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they just announced on npr that today is the day the sunset (8:20 pm) aligns with the streets of manhattan. the following wikipedia excerpt explains :
What you're talking about is called the sunrise/sunset azimuth, which is the observed angle (equivalent to compass directions) of the sun at the point at which it crosses the horizon.
Let's check out the facts: first off, alignment of both sunrise/sunset with the grid cannot happen on the same day, so you have to look at each separately. Since Manhattan North is approximately 29 degrees east of north, the sunset azimuth to align with the grid would be approximately 299 degrees (since 270 is due west by convention, with values increasing clockwise). Likewise sunrise azimuth to align with the grid would be approximately 119 degrees (90 degrees is due east).
If you go to the U.S. Navy's site, it will calculate the solar altitude/azimuth tables for you, showing the values at various times throughout the day for any location/date. The sunset azimuth is (by definition) the value of the azimuth (2nd column) when the solar altitude (1st column) is zero while crossing from positive to negative. Conversely the sunrise azimuth is the value when the altitude is zero, crossing from negative to positive.
Using the form they provided, I entered New York, NY and then experimented with various dates. If I enter in May 28 or July 12, I see that the azimuth at sunset is approximately 299 degrees, which means those dates are accurate for the sunset alignment (on July 12 it happens around 19:20, if you want to check for yourself).
You can verify that sunrise/sunset alignments definitely do not occur on the same day. On July 12, for example, the sunrise azimuth is around 59 degrees (in the NE part of the sky).
I did some experimenting and found that for that New York City, I get sunrise azimuth of 119 degrees on/around December 6 and January 12. Those may be off by a day or so. -- Decumanus 19:15, 2005 Jan 19 (UTC)
house of kolor paint
parody~parity
For nearly 20 years, John Kelly has been performing as Joni Mitchell. In heels and a blond wig, the 6-foot-tall Kelly takes to the stage and sings for an adoring audience - an audience that occasionally includes Mitchell herself. Mitchell tells Sharon Lerner why she loves Kelly's act.
new initiation lot
haier portable washers
duct tape artists
in support of the people of london
on keeping your town weird
moody report:
Just found this article by Morgan Reynolds, a Texas A&M professor and economist in the first Bush administration, arguing that the World Trade Center towers collapsed from a controlled demolition (i.e., explosives planted in the building) rather than jet fuel melting the steel beams. Reynolds asks: why was the steel rapidly shipped to China and melted before engineers had had a chance to do "forensics" on it? (This January 2002 article from Fire Engineering magazine suggests it was because the Port Authority didn't want lingering evidence of shoddy construction or fireproofing--also, maybe they just wanted Silverstein, the owner, to get some fast $$$.) Why was all the concrete in the buildings pulverized into fine dust by the force of the collapse? (Reynolds says that only happens when explosive charges are used.) Can jet fuel really melt steel? (A German engineer says burning kerosene isn't hot enough.) And:
this will be where i will post some reflections on my visit to the most bodacious town of portland oregon.
it may be a paraphrase but i think our hosts steve and erin quoted dave hickey speaking of their home town : "i hate portland --it feels like it was made for eight year olds." perhaps they can correct the record if thats too far off, but what i think he was getting after is just how utterly inner-child friendly and nurturing the topography is. light rails, bike lanes, flowerbeds, container plantings, terrible but climbable public sculpture, waterfronts, public water parks, skateboard parks. no litter. no fucking liter at all. even the entrance ramps to the highways are filled in with all sorts of flowering plants and well groomed green lawn. ...but i suspect hickeys quote goes even deeper.
rat rod pick of the week
You don’t hear coughing on the radio. You just don’t. So when the coughing goes on … and on and on and on and on -- on a loop for something over five minutes -- you can hardy make sense of it. Infact, you can hardy do anything but try and restrain the cramping in your stomach. No one expects that of radio (even the Howard Stern fans), and no one turns to their computer and actively types in w w w dot w f m u dot org and calls up a live stream for a show called “Anal Magic with Kenny G”. Because that’s absurd and seemingly shouldn’t exist in any sort of reality.
ex fmu'er douglas wolk chatting up audio blogging in the la times via tofu hut who happens to get a big mention
As recently as a year ago, there were perhaps two dozen music blogs. Now there are well over 50, with more appearing every day from all over the world, specializing in everything from hard-core punk to pre-World War II gospel.
Music blogging has developed into a subculture with its own unofficial leaders and unwritten rules, and it's becoming a significant force in the music industry, which mostly seems to be smiling on the phenomenon.
There's a relatively standard format for MP3 blogs that's unofficially evolved: one or two songs a day, each one accompanied by a paragraph or two about the song or the artist. Some bloggers also include photographs or links to places where their readers can buy the CD on which each song appears.
Most focus on little-known musicians or rare and out-of-print recordings; few will post something that's already a huge radio hit or by a very famous artist, and it's frowned upon to post more than a single song from a given album.
not juventudes report:
“It's pretty amusing the SmackDown! brain trust hasn't capitalized on the interest in JBL and The Meanie and begged Vince McMahon to allow this match to take place on TV or pay-per-view,” Heyman said. “If they don't have the vision, ECW certainly does, and I'd welcome that match on any platform ECW is afforded. I even propose we allow the two to fight in the streets of New York City and broadcast on ECW.com! After failing to silence his harshest critic, I think it's on JBL to prove if there's anything but bullsh** behind the Wrath of the Wrestling God.”via otis brawl
Waylon Jennings - Dukes of Hazzard Theme
Drawing Restraint 9, a film by Matthew Barney with a soundtrack composed by Björk, represents the first creative collaboration of two of the most protean, dynamic forces in music and fine art.
thx j zoller
the other (better) landers
''I don't like having my own work in the house.''--r.prince
happy birthday america - scroll till you find the better(american)beatles / via crudcrud
"It's truly the most vulgar thing I have ever seen in my entire life," said Jennie Farrell, whose brother James, 26, an electrician, died on the 105th floor of the south tower.
"To call it art is reprehensible, and to place it at Ground Zero is committing a second criminal act against our dead," she added.
"It's offensive, it's America-bashing, it's a despicable insult to the families of people defending us in Iraq, and I'm sick and tired of it," said Jack Lynch, who helped carry the body of his firefighter son Michael, 30, out of the rubble.
"On 9/11, the families were violated by terrorists. Now we're being violated all over again, and it brings 9/11 right back home to each of us."
congratulations to our friend and jersey city artist amy
wilson for stirring up some real shit on the front page of the daily news!
and jetblue has wifi in the waiting area. no sign of alex yet.
The work of a Rotterdam design collective called Studio Sputnik, Snooze extends the inquiry begun a generation ago by architects like Robert Venturi, Denise Scott Brown and Steven Izenour, in Learning from Las Vegas, and continued more recently by Lars Lerup, in After the City — the exploration of how architecture, so long a redoubt of high culture, might interact with popular culture and mass media. Or, as the authors put it, right at the start: "The lifestyle magazine Wallpaper* has a clever title. The asterisk refers to the subtitle: 'the stuff that surrounds you.' That is what this book is about: the spatial environment as a sum of the stuff that surrounds you, in the broadest sense of the word: the city and the landscape, but also the immaterial world that surrounds us: adverts, radio and television broadcasts, fashion hypes. In short, mass culture." One might, of course, expand the list of what makes up mass culture — surely the lurid celebrity trial now constitutes a category of its own, ditto the omni-media Paris Hilton — but there's no doubt that all this stuff — insubstantial and ephemeral but ever-present and powerful — does indeed surround us, and that it poses a challenge to architects. How do you make buildings meaningful nowadays, when the mood and image of a place can be set as much by promotional campaigns for sneakers and cars as by works of architecture? Can a profession that continues to fetishize the heroic, the individual genius-creator and the singular masterwork, be anything but marginal in an economy that favors quick delivery, fast turnaround, and mass consumption?
Snooze contends — reasonably, I think — that for a long time architects have tended toward one of two approaches to mass culture: either that of the reformer, the idealist and utopian who knows "what is good" and is eager to use that knowledge to improve the world, or, more recently, that of the pragmatist, the practical "surfer on the swell of the age," who is content to "take things as they are." From the authors' perspective — as youngish architects, still in their first decade of practice — both attitudes have outlived their usefulness, and they propose, with disarming non-insistence, a middle ground between idealism (which can tilt toward elitism) and pragmatism (which can curdle into cynicism). They describe this middle ground as akin to avant-pop — a term popularized in the mid-'90s by the literary critic Larry McCaffery, who wanted to capture the unexpectedly rich blending in contemporary art of avant garde and pop culture — and suggest that this sensibility, with its fertile mix of the progressive and the popular, offers architects a productive approach to the "pluriform extravaganza" of mass culture.