Bits and pieces of current obsessions
typicalhope:

manekin

typicalhope:

manekin

typicalhope:

CHASE

typicalhope:

CHASE

valkyriestrikeofthelashatterdome:

gotterdammerungs:

                             (x)

And then in the future, everything changes. He’s been through it all, of course-watched humanity rediscover the heavens above them, watched them begin to wonder what’s out there. He cheered with the rest of the world when they landed on the moon, cheered as if he’d found Isla de la Muerta all over again, because there was something new. New treasure, a new horizon. But then they stop going, stop exploring, and he goes back to riding tankers across the rising seas. So he’s surprised when one day he wakes up from a night with his bottle of rum (his truest companion), and hears that there’s colonies on Mars now, and they need ships to supply them. He spends the next decade crafting new identities, learning all he can to qualify for the job, and after several tries (and even more faked deaths-this immortality thing isn’t all it’s cracked up to be in the age of the inerasable digital self) he gets it. The ships go nearly constantly now, the needs of the terraforming project creating an unbroken line of vessels from Mars to Earth and back again. “Show me that horizon,” he whispers to himself, his personal prayer of thanksgiving, each time they leave orbit, because the worlds, the stars are in motion and it’s never the same, with nearly three years for a round trip the ports are always different, even if they keep the old names. And finally one trip something goes wrong with the reactor, they’re too low on power and have to deploy the backups, and Jack (Lucky Jack, they call him, for he survives too many things he shouldn’t but science has yet to accept that maybe some things weren’t old wives’ tales after all) goes out for the spacewalk to bring up the solar panels. And as they rise, geometric patterns black against the sun’s glare, he’s struck by a powerful sense of déjà vu, because it’s all here-wind and sails, a ship beneath his feet and stars above his head, horizon in all directions. He wonders, for a moment, if the reason he’s still here is because the universe wanted a witness, to mourn the end of one age of exploration, and rejoice in the birth of the next.

(Source: jamesfrancos, via nine-worlds-geekfest)

rebeccamock:

The Aftershocks
medium.com

I was asked to create a .gif of a house interior during an earthquake. The article chronicles the controversial aftermath of the devastating quake that happened in L’Aquila, Italy in 2009. I wanted to capture the movement of the “tremors” before the full-on earthquake, although this tremor is infinite, never resolving.
This image and the all the animation was made in Photoshop. thanks AD Erich Nagler!

http://nine-worlds-geekfest.tumblr.com/post/92551095692/misterracoon-roachpatrol-yeah-seriously-tell

misterracoon:

roachpatrol:

yeah seriously tell us how wizardry’s done in the new world tell me how the wizards from france and spain and britain stamped out the brujos and the medicine men and set up their own schools tell me what the fuck the british raj did to fucking india…

OMG.

1 month ago - 27385

Oh, this is a beautiful, glorious thing.


On the left is a manuscript in which a scribe has resolved a great many problems of adjacency— not only of letters but of multiple kinds of marks—, with great skill and confidence. He has learned how to do this, learned what solutions may be used in each situation, so that it is second nature: something he doesn’t need to think about each time the problems arise. This allows him to write fluidly and accurately, and in the Islamic ijāzah system he will have received certification of his knowledge and skill in this particular style of script.
On the right is the same text, typeset in a technology that also does a good job of resolving these problems of adjacency,* and which does so using the same canons of competency as the scribe. The difference, of course, is that the knowledge and skill that reside in the mind and hand of the scribe must, in the case of typography, reside to a large degree in the typesetting system. This doesn’t make obsolete, of course, the knowledge and skill of the human typographer, the person responsible for the overall text design. But we’ve come to expect our fonts and our software to take care of a great deal of what we term ‘micro-typography’ and, at the least, to provide acceptable default behaviour. And micro-typography is all about relationships of adjacency.

Via John Hudson’s Typecon presentation.

On the left is a manuscript in which a scribe has resolved a great many problems of adjacency— not only of letters but of multiple kinds of marks—, with great skill and confidence. He has learned how to do this, learned what solutions may be used in each situation, so that it is second nature: something he doesn’t need to think about each time the problems arise. This allows him to write fluidly and accurately, and in the Islamic ijāzah system he will have received certification of his knowledge and skill in this particular style of script.

On the right is the same text, typeset in a technology that also does a good job of resolving these problems of adjacency,* and which does so using the same canons of competency as the scribe. The difference, of course, is that the knowledge and skill that reside in the mind and hand of the scribe must, in the case of typography, reside to a large degree in the typesetting system. This doesn’t make obsolete, of course, the knowledge and skill of the human typographer, the person responsible for the overall text design. But we’ve come to expect our fonts and our software to take care of a great deal of what we term ‘micro-typography’ and, at the least, to provide acceptable default behaviour. And micro-typography is all about relationships of adjacency.

Via John Hudson’s Typecon presentation.

strandbooks:

Underlined passage, Mystery, So Long by Stephen Dobyns, page 74.

Cities and Memory is a sound project that attempts to record both the present reality of a place, but also its imagined, alternative counterpart – remixing the world, one sound at at time.

Every faithful field recording document here is accompanied by a reworking, a processing or an interpretation that imagines that place and time as somewhere else, somewhere new. The listener can choose to explore locations through their actual sounds, or explore interpretations of what those places could be – or to flip between the two different sound worlds at leisure.

Link: http://citiesandmemory.com/about-the-project/

My favorite I’ve found so far: http://citiesandmemory.com/2014/06/shhh-its-the-sounds-of-the-british-library/

thedavidoreilly:

Super beautiful mountain art by the amazing Elle Michalka - for sale on various objects -> (link)