ECF grant to CAN Europe:- E345,453 in 2013 – http://www.climnet.org/about-us/60-about-us/caneeuropesfunding
ECF grant to FOE Europe:- E339,967 in 2013 – http://www.foeeurope.org/sites/default/files/foee_funding_breakdown_2013.pdf
Grants to WWF Europe:- E531,280 in 2013 from “foundations” – http://www.foeeurope.org/sites/default/files/foee_funding_breakdown_2013.pdf
Grants to Green Alliance from “foundations”:- http://apps.charitycommission.gov.uk/Accounts/Ends95/0001045395_AC_20130331_E_C.pdf

Example statement of ClimateWorks’ support of lobbying policy ends:- “ECF support helped ensure that the European Commission committed to strong, binding targets and minimized loopholes in its updated climate policies. ECF also helped defeat a half-dozen proposed coal power plants and supported adoption of some of the world’s strongest fuel-efficiency standards.” — http://www.climateworks.org/network/regions/region/?id=adac1221-b7c3-e0dc-3f30-67b27b29feec##regional-climate-foundation

Then I took another look at Professor Mitchell’s profile page…

She is on the Board of the Regulatory Assistance Project – a US based non-profit organisation that provides regulatory advice to Governments. She has also advised numerous national and international companies, NGOs and institutions on various aspects of the transition to a sustainable energy system.

The Regulatory Assistance Project sounds innocuous enough. It is ‘a global, non-profit team of experts focused on the long-term economic and environmental sustainability of the power and natural gas sectors, providing assistance to government officials on a broad range of energy and environmental issues’.

I’d seen the name before. It had popped up during my research for David Rose. If you have a look at ClimateWorks’ 2012 990 form, for instance, you’ll see this:

CW990

ClimateWorks gave The Regulatory Assistance Project more than $8 million in 2012. If you haven’t read the Sunday Mail article yet, the significance of this is that ClimateWorks is the clearing house for the vast funds that flow between ‘philanthropic’ organisations and special interest lobbying organisations, like RAP. The European Climate Foundation, which is the focus of the Mail on Sunday Article, is the European Office of ClimateWorks, and distributes £tens of millions to our friends such as FoE, Greenpeace, WWF and smaller propaganda outfits like Richard Black’s Energy and Climate Intelligence {sic} Unit, and The Carbon Brief, which is now headed up by my old pal, Leo Hickman.

ASIDE: On that last point, check out this from ClimateWorks’ 2011 report, where it explains what it spent its ‘climate science communications’ budget on…

climateBriefClimateWorks

$600,000… FOR A BLOG! If there are any generous billionaires reading this blog, please get in touch.

Back to Professor Mitchell. She was criticising David Rose’s article, and yet the organisation in the USA, which she is a director of, is a beneficiary of the foundation, funded by billionaires such as the Hewletts, Packards, and so on.

I sent Professor Mitchell another email.

Dear Professor Mitchell,

Since sending you my email, I notice from your profile that you are a board member of the US Regulatory Assistance Project, which was the beneficiary of $8,674,434 of grants from ClimateWorks in 2012.

Given that you discuss in your blog post the need for transparency, do you not think you should have mentioned your relationship with the organisations identified in the Mail on Sunday article?

Best wishes,

I’m not expecting a reply.


UPDATE: Catherine Mitchell has emailed to say that her blog post has been amended. The comment about ‘reactionary, evidence-free journalism which provides a small part of a whole picture, thereby giving the wrong view’ has been removed.

Colossal: New Surreal Paintings and Murals by Rustam Qbic

New Surreal Paintings and Murals by Rustam Qbic surreal street art painting murals

New Surreal Paintings and Murals by Rustam Qbic surreal street art painting murals

New Surreal Paintings and Murals by Rustam Qbic surreal street art painting murals

New Surreal Paintings and Murals by Rustam Qbic surreal street art painting murals

New Surreal Paintings and Murals by Rustam Qbic surreal street art painting murals

New Surreal Paintings and Murals by Rustam Qbic surreal street art painting murals

New Surreal Paintings and Murals by Rustam Qbic surreal street art painting murals

New Surreal Paintings and Murals by Rustam Qbic surreal street art painting murals

Russian street artist Rustam Qbic (previously) just completed a new 9-story mural in Nizhny Novgorod, Russia for the New City festival. Titled “Blossom” the mural depicts individuals whose heads are literally “blooming” while reading books, an irony not lost on the artist who worked through 11 days of frigid cold and snow to complete the work. The mural is just one of many surreal paintings and walls created by Qbic since we covered his work here last year. You can see more over on his website. (via StreetArtNews)

things magazine: Don’t look back

Radio 4’s current book at bedtime, The Restoration of Otto Laird, abridged from the novel by Nigel Packer, is the Goldfinger-esque tale of an architect coming to terms with his past / related, Chisel and Mouse make sculptures and 3D prints of classic facades, old and new. Above, Willow Road in Hampstead.

The Rhizome Frontpage RSS: Rhizome Today: Zombie Modernism

 
This is Rhizome Today for Wednesday, October 29, 2014
 
Rhizome Today is an experiment in ephemeral blogging: a series of posts that are written hastily in response to current events, and taken offline within a day or so. The latest post can always be found at rhizome.org/today. 
 
Simplify.thatsh.it
A fun, effective new site from Tim Nolan and Jen Lu, an ongoing collab exploring algorithm-derived images. Drop a jpeg and see your favorite works reduced to iterative geometric abstraction. We're calling it, ahem, Zombie Modernism
   
Instagram as visited on a computer 
 
 

and Jennifer in Paradise (naturally)
 
#DoYouFollow
Check out Amalia Ulman, Derica Shields, and Hannah Black's epic conversation about bodies in circulation, now transcribed on rhizome.org.

The Shape of Code: Workshop on App Store Analysis

I was at the 36th CREST Open Workshop, on App Store Analysis, at the start of this week. The attendee list reads like a who’s who of academics researching App stores. What really stood out for me was the disconnect between my view of the software engineering aspects of developing mobile Apps and the view of many, but not all, academics in the room.

Divergent points of view on App development being different because… included:

Academics: they are written by a small number (often one) of developers.
Me: This was true in the early days of microprocessors and the web. When something new comes out only a small number of people are involved in it and few companies are willing to invest in setting up large development teams. If the new thing succeeds (i.e., there is money to be made) the money to create large teams will follow.

Academics: third party libraries make a significant contribution to functionality.
Me: This is true of a lot of web software and it is becoming more common for Apps on all platforms. It was not true in the past because the libraries were not available; Open Source changed all that.

Academics: they are not structured/written according to software engineering principles (someone in the room thought that waterfall was still widely used).
Me: This is true of most software produced by individuals who are writing something out of interest in their spare time or because they are not gainfully employed in ‘real’ work. When microcomputers were new the internal quality of most software on the market was truly appalling; it was primarily written by people who knew a market niche very well and taught themselves programming, the software sold because it addressed the needs to its customers and code quality was irrelevant (of course the successful products eventually needed to be maintained, which in when code quality became important, but they now had money to employ developers who knew about that kind of stuff).

Academics: the rapid rate of change (in tools and libraries etc) being experienced will continue into the foreseeable future.
Me: I was staggered that anyone could think this.

Academics: lots of money to be made for minimal investment:
Me: Those days are past.

Me: power drain issues (may) be a significant design issues.
Academics: Blank look.

Other things to report:

Various concerns raised by people who had encountered the viewpoint that mobile Apps were not considered worthy of serious academic study within software engineering; this point of view seemed to be changing. I don’t recall there every having been academic research groups targeting microcomputer software, but this certainly happened for web development.

I was a bit surprised at the rather rudimentary statistical techniques that were being used. But somebody is working on a book to change this.

Planet Haskell: Yesod Web Framework: Announcing: yesod-gitrepo

I'm happy to announce the first release of a new package, yesod-gitrepo. This package encapsulates a pattern I've used a number of times, namely: loading and refreshing content from a Git repository. Below is the current contents of the README.md file.

This code is currently being used in production, and should be pretty stable. That said, it has not received a huge amount of battle testing yet. So please due test corner cases before shipping it in production for your site.


yesod-gitrepo provides a means of embedding content from a Git repository inside a Yesod application. The typical workflow is:

  • Use gitRepo to specify a repository and branch you want to work with.
  • Provide a function that will perform some processing on the cloned repository.
  • Use grContent in your Handler functions to access this parsed data.
  • Embed the GitRepo as a subsite that can be used to force a refresh of the data.
  • Set up a commit handler that pings that URL. On Github, this would be a webhook.

This is likely easiest to understand with a concrete example, so let's go meta: here's an application that will serve this very README.md file. We'll start off with language extensions and imports:

{-# LANGUAGE NoImplicitPrelude #-}
{-# LANGUAGE OverloadedStrings #-}
{-# LANGUAGE QuasiQuotes       #-}
{-# LANGUAGE TemplateHaskell   #-}
{-# LANGUAGE TypeFamilies      #-}
import           ClassyPrelude.Yesod
import           Text.Markdown
import           Yesod.GitRepo

Now we're going to create our foundation datatype. We need to give it one field: the GitRepo value containing our parsed content. Our content will simply be the text inside README.md, wrapped up in a Markdown newtype for easy rendering. This gives us:

data App = App
    { getGitRepo :: GitRepo Markdown
    }

instance Yesod App

And now let's set up our routes. We need just two: a homepage, and the subsite. Our subsite type is GitRepo Markdown (as given above). We replace the space with a hyphen as an escaping mechanism inside Yesod's route syntax:

mkYesod "App" [parseRoutes|
/ HomeR GET
/refresh RefreshR GitRepo-Markdown getGitRepo
|]

Next up is our home handler. We start off by getting the current content parsed from the repository:

getHomeR :: Handler Html
getHomeR = do
    master <- getYesod
    content <- liftIO $ grContent $ getGitRepo master

Then it's just some normal Hamlet code:

    defaultLayout $ do
        setTitle "yesod-gitrepo sample"
        [whamlet|
            <p>
                <a href=@{RefreshR GitRepoRoute}>
                    Force a refresh at
                    @{RefreshR GitRepoRoute}
            <article>#{content}
        |]

And finally, our main function. We pass in the repo URL and branch name, plus a function that, given the filepath containing the cloned repo, processes it and generates a Markdown value. Finally, we provide the generated repo value to our App constructor and run it:

main :: IO ()
main = do
    repo <- gitRepo
        "https://github.com/snoyberg/yesod-gitrepo"
        "master"
        $ \fp -> fmap Markdown $ readFile $ fp </> "README.md"
    warp 3000 $ App repo

Give it a shot. You should have a webapp hosting this very README file!

BOOOOOOOM!: “Ready To Surrender” A Dance Film by Maceo Frost

maceo-frost-01

“Ready To Surrender” is a short dance film directed by Maceo Frost, and choreographed by Mari Carrasco. Watch it below.

View the whole post: “Ready To Surrender” A Dance Film by Maceo Frost over on BOOOOOOOM!.

Paper Bits: auntie pixelante › level design lesson: to the right, hold on tight

auntie pixelante › level design lesson: to the right, hold on tight

Planet Lisp: Lispjobs: Clojure DevOps Engineer, Diligence Engine, Toronto or Remote

DiligenceEngine is a Toronto-based startup using machine learning to automate legal work. We're looking for a DevOps engineer to help us manage and automate our technology stack. Our team is small, pragmatic, and inquisitive; we love learning new technologies and balance adoption with good analysis. We prefer to hire in the Toronto area, but also welcome remote work in a time zone within North America.

Full job listing at their blog: We’re hiring a Clojure engineer!


TheSirensSound: Brother Saturn

Brother Saturn Profile

[ Brother Saturn ] is an ambient / space-ambient outfit who has been in the music making for a little over 7 years now. His main focus is ambient, soundscape music for films that do not exist and who happen to another music project entitled [ CHROMADRIFT ] which I am bind to check out after this listen. That said under this particular moniker [ Brother Saturn ] has released eleven title to date.

Influences and Interest Include:

The universe, space travel, traversing through sound, travel, mogwai, scott lawlor, the entire music catalogue of WeAreAllGhosts, insomnia, weather patterns, nature, you, photography, music making, lounging about, Twitter, Sigur Rós, Cousin Silas, Zoë Keating, The Northern Hemisphere, CHROMADRIFT/Birds of Passage, Andrew Bird, Nils Frahm, ólafur arnalds, amiina, the atlas amp etc etc…

Space Dimensions 5​-​7
Credits
Released: OCT 27 2014
…a continued chapter in the “Space Dimension” series.

< < < < < [ [ BANDCAMP ] | [ FACEBOOK ] ]. > > > > >
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Brother Saturn - Space Dimensions 5​-​7

Artist – Brother Saturn
Album – Space Dimensions 5​-​7
Release Date – 2014
Genre – Ambient, Instrumental, Space-ambient, Experimental, Dronescape [ EXCELLENT ]

Tracklist

1. Moon of Vega (Space Dimension 5) 08:32
2. Stargazing (Space Dimension 6) 06:11
3. we may never see daylight again (Space Dimension 7) 22:11
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Brother Saturn – Space Dimensions 5​-​7
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Brother Saturn - Far From Home

Artist – Brother Saturn
Album – Far From Home
Release Date – 2014
Genre – Ambient, Instrumental, Space-ambient, Experimental, Dronescape [ EXCELLENT ]

Tracklist

1. Foggy Night 09:29
2. Styx and Stones 27:28
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Brother Saturn – Far From Home
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Brother Saturn - Caverns and Canyons (B​-​Sides and Unreleased Songs)

Artist – Brother Saturn
Album – Caverns and Canyons (B​-​Sides and Unreleased Songs)
Release Date – 2014
Genre – Ambient, Instrumental, Space-ambient, Experimental, Dronescape [ EXCELLENT ]

Tracklist

1. Ancient Sphere 07:18
2. Waterfall Canyon 12:03
3. Caverns of Light 06:15
4. Canopy of Stars 12:24
5. Big Bright Sun 10:21
6. Up in the Clouds 13:31
7. For Luna 06:36
8. Midnight Flight 05:12
9. Lullaby For A Midnight Sky 06:21
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Brother Saturn – Caverns and Canyons (B​-​Sides and Unreleased Songs)
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Brother Saturn - TWO EARTHS - EP

Artist – Brother Saturn
Album – TWO EARTHS – EP
Release Date – 2014
Genre – Ambient, Instrumental, Space-ambient, Experimental, Dronescape [ EXCELLENT ]

Tracklist

1. Between Our World And Yours 05:37
2. Endless Night 04:14
3. Two Earths 07:54
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Brother Saturn – TWO EARTHS – EP
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Brother Saturn - Space Dimensions 3 & 4

Artist – Brother Saturn
Album – Space Dimensions 3 & 4
Release Date – 2014
Genre – Ambient, Instrumental, Space-ambient, Experimental, Dronescape [ EXCELLENT ]

Tracklist

1. Dangerous Skies (Space Dimension #3) 13:08
2. Absolute Zero (Space Dimension #4) 07:48
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Brother Saturn – Space Dimensions 3 & 4
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Brother Saturn - Tales of Space Exploration 17 - 24

Artist – Brother Saturn
Album – Tales of Space Exploration 17 – 24
Release Date – 2014
Genre – Ambient, Instrumental, Space-ambient, Experimental, Dronescape [ EXCELLENT ]

Tracklist

1. Venus Meteoric 08:06
2. Of Fire and Ice 07:13
3. Infinite Sun 08:47
4. 18 Moons 06:54
5. Neptune’s Lullaby 12:39
6. Arctic Happiness 08:27
7. Reign of Triton 08:32
8. Breathless (is this the end) 08:26
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Brother Saturn – Tales of Space Exploration 17 – 24
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BRother Saturn - Space Dimensions 1 & 2

Artist – Brother Saturn
Album – Space Dimensions 1 & 2
Release Date – 2014
Genre – Ambient, Instrumental, Space-ambient, Experimental, Dronescape [ EXCELLENT ]

Tracklist

1. Space Dimension #1 15:07
2. Space Dimension #2 27:27
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Brother Saturn – Space Dimensions 1 & 2
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Brother Saturn - A Diary of Songs Re Life & Death

Artist – Brother Saturn
Album – A Diary of Songs Re: Life & Death
Release Date – 2014
Genre – Ambient, Instrumental, Space-ambient, Experimental, Dronescape [ EXCELLENT ]

Tracklist

1. Moonlit Borealis 14:14
2. Cold Sand (…After The Rain Came) 10:41
3. Día De Muerte (Day of Death) 10:39
4. I Never Knew You, But I Love You 07:24
5. Penumbra 07:53
6. River of Styx (Death-Star) 10:03
7. Uncharted Land (…Someplace New) 08:07
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Brother Saturn – A Diary of Songs Re: Life & Death
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Brother Saturn - Tales of Space Exploration 9 - 16

Artist – Brother Saturn
Album – Tales of Space Exploration 9 – 16
Release Date – 2013
Genre – Ambient, Instrumental, Space-ambient, Experimental, Dronescape [ EXCELLENT ]

Tracklist

1. Welcome to The Milky Way 04:56
2. Dsytopia 07:51
3. Footprints on the Moon 09:20
4. The Cumulus Effect (Just Breathe) 09:12
5. I Walk Alongside the North Star Ghost 06:36
6. As Empty As I Seem (Way Out Here) 09:28
7. I Am A Long Way From Home 10:19
8. Our Infinite Universe 14:44
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Brother Saturn – Tales of Space Exploration 9 – 16
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Brother Saturn - Tales of Space Exploration 1​-​8

Artist – Brother Saturn
Album – Tales of Space Exploration 1​-​8
Release Date – 2013
Genre – Ambient, Instrumental, Space-ambient, Experimental, Dronescape [ EXCELLENT ]

Tracklist

1. Ghostmoon 06:40
2. Skyships 07:56
3. Storms Beneath The Sea 13:43
4. I Was Found Inside a Nebula 22:33
5. Piano Traveler 18:21
6. Planet X 20:18
7. Searching For Pluto 15:38
8. Swirling Galaxy, Now I Can Sleep 24:00
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Brother Saturn – Tales of Space Exploration 1​-​8
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Brother Saturn - Brother Saturn - EP

Artist – Brother Saturn
Album – Brother Saturn – EP
Release Date – 2013
Genre – Ambient, Instrumental, Space-ambient, Experimental, Dronescape [ EXCELLENT ]

Tracklist

1. Ghostmoon 06:40
2. Skyships 07:56
3. I Was Found Inside a Nebula 22:33
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Brother Saturn – Brother Saturn – EP
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Brother Saturn
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TheSirensSound: Uma Totoro

Uma Totoro Profile

We are Uma Totoro, a duo from BA Argentina.

Up. Always, above. But down here where I am, where my feet will touch the ground. This is the land. That’s where it just is. But above a figure appears. With all the answers. And the answers are all questions. All that is outside of me, outside of these borders … .. It that figure incandescent .. ..

Giant Tortoises For Solar Energy

Released 17 October 2014
Recorded, mixed and mastered
between June and October 2014 by Nicholas Castello

SPECTRAL All composed and played by Uma Totoro topics Production
Uma Totoro and Nicholas Castello | Cover art and design: Victoria Celestine and Manuel Garcia Tornadu

< < < < < [ [ BANDCAMP ] | [ FACEBOOK ] ]. > > > > >
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Uma Totoro - Energía Solar Para Tortugas Gigantes

Artist – Uma Totoro
Album – Energía Solar Para Tortugas Gigantes
Release Date – 2014
Genre – Instrumental, Experimental, Dark-ambient, Post-industrial, Dance, Dance-ambient, Post-electronic

Tracklist

1. Yo tengo pájaros 03:28
2. El Jirafonte 04:42
3. Lobotomóvil 01:38
4. Incidente Roswell 02:44
5. Bombyx mori 01:52
6. El sol rebota en los peces 03:15
7. Al calor de las máquinas 02:47
8. Costa de Marfil 10:27
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Uma Totoro – Energía Solar Para Tortugas Gigantes
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Uma Totoro - Aparatos que Median Entre la Realidad y el Hombre

Artist – Uma Totoro
Album – Aparatos que Median Entre la Realidad y el Hombre
Release Date – 2012
Genre – Instrumental, Dark-ambient, Post-industrial, Dance, Dance-ambient

Tracklist

1. Escape de rehab 07:59
2. El FBI no existe 05:42
3. Aparición de Gilda 06:12
4. Señora, yo no tengo casa, vivo en el cielo 07:28
5. Casa del árbol 04:19
6. Uma y el fin del mundo 05:50
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Uma Totoro – Aparatos que Median Entre la Realidad y el Hombre
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Uma Totoro - Uma Totoro

Artist – Uma Totoro
Album – Uma Totoro
Release Date – 2011
Genre – Instrumental, Dark-ambient, Post-industrial, Dance, Dance-ambient

Tracklist

1. Olympic Foca 07:36
2. Pac-Man Acid Dance 04:49
3. El último pivot lituano 08:24
4. El único animal que brilla 08:21
5. Barcos violetas 09:21
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Uma Totoro – Uma Totoro
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Uma Totoro
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TheSirensSound: And We Should Die Of That Roar

And We Should Die Of That Roar Profile

And We Should Die Of That Roar is a one man musical adventure instigated and run by a 36 years old guitarist, vocalist and songwriter Hardy Hum. After more than two decades of wide variety of musical projects, a self-titled debut full-length 17 track studio album (out November 19, 2014) under the And We Should Die Of That Roar flag is Hardy´s first all-guitars-stomps-barks-and-howls solo exertion combining post 50’s blues with proto-punk influences and Balkanesque oompah hooks and zingy melodies into a roaring and thumping portraits of visceral dark sentiments and sense woven spells. This, however, is but a dark echo of a more distant past.

Born into a family of musicians in former Yugoslavia in late 70’s, Hardy’s love for music developed early and has ever since remained a natural part of his life. After fleeing the horrors of war in Balkans at the age of 15, decontextualized with contested sense of identity and weighing sense of loss, rootlessness, and alienation as he was trying to adapt to his new life as a refugee and his new home (Sweden), he sought comfort in music. Over 25 years of writing and playing music took Hardy from basement rehearsals via formal musical training to working in various musical constellations, in studios as well as performing live, across variety of genres, instruments and styles. After successful participations in musical contests, media exposure, and contributions to other projects Hardy eventually released two albums (2004 and 2010) and toured the Europe with his punkrock band Blockbastards.

“Recently”, Hardy says, “I have been enjoying the wide open field of new possibilities inherent to being a solo author and musician in And We Should Die Of That Roar. One thing I learned during my punkrock years, besides that whatever you do in music should matter, is that there is a real charm to be found in musical simplicity – in those purest forms of expression. The trick is to deliberately avoid complex musical arrangements that more often than not threaten to inhibit the real voice of music that shimmers hidden in spaces between the notes and in depths behind them. The ‘forest’ is right there amidst the trees!”. This understanding is akin to the one that Hardy later on rediscovered in blues. Invigorated and freed by this insight he plunged into the songwriting wholeheartedly, evolving as a writer, guitarist and as a vocalist in a new and exciting ways. Songs piled up begging to be recorded, performed and shared with other people. In 2013 Kapten Studios’ producer Kenny Lundstrom (Norrkoping, Sweden) came across some demo versions of Hardy´s songs and they decided to record them. A year later a bundle of 18 songs was ready and eager to meet its audience.

NOTE: [ And We Should Die Of That Roar ] is NO instrumental post-rock or experimental ambient sound. Instead… this is more of an indie / alternative project with a [ Tom Waits ] kind of vibes attributing a frightening(ly) displeasing YET nifty raw vocals and blues(y) electric guitars. Something different from our usual daily blogging but also something you might want to have a go on. Check it out.

< < < < < [ [ DOWNLOAD ] | [ FACEBOOK ] ]. > > > > >
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And We Should Die Of That Roar - ST

Artist – And We Should Die Of That Roar
Album – And We Should Die Of That Roar
Release Date – 2014
Genre – Indie, Alternative, Experimental, Low-end Blues

Tracklist

01 – Understand
02 – Nobody Cares
03 – All Gone
04 – A Blessing and a Curse of a Highly Developed Night Vision
05 – Hooks
06 – Red Rose Garden
07 – Alright
08 – Trails
09 – Hard To End
10 – Hooks, Pt. II
11 – Crowded
12 – Sometimes
13 – Brittle Hand
14 – Good God
15 – Fear of Asteroids | 16 – | Hooks, Pt. III (Airpocket Blues) | 17 – One Hat
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FREE DL And We Should Die Of That Roar – And We Should Die Of That Roar
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And We Should Die Of That Roar
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Penny Arcade: Comic: Underworld, Part Two

New Comic: Underworld, Part Two

TheSirensSound: The Northern Hemisphere

The Northern Hemisphere Profile

[ The Northern Hemisphere ] I am a 25 year old guitarist/pianist exploring through ambience and soundscapes. I play several instruments – including the mandolin, guitar, and the piano. I create soundscapes that are improvisational, and modern classical pieces.

The sounds of [ The Northern Hemisphere ] are of struggle, accomplishment, creativity, happiness and above all else, the musical ideas from modern classical / electronic composer Terrence Drew Miller. His music has undergone many name changes and several genre styles, but has finally found a home amidst the Ambient and Post-Rock genres.

Born and raised in a small town called, Littleton Colorado [ The Northern Hemisphere ] grew up listening to classic rock such as Bon Jovi, Aerosmith, and Simon & Garfunkel. Along with a plethora of classical music played from an AM radio station called 90.1 AM, which is where his inspiration grew to write such music. Influences include: [ Imogen Heap ] ~ [ Andrew Bird ] ~ [ Sigur Ros ] ~ [ The Album Leaf ] ~ [ The American Dollar ] ~ [ Mum ] ~ [ Arcade Fire ] ~ [ Boards of Canada ] and the list goes on and on I suppose…

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

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The Northern Hemisphere - Invisible Songs EP

Artist – The Northern Hemisphere
Album – Invisible Songs EP
Release Date – 2014
Genre – Ambient, Minimal, Drone, Post-rock [ SUPERB SOUND AS USUAL ]

Tracklist

1. I See You Dream Like Everyone Else 08:28
2. Spectre 04:27
3. They Will Not Find You, You Were Already Gone 03:44
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The Northern Hemisphere – Invisible Songs EP
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The Northern Hemisphere - Sleeping Constellations

Artist – The Northern Hemisphere
Album – Sleeping Constellations
Release Date – 2013
Genre – Minimal, Ambient, Electro, Post-rock, Minimal-drone

Tracklist

01. Waterclocks 03:40
02. Organ Doner 04:41
03. Ghost Ship Along The Sunset 05:00
04. Floating Through Midnight Sky 05:07
05. You Were With Me, Beneath The Cold Stars Above 07:15
06. A Place Where No Sounds Exist 05:22
07. This Train Becomes Your Death 06:58
08. Lost Inside Your Constellation Heart 03:38
09. White Sky in an Endless Ocean 04:29
10. (Remedy For Sleep) 04:38
11. Return to Glacier Harbor (How Much You’ve Changed) 17:55
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The Northern Hemisphere – Sleeping Constellations
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The Northern Hemisphere - Rare & Unreleased (B​-​Sides & Demos)

Artist – The Northern Hemisphere
Album – Rare & Unreleased (B​-​Sides & Demos)
Release Date – 2013
Genre – Minimal, Ambient, Electro, Post-rock, Minimal-drone

Tracklist

01. Making Friends and Killing Time 04:06
02. Of the Sky or the Weather 06:17
03. Wandering Thoughts 05:27
04. Eyes Wide Shut (Blinding Light) 04:14
05. Melancholy Dreams 07:55
06. Of the Mind or the Thought 04:02
07. Siberia 09:09
08. Beneath the Sea 02:10
09. New Beginnings 02:00
10. Birds in Flight (Clear Skies Ahead) 06:50
11. Rain All Day 06:07
12. No Headphones Allowed! 10:27
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The Northern Hemisphere – Rare & Unreleased (B​-​Sides & Demos)
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The Northern Hemisphere - Christmas In Space EP

Artist – The Northern Hemisphere
Album – Christmas In Space EP
Release Date – 2012
Genre – Minimal, Ambient, Electro, Post-rock, Minimal-drone

Tracklist

1. Jingle Bells (An Intro) 02:27
2. We Three Kings 04:57
3. O Tannenbaum (Lights On The Family Tree) 07:39
4. Once Upon a Silent Night (The Stars Aligned) 05:10
5. Auld Lang Syne (Sleepless Night) 01:09
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The Northern Hemisphere – Christmas In Space EP
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The Northern Hemisphere - Glaciers in the Sky EP

Artist – The Northern Hemisphere
Album – Glaciers in the Sky EP
Release Date – 2012
Genre – Minimal, Ambient, Electro, Post-rock, Minimal-drone

Tracklist

1. Floating Through Midnight Skies 05:13
2. Mindless Astronaut 08:39
3. Life in Bloom 08:55
4. Return to Glacier Harbor (Look How Much You’ve Changed) 17:16
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The Northern Hemisphere – Glaciers in the Sky EP
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The Northern Hemisphere - Jupiter Protects You

Artist – The Northern Hemisphere
Album – Jupiter Protects You
Release Date – 2012
Genre – Minimal, Ambient, Electro, Post-rock, Minimal-drone

Tracklist

01. Dinner at the Movies 03:12
02. Sunshine on the Skyline 04:41
03. Coral Reef Cove (Bonus Track) 02:21
04. Celestial (Northern Hemisphere) (free) 04:39
05. Sunshade 11:25
06. Galaxies and Milky Ways (Where There’s a Will There’s a Way) 04:02
07. Atlantis (Exploration is Never Dead) 05:42
08. Skylit Hopscotch (Shooting Stars) 06:19
09. All Around the World 04:39
10. Darksong 01:55
11. The Will of a Spirit 07:27
12. Memoire (Smoke Break Intermission) 02:53
13. Techno? Tech – Yes! 02:15
14. Protozoa (Roots Grow Deep) 04:57
15. Air Travler 10:29
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The Northern Hemisphere – Jupiter Protects You
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The Northern Hemisphere - Striingz

Artist – The Northern Hemisphere
Album – Striingz
Release Date – 2012
Genre – Minimal, Ambient, Electro, Post-rock, Minimal-drone

Tracklist

01. Chapter 1 04:13
02. Chapter 2 06:02
03. Chapter 3 03:03
04. Chapter 4 03:38
05. Chapter 5 07:28
06. Chapter 6 07:10
07. Chapter 7 09:51
08. Chapter 8 10:12
09. Chapter 9 12:30
10. Chapter 10 11:36
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The Northern Hemisphere – Striingz
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The Northern Hemisphere - The Lonely Desert Sea EP

Artist – The Northern Hemisphere
Album – The Lonely Desert Sea EP
Release Date – 2011
Genre – Minimal, Ambient, Electro, Post-rock, Minimal-drone

Tracklist

1. Blank Canvas (Rules Were Meant to Be Broken) 05:12
2. Galaxies and Milky Ways (Where There’s a will There’s a Way) 04:02
3. Untitled (What’s in a Name?) 03:47
4. Desolate Sea (Are You Listening?) 08:18
5. Ten Dollars (Not Enough in the Long Run) 04:54
6. Desolate Sea (Instrumental) 08:57
7. The Sounds of The St. Thomas’ Church Garden 12:46
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The Northern Hemisphere – The Lonely Desert Sea EP
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The Northern Hemisphere - Spacious Skies EP

Artist – The Northern Hemisphere
Album – Spacious Skies EP
Release Date – 2011
Genre – Minimal, Ambient, Electro, Post-rock, Minimal-drone

Tracklist

1. Etherial Plane 15:03
2. Hummingbird 11:50
3. I Stand Before Zero Gravity With Open Arms 10:08
4. The View From Above 09:06
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The Northern Hemisphere – Spacious Skies EP
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The Northern Hemisphere - Dinner at the Movies EP

Artist – The Northern Hemisphere
Album – Dinner at the Movies EP
Release Date – 2011
Genre – Minimal, Ambient, Electro, Post-rock, Minimal-drone

Tracklist

1. Guitar Improv I (Gears and Wine) 07:31
2. Guitar Improv II (Dinner at the Movies) 03:12
3. Sunshine on the Skyline (slowly but surely, our will be done) 04:41
4. The Will of a Spirit 07:27
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The Northern Hemisphere – Dinner at the Movies EP
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The Northern Hemisphere - Our Nine Planets EP

Artist – The Northern Hemisphere
Album – Our Nine Planets EP
Release Date – 2011
Genre – Minimal, Ambient, Electro, Post-rock, Minimal-drone

Tracklist

1. Mercury 07:27
2. Venus (Love Within) 05:32
3. Earth 05:30
4. Mars 06:26
5. Jupiter 05:38
6. Saturn 08:24
7. Neptune 05:58
8. Uranus 05:25
9. Pluto 07:43
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The Northern Hemisphere – Our Nine Planets EP
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The Northern Hemisphere - The Future Beyond Our Eyes

Artist – The Northern Hemisphere
Album – The Future Beyond Our Eyes
Release Date – 2011
Genre – Minimal, Ambient, Electro, Post-rock, Minimal-drone

Tracklist

01. Welcome 00:44
02. Unexpected Visitors (to the..) 08:37
03. Ocean (amidst an..) 05:18
04. X (that) Marks the Spot (which hides a quiet..) 03:22
05. Ghost (Who Enjoys Listening to the..) (free) 03:53
06. Birds & the Ocean Breeze 03:44
07. Snow Trees (intermission) 07:54
08. Sound Ships 06:00
09. Silence Always Makes a Noise 05:07
10. Crystals On a Frozen Lake 03:23
11. Live Forever, Forget Tomorrow 05:41
12. When Daydreams Collide (…the end is near) 06:24
13. Earth and Mother Nature Are Always Listening: Electronic Symphony No. 2 11:37
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The Northern Hemisphere – The Future Beyond Our Eyes
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The Northern Hemisphere - Untitled EP

Artist – The Northern Hemisphere
Album – Untitled EP
Release Date – 2011
Genre – Minimal, Ambient, Electro, Post-rock, Minimal-drone

Tracklist

1. Ghost 03:53
2. Flying Kites 05:27
3. There Should Be a Song Title Here, but There isn’t… 03:38
4. Tables Turned (Now Play a Record for Me) 03:42
5. Brains (do) Matter 04:48
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The Northern Hemisphere – Untitled EP
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The Northern Hemisphere - Quiet Sister Songs

Artist – The Northern Hemisphere
Album – Quiet Sister Songs
Release Date – 2011
Genre – Minimal, Ambient, Electro, Post-rock, Minimal-drone

Tracklist

1. Time Waits for No One 07:04
2. Visual Double Stars 03:19
3. Satellite Towns 05:50
4. Searchlights 08:02
5. Blank Invitations 05:26
6. Gateway to the Southern Sun 04:23
7. She of the Jade Skin (waters and streams) 09:45
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The Northern Hemisphere – Quiet Sister Songs
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The Northern Hemisphere - Everest

Artist – The Northern Hemisphere
Album – Everest
Release Date – 2010
Genre – Minimal, Ambient, Electro, Post-rock, Minimal-drone

Tracklist

01. The Distant Sounds of a Grandfather Clock [An Intro of Sorts] 01:51
02. How I Learned to Live (Worries are Gone) 05:33
03. Object-World 06:50
04. It’s Raining, It’s Pouring (The Old Man is Snoring) 05:17
05. Earth & its Echo (The Birds & the Bees) 06:25
06. Glacier Harbor (and the way it sings..) 05:03
07. Choir of the Morning Light (Goodbye Glacier Harbor) 05:58
08. I Blame The Weather! 05:45
09. Goodnight 09:44
10. Planets, and How They Formed Our Lives. 06:12
11. With Every Breath, We Gain a New Heart: Electronic Symphony No. 1 16:27
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The Northern Hemisphere – Everest
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The Northern Hemisphere - The Northern Hemisphere EP

Artist – The Northern Hemisphere
Album – The Northern Hemisphere EP
Release Date – 2010
Genre – Minimal, Ambient, Electro, Post-rock, Minimal-drone

Tracklist

1. Idle Talk 04:31
2. Choir of the Morning Light 05:23
3. Glacier Harbor 05:03
4. Ghost Ship 05:37
5. Sh..Shh!.. I’m Dreaming 08:14
6. Good Night 09:44
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The Northern Hemisphere – The Northern Hemisphere EP
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The Northern Hemisphere
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the waxing machine: low-country: Bernard Leon - Illustration from Nouvelle...



low-country:

Bernard Leon - Illustration from Nouvelle iconographie des Camellias (1860)

Cowbirds in Love: List of Fallacies

People like lists of fallacies because they like to turn a conversation into something they can win.

The Half-Dipper: Chinese, III

Perlsphere: Perl 6 Status

Today, from Freenode's #perl6:


01:41 < zzzzzzzzzz> Is there no site that gives a current status of Perl6 work
that a non-guru could follow?

01:42 < zzzzzzzzzz> Most of the hits under
https://duckduckgo.com/?q=current+state+of+Perl6 are ca.
2010 and even http://perl6.org/compilers/features is close
to two months old.

...

01:47 < zzzzzzzzzz> That's the impression I get but I have a hard
time getting much farther than that. For example, "what
exactly do I download to start learning, and why those bits
instead of other bits?"

...

01:52 < zzzzzzzzzz> Whichever. A site that took a snapshot of the state every
quarter or two would make it a lot easier for relative
noobs to get up to speed and start learning things.

This is a feeling I've shared for a while. Working out where Perl 6 is takes a bit of archeology, trying to figure out what the Compiler Feature matrix means.

Anyway, I've taken a stab at trying to create a very short, simple, regularly updated set of answers: http://perl6.guide/, hopefully accessible to Perl 5 developers and random other developers. It's on Github (there's a link in there), so if you think I've gotten something wrong, or want to update it, please send me a pull request.

Ideas from CBC Radio (Highlights): The Limitless Vision of Robert Lepage

In the 2014 Lafontaine-Baldwin Symposium lecture and in conversation with IDEAS host Paul Kennedy, Robert Lepage explores the pathways, and roadblocks, to belonging.

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


GLlrhghghhhh

churchturing.org / 2014-10-31T04:24:22