notes.husk.org.

On its second go, two weeks later, Levandowski says the Copilot worked perfectly for 650 miles, again as far as Utah. But it was too perfect for one Nevada highway patrol officer, who pulled the Prius over after noticing it driving slightly below the speed limit in an area where most drivers were speeding.

“The team tried to tell me that it wasn’t a disengagement, but I said, I can’t touch the steering wheel, brake or gas otherwise everybody’s going to look for the gotcha. So we came back to San Francisco,” recalls Levandowski.

Pronto engineers adjusted the software so that the car would be allowed to travel faster on certain roads, and tried again

”

Mark Harris, Self-driving car drove me from California to New York, claims ex-Uber engineer, The Guardian.

(Source: theguardian.com)

2018-10-26

post/179464416274

quote 23:48:11

“ In Britain, Nestlé uses milk crumb, a sweetened, dehydrated milk product, to make the bars. In the United States, Hershey uses nonfat milk and milk fat, while in Japan, the factories work with whole-milk powder. In Japan, Nestlé buys most of its cacao beans from West Africa. In the United States, a mix of beans from West Africa and Latin America is favored. ”

Tejal Rao for the New York Times Magazine’s story In Japan, the Kit Kat Isn’t Just a Chocolate. It’s an Obsession, for the Candy Issue.

(Source: The New York Times)

post/179463815874

quote 23:25:24

“ One of the fascinating things we noticed in the data was just how instantaneous the reaction was: when Facebook went down, it took only seconds to break the habit. ”

What happens when Facebook goes down? People read the news - Chartbeat Blog (via iamdanw)

(Source: iamdanw, via iamdanw)

2018-09-28

post/178553250684

photo 23:22:51

iamdanw:

How To Kill Your Tech Industry by Mar Hicks:
Ann Moffatt sits at her kitchen table in 1966, writing the code for the Concorde, while her baby looks on.

(Source: logicmag.io)

2018-09-21

post/178318331359

quote 18:29:08

“ He also developed a set of working rules. He does not use a specialized camera, but a Canon S.L.R. manufactured for general use. (Until he switched to a digital format, he always used 35-mm. Fuji film and a 50-mm. lens, roughly the same focal length as the human eye.) He carries a small snapshot camera so that he can be open to “the gift of chance.” He never retouches or alters photos. He does not search for examples of particular phenomena in the world; when an idea interests him, he believes, the moment will present itself. He does not photograph people who don’t want their photograph taken and will delete a photo if someone indicates a lack of consent. He does not publish photographs of underground spaces or parties until they have closed down. He does not take portraiture commissions from collectors. He does not shoot advertisements. ”

Emily Witt, in the New Yorker profile, The Life and Art of Wolfgang Tillmans.

(Source: newyorker.com)

2018-08-30

post/177534816494

quote 01:26:41

“ [Futuron’s] name is telling, reflecting the theme’s much more well-defined, futuristic look that left the realities of NASA’s moon missions and the slightly ad-hoc experimentalism of later Classic Space far behind. White and austere, industrial without straying into the grubby, broken-down world of Star Wars’ ‘used future’, the NASA heritage is still there, but as the theme’s name suggests, this outer-space world of domes and monorails feels like something from futurist concept art rather than the realities of contemporary space exploration. ”

Phiip Boyes, Imagining the Future in Bricks: The Designs of Lego Space (via thefuturon)

(Source: ancworlds.wordpress.com, via thefuturon)

2018-05-10

post/173760918705

photo 09:24:32

Thomas Ruff - Portrait 1987 from The Artist Project by Julia Campisi:

Julia Campisi is a photo-based artist living in Toronto. Campisi takes imagery and objects from one historical context and reorient them to create insight into another.

You can see the original on Christie’s site (or, inevitably, unsourced at Pinterest).

post/173758710906

photos 07:07:31

Images from the series press++, by Thomas Ruff, 2015-2016.

From an interview at CNN:

He’s moved away from taking people’s photographs, looking instead to images from American magazines of the ‘50s and '60s, first focusing on news clippings about the space race and sci-fi, before moving to press photos of golden-age Hollywood actresses, initially attracted to their “strangeness or absurdity.”
“I had a pretty nice collection of spaceships, airplanes and astronomical photographs, and I was searching for some pictures of cosmonauts, but when I got them I had a look at the back and found that was almost as interesting as the front,” he said. “You have all this additional information like what’s in the picture, when it was published. Sometimes you even have a cut-out of the original article from the newspaper.”

post/173758529158

quote 06:58:31

“ I’ve been collecting these photographs since I don’t know when, for a long time, for different reasons. You can find them on eBay and when we were browsing through the shops there were images that attracted me. One of them I got at my studio and I looked at the back and thought, “Wow, the back looks are as interesting or even more interesting than the front, maybe I should bring these two things together.” In the front you have the information of the image, and in the back you have things like that [writing]. Sometimes part of it is lost and you have informational stems and sometimes you have writing of the editor saying, “The cropping should be like this.” These are all historical images because these days they’re all digital. They don’t exist anymore. ”

Thomas Ruff in Interview Magazine

(Source: interviewmagazine.com)

post/173758054982

photos 06:34:34

press++ women, by Thomas Ruff, all 2016 (from the New Works show at Sprueth Magers).

There are more images from the series in an article and gallery at CNN.

older

notes.husk.org. scribblings by Paul Mison.

2018-12-18

post/181230797234