Robin Williams, 1951-2014
In the scene where Sean starts talking about his dead wife and her farting antics the lines were ad-libbed by Robin Williams, which is why Matt Damon is laughing so hard. The scene took everyone by surprise. According to Damon in the DVD commentary, this caused the cameraman to laugh so hard that the camera can be seen moving up and down slightly.
The Abyss Table by Duffy London
This mesmerising table was first conceived by Christopher Duffy — and ultimately refined by the team at Duffy London — to represent a 3D geological map of an ocean floor. The Abyss Table makes use of contour lines, which are often used to denote topography in terrain maps, to render an island chain and ocean abyss.
Contour lines can be thought of as workaround for the 2D limitations of paper maps, but Duffy instead relished these simplifications which have become iconic imagery for the field of cartography. He incorporates layers of wood to represent the land, and panes of glass for the water, in order to produce a 3 dimensional geographical model.
It’s hammertime on #SharkWeek tonight—and this hammerhead won’t stop! Scalloped hammerheads, like many sharks, must constantly swim to breathe. Watch these energetic animals—recently classified as endangered—glide by our live Open Sea cam.
Andrew Foltz-Morrison is a 24 year old English Teaching Assistant who is currently working in a public school in Sabah, Malaysia through the Fulbright program. He has a double major in philosophy and geography through Rutgers University in New Jersey. He creates his animations in NodeBox, an open source visual programming environment. He posts his work on Tumblr as utopian01.
London Street Art duo Miss Bugs are design culture mixologist who take the practice of appropriation to a more finished end than the stencil kings of recent years heralding from their hometown of Bristol. While brashly mashing the visual stories of your recent past, they’re telling new stories about hybrids and technology and the practice of untethering of pop and modern art imagery from it’s original docking. With disinterested and postmodern ladies acting as curvaceous archetypes of sensuality and as foil, Miss Bugs incorporates signature elements of other artists’ works into their distorted forms, weaving them into the hair, tattooing them across the skin, and then place them in the public sphere. ~Steven P. Harrington and Jaime Rojo