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I've wanted to build a custom bicycle for many years. I started wondering how fat of a tire I could accommodate on a bicycle. I had seen pictures of the Hanebrink Technologies extreme terrain bicycle, but wanted something still more extreme. The problem I considered was one of drive train alignment. With the fat tire, the chain had to shift too far outside of the normal bottom bracket to rear wheel alignment, in order to clear the tire width. I also wanted to make this work with gears, as I new the large tire would weigh a lot. Originally I wanted to spoke up a fat tire rim with a standard bicycle hub, but this proved impossible due the the small rim size with the large tire.Read more | Permalink | Comments | Read more articles in Bicycles | Digg this!
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The tech industry keeps wanting to think that netbooks are a mistake, but they are not.
When designer and artist Andrea Anastasio visited the US some years ago, he was fingerprinted (like everyone else) by the airport immigration authorities. This moment -- both banal and ominous -- stayed with him until it worked its way into his art. The result is Fingerprint, a playful and provoking tale that celebrates resistance to state surveillance and control. The artist's fingerprints, letter-pressed onto the pages of a book, create progressively complex patterns and sequences, transporting the fingerprint from the world of forensics and law into the freeing world of art and imagination.Fingerprint, by Andrea AnastasioThis is a timely and many-layered visual tale that is both a work of art and a political communiqué. An accompanying essay by historian and political activist V. Geetha points to those suggestive instances when people across cultures and nations have resisted fingerprinting, asserting their right to existence while fighting all attempts to foreclose their identities. And each copy is an original letterpressed handmade edition - thereby preserving the originality of both the fingerprints and printing method itself.
This would be a fun way to make a snack for your next picnic or party. I'm always forgetting to make something to bring to a friend's house, and would love to be able to just load this up and head out! I might try mounting it over the back wheel though, it seems like it might be more stable there.
Some tasty ice cream recipes you could try: Oatmeal Stout and Heath Bar and Salted Butter Caramel.
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From the picture quality, this looks like an oldie but a goodie. This full scale car replica was made with almost a million matchsticks. Crazy!
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MAKE subscriber Michael Beck is looking to start up a maker/hacker group in the Salt Lake City, Utah area -
I am interested in gathering a group of makers to share and inspire the Make spirit here in Salt Lake City. Plans to start are to meet regularly and if things go good create a Maker/Hacker space. If interested, please contact me.Any takers? Drop Michael a line here. Read more | Permalink | Comments | Read more articles in Announcements | Digg this!
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Wondering what to do with that snake farm under your desk? Check out this rain gutter solution. Nice and neat. Via Kat on Twitter.
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Apparently this CNC machine can be made in about 30 hours for approximately $100. It's powered by an Arduino which interprets the code sent to it via Python. The Arduino then sends the data to the custom motor controllers that are based on the ATtiny 2313 and l298.
This is the second version of a homemade CNC machine build using mostly off the shelve parts. The first one aka "The beast" had a lot of precision issues due to play in most parts which in turn was caused by mostly bad cutting. Also one of the biggest problems was that when I have build it I did not think to allow later adjustments to be done. So this time almost every part of it allows for some adjustments. It is also easier to build due to the different design.
More about the Valkyrie: $100 Arduino based CNC
In the Maker Shed:
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Make: Arduino
Steam Boat Willy has an amazingly detailed account of the technical details on this human powered hovercraft.
Via MITers
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Mark Dery is guest blogger du jour until August 17. He is the author of Culture Jamming, Flame Wars, Escape Velocity, and The Pyrotechnic Insanitarium. He's at work on The Pathological Sublime, a philosophical investigation into the paradox of horrible beauty and the politics of "just looking."
"Why have we not developed an aesthetic of the inside of the body?," wonders one of the twin gynecologists in David Cronenberg's Dead Ringers. He speaks for Cronenberg, who took up the thread in an interview he and I conducted. "We have contests in which we decide who is the most beautiful woman in the world," said Cronenberg, "and yet, if you were to show the inside of that woman's body, you would have a lot of grossed-out people. Why is that? We should be able to have a World's Most Perfect Kidney contest, where women or men unzip to show their kidneys. We can't become integral creatures until we come to terms with our bodies and we haven't come remotely close to that. We're incredibly schizophrenic."
Cronenberg's visceral aesthetic is bodied forth (so to speak) in La Specola, an 18th century anatomical museum at the University of Florence. It's fitting that the name, from the Latin for mirror (the museum is housed in a former observatory), is close etymological kin to speculum, an instrument used, as every woman knows, to dilate the opening of a body cavity for examination. La Specola is home to a collection of visible women and men, medical teaching aids that comprise some of the finest examples of ceroplasty, the art of modeling anatomical specimens in wax.
La Specola's waxworks are wondrous strange, indeed---a pathological beauty pageant worthy of Cronenberg's wildest dreams. "Le Grazie Smontate,"the "Dissected Graces" of the master modeler Clemente Susini (1754-1814), is a trio of recumbent young women, their tresses spilling over their shoulders, their shapely legs gracefully arranged, the fat, yellow sausages of their intestines coiled neatly on their disemboweled torsos. Gazing languorously up at the viewer, one grace toys girlishly with a braid, her modesty intact despite her bared entrails. Another sloe-eyed beauty flaunts a pert rosebud of a nipple, seemingly unperturbed by the fact that her breast hangs from a flap of flesh peeled back to expose her heart. The hard nipples; the bent leg partly covering (or coyly revealing?) the downy pubes; the head thrown back, lips slightly parted, in an attitude that hovers unsettlingly between post-orgasmic languor and the marionette floppiness of the corpse: these images tap a subterranean river in the erotic imagination. Behind the curtain of scientific progress and public edification drawn across La Specola lurks the shadow of a more than clinical interest in such things.
In A Traffic of Dead Bodies: Anatomy and Embodied Social Identity in 19th-Century America, Michael Sappol argues that the popular anatomical museums of the 19th century---that is, those museums open to the general (male) public, as opposed to those for medical professionals only---cannily exploited this pornographic subtext even as they veiled it in moral sanctimony. "[B]eginning in the 1830s and intensifying in succeeding decades, there arose a variety of anatomical entrepreneurs, eager to cultivate, exploit, and cater to the audience for anatomy through anatomical museums and exhibits,"writes Sappol. "And from the outset...anatomy was assimilated to the purposes of satisfying and profiting from the demand for sexual material, to its critics pornography."
Hillel Schwartz has his finger on the source of the Venus's bizarre charms when he writes, "The female anatomical figure with removable parts...was truly a pedagogical tool, but in wax it also suggested malleability, voluptuousness, and morbidezza: delicate flesh." There's a voluptuous luster to her beeswax-and-animal fat flesh that makes her uncannily lifelike, more so after two centuries than modern waxworks made of synthetic paraffins or the latex-skinned grotesques in theme-park robot dramas. Unlike an actual cadaver, whose waxy pallor makes it look as lifeless as a mannequin, the Dissected Venus seems almost to glow, if not with life, with a robust undeath.
Of course, any poetic reveries about the sex appeal of Dissected Venuses must take account of the extent to which these wax women hold a mirror up to culture rather than the nature---specifically, the Enlightenment culture into which they were born, when scientists were busy weaving myths about gender and the "natural order" that denied women the democratic promise of the Declaration of the Rights of Man and Citizen (1789) and redefined them as weaker vessels, consecrated to procreation and (male) recreation. The anatomical models of the day dramatized this reduction of woman to womb.
But, all that said, the creepy seductions of eviscerated wax women can't be neatly disposed of as a misogynist's guilty pleasure. There's more to La Specola's anatomical models than meets the male gaze. They were essential aids to medical pedagogy and obscure objects of desire, disseminating life-saving knowledge about female anatomy even as they reaffirmed the primacy of women's sexual and maternal functions. Now, more than two hundred years after their birth, the anatomical Venuses still taunt us. The morbid fantasies they inspire are reviled by feminist critics and relished by aesthetic transgressors in the Bataillean mode.
Walking from vitrine to vitrine, in La Specola, I'm mesmerized by the visceral charms of these obstetric Ophelias, floating through the centuries on suggestively rumpled sheets. I can't tear my eyes away from the hallucinogenically vivid colors of their coiled intestines, no less lovingly modeled than their unmistakably Florentine faces. Their sheets are brittle, fraying to ribbons, but they seem not to have aged a day since they were first unveiled to the public eye in 1780. Analyzing the welter of conflicting reactions, philosophical and psychological, that they inspire, I recognize these Aphrodites of the Operating Theater as disquiet muses of the Pathological Sublime---sisters of the nude sleepwalkers in Paul Delvaux's surrealist nocturnes, or of the naked victim in Duchamp's creepy, Hitchcockian last work, a museum-style diorama of a sex murder called Étant donnés. I think of the Victorian critic Walter Pater's famous meditation on the Mona Lisa:
[L]ike the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen day about her; and trafficked for strange webs with Eastern merchants: and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has molded the changing lineaments, and tinged the eyelids and the hands.
F. Gonzalez-Crussi calls wax modeling, which replaced the cadaver on the dissection table with a lifelike simulacrum, "the first successful effort we undertook to distance ourselves from the dead. Since then, we have not ceased in our efforts to deepen the gulf."The invention of ceroplasty marks the beginning of the history of the virtual cadaver, an ongoing chronicle whose latest chapter is the Visible Human Project, in which a male corpse was sliced into 1871 millimeter-thin sections with a laser, digitized, and transformed into a navigable 3-D atlas of the human body, accessible via the World Wide Web.

Paradoxically, wax anatomical models also recall us to a time when death and disease were an everyday affair and we were able to establish what Gonzalez-Crussi calls "a certain communion with the dead." La Specola's wax women offer a taste of that sacrament.
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Earlier this year, 20 million pages of the U.S. Federal Court's PACER database were downloaded, audited for privacy violations, and submitted as evidence to the Judicial Conference, the policy-making body of the courts. That incident led to a Senate investigation, clean-up by 30 district courts, and PACER now requires each lawyer to click at each login that they understand their privacy requirements. (Scribd, PDF )Better Access to Public Court RecordsWhen public data is locked up behind a cash register, nobody has an incentive to fix privacy problems. Only when the public got access to the data did privacy problems begin to be fixed. When public data becomes public, we also start to see real innovation.
A great example is today's release by Princeton's Center for Information Technology Policy of RECAP, a Firefox plugin. RECAP is a public domain proxy that allows professional PACER users--lawyers, journalists, and law students--to save money on access charges and at the same time create a public domain archive. RECAP lets lawyers do good by doing good.
Here's how it works. The 20 million pages harvested earlier this year have been unfolded into the Internet Archive by the Princeton team in a format that includes extras like metadata and SHA1 hashes. When you use the RECAP plugin to access uscourts.gov, if somebody already grabbed this doc, you get it for free. If not, you pay $0.08/page, but the doc gets recycled so the next user gets it free.
Previously on Boing Boing:
"Domain tasters" bitter as new fees put an end to their games (Thanks, Carl!)Domain tasters managed to make money with the practice, which essentially cost them nothing, in several ways. By registering variants of some domain name in bulk, it would be possible to direct them all to a simple webpage that harvested revenue from advertising services (Google, for example, acted to block the practice around the same time ICANN did). These could be used to quickly grab users looking for something related to a current event, or to sample a wide range of typos for a popular site; any names with staying power could be kept, while the rest could be discarded after a few days at no cost.
An alternate approach was to track users as they searched for the availability of different domain names, then register anything they considered. If the user ultimately tried to register one, the domain taster could offer to part with the one they'd registered at an inflated price; if nothing happened in a few days, the name was returned.
PDF: When Zombies Attack! Mathematical Modelling of a Zombie Outbreak! (Thanks, Fipi Lele!)
Zombies are a popular figure in pop culture/entertainment and they are usually portrayed as being brought about through an outbreak or epidemic. Consequently, we model a zombie attack, using biological assumptions based on popular zombie movies. We introduce a basic model for zombie infection, determine equilibria and their stability, and illustrate the outcome with numerical solutions. We then refine the model to introduce a latent period of zombification, whereby humans are infected, but not infectious, before becoming undead. We then modify the model to include the effects of possible quarantine or a cure. Finally, we examine the impact of regular, impulsive reductions in the number of zombies and derive conditions under which eradication can occur. We show that only quick, aggressive attacks can stave off the doomsday scenario: the collapse of society as zombies overtake us all.
(Image: Zombies Swarm Apple Store, a Creative Commons Attribution photo from Jayel Aheram's photostream)
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Apple hires people who do the best they can to follow the orders from the top, and end up rejecting a magic trick app because it confuses the user (which of course is the point). Because there's no money in rejected software they can't afford to spend time with the developer to figure out whether they made a mistake.
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(Video: Bob Dylan performing "Blowin' in the Wind," 1963, from No Direction Home.)
New Jersey police detained 68-year old American music star Bob Dylan recently, after a young officer failed to recognize him. A disheveled Dylan was wearing a hoodie, wandering around in the rain looking at a house for sale. The 24-year-old female officer was responding to a phone call from the occupants of a home that had a "For Sale" sign on it. The residents were called in with a report of an "eccentric-looking old man" in their yard
"We got a call for a suspicious person,'' Buble said. "It was pouring rain outside, and I was right around the corner so I responded. By that time he was walking down the street. I asked him what he was doing in the neighborhood and he said he was looking at a house for sale."ABC News (via Eddie Codel)"I asked him what his name was and he said, 'Bob Dylan,' Buble said. "Now, I've seen pictures of Bob Dylan from a long time ago and he didn't look like Bob Dylan to me at all. He was wearing black sweatpants tucked into black rain boots, and two raincoats with the hood pulled down over his head.
"So I said, 'OK Bob, what are you doing in Long Branch?' He said he was touring the country with Willie Nelson and John Mellencamp. So now I'm really a little fishy about his story. I did not know what to believe or where he was coming from, or even who he was. We see a lot of people on our beat, and I wasn't sure if he came from one of our hospitals or something," Buble said.

Earth Brooch Silver is a piece of jewelry made from a custom-selected piece of topography, 3D printed in wax and then cast in silver. I've been working with my friend Matt Mechtley to print out geographies on my MakerBot using USGS data, but these folks have got it down! Via Core77.
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36 amazing photos of the latest in robots from Boston.com
Scientists, students and corporations continue their work around the world in the field of robotics, persistently improving and redefining their capabilities, interfaces and roles in society. Unmanned vehicles fly above war zones, telerobotics give humans a broader virtual presence and humanoid robots gain more parity with humans, refining their movements and responses. Collected here are a handful of recent photographs of robotics in use around the world...Read more | Permalink | Comments | Read more articles in Robotics | Digg this!
I think a lot of this negative opinion was due not to specific alleged misdeeds, but to the very nature of the business and its product. Music is about fun, escapism, pleasure. The fact that music is also a business, populated with accountants, lawyers, enforcers, and other not-so-fun people, is quite jarring. It's natural that people react negatively when confronted with the harsh reality that it's about more than "the music" -- it's about making a buck.I find this incredibly unpersuasive. It's not the fact that the music industry "makes a buck" that pisses people off, but the manner in which it does so. Sure, people have hated the industry since before Napster came around (though, I'd argue that Sheffner's not paying much attention if he doesn't realize how much greater it's become -- we're talking an order of magnitude). But, the reason was actually a precursor to what's happening today: which is that the industry was run by people who looked to screw over everyone. The history of the music business is not pretty. Sure, some people may not like "the business side," but the issue most people have is not that it's a business, but the way the business has been run. It was always designed to rip off both the artists and consumers at every turn. The folks who have run the music business for years have always looked at things as a zero sum game, rather than a market that can be expanded. So they squeezed everyone. It's just that the internet made it that much more blatant.
The contrast with the public's attitude toward the software industry is instructive. The Business Software Alliance, the industry's equivalent of the RIAA, is very aggressive in its enforcement efforts, famously offering bounties for ratting out software pirates.... But my sense (admittedly anecdotal) is that most people have little problem with the BSA acting to enforce its members' copyrights; it's certainly a far less unpopular organization than the RIAA. (Can you imagine the outcry if the RIAA offered rewards for turning in your friends who "share" music without paying for it?) Why the difference? My hypothesis is that people have no trouble accepting that software is a serious business, and that owners of software copyrights, who spend millions developing their programs, have every right to stop people from copying them for free.First, perhaps it's because Sheffner hasn't spent much time around the software industry, but the hatred of the BSA runs incredibly deep as well. And, yes, people find their marketing schemes to be totally ridiculous as publicity stunts. The BSA is also regularly mocked (not just by us, but by the mainstream press) for its annual rollout of BS stats on piracy, that falsely count every copy as a lost sale, and then double, triple and quadruple count "ripple effects" on the economy, but never account for how the savings from not buying overpriced software also "ripple" through the economy.
The problem is that if an applicant wants to appeal, the examiner, who may well be a programmer, has to defend his subjective judgment of what's "obvious" with some kind of explicit argument. And the result (says Tim) is that in practice the "non-obviousness" requirement has been largely conflated with a review of the "prior art" or previous related inventions. The upshot is that unless someone else has done almost exactly the same thing before, you've got a good shot at getting the patent. Maybe this is motivated by a version of the no-five-dollar-bills-on-the-sidewalk fallacy in economics: If nobody has done it before, it can't have been all that obvious. But, of course, in a rapidly evolving area of technology, someone's always going to be the first to do something obvious.That's about the best description of why prior art is not the best test for obviousness that I've ever seen. Brilliant. But, if that's the case, how could you test obviousness? I've always believed that the test is actually laid out directly in the law itself. If it's supposed to be whether or not the invention is non-obvious to those skilled in the art, you should ask those skilled in the art. You could still have an examiner who would be in charge of weighing what those people say, but if they all explain how or why something appears to be obvious to them, that should be a pretty big clue that there's a problem. The idea that this would lead to people lying about something being obvious (or believing it's obvious in retrospect) has mostly been debunked. It turns out that people aren't quite as dishonest as some patent attorneys believe.
I think the source of the problem in the patent system may be linked to a point Friedrich Hayek made long ago about our tendency to overrate the economic importance of theoretical knowledge and vastly underestimate the importance of tacit or practical knowledge. The non-obviousness requirement, tied to the standard of an observer skilled in the appropriate art, is supposed to make the patent system sensitive to this kind of knowledge. But if examiners have to defend their judgments of obviousness, they're essentially being required to translate their tacit knowledge into explicit knowledge--to turn an inarticulate knack into a formal set of rules or steps. And Hayek's point was that this is often going to be difficult, if not impossible. Just as a loose analogy, consider that in the Principia Mathematica, Bertrand Russell and A.N. Whitehead's attempt to provide a rigorous, formalized basis for ordinary arithmetic, it takes several hundred pages to strictly establish the proposition "1+1=2." It takes a fairly advanced mathematical education to understand the explicit elaboration of a practice (counting, adding) that we expect most children to master.
If you ask me how I knew the way to go about writing the translation program in question, I'm not sure I could tell you--just as we sometimes find ourselves at a loss when we're asked to give explicit directions for a route we know by heart. Things that are "obvious" are often the hardest to explain or articulate explicitly, precisely because we're so accustomed to apprehending them by an unconscious (and possibly itself quite dizzyingly complicated) process. The very term "obvious" comes from the Latin obviam for "in the way"--that is, right in front of you, where you can't help but see it. Except the visual processing system we "use" automatically is vastly more sophisticated than what we're (thus far) capable of designing. If you had to describe explicitly the unconscious process by which you see what's right in front of you, it wouldn't seem "obvious" at all. The same, I expect, goes for the knack of knowing how to go about solving a particular problem in coding or engineering--with the result that the patent system systematically undervalues the tacit knowledge embedded in those skill sets until it's embedded in a piece of "prior art." So knowledge that's widespread but implicit and inarticulate is routinely mistaken for the kind of innovation it's necessary to incentivize with a monopoly grant. In effect, the hidden value of dispersed tacit knowledge is redistributed to the first person to render it explicit.
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Andrew Rapp made this neat application to help you quickly find appropriate colors to use for your LED project. He hooked up an RGB LED (that is, a single LED module that has red, green, and blue LEDs built into it) to a color picker dialog box on his computer, allowing him to change the color of his light by clicking on his screen.
If you are like me and have never really studied color theory, Geoffrey Milburn has a nice explanation about how additive color mixing works.
personal gifts, t-shirts, locks of a band member's hair, fur from a band member's cat, and posters or records signed by the band in their own blood.After that, there are a bunch of other oddities:
"Snatching Digital Rights" or Protecting Our Culture? Burning Man and the EFF (blog.burningman.com)Believe me, I'd love to see a better solution than wading through piles of images to approve certain public uses (and turn down or enforce against others) every year, but after 10 years working with these licenses and observing their utility during the evolution of the digital age, the only thing I'm certain of is that the issue is not as simple as the EFF would like you to think.
Example: find me a participant who would vote "yes" on seeing a video or photo of the Man burning, or their own art car or sculpture, in a car commercial. You probably can't - but even the Creative Commons Noncommercial license wouldn't enable Burning Man itself to enforce against such use, nor the dozens of other similar violations it sees each year because the car company would claim (correctly) that Burning Man has no standing to enforce the Creative Commons license, only the photographer does -- and what if the photographer was the one who sold the image to the ad agency in the first place? What if we couldn't locate the photographer to join forces with us? A Creative Commons license simply does not provide Burning Man the direct ability to enforce against such use - something we've unfortunately run up against many times as we work to keep such commercialist wolves at bay.
(Livingbrush Woman Art by Scott Fray, Image by Bryce Hunt)

The little fella sure does get around. Mashable has ten examples of "crasher squirrel as meme" photoshoppery right here, but I bet many more exist. Why don't you tell me about them in the comments.
Previously: Crashing Squirrel
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