ux

Tip of the hat to The Awesomer for directing our attention to a group of retronauts at Squirrel Monkey who imagine how the user-experience would be for contemporary social media platforms (see other nostalgic examples here), applications and personal assistants had they had their debut in the early to mid 1990s.
How would interacting with Siri (which isn’t the backronym Speech Interpretation & Recognition Interface incidentally but rather the namesake of the Menlo Park Stanford Research Institute founded in 1946 under the auspices of the university to attract computation talent to the area and more directly as a spin-off from a DARPA programme) for instance be if it required switching out floppy discs and operating at a low baud rate?

secretum de thesauro experimentorum ymaginationis hominum

Having missed out on the earlier furore and excitement over speculation that Star Wars battleship designs might have been inspired by the work of a late medieval Italian draughtsman, we appreciated how Super Punch brought us up to speed.
While the pareidolia of seeing a fully-operational Death Star escorted by an array of Star Destroyers (plus earlier conceptions of the Imperial and Rebel fleets) is lure enough on its own, the imagination and career of the fifteenth-century Venetian surgeon and engineer, Giovanni Fontana (Johannes de Fontana), is pretty engrossing as well. Though only illustrations have survived the ages, Fontana invented and built functioning prototypes of what we’d recognise as the bicycle, the magic lantern, the torpedo plus many innovations in hydraulics and trigonometry and cryptography. Fontana’s overarching goal was to recreate those machines and devices of great antiquity, the stuff of legend, and some see a similarity between his style of illustration and the baffling pictures and text of the mysterious Voynich manuscript.

monad

Though perhaps counter-intuitive but bridging nonetheless the great chasm between the microscopic and macroscopic, Oxford researcher and doctoral candidate David Nadlinger was awarded a national science photography prize, as Twisted Sifter reports, for capturing a pale point of light in a laboratory apparatus, captioned “Single Atom in an Ion Trap.” For scale, the distance between the electrodes there in the centre is two millimetres. Laser illumination and the particular chemical properties of the element strontium and a bit of patience set up conditions where the lone atom could be photographed with a normal camera set to a long exposure. Read more about how this picture was possible and about the applications of studying the behaviour of free-floating atoms at the links above.

contamination hazard urban disposal

To commemorate and publicise the Museum of London’s acquisition and exposition of a small piece of the infamous one hundred and forty tonne Whitechapel Fatberg, the curators commissioned a series of short, low-budget horror movies starring the congealed blockage found in the sewers of East London in September of 2017.
The remarkable and durable engineering and infrastructure of the Victorian-era has allowed people to grow oblivious about plumbing and waste in general—that is, until the systems that have proven reliable become over-burdened, and the exhibit hopes to persuade visitors otherwise and to think about the consequences of what gets flushed away. Deposits such as these can be structurally as tough as concrete, requiring specialists to remove them, but the bulk of the Whitechapel mass was successfully recovered and converted into a biofuel.

les aveux de la chair

Prompted by the culture shift that is soundly rejecting the objectification and diminishment of women in order to boost chauvinistic urges and insecurities, the literary executors of the estate of Michel Foucault will publish the unfinished fourth volume (translated “Confessions of the Flesh”) of The History of Sexuality which addresses the topical subjects of power and consent over four decades after the release of the first instalment. Suffering from complications of AIDS, Foucault worked on the subsequent volumes in the early 1980s at an accelerated pace and was able to comprehensively address the totem and taboo of human sexuality through the lens of relativism and repression, questioning why contemporary culture asserts a level of sophistication and maturity over the past that modernity can’t honestly claim until or unless it comes to terms with the constructs we’ve created to manage people and population.