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The 19 most complex and dangerous roads in the world

28 Jan

Sure, it feels fantastic to traverse the vast stretches of the best roads in the world via adrenaline pumping speeds. How about a complicated road, one that twists and turns, or has downright congested traffic, or unforgiving terrain? They might give you a headache, but it sure feels good when you’ve conquered them. Here is the  list of the world’s most complicated and dangerous roads. Some of these complicated mountain passes can be dangerous if not negotiated with utmost caution, while others are complicated sets of roads and bridges, erected to ensure a streamlined flow of traffic at busy junctions. Without further ado, we present our top 19 list…

1) Col de Turini, France

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Col-De-Turini-2

photo credits : 1,2

Situated more than 1 mile above sea level, Col de Turini is a mountain pass situated in south of France in the Alps. It’s also part of a 20 miles rally stage of the Monte Carlo Rally of WRC, which combines 34 challenging hairpins and long stretches where cars top 111 mph. It is one of the most exciting roads on Earth.  The pass was featured in the very first episode of Top Gear series 10, when the presenters went in search of the greatest driving road in the world. At its highest point, Col de Turini  is 1607m high. In the north, the Col de Turini starts  with a dazzling series of hairpins. Finally, we end up riding in a gorge, with a wild river on the left, and a steep rock-wall on the right.

2) Stelvio Pass, Italy

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Photo credits 1,2

Located in the Eastern Alps in Italy, the Stelvio Pass Road connects the Valtellina with Merano and the upper Adige valley. This mountain road pass is situated at an altitude of around 1.7 miles above sea level. The road is particularly challenging to drive due to the presence of 48 hairpin bends, with the road becoming exceedingly narrow at some points, and some very steep inclines. With a height of 2757 meters, it is the highest paved mountain pass in the Eastern Alps and the second highest in the Alps, after the 2770 m high Col de l’Iseran. While it might not be as dangerous  as the other routes, it is certainly breathtaking. The  toughest and most spectacular drives are from the Prato side. The mountain pass is  one of the best continuous hairpin routes in the world.

3) Leh–Manali Highway, India

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Photo credit 1

The Leh-Manali Highway is situated in India and spans over a length of 297 miles among the Himalaya mountain range. It passes through some of the worlds highest mountain passes in the world, with a mean altitude in between 2 to 3 miles above sea level. The road is one of the most complicated and challenging roads in the world, with snow, landslides and terrain making the journey exceedingly difficult for anything other than a capable four wheel drive vehicle. The road was built and is maintained by the Indian Army.

4) The Puxi Viaduct, Shanghai

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Photo credit 1

This is one of Shanghai’s busiest and largest interchange that caters to thousands of vehicles every hour. It has five levels of bridges that help connect two of the cities busiest highways, directing vehicles without much fuss.

5) The Judge Harry Pregerson Interchange, LA

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Photo credit: 1

The Judge Harry Pregerson Interchange is situated in Los Angeles, CA and is one of the most complicated interchanges in the country. It permits entry and exit in all directions between the I-105 and the I-110. It’s a stack interchange with layers of bridges making a complicated network of roads allowing smooth flow of traffic though both the interstate highways. This interchange was opened in 1993. It is a 4 level interchange with a restricted access lane that can be used by high-occupancy vehicles.

6) The Road of death, Bolivia

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Photo credits:  1, 2

The North Yungas Road (also known as the El Camino de la Muerte, ‘Road of Death’ in Spanish) is a 43 mile road connecting La Paz and Coroico, 35 miles northeast of La Paz in Bolivia. Famous for its extreme danger, it was christened as the “world’s most dangerous road” in 1995 by the Inter-American Development Bank. The single-lane width, extreme drop offs, and lack of guardrails, only add to the danger lurking behind. Further, the fog and rain can make visibility poor and the road surface muddy, loosening rocks from the hillsides above. It is estimated that 200 to 300 travelers are killed per year on this treacherous road. Although, the old North Yungas Road is  much less used by traffic nowadays, an increasing number of adventure bikers  travel it for the thrills.

7) Russia’s Lena Highway, the Highway from Hell

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Photo credits: 1,2

The last 600 miles of the Russian Federal Highway from Moscow city to the Siberian city of Yakutsk is called the “Lena Highway”. This bizarre road runs parallel to the River Lena on the final leg to Yakutsk. As if the road of mud was not a big problem, Yakutsk is considered one of the the coldest cities on earth, with January temperatures averaging -45 °F. But surprisingly, it is only in the summertime that the road becomes impassable. Whenever it rains in summer, the road virtually becomes a slush pit making it impossible for the vehicles to pass through it. This being the only road to Yakutsk makes the traffic heavy and even more complicated to negotiate.

8. Gravelly Hill Interchange, Birmingham, UK

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Photo credit: 1

Gravelly Hill Interchange, nicknamed ‘the Spaghetti Junction’, is the 6th junction  of the M6 motorway, where it joins the A38 Aston Expressway in Birmingham, UK. The name “Spaghetti Junction” was coined by Roy Smith, a journalist from the Birmingham Evening  Mail in the 1970s. The areal view of the junction sure tells us why it is called the Spaghetti Junction. Spanning an impressive 30 acres, the junction serves 18 routes and includes 4 km of slip roads. Across 6 different levels, there are 559 concrete columns, reaching up to 24.4 m in height. The engineers had to elevate 13.5 miles of the motorway to accommodate 2 railway lines, 3 canals, and 2 rivers. It’s the most complicated junction in United Kingdom.

9) Russian-Georgian “Military” Mountain Roads

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Photo credit 1

When they are not covered in sheets of snow, then it’s the thick, grueling mud. These remote highways would probably swallow your car in the snow or mud. Though neither affect the locals who drive their Lada cars down it regularly. Situated in the Caucasus mountains, these roads are to be tackled only by the Russian military which probably explain why they lack any official designation. The harsh surface, along with the problems posed by snow, makes this road almost inaccessible during winter. The seldom used road connects Russia and Georgia and assumes of strategic importance for both countries.

10) Guoliang Tunnel Road, China

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Photo credits: 1,2

The magnificent tunnel road in the Taihang mountains was built by 13 local villagers headed by their chief, Shen Mingxin, and took around five years to finish. Many villagers lost their lives in accidents during construction of the tunnel but the others continued relentlessly. The tunnel was opened to traffic on May 1st, 1977. The 1200 meter long tunnel is about 5 meters high and 4 meters wide. It is located in the Henan Province of China. The Guoliang tunnel is another addition to most dangerous and complicated roads to travel. Dubbed as “the road that does not tolerate any mistakes”, most accidents in the tunnel are primarily caused by the neglect of the traveler. Nonetheless, it is an extremely scenic route and is a key destination on the Chinese tourism map.

11) Taroko Gorge Road in Taiwan (Chungheng)

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Taroko Gorge Road in Taiwan (Chungheng)

Photo credit: 1

The Taroko Gorge Road in Taiwan is another mountain route  made by carving out rocks, like the Guoliang Tunnel road. The road passes through the Taroko national park alongside the Taroko Gorge. The road is an appeal to the tourist, as well as a mode of transportation of marble found abundantly in the Gorge.

12) Pasubio (Vicenza), Northern Italy

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Photo credit: 1

This is a hiking trail made out of an ancient road trail. The road serves mostly for motorcycles and certain types of car. The road is dangerously narrow and slippery, spanning many cliff faces and tunnels with stunning scenery, making this a popular destination for adventurous travelers.

13) The Halsema Highway in the Philippines

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photo credits 1

The Halsema Highway runs through the Central Cordillera Valley in Philippines. It is also called the Baguio-Bontoc Road. The road is approximately 150 miles long and is mostly unpaved. The road runs through steep cliff faces which barely have any guard rails or other safety devices installed. The narrow roads and steep cliff faces make the road almost impassable during the rainy season. It’s known for the rock slides and mud slides and buses driving dangerously fast on its narrow passage. There are plenty of accidents and many overturned buses on a yearly basis. There are sheer drop offs of more than 1000 feet without a safety guard rail. This route is for sure one of the most dangerous roads in the world.

14) Trollstigen in Norway

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Photo credts: 1,2

The Fjord in Norway has many roads that attract tourists. The most notable among them is the Trollstigen which is a series of stunning roads with a breathtaking view of a few waterfalls. The word Trollstigen means the Troll Ladder. The road, though not lacking in safety standards, takes a lot of concentration and driving skill to conquer. The vertigo-inducing steep inclines, intense set of hairpins and narrow roads leave no margin for error. However, once you are at the top, the view is just breathtaking. The narrow road leaves us with extremely few possibilities for vehicles to pass each other. The frequent rockfalls in the region have resulted in some upgrades to the road in 2005. At the top, there is a viewing balcony which overlooks the road and the Stigfossen waterfall, a 320 m long waterfall which falls down the mountain side.

15) Los Caracoles Pass in Andes

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Photo credit: 1

This road passes though the Andreas Mountains on the way between Chile and Argentina. Los Caracoles is a series of hard switchbacks on an extremely steep incline. The road has many steep inclines and hairpins without any safety guard rails. The road is covered with snow for the most part of the year. The snow together with nature of the road requires extreme patience and skill to negotiate. However, this road is maintained pretty regularly and does not have a morbid accident record. Cargo trucks and even double-Decker tourist buses travel through the road on a daily basis, and it’s quite an experience.

16) Iroha-zaka winding road, Japan

Irohazaka Winding Road Japan

Iroha-zaka winding road is the main route that connects central Nikko and Oku-Nikko. The First Iroha-zaka is used to come down, and the  Second Iroha-zaka to go up. Each corner has an ancient Japanese alphabet, and you will see it in alphabetical order starting from I-ro-ha and hence the name. The road was used by ascetics in the past. The number of curves on the road was 48, matching the 48 letters of the ancient Japanese alphabet. Therefore, the tourist guides started to call the slope Iroha-zaka.  After the construction of the second Iroha-zaka there were 50 curves, but 2 were decreased to remain corresponding with the 48 letters. How’s that for complicated?

17) Van Zyl’s Pass, Namibia

Van Zyl pass

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Photo credits: 1

Van Zyl’s Pass, or the DR3703, located in Namibia, is a classic extreme road. It is not exactly a road, just a route made over the mountain by the travelers over time. The outrageously steep pass provides a pure adrenaline rush, but the route that leads up to it is a 10-15km of tough driving where one has to dodge their way through rocks, boulders, badlands and ravines. At the end, the road descends to the ancient glacial valley called Marienfluss valley, which is one of the planet’s most beautiful sights that await only the brave-hearted.

18) El Espinazo Del diablo, Mexico

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El Espinazo del diablo

Photo credits: 1, 2

El Espinazo Del diablo or ‘The devil’s backbone’ is the mountain pass in Durango, Mexico. It’s about 5 hours long, and it was the only road from Durango to Mazatlan Sinaloa for a long time. We have heard many cautionary tales about crossing the devil’s backbone, El Espinoza Del Diablo, But the road is exceptionally well maintained and there are many cautionary signs marking most of the hazards. Of course these are in Spanish, so keep an electronic translator or a dictionary, handy. Pull out spots are frequent, so you can easily stop anytime you want. There are some tight curves, too. So tight that a truck needs all of the road to make it around. These hinder potential two way traffic in these regions. However, stunning rock formations rising around you and the lush, green vistas stretching on for impossible distances make every inch of the drive breathtaking.

19) Lysebotn Road, Norway

Lysebotn Road

Photo credit: 1

This is probably the most fun road you can travel on four wheels, and then maybe on your two legs checking out the various hiking trails leading from the area. In fact, this might be considered the most breathtaking place in Europe. It all starts with the narrow road up the steep walls of the Lysefjord, Norway. It has 27 switchbacks and a 1.1 km long tunnel at the bottom, with 3 switchbacks inside. The last 30 km of Lysebotn road is a true roller-coaster! It’s narrow but has a perfect surface, winding left and right all the time. If you happen to ride a motorcycle in Norway, then this is the road you simply cannot afford to miss!

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The CG House by GLR Arquitectos / Gilberto L. Rodríguez

28 Jan

GLR Arquitectos / Gilberto L. Rodríguez have completed the CG House in Monterrey, Mexico.

Full description after the photos….

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The CG House by GLR Arquitectos / Gilberto L. Rodríguez

The CG House rests on a generous 17,250 sq. ft. site adjacent to the Sierra Madre mountains. While the site’s steep slope presented a number of design challenges, the dramatic views it afforded of the city of Monterrey provided the architect with a number of opportunities as well.

From the street, two massive oak tress rise to provide privacy and welcome shade to the swimming pool terrace above. Due to the sloping nature of the site, a massive, exposed concrete wall defines and encloses the swimming pool and garden areas of the house and sets the tone for the design of the house itself, which is clad in brown/black volcanic stone, IPE wood, white stucco and steel.

A wide exterior granite staircase lead to an intimate garden of palm trees. Directly ahead is a 12 feet-high dark oak door whose grand scale offers a hint of the dramatic scale of this 10,650 sq. ft. home that lies beyond, beginning with an entry foyer whose 15 feet-high walls are adorned with silver leaf. A massive sculptural piece of coconut roots, steel and rocks was designed specifically for this space.

The living room, as well as the dining and family rooms, all have large windows with views of the garden, allowing light to penetrate deep within the spaces as well as creating a seamless interplay between the interior and exterior spaces. Also, within the house, subtle level changes between rooms not only add interest to the interior layout but these changes also reflect the site’s topography.

In the private areas of the home, which is articulated through a long corridor, the occupants have access to a second garden, located at the highest point on the building site, which is less formal and more recreational.

Project Team: Enrique Salas, Tomas Güereña, and Felipe González
Photography: Jorge Taboada

Visit the website of GLR Arquitectos – here.

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Is Avatar Too Realistic For Its Own Good? [Rant]

21 Jan

Chinese writers condemned Avatar, a branch of the Russian communist party condemned it, the Vatican has weighed in, and other groups are endlessly debating its political meaning. What makes people respond so strongly to this flick? It's the realism.

But how can such a blatantly fantastical movie be realistic? This is a movie about blue cat people who ride dragons and bond with six-legged horses. The whole thing takes place on the moon Pandora, whose lush mega-forest is actually wired up with synapses so that the moon can think like a giant brain. Plus, one of the most memorable features of Pandora, other than its bizarre flora and fauna, are its floating mountains that hover inexplicably over a weird magnetic anomaly that's never explained.

Nevertheless, this is realism of the highest order. I'm not just talking about the special effects, which are as close to photorealistic as you can get with computer animation. I'm also referring to the extreme levels of detail in the way director James Cameron presents this world. He's said in interviews that he thought about everything from handles on boxes (they need to fold in to get through narrow doorways on spaceships) to how the six-legged horses would breathe (through airholes in their necks). Pandora and the human military base aren't just vaguely sketched-in concept art that we view in backgrounds. They are vividly realized, and our brains rarely have to fill in little details to flesh out the fantasy of being on another world. All those details are already there.

Avatar's realism goes beyond visual effects, however. While Cameron's dialog in this film may not be the most complex, his depiction of relationships between the characters is. Cameron easily evokes the kinds of relationships that form between soldiers on a base in a hostile land, and between scientists on a dangerous assignment. We immediately understand why Sully is loyal to the military at first, and it's easy to understand why he's able to fit into Na'vi society so easily: He's a trained soldier, and the Na'vi respect warriors. Sully and his comrades come across less as epic heroes and more as the confused, angry, lustful, and occasionally righteous humans we meet every day. They may find themselves in extraordinary circumstances, but they're not megabeings on a date with destiny.

It's worth noting that Cameron has long been a master of bringing a believably awkward human realism to his science fiction scenarios. The comraderie in Aliens between the marines, full of dirty jokes and bullet-riddled bonding, was hardly the stuff of outer-space adventure heroism, but it worked. People who've seen the movie years ago still remember both the minor and major characters because their tight-knit unit was so vividly portrayed. The family relationships in Terminator 2 were similarly believable. John Connor is a squeaky-voiced geek and his mother an unstable badass - even when they tangle with unbelievably futuristic robots, we never forget the relatably mundane details of John's life as a foster kid whose coolest possession is a dirt bike.

Given the intensity with which people have responded to Avatar, it would seem that Cameron got his wish for a fully-immersive fantasy that felt real. The problem - or maybe the benefit - is that when something feels so real, people react to it much more strongly. Instead of enjoying the movie as fantasy, they find themselves asking, "What if this were real? What would it say about my life?"

It's this kind of realism that has inspired Chinese people evicted from their homes to call the plight of the Na'vi their own. It's what turned representatives of the Vatican into film critics, evaluating whether this piece of fiction undermined Christianity with its portrayal nature-worshiping aliens. And it's what inspired me to write an essay several weeks ago about the race politics of a story about blue people. Even though we are well aware Avatar is fiction, all of us are behaving as if the events in this movie are woven into the fabric of our real lives.

If anything, Avatar has reminded us that realism isn't just the purview of drama, or even of science fiction that bends over backwards to get physics right. Realism is in the details of worldbuilding. It's about making a fictional space look as messy and complicated as our homes and neighborhoods do. Remember that scene in Avatar when the science team is fleeing the military to a remote lab, and when they arrive things are kind of broken and dusty and there's crappy food in the fridge? That felt like a more realistic environment than most of the "real life" spacious city apartments I've seen in dozens of so-called realistic dramas set on Earth in the present day.

Perhaps, for this reason, it was too easy to imagine ourselves into the world of Avatar. Maybe we are overreacting to what is after all a fictional story. Or maybe this film is a reminder that stories, when told realistically enough, can change people's minds and lives. And that isn't always a bad thing.

 

Nebulas And Neighboring Galaxies, Photographed From A Garden Shed [Space Porn]

21 Jan

Office worker Peter Shah took this picture by sticking an eight-inch telescope through the roof of his garden shed. He tells the Mirror, "It just goes to show that a window to the universe is there for all of us."

The above image of the NGC6960, the Veil Nebula, was taken using an ORION OPTICS UK AG8 Astrograph telescope. On his website he has a picture of his telescope with gold mylar wrapped around the pier, in a DIY fix for the fact that his concrete pier kept heating up during the day and then discharging the heat at night. Wrapping it in mylar solved this problem and cleared up his images.

Shah has a self-published book of his photos out called Mirror Image, which you can order through his site. Here are a few of the other amazing images he's posted. [Daily Mirror]


IC1318, in Cygnus


M42, the Great Orion Nebula


Ngc6888 The Crescent nebula

Sh2-115, in Cygnus

 
 

Polar Bear Makes a Friend, Photos by Norbert Rosing

20 Jan

Near Hudson Lake in Manitoba, German wildlife photographer Norbert Rosing spotted a polar bear coming near his sled dogs. He took pictures of what he thought would be the end of his dogs.
Apparently the bear came back every night for a week to play with the dogs.



Via [Now That's Nifty]

 
 

Cluetrain Manifesto 10th Anniversary Edition: Still the end of business as usual?

14 Jan
I read the Cluetrain Manifesto in when it was published in 1999. We had just raised capital for the startup I co-founded, and I was flying back and forth from San Francisco to Toronto to Boston, which left me with a lot of reading time. As someone who was a) ambivalent about the corporate world, b) excited about the net, and c) founding a company, I found in Cluetrain a great deal of comfort, inspiration and fire.

In 1999, Rick Levine, Christopher Locke, Doc Searls and David Weinberger published the Cluetrain Manifesto, a business book that expanded upon 95 theses that they had "nailed to the Web" by posting online, prompting a great deal of furor, discussion, and fooforaw. The first of these theses was Doc Searls's now-famous aphorism that "markets are conversations," and the remaining 94 refined these theses, presenting an indictment of business as-it-was, with special regard for the clueless approach the corporate world took to the net.

Cluetrain influenced an entire generation of net-heads (as generations are reckoned in what we called "Internet time" back in the paleolithic era), for better and for worse. Better: entrepreneurs, social entrepreneurs, and accidental entrepreneurs who discovered that talking with people in the normal, recognizable, human voice was both possible and superior to the old third-person/passive-voice corporatespeak. Worse: the floodtide of marketing jerks who mouthed "Markets are conversations" even as they infiltrated blogs and other social spaces with badly disguised corporate communications beamed in from marcom central.

Now a decade has gone by, an eternity in Internet time, and Basic Books has brought out a "tenth anniversary edition" of the Manifesto, with new chapters by all four original authors, as well as supplementary material by Jake McKee (who manages Lego's social outreach); JP Rangaswami (the maverick Chief Scientist for British Telecom) and Dan Gillmor (net-journalism visionary and author of We the Media, late of the San Jose Mercury News).

First things first: the original, core material stands up remarkably well. Depressingly, the best-weathered stuff is that which describes all the ways that big companies get the net wrong. They're still making the same mistakes. Some of the more optimistic material dated a little faster. There's a lesson in there: it's easier to predict stupidity than cleverness.

The supplementary material is very good as well. The original authors take a very hard look at their original material and do a great job of explaining what went wrong, what went right, and where it's likely to go now. I was especially taken with Chris Locke's "Obedient Poodles for God and Country," a scathing critique of the market itself, asking big questions that the first Manifesto dared not raise -- strangely, I was least taken by Locke's original piece in the Manifesto, which says something about Locke, or me, or both. Searls's new piece has an inspiring -- if utopian -- look at how business might yet reorganize itself on humane principles using the net; and Weinberger's philosophical look at the threats facing the net and analysis of the utopian, realist and distopian views on the net's future play against one another is an instant classic.

The afterwords by the new contributors are likewise extremely engaging stuff, as you might expect. McKee is extremely blunt in recounting the mistakes Lego made with the net early on, and the story of how they turned things around is a true inspiration. Gillmor's ideas on the net and news and media are a neat and concise and compelling version of his extremely important message. Rangaswami's piece is characteristic of his deadpan, mischievous boardroom subversion, and has to be read to be believed.

As updates go, Cluetrain 2.0 is a very fine effort. If you didn't read the first edition, this is your chance. If you did read the first edition, it's time to go back to the source material again. You'll be glad you did.

The Cluetrain Manifesto: 10th Anniversary Edition

(Thanks to Basic Books for sending me a review copy of this book!)



 

Burning the library in slow motion: how copyright extension has banished millions of books to the scrapheap of history

11 Jan
Jamie "Public Domain" Boyle sez, "When Ray Bradbury's 1953 classic, Fahrenheit 451 was published, it was scheduled to enter the public domain this month -- January 1, 2010. But then we changed the law. And Bradbury's firemen look like pikers compared to the cultural conflagration that ensued. The works may not be physically destroyed -- although many of them are; disappearing, disintegrating, or simply getting lost in the vastly long period of copyright to which we have relegated them. But for the vast majority of works and the vast majority of citizens who do not have access to one of our great libraries, they are gone as thoroughly as if we had piled up the culture of the 20th century and simply set fire to it; and all this right at the moment when we could have used the Internet vastly to expand the scope of cultural access. Bradbury's firemen at least set fire to their own culture out of deep ideological commitment, vile though it may have been. We have set fire to our cultural record for no reason."

Remember folks, thanks to 11 copyright term extensions in the past 40-some years, more than 98% of all works in copyright are "orphaned" -- still in copyright, but no one knows to whom they belong.

But the legal changes introduced in the years after Fahrenheit 451 did more than just extend terms. Congress eliminated the benign practice of the renewal requirement (which had guaranteed that 85% of works and 93% of books entered the public domain after 28 years because the authors and publishers simply didn't want or need a second copyright term.) And copyright, which had been an opt-in system (you had to comply with some very minor formalities to get a copyright) became an opt out system (you got a copyright automatically when you "fixed" the work in material form, whether you wanted it or not.) Suddenly the entire world of informal and non commercial culture -- from home movies that provide a wonderful lens into the private life of an era, to essays, posters, locally produced teaching materials -- was swept into copyright. And kept there for the life of the author plus 70 years. The effects were culturally catastrophic. Copyright went from covering very little culture, and only covering it for a 28 year period during which it was commercially available, to covering all of culture, regardless of whether it was available -- often for over a century. Unlike Fahrenheit 451, the vast majority of the culture swept into this 20th century black hole was not commercially available and, in most cases, the authors are unknown. The works are locked up -- with no benefit to anyone -- and no one has the key that would unlock them. We have cut ourselves off from our own culture, left it to molder -- and in the case of nitrate film, literally disintegrate -- with no benefit to anyone. The works may not be physically destroyed -- although many of them are; disappearing, disintegrating, or simply getting lost in the vastly long period of copyright to which we have relegated them. But for the vast majority of works and the vast majority of citizens who do not have access to one of our great libraries, they are gone as thoroughly as if we had piled up the culture of the 20th century and simply set fire to it; and all this right at the moment when we could have used the Internet vastly to expand the scope of cultural access.
Fahrenheit 451... Book burning as done by lawyers (Thanks, Jamie!)

(Image: Burned Book a Creative Commons Attribution ShareAlike image from Paraflyer's photostream) (Thanks, Jamie!)



 

STARTING: A 20-Year Mini Ice Age? The bitter winter afflicting much of the Northern Hemisphere i…

10 Jan

STARTING: A 20-Year Mini Ice Age?

The bitter winter afflicting much of the Northern Hemisphere is only the start of a global trend towards cooler weather that is likely to last for 20 or 30 years, say some of the world’s most eminent climate scientists.

Their predictions – based on an analysis of natural cycles in water temperatures in the Pacific and Atlantic oceans – challenge some of the global warming orthodoxy’s most deeply cherished beliefs, such as the claim that the North Pole will be free of ice in summer by 2013.

According to the US National Snow and Ice Data Centre in Colorado, Arctic summer sea ice has increased by 409,000 square miles, or 26 per cent, since 2007 – and even the most committed global warming activists do not dispute this.

Brr. I don’t want a mini ice age.

 

Big Lebowski rewritten as a work of Shakespeare

08 Jan
"The knave abideth." Sweet baby Jesus, the attention to detail in this sucker is just mindblowing! What a thing of beauty. Here's the carpet-staining scene:
shakespearepicture.jpg WOO: Rise, and speak wisely, man--but hark; I see thy rug, as woven i'the Orient, A treasure from abroad. I like it not. I'll stain it thus; ever thus to deadbeats.

[He stains the rug]

THE KNAVE: Sir, prithee nay!

BLANCHE: Now thou seest what happens, Lebowski, when the agreements of honourable business stand compromised. If thou wouldst treat money as water, flowing as the gentle rain from heaven, why, then thou knowest water begets water; it will be a watery grave your rug, drowned in the weeping brook. Pray remember, Lebowski.

THE KNAVE: Thou err'st; no man calls me Lebowski. Yet thou art man; neither spirit damned nor wandering shadow, thou art solid flesh, man of woman born. Hear rightly, man!--for thou hast got the wrong man. I am the Knave, man; Knave in nature as in name.

BLANCHE: Thy name is Lebowski.

Two Gentlemen of Lebowski, by Adam Bertocci (thanks, chris arkenberg, PLEASE PLEASE let this end up as a live stage performance for yea, verily I should like to see it)

 

District 9’s Neill Blomkamp Explains Why He Won’t Make Big Budget Movies [Neill Blomkamp]

01 Jan

When District 9 director Neill Blomkamp makes his next film, he won't have a $100 million budget. Instead, he'll keep making films on the (relative) cheap, because it's the only way to make science fiction movies with creative freedom.

In a recent interview with the L.A. Times, Blomkamp made it quite clear that he wants nothing to do with $100 million budgets and major studio releases. The reason for this, he explains, is that he wants to be able to tell his own stories in his own way, and that just isn't possible when such massive amounts of money are involved. He cites this overwhelming need for studios to protect their investment as the main reason why almost all science fiction films are either adaptations, sequels, or reboots.

Blomkamp's observations weren't limited to the purely financial. He also delved into how these considerations affect the creative side of science fiction movies:

I think about this a lot – a hell of a lot actually – and how it plays out within the genre of scifi and horror. This concept of "Where does that fiction [in its source material form] come from?" If you look at the most meaningful science fiction, it didn't come from watching other films. We seem to be in a place now where filmmakers make films based on other films because that's where the stimuli and influence comes from. But go back and look at something like [Joe Haldeman's 1974 novel] "The Forever War" – that is very much rooted in his experience in Vietnam, that's where the stimulation comes from. And that's my goal, really, is not to draw from other films in terms of the overall inspiration and stimuli. You can in terms of design and tone and stuff, certainly, but not in terms of the idea and the genesis of that idea.

In terms of his own future making movies, Blomkamp reflected on his process promoting District 9 as a template for what he hopes to achieve next time. Since District 9 cost relatively little to make, it didn't need to attract a particularly wide audience for it to be a financial success; the fact that it did become something of a minor mainstream hit was just a nice bonus. Blomkamp felt fairly comfortable that the film would do all right financially after it enjoyed such a positive reception at Comic Con. As long as his movies can keep finding an audience with genre fans, he feels confident he can keep making movies for the foreseeable future.

Blomkamp concluded the first part of the interview with his thoughts on what he was trying to say in District 9 and whether he feels audiences understood his messages:

For the most part, "District 9" is absolute popcorn. It's absolute fluff compared to how serious those real-life topics are. The topics in the film are on my mind all the time and they're very interesting to me. The bottom line is "District 9" touches on 1% of those topics in terms of how severe they could be portrayed, and I knew that when I made it. But people got the messages. Xenophobia, racism allegories – they got all of it. I don't think the film was misunderstood. Not everybody loved it. Nigerians weren't happy. They were pissed. And I suppose that's fair enough because I directly named them and they don't come off well in the film. But that was part of the whole satirical nature of the film. And that conflict, well, that's a South African thing.

The rest of the interview will be published on the L.A. Times blog in the near future.

[Hero Complex]