Originally posted by mattforsythe from Drawn
Christoff Niemann, via Pictoplasma Berlin
Originally posted by mattforsythe from Drawn
It's impressive to see a writer's work evolve and improve over time.
One year ago:
I have nothing nonobvious to say about the Super Bowl. But sweet Jesus I miss baseball.
— Scott Klein (@kleinmatic) February 7, 2011
Yesterday:
]]>I miss baseball.
— Scott Klein (@kleinmatic) February 6, 2012
Now, my sandbox technical challenges are not DOA. Some apps and classes of app are in effect outlawed by the sandbox rules. I feel for the developers of those apps, but fortunately for me, I’m not facing that.
My challenges fall more the “a few features may need rethinking and rewriting” category. At first I expected to have a long hiatus between updates while I worked on these features. But instead, I’m easing this transition by implementing sandboxing in 2 phases.
Advantages I can see to this approach:
Sandboxing is a great leap in application security but every app has a different story when it comes to the implementation details. I encourage bug reporting. It’s important to explain to the Apple engineers what we developers need. And I hope that some of the thoughts here help you navigate the challenges.
]]>To get a sense of White's voice, you can check out this Academy award nominated short The Family That Dwelt Apart; it's an adaptation of one of his New Yorker short stories and is also self-narrated.
And since we're on a White kick, fans might also enjoy this 1970's era form letter to his young readers.
Dear Reader:Filed under: on kidsI receive many letters from children and can't answer them all -- there wouldn't be time enough in a day. That is why I am sending you this printed reply to your letter. I'll try to answer some of the questions that are commonly asked.
Where did I get the idea for Stuart Little and for Charlotte's Web? Well, many years ago I went to bed one night in a railway sleeping car, and during the night I dreamed about a tiny boy who acted rather like a mouse. That's how the story of Stuart Little got started.
As for Charlotte's Web, I like animals and my barn is a very pleasant place to be, at all hours. One day when I was on my way to feed the pig, I began feeling sorry for the pig because, like most pigs, he was doomed to die. This made me sad. So I started thinking of ways to save a pig's life. I had been watching a big grey spider at her work and was impressed by how clever she was at weaving. Gradually I worked the spider into the story that you know, a story of friendship and salvation on a farm. Three years after I started writing it, it was published. (I am not a fast worker, as you can see.)
Sometimes I'm asked how old I was when I started to write, and what made me want to write. I started early -- as soon as I could spell. In fact, I can't remember any time in my life when I wasn't busy writing. I don't know what caused me to do it, or why I enjoyed it, but I think children often find pleasure and satisfaction is trying to set their thoughts down on paper, either in words or in pictures. I was no good at drawing, so I used words instead. As I grew older, I found that writing can be a way of earning a living.
Some of my readers want me to visit their school. Some want me to send a picture, or an autograph, or a book. And some ask questions about my family and my animals and my pets. Much as I'd like to, I can't go visiting. I can't send books, either -- you can find them in a bookstore or a library. Many children assume that a writer owns (or even makes) his own books. This is not true -- books are made by the publisher. If a writer wants a copy, he must buy it. That's why I can't send books. And I do not send autographs -- I leave that to the movie stars. I live most of the year in the country, in New England. From our windows we can look out at the sea and the mountains. I live near my married son and three grandchildren.
Are my stories true, you ask? No, they are imaginary tales, containing fantastic characters and events. In real life, a family doesn't have a child who looks like a mouse; in real life, a spider doesn't spin words in her web. In real life, a swan doesn't blow a trumpet. But real life is only one kind of life -- there is also the life of the imagination. And although my stories are imaginary, I like to think that there is some truth in them, too -- truth about the way people and animals feel and think and act.
Yours sincerely,
E.B. White
Christoff Niemann, via Pictoplasma Berlin
A great new print by Brad Rose, available for order via email only at this time. This perfectly sums up how I
]]>I love this. People don’t acknowledge enough that guys also struggle with body image and the way they look too. There’s a lot of pressure that guys are under as far as how they look but for the focus always ends up on females.
XFS is often seen as the filesystem for people with massive amounts of data. It serves that role well, Dave said, and it has traditionally performed well for a lot of workloads. Where things have tended to fall down is in the writing of metadata; support for workloads that generate a lot of metadata writes has been a longstanding weak point for the filesystem. In short, metadata writes were slow, and did not really scale past even a single CPU.
After the break the video of Dave Chinner’s presentation, “XFS: Recent and Future Adventures in Filesystem scalability”.
Even if it’s very long, make sure you check the comment thread.
Original title and link: XFS: the filesystem of the future? (NoSQL database©myNoSQL)
]]>The latest Linefeed Reading List video (for January 2012) brings together two fellow magaziners — Michael Bojkowski and Gym Class Magazine‘s Steven Gregor — for a dynamic dose of magazine reviewing fun.
Linefeed Reading List — January 2012 [Linefeed]
Port No. 4 is a $3 download from the iTunes App Store — it remains an individual app release, which, to be honest, I would like to see change (adding Newsstand support as well).
So, if tripling the size of the social network to 3,000,000,000 users is not going to be enough to justify its valuation with its current revenue per user, there is only one strategic direction for Facebook to go. It needs to generate more revenue per user. A lot more.
This is one of the problems with being so big that the world’s population is limiting your growth in a market that demands ever-increasing growth.
(Via Jim Ray.)
]]>
Say what? Another Twin Peaks inspired, time-limited $10 t-shirt! When two separate events occur simultaneously pertaining to the same object of inquiry, we must always pay strict attention.
The Black Lodge Coffee Company t-shirt is very similar to Coop’s Diner that I posted earlier today, except that it replaces the diner setting with The Black Lodge. I love the giant and dwarf in the back, and you cannot go wrong with quotes like ”A damn fine cup of coffee” and “Black as midnight on a moonless night.” This red $10 t-shirt is available slightly longer though (until Sunday February 5th) and can also be printed on a hoodie.
Even though I already own both, I ordered me one of each again. Ten bucks is a price tag I cannot refuse.
Hat tip to @renatothibes.
Visit Welcome to Twin Peaks.
(I've been refactoring one of our business projects in preparation for another round of deployment in the next couple of weeks. We could launch without these improvements, but administrative work took almost two weeks longer than the afternoon I'd planned for it, so I decided it was worth my time to reduce technical friction so that further improvements are easier. More users means more work, so why not accelerate that work while I have the chance? I have another longer technical post to write to praise the use of Moose roles for a plugin system and to show off the stupidly-great task launcher, but that's for later.)
I found myself writing two code couplets that were similar enough they triggered my "Hey, refactor away this duplication!" alert. It's extra sensitive, because I know I'll have a few more couplets like this in the very near future:
while (my $stock = $stock_rs->next)
{
my $pe_update = $self->analyze_pe( $stock );
$stock_txn->add( $pe_update ) if $pe_update;
my $cash_yield_update = $self->analyze_cash_yield( $stock );
$analysis_txn->add( $cash_yield_update ) if $cash_yield_update;
}The *_txn variables contain objects representing deferred and
scoped SQL updates. I'll talk about that at YAPC::NA 2012 in When Wrong is Better.
The general pattern is this: for every stock in the appropriate resultset, call a method in this plugin. The method will return nothing if it fails (or has nothing to do) or it will return data to be added to the appropriate transaction. I have at least two types of transactions available here at the moment, and may have more later: one transaction updates stock data and the other updates analysis data.
I have several options. I could rework the data model so that this stage always only updates one transaction, in which the loop body could instead look like:
{
for my $method (qw( analyze_pe analyze_cash_yield ))
{
next unless my $result = $self->$method( $stock );
$txn->add( $result );
}
}This technique of hoisting the variants into an ad hoc data structure and
using existing looping techniques works well sometimes. (I use it in other
parts of the system.) It's relatively easy to expand, even though it moves
interesting information ("I'm calling the analyze_pe method!") to
a place where tools have more trouble finding it. (I search for
>analyze_pe when I want to find method calls.) You may have used something similar to define several parametric methods at BEGIN time. It's the same type of pattern, and while Perl 5 provides most of the tools necessary to allow this, it doesn't natively express this pattern well.
I could also change the transaction object's add() method to do
nothing when it receives an empty list of arguments. I like that in some ways,
but I don't like it in others. I've come down on the side of keeping its
invariant (it always takes only one scalar as an object) pure for now. If I
change it to take a list of updates, that might be the right time to reconsider
this.
What I notice in the code as it stands right now is that the individual
variables $pe_update and $cash_yield_update are
synthetic variables. They only exist to support the code as written; they're
not necessary for the algorithm. If I were to modify this code but only this code, I'd really rather write:
{
ADD_TXN_WITH( $self, analyze_pe, $stock, $stock_txn );
ADD_TXN_WITH( $self, analyze_cash_yield, $stock, $analysis_txn );
}... though that syntax doesn't thrill me either. The clearest possibility I see right now is:
{
$stock_txn->add( SKIP unless $self->analyze_pe( $stock ) );
$analysis_txn->add( SKIP unless $self->analyze_cash_yield( $stock ) );
}... where SKIP does some magic to move to the next statement,
not the next loop iteration. (I have some ideas how to write XS to make this
work, but that creepy yak needs a shave and some mouthwash.)
The second best option right now is adding a function or method as indirection to encapsulate the synthetic code. I'd rather avoid synthetic code, but at least it reduces the possibility of copy and paste bugs.
For now, with only two steps in this analysis, I'm leaving it as it is. Two repetitions of something this similar set off my refactoring alarm, but I resist the urge for refactorings this small until I see three instances of near-duplicate code.
]]>Visual design has never been my strength, so I decided to do this in public and learn from conversations and critiques along the way. On a late night last fall I dove into the widget's design, posting screenshots to Google+ as I went, and iterating based on the critiques and suggestions I got in the comments for each. This is a summary of the progression of that process.
First, our requirements. In priority order, the Todo.txt Android homescreen widget should:
Two important things to know: While 2.2 (Froyo) is shown in the screenshots, Todo.txt Touch's target SDK is Android 1.6 (Donut). I approached this using Foursquare's large widget as an example of good widget design.
This was the first "it's ugly but it it works" implementation, which essentially reuses the fullscreen app's main interface.
Pros: Tasks are listed in priority order, with the right priority letter colors. The Add Task (+) button works. The widget is legible given any kind of wallpaper image, and the rounded corners and background color treatment make it look like the very useful Power Control widget.
Cons: The application logo and title take up way too much space. There's too much unused space next to the + button. The + button also gets lost in the header, and doesn't look like a tap target.
Take two...
Pros: The application title no longer takes up an ungodly amount of space, and it no longer swallows up the the Add Task (+) button. Tasks appear at the top of the widget, flush with the top border, which gives them more visual priority.
Cons: If you read left to right, the application icon is the first thing you see when you look at this widget, which is not our priority. The most important information in this widget is not the application branding or UI, but the contents of the todo.txt itself. Lots of unused negative space here, especially at the bottom.
Cooking with gas...
Pros: The top 3 items in the todo.txt are the first thing you see when you look at this widget. It has all the functionality it needs (launcher, branding, add task) while prioritizing the user's data over all else.
Cons: There's still a whole lot of unused space between the application icon and the Add Task (+) button. The widget has even more unused space if a user's tasks are not a certain length. The icon and the Add Task (+) button are unbalanced, size-wise.
Something worth testing on my actual phone...
Pros: All those of Beta 1, except the icon and Add Task (+) button are the same size and aligned, which is less consternating, visually.
Cons: After using this widget on my phone with my actual todo.txt for four months... Damn this is a big widget. Like the large Foursquare widget, you can't fit much more on the screen this widget appears on. Also, with short tasks, there's lots of wasted space. Wasted space annoys me, because it's a disrespectful use of my precious homescreen real estate.
Size matters...
Pros: Takes up a lot less space on the screen, and uses the space within the widget itself more efficiently. No matter how long or short a task is, it will appear the same in this layout. Cutting off every task at the same point with the ellipsis gives each equal visual weight but still achieves the widget's information display goal; it's still obvious what each task is about. Lengthy tasks don't show up as busy wrapping walls of text.
Cons: The font here is small and may affect legibility. The tap targets are also small—perhaps too small. The + button doesn't look enough like a button. The background color feels dark and depressing.
While I think this version is good enough for v1 release, there's still more work to do. Users should have the ability to choose a light, dark, or transparent background for this widget, depending on their preference and wallpaper choice, and perhaps even a portrait layout. Those are on the roadmap.
In the meantime, a new release of Todo.txt Touch for Android, finally with a homescreen widget, will be available some time next week.
Take us through the Breaker process — how does it work?
Each three-month Breaker project convenes a multidisciplinary group of young people between the ages of 18 and 24 to design product or service solutions to a global challenge. Projects are led by two visionaries — experts in the field who provide inspiration and context to the challenge. The first project we did, the Future of the Book Challenge, addressed the rise of functional illiteracy in the US, and asked the team to consider how emerging technologies might be harnessed to get adolescents reading. Our current Urban Agribusiness Challenge addresses the need to help urban agriculture grow from small-scale ventures to having a wider social impact.
Over three months, the Breaker team works with a series of collaborators — leading innovators in the field inform the research; industry experts guide the team throughout the process. The team approaches problem-solving using design processes they learn from IDEO, fuseproject, Frog and more; they’re exposed to start-up perspectives by working inside innovation ecosystems like AOL Ventures and QLabs. The project concludes by having the team pitch its products to an audience of all the existing collaborators, as well as members New York’s venture community. We set the bar high, but we also bring in the best of the best to support the process, offering the team access to the people and companies driving innovation in the space.
Tell us more about the Urban Agribusiness Challenge.
The idea for this project grew out of a conversation I had last year at TED with Majora Carter, Founder of Sustainable South Bronx, about the challenge of and opportunities in New York City urban agriculture. I later invited her to participate in a Breaker challenge as a project visionary. We chose Danielle Gould of Food+Tech Connect as a second visionary to complement Majora because she has an IT-fueled approach to innovation. Once the Breaker team was chosen, we invited a wide range of urban agriculture innovators across New York City to participate. In fact, TED Fellow Viraj Puri’s Gotham Greens — a hydroponic greenhouse — is one of more than 20 research sites included in the first phase of the project. The team will survey sites across sectors — from grower to shipper, seller to consumer. They’ll be identifying needs in various stages of production and consumption, and develop products that might better satisfy these needs and help scale up urban agriculture.
What do you look for in applicants?
We look for tenacity as well as a proven ability to collaborate. Individuals are chosen to represent different skill sets. We’re looking to assemble a team with diverse domains of intelligence who will come at the problem from various perspectives. We like to have a visual artist help synthesize ideas during the messy collaborative process. We want someone with a programming background, and somebody else with experience in business. We like outliers who have a passion for creative collaboration even if they have no prior experience in design or entrepreneurship — even if they have little content knowledge specific to our challenge.
What’s been the most remarkable or successful outcome you’ve seen from a Breaker session?
The mandate to design a commercially viable product is a huge driver — but launching it is not a necessary condition of success. Still, I think the fact that the products that came out of the Future of Book Challenge — Mobo (a service for receiving, sharing and engaging with stories via text messaging) and Unbound (a video reference tool) — continue to be developed speaks to our success. The participants who continue to push forward with them are stepping into unfamiliar roles that unveil unseen potential — both for them and for the world. At the end of the three months, some team members decide they’re done and are moving on to something else. But either way, all the participants come out of Breaker with an entrepreneurial mindset and a toolkit for designing solutions to the problems they will encounter — both large and small — for the rest of their lives.
What problem did you set out to solve with Breaker? Were you mostly concerned about education’s failure to nurture creativity, or did you see young people disengaged with social challenges?
I’ve been working to influence public school reform in NYC for fifteen years — as a teacher, a professional developer, a professor, and a leadership coach. I know firsthand how a culture of high-stakes testing quells curiosity and creativity, burns teachers and kids out and disrupts family life. The current iteration of Breaker is post-secondary, but the applications to secondary are there. As we grow, we’ll develop partner programs at the high school level that work in tandem with the Breaker teams — connecting them around similar lessons in designing for social entrepreneurship.
There are so many talented young people — some of whom have not been successful in traditional schooling — who know that have something valuable to contribute, but can’t find opportunities to apply their skills to meaningful work. Even students who have successfully navigated the college track complain of a disconnection between content learned and the skills needed for today’s economy. What we’re hearing from participants is that Breaker is seen as an alternative-learning pathway for those who’ve chosen not to go to college after high school, or as an experiential supplement to college coursework, or as a transitional opportunity for early career professionals. We see all three types applying to our program.
Breaker will gradually expand to cities across the US and abroad with the aim of establishing concurrent programming in sister secondary schools.
Tell us about your own kids and how they affect and shape your work
My kids go to a public elementary school in New York City. My 4th grader works out of a Kaplan Test Companion workbook every night for homework, and has little opportunity to apply these discrete skills in substantive ways – through no fault of her teacher or the principal, they’re only complying with a whole host of system-wide mandates and pressures. Alternative models exist in the city, but they come with a price tag a middle-class family like ours can’t afford. Suffice it to say that I’ve got a five-year plan to get the Breaker model into the NYC public high schools!
How has being a TED Fellow changed or affected your work?
It wasn’t until I began attending TED in 2009, as a Fellow, that I began to rethink my long history with project-based learning in terms of design thinking and social enterprise. I found that user-centered design required the same rigorous research, interviewing and empathy work that was the central to the projects I taught; I appreciated the permission to fail inherent in an iterative methodology; and I was attracted to the idea of designing solutions within the constraints of the marketplace. In other words, I began to see problems and their solutions not only as academic exercises, but as opportunities for product and service development. And I saw the educative and entrepreneurial potential for students.
There are many aspiring social entrepreneurs out there who are trying to take their passion and ideas to the next level. What one piece of advice would you give them, based on your own experience and successes?
Maintain a learning stance. It takes the pressure off getting it perfect, and compels you to find the lessons in your failures.
You can't go wrong with the union of Sriracha and wings, especially over Super Bowl weekend, and especially when you have a batch of homemade Sriracha sauce handy.
These started with a coating of baking powder—a method I've been using religiously since Kenji unleashed it upon us two years ago—which creates a textured, crunchy exterior when cooked either in the oven or over indirect medium-high heat on the grill, as I did here.
To double up the Sriracha awesomeness, the wings were first brushed with a rich and spicy Sriracha-based sauce in the last minutes of grilling. After that coating baked in, they were tossed with the remaining sauce, creating two layers of that hot garlic goodness, ensuring every bite was full of flavor.
A tripled recipe of these wings were gone in flash when I served them. They're now first string for any Game Day menu of the many, many wing recipes already in my arsenal.
About the author: Joshua Bousel brings you new, tasty condiment each Wednesday and a recipe for weekend grilling every Friday. He also writes about grilling and barbecue on his blog The Meatwave whenever he can be pulled away from his grill.
Get the Recipe!]]>
Tomorrow night Greg Sholette's installation "Fifteen Islands for Robert Moses" opens at the Queens Museum. One of the islands was conceived by Dara Greenwald, an "Island of Healing and Restfulness."
Opening party: Saturday, February 4, 6 – 10 pm
Queens Museum, Flushing Meadows Corona Park
Fifteen Islands for Robert Moses is a site-specific art infiltration into the Panorama of the City of New York, which was built for the 1964 World’s Fair by urban planner Robert Moses and is now a centerpiece of the Queens Museum of Art. Artist and theorist Greg Sholette made and placed new islands about the Panorama’s waterways, where they exist as silent, post-9/11 observers of the City’s past, present, and future.
Modeled in the same style as the Panorama, each island represents Sholette’s interpretation of a question he posed to a group of other artists and art theorists: “If you could add an island to New York City, what would that new landmass be like?” Touching on issues from environmental and economic justice to the overflowing archives of human memory and immigrant’s rights, the new fantasy islands interrupt the familiar geography of the Panorama, subtly haunting a favorite destination for students, tourists, and urban planners. Surrounding the Panorama is a series of posters about the project’s participating collaborators: Hana Shams Ahmed, Brett Bloom, Larry Bogad, Marc Fischer, Aaron Gach/Center for Tactical Magic, Libertad Guerra, Dara Greenwald, Marisa Jahn, Karl Lorac/Themm!, Ann Messner, Ted Purves, Rasha Salti, Dread Scott and Jenny Polak, Jeffrey Skoller, and Nato Thompson. Special thanks go to Matthew F. Greco for graphic assistance.
]]>
"Ha, what if we built an edible stadium?" That comment spurred this ambitious construction last year. It took an entire afternoon and probably a tree's worth of avocados, but we were pretty proud of the results. C'mon, how adorable are those olive-helmeted Goldfish players?
Note to Super Bowl party-throwers: eating guacamole from a field is clearly way more thrilling than from a normal bowl. Your guests will be talking about your edible stadium for Super Bowls to come. Of course you'll have to adjust the endzones and helmets this year for the Giants and Patriots. (Blue olives? Blue dips? Please share your ideas.)
Check out our step-by-step instructions here »
]]>Their latest project, “The Adventures of You and I,” is a great example of this. It’s a beautifully illustrated and imaginatively written children’s book that you can customize for the special child in your life. That doesn’t just mean you can add the child’s name to the cover or even to the title, though both are possible. No, more than that, you can configure the central character of the book, changing his or her hair color, hair style, skin color and clothing color. The child’s name gets seamlessly integrated into the storyline too, making the whole thing uniquely personal.
This is a hint of what a healthy marriage of print and digital can be, not just in its configurability, but in the fact that “The Adventures of You and I” is a thoroughly indie affair, too. No big publishing house was involved in this production, both because no big publishing house was necessary and because no big publishing house could have done this so well. Find out more here.
To follow me on Twitter click here.
“I hate the guts of English grammar,” E. B White once famously proclaimed. Yet Strunk & White’s The Elements of Style is among the most important and timeless books on writing. With its enduring legacy and cultish following, it has inspired countless derivatives and homages, from a magnificent edition illustrated by Maira Kalman to a rap. The book has become a legend in its own right, its story part of our modern creative mythology — but, like a good fairy tale, it brims with more curious, unlikely, even whimsical details than a mere plot summary might suggest. Those are exactly what Mark Garvey, a 20-year publishing veteran and self-professed extreme Elements of Style enthusiast, explores in Stylized: A Slightly Obsessive History of Strunk & White’s The Elements of Style.
From how White, a former student of Strunk’s, resurrected the original text after Strunk’s death, to White’s thoughtful, stubborn, heartfelt, and often snarky correspondence with his editors and readers, including many never-before-published letters, to original interviews with some of today’s most beloved writers, including Adam Gopnik, Nicholas Baker, and Elmore Leonard, the slim but fascinating and wholehearted volume offers a rare peek inside the creative process behind one of the most iconic meta-meditations on the English language.
A large part of what made the Strunk and White collaboration so potent, it turns out, is the stark contrast between the two authors’ attitude towards the rules of language. Garvey writes:
E. B. White described Strunk’s voice on the page as being ‘in the form of sharp commands, Sergeant Strunk snapping orders to his platoon,’ and it’s true, the professor seems to spend much of this time in an imperative mood: ‘Do not break sentences in two,’ ‘Use the active voice,’ ‘Omit needless words.’ It’s a natural enough idiom, considering his day job; Strunk sounds teacherly, though he’s not without humor.
White’s voice, on the other hand, is that of the writer, the practitioner of long experience whose sympathies favor the artistic side of the enterprise.”
But, above all, Garvey captures the intangible essence of what makes The Elements of Style as much a subject of workshops as it is an object of worship:
True believers have always felt something more, an extra dimension that has likely been a fundamental source of the book’s success all along: As practical as it is for helping writers over common hurdles, The Elements of Style also embodies a worldview, a philosophy that, for some, is as appealing as anything either author ever managed to get down on paper. Elements of Style is a credo. And it is a book of promises — the promise that creative freedom is enabled, not hindered, by putting your faith in a few helpful rules; the promise that careful, clear thinking and writing can occasionally touch truth; the promise of depth in simplicity and beauty in plainness; and the promise that by turning away from artifice and ornamentation you will find your true voice.”
Rigorously researched and infectiously narrated, Stylized is an exquisite labor of love, a love that honors one of the most quintessential paragons of creative labor in modern literary history.
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Everyone loves going to a café, ordering a latte and being presented with a lovely heart or flower etched in foam on top. Aside from looking beautiful, the latte art signifies that the milk has been properly steamed and that your drink was made with love. Some baristas go for the just the bare minimum, while others use the cup as a canvas.
My friend, New York City-based artist and barista at The Breslin, Mike Breach, has a gift for being able to do just about anything with a cup of espresso and milk.
Laura and I had the pleasure of watching him create a few different designs for us a few days ago. From animals, works of art, rock stars and presidents, Mike amazed us with each one. He even did a portrait of our dog, Iggy Pop!
How much more fun would waking up be if one of these adorned your cup every morning?
- Ryan
©2012 Smith & Ratliff. All Rights Reserved.
.]]>
Posted without comment. Seen on More Art Less Housework. Anyone know the artist?
Update: It’s by Dawn Rogal who says she has more on the way. (thnx dawn, and everyone)
For the moon (still) never beams without bringing me dreams of the beautiful Lana Del Rey.
[Via]
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See more posts by Edith Zimmerman
Paris is a new title from Cape Town’s The President, the people behind MK Bruce/Lee, Afro and Menu.
Creative director Peet Pienaar explains the idea behind the magazine, ‘With all the radical changes in the world, the South’s influence is becoming very important. This magazine is an effort to shift the world’s attention to all the wonderful things happening in the South.’ Produced as a collaboration between the studios offices in Cape Town and Buenos Aires, it’ll be trilingual (English, Spanish and Portugese) and launches in April this year.
]]>
Stereogum has this and two other free Way Yes MP3s, if you'd like.
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See more posts by Edith Zimmerman
The German edition of Interview launched last week, with 032c team Joerg Koch (editor) and Mike Meiré (art director) at the helm. Photograph by Sean+Seng.
]]>
Taipei-based painter Peihang Huang uses vibrant oil paints to create these dreamy, saccharine, and occasionally morbid portraits inspired by Barbie dolls. The paintings above are from two sets of work entitled Floral Funeral and
Mad World, and you can see much more of her work on Flickr. (via gaks)
Over 1,600 images. Amazing. See them all here.
To follow me on Twitter click here.
For many of the guys that work here, the restaurant is like a second home -- some of them have been slinging burgers, making shakes, and waiting on customers at this location for decades. Opened in 1938, the place hasn't been altered since the early '60s, and it looks all the better for it. Here the waiters and workers of Prime Burger discuss their views on their chosen profession, and the unique nature of the place itself.
(via @daveg)
Update: Over at Serious Eats, Ed Levine gives some advice on how to order properly at Prime Burger.
Tags: food NYC restaurants video]]>So why the need to order right? Because to keep up with the fast food chains, the DiMicelis started par-broiling their burgers. Par-broiling produces a less juicy burger. So when you order at Prime Burger specify you want your burger ($5.25 for a hamburger, $5.95 for a cheeseburger) made from scratch, and that you're willing to wait the extra few minutes.
Quite a lot has happened since Russ Marshalek debuted his Twin Peaks live re-soundtracking project at Veronica’s People Club last year. He has since formed the Silent Drape Runners with singer Sophie Weiner, and together they’ve released their first EP of “ambient emotional breakbeat witch wave vibeology” called New Vibes. Later this month, the Brooklyn-based duo will perform their live and Badalamenti-less soundtrack as part of the Twin Peaks celebration at 92YTribeca in New York City.
Listen to New Vibes by Silent Drape Runners:
» Tickets ($10) to this performance are close to selling out, so act fast.
» If you want to get them to your venue, contact silentdraperunnersband@gmail.com for bookings. You know, they’re available in Austin, TX during SXSW.
Just to give you an idea of the mood, this is the song the Silent Draper Runners use as an alternative to the Twin Peaks theme.
Date: Sat, Feb 18, 2012, 10 PM.
Venue: 92YTribeca SCREENING ROOM, 200 Hudson Street
Visit Welcome to Twin Peaks.
We also added buttons for shuffle and favorite, one click on the shuffle and we by random select one item in the pack, great if you don’t really know what you might want. By clicking on the favorite button you add the current item to your favorite list.
Presidential candidates have raised $186 million up to now, according to the Federal Election Commission. The New York Times lets you compare the amounts raised by each candidate, over time and space. Simply select a candidate on the left, and another on the right to see how they match up. Fundraising by candidates from previous elections, at the same time of year, are also included for context.
While not the focus of the interactive, the distributions for donation size at the bottom seem to be especially telling.
[New York Times via infosthetics]
After creating machinima versions of the Twin Peaks season finales, tattooedgirl001 is back with another The Sims 3 remake of a notorious Twin Peaks scene: Mairzy Doats. Don’t worry, it’s the real song, and not a Simlish remix. Although… “Mairzy doats and dozy doats and liddle lamzy divey“ sure sounds Simlish, right?
Starring Sims versions of Sarah Palmer, Leland Palmer, Madeleine Ferguson, Benjamin Horne, Jerry Horne, Shelly Johnson and Norma Jennings, the intro and outro take place in The Double R Diner, while the actual scenes happen inside the Palmer residence and Ben’s office.
I’d say the first few minutes of the pilot, but which scene do you think tattooedgirl001 should she remake next?
Visit Welcome to Twin Peaks.
I hope to say even more at PyCon. See you in a month!
1963.
Sidney Poitier and Harry Belafonte, Washington, D.C.
I’m inclined to call their style “unimpeachable.”
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As Hairpin pal Betty points out, "Harriet Poppleton looks like a person." Also, her name is HARRIET POPPLETON. It's hard to believe that the same person who came up with that three years ago could now forsake her. What did you do, Harriet? Someone in Portland, preferably not a creep, can adopt her for $12.---
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