Unravelling the real 3D Mandelbrot

Mandelbrot Gateaux

“The original Mandelbrot is an amazing object that has captured the public’s imagination for 30 years with its cascading patterns and hypnotically colourful detail. It’s known as a ‘fractal’ – a type of shape that yields (sometimes elaborate) detail forever, no matter how far you ‘zoom’ into it (…) What we have featured in this article is a potential 3D version of the same fractal…”

 

Farewell, David

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David Carradine portrait by Mark Berry  All rights reserved

Por todas las mañanas de infancia, por esa pinta de vividor de los que pisan a fondo que no conseguían ocultar sus personajes, pero sobre todo por demostrar que tras años de cine “malo” (o precisamente por eso), uno puede redimirse con quince putas frases.  

BILL: As you know, l’m quite keen on comic books. Especially the ones about superheroes. I find the whole mythology surrounding superheroes fascinating. Take my favorite superhero, Superman. Not a great comic book. Not particularly well-drawn. But the mythology… The mythology is not only great, it’s unique. 


THE BRIDE: How long does this shit take to go into effect? 

BILL: About two minutes, just long enough for me to finish my point. Now, a staple of the superhero mythology is, there’s the superhero and there’s the alter ego. Batman is actually Bruce Wayne, Spider-Man is actually Peter Parker. When that character wakes up in the morning, he’s Peter Parker. He has to put on a costume to become Spider-Man. And it is in that characteristic Superman stands alone. Superman didn’t become Superman. Superman was born Superman. When Superman wakes up in the morning, he’s Superman. His alter ego is Clark Kent. His outfit with the big red “S”, that’s the blanket he was wrapped in as a baby when the Kents found him. Those are his clothes. What Kent wears – the glasses, the business suit – that’s the costume. That’s the costume Superman wears to blend in with us. Clark Kent is how Superman views us. And what are the characteristics of Clark Kent. He’s weak… he’s unsure of himself… he’s a coward. Clark Kent is Superman’s critique on the whole human race…

La foto es del set de Flickr de Mark Berry, Photographer & Graphic Designer, estupendo.

“just landed”… tweets visualization with processing


just.landed.processing.twitter.visualization

Visualizacion animada con Processing (lenguaje y entorno de programación de código abierto basado en Java) de los tweets que contienen la cadena de texto “just landed”. Relacionando el destino mencionado con la ciudad marcada por el usuario como su localizacion, traza las rutas en una animacion elegante.

Mas en el blog de Jer Thorp, autor de Just Landed en la entrada:
Just Landed: processing, Twitter, MetaCarta & Hidden Data

Via: Information aesthetics
Ver video:


We live in public

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WireImage/Getty Images

“‘We Live in Public’ follows the rise and fall of Mr. Harris, who made $80 million when his Internet-research company, Jupiter Communications, went public in the early 1990s. He used his dot-com millions to fund experimental art projects — surveillance-themed works that seemed to anticipate today’s over-sharing Internet culture of blogs, Twitter and social-networking sites. Mr. Harris installed 32 cameras in the loft he shared with his girlfriend. 


When his girlfriend got fed up and left, and when the Internet bubble burst and Mr. Harris lost millions, his financial and emotional disintegration was broadcast live to viewers who visited his Web site. Ms. Timoner weaves in raw footage, including a scene where Mr. Harris and his girlfriend fight, then rush to their computers to read site visitors’ comments about their spat.”
10 años y mas de 5000 horas de metraje concentrados en el documental de 90 minutos “We live in public“, acerca de Josh Harris. El proyecto de Ondi Timoner, ganador de la categoría documental del festival de Sundance, se proyecta este domingo en el MOMA como final del 38 festival de Nuevos Directores. Si les cae cerca, no se lo pierdan.
Via: ‘The Truman show for everyone’, WSJ article by Alexandra Alter

Hitchcock portfolio, fotografía by Vanity Fair

Fotografia Charlize Theron, Hitchcock classic, por Norman Jean Roy

 

Crimen perfecto“Dial M for Murder”,  1954.
Pelicula original protagonizada por Grace Kelly y Ray Milland.

 

En su número de Marzo del año pasado, la revista Vanity Fair se planteo capturar el suspense de un montaje de los clásicos de Hitchcock. Fotos de Keira Knightley, Scarlett Johansson, Javier Bardem o Seth Rogen, participando de unos sets cuidadosamente montados para recrear la magia de algunos de los míticos rodajes del ingles que mejor supo tejer fobias e intrigas, trasladándolas al celuloide. Julian Broad, Norman Jean Roy, Mark Seliger, y Art Streiber al otro lado de la lente, ahí es nada.

En la fotografia Charlize Theron por Norman Jean Roy.
Foto original, Anthony Dawson and Grace Kelly. ©Warner Brothers.
Recreacion de la escena en la cual Charles Alexander Swann (Dawson) intenta estrangular a Margot Mary Wendice (Grace Kelly), solo para terminar apuñalado con un par de tijeras, la cual causo mucho estress al propio hitchcock. Si bien la pelicula completa se rodo en 36 días, esta “simple” escena necesito una semana entera de preparacion y múltiples tomas para lograr que la coreografia y el timming fueran los correctos.

La lista completa incluye a Casey Affleck, Javier Bardem, Josh Brolin, Julie Christie, Marion Cotillard, Robert Downey Jr., Ben Foster, Jodie Foster, Emile Hirsch, Scarlett Johansson, Keira Knightley, Jennifer Jason Leigh, James McAvoy, Omar Metwally, Gwyneth Paltrow, Seth Rogen, Eva Marie Saint, Charlize Theron, Naomi Watts, Tang Wei, y Renée Zellweger…

Continue reading “Hitchcock portfolio, fotografía by Vanity Fair”

Watching The Watchmen

Watching the watchmen, cubierta del libro

“I don’t think we ever thought that we were going to produce the Citizen Kane of comics…” 
Con motivo del lanzamiento de “Watching The Watchmen”, la revista Wired entrevista a Dave Gibbons, cocreador de The Watchmen, obra icono dentro de la cultura del comic, en ocasiones sobrevalorada en exceso y casi siempre mas asociada a la larga y excentrica sombra de Alan Moore que al tandem que le dio luz. En el libro se recopilan retazos del proceso creativo, notas, bocetos del propio Gibbons. Sacado, todo sea dicho, justo a tiempo para que coincida con el lanzamiento de la pelicula que el “visionario” de Zack Snyder ha dirigido (como bien apunta Scott Thill en la entrevista, es fácil ser visionario cuando cuentas con algunos de los mejores storyboards de la historia).
 Una entrevista interesante donde revisa su relacion con Moore, con su trabajo original, la pelicula y en parte su forma de entender el comic.

Kittinger, el hombre que callo a la tierra. Tres veces.

Joe Kittinger, el hombre que callo a la tierra

In November of 1959 US Air Force Captain Joe Kittinger, fitted with a pressurized suit and a parachute, rode a high-altitude helium balloon to a height of 76,400 feet above the Earth’s surface. He then proceeded to jump. This had never been done before, and why would it have been? Kittinger entered a free-fall during which he lost consciousness after entering a 120rpm spin the g-forces of which were calculated to be 22 times the force of gravity at his extremities. Fortunately, his parachute was set to automatically open, which it did, saving his life. Three weeks later he rode another balloon high into the atmosphere and jumped from 76,700 feet. This was Project Excelsior. It was research.
That was nothing, though. On August 16, 1960 Captain Kittinger took a balloon up to 102,800 feet. He could see the curvature of the Earth. He could see entire continents. He was effectively the first human being in space. Again, he jumped. He fell for 4 minutes 36 seconds reaching a speed of 614mph. He thought he had broken the sound barrier. At 18,000 feet he opened his parachute and calmly returned to Earth. He set records for the highest balloon ascent, highest parachute jump, and fastest speed by a man through the atmosphere. He also earned a whole series of medals and would eventually be promoted to Colonel. Recognition and rank aside, why would anybody do this?
Because they wanted to understand, to learn, and the only way to do this effectively was to do it yourself. As we entered an age after the conclusion of World War II defined by new and incredible breakthroughs in technology we needed to understand limits, capacities, and thresholds. In the days before super computers and sophisticated software modeling, this was how it was done. There was a need to understand the affects of high altitude bailout on the pilots and astronauts who would be flying at those altitudes. There was a need to test the effectiveness of the equipment we were designing. That meant someone needed to ride a balloon up that high and jump out. Captain Kittinger volunteered for the opportunity. He showed scientists that astronauts could survive the harshness of space with just a pressure suit and that man could eject from aircraft at extreme altitudes and survive.
More about Joe Kittinger and Project Excelsior here, here and here.
There is also this incredible footage of his jump in 1960 with some narrative from Joe Kittinger:
http://www.youtube.com/watch?v=81gn2oLeC_U
http://www.nationalmuseum.af.mil/factsheets/factsheet.asp?id=562
http://www.elchineroconcepts.com/Joe%20Kittinger.htm
http://en.wikipedia.org/wiki/Joe_Kittinger

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