Friday, 11 June 2010
Is This the Craziest Bridge Ever Designed?
I don't know if the Pearl River Necklace bridge is the craziest bridge ever designed, but it sure looks like the most twisted one. It's a clever solution to a very real and obvious problem, however.
The bridge is part of a proposal by NL Architects to connect Hong Kong with mainland China. To do that, they had to solve a problem: In Hong Kong, people drive on the left side of the road. In mainland China, they drive on the right side. Here's the solution: A road flipper that physically twists the roads over each other.
Jesus Diaz @'Gizmodo'
Soccamix
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Essential listening for the next month!!
The Kop Choir - You’ll Never Walk Alone (Live) (Hallmark)
Depth Charge - Goal (First Half) (Vinyl Solution)
Primal Scream, Irvine Welsh And On-U Sound Present - The Big Man And The Scream Team Meet The Barmy Army Uptown (Full Strength Fortified Dub) (Creation)
Depth Charge - Goal (Sudden Death Penalty Shoot Out) (Vinyl Solution)
Barmy Army - Sharp As A Needle (On-U Sound)
Colourbox - The Official Colourbox World Cup Theme (4AD)
Tackhead - The Game (You’ll Never Walk Alone) feat. Brian Moore (On-U Sound)
The Real Sounds Of Africa - Soccer Fan (World Cup 12” Remix by Norman Cook) (Cherry Red)
Depth Charge - Romario (EFA Medien GmbH)
Moog - Moog Lose The World Cup (Dust2Dust)
Black Grape feat. Joe Strummer and Keith Allen - England’s Irie (Radioactive)
Depth Charge - Goal (Second Half + Extra Time) (Vinyl Solution)
England New Order - World In Motion (Carabinieri Mix/No Alla Violenza Mix/Original Version) (Swamp Megamix) (White Label)
Barmy Army - England 2 Yugoslavia 0 (On-U Sound)
121 MB; 76 minutes
(Thanx HerrB! - I had forgotten about this one...)
What happened in the Gulf of Mexico
" These wells have the potential of an uncontrolled
release of hydrocarbons to the environment."
Sound in Technicolor
Now that digital technology allows rapid creation of new interfaces for music and sound, the question of how to represent those elements visually has new life. But whether digital or not, practitioners of music have long been interested in applying further descriptions to music, from the Baroque Doctrine of Affectations to the involuntary association of color in Synesthesia.
Applying colors to the notes of a musical scale is one particularly common idea, but the late master composer/orchestrator Arthur Lange had a different idea: why not give colors to range? Building on ideas from orchestrators Francois Auguste Geveart and Rimsky-Korsakov, he applied colors to registers of tone across each instrument. This way, it’s possible to see, in livid color, how ranges are applied in orchestrations, even down to unisons and harmonic density.
Lange wasn’t just any composer/orchestrator: he was a four-time Academy Award nominee, head of MGM’s Music Department, a Tin Pan Alley mainstay, a bandstand and studio regular from the 1920s, and an orchestrator on everything from 20s dance band numbers to MGM’s “The Maltese Falcon.” Seeing his creative and more-than-a-bit idiosyncratic approach says a lot about the ingenuity of America’s musical Renaissance at the time.
Contnue reading
Peter Kirn @'Create Digital Music'
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