Pop Chart Lab presents The Cocktail Chart: Signature Drinks of Fictional Characters (click to enlarge)
While many CartoDB users arrive to the service with data on hand others look to use CartoDB to host and map data from ongoing collection. For those users, we offer a number of useful client libraries and tutorials for using our APIs. For businesses, scientists, and students that still want a…
Blow an afternoon (or four) watching these 20 excellent music docs— featuring Bowie, Fleetwood Mac, Captain Beefheart, Jandek, Fela Kuti, and more— collected by Eric Harvey and streaming online right now.
The Dream is Now (Guggenheim, 2013)
A new 30-minute documentary film by Davis Guggenheim (An Inconvenient Truth), The Dream Is Now tells the moving story of those directly affected by a broken immigration system, the undocumented children of immigrants who yearn to contribute more to the country they call home.
This thought-providing film puts a human face on the issue and brings attention to Congress’ efforts to pass reform that will give undocumented youth and their families the chance to earn their citizenship.
Sign the petition here.
Great writers and their preferred drink(s)…
Graffitti is art, old people just don’t understand it. I wish I could take them to see real street art but they would probably die from paint fumes.
You may have seen The Great Gatsby over the weekend, but wait until you see The Great Catsby.
Probably better than the actual.
Not probably. Actually.
A domestic rabbit, or more commonly known as simply the rabbit, is any of the several varieties of European rabbit that have been domesticated.
Phillip Stearns electrocutes unexposed instant film with 15,000 volts.
He also pours various household chemicals (like bleach) onto the prints to make the colors and corrosion you see. The process is about as beautiful as the end result. You can watch how it’s done here.
We asked Phillip a few questions about his process:
What inspired you to apply electricity to film as opposed to just chemicals?My explorations were guided most by what materials I had available. A big batch of this instant color film was being thrown out, presumably by a photographer in my building transitioning out of analog film. Two years ago, I received a batch of neon tubes and high voltage ballasts to drive them. After tinkering with interrupting the process of developing the film (after exposing to light) and discovering the painterly qualities such physical manipulations produced, I started to think about how else I work with the film.Through experimenting with digital cameras a couple of years prior to these experiments in film, I became aware of Hiroshi Suigimoto’s work of subjecting photopaper to electric discharges and thought that I could try something similar with the neon ballasts and the color film itself.
How did you go about making sure your process was actually safe to do?I caution, again, this is not safe. No one should try this on their own, unless assisted by a qualified electrician trained in dealing with high voltages, and a physician. Death by electrocution is quite real.Any other tips or comments you have for photographers who want to explore analog or digital experiments?Look at what you have around you. Use it differently. Look for potentials that exist just beyond, hidden within the normally prescribed perception of things. Play, but be smart about it. Be safe.
Happy Birthday Fred Astaire (May 10, 1899 – June 22, 1987)
“Do it big, do it right and do it with style”