(Reblogged from did-you-kno)

wnyc:

It’s been 20 years since the Rangers have tasted Stanley Cup glory. It’s been more than 30 since professional sports teams from Los Angeles and New York have met in the finals. 

Get ready for some exciting hockey, y’all.

—Sean, Sideshow (photo via)

(Reblogged from wnyc)

Pixar releasing its RenderMan rendering software for free this August

iheartchaos:

While Pixar’s RenderMan software is no longer the baddest thing on the block, it is the software that made so many computers hurt so good crunching together the original Toy Story and other Pixar masterpieces. Even in its latest version, it’s a piece of software that normally sells for $500, so it’s definitely something to get your hands on when it hits the price of “free” later this year.

Read the story here

Cool

(Reblogged from iheartchaos)

darksilenceinsuburbia:

Luca Zanier

From Powerbook

Nuclear power plants are among the most exclusive of spaces, kept under lock and key to guard against disastrous accidents or terrorist attacks. For his series Space and Energy, Zurich-based photographer Luca Zanier gains access into the impenetrable depths of nuclear and coal-fired power stations, cataloging their high ceilings and endless corridors. Through his lens, these plants, which fuel our daily lives, resemble the cold, sterile sets of Stanley Kubrick’s 1968 classic “2001: A Space Odyssey.”

In these power plants and nuclear waste storage facilities, Zanier discoverers an elegant artistry. Much like the duomo of a sacred cathedral, twisting, monolithic ceilings emanate color and light, ascending towards infinity. Though absent of human figures, the space seems to buzz and hum with energy. Marrying the objectivity of the photographic works of artists like Berndt and Hilla Becher with a profound sense of awe, Zanier presents these monolithic spaces as both essential and chilling. Though necessary for modern life, the plants, with their electric shapes and hues, seem vaguely portentous, bringing with them a new—and uncertain— dawn of technological advancement.

Zanier is represented by the Anzenberger Gallery. His book is available here.

1. Katrin I Spectrometer, balance of neutrino 

2. Beznau I Nuclear power plant, control room 

3. Collombey I Oil refinery 

4. Trianel I Coal-fired power plant, interior view of the cooling tower 

5. Aarmatt I Interior view of a gas sphere 

6. Zwibez III Interim storage for nuclear waste, connecting stairs 

7. Beznau III Nuclear power plant, dosimeter

8. Zwilag I Security gate to the storage for low radiation and medium-radiation waste

9. Celestin I Spiral driveway 

10. Ferrera II Water Power Plant, Cavern of the underwater surge tank 

Follow the power

(Reblogged from darksilenceinsuburbia)

jtotheizzoe:

pennyfornasa:

On this day in 1965, astronaut Edward H. White II became the first American to perform Extra Vehicular Activity (EVA), also known as a spacewalk.

As a part of the Gemini 4 mission, astronauts Edward H. White II and James McDivitt were sent on a four day spaceflight, the first multi-day spaceflight by the United States. The mission’s primary objective was to evaluate the effects of prolonged spaceflight and to demonstrate that humans could remain in space for extended periods of time. It’s secondary objective was to conduct the first Extra Vehicular Activity by an American astronaut and to evaluate the ability of the Hand-Held Maneuvering Unit (HHMU), also known as the zip gun, to control the astronaut’s movement.

Edward White, who was lucky enough to perform the first spacewalk, was so enthralled by the experience that he did not want to return to the spacecraft when commanded to.

The transcript from the Gemini 4 mission plays more like a mother calling to her son playing outside to come in for dinner.

McDIVITT: They want you to get back in now.
WHITE (laughing): I’m not coming in… This is fun.
McDIVITT: Come on.
WHITE: Hate to come back to you but I’m coming
McDIVITT: Gosh, you still got three and a half more days to go, buddy
GEMINI CONTROL: You’re got about four minutes to Bermuda.
WHITE: I’m trying to…
McDIVITT: O.K. O.K. Don’t wear yourself out now. Just come in… How you doing there?
WHITE: … whenever a piece of dirt or something goes by, it always heads right for that door and goes on out.
McDIVITT: O.K., come in then.
WHITE: …aren’t you going to hold my hand?
McDIVITT: No, come on in the… Ed, come on in here!
WHITE: All right. I’ll open the door and come through there…
McDIVITT: Come on. Let’s get back in here before it gets dark.
WHITE: It’s the saddest moment of my life.
McDIVITT: Well, you’re going to find it sadder when we have to come down with this thing.

Read more about America’s first spacewalk here: http://motherboard.vice.com/en_ca/blog/americas-first-extra-vehicular-activity

Read the full transcript of the Gemini 4 mission here: http://www.jsc.nasa.gov/history/mission_trans/GT04_TEC.PDF

Does everyone become a little kid on a spacewalk? I hope so.

(Reblogged from jtotheizzoe)

darksilenceinsuburbia:

Iwan Baan

Makoko Floating School - Lagos, Nigeria

by NLE, Kunle Adeyemi

Makoko Floating School is a prototype floating structure, built for the historic water community of Makoko, located on the lagoon heart of Nigeria’s largest city, Lagos. As a pilot project, it has taken an innovative approach to address the community’s social and physical needs in view of the impact of climate change and a rapidly urbanizing African context. Its main aim is to generate a sustainable, ecological, alternative building system and urban water culture for the teeming population of Africa’s coastal regions. 

See also: New York Times: School at Sea - Michael Kimmelman 
And Abitare, May 2013: The floating school of Mak

(Reblogged from darksilenceinsuburbia)

darksilenceinsuburbia:

Chris Jones

Chris Jones’s large-scale sculptural work looks fragile even though his subject matter often focuses on objects we presume to be tough, stable — even nearly unbreakable. In his current show at Mark Straus Gallery in New York City, a sports car melts and unravels before our eyes. A motorcycle tempts us to scratch and peel away its layers. Houses disintegrate into heaps of deteriorating objects. Jones works with abandoned and disused materials — old magazines, books, encyclopedias, paper ephemera and even trash — to create papier mache pieces that destabilize our view of the world around us.

(Reblogged from darksilenceinsuburbia)
(Reblogged from dailydubs)
(Reblogged from nevver)
tastefullyoffensive:

She couldn’t bear the sight of it. [childofdust]

tastefullyoffensive:

She couldn’t bear the sight of it. [childofdust]

(Reblogged from tastefullyoffensive)