Untitled Object

smithsonianmag: Galileo Galilei (1564–1642)Autograph notes on the satellites of Jupiter, 14–25 January 1611 On this scrap of paper (an unfolded envelope), Galileo recorded the positions of four satellites of Jupiter over a period of several nights. He had observed the moons with the aid of his newly constructed telescope and published his findings in his revolutionary book The Starry Messenger (1610). He then worked to define more precisely the periods of the orbits of the Jovian moons, setting up his telescope night after night and making notes such as these. In a radical departure from his university training, Galileo insisted that scientific theory be grounded in observation and physical evidence rather than reliance on ancient authority. The Morgan Library via centuriespast

smithsonianmag:

Galileo Galilei (1564–1642)
Autograph notes on the satellites of Jupiter, 14–25 January 1611

On this scrap of paper (an unfolded envelope), Galileo recorded the positions of four satellites of Jupiter over a period of several nights. He had observed the moons with the aid of his newly constructed telescope and published his findings in his revolutionary book The Starry Messenger (1610). He then worked to define more precisely the periods of the orbits of the Jovian moons, setting up his telescope night after night and making notes such as these. In a radical departure from his university training, Galileo insisted that scientific theory be grounded in observation and physical evidence rather than reliance on ancient authority.

The Morgan Library

via centuriespast

(via smithsonianmag)

transitmaps: Historical Map: Moscow Metro, 1980 Here’s a beautiful map of the Moscow Metro from 1980 that’s unlike anything else I’ve ever seen. I don’t think it’s an official map, as it looks quite different to other Moscow maps of the same vintage. The archive I found the map in also lists it as “Source Unknown”. It appears to have been printed on the flyleaf of a pocket-sized book, bound to the book’s front cover on the left half, with the fold just to the right of the vertical Orange Line of the map. Have we been there? No. What we like: One of the most unique-looking transit maps I’ve ever seen. It looks more like a map of the solar system, with Jupiter-sized interchange stations within the orbit of the Ring Line, smaller satellites (outlying stations) trailing along in their wake. Despite the unusual form, and the renowned complexity of the Moscow system, this still has a nice sense of clarity, simplicity and order to it - this map is still very usable. What we don’t like: Some absolutely terrible registration on the printing (which appears to be all spot colours - nine different colours in total!). Some fairly crude-looking linework, which may be poor draftsmanship or the result of the printing. Our rating: Totally unique, but still a very usable map. Four stars. (Source: Lebedev Studio’s historical archives of Moscow Metro maps) Click here for another abstract Moscow Metro map. 

transitmaps:

Historical Map: Moscow Metro, 1980

Here’s a beautiful map of the Moscow Metro from 1980 that’s unlike anything else I’ve ever seen. I don’t think it’s an official map, as it looks quite different to other Moscow maps of the same vintage. The archive I found the map in also lists it as “Source Unknown”. It appears to have been printed on the flyleaf of a pocket-sized book, bound to the book’s front cover on the left half, with the fold just to the right of the vertical Orange Line of the map.

Have we been there? No.

What we like: One of the most unique-looking transit maps I’ve ever seen. It looks more like a map of the solar system, with Jupiter-sized interchange stations within the orbit of the Ring Line, smaller satellites (outlying stations) trailing along in their wake. Despite the unusual form, and the renowned complexity of the Moscow system, this still has a nice sense of clarity, simplicity and order to it - this map is still very usable.

What we don’t like: Some absolutely terrible registration on the printing (which appears to be all spot colours - nine different colours in total!). Some fairly crude-looking linework, which may be poor draftsmanship or the result of the printing.

Our rating: Totally unique, but still a very usable map. Four stars.

4 Stars!

(Source: Lebedev Studio’s historical archives of Moscow Metro maps)

Click here for another abstract Moscow Metro map. 

fuckyeahbookarts:

!!!Thank You!!! by Benjamin Reynaert

A cover-less book structure bound with a year’s worth of receipts. Each receipt page has been painted with gel medium to preserve the state of decay and fade from the printing. Can be hung on wall surfaces. One-of-a-kind artist book.

smithsonianmag: A Brief History of Robot Birds Our recent post on the history of the cuckoo clock inspired some research into other examples of early, non-timekeeping robot birds. For centuries, birds–pigeons and canaries in particular–have been a popular subject for inventors and engineers experimenting with early mechanical systems and robotics. Take, for example, Bubo, the ancient clockwork owl seen in the 1981 film Clash of The Titans. Bubo was forged by Hephaestus to aid Perseus in his quest and Bubo was, of course, purely fictional. There were however, actual avian automatons in actual ancient Greece. The earliest example dates to 350 B.C.E. when the mathematician Archytas of Tarentum, who some credit with inventing the science of mechanics, is said to have created a mechanical wooden dove capable of flapping its wings and flying up to 200 meters, powered by some sort of compressed air or internal steam engine. Archytas’ invention is often cited as the first robot, and, in light of recent technological advancements, perhaps we could even consider it to be the first drone; the very first machine capable of autonomous flight. Very few details are actually known about the ancient mechanical dove, but it seems likely that it was connected to a cable and flew with the help of a pulley and counterweight. This early wind-up bird was chronicled a few hundred years later in the pages of a scientific text by a mathematician, Hero of Alexandria. - Continue reading at Smithsonian.com. Image: Bubo the robotic owl from the 1981 film Clash of the Titans.

smithsonianmag:

A Brief History of Robot Birds

Our recent post on the history of the cuckoo clock inspired some research into other examples of early, non-timekeeping robot birds. For centuries, birds–pigeons and canaries in particular–have been a popular subject for inventors and engineers experimenting with early mechanical systems and robotics. Take, for example, Bubo, the ancient clockwork owl seen in the 1981 film Clash of The Titans. Bubo was forged by Hephaestus to aid Perseus in his quest and Bubo was, of course, purely fictional. There were however, actual avian automatons in actual ancient Greece.

The earliest example dates to 350 B.C.E. when the mathematician Archytas of Tarentum, who some credit with inventing the science of mechanics, is said to have created a mechanical wooden dove capable of flapping its wings and flying up to 200 meters, powered by some sort of compressed air or internal steam engine. Archytas’ invention is often cited as the first robot, and, in light of recent technological advancements, perhaps we could even consider it to be the first drone; the very first machine capable of autonomous flight. Very few details are actually known about the ancient mechanical dove, but it seems likely that it was connected to a cable and flew with the help of a pulley and counterweight. This early wind-up bird was chronicled a few hundred years later in the pages of a scientific text by a mathematician, Hero of Alexandria. - Continue reading at Smithsonian.com.

Image: Bubo the robotic owl from the 1981 film Clash of the Titans.

(via smithsonianmag)

grimsperation:

Michele Caragher 

Embroidered details in Game of Thrones 

‘Michele Carragher is a London-based Hand Embroiderer and Illustrator who has been working in costume on film and television productions for over 15 years. She studied Fashion Design at The London College of Fashion, where the course incorporated design, pattern cutting, garment construction, embroidery, millinery and illustration. At the same time she attended a three year evening course in Saddlery at Cordwainers College learning skills in leatherwork.

After leaving college Michele worked in Textile Conservation, repairing and restoring historical textiles for private collectors and museums, specialising in hand embroidery. She then moved into a career in costume for film and television, initially working as a Costume Assistant/Maker on productions such as the BBC’s Our Mutual Friend, ITV’s David Copperfield and Mansfield Park. She soon gravitated towards the decoration and embellishment of costumes, using skills in hand embroidery and surface decoration, taking inspiration from the many historical textiles she had encountered working as a Textile Conservator. 

The first production that saw her undertake the role of a Principal Costume Embroiderer was for HBO’s 2005 Emmy Costume award-winning production of Elizabeth 1. Her most recent work has been on HBO’s 2012 Costume award-winning television series Game of Thrones, working on all three seasons.

As a Costume Embroiderer Michele specialises in hand embroidery and surface embellishment, using traditional hand embroidery techniques, smocking, beading and surface decoration. She works directly onto the completed garment or starts with motifs and textures on silk crepeline/organza, which are applied to the costume and then worked into once on the actual garment. She also works on existing machine embroidery designs that are not too dense, adding some hand stitching and beading to give a more authentic, hand-finished look.

Michele finds hand embroidery has more flexibility and diversity than that of embroidery created by machine, as there is a greater variety of thread choice and colours to use. It is also possible to work more easily on garments that are already constructed. However, machine embroidery in combination with hand work can be very useful when completing many repeats by creating light outlines or a less dense machine stitch, work can then be completed by hand and again can be carried out on a finished garment.

Michele is a highly creative Costume Embroiderer, producing original designs as well as working closely to a costume designer’s brief to create their desired look.’

Text and images from  http://www.michelecarragherembroidery.com

(via hellotailor)

likeafieldmouse:

Francis Alys - Fabiola (2008)

“The story of St. Fabiola, a 4th-century Roman aristocrat from the Fabia family who is supposed to have been an early Mother Teresa, became popular in the late 19th century, and an 1885 portrait of her by a French academician (which is now lost) has since been endlessly copied around the world.

Appearing on postcards, posters and religious trinkets, Fabiola has been a beloved subject for countless painters, most of them amateurs. The portrait’s format is almost always the same: Fabiola is seen in profile facing left, her head covered by a rich red veil.

Mr. Alys, who was born in Belgium in 1959 and moved to Mexico City in 1990, began collecting Fabiola paintings—as the genre is called—about 15 years ago, buying them at thrift shops, flea markets and antiques stores primarily in Mexico and Europe. He has previously shown his collection three times, when it was much smaller; the current presentation includes more than 300 works.”

(via wnycradiolab)