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Did Henry Ford Really Say "My Customers Would Have Asked For a Faster Horse?"

This is a good read:

Quote Investigator: The earliest instance of this quotation that QI has located appeared in a letter sent to the UK publication Marketing Week in 2001 [HFMW]:

Being market-led implies being led by the consumer — and consumers are bad at coming up with innovations (Henry Ford’s quote: “If I had asked my customers what they wanted they would have said a faster horse” springs to mind…)

Yet Henry Ford died in 1947, so the evidence connecting him to the quotation appears to be very weak. On the other hand, Henry Ford’s great-grandson William Clay Ford Jr. used the remark in 2006 and indicated that the attribution was accurate…

QI has not yet located compelling evidence that Henry Ford is responsible for this quotation. The expression of the concept underlying the saying apparently evolved over a period of decades with an initial cite by 1930. The record is still incomplete, so it is best to view this post as a snapshot of the most salient evidence known to QI. 

Mapping Data-Dense Cities as if They Were Mountains This gave Herwig another idea for how to visualize data points that essentially pile up on a given place. “Why don’t I treat them like elevation?” he says. Dense information has a topology in the same way that physical terrain does. sunlightcities: Making more sense of dense data visualizations.  -Source: Atlantic Cities  Deleuze and Guattari would be proud.
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Mapping Data-Dense Cities as if They Were Mountains

This gave Herwig another idea for how to visualize data points that essentially pile up on a given place. “Why don’t I treat them like elevation?” he says. Dense information has a topology in the same way that physical terrain does.

sunlightcities:

Making more sense of dense data visualizations. 

-Source: Atlantic Cities 

Deleuze and Guattari would be proud.

gleuch: I’m excited to announce my latest creation, Pop Block! After all the requests to make various browser blockers for pop culture celebrities and events, I’ve put the ability in the users’ hands. Now you can block whatever it is that you don’t need to see. pop-block: Block the ██████ You Don’t Need to See Today is a great day, as we are excited to announce the launch of our new project. After months of hard work, and by request from many, we have crafted a new platform for the ever-famous browser blockers. The launch of Pop Block gives power to the user, allowing them to create and choose the pop culture items they don’t need to see.  Get excited and sign up now: https://pop-block.com And do stay tuned for some other great additions to be released over the next few months. Follow us on Twitter or like us on Facebook. I’m going to start hiding all of your damn ██████.
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gleuch:

I’m excited to announce my latest creation, Pop Block!

After all the requests to make various browser blockers for pop culture celebrities and events, I’ve put the ability in the users’ hands. Now you can block whatever it is that you don’t need to see.

pop-block:

Block the ██████ You Don’t Need to See

Today is a great day, as we are excited to announce the launch of our new project.

After months of hard work, and by request from many, we have crafted a new platform for the ever-famous browser blockers. The launch of Pop Block gives power to the user, allowing them to create and choose the pop culture items they don’t need to see. 

Get excited and sign up now: https://pop-block.com

And do stay tuned for some other great additions to be released over the next few months. Follow us on Twitter or like us on Facebook.

I’m going to start hiding all of your damn ██████.

Kevin O’Callaghan’s students at the School of Visual Arts, New York, recently used bikes to deliver a message instead of packages or pizza. Each semester, O’Callaghan provides a set of objects as a starting point—phone booths, typewriters, M16 rifles—and an intentionally open-ended project brief. Special Delivery, the most recent show to come out of the class, used Huffy bicycles. In a nod to the cyclists who zip around New York’s streets at all hours, O’Callaghan asked students to design bikes that could each deliver a specific message. Sherry Leung’s bicycle, for example, alludes to the challenge of using water sustainably; Steve Pellegrino’s bike is particularly apropos for this election year. Transforming literal vehicles into figurative ones teaches a lesson about the communicative functions of design. (via Object Lessons | Metropolis Magazine) Very cool. Click to embiggen.
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Kevin O’Callaghan’s students at the School of Visual Arts, New York, recently used bikes to deliver a message instead of packages or pizza.

Each semester, O’Callaghan provides a set of objects as a starting point—phone booths, typewriters, M16 rifles—and an intentionally open-ended project brief. Special Delivery, the most recent show to come out of the class, used Huffy bicycles.

In a nod to the cyclists who zip around New York’s streets at all hours, O’Callaghan asked students to design bikes that could each deliver a specific message. Sherry Leung’s bicycle, for example, alludes to the challenge of using water sustainably; Steve Pellegrino’s bike is particularly apropos for this election year. Transforming literal vehicles into figurative ones teaches a lesson about the communicative functions of design.

(via Object Lessons | Metropolis Magazine)

Very cool. Click to embiggen.

New Map Shows Us What New Yorkers Are Bitching About Now: Gothamist Is your borough plagued with litter, noise, graffiti… a little bit of all three? Media artist Dietmar Offenhuber culled 311 data from two years and created this colorful map showing what New Yorkers are complaining about in various neighborhoods. Blue is for litter, green is for noise, red is for graffiti Rest of Gothamist writeup here. Actual map here (yay Visualizing).
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New Map Shows Us What New Yorkers Are Bitching About Now: Gothamist

Is your borough plagued with litter, noise, graffiti… a little bit of all three? Media artist Dietmar Offenhuber culled 311 data from two years and created this colorful map showing what New Yorkers are complaining about in various neighborhoods. Blue is for litter, green is for noise, red is for graffiti

Rest of Gothamist writeup here. Actual map here (yay Visualizing).

Boy’s football lost in tsunami found in Alaska A football swept away by last year’s tsunami and found on a remote Alaskan island is to be returned after its teenage Japanese owner was identified. Sixteen-year-old Misaki Murakami’s name was written on the ball that was swept out to sea in March 2011. Mr Murakami told Japanese media he was sure the ball was his and would be happy to have it back. “I’m very grateful as I’ve so far found nothing that I’d owned,” he told broadcaster TBS on Sunday. The ball - given to him by his classmates in 2005 when he moved schools - was found by US man David Baxter on a beach in Middleton Island.
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Boy’s football lost in tsunami found in Alaska A football swept away by last year’s tsunami and found on a remote Alaskan island is to be returned after its teenage Japanese owner was identified. Sixteen-year-old Misaki Murakami’s name was written on the ball that was swept out to sea in March 2011. Mr Murakami told Japanese media he was sure the ball was his and would be happy to have it back. “I’m very grateful as I’ve so far found nothing that I’d owned,” he told broadcaster TBS on Sunday. The ball - given to him by his classmates in 2005 when he moved schools - was found by US man David Baxter on a beach in Middleton Island.
Zoom Info
Boy’s football lost in tsunami found in Alaska A football swept away by last year’s tsunami and found on a remote Alaskan island is to be returned after its teenage Japanese owner was identified. Sixteen-year-old Misaki Murakami’s name was written on the ball that was swept out to sea in March 2011. Mr Murakami told Japanese media he was sure the ball was his and would be happy to have it back. “I’m very grateful as I’ve so far found nothing that I’d owned,” he told broadcaster TBS on Sunday. The ball - given to him by his classmates in 2005 when he moved schools - was found by US man David Baxter on a beach in Middleton Island.
Zoom Info

Boy’s football lost in tsunami found in Alaska

A football swept away by last year’s tsunami and found on a remote Alaskan island is to be returned after its teenage Japanese owner was identified.

Sixteen-year-old Misaki Murakami’s name was written on the ball that was swept out to sea in March 2011.

Mr Murakami told Japanese media he was sure the ball was his and would be happy to have it back.

“I’m very grateful as I’ve so far found nothing that I’d owned,” he told broadcaster TBS on Sunday.

The ball - given to him by his classmates in 2005 when he moved schools - was found by US man David Baxter on a beach in Middleton Island.

What causes 24p video to look jumpy? Everyone wants to shoot 24p but it only looks “natural” when viewed at a higher framerate: A large amount of content is produced in 24p. In theaters, 24p is the standard, but narrative television is also often produced in 24p. Yet, we don’t experience any obvious jumpiness when watching 24p on television or in theaters. Why not? One of the reasons is that we don’t often actually see 24p in either of those environments. In the U.S., we broadcast all video at 60 Hz. NTSC video is broadcast at 60i (59.94 interlaced fields per second), 1080 video is also broadcast at 60i, and 720 at 60p (59.94 progressive frames per second). To show 24p in the 60 Hz world, we need to convert it using a 2:3 pulldown method. This process not only conforms the video to the standard, but also has a smoothing effect. DVDs are mastered this way, as well, giving the same smooth result. Home televisions also often double their display rates (a 120 Hz TV is easy to find at your local electronics store), and this smoothens video on home screens even further. 24p film doesn’t have pulldown, so why isn’t it jumpy? Well, there’s something special happening that helps reduce the effect. Thomas Edison determined that for comfortable viewing in theaters, 46 fps was the minimum display rate of projectors. Projectors used a multiple-bladed shutter to show 24 fps film at 48 times a second, doubling the display of each frame. Many modern projectors actually will show each frame three times, giving 72 frames per second on screen. This has the same smoothing effect to our eyes that we see on TV sets. In fact, some of the only places we don’t see this smoothing effect is on production monitors and computer screens, so we can understand why cinematographers and editors may get a little uneasy about the 24p jumpiness. Read the rest at HDVideoPro
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What causes 24p video to look jumpy?

Everyone wants to shoot 24p but it only looks “natural” when viewed at a higher framerate:

A large amount of content is produced in 24p. In theaters, 24p is the standard, but narrative television is also often produced in 24p. Yet, we don’t experience any obvious jumpiness when watching 24p on television or in theaters. Why not? One of the reasons is that we don’t often actually see 24p in either of those environments. In the U.S., we broadcast all video at 60 Hz. NTSC video is broadcast at 60i (59.94 interlaced fields per second), 1080 video is also broadcast at 60i, and 720 at 60p (59.94 progressive frames per second). To show 24p in the 60 Hz world, we need to convert it using a 2:3 pulldown method. This process not only conforms the video to the standard, but also has a smoothing effect. DVDs are mastered this way, as well, giving the same smooth result. Home televisions also often double their display rates (a 120 Hz TV is easy to find at your local electronics store), and this smoothens video on home screens even further.

24p film doesn’t have pulldown, so why isn’t it jumpy? Well, there’s something special happening that helps reduce the effect. Thomas Edison determined that for comfortable viewing in theaters, 46 fps was the minimum display rate of projectors. Projectors used a multiple-bladed shutter to show 24 fps film at 48 times a second, doubling the display of each frame. Many modern projectors actually will show each frame three times, giving 72 frames per second on screen. This has the same smoothing effect to our eyes that we see on TV sets. In fact, some of the only places we don’t see this smoothing effect is on production monitors and computer screens, so we can understand why cinematographers and editors may get a little uneasy about the 24p jumpiness.

Read the rest at HDVideoPro

Peculiar salt-mine therapy for asthma in the Ukraine This underground facility is situated within the Solotvyno salt mine near a small Ukrainian village of the same name, close to the Romanian border. The therapy which takes place at Solotvyno is based on a method known as Speleo-therapy, an alternative therapy for asthma and other respiratory diseases. This therapy was discovered in Poland in the 1950s when it was noticed that salt mine workers rarely suffered from tuberculosis. Scientists found that the salt-permeated air of the working salt mine helped to dissolve phlegm in the bronchial tubes and also killed the micro-organisms which caused infections – and that this greatly helped patients who were undertaking treatment for asthma. Patients spend an average of 24 days at the facility, using a lift to travel underground for afternoon or overnight sessions. During this time they talk, read or sleep on beds, grouped together in alcoves which are carved out of the rock and lit by fluorescent tubes. See the rest of photographer Kirill Kuletski’s photos here. via thingsmagazine
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Peculiar salt-mine therapy for asthma in the Ukraine This underground facility is situated within the Solotvyno salt mine near a small Ukrainian village of the same name, close to the Romanian border. The therapy which takes place at Solotvyno is based on a method known as Speleo-therapy, an alternative therapy for asthma and other respiratory diseases. This therapy was discovered in Poland in the 1950s when it was noticed that salt mine workers rarely suffered from tuberculosis. Scientists found that the salt-permeated air of the working salt mine helped to dissolve phlegm in the bronchial tubes and also killed the micro-organisms which caused infections – and that this greatly helped patients who were undertaking treatment for asthma. Patients spend an average of 24 days at the facility, using a lift to travel underground for afternoon or overnight sessions. During this time they talk, read or sleep on beds, grouped together in alcoves which are carved out of the rock and lit by fluorescent tubes. See the rest of photographer Kirill Kuletski’s photos here. via thingsmagazine
Zoom Info
Peculiar salt-mine therapy for asthma in the Ukraine This underground facility is situated within the Solotvyno salt mine near a small Ukrainian village of the same name, close to the Romanian border. The therapy which takes place at Solotvyno is based on a method known as Speleo-therapy, an alternative therapy for asthma and other respiratory diseases. This therapy was discovered in Poland in the 1950s when it was noticed that salt mine workers rarely suffered from tuberculosis. Scientists found that the salt-permeated air of the working salt mine helped to dissolve phlegm in the bronchial tubes and also killed the micro-organisms which caused infections – and that this greatly helped patients who were undertaking treatment for asthma. Patients spend an average of 24 days at the facility, using a lift to travel underground for afternoon or overnight sessions. During this time they talk, read or sleep on beds, grouped together in alcoves which are carved out of the rock and lit by fluorescent tubes. See the rest of photographer Kirill Kuletski’s photos here. via thingsmagazine
Zoom Info
Peculiar salt-mine therapy for asthma in the Ukraine This underground facility is situated within the Solotvyno salt mine near a small Ukrainian village of the same name, close to the Romanian border. The therapy which takes place at Solotvyno is based on a method known as Speleo-therapy, an alternative therapy for asthma and other respiratory diseases. This therapy was discovered in Poland in the 1950s when it was noticed that salt mine workers rarely suffered from tuberculosis. Scientists found that the salt-permeated air of the working salt mine helped to dissolve phlegm in the bronchial tubes and also killed the micro-organisms which caused infections – and that this greatly helped patients who were undertaking treatment for asthma. Patients spend an average of 24 days at the facility, using a lift to travel underground for afternoon or overnight sessions. During this time they talk, read or sleep on beds, grouped together in alcoves which are carved out of the rock and lit by fluorescent tubes. See the rest of photographer Kirill Kuletski’s photos here. via thingsmagazine
Zoom Info

Peculiar salt-mine therapy for asthma in the Ukraine

This underground facility is situated within the Solotvyno salt mine near a small Ukrainian village of the same name, close to the Romanian border.

The therapy which takes place at Solotvyno is based on a method known as Speleo-therapy, an alternative therapy for asthma and other respiratory diseases. This therapy was discovered in Poland in the 1950s when it was noticed that salt mine workers rarely suffered from tuberculosis. Scientists found that the salt-permeated air of the working salt mine helped to dissolve phlegm in the bronchial tubes and also killed the micro-organisms which caused infections – and that this greatly helped patients who were undertaking treatment for asthma.

Patients spend an average of 24 days at the facility, using a lift to travel underground for afternoon or overnight sessions. During this time they talk, read or sleep on beds, grouped together in alcoves which are carved out of the rock and lit by fluorescent tubes.

See the rest of photographer Kirill Kuletski’s photos here.

via thingsmagazine

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Distinguishing blue from green in language - Wikipedia, the free encyclopedia

The English language makes a distinction between blue and green, but some languages do not. Of these, quite a number, mostly in Africa, do not distinguish blue from black either, while there are a handful of languages that do not distinguish blue from black but have a separate term for green.[1] Also, some languages treat light (often greenish) blue and dark blue as separate colors, rather than different variations of blue, while English does not.

Many languages do not have separate terms for blue and green, instead using a cover term for both (when the issue is discussed in linguistics, this cover term is sometimes called gruein English). For example, in Vietnamese both tree leaves and the sky are xanh (to distinguish, one may use xanh lá cây ”leaf grue” for green and xanh dương ”ocean grue” for blue). In the Thai language, เขียว (khiaw) means green except when referring to the sky or the sea, when it means blue; เขียวชอุ่ม (khiaw cha-um), เขียวขจี (khiaw khachi), and เขียวแปร๊ด (khiaw praed) have all meant either intense blue or garish green, although the latter is becoming more usual as the language ‘learns’ to distinguish blue and green. Chinese has a word 青 (qīng) that can refer to both, and sometimes black, though it also has separate words for blue (蓝 / 藍, lán), green (绿 / 綠, lǜ), and black (黑, hēi). The Korean word 푸르다 (pureuda) can mean either green or blue. In Japanese, the word for blue (青 ao) is often used for colors that English speakers would refer to as green, such as the color of a traffic signal meaning “go”. Some Nguni languages of southern Africa, including Tswana utilize the same word for blue and green.

The exact definition of “blue” and “green” may be complicated by the speakers not primarily distinguishing the hue, but using terms that describe other color components such as saturation and luminosity, or other properties of the object being described. For example, “blue” and “green” might be distinguished, but a single term might be used for both if the color is dark. Furthermore, green might be associated with yellow, and blue with black or gray.

From the sky down (by simonGman) The vortograph is an abstract form of photography that creates kaleidoscopic repetitions by photographing objects through a triangular arrangement of three mirrors. The process dates back to the work of Alvin Langdon Coburn who is credited for inventing the method in 1917. Photographer Simon Gardiner decided to give it a try and created this stunning, Inception-esque urban vortex. More like this, please. See also the music video for Eskmo’s We Got More. (via colossal)
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From the sky down (by simonGman)

The vortograph is an abstract form of photography that creates kaleidoscopic repetitions by photographing objects through a triangular arrangement of three mirrors. The process dates back to the work of Alvin Langdon Coburn who is credited for inventing the method in 1917. Photographer Simon Gardiner decided to give it a try and created this stunning, Inception-esque urban vortex. More like this, please. See also the music video for Eskmo’s We Got More. (via colossal)

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