Danielle

Anthony Cerniello: I attempted to create a person in order to emulate the aging process. The idea was that something is happening but you can’t see it but you can feel it, like aging itself.

Danielle

Anthony Cerniello took photos of similar-looking family members at a reunion, from the youngest to the oldest, and edited them together in a video to create a nearly seamless portrait of a person aging in only a few minutes.

(via kottke.org)

The Art of Firewatch

Campo Santo artist Jane Ng delves into the process for creating the art of Firewatch!

How the team at Campo Santo turned Olly Moss’s very graphic 2D art style into a 3D world that can be explored in first-person.

In this video Jane Ng recreates her talk from GDC 2015 in which she breaks down how the visual style of Firewatch was accomplished by looking at three elements in detail: layers of colour, strong shapes and narrative details.

See also

Light-based media

The art of Firewatch

Creating the art of Firewatch: A recreation of Jane Ng’s talk from Game Developers Conference 2015.

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Four years of Pi

This February 29th the Raspberry Pi will be four years old.

Four years. One leap year. 8 million Raspberry Pis.

Matthew Timmons-Brown

Matthew Timmons-Brown (aka The Raspberry Pi Guy): I was an 11 year old school boy when I first heard about the Raspberry Pi in 2011. It seemed pretty darn cool that I could own a personal computer for under £30. I followed the progress of this little British invention for the next 6 months, a total novice, and witnessed the launch on the 29th February 2012: the world’s affordable computer had been born.

See also: Other posts tagged ‘Raspberry Pi’

FORMS IN NATURE: Understanding Our Universe

Through scientific study and understanding, we deepen our connection to the natural world.

A collaboration between Kevin Dart, Stéphane Coëdel, Nelson Boles, and David Kamp.

Gallery 1988: Kevin Dart “Science & Nature”

Light-based media

Forms in Nature

Through scientific study and understanding, we deepen our connection to the natural world.

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Cosmo Wenman: The Times reports that artists Al-badri and Nelles used a modified Microsoft Kinect scanner hidden under clothing to gather the scan data of the bust. Following the Times story, there have been several independent and exhaustive descriptions of how their scan data simply cannot have been gathered in the way Al-badri and Nelles claim. […] They correctly point out that the Kinect scanner has fundamentally low resolution and accuracy, and that even under ideal conditions, it simply cannot acquire data as detailed as what the artists have made available. The artists’ account simply cannot be true.

All of this confusion stems from bad institutional practices regarding secrecy: The Neues Museum is hoarding 3D scans that by all rights it should share with the public, and The New York Times has allowed anonymous sources into the chain of custody of the facts of its story.


The Other Nefertiti — Artists release the 3D data of Nefertiti’s head

Nefertiti 3D print

Hyperallergic: Last October, two artists entered the Neues Museum in Berlin, where they clandestinely scanned the bust of Queen Nefertiti, the state museum’s prized gem. Three months later, they released the collected 3D dataset online as a torrent, providing completely free access under public domain to the one object in the museum’s collection off-limits to photographers.

Nora Al-Badri and Jan Nikolai Nelles

Nora Al-Badri and Jan Nikolai Nelles

“The head of Nefertiti represents all the other millions of stolen and looted artifacts all over the world currently happening, for example, in Syria, Iraq, and in Egypt,” Al-Badri said.

Updated March 9, 2016 with the news that this story is likely a hoax.

See also

  • The story of “Sweetie” — How a computer-generated 10-year old girl from the Philippines caught over 1,000 pedophiles in only two months.
  • The New Aesthetic and its PoliticsA photograph of Eric Schmidt wearing a flak jacket – as he does in his Twitter avatar – is a spur to investigate the circumstances of the photograph and the self-presentation of the corporation. It was taken on a visit to Iraq in 2009, when Google promised to digitise what remains of the National Museum’s collection, raising further questions about the digitisation and subsequent ownership of cultural patrimony, and of Google’s involvement in political activity and international diplomacy through its Google Ideas think-tank, which actively supports a programme of regime change in certain parts of the world.
Shape of things to come

Artists covertly scan bust of Nefertiti; release the 3D model for free online

“The Other Nefertiti” is an artistic intervention by the two German artists Nora Al-Badri and Jan Nikolai Nelles. Al-Badri and Nelles scanned the head of Nefertiti clandestinely in the Neues Museum Berlin without permission of the Museum and they hereby announce the release of the 3D data of Nefertitis head under a Creative Commons Licence.

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Umberto Eco
Shape of things to come

Umberto Eco on fascism

This essay by the late Umberto Eco for the New York Review of Books is an excellent breakdown of the key features of fascism, old and new.

I rarely reproduce an entire work in this manner, but now more than ever doing so feels like an essential public service. Highlights my own.


Eternal Fascism:
Fourteen Ways of Looking at a Blackshirt

By Umberto Eco

In spite of some fuzziness regarding the difference between various historical forms of fascism, I think it is possible to outline a list of features that are typical of what I would like to call Ur-Fascism, or Eternal Fascism. These features cannot be organized into a system; many of them contradict each other, and are also typical of other kinds of despotism or fanaticism. But it is enough that one of them be present to allow fascism to coagulate around it.

* * *

1. The first feature of Ur-Fascism is the cult of tradition.

Traditionalism is of course much older than fascism. Not only was it typical of counterrevolutionary Catholic thought after the French revolution, but is was born in the late Hellenistic era, as a reaction to classical Greek rationalism. In the Mediterranean basin, people of different religions (most of the faiths indulgently accepted by the Roman pantheon) started dreaming of a revelation received at the dawn of human history. This revelation, according to the traditionalist mystique, had remained for a long time concealed under the veil of forgotten languages — in Egyptian hieroglyphs, in the Celtic runes, in the scrolls of the little-known religions of Asia.

This new culture had to be syncretistic. Syncretism is not only, as the dictionary says, “the combination of different forms of belief or practice;” such a combination must tolerate contradictions. Each of the original messages contains a sliver of wisdom, and although they seem to say different or incompatible things, they all are nevertheless alluding, allegorically, to the same primeval truth.

As a consequence, there can be no advancement of learning. Truth already has been spelled out once and for all, and we can only keep interpreting its obscure message.

If you browse in the shelves that, in American bookstores, are labeled New Age, you can find there even Saint Augustine, who, as far as I know, was not a fascist. But combining Saint Augustine and Stonehenge — that is a symptom of Ur-Fascism.

2. Traditionalism implies the rejection of modernism.

Both Fascists and Nazis worshipped technology, while traditionalist thinkers usually reject it as a negation of traditional spiritual values. However, even though Nazism was proud of its industrial achievements, its praise of modernism was only the surface of an ideology based upon blood and earth (Blut und Boden). The rejection of the modern world was disguised as a rebuttal of the capitalistic way of life. The Enlightenment, the Age of Reason, is seen as the beginning of modern depravity. In this sense Ur-Fascism can be defined as irrationalism.

3. Irrationalism also depends on the cult of action for action’s sake.

Action being beautiful in itself, it must be taken before, or without, reflection. Thinking is a form of emasculation. Therefore culture is suspect insofar as it is identified with critical attitudes. Distrust of the intellectual world has always been a symptom of Ur-Fascism, from Hermann Goering’s fondness for a phrase from a Hanns Johst play (“When I hear the word ‘culture’ I reach for my gun”) to the frequent use of such expressions as “degenerate intellectuals,” “eggheads,” “effete snobs,” and “universities are nests of reds.” The official Fascist intellectuals were mainly engaged in attacking modern culture and the liberal intelligentsia for having betrayed traditional values.

4. The critical spirit makes distinctions, and to distinguish is a sign of modernism.

In modern culture the scientific community praises disagreement as a way to improve knowledge. For Ur-Fascism, disagreement is treason.

5. Besides, disagreement is a sign of diversity.

Ur-Fascism grows up and seeks consensus by exploiting and exacerbating the natural fear of difference. The first appeal of a fascist or prematurely fascist movement is an appeal against the intruders. Thus Ur-Fascism is racist by definition.

6. Ur-Fascism derives from individual or social frustration.

That is why one of the most typical features of the historical fascism was the appeal to a frustrated middle class, a class suffering from an economic crisis or feelings of political humiliation, and frightened by the pressure of lower social groups. In our time, when the old “proletarians” are becoming petty bourgeois (and the lumpen are largely excluded from the political scene), the fascism of tomorrow will find its audience in this new majority.

7. To people who feel deprived of a clear social identity, Ur-Fascism says that their only privilege is the most common one, to be born in the same country.

This is the origin of nationalism. Besides, the only ones who can provide an identity to the nation are its enemies. Thus at the root of the Ur-Fascist psychology there is the obsession with a plot, possibly an international one. The followers must feel besieged. The easiest way to solve the plot is the appeal to xenophobia. But the plot must also come from the inside: Jews are usually the best target because they have the advantage of being at the same time inside and outside. In the United States, a prominent instance of the plot obsession is to be found in Pat Robertson’s The New World Order, but, as we have recently seen, there are many others.

8. The followers must feel humiliated by the ostentatious wealth and force of their enemies.

When I was a boy I was taught to think of Englishmen as the five-meal people. They ate more frequently than the poor but sober Italians. Jews are rich and help each other through a secret web of mutual assistance. However, the followers of Ur-Fascism must also be convinced that they can overwhelm the enemies. Thus, by a continuous shifting of rhetorical focus, the enemies are at the same time too strong and too weak. Fascist governments are condemned to lose wars because they are constitutionally incapable of objectively evaluating the force of the enemy.

9. For Ur-Fascism there is no struggle for life but, rather, life is lived for struggle.

Thus pacifism is trafficking with the enemy. It is bad because life is permanent warfare. This, however, brings about an Armageddon complex. Since enemies have to be defeated, there must be a final battle, after which the movement will have control of the world. But such “final solutions” implies a further era of peace, a Golden Age, which contradicts the principle of permanent war. No fascist leader has ever succeeded in solving this predicament.

10. Elitism is a typical aspect of any reactionary ideology, insofar as it is fundamentally aristocratic, and aristocratic and militaristic elitism cruelly implies contempt for the weak.

Ur-Fascism can only advocate a popular elitism. Every citizen belongs to the best people in the world, the members or the party are the best among the citizens, every citizen can (or ought to) become a member of the party. But there cannot be patricians without plebeians. In fact, the Leader, knowing that his power was not delegated to him democratically but was conquered by force, also knows that his force is based upon the weakness of the masses; they are so weak as to need and deserve a ruler.

11. In such a perspective everybody is educated to become a hero.

In every mythology the hero is an exceptional being, but in Ur-Fascist ideology heroism is the norm. This cult of heroism is strictly linked with the cult of death. It is not by chance that a motto of the Spanish Falangists was Viva la Muerte (“Long Live Death!”). In nonfascist societies, the lay public is told that death is unpleasant but must be faced with dignity; believers are told that it is the painful way to reach a supernatural happiness. By contrast, the Ur-Fascist hero craves heroic death, advertised as the best reward for a heroic life. The Ur-Fascist hero is impatient to die. In his impatience, he more frequently sends other people to death.

12. Since both permanent war and heroism are difficult games to play, the Ur-Fascist transfers his will to power to sexual matters.

This is the origin of machismo (which implies both disdain for women and intolerance and condemnation of nonstandard sexual habits, from chastity to homosexuality). Since even sex is a difficult game to play, the Ur-Fascist hero tends to play with weapons — doing so becomes an ersatz phallic exercise.

13. Ur-Fascism is based upon a selective populism, a qualitative populism, one might say.

In a democracy, the citizens have individual rights, but the citizens in their entirety have a political impact only from a quantitative point of view — one follows the decisions of the majority. For Ur-Fascism, however, individuals as individuals have no rights, and the People is conceived as a quality, a monolithic entity expressing the Common Will. Since no large quantity of human beings can have a common will, the Leader pretends to be their interpreter. Having lost their power of delegation, citizens do not act; they are only called on to play the role of the People. Thus the People is only a theatrical fiction. There is in our future a TV or Internet populism, in which the emotional response of a selected group of citizens can be presented and accepted as the Voice of the People.

Because of its qualitative populism, Ur-Fascism must be against “rotten” parliamentary governments. Wherever a politician casts doubt on the legitimacy of a parliament because it no longer represents the Voice of the People, we can smell Ur-Fascism.

14. Ur-Fascism speaks Newspeak.

Newspeak was invented by Orwell, in Nineteen Eighty-Four, as the official language of what he called Ingsoc, English Socialism. But elements of Ur-Fascism are common to different forms of dictatorship. All the Nazi or Fascist schoolbooks made use of an impoverished vocabulary, and an elementary syntax, in order to limit the instruments for complex and critical reasoning. But we must be ready to identify other kinds of Newspeak, even if they take the apparently innocent form of a popular talk show.

* * *

Ur-Fascism is still around us, sometimes in plainclothes. It would be so much easier for us if there appeared on the world scene somebody saying, “I want to reopen Auschwitz, I want the Blackshirts to parade again in the Italian squares.” Life is not that simple. Ur-Fascism can come back under the most innocent of disguises. Our duty is to uncover it and to point our finger at any of its new instances — every day, in every part of the world. Franklin Roosevelt’s words of November 4, 1938, are worth recalling: “If American democracy ceases to move forward as a living force, seeking day and night by peaceful means to better the lot of our citizens, fascism will grow in strength in our land.” Freedom and liberation are an unending task.


Writing in New York Review of Books, 22 June 1995, pp.12-15.
Excerpted in Utne Reader, November-December 1995, pp. 57-59.

(via interglacial.com)

See also

Standard
The Freewrite ‘smart typewriter’ with an e-ink display.
A “distraction-free tool for writing composition.”

Astrohaus Freewrite - top

Boing Boing: The $500 price is high, and driven by the device’s high-spec manufacturing: the full-sized mechanical keyboard’s kitted out with Cherry MX switches, and the body of the device is machined aluminum. It weighs four pounds and you carry it by pulling out a recessed handle.

The Freewrite originally launched on Kickstarter (as the ‘Hemingwrite’) and is currently at a special promotional price.

TechCrunch: The FreeWrite will be available today for a 24-hour flash sale at $449, after which the price will increase to $499 through March, with a final MSRP of $549. Shipments will begin this March.

Wired: Freewrite weighs four pounds—about halfway between the weight of the 13- and 15-inch MacBook Pro. But you won’t need to bring the Freewrite’s charger to the coffee shop, because get this: It gets more than four weeks worth of battery life from a single charge.

See also

Craft and creativity

Freewrite: A ‘smart typewriter’ with an e-ink display

“We are quickly seeing people becoming more disenchanted than ever with the nag of constant consumption,” explains Adam Leeb, cofounder of Freewrite manufacturer Astrohaus. “Everyone, particularly the millennial generation, understands that we now have to fight for our own attention from the outside world. Instead of allowing it to be a general purpose computer, we focused on one purpose, making the best possible writing experience.” — Wired

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Morality in the Mechanics

Mark Brown, Game Maker’s Toolkit:

Games have been messing with morality for ages – but are karma systems and binary choices the best we can do? Inspired by Darkest Dungeon’s neat twist on video game villainy, lets look at some indie games that make morality a central component of their design.

See also: Learning lessons from Mario games to master Nintendo’s Super Mario Maker

How To Make A Clock In The Home Machine Shop

Chris from Clickspring is building a John Wilding Large Wheel Skeleton Clock from raw stock!

Chris: All parts of the clock (other than the mainspring), will be made from raw stock, using home shop equipment. I will also be making a lot of the tools required to complete the project, so there will be a fair bit of general machining as well as clockmaking.

These are all incredibly satisfying to watch.

See also: Michael Kretschmer made this gorgeous wooden model of the original starship Enterprise.

(via O’Reilly Radar)

The

Craft and creativity

How to make a clock from scratch

Chris from Clickspring is building a John Wilding Large Wheel Skeleton Clock in his home shop.

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Lord Of The Rings: How Music Elevates Story

Evan Puschak talks about Howard Shore’s use of leitmotifs in The Lord of the Rings.

“I think that we hardly grasp the importance of music in film. It’s an invisible layer of pure emotion that guides us or challenges us, or guides or challenges the drama itself.

“In the Lord of the Rings trilogy, Howard Shore gave us perhaps the most complete and complex exploration of leitmotifs in the history of cinema, and the result is a score that is as alive as the world Tolkien gave us.”

See also

OS Mars logo

BBC News: Ordnance Survey releases digital map of Mars surface

This is the first time that OS has produced a map of territory from another planet.

Ordnance Survey map of Mars

BBC: “It was a little hard at first to actually understand the data itself in terms of things like the elevation and the scale and so on,” said the OS cartographer behind the map, Chris Wesson. “But actually the physical process was almost identical to what was used to make an Earth map, or any OS map.”

The map itself covers roughly 10 million sq km (3.8 million sq miles) – or about 7% of the total Martian surface.

See also: Other posts on this blog tagged ‘maps’

Miscellany

Ordnance Survey map of Mars

“The planet Mars has become the latest subject in our long line of iconic OS paper maps. The one-off map, created using NASA open data and made to a 1:4,000,000 scale, is made to see if our style of mapping has potential for future Mars missions.” — Ordnance Survey

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State Zero

A post apocalyptic short film by Andrée Wallin:

In the near future, the capital of Sweden has turned into a post-apocalyptic wasteland. We join four soldiers on a routine mission in ‘Zone 3’, with the assignment to investigate an old surveillance tower that just went offline. That’s the setting in first-time director Andrée Wallin’s short film, who also wrote and production designed it.

VFX breakdown →

The Verge: Rendezvous with Rama

Inspired by this fan’s tribute to Rendezvous with Rama and 2001: A Space Odyssey, Lightfarm Studios in Rio, Brazil created this detailed digital image. (via)

Rama and the Monolith

Behind the scenes video…

See also: Wanderersa vision of humanity’s expansion into the Solar System, based on scientific ideas and concepts of what our future in space might look like, if it ever happens.

Craft and creativity

The Verge

‘Rendezvous with Rama’ is a hard science fiction novel by Arthur C. Clarke first published in 1973. Set in the 2130s, the story involves a 50-kilometre (31 mi) cylindrical alien starship that enters Earth’s solar system. The story is told from the point of view of a group of human explorers who intercept the ship in an attempt to unlock its mysteries. This novel won both the Hugo and Nebula awards upon its release, and is regarded as one of the cornerstones in Clarke’s bibliography. — Wikipedia

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Fury Road poster

If there’s any movie that managed to deliver on the intensity and sustained visual interest of its trailer, it is Mad Max: Fury Road. For no particular reason–other than I really wanted to because I think about them all the time–here are the trailers for that film again.

Enjoy ten minutes of trailer perfection.

Comic-Con First Look — 27 Jul 2014

Official Theatrical Teaser Trailer — 10 Dec 2014

Official Main Trailer — 31 Mar 2015

Official Retaliate Trailer — 29 Apr 2015

(Personally, that final trailer is my favourite.)

See also: The editing of Mad Max: Fury Road, Visual effects breakdown for Mad Max: Fury Road and all the other posts on this blog tagged ‘trailers’.

Light-based media

Mad Max Fury Road: a trailer retrospective

“From director George Miller, originator of the post-apocalyptic genre and mastermind behind the legendary “Mad Max” franchise, comes “Mad Max: Fury Road,” a return to the world of the Road Warrior, Max Rockatansky.”

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Crushed between two portals experiment

Crowbcat created a Portal setup that had Chell, the game’s heroine, trapped between two portals that crushed her. The results were an astounding wonderland of psychedelic visuals

From Cory Doctorow on BoingBoing, who adds:

I don’t know what would be cooler: if this were an emergent property of the game’s programming, or if the designers hid it in the code and waited for an adventurous sort to discover it.

I know that in Portal when a surface with a portal on it moves, the portal is usually removed, so I was suspicious of this. But apparently:

For the record: Portals can move. In Chapter 5 (The Escape) at the thirty-third level of the game, you have to place portals onto moving panels to cut neurotoxin generator tubes by using a laser. This gameplay mechanism is not activated by default, so a special command was used to achieve the experiment.

See also

The Garden of Earthly Delights by Jheronimus Boschan online interactive adventure.

Hieronymus van Aken honed his skills to become a world-famous artist. Once his fame had spread outside the city walls, he would sign his work with ‘Hieronymus Bosch’, after the name of his native city.

The Garden of Earthly Delights is a story about morals and sin in a particular time. The painting however is timeless. The journey that the visitor sets out on in the interactive documentary is a personal one. Beneath the surface we aim to invite the visitor to reflect upon and question their sins and morals.

(via)

See also: Classic paintings brought to life & Ben Sack’s mad maps.

Craft and creativity

Explore ‘The Garden of Earthly Delights’ in high resolution

“In the late Middle Ages, a master-painter lived in the south of the Netherlands. […] Bosch was out to amuse and surprise us, he wanted us to enjoy the sight of this multitude of figures, animals, plants and objects.”

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Atlas Obscura's Guide to Literary Road Trips

Richard Kreitner (writer), Steven Melendez (map): The above map is the result of a painstaking and admittedly quixotic effort to catalog the country as it has been described in the American road-tripping literature. It includes every place-name reference in 12 books about cross-country travel, from Mark Twain’s Roughing It (1872) to Cheryl Strayed’s Wild (2012), and maps the authors’ routes on top of one another. You can track an individual writer’s descriptions of the landscape as they traveled across it, or you can zoom in to see how different authors have written about the same place at different times.

See also: Other posts tagged maps (via)

Craft and creativity

Atlas Obscura’s Guide to Literary Road Trips

“A painstaking and admittedly quixotic effort to catalog the country as it has been described in the American road-tripping literature.” — Atlas Obscura

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Connor Kerrigan’s YouTube channel Who Cares Again? deserves more subscribers.

Jill Pelto - Climate change art

Bangor Daily News: Jill Pelto, an artist and scientist, recently completed a project as part of her honors thesis that explores the issues of human-induced climate change she has studied with her father over many years of study.

“I call it environmental art,” she said. “The way I use it is specifically to communicate particular issues.”

Jill Pelto made it her mission to show others the facts through unique watercolors and screen prints that illustrate the effects of climate change by integrating scientific data with her own unique artwork.

“I incorporated a graph with data points and used some sort of illustration to give a narrative about what the piece was about,” Jill Pelto said. “A lot of scientists don’t know how to communicate their research. … Since I’m involved in both the science world and the art world, I think I have a unique ability to bridge those.”

Climate Central: Her father, Mauri Pelto, is a glacier researcher who has worked in Washington’s North Cascades for decades. Glaciers there have been receding at an alarming rate, including a huge drop in 2015 following the hottest year on record for the region. The warm year also caused a large portion of precipitation to fall as rain rather than snow, further shrinking glaciers across the region.

Summer trips to the region have been a family affair since Jill was in high school and they’re what piqued her interest in making climate impacts clear.

(via Kottke)

See also

Craft and creativity

Jill Pelto: Climate change art

These paintings combine imagery from the natural world with hard data showing the impact climate change is having.

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Welcome to my bathroom. Please excuse the carefully arranged mess around the medicine cabinet and its pristine mirror surface.

To the right of where my face would be we have the time and date. To the left is the current weather and a 24-hour forecast. Below are some recent news headlines.

Other concepts I’m playing with are traffic, reminders, and essentially anything that has a Google Now card. The idea is that you don’t need to interact with this UI. Instead, it updates automatically and there’s an open-ended voice search interface for anything else.

Medium: My Bathroom Mirror Is Smarter Than Yours

See also

Shape of things to come

Stylish homemade smart bathroom mirror

When Max Braun couldn’t buy a smart mirror he made one instead: “There doesn’t seem to be anyone selling the product I was looking for. The individual parts, however, were fairly easy to get.”

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History of Japan

By Bill Wurtz.

See also

Shanty Mega-Structures by Lekan Jeyifo.

These images juxtapose sites of privileged and much coveted real-estate throughout Lagos, Nigeria with colossal vertical settlements, representing marginalized and impoverished communities. The images consider how slums are frequently viewed as unsightly eyesores to be inevitably bull-dozed, leaving their inhabitants completely displaced.

Razing the homes and settlements of marginalized people is a practice that occurs from Chicago to Rio de Janiero, and throughout the world. So in this instance the dispossessed are given prominence and visibility albeit through a somewhat Dystopian vision that speaks to the fact that these communities often suffer from a lack of appropriate sanitation, electricity, medical services, and modern communications.

See also

Shape of things to come

Shanty mega-structures

“These images juxtapose sites of privileged and much coveted real-estate throughout Lagos, Nigeria with colossal vertical settlements, representing marginalized and impoverished communities.”

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The Enterprise separated into its component parts

Smithsonian: The Enterprise model has been carefully separated into its individual components—saucer section; secondary hull; port and starboard nacelles and pylons; deflector dish array; hangar bay doors; and the bridge. Each section is being meticulously studied to determine its construction and condition and will be documented with visible, ultraviolet, and infrared photography.

For areas repainted during previous restorations, a new base layer will be applied on top that exactly matches the original hull grey. “We don’t have to speculate about the original grey color,” says conservator Ariel O’Connor. “Our examinations have revealed a large section of original, first pilot-episode grey hidden and protected under the saucer bolt cover.”

(Includes some pictures from The Washington Post.)

TrekCore: We’ve just gotten back from our catch-up session with the Enterprise model conservation team at the Smithsonian National Air & Space Museum facility in Virginia! Here’s a discussion with conservator Malcolm Collum about a NEW deflector dish for the Enterprise!

See also

(via MeFi)

Popular Mechanics has a few more pictures →

Craft and creativity

The original USS Enterprise returns to spacedock for detailed restoration work

“The Enterprise was designed to look unbound by gravity, ready to explore strange new worlds at faster-than-light speeds week after week. Five decades later, the pull of our home world has taken its toll on the model, particularly the secondary hull and nacelles.”

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