where engineers and scientists are also working on robots and space elevators.
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in its use there is the widest correct range of service.
tillmans.
mercury in relief.
let's make it a sticky, shiny, martin parr summer.
lego and the future of learning.
california king.
we met at right angles.
once, when you were right, i was wrong.
elegant eolid.
sea clown nudibranch.
sponge-eating nudibranchs concentrate the toxins from their prey sponge in their bodies, rendering themselves toxic to predators.
fidelity.
tools for collection.
the tip of the stinger.
rice crispy square, the variations in.
the peacock mantis shrimp, odontodactylus scyllarus, has 15 types of optical receptors (compared to our 3), and can see circularly polarized light. it also has the fastest punch of any animal, at over 50 mph.
'the quest for simplicity has to pervade every part of the process. it really is fundamental.'
skeuomorphism ... Ive offers a wince but it's a gesture of sympathy rather than a suggestion that he dislikes such things. At least, that's how I read it. He refuses to be drawn on the matter, offering a diplomatic reply: "My focus is very much working with the other teams on the product ideas and then developing the hardware and so that's our focus and that's our responsibility. In terms of those elements you're talking about, I'm not really connected to that."
ps: twice knighted.
documents for artists.
By the way, would you convey my compliments to the purist who reads your proofs and tell him or her that I write in a sort of broken-down patois which is something like the way a Swiss waiter talks, and that when I split an infinitive, God damn it, I split it so it will stay split, and when I interrupt the velvety smoothness of my more or less literate syntax with a few sudden words of barroom vernacular, this is done with the eyes wide open and the mind relaxed but attentive. The method may not be perfect, but it is all I have. I think your proofreader is kindly attempting to steady me on my feet, but much as I appreciate the solicitude, I am really able to steer a fairly clear course, provided I get both sidewalks and the street between.
all the way to sternfeld.
brits interpret the new world:
paul graham, america.
martin parr, mexico.
blink, steady.
(everyone and their brother sister mother fathers are launching kickstarter campaigns?)
pantheon of broken men and women.
leah beeferman.
(monitoring the architecture of science: a studious, imaginative investigation of space-bound and land-based far-traveling and distant-looking orbiting and non-orbiting structures)
One thing visitors won’t be getting is lots of information on the walls. Each objet will be identified in situ – but there is only one substantive text panel, at the show’s start, while each of the exhibition’s seven sections will be prefaced only by a single quotation, such as “Art is never chaste” (for the grouping called Surreal Anxiety and Desire/1924-34).
It’s completely intentional, of course. Didactic panels bunch up viewers and tend to mediate, even “blind” their experience of the art, Baldassari said.
“What we need to do is go freely to the work. We have to have the courage to be nude in front of the works. An exhibition is not a text, is not a book. We don’t need any explanation at the first level of contact ... to respect it, to put people under its power. What is an exhibition but a machine to exhibit people to the work? We need to be in a direct relation, without any ‘facilities,’ no small stories, no narratives.”
