John Nack writes:The Graffiti Archaelogy project uses a Flash interface to let visitors navigate to different heavily tagged spots (links at left), then see the work at various stages (links at bottom). Using the M & N keys to cruise back and forth in time, I'm reminded of watching time lapses of plant life exploding on a surface, dying, and being reborn. [Via|Link]
Todd Lappin of Telstar Logistics on SF's new highrise at One Rincon:
The problem isn't the scale or the height; as a friend of Progress and Industry, Telstar Logistics welcomes high-rise construction in San Francisco's downtown area. No, the problem is the exterior curtain wall designed by architects at Chicago's Solomon Cordwell Buenz. The curtain wall achieves a remarkable effect: The more finished One Rincon gets, the less interesting the building becomes. [Link]
"Humanity will make the historic transition from a rural to an urban species some time in the next year, according to the latest UN population figures. The shift will be led by Africa and Asia, which are expected to add 1.6 billion people to their cities over the next 25 years. Read more."
Frustrated would-be patrons at a Pittsburgh lunch counter express themselves:
Wang Qingsong is bang on:
My new work "Commercial War" focuses on the power of ads and the misconceptions that ads can create. For this photo work, I constructed a chaotic backdrop where over 20 people are depicted in a frenzy of competition with some even fist fighting while jostling for ad positioning on a huge billboard advertisement; this struggle for the most optimal outdoor ad placement is perceived as inevitably bringing power and influence. The struggle for ad placement in public space in China is not unlike a battlefield strewn with casualties after a pitched battle for power. Today one brand wins. The next day, its competitor will replace it with better positioning on public spaces. Every day, new ads go up, and old ones fall down, scattered in pieces, and discarded on the ground under newly erected billboard advertisements. [Link]
If a robot had features that made it seem, say, 50 percent human, 50 percent machine, according to this view, we would be willing to fill in the blanks and presume a certain kind of nearly human status. That is why robots like Domo and Mertz are interpreted by our brains as creaturelike. But if a robot has features that make it appear 99 percent human, the uncanny-valley theory holds that our brains get stuck on that missing 1 percent: the eyes that gaze but have no spark, the arms that move with just a little too much stiffness. This response might be akin to an adaptive revulsion at the sight of corpses. A too-human robot looks distressingly like a corpse that moves. [Via|Link]
From Behance:
At any given point in time there are a few projects that are urgent, some that are just important, a few that need to be kept moving, and others that are idle. How much of your time are you spending on what? Are you focused on the right things? Amidst the everyday craziness of a creative enterprise, it is hard to keep energy in perspective.
The Energy Line is a simple mechanism to graphically display energy allocation. A simple line starting at "Idle" and going up to "Extreme" is drawn along a cork or dry erase board. Then write the names of all of your major projects on small cards. Place the cards along the energy line according to how much focus they should get. Be realistic and make the tough decisions on what projects need to live on low energy for a while. [Link]
Amazing Demonstration of Photosynth by Blaise Aguera y Arcas.
Photosynth Website.
