wk interact vs obey giant

in other news

Tom Cruise saved a hawk! He heard the bird was struck by a car in Arizona and had his private jet pick it up and fly it to a hawk sanctuary in Colorado for treatment.

rudy quits, terrorists win!

from gawker:
Terrible news: America's Mayor, Mr. 9/11, twice-divorced opera-loving cross-dressing gay roommate-having Manhattan dandy Rudy Giuliani has dropped out of the race for the presidency after a dismal third place finish in the Florida primary, where he campaigned more and spent more money than any other candidate. He will focus instead on increasing his terrible blood-soaked fortune with speaking gigs and his near-criminal consulting firm. He will endorse insane old man John McCain.

les machines de l'ile

the french city of nantes got attacked by a huge robot elephant, squid, and some other assorted monstrosities...
artists responsible are François Delarozière and Pierre Orefice.
site is here but in french.

youtube:

total eclipse of the heart

The Moral Battle That Rages In Bonnie Tyler's 'A Total Eclipse of The Heart'

Russell Mulcahy's surreal or bizarre interpretation and adaptation of Bonnie Tyler's 'A Total Eclipse Of The Heart' video has been noted to have nothing to do with the song's original lyrics and is meant to stand alone as its own story. Though the video may appear at first glance to have nothing to do with the written lyrics, in fact Mulcahy has taken Jim Stienman's lyrics and has interpreted and enhanced them by creating a controversial and thought provoking subtext to the original lyrics through themes and images of what is morally right and wrong and the constant battle between them. These themes and images are produced through the representation of light versus darkness, religious images or symbols, and the sexual tension resonating within those religious images or symbols.

In Stienman's original lyrics, he appears to use many symbols through the representation of light and dark. In regards to light, there are many references to 'bright eyes'. The repetition of these two words within the lyrics can be found at the end of each verse (pg. 39 ln. 9, 11, 21, 23 pg 40 ln. 56, 58) and at the end of each chorus (pg. 40 ln. 46-47, 83-84). The repetition of 'bright eyes' throughout the song and within the last three lines especially, confirms the significance and power of these words in the song. Another direct reference to light that Stienman also uses is the phrase 'light in my life' in each chorus, lines forty-two and seventy-seven. Though it is not repeated as much as 'bright eyes' in the song, the fact that it is repeated only twice, only in the chorus, and being the only phrase in which the song that contains the word 'light', renders it to be heavily weighted and important to the symbolism in the song. The word and phrase stand out when read or heard despite that it is only used twice in the song's entirety. In terms of symbols relating to darkness within the lyrics, Stienman appears to place a heavier focus on these symbols, including taking the symbols of light and casting them into darkness. He uses repetition with words like, 'tonight' and phrases including, 'a shadow on me', 'I'm always in the dark', and 'love in the dark' as well as 'A total eclipse' used twice in each chorus and within the title of the song. These words and phrases are used similarly to how the ones resembling light are used, giving them the same relevance and importance through repetition. In addition to the phrase, 'light in my life', it is preceded by the words 'there was', referring to a state of absence. An absence in which the light from his bright eyes and therefore her life, is now without light and cast into darkness. Similarly with the lines containing the words 'bright eyes', these two words always appear to be preceding 'turn around'. The words 'turn around' are then interpreted as addressing the one who has the bright eyes, so the one with the bright eyes is being asked to turn around, thus implying that the brightness and light that these eyes cast are now diminished by turning around, thus also casting the persona requesting them into darkness. Each verse of the original lyrics is also accompanied by every other line starting with 'turn around', which creates a greater sense of pleading for the light to come back into her life. It appears that she is faced with a battle of longing for something or someone she used to have and is not able to get away from the emotional torment of wanting what is lost. This emotional battle can be expressed through Stienman's constant use of light and dark. This conflict between light and darkness within the lyrics are shaped through the persona's fight of once having light, now being shrouded in darkness and seeking that light again. Mulcahy's interpretation of Stienman's lyrics into a video, takes the symbols of light versus darkness Stienman has created and adapts them, even enhances them, to create a deeper interpretation of the original lyrics. Mulcahy takes the reference to 'bright eyes' and the importance it has within the lyrics and produces the images of young schoolboys and a young Catholic boys choir as having these 'bright eyes' (0:43-0:45, 3:27-3:38, 5:10). Based on the reading of the lyrics and the interpretation of the video, the person with the bright eyes is the one the persona of the song is in love with and is longing for, therefore, it is then assumed the one or ones she is longing for are the young school boys. Mulcahy also demonstrates and interprets the phrase, 'there was light in my life' through the use of light versus darkness throughout the video. He has the interpretation taking place at night, in the dark. He also experiments with the use of the light that emanates from each of the rooms Bonnie Tyler's persona looks into. Each room portrays a boy as one of her desires. They are presented to the viewer in desirable ways, wherein their shirts are open, clad in Speedos and drenched with water (0:53-1:12). The light from each room casts a glow from these desirable images into the dark hallway Tyler's persona is descending. This image provokes the similar interpretation of the phrase 'there was light in my life' as reading only the lyrics themselves; Tyler's persona is walking in darkness and the light from the boys she fantasizes about are shedding light into her darkness.

Mulcahy also deliberately addresses the battle between light and darkness as a symbol of the battle the persona of the song is struggling over within the lyrics, by using images of battle. He presents the viewer with images of black ninjas (1:15-1:19), white clad fencers fencing (1:34, 1:44, 1:50), and foot ball players in formation, as they would be at the line of scrimmage (1:40, 2:15). All of these images are shown and presented at night and in the dark, but are also lit by the light of the moon, displaying a very drastic example of light and darkness. Each image is also an example in which there is fighting or a battle to be had. Black ninjas are century old warriors that were mainly hired for espionage and assassination, fencing is a sport in which attacking and defence are done with a light sword, and the line of scrimmage is where each football team lines up to begin battle over the ball (they line up similarly to how soldiers used to line up in times of war for battle). These images have a direct link to the original lyrics and the interpretation of them into a video as a whole, wherein the persona is struggling with the battle between what is morally right and wrong. There are also the simple images and symbols that Mulcahy uses to represent the battle between light and darkness, such as the colours of black and white. Bonnie Tyler taking on the persona of the song, is seen throughout the video garbed in a white dress, there are black ninjas, white fencers; the outfits the choir boys are wearing are both black and white; as well, the boys ascending the staircase are wearing black sunglasses, jackets and pants. He continues to use images such as those mentioned above, during the course of the video; these images are merely a few examples to highlight his agenda and attention to detail in reproducing the symbols Stienman illustrates in the original lyrics of light versus darkness. It is these symbols that Stienman created and Mulcahy has enhanced through his interpretation of the original lyrics that represent the emotional struggle and personal battle the persona is fighting within her.

Stienman also constructs images and symbols of a religious nature within the lyrics as well. The title of the song, 'A Total Eclipse of the Heart', which is also repeated twice in each chorus is a direct reference to a form of a religious aspect and by having the title being of a religious nature, makes the entire song one to be addressed or examined with religious thought. 'A total eclipse' is defined as 'the total surface of a celestial or 'heavenly' body is obscured by or into darkness' (OED). There is an interpretation of these lyrics that is ripe with religious symbolism, and it is that the persona of the lyrics could be that of Mary Magdalene speaking about or to Jesus. This is definitely a topic that needs deeper exploration and research, but upon first examination could be deemed very relevant to this particular discussion. In the first and second verses of the song, Mary could be addressing her feelings about her sins and her feelings towards Jesus. Jesus could be seen as the 'bright eyes' and she is longing to have his 'light' and love in her life. The third stanza, that is not included in the recording of the song, could definitely be applied to Mary's thoughts about Jesus in terms of her thinking he never really had a childhood like any other boy, due to his responsibilities and acknowledgement of being the Son of God. In conjunction, Jesus was the only one who accepted her despite her sins, forgave her and 'saw her the way that she (truly) was' (ln. 49). She then proceeds with the statement that there was 'no one in the universe as wondrous and as magical as you' (ln. 53), addressing Jesus' miracles and that she believed he was truly the Son of God. She then also states 'there is nothing she wouldn't do'(ln. 55) for him, reinforcing her devotion to Jesus, his teachings and way of life. The chorus could be seen as her confession of romantic love and desire that she feels for Jesus and in her moment of need is pleading for him to feel the way she does, even though she is knowledgeable to the fact that he cannot. This interpretation also seems to follow similar conventions about her internal struggle of her desires and romantic love for Jesus and wanting that love reciprocated, yet at the same time also knowing that it can never be and also wanting to follow and be saved by him. So, perhaps Mulcahy has similar ideas or interpretations when examining the original lyrics and applies them to his adaptation of the lyrics into his video. The moral issue that develops within the reading of the lyrics of the persona as Mary Magdalene addressing Jesus gives fuel for him to create a modern moral issue for the persona of the song to be coping with (an older woman or teacher desiring a young adolescent or student) and in turn uses religious images to keep in stride with the moral issues and battle the persona of Mary Magdalene would be dealing with. To coincide with the religious reading of the lyrics is the sexual tension expressed in the chorus. The sexual tension is applied to Mary's inner desires to have romantic relations with Jesus, but is also aware of how wrong it would be, equalling the conflict of the persona in the video, modern day reading, or non religious reading (39 ln. 25-47, 40 ln. 60-85). The lyrics convey a deep yearning and want by the persona. With lines and words like, 'I get a little bit restless and I dream of something wild' I get a little bit helpless and I'm lying like a child in your arms''(39), along with a music shift at the chorus, the lyrics become more aggressive, physical, and almost heated. Suggestive words like, 'need', 'tonight', 'hold', and 'forever' repeated throughout the chorus' also suggests a strong emphasis, which produces a feeling of urgency, want, and desire. All of these traits of feelings and emotions are what build the sexual tension.

The religious images or symbols and sexual tension represented in the lyrics are reciprocated in the video rendition as well. Mulcahy tends to make these themes a strong focus in his adaptation, so much so that they overlap and work together, sometimes as one. For discussion purposes, the religious images and sexual tension displayed in the lyrics that are portrayed in the video will be discussed as one. In reference to the uniforms that the young boys are wearing, while many private schools for young children and adolescents require their attendants to wear uniforms, it is also a requirement of students attending Catholic schools. In addition to this interpretation of the boys in uniform attending a Catholic school, are the images of the boys in choir robes (3:27-3:30). Mulcahy manipulates the religious image of these young boys as the subjects of the persona's desire and has in turn also made them appear very sexual. In scenes 0:56-0:57 and 3:49 of the music video, the boys in uniform are dishevelled and seen as sexually desirable because of their open shirts and bare chests. The first instance where these desirable and sexual young men are viewed, as mentioned above, is the line where the persona states, ''and I dream of something wild'(39 ln.14, 0:54-0:56). The way these young boys are presented to the viewer alludes to the fact that the persona finds these boys sexually desirable. Among all the images, Mulcahy has the persona of the song confronted with as she roams the dark hallways, a scene of five boys at a dinner table, wherein four of the boys at the table raise their glasses in a toast to the boy at the head of the table (1:23-1:27). This image of the five boys could be seen as a representation of The Last Supper. With reference to the depiction of sexual tension within this religious symbol is the final shot of the sequence, which also occurs at the climax of the music, just before the chorus. The image is that of a forceful clashing together of two of the glasses the boys were holding, in a toast that causes the liquid within the glasses to overflow and spill out, creating an image closely resembling that of the motions of an orgasm (1:29-1:30). This sequence of images of The Last Supper is also later shown in chaos. There are three shots in the video where the same boys toasting at the dinner table, are seen in chaos, destroying the dinner scene by tearing it apart (3:07, 3:11, 3:17). These disruptive and chaotic images correlate to the persona's inner struggle and battle presented throughout both the original lyrics and video adaptation.

With the introduction of there being three shots of a chaotic Last Supper, Mulcahy uses the symbol of the number three throughout the entirety of the video. The number three is a powerful number and has a variety of meanings when used as a symbol, but one of the main characteristics the number three represents as a symbol is that of The Holy Trinity. The Holy Trinity is a religious reference to God the Father, The Son, and The Holy Spirit. Mulcahy uses the number three in ordinary ways, which upon first glance of the video could be undetected or unnoticed. It is the repetition and demonstration of the number three to create a strong emphasis, which is important and worthy of examination. The opening shot of the video is of three lit windows (0:06); there are then shots of three open doors; three lights hanging from the ceiling and each contains three little lights; three white lit candles; and three empty decanters within the first thirty seconds of the video (0:18-0:31). By presenting the audience with these images of three and the symbolism the number usually evokes of The Holy Trinity, subconsciously creates a religious viewing of the video, which in turn also produces a deeper moral issue for the persona of the song, as well as adding to the struggle and battle between what is morally right and wrong. Mulcahy continues with the use of the number three and the religious symbolism in a scene where Tyler is on a balcony above a set of stairs where six boys clad all in black leather are in rows of two, therefore making the number three the predominant visual, are ascending the stairs beneath her. While the audience is shown Tyler standing on the balcony with her legs astride, they are also presented with an image of looking down on the boys who then proceed to make actions that can be interpreted as beckoning Tyler's persona to come down to them, to join them. These images make it appear as though these desirable boys are asking her to make a decent into the underworld or to give into her temptations of desire and lust for them (1:55-2:04). The scene then ends with the camera panning down, and then zooming in for a tight shot on the architecture of an arch between Tyler's open legs (2:30-2:33). What is fascinating about Mulcahy's focus on this specific architecture, is that in many Roman Catholic churches and cathedrals, this Gothic style of arches have been used and are still incorporated into modern churches today is very sexual. These types of arches were normally found in the entryway to the churches and they were designed to look like the woman's labia, due to the fact that the church was thought of to be the female component to Christ, or in other words, the 'wife of Christ' (Marin). Weather Mulcahy deliberately presents the audience with this very sexual religious symbol; it does fit in with everything else he seems to be trying to accomplish with his video adaptation. These arches are probably the most sexually charged religious images within the video and in turn add to the previous scene of temptation the boys clad in black appeared to be offering her. Thus, also putting more of an emphasis on the sexual religious images, that in turn, fuel the persona's battle between what is morally right and wrong.

Jim Stienman's original lyrics to Bonnie Tyler's 'A Total Eclipse of The Heart' are laden with symbols and themes to emphasize the persona's internal struggle of desire from something she cannot have. Russell Mulcahy takes the internal struggle of the persona and the symbols Stienman created and propels and manipulates it into a music video adaptation. He not only draws on the original lyrics, but also enhances them, turning the inner struggle of the persona into a full-fledged battle within herself of what is morally right and what is wrong. Mulcahy accomplishes this feat by drawing on the themes Stienman created; the representation of light versus darkness, religious symbols and the sexual tension those symbols emanate. Though it would appear that when the lyrics and the video are examined at first glance, would appear to have almost nothing in common, but in fact correlate on a variety of levels. Both work together to create a piece of art that challenges social boundaries and the audience as a reader and a viewer to examine the efforts of their creators to see just how they work as one to draw attention to the moral issues faced by today's society.

- Princess_ck84, North Bay, Canada

no drugs were involved

sid and marty krofft present h.r. pufnstuf:
a boy named Jimmy accidentally finds Living Island, a magical place where everything is alive. The Mayor of Living Island is a friendly dragon named H.R. Pufnstuf. Jimmy had been lured to the island with his friend, a talking flute named Freddie, by a magic boat which promised adventures across the sea. The boat was actually owned and controlled by a wicked witch named Wilhelmina W. Witchiepoo who rode on a broomstick with a steering wheel called the Vroom Broom. Jimmy was taken in by Pufnstuf, who was able to protect him from Witchiepoo as the cave where he lived was the only place her magic had no effect. Everything on Living Island was alive — houses, castles, boats, grandfather clocks, candles, books, trees, mushrooms - all voiced in a parody of a famous film star, such as Mae West, Edward G. Robinson or most notably John Wayne as "The West Wind".

Marty Krofft said, "No drugs involved. You can't do drugs when you're making shows. Maybe after, but not during. We're bizarre, that's all."
Referring to the alleged LSD use, Marty said in another interview, "That was our look, those were the colors, everything we did had vivid colors, but there was no acid involved. That shit scared me. I'm no goody two-shoes, but you can't create this stuff stoned."

right. no drugs were involved.
and i would imagine that no drugs were involved in this next clip as well:

A quintessential New York underground film/video artiste, the late Tom Rubnitz took a bite out of the Big Apple and spat it out in a wild kaleidoscope of unequivocal camp and hallucinogenic color. The late John Sex, Happi Phace, the B-52s, Lipsynchia, Ann Magnuson, Quentin Crisp, Michael Clark, and Lady Bunny are but a few of the stars that shine oh-so-brightly in Rubnitz's glittering oeuvre. A genre artist par excellence, Rubnitz treated the sexy-druggy-wiggy-luscious desserty qualities of the '80s downtown club scene with the loving care only a true hedonist could show. Rubnitz passed away from AIDS in the summer of 1992.

--Video Databank Catalog

camels, cigarettes, snack cakes and pistols.

At 20 points along the Gaza Strip's southern border, Hamas
operatives detonated explosives to topple an Israeli-built
fence, allowing as many as 200,000 Palestinians--13
percent of the territory's population--to cross into Egypt
and shop. The Gazans purchased camels, candy, cement,
chairs, cheese, cigarettes, computers, cows, doughnuts,
gasoline, generators, goats, mattresses, medicine,
motorcycles, pistols, potato chips, sheep, snack cakes,
soap, and televisions. Supplies at Egyptian shops
dwindled, prices spiked, and fistfights ensued. Several
Gazan women married Egyptians, and the Israel Defense
Force patrolled its southern border for would-be suicide
bombers and hostage takers.

tax on old english, swisher sweets, and cocaine

Before you pour one out for your homies, read this. Yesterday, Governor Eliot Spitzer proposed a new budget aimed at reducing New York State’s 4.4 billion dollar deficit. Among cuts to health care and education aid, the budget would add or increase taxes on some of our corner store favorites, namely malt liquor, which would be taxed at $2.54 per gallon rather than 11 cents. That’s a 2,209% increase! The price of forties will rise by as much as 80 cents! Edward Forty Hands is going to cost more than 5 whole dollars!

The proposed tax also means higher prices for malt liquor energy drinks like Sparks. One Sparks enthusiast told us it was probably “healthier in the long run. I imagine some will turn to hard drugs more frequently. PCP perhaps.”

Asked whether he would buy less malt liquor, a Hells Kitchen man told the Times, “Nah. You got to do what you got to do. It’s like gas. You drive the same mileage for $2 a gallon or $3.50 a gallon.”

The new budget also includes increased taxes for “low-end cigars” like Swisher Sweets and taxes for illegal drugs, including $3.50 per gram of marijuana and $200 a gram for cocaine. City Room took a closer look at the ‘cocaine tax’ and found the fine print spelling out how drug dealers can go about paying taxes on their supply.

The tax is paid by the dealer, in advance of his or her receipt of the marihuana or controlled substance, through the purchase of tax stamps from the Department of Taxation and Finance (“Department”). Upon receipt of the product, the dealer must affix enough stamps to the packages of marihuana or the controlled substance in order to show the tax has been fully paid.

Odds of drug dealers paying taxes: low. very low.

david lynch on iphone

loretta lux

loretta lux

zombie elvis karaoke robot

so dude found a elvis karaoke robot thrown away the other night.

horse masks, thongs, mushrooms. japan

so there's this japanese dude... who only wears different thongs.. and a horse mask.
and umm, he dances around and picks, cooks, and eats wild mushrooms.
this is blowing me away right now.

beijing olympic stadium

The new National Stadium is located on a gentle rise in the centre of the Olympic complex. It is conceived as a large collective vessel. An undulating composition of high and low elevations moderates the bulk of the vessel and gives it a dramatic sweeping form. The stadium's appearance is pure structure. Facade and structure are identical. The structural elements mutually support each other and converge into a grid-like formation – almost like a bird's nest with its interwoven twigs. The spatial effect of the stadium is novel and radical and yet simple and of an almost archaic immediacy, thus creating a unique historical landmark for the Olympics 2008.

The stadium is conceived as a large collective vessel which makes a distinctive and unmistakable impression both when it is seen from a distance and from close up. It meets all the functional and technical requirements of an Olympic National Stadium, but without communicating the insistent sameness of technocratic architecture dominated by large spans and digital screens. The spatial effect of the stadium is novel and radical and yet simple and of an almost archaic immediacy. Its appearance is pure structure. Facade and structure are identical. The structural elements mutually support each other and converge into a grid-like formation, in which facades, stairs and the roof are integrated.

Visitors walk through this formation and enter the spacious ambulatory that runs full circle around the stands. From there one can survey the circulation of the entire area including the stairs that access the three tiers of the stands. Functioning like an arcade or a concourse, the lobby is a covered urban space with restaurants and stores that invite visitors to stroll around.

The stands are designed without any interruption to evoke the image of a bowl. This evenly constructed shape serves to focus attention on the spectators and the events on the field. The human crowd forms the architecture. The facility provides good comfort, excellent views and a superb atmosphere. It will generate crowd excitement and drive athletes to outstanding performances.

The Exterior Shell – Inflated Cushions as a Filler

Just as birds stuff the spaces between the woven twigs of their nests with a soft filler, the spaces in the structure of the stadium will be filled with inflated ETFE cushions. On the roof, the cushions will be mounted on the outside of the structure to make the roof completely weatherproof. Whilst the rain is collected for rainwater recuperation the sunlight filters through the translucent roof providing the lawn with essential UV-Radiation. On the facade, the inflated cushions will be mounted on the inside of the structure where necessary, e.g. to provide wind protection. Since all of the facilities – restaurants, suites, shops and restrooms – are all self-contained units, it is possible to do largely without a solid, enclosed facade. This allows natural ventilation of the stadium which is the most important aspect of the stadium's sustainable design.

The Sliding Roof – the Lid of the Tin

The sliding roof is an integral part of the structure of the stadium. When it is closed, it converts the stadium into a covered arena. Just as a tin is only complete with a lid, the roof, whether closed or open, is an elementary part of the whole. With its own structural logic, it is also a grid-like formation that forms a waterproof shell together with the inflated cushions.

new york city

nike commercials

i really like this nike commercial.

happy birthday kate

sly stone, you are my hero.

hunter.

Tim Ferris [former New York Bureau Chief for Rolling Stone]: Around that time, I was leaving New York to go on tour with David Bowie. [Rolling Stone editor] Jann [Wenner] was in New York, and we had a meeting. I had my bag with me because I was on my way to the airport, and Jann fired me -- which happened periodically during downturns. When I called Owl Farm, Sandy answered and said that she had just spoken to Hunter, who was in his room at the Watergate. I asked her how things were going, and she said, "Pretty well, but we're worried about money. That's what we were just talking about. We only have four hundred dollars left in the bank and we don't know where any more money is going to come from." We talked a bit more, and then I hung up and immediately called Hunter. He said, "How's it going?" I said, "I just got fired by Jann." And Hunter said, "Do you need any money? I can lend you four hundred dollars."

vegetable orchestra

so this just totally amazed me:


here's them.. live in vienna:


and then here's a little intro to making vegetable instruments.. but umm.. it's in japanese:

pompel & pilt

The Norwegian TV-show "Pompel & Pilt" was both loved and hated in its home country due to the surreal, amoral personalities of its characters. After the series was broadcast in 1969, 1973, 1976, 1979 and 1985, the show was banned by NRK (Norwegian National Broadcasting) as it was deemed too dangerous for children. After this a huge cult-following grew, demanding to get "Pompel og Pilt" back on television and today the characters are considered one of the greatest pop-cultural icons in Norwegian television-history.

basically they are repairmen. and then there's a guy named gorgon. who has an obsessive compulsive disorder, constantly saying words that rhyme with "reparere". which means repair. and then there's some weird animal called a moffedille that eats keys and communicates through speech bubbles and howling noises.

episode one:


episode two:


episode three:

books

Jesse P- "Bro, you should read this book."
Jesse N- "Books are like girlfriends; I hate 'em."

wind powered robots!!!

wind powered robot!!!! future dinosaur!!! yaaahahhahhhh!!!!!!

the names bond. james what the fuck.

James Bond fan David Fearn has changed his name - to all 21 official 007 film titles.

The 23-year-old is now called - 'James Dr No From Russia With Love Goldfinger Thunderball You Only Live Twice On Her Majesty's Secret Service Diamonds Are Forever Live And Let Die The Man With The Golden Gun The Spy Who Loved Me Moonraker For Your Eyes Only Octopussy A View To A Kill The Living Daylights Licence To Kill Golden Eye Tomorrow Never Dies The World Is Not Enough Die Another Day Casino Royale Bond'.

James, of Walsall, Staffordshire, said: "I wanted to be James Bond and now I am - it's the ultimate fantasy."

The 69-word name change is the longest in the UK Deed Poll Service's history.

SPACE!!!!!!!

smithsonian on time machines

A physical time machine—a device available at Wal-Mart, as opposed to a natural wormhole somewhere in the cosmos—is possible. You begin with something square. Next, install mirrors at the corners and send a beam of light, perhaps from a laser, at one of the mirrors. The light will bounce to the second mirror, the third, the fourth and back through this cycle forever.

The force of this constantly circulating light will begin twisting the empty space in the middle. Einstein's theory of relativity dictates that everything happening to space must happen to time, so time begins twisting, too.

To fit a human inside this time machine we need to stack a bunch of these mirrors on top of each other, and add more light beams. Eventually, we'll have a cylinder of circulating light. Once we step inside, we're ready to fly through time....
Here's the catch: The time machine only allows someone to travel as far back as when the machine was first activated. Since no time traveler has shown up yet—check-out aisle tabloids notwithstanding—no such machine has yet been invented.

rag chairs by droog

this chair is made out of 15 bags of rags.
would look gorgeous in my secret gypsy tower.
cop it for $4200 here.

dash snow. nuff said.

jesus loves you

make: single speed

how to paint laser graffiti

pirates!!!!

p