A new study of over 1 million people finds that doing at least one hour of physical activity per day may eliminate the increased risk of death associated with sitting for 8 hours a day.
-- 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.
This week, an estimated 50,000 people have gathered in Philadelphia for the four-day Democratic National Convention. As the delegate votes were tallied, Hillary Clinton made history as the first woman to ever become the official nominee of a major party. Supporters of former candidate Bernie Sanders came as well, making their voices heard and protesting the way the Democratic party has handled the election so far. Gathered here are images of some of the speakers and attendees at this year's DNC.
-- 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.
-- 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.
Wolf Haven posted a photo:
Here is the father, waiting while his pups receive their check-ups
Wolf Haven posted a photo:
Wolf Haven posted a photo:
Pup #4
Wolf Haven posted a photo:
Pup #4
Wolf Haven posted a photo:
Pup #4
Wolf Haven posted a photo:
Pup #3
Wolf Haven posted a photo:
Pup #3
Wolf Haven posted a photo:
Pup #2
Wolf Haven posted a photo:
Pup #2
Wolf Haven posted a photo:
Pup #1
Wolf Haven posted a photo:
Wolf Haven posted a photo:
Wolf Haven posted a photo:
Pups in a crate
Wolf Haven posted a photo:
Wolf Haven posted a photo:
Wolf Haven posted a photo:
Tiny muzzle for tiny pup.
Wolf Haven posted a photo:
Animal care staff had to go into the den and pull the pups out.
Wolf Haven posted a photo:
Red wolf mother waits for the return of her four pups.
Sara Zahedi was one of 10 mathematicians — and the only woman — to win one of this year's European Mathematical Society prizes, which are awarded once every four years.
Experience the senator's press-conference speech in virtual reality.
antoinebuchetphotography posted a photo:
Sunset from Wapping
antoinebuchetphotography posted a photo:
Big Ben Sunset
Let's preface this post with an indisputable fact: buying carbon offsets isn't going to solve climate change. No one (outside of the climate denial camp) disputes that avoiding climate catastrophe will require a deep decoupling of the economy and greenhouse gas emissions. But when Forest Trends' Ecosystem Marketplace (EM) surveyed companies that buy carbon offsets, it found that they're using carbon markets to accelerate this deep transformation, rather than to create a green-tinted perpetuation of the status quo.
So, keeping that in mind - and parking our prejudices at the door - it's time to take a fresh look at offsetting and how it can strengthen corporate strategies to reduce carbon emissions. Where better to start than with these eight oft-recycled misconceptions about the practice:
We hear this one all the time, but our research shows something completely different: namely, that those companies that do buy offsets are doing so as part of an overall carbon-management strategy, and they're mostly using offsets to either tackle emissions they can't eliminate internally or to create an internal “price on carbon" that focuses attention on emissions and accelerates reductions. Among businesses tracked in EM's newest report, 88% of voluntary offset buyers and 92% of compliance buyers have formally adopted emissions reduction targets. In 2014, the 314 businesses that engage in offsetting invested more than US$42 billion in emissions reduction activities, surpassing the combined investment of the 1,522 companies who did not engage in offsetting (US$41 billion). In fact, companies that included offsetting in their carbon management strategy typically spend about 10 times more than the typical company that didn't offset. Contrary to the "greenwashing" narrative, it appears as though using offsets is increasingly the hallmark of a company that's leading on climate action rather than bringing up the rear.
Actually, a lot of prominent consumer-facing brands use offsetting, including household names like General Motors, Delta Air Lines, and Microsoft, all of whom were among the top five buyers on the voluntary market in 2014. They're hardly alone: of the nearly 2,000 companies who publicly disclosed data to CDP last year, 248 (17%) invested in projects to reduce carbon emissions outside of their immediate operations, purchasing the equivalent of 39.8 million tonnes of carbon dioxide (MtCO2e) in 2014. (See the list of top-20 buyers from 2012-2014 here.)
Ultimately, offsets should be expensive to reflect the true cost of climate change, and companies that internally price carbon often do set their internal prices high to focus attention on the issue, but the average offset on the voluntary market sold for just $3.3/tonne of CO2 equivalent last year. Even when the average price was more than double that value, it still fell significantly under the internal per-tonne price on carbon adopted by many companies: 120 of these businesses reported a median internal price of $18/tonne to CDP last year. Over time, the price of offsets should rise to reflect the cost of dealing with carbon emissions, but that's not an added cost imposed on us randomly; it's an existing cost being properly reflected. For now, however, offsets are cheap - too cheap.
This is true for now, but that's a question of policy, and not of product. So far, nearly all governments introduce caps on overall greenhouse gas emissions, and as those caps lower in accordance with the Paris Agreement, the price of allowances (issued by governments to permit emissions up to the level of the national cap) and offsets (created by entities that actively reduce emissions) should rise - unless, of course, emissions drop so far and fast that the problem is resolved.
Legitimate carbon offsets come from projects and are rigorously verified by third parties in accordance with recognized carbon standards, and many companies choose to buy from offset-generating projects close to home. Among voluntary offset transactions reported with geographical details in 2014, about a quarter involved a buyer purchasing offsets from the same location as its corporate headquarters. This practice is especially prevalent in North America, exemplified by the purchasing habits of companies like TD Bank and Waste Management Inc. The EM report speculates that brands buy offsets close to home in order to demonstrate impact to their consumers and bolster their "social license to operate" in a country or region.
Unlike the allowances used in cap-and-trade markets, offsets always represent real removals of carbon dioxide from the atmosphere or avoided emissions somewhere in the world, and carbon standards require that developers demonstrate "additionality," which means they have to show that the emission reduction wouldn't have happened without the project. What's more, EM's newest report found that 79 companies are generating offsets within their own operations or supply chains by reducing emissions above and beyond regulatory requirement and economic incentives. L'Oreal, for example, distributes efficient, cleaner-burning stoves to women in Burkina Faso who boil the shea nuts used in its cosmetics products. Those stoves reduce emissions by reducing the need to chop trees, thereby saving forests, and they also reduce the health hazards of indoor smoke.
Well, this one might be sort of true, but that's partly because global emission reduction agreements have yet to take effect, and also because offsets are designed to be part of an overall reduction strategy and not a substitute for one. Companies surveyed in the report typically offset less than 2% of their total emissions, usually because they're using offsets to compensate for just one segment of that total, like employee travel or the carbon footprint of a single product. Even the small percentage, however, represents a tangible impact on the climate - the over 140 MtCO2e in offsets reported to CDP in 2014 had the equivalent impact of taking 30 million cars off the road for a year. As more companies sign on to the Science Based Targets Initiative, the percentage of emissions they address may go up.
So far, the vast majority of companies that offset do so voluntarily, because there's no law telling them they have to. That's already changed in places like California, where companies are using offsets to help meet up to 8% of their emissions reduction obligation under the state's cap-and-trade system, and it will continue to change around the world as emissions trading ramps up under the Paris Agreement. Buyers in these nascent compliance markets disclosing to CDP reported purchasing nearly 27 MtCO2e in offsets in 2014. As industrial emissions drop, project developers are waiting with bated breath to see how things shake out in the aviation sector, where the International Civil Aviation Organization (ICAO) is determining rules for a Market-Based Mechanism (MBM) to help airlines achieve carbon-neutral growth starting in 2020.
-- 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.
Are die-hard Bernie Sanders supporters willing to compromise and vote for Hillary Clinton? The Atlantic's Alex Wagner toured the Democratic National Convention to find out.
US one sheet for THE LONG GOODBYE (Robert Altman, USA, 1973)
Artist: Jack Davis (1924-2016)
Poster source: Heritage Auctions
R.I.P. Jack Davis. Read about how Davis's poster was created to revive Altman's film after a lackluster opening in L.A.
europeanspaceagency posted a photo:
Operations image of the week:
Following a lengthy firing of its powerful engine, ESA's ExoMars Trace Gas Orbiter is on track to arrive at the Red Planet in October.
Today's deep-space manoeuvre began automatically at 09:30 GMT (11:30 CEST), after commands to orient itself and ignite the 424 N main engine were uploaded on Tuesday.
The manoeuvre was closely monitored by ESA's mission control in Darmstadt, Germany, who followed the craft's signals via the highly sensitive radio dish at New Norcia, Australia.
“The engine provides about the same force as that needed to lift a 45 kg weight in a fitness studio, and it ran for about 52 minutes, so that's quite a significant push,” says Silvia Sangiorgi, deputy spacecraft operations manager, seen at centre in the photo.
Today's burn was extremely accurate, and resulted in an extremely slight under performance of 0.01%. The next firing is set for 11 August.
Credit: ESA
Astronomers using the NASA/ESA Hubble Space Telescope, along with other telescopes on the ground and in space, have discovered a new type of exotic binary star: in the system AR Scorpii a rapidly spinning white dwarf star is powering electrons up to almost the speed of light. These high energy particles release blasts of radiation that lash the companion red dwarf star, and cause the entire system to pulse dramatically every 1.97 minutes with radiation ranging from the ultraviolet to radio.
In May 2015, a group of amateur astronomers from Germany, Belgium and the UK came across a star system that was exhibiting behavior unlike anything they had ever encountered before. Follow-up observations led by the University of Warwick and using a multitude of telescopes on the ground and in space, including the NASA/ESA Hubble Space Telescope, have now revealed the true nature of this previously misidentified system.
The star system AR Scorpii, or AR Sco for short, lies in the constellation of Scorpius, 380 light-years from Earth. It comprises a rapidly spinning white dwarf, the same size as Earth but containing 200 000 times more mass, and a cool red dwarf companion one third the mass of the Sun. They are orbiting one another every 3.6 hours in a cosmic dance as regular as clockwork.
In a unique twist, this binary star system is exhibiting some brutal behavior. Highly magnetic and spinning rapidly, AR Sco's white dwarf accelerates electrons up to almost the speed of light. As these high energy particles whip through space, they release radiation in a lighthouse-like beam which lashes across the face of the cool red dwarf star, causing the entire system to brighten and fade dramatically every 1.97 minutes. These powerful pulses include radiation at radio frequencies, which has never been detected before from a white dwarf system.
Lead researcher Tom Marsh of the University of Warwick's Astrophysics Group commented: "AR Scorpii was discovered over 40 years ago, but its true nature was not suspected until we started observing it in June 2015. We realised we were seeing something extraordinary the more we progressed with our observations."
The observed properties of AR Sco are unique. And they are also mysterious. The radiation across a broad range of frequencies is indicative of emission from electrons accelerated in magnetic fields, which can be explained by AR Sco's spinning white dwarf. The source of the electrons themselves, however, is a major mystery -- it is not clear whether it is associated with the white dwarf, or its cooler companion.
White dwarfs form late in the life cycles of stars with masses up to about eight times that of our Sun. After hydrogen fusion in a star's core is exhausted, the internal changes are reflected in a dramatic expansion into a red giant, followed by a contraction accompanied by the star's outer layers being blown off in great clouds of dust and gas. Left behind is a white dwarf, Earth-sized but 200 000 times more dense. A single spoonful of the matter making up a white dwarf would weigh about as much as an elephant here on Earth.
AR Scorpii was first observed in the early 1970s and regular fluctuations in brightness every 3.6 hours led it to be incorrectly classified as a lone variable star. The true source of AR Scorpii's varying luminosity was revealed thanks to the combined efforts of amateur and professional astronomers. Similar pulsing behavior has been observed before, but from neutron stars -- some of the densest celestial objects known in the Universe -- rather than white dwarfs.
Boris Gänsicke, co-author of the new study, also at the University of Warwick, concludes: "We've known about pulsing neutron stars for nearly fifty years, and some theories predicted white dwarfs could show similar behavior. It's very exciting that we have discovered such a system, and it has been a fantastic example of amateur astronomers and academics working together."
The observations underlying this research were carried out on: ESO's Very Large Telescope (VLT) located at Cerro Paranal, Chile; the William Herschel and Isaac Newton Telescopes of the Isaac Newton Group of telescopes sited on the Spanish island of La Palma in the Canaries; the Australia Telescope Compact Array at the Paul Wild Observatory, Narrabri, Australia; the NASA/ESA Hubble Space Telescope ; and NASA's Swift satellite.
The Daily Galaxy via ESA/Hubble
For most of 2016, astronomers have been viewing a ball of hot gas billions of light years away that is radiating the energy of hundreds of billions of suns. At its heart is an object a little larger than 10 miles across. And astronomers are not entirely sure what it is. If, as they suspect, the gas ball is the result of a supernova, then it's the most powerful supernova ever seen.
Most astronomers today believe that one of the plausible reasons we have yet to detect intelligent life in the universe is due to the deadly effects of local supernova explosions within 100 light years that wipe out all life in a given region of a galaxy. While there is, on average, only one supernova per galaxy per century, there is something on the order of 100 billion galaxies in the observable Universe. Taking 10 billion years for the age of the Universe (it's actually 13.7 billion, but stars didn't form for the first few hundred million), Dr. Richard Mushotzky of the NASA Goddard Space Flight Center, derived a figure of 1 billion supernovae per year, or 30 supernovae per second in the observable Universe!
In June of 2015, this flaring spot of light was found by the All Sky Automated Survey for Supernovae (ASASSN) run by Ohio State astronomers and labelled ASASSN-15lh. Located about three billion light years distant, the source appears tremendously bright for anything so far away: roughly 200 times brighter than an average supernova, and temporarily 20 times brighter than all of the stars in our Milky Way Galaxy combined. The above-featured artist's illustration depicts a hypothetical night sky of a planet located across the host galaxy from the outburst.
“If you walked outside and saw a person who was six feet tall, and then someone who was six thousand feet tall, you would notice,” says team member Todd Thompson of Ohio State University. “You begin to question whether this is even a person.”
In the January 14, 2016 issue of the journal Science, the Ohio State team report that the object at the center could be a very rare type of star called a magnetar—but one so powerful that it pushes the energy limits allowed by physics.
Even in a discipline that regularly uses gigantic numbers to express size or distance, the case of this small but powerful mystery object in the center of the gas ball is so extreme that the team's co-principal investigator, Krzysztof Stanek of The Ohio State University, turned to the movie This is Spinal Tap to find a way to describe it.
“If it really is a magnetar, it's as if nature took everything we know about magnetars and turned it up to 11,” Stanek said. (For those not familiar with the comedy, the statement basically translates to “11 on a scale of 1 to 10.”)
The gas ball surrounding the object can't be seen with the naked eye, because it's 3.8 billion light years away. But it was spotted by the All Sky Automated Survey for Supernovae (ASAS-SN, pronounced “assassin”) collaboration. Led by Ohio State, the project uses a cadre of small telescopes around the world to detect bright objects in our local universe.
Though ASAS-SN has discovered some 250 supernovae since the collaboration began in 2014, the explosion that powered ASASSN-15lh stands out for its sheer magnitude. It is 200 times more powerful than the average supernova, 570 billion times brighter than our sun, and 20 times brighter than all the stars in our Milky Way Galaxy combined.
“We have to ask, how is that even possible?” said Stanek, professor of astronomy at Ohio State. “It takes a lot of energy to shine that bright, and that energy has to come from somewhere.”
“The honest answer is at this point that we do not know what could be the power source for ASASSN-15lh,” said Subo Dong, lead author of the Science paper and a Youth Qianren Research Professor of astronomy at the Kavli Institute for Astronomy and Astrophysics at Peking University.
He added that the discovery “may lead to new thinking and new observations of the whole class of superluminous supernova.”
Todd Thompson, professor of astronomy at Ohio State, offered one possible explanation. The supernova could have spawned an extremely rare type of star called a millisecond magnetar, a rapidly spinning and very dense star with a very strong magnetic field.
To shine so bright, this particular magnetar would also have to spin at least 1,000 times a second, and convert all that rotational energy to light with nearly 100 percent efficiency, Thompson explained. It would be the most extreme example of a magnetar that scientists believe to be physically possible.
“Given those constraints,” he said, “will we ever see anything more luminous than this? If it truly is a magnetar, then the answer is basically no.”
The Hubble Space Telescope will help settle the question later this year, in part because it will allow astronomers to see the host galaxy surrounding the object. If the team finds that the object lies in the very center of a large galaxy, then perhaps it's not a magnetar at all, and the gas around it is not evidence of a supernova, but instead some unusual nuclear activity around a supermassive black hole.
If so, then its bright light could herald a completely new kind of event, said study co-author Christopher Kochanek, professor of astronomy at Ohio State and the Ohio Eminent Scholar in Observational Cosmology. It would be something never before seen in the center of a galaxy.
Today's Most Popular
The Daily Galaxy via The Ohio State University
California pear sawfly larva (Pristiphora abbreviata) collected in Rouge National Urban Park, Ontario, Canada, and photographed at the Centre for Biodiversity Genomics (sample ID: BIOUG20257-H01; specimen record: http://www.boldsystems.org/index.php/Public_RecordView?processid=SSROC6799-15; BIN: http://www.boldsystems.org/index.php/Public_BarcodeCluster?clusteruri=BOLD:ACV9937)
The Wood Awards 2016 Shortlist has been revealed
Chandigarh's Capitol Complex joins the UNESCO World Heritage list
Filmmaker Scott Crawford on the publication that set the soundtrack for a generation of misfits.
www.matthewcattellphotography.com posted a photo:
A young red deer stag reaching up to eat fresh willow leaves. It was shortly after sunrise and there was a heavy mist resulting in beautiful light which was perfect for near silhouette shots. The dawn sun is just hidden behind the canopy of the tree.
333
Designer stationery brand Moleskine branched into food and drink this week, opening up a café in Italy, which doubles up as a store, exhibition and work space.
The Moleskine Café is based in Milan, and has been conceptualised and designed by global consultancy Interbrand along with Moleskine's in-house creative team.
Split across two levels, the ground floor is centred around a coffee and food counter, with product displays that visitors can interact with and exhibition spaces around the peripheries.
There are also shared seating areas, where people are encouraged to chat and share ideas, while the mezzanine floor has quieter rest spaces where people can have a more “reflective and intimate experience”, says Manfredi Ricca, chief strategy officer at Interbrand Europe.
The store concept is based on rebranding Moleskine from a high-end stationery brand into a whole creative experience, which allows people to peruse artwork and design-led products, while allowing time to sit, reflect and use their own imagination too.
The Moleskine Café concept will roll out worldwide, though the company has not announced in which cities yet.
Selfridges' flagship store opened its redesigned Designer Studio this week, which showcases the work of established and up-and-coming fashion designers.
The interiors of the London Oxford Street store have been designed by studio Campaign, with installations created by artists including Patternity and Anna Lomax.
The space also includes an art gallery, and a book shop selling photography, fashion and art books, magazines, annuals and collectible editions.
From rooms filled with blaring transistor radios to rooms as hot as a furnace, Daydreaming with Stanley Kubrick is an attack on the senses, leaving its visitors feeling disconcerted, uncomfortable and overwhelmed.
The show, which is open at London's Somerset House until 24 August, includes 45 commissions from different artists, which interpret Kubrick's films, with a heavy favouritism towards his well-loved classics A Clockwork Orange, The Shining and 2001: A Space Odyssey.
Although there isn't much exploration of his lesser known films, the unnerving exhibition uses multimedia forms to address Kubrick's wider themes of dark humour, sex, violence, horror and dystopia, which find their way into the majority of his movies.
This week, we spoke to co-curator James Putnam, who explains why the show had to be “different from a conventional art exhibition”.
This week, design business advisor Shan Preddy shared insight on how design company owners can succeed following the EU referendum.
Industry experts have noted that leaving the European Union could cause problems for design businesses, which include restricted movement of talent and goods, change to copyright laws and loss of access to EU funding.
Others also noted however that leaving could give UK businesses more freedom and autonomy over their spending and resources.
Either way, now's the time to think about how your business need to change following the vote. In an exclusive piece for Design Week, Preddy advises that some of the things business owners should be focusing on are maintaining client relationships, investing in marketing and valuing all team members, no matter what level they are.
To read her in-depth advice piece, head here.
Designers have transformed the design of classic book covers from the last 100 years this week, including titles such as Barry Hines' A Kestrel for a Knave, Kathryn Stockett's The Help and Gabriel Garcia Marquez's Love in the time of Cholera.
The commissioned designers span professions from illustrators to tattoo artists, and were sourced by Penguin via blogs, exhibitions and tattoo shops.
Picking from a multi-disciplinary range of professions means some of the artists won't have worked on a book cover before, which produces “original and fresh” designs, says Penguin designer Gill Heeley.
The Penguin Essentials series will be published on 6 August in paperback and each book costs £8.99.
The post 5 important things that happened in design this week appeared first on Design Week.
Seymourpowell has developed technology to recycle paint more cost-effectively and on a mass scale for the first time.
Working with Dulux-owner AkzoNobel and Newlife Paints, the consultancy's technology, based on the concept of a vacuum cleaner, mechanises the process of decanting unused paint from tins, which if used commercially would help both to save resources and reduce landfill.
AkzoNobel initially teamed up with paint chemist Keith Harrison to tackle the problem of huge amounts of paint being wasted each year. Over 400 million litres of paint is sold annually in the UK but 13% of it remains unused, amounting to 55 million litres wasted in total, according to Seymourpowell.
Harrison had already developed a technique of re-engineering used paint into a recycled paint product. Seymourpowell's brief was then to create machinery and technology that would allow a technically and commercially viable way of scaling up Harrison's recycling process.
“One of the major technical problems with recycling paint is that it's very difficult to decant from tins,” says Chris Sherwin, sustainability consultant at Seymourpowell.
“The process is labour-intensive and expensive because it all has to be done by hand. Our first challenge was to discover the very best way of harvesting all of the unused paint in the most cost-effective way.”
The consultancy experimented with different technologies, including high-pressure air jets, vibrations, crushing and squeezing the paint tins, and a large “worm-screw” device that crushed tins and drained paint at the same time.
An industrial vacuum cleaner, however, proved to be the quickest and most efficient means of extracting unused paint. Seymourpowell developed and adapted the suction technology and created a large prototype that could be used on an industrial scale.
The concept was then trialed with waste management company Veolia and proved to allow paint to be recycled four times faster and at one-seventh of the cost of previous methods.
It also leaves tins clean enough to be recycled straight away and is cost-effective to scale up.
Seymourpowell plans to develop the technology further alongside AkzoNobel and Newlife Paints, as well as a smaller paint suction prototype for smaller scale paint recycling operations.
The consultancy has not yet confirmed how the collection process for used tins would work.
More details about the technology are expected to be revealed later this year.
The post Seymourpowell designs new paint recycling technology appeared first on Design Week.
Indulge your spy-film fantasies at this cool clifftop hangout a design classic by iconic architect César Manrique
Technically, the Mirador del Río is a cafe and bar, but the reason people come here is to live out their 1960s spy-film fantasies. Created in 1974 by visionary architect and artist César Manrique, it is a perfect example of his impeccable grooviness, as well as his affinity for the otherworldly beauty of his beloved island. Carved into the summit of a 474-metre-high cliff on Lanzarote's northern tip, the Mirador is almost invisible from the outside. But step inside and a winding corridor leads you up through lava rock into two cave-like rooms, with vast panoramic windows overlooking the “Rio”, a strait between Lanzarote and the tiny island of La Graciosa.
All of Manrique's constructions are works of art but the Mirador is the one you can imagine as your own apartment
Continue reading...Stanley Kubrick's disconcerting and uncomfortable cinematic style is tricky to replicate in an exhibition space. But Somerset House's latest show successfully transports its visitors from gallery to film set with its array of multimedia installations inspired by the likes of A Clockwork Orange, The Shining and 2001: A Space Odyssey.
As visitors snake their way around the West Wing at Somerset House, their senses are attacked by the sound of 114 broken radio transistors, the warmth of a roaring electric fireplace, the sight of a giant penis sculpture and the all-round immersion of a virtual reality space scene.
Daydreaming with Stanley Kubrick sees 45 artists spanning fields from graphic design and sculpture to filmmaking and object curation recreate scenes from the movies, or interpret Kubrick's more overarching themes of sex, violence, dystopia and the unknown.
By removing text from the walls of the exhibition space and placing it in a succinct booklet instead, Daydreaming with Stanley Kubrick provides no distractions for its visitors, holding them captive in rooms with nothing but multi-sensory installations, and breaking down boundaries between curator and visitor.
The exhibition was conceptualised and curated by filmmaker and musician James Lavelle, who began working on the project five years ago, alongside freelancer James Putnam, who came in halfway.
“Lavelle is a DJ, whereas I'm a straightforward art curator,” says Putnam. “I brought in heavy-weight artists while he brought in film-makers and musicians. His skill of mixing music worked well in curation, and meant we came up with something quite progressive.”
Exhibition design was completed by Richard Greenwood, Miska Lovegrove and Mathilde Bretillot, and graphic design by Studio Barnbrook.
While Somerset House's usual photography and graphic design exhibitions are characterised by framed wall pieces alongside descriptions, Putnam explains that this show needed to stand out. It has no text on the walls at all, and instead replaces this with a booklet offering a little explanation on each installation.
“We wanted to make it very different from a conventional art exhibition,” Putnam says. “It had to be an arresting, visceral experience. We were very careful not to make it too interpretative with labels, as we didn't want people stopping and trying to read them under dim, flickering or strobe lighting.”
This lack of explanation is meant to leave as much to the viewer's imagination as possible, sometimes to the point of confusion. “There's this ambiguity to Kubrick's films, this feeling of a dissatisfactory ending, and never quite knowing what message he's trying to get across,” says Putnam. “So the show had to be thought-provoking.”
The exhibition makes good use of the museum's West Wing, assigning some more immersive installations an entire room, whereas others are placed several within the same room but separated by maze-like wall structures within it, adding to the feeling of the unexpected as visitors turn corners.
“We had to think about how we would get 45 artists into that confined space,” says Putnam. “We wanted to make it like a film itself, so that visitors would experience the thrill of a Kubrick film that disquieting, edgy atmosphere.”
Some of the more arresting installations include Iain Forsyth and Jane Pollard's dimly lit room filled with 114 crackling analogue radio sets, with old VHS recorders and torn up cassettes added for effect. The individual noises from the radios join together in harmony to produce one voice singing Dies Irae the eerie Roman Catholic hymn used by Kubrick in the soundtrack of The Shining and A Clockwork Orange. The atmospheres leaves the viewer with an unnerving feeling of nostalgia mingled with dread and anticipation, while Stuart Haygarth's tower of electric fires sets its room ablaze with heat and gives off a supernatural red glow.
Doug Foster's visual display replicates a scene from 2001: A Space Odyssey, mesmerising viewers as they watch patterns emerge and change from a central point on the screen, accompanied by a foreboding soundtrack by composer Phillip Shepherd. Chris Levine's LED light display projects a quickly vanishing portrait of Kubrick himself as the viewer looks from side to side, while Sarah Lucas' concrete penis sculpture lying on top of a crushed car is a cheeky nod to Kubrick's interpretation of sex and violence bleak and sordid, yet laced with dark humour, much like the films themselves.
While the installations take centre stage at the show, Studio Barnbrook's graphic design elements were well-considered with a “simple, direct” approach that purposely did not take away from the effect of the pieces, says Putnam.
The studio created flat, two-dimensional icons which communicate some of the more iconic characters in Kubrick's films a winking eye, symbolising Alex from A Clockwork Orange, and a heart to mark Lolita's heart-shaped sunglasses which are then used in various formations across advertising posters.
A bright orange colour is used throughout the print and exhibition graphics, and plastered all over the walls, creating a symbolic blank canvas while also drumming home this association with one of Kubrick's best-known films. Complemented by a navy blue, the graphic identity had to be “strong visually”, accompanied by “brief and clear” wayfinding information, says Putnam.
Creating such an immersive experience within a building like Somerset House could not have been an easy task. As a listed site, some installations a transcript from The Shining which adorns the walls of the building's historic Nelson staircase had to be carefully considered, while others Adam Broomberg and Oliver Chanarin's carpet design taken from The Shining were installed just 10 days before the exhibition opening. But working across disciplines and at times spontaneously, the curators and design teams have put together a fitting show for Kubrick's filmic style an erratic, perplexing and captivating visitor journey which turns an exhibition into theatre.
Daydreaming with Stanley Kubrick will run at West Wing, Somerset House, Strand, London WC2R 1LA until 24 August. Tickets are £12.50, or £9.50 for concessions.
The post Review: Daydreaming with Stanley Kubrick at Somerset House appeared first on Design Week.
Images show designs for leafy Stratford waterfront and new outposts for Sadler's Wells and V&A on site of 2012 Olympic park
New images have been released showing what the cultural district rising like a brick phoenix from the 2012 London Olympics site will look like.
The London Legacy Development Corporation (LLDC) published the computer-generated images on Wednesday at a conference called Rising in the East to mark the four-year anniversary of the Olympic opening ceremony.
Related: Plans for Olympicopolis arts hub in east London attract £45m of private cash
Continue reading...Fernando Hueso Photography posted a photo:
Big Ben is the nickname for the Great Bell of the clock at the north end of the Palace of Westminster in London, and often extended to refer to the clock and the clock tower. The tower is officially known as Elizabeth Tower, renamed to celebrate the Diamond Jubilee of Elizabeth II in 2012; previously it was known simply as the Clock Tower. The tower holds the second largest four-faced chiming clock in the world (after Minneapolis City Hall). The tower was completed in 1859 and had its 150th anniversary on 31 May 2009, during which celebratory events took place. The tower has become one of the most prominent symbols of the United Kingdom and is often in the establishing shot of films set in London.
After another cracking series of summer lectures, we're planning our next run of talks, and we want you to help us put them together. So whether you want to take the mike, or know someone we simply must speak to, now's your chance.…
The European Space Agency's ExoMars Trace Gas Orbiter has successfully completed its engine burn and is on track to enter orbit around Mars on 19 October.…
-- 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.
The group-housing industry is growing in American cities. One Brooklyn company, Pure House, prides itself on providing not just group housing, but “an intentional way of living” amid the isolation of modern urban life. In this episode of If Our Bodies Could Talk, the residents of Pure House invite James Hamblin to learn more about the trend, complete with dinner and meditation.
madeleine fitzsimons selen posted a photo:
timmcc2012 posted a photo:
Early one morning on the banks of the Thames
Mashable's latest #BizChats discussed how to mend relationships that are on the rocks with you fellow coworkers.
Over the course of an hour, our influencers covered an array of questions ranging from how to mend a relationship with a supervisor that you got off on the wrong foot with, to constructive ways to improve your work relationship with an incompetent coworker.
Several experts took part in the conversation including: Dr. Leah Klungness, Ph.D., psychologist and expert on relationship issues; Melanie Greenberg, Ph.D, psychologist, blogger and expert in cognitive-behavioral therapy for adults; Suzy Welch, business journalist, career advice contributor on the TODAY show and best-selling co-author of The Real Life MBA; and Sylvia Lafair, Ph.D., business leadership expert in optimizing workplace relationships. Read more...
More about Work Relationships, Work Play, Startups, Small Business, and Marketing-- 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.
-- 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.
O'REILLY: Did you ever call climate change a hoax?
TRUMP: Well, I might have because when I look at some of the things that are going on, in fact if you look at Europe where they had their big summit a couple of years ago, where people were sending out emails, scientists practically calling it a hoax and they were laughing at it. So, yeah, I probably did. I see what's going on and you see what's going on.
HANNITY (2009): "it is safe to say that ClimateGate has revealed that global warming and that movement is run by hacks and frauds."
-- 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.
A sense of drift and apathy has pervaded the global warming and renewable energy debate for too long. The fossil fuel companies continue to dig coal and pump oil and gas; herbivorous idealists, scientists and ecowarriors emit their ritual opposition. The carbon load forced into the atmosphere continues to rise, and the general public seems resigned.
But 2016 is the year this will really begin to change. Chris Goodall's book is wonderfully up to date but, thanks to the pace of change, even he couldn't keep up with the avalanche of news and initiatives conspiring to justify his subtitle. In May, Shell announced a major move into renewables; on 15 May Germany received almost all its electricity from renewables; for four days from 7 to 10 May Portugal did the same. Goodall, who is an economist rather than a technologist or ecowarrior, explains why the change is happening now: the cost of solar electricity is falling much faster than anyone predicted. Solar power is approaching parity with fossil fuels and can only become cheaper as time goes by.
Continue reading...Geek's Guide to Britain There are several fine examples of Victorian engineering still working in Blighty. Tower Bridge in London is one of my personal favourites. I was surprised to discover that another was on my doorstep. Well, 4.34km (2.7 miles) from my doorstep to be more accurate.…
With atomic memory technology, little patterns of atoms can be arranged to represent English characters, fitting the content of more than a billion books onto the surface of a stamp.
Jacques Piccard Scientist of the Day
Jacques Piccard, a Swiss engineer and oceanographer, was born July 28, 1922.
O'REILLY: Did you ever call climate change a hoax?
TRUMP: Well, I might have because when I look at some of the things that are going on, in fact if you look at Europe where they had their big summit a couple of years ago, where people were sending out emails, scientists practically calling it a hoax and they were laughing at it. So, yeah, I probably did. I see what's going on and you see what's going on.
HANNITY (2009): "it is safe to say that ClimateGate has revealed that global warming and that movement is run by hacks and frauds."
-- 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.
Robots are great aren't they. When they're not making cocktails on cruise ships they're picking up boxes or (trying) to save lives.
Well now you can add another skill to their repertoire as this rather astonishing robot can build an entire house, and it can do it in just two days.
Meet Hadrian X - a lorry-mounted robot that with clinical precision can lay all the bricks needed to build a house in a fraction of the time it would take us puny humans to do it.
Hadrian was created by an Australian firm, Hadrian X uses advanced 3D mapping and a laser guidance system to make sure that each brick is perfectly laid on top of the other.
Of course the real benefit of Hadrian X isn't the precision it's the fact that it can work solidly, 24 hours a day and seven days a week.
Capable of laying a 1000 bricks per hour and cutting each individual brick to size, Fastbrick Robotics believes that their new robot could revolutionise the construction industry.
Instead of traditional cement, Hadrian X uses a special construction glue.
‘By utilising a construction adhesive rather that traditional mortar, the Hadrian X will maximise the speed of the build and strength and thermal effeciency of the final structure,' explains the company.
Sculptor Lil posted a photo:
Sculptor Lil posted a photo:
Sculptor Lil posted a photo:
Kieran Williams Photography posted a photo:
Modern-day oyster populations in the Chesapeake are dwindling, but a multi-millennia archaeological survey shows that wasn't always the case. Native Americans harvested the shellfish sustainably.
Fab News: More Comic-Con Goodness and Disney Adventures MiceChat (blog) The incredible panelists included Jeff Russo (Fargo, The Night Of, Power, Legion), Mac Quayle (Mr. Robot, American Horror Story, Scream Queens, The People v. O.J. Simpson), Tyler Bates (Guardians of the Galaxy, Salem, Kingdom), Mike Suby (The ... |
Hidden Remote | 'Mr. Robot' Season 2, Episode 4 Recap: Game of Chess Hidden Remote Things are getting interesting as Elliot Alderson continues to wrestle with his Mr. Robot persona. It's gotten to a point where he takes up a game of chess on the suggestion of his new friend Ray. However Ray doesn't exactly know what's at stake for ... and more » |
Kieran Williams Photography posted a photo:
Full Text:
Listeria monocytogenes is the species of pathogenic bacteria that causes the infection listeriosis. It is a facultative anaerobic bacterium, capable of surviving in the presence or absence of oxygen. It can grow and reproduce inside the host's cells and is one of the most virulent foodborne pathogens, with 20 to 30% of food borne listeriosis infections in high-risk individuals may be fatal. Responsible for an estimated 1,600 illnesses and 260 deaths in the United States annually, listeriosis is the third-leading cause of death among foodborne bacterial pathogens, with fatality rates exceeding even Salmonella and Clostridium botulinum.
Image credit: ©Whitehead Institute for Biomedical Research
Full Text:
A recent research report about one of the largest lithium brine and salt deposits in the world in Chile's Atacama Desert by geoscientists from the University of Massachusetts Amherst is the first to show that water and solutes flowing into the basin originate from a much larger than expected portion of the Andean Plateau.
Image credit: UMASS Amherst
-- 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.
P. Damer posted a photo:
Moments after www.flickr.com/photos/p_damer/28191090496/
Full Text:
A volume phase holographic grism, a combination of a diffraction grating and a prism. This grism combines a grating from Kaiser Optical Systems Inc. with prism wedges from Janos Technology Inc. and was assembled at the National Optical Astronomy Observatory (NOAO) by Al Camacho and Heidi Yarborough. It is used in the new Multi-Aperture Red Spectrometer (MARS, which is CryoCam resurrected).
Image credit: NOAO/AURA/NSF
Full Text:
A freshwater spider (Dolomedes) runs along the water's surface, leaving vortices behind its four pairs of stroking legs. In this National Science Foundation-supported project, dye studies were performed in order to determine what the propulsion mechanism is of the water strider (Gerris remigis), a common water-walking insect, approximately 1 centimeter long that resides on the surface of ponds, rivers and the open ocean.
Image credit: Courtesy John Bush, MIT
Headlander, the newest game from Double Fine and Adult Swim Games, is a charming mix of '70s sci-fi themes, Metroid-style gameplay, and the kind of weirdness that has always characterized games from both companies. It also has a character named Earl who completely kills any suspension of disbelief in the very first seconds of the game, which you can watch above. Here's his dialogue:
And I'm through. Y'all should be hearing my on your helmet radio now. I know y'all got a lot of questions, but there ain't no point in trying to talk, because you ain't got no lungs. Y'all just come out of stasis, so you don't likely remember much. This is gonna be a hard pill to swallow, but—hells bells! Shepherds again! Y'all gonna need yourself a body. Welcome to the future! Ain't much sure why, but Methuselah wants a hold of you. We gotta get y'all off this ship.
For a large proportion of Headlander's audience—and Double Fine's entire staff, apparently—there's nothing about that dialogue that sounds wrong. But for anyone who's spent any time in the South, it's nails on a blackboard. In five out of ten sentences, Earl uses “y'all” to address a single person. Not even a person, actually, but a severed head, making it even less likely Earl is somehow referring to the main character and her family or some other implied collective group: she's literally just a head. This is more wrong than waking up as a lungless head in a space helmet, more terrifying than rogue artificial intelligences or killer robots or any futuristic horrors Double Fine could ever dream up. Maybe it's part of the game—maybe Earl is a bad simulation of a Southerner. Or maybe the simplest rule in southern dialect has somehow been botched once again. I'll never know, because I couldn't get past the beginning out of fear of how Earl might mangle the language next.
In fairness to video game writers, it's not always a hard-and-fast rule. Arika Okrent took a look at the issue for Slate back in 2014, and concluded that the singular “y'all” was occasionally used, in a few special situations: particularly when Southerners exaggerated their speech to get better customer service from Northerners. (I've never heard that, but I've heard the possessive use, as in her example of “How're y'all's grits?”) But even in those rare cases, no one uses “y'all” exclusively instead of “you,” the way Earl does, even in the far distant future. And the one thing everyone agrees on is that Southerners, who actually use the word, are the ones who are most likely to insist it's plural only. So if your character's from the South, odds are he or she is not going to use it as a singular. (If your character's a Northerner who is misusing the word out of ignorance or spite, you're probably doing something too complicated for a video game.) So a good rule of thumb for non-Southerners: just use it as the plural. They still teach Latin at Andover or wherever, right? Or Spanish, at least? Would you use vosotros or ustedes or voi or whatever second person plural you're familiar with? Use “y'all.” Otherwise, just play it safe and stick to “you.” If foreign languages make you uneasy, memorize this handy mnemonic:
If you're speaking to one person,
Using “y'all” will make things worsen.
But if “all of you” would work,
Then it's time for “y'all,” you jerk!
Don't get fancy and don't showboat. You're probably already naming a character “Earl” or something, so you're on thin ice to begin with. So let me address all of you, as in more than one of you, as in plural: Y'all have made sure that anyone who's ever had the slightest hint of a southern accent is an expert in what it's like to have people think you're dumb because of the way you talk, so trust us on this one: Y'all have gotta stop screwing this up, 'cause it's making y'all sound stupid.
Brett NJ posted a photo:
Lessons from Brexit and learning to better communicate robotics research and innovation Robohub Hilary Sutcliffe and MATTER have been working with the University of Sheffield across a number of departments and faculties to create an agenda for future responsible research and innovation; more than merely putting plasters over public concerns, we ... |
Michigan State University engineers tried 3-D-printed fingertips and special conductive replicas of the victim's fingerprints to crack the biometric lock on his Samsung Galaxy phone.
Penguin has worked with designers on the republishing of classic book titles from the last 100 years, which the publisher is hoping to bring to a new audience.
The Penguin Essentials is a growing collection, which is released in different series and sees a single artist or designer work on each cover concept.
Editors from Penguin selected the titles before art director John Hamilton and his team set about commissioning artists they felt could capture the spirit of each book in a cover design.
Penguin designer Gill Heeley, who has worked on the project, says: “It's a great series to work on as ultimately we get a lot of freedom and control over who we commission and the direction each cover will take.”
The artists and designers were as “diverse and international” as possible according to Heeley, who says in this case the Penguin team has scoured blogs, exhibitions and tattoo shops to find the right people.
“Often the artists won't have worked on a book cover before, which means they produce something really original and fresh,” says Heeley.
The artists involved in the project have very diverse skills, which is reflected in their approach to the covers, but Heeley says that their work is still managed in a way that means the covers work together as a set.
Despite this the artists were given quite a loose brief so they were free to explore their own direction.
“This can sometimes make the design process a tricky and uncertain one but can result in something really unusual and unexpected,” says Heeley.
What a Carve Up, by Jonathan Co was illustrated by UNGA, who is part of the artist collective Broken Fingaz.
Heeley says UNGA's work has a strong visual aesthetic that draws on the group's Israeli homeland.
“As is often the case with many of the artists involved, he was at times hard to pin down, especially as he is based in Israel and always on the move,” says Heeley.
The artist who worked on A Kestrel for a Knave, by Barry Hines, was Kyler Martz, a tattoo artist and illustrator based in Seattle.
“It was so interesting to see a tattoo artist from Seattle's response to this very English book, which turned out to be a contemporary and striking take on a classic,” says Heeley.
For The Help, written by Kathryn Stockett, Alex May Hughes was chosen as the artist.
“She works with precious metals on glass, painstakingly applying each layer by hand. The bold glossy colours and metals of her work mirror the period the book is set in so well,” says Heeley.
According to Hughes herself the work is “celebratory and positive” and the materials and finish are “luxurious and rich and uplifting”.
The word Help is “a sort of a desperate cry, or at least by definition associated with struggle, which juxtaposes nicely with the medium,” Hughes adds.
The Penguin Essentials series is published on 6 August in paperback and each book costs £8.99.
The post Penguin works with international artists on new Essentials collection appeared first on Design Week.
Jennie Child has joined AKQA's London office as international director of talent acquisition. Before joining the consultancy, she held a senior talent acquisition position, leading teams on both agency and recruitment consultancy sides.
Landor has appointed Andrew Welch as managing director at its London office. Welch previously worked at Landor as executive director for its EMEA region, before his appointment as chief executive of Y&R South Africa in 2011.
WPP's Brand Union has appointed Alex Clegg as the new UK chief executive, based in the London office. He will work to evolve the company structure and deliver a new strategy for growth in London.
Bluemarlin has named Sally O'Rourke as its chief executive. She first joined the consultancy in August 2015 as global chief operating officer and US president. O'Rourke replaces founder Andrew Eyles, who has now become chairman of Bluemarlin Group.
Paul Richards, former creative director for Global Brands at Mattel, has relocated from the US to join Blue Kangaroo's team in the UK as its director of creative strategy.
Brand Union has announced the appointment of John Shaw to the role of chief product officer. The newly created role will see John responsible for overseeing the agency's product, from strategy and creative to design and technology.
Gpstudio has hired Jenny White to head up its new digital arm, in the role of director of digital. White joins the consultancy from marketing and communications company, Black Sun, where she was digital creative director.
Creative business school, Hyper Island, has announced the appointment of its new chief executive, Sofia Wingren. She has previously worked at educational organisations including EF Education First.
Lambie-Nairn has appointed former FutureBrand senior brand strategist, Sheila Morrison, as its strategy director.
Industry has appointed Nada El Barshoumi as lead brand consultant for the Middle East and North Africa Region, based in Bahrain. She was formerly a partner at Bahrain-based PR and design agency, Obai & Hill
Design and motion studio ManvsMachine has opened a US office in Los Angeles. Partnering with Landor, which owns a majority stake in ManvsMachine, the studio has plans to expand with new assignments throughout North America.
The post Moves & Changes appeared first on Design Week.
“I've always found the studio environment a creative one there's something about the white noise of shared spaces that allows your mind to disengage and approach a problem from the side.
Then again I've never liked working entirely alone the ebb and flow of conversation, and the ever-changing soundtrack make for an energetic workplace.
But it's variety of space that's important for productivity. Our studio sits across three floors with an intensity that increases as you climb. The calm of the ground gives way to the cathedral-like top and lets your mind reach for ideas that didn't seem possible lower down.”
“I have worked in a few studios in my time and learnt what I liked and didn't. The space you are in can really influence how your brain works. I am lucky as I have a space to myself and I have everything at hand if I want to paint or make a model I have it all here. It's a large workshop, so I don't feel restricted about being stuck at a desk in front of a computer.
The huge thing that helps me work is I have a glazed ceiling and natural light all year round and when you spend long hours working it really helps to understand what the weather is like outside it is uplifting.
I have Radio 4 or music on all the time…I love just having the sound as background noise rather than having it penetrating into my head through headphones. But one of the most important things is that my dog Lemmy moves freely through the space and makes my days a joy.”
“There is no one-size-fits-all environment for being productive and creative. You can try to boil it down to a formula but, in the end, people make up their own rules. At our studio, we don't obsess about where people are or the hours they put in, but about the quality of what they do.
Great work can come from individual focus, uninterrupted flow and distraction-free environments. But it also comes from team interaction, collaboration and side-by-side decision making. Ultimately, it's about finding a balance that works for you and your team, in a workspace that offers flexibility and encourages people to do their best work.”
“I work best when on the go and am adverse to sitting at a desk trying to come up with ideas. I actively encourage my designers to get outside and do the same.
Through tracking my walking I've noticed that when I average 20,000 to 30,000 steps a day I'm at my most productive. Something about the constant motion and seeing a changing environment seems to allow the brain to free up and increase lateral thinking.”
“I work best with a lot of activity around me, visual stimulation and people. Maybe there's a connection being able to design in an environment of chaos and order makes it easier to come up with solutions that have to be seen and communicate out in the street; an environment of people, chaos and order.”
“I'm writing this standing up on a packed, hot, frequently stopping Piccadilly line tube on my way to work, wobbling all over the place, wishing the old lady in front of me would offer me her seat….
My mind is always working and wandering off and I'm still trying to learn how to capture those subconscious thoughts. It doesn't matter if I'm in our lovely NB studio scribbling with our designers or wobbling about on a boiling hot tube carriage.
…she didn't offer me her seat.”
“I'm at my most productive and creative surrounded by other creatives. My studio is large enough for six people to have their own defined spaces, a common area to keep as flexible as possible (right now it's an ad hoc stockroom/photo studio), and a quiet, calm, informal meeting room.
We're based in a 1970s brutalist office block in the centre of Edinburgh on a floor with 20 other independent creatives spanning architecture, graphics, interiors, PR and production. I can ask advice, get shortcuts to the best suppliers and collaborate. Ten years ago I found collaborating frightening — now I wouldn't have it any other way.”
“I spend a good deal of time tearing through the archives of the London Library. There's a great wealth of forgotten knowledge that can be used to re-enchant what people put in their mouths. Every so often we'll run to ground an obscure menu, ancient food treaties or most recently a Memoir of a Stomach that will serve as inspiration for a future project.
At the London Library the stacks of books are arrayed alphabetically with strange shelf marks. When I go to research drinks I drift into the adjacent sections, duelling, death, dress which provides wholly unexpected answers to the original research question. The library space is also a little erotic.”
The post Where do you work best? Designers reveal what spaces stimulate their creativity appeared first on Design Week.
Nissen Richards Studio has designed both the 3D elements and graphics for a new Natural History Museum exhibition, called Colour and Vision: Through the Eyes of Nature.
Based on the use of colour in the natural world over the last 565 million years, the exhibition explores how without vision evolution wouldn't have happened in the way that it did, according to exhibition designer at Nissen Richards Studio, Sophie Mitchell.
“The Cambrian explosion was when the eye evolved, which then led to huge diversity in the natural world,” says Mitchell. “Our brief was how to get that across as an immersive experience.”
Nissen Richards Studio designed the exhibition around the concept of a “journey of discovery”, Mitchell says, starting out in a dark room with out-of-focus surroundings that reflect a lack of vision, before moving through into much brighter zones in order to reflect this transition.
Using more than 350 specimens from the museum's collection ranging from brightly coloured birds to fossils of the first organisms with eyes the exhibition shows how the use of colour in the animal kingdom became the difference between life and death.
Four main zones included in the exhibition cover subjects such as sexual attraction, warning, deception and camouflage. Highlights include a light installation created in collaboration with British artist Liz West, which uses dichroic glass, and a Victorian-style tower filled with brightly coloured taxidermy.
“Our approach was to use a white-on-white, or black-on-black backdrop so that all of the colour in the exhibition was just coming from the specimens themselves,” says Mitchell.
Details such as the wing of a Blue Morpho Butterfly which reflects light in a particularly way so that it shimmers are carried through the rest of the exhibition itself, for instance in graphic lettering and on physical panels.
Another consultancy, Krow has created an outdoor, press and digital marketing campaign to run alongside the exhibition. Representing a chromatic explosion, the campaign is made up of an array of colourful specimens arranged into the shape of an eye, to create a visual representation of the showcases.
Colour and Vision: Through the Eyes of Nature runs from 15 July 6 November 2016 at the Natural History Museum.
The post A look at the Natural History Museum's colourful new exhibition appeared first on Design Week.
Recruiting the right people and hanging onto them are perennial issues for all design consultancies, but for design groups just starting out such matters can be critical.
This year we turn the spotlight on Top 100 groups around 10 years old to find out how they started to grow their business by bringing the right people in and get some top tips on what the best rate of growth is.
Since founders Matt Miller and John ‘Sinx' Sinclair set up digital product studio Ustwo from a kitchen in 2004, it has grown to take on 150 people, 51 of whom are designers.
Focusing on both client work and its own products, the reputation of the studio has spread and it has set up studios in New York, Malmö and Sydney.
Ustwo marketing lead Matthew Edwards says the consultancy looks for a wide range of skills, specialisms and backgrounds. “We benefit from contact with LGBTQ and various women in tech networks. We also focus on the development of people we have at Ustwo already sometimes, just the right person is already there with you.”
Referrals play a big part in recruitment for Ustwo and Edwards says personality-wise “resilience and pragmatism” are essential in a rapidly changing digital industry. However, he also says it is “cultural growth rather than cultural fit” that the consultancy is looking to so it can always diversify.
“We run a very active events programme in the studio, which means we get to meet some amazing people from all walks of life.”
All of the consultancy's design expertise are in-house and while skill development and training is always in progress, so is spotting any gaps and looking at where hires need to be made.
There has been a marked increase in staffing levels at Ustwo, particularly this year with 89 people joining. “The pace of our growth is something we're very conscious of. Growth, change and development are all interlinked, and have a strong influence on our culture. Future growth will most likely be in new ventures,” says Edwards.
Design fee-income is expected to increase by 7% in 2016 at Ustwo and there is a correlation between increased staffing levels and increased revenue.
“Taking on more work usually means more revenue and a corresponding growth in headcount. While we're looking at a healthy year-on-year growth in terms of our top-line revenue, we are also testing alternative revenue models
beyond our client-service work. Over the next three years, we expect to generate an increasing percentage of our revenue from our own IP and joint ventures and partnerships.”
Over at branding consultancy Brandopus, design fee income is expected to increase by 10% in 2016. Brandopus executive creative director Paul Taylor says that “a steady approach is what has maintained our successful growth” and much of this is down to “positive connections” with clients, leading to both referrals and repeat business, but getting staffing levels right is also part of organic growth.
Brandopus started out in 2007 and today has 87 staff, with 26 of these designers. Most of the design expertise is found in-house with freelance support relied on for busy periods. Craft, illustration, artist or typographic specialities are turned to when needed.
A steady approach to growth has seen Brandopus set up several international outposts. “In the pursuit of international hubs to service global clients, rapid expansion can lead to a failure to recreate the ‘magic' that defines the founding studio,” says Taylor.
“At almost 10 years old, we have three offices worldwide, with New York being our most recent launch. Although there has been a pull towards the US for a while due to our client base, we have taken the time to consider the best approach and wait for the right people to come along to help us launch it. The fact that we took the time and have the right people will undoubtedly have a positive impact on the resulting quality of work and future growth,” he adds.
Creating and maintaining the right culture and finding people who can contribute to Brandopus have been essential, according to Taylor. He says: “The right balance between talent and personality fit is key.”
Managing growth and recruiting at the right time is “a constant challenge”, explains Taylor. “We have learnt over the years that you cannot recruit ahead of the curve in the anticipation of growth; however, waiting until the growth has already materialised can leave you with an over-stretched team.
“You have to manage these fluctuations carefully. The one thing we have learnt is not to rush into just recruiting the people who are available at the time always wait for the right people to come along.”
As Brandopus' client and business base has grown, a team that is capable of managing this has been built, according to Taylor. He explains: “Of course we have the ambition to win more business and as and when this happens we will recruit to manage it effectively.
“Our current size of 87 people feels extremely comfortable. For an independent agency we're on the larger size, but not so big that we don't feel like we know everyone here personally we think this is vitally important.”
Missouri Creative only started out in 2013 and now has 29 staff and 12 designers. New business director Andrew Mitchell says since it was set up by co-founders Paul Brennan and Stuart Wood, the consultancy has experienced “organic and steady growth”.
By the end of the first 12 months there were four designers, by year two there were up to eight full-time designers and now 12 full-time and approximately 12 freelance.
Having around half of the staff full-time and half freelance is deliberate and gives flexibility. “Often freelancers turn into full-time staff as our client base grows. It allows us to scale up quickly,” says Mitchell.
Many of the initial hires were made from a list of targets Brennan and Wood met in their 12 years at Fitch. “Building a strong relationship with a recruitment consultancy is vital as the studio grows and if they invest the time to understand you, your culture and the type of work produced it tends to speed up the hiring process and you receive CVs that fit
your requirements more accurately,” says Mitchell.
As Missouri has grown, more portfolios have come in and the better ones show an interest in the consultancy, what it does and how the individual's experience can be complementary.
“We like to bring in young designers and move them quickly through the ranks there is nothing quite like finding that rough diamond and polishing it over time. It is one of the great pleasures of working in a young, dynamic industry,” says Mitchell.
Growing the business further is still the plan and a structure has been put in place to make this happen. “We now have two strong design directors below our creative director and a great account director managing a talented account management team this should give the founding partners the head space to drive growth for the business,” he adds.
The best way to grow has been along what Mitchell sees as a more traditional consultancy model: rate card x time = cost. “I know other agencies have challenged this model but we find it the easiest and most transparent way to work with clients so staff numbers reflect where you are financially.”
As the consultancy has grown, more services have been brought in-house. In the beginning, visualisation and rendering were outsourced but as these things are so integral to Missouri's offer, designers with these skills were recruited and now skill sharing and in-house training have been adopted to broaden the skill sets of staff.
“We are still looking at innovative ways to cut down costs to our clients so we are considering outsourcing some artwork and technical drawing packages, but this means you need a good senior head of production to manage that work flow,” says Mitchell.
Map, which only began in 2012, has experienced similar business growth to Missouri yet it is a much smaller operation numbers-wise.
Projected annual growth in design fee-income for 2016 is 25% for Missouri and Map predicts as much as 50% growth over the same period.
When Map started out, it was a team of four, including director Jon Marshall. Map is part of a small group with Barber and Osgerby and Universal Design Studio, which means there was support from a shared commercial and admin team of between three and six people.
Today, Map has a team of nine plus two interns and around two people per year are being added to the design team.
Some of the more junior members of the team have been kept on after coming through Map's rolling intern programme. The more senior members of the team have approached the consultancy speculatively or have been recommended by existing members.
“So far, we haven't had to advertise or reach out to people but I'm not ruling it out for the future,” says Marshall, who explains that he does not want to grow the consultancy too quickly and disrupt its team-oriented culture. He says: “The current rate of growth of around two people per year seems ideal to me.”
Remaining relatively small has helped Map to be efficient and manage its growth effectively, according to Marshall. “A small team with steady growth helps with efficient communication. At the moment, our team is small enough so everyone knows what projects are going on and we can go for a meal together and sit at one table. I think at more than 12 to14 people some of that efficiency starts to be lost, but it does enable you to tackle larger and more ambitious projects,” he says.
All of the consultancies we spoke to have found a successful way to grow and have recruited in a sustainable way. Bringing in the right talent to support new business is vital, but consultancy owners also have to be mindful of not over-stretching themselves.
All of the consultancies we spoke to featured in our Top 100 consultancy survey, which you can view here.
The post How to ensure steady growth through recruitment appeared first on Design Week.
Campaign has created the interiors for Selfridges' new Designer Studio, featuring installations by artist collaborators Gary Card, Patternity and Anna Lomax.
The 1580m2 retail space, situated on the third floor of the department store, is designed to showcase established and emerging fashion designers, including Acne and Kenzo.
First commissioned to work on the project in May 2015, Campaign has based the Designer Studio's installations or follies around the concept of a “theatre of forces”, working closely with each of the artists, according to lead designer Jenny Ford.
“These installations both large and small scale, [are] adaptable, versatile, exciting and durable, and provide a platform for brands to artistically express their seasonal vision and line,” Ford says.
“Each folly helps to anchor key areas in the designer studio, and together they cohesively work to create a theatre of forces in the gallery-inspired architecture.”
Other key design features include an art gallery with works that are selected by Selfridges and its Design Studio partners and collaborators each season, and a book shop selling a mixture of photography, fashion and art books, magazines, annuals and collectible editions.
The changing rooms are designed to be “Instagram-worthy”, according to Selfridges, featuring mid-century furniture, patterned curtains and music playlists curated by the designers.
Meanwhile, the rest of the interiors strike a balance between “new and old, clean and raw”. The space includes coffered ceilings and exposed concrete columns, while six previously blocked off windows have also been opened up to make use of the natural light.
“The palette sits comfortably and modestly together, and enhances the design,” says Ford, “allowing the follies to be the show stoppers.”
The post Selfridges reveals interiors of its new Designer Studio appeared first on Design Week.
Designer stationery brand Moleskine has opened its first ever café, which looks to create an environment that encourages creativity.
The Moleskine Café is in Milan, Italy and is based on the concept of the Parisian “café littéraire” (literary café). The brand's new retail format aims to acts as a café, art gallery, store and library hybrid, with spaces dedicated to studying, eating and drinking, exhibiting and displaying products.
The interiors have been designed by global consultancy Interbrand's Italy office alongside Moleskine's own creative team. They have been based on the style of the classic Moleskine notebook “clean aesthetics” with a “contemporary palette of neutral colours”, says the studio, to replicate the ivory colour of the notebook's pages.
The space is split across a ground floor and a mezzanine level. The ground floor aims to be a space for conversation, while the mezzanine is a quieter, more reflective space, says Interbrand.
At the centre of the ground floor is a food and coffee counter, surrounded by various displays and seating areas. This layout is “intuitive” for the customer, says Manfredi Ricca, chief strategy officer at Interbrand EMEA (Europe, Middle East and Africa) and LATAM (Latin America), with “non-obtrusive” product displays resigned to the sides and the coffee and food offering as the “central element of attraction”.
The right of the store sees a product display alongside an “experience table”, which allows customers to feel different paper grades, look at page layouts and try out Moleskine+ smart notebooks, pens, pencils and bags.
The left side of the store sees a space dedicated to exhibitions and events, focusing mainly on the early stages of creative processes, such as sketches, notes and doodles from architects, designers, illustrators and film directors. Exhibitions on illustrator John Alcorn and architect Kengo Kuma are due to take place this year.
There are also shared tables and seating areas on the ground floor, which aim to encourage people to chat and share ideas.
The mezzanine level sees more private, separate seating, alongside a sofa space intended as a quiet area for reading, working and relaxing. This floor aims to be a more “reflective and intimate experience”, says Ricca.
Ricca says the concept café will be a space where people can think and create. “Think about the product that made Moleskine known to the world in the first place the notebook,” he says. “Its ultimate aim is to provide a blank bi-dimensional space which encourages people's ideas and identity to find an expression.
“So a café from the same brand should provide the same, but in the third dimension,” he says.
The Moleskine Café concept has taken roughly a year and a half to create, and will be rolled out as a wider concept in other major cities around the world. Moleskine has not yet revealed where these will be.
All photos © Michele Morosi
The post Moleskine opens concept café in Milan appeared first on Design Week.
Times Higher Education (THE) | The robots are coming for the professionals Times Higher Education (THE) ... for their predictions of what universities would look like in 2030, there was scant mention of the impact of technology except in so far as it directly affects pedagogy, via innovations such as massive open online courses (“Future perfect: what ... |
DMDII Seeks Proposals for Advanced Manufacturing R&D Projects IndustryWeek Low-Cost Robotics and Automation: This seeks robotics and automation solutions that are affordable, reconfigurable, and adaptable, and that exhibit the precision, repeatability, and productivity of conventional automated solutions. They must also ... |
From Lockheed Martin's Skunk Works team — the same folks that brought you the strategic recon aircrafts U-2 Dragon Lady and SR-71 Blackbird as well as the stealth fighter jet F-117 Nighthawk — now comes Spider (not to be confused with this one), a device to repair blimps more efficiently than ever.
As Skunk Works explains, old methods to repair blimps are time-consuming. One has to deflate the blimp (which can take hours), and walk around with a bright, handheld light, looking very carefully for rips and tears.
By contrast, the Spider (short for Self-Propelled Instrument for Damage Evaluation and Repair), however, uses two magnetic halves, one to shine a bright LED light outside the blimp, and one that senses this light from the inside, thus exposing holes and problem areas. It can then move its patching mechanism over said hole, repair it, and then snap before and after pics of the fix, allowing a pair of human eyes to inspect it later. Read more...
More about Transportation, Spider, Robots, Blimps, and Tech"There have been a lot of people out there surveying whales for a long time, and never come across this," a researcher says. But Japanese fishermen have told stories about this dark whale for years.
Mel Sebastian posted a photo:
© Mel Sebastian
Mel Sebastian posted a photo:
© Mel Sebastian
Biohacking technology like CRISPR, smart-retinas, and drug delivering nanoparticles could help people live longer and become stronger. But most Americans want “human enhancement” to remain firmly in science fiction, and out of the real world.
A new public survey conducted by Pew Research Center revealed the majority of Americans are more worried than excited about biomedical technology. The nationally representative study polled more than 4,700 adults about three specific biohacking concepts: gene editing, brain chip implants, and synthetic blood. Even when these innovations were described as beneficial to human health, more than half of respondents expressed distrust and wariness toward their potential use.
As biomedical technologies become more sophisticated, people are spending more time debating how they should be used, said lead author Cary Funk, an associate director of research at Pew Research Center, in a statement.
“This study suggests Americans are largely cautious about using emerging technologies in ways that push human capacities beyond what's been possible before.”
When it came to gene editing that would reduce the risk of disease in babies, 68 percent of Americans said they were “very” or “somewhat” concerned about the technology's implementation. Brain chips that might improve concentration or cognitive abilities garnered a negative response from 69 percent of those surveyed. And synthetic blood, which could one day make humans stronger and faster through increased oxygen levels, was disliked by 63 percent of study participants.
The survey was aimed at measuring public perception of technology that's still nascent, or used only for therapeutic purposes, such as injury recovery. Right now, according to the study, none of the three examples are commercially available for human enhancement. When people were asked if they believed these developments would be prematurely released, 73 percent responded “yes,” with regard to gene editing and synthetic blood, while 74 percent felt the same about brain chip implants.
“I think a lot of the fear about genetic engineering stems from what people have previously heard, and whatever incomplete understanding they have, about genetically modified organisms,” Dr. Patrick Blackburn, a geneticist who specializes in rare disease research, told me.
“I feel like a lot of these new technologies get lumped together, and the mindset is, ‘GMOs are bad,' rather than, ‘what can these technologies and do for me, and for the betterment of humanity?'”
That perception can depend on a person's worldview. One of the most striking trends the survey revealed was the relationship between religious commitment and the willingness to embrace biomedical technology. The more religious a person was, the more they perceived human enhancement as meddling with nature. Approximately 64 percent of respondents believed that gene editing, for the express purpose of delivering healthier babies, crosses a moral and ethical line.
Other trends, however, underscored more concrete concerns about biohacking and inequality. For example, 73 percent of Americans anticipate that brains chips—which might only be accessible to those who can afford them—will increase the divide between the wealthy and the poor, elite and underprivileged. And 63 percent of people felt that recipients of synthetic blood will deem themselves superior to others. People are concerned that genetic modification, and the way it's accessed, could widen the gap between the haves and have-nots.
Right now, these concerns are mostly speculative, and it would be a mistake to let them impede scientific progress. If anything, studies like this can help steer human enhancement away from the fears of a dystopian future, and toward something more evidence-based.
“Public perception can definitely affect the type of research that we can do, in the form of federal regulation—think about what happened with stem cells under President George W. Bush—but, so far, there has been very little federal regulation of these new genome engineering technologies in the research lab,” Dr. Blackburn added.
“I don't think many people realize there has been such a sea change in our understanding and ability to edit the genomes of humans, and pretty much anything else that has DNA.”
Mon dieu! What with tout le torture, les plotteurs and les attempted meurtres, Versailles is now about as sexy as Robot Wars
Not-So-Bad Philippe is sulking in front of the fire because his frere, le roi, has not unreasonably locked up the Mauvais Philippe for plotting against him. Louis barges in and tells Not-So-Bad Philippe to cheer up and come for a gallop for old times' sake. Not-So-Bad Philippe agrees but is still sulking.
Cue the title music, and much excitement. Because the BBC used exactly the same music during its coverage of the London Anniversary athletics at the weekend, prompting hopes/fears that they might be planning to roll it out for the Rio Olympics in just over a week's time. Who knew this piece of sub early-70s Genesis was the Nessun Dorma de nos jours? Perhaps the BBC thought Versailles = Sexy, Rio = Sexy, so wanted to find a way of combining the two. Only Versailles is now about as sexy as Robot Wars. Having spent the first episode ripping their kit off at any opportunity, the court of Versailles has taken an oath of chastity.
Continue reading...P. Damer posted a photo:
Moments after www.flickr.com/photos/p_damer/28191090496/
dukseli posted a photo:
Korkeasaari zoo
Conservation status: Endangered species
(Wikipedia: en.wikipedia.org/wiki/Przewalski%27s_horse)