Links and write-ups about beautiful things from around the web!
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Linguni a La Stigmata
From a 1992 New York Times review of one of my favorite books from when I was in school, Penn & Teller’s How to Play With Your Food:
A copious plate of pasta arrived, with no sauce. Teller suddenly stabbed his palms with a fork and rummaged through the strands of linguine. When a bright red river surged from beneath the plain pasta, Teller stood up, dripping red palms outstretched. Voila! The thrillingly gruesome “Linguine a la Stigmata.” Waiters smiled, diners at nearby tables didn’t notice a thing, and the linguine was served to one and all. …
“Violence is what gives you real excitement,” [Penn] continued. “It’s what gives us the rage to live. Without violence, you don’t really have art. You have to have your Shakespeare, your Greek tragedies. Teller and I are both very pro-violence in the arts, but only in the arts. No one wants to go on a roller coaster that’s slow and flat.”
But does that include sticking a fork into your eye? Absolutely. “Nothing is more life affirming than doing this stuff and not being hurt,” Teller said. “It’s cool to be startled. You laugh, and that’s a social activity. There are repartees, and there is ramming a fork into your eye.”
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Craniophore Compositing
Ghostly photos from the Otis Archives depicting a novel circa-1885 piece of scientific analysis equipment: Apparatus for taking Composite Photographs of Skulls. Basically a wood and brass frame with a craniophore in the middle, the tool made it possible to position and align multiple skulls so composite photos could be taken accurately from the front, side, and rear views. The image on the right, for example, is a composite of five or six (or more?) separate skulls. From a contemporary anthropology journal describing the process:
Then the anterior frame and the lateral frame next to the window are lowered ; a black velvet background is hung on the posterior frame ; a large white cardboard is hung on the frame further from the window ; the brass-work is occluded with small velvet screens, and the picture is taken.
The photographs record composites of skulls from various Native American and Cook Island tribes (as seen in the archives of the Clark Institute), so I first thought that the measurements were sadly being undertaken for the sake of scientific racism, the darker side of physical anthropology, which was still in vogue in the 1880s.
That may be the case, but thankfully the full story is somewhat more complex: the inventor of the apparatus, Washington Matthews, an army surgeon-ethnographer-linguist, wrote extensively on the Siouan languages while stationed in the Dakotas, reportedly married and had a son with a woman from the Hidatsa tribe, was initiated into some aspects of the Navajo tribe, and also contributed substantially to the understanding and recording of the Navajo culture, which previously had been considered primitive by the Europeans:
Dr Matthews referred to Dr Leatherman’s account of the Navahoes as the one long accepted as authoritative. In it that writer has declared that they have no traditions nor poetry, and that their songs “were but a succession of grunts.” Dr. Matthews discovered that they had a multitude of legends, so numerous that he never hoped to collect them all: an elaborate religion, with symbolism and allegory, which might vie with that of the Greeks; numerous and formulated prayers and songs, not only multitudinous, but relating to all subjects, and composed for every circumstance of life. The songs are as full of poetic images and figures of speech as occur in English, and are handed down from father to son, from generation to generation.
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Long-term archiving of digital data on microfilm
As our magnetic and optical media become increasingly difficult to access and data starts to corrupt, what can we do to best preserve our electronic information for longer than the current 7-10 year bursts of time? One solution might be to transcode and compress it all to 2D barcodes printed onto microfilm. From AlphaGalileo:
The team further suggests that in order to reduce the amount of microfilm used for any given repository and so cut conversion and re-digitization times it would be possible to convert a stream of text into a bar-code type system that would still be entirely analogue but would rely on knowledge of the conversion key to return the data to digital form from microfilm. Using such a system could render a tested 170 kilobyte file that requires 191 pages of microfilm space as just 12 or so printed as a two-dimensional barcode. Such a barcode would incorporate redundancy and be self-checking unlike a straight digital to analogue image scan of the text. Further compression is possible, if colour microfilm and barcodes were used for storage. This may provide a valuable, low-maintenance additional back-up for the original digital objects in addition to preservation activities needed for the on-line access copies.
(Via ACM TechNews)
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Catmull Interview
They didn’t think it was relevant. In their minds, we were working on computer-generated images—and for them, what was a computer-generated image? What was an image they saw on a CRT? It was television.
Ed Catmull, co-founder of Pixar and pioneer of computer graphics, on the time he and his nascent team were brought in to ILM during the filming of the second Star Wars movie.
From an ACM Queue interview between Catmull and Pat Hanrahan. There are also some good quotes about incubator projects like ARPA providing protection for new ideas, arts education, and the role of artist-scientists in the graphics field.
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Sunset on Mars
Sunset on Mars, as seen by the long-lived rover Opportunity. Otherworldly yet primal.
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Delia Derbyshire Interview
The BBC will be airing a never-before-seen interview this week with Delia Derbyshire, the woman who co-composed and performed the original Doctor Who theme, probably the most famous piece of purely electronic music. For a great account of the production (no synths back then, only novel, painstaking work involving test tone equipment, razor blades and tape!), check out Mark Ayres’s A History of the Doctor Who Theme.
(The interview will air on Inside Out, November 15 at 7:30pm on BBC One – not sure when/if those of us not in the UK will be able to see it, though…)
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Livewriter
Eyewriter 2.0 + Robot Arm = Livewriter. Combining the FFFFAT Lab’s inspirational Eyewriter project (named this week as one of Time’s top 50 inventions of 2010, and now glasses-free!) with their GML RoboTagger Sharpie Magnum-wielding robot arm, kids were able to try out the eye-tracking graffiti system to print out giant-sized tags of their own names. These projects touch on so many of my favorite areas of interest, so very cool.
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Frank Zappa on “What‘s My Line”
[Video no longer available]
Frank Zappa as the mystery guest on What’s My Line. Pretty dry, to be honest, although some might find interest in hearing him go into surprising detail about the video-to-film process used in filming 200 Motels (it was shot and edited in PAL video then upconverted to 35mm, a novel process at the time).
So why do I post this? Because at the 2:50 mark he references the awesome Time Life photo of him and his parents, confessing that it was “too purple.”
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Paris Qui Dort
[Video no longer available]
Paris Qui Dort (Paris Which Sleeps, aka At 3:25), an early short film by René Clair: a mad scientist uses a time-freezing ray on Paris, pausing everyone in their day-to-day life throughout the city. Everyone except for a random handful of people who happen to be up in the air at the time, who decide to take advantage of the perfectly still city. Proto-surrealist sci-fi with a dash of percolating social commentary.
I learned about this one from The Invention of Hugo Cabret, an excellent children’s historical fiction novel about early cinema, magic, automata, and Georges Méliès. Worth reading if you’re into any of those things.
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Segagaga
The handsome logo for Segagaga, one of my absolute favorite video game concepts: you run a fantasy RPG version of Sega, the ailing game console company, fending off rival electronics behemoth
SonyDOGMA (at the time, the Sega Dreamcast was facing its untimely demise). A surrealist, sarcastic, postmodern metafiction of the Japanese game industry from the inside, satire on a shoestring budget with a bit of loving apology for what was about to happen with Sega and the business in general.From Edge magazine’s nice interview with SGGG’s developer, Tez Okano:
“The Japanese bubble burst in 1993 – that was the start of the recession and the economic downturn. At the very same time, the gaming industry was keeping going just as if it was the boom time. In 1999, it was becoming clear that the boom was fading fast for the industry. Coincidentally, we were making SGGG at this very turning point. Near the end of the game, the hero is fired because his company closes, and he finds refuge in a game store near Sega that actually existed! The store manager is Alex Kidd – he was also fired from Sega, when Sonic arrived. The message to the hero is that no matter how bad things look, there is no point in crying over the industry. You have to carry on – just like Alex Kidd, who is working hard.“