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Heavy Metal Brands

Prenez une marque, appliquez la charte graphique d’un groupe de métal, secouez… C’est prêt!

Disney!!!

Via Team Cornett » Heavy Metal Brands

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Un groupe de Metal tourne son clip pendant l’éclipse


Vendredi dernier, j’ai essayé d’observer la fameuse éclipse mais le ciel gris parisien a gâché ce moment et la récréation de nombreuses écoles primaires qui ont dût les organiser en intérieur. Par contre, sur les îles Féroe, le groupe de Doom Metal Hamferð a profité de la très bonne visibilité du phénomène pour tourner son clip du titre Deyðir Varðar, tourné en une seule prise bénéficiant de cette ambiance si particulière

Via en Youtube https://www.youtube.com/watch?v=feR12pQ8dXc

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This Japanese inn has been open for 1,300 years


The Atlantic:

Houshi Ryokan was founded in 718. It is one of the oldest family businesses in the world; 46 generations have managed the ryokan in its 1,300 years. Filmmaker Fritz Schumann profiles the current caretakers, Zengoro and Chizuko Houshi, as they struggle to determine the ryokan’s future after the death of their only son.

Such a sad story about a family seemingly trapped by the weight of their own history and traditions.
The atlantic

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Touché coulé

La civilisation les touche puis les tue.

Terena people in Brazil. Image: Wikimedia Commons

It’s a story we all know—Christopher Columbus discovers America, his European buddies follow him, they meet the indigenous people living there, they indigenous people die from smallpox and guns and other unknown diseases, and the Europeans get gold, land, and so on.

It’s still happening today in Brazil, where 238 indigenous tribes have been contacted in the last several decades, and where between 23 and 70 uncontacted tribes are still living. A just-published report that takes a look at what happens after the modern world comes into contact with indigenous peoples isn’t pretty: Of those contacted, three quarters went extinct. Those that survived saw mortality rates up over 80 percent. This is grim stuff.

Image: Scientific Reports

“Our analysis dramatically quantifies the devastating effects of European colonization on indigenous Amazonians. Not only did ~75 percent of indigenous societies in the Brazilian Amazon become extinct, but of the survivors, all show evidence of catastrophic population declines, the vast majority with mortality rates over 80 percent,” writes Marcus Hamilton of the University of New Mexico in a paper published in Scientific Reports. 

Those numbers shouldn’t be surprising—like I said, this isn’t much different from what has happened time and time again to the Native Americans, to the Incas, to the Mayans, and to hundreds of other small tribes throughout North and South America.

Sure, people don’t go in and kill entire tribes directly, they offer indigenous people the chance to assimilate into modern culture. But, as Hamilton notes, the trappings of modern society—access to better healthcare, technology, and education—haven’t improved tribes’ overall outcomes.

“We tested to see whether absolute year of contact (a proxy of the technological evolution of medicines), and other proxies of access to medicine including distance to major roads and distance to closest town had substantial effects on post-crash population growth rates. None of the effects were significant and so are not reported here,” Hamilton wrote.

It’s important that someone qualitatively took a look at the effect—it’s one thing to say “modern civilization killed the indigenous people,” another to have the cold, hard facts to back it up. 

But Hamilton also highlights the good news, which I’d argue is a little bit misguided. He notes that, after the initial “crash,” indigenous populations are often able to recover, and some of the communities have some of the highest growth rates in the world. I’m not calling Hamilton out here—if that’s what the data shows, it’s what it shows. And it’s better that the population "rebounds" rather than dies out completely. But that doesn’t excuse the crash in the first place.

I don’t know that we should be talking about these people’s deaths and their communities’ subsequent recovery as if we’re looking at our stock portfolio. Hamilton notes that “despite the catastrophic mortality of indigenous Amazonians over the 500+ year contact period, the surviving populations are remarkably resilient and remain demographically viable.”

That’s probably what’s running through these people’s minds when they watch their loved ones die: The demographic viability of their community as a whole, as if their imminent “recovery” isn’t one that’s plagued with a forced change in lifestyle, a loss of culture, the utter destruction and pollution of the land that they’ve lived in for lord knows how many years. Their numbers might recover in some cases, but what about what they lost in the process?

Lo vi en Motherboard RSS Feed http://ift.tt/1fLYcU7

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L’arbre cache la forêt (radioactive)

Les arbres de la région de Tchernobyl ne se décompose pas. Ajoutez un temps sec, une allumette et on repart comme en 86

Image: Henri Sivonen

As if the Ukraine didn’t have enough to worry about these days with Russia invading Crimea, recent scientific research points to the very real threat of a nuclear forest fire. Great heavy metal band name aside, the forests around Chernobyl—the nuclear power plant that exploded 28 years ago—are not decaying properly and should it all catch fire, radioactive material would spread beyond Chernobyl’s Zone of Alienation, the off-limits 1000 square-miles around the decommissioned facility located 68 miles north of Kiev.

This Zone of Alienation has given environmental scientists much to study, with insects choosing to not live there and the birds that do live there developing abnormalities like deformed beaks, odd tail feather lengths, and smaller brains. The trees too, have been shady.  

Image: Inside Pripyat, one of Chernobyl’s evacuated cities/Eero Nevaluoto

Scientists who have been studying the environment inside the Zone of Alienation since 1991 noticed something about these trees, specifically what they described as “a significant accumulation of litter over time” in a study published recently in Oecologia. And by “significant,” they mean the trees are not decomposing and their leaves are just sitting there on the ground, not decomposing either. This is especially so in the Red Forest, an area of woodland around Chernobyl named thusly because the trees turned a ginger color and died due to the worst radiation poisoning in the area. In an interview with Smithsonian magazine, lead author of the study and biologist at the University of South Carolina Timothy Mousseau called all this non-decayed organic matter “striking, given that in the forests where I live, a fallen tree is mostly sawdust after a decade of lying on the ground.”

The reason for this lack of decay around Chernobyl is that microbes, bacteria, fungi, worms, insects, and other living organisms known as decomposers (because they feed on dead organisms) are just not there and not doing their jobs. Mousseau and his team discovered this after leaving 600 bags of leaves around Chernobyl in 2007. When they collected the bags in 2008, they found that the bags filled with leaves placed in areas with no radiation had decomposed by 70 to 90 percent, but the leaves in areas with radiation? They only decomposed about 40 percent. “There is growing concern that there could be a catastrophic fire in the coming years,” Mousseau told Smithsonian.

Besides getting rid of what is basically tinder for wildfires, decomposers are essential when it comes to plant growth because they put nutrients back into the soil, and back into the environment generally. The lack of decomposers could also explain why the trees that are alive around Chernobyl are growing very slowly. These Chernobyl trees cover about 660 square miles of the Zone of Alienation and have been absorbing radionuclides like strontium 90 (causes bone cancer) and cesium 137 (effects range from nausea to death) for almost three decades. If these trees are burned, these radionuclides would be released into the atmosphere as “as inhalable aerosols” reported Scientific American last year, citing a 2011 study. Besides inhaling cancer-causing particles in the air traveling hundreds of miles away, the biggest threat would be to food like milk and meat “produced as far as 90 miles from the fire.”

In fact, the threat of a Zone of Alienation wildfire spewing radioactive particles has been a concern among environmental scientists since 1992. The threat has only gotten worse due to the longer, drier summers attributed to climate change.  

There are firefighters stationed around the Zone of Alienation specifically for preventing a forest fire inside, but they’re “obviously not prepared for a major wildfire situation” says SA, with hardly any “professional training, protective suits or breathing apparatuses.” Firefighters currently scout for fires by climbing six watch towers a day, along with the help of one helicopter that is “occasionally available.” They do have a Soviet tank that has been retrofitted with a 20-foot-blade though, to chop down and crush the dead trees that refuse to decay currently littering the roadways. 

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CS6

Quel charte pour l’outil?
Voici un long article sur la création de la charte graphique de la Adobe Creative Suite :
Creative Suite 6

Goals & Requirements

Below you’ll find what Adobe wanted to accomplish from an experience standpoint:

  • Expressive. The product splash screens for CS3 and CS4 were basically extensions of the product icons. This helped establish the powerful color system that we now rely on for our brand. Having done this for two releases, there was some leeway in CS5 to do something a little different, and we had an opportunity to push it even further for CS6. We wanted to get back to the more expressive nature of pre-CS Adobe products while keeping what we loved about the past few iterations.
  • Interaction with the desktop. Our work lives in and interacts with the OS. We were interested in what ways we might exploit the parameters and limitations of those interactions. Back to squares. The folded-plane icons of CS5 were a reaction to the splash screens. While we liked the aesthetic, there are a ton of reasons to avoid non-square forms for brand assets. For instance, the CS5 icons tend to be awkward as avatars for social media and don’t translate to mobile environments.
  • Creating a Creative Suite brand segment. After we launched CS3, the default move for Adobe applications was to simply throw them on a square and give them a two-letter designation. That worked great when we had 20-ish products, but we’ve now got well over 100 and have long abandoned this practice. We wanted to create something that would be unique to Creative Suite.
  • A more cohesive connection to marketing imagery/packaging. More on this later, but in a nutshell, we wanted to partner as closely as possible with our marketing department and external agencies to try to make the two experiences relate to each other.

Shawn Cheris explains further:

Our work is functional and must be optimized for the contexts in which it will be consumed. There’s a lot of ins and outs, but the basic requirements are fairly straightforward:

  • Legible. Application icons should be distinguishable from one another at small icon sizes, on file icons, and in the OS. Icons must be differentiable beyond color and should be legible for color blind persons via shape, letter-forms, tone, or other method.
  • Differentiable. Application icons must be visually distinguishable from the previous two version’s icons since many customers run concurrent versions of a product on one machine.
  • Flexible. There must be enough flexibility in the branding system to accommodate the variations across the product line and allow for appropriate icons for products, product line extensions, technologies, servers, and a large range of file types.
  • Credible. The branding system must be credible to our creative audience. This doesn’t mean everyone has to like it, or that it is non-controversial. It means that it adheres to core design principles around typography, color, composition, etc. In other words, we should make something we’re proud of.
  • Consistent. The equity of our brand is built through consistent execution. While allowing for the occasional technical limitation, the icons, splash screens, and other high-visibility branding areas should vary as little as possible from product to product or should vary in a highly prescribed way. Each product is part of a system, the sum of which defines our brand experience.


Via http://veerle.duoh.com/design/article/the_new_cs6_branding

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Venezia entre deux eaux

Venise est une femme qui se découvre aussi sous la pluie mais qui dévoile ses charmes à la lumière du soleil… Quelques gouttes de pluie nous encourageront encore un peu plus à pousser les portes des musées et églises classiques ou modernes, baroques ou gothiques… une variété étourdissante d’arts alternée d’éclaircies propices à la photo sous le soleil si agréable… jusqu’au soir où la place Saint Marc libérée de ses touristes s’offre aussi à la photo…
Lessivés! La suite demain…