Off lines – come unique aged tone

Posted by – June 14, 2016

Offline is the New Luxury (2016, 47 min) from Bregtje van der Haak on Vimeo.

Offline is The New Luxury
Digital networks are forever expanding. Places without cell phone reception or a Wi-Fi connection are increasingly hard to find. If tech companies have their way, the remaining 'white spots' on the digital map will soon disappear, leaving no place on earth unconnected. But what is happening off the grid?

White Spots is a collaborative multimedia project by documentary filmmaker Bregtje van der Haak, visual artist Jacqueline Hassink, and information designer Richard Vijgen. Working in various media, they travel beyond the frontiers of the networked world to explore unwired landscapes, communities and lifestyles, questioning the need to be constantly plugged into a single, seamless planetary tech-topia. Will offline become the new luxury?

This television documentary takes viewers on a tour of the offline world and includes interviews with internet critic Evgeny Morozov, psychologist Sherry Turkle (MIT), Amish minister Norman Yoder (Shipshewana, Indiana), poet and writer Aram Pachyan (Armenia), and Minister of Telecommunications Harin Fernando of Sri Lanka. The documentary is directed by Bregtje van der Haak and produced by VPRO Backlight. It comes with the free White Spots App (for android and iPhone, design Richard Vijgen).


Posted by – June 9, 2016

abc conjecture | Agoh’s conjecture | Andrica’s conjecture | Carmichael condition | Chebyshev bias | Cramér conjecture | Eberhart’s conjecture | Euler’s criterion | Fermat quotient | Fermat’s little theorem | Fermat’s theorem | Gauss’s criterion | Gilbreath’s conjecture | Giuga’s conjecture | Grimm’s conjecture | Kummer’s conjecture | Landau’s formula | Lehmer’s totient problem | Mann’s theorem | norm theorem | prime Diophantine equations | prime distance | prime formulas | prime number | prime quadratic effect | Selfridge’s conjecture | Vandiver’s criteria | Wagstaff’s conjecture | Wilson quotient

The abc conjecture is a conjecture due to Oesterlé and Masser in 1985. It states that, for any infinitesimal ϵ>0, there exists a constant C_ϵ such that for any three relatively prime integers a, b, c satisfying a+bc, the inequality max(a, b, c)≤C_ϵ ∏_(pabc) p^(1+ϵ) holds, where pabc indicates that the product is over primes p which divide the product abc. If this conjecture were true, it would imply Fermat’s last theorem for sufficiently large powers. This is related to the fact that the abc conjecture implies that there are at least Clnx non‐Wieferich primes ≤x for some constant C. The conjecture can also be stated by defining the height and radical of the sum P:a+bc as h(P) | = | max{lna, lnb, lnc} r(P) | = | ∑_(pabc) lnp, where p runs over all prime divisors of a, b, and c.

math world wolframalpha-mathworld

Here is one of the trickiest unanswered questions in mathematics:

Can every even whole number greater than 2 be written as the sum of two primes?
read more there;

and regardless of the jump,
how does this connect to music… is this a possible example? sounds incredible anyhow!

talent meets art (Jessica Dance)

Posted by – March 14, 2016

JessicaDance6 JessicaDance1 JessicaDance2 JessicaDance3 JessicaDance4 JessicaDance5

collotype-1856… today only at kyoto

Posted by – September 29, 2015

Collotype is an amazing printing technique, invented by a french man, Alphonse Pointevin in 1856. I did not know about it until I saw this video in Open Culture.

Imagine being the last one in this world to continue, what others have started before you.

Osamu Yamamoto is working for the printing company Benrido in Kyoto, Japan. He is in charge of the collotype – a technology almost extinct today.
He and his studio are working for the office of the Japanese Emperor, making copies and reprints of scrolls, paintings and letters, many centuries old. They are saving Japanese artworks and cultural heritage for the generations to come.

Collotype is a 150 year old printing process from Europe. Around a hundred years ago, it was the leading technology, every country had a great number of collotype studios. You quite possibly own something printed by collotype without knowing it.

In the last five years, the remaining collotype studios in Firenze, Italy and Leipzig, Germany, closed down their daily work. Now there are only two companies printing with collotype left in this world. Both are situated in Kyoto, with Benrido being the bigger studio and the only one which can print in color.
The quality of collotype prints can hardly be matched by today's printers, the colors are extremely endurant and stay vibrant for decades. It's a printing without relying on dots, hence it's almost 1:1 in resolution when compared to the original.

With prior appointment, you can visit the workshop of Benrido. They also offer collotype printed artworks and postcards at their shop in Kyoto.

Company Benrido

Soundtrack by Mario Kaoru Mevy:

(c) Fritz Schumann 2015


The collotype plate is made by coating a plate of glass or metal with a substrate composed of gelatin or other colloid and hardening it. Then it is coated with a thick coat of dichromated gelatine and dried carefully at a controlled temperature (a little over 50 degrees Celsius) so it ‘reticulates’ or breaks up into a finely grained pattern when washed later in approximately 16 °C water. The plate is then exposed in contact with the negative using an ultraviolet (UV) light source which changes the ability of the exposed gelatine to absorb water later. The plate is developed by carefully washing out the dichromate salt and dried without heat. The plate is left in a cool dry place to cure for 24 hours before using it to print.

To produce prints, the plate is dampened with a glycerine/water mixture which is slightly acidic, then blotted before inking with collotype ink using a leather or velvet roller. A hard finished paper such as Bristol, is then put on top of the plate and covered with a tympan before being printed typically using a hand proof press. Collotypes are printed using less pressure than is used in printing intaglio, or stone lithography. While it is possible to print by hand using a roller or brayer, an acceptable consistency of pressure and even distribution of ink is most effectively achieved using a press.

Here a bit more of technical info about the process…

gallery elRAiSE

Posted by – August 13, 2015

09 Gallery elRAiSE

03 Gallery elRAiSE

10 Gallery elRAiSE

07 Gallery elRAiSE

02 Gallery elRAiSE


08 Gallery elRAiSE

01 Gallery elRAiSE


Le GabyArmy

Posted by – July 18, 2015


MaisonGabyArmy copy


MaisonGabyArmy IPhone2


Posted by – July 17, 2015


Maison G.Army iphone 3
Ganesha Walls

SOUR iPhone

Juan Bertinho (dedicated 2 Shonaaathaaannn)

Posted by – June 26, 2015

the 1ne & Only JuanBertinho:


The PiMP" Juan Bertinho and some of his hoes.

The PiMP” Juan Bertinho and some of his hoes.


Tinho playing his role of undercover pusher.

Tinho playing his role of undercover pusher.


Juan Bertinho went to Home Depot and forgot all the skills he has with a drill, he's a Master"

Juan Bertinho went to Home Depot and forgot all the skills he had with a drill, he’s a Master”


Tinho playing a cool guy with the animals, detras de esa sonrisa....como diria Roberto Antonio, aaaayyaaaa yyaaaaiiiii

Tinho playing a cool guy with the animals, behind that mask as Roberto Antonio would put it  aaaayyaaaa yyaaaaiiiii


Drunk and Out of Control, Tinho plays everybody 4 a fool, he's the Man"

Drunk and Out of Control, Tinho plays everybody 4 a fool, he’s the Man”


On several times Tinho played as  Pablo Escobar stunt & double, he's still asked to perform, Tinho is not feeling it lately.

On several times Tinho played as Pablo Escobar stunt & double, he’s still asked to perform, Tinho is not feeling it lately.

La Guadalupana

Posted by – April 29, 2015













Posted by – February 10, 2015






Posted by – February 10, 2015














dough genital on knees jaw

Posted by – September 23, 2014

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Directed by Bregtje van der Haak / produced by VPRO Backlight, The Netherlands

This VPRO Backlight documentary tracks down the amnesiac zeitgeist starting at the Royal Tropical Institute in Amsterdam, whose world-famous 250-year old library was lost to budget cuts. The 400.000 Books were saved from the shredder by Ismail Serageldin, director of the world-famous Library of Alexandria, who is turning the legendary library of classical antiquity into a new knowledge hub for the digital world.



Posted by – August 31, 2014











Posted by – August 25, 2014









Posted by – May 30, 2014

gemeos-1 gemeos-2 gemeos-3 gemeos-4 gemeos-6

3D SAND Drawings”

Posted by – May 5, 2014



3D Playa6

3D Playa3

3D Playa5

3D Playa2


CAMPUS by Duque Motta Arquitectural FiRM

Posted by – May 5, 2014










poolView JellyFiSH by WEiL ARETS Arquitects

Posted by – April 29, 2014

8 3 4 3 2 1

The Solitude of Latin America

Posted by – April 19, 2014

Gabriel García Márquez’s Nobel Prize Lecture, 8 December 1982.

The Solitude of Latin America

Antonio Pigafetta, the Florentine navigator who accompanied Magellan on the
first circumnavigation around the world, kept a meticulous log of his
journey through our South American continent, which, nevertheless, also
seems to be an adventure into the imagination. He related that he had seen
pigs with their umbilicus on their backs and birds without feet, the female
of the species of which would brood their eggs on the backs of the males,
as well as others like gannets without tongues, whose beak looked like a
spoon. He wrote that he had seen a monstrosity of an animal with the head
and ears of a mule, the body of a camel, the hooves of a deer and the neigh
of a horse. He related they had put a mirror in front of the first native
they met in Patagonia and how that overexcited giant lost the use of his
reason out of fear of his own image.

This short and fascinating book, in which we can perceive the gems of our
contemporary novels, is not, by any means, the most surprising testimony of
our reality at that time. The Chroniclers of the Indies have left us
innumerable others. Eldorado, our illusory land which was much sought
after, appeared on numerous maps over a long period, changing in situation
and extent according to the whim of the cartographers. The mythical Álvar
Núñez Cabeza de Vaca, in search of the fount of Eternal Youth, spent eight
years exploring the north of Mexico in a crazy expedition whose members ate
one another; only five of the six hundred who set out returned home. One of
the many mysteries which was never unravelled is that of the eleven
thousand mules, each loaded with one hundred pounds weight of gold, which
left Cuzco one day to pay the ransom of Atahualpa and which never arrived
at their destination. Later on, during the colonial period, they used to
sell in Cartagena de India chickens raised on alluvial soils in whose
gizzards were found gold nuggets. This delirium for gold among our founding
fathers has been a bane upon us until very recent times. Why, only in the
last century, the German mission appointed to study the construction of a
railway line between the oceans across the Panamanian isthmus concluded
that the project was a viable one on the condition that the rails should be
not of iron, a scarce metal in the region, but of gold.

The independence from Spanish domination did not save us from this madness.
General Antonio López de Santana, thrice dictator of Mexico, had the right
leg he lost in the so-called War of the Cakes buried with all funeral pomp.
General García Moreno governed Ecuador for sixteen years as an absolute
monarch and his dead body, dressed in full-dress uniform and his cuirass
with its medals, sat in state upon the presidential throne. General
Maximilian Hernández Martínez, the theosophical despot of El Salvador who
had thirty thousand peasants exterminated in a savage orgy of killing,
invented a pendulum to discover whether food was poisoned, and had the
street lamps covered with red paper to combat an epidemic of scarlet fever.
The monument to General Francisco Morazan, raised up in the main square of
Tegucigalpa is, in reality, a statue of Marshal Ney which was bought in
repository of second-hand statues in Paris.

Eleven years ago, one of the outstanding poets of our time, Pablo Neruda
from Chile, brought light to this very chamber with his words. In the
European mind, in those of good – and often those of bad – consciences, we
witness, on a forceful scale never seen before, the eruption of an
awareness of the phantoms of Latin America, that great homeland of deluded
men and historic women, whose infinite stubbornness is confused with
legend. We have not had a moment of serenity. A Promethean president
embattled in a palace in flames died fighting single-handedly against an
army, and two air disasters which occurred under suspicious circumstances,
circumstances which were never clarified, cut off the life of another of
generous nature and that of a democratic soldier who had restored the
dignity of his nation. There have been five wars and seventeen ‘coups
d’etat’ and the rise of a devilish dictator who, in the name of God,
accomplished the first genocide in Latin America in our time. Meanwhile,
twenty million Latin American children died before their second birthday,
which is more than all those born in Europe since 1970. Nearly one hundred
and twenty thousand have disappeared as a consequence of repression, which
is as if, today, no one knew where all the inhabitants of Uppsala were.
Many women arrested during pregnancy gave birth in Argentine prisons, but,
still, where or who their children are is not known; either they were
passed into secret adoption or interned in orphanages by the military
authorities. So that things should not continue thus, two hundred thousand
men and women have given up their lives over the continent, and more than
one hundred thousand in three, tiny wilful countries in Central America:
Nicaragua, El Salvador and Guatemala. Were this to happen in the United
States, the proportionate ratio would be one million six hundred thousand
violent deaths in four years. A million people have fled from Chile, a
country noted for its tradition of hospitality: that is, ten per cent of
its population. Uruguay, a tiny nation of two and a half million
inhabitants, a nation which considered itself one of the most civilized
countries of the continent, has lost one in five of its citizens into
exile. The civil war in El Salvador has created, since 1979, virtually one
refugee every twenty minutes. A country created from all these Latin
Americans either in exile or in enforced emigration would have a larger
population than Norway.

I dare to believe that it is this highly unusual state of affairs, and not
only its literary expression, which, this year, has merited the attention
of the Swedish Literary Academy: a reality which is not one on paper but
which lives in us and determines each moment of our countless daily deaths,
one which constantly replenishes an insatiable fount of creation, full of
unhappiness and beauty, of which this wandering and nostalgic Colombian is
merely another number singled out by fate. Poets and beggars, musicians and
prophets, soldiers and scoundrels, all we creatures of that disorderly
reality have needed to ask little of the imagination, for the major
challenge before us has been the want of conventional resources to make our
life credible. This, my friends, is the nub of our solitude.

For, if these setbacks benumb us, we who are of its essence, it is not
difficult to understand that the mental talents of this side of the world,
in an ecstasy of contemplation of their own cultures, have found themselves
without a proper means to interpret us. One realizes this when they insist
on measuring us with the same yardstick with which they measure themselves,
without realizing that the ravages of life are not the same for all, and
that the search for one’s own identity is as arduous and bloody for us as
it was for them. To interpret our reality through schemas which are alien
to us only has the effect of making us even more unknown, ever less free,
ever more solitary. Perhaps venerable old Europe would be more sympathetic
if it tried to see us in its own past; if it remembered that London needed
three hundred years to build her first defensive wall, and another three
hundred before her first bishop; that Rome debated in the darkness of
uncertainty for twenty centuries before an Etruscan king rooted her in
history, and that even in the sixteenth century the pacifist Swiss of
today, who so delight us with their mild cheeses and their cheeky clocks,
made Europe bloody as soldiers of fortune. Even in the culminating phase of
the Renaissance, twelve thousand mercenary lansquenets of the Imperial
armies sacked and razed Rome, cutting down eight thousand of its

I have no desire to give shape to the ideals of Tonio Kröger, whose dreams
of a union between the chaste North and a passionate South excited Thomas
Mann in this place fifty-three years ago. But I believe that those
clear-sighted Europeans who also struggle here for a wider homeland, more
humane and just, could help us more if they were to revise fundamentally
their way of seeing us. Their solidarity with our aspirations does not make
us feel any less alone so long as it is not made real by acts of genuine
support to people who desire to have their own life while sharing the good
things in the world.

Latin America has no desire to be, nor should it be, a pawn without will,
neither is it a mere shadow of a dream that its designs for independence
and originality should become an aspiration of the western hemisphere.
Nevertheless, advances in methods of travel which have reduced the huge
distances between our Americas and Europe seem to increased our cultural
distance. Why are we granted unreservedly a recognition of our originality
in literature when our attempts, in the face of enormous difficulties, to
bring about social change are denied us with all sorts of mistrust? Why
must they think that the system of social justice imposed by advanced
European nations upon their peoples cannot also be an objective for us
Latin Americans but with different methods in different conditions? No: the
violence and disproportionate misery of our history are the result of
secular injustice and infinite bitterness and not a plot hatched three
thousand leagues distance from our home. But many European leaders and
thinkers have thought so, with all the childlike regression of grandfathers
who have forgotten the life-giving madness of youth, as if it were not
possible to live a destiny other than one at the mercy of the two great
leaders and masters of the world.

Nevertheless, in the face of oppression, pillage and abandonment, our reply
is life. Neither floods nor plagues, nor famines nor cataclysms, nor even
eternal war century after century have managed to reduce the tenacious
advantage that life has over death. It is an advantage which is on the
increase and quickens apace: every year, there are seventy-four million
more births than deaths, a sufficient number of new living souls to
populate New York every year seven times over. The majority of these are
born in countries with few resources, and among these, naturally, the
countries of Latin America. On the other hand, the more prosperous nations
have succeeded in accumulating sufficient destructive power to annihilate
one hundred times over not only every human being who has ever existed but
every living creature ever to have graced this planet of misfortune.

On a day like today, my master William Faulkner said in this very place, “I
refuse to admit the end of mankind.” I should not feel myself worthy of
standing where he once stood were I not fully conscious that, for the first
time in the history of humanity, the colossal disaster which he refused to
recognize thirty-two years ago is now simply a scientific possibility. Face
to face with a reality that overwhelms us, one which over man’s perceptions
of time must have seemed a utopia, tellers of tales who, like me, are
capable of believing anything, feel entitled to believe that it is not yet
too late to undertake the creation of a minor utopia: a new and limitless
utopia for life, wherein no one can decide for others how they are to die,
where love really can be true and happiness possible, where the lineal
generations of one hundred years of solitude will have at last and for ever
a second opportunity on earth.

Be wind, pass it on

Posted by – April 15, 2014

'Feel Flavour – A Sonic Poster'

Herb & Spice brand Schwartz is all about flavour. But how do you dramatise flavour when flavour is invisible and silent?

Simple: make it possible for people to see, hear and feel it. Print Tech collective, Novalia and ad agency Grey London have collaborated on an interactive poster that uses innovative ‘touch sensitive’ inks to turn the surface area of the paper into an interactive interface.

Illustrator Billie Jean was invited to create a visual articulation of what taste might look like. Each herb and spice depicted in the artwork was then assigned a musical chord matching its flavour characteristic. For example, cumin became E flat major, chilli was ascribed A flat major and fennel was characterised by a higher pitched F minor. The image was then back-printed with an innovative conductive ink, effectively giving the poster capacitive touch technology. When paired with a mobile device via Bluetooth, the poster becomes an interactive musical instrument.

The poster was created as part of a Schwartz promotion designed to target the retail trade.


Client: Schwartz
Creative Agency: Grey London
Chief Creative Officer: Nils Leonard
Creative Director: Andy Lockley
Art Directors: Andy Lockley / Andy Garnett
Copywriter: Dan Cole
Creative Producers: Georgie Moran / Lucy Dunn
Original Music: MJ Cole / Soho Music.
Sound design: Holly Clancey
Production Company: Grey Works
Producer: Becky Knapp
DOP: Bruno Downey
Print Production / software developer: Novalia

Sand.Sculptures ( )

Posted by – March 31, 2014

sand1 sand2 sand3 sand4 sand5 sand6


Posted by – March 31, 2014








Posted by – February 19, 2014

A map of Europe in 1914

Posted by – February 5, 2014



via publicDomainReview

Cartoon Map of Europe in 1914

A German cartoon from 1914 showing the lay of the political land as seen from the German perspective at the outbreak of World War One. As the text below the picture states, Germany and the Austro-Hungary Empire defend “blows from all sides”, particularly from the east in the form of a huge snarling Russian face. To the right of the image a banner declares that 10% of the proceeds of the map’s sale will go toward the Red Cross. The map is accompanied by a contemporary version of a French woodcut depicting a very different looking Europe of 1870.

The images are from the Berlin State Library and are featured as part of the wonderful new project from Europeana, “Europeana, 1914-18” which is marking 100 years since the outbreak of WW1 with a remarkable pan-European pooling of material, from both individuals and institutions, relating to the “Great War”.
– See more at:



Posted by – February 5, 2014














pay tent come pack rays in book seats

Posted by – December 25, 2013

A patent (/ˈpætənt/ or /ˈpeɪtənt/) is a set of exclusive rights granted by a sovereign state to an inventor or their assignee for a limited period of time, in exchange for the public disclosure of the invention. An invention is a solution to a specific technological problem, and may be a product or a process.[1]:17 Patents are a form of intellectual property.

Intellectual property (IP) is a legal concept which refers to creations of the mind for which exclusive rights are recognized.[1] Under intellectual property law, owners are granted certain exclusive rights to a variety of intangible assets, such as musical, literary, and artistic works; discoveries and inventions; and words, phrases, symbols, and designs. Common types of intellectual property rights include copyright, trademarks, patents, industrial design rights, trade dress, and in some jurisdictions trade secrets.

Although many of the legal principles governing intellectual property rights have evolved over centuries, it was not until the 19th century that the term intellectual property began to be used, and not until the late 20th century that it became commonplace in the majority of the world.[2] The British Statute of Anne (1710) and the Statute of Monopolies (1624) are now seen as the origins of copyright and patent law respectively.[3]

Philips currently holds around 54,000 patent rights, 39,000 trademarks, 70,000 design rights and 4,400 domain name registrations.
The name “Sony” was chosen for the brand as a mix of two words. One was the Latin word “Sonus”, which is the root of sonic and sound, and the other was “Sonny”, a familiar term used in 1950s America to call a boy.[5] The first Sony-branded product, the TR-55 transistor radio, appeared in 1955 but the company name did not change to Sony until January 1958.



Red Book (1982)

CD-DA (Digital Audio) – standardized as IEC 60908
CD-Text – a 1996 extension to CD-DA
CD+G (plus Graphics) – karaoke
CD+EG / CD+XG (plus Extended Graphics) – an extension of CD+G

The Red Book, written by Philips and Sony in 1982, contains standards for the original compact disc (CD). It includes the physical characteristics of the CD and CD-DA The Red Book standard defines the format in which an audio CD must be recorded so that it will play correctly on a CD player. Red Book is the basis for all later CD standards and specification documents.

Green Book (1986)

CD-i (Interactive)

The Green Book (sometimes known as the Full Functional Green Book, or FFGN) is the informal name for Philips and Sony’s 1986 specification document for CD-Interactive (CD-i). More properly known as the Compact disc Interactive Full Functional Specification, the document defines a compact disc format and a complete hardware and software system with specialized data compression and interleaving techniques. The Green Book comprises both the CD-i specification and the Microware OS-9 2.4 (the specified operating system) Technical Manual. CD-i was introduced as an interactive multimedia system that could be connected to the television and stereo system and was the first such system based on CD technology.

The Green Book specifies track layout, sector structure, and an ISO 9660-based data retrieval structure. Adaptive differential pulse-code modulation (ADPCM) is used to convert sound to binary information and to store it along with other types of media data. Green Book block structure enables synchronization of the various kinds of data and file compression for multimedia applications. CD-i sectors make use of an 8 byte area left unused by CD-ROM XA, although they are similar otherwise.

Yellow Book (1988)

CD-ROM (Read-Only Memory) – standardized as ECMA-130 and ISO/IEC 10149
CD-ROM XA (eXtended Architecture) – a 1991 extension of CD-ROM

The Yellow Book is the informal name for Philips and Sony’s ECMA-130 standard specification for CD-ROM (Compact Disk, read-only-memory). Published by the two companies in 1988, the Yellow Book is an extension of the Red Book that enables the CD to contain data other than the audio data. In 1989, the Yellow Book was issued by the International Organization for Standardization (ISO) as ISO/IEC 10149, Data Interchange on Read-Only 120mm Optical disks (CD-ROM). Because the Yellow Book only defines the physical arrangement of the data on the disk, other standards are used in conjunction with it to define directory and file structures. They include ISO-9660, HFS (Hierarchal File System, for Macintosh computers), and Hybrid HFS-ISO. In addition to the disc specification, optical stylus parameters, the control/display system, and sector structure, the Yellow Book includes modulation and error correction data. Definitions include two data modes, mode 1 and mode 2.

CD-ROM, Mode 1 is the standard data storage mode used by almost all standard data CDs (CD-ROMs). Of the 2,352 bytes of data in each block, 2048 are allocated for the data that the user sees. The remaining 304 bytes are used for added error detection and correction code.

CD-ROM, Mode 2 can contain 2336 bytes of user data. It is the same as Mode 1, except that the error detection and code correction bytes are not included. The Mode 2 format offers a flexible method for storing graphics and video. It allows different kinds of data to be mixed together, and became the basis for another standard known as CD-ROM XA (Extended Architecture). The specification for CD-ROM XA was published as an extension to the Yellow Book in 1991.

Orange Book (1990)

Orange is a reference to the fact that red and yellow mix to orange. This correlates with the fact that CD-R and CD-RW are capable of audio (“Red”) and data (“Yellow”); although other colors (other CD standards) that do not mix are capable of being burned onto the physical medium. Orange Book also introduced the standard for multisession writing.

CD-MO (Magneto-Optical)
CD-R (Recordable) alias CD-WO (Write Once) alias CD-WORM (Write Once, Read Many) – partially standardized as ECMA-394
CD-RW (ReWritable) alias CD-E (Eraseable) – partially standardized as ECMA-395

Orange Book is the informal name for Philips and Sony’s Recordable CD Standard. Published in 1990, the Orange Book is a follow-up to their Red Book CD-DA (Compact disc – Digital Audio) specifications. The Orange Book is divided into two sections: Part I deals with magneto-optical (MO) drives, and Part II deals with the first recordable CD format CD-R (Compact disc – Recordable). Part III, released separately, detailed CD-RW (Compact disc – Rewritable). In addition to disc specifications for the above CD forms, the Orange Book includes information on data organization, multisession and hybrid disks, pre-groove modulation (for motor control during writing), and recommendations for measurement of reflectivity, environment, and light speed.

Orange Book specifications enabled the first desktop disc writing. Formerly, CDs had been read-only music (CD-DA), to be played in CD players, and multimedia (CD-ROM), to be played in computers; after the Orange Book, any user with a CD Recorder drive could create their own CDs from their desktop computers.

Magneto-Optical (CD-MO) technology allows tracks to be erased and rewritten on 12cm CDs that are rated to allow millions of rewrites. These drives use two heads (one to write and the other to erase), in a double-pass process. System information may be permanently written in a small, premastered area, but the rest of the area is available for recording, and re-recording many times.

CD-R products can be written to only once, similarly to WORM (write once, read many) products. A CD-R drive records on CDs that have special recording layers and pregrooved tracks. The first tracks are a program calibration area, which is followed by the Lead-in area (where the table of contents will be written), and the program area (where the user actually records), and a Lead-out area. There are hybrid disks that include read-only and recordable areas.

Rewritable CD (CD-RW) was developed by Philips and Sony in 1996, as an extension to the original Orange Book. This addition specifies the use of Phase Change technology and the UDF to produce a CD that can be rewritten in one pass. CD-RW makes it possible for the user to write and rewrite the disk.

White Book (1993)

CD-i Bridge – a bridge format between CD-ROM XA and the Green Book CD-i, which is the base format for Video CDs, Super Video CDs and Photo CDs.
VCD (Video)
SVCD (Super Video, 1998) – a 1998 extension of VCD, standardized as IEC 62107 in 2000.

The White Book, which was released in 1993 by Sony, Philips, Matsushita, and JVC, is the specification document for Video CD (VCD), and encompasses specifications for track usage, MPEG audio/video track encoding, play sequence descriptors, data retrieval structures, and user data fields. VCD is defined as a particular adaptation of CD-ROM XA (extended architecture) that is designed to hold MPEG-1 video data. The CD-ROM XA sector structure (as detailed in the Yellow Book and ISO 9660) is used to define the physical and logical blocks, and MPEG-1 is used to compress data so that full-screen, full motion video data can be contained on the disc – without compression, the disc could only hold about 2 minutes worth of video. VCD resolution is similar to that of VHS.

White Book specifications include the disc format (such as the use of tracks, for example), a data retrieval structure compatible with ISO 9660, data fields to enable fast forward and reverse, and closed captioning. VCD, Photo CD and Karaoke CD are defined as bridge disks, a format based on CD-ROM XA to enable the disks to work in compatible CD-ROM and CD-i (CD-Interactive) drives. Following the original specifications, VCD 2.0 was released in 1995, VCD-Internet in 1997, and SuperVCD in 1998, all from extensions to the White Book. Disks of this type interleave MPEG video and audio to achieve proper data flow rates.

Blue Book (1995)

E-CD/CD+/CD Extra (Enhanced)

The Blue Book is the informal name for the standard specification document for stamped multisession (also known as enhanced CD or E-CD) disc format, developed in 1995 from a supplement to Philips and Sony’s 1988 Orange Book. The Blue Book defines a format for enhanced CDs that enables inclusion of multimedia data (such as video clips, text, and images) on a standard audio CD. Blue Book disc specifications include audio and other data sessions, directory structures, and image and data formats. The disks play normally on a CD-player, and display the extra data when they are played on a device with multimedia capabilities, such as a computer’s CD-ROM drive, or a CD-i player.

The Blue Book specifies two sessions: up to 99 Red Book audio tracks in the first session (closest to the center of the disk), and a Yellow Book-based data track in the second session (closest to the outside edge of the disk). Other Blue Book details include the Red Book disc specification, file formats (including CD Plus information files), and an ISO 9660-compatible directory structure to organize the various types of data. The Blue Book is supported as a licensed standard definition by Philips, Sony, Microsoft, and Apple. A multisession CD, the CD+ is designed so that the data track cannot be accessed by regular audio CD players, thereby protecting them for damage.

Beige Book (1992)

PCD (Photo)

Scarlet Book (1999)

SACD (Super Audio)

The Scarlet Book is Philips and Sony’s 1999 specification document for Super Audio Compact disc (SACD), a high-resolution audio format that features complex six channel sound. SACD disks can contain three different versions of the same material. SACD uses Direct Stream Digital (DSD) recording, a proprietary Sony technology that converts an analog waveform to a 1-bit signal for direct recording, instead of the pulse code modulation (PCM) and filtering used by standard CDs. DSD uses lossless compression (so-called because none of the data is lost in the compression process) and a sampling rate of 2.8MHz to improve the complexity and realism of sound. DSD enables a frequency response of 100kHz and a dynamic range of 120dB (the ratio of the softest to the loudest sound – 120db is also the approximate dynamic range of human hearing) on all channels. Scarlet Book details include three separate options for disc format: single-layer DSD, dual-layer DSD, or dual-layer hybrid, which includes a Red Book layer that can be played on any existing CD player in addition to the high-density layer that has the capacity to deliver eight channels of DSD. In addition to DSD and the hybrid disc technology, Scarlet Book specifications include: Super Bit Mapping Direct, a proprietary downconversion method that enables improved audio when the disks are played on an ordinary CD player; Direct Stream Transfer, a type of coding that increases data capacity; and a digital watermark to protect against piracy. According to some, SACD is a hybrid CD/DVD format, since Scarlet Book specifications are identical to those for DVD disks for the file system, sector size, error correction, and modultation. SACD is in competition with a similar product, DVD-Audio, as the format that will replace standard audio CD.

Purple Book (2000)

DDCD (Double Density)

The Purple Book is the informal name for Philips and Sony’s specification document for Double Density Compact disc (DDCD) format. By narrowing the track pitch (to 1.1 micron from 1.6 micron), and shortening the minimum pit length (to 0.623 micron from 0.833 micron), the Purple Book enables a CD to hold 1.3 gigabytes, roughly twice the capacity of a standard CD. Other Purple Book specifications include a new type of error correction (known as CIRC7), an adaptation of the ISO 9660 file format, and a scanning velocity of 0.9 meters per second.

info from >


Posted by – October 29, 2013



You don’t have to be beautiful to turn me on
I just need your body, baby, from dusk till dawn
You don’t need experience to turn me out
You just leave it all up to me, I’m gonna show you what it’s all about

You don’t have to be rich to be my girl
You don’t have to be cool to rule my world
Ain’t no particular sign I’m more compatible with
I just want your extra time and your kiss

You got to not talk dirty, baby, if you wanna impress me
You can’t be to flirty, mama, I know how to undress me, yeah
I want to be your fantasy, maybe you could be mine
You just leave it all up to me, we could have a good time

You don’t have to be rich to be my girl
You don’t have to be cool to rule my world
Ain’t no particular sign I’m more compatible with
I just want your extra time and your kiss

Yes, oh, I think I wanna dance, uh
Gotta, gotta, oh
Little Girl Wendy’s Parade
Gotta, gotta, gotta

Women, not girls, rule my world, I said they rule my world
Act your age, mama, not your shoe size, maybe we could do the twirl
(Not your shoe size)
You don’t have to watch Dynasty to have an attitude, uh
You just leave it all up to me, my love will be your food, yeah

You don’t have to be rich to be my girl
You don’t have to be cool to rule my world
Ain’t no particular sign I’m compatible with!
I just want your extra time and your kiss

via wikipedia

Directed by Jacques Feyder
Screenplay by Hanns Kräly
Story by George M. Saville
Starring Greta Garbo
Conrad Nagel
Lew Ayres
Distributed by Metro-Goldwyn-Mayer
Release date(s) 16 November 1929
Running time 65 minutes[1]
Country United States
Language Silent
English intertitles
Budget US$ 257,018.63

match itch shotgun

Posted by – October 24, 2013


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DALEAST (street.artist)

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Posted by – October 3, 2013

Fantasmagorie (1908)

via wikipedia

Cohl made “Fantasmagorie” from February to May or June 1908. This is considered the first fully animated film ever made. It was made up of 700 drawings, each of which was double-exposed (animated “on twos”), leading to a running time of almost two minutes. Despite the short running time, the piece was packed with material devised in a “stream of consciousness” style. It borrowed from Blackton in using a “chalk-line effect” (filming black lines on white paper, then reversing the negative to make it look like white chalk on a black chalkboard), having the main character drawn by the artist’s hand on camera, and the main characters of a clown and a gentleman (this taken from Blackton’s “Humorous Phases of Funny Faces”). The film, in all of its wild transformations, is a direct tribute to the by-then forgotten Incoherent movement. The title is a reference to the “fantasmograph”, a mid-Nineteenth Century variant of the magic lantern that projected ghostly images that floated across the walls.

“Fantasmagorie” was released on August 17, 1908. This was followed by two more films, “Le Cauchemar du fantoche” [“The Puppet’s Nightmare”, now lost] and “Un Drame chez les fantoches” [“A Puppet Drama”, called “The Love Affair in Toyland” for American release and “Mystical Love-Making” for British release], all completed in 1908. These three films are united by their chalk-line style, the stick-figure clown protagonists, and the constant transformations. Cohl made the plots of these films up as he was filming them. He would put a drawing on the lightbox, photograph it, trace onto next sheet with slight changes, photograph that, and so on. This meant that the pictures did not jitter and the plot was spontaneous. Cohl had to calculate the timing in advance. The process was demanding and time-consuming, which is probably why he moved away from drawn animation after “Un Drame chez les fantoches”.

via ‘Les Indépendants du Premier Siècle’

Emile Courtet was born in Paris in 1857 and adopted the pseudonym Cohl when he was 20 . He only began to take an interest in the cinema in 1907 – a year that marked a turning point in what was already a productive life and career.
Between the ages of 18 and 50, Cohl plied a large number of trades. He worked mainly in satiric illustration (he was friend and disciple of André Gill), cartoons, journalism, and also theater and photography.

What is interesting in Cohl’s work is that, in addition to having invented the animated cartoons with his “Fantasmagorie” (a magic lantern term), projected on August 17, 1908 at the Théâtre de Gymnase in Paris, he gave animation a sense of poetry, a plethora of innovations, and made it an art in its own right, dubbed by some as the “eighth art,” which combined cinema, drawing and painting. Thanks to the intellectual experiences of his youth, Cohl gave free rein to his imagination and made films in which critics have discerned the influence of cubism, but also the premises of Dadaism and Surrealism.

He innovated with the creation of the first animation hero, Fantoche. He made the first puppet animation film, the first animation films in color, the first animated commercial, the first animation films based on comic strips. He used paper cutouts, and often combined images, animated objects, pixillation, and layering with real-life footagewithin the same film.

The Hasher’s Delirium (1910)

The Automatic Moving Company (1912)

Émile Cohl at IMDB,