The Basic Binding of Books, a Tutorial by Jamie Butler.
Follow the rest of it here.
The Basic Binding of Books, a Tutorial by Jamie Butler.
Follow the rest of it here.
Let me tell you a little story about innovation and creativity. Years ago, I worked on a wiki-based project to find the first instance of ideas/techniques in video games (like the first game to use cameras as weapons, or the first game to have stealth as a play element). It excited me to dig to give credit to those who laid the foundations of ideas that we now take for granted. I couldn’t wait to show the world how creative and innovative these unknown game designers/developers were.
I went into it with much passion and excitement, but unexpectedly, it turned out that there were almost no “firsts”. Every time someone put up a game that was the first to do/contain something, there was another earlier game put up to replace it with a SLIGHTLY less sophisticated, or SLIGHTLY different version of the same thing. The gradient was so smooth and constant that eventually, the element we were focusing on lost meaning. It became an unremarkable point to address at all. We ended up constantly overwriting people’s work with smaller, less passionate articles, containing a bunch of crappy games that only technically were the first to do something in the crudest manner. Sometimes only aesthetically.
After a lot of time sunk into this project, I came to the conclusion that I was mistaken about innovation/creativity. It would have been a better project to track the path of ideas/techniques than to try to find the first instance of an idea/technique. I held innovation so highly for years before that, but after this project, I saw just how small it was. How it was but a tiny extension of the thoughts of millions before it. A tiny mutation of a microscopic speck that laid on top of a mountain. It was a valuable experience that helped me very much creatively.”
– Dave Freeman, game designer
Hasekura was a Samurai and retainer of Date Masamune, the daimyo of Sendai.
In the years 1613 through 1620, Hasekura headed a diplomatic mission to the Vatican in Rome, traveling to Mexico (arriving in Acapulco and departing from Veracruz) and visiting various ports-of-call in Europe. This historic mission is called the Keichō Embassy (慶長使節), and follows the Tenshō embassy (天正使節) of 1582. On the return trip, Hasekura and his companions re-traced their route across Mexico in 1619, sailing from Acapulco for Manila, and then sailing north to Japan in 1620.
Hasekura’s journey is astounding in its scope.
He was accompanied by 180 people, one of whom was the European Fransician monk Luis Sotelo. Hasekura and Sotelo are pictured here in a rather sensual fresco in the Sala Regia, Palazzo Quirinale, Rome.
Hasekura received new names: in France, he was dubbed Dom Philippe Francois Faxicura, In Spain he was baptized Felipe Francisco Hasekura.
Unfortunately, his travels did not lead to establishment of new trading partners but did establish Spain as a threat, and their conversion to Christianity had apparently become an issue due to an interdiction in Sendai. His son and several of his servants were actually put to death due to their refusal to recant their faith.
Hasekura’s trip was expunged after his return, and it was not noted in the official histories of the Edo period. It was not made public until 250 years later in 1909.
Consider the slaughter of Tiamat in the Babylonian epic of the Enuma Elish—with its ranks upon ranks of deities and monsters in which humanity springs from the blood of a fallen singular chaos, dissected and enslaved by the very gods themselves. Or perhaps the colder, but similarly brutal murder of the primal giant Ymir in Norse myth, wherein the mountains are the bones of that giant, the seas and oceans his blood, the dome of his skull the sky and his brains the scudding clouds. In such an opening we see the guts of our world revealed—Kali pleasures herself on the cold, hard lingam of Shiva the corpse. Sex and death, murder and theft, crime and punishment, the entire potential of human experience is encoded in our myths.
The darkest realities of existence can be dealt with mythologically, allowing us an intermediary for dealing
with our demons.
Since “our world” is a cosmos, any attack from without threatens to turn it into chaos. And as “our world” was founded by imitating the paradigmatic work of the gods, the cosmogony, so
the enemies who attack it are assimilated to be enemies of the God’s, the demons, and especially to the archdemon, the primordial dragon conquered by the gods at the beginning of the time.
…This is the reason the Pharaoh was assimilated to the God Re, conqueror of the dragon Apophis, while his enemies were assimilated to the mythical dragon. Darius regarded himself as
a new Thraetaona, the mythical Iranian hero who was said to have slain a three-headed dragon.
In Judaic tradition the pagan kings were represented in the likeness of a dragon…
The list of associations between the singular, primordial chaos and the symbol of the dragon goes on and on, including Tiamat herself. Th is process of slaying and reconsecrating runs through our process of individuation, a child crying in a new, dry world, separating from that umbilicus again and again, by claiming and defining. It is a pattern underlying a tradition that lead, inevitably, to monotheism, as it underlies many of the mythic traditions of the near East. Consider this,
In [Psalms] 74:12-17 we have an account of how Yahweh, in a contest with the waters, smote the many-headed Leviathan, and then proceeded to create day and nigh, the heavenly bodies,
and the order of the seasons. We have already seen that in the Akkadian Epic of Creation Marduk’s slaying of the chaos-dragon Tiamat is followed by his ordering of the universe, and by
the building of Esagila. It is also accepted by the majority of scholars that in the Hebrew word tehom used to denote the abyss of waters in Gen 1:2 there is a reference to the chaos-dragon Tiamat …But in the passage from Ps. 74 the name of the water-dragon, Leviathan, is the same as the Ugaritic Lotan, the dragon slain by Baal. 
This is of course not indicative of all creation myths. Myths like the Enuma Elish and similar creation myths espouse an original or primordial chaos that pre-existed any structuring or ordering principles, but there are others which are based on an underlying order, such as Kabbalistic and Christian theology. Science itself seems divided on this matter, since it methodologically derives from the necessity of repetition and testability, and yet cosmological theories like the big bang, or cyclical views that include a big bang and big crunch, bring into
question the cosmological framework creation myths have asked since the earliest dawn of recorded mythic thought, even if the application of meaning goes beyond the strict scope of scientific inquiry.
Nevertheless, more than calling into question the actual historic origins of the universe, this raises a more immediate cognitive one: what is the actual meaning of “order,” and “chaos,” how do we recognize one from the other? Th s question is reduced quite simply by the realization that the difference between order
and chaos is not just in the ability to see a pattern, but that a pattern recognition machine—such as our own nervous systems—is required to make such a distinction. Though there may appear to be an inherent order in the progression 1,2,3,…and no coherent order in another assortment of numbers that “order” is
time of the established order,
“In the beginning there are a male/female pair; Apsu and Tiamat, or freshwater and saltwater deities respectively. Their bodies commingle and engender a host of deities, notably Ea, the god of wisdom and magic. When this new generation becomes unruly
and troublesome for the old pair, Apsu wants to destroy it, but Ea is quicker and more decisive and slays Apsu fi rst, leaving Tiamat widowed.
Apsu remains an inert entity from then on, the mythical sweetwater ocean beneath the earth that is the abode of Ea, where he sires Marduk.
…In a great struggle he (Marduk) slays Tiamat, wipes out the monsters …Marduk and Ea then bisect Tiamat’s body to form heaven and earth, and Marduk’s rule is consolidated forevermore.”
This pattern is not unlike what we see in Greek myth, with Kronos and the other titans the precede the Olympic pantheon. It is a story that repeats time and again in our personal lives, in the lives of the cells within our bodies, within the rise and fall of Empires, and so on …”
At least three Bitcoin exchanges report high-stakes robberies this month.
THERE’s that cyberpunk future.
Gifs from the music video of Stromae’s “Papaoutai”, directed by Raf Reyntjens, choreography by Marion Motin
Iconic historical stage designs for The Queen of the Night sequence from Mozart’s “Magic Flute” - the first image by Karl Friedrich Schinkel in 1815, the second by Simon Quaglio in 1818 (x)
The City of Fire- The Metro
If any journeyman set down in his bill on Saturday night more work than he has done, that surplusage is called Horseflesh; and he abates it in his next bill. — M.
This surplusage of charge, as Moxon terms it, is now called Horse, and it is not always deducted in the next bill.
From A Dictionary of the Art of Printing, by William Savage, London, 1841.