reasonsforhope:

Restored coral reefs can grow as fast as healthy reefs after just four years, researchers find

“The coral reefs of south Sulawesi are some of the most diverse, colorful and vibrant in the world. At least, they used to be, until they were decimated by dynamite fishing in the 1990s.

As part of a team of coral reef ecologists based in Indonesia and the UK, we study the reefs around Pulau Bontosua, a small Indonesian island in south Sulawesi…

In many places around the world, damage like this might be described as irreparable. But at Pulau Bontosua, the story is different. Here, efforts by the  Mars coral restoration program  have brought back the coral and important ecosystem functions, as outlined by our new study, published in  Current Biology.  We found that within just four years, restored reefs grow at the same rate as nearby healthy reefs.

Speedy recovery

The transplanted corals grow remarkably quickly. Within a year, fragments have developed into proper colonies. After two years, they interlock branches with their neighbors. After just four years, they completely overgrow the reef star structures and restoration sites are barely distinguishable from nearby healthy reefs.

The combined growth of many corals generates a complex limestone (calcium carbonate) framework. This  provides a habitat for marine life and protects nearby shorelines from  storm damage  by absorbing up to 97% of coastal wave energy.

We measured the overall growth of the reef framework by calculating its carbonate budget. That’s the balance between limestone production (by calcifying corals and coralline algae) and erosion (by grazing sea urchins and fishes, for example). A healthy reef produces up to 20kg of reef structure per square meter per year, while a degraded reef is shrinking rather than growing as erosion exceeds limestone production. Therefore,  overall reef growth gives an indication of reef health.

At Pulau Bontosua, our survey data shows that in the years following restoration, coral cover, coral colony sizes, and carbonate production rates tripled.  Within four years, restored reefs were growing at the same speed as healthy reefs, and thereby provided the same important ecosystem functions…

Outcomes of any reef restoration project will depend on environmental conditions, natural coral larvae supply, restoration techniques and the effort invested in maintaining the project. This Indonesian project shows that when conditions are right and efforts are well placed, success is possible.  Hopefully, this inspires further global efforts to restore functioning coral reefs and to recreate a climate in which they can thrive.”

-via Phys.org, March 11, 2024

yhancik:

sandmandaddy69:

The Rokurokubi!

zegalba:

Aleksandra Kasuba: The Live-In Environment (1971)

The intent was to abolish the 90 degree angle and introduce a variety of spatial experiences without imitating nature. The environment was built in the artist’s studio in a brownstone in New York City.

snototter:

A fragile limpet ( Atalacmea fragilis) in Southland, Aotearoa

by Tony Jewell

himynameisemail:

omercifulheaves:

The Watermelon Messiah

Art and Writing by Katsuhiro Otomo

blueiscoool:

Remnants of a Legendary Typeface Have Been Rescued From the Thames River

Doves Type was thrown into the water a century ago, following a dispute between its creators.

The depths of the river Thames in London hold many unexpected stories, gleaned from the recovery of prehistoric tools, Roman pottery, medieval jewelry, and much more besides. Yet the tale of the lost (and since recovered) Doves typeface is surely one of the most peculiar.

A little over a century ago, the printer T.J. Cobden-Sanderson took it upon himself to surreptitiously dump every piece of this carefully honed metal letterpress type into the river. It was an act of retribution against his business partner, Emery Walker, whom he believed was attempting to swindle him.

The pair had conceived this idiosyncratic Arts and Crafts typeface when they founded the Doves Press in the London’s Hammersmith neighborhood, in 1900. They worked with draftsman Percy Tiffin and master punch-cutter Edward Prince to faithfully recall the Renaissance clarity of 15th-century Venetian fonts, designed by the revolutionary master typographer Nicolas Jensen.

With its extra-wide capital letters, diamond shaped punctuation and unique off-kilter dots on the letter “i,” Doves Type became the press’s hallmark, surpassing fussier typographic attempts by their friend and sometime collaborator, William Morris.

The letterforms only existed as a unique 16pt edition, meaning that when Cobden-Sanderson decided to “bequeath” every single piece of molded lead to the Thames, he effectively destroyed any prospect of the typeface ever being printed again. That might well have been the case, were it not for several individuals and a particularly tenacious graphic designer.

Robert Green first became fascinated with Doves Type in the mid-2000s, scouring printed editions and online facsimiles, to try and faithfully redraw and digitize every line. In 2013, he released the first downloadable version on typespec, but remained dissatisfied. In October 2014, he decided to take to the river to see if he could find any of the original pieces.

Using historical accounts and Cobden-Sanderson’s diaries, he pinpointed the exact spot where the printer had offloaded his wares, from a shadowy spot on Hammersmith bridge. “I’d only been down there 20 minutes and I found three pieces,” he said. “So, I got in touch with the Port of London Authority and they came down to search in a meticulous spiral.” The team of scuba divers used the rather low-tech tools of a bucket and a sieve to sift through the riverbed.

Green managed to recover a total of 151 sorts (the name for individual pieces of type) out of a possible 500,000. “It’s a tiny fraction, but when I was down by the river on my own, for one second it all felt very cosmic,” he said. “It was like Cobden-Sanderson had dropped the type from the bridge and straight into my hands. Time just collapsed.”

The finds have enabled him to further develop his digitized version and has also connected him with official mudlarks (people who search riverbanks for lost treasures, with special permits issued) who have uncovered even more of the type.

Jason Sandy, an architect, author and member of the Society of Thames Mudlarks, found 12 pieces, which he has donated to Emery Walker’s House at 7 Hammersmith Terrace. This private museum was once home to both business partners, and retains its stunning domestic Arts and Crafts interior.

Much like Green, Sandy was captivated by the Doves Type story, and mounted an exhibition at the house that displays hundreds of these salvaged pieces, including those discovered by Green, as well as mudlarks Lucasz Orlinski and Angus McArthur. The show was supplemented by a whole host of Sandy’s other finds, including jewelry and tools. An extant copy of the Doves English Bible is also on display.

“It is not that unusual to find pieces of type in the river,” Sandy said. “Particularly around Fleet Street, where newspaper typesetters would throw pieces in the water when they couldn’t be bothered to put them back in their cases. But this is a legendary story and we mudlarks love a good challenge.” The community is naturally secretive about exactly where and how things are found. For example, Orlinski has worked under the cover of night with a head torch, to search for treasures at his own mysterious spot on the riverbank.

For Sandy, the thrill comes from the discovery of both rare and everyday artifacts, which can lead to an entirely new line of inquiry: “The Thames is very democratic. It gives you a clear picture of what people have been wearing or using over thousands of years. And it’s not carefully curated by a museum. The river gives up these objects randomly, and you experience these amazing stories of ordinary Londoners. It creates a very tangible connection to the past. Every object leads you down a rabbit hole.”

By Holly Black.

sandmandaddy69:

vintagegeekculture:

transarsonist:

idiotdotdotdot:

disturbingly average customer service experience

viejospellejos:

musicktoplayinthedark:

Rest in Peace

Steve Albini

(1962 - 2024)

disease:

“THE FURNITURE OF TIME”
YVES TANGUY // 1939
[oil on canvas | 46 x 35 ¼"]

suppermariobroth:

Mario Family was a Japan-only 2001 software for the Game Boy Color that was designed to let the console interface with a sewing machine via a special connection cable, enabling it to be used to send commands to the machine and let it sew Mario designs onto fabric.

Above is footage of the program in action, sending information to the sewing machine and letting it embroider a Peach design.

Main Blog | Twitter | Patreon | Small Findings | Source

ratcandy:

we just keep naming bugs like this

spaceintruderdetector:

Isolating the precise essence of cyberpunk is a tricky business, because like the SF virus itself, it’s continually reduplicating itself from the DNA up, changing to meat each new environmental challenge. Everybody’s got their own two cents to throw in. Gibson talks about the generation of writers who were taking William Burroughs for granted when they were thirteen (and if you’ve read NAKED LUNCH, you know what a scary idea that is); while CP pioneer Sterling points to the bewildering transformations—mental and physical—that technology exerts on us; and goofball information theorist Rudy Rucker measures the data-density in CP prose. Founding zygote John Shirley summed it up best, with: “I think it’s characterized by writers who have @ global worldview; who write with an attitude informed by information arising from the so-called “underground”; who write with a certain intensity of tone that’s sometimes taken for punk; who are influenced by writers outside the SF genre, and by certain aspects of rock culture (the better aspects); who realize that anti-heroes are not really anti-heroic; who search for real honesty in characterization; and who write with a perspective of o new, constantly transforming, global flux of worldwide media/information/imagery.”

High Times Magazine, 1980s : THC : Free Download, Borrow, and Streaming : Internet Archive

carvalhais:

Science, it struck me then, is a guide to thinking, not a thought: an endless process of becoming.

James Bridle. 2022. Ways of Being: Animals, Plants, Machines: The Search for a Planetary Intelligence. Penguin.

headspace-hotel:

starry-genome:

digitaldiscipline:

cassandrasimplex:

cassandrasimplex:

I knew having Redditors cross-train on Tumblr would produce weird fucking magic.

It gets better. This Redditor went the full Goncharov.

Glorbcharov: Dishonor Among AI Thieves

Y’all missed the best part:

Category 5 Glup Shitto event

ft-rj:

this video now

slack-wise:

Eva & Franco Mattes. Panorama cat, 2022.

It is good to chase one’s dreams, but bad, as it mostly turns out, to be chased by them.
—Franz Kafka

pixel8or:

clawmarks:

A grammar of Japanese ornament and design - Thomas W. Cutler - 1880 - via Staatsbibliothek Berlin

spaceintruderdetector:

w.s. burroughs interview 1985

Its not a question of being original. it is a question of tuning in because it’s all there. Now, are there techniques for tuning in? Yes, there are. I’ve given courses about creativity, and in one exercise, I had my students walk around the block, come back, and put down everything that they had seen and experienced in that walk, with particular attention to the points where what they were thinking of when this or that occurred—when they crossed a street or saw a sign—so they begin to see that there’s a distinct relationship. Often, they’ll be thinking about something and then they’ll see something that’s very directly related to what they’re thinking: synchronicity. And sometimes they become quite paranoid as a result of keeping their eyes open and realizing that everything that happens has significance to you because you experience it. That’s one of many exercises. And of course, paying attention to your dreams. Many people forget them if they’re not written down. There’s a difference between the brain choices, the memory choices of waking, and dream experience, which is much more ephemeral. And there’s the cut-ups, when you want to introduce randomness into the picture—which is an integral part of experience. Many of the Buddhist exercises are applicable—those of undirected thought. Instead of trying to solve the problem, just sit there and look at it, not trying to solve it. And the solution is there, the solution will occur to you, or it won’t, as the case may be.

High Times Magazine, 1980s : THC : Free Download, Borrow, and Streaming : Internet Archive

rjzimmerman:

From RMI Spark:

Six years to go. Some industries are harder to decarbonize than others. This new tracker from RMI partner Mission Possible Partnership keeps tabs on the key projects that need to come on line by 2030 to reach our global goals.

thefrogman:

sirfrogsworth:

Photographers all know about polarizing filters. They remove reflections off the surfaces of objects. We use them to see into water or windows that are obscured by those reflections. But anything with an even slightly glossy surface has a layer of reflection on top. So if you have a shiny green plant, it can remove the shiny and reveal a very saturated green underneath. Polarizers also remove a lot of scattered and reflected light from the sky. Which reveals a deep blue color you didn’t even know was there.

Here is a photo I took of my circular polarizer.

And the first thing I noticed when walking outside during the eclipse was the color of everything was more saturated, just like in that circle. Apparently, an eclipse significantly reduces polarized light and I got this creepy feeling because I was only ever used to seeing the world like that through the viewfinder of my camera.

The other thing I noticed was my outdoor lights. I leave them on all the time because I never remember to turn them on at night. And usually the sun will render them barely visible during the day. On a very sunny day they almost look like they are off.

But you can clearly see they are shining and even flaring the camera during the eclipse.

Our eyes adjust to lighting changes very well so it was hard to tell how much dimmer things were, but that is a good indication. I took this photo a few minutes ago and you can see how dim the lights appear after the moon has fucked off.

I did a calculation using the exposure settings between these two photos. The non-eclipse photo has 7 f-stops more light. That is 128 times or 12,700% more light.

A partial Pringle eclipse cut the sun’s light by 99.2% and somehow our eyes adjusted to make it seem like a normal sunny day (with weird ass saturated colors).

Additional Observations

So, I woke up about 4 minutes before the eclipse. I was very unprepared to photograph it in the normal quality you’d expect from a photographer. However, I did capture some interesting details that I thought I’d share beyond the lack of polarized light.

First up… the shadows.

The shadows were very sharp. In photography there is this concept of light going from a spectrum of hard to soft. Hard light has very high contrast and sharp shadows. Soft light is more flattering and diffused with softer shadows.

To get hard light and sharp shadows you need a small “point” light source. A point light can either be very small or it can be very far away or a combination thereof.

In the studio you could use a bare bulb flash to get a point source.

Or you can attach a modifier like a softbox to create a large light source. The bigger, the softer.

The sun is massive, but it is also super duper far away. So it ends up being the smallest point light source available. However, the atmosphere can scatter and diffuse that light, essentially “enlarging” the light source.

To get perfect hard light shadows you need to go to… the moon.

But the eclipse blocked out about 99% of the sun and it reduced the amount of scattered light. And it greatly reduced the size of the light source causing some very defined sharp shadows.

But not *all* of the shadow was sharp. My left shoulder is very defined but my right shoulder is a bit fuzzy.

You can see it on my fingers too.

Sharp on one side, soft on the other.

This is essentially because the sun has been split into two different light sources in two different directions.

In one direction you have a larger light source causing softer shadows.

And in the other direction you have a smaller light source causing sharper shadows.

In photography we have these strip softboxes that we usually place behind a subject to create an edge light.

Only a narrow, small band of light is hitting the body. If we were to use a strip box to light a face, it would be a small light source creating sharp shadows.

But one trick we can do is to turn the strip light horizontal.

Now the light source hitting the face is large as it wraps around the head.

So a long and narrow light source is essentially large and small simultaneously. And depending on the direction the light is coming from it is either hard or soft light.

Destin from Smarter Every Day explained this phenomenon briefly in his eclipse video.

I also think this large and small light source phenomenon affected my lens flares when I photographed the sun.

In this photo it literally looks like I’m getting starburst flares from two light sources.

And in this photo the flares have a sharp bright edge as well as a dimmer more diffused area.

Normally these starburst flares (caused by light leaking through the metal aperture blades in the lens) have more homogenous tines without that feathering effect.

And then I noticed a different kind of flare in my photos—with all the colors of the rainbow.

And each band of color matched the crescent shape of my partial eclipse.

Like a camera obscura, these flares were in reverse orientation to the crescent sun. And while I wasn’t able to get the sun in sharp focus, the purple section of the flare is very defined. I think that represents approximately how much of the sun was covered by the moon at my location—about 130 miles from totality.

I am a student of light. That is essentially what photography is. And I found this to be a fascinating lesson on how bonkers light can be. I was a little bummed I couldn’t road trip to southern Missouri to see totality, but I am grateful to still have a cool eclipse experience.

bodybebangin:

AFI’s 100 Greatest American Films Of All Time
97. Blade Runner (1982)

rjzimmerman:

The world’s most advanced economies just agreed to end coal use by 2035 – with a catch | CNN

Excerpt from this story from CNN:

The Group of Seven nations announced Tuesday its member nations would end the use of “unabated” coal by 2035, but left the door open for countries to stretch that deadline in particular contexts.

In a communiqué published after talks between energy, climate and environment ministers in Turin, Italy, the group announced it had committed to “phase out existing unabated coal power generation in our energy systems during the first half of 2030s,” in a climate policy breakthrough that G7 negotiators had previously failed to achieve in several years of talks.

But by referring to “unabated” coal, the agreement leaves room for countries to use the fossil fuel past 2035 if their carbon pollution is captured before entering the atmosphere.

The agreement also includes a caveat that countries could choose “a timeline consistent with keeping a limit of 1.5°C temperature rise within reach, in line with countries’ net-zero pathways.”

That caveat appears to allow those countries to keep using coal past 2035, as long as their overall national emissions won’t contribute to global warming of more than 1.5 degrees Celsius above pre-industrial levels. Science shows that some of the planet’s ecosystems will reach tipping points or struggle to adapt beyond that point.

yodaprod:

Powell Peralta Propaganda (1990)

theremina:

If I keep having to end friendships and quit jobs because I refuse to be treated as less human or deserving of respect than some gentry-ass bullies who happen to be superficially charming and/or conventionally attractive and/or socially powerful and/or inordinately wealthy … and then I get scapegoated in the aftermath for “not knowing my place” or maybe just actin’ a little cunty?

SO BE IT.

With gusto.

suitupweird:

Suw Mood

jmdj:

maldemer:

a wikipedia poem on software entropy

@thisischeri

scavengedluxury:

Austro-Hungarian morse code station in transit, Italy, 1917. From the Budapest Municipal Photography Company archive.

almostarts:

Danilo Silvestrin, Gunther Lambert,

“Rare seating object for two people / acrylic ball chair”

Rare seating object for two people/ball armchair. Designed in 1968. Consisting of two acrylic hemispheres, which can be closed into a ball using a hinge. Silver vinyl covers. H. 80 cm. D. 90 cm.

This object is one of very few surviving examples of this piece of seating furniture. It was discovered after about 25 years in storage and was preserved for posterity through extensive restoration.

Danilo Silvestrin designed this icon of space design of the 1960s for his friend, the Düsseldorf photographer Lothar Wolleh. He furnished Wolleh’s apartment, which also functioned as a gallery for the works of his artist friends, with a variety of futuristic, transparent furniture.

Courtesy: Kunstunddesign-Auktionen

shmowder:

Pathologic meme dump 3, also moved to a new blog.

funstealer:

Julia O'Callaghan Bandolier Bandit

spaceintruderdetector:

Most of our wealth, our capacity to nurture life by intelligent design, is invisible for two reasons. First, there is the historical fact that we have been conditioned to accept species failure and only individual success. That is, we have been trained to believe “there is enough for me, or enough for you, but not enough for both of us.“ That conditioning is so powerful that we automatically think in terms of me or you, not both, so we don’t notice that the whole species is now capable of success. Second, since Marconi, most of our wealth is literally invisible. I am not just referring to electronic waves and information systems, but to such things as alloys, for instance. I can show you two bars of metal that look exactly alike. To traditional thinking, these bars must contain the same amount of wealth, in terms of how much we can get out of each pound of them. In scientific fact, the second bar contains many hundred times more wealth than the first, because it delivers more. Unfortunately, this wealth is invisible to the naked eye; you need microscopes to see it and the science of chemistry to understand it. All of our problems result from the fact that for more than eighty years we have been creating wealth in that form, invisible wealth that politicians cannot see or understand, so our nations are all still acting on obsolete ‘Malthusian principles.

High Times Magazine, 1980s : THC : Free Download, Borrow, and Streaming : Internet Archive

itscolossal:

Suzanne Saroff’s Playful Bubblegum Photos Capture Delicate Forms on the Brink of Bursting

xphaiea:

web with calamistrated cribellate silk in a square-wave design . identified as Paramatachia sp. by arachnologists Piergiorgio Di Pompeo and Ethan Yeoman (photographed by Reddit user bayouturtle on the north coast of Tasmania)

othersystems:

5000 year old “spider stone” from Denmark

pazzesco:

Arctic wolves traversing deep snow…

wabisabimind:

blignick:

spaceintruderdetector:

In 1954, three years before his death in a federal penitentiary, Wilhelm Reich led a research expedition to the Southwest to further the study of Orgone Energy. Already he had invented the Orgone Energy Accumulator for treatment of body energy fields. Now he wanted to experiment with the Earth’s energy field…

High Times Magazine,1970s : THC : Free Download, Borrow, and Streaming : Internet Archive

fuckyeahfluiddynamics:

Rogue waves – rare waves much larger than any surrounding waves – have long been a part of sailors’ tales, but their existence has only been confirmed relatively recently. The exact mechanisms behind them are still a matter of debate.  (Image credit: S. Baisch; research credit: A. Toffoli et al.; via APS Physics)

Read the full article

cetaceous:

A LNG Import Terminal near Porto Levante, Italy
image credit: Marco Sabadin/AFP
via: What’s Goin On Qatar

natsumipocket:

memewhore:

searchsystem:

Thomas Kurppa / Studio – VN93 / Typography / 2024

natsumipocket:

Power Mac G3

advice-animal:

wikipediapictures:

Basket star

thevaultoftheatomicspaceage:

child-of-crows:

cheddar-baby:

tearysunshine:

cheddar-baby:

Guinea Pigs Eating a Grass Field

this is so cute <3 <3

you should really watch the entire video before reblogging

vizreef:

Thorens Excelda // Portable gramophone (Switzerland, 1940)

benoit-bodhuin:

Très heureux de participer à Lettres d’amour, exploration amoureuse des pratiques contemporaines du dessin de lettres et de caractères typographiques au Bel Ordinaire (du 10 avril au 29 juin 2024) et organisé par la Maison des éditions. Affiche : Benjamin Lahitte

prrrick:

Cockta Cockta

997:

i’m going to kdxjdhdjhddjjdhs

jareckiworld:

Zdravko Dučmelić (1923-1989) — Imaginary Landscape [oil on board, 1971]

noosphe-re:

Németi, István et al. “Visualizing ideas about Gödel-type rotating universes.” (2009)

kimbureh:

brady-like-the-bunch:

centrally-unplanned:

Lmao how is this real, “the ambient sounds of the world were wrong, sir ”

Imagine paying Columbia-amounts of money to be taught by someone with kindergarten-level art literacy. Like, motherfucker, the wholeass point of 4’33” is to emphasize how every performance of live music is inextricably linked to the ambient sounds of the context in which it is performed!!!!!!! Paying attention to and thinking about the context of the performance is the point of the song!!!! If the point was to hear birds chirping and people walking, John Cage would have fucking recorded that instead. Insisting that art is only good when contains good things and makes you feel good things is baby-level art criticism. How the fuck is this dude a professor.

The very same attitude is at the core of the so-called “anti ideology” that wants to censor fiction by applying puritanical morals.

The professor doesn’t want to face the protests outside of his lecture hall, that’s why he decides they’re not worthy to become subject of his class, as if that made those protests somehow less relevant.*

The anti ideology doesn’t want to face the more uncomfortable realities of life, that’s why it forbids everyone to engage with the concepts it deems “impure”, as if that made the icky stuff go away.

*even without knowing what these protests were about, they are socially relevant when they become this disruptive, whether we like it or not.

tldr; if you don’t want to hear what the world around you sounds like, don’t listen to 4’33”, but don’t tell others to shut their ears.

sixpenceee:

Plants actually move around a lot in 24 hours, they just do it very slowly | source

spitegoblin:

i-was-today-years-old-when:

i learned about Tim Wong who successfully and singlehandedly repopulated the rare California Pipevine Swallowtail butterfly in San Francisco. In the past few years, he’s cultivated more than 200 pipevine plants (their only food source) and gives thousands of caterpillars to his local Botanical Garden (x)

Sometimes, people are really great.

radicalgraff:

Antifascists in Belgrade, Serbia covering fash murals

cognitohazardous:

scretladyspider:

“If you have time to watch Netflix you have time for a side hustle” my side hustle is relaxing so that my body and brain can heal from by this nose-to-the-grindstone bullshit. I refuse to feel guilty for being a human with the need to relax sometimes. my side hustle is no.

whenever i hear about hustle culture i always think about this post on r/antiwork

kilo-sci:

Quarzazate solar power station in Morocco

searchsystem:

Helmut Schmid / Toshirō Mayuzumi / Electronic / Album Cover / 1968

thevaultoftheatomicspaceage:

itsloriel:

Protect me © Béa Henri

Béa Henri Photographie

bluecote:

Reyner Banham

The New Brutalism

1966

digitaldiscipline:

carvalhais:

To the ecological thinker, all technologies are ecological.

James Bridle. 2022. Ways of Being: Animals, Plants, Machines: The Search for a Planetary Intelligence. Penguin.

hellwatermelon:

video link

roguetelemetry:

tsunderetonic:

this video is possibly among the greatest things I have ever experienced

S T A L K E R  M O N O L I T H

pussymargiela:

vizreef:

AlphaTheta Euphonia Rotary Mixer (Japan, 2024)

jareckiworld:

Tuesday Riddell — Foxglove (gold leaf, silver leaf, gold & silver powder, pigment and paint on lacquered board, 2023)

chubbynickles5:

monopole:

Human and animal power – The forgotten renewables

Globally, there is still widespread dependence on traditional forms of energy, and human and animal power still contribute a significant proportion of the energy used in the rural areas of developing countries. After biomass, they are the most important energy sources for their populations. On a global scale, the energy contributed by human and animal power is estimated to be twice that of wind power and 13% of hydro, the largest single contributor of the renewable energy sources. This paper therefore argues that human and animal power should be included in the ‘family’ of renewable energy sources of solar, wind, hydro and biomass. There are numerous opportunities to improve the efficiency (and output) of hand, foot and animal-powered equipment. Improvements in these technologies will help to reduce the drudgery and hardship of everyday life of those who do not have access to modern forms of energy.

doi:10.1016/j.renene.2012.04.054

grabsomeironmeat:

• Naoki Sasaki

rosechata:

kelscallister

searchsystem:

Nuevo.Tokyo™ / Japanese Gradient [For UI] / Gradient / 2024

 Download

cleverwordsandotherstuffilike:

ghostowlattic:

“Identity is an obsession, a composite of personalities, all counterfeiting each other; a faveolated ego, a resurging catacomb where the phantomesque demiurguses seek in us their reality.”

— Austin Osman Spare
(via hijodelagua)

ghostowlattic:

“Your habits always come hunting after you. The self you construct will haunt you. A ghost wandering around in search of your body, eager to possess you. We are addicted to the self we construct. Slaves to what we have done.”

— Frank Herbert, Chapterhouse Dune
(via astranemus)

yan-wo:

zegalba:

Leandro Erlich: Pulled by the Roots (2015)

arcadebroke:

MultiCore19

brainmachinebroke:

After being gone so long, i might be back to share my love of things :)

kaijuno:

obscure-reference-girl:

Guess whose Dr. McCoy fanfic is about to get hella accurate

Check out all the pages online here:

https://www.cygnus-x1.net/links/lcars/blueprints-main2.php#B20

thevaultoftheatomicspaceage:

m-eltdown:

brucesterling:

https://mattturck.com/landscape/mad2024.pdf

mitchipedia:

Casey Newton [platformer.news]:

The first era of Facebook was for talking with friends and family. The second, TikTok-influenced era of the company is more focused on content from creators and other people you don’t know.

This week, we got a glimpse of the era yet to come: one where we interact regularly with both people and bots – perhaps not even always knowing, or caring, which one we are talking to.

I started on social media just to talk with other people. Some of these were actual friends and family; others came to be friends through long interactions online. We were all at the same level.

Then I started following celebrities. We occasionally interacted, but mostly I just consumed what they produced. And that’s cool. Like everybody reading this, I grew up having what’s come to be called “parasocial relationships” with fictional characters and the actors who played them.

Now I’m supposedly going to have parasocial relationships with AIs? I’m skeptical.

mitchipedia:

• Generating questions for interviews. ChatGPT is surprisingly great at that.
• Generating images.
• Occasionally writing draft introductions to articles, as well as conclusions, descriptions and summaries. I’ve always had trouble writing that kind of thing. I don’t use the version ChatGPT generates—I tear that up and write my own—but ChatGPT gets me started. I don’t do this often, but I’m grateful when I do.
• Casual low-stakes queries, when I remember to use ChatGPT for that. “What was the name of the movie that was set in a boarding house for actresses that starred Katherine Hepburn?” “Stage Door.” “Was Lucille Ball in that one too?” “Yes.” “Was that Katherine Hepburn’s first movie?” “No.” And ChatGPT provided some additional information. I probably could have gotten that information from Google, but ChatGPT was faster.

My big problem, and the reason I don’t us ChatGPT more, is that ChatGPT lies. Not only that, but it lies convincingly. A convincing liar is even worse than a liar. I don’t have much use for an information source that I can’t trust. I don’t see an obvious way to solve this problem.

somos-deseos:

“Robot Story”del artista: Vaskange.

“Endless Robot Feelings” melodía: Por Adrien Melano.

diana-andraste:

(Vanished Scenes) from an Untouched Landscape #12, James Tylor, 2018

“The removal of Aboriginal cultures due to colonisation has left the appearance that Australia was ‘Untouched’ before European arrival.”
—James Tylor

toomanydesign:

Grafisch Ontwerp Gent

picsthatmakeyougohmm: