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marc van vliet sets floating observatory on the dutch flat sands  

with each passing hour of the day, the project reveals different aspects of its sand flats location, that serves as a meeting location illuminated by the sun.

The post marc van vliet sets floating observatory on the dutch flat sands appeared first on designboom | architecture & design magazine.

 
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florentijn hofman builds behemoth bear from conifer tree branches  

on the grounds surrounding a former aviation school in the netherlands, the dutch artist has erected a 13-meter-tall bear called 'conibeer'.

The post florentijn hofman builds behemoth bear from conifer tree branches appeared first on designboom | architecture & design magazine.

 
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toomanydesign: Pierre Faucheux L'Ecart absolut  

toomanydesign:

Pierre Faucheux L'Ecart absolut

 
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giant motion-activated media reacts to passersby in washington DC office building  

inside terrell place, ESI design has realized a 1,700 square foot reactive installation that captures the bustling pulse of the building.

The post giant motion-activated media reacts to passersby in washington DC office building appeared first on designboom | architecture & design magazine.

 
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Do androids dream of aesthetic creep? Hail the robots of post-human art  

Goshka Macuga's uncanny android is just the latest in an army of artist's robots that began invading 100 years ago with one question: what is it to be human?

The androids have arrived, at least a century after modern art prophesied them. Artificial humans are advancing from the screens and pages of science fiction into our art galleries to look their flesh and blood cousins eerily in the eye.

Artist Goshka Macuga, shortlisted for the Turner prize in 2008, has created a talking android for her latest exhibition at the Schinkel Pavillon in Berlin. It has black hair and bushy beard and talks philosophy: an intellectualtake on the Action Man toys I used to play with as a child. Macuga's robot has all the spooky uncanniness of a synthetic person with a realistically moulded face and bionic arms. Most robots have futuristic names, or cosy ones to suggest they are cute and friendly. Macuga's creation is called To the Son of Man Who Ate the Scroll.

Continue reading...  
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https://www.theguardian.com/artanddesign/jonathanjonesblog/2016/jul/11/goshka-macuga-android-robots-art  
Do androids dream of aesthetic creep? Hail the robots of post-human art  

Goshka Macuga's uncanny android is just the latest in an army of artist's robots that began invading 100 years ago with one question: what is it to be human?

The androids have arrived, at least a century after modern art prophesied them. Artificial humans are advancing from the screens and pages of science fiction into our art galleries to look their flesh and blood cousins eerily in the eye.

Artist Goshka Macuga, shortlisted for the Turner prize in 2008, has created a talking android for her latest exhibition at the Schinkel Pavillon in Berlin. It has black hair and bushy beard and talks philosophy: an intellectualtake on the Action Man toys I used to play with as a child. Macuga's robot has all the spooky uncanniness of a synthetic person with a realistically moulded face and bionic arms. Most robots have futuristic names, or cosy ones to suggest they are cute and friendly. Macuga's creation is called To the Son of Man Who Ate the Scroll.

Continue reading...  
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http://www.designboom.com/art/eness-sonic-light-bubble-melbourne-07-11-2016/  
ENESS' sonic light bubble installation in melbourne responds to human interaction  

the living breathing bubble responds with light and sound when touched.

The post ENESS' sonic light bubble installation in melbourne responds to human interaction appeared first on designboom | architecture & design magazine.

 
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http://www.designweek.co.uk/issues/11-19-july-2016/network-rail-launches-inclusive-design-strategy-disabled-passengers/  
Network Rail launches inclusive design strategy  

Network Rail has published an inclusive design strategy in a bid to make Britain's rail network more accessible for disabled people.

The Spaces and Places for Everyone initiative is a commitment to making sure that design thinking is “deeply embedded within Network Rail as an organisation” according to its chief executive Mark Carne.

Accessibility panel set up

A built environment accessibility panel has been set up. It uses co-design principals and is made up of disabled passengers who are also experts in inclusive design and can provide technical and strategic advice to project teams.

The new inclusive design thinking has been prompted by Network Rail-commissioned research, which finds that 67% of disabled people who travel, chose to travel by rail. Of these, 24% felt their journey would not be an easy one and 33% said they would use the train more if it were more accessible to them.

“We know it has not been good enough”

Carne says: “Most of today's railway was designed during the Victorian era when attitudes towards disability were very different. Since then, access for disabled people has been tagged on at a later stage, rather than being part of the initial design strategy for our railway. We know it has not been good enough in the past, and we need to make it easier for disabled people to plan journeys and travel by rail.

“We are committed to changing this, and doing what is necessary to make sure that inclusivity is deeply embedded in our culture. Only then will our railway be a place where everyone can travel equally, confidently and independently.”

Some of the changes have already begun to roll out. At Birmingham New Street an area for guide dogs to go for a wee has been created, while at Reading station an audio guide has been created by Microsoft so that visually impaired people can find their way out of the station and around the town.

Meanwhile at London Bridge lifts and escalators are being redeveloped to improve access and these are expected to open to passengers this summer.

The post Network Rail launches inclusive design strategy appeared first on Design Week.

 
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http://www.designweek.co.uk/issues/11-19-july-2016/nestle-celebrates-150th-birthday-interactive-exhibition-space-switzerland/  
Nestlé celebrates its 150th birthday with interactive exhibition space in Switzerland  

Dutch consultancy Tinker Imagineers has designed a new exhibition space for Nestlé, 150 years after the food company was founded.

To coincide with the anniversary, Nest is located in founder Henri Nestlé's first factory from 1866 in Vevey at Lake Geneva, Switzerland.

The factory, which opened in June, has been renovated by Switzerland-based Concept-Consult Architectes, which has added a glass roof and steel construction to the building as part of the €45m (£38m) project.

Industrial architecture and organic interiors

Tinker Imagineers, who became involved with the project two years ago, hoped to balance the industrial design of the factory space with more “organic” interiors, according to partner and founder, Erik Bär.

Beneath the glass roof sits a hovering platform covered in white fabric that overlooks the rest of the exhibition, “reflecting an almost timeless world”, says Bär.

The white stretched fabric installation is made up of ten different exhibits, including a 3D body scanner that shows what happens to different food types inside the body using an avatar.

Nest is split into past, present and future zones, where visitors can do everything from look at a prototype of the first Nespresso machine to try out an interactive table, known as the “forum”.

“Since Nestle is criticised quite a lot in the media I thought the best thing they could do was something they didn't have in the original concept…to dedicate a zone completely the challenges in producing food for eight billion people,” says Bär.

Explores global issues such as agriculture and sustainability

The forum is designed to explore global issues, such as agriculture, sustainability, water and food production, as well their potential solutions, he explains.

Each theme is represented by a different icon and colour, which light up trails on the table and provide information about the selected topic on a screen.

Tinker Imagineers has also explored the artistic side of exhibition design with the project. In the middle of the central atrium is a life-sized tree decorated with more than 1,200 flowers handmade from different Nestlé product packaging, such as Nescafé.

The most important element of the exhibition for Bär was to make each zone look and feel completely different, he says.

“In the past zone we looked back at early cinema techniques which worked quite well…and then gradually things get lighter and more modern. It's the variety that I am happiest with.”

All photos: Mike Bink

The post Nestlé celebrates its 150th birthday with interactive exhibition space in Switzerland appeared first on Design Week.

 
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http://www.designweek.co.uk/issues/11-19-july-2016/new-design-exhibition-hopes-take-away-stigma-associated-dyslexia/  
New design exhibition hopes to remove stigma associated with dyslexia  

An exhibition exploring the work of dyslexic designers will open next month, with the aim of presenting dyslexia as an alternative way of thinking rather than a health condition.

Dyslexic Design is part of this year's Designjunction, the annual design exhibition which takes place in London, Milan and New York.

“Reveal dyslexia as a gift”

The exhibition will show the work of designers with dyslexia from disciplines including product, fashion, illustration, home décor and fine art, such as Sebastian Bergne, Kristjana S Williams, Terence Woodgate and Tina Crawford.

It aims to explore the “connection between dyslexia and the creative industries”, says Designjunction, looking at the positives as well as the challenges that can come from working with the learning difference.

The exhibition's main goal is to “take away the stigma of dyslexia and reveal it as a gift”, say the organisers.

For example, it will look at how dyslexia affects a person's lateral and visual thinking, and therefore creativity, and how the learning difference can prescribe “unusual three-dimensional thinking”.

“Dyslexia led me down the path of art and design”

The exhibition's founder, and one of the exhibitors, Jim Rokos, says: “It is my belief that I am able to design the way I do, because of my dyslexia and not despite it,” he says.

“I [want] to remove the unwanted and unwarranted stigma sometimes associated with dyslexia and in doing so change perceptions of it. We believe dyslexia is something that drives and inspires creative thought and design,” he adds.

Debates will also take place in the exhibition space, around how dyslexia is perceived in design education, whether it should no longer be classed as a disability and seen rather as an alternative brain structure, and how it affects a person's lateral and visual thinking.

Deborah Spencer, designjunction's managing director, says: “I had grown up with dyslexia and I believe it played an integral part in leading me down the path of art and design.”

Takes place in September

Dyslexic Design takes place 17-25 September, as part of Designjunction, which runs from 22-25 September 2016. Tickets to Designjunction are £12 in advance or £15 on the door, and will grant access to the dyslexia exhibition. A percentage of ticket sales will be donated to the British Dyslexia Association. Find out more about the exhibition here.

Designjunction, now in its sixth year, is part of the London Design Festival, and takes place at a new venue in King's Cross this year, based around the theme of Immersed in Design.

Scots light, by Tom Raffield 2015

The post New design exhibition hopes to remove stigma associated with dyslexia appeared first on Design Week.

 
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A painterly sunset at London  

WT Journal posted a photo:

London sunset, with a view towards the Shard.

 
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IMG_20151002_183342  

MarkAHirst posted a photo:

 
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Assassin bug (Fitchi  

Assassin bug (Fitchia aptera) collected in Kouchibouguac National Park, New Brunswick, Canada, and photographed at the Centre for Biodiversity Genomics (sample ID: BIOUG21781-C02; specimen record: http://www.boldsystems.org/index.php/Public_RecordView?processid=SSKOA2054-15; BIN: http://www.boldsystems.org/index.php/Public_BarcodeCluster?clusteruri=BOLD:ACV2565)

 
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Species spotlight: t  
Species spotlight: the citrus swallowtail and its cleverly disguised caterpillars #SensationalButterflies  
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The iridescent wings  
The iridescent wings of our blue morpho (Morpho peleides) #SensationalButterflies use the phenomenon of structural colour and up to a million tiny, overlapping scales to create this beautiful #Blue. #ColourAndVision #RainbowNature  
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ПЛАВНИК  
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Stay High  
Stay High  
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Comet cliffs  

europeanspaceagency posted a photo:

Space Science image of the week is this striking view of Comet 67P/ChuryumovGerasimenko that reveals portions of both comet lobes, with dramatic shadows on the 'neck' region between them. It was taken by Rosetta's navigation camera (NavCam) on 30 June 2016, from a distance of 25.8 km, and measures about 2.3 km across.

Since reaching the comet on 6 August 2014, Rosetta has extensively mapped its surface. The comet nucleus has a curious shape consisting of two lobes that are often referred to as the 'head' and the 'body'.

Depicted in the lower right part of the image is the region Hathor, a very intriguing portion of the comet head, named after the ancient Egyptian deity of love, music and beauty. In this region, the head declines steeply towards the neck and body of the comet.

This view shows a good fraction of the 900-m high cliff that forms Hathor, with marked linear features crossing the region from left to right. Perpendicular to these, additional streaks and even small terraces can be seen.

Beyond the cliff of Hathor, on the right, are hints of the Ma'at region, named after the ancient Egyptian goddess of truth and balance.

In the upper right corner, smoother patches of the large comet lobe, or body, are visible, covered in dust and boulders. The large lobe casts its shadow on the comet's neck, which separates the two lobes and is hidden from view in this image.

You can use the comet viewer tool to aid navigation around the comet's regions.

Currently, Rosetta is on a 27 km x 9 km elliptical orbit around the nucleus; this weekend, it will move to a less eccentric, 9 km x10 km orbit, ahead of entering the end-of-mission orbit. The mission will continue its close-up investigation of the comet environment until the grand finale, a controlled descent of the spacecraft to the surface of the comet on 30 September.

This image is featured today on the ESA Rosetta blog: CometWatch 30 June.

This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 IGO (CC BY-SA 3.0 IGO) licence. The user is allowed to reproduce, distribute, adapt, translate and publicly perform this publication, without explicit permission, provided that the content is accompanied by an acknowledgement that the source is credited as 'ESA - European Space Agency', a direct link to the licence text is provided and that it is clearly indicated if changes were made to the original content. Adaptation/translation/derivatives must be distributed under the same licence terms as this publication. The user must not give any suggestion that ESA necessarily endorses the modifications that you have made. No warranties are given. The licence may not give you all of the permissions necessary for your intended use. For example, other rights such as publicity, privacy, or moral rights may limit how you use the material. Any of the above conditions can be waived if you get permission from ESA. To view a copy of this licence, please visit creativecommons.org/licenses/by-sa/3.0/igo

 
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Blue Light of Two Ancient Supernova Bathed Earth With Cosmic Radiation --"Affected Biology and Atmosphere"  
 
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Header essay night a  
Header essay night and sleep evelyn de morgan 1878  
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r0B0t: How robot, explosives took out Dallas sniper in unprecedented way - CNN  

CNN

How robot, explosives took out Dallas sniper in unprecedented way CNN Dallas (CNN) Dallas Police Chief David Brown gave an order to his SWAT team after a 45-minute gun battle and two hours of negotiating with a sniper targeting police officers. He told them to come up with a creative plan to neutralize the suspect ... Dallas police chief says armed civilians in Texas 'increasingly challenging'Reuters Dallas Police Had Taken Steps to Mend Rift With MinoritiesABC News Dallas Police Chief, David O. Brown, Is Calm at Center of CrisisNew York Times Washington Post -Fox News -NBCNews.com -STLtoday.com all 10,506 news articles »

 
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r0B0t: Alliance: Police shootings add to mistrust - The Republic  

The Republic

Alliance: Police shootings add to mistrust The Republic Frank Griffin — all expressed serious concern about the Dallas Police Department's judgment to use a bomb robot to stop the black sniper who killed five officers Thursday night during what had been a peaceful protest of officer-involved killings of ... and more »

 
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r0B0t: This is Not the Killer Robot You're Looking For: Dallas Police Used a Precision-Guided Munition to Kill the Shooter - War on the Rocks  

War on the Rocks

This is Not the Killer Robot You're Looking For: Dallas Police Used a Precision-Guided Munition to Kill the Shooter War on the Rocks There, they would engage in a spinning whirlwind of predictive doom, calling for new regulations, stoking fears of hordes of government-controlled killer robots, and speculating on the future of civilization. But all the hyperventilating over this by ... and more »

 
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A New Suit from Paris  


This article has been submitted as part of the Natural Capital Coalition's series of blogs on natural capital by Pavan Sukhdev, founder & chair, GIST Advisory

COP-21 will be remembered as a feel-good moment in the struggle to contain climate change. Whether it was skilful French diplomacy, or the replacement of inconclusive top-down negotiations with bottom-up consensus-building, or the fear of shame of the unwilling, or perhaps just the quality of food (good by any measure, and outstanding by COP standards) COP-21 definitely lifted spirits up. I certainly did not leave Paris feeling miserable, as I did Copenhagen six years ago.

The Intended Nationally Determined Contributions ("INDC's") announced by governments at Paris added up to impressive reductions against 'business as usual'. However, they were well short of reductions needed to be 2/3rd confident of staying within 2oC of warming. The so-called "emissions gap" based on these INDC's was still around 20%-30%.

This "emissions gap" should come as no surprise. We need nothing short of a global change in economic direction and resource use to achieve these pledges. Governments struggle to manage macroeconomic direction at the best of times, and they do worse with managing resource use. It is corporations - the engines of today's economies - that decide economic direction and resource use.

The private sector delivers around two-thirds of today's economy (measured in terms of GDP and jobs), but can today's corporation deliver tomorrow's green and climate-safe economy? I think not. I have argued that we need a new corporate model if we are to address climate change, biodiversity loss, and other global environmental problems. This responsible, sustainable new model (I call it 'Corporation 2020') will drive 'stakeholder capitalism': delivering private profits without causing public losses. Such a transition will need trenchant changes in the ways corporations leverage, advertise, get taxed, and report performance. Redefining corporate performance is a key part of this new model, as the performance metrics of shareholder capitalism ignore third-party impacts on society, the so-called externalities of business.

But well before we get there, we need widespread acceptance of a common approach and framework for such measurement and evaluation. The formal launch of the Natural Capital Protocol, on July 13th 2016, is a crucial step in this direction. This Protocol is a universally applicable approach and framework for any business to measure its impacts and dependencies on natural capital. The draft was circulated in November last year, in the run-up to COP-21.

Further work will be needed to measure impacts on human capital (knowledge, skills and health that enable individuals to earn a living) and on social capital (formal and informal relationships and rules that enable people to engage and transact). Measuring and integrating corporate performance across all capital dimensions, not just shareholder financial capital, will herald a vital change in the nature of today's corporation towards one which has positive externalities: a yardstick for corporate sustainability.

I entered COP-21 pleased with declared INDC's, and delighted with the draft Natural Capital Protocol, but one nagging question remained. What if the emissions gaps from COP-21 pledges remained unbridgeable, not because corporations failed to take leadership and transform production as they did not know their true costs (because after natural capital accounting is commonplace, they truly will) but because their customers, consumers such as myself, refused to change what they bought? So I began to wonder, at COP-21, what could I pledge personally that might make a difference?

There are some obvious examples of consumer demand that destroys natural capital. For example, beef usually damages forests, climate and freshwater supply. These 'externalities' of livestock farming are estimated at several hundred billion dollars. I had stopped eating beef (and all other meat) several years ago in 2009, when I realised (through TEEB research) the extent of natural capital damage caused by meat production systems- such as the impacts on mangrove forests of prawn farming, the unsustainability of ocean fisheries and livestock's long shadow on rainforests. So I could not commit much more on that front.

But what about my use of other heavily advertised, high-footprint, "volume" goods? The footprint of clothing is immense, including GHG emissions and freshwater impacts along its value chains. I pledged a change personally at COP-21, where I wore a "new" suit. It was my father's. I had 'borrowed' it from him due to some rushed and careless packing and a stopover in New Delhi. This suit was four decades old, but you'd never guess: styles in men's suits seem to turn in circles, and this was a well-known French brand. So I wore it right through COP-21 and entertained myself by asking people I met to guess when I had bought it: the most educated guess was "seven years ago".

I called my father in India and told him about this pledge. He laughed, and promptly gifted me another four old suits from when he lived in colder climes. They all fit me perfectly, and seem none the worse for wear. I have resolved to never buy another suit for the rest of my life. I treasure these "new" old suits for sentimental reasons, and because my personal climate pledge now also requires me to keep my weight in check.

Now isn't that an unusual positive externality, for a suit-maker? The brave new world of 'Corporation 2020' awaits.

Disclaimer: Articles in this series are submitted by people who work in organizations who are part of the Natural Capital Coalition, or people who are involved in the natural capital space more generally, the views expressed here do not necessarily represent the views of The Natural Capital Coalition, other Coalition organizations, or the organization that employs the author.

Follow Pavan on Twitter: @PavanSukhdev

Pavan Sukhdev is founder-author of 'Corporation 2020', a movement that sees corporate sustainability as the cornerstone of a 'green economy' and maps a rapid pathway to a new model for corporate behaviour driven by regulatory changes & responsive to the reality of planetary boundaries and their imminent tipping-points. Pavan wrote his book 'Corporation 2020' at Yale University where he was awarded the 2011 McCluskey Fellowship. Pavan is also founder-CEO of GIST Advisory, a consulting firm that specializes in helping governments and corporations value and manage their impacts on natural and human capital.

Earlier, from 2008 to early 2011, Pavan was Special Adviser and Head of UNEP's Green Economy Initiative, and lead author of their report "Towards a Green Economy", as well as Study Leader for the G8+5 commissioned project on The Economics of Ecosystems and Biodiversity (TEEB). Pavan was appointed to lead TEEB by the EU Commission and Germany, and delivered its "Interim Report" while still working full time at Deutsche Bank in 2008. He then took a sabbatical from Deutsche Bank to lead TEEB and the Green Economy Initiative for UNEP from 2008 to 2011.

Pavan is a Goodwill Ambassador for UNEP, a role in which he promotes TEEB implementation and Green Economy transitions to governments. He serves on the boards of Conservation International, the Stockholm Resilience Centre (SRC), TEEB, and the Global Reporting Initiative (GRI).

On 13th July 2016, The Natural Capital Coalition will launch a standardized framework for business to identify, measure and value their impacts and dependencies on natural capital. This 'Natural Capital Protocol' has been developed through a unique collaborative process; a World Business Council for Sustainable Development consortium led on the technical development and an IUCN consortium led on business engagement and piloting. The Protocol is supported by practically focused 'Sector Guides' on Apparel and Food & Beverage produced by Trucost on behalf of Coalition.

Keep up to date with the Natural Capital Coalition on Twitter: @NatCapCoalition


Keep up to date with our series on natural capital here.

www.naturalcapitalcoalition.org

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

 
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