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@khoriwalkerjohn
Istanbul for T-Bird

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Thereâs an uglinessâŻââan ineleganceâŻââto death that Paul Bennett gradually came to find unacceptable. It seems to offend him the way a clumsy, counterintuitive kitchen tool might, or a frumpy font. [âŚ] So much about death is agonizingly unknowable: When. Where. Lymphoma or lightning strike. But Bennett recognized there are still dimensions of the experience under our control. He started zeroing in on all the unspoken decisions around that inevitability: the aesthetics of hospitals, the assumptions and values that inform doctorsâ and familiesâ decisions, the ways we grieve, the tone of funerals, the sentimentality, the fear, the schlock. The entire scaffolding our culture has built around death, purportedly to make it more bearable, suddenly felt unimaginative and desperately out of date. âAll those things matter tremendously,â Bennett told me, âand theyâre design opportunities.â With just a little attention, it seemedâŻââa few metaphorical mirrors affixed to our gurneys at just the right angleâŻââhe might be able to refract some of the horror and hopelessness of death into more transcendent feelings of awe and wonder and beauty.
Death, Redesigned â in a beautiful California Sunday Magazine piece, Jon Mooallem explores how an executive from legendary design firm IDEO and a Buddhist-hospice director are reimagining the end of life. Read it here â itâs well worth it.
The effort for this movement was in large part planted by the late and great Sherwin Nulandâs foundational treatise How We Die and picked up more recently by Atul Gawandeâs Being Mortal.
Complement with 7 unusual childrenâs books that help kids make sense of death.
(via explore-blog)
Kevin Simlerâs 2013 essay on the economics of social status is a great, enduring Sunday sort of longread that should be required of anyone contemplating using the phrase âreputation economyâ in polite society.
Contrary to my own views, Simler argues convincingly that you can have an...
Want

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The current mythology of big data is that with more data comes greater accuracy and truth. This epistemological position is so seductive that many industries, from advertising to automobile manufacturing, are repositioning themselves for massive data gathering. The myth and the tools, as Donna Haraway once observed, mutually constitute each other, and the instruments of data gathering and analysis, too, act as agents that shape the social world. Bruno Latour put it this way: âChange the instruments, and you will change the entire social theory that goes with them.â The turn to big data is a political and cultural turn, and we are just beginning to see its scope.
Kate Crawford, The Anxieties of Big Data (via stoweboyd)
Krugman on Debt
European leaders completely bought into the notion that the economic crisis was brought on by too much spending, by nations living beyond their means. The way forward, Chancellor Angela Merkel of Germany insisted, was a return to frugality. Europe, she declared, should emulate the famously thrifty Swabian housewife. This was a prescription for slow-motion disaster. European debtors did, in fact, need to tighten their belts â but the austerity they were actually forced to impose was incredibly savage. Meanwhile, Germany and other core economies â which needed to spend more, to offset belt-tightening in the periphery â also tried to spend less. The result was to create an environment in which reducing debt ratios was impossible: Real growth slowed to a crawl, inflation fell to almost nothing and outright deflation has taken hold in the worst-hit nations.
Nobody Understands Debt
Joseph Stiglitz on Greek Debt
When the euro crisis began a half-decade ago, Keynesian economists predicted that the austerity that was being imposed on Greece and the other crisis countries would fail. It would stifle growth and increase unemployment â and even fail to decrease the debt-to-GDP ratio. Greece largely succeeded in following the dictate set by the âtroikaâ (the European Commission the ECB, and the IMF): it converted a primary budget deficit into a primary surplus. But the contraction in government spending has been predictably devastating: 25% unemployment, a 22% fall in GDP since 2009, and a 35% increase in the debt-to-GDP ratio. And now, with the anti-austerity Syriza partyâs overwhelming election victory, Greek voters have declared that they have had enough. This is sheer nonsense. Does anyone in their right mind think that any country would willingly put itself through what Greece has gone through, just to get a free ride from its creditors? If there is a moral hazard, it is on the part of the lenders â especially in the private sector â who have been bailed out repeatedly. If Europe has allowed these debts to move from the private sector to the public sector â a well-established pattern over the past half-century â it is Europe, not Greece, that should bear the consequences. Indeed, Greeceâs current plight, including the massive run-up in the debt ratio, is largely the fault of the misguided troika programs foisted on it. Every (advanced) country has realized that making capitalism work requires giving individuals a fresh start. At the international level, we have not yet created an orderly process for giving countries a fresh start. Since even before the 2008 crisis, the United Nations, with the support of almost all of the developing and emerging countries, has been seeking to create such a framework. But the US has been adamantly opposed. There is a fear that if Greece is allowed to restructure its debt, it will simply get itself into trouble again, as will others.
A Greek Morality Tale

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Faris on Interactive ads
Faris Yakob, co-founder, Genius Steals
What are ads for? Itâs not a trick question. Ads are designed to make people do something, usually by changing their mind. Whatâs the best way to change someoneâs mind? By getting them to do something.
Our actions change our ideas because cognitive dissonance is uncomfortable. Thatâs why I love interactive ideas, which were in short supply this year, at least as represented at awards shows like the Cyber Category at Cannes, which has been colonized by films (probably because ad folk really love films).
Films are great, but they donât require actions, only audiences. So one of my favorite advertising ideas this year is a lovely digital billboard you can swipe with a credit card. The Social Swipe lets passers by interact directly, donating money, seeing the impact it can have.
The future of what we do, I maintain, is in creating ideas that are worth interacting with.
And, for me, the most memorable ad, and best media bet placed, was the MailChimp sponsorship of the podcast "Serial." It was unknown when the brand stepped up. It became, through spontaneous sharing, the most listened to podcast of all time.
I Love Drones
Philip Kaplan:
For about a hundred years (ending around 2005), artists were able to get rich off of duplicationsââârecords, tapes and CDs. We still even use the word âcopies,â like when a platinum record sells a million copies.
Early musicians didnât have that luxury.
Mozart didnât sell one fucking copy.
Taylor Swift sold 110 million.
Not to mention other art forms. Painters wish they had an opportunity to get rich off copies. The Mona Lisa currently on your computer screen below, is not worth as much as the one in the Louvre.
Sounds exactly fucking right to me. Music isnât going away, but the business behind it has to change. Thereâs simply no way itâs going back to the way it was. Because that was actually an anomaly, not the norm. It has to evolve. Just like everything else.
Brain-to-brain interface via Internet replicated, improved
University of Washington researchers have successfully replicated a direct brain-to-brain connection between pairs of people as part of a scientific study following the teamâs initial demonstration a year ago, reported on KurzweilAI.
In the newly published study, which involved six people (instead of two), researchers were able to transmit the signals from one personâs brain over the Internet and use these signals to control the hand motions of another person within a split second of sending that signal.
Full Story: Kurzweil

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YesYesNo
Been reading a lot about these dudes today.
Code Poetics: Interview with Zach Lieberman from Brian Miele on Vimeo.
To celebrate the release of my new book, Information Doesnât Want to Be Free: Laws for the Internet Age, Iâve invited some of my favorite creators and thinkers to write about their philosophy on the arts and the Internet. Today, Amanda Palmer, author of the just-published Art of Asking,âŚ