The Wacom Inkling looks pretty interesting; a device that translates regular paper drawings into vectors. Slightly more information at Wired / the Revell Ekranoplan model / an Ode to Vinyl, pops and crackles / Find my car, find your car, find everybody’s car; the Westfield’s iPhone app privacy smorgasbord: Troy Hunt on the joys of public/private data leaking out into the great wide world (via Ben Bashford) / we love internet archaeology / Voices from the world of finance / making the city of glass safe for birds / paintings by Ana Teresa Fernandez / illustration by Mattias Inks, especially his intricate sketchbooks.
Facsimile Magazine is dedicated to ‘showcasing the gentle repetition of history, ego-friendly surfacing of substream developments and affordless emphasis of synchrony across time and space’ / Alan Measles was the god of Grayson Perry’s childhood fantasy world / Chris Foss and the Technological Sublime: ‘Foss loves the paintings of J.M.W. Turner and his finest pictures, often from the 1970s, seem as much concerned with ambience and painterly effect — they are cosmic cousins of Turner’s Rain, Steam and Speed, at least in spirit — as with the engineering of the vast structures they depict.’
Your wish is my command / Savage Mandolin, especially the images of Le Café de L’Enfer, a ‘hell-themed’ restaurant with waiters dressed as devils: ‘An order for three black coffees spiked with cognac was shrieked back to the kitchen as: “Three seething bumpers of molten sins, with a dash of brimstone intensifier!”‘ / Aesthetic Pleasure / Death House / Fané y descangallá / Talya Was Here / arbitary / l’Eugenio Tascabile / Bruno Giliberto / Senses Working Overtime / Ersatz Dreams.
The most expensive shot in silent movie history? / related, the site of the sets for Intolerance, one of the largest ever constructed, reaching 165 feet above what was then decidedly low-rise Los Angeles. There’s a grainy picture of the crumbling set on page 91 of SkyscraperPage’s epic ‘noirish Los Angeles thread. A quote from TCM:
The undisputed hero of the construction of the Babylon set, as well as other sets in Intolerance, was Frank “Huck” Wortman, the chief carpenter, set builder, and stage mechanic. A rough, down-to-earth man who chewed tobacco and spat out of the side of his mouth, it was Wortman who saved Griffith thousands of dollars in production costs by imagining and improvising new ways of making huge sets look the part. The beautiful archways in the Jerusalem set, for example, were ingenuously created by bending thin boards and coating them in plaster. Overall, Griffith depended heavily on Wortman to raise the Babylon set to newer, more stupendous heights. Everyday the sets kept growing larger and higher than the original plans called for. There was a very real fear that they would collapse, so whenever a nighttime windstorm fell upon the city, Wortman and several other crewmen would jump into their cars and race to the set in order to reinforce the cable supports. While the publicity for Intolerance greatly exaggerated the sets as reaching 500 feet high, the truth behind the legendary sets placed the bar for future epic movies in terms of grandiosity and workmanship.