
Daily commuters 1960, Zürich.
What strikes me is how much this reminds me of axons and neurons.
Geovisualization - but does it float

Drake Brodahl
Legally Blind - 6” x 6” cel vinyl acrylic on cradled panel

The Number 2
(via olovecharlieo)

ralf baecker’s Rechnender Raum :
The inverted machine - Rechnender Raum (Calculating Space) is a light-weight sculpture, constructed from sticks, strings and little plumbs. At the same time it is a full functional logic exact neural network (*). Through its strict geometric and otherwise very filigree construction, the observer is able to track the whole processing logic from every viewpoint around the machine.

Days of the Dead
The Big Picture

Flooding The Subway
Campaign of the film’s release in 2012 in Brazil. Action in the subway Cantagalo, in Copacabana - Rio de Janeiro, where a patch of about 45m on each sides simulates a flood in the subway.
via Ads of the World
System disruption leverages network structure and dynamics to turn small attacks into large events. Selection of the best point to attack is based on an analysis of the network’s design and flows. The term to describe this point is: the systempunkt. Essentially, the systempunkt is the point in the network, that if attacked, will yield the maximal possible impact.
You can’t eat them because to do so would be to break the rules of the game. There are no such rules for the consumption of vegetable matter: whatever nourishes will do.
This distinction reveals something significant about meat eating: it is what you might call a charged domain of human activity, like sex and violence, and it is so no matter what kind of moral arguments you might offer up for or against culling deer herds, free range farming, and so on. Meat eating, like sex and violence, is regulated by religions, while for the most part plant-eating is not. Who can have sex with whom, or who can kill whom, or who can eat what meat when, are practically what religion is about. (The stuff about God is a later development, of interest to only a few.)
Justin Smith reviews Cătălin Avramescu’s book.
via 3qd



