Drowning, poisonous gas inhalation and electrocution are perils of journeying through a supercave. Tabor says there are more than 50 ways for a person to die during these explorations.
There’s also a danger of developing an illness known as “the rapture” — an extreme reaction to darkness and depth. Those who have suffered from it describe it as being similar to an anxiety attack while on methamphetamines.
“At some level, everyone’s brain will start to say, ‘I don’t belong here. This is a very dangerous place.’ It’s an ancient primordial instinct and it just says, ‘You have to get me out of here, right now.'”
The old twisted-copper landline system was my gateway to DIY and geekery, so I’ve got a real soft-spot for stuff like this. Also, an interesting design case study. Enjoy! Phone Buttons – Numberphile – YouTube
Something big is about to happen on the sun. According to measurements from NASA-supported observatories, the sun’s vast magnetic field is about to flip.
“It looks like we’re no more than 3 to 4 months away from a complete field reversal,” says solar physicist Todd Hoeksema of Stanford University. “This change will have ripple effects throughout the solar system.”
Envisioned by beer brewer Alfred Heineken and designed by Dutch architect John Habraken, the “brick that holds beer” was ahead of its ecodesign time, letting beer lovers and builders alike drink and design all in one sitting.
Mr. Heineken’s idea came after a visit to the Caribbean where he saw two problems: beaches littered with bottles and a lack of affordable building materials. The WOBO became his vision to solve both the recycling and housing challenges that he had witnessed on the islands.
The final WOBO design came in two sizes – 350 and 500 mm versions that were meant to lay horizontally, interlock and layout in the same manner as ‘brick and mortar’ construction. One production run in 1963 yielded 100,000 bottles some of which were used to build a small shed on Mr. Heineken’s estate in Noordwijk, Netherlands. One of the construction challenges “was to find a way in which corners and openings could be made without cutting bottles,” said Mr. Habraken.
Władysław Starewicz (sometimes Russified as “Vladislav Starevich,” with his surname just generally butchered as “Starevitch,” “Starewich,” and “Starewitch”–damn Polish trick alphabet! He later changed it altogether to make it easier on Francophones, calling himself “Ladislas Starevich”) became famous as a Polish-Russian-French animator, a line he sort inadvertently fell into. His first career was as Director of the Museum of Natural History in Kovno, Lithuania. In making documentaries on animal behavior for the museum, he found himself stymied when the nocturnal stag beetles he wanted to film fighting would go to sleep under the bright lights required by earlier motion-picture cameras. So, he faked up the stag-beetle fight in stop motion, and after that he was off to the races. After fleeing several wars and uprising, he wound up settled in France, where he would do most of his greatest work.
Starewicz’s 1933 film, The Mascot (aka “Duffy the Mascot”, “Puppet Love,” or “The Devil’s Ball” [?!?]) , is widely regarded not just as Starewicz’s best work, nor as one of the best stop-motion films ever made, nor even as one of the best animations ever made, but as among the greatest short films ever made (the most notable film aficionado to take that position is Terry Gilliam, predictably). Thanks to the Internet, you can judge that on your own. Without a doubt, it is one of the most endearingly creepy films I’ve ever seen:
I got the tip on this from this Slate article, showcasing another film made by Starewicz, The Cameraman’s Revenge:
I *love* that Starewicz imbeds the middle of his movie into the end of his movie. Also, that it’s such a Russian-style “happy ending.”
If all this has you feeling inspired, you can do worse than dropping a buck or two on an iPhone app (which my son and I continue to occasionally monkey with).