by peterpohjola (via https://instagram.com/p/4H1nW7kxFX/)
by the_effects_of_silent_noise_ (via https://instagram.com/p/4IQtCQjBUt/)
HLM exp 5 by steven -l-l-l- monteau (via http://flic.kr/p/skv95E )
#1793 hyperspace! by trasiegu (via http://flic.kr/p/poRx1K )
Paris by Etienne Despois (via http://flic.kr/p/s8SE3K )
IMG_20150403_123242 by M1K3Y (via http://flic.kr/p/tUCSw5 )
Wooden Pier by Aerial Photography (via http://flic.kr/p/uPuLMQ )
Colimaçon by Sandrine RB (via http://flic.kr/p/tV2Zco )
Gorgeous Barbican map. The way London is obsessed with erasing itself, I’m not sure we’ll have these for much longer by genmon (via http://flic.kr/p/uRioAf )
simulacra •02 by Benoît Debuisser (via http://flic.kr/p/tWKmef )
Icelandic magical staves (sigils) are symbols credited with magical effect preserved in various grimoires dating from the 17th century and later. According to the Museum of Icelandic Sorcery and Witchcraft, the effects credited to most of the staves were very relevant to the average Icelanders of the time, who were mostly substitence farmers and had to deal with harsh climatic conditions.
Bella Coola Indians. Ceremonial Dance from the Winter Cycle. 1885.
8 May 2013
Schlomographic 3D Camera by fotografm (via http://flic.kr/p/uEsaDa )
Eve is designed for live programming. As the user makes changes, the compiler is constantly re-compiling code and incrementally updating the views. The compiler is designed to be resilient and will compile and run as much of the code as possible in the face of errors. The structural editor restricts partially edited code to small sections, rather than rendering entire files unparseable. The pointer-free relational data model and the timeless views make it feasible to incrementally compute the state of the program, rather than starting from scratch on each edit. We arrived at this design to support live programming but these properties also help with collaborative editing.
Cyanotype by The film soup (via http://flic.kr/p/rGu4z8 )
sketchbook by vavoir (via http://flic.kr/p/uiq31k )
The proactionary principle, a creation of first-generation transhumanist figurehead Max More, is an attempt to turn the precautionary principle upon its head. Where the precautionary principle declares that research and experimentation should only be undertaken after a consensus has been reached regarding the low probability of risky outcomes, More’s proactionary principle damns such caution as being detrimental to the advancement of the species, and advocates that research priorities and funding be allocated in accordance with the potential rewards, rather than risks. By suggesting that the State is not only intruding upon one’s freedom to conduct business, but also restricting one’s potential maximal lifespan, More hits upon a two-pronged formula that strikes right at the heart of what it is to be a wealthy western man: the plebeian moonbats don’t just want you to fail, they want you to die before you’re done.
by Ana Hipólito (via http://flic.kr/p/ujpJsY )
Stoned mask #Ricoh by BerylGotHerGun (via http://flic.kr/p/oUm7bv )
by Szymon Orłowski (via http://flic.kr/p/ocbw8h )
by sara garsía (via http://flic.kr/p/u9HXvG )
Fear by sora__ (via http://flic.kr/p/urhZv7 )
by Alexandr Paraskiw (via http://flic.kr/p/tASG9G )
pale by catwald (via http://flic.kr/p/nhXCm9 )
Dolor by illa.Mov (via http://flic.kr/p/tNbAis )
white by Indiana C. (via http://flic.kr/p/fFWAVs )
drive home by bcortright (via http://flic.kr/p/tJ5vM3 )
by The-Bell-Jar (via http://flic.kr/p/ngj14b )
Phuket Nine Emperor Festival by 丁得容 (via http://flic.kr/p/dCA9CV )
by Georgia Ponirakou (via http://flic.kr/p/iit2yo )
Onagawa, Miyagi, Huge ship washed inland by image-MILL (via http://flic.kr/p/9x7je2 )
deutsch2050 by brucesflickr (via http://flic.kr/p/uKZeo3 )
. by Anna Paola Guerra (via http://flic.kr/p/duscAq )
. by Anna Paola Guerra (via http://flic.kr/p/qYLnhU )
20150531 (via http://flic.kr/p/uvGh6Q )
20150530 (via http://flic.kr/p/tRrafM )
20150529 (via http://flic.kr/p/uvFRnb )
20150528 (via http://flic.kr/p/uNgHmT )
luscious encounter by lars on mars (via http://flic.kr/p/tQnuJb )
Titan’s north polar lakes and seas by europeanspaceagency (via http://flic.kr/p/uuUoss )
In Canyons 042 by noahbw (via http://flic.kr/p/uMREzp )
delayed reaction by fac_610 (via http://flic.kr/p/uNaA8X )
(via http://flic.kr/p/uvBMw3 )
(via http://flic.kr/p/uMJUyw )
stuck on earth by lars on mars (via http://flic.kr/p/uEkZ4v )
Hoops and ruins by Benn… (via http://flic.kr/p/uo9ZAt )
Solargraphe - 2 semaines by Photographies sténopés, argentiques, numériques (via http://flic.kr/p/tHTuHF )
accessing other universes by lars on mars (via http://flic.kr/p/tJEYrB )
R0017515 by kenny_nhl (via http://flic.kr/p/upBSwD )
Produc(ed) -3155 by Poetic Medium (via http://flic.kr/p/uG9r7Z )
18 November, 00.57 by Ti.mo (via http://flic.kr/p/uGv9fv )
Cages&cages - Budapest by Rocco Carnevale (via http://flic.kr/p/uEhgYf )
Digital by joseba.eskubi (via http://flic.kr/p/uB1bVK )
m031 by barton attila (via http://flic.kr/p/uz1naQ )
“You must look to the light. But make room for the darkness.” by honorharger (via https://instagram.com/p/339m1Rsusw/)
Digital by joseba.eskubi (via http://flic.kr/p/ujqx9n )
About as spectacular as it can be.
#StClair #Dunedin by honorharger (via https://instagram.com/p/31ummBMukm/)
🌚 by lov3cult (via https://instagram.com/p/317jagwK6k/)
by lluminaria_ (via https://instagram.com/p/31znyUxEfo/)
Accidental geoengineering snark. by changeist (via https://instagram.com/p/33a87mvnU8/)
“A predictive historiography of things to come in the future is only possible, if the foreteller himself makes the events happen, that he has predicted in advance.”
–MQ Immanuel Kant, “Renewed Question: Whether the human kind is in steady progress to a better state? (1789)“ (viafuturescope)
“I have written elsewhere of how much art there is responding to science, but it is much harder to find science that learns directly from art, since the goals of the two enterprises remain quite different. Or if they both have a similar goal of revealing deeper truths about nature, one does so with amazing insight, the other with rigorously documented investigation. But Domnitch and Gelfand’s work crosses the line sometimes because it reveals natural phenomena scientists thought were impossible to see or even to create. Their best-known work, “Camera Lucida,” investigates the mysterious phenomenon of sonoluminescence, a physical oddity discovered in 1929, whereby tiny oxygen bubbles bombarded with sound can be compressed enough to faintly glow.”
– Rothenberg, David. Survival of the Beautiful: Art, Science, and Evolution. London: Bloomsbury, 2011. (viacarvalhais)
Andreas Nicolas Fischer; Schwarm VII; [generative Software]; 2013; Dimensions variable;
To question what seems so much a matter of course that we’ve forgotten its origins. To rediscover something of the astonishment that Jules Verne or his readers may have felt faced with an apparatus capable of reproducing and transporting sounds. For the astonishment existed, along with thousands of others, and it’s they which have moulded us. What we need to question is bricks, concrete, glass, our table manners, our utensils, our tools, the way we spend our time, our rhythms. To question that which seems to have ceased forever to astonish us. We live, true, we breathe, true; we walk, we open doors, we go down staircases, we sit at a table in order to eat, we lie down on a bed in order to sleep. How? Why? Where? When? Why? Describe your street. Describe another street. Compare. Make an inventory of you pockets, of your bag. Ask yourself about the provenance, the use, what will become of each of the objects you take out. Question your tea spoons. What is there under your wallpaper?
To question what seems so much a matter of course that we’ve forgotten its origins. To rediscover something of the astonishment that Jules Verne or his readers may have felt faced with an apparatus capable of reproducing and transporting sounds. For the astonishment existed, along with thousands of others, and it’s they which have moulded us.
What we need to question is bricks, concrete, glass, our table manners, our utensils, our tools, the way we spend our time, our rhythms. To question that which seems to have ceased forever to astonish us. We live, true, we breathe, true; we walk, we open doors, we go down staircases, we sit at a table in order to eat, we lie down on a bed in order to sleep. How? Why? Where? When? Why?
Describe your street. Describe another street. Compare.
Make an inventory of you pockets, of your bag. Ask yourself about the provenance, the use, what will become of each of the objects you take out.
Question your tea spoons.
What is there under your wallpaper?”
‘How quiet these scenes are, how charged by a crisp light and brilliant clarity. They look like insignificant places, but all of them are full of significance for those whose loved ones died there. All are sites of premature death, all are sites where someone was killed, and most also index an unrestituted crime.
The American landscape is thickening with these incidents. If extra-judicial killing was always facile, the reporting of it is becoming so as well. This is the value of Begley’s project: to shift us into a sober space, a space of contemplation. It is important to have the numbers, but it is vital to have an affective intervention like this one as well, which shows us how difficult the current dispensation is to bear, and how it marks us, the streets on which we move, the places in which we live.’
Josh Begley, Officer Involved, 2015
“The world is not only one world, but the world itself is scattered, we just copy these scattered worlds by using photography.”
–Daidō Moriyama (森山 大道)
Yesterday at the MMU graduate show I became disembodied. by ndkane (via https://instagram.com/p/33RYzaJgeu/)
Casual lunchtime stroll through the Crossrail tunnel. by ndkane (via https://instagram.com/p/3oSlfopgYs/)
17590034 by Matsuki Narishige (via http://flic.kr/p/tDmR6w )
Indonesia - Bali by Marc Veraart (via http://flic.kr/p/bonp1C )
Ethiopia - Arbaminch by Marc Veraart (via http://flic.kr/p/5T6pVs )
Argentina by Marc Veraart (via http://flic.kr/p/jp5it3 )
Deep inside Aldwych station by Benn… (via http://flic.kr/p/t5XgPQ )
18727777342_1ee5997144_k by brucesflickr (via http://flic.kr/p/tDsSbV )
Head of Lenin, Romania, 1994, Josef Koudelka
Unusual occurrences in first class cricket, 2014 by genmon (via http://flic.kr/p/uvzo3L )
In Lovecraft, nothing is pure evil, and nothing is good either. The moral of every Lovecraft story is: the world is more complicated than you think, and sometimes in ways that will shorten your lifespan! That’s a hard thing to swallow. Science fiction readers have a better time swallowing it, I think, than some other groups (novelty is part of the reason people choose science fiction over some other genres), but nobody particularly likes to think that everything they know is wrong. That said, it’s a realistic worldview – and Lovecraft was prescient in the sense that it’s a worldview that is far more clearly realistic now, when communications technologies have made it very easy to come across dissenting opinions and well-documented facts that explode your umwelt, than it was during an era when a telephone was an expensive luxury and basic literacy was far less common.
Hypervelocity impact test damage by europeanspaceagency (via http://flic.kr/p/ub1CU6 )
“The book is a slow form of exchange. It is a mode of temporality which conceives of public communication not as action but rather as reflection upon action. Indeed, the book form serves precisely to defer action, to widen the temporal gap between thought and deed, to create a space for reflection and debate. The book, as Marcel Proust recognized, is a fulcrum that creates space out of time.”
– “Books in Time”, Carla Hesse (1996)
In cerca di un uscita by Lorenzo Carnevali (via http://flic.kr/p/u9Cgn9 )
Ship-wave-shaped wave clouds induced by Kuril Islands by NASA Goddard Photo and Video (via http://flic.kr/p/uq4WmM )
Hard Hats Required by Aerial Photography (via http://flic.kr/p/urbn2r )
For translucence, against transparency: an account of conceptual art and its mediums.
“For me, the medium was never transparent, never something to be seen through, never a neutral delivery system. No matter how reduced the means, they always remained something material, something to be taken apart and put back together, something to be confronted. Any genuine critique can arise only out of the process of using the medium against itself. Far from being the “tedium” of this evening’s theme, this is how I see my job as an artist: to grapple with the means of expression until an idea finds its own form.”
Departure by cuuc (via http://flic.kr/p/n4ttQz )
DSC_0880 by marinashumakova (via http://flic.kr/p/nMGv8v )
AVIRIS-NG on the Twin Otter working the spill aftermath. First part of work - done! Check. #oilspill #refugiobeach by systemics.mx (via https://instagram.com/p/3GAWIgQk2V/)