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The REAL Razzle Dazzle

In the early 1900s, round the time that artists started playing with cubism and form, military tacticians started looking at camouflage. Dazzle or Razzle Dazzle was a style of painting invented by Brit Norman Wilkinson. He used intersecting geometric shapes to break the silhouette of a ship on a horizon. It doesn't make it invisible, but it does make it harder to see which way it's going and how fast (which in turn makes it harder to hit).

It also had a great effect on morale - beats hanging around the docks in a big grey boat. If you're interested, read the full Wikipedia on it here. It's hard to find, but around that time designers even made Razzle Dazzle dresses - they look crazy.

It's still used today, not just by the military but also by car manufacturers, designers, all sorts. Now though, there's a new Dazzle in town. You see, Facebook and other websites use quite sophisticated algorithms to identify people's faces, but with a spot of hair and make-up, Adam Harvey's CV Dazzle makes faces much harder for The Man to spot.

CV Dazzle was developed by Adam Harvey as a thesis project at New York University's Interactive Telecommunication Program in 2010 to explore ways of protecting and interfering with privacy compromising technologies.

And because face detection is the first step in automated facial recognition, CV Dazzle can be used in any environment where automated face recognition systems are in use, such as FaceBook, Google's Picasa, or Flickr.

Seems like quite a lot of trouble when you can just detag though, and while Bowie can style it, you might look a plonker on the bus. Actually I'm just being mean - it's a neat idea and comes from an interesting concept. Lots more links on the CVDazzle page.

One of the world's most extraordinary people

[youtube=http://www.youtube.com/watch?v=AbASOcqc1Ss] Daniel Tammet is one of only 25 documented 'savants' in the world. He can recall the mathematical constant Pi (3.141..) to more than 22,500 decimal places. His ability to "see" numbers manifested after a he suffered epileptic seizures as a toddler.

The interesting thing about him is that he can describe what he sees and feels in his synaesthesia. Sequences of numbers form complex landscapes in his mind. For example number one is bright and shiny, like someone flashing a torch; number two is a drifting, right to left motion; five is "like the clap of thunder or the sound of a wave on a rock"; six is very small, it's the one he finds hardest to experience in any meaningful way, so it often manifests as an absence, a hole or a chasm; while "Number nine is the biggest number. It's very tall. It can be very intimidating." He says he sees every number up to 10,000 in a distinct way.

Part two if the video is here, and part three is here. Watch it all.

(Thanks Will)

Unusual Google streetviews

9 Eyes is an amazing endless Tumblr site that collects unusual images from Google's streetmaps. Some of them are really beautiful, some of them just plain weird and scary. It's called "9 eyes" after the lenses mounted on the Google cars. Click here to go through to the website - you won't regret it. They're collected by Jon Rafman, who says: "Today, Google Maps provides access to 360° horizontal and 290° vertical panoramic views (from a height of about eight feet) of any street on which a Street View car has traveled. For the most part, those captured in Street View not only tolerate photographic monitoring, but even desire it. Rather than a distrusted invasion of privacy, online surveillance in general has gradually been made ‘friendly’ and transformed into an accepted spectacle."

"Initially, I was attracted to the noisy amateur aesthetic of the raw images. Street Views evoked an urgency I felt was present in earlier street photography. With its supposedly neutral gaze, the Street View photography had a spontaneous quality unspoiled by the sensitivities or agendas of a human photographer. It was tempting to see the images as a neutral and privileged representation of reality—as though the Street Views, wrenched from any social context other than geospatial contiguity, were able to perform true docu-photography, capturing fragments of reality stripped of all cultural intentions."

"Within the panoramas, I can locate images of gritty urban life reminiscent of hard-boiled American street photography. Or, if I prefer, I can find images of rural Americana that recall photography commissioned by the Farm Securities Administration during the depression. I can seek out postcard-perfect shots that capture what Cartier-Bresson titled “the decisive moment,” as if I were a photojournalist responding instantaneously to an emerging event. I can also choose to be a landscape photographer and meditate on the multitude of visual possibilities."

"Although Street View stills may exhibit a variety of styles, their mode of production—an automated camera shot from a height of eight feet from the middle of the street and always bearing the imprimatur of Google—nonetheless limits and defines their visual aesthetic. The blurring of faces, the unique digital texture, and the warped sense of depth resulting from the panoramic view are all particular to Street View’s visual grammar.

"Many features within the captures, such as the visible Google copyright and the directional compass arrows, continually point us to how the images are produced. For me, this frankness about how the scenes are captured enhances, rather than destroys the thrill of the present instant projected on the image."

(text extracted from this essay, which you should look at, because he includes images to go with the text)

The Art of Flight

Trailer for insane new snowboard film. If you like the music, download it here. [youtube=http://www.youtube.com/watch?v=kh29_SERH0Y]

The official line on it goes something like this:

Just when you thought the producers of "That's It, That's All" couldn't top themselves comes a new breed of snowboarding entertainment.

The Art of FLIGHT follows Travis Rice, John Jackson, Mark Landvik, Scotty Lago, Jake Blauvelt, Nicolas Muller, Gigi Ruf, DCP and Pat Moore as they dream up new global adventures and progress the sport to unimaginable levels.

Brain Farm has gathered an arsenal of the most advanced and progressive film making technology to bring the masses a snowboarding adventure of epic proportions. Filmed on location in Jackson Hole, Alaska, Chile, Aspen, Patagonia, British Columbia and more, FLIGHT brings the viewer along for the perfect blend of adventure/travel drama and high-energy snowboarding action. The Art of FLIGHT releases September 2011.

Clifford T Ward-fest!

[youtube=http://www.youtube.com/watch?v=s6yFeKnnTPE] Clifford T. Ward typified the early 70s bedsitter singer-songwriter with a series of albums that were at best delightful and at worst mawkish. After a bit of jobbing with bands while working as a teacher, his debut album appeared on disc jockey John Peel's brave-but-doomed Dandelion Records label in 1972. His second album and his first release for Charisma Records, Home Thoughts, proved to be his finest work and gave him wider recognition. Ward constructed each song as a complete story sometimes with great success.

[youtube=http://www.youtube.com/watch?v=qsJ8iqS-Kio]

The beautiful "Gaye" became a UK Top 10 hit but surprisingly the stronger "Home Thoughts From Abroad" and the infectious and lyrically excellent "Wherewithal" failed to chart. Mantle Pieces and Escalator contained a similar recipe of more harmless tales like the minor hit "Scullery" with affecting lyrics like; "You're my picture by Picasso, you'd brighten up any gallery'.

[youtube=http://www.youtube.com/watch?v=sAQPm6R7qE4]

Ward's refusal to tour and promote his songs did not help endear the singer to his record company, however, and he switched to the Phonogram Records label for 1975"s No More Rock 'N' Roll. In later years although still recording the occasional album and still reluctant to perform live, Ward received kudos as a songwriter with his material being recorded by artists such as Cliff Richard, Art Garfunkel and Justin Hayward.

[youtube=http://www.youtube.com/watch?v=UdjlkK9OS4o]

He was struck down with multiple sclerosis in 1987 and his health rapidly deteriorated. He managed to record 1991's vinyl-only album Laugh It Off, and friends and colleagues pieced together two more albums of new songs, out-takes and demos to give the ailing Ward some financial assistance. He finally succumbed to pneumonia in December 2001.

[youtube=http://www.youtube.com/watch?v=VR_Ircp3kbw]

The Strange Powers of the Placebo Effect

[youtube=http://www.youtube.com/watch?v=yfRVCaA5o18] Do drugs stop working if you know they are little better than a sugar pill? And do cultural factors, like our collective faith in a treatment, have a measurable effect on the benefits?

The response to placebo has increased significantly in recent years (as has the response to medication): perhaps our expectations of those drugs have increased.

Created by: Daniel Keogh and Luke Harris

Sources: Ben Goldacre's book 'Bad Science' has an excellent chapter on placebos - he collects stuff on it here.

The Wikipedia page on Placebos is pretty excellent too.

"Our minds create the medicine, and that is pretty freakin' weird."

Joni Mitchell - All I Want

[youtube=http://www.youtube.com/watch?v=QaqVWY3wYdQ] I am on a lonely road and I am traveling Traveling, traveling, traveling Looking for something, what can it be Oh I hate you some, I hate you some, I love you some Oh I love you when I forget about me

I want to be strong I want to laugh along I want to belong to the living Alive, alive, I want to get up and jive I want to wreck my stockings in some juke box dive Do you want - do you want - do you want to dance with me baby Do you want to take a chance On maybe finding some sweet romance with me baby Well, come on

All I really really want our love to do Is to bring out the best in me and in you too All I really really want our love to do Is to bring out the best in me and in you I want to talk to you, I want to shampoo you I want to renew you again and again Applause, applause - Life is our cause When I think of your kisses my mind see-saws Do you see - do you see - do you see how you hurt me baby So I hurt you too Then we both get so blue.

I am on a lonely road and I am traveling Looking for the key to set me free Oh the jealousy, the greed is the unraveling It's the unraveling And it undoes all the joy that could be I want to have fun, I want to shine like the sun I want to be the one that you want to see I want to knit you a sweater Want to write you a love letter I want to make you feel better I want to make you feel free I want to make you feel free

© 1970; Joni Mitchell

Is Obama secretly Swiss?

The administration's pathetic, dithering response to the Arab uprisings has been both cynical and naive.By Christopher Hitchens

However meanly and grudgingly, even the new Republican speaker has now conceded that the president is Hawaiian-born and some kind of Christian. So let's hope that's the end of all that. A more pressing question now obtrudes itself: Is Barack Obama secretly Swiss?

Let me explain what I mean. A Middle Eastern despot now knows for sure when his time in power is well and truly up. He knows it when his bankers in Zurich or Geneva cease accepting his transfers and responding to his confidential communications and instead begin the process of "freezing" his assets and disclosing their extent and their whereabouts to investigators in his long-exploited country. And, at precisely that moment, the U.S. government also announces that it no longer recognizes the said depositor as the duly constituted head of state. Occasionally, there is a little bit of "raggedness" in the coordination. CIA Director Leon Panetta testified to Congress that Hosni Mubarak would "step down" a day before he actually did so. But the whole charm of the CIA is that its intelligence-gathering is always a few beats off when compared with widespread general knowledge. Generally, though, the White House and the State Department have their timepieces and reactions set to Swiss coordinates.

This is not merely a matter of the synchronizing of announcements. The Obama administration also behaves as if the weight of the United States in world affairs is approximately the same as that of Switzerland. We await developments. We urge caution, even restraint. We hope for the formation of an international consensus. And, just as there is something despicable about the way in which Swiss bankers change horses, so there is something contemptible about the way in which Washington has been affecting—and perhaps helping to bring about—American impotence. Except that, whereas at least the Swiss have the excuse of cynicism, American policy manages to be both cynical and naive.

This has been especially evident in the case of Libya. For weeks, the administration dithered over Egypt and calibrated its actions to the lowest and slowest common denominators, on the grounds that it was difficult to deal with a rancid old friend and ally who had outlived his usefulness. But then it became the turn of Muammar Qaddafi—an all-round stinking nuisance and moreover a long-term enemy—and the dithering began all over again. Until Wednesday Feb. 23, when the president made a few anodyne remarks that condemned "violence" in general but failed to cite Qaddafi in particular—every important statesman and stateswoman in the world had been heard from, with the exception of Obama. And his silence was hardly worth breaking. Echoing Secretary of State Hillary Clinton, who had managed a few words of her own, he stressed only that the need was for a unanimous international opinion, as if in the absence of complete unity nothing could be done, or even attempted. This would hand an automatic veto to any of Qaddafi's remaining allies. It also underscored the impression that the opinion of the United States was no more worth hearing than that of, say, Switzerland. Secretary Clinton was then dispatched to no other destination than Geneva, where she will meet with the U.N. Human Rights Council—an absurd body that is already hopelessly tainted with Qaddafi's membership.

By the time of Obama's empty speech, even the notoriously lenient Arab League had suspended Libya's participation, and several of Qaddafi's senior diplomatic envoys had bravely defected. One of them, based in New York, had warned of the use of warplanes against civilians and called for a "no-fly zone." Others have pointed out the planes that are bringing fresh mercenaries to Qaddafi's side. In the Mediterranean, the United States maintains its Sixth Fleet, which could ground Qaddafi's air force without breaking a sweat. But wait! We have not yet heard from the Swiss admiralty, without whose input it would surely be imprudent to proceed.

Evidently a little sensitive to the related charges of being a) taken yet again completely by surprise, b) apparently without a policy of its own, and c) morally neuter, the Obama administration contrived to come up with an argument that maximized every form of feebleness. Were we to have taken a more robust or discernible position, it was argued, our diplomatic staff in Libya might have been endangered. In other words, we decided to behave as if they were already hostages! The governments of much less powerful nations, many with large expatriate populations as well as embassies in Libya, had already condemned Qaddafi's criminal behavior, and the European Union had considered sanctions, but the United States (which didn't even charter a boat for the removal of staff until Tuesday) felt obliged to act as if it were the colonel's unwilling prisoner. I can't immediately think of any precedent for this pathetic "doctrine," but I can easily see what a useful precedent it sets for any future rogue regime attempting to buy time. Leave us alone—don't even raise your voice against us—or we cannot guarantee the security of your embassy. (It wouldn't be too soon, even now, for the NATO alliance to make it plain to Qaddafi that if he even tried such a thing, he would lose his throne, and his ramshackle armed forces, and perhaps his worthless life, all in the course of one afternoon.)

Unless the administration seriously envisages a future that includes the continued private ownership of Libya and its people by Qaddafi and his terrible offspring, it's a sheer matter of prudence and realpolitik, to say nothing of principle, to adopt a policy that makes the opposite assumption. Libya is—in point of population and geography—mainly a coastline. The United States, with or without allies, has unchallengeable power in the air and on the adjacent waters. It can produce great air lifts and sea lifts of humanitarian and medical aid, which will soon be needed anyway along the Egyptian and Tunisian borders, and which would purchase undreamed-of goodwill. It has the chance to make up for its pointless, discredited tardiness with respect to events in Cairo and Tunis. It also has a president who has shown at least the capacity to deliver great speeches on grand themes. Instead, and in the crucial and formative days in which revolutions are decided, we have had to endure the futile squawkings of a cuckoo clock.

From Slate.com.