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Over the weekend, a slow-moving storm pulled massive amounts of moisture inland from the Gulf of Mexico, dumping nearly two feet of water on Louisiana and neighboring states. Governor John Bel Edwards said that at least eight people have lost their lives in the disaster, now affecting 40,000 homes. National Guard troops, emergency rescue teams and local volunteers have been working to rescue as many as 20,000 people trapped by the rising waters. The flooding has begun to recede in many places today, allowing some homeowners to return and assess the damage.
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A team of physicists has released tantalizing evidence claiming that there may be a fifth force of nature, according to a paper published in Physical Review Letters.…
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Parts of Southern Louisiana are still underwater after a weekend of historic flooding. @JudyWoodruff reports https://t.co/C6OnSTOtoa
— PBS NewsHour (@NewsHour) August 15, 2016
People protest the construction of a 1,100-mile pipeline that will carry crude oil from North Dakota to Illinois. https://t.co/KTs7xMhBG9
— AJ+ (@ajplus) August 16, 2016
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Kilns for firing and making bricks are scattered across the landscape in Dhaka, Bangladesh. Almost all bricks in the country are made using a 150-year-old process where soil is mixed with water, formed into bricks using wooden molds, left to dry in the sun, and then burned in these orange, traditional kilns. As the widespread use of old kilns has hampered air quality in the country, local groups and the government have been working hard to increase the use of “clean” brick kilns with more sustainable technology.
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Before Usain Bolt, there was Arthur Wint, Jamaica's first gold medalist in the 400 meter race back in 1948. In this cinematic and beautifully scored short film titled LAND WE LOVE, Douglas Bernardt, Lucas Oliveira, and Filipe Zapelini take us to Jamaica for a visual exploration of its running culture. The three filmmakers make up the Brazil-based production team, Pudim.
A physicist claims to have created a sonic black hole to observe Hawking radiation and its quantum weirdness, all within the safe confines of his laboratory.…
“All my friends told me not to film with you. But whatever,” Hank grumbles. Hank Vogler, a Nevada sheep rancher, is in the fight of his life to protect his water rights from being snatched up by a distant city, laying waste to all he has created.
Hank has spent over 40 years here in Spring Valley, Nevada, a large tract of desert land on the central eastern side of the state. He's grown his ranch from two cows and seven sheep to a large operation with sheep herds scattered around this massive landscape. The size and influence of his ranch pales in comparison to his nemesis however, the Southern Nevada Water Authority (SNWA), the governing body for water in Las Vegas.
In the late 1980s SNWA began researching how to get more water to the city. As the population of Las Vegas swelled, they needed to find alternative ways to procure water. One of those methods sent engineers north to the sparsely populated desert to develop new supplies of water.
Hank is one of the people sparsely populating the desert, and he needs every drop of water he has. As he told me, he doesn't have title to enough water to fill a swimming pool in Las Vegas. His livelihood depends only on small springs and seeps in the hills. SNWA carries a big check book, however, and many of his neighbors have been unable to resist the hefty purchase fee frequently being offered at double and triple the going value.
SNWA has scooped up dozens of ranches in the area, hoping to collect enough water rights to build a pipeline to Las Vegas, nearly 300 miles away. In the interim, as SNWA needs to manage the ranches around Spring Valley, Hank has found a target on his back. His outspoken opposition to the water transfer scheme has made living in his community difficult, causing poor relations with neighbors, and the knowledge that at any moment they could turn on the pipeline and suck all the water out from underneath him.
This drives Hank to do everything in his power to protect his way of life, even if it means talking to a filmmaker from Washington, D.C..
The Water Is for Fighting project documents the challenges facing our nations freshwater resources. Corey Robinson is a filmmaker and Young Explorer Grantee collecting these stories through film, still pictures and words.
Follow along with @coreyrobinson #w4f2015
“Whisky is for drinking, water is for fighting.”
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Asharq Al-awsat English | Artificial Intelligence Swarms Silicon Valley on Wings and Wheels Asharq Al-awsat English The new era in Silicon Valley centers on artificial intelligence and robots, a transformation that many believe will have a payoff on the scale of the personal computing industry or the commercial internet, two previous generations that spread ... and more » |
Niantic, the developer behind Pokemon Go, is clamping down on cheating with lifetime bans for players who violate the game's terms of service.
In a statement on its website, Niantic announced users can be banned for falsifying locations, using emulators, modified or unofficial software and accessing Pokemon Go clients or backends in “an unauthorised manner”.
GPS spoofing enables players to trick the game into thinking they are in different regions, helping them to pick up rare Pokemon currently unavailable in their locality. Bots, meanwhile, let players automate portions of the game.
As the Verge reports, players can appeal the ban using a form on Niantic's Pokemon Go website.
Niantic said: “Our goal is to provide a fair, fun and legitimate game experience for everyone. We will continue to work with all of you to improve the quality of the gameplay, including ongoing optimization and fine tuning of our anti-cheat system.”
Hundreds of users have taken to Reddit to try to unearth Niantic's strategy, but it's not yet clear how the developer detects foul play.
The Guardian has reported that a number of bot developers had been sent cease and desist orders.
Necrobot, a premium service for account farming, said: “Due to legal action being started against other bot creators and developers (we did not receive a letter yet) the project development will be stopped. All source files/downloads will be removed.”
The latest crackdown comes after a number of third party Pokemon mapping sites were shut down last month.
The move coincided with the removal of the nearby tracking feature, which has since been updated, and frayed relations with the game's community.
Pierre Francois Mechain Scientist of the Day
Pierre-Francois Méchain, a French astronomer, was born Aug. 16, 1744.
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Image: Anat Mirelman et al/The Lancet
Virtual reality might currently be best known for its applications in gaming and porn, but some researchers have found a more noble use for it: teaching old people not to fall over.
Researchers led by Anat Mirelman at the Tel Aviv Sourasky Medical Center found that using a combination of a treadmill and VR to train older people who were at high risk of falls was effective at keeping them on their feet. The people who had this training had 42 percent fewer falls in the six months following the training than a control group who just had treadmill training.
“Virtual reality enables us to safely train both the motor or gait aspects that are important for fall risk, while also implicitly teaching the participants to improve the cognitive functions that are important for safe ambulation,” Mirelman told me in an email. “It also has the advantage of being a game that encourages participation and compliance. Our subjects were always motivated to continue to do better, and avoid more obstacles.”
To do the study, which was funded by the European Commission and published in The Lancet, the researchers recruited around 300 people aged 60-90 who had fallen at least twice in the previous six months. About half got six weeks of training on a treadmill, while the other half got training on a treadmill with a “non-immersive” VR component—a screen in front of the treadmill showing a simulated environment with paths and obstacles, with the subject's feet included via a modified Kinect camera.
Here's a video of a participant in the VR group in the first week of training:
And here's the same participant in the last week of training:
Mirelman explained that they didn't want to use immersive VR tech such as a headset because of the risk of cyber-sickness in the older population, and because the whole point was to teach people how to walk safely in reality. “With immersive systems, specifically headsets, it is quite difficult to walk without the feedback of the real world,” she said.
While this study was done one-on-one with the participants, the researchers hope that the training could be replicated in clinical practice. “The study showed that this type of training is effective and we think it can be administered in community gyms and rehabilitation clinics,” said Mirelman.
She added that they were surprised by the adherence and motivation of the participants, which suggests that people might be willing to take it up. Call it gamification of elderly care.
When Amazon first started making original series, it had a gimmick: The internet's very own big-box store would put the first episodes of potential series online so viewers could vote on which ones would become full-fledged series. The gambit made the obligatory tech-company gestures at transparency and disruption, but it also reflected the paucity of Amazon's initial series, a batch of pilots that, excepting Alpha House, barely looked professional. When a network is making such larkish TV, it hardly matters what goes and what doesn't. In the few years since, as Amazon has gotten more serious about making television, it has continued to put pilots online early, but viewer response is barely relevant: The network is going to greenlight what it is going to greenlight, apparently having discovered that disrupting the television business sometimes involves doing things the old way.
Earlier this summer, Amazon released pilots for two hourlong series: The Interestings (flawed, but promising; not yet picked up) and The Last Tycoon (very bad; picked up). This week, it is releasing pilots for three half-hour series: Jean-Claude Van Johnson, The Tick, and Jill Soloway's I Love Dick, the headlining act of this trio. Liberally adapted from a beloved cult novel by Chris Kraus, I Love Dick stars Kathryn Hahn as Chris, a stymied filmmaker who travels with her husband Sylvère (Griffin Dunne) to Marfa, Texas—where she, and then they, become infatuated with Dick (Kevin Bacon, smoldering), a macho intellectual and part-time cowboy who runs an institute Sylvère is attending. I Love Dick has potential, but it doesn't need it: Soloway, the creator of Transparent, is Amazon's most important creative asset. If you are a network, you give her what she wants, including another show.
Soloway told New York magazine, in a piece about the show, that she identified with Kraus' choice to use her own name and biography in her work. “I only want to write about somewhat unlikable Jewish women having really inappropriate ideas about life and sex,” Soloway said. I Love Dick delivers on those interests. The pilot reflects many of Soloway's strengths—her naturalistic skill with actors, her ability to capture bourgeois social milieus with a detail (in this case, fluorescent-yellow Birkenstocks), her dedication to exploring gender politics in ways that don't turn her shows into lectures—but it doesn't have the instantaneous hook or heart of Transparent.
I Love Dick, the novel, is epistolary. I Love Dick, the show, is framed by letters Chris has written to Dick. “Dear Dick, every letter is a love letter. It started in New York,” Hahn says in harried voiceover at the start of the show as the block text dramatically appears on an all-red screen. But turning the novel into a TV show takes it out of Kraus' character's head in a way that alters the texture and tone, losing some of the hothouse intensity of the novel. Television does a great close third-person, but it is very hard, if not impossible, for it do first-person, even when using first-person narration. (Recently, Mr. Robot has made some attempts.) With TV, you're always watching from the outside. The world that Chris and Sylvère inhabit in the show automatically feels bigger, more populated, and more concrete than their world in the novel, simply because you can see all the people in the shot that the writing might have ignored. The pilot also introduces characters who are not in the book at all. Also not in the book: Marfa. Soloway decided to set the show there after visiting her girlfriend, the poet Eileen Myles, there, and deciding it would be a good cross-cultural canvas to help broaden the novel's scope.
There are people who have a hard time watching Transparent because they find the Pfeffermans too excruciating. On Transparent, Hahn's Rabbi Raquel, the on-again, off-again love interest of Josh Pfefferman (Jay Duplass), works like aspirin: Raquel is so grounded, so sane that she lessens the pain of watching the Pfeffermans mess up their lives. In I Love Dick, Hahn, fantastic in everything she does, gets to play the headache. Her Chris has a big, blowsy personality: caustic, dramatic, and self-sabotaging. But she has that Pfefferman-esque charisma. When she spots Dick at a party—Kevin Bacon wears a white T-shirt as well as he did in Footloose—and expresses her attraction by jabbering about how remarkable it is that he goes by “Dick” and not Richard or Rick or Richie, her allure is nonetheless plain to see.
In the show's climactic scene, dinner at a restaurant, Dick asks Chris what her movie is about. “It's about a couple, or I would say the woman in the couple, she represents all women, and society's crushing expectations,” she says. “Sounds horrible. Sounds like you're crushed by someone,” Dick replies, before turning to Sylvère and asking if Chris' film is any good. The great thing about Soloway's work is that she herself is both Dick and Chris, a woman interested in society's crushing expectations of women but also talented and funny and wise enough to know you need character and plot and entertainment and complications to tell that story—that you need people, not symbols. You need a blowsy New Yorker who rolls into Marfa in a jumpsuit and neon Birkenstocks with her own unhinged plans about what to do with a lustworthy macho intellectual cowboy named Dick.
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The tiny Swedish town of Insjön has been left shaken, traumatised and probably put off its breakfast after two porcine-feature exhibitionists launched a laser-enhanced sex spree on Friday.…
A Stanford University researcher finds that products purchased mainly by poor people were increasing in price much more quickly than those purchased by the wealthy.
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Researchers have for the first time, decoded and predicted the brain activity patterns of word meanings within sentences, and successfully predicted what the brain patterns would be for new sentences. The study used functional magnetic resonance imaging (fMRI) to measure human brain activation.
Image credit: University of Rochester/Andrew Anderson, Department of Brain and Cognitive Sciences
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This is a scanning electron microscope (SEM) image of soil dust, composed mainly of silicon-oxygen minerals. This particle was collected along a highway in Scottsdale, Arizona, as part of a research study conducted by Arizona State University researchers on the flow of air pollution in the Phoenix metro area. Dust kicked up by road traffic creates a large proportion of the particles, while others are the combustion products of gasoline or diesel fuel, sometimes in combination with dust.
Image credit: Hua Xin, Ph.D., Arizona State University
These oldest known stars, date from before the Milky Way Galaxy formed, when the Universe was just 300 million years old. The stars, found near the center of the Milky Way, are surprisingly pure but contain material from an even earlier star, which died in an enormous explosion called hypernova. The discovery and analysis of the nine pure stars challenges current theories about the environment of the early Universe from which these stars formed.
"These pristine stars are among the oldest surviving stars in the Universe, and certainly the oldest stars we have ever seen," said Louise Howes from The Australian National University (ANU), part of the 2015 discovery team along with the University of Cambridge. "These stars formed before the Milky Way, and the galaxy formed around them."
"The stars have surprisingly low levels of carbon, iron and other heavy elements, which suggests the first stars might not have exploded as normal supernovae," said Ms Howes. "Perhaps they ended their lives as hypernovae - poorly understood explosions of probably rapidly rotating stars producing 10 times as much energy as normal supernovae."
Project leader Professor Martin Asplund, from ANU Research School of Astronomy and Astrophysics said finding such rare relic stars amongst the billions of stars in the Milky Way center was like finding a needle in a haystack.
"The ANU SkyMapper telescope has a unique ability to detect the distinct colors of anaemic stars - stars with little iron - which has been vital for this search," said Professor Asplund.
Following the team's discovery in 2014 of an extremely old star on the edge of the Milky Way, the team focused on the dense central parts of the galaxy, where stars formed even earlier. The team sifted through about five million stars observed with SkyMapper to select the most pure and therefore oldest specimens, which were then studied in more detail using the Anglo-Australian Telescope near Coonabarabran in New South Wales and the Magellan telescope in Chile to reveal their chemical make-up.
The team also demonstrated that the stars spend their entire lives near the Milky Way center and are not just passing through, a further indication that the stars really are the oldest known stars in the Universe.
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The Daily Galaxy via Australian National University
Image credit: ESO and https://upload.wikimedia.org/wikipedia/commons/9/9e/Milky_Way_Arch.jpg
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Several thousand years ago, a star some 160 000 light-years away from us exploded, scattering stellar shrapnel across the sky. The aftermath of this energetic detonation is shown here in this striking image from the NASA/ESA Hubble Space Telescope's Wide Field Camera 3 .
The exploding star was a white dwarf located in the Large Magellanic Cloud, one of our nearest neighbouring galaxies. Around 97% of stars within the Milky Way that are between a tenth and eight times the mass of the Sun are expected to end up as white dwarfs. These stars can face a number of different fates, one of which is to explode as supernovae, some of the brightest events ever observed in the Universe. If a white dwarf is part of a binary star system, it can siphon material from a close companion. After gobbling up more than it can handle — and swelling to approximately one and a half times the size of the Sun — the star becomes unstable and ignites as a Type Ia supernova.
This was the case for the supernova remnant pictured here, which is known as DEM L71. It formed when a white dwarf reached the end of its life and ripped itself apart, ejecting a superheated cloud of debris in the process. Slamming into the surrounding interstellar gas, this stellar shrapnel gradually diffused into the separate fiery filaments of material seen scattered across this skyscape.
Credit: ESA/Hubble & NASA, Y. Chu
Giant sulphur (Colias gigantea) collected in Churchill, Manitoba, Canada, and photographed at the Centre for Biodiversity Genomics (sample ID: 04HBL003032; specimen record: http://www.boldsystems.org/index.php/Public_RecordView?processid=LCH032-04; BIN: http://www.boldsystems.org/index.php/Public_BarcodeCluster?clusteruri=BOLD:AAA3447)
Recently appointed Culture Secretary, Karen Bradley, has promised to open up the arts to people from all backgrounds, in her first speech since being added to the cabinet when Theresa May became Prime Minister last month.
Speaking in Liverpool, Bradley emphasised that access to arts and culture “must be available to everyone, not the preserve of a privileged few”, citing a survey which found that arts engagement was nearly 82% among the wealthiest adults, but just over 65% from lower socio-economic groups.
“The Government is looking at how we can tear down the barriers to a career in the arts. A new experience that reaches someone who would not otherwise enjoy a rich cultural life changes that person's world,” Bradley said.
“That sort of experience has immeasurable value, but can also have a cumulative impact that can effect change on a local and even national scale. Culture can help regenerate villages, towns and cities.”
The Culture Secretary announced that pilots of the Cultural Citizens Programme, first announced by David Cameron in January, will be launching next month in cities including Liverpool and Blackpool and will help 600 disadvantaged children.
“It is a fantastic initiative which could give thousands of children the chance to take part in a range of cultural activities, such as free visits to local plays, behind the scenes access to museums and galleries, and exclusive trips to world class venues, so they realise that culture is just as much for them as for anyone,” said Bradley.
The Culture Secretary's speech comes after last month's parliamentary debate on the English Baccalaureate a GCSE qualification that excludes art and design which some have claimed devalues creative subjects and makes them inaccessible for young people from disadvantaged backgrounds.
Bradley said she will be working closely with the new Education Secretary Justine Greening to “make sure that no child is left out of this country's magnificent and extraordinary cultural inheritance.”
It is also uncertain whether in light of the vote to leave the EU during the recent referendum the Government could announce further austerity measures affecting arts and culture in this year's Autumn Statement.
The post New culture secretary vows to “tear down the barriers to a career in the arts” appeared first on Design Week.
Christine Losecaat, former creative industries advisor to UK Trade & Investment (UKTI), has been appointed an Honorary Member of the Most Excellent Order of the British Empire (MBE) for services to the creative industries in the UK.
Losecaat also founded consultancy Little Dipper and is a senior business strategy, marketing and creative specialist.
The Dutch national, who is an honorary fellow of the British Institute of Interior Design, is responsible for a number of high profile creative projects, including co-producing Peter and the Wolf. Last year, she also helped bring to life the UK's Pavilion at the World Expo in Milan.
Losecaat, who worked for UKTI until last year, has advised on the UK's Creative Industries International Strategy for over a decade. It was in this capacity that she was one of the creative drivers behind the London 2012 Olympics' British Business Embassy. The project is estimated to have contributed over £15bn to the UK economy in total.
The announcement of her MBE comes after various prominent British designers including Margaret Calvert and Johanna Basford were recognised in the Queen's Birthday Honours list in June.
“I've been based in the UK for over 20 years. It is a very special place and remains the number one global destination for bringing creative concepts to fruition with global impact,” says Losecaat.
“I am truly delighted to receive such a prestigious honour for doing what I love best bringing together talent with projects that put creative integrity at their core.”
The post Christine Losecaat honoured with MBE appeared first on Design Week.
Every bit as bold, stylish and vibrant as his work, it is my pleasure to introduce you to the multi-talented Samuel Mensah.
What's your background?
I was born in Ghana and raised in London where I work today under the name SMBStudios focusing on brand innovation and visual storytelling. I've got experience in digital marketing, brand identity conception and design, production, visual design and art direction. I like to integrate branding and visual marketing to create overall innovative user experiences. By day I am also a designer at renowned idea agency AKQA on the brand design team.
I am also the founder and creative director of creative organization and studio, Youth Worldwide; a creative platform dedicated to discovering and supporting pioneers in creativity and showcasing emerging young creative talent from around the world.
While traveling in Ghana last summer I had an epiphany to host a youth networking forum with some of Africa's brightest entrepreneurs as part of my responsibility to another organisation of which I am a founding member, Future of Ghana. We lectured at Ghana's first creative university Ashesi, which was founded by Patrick Awuah formerly of Microsoft.
His story of overcoming the odds to build a university over almost a decade inspired me greatly and I realised even though this may not be exactly what I wanted YWW to be, the scale and magnitude of the impact it had on people's lives is something that could not escape me. Upon my return back to the UK I made it a point to team up with more young creatives, begin a small team and begin working on a few cool projects that challenged and fed their skills.
We now work with numerous creatives around the world and have them as part of our network in our aim to share, showcase and express emerging creative talent in all areas on a global stage. The format of YWW has changed and will continue to evolve until we find the most optimum way of making it happen. We want to get to know more people, more leaders that can support and join the movement. Feel free to connect with us.
How did you get started in your field of expertise?
My background lies mainly in the realm of traditional graphic design. That is what I initially fell in love when it comes to design as a whole. I've always seen graphics as the one thing that connects the entire world visually but is heavily taken for granted by most people.
I wanted to design everything and anything when I was younger and my knowledge of design itself was limited but I was determined to dedicate my life to it since I found a purpose with it. I went on to study Design for Advertising at Degree level but really made a name for myself outside the classroom in the digital arts realm.
By taking advantage of online platforms such as DeviantArt, Tumblr, Behance and more I was able to gain popularity quite quickly with my pieces which were always quite vibrant and had a vibe of motivation and inspiration to them. Those are things I take quite seriously in my work. Apart from them looking good I always aim
for my work to actually motivate the audience in some way and bring some semblance of joy in their lives.
This went very well for me and from a young age saw me get featured on quite prestigious platforms and design blogs around the world, which it was hard to take seriously at the time since it never really sunk in. Along with juggling school and interning for Gilbert & George my life 6 years ago was definitely just about design and nothing else.
Nothing much has changed really. The process of making the shift into the working world of advertising and branding with my expertise and skills was quite simple and if you told me I would be designing for Nike almost every day of my life and speaking on an OFFF Festival stage last year about my work, I wouldn't have believed you either but the universe is interesting.
The formation of YWW has also shifted my love of advertising to other creative and design processes such as industrial design, fashion, experiential design and all things tech. I find my understanding of creativity and its applications has evolved and I want to understand more about everything now. From someone who started in digital arts and branding I feel there are no boundaries to how far things can be pushed in regards to how I apply my creativity and the overall impact it can make.
What challenges did you face/overcome in getting into the industry and achieving your ambitions?
The challenges I continue to face are the ones I put before myself. I challenge myself to be the best I can be and place myself in my own lane when doing anything. However I am very aware of the real social challengers that do hold people back in the industry. The creative industries are rife with classism, sexism and other discriminatory ism's which has been slowing down and getting better in recent years but is still very far from eradicated.
I've been brought up with the mentality to work harder than everyone else to give people no reason to say no. Through this approach I have to say I have been able to evade systematic discrimination for the most part in my professional journey, but it begs the question why work so hard just to be seen as equal. I chose to see it as preparing myself to simply be the most equipped and capable.
Coming up in the industry I never studied or was even educated about one great graphic designer that was black, even though there are many out there we are never placed at the forefront. For a long time it confused and angered me. I choose to dispel this status quo forever by being that person of colour that I always wanted to see in certain positions and achieve things that were once thought of as highly improbable.
For many millennials of colour that are entering the industry, simply seeing people in powerful positions in the industry that look like them can inspire them so much and has to be championed more. They can take solace knowing that it is most definitely possible to get to the same level and even exceed that of their predecessors.
Who and/or What are your greatest inspirations and influences?
My greatest inspirations have always come from talking to people. I truly believe that conversation is the most holistic way that we as creatives can create better ideas and become better at our jobs of being visual communicators.
My personal heroes are innovators such as Steve Jobs, Larry Page, Bill Gates, Tim Brown & Elon Musk. They inspire me as being those who were able to wield their creativity in the most impactful way possible and leave a lasting effect on the world for a very long time to come. It bothers me that Steve and Bill are not classed as equally creative, when they both created things from scratch that we all use almost every day of our lives to serve specific imperative functions.
A common misconception is the word “design”, which most people think of as pretty pictures or forms. What is missing however is understanding the depth to which design goes—not only in products, but in essentially every aspect of our lives . Whether it is the design of a program, a shirt or some form of communication tool, we are living in a world that's infinitely designed. Somebody made a design decision about everything we use, and have.
What is your best piece of work or the project you are most proud of?
I always think the project I am most proud of is the one I either just did or the one I am currently executing. I say this because I believe you're only ever as good as your last and you must make that the strongest you've ever done. The project that was most formative for me was the process of creating my first ever typeface. I was 21, just completing 2nd year of my university degree and was bored in the summer, hungry to do something I'd never done before. With my background being typography and typographic studies it meant that every font I used in my designs was in essence created by someone else.
My mind shifted when I realised I could create my own and that in fact I wouldn't be satisfied until I made my own. The process in itself would not only be creatively liberating but also a personal liberation. To own something and furthermore create a resource that could benefit other creatives was inspirational. Once I knew I wanted to take on the task I was determined to make it happen even though I had no idea how to do it. I was luckily able to recollect that I had a friend in New Zealand called Daniel McQueen who was a font specialist and was able to turn my designs into a usable font.
Knowing this, the process of researching began and moving into the mentality of creating something classic. I wanted my first typeface to sit alongside the likes of Helvetica, Avant-Garde & Futura. Those were the ambitions I had for the yet untitled font. I named it Echelon. I remember creating a rollout for it on social media that was able to make its release in early september 2012 all the more impactful. It went on to do very well and be featured in many impressive places and most notably be used last year for Nike's Athlete kit for Basketball giant Kevin Durant.
My subsequent font Atelier Neue, which I released almost exactly a year later went on to do well and is my personal favorite. I saw it as a way of very much cementing myself and not being regarded as a one hit wonder. I feel it proved to many potential critics that I can churn these out. The font has also been used in many notable places; most recently for the BFI's Black Star film campaign.
What would be your dream job or project?
My dream job ideally is not to have to have a job at all. That is the best reason to explain why I formed YWW. It was an escape to what I've always wanted to do, which is simply work on super creative briefs and projects whether it's about making products or crafting films.
My dream project is a collection of many small projects culminating in a cultural shift of creative liberation and acceptance by a generation who can take it further than we ever imagined. It is most definitely a process that will not be achieved in a few years or decades but most definitely in our lifetime.
Please name some people in your field that you believe deserve credit or recognition, and why?
I feel we live in age where because of the internet and social media, everyone is able to have a platform and take advantage of the benefits. They are able to gain recognition and become creatives that are creditable.
Everyone is very visible and it's beautiful because it means collaboration has become easier than ever before. Sharing of ideas, culture, skills and creativity has never been easier.
I do aim to give credit to those that paved the way for me personally and I looked up to coming up. Pioneers like Dieter Rams, Peter Saville, Sagmeister, Milton Glaser & Tibor Kalman just to name a few.
In my field today there are amazing young talents in the YWW network that are doing incredible things. So many emerging creatives, some as young as 15 years old, that I have been exposed to, poses a unique creative approach and understanding. They say tomorrow belongs to those that can hear it coming. This truly is the most fearless generation of all time. We will find out why very soon.
What's your best piece of advice for those wanting to follow in
your footsteps?
Nobody knows what the hell they are doing most of the time. Just do your own thing. I believe everyone has their own specific way of how the universe will unfold itself to them.
What I will say is that life begins when people understand that the key is to give back. When they realise that serving and creating real change and impact in people's lives through their creativity is the most powerful thing they can do.
Forget rules, and let nothing hold you back. That's why I love the next generation. They don't care about paying homage or being constrained to the past, they are more focused in making new, making their own path. That energy is so empowering.
I would also encourage creatives to embrace failure more. I used to be very self-conscious about failing early on in my career. I have now realised how vital it is to understanding the journey of growth that comes with getting to a certain level. Failure will come but you will get over it. If you are not failing you are honestly not innovating enough.
What's next for you?
I continue to be dedicated to my passion of collaborating and showcasing creatives. I will continue to build the YWW network and aim to create impact with the greatest creative talents the world has to offer. Most importantly I aim to have fun.
For more information visit:
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THE CARIBBEAN:
ANIMAE CARIBE CALL FOR SUBMISSIONS. Held every year in the caribbean island of Trinidad and Tobago, the Animae Caribe animation festival will run from October 24th to 31st 2016. The largest animation film network with a regional coverage in the Caribbean, it is recognized to be one of the many notable international annual festivals. In addition, Animae Caribe has a regional and international network of storytellers, writers, puppetry artists, visual artists (including graphic designers and photographers), theatre and music performers, sound and lighting technicians and reseachers, which feed into the animation production sector. Submissions for Short animation are open. Deadline 30th August 2016
EUROPE:
FASHION CITIES AFRICA the first major UK exhibition dedicated to contemporary African fashion opened at Brighton Museum & Art Gallery on 30 April 2016. Exploring fashion and style in four cities at the compass points of the African continent Casablanca in Morocco, Lagos in Nigeria, Nairobi in Kenya and Johannesburg in South Africa Fashion Cities Africa considers recent and contemporary fashion practices in these distinctive metropoles, from couture to street style. Until 8 January 2017
Included in Museum admission fee/£3.50 residents, members and children free brightonmuseums.org.uk/fashioncitiesafrica
#FashionCitiesAfrica
AFRICA:
ALBUS EXHIBITION BY JUSTIN DINGWALL. Barnard Gallery is pleased to present Justin Dingwall's solo exhibition Albus in association with Lizamore & Associates. With an arresting vulnerability and striking intimacy, the photographs in Justin Dingwall's ongoing body of work Albus constitute an extended meditation on the nature of beauty and perception. Aiming both to raise awareness about Albinism and to challenge the taboo that exists around it, the series interrogates and offers an alternative to traditional notions of beauty. From 23 August til 11 October 2016.
The post Samuel Mensah: “Black designers are never placed at the forefront” appeared first on Design Week.
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US one sheet for SUDDEN FEAR (David Miller, USA, 1952)
Designer: unknown
Poster source: Heritage Auctions
Now playing at Film Forum through Thursday!
A Laysan albatross estimated to be at least 63-years-old and chick Midway Atoll National Wildlife Refuge (John Klavitter/U. S. Fish and Wildlife Service)
To catch tuna in the Pacific today, many commercial fishing ships set a series of long lines through the water—lines that are bristling with hundreds and even thousands of baited hooks. While a chunk of squid may be irresistible to a tuna, many seabirds also chase and swallow these fishing baits.
Albatrosses, including Hawaii's black-footed and Laysan albatrosses, feed at the ocean's surface. “Bait on a hook is tempting. It looks like easy prey before the long line sinks into the sea,” explains Autumn-Lynn Harrison, a marine ecologist at the Smithsonian Migratory Bird Center. “But, going after the bait means an albatross can also get caught on the hook, become injured, or even drown,” Harrison says.
Created from a database maintained by the United States Geological Survey, this map plots the location of fishing-gear entanglements of all banded albatrosses in the Pacific from 1945-2014. (Image courtesy Autumn-Lynn Harrison)
Albatrosses are one of the most threatened groups of birds globally and information about their interactions with fisheries is important. When fishing vessels pull in the line to release or salvage the bird, they are encouraged to also look for a band on its leg. Metal bands are placed on albatross chicks in the nest, or on breeding adults. A band can identify the specific colony where it was born and its age, or for birds banded as breeding adults, where it bred.
If a hooked albatross has a band on its leg, it is hoped the band information and the circumstances of how it was obtained is reported to the United States Geological Survey, which maintains the North American Bird Banding Database. Database records go back to the 1920s, when major fishing operations hadn't yet left the coast to spread throughout the open ocean. Many original band-return records of albatrosses banded by Smithsonian biologists in the 1960s can even be found in our own records at the Smithsonian National Museum of Natural History.
Two of thousands of return cards maintained in the Smithsonian's Pacific Ocean Biology Survey Project. These two cards document the entanglement of a banded black-footed albatross on the California coast and a banded Laysan albatross in Japan. (Image courtesy Autumn-Lynn Harrison).
This week, Harrison will speak on large-scale patterns of bird entanglement in fishing gear in North and South America and the Pacific at the 2016 North American Ornithological Conference in Washington, D.C. One of the largest ornithological conferences ever held, lectures by dozens of world experts, workshops, roundtable discussions and interactive sessions and symposia on a vast array of bird-related topics will be featured. Held every four years, this year's conference runs from Tuesday, Aug. 16 to Saturday, Aug. 20 and is being hosted by the Smithsonian Migratory Bird Center.
In addition to albatrosses, entanglement of North American banded birds by fishing operations, including recreational fishing, also is reported in large numbers for royal terns, double-crested cormorants, and brown and white pelicans. Globally, entanglement by fishing is a primary reason “all of the 22 species of albatross is listed in someway on the International Union for Conservation Nature Red List of Endangered Species,” Harrison continues.
This interactive map was created from data on all reported fishing-gear entanglements of birds of all species from 1920-2014. (Map courtesy Autumn-Lynn Harrison)
Harrison's current research involves using the USGS Bird Banding database to investigate patterns that show if members of specific albatross colonies (many different colonies nest across the Hawaiian Islands) died more frequently as the by-catch of specific North Pacific fisheries.
Albatross by-catch by the fishing industry is a well-studied phenomenon, yet “how different colonies might be impacted differently because of their migration patterns is just starting to come to light,” Harrison says. The traditional migration route of a specific colony may place its members in harm's way at specific times of operation—right in the seasonal path of a commercial fishery. Another colony in a different area may not face this threat.
“I am trying to learn what 100 years of banding data can tell us about which colonies were caught in which fisheries and how this might have changed through time. Birds that breed on Midway Island in the northwestern Hawaiian Islands [west], for example, may have a higher likelihood of being caught by an Asian fishing fleet versus birds that breed on Kauai or Oahu Islands in the main Hawaiian Islands [east] that are caught more frequently in Hawaiian long-line fleets.”
Laysan (foreground) and black-footed albatrosses in flight at Southeast Eastern Island, Midway Atoll, Hawaii, April 2015. (Flickr photo by Forest and Kim Starr)
Albatross death by long-line fishing is “changing over time,” Harrison observes. “Fishing fleets have become more aware about the impacts of their operations on seabirds, and have gotten smarter about ways to try to get albatrosses away from their fishing vessels. A lot of this work is really improving the ways fisheries are able to avoid bird by-catch.”
Second to commercial fishing as a marine bird hazard, Harrison says, are two other human-introduced threats: floating plastics that albatrosses feed to their chicks, and climate change. “Many marine birds nest on low-lying islands that are likely not to be there in the future,” due to rising sea levels.
The post Fishing gear entanglements of marine birds is focus of Smithsonian ecologist's study appeared first on Smithsonian Insider.
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Leaked documents and sources show Natural England will use its legal powers less and seek funding from the private companies it is meant to keep in check
England's nature watchdog is planning to use its legal powers less and risks becoming a weak regulator forced to raise funding from the private companies it is meant to keep in check, leaked documents and sources reveal.
Natural England is duty-bound to defend rare species and protected areas including national parks and England's 4,000 sites of special scientific interest from potentially environmentally damaging developments.
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From Greenwich
Thanks for all the views, Please check out my other photos and albums.
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China Law Blog (blog) | China, The World, Greed, Cognitive Dissonance, The Best and the Brightest, and Why People Seem to Encourage ... China Law Blog (blog) Now for the Best and the Brightest/ cognitive dissonance part. When I was in college, I read David Halberstram's The Best and the Brightest as part of an international politics course. Wikipedia does an excellent job at distilling the book in the ... |
IEEE Spectrum | SRI Spin-off Abundant Robotics Developing Autonomous Apple Vacuum IEEE Spectrum The first automated apple harvesting system that doesn't bruise or damage the produce will be a huge breakthrough in an industry that has been dependent on the challenges of seasonal labor.” Abundant Robotics' initial prototype is designed with ... |
411mania.com | Four Player Co-op: Is Final Fantasy XV's Season Pass Too Costly? 411mania.com Quizmaster Well, it looks like Telltale is going to keep the ball rolling with a Mr. Robot game in the future. I've played and completed Episode ... Niantic at first, took a while to say anything, which angered players of the beloved app. When ... and more » |
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Long before Donald Trump clinched the Republican nomination, he vowed that the ammunition he had stocked for Hillary Clinton would include constant reminders of her husband's sexual misdeeds. Now, Trump appears to have won the support of the woman with perhaps the most disturbing allegations against Bill Clinton, Juanita Broaddrick, as Buzzfeed's Katie J.M. Baker reports in a nuanced profile.
Broaddrick, who claims that Clinton raped her in 1978 when he was Arkansas' attorney general, told Baker what she has always told reporters: that her animus toward the Clintons is personal, not political. But Baker found that as conservatives have embraced Broaddrick's cause, she seems to have increasingly returned the favor. Broaddrick, who voted for Obama in 2008, “insists she has no plans to join Republican presidential nominee Donald Trump's campaign and says she's only voting for him because she doesn't want the man she claims raped her—and the woman she believes enabled him—back in the White House,” Baker writes. But her public profile tells a different story. “She used to tweet mostly about her own story and other sexual assaultrelated issues; these days, her feeds are filled with outlandish Clinton conspiracy theories and angry posts about Benghazi.”
Broaddrick also granted her—slightly ambivalent—approval after the Trump campaign, without her permission, used her voice and story in an anti-Hillary attack ad. Though Broaddrick told Buzzfeed that she was “really hurt” when the Trump team pulled audio of her describing the alleged rape, fighting tears, in a 1999 Dateline interview, she said in a radio interview in May that she thought her role in the ad was “important,” and that she wasn't “unhappy” that the clip was used.
For those who don't remember the details of Broaddrick's allegations against Clinton, here's a brief refresher: Broaddrick, who met Clinton when he made a campaign stop at the nursing home where she worked, claims that she'd arranged to meet the then-attorney general in a coffee shop in Little Rock, but at the last minute he instead invited himself to her hotel room, where he raped her “like it was an everyday occurrence.” Broaddrick says she told a few friends at the time, but might never have come forward if lawyers for Paula Jones, the Arkansas state employee who sued Clinton for sexual harassment, hadn't heard about her through word-of-mouth and subpoenaed her in 1998. At the time, Broaddrick signed an affidavit swearing that Clinton had not raped her—hoping, she says now, “to stay out of it.” When Clinton was impeached the next year, however, and federal prosecutor Ken Starr reached out to Broaddrick, she testified the opposite. Ultimately, she agreed to do the 1999 Dateline interview, hoping to lend her voice to the clamor for impeachment.
Starr deemed Broaddrick's claims “inconclusive,” and the Dateline interview didn't air until after the impeachment proceedings had ended. In the end, Broaddrick's testimony didn't stick to Bill Clinton's presidency—but it lingered in the air after his time in the White House had ended. As Lisa Myers, the Dateline reporter who interviewed Broadrrick for NBC News, told Baker: “No one can objectively look at Juanita's story and not be troubled.”
According to Trump—and to Broaddrick herself—voters should be especially troubled to see Hillary Clinton, wife of an accused rapist, running an openly feminist campaign. One New Hampshire voter asked her in December, “You say that all rape victims should be believed. But would you say that about Juanita Broaddrick, Kathleen Willey, and/or Paula Jones?” Clinton replied stiffly: “Well, I would say that everybody should be believed at first, until they are disbelieved based on evidence.” Baker reports that, in the months following this incident, Clinton's campaign seemingly tinkered with its website focused on the issue of campus sexual assault. A block quote on the page once read: “I want to send a message to every survivor of sexual assault: Don't let anyone silence your voice. You have the right to be heard. You have the right to be believed, and we're with you.” The final sentence has since disappeared.
There's a long history of wives being called to account for their husband's sins, as Rebecca Traister has written at New York magazine—and Hillary Clinton has more experience than anyone with that particular American instinct. As Michelle Goldberg wrote for Slate in December, “I don't think for a moment that the people who hope to use Broaddrick against Hillary care about victim blaming. And it would be a profound sexist irony if these accusations, having failed to derail Bill Clinton's political career, came back to haunt his wife.” Of course, irony doesn't begin to capture the glaring dissonance between Trump's enthusiastic support of Broaddrick and his own reportedly violent history with women: His ex-wife Ivana has accused him of rape, though she later disavowed the statement. It's telling that Trump has had so little trouble painting Clinton as a hypocrite while presenting himself as Broaddrick's long-awaited advocate. Often, what a powerful man can brush off, a woman must contend with for the rest of her life. Juanita Broaddrick may know that better than anyone.
This article originally appeared in the Conversation.
Think of a traditional robot and you probably imagine something made from metal and plastic. Such “nuts-and-bolts” robots are made of hard materials. As robots take on more roles beyond the lab, such rigid systems can present safety risks to the people they interact with. For example, if an industrial robot swings into a person, there is the risk of bruises or bone damage.
Researchers are increasingly looking for solutions to make robots softer or more compliant—less like rigid machines, more like animals. With traditional actuators—such as motors—this can mean using air muscles or adding springs in parallel with motors. For example, on a Whegs robot, having a spring between a motor and the wheel leg (Wheg) means that if the robot runs into something (like a person), the spring absorbs some of the energy so the person isn't hurt. The bumper on a Roomba vacuuming robot is another example; it's spring-loaded so the Roomba doesn't damage the things it bumps into.
But there's a growing area of research that's taking a different approach. By combining robotics with tissue engineering, we're starting to build robots powered by living muscle tissue or cells. These devices can be stimulated electrically or with light to make the cells contract to bend their skeletons, causing the robot to swim or crawl. The resulting biobots can move around and are soft like animals. They're safer around people and typically less harmful to the environment they work in than a traditional robot might be. And since, like animals, they need nutrients to power their muscles, not batteries, biohybrid robots tend to be lighter too.
Building a biobot
Researchers fabricate biobots by growing living cells, usually from heart or skeletal muscle of rats or chickens, on scaffolds that are nontoxic to the cells. If the substrate is a polymer, the device created is a biohybrid robot—a hybrid between natural and human-made materials.
If you just place cells on a molded skeleton without any guidance, they wind up in random orientations. That means when researchers apply electricity to make them move, the cells' contraction forces will be applied in all directions, making the device inefficient at best.
So to better harness the cells' power, researchers turn to micropatterning. We stamp or print microscale lines on the skeleton made of substances that the cells prefer to attach to. These lines guide the cells so that as they grow, they align along the printed pattern. With the cells all lined up, researchers can direct how their contraction force is applied to the substrate. So rather than just a mess of firing cells, they can all work in unison to move a leg or fin of the device.
Biohybrid robots inspired by animals
Beyond a wide array of biohybrid robots, researchers have even created some completely organic robots using natural materials, like the collagen in skin, rather than polymers for the body of the device. Some can crawl or swim when stimulated by an electric field. Some take inspiration from medical tissue engineering techniques and use long rectangular arms (or cantilevers) to pull themselves forward.
Others have taken their cues from nature, creating biologically inspired biohybrids. For example, a group led by researchers at California Institute of Technology developed a biohybrid robot inspired by jellyfish. This device, which they call a medusoid, has arms arranged in a circle. Each arm is micropatterned with protein lines so that cells grow in patterns similar to the muscles in a living jellyfish. When the cells contract, the arms bend inwards, propelling the biohybrid robot forward in nutrient-rich liquid.
More recently, researchers have demonstrated how to steer their biohybrid creations. A group at Harvard used genetically modified heart cells to make a biologically inspired manta ray-shaped robot swim. The heart cells were altered to contract in response to specific frequencies of light—one side of the ray had cells that would respond to one frequency, the other side's cells responded to another.
When the researchers shone light on the front of the robot, the cells there contracted and sent electrical signals to the cells further along the manta ray's body. The contraction would propagate down the robot's body, moving the device forward. The researchers could make the robot turn to the right or left by varying the frequency of the light they used. If they shone more light of the frequency the cells on one side would respond to, the contractions on that side of the manta ray would be stronger, allowing the researchers to steer the robot's movement.
Toughening up the biobots
While exciting developments have been made in the field of biohybrid robotics, there's still significant work to be done to get the devices out of the lab. Devices currently have limited lifespans and low force outputs, limiting their speed and ability to complete tasks. Robots made from mammalian or avian cells are very picky about their environmental conditions. For example, the ambient temperature must be near biological body temperature and the cells require regular feeding with nutrient-rich liquid. One possible remedy is to package the devices so that the muscle is protected from the external environment and constantly bathed in nutrients.
Another option is to use more robust cells as actuators. Here at Case Western Reserve University, we've recently begun to investigate this possibility by turning to the hardy marine sea slug Aplysia californica. Since A. californica lives in the intertidal region, it can experience big changes in temperature and environmental salinity over the course of a day. When the tide goes out, the sea slugs can get trapped in tide pools. As the sun beats down, water can evaporate and the temperature will rise. Conversely in the event of rain, the saltiness of the surrounding water can decrease. When the tide eventually comes in, the sea slugs are freed from the tidal pools. Sea slugs have evolved very hardy cells to endure this changeable habitat.
We've been able to use Aplysia tissue to actuate a biohybrid robot, suggesting that we can manufacture tougher biobots using these resilient tissues. The devices are large enough to carry a small payload—approximately 1.5 inches long and one inch wide.
A further challenge in developing biobots is that currently the devices lack any sort of on-board control system. Instead, engineers control them via external electrical fields or light. In order to develop completely autonomous biohybrid devices, we'll need controllers that interface directly with the muscle and provide sensory inputs to the biohybrid robot itself. One possibility is to use neurons or clusters of neurons called ganglia as organic controllers.
That's another reason we're excited about using Aplysia in our lab. This sea slug has been a model system for neurobiology research for decades. A great deal is already known about the relationships between its neural system and its muscles—opening the possibility that we could use its neurons as organic controllers that could tell the robot which way to move and help it perform tasks, such as finding toxins or following a light.
While the field is still in its infancy, researchers envision many intriguing applications for biohybrid robots. For example, our tiny devices using slug tissue could be released as swarms into water supplies or the ocean to seek out toxins or leaking pipes. Due to the biocompatibility of the devices, if they break down or are eaten by wildlife these environmental sensors theoretically wouldn't pose the same threat to the environment traditional nuts-and-bolts robots would.
One day, devices could be fabricated from human cells and used for medical applications. Biobots could provide targeted drug delivery, clean up clots or serve as compliant actuatable stents. By using organic substrates rather than polymers, such stents could be used to strengthen weak blood vessels to prevent aneurysms—and over time the device would be remodeled and integrated into the body. Beyond the small-scale biohybrid robots currently being developed, ongoing research in tissue engineering, such as attempts to grow vascular systems, may open the possibility of growing large-scale robots actuated by muscle.
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Meet Marty, the robot that is teaching kids and makers about programming, electronics and mechanics.
The cute robot is Wi-Fi enabled, can be customized through 3D printing, and with the help of his spring legs, can to do all types of things other robots cannot do.
The founder is currently raising money on Kickstarter, and hopes to ship Marty the Robot kits in early 2017. Read more...
More about Mashable Video, 3d Printing, Kids, Programming, and Real TimeRead This Book! Human Resource Executive Online His sixth book, Silicon Collar, is a Renaissance man's view of automation in the workplace, bringing rare historical perspective and balance to the cry: "The robots are coming!" By Bill Kutik .... And my doctors still can't share information online ... |
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A Red Deer Stag with new antlers covered in a layer of velvet.
By using a low vantage point and by positioning the stag between the sun and the camera I was able to capture a halo of light around the edges of the antlers. This was enhanced by using the dark tree canopy in the distance as a backdrop.
In post processing I reduced the exposure level down so that very little detailed remained other than the glowing outline of the stag.
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Hundreds of photographers have gathered in Rio to follow the action in the Olympic arenas, swimming pools, racetracks, and more. Over the two weeks of the games, I'll be featuring some amazing images from recent Olympic events. Today's entry encompasses rowing, marathon swimming, sailing, weightlifting, steeple-chase, tennis, synchronized swimming, handball, wrestling, a marriage proposal, and much more.
At the end of last month, I received seven birthday cards in the mail. The senders were my mom, a friend from high school, my college roommate, an ex from a relationship that ended in 1984, that ex's mom, someone I've been close to since the mid-'80s, and a guy I met for about 20 seconds as I was leaving a 2014 holiday party.
Of course, those weren't the only birthday wishes I received. Other people sent greetings via Facebook, email, Gchat, Slack, and Twitter. I even got an ecard! And while I genuinely appreciated all those salutations, the one that stuck with me the most—the one I'm staring at three weeks later—was the card from the rando. It's made from 100 percent cotton, tree-free paper, and the design is one I'd choose myself: The letters “HBD” are spelled out in colorful cake-topping sprinkles. Inside was a touching sentiment written in a loose cursive script.
To be fair, describing my acquaintanceship with the person who sent the card exclusively in terms of our face-to-face encounters gives a false impression. Gabriel Arana, the sender, is far from a stranger. He's a journalist whose work I admire; our beats overlap; we move in similar social circles; and we often interact on Facebook. We know each other relatively well for people who've never really spent any time together. In other words, we have the kind of modern friendship that doesn't typically involve sending physical cards through the U.S. mail. Which made receiving one from him all the more memorable.
After a couple of minutes spent staring at the card, I started to question a few things: Upon closer inspection, the handwriting on the envelope looked like the robot script familiar from fundraising appeals. Then I asked myself how Gabe knew my postal address. I searched through my email archive and found a delightful note from him, sent back in January 2015. It began, “I apologize for the mass e-mail, but in order to fulfill my dream of sending people birthday and anniversary cards like a fancy society lady, I need your mailing addresses.” There was a link to a site called Postable.com, which I had apparently followed. So that's how he got my postal address: I had given it to him! Sneaky.
Over at Postable, I learned that the site bills itself as “snail mail heaven.” It notes that postal mail seems special and surprising these days precisely because “it's a pain in the ass to send.” We're all familiar with that particular PITA. In the case of a friend's birthday, you have to remember the date, acquire a card, find the time to compose a message—if I've spent money on a card, I generally want to write more than “Happy birthday”—dig up an appropriate stamp, and take it out to the mailbox. Postable claims it was “created to alleviate that ass pain. We make sending seriously stylish snail mail as easy as sending an email. You type it and we handle all the annoying stuff. We print, stuff, stamp, address and mail all of your cards directly to everyone for you.” (It may sound a little like the letter-writing shop where Joaquin Phoenix works in Her, but with Postable, the words are your own.)
My first response was that this is cheating. Then I consulted my to-do list and noticed that four of the items included the words “send card to.” All had been on the list for a couple of weeks. It's possible that I send more cards than most of the people reading this—I came of age before the email era; I grew up in another country so I rarely see childhood friends to catch up in person; and I'm a stationery addict who's always looking for opportunities to use her pens. But it's still surprisingly difficult for me to write and mail the darned things on time.
Postable offers a wide range of cards—in terms of design and occasion—and generally speaking, they're a little cheaper than the ones I typically buy in the chic card shops of Brooklyn. Cards cost $3 each, or $2 each if you send 10 or more, plus the cost of postage. You can choose among several handwriting fonts—I'm dying to use “As If Your Kid Wrote It,” a tribute to the comically inept letter formation of small children—and there are also various type options. The font you choose for your message is also used on the envelope. You can set up automated birthday and anniversary cards—though you have a chance to tweak the message or cancel before it's sent out—or you can send one-off greetings. I imagine the service is particularly useful for people who are planning a big event like a wedding: Having someone—or something—else take care of dozens of save the date cards and invitations would surely save hours of repetitive toil.
But is snail mail still special if the person wishing you well used an online service rather than taking care of all the details themselves? I confess that when I first examined my Postable card, I briefly felt as though I'd been tricked into thinking it was more personal than it really was. I got over that very quickly, though. The Postable URL had been on the back of the card, but I just hadn't paid it much mind—URLs have become so ubiquitous these days, we barely notice them anymore. And the most important thing was that Gabe had put me on his list. It's always the thought that counts, but he'd also spent real money to wish me a happy birthday.
The more I looked at the Postable site, the more tempting it seemed. Soon enough, I was sending an overdue birthday card to a high-school friend in England. I used one of the cursive scripts for my breezy note—a choice I now regret. That isn't my handwriting, so it lends an unnecessarily ersatz tone. If there's nothing shameful about paying someone to send your cards, why not embrace the artificiality and use a typewriter-style font.
Postable won't let me cross off all the “send card to” entries on my to-do list, though. I know that some friends would be insulted by my time-saving automation, and certain occasions, like sympathy cards, demand a more personal touch. But I'll soon be sending out my own mass email to acquire my friends' addresses and birthdays. I feel guilty when birthday cards are late and Christmas cards go out in January, so why not let a website do some of the work?
Big Think | Bill Nye: Worrying about the AI Robot Apocalypse Is Pointless | Big ... Big Think Bill Nye laughs in the face of the robo-pocalypse. Or more accurately, he laughs at those who worry that AI might run amok. If we build robots that want to kill us, ... and more » |
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Antalya, Turquie 08/2016
muslim world posted a photo:
Antalya, Turquie 08/2016
muslim world posted a photo:
Antalya, Turquie 08/2016
muslim world posted a photo:
Antalya, Turquie 08/2016
muslim world posted a photo:
Antalya, Turquie 08/2016