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I like design, music, tech and other great things. This is where I share some of that stuff and where I occasionally write. I also share some of the photos that I take on my other tumblr marcoiscapturinglight.

(via Monuments — KEVIN BYRD)

(via Monuments — KEVIN BYRD)

(Source: youtube.com)

Middle Sea

(Source: brainpickings.org)

My criticism of the current tech scene is that the software feels so opulent, but lacks a necessary richness and vitality. It may look beautiful and lush, but the actual point of the technology is pretty tawdry. I find myself being wowed with a technology’s execution, then asking, “To what end?” and feeling pretty gross about the answer. Perhaps there’s a bubble in tech (aside from the finances—I’m not informed enough to comment on that) simply because the industry is floating above the real world. Most of the software being made doesn’t feel like it’s for a standard life any more—at least not anything that resembles my life. And I’m a straight, white, urban, American male. I can’t even begin to imagine how the vast, vast majority of the world that hasn’t genetically lucked into my advantages must feel about all this stuff.
Frank Chimero on Designer News

(Source: simplypi)

(Source: youtube.com)

I want to fly this thing.

Also, It’s a really nice contrast to the “everything’s in the computer” approach that Star Wars generally takes.

(Source: youtube.com)

Via Slate:

The Grand Budapest Hotel, the new Wes Anderson movie, is presented in not one but three aspect ratios. That term, aspect ratio, refers to the proportion of a movie’s width to its height. […] one of the most common formats for major theatrical releases in the U.S. is 1.85:1, with the projected image almost twice as wide as it is tall. Anderson uses that familiar format only briefly in Grand Budapest, though, for scenes at the beginning and end of the movie.

The majority of the film is presented in the so-called Academy ratio, 1.375:1. The name derives from the Academy of Motion Picture Arts and Sciences, which set that ratio as the standard for studio films in 1932. And a few sequences of The Grand Budapest Hotel are presented in an anamorphic widescreen ratio, 2.35:1.

Each of the three ratios is used to reflect cinematic history during the respective period that it depicts.