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“Robots can be said to have their own culture precisely because they don’t need to copy our sociologisms in order to be social, although what they do in their own social realm may not easily map on to things we do in our social realm.”
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Dave Gray’s sketch of the difference between generalists and specialists
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The Department of Defense Architecture Framework (DoDAF), Version 2.0 is the overarching, comprehensive framework and conceptual model enabling the development of architectures…
“Take some time with that graphic. After a while you realize that this image could be used anywhere in any paper or presentation and make perfect sense. This is a graphic that defines a way of describing anything that has ever existed and everything that has ever happened, in any situation. The United States Military is operating at a conceptual level beyond every other school of thought except perhaps academic philosophy, because it has a much larger budget.”
The theory of food pairing inspires little faith but when moving away from culinary applications perhaps it can be used to differentiate cuisines and cooking styles. How Chinese is Jamie Oliver? How similar are Mexican and Indian cuisines? How do French and Indian cooking differ? How unique is Rene Redzepi? The aim is to find a way to reveal the inner structure and logic of a cuisine, if such a thing exists, by comparing the way a cuisine or a cook combines ingredients with other cuisines and cooks.
It was from the RAND study that the false rumor started claiming that the ARPANET was somehow related to building a network resistant to nuclear war. This was never true of the ARPANET, only the unrelated RAND study on secure voice considered nuclear war. However, the later work on Internetting did emphasize robustness and survivability, including the capability to withstand losses of large portions of the underlying networks.
*Electric light for the early adopter
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For scholarly publishing, the secret sauce - the essential thing - is a mechanism for review. Even open archives like arXiv.org have review in the sense of only letting people who are endorsed by an existing community post, but here we’ll assume that we’re doing something more like traditional academic publishing - reviewing something called a paper (it could actually be code, or a figure, or a paragraph but let’s stick to papers as that’s easier to think about). Peer review at present is something that belongs to a journal; it’s a set of rules and procedures, written and enforced by an editorial board and supported by a lot of email and some fairly wonky software.
Biologists study how organisms evolve and adapt to their environments. In the Genre Evolution Project, we approach literature in a similar way. We study literature as a living thing, able to adapt to society’s desires and able to influence those desires. Currently, we are tracking the evolution of pulp science fiction short stories published between 1926 and 1999. Just as a biologist might ask the question, “How does a preference for mating with red-eyed males effect eye color distribution in seven generations of fruit flies?” the GEP might ask, “How does the increasing representation of women as authors of science fiction affect the treatment of medicine in the 1960s and beyond?”
By administering mild electric currents to the brain, neuroscientists from Frankfurt University have successfully induced self-awareness in sleeping volunteers. Amazingly, the technique could be used to help people take better control of their dreams. But it’s also a discovery that’s offering critical insights into the very nature of consciousness itself. Gamma waves have been linked to consciousness before — a process called gamma coherence — but this is the first time scientists have used it to coax self-awareness during the dream cycle.
This project explores cli-fi—fiction about climate change—in order to understand and categorize fictional scenarios about the future, and the role of human actors in those scenarios. This project uses digital methods to gather data from Amazon and Google Books, in conjuction with manual classification, in order to understand the current zeitgeist of climate change in fiction. Mainstream discourse suggests that the cli-fi genre aims to humanize the apocalyptic scenarios associated with climate change, and make relatable their potential outcomes:
“The intriguing question is whether different sleep cultures encourage different patterns of spiritual and supernatural experience. That half-aware, drowsy state is a time when dreams commingle with awareness. People are more likely to have experiences of the impossible then.”
“Is it too much to hope that a system of education may some day be devised, which shall give results, in terms of human development, commensurate with the time, money, energy and devotion expended? In such a system of education it may be that mescaline or some other chemical substance may play a part by making it possible for young people to “taste and see” what they have learned about at second hand…in the writings of the religious, or the works of poets, painters and musicians.”
–Aldous Huxley (Horowitz& Palmer, 1999)
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In the popular imagination, artists tend to exist either at the pinnacle of fame and luxury or in the depths of penury and obscurity — rarely in the middle, where most of the rest of us toil and dream. They are subject to admiration, envy, resentment and contempt, but it is odd how seldom their efforts are understood as work. Yes, it’s taken for granted that creating is hard, but also that it’s somehow fundamentally unserious. Schoolchildren may be encouraged (at least rhetorically) to pursue their passions and cultivate their talents, but as they grow up, they are warned away from artistic careers. This attitude, always an annoyance, is becoming a danger to the health of creativity itself. It may seem strange to say so, since we live at a time of cultural abundance and flowering amateurism, when the tools of creativity seem to be available to anyone with a laptop. But the elevation of the amateur over the professional trivializes artistic accomplishment and helps to undermine the alre
If there is a single word to describe Google, it is „absolute.” The Britannica defines absolutism as a system in which „the ruling power is not subject to regularized challenge or check by any other agency.” In ordinary affairs, absolutism is a moral attitude in which values and principles are regarded as unchallengeable and universal. There is no relativism, context-dependence, or openness to change.
“The conventional world puts a veil over your eyes, it’s a matter of taking it off during your time as a photographer.”
Bruno Sanguinetti and pals at the University of Geneva in Switzerland have worked out how to generate random numbers on an ordinary smartphone using genuine quantum processes. And they say their new technique can produce random numbers at the rate of 1 megabit per second, more than enough for most security applications.
In some ways, all 2D maps of Earth are interrupted at some point, even if it’s just along the antimeridian at 180°. Interruptions are often in areas of less interest e.g. oceans for a land-focused map.
The antipode of its centre, 45°N, 85°E, is a point in Asia which is approximately the furthest from any ocean.
The stereographic projection places this point at infinity. Thus we can conveniently use Asia’s shoreline as the boundary for the whole map.
Chinese science fiction was born at the turn of the 20th century, when the Qing Dynasty was teetering on the edge of ruin. At the time, Chinese intellectuals were entranced by and curious about Western science and technology, and thought of such knowledge as the only hope for saving the nation from poverty, weakness, and general backwardness. Many works popularizing and speculating about science were published, including works of science fiction. One of the leaders of the failed Hundred Days’ Reform (June 11-September 21, 1898), the renowned scholar Liang Qichao, wrote a science fiction story called “A Chronicle of the Future of New China.” In it, he imagined a Shanghai World’s Fair—a vision that would not become true until 2010.
Photos are lies because art is a lie. Art is artifice. Art makes things as they are not—occasionally in the service of greater truths […] To get a “true” photo, you need to remove artifice. This means removing art. Art’s opposite is bulk surveillance. Drones, CCTV, ultra-fast-ultra-high-res DSLR, our fingers stroking our iPhones or tapping at Google Glass. Omnipresent cameras suction up reality without curation. We’re at the finest time in history to see stars, or anyone, photographed looking like hell.
–Maciej Ceglowski, ‘Our Comrade the Electron’ (2014)
“‘In China, authorities employ an index of the sales of pickled mustard tubers (a food favored by its working class) to track … migrant workers’”
–Cory Dillow, ‘How Waffle House Became A Disaster Indicator For FEMA’ (2013)
Herbert Strässer - Abstract figure, ca. 1954
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“If the first wave provided a machine for fighting misery, and the second wave a machine for fighting boredom, what we now need is a machine for fighting anxiety – and this is something we do not yet have. If we see from within anxiety, we haven’t yet performed the “reversal of perspective” as the Situationists called it – seeing from the standpoint of desire instead of power. Today’s main forms of resistance still arise from the struggle against boredom, and, since boredom’s replacement by anxiety, have ceased to be effective.”
Australian military and intelligence personnel involved in controversial US drone targeting operations could face crimes against humanity charges, according to former prime minister Malcolm Fraser. Mr Fraser, Liberal prime minister from 1975–83, said Australians working at the US-run Joint Defence Facility Pine Gap - which reportedly plays a key role in locating drone targets - do not have the same legal protection as their US counterparts. “The greater danger is the use to which Pine Gap is now put,” Mr Fraser told RN Breakfast. “Initially Pine Gap was collecting information - it was, if you like, listening in. "It’s now targeting weapons systems. It’s also very much involved in the targeting of drones. "The purposes for which drones are used are going to be outlawed at some point by international agreement, and the Americans might believe that Americans involved in those programs are given legal cover under the War Powers Resolution passed after 9/11. ”[It] gives totally unlimited power, no geographic limits, no time limits, using any means available or that might become available to an American president to do so. “But that resolution gives no legal cover to Australians operating out of Pine Gap who are complicit in finding, identifying, locating the so-called target.”
Australian military and intelligence personnel involved in controversial US drone targeting operations could face crimes against humanity charges, according to former prime minister Malcolm Fraser.
Mr Fraser, Liberal prime minister from 1975–83, said Australians working at the US-run Joint Defence Facility Pine Gap - which reportedly plays a key role in locating drone targets - do not have the same legal protection as their US counterparts.
“The greater danger is the use to which Pine Gap is now put,” Mr Fraser told RN Breakfast.
“Initially Pine Gap was collecting information - it was, if you like, listening in.
"It’s now targeting weapons systems. It’s also very much involved in the targeting of drones.
"The purposes for which drones are used are going to be outlawed at some point by international agreement, and the Americans might believe that Americans involved in those programs are given legal cover under the War Powers Resolution passed after 9/11.
”[It] gives totally unlimited power, no geographic limits, no time limits, using any means available or that might become available to an American president to do so.
“But that resolution gives no legal cover to Australians operating out of Pine Gap who are complicit in finding, identifying, locating the so-called target.””
Dream Machine makers Brion Gysin and Ian Sommerville, photographed by Herman Leonard, Paris 1960
“If you think of history as something defined by the laws of physics, and the discovery of gas and oil wealth as a sort of event horizon from which there is no going back … what’s happened is a wormhole stargate mindfuck.”
What’s striking about a lot of art currently coming out of the Middle East, and the Gulf states in particular, is its relative lack of interest in tradition, reverence, continuity – all values that the west foists on other cultures. In her 2012 memoir The Girl Who Fell To Earth, Qatar-born film-maker Sophia Al-Maria, who has collaborated with Al Qadiri in the past, elaborates on her “Gulf futurism” theory: “If you think of history as something defined by the laws of physics, and the discovery of gas and oil wealth as a sort of event horizon from which there is no going back … what’s happened is a wormhole stargate mindfuck.”
The scale and intensity of the warp-speed modernisation programmes in so many Gulf states – their steel-and-glass citadels under baking hot suns, their labour camps full of imported labourers from Asia – are perhaps better chronicled by science fiction, video games and HD entertainment than by more traditional forms of journalism or sociology. “There’s been a generational quantum leap in Kuwait,” says Al Qadiri. “The houses are not made of mud any more, but of concrete. People don’t sleep on the roofs of their houses. There’s AC.
“One would say, “I’d really like to start a business with you one day,” but for a while it was just a way to communicate warmth and trust.”
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*Old people, in big cities, unable to see the sky for the urban glare
Enter the EyeWire project, an online game that recruits volunteers to map out those cellular contours within a mouse’s retina. The game was created and launched in December 2012 by a team led by H. Sebastian Seung, a neuroscientist at the Massachusetts Institute of Technology in Cambridge. Players navigate their way through the retina one 4.5-micrometer tissue block at a time, coloring the branches of neurons along the way. Most of the effort gets done in massive online competitions between players vying to map out the most volume. (Watch a video of a player walking through a tissue block here.) By last week, the 120,000 EyeWire players had completed 2.3 million blocks. That may sound like a lot, but it is less than 2% of the retina.
Rhinehart removed the Soylent. In the formula that he and his teammates have settled on, the major food groups are all accounted for: the lipids come from canola oil; the carbohydrates from maltodextrin and oat flour; and the protein from rice. To that, they’ve added fish oil (for omega-3s; vegans can substitute flaxseed oil), and doses of various vitamins and minerals: magnesium, calcium, electrolytes. Rhinehart is reluctant to associate Soylent with any flavor, so for now it just contains a small amount of sucralose, to mask the taste of the vitamins. That seems to fit his belief that Soylent should be a utility. “I think the best technology is the one that disappears,” he said. “Water doesn’t have a lot of taste or flavor, and it’s the world’s most popular beverage.” He hoisted the pitcher of yellowish-beige liquid. “Everything your body needs,” he said. “Do you want to try some?”
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On Wednesday at about 2 p.m., according to sources, a U-2 spy plane, the same type of aircraft that flew high-altitude spy missions over Russia 50 years ago, passed through the airspace monitored by the L.A. Air Route Traffic Control Center in Palmdale, Calif. The L.A. Center handles landings and departures at the region’s major airports, including Los Angeles International (LAX), San Diego and Las Vegas. The computers at the L.A. Center are programmed to keep commercial airliners and other aircraft from colliding with each other. The U-2 was flying at 60,000 feet, but the computers were attempting to keep it from colliding with planes that were actually miles beneath it. Though the exact technical causes are not known, the spy plane’s altitude and route apparently overloaded a computer system called ERAM, which generates display data for air-traffic controllers. Back-up computer systems also failed.
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The firststuffs have their being as motes called *unclefts*. These are mightly small; one seedweight of waterstuff holds a tale of them like unto two followed by twenty-two naughts. Most unclefts link together to make what are called *bulkbits*. Thus, the waterstuff bulkbit bestands of two waterstuff unclefts, the sourstuff bulkbit of two sourstuff unclefts, and so on. (Some kinds, such as sunstuff, keep alone; others, such as iron, cling together in ices when in the fast standing; and there are yet more yokeways.) When unlike clefts link in a bulkbit, they make *bindings*. Thus, water is a binding of two waterstuff unclefts with one sourstuff uncleft, while a bulkbit of one of the forestuffs making up flesh may have a thousand thousand or more unclefts of these two firststuffs together with coalstuff and chokestuff.
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