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exhaust fan, kitchen at falling water house
Cherokee Red (Pittsburgh Paints Color #6432-7) - Often referred to as Frank Lloyd Wright's personal favorite, Cherokee Red is perhaps the most famous color at Fallingwater, and was used to coat most of the home's metal and ironwork. Wright is said to have limited his use of Cherokee Red at Fallingwater to metal accents because steel and iron are products of iron ore created through fire.
the realist archive project
The year 2008 marks the 10th Anniversary of the iMac, the computer that changed everything at Apple, hailing a new design era spearheaded by design genius Jonathan Ive. What most people don't know is that there's another man whose products are at the heart of Ive's design philosophy, an influence that permeates every single product at Apple, from hardware to user-interface design. That man is Dieter Rams, and his old designs for Braun during the '50s and '60s hold all the clues not only for past and present Apple products, but their future as well:via nook and justin
When you look at the Braun products by Dieter Rams—many of them at New York's MoMA—and compare them to Ive's work at Apple, you can clearly see the similarities in their philosophies way beyond the sparse use of color, the selection of materials and how the products are shaped around the function with no artificial design, keeping the design "honest."
This passion for "simplicity" and "honest design" that is always declared by Ive whenever he's interviewed or appears in a promo video, is at the core of Dieter Rams'
otis found this one
the life and times of otis ball
Researchers in Florida are growing new coral and transplanting it onto damaged reefs. They're using techniques developed, not by a marine scientist, but by the owner of a tropical fish company. With $3 million in stimulus money from the federal government, the project is being expanded.
There are many situations where a property can be enhanced by creating a useable space from a redundant upper level, however a consistent factor is limited space. The introduction of a staircase to provide access to a proposed upper level will invariably compromise the floor space below where originally no stair was intended.justin found this one
The scum has killed dozens of dogs over the years - including at least four in Oregon, three in Wisconsin and one in Minnesota this summer. Wisconsin wildlife experts are warning duck hunters with dogs to be extra cautious this fall. "If the water is pea-soup green, be sure to have clean water along to wash the dog off," Vennie said. "Don't let it drink the water."
Fewer than 100 lakes in Wisconsin typically have some problems with algae bloom each summer and the ones in western Wisconsin causing so much discomfort this year are being fueled by a perfect storm, Vennie said. The last month has seen little rain, warm, sunshiny days and little wind.
The blooms just sit there, growing, then decaying and smelling.
"Some people say they have gotten nauseous and vomited from smelling it," said Ken Schreiber, a Wisconsin Department of Natural Resources water quality specialist.
Officials have banned recreational activities at some lakes in Washington state because of blooms. And in Oregon, the blue-green algae is the number one water quality issue, Carmichael said.
Yet other countries have worse problems, Carmichael said, because many have waters with even more nutrients than exist in U.S. lakes.
In France, a horse died on a beach in July after falling into some decaying algae sludge. Last year, the Chinese government brought in the army to remove the slimy growths so the Olympic sailing competition could be held.
Stephanie Marquis, a spokesman for the Wisconsin Department of Health Services, said her agency had received 41 complaints related to health concerns with blue-green algae so far this season. Rashes, sore throats and eye irritation among the problems, she said.
ken burns national parks 12 hrs in 6 parts - check your local listings
alibris just sent me an email suggesting i buy the following book from them:
Manufacturing Consent: The Political Economy of the Mass Media
is this a trick?
rock and roll from the tv and movies - do you have 7:45 to let jerry lee shake it?
A girl and a gun? An appreciation of Hollis Frampton's cinema begins with the admission that a film requires something far simpler than Jean-Luc Godard's basic recipe. Frampton, who died in 1984 at age 48, thought the perfect film would project a rectangle of white light. "But we have decided that we want to see less than this," says Frampton's narrator in his statement of principles/performance piece A Lecture. "Very well."
Frampton may have decided it was foolish (and, on a basic cognitive level, impossible) to deny audiences the familiar and expected pleasure of narrative--none of his films resemble that Platonic ideal of white light. (nostalgia), his best-known film and a clear masterpiece, presents a familiar autobiographical scheme, as the narrator reminisces over a series of thirteen photographs. But the presentation is dissonant, and the viewer is only gradually taught how to watch the film. The photographs disintegrate into ashes on a hot plate, beginning with "the first photograph I ever made with the direct intention of making art" and ending with something that makes him believe "I shall never dare to make another photograph again." So explains the narrator, who in the first deliberate act of misdirection is not Frampton but his friend the Canadian filmmaker Michael Snow. (The voiceover gets exceedingly nested when Snow, narrating for Frampton, refers to Snow, saying with resignation, "I wish I could apologize to him.") He perpetually refers to the forthcoming photograph rather than the one smoldering before the viewer's eyes, creating a disjunction between sound and image. As soon as a new image appears, we are trying to reconcile it with the previous vignette while simultaneously listening to the narrator's recollections and regrets. In other words, we can't help but experience nostalgia. The result is alienating but rarely frustrating. (nostalgia) is a poignant depiction of the elusive nature of memory, even in an age of mechanical reproduction, as well as a deadpan prank. The critic Michael Joshua Rowin has referred to the film's final sequence--which hints at a terrifying mystery in the next photograph, one we will never see--as a three-minute retelling of Michelangelo Antonioni's Blow-Up.
not too much web documentation of national lampoons foto funnies. the series usualy involved a nude woman dropped in to some mans world situation. the format was a photographic interpretation of comic strip (funny paper or funnies) story frames. by this time in the early 70's underground comix and doonsberry * had helped re established an adult interest in the serial frame comics reading format. i offer this posting in connection to sally mccays recent academic style essay on GIF art. in connection to GIF etymology in general and specifically LM's mention [ "I find viewing films frame by frame much more formally interesting than looking at the perfect illusion of motion that they result in." ] of her GIFs distance from animated cinematic smoothness. rather a jumpy connected rhythm of readable narrative. a sort of splitting the difference between unique ideas established per (comic strip) frame and the cinematic
ease in viewing of a full rate of fps ** film experience.
* there were many soap opera / adult interest type series runing in daily news papers ie steve canyon and apartment 3-d.
the cavemen on gimmick rock
the umbrella house sarasota fla
tv cello (1984) "can we get paris?" "yes."
portsmouth sinfonia hall of the mountain king
chris burden beam drop
Lee Lozano isn't exactly a household name--even in art houses. But in the 1960s and early '70s, she was very much part of New York's art scene; she knew everyone and is remembered as an intense and engaging figure (her inamorati included such diversely talented men as Dan Graham and Joey Ramone). To say the least, Lozano had a strange--and brief--career; though lasting just over a decade, it encompassed a series of distinct styles and practices. For several years, she exhibited regularly, including group shows at Richard Bellamy's Green Gallery in 1964 and 1965. Later she distanced herself from the art world before finally dropping out altogether.