Scott Hansen aka ISO50

Contact lenses to get built-in virtual graphics

A contact lens that harvests radio waves to power an LED is paving the way for a new kind of display. The lens is a prototype of a device that could display information beamed from a mobile device. Realising that display size is increasingly a constraint in mobile devices, Babak Parviz at the University of Washington, in Seattle, hit on the idea of projecting images into the eye from a contact lens.

http://www.newscientist.com/article/dn18146-contact-lenses-to-get-builtin-virtual-graphics.html

Unsolved Crime Cards

Martine Bourre

Mark Weaver

http://markweaver.bigcartel.com/
http://www.flickr.com/photos/markweaver/sets/72157612257465491/

Meg Hunt

http://www.meghunt.com/index.php

Michael Flückiger

Typocraphic Spiderweb from Michael Flückiger on Vimeo.

a threat to journalism

The artist who designed the famous Barack Obama "HOPE" poster has admitted he didn't use the Associated Press photo he originally said his work was based on but instead used a picture the news organization has claimed was his source. "In an attempt to conceal my mistake, I submitted false images and deleted other images," said Fairey, who has been involved in countersuits with the AP, which has alleged copyright infringement. "I sincerely apologize for my lapse in judgment, and I take full responsibility for my actions, which were mine alone." He said he was taking steps to correct the information and regretted that he didn't come forward sooner. Fairey, 39, had claimed he based his "HOPE" drawing on a photo of then-Sen. Obama seated next to actor George Clooney. The photo was taken in April 2006 by Mannie Garcia, on assignment for the AP, at the National Press Club in Washington. Fairey now says he started with a solo photograph of Obama _ taken at the same event, by the same photographer _ a picture seemingly closer to the iconic red, white and blue image of Obama, underlined with the caption HOPE. The AP has long maintained that Fairey used the solo shot. The "Hope" image has appeared on countless posters, stickers and buttons. It has appeared in several books and in numerous museums, including a mixed-media stenciled collage version added to the permanent collection of the National Portrait Gallery in Washington. Fairey also used the AP photograph for an image designed specially for the Obama inaugural committee, which charged anywhere from $100 for a poster to $500 for a poster signed by the artist. -HILLEL ITALIE AP

Fernando Volken Togni

http://cargocollective.com/nandovt

Katie Kirk

Poster done for The Sweet Hair Poster Show
http://www.katiekirk.net/

Alphabeasties and Other Amazing Types

http://www.wdw.com/

Jim Datz

http://www.neitherfishnorfowl.com/

Christopher LeeDaniel ElsonDave PerilloJustin ParpanLauren Gregg

http://www.1988crazy4cult3.blogspot.com/

http://artofthearcade.tumblr.com/

Toru Fukuda

http://torufukuda.jp/
http://www.flickr.com/photos/torufukuda

Image: Carlos Osorio / AP Photo
Sweden, home of lingenberries, Muppet chefs, and tasteful design, is in an uproar over the latest business move by their national hero brand, Ikea, which had the nerve to change its font. To Verdana (from Futura). We know, travesty! A Swede named Mattias Akerberg told Time magazine that he was troubled to the point of agitation over seeing the new logo: “I thought that something had gone terribly wrong, but when I Twittered about it, people at their ad agency told me that this was actually the new Ikea font.” Another Ikea fan, Tokyo’s Oliver Reichenstein, tweeted, “Ikea, stop the Verdana madness!” And these are just two of thousands that have blogged, tweeted, and written strong letters about Ikea’s new typeface, decrying it as tacky and garish. Ikea, change it back! Keep your fanbase! Basic point: Don’t mess with fonts in Sweden. Just don’t.-Daily Beast

Toronto Film Festival

http://www.tiff.net/default.aspx

Venice Film Festival

http://www.labiennale.org/en/cinema/festival/

Spray-On Solar Cells

Solar cells soon could be painted onto the sides of buildings or rooftops with nanoparticle inks, according to one chemical engineer. The new nano-ink process could replace the standard method of manufacturing solar cells, which requires high temperatures and is relatively expensive, said Brian Korgel of the University of Texas at Austin. "We make a solution of these nanocrystals, and we spray paint them onto a substrate," said Matthew Panthani, a doctoral student and graduate research assistant in Korgel's lab. -Live Science

Tarantino really does think violence is "like, cool."

Violence in the movies can be cool," he says. "It's just another color to work with. When Fred Astaire dances, it doesn't mean anything. Violence is the same. It doesn't mean anything. It's a color." He scorns anyone who tries to see simulated violence as having meaning. Sadists take human suffering seriously; that's why they enjoy it. No: Tarantino is morally empty, seeing a shoot-out as akin to dancing cheek-to-cheek. He sees violence as nothing. Compare his oeuvre to the work of a genuine cinematic sadist -- Alfred Hitchcock -- and you see the difference. Precisely because Hitchcock enjoyed inflicting pain, the pain is always authentic, and it is never emptied of its own inner horror. We don't leave our moral senses at the door when we go to the movies, or pick up a novel, or go to a gallery. We feel such tension in Tarantino's movies because the good and sane part of us doesn't want the violence to come -- while the debased part of us is cheering it on. The artists who have claimed their work was purely aesthetic were either frivolous, psychopathic, or lying. The novelist Vladimir Nabokov -- who I love -- claimed in the introduction to Bend Sinister that, "Politics and economics, atomic bombs, primitive and abstract art forms, the entire Orient, symptoms of 'thaw' in Soviet Russia, the Future of Mankind, and so on, leave me supremely indifferent." He was writing in the year of the Cuban Missile Crisis, when he and everybody he knew came within a few hours of dying in a nuclear war. How could he be "supremely indifferent" to that prospect? How can you revere aesthetics and not mind if every aesthetic object you love is incinerated? The answer is, of course, he wasn't indifferent. If you read his letters, you find he worried about these issues at great length. Similarly, I suspect Tarantino has deeper instincts beneath his life-is-a-grindhouse-flick pose. The tragedy of Tarantino is that he could have been so much more than the Schlock and Awe merchant that he has devolved into. -Johann Hari: The Terrible Moral Emptiness of Quentin Tarantino Is Wrecking His Films, The Huffington Post

Glen Orbik

http://www.orbikart.com/