charta visa

Rob Beschizza of Boing Boing shares an informed and informative little project that is pretty visually stunning as well in the Passport Index. It’s interesting to take a broad survey of these travel and identity documents and then to be able to gain a purchase on the relative value citizenship—rather bearership, has in terms of access and accessibility. Examining the passports by rank under the protocols, some odd pairings—ties come up and reciprocity, diplomacy shows itself in strange ways. The convention of using or dispensing with visas for travel comes from the Latin phrase for “the paper which has been seen.”

moving on up or shabby sheik

6x6

dress the flesh: the rise of the plant-butcher, via Kottke’s quick-links

three is a magic number: the creative talent behind “Schoolhouse Rock!”

linear b: excellent, freshly available image and textual library of the Voynich Manuscript and Codex Seraphinia 

neural handshake: meet the neurosurgeon who tried to hack his brain and nearly lost his mind

the genlteman’s recreation in four parts: seventeenth century common dog names included Ranter and Jollyboy

 chicken dance festival: a creative and award-winning re-imaging of The Shining is classified under the genre of cinegraffiti

rarebit or why do we call them comics

Atlas Obscura presents a really fascinating essay that deconstructs a constellation factors that make up the hallmarks of modernity through the lens of a turn of the century comic strip that centres around midnight-snack, indigestion fuelled nightmares with the blame laid squarely on an “imported” (the focus seems to be mostly from an American perspective as the caricatures were but is surely of a universal character since internationally people were experiencing similar cultural shocks) delicacy called “Welsh Rarebit,” basically cheese-toast soaked in beer as a sort of hair-of-the-dog ballast for late-night revellers.
Assiduously, Winsor McCay, under the consultation of his series “Dream of the Rarebit Fiend,” documents the development of rather Freudian fantasies as carried out in the restive slumber of the indignant, whose psyche and drives might be explained mechanically as an assault by cheese as heartburn. Far from funny, at least to contemporary viewers—much like a lot of the reserve content of the funny pages—McCay portrays secret and vengeful scenes that one would rather not disclose, lest one shows his or her vulnerabilities and suppressed desires. As easily, however, people were willing to adopt a litany of compromise to gain modern conveniences—the electrified dwellings that invited staying up through the night, the logistical coordination that allowed people to live in growing urban-settings (to cultivate such routines and support surplus consumption), I believe that the illustrator though that his readership could recognise that something other was driving this feeling of being unsettled besides just alcohol and cheese, unlike the spectre of Jacob Marley who was initially dismissed as a spot of gravy gone bad. Such fiendish behaviour reflected perhaps made the world more receptive to adopting new customs and paradigms, like the psycho-analysis and other accommodations (and necessary back-lash) that came in its wake. Check out the thesis for further details and panels. Turophiles, what do you think?

non-euclidean, not constantinople

Via Colossal, resident artist Aydın Büyüktaş transforms the timeless landscapes of the city of Istanbul into warped skyscrapers and other impossible geometries that dizzyingly ripple back over themselves in an exhibit called Flatland—inspired by the dimensionally biased commentary of the same name on the gentrified Victorian court by school-master Edwin Abbott Abbott (so named as his parents were first-cousins, in keeping with the practise of keeping blue-blood in the family). As denizens of Spaceland, and despite seamless and masterful composition like the visual, we have difficulty imagining worlds sinking and without horizons, nonetheless. Seeing the slack and swell of the land curling over like a wave is hard to invent—even as a dreamscape, and it is worthy of deference that the imaginative capacity of another could concoct and communicate such vistas.