UserpicBerlin in 1945 in Color
Posted by Moxietype

Berlin in 1945 after the war. 7 minutes, in color.


Firefox
UserpicFirefox Download Session Bug
Posted by Sasha

If you cancel the download in Firefox, it is likely that the downoad will still continue in the background. The observed bug was in Firefox 30 (Mac 10.8.5). To manually remove the download session, folloe the instructions below.

Mac OS X 10.7 and above: By default, Mac OS X Lion hides the ~/Library folder (which contains the profile folder, Crash Reports and other user data for Mozilla applications). You can open your user Library folder by holding down the Option key while opening the Go menu in Finder, then selecting Library. Once it's open, you can drag the small icon of a folder in the header of the Library's window into the Favorites section of the Sidebar, where it will be conveniently accessible whenever you want.

In this case the problem was caused by sessionstore.js in the Profile_Folder.

Removal of sessionstore.js fixed the issue for this session.


That is how Perestroika was captured by the photographer Gavrilov in mid-80s-early 90s in the former Soviet Union.

Alcoholics during Perestroika

Empty shelves during Perestroika

People digging in trash during Perestroika


UserpicCompany Culture
Posted by Sasha

I would agree with the article Why “Company Culture” Is a Misleading Term  published in Harvard Business Review, that "Corporate Culture" is a defence mechanism to preserve a status quo:

Corporations and other organizations do not have cultures; they have philosophies and ideologies that form a process in which there is a constant discourse about the nature and expression of values, beliefs, practices, ideas, and goals. This discourse happens in sales meetings, interactions with customers, board meetings, and in conversations around the water cooler. It’s a constantly moving target.

The problem with the term “culture” is that it tends to essentialize groups: it simplistically represents a particular group of people as a unified whole that share simple common values, ideas, practices, and beliefs. But the fact is, such groups really don’t exist. Within any group characterized as having a culture, there are numerous contested opinions, beliefs, and behaviors. People may align themselves to behave in a way that seems as though they buy into expressed corporate values and “culture,” but this is just as likely to be a product of self-preservation as it is of actually believing in those values or identifying with some sloganized organizational culture.


Offbeat, Photography
UserpicWhere Our Computers Go To Die
Posted by Sasha

Ever wonder where our computers go to die? Check out the photo gallery on Wired:

Where our computers go to die


 The offline computer is housed in a glass room and in theory can only be accessed by two people at the same time. It is also constantly monitored by a video camera.

It is alleged Mr Tipton used his position as security director to change the video camera settings and record only one second in every minute. This would have given him enough time to enter the room and plug a thumb drive into the computer.

On that drive, according to the prosecution, was a rootkit: a stealthy computer program designed to do a specific task and, in this case, then erase itself.

That task was to predetermine the winning lottery numbers for the draw that Mr Tipton was to later buy the winning ticket for.   

Mike McLaughlin, senior analyst at computer security company First Base, said the allegation might sound farfetched but was plausible.

He told the BBC: "It is entirely possible to code a rootkit on a USB drive which could interfere with software on a computer then delete itself. 

Read more on BBC


Al Celler da Can Roca

Photo: El Celler De Can Roca

Elite Traveller has a list of  top 100 Restaurants in the World. Below are top 5:

Alinea

 
1723 N Halsted St, Chicago, IL 60614
(312) 867-0110
 
Chef: Grant Achatz
 

El Celler de Can Roca

 
Chef: Joan Roca
 

Azurmendi

 
Larrabetzu, Spain
 
Chef: Eneko Atxa
 

Eleven Madison Park

 
New York, USA
 
Chef: Daniel Humm
 

The Fat Duck

 
Bray, UK
 
Chef: Heston Blumenthal

Privacy
UserpicFacebook and You
Posted by Sasha

The only way to escape tracking at this point is not to use Internet. It doesn't come as a surprise that Facebook tracks all visitors to a third party websites

If you do not want to appear on CCTV camera, do not get out of the house.

The researchers now claim that Facebook tracks computers of users without their consent, whether they are logged in to Facebook or not, and even if they are not registered users of the site or explicitly opt out in Europe. Facebook tracks users in order to target advertising.

The issue revolves around Facebook’s use of its social plugins such as the “Like” button, which has been placed on more than 13m sites including health and government sites.

Facebook places tracking cookies on users’ computers if they visit any page on the facebook.com domain, including fan pages or other pages that do not require a Facebook account to visit.

When a user visits a third-party site that carries one of Facebook’s social plug-ins, it detects and sends the tracking cookies back to Facebook - even if the user does not interact with the Like button, Facebook Login or other extension of the social media site.

EU privacy law states that prior consent must be given before issuing a cookie or performing tracking, unless it is necessary for either the networking required to connect to the service (“criterion A”) or to deliver a service specifically requested by the user (“criterion B”).


Advertising
UserpicJust Do It
Posted by Sasha

Nike's "Just Do It" slogan was based on the last words of a convict before he was executed by firing squad:

The murderer was Gary Gilmore, who had grown up in Portland, Oregan – the city that is home to both Nike and Wieden+Kennedy. In 1976 Gilmore robbed and murdered two men in Utah and was executed by firing squad the following year (by some accounts Gilmore actually said "Let's do this" just before he was shot).


Offbeat
UserpicOne More Drink
Posted by Sasha

Read One More Drink at esquire.

Drinking a fourth drink dictates that a certain kind of evening is about to unfold: namely, one in which you will be drunk. Because nobody stops at four drinks. Four is to inebriation what the St. Louis arch is to the West: It's the gateway drink, the point of no return. A fourth empty glass or bottle or mason jar set on the bar or table or broken in the hobo fire in front of you is your announcement to the rest of the world that, at some point in the next twelve to twenty-four hours, you will be left trying very hard to remember or even harder to forget.

But a brave new world has opened up for you, a great blinding universe of magic and possibility. You're a man who might start confusing nouns with verbs. You're a man who might fall off of his barstool. You're a man who might sleep on the floor in his clothes.


Internet
UserpicHEX code for use in URLs
Posted by Sasha
CodeEntityHexCharacterDescription
�   %00   Unused
   %01   Unused
   %02   Unused
   %03   Unused
   %04   Unused
   %05   Unused
   %06   Unused
   %07   Unused
   %08   Unused
	   %09   Horizontal tab

   %0A   Line feed
   %0B   Unused
   %0C   Unused

   %0D   Carriage return
   %0E   Unused
   %0F   Unused
   %10   Unused
   %11   Unused
   %12   Unused
   %13   Unused
   %14   Unused
   %15   Unused
   %16   Unused
   %17   Unused
   %18   Unused
   %19   Unused
   %1A   Unused
   %1B   Unused
   %1C   Unused
   %1D   Unused
   %1E   Unused
   %1F   Unused
    %20   Space
!   %21 ! Exclamation mark
" " %22 " Quotation mark
#   %23 # Number sign
$   %24 $ Dollar sign
%   %25 % Percent sign
& & %26 & Ampersand
'   %27 ' Apostrophe
(   %28 ( Left parenthesis
)   %29 ) Right parenthesis
*   %2A * Asterisk
+   %2B + Plus sign
,   %2C , Comma
-   %2D - Hyphen
.   %2E . Period (fullstop)
/   %2F / Solidus (slash)
0   %30 0 0
1   %31 1 1
2   %32 2 2
3   %33 3 3
4   %34 4 4
5   %35 5 5
6   %36 6 6
7   %37 7 7
8   %38 8 8
9   %39 9 9
:   %3A : Colon
&#59;   %3B ; Semi-colon
&#60; &lt; %3C < Less than
&#61;   %3D = Equals sign
&#62; &gt; %3E > Greater than
&#63;   %3F ? Question mark
&#64;   %40 @ Commercial at
&#65;   %41 A A
&#66;   %42 B B
&#67;   %43 C C
&#68;   %44 D D
&#69;   %45 E E
&#70;   %46 F F
&#71;   %47 G G
&#72;   %48 H H
&#73;   %49 I I
&#74;   %4A J J
&#75;   %4B K K
&#76;   %4C L L
&#77;   %4D M M
&#78;   %4E N N
&#79;   %4F O O
&#80;   %50 P P
&#81;   %51 Q Q
&#82;   %52 R R
&#83;   %53 S S
&#84;   %54 T T
&#85;   %55 U U
&#86;   %56 V V
&#87;   %57 W W
&#88;   %58 X X
&#89;   %59 Y Y
&#90;   %5A Z Z
&#91;   %5B [ Left square bracket
&#92;   %5C Reverse solidus (backslash)
&#93;   %5D ] Right square bracket
&#94;   %5E ^ Caret
&#95;   %5F _ Horizontal bar (underscore)
&#96;   %60 ` Acute accent
&#97;   %61 a a
&#98;   %62 b b
&#99;   %63 c c
&#100;   %64 d d
&#101;   %65 e e
&#102;   %66 f f
&#103;   %67 g g
&#104;   %68 h h
&#105;   %69 i i
&#106;   %6A j j
&#107;   %6B k k
&#108;   %6C l l
&#109;   %6D m m
&#110;   %6E n n
&#111;   %6F o o
&#112;   %70 p p
&#113;   %71 q q
&#114;   %72 r r
&#115;   %73 s s
&#116;   %74 t t
&#117;   %75 u u
&#118;   %76 v v
&#119;   %77 w w
&#120;   %78 x x
&#121;   %79 y y
&#122;   %7A z z
&#123;   %7B { Left curly brace
&#124;   %7C | Vertical bar
&#125;   %7D } Right curly brace
&#126;   %7E ~ Tilde
&#127;   %7F   Unused
&#128;   %80   Unused
&#129;   %81   Unused
&#130;   %82   Unused
&#131;   %83   Unused
&#132;   %84   Unused
&#133;   %85   Unused
&#134;   %86   Unused
&#135;   %87   Unused
&#136;   %88   Unused
&#137;   %89   Unused
&#138;   %8A   Unused
&#139;   %8B   Unused
&#140;   %8C   Unused
&#141;   %8D   Unused
&#142;   %8E   Unused
&#143;   %8F   Unused
&#144;   %90   Unused
&#145;   %91   Unused
&#146;   %92   Unused
&#147;   %93   Unused
&#148;   %94   Unused
&#149;   %95   Unused
&#150;   %96   Unused
&#151;   %97   Unused
&#152;   %98   Unused
&#153;   %99   Unused
&#154;   %9A   Unused
&#155;   %9B   Unused
&#156;   %9C   Unused
&#157;   %9D   Unused
&#158;   %9E   Unused
&#159;   %9F   Unused
&#160; &nbsp; [3.2] %A0   Non-breaking space
&#161; &iexcl; [3.2] %A1 ¡ Inverted exclamation
&#162; &cent; [3.2] %A2 ¢ Cent sign
&#163; &pound; [3.2] %A3 £ Pound sterling
&#164; &curren; [3.2] %A4 ¤ General currency sign
&#165; &yen; [3.2] %A5 ¥ Yen sign
&#166; &brvbar; [3.2] %A6 ¦ Broken vertical bar
&#167; &sect; [3.2] %A7 § Section sign
&#168; &uml; [3.2] %A8 ¨ Umlaut (dieresis)
&#169; &copy; [3.2] %A9 © Copyright
&#170; &ordf; [3.2] %AA ª Feminine ordinal
&#171; &laquo; [3.2] %AB « Left angle quote, guillemotleft
&#172; &not; [3.2] %AC ¬ Not sign
&#173; &shy; [3.2] %AD ­ Soft hyphen
&#174; &reg; [3.2] %AE ® Registered trademark
&#175; &macr; [3.2] %AF ¯ Macron accent
&#176; &deg; [3.2] %B0 ° Degree sign
&#177; &plusmn; [3.2] %B1 ± Plus or minus
&#178; &sup2; [3.2] %B2 ² Superscript two
&#179; &sup3; [3.2] %B3 ³ Superscript three
&#180; &acute; [3.2] %B4 ´ Acute accent
&#181; &micro; [3.2] %B5 µ Micro sign
&#182; &para; [3.2] %B6 Paragraph sign
&#183; &middot; [3.2] %B7 · Middle dot
&#184; &cedil; [3.2] %B8 ¸ Cedilla
&#185; &sup1; [3.2] %B9 ¹ Superscript one
&#186; &ordm; [3.2] %BA º Masculine ordinal
&#187; &raquo; [3.2] %BB » Right angle quote, guillemotright
&#188; &frac14; [3.2] %BC ¼ Fraction one-fourth
&#189; &frac12; [3.2] %BD ½ Fraction one-half
&#190; &frac34; [3.2] %BE ¾ Fraction three-fourths
&#191; &iquest; [3.2] %BF ¿ Inverted question mark
&#192; &Agrave; %C0 À Capital A, grave accent
&#193; &Aacute; %C1 Á Capital A, acute accent
&#194; &Acirc; %C2 Â Capital A, circumflex accent
&#195; &Atilde; %C3 Ã Capital A, tilde
&#196; &Auml; %C4 Ä Capital A, dieresis or umlaut mark
&#197; &Aring; %C5 Å Capital A, ring
&#198; &AElig; %C6 Æ Capital AE dipthong (ligature)
&#199; &Ccedil; %C7 Ç Capital C, cedilla
&#200; &Egrave; %C8 È Capital E, grave accent
&#201; &Eacute; %C9 É Capital E, acute accent
&#202; &Ecirc; %CA Ê Capital E, circumflex accent
&#203; &Euml; %CB Ë Capital E, dieresis or umlaut mark
&#204; &Igrave; %CC Ì Capital I, grave accent
&#205; &Iacute; %CD Í Capital I, acute accent
&#206; &Icirc; %CE Î Capital I, circumflex accent
&#207; &Iuml; %CF Ï Capital I, dieresis or umlaut mark
&#208; &ETH; %D0 Ð Capital Eth, Icelandic
&#209; &Ntilde; %D1 Ñ Capital N, tilde
&#210; &Ograve; %D2 Ò Capital O, grave accent
&#211; &Oacute; %D3 Ó Capital O, acute accent
&#212; &Ocirc; %D4 Ô Capital O, circumflex accent
&#213; &Otilde; %D5 Õ Capital O, tilde
&#214; &Ouml; %D6 Ö Capital O, dieresis or umlaut mark
&#215; &times; [3.2] %D7 × Multiply sign
&#216; &Oslash; %D8 Ø Capital O, slash
&#217; &Ugrave; %D9 Ù Capital U, grave accent
&#218; &Uacute; %DA Ú Capital U, acute accent
&#219; &Ucirc; %DB Û Capital U, circumflex accent
&#220; &Uuml; %DC Ü Capital U, dieresis or umlaut mark
&#221; &Yacute; %DD Ý Capital Y, acute accent
&#222; &THORN; %DE Þ Capital THORN, Icelandic
&#223; &szlig; %DF ß Small sharp s, German (sz ligature)
&#224; &agrave; %E0 à Small a, grave accent
&#225; &aacute; %E1 á Small a, acute accent
&#226; &acirc; %E2 â Small a, circumflex accent
&#227; &atilde; %E3 ã Small a, tilde
&#228; &auml; %E4 ä Small a, dieresis or umlaut mark
&#229; &aring; %E5 å Small a, ring
&#230; &aelig; %E6 æ Small ae dipthong (ligature)
&#231; &ccedil; %E7 ç Small c, cedilla
&#232; &egrave; %E8 è Small e, grave accent
&#233; &eacute; %E9 é Small e, acute accent
&#234; &ecirc; %EA ê Small e, circumflex accent
&#235; &euml; %EB ë Small e, dieresis or umlaut mark
&#236; &igrave; %EC ì Small i, grave accent
&#237; &iacute; %ED í Small i, acute accent
&#238; &icirc; %EE î Small i, circumflex accent
&#239; &iuml; %EF ï Small i, dieresis or umlaut mark
&#240; &eth; %F0 ð Small eth, Icelandic
&#241; &ntilde; %F1 ñ Small n, tilde
&#242; &ograve; %F2 ò Small o, grave accent
&#243; &oacute; %F3 ó Small o, acute accent
&#244; &ocirc; %F4 ô Small o, circumflex accent
&#245; &otilde; %F5 õ Small o, tilde
&#246; &ouml; %F6 ö Small o, dieresis or umlaut mark
&#247; &divide; [3.2] %F7 ÷ Division sign
&#248; &oslash; %F8 ø Small o, slash
&#249; &ugrave; %F9 ù Small u, grave accent
&#250; &uacute; %FA ú Small u, acute accent
&#251; &ucirc; %FB û Small u, circumflex accent
&#252; &uuml; %FC ü Small u, dieresis or umlaut mark
&#253; &yacute; %FD ý Small y, acute accent
&#254; &thorn; %FE þ Small thorn, Icelandic
&#255; &yuml; %FF ÿ Small y, dieresis or umlaut mark

 


In Alaska, people search for the cost of a gallon of milk. In New Jersey, people search for the cost of a funeral. In other states, vasectomies, facelifts, and prostitues are popular searches. Here are some of the autocomplete predictions of search queries for goods and services elsewhere.


Offbeat
UserpicArt and Hip Hop
Posted by Sasha

Hip Hop and Art

Left: Reliquary arm of St. Valentine 14th century Swiss Right: 2 Chainz

Detail of

Left: Detail of "The Martyrdom of Saint Lawrence," oil on wood, by Masters of the Acts of Mercy (Austrian, Salzburg, c. 1465) Right: ASAP Ferg

This Tumblr compares art from before the 16th century and contemporary images of hip hop. These are some of my favorites.


The article at The Independent shows how Homer Simpson came with the scintific discovery a decade before it was discovered.

Homer Simpson almost predicted the mass of the elementary particle, the Higgs boson, more than a decade before it was discovered, according to a new book on maths in The Simpsons.

In the episode “The Wizard of Evergreen Terrace”, aired in 1998, Homer becomes an inventor and is shown in front of a blackboard with a complicated equation.

“That equation predicts the mass of the Higgs boson” Simon Singh said. “If you work it out, you get the mass of a Higgs boson that’s only a bit larger than the nano-mass of a Higgs boson actually is. It’s kind of amazing as Homer makes this prediction 14 years before it was discovered.”

 


Detroit

The NY Times Magazine got Karl Ove Knausgaard, author of My Struggle, to "drive across America and write about it without talking to a single American":

I'd seen poverty before, of course, even incomprehensible poverty, as in the slums outside Maputo, in Mozambique. But I'd never seen anything like this. If what I had seen tonight - house after house after house abandoned, deserted, decaying as if there had been disaster - if this was poverty, then it must be a new kind poverty, maybe in the same way that the wealth that had amassed here in the 20th century had been a new kind of wealth. I had never really understood how a nation that so celebrated the individual could obliterate all differences the way this country did. In a system of mass production, the individual workers are replaceable and the products are identical. The identical cars are followed by identical gas stations, identical restaurants, identical motels and, as an extension of these, by identical TV screens, which hang everywhere in this country, broadcasting identical entertainment and identical dreams. Not even the Soviet Union at the height of its power had succeeded in creating such a unified, collective identity as the one Americans lived their lives within. When times got rough, a person could abandon one town in favor of another, and that new town would still represent the same thing.

Was that what home was here? Not the place, not the local, but the culture, the general?


UserpicThe Mad Man
Posted by Moxietype

George Lois created a number of iconic ad campaigns as well as dozens of fantastic Esquire covers.


Unknown Pleasures Joy Division Artwork 

Jen Christiansen tracked down for Scientific American the iconic image on the cover of Joy Division's Unknown Pleasures. Designer Peter Saville found the image, a stacked graph of successive radio signals from pulsar CP 1919, in a 1977 astronomy encyclopedia but it actually originated in a 1970 Ph.D. thesis.

By now I had also combed through early discovery articles in scientific journals and every book anthology on pulsars I could get my hands on to learn more about early pulsar visualizations. The more I learned, the more this descriptor in the 1971 Ostriker caption began to feel significant; "computer-generated illustration." The charts from Bell at Mullard were output in real time, using analogue plotting tools. A transition in technology from analogue to digital seemed to have been taking place between the discovery of pulsars in 1967 to the work being conducting at Arecibo in 1968 through the early 1970's. A cohort of doctoral students from Cornell University seemed to be embracing that shift, working on the cutting edge of digital analysis and pulsar data output. One PhD thesis title from that group in particular caught my attention, "Radio Observations of the Pulse Profiles and Dispersion Measures of Twelve Pulsars," by Harold D. Craft, Jr. (September 1970).


Offbeat
UserpicKrakeling Amsterdam Paintings
Posted by Moxietype
 

Sadly, last year I couldn't find my favorite graffitis in Amsterdam. The construction wall where they were painted was removed.

Wall Paintings in Amsterdam

Krakeling Amsterdam Painting

 

Offbeat
UserpicMy Dead Rock Star
Posted by Sasha

NY Times former rock critic Mike Jahn reflects on the lifes of dead stars he used to know:

The number of dead rockers -- some of them good and talented people -- of my acquaintance stands at 44. A few are important music insiders. This year there are three additions who died in 2014. This year I’ve added expanded commentary and another yarn.

It's tempting to think that drugs were behind most of these abrupt departures. However, in many cases death came via largely unrelated medical problems -- heart attacks, strokes, or cancer, mainly. A number did die of overdoses of either drugs or alcohol, sometimes both. Others succumbed to crashes by aircraft, cars, and one by skiing into a tree. There was one fatal infection (I expected more). There also were murders and one suicide, possibly to avoid death by any of the aforementioned. 

If you're adding up and tracking deaths per band, we’re talking about three-fifths each of Canned Heat and MC5, half each of the Doors and Who, one-third of the Jimi Hendrix Experience and Peter, Paul & Mary, and a quarter of the Beatles.

They were rockers who died, died. Here's the list, 2014 update.


Starling flocks, it turns out, are best described with equations of “critical transitions” — systems that are poised to tip, to be almost instantly and completely transformed, like metals becoming magnetized or liquid turning to gas. Each starling in a flock is connected to every other. When a flock turns in unison, it’s a phase transition.

Read the article at Wired