How your Street View panoramas are made at Greg.org. The piece links to a frankly fantastic flickr video, Street View time-lapse (Los Angeles). Imagine if Reyner Banham could have got hold of this sort of imagery. The conclusion is that Street View isn’t really a photographic project, but a cinematic one, and that by dipping into the application here and there weren’t effectively sampling a few frames from a massive, interconnected frozen movie, a vast project that captures not just place, but time.
The Great British Economy Disaster. John Lanchester has a way of explaining things simply that is unrivalled in the British media: ‘…thanks to the special measures currently in place the banks can borrow from their governments at, effectively, 0 per cent rates of interest. They can then invest the money at higher rates of interest, 5 to 7 per cent, say. This is a direct transfer of wealth from the taxpayer to the banks, and the only difference between it and an actual, physical licence to print money is that the banks don’t have a piece of paper with the words ‘Official Licence to Print Money’ written across the top.’
The Plastiki, a boat made of 12,000 plastic bottles. The Kon-Tiki of the 21st century. Let’s hope it doesn’t get consumed by the Great Pacific Garbage Patch (a phenomenon that is remarkably camera-shy) / a selection of sketches by Polish artist Stefan Norblin for the Art Deco interiors of the Umaid Bhawan Palace in Jodhpur / DigsDigs, modern houses / landscape sketches by Nathan Fowkes. We also liked his Project Daedalus imagery (via Daily Jive).
Gabion on the ‘Twist’: ‘…misconceived, ugly, banal, compromised and downright embarrassing, that is why it is, by a considerable distance, the worst piece of public art I have ever seen. It will probably look great on television, particularly at night.’ / photographs by Rob Streeter / pitched just after the 8-bit aesthetic: Landschaft Mit Haus / images at top and bottom are from the Kodak Colorama series, used to illustrate this Vanity Fair piece, ‘Rethinking the American Dream‘, from April 2009.
April Fool jokes have evolved into a rather tiresome form of cultural safety valve. The Guardian’s round-up of pranks past and present, including BMW’s usual stunt, has the weary air of someone forced to listen to the same joke over and over again, told perhaps by a five year-old with no sense of timing or actual comedy. Ironic that the Guardian’s own joke should follow the same template.