Posted by – August 14, 2017

I have been learning R, a programming language for statistical computing and graphics. I have no statistical knowledge, nevertheless it allows me to fastly generate text files to then use with MAX for Live or plotting graphics that help me understand things. It is my intention to reach a good level in order to analyze text, Natural Language Processing, they call it and Textmining…


R is ‘GNU S’, a freely available language and environment for statistical computing and graphics which provides a wide variety of statistical and graphical techniques: linear and nonlinear modelling, statistical tests, time series analysis, classification, clustering, etc. Please consult the R project homepage for further information.

CRAN is a network of ftp and web servers around the world that store identical, up-to-date, versions of code and documentation for R. Please use the CRAN mirror nearest to you to minimize network load.

Here some useful links I’ve found the last days to learn the basics and more;

Easy R Programming Basics



Flowing Data


Tufte in R
The idea behind Tufte in R is to use R – the most powerful open-source statistical programming language – to replicate excellent visualisation practices developed by Edward Tufte.

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!

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…

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.


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


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:


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


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,

No Key

Posted by – September 9, 2013

Stare away, too heavy

Posted by – September 4, 2013

Led Zeppelin es una banda inglesa…que inicia su ruta en la industria musical en el añ0 1968, y que ahora todo el mundo conoce, en parte, gracias a una recomendación de Dusty Springfield a la disquera Atlantic, ya que habia colaborado con John Paul Jones, bajista y tecladista de Led Zeppelin, en las dos primeras canciones de su disco Dusty … Definitely; Ain’t No Sun Since You’ve Been Gone, Conductor – John Paul Jones, escrita por – Grant*, Whitfield*, May* y Take Another Little Piece Of My Heart, Conductor – John Paul Jones, escrita por Berns*, Ragavoy*

En diciembre de 2012, Led Zeppelin fue honorado junto a David Letterman, George “Buddy” Guy, Natalia Makarova y Dustin Hoffman en el Kennedy Center… y se pueden apreciar la mirada mojada de Robert Plant cuando un coro de más de 30 personas canta la canción Stairway To Heaven que le genera el mismo efecto a nuestra madre cuando la escucha…

más info sobre ese evento aqui >>>

Joel Sanz (1947-2013)

Posted by – August 31, 2013

Con mucho cariño recuerdo a Joel, premio nacional de arquitectura (2000) y profesor de diseño en la Unidad Docente 9, donde estudié toda mi carrera. En éste video, Joel habla de sus inicios en la arquitectura, varias anécdotas interesantes, mientras su perro, Oso, circula los espacios de la casa, muy divertido. La historia que narra sirve como punto de partida para escribir un artículo en wikipedia, ya que no lo conseguí… lo he comenzado. / Aqui el link al artículo >

the evolution of the origin of species, 2013 edition

Posted by – June 21, 2013

nice project…
haven’t read this book yet, but half of ‘On Natural Selection’,
written, approximately 5 times my age…ago.

off writ cause / egg no runs

Posted by – June 17, 2013

"I Sing the Desert Electric" is a collection of video shorts taken in four locations and representing four distinct and highly regionalized musical scenes. From fuzzy electric guitars of Mauritania to raucous electro street parties of Bamako, the short survey is a window into contemporary performance in the Western Sahel."

Locro de Abuelita

Posted by – May 11, 2013

Primero, comprar los ingredientes…

Onoto / semillas, más info >>>
Papas (preferiblemente morada) / peladas y cortadas en cuartos.
Repollo (blanco, uno o medio) / rayado
Cebolla (blanca y morada) / cortada en cubitos pequeños
Queso (blanco semi duro) / cortado en cubitos
Ajoporro, Cebollín, Cilantro y Perejil / picadito
Aguacate, Cambur (extra)

En una olla especial para preparar el onoto, con aceite… se calienta… y se vierte éste aceite en una olla grande donde se sofríe la cebolla, ajoporro y cebolliín. Agregue sal y pimienta a su gusto.

Luego, se vierten el repollo, las papas y el agua.
Se mezcla todo y se tapa la olla… a cocinarse una hora…

Una vez transcurrido el tiempo necesario para que todo este bien cocinado… se procede a triturar las papas y por último se agrega el queso.

El locro de la abuelita se acompaña con cambur y aguacate. Al parecer era la mamá de la abuelita, es decir, nuestra bisabuela…quien lo acompañaba con cambur…

Por supuesto, se acompaña además de ají picante…
la preparación de éste es muy sencilla… (versión ecuatoriana) – gracias a Mariana por su ayuda.

2 Ají picantes / batidos en licuadora con una taza de agua y sal.
Cebollín y cilantro / picadito muy chiquito.
-Aceite de maiz / una cuharadita

Aqui la abuelita degustando el plato final!

Al Hansen – txt

Posted by – May 9, 2013

from > Al Hansen’s website


Edgar Allen Poe’s poem “The Bells” is based on a church in Greenwich Village, the traditional crazy artist’s quarter of Lower Manhattan. My family comes to America from the duffel bag of my grandfather. He was a cabin boy on a schooner out of Larvik, Norway. About the time Poe wrote “The Bells,” my fifteen year old grandfather jumped ship in Port Newark/New Jersey by climbing down a rope to the dock eines guten dunkel Nacht. Nick Hansen.

Also in the 1880’s there was a family in Lower Manhattan who owned a lot of hotels. Each hotel was named after a son. Albert Pinkham Ryder, a famous painter, had the good fortune to be born to them and not many of the crazy artists in the HOTEL ALBERT realize it is named after him.

Artists, writers, filmers and rock groups on the way up stay at the CHELSEA HOTEL on West 23rd Street. The damaged and the losers on the way down stay at the ALBERT HOTEL on University Place in the Village. Chelsea is uppers; the Albert is downers. Coke in the penthouse; smack in the ghetto. I live a yo-yo life.

After a few economic disasters I had to move to the Albert with my main woman Valerie Herouvis. Fluxus Jerry Benjamin, Bruce the Jeweler, Mad Marie, Rene Ricard, Diane DiPrima, Louise the Lesbian, Maggie Morphine, Suzy Sniff and Yoko Ono…. We all knew each other from the streets and Max’s Kansas City restaurant. Some people got so fucked up the “Albert” is on the way UP for them. Einstein wasn’t kidding when he thought up the theory of relativity. We never could have had the Twentieth Century without it.

We were just in the Albert Hotel a few days. It was late at night and I was on the tail end of a beautiful blow job. As I exploded, the world exploded. Barrrruuuum! Sounds of big pieces of glass falling. The whole hotel shook. Faggots were screaming. Outside, up the street, Puerto Rican Nationalist terrorists had blown up the Village Voice newspaper offices.

Everyone poured out of the hotel half-dressed to have a look. Glass like crystal covered the streets. I suddenly noticed Valerie still had pieces of sperm in her hair like strand schaum. The poet crazy Angus Maclise once made a calendar assigning mad free titles to different days. I particularly like “The Night of the Breaking of Great Sheets of Glass.” And now here it was.

We re-entered the hotel and drifted up to our rooms. There was a funny tense mood in the hotel. People were crouched attentively over radios and TVs like people in old news-photos listening to speeches by Churchill or Hitler in 1942 (depending on what side the people who run the world decided you would get your news from). We regularly shoot and kill important people in America so we have a particular way we stand in those moments. “Let’s go back to bed,” Valerie murmured. “Something heavy has gone down,” I said.

It is another proof of American schizophrenia that we are quite happy to communicate totally with symbols, non-verbally, without exchanging any information of any kind at all. read the Paris Tribune. Listen to the fat cheerful plastic disc jockey and newsfolk on Armed Forces Radio.

We went to our room. “Let’s go to bed,” Valerie said. Outside, in the hall, Rene Ricard, a great poet, was yelling: “Eeeeuuugh! Bobby Kennedy is sooo Nouveau Dead!” On the radio we listened for a bit to how Sirhan Sirhan had shot Bobby Kennedy dead dead in the head head.

The next day Valerie Solanis would try to do the same thing to Andy Warhol. Manson was still collecting runaway girls at Spahn’s Ranch in California. Polanski and his wife thought witchcraft was fun. “Ho Ho Ho,” Saint Nick always says when he comes down the chimney with gifts.

Art energy systems are fluid, liquid, feminine, gazeuse, videoesque. I float in and out of them city to city internationally. I am it. It is me. I have been involved with Andy in different ways since he first began to cruise the art scene with Charles Henri at Claes Oldenberg’s Happening Store days on the Lower East Side. Andy always taped conversations live. He was the media and the media loved him in return. In a European way, Joseph Beuys had the same power.

Neuer Shamans. Andy was having his first book made, “A.” It was being laboriously typed from a mountain of sound cassettes by Maureen, the drummer of Sterling’s VELVET UNDERGROUND, a rock group that based itself in Andy’s Factory and like a trampoline it threw Lou Reed, Nico and John Cale into the air. Mo was sitting for hours in headphones with a stop-start foot pedal, typing these mad crazed faggot speed slang drug rappings and she had had enough.

“Can you get me someone who would be good at that?” Andy asked. “Sure,” I said. “It has to be as soon as possible,” Andy said. “I got one already,” I said, “Her name is Deirdre McGowan and she is crazy. She will also be very good at it.” “OK. Bring her up in a day or so.”

The next day Valerie went uptown to work in Annie’s Abracadabra boutique on East something 60th Street. The other Valerie was buying a box of bullets for the two pistols she had obtained.

While Andy was shooting Chelsea Girls in the hotel, she had asked him and his people several times to shoot her picture and sometimes they said yes and sometimes they said no and other times they said maybe and it made her very very very crazy. She looked very crazy before that. She would sit all night in the hamburger joint across 23rd Street from the Hotel Chelsea and write her S.C.U.M. Manifesto (Society for Cutting Up Men).

One night she and I and Vostell were the only people there. Vostell and I liked the new Rolling Stones hit “Nineteenth Nervous Breakdown. At first we just played it four or five times; then Wolf and I put a couple dollars of coins ion the song and it played over and over for hours. Suddenly the machine broke down. As I went to the counter for more coffee Valerie said, “I’m glad you guys stopped playing that over and over; I was getting ready to kill you.” Very funny then. Not so funny in a couple of rain soaked hours.

Deirdre McGowan called from the lobby of the Albert Hotel. “Should I come up?” “I just rolled a couple of joints,” I said. “I’ll come up,” she said. She came up. We smoked, did the joints, then we did each other and a few more things. Then we went down to the French Bakery on University Place and had cafe avec croissants and I explained about the Warhol typing job.

“I don’t care what it pays,” she said, “I’ll even do it for free. I’m dying in the job I’m in. It’s killing me.” HaHaHaHa “Es geht los,” I said and we paid and started up the street to Andy’s big place on Union Square West. As we were waiting for the light to change at 12th Street I realized I was looking into the bearded hippy angel face of Angus Maclise. With him was his wife Hetty and Gerard Malanga, Andy’s long term right hand man and a poet in his own right.

I told him about the night of the crashing of great panes of glass. “That’s the one George Brecht likes most,” Angus said. “We are going to the Factory,” Gerard said. “So are we,” I said. “This is Deirdre MacGowan, she’s going to take over the typing from Mo (reen) the drummer.” “Terrific, we’ve got to get that done as soon as possible,” said Gerard.

BaBaBoooom! The heavens opened up and we ran to one of those awning like canopies that go from storefront to the curb in rich neighborhoods so the rich can stay cozy. “I will send you a copy of the calendar,” said Angus, “And if I don’t, Ira Cohen has some.” The rain kept coming down. We were on our way to be shot and killed with Andy, but it was raining too hard.

“Shit, let’s just go in and get coffee ’cause it’s not going to stop soon,” I said. We went in and had coffee and cakes and Angus and Hetty told about their drug entrapment bust in the Southwest. Dr. Timothy Libra Leary had the same number pulled on him. “Why go back and fight it? Fuck them!” I offered. “We have a house and stuff there,” Hetty said, “And besides a lot of people are helping.” “I’d split,” I said. “Hey!” Malanga said, “It’s stopped raining. Let’s go up to Andy’s.”

At this time Valerie Solanis was having a good time up there shooting everyone. She was shooting Andy the most. At the factory bullets were flying around like Gunfight at the OK Corral, but in the street the air was fresh and clean the way it is in cities for ten minutes after a heavy rain. As we crossed 14th Street, Valerie Solanis with smoking pistolas walked over to the elevator and pushed the down button.

It’s a typical artist’s industrial space with large floor-to-ceiling columns everywhere. Everyone at the Factory had been running around them ducking the feminist fusillade of hot lead. She saw Fred Hughs and he froze. Fred is kind of the economic manager of Andy’s enterprises. Mr. Pursestrings.

“I’m going to shoot you now, Fred,” she murmured. (Why didn’t the elevator come?) She smiled like a crazy cobra and pointed the pistol at him. He sank to his knees and raised his clasped hands in an attitude of prayer. “Please don’t shoot me Valerie,” he said. “You’re next, Fred,” she said. God had sent the elevator.

The doors opened. “Pleeeeaase, don’t shoot me, Valerie!” he begged again. She stepped into the elevator and pushed “Erde.” The doors closed. It took her down. Someone jumped to the phone and called for an ambulance, police, everything. You have to tell them your name and how it’s spelled, the address and everything before you will be allowed to tell them WHY you are calling. Paperwork.

We were crossing 15th Street. The elevator hit the ground floor and Valerie Solanis, girl assassin, slipped out into the streets teeming with people, not to be seen again until the police dragnet pulled her in later in the evening. We walked in, got in the elevator, pushed “8,” the doors closed and up we went.

It stopped on Andy’s floor and the door swooshed open on madness! People were screaming, people were babbling, some were crying — hysteria uber alles! Must be some good dope going down! I turned to my right and Fred Hughes was there still on his knees, hands clasped in an attitude of supplication: “Have they got her? Did they catch her?” Fred asked. “Andy’s dying! Andy’s dying! another yelled and, “Did you see her? Did she shoot at you?”

Gerard and I looked at each other and smiled. (What the fuck are they talking about?)

Then Gerard and I simultaneously did the same thing: we started to look around for the camera person. It was obviously a candid camera improvisation. Mario Amaya, editor of London’s “Art & Artist” magazine kept yelling at me over his shoulder: “Are there two holes in my shirt?”

Fred on his knees; everyone crying and babbling at once. Mario: “Are there two holes in my shirt? She shot me and if there are two holes in my shirt the bullets went through!” There was a funny smell in the air. Cordite.

Unlike a lot of people up at Andy’s I’m not good in bed with a man. I tried it a couple of times and just got the giggles. Felt silly. But I know a lot about handguns and bullets and stuff. I suddenly realized the place smelt like my favorite pistol shooting club down in Little Italy. Hetty, Angus and Deirdre were on the same trip.

Mario is the guy Andy got the silver tin foil kick from. “There are two bullet holes in your back, Mario,” I said. Two juicy blood red holes in his neat white shirt.

Deirdre McGowan is that kind of curly red haired white skinned Gaelic beauty that is also French. ; like the tumbly red haired au pair girl in the French Impressionist paintings. She is from New Jersey and she is tough. She touched my arm. She looked like the Angel of Death.

“Andy is really shot,” she said. There were tears in her eyes. “She really shot him!” she said, “He’s dying! come!” She took my hand and I took Gerard’s. We walked to the corner where Andy laid on the floor shot six or seven times. Blood was all over the floor. It was a dream walk to the corner holding hands the way Greek men dance.

Andy was full of bullet holes. The blood leaking from his body looked like “Campbell’s Tomato Soup.” Billy Linich was standing over Andy like an Angel of Life. Andy said my name. “Al? It hurts. Oooh it hurts!” he murmured in a little voice. Gerard was on the phone to Andy’s mother. He would come and get her as soon as he knew where Andy would be.

We had been there four minutes, but it seemed like an hour or more. Average arrival time for police in a big city is twenty minutes to a half hour. If someone wants to shoot you, try to get them to do it in front of a police station or hospital. Bessie Smith had a problem with that. I bent to take Andy in my arms and carry him down to the street; maybe we would luck into a doctor. They all began to scream and claw at me: “Don’t touch him!” they shrieked, “Don’t touch him!”

“Don’t touch him! is car accidents,” I yelled back. “This is gun shots. Don’t you watch the war on TV? You pick up the wounded and run for the medics!” “Don’t touch him!” they screamed. “Shit! Oooh, it hurts!” Andy said.

The floor was a carpet of beautiful Campbell’s Tomato Soup red now. I wanted to cradle him in my arms and comfort him and hold him close. But I had just got my suit out of the dry cleaners. I thought: “I’ll go try to find a doctor in the building, down in the street; someone who knows what to do.”

I went to the elevator. I placed my finger over Valerie Solanis’ fingerprint and pushed for “down.” The doors opened. I got in. The doors closed. The elevator began to rise UP slowly and majestically through the building. High up it stopped. Door opens. A giant man starts pushing boxes in.

“Man’s shot! Six bullet holes! Murder attempt!”

“Yeah?” he grunts. He puts more boxes on. “Emergency! Man shot! Andy Warhol! ARE YOU INTO POP ART AT ALL?” I yell.

He puts some more boxes on. “My friend is losing his life!” I yell. He puts more boxes on. “If I don’t get this shit down to the street and on a truck in ten minutes, I will lose my job,” he says. I climb over the boxes.

I plunged down the stairs. Down to the streets teeming with doctors, lawyers, nurses, dentists, Girl Scouts, Boy Scouts, old women who took a First Aid Course at the YMCA, ex-servicemen…I didn’t know shit!


No one paid any attention. Streams of people went by like bicycles in China. A Doctor friend’s name popped up into my mind. I ran to a phone booth. I pounded on it. “EMERGENCY!” I yelled, “Shooting!” He held up a middle finger; that means “fuck you” everywhere.

I ran to the corner luncheonette. A man let me have the phone. I had no small change. People yelled at me for not getting on the line. Got change. Called the doctor. Nowhere. Called the police. They knew about it.

Then I heard the sirens! Police! Ambulances! Beautiful! “He has been shot five or six times in the body with a small handgun,” I said. They were unloading their stuff. “Where’s the elevator?” an old cop said. “It’s too slow. It’s for the whole building. The stairs!” I said. They charged up the stairs.

We thundered up the eight flights. Shit. They put Andy in a little canvas folding chair thing like a little girl would use for a tea party. It was a power object soaked with a million psycho ergs of will and bravery from gunshot victims; mute witness to unheard of amounts of terror and insanity events. The dull strong goodness look of electric chairs, mortuary tables and prosthetic arms and legs.

Simultaneously others fastened plasma bottles, blood bottles, tubes and needles, and–off back down the stairway, all together like some part human, part crab animal. I rode down the elevator so I was there as they thundered out and into the ambulance truck and away. There were drops of campbell’s soup blood on the sidewalk; Andy was the blood of the city….

Columbus Hospital, behind Max’s Kansas City, was alive with cops.

“You’re a friend of his?” one cop asked me. “Yeah,” I said.

“Know what she looks like?”


“Okay. Watch this entrance!”

“Listen,” I said, “She works as a chemistry lab worker. She often wears a white lab coat!

“Holy shit!” the cop said, “She could walk in here like it was home!”

They couldn’t get a photo of Solanis. They were interviewing the whole Chelsea Hotel. Bridget Polk threw a whole shoe box of assorted pills out her window. For weeks dogs and cats and mice were acting weird in the neighborhood. If you haven’t seen a dog or a rat tripping on mescaline, don’t laugh!

The core population of the New York City art world began to walk into Columbus Hospital dazed. The way Jews walked into Saint Patrick’s Cathedral when JFK was shot.

When you are shot in the body with a small gun it’s like a bullet entering a steel barrel; the bullet goes round and round. They have to cut open the whole path of the bullet and clean it against infection. An expert at this was just leaving the hospital when Andy arrived. An alert nurse paged him on the intercom and he heard it as he was getting into a cab. Unlike many, he came in and saved Andy’s life!

I kept a look-out for Valerie Solanis. Amongst the groups of hospital workers coming and going Valerie Solanis, in her white laboratory coat, could easily be cruising with her pistolas loaded.

Then a fascinating operatic spectacle occurred: With a loud bang a giant elevator crash landed into the concrete basement. Huge doors opened like undersea tunnel airlock gates. Under the harsh, bright, basement lights seven or eight nurses in white with birdlike caps; some pushing, some pulling; some holding bottles with tubes curling and looping into Andy. Other bottles hung on sticks, riding high, swaying; the tubes like snakes coming down into Andy.

The wheels of the bed roared and clattered on the metal and concrete. Like Robert Wilson’s swans they swooped in unison across the floor and into another elevator. The nurses froze, looking at Andy intensely. The white light bounced and screamed from their white costumes, the sheets, their shoes, Andy’s electrocuted white spaghetti hair. The doors clanged shut and the needle moved as it rose up to “Intensive Care.”

The Detective came. “That’s it! Thanks!” he said.

I went inside to a Fellini film spectacle. The rear lobby was filled with the NYC art world: Leo Castelli, Ivan and Marylin Karp, dancers, painters, poets.

There is a row of cubicles and an audience of chairs; for the clinic operation, you get a number and when they call it you get on line to see an intern or a doctor at one of the desk nests and tell him where it hurts. If you are rich, this sounds crazy. If you are poor, having a number and waiting till they call it is your life.

All the Warhol Superstars were each at a desk and a line of reporters was waiting to interview each of them. Viva Hoffman, Bridget Polk, Ultra Violet… Astonishing.

There was a good chance he would live, the Detective told me.

I went over through quiet night streets to get a steak burger from Deborah Harry a Max’s Kansas City waitress. A feminist in a Messie-Bessie costume was handing out leaflets claiming the assassination of Plastic Man (Andy) as a victory for women.

Andy lived. Valerie was caught.

When they arrested her she said an interesting thing: “Ya got me!” She was put in Matteawan; that’s a hospital for the criminally insane out on Long Island.

Months later some social workers, incredibly more dumb and foolish than usual (which is already pretty bad), released Valerie Solanis on her own recognizance. To give her a fair chance to show she was ready to go back into society and be on welfare and vote Democratic, if not Liberal, they thought it would be good to show faith in her by not calling the police or Andy Warhol to tell them they were turning her loose.

Valerie got a gun and went up to Andy’s studio to shoot him again. Where would the criminally insane be without the faith of do-gooders? She was so fogged out and tranked (on tranquilizers) she couldn’t remember which pocket she had the gun in. So the staff sat on her until the people with the big butterfly net came and took her back out to Matteawan where they shot her so full of Thorazine and electro-shocked her until, today, it takes her hours to remember how to piss. She has been released and is happy (although a bit foggy) as a shopping bag lady sitting in doorways in the far East village.

Andy has scars circling his body that look as if he fell into an industrial sewing machine.

Angus Maclise died in Nepal and his body was burned on a funeral pyre covered with fat orange flowers. Ira Cohen says he had a big joint in each hand before they lit his Viking boat.

I’m having a wonderful time jumping around Germany in general and Berlin in particular and the last time anybody tried to kill me was when the students at Hamburg Kunstschule proposed me as guest artist professor. Anybody want to study experimenting in art?


Posted by – March 10, 2013

Bell a Lou Go SI!

Posted by – March 8, 2013

Sauerkraut – wild fermentation – 20ºC – 20 days

Posted by – February 21, 2013

From wikipedia:

Versions of sauerkraut appeared in China as far back as 2,000 years ago, and the Roman writers Cato (in his De Agri Cultura), and Columella (in his De re Rustica), mentioned preserving cabbages and turnips with salt. It is believed to have been introduced to Europe in its present form 1,000 years later by Genghis Khan after plundering China.[17][18] The Tartars took it in their saddlebags to Europe. There it took root mostly in Eastern European and Germanic cuisines, but also in countries such as France.[19]
Contrary to popular belief, sauerkraut is not a national German dish, and is actually eaten mostly in Russia, United States, and France.[citation needed] Some authorities[who?] say that it originated in Alsace, a traditionally German speaking region that today belongs to France. The gastronomic symbol of the région is Choucroute, a local variety of sauerkraut. The word sauerkraut in Alsatian has the form sûrkrût, same as in other southwestern German dialects, and means “sour cabbage” as its Standard German equivalent. This word was included into the French language as choucroute. To make it, the cabbage is finely shredded, layered with salt and juniper and left to ferment in wooden barrels. Traditionally it is served with pork, Strasbourg sausage or frankfurters, bacon, smoked pork or smoked Morteau or Montbéliard sausages. Served alongside are often roasted or steamed potatoes or dumplings. [20]

From the book ‘Wild Fermentation: The Flavor, Nutrition, and Craft of Live-Culture Foods by Sandor Ellix Katz.

Wild fermentation is a way of incorporating the wild into your body, becoming one with the natural world. Wild foods, microbial cultures included, possess a great, unmediated life force, which can help us adapt to shifting conditions and lower our susceptibility to disease. These microorganisms are everywhere, and the techniques for fermenting with them are simple and flexible.
Wild fermentation involves creating conditions in which naturally occurring organisms thrive and proliferate. Fermentation can be low-tech. These are ancient rituals that humans have been performing for many generations. They are a powerful connection to the magic of the natural world, and to our ancestors, whose clever observations enable us to enjoy the benefits of these transformations.

If you’re curious, and want to try making this… these links might come in handy…

A simple recipe to make traditional, lacto-fermented, homemade sauerkraut using only cabbage, salt and time. (via this link >)


2 medium cabbage heads (about 4 to 5 total pounds, cored and finely shredded)

2 tbsp unrefined sea salt

Toss cabbage and salt together in a large mixing bowl and begin to squeeze the cabbage and salt together with your hands, kneading it thoroughly to break up the cellular structure of the shredded cabbage. When the cabbage has become limp and released its juice, transfer it to a sauerkraut crock or vegetable fermenter (see sources). Pack the salted cabbage into the crock or fermenter as tightly as you can, eliminating air bubbles. Continue packing the cabbage into the container until it is completely submerged by liquid. Cover loosely and allow it to sit at room temperature, undisturbed, for at least seven days and up to three or four weeks, testing the sauerkraut every few days until it is done to your liking. Transfer to the refrigerator or other cold storage where it should keep for at least six months.

Copyright 2013, Nourished Kitchen, LLC. All rights reserved. No part of this content may be republished without express, written consent.

Carnivore Brain-SyXtems

Posted by – January 22, 2013

From wikipedia . . .

A carnivore (pron.: /ˈkɑrnɪvɔər/) meaning ‘meat eater’ (Latin, carne meaning ‘flesh’ and vorare meaning ‘to devour’) is an organism that derives its energy and nutrient requirements from a diet consisting mainly or exclusively of animal tissue, whether through predation or scavenging.[1][2] Animals that depend solely on animal flesh for their nutrient requirements are considered obligate carnivores while those that also consume non-animal food are considered facultative carnivores.[2] Omnivores also consume both animal and non-animal food, and apart from the more general definition, there is no clearly defined ratio of plant to animal material that would distinguish a facultative carnivore from an omnivore, or an omnivore from a facultative herbivore, for that matter.[3] A carnivore that sits at the top of the foodchain is an apex predator.
Plants that capture and digest insects are called carnivorous plants. Similarly, fungi that capture microscopic animals are often called carnivorous fungi.

The four living species of the Panthera genus (Panthera leo (lion), Panthera onca (jaguar), Panthera pardus (leopard), and Panthera tigris (tiger)) may produce a number of hybrid crosses. These hybrids are often given a compound name reflecting their breeding, while at other times they bear a more traditional name.
Lion ♀ Tiger ♀ Jaguar ♀ Leopard ♀ Liger ♀ Tigon ♀
Lion Lion Liger Liguar Lipard Liliger Litigon
Tiger Tigon Tiger Tiguar Tigard
Jaguar Jaglion Jagger Jaguar Jagupard
Leopard Leopon Dogla Leguar Leopard
Liger X
Tigon X

via wikipedia . . .

Public Beta: “Kodiak”
Main article: Mac OS X Public Beta
On September 13, 2000 Apple released a $29.95[6] “preview” version of Mac OS X (internally codenamed Kodiak) in order to gain feedback from users.[7]
The “PB” as it was known marked the first public availability of the Aqua interface and Apple made many changes to the UI based on customer feedback. Mac OS X Public Beta expired and ceased to function in Spring 2001.[8]
[edit]Version 10.0: “Cheetah”
Main article: Mac OS X v10.0
On March 24, 2001, Apple released Mac OS X v10.0 (internally codenamed Cheetah).[9] The initial version was slow, incomplete, and had very few applications available at the time of its launch, mostly from independent developers. While many critics suggested that the operating system was not ready for mainstream adoption, they recognized the importance of its initial launch as a base on which to improve. Simply releasing Mac OS X was received by the Macintosh community as a great accomplishment, for attempts to completely overhaul the Mac OS had been underway since 1996, and delayed by countless setbacks. Following some bug fixes, kernel panics became much less frequent.
[edit]Version 10.1: “Puma”
Main article: Mac OS X v10.1
Later that year on September 25, 2001, Mac OS X v10.1 (internally codenamed Puma) was released.[10] It had better performance and provided missing features, such as DVD playback. Apple released 10.1 as a free upgrade CD for 10.0 users, in addition to the US$129 boxed version for people running Mac OS 9. It was discovered that the upgrade CDs were full install CDs that could be used with Mac OS 9 systems by removing a specific file; Apple later re-released the CDs in an actual stripped-down format that did not facilitate installation on such systems.[11] On January 7, 2002, Apple announced that Mac OS X was to be the default operating system for all Macintosh products by the end of that month.[12]
[edit]Version 10.2: “Jaguar
Main article: Mac OS X v10.2
On August 23, 2002,[13] Apple followed up with Mac OS X v10.2 “Jaguar”, the first release to use its code name as part of the branding.[14] It brought great raw performance improvements, a sleeker look, and many powerful user-interface enhancements (over 150, according to Apple[15] ), including Quartz Extreme for compositing graphics directly on an ATI Radeon or Nvidia GeForce2 MX AGP-based video card with at least 16 MB of VRAM, a system-wide repository for contact information in the new Address Book, and an instant messaging client named iChat.[16] The Happy Mac which had appeared during the Mac OS startup sequence for almost 18 years was replaced with a large grey Apple logo with the introduction of Mac OS X v10.2.
[edit]Version 10.3: “Panther
Main article: Mac OS X Panther
Mac OS X v10.3 “Panther” was released on October 24, 2003. In addition to providing much improved performance, it also incorporated the most extensive update yet to the user interface. Panther included as many or more new features as Jaguar had the year before, including an updated Finder, incorporating a brushed-metal interface, Fast user switching, Exposé (Window manager), FileVault, Safari, iChat AV (which added videoconferencing features to iChat), improved Portable Document Format (PDF) rendering and much greater Microsoft Windows interoperability.[17] Support for some early G3 computers such as “beige” Power Macs and “WallStreet” PowerBooks was discontinued.
[edit]Version 10.4: “Tiger
Main article: Mac OS X Tiger
Mac OS X v10.4 “Tiger” was released on April 29, 2005. Apple stated that Tiger contained more than 200 new features.[18] As with Panther, certain older machines were no longer supported; Tiger requires a Mac with a built-in FireWire port. Among the new features, Tiger introduced Spotlight, Dashboard, Smart Folders, updated Mail program with Smart Mailboxes, QuickTime 7, Safari 2, Automator, VoiceOver, Core Image and Core Video. The initial release of the Apple TV used a modified version of Tiger with a different graphical interface and fewer applications and services. On January 10, 2006, Apple released the first Intel-based Macs along with the 10.4.4 update to Tiger. This operating system functioned identically on the PowerPC-based Macs and the new Intel-based machines, with the exception of the Intel release dropping support for the Classic environment.[19] Only PowerPC Macs can be booted from retail copies of the Tiger client DVD, but there is a Universal DVD of Tiger Server 10.4.7 (8K1079) that can boot both PowerPC and Intel Macs.
[edit]Version 10.5: “Leopard
Main article: Mac OS X Leopard
Mac OS X v10.5 “Leopard” was released on October 26, 2007. It was called by Apple “the largest update of Mac OS X”. It brought more than 300 new features.[20] Leopard supports both PowerPC- and Intel x86-based Macintosh computers; support for the G3 processor was dropped and the G4 processor required a minimum clock rate of 867 MHz, and at least 512 MB of RAM to be installed. The single DVD works for all supported Macs (including 64-bit machines). New features include a new look, an updated Finder, Time Machine, Spaces, Boot Camp pre-installed,[21] full support for 64-bit applications (including graphical applications), new features in Mail and iChat, and a number of new security features. Leopard is an Open Brand UNIX 03 registered product on the Intel platform. It was also the first BSD-based OS to receive UNIX 03 certification.[22] Leopard dropped support for the Classic Environment and all Classic applications.[23]
It was the final version of Mac OS X to support the PowerPC architecture.
[edit]Version 10.6: “Snow Leopard
Main article: Mac OS X Snow Leopard
Mac OS X v10.6 “Snow Leopard” was released on August 28, 2009. Rather than delivering big changes to the appearance and end user functionality like the previous releases of Mac OS X, Snow Leopard focuses on “under the hood” changes, increasing the performance, efficiency, and stability of the operating system. For most users, the most noticeable changes are: the disk space that the operating system frees up after a clean install compared to Mac OS X 10.5 Leopard, a more responsive Finder rewritten in Cocoa, faster Time Machine backups, more reliable and user friendly disk ejects, a more powerful version of the Preview application, as well as a faster Safari web browser.
The rewrite of Finder in Apple’s native Cocoa API allows the Finder to take advantage of the new technologies introduced in Snow Leopard. An update of the web browser, Safari 4, includes a boost in JavaScript and HTML performance, which results in faster web browsing. The majority of this performance boost is enabled by the new SquirrelFish JavaScript interpreter, improving the JavaScript rendering performance of Safari by over 50%.[24] The new Top Sites also displays the most frequently visited and/or bookmarked sites in a panorama view, allowing the user to easily access their favorite sites along with a new Cover Flow view for the user’s browsing history. Safari 4 is now also more crash resistant, being able to isolate plug-ins which are the main cause of web browser crashes.[25]
Mac OS X v10.6 also features Microsoft Exchange Server support for Mail, iCal, and Address Book, new 64-bit technology capable of supporting greater amounts of RAM, an all new QuickTime X with a refreshed user interface and more functionality that used to be only available to QuickTime Pro owners.
Back-end platform changes include improved support for multi-core processors through Grand Central Dispatch which attempts to ease the development of applications with multi-core support, and thus improve their CPU utilization. It used to be that developers needed to code their programs in such a way that their software would explicitly take advantage of the multiple cores, which could easily become a tedious and troublesome task, especially in complex software. It also includes advanced GPU performance with OpenCL (a cross platform open standard for GPGPU distinct from CUDA, Dx11 Compute Shader or STREAM) by providing support to offload work normally only destined for a CPU to the graphic card’s GPU. This can be especially useful in tasks that can be heavily parallelized.
An update introduced support for the Mac App Store, Apple’s digital distribution platform for OS X applications.[26]
Snow Leopard only supports machines with Intel CPUs, requires at least 1 GB of RAM, and drops default support for applications built for the PowerPC architecture (Rosetta can be installed as an additional component to retain support for PowerPC-only applications).[27]
[edit]Version 10.7: “Lion”

Mac OS X Lion was announced at WWDC 2011 at Moscone West.
Main article: Mac OS X Lion
Mac OS X v10.7 “Lion” was released on July 20, 2011. It brought developments made in Apple’s iOS, such as an easily navigable display of installed applications (Launchpad) and (a greater use of) multi-touch gestures, to the Mac. This release removed Rosetta, making it incapable of running PowerPC applications.
Changes made to the GUI (Graphical User Interface) include the Launchpad (similar to the home screen of iOS devices), auto-hiding scrollbars that only appear when they are being used, and Mission Control, which unifies Exposé, Spaces, Dashboard, and full-screen applications within a single interface.[28] Apple also made changes to applications: they resume in the same state as they were before they were closed (similar to iOS). Documents auto-save by default.
[edit]Version 10.8: “Mountain Lion
Main article: OS X Mountain Lion
OS X v10.8 “Mountain Lion” was released on July 25, 2012. It incorporates some features seen in iOS 5, which include Game Center, support for iMessage in the new Messages messaging application, and Reminders as a to-do list app separate from iCal (which is renamed as Calendar, like the iOS app). It also includes support for storing iWork documents in iCloud.[29] Notification Center, which makes its debut in Mountain Lion, is a desktop version similar to the one in iOS 5.0 and higher. Application pop-ups are now concentrated on the corner of the screen, and the Center itself is pulled from the right side of the screen. Mountain Lion also includes more Chinese features including support for Baidu as an option for Safari search engine, QQ, and services for Mail, Contacts and Calendar, Youku, Tudou and Sina Weibo are integrated into share sheets.[30]
Notification Center is added in the operating system. It provides an overview of alerts from applications and displays notifications until the user completes an associated action, rather than requiring instant resolution. Users may choose what applications appear in Notification Center, and how they are handled.[31] There are three types of notifications: banners, alerts, and badges. Banners are displayed for a short amount of time in the upper right corner of the Mac’s screen, and the slide off to the right. The icon of the application is displayed on the left side of the banner, while the message from it will be displayed on the right side. Alerts are the same as banners, but will not disappear from the screen until the user takes action. Badges are red notification icons that are displayed on the application’s icon. They tell the number of items available for the application.[32]
Notes, a new notes application, is added. It is now separate from Mail in its own application, with support for desktop notes added (syncs along with its iOS counterpart).[33][34] Created notes are synced through all the user’s Apple devices through the iCloud service. Notes can be arranged in folders, and pinned to the user’s desktop. When the application is closed, the pinned note still remains.
Messages, an instant messaging software application, is added in Mountain Lion. It was announced on February 16, 2012, as part of the OS X Mountain Lion developer preview.[35] Starting with this release, Messages replaces iChat as the default OS X instant-messaging client. A free beta version of Messages was available to download for Mac OS X Lion from the Apple website until late June 2012.[36] The final version of Messages was included with the release version of OS X Mountain Lion.[37]
As with its predecessor, Messages has text messaging, audio, and screen-sharing capabilities. Messages also contains native video conversation support, utilising Apple’s FaceTime video calling application where possible. However, it does retain video capabilities for interfacing with other instant messaging clients.[38][39] Messages supports Apple’s iMessage, a free instant messaging service previously only available on devices running iOS 5. It also supports both XMPP (shown in the application under its former name, Jabber) and the AIM OSCAR. In addition, it also offers a direct connection to Yahoo! Messenger and Google Talk.[36]

via ARA . . .

Our planet is exposed to important natural variations resulting from numerous complex, internal, or external processes. These variations are at the basis of the natural evolution of the Earth climate. Since the late 1880s, human activities add to natural influences that have been present over Earth’s history. Scientific evidence strongly indicates that natural influences cannot explain the rapid increase in global near-surface temperatures observed since the second half of the 20th century.

Ongoing climate research largely relies on an intricate coupling between modelling, which tends to account for an increasing number of processes and their interaction, and observation, which allows complex mechanisms and their parameterization to be studied in details. In particular, space borne observing systems bring global scale data essential to the evaluation of model results and of the assumptions they carry.

Interpretation of space measured radiative fluxes in terms of atmospheric thermodynamics and chemical variables is, in general, extremely complex and mixes numerous scientific domains as: quantum mechanics, from which emission and absorption spectra may be described; the forward modelling of radiative transfer, which allows radiance space measurements to be expressed in terms of the sate of the atmosphere; inverse problem theory and its application to the inversion of the radiative transfer equation; last, statistical methods and tools which open the way to interpreting huge data bases and analysing results of long-term time series.

The Atmospheric Radiation Analysis (ARA) team of the Laboratoire de Météorologie Dynamique (LMD) is one of the few groups in the world to gather all these theoretical skills. This has allowed developing a complete chain designed for processing satellite data at global scale on which rely different research activities aiming at improving our knowledge of the climate variability and evolution.

Geographical maps of high cloud amount (cloud pressure smaller than 440 hPa) for January (left) and for July (right), above: averaged over 8 years (1987-1995, observation time: 7h30/19h30 local timeTOVS Path-B cloud climatology) middle: averaged over 6 year (2003-2008, observation time 1h30/13h30 local time AIRS-LMD cloud climatology) and below: first results from IASI for 2008.

via . . .

T-maps of the correlation between the measured (a) or simulated (b) cardiac rate and resting-state fMRI signal timecourses in one slice of a single subject for lags -10 to +10 TR (± 1 minute). The t-values above the threshold are shown overlaid on the first raw EPI image. The t-maps and images have been masked to exclude areas outside the brain. There is a small area of correlation that appears outside the brain where the skull-stripping failed to remove subcutaneous tissue.

From psychcentral . . .

Functional magnetic resonance imaging, or fMRI, is a technique for measuring brain activity. It works by detecting the changes in blood oxygenation and flow that occur in response to neural activity – when a brain area is more active it consumes more oxygen and to meet this increased demand blood flow increases to the active area. fMRI can be used to produce activation maps showing which parts of the brain are involved in a particular mental process.

The development of FMRI in the 1990s, generally credited to Seiji Ogawa and Ken Kwong, is the latest in long line of innovations, including positron emission tomography (PET) and near infrared spectroscopy (NIRS), which use blood flow and oxygen metabolism to infer brain activity. As a brain imaging technique FMRI has several significant advantages:

1. It is non-invasive and doesn’t involve radiation, making it safe for the subject.
2. It has excellent spatial and good temporal resolution.
3. It is easy for the experimenter to use.

The attractions of FMRI have made it a popular tool for imaging normal brain function – especially for psychologists. Over the last decade it has provided new insight to the investigation of how memories are formed, language, pain, learning and emotion to name but a few areas of research. FMRI is also being applied in clinical and commercial settings.


Posted by – January 18, 2013

Time By Eveline Visser from Design Academy Eindhoven on Vimeo.

The difference between experiencing biological time and technical time is a reflection on an existing problem in society. In a hospital, these two times come together and collide. Biological time is the personal rhythm of both employees and patients. Technical time is witnessed in the strict schedule of the hospital, necessary to facilitate the complex set of actions that take place in a highly technological surrounding. But our bodies, which are the focal point of the hospital, live in a strong connection with the biological rhythm.

Some illnesses are caused in part or exacerbated by the rhythm of time in the western world. Within the medical world, time is used more and more as a solution, as in the case of chronotherapy. But still a hospital functions mainly according to technical time – visitor times, staff shifts etc.

As designer it is therefore interesting to introduce biological time to the hospital environment, where technical time is dominant. The biological rhythm is visible outside the hospital: trees, plants and animals all live outside the rhythm of technical time. Most hospitals are positioned at the borders of cities, where urban environments meet the rural surroundings, rich in biodiversity. Biological rhythms depend on the changing of the seasons. They often influence illnesses; light, temperature and other factors influence the progress of an affliction.

As a designer I intend to introduce these natural rhythms, so they can become part of the hospital’s system. On the border of inside and outside, the hospital façade, biological rhythms can be given space and visibility. It directly links actions inside and outside the hospital, and allows outside rhythms to be experienced by the patient in his bed, connecting technical and biological times of both zones.

Design concept
Can the biological rhythm be introduced into the hospital in a meaningful way, without entailing chaos?
I want to attach nest boxes to hospital facades. These nest boxes provide space for animals, living according to biological time. By making biological time visible from within the highly technical hospital, synchronization can take place and attention is drawn to differences between the rhythms.

The nest boxes are of specific dimensions according to species and position on the hospital building. As the hospital itself is divided by departments, interesting overlaps and collisions can take place.

By Eveline Visser

Aleph Of Emotions

Posted by – January 11, 2013

via Mithru’s website >> more info there with detailed explanation of the project.

Aleph of Emotions is a project that was created during my study at LASALLE College of the Arts, Singapore. The project is about emotions and the possible observable patterns in global emotions.

The Aleph, according to author, Jorge Luis Borges, is a point in the Universe where all other points exist. Therefore, anyone looking at the Aleph could see everything in the Universe at once. In this project, I use the Aleph as a metaphor for an archive; Aleph of Emotions refers to an archive of emotions. This archive is produced by data collected from twitter. Data is collected based on keywords that define certain emotions. The results are finally presented with an interactive object.

Aleph of Emotions is an interactive object that allows users to view worldwide emotions collected from twitter. The camera-like interface allows users to point along a particular direction, focus to a place along that direction and click to view a visualization of emotions in that place. The intention is to explore and find patterns in human emotions with relation to space and time.

Special Thanks to the following people for their guidance and feedback for this project.

Wolfgang Muench
Andreas Schlegel
Adam Aw
Benjamin Low
Jacky Boen
Mui Rui Yi
Zac Ong

Music Source: (Orbique: Always now never after)

Data Visualization
Emotions are categorized on the basis of Plutchik’s theory into joy, sadness, trust, disgust, fear, anger, surprise and anticipation. Plutchik also created a wheel-like diagram to explain his theory. In most illustrations, each emotion has a particular colour (see link below). These exact colours were used to visualize each emotion in this project.

Data is visualized for each day of the week and overall as well. The top most bar shows an overall distribution of emotions for the place. Each bar that follows represents a day of the week starting from Sunday.

Yellow represents joy, light green represents trust, dark green represents fear, light blue represents surprise, dark blue represents sadness, pink represents disgust, red represents anger and orange represents anticipation.

more info at LASALLE >>

Gay Aim The Eerie

Posted by – January 9, 2013

from wikipedia

La teoría de juegos es un área de la matemática aplicada que utiliza modelos para estudiar interacciones en estructuras formalizadas de incentivos (los llamados «juegos») y llevar a cabo procesos de decisión. Sus investigadores estudian las estrategias óptimas así como el comportamiento previsto y observado de individuos en juegos. Tipos de interacción aparentemente distintos pueden, en realidad, presentar estructura de incentivo similar y, por lo tanto, se puede representar mil veces conjuntamente un mismo juego.

El término “gay”, se estableció como palabra para describir a los homosexuales alrededor de los años 60… anteriormente significaba, otra cosa, de alguna manera relacionado pero no totalmente. Gay es de corazón liviano y libertad… la diferencia la crean los humanos. Ayer fui a ver una película en el cine del Trasnocho Cultural… un espacio en Caracas, donde se proyectan películas que además de entretener, hacen pensar sobre temas más universales, en mi opinión. La película, llamada Azul Y No Tan Rosa, trata sobre la relación familiar, la homosexualidad y Venezuela… curiosamente mezcla una metáfora con otra… la actuación y la consciencia. En 3 escenas pude ver una especie de efectos especiales que difícilmente se observan, recordando a través de la propia memoria, unas “señales” que forzosamente pasaban un mensaje, con intención sublime… (los efectos que recuerdo ahora fueron, mientras se revelan unas fotografías, aparece a la derecha de su frente, un recuerdo de un nacimiento…otro que no recuerdo…y el último es una estrella fugáz que habla de la música venezolana).

En la dualidad de la pareja, un otro nosotros… aparece, un bebé… por ejemplo, y quién lo trae al mundo impulsa la inevitable fuerza de cualquier vida, independientemente de la orientación sexual, el corazón pulsa libertad de expresar cada latido hasta que el cuerpo lo resista. Con ánimos de unión, la metáfora de la homosexualidad como rechazo cultural machista y discriminación social para ver el contexto actual que se vive en Venezuela deja evidencia de una consciencia artística en producción. De igual forma encuentro un contenido similar en el video de la banda Famasloop, con su canción Más Cerquita…del disco La Quema… excelente producción que se come el corazón de carne y luz que somos…

Nada es todo, todo es nada… grandes frutos promete el arte en mi país… a pesar de las mezclas que posiblemente vienen… narrativas lavativas, sigan drenando este peo que mucho aire involucra en la respiración de cerebros ávidos de oxígeno y glóbulos rojos atolondrados con azules de la atmósfera celestial.


Posted by – December 10, 2012


Bitcoin is a peer-to-peer digital currency:
Bitcoins can be sent easily through the Internet,
Transactions are irreversible,
They are safe from uncontrolled inflation

Bitcoin is an experimental new digital currency that enables instant payments to anyone, anywhere in the world. Bitcoin uses peer-to-peer technology to operate with no central authority: managing transactions and issuing money are carried out collectively by the network. Bitcoin is also the name of the open source software which enables the use of this currency.
The software is a community-driven open source project, released under the MIT license and originally created by Satoshi Nakamoto.

Bitcoin is one of the first implementations of a concept called crypto-currency which was first described in 1998 by Wei Dai on the cypherpunks mailing list. Building upon the notion that money is any object, or any sort of record, accepted as payment for goods and services and repayment of debts in a given country or socio-economic context, Bitcoin is designed around the idea of using cryptography to control the creation and transfer of money, rather than relying on central authorities.
Sourced from and Wikipedia.

Windows (exe) 9.3 MB (zip) 13 MB
GNU/Linux 12 MB
Mac OS X 13 MB

Bitcoins are sent easily through the Internet, without needing to trust any third party.

Are irreversible by design
Are fast. Funds received are available for spending within minutes.
Cost very little, especially compared to other payment networks.
The supply of bitcoins is regulated by software and the agreement of users of the system and cannot be manipulated by any government, bank, organization or individual. The limited inflation of the Bitcoin system’s money supply is distributed evenly (by CPU power) to miners who help secure the network.


Posted by – November 25, 2012

XTOOL is a stackable, storage, stool inspired by the casual sitting use of the all-time favorite milk crate. Keeping the storage qualities of the crate and adding a plywood seat and legs, this durable, versatile and playful stool can be used indoors and outdoors.

Back this project and help them produce a bunch more! click here…

protection against fall + fight-or-flight response fun

Posted by – October 30, 2012


Posted by – September 19, 2012

My personal favourite belgian label always make the best parties here…and also nice posters…this saturday I’ll be there… Bepotel have been rehearsing the past weeks two stories down where we work in Brussels… can’t wait to be there, waving through the funktion-One system…

Ssaliva will also perform, lately I listened to a very nice EP on discogs released onvlek.
This is the new shit from september 2012…


Posted by – September 18, 2012

David O’Reilley’s animation

Posted by – September 17, 2012

RGB Colorspace Atlas

Posted by – September 17, 2012

RGB Colorspace Atlas
Digital offset print on paper, case bound book, airbrushed cloth cover and page edges
8 x 8 x 8 inches each
20.3 x 20.3 x 20.3 cm. Binding co-designed by Daniel E. Kelm and Tauba Auerbach. The books were bound by Daniel E. Kelm assisted by Leah Hughes at the Wide Awake Garage.