Wipeout

Struggling to surf the stream of consciousness of an over-thinking mind.

explore-blog:

The Roving Typist – lovely short film about C.D. Hermelin, a broke aspiring writer who decided to bring his typewriter to a park and write charming on-demand stories for passersby with a few dollars to spare.

Pair with Story of a Writer, a 1963 short film about Ray Bradbury.

(Source: explore-blog)

dogma-art:

Artist Yayoi Kusama in her studio in the psychiatric hospital in Tokyo and back in the days in her New York studio.

Having suffered nervous disorders and hallucinations since childhood, Kusama has chosen to live in a Tokyo psychiatric hospital for the past 38 years, and has built herself a studio opposite. Health permitting, she still makes a daily journey from the hospital to her studio to paint. 

excerpts from Kusama: Princess of Polka Dots directed by Heather Lenz

http://bit.ly/1f48Y8V

(via winterallyear)

Alternoon in the alps..

Alternoon in the alps..

sannao75:

People who believe Amanda Knox is guilty should probably educate themselfs about the case and read this

Absence of Evidence is Evidence of Absence
The Amanda Knox/Raffaele Sollecito case isn’t really about (the alleged) evidence, it is about lack of evidence—evidence that would have to be there if Knox and Sollecito participated.   A shooting victim has an entry wound.  That is evidence.  If you tell me you have a shooting victim, but there’s no entry wound, the lack of evidence shows your theory to be impossible.  No entry wound→ no evidence→ no shooting.  A complete case consists of not just what’s at the crime scene, but what’s not at the crime scene.  This is simply basic investigation:  Investigation 101.  The prosecutors and investigators in this case simply ignored the implications of what they could not find.
In the Amanda Knox/Raffaele Sollecito case, we have a conflict between an implausibly small amount of highly suspect “evidence” that is alleged to be at the scene vs. a vast amount of missing evidence that would have HAD to be at the scene if Amanda and Raffaele had participated at all, and even more so if they had participated in the way the prosecutors allege. While the prosecution’s evidence is scant, contrived and likely non-existent; the mountain of missing evidence is absolutely overwhelming and compelling.  And they both can’t be right because they are mutually exclusive.
If Amanda and Raffaele had actually killed Meredith in company with Rudy Guede, the following evidence WOULD have been there:
BLOOD TRANSFER
1.  Meredith’s room would have been filled with the bloody footprints, handprints and smears of THREE PEOPLE, not one. 
In the world of homicide (and other) investigations, law enforcement officials and prosecutors use the word “transfer”.  Transfer is what it sounds like; the transfer of physical evidence from one person to another.  Transfer is especially prevalent in murders (especially by stabbing) and rape.  The nature of this case indicates that it would have the MOST transfer of any type of case.
2/3 of the required evidence missing, means 2/3 of the people were not there.
If the prosecution’s story is true, we are missing all credible evidence of the participation of, or even presence of Amanda Knox and Raffaele Sollecito in the cottage at the time of the murder.
With three alleged assailants, that would mean that 2/3 of the evidence is simply missing.    Evidence of Rudy Guede’s presence and participation are everywhere; bloody footprints, DNA, fingerprints, palm prints, bodily fluids, hair and even fecal matter.  Nobody; not even Rudy Guede disputes this evidence.  How then can the total absence of evidence of any other person be explained?  The prosecution cannot provide an answer.
The sheer volume of forensic evidence of Guede’s presence is overwhelming.  Evidence of any other person’s presence or involvement could not be erased without wiping out that of Guede’s. Therefore, the room could not have been cleaned, and was not cleaned.  This means that the missing evidence was not removed—it was never there.
Amanda Knox is alleged to be the person who stabbed Meredith Kercher.  She would therefore have been in VERY close proximity to Meredith—well within an arm length.  Blood spatter evidence at the scene is consistent with ‘projected’, or ‘medium velocity impact spatter (MVIS) blood stains which travel at between 1.5 meters per second (mps) and 7.5 mps.  (That is an arm-length in ½ second).  Blood was spattered several feet away from Meredith’s wounds.  It is inconceivable that the person stabbing Meredith was not contaminated by blood spatter.  Guede was.
Anybody holding Meredith (such as was alleged by the prosecution) would be within the spatter zone.  Again; blood on clothes and skin.  This would mean that both Raffaele and Guede would have had substantial amounts of Meredith’s blood on them as they were alleged to have held Meredith. 
The volume of blood in a woman the size of Meredith is between 4 and 5 liters.  Approximately 2 liters of blood loss results in death.  That would indicate that at least two liters (a little over half a gallon) of blood was spilled on the hard-surfaced floor. 
Nobody disputes that Meredith was fighting bravely for her life to her last breath.  There were 46 wounds on her body consistent with such a struggle.  With three persons wrestling and stabbing, it is impossible that contact blood transfer did not occur; on the feet, on the clothing and on the hands of any alleged perpetrator.  Especially when fighting in the small confines of Meredith’s bedroom.  And the footprints would occasionally overlap.
Guede stepped in the blood, Guede put his hand in the blood, Guede touched surfaces all around the room.  Yet neither Amanda Knox, nor Raffaele Sollecito came in contact with any blood?  This is difficult to conceive, as even if they avoided the large blood pools and spatters, it would be impossible to avoid stepping on the bloody (but sometimes latent) footprints left by Guede.
It is all the more impressive that examiners found latent (but non-blood) footprints claimed to be of Amanda all through the house….but NONE in Meredith’s room.  This is an impossible result if Amanda had been involved in the murder.  Against all of this missing evidence is a bra clasp that sat for six weeks in a pile of dust with a questionable DNA marking related to Sollecito, and a bloody footprint of Guede that the prosecution asserted to have belonged to Raffaele.

Read More

Man is the most insane species. He worships an invisible God and destroys a visible Nature. Unaware that this Nature he’s destroying is this God he’s worshiping.

—Hubert Reeves (via -5280)

(via -5280)

explore-blog:

In his latest email newsletter, David Byrne explores the travesties of performance royalties on commercial radio:

I’ve been getting together in the last few months with a small group of musicians and writers who are concerned that there is no organization to represent us on many of the issues that affect us. More on that later. One issue that has been discussed recently is the payment of performance royalties on commercial radio broadcasts in the U.S.
When many of us think of the song “Respect,” we think of Aretha Franklin. Many people are shocked to learn that Aretha never made a penny from all the radio broadcasts of her performance of R-E-S-P-E-C-T (this is because she wasn’t the composer.) It’s true—many musicians receive little compensation or struggle to pay bills despite having widely-aired recordings. Executive Director of The Jazz Foundation, Wendy Oxenhorn, recently released an eye-opening statement explaining why performance royalties on radio broadcasts are so vital:
For nearly 14 years, I’ve been working to save jazz and blues musicians from eviction, homelessness and hunger. On a daily basis, legends who recorded with Billie Holiday, Duke Ellington, Chet Baker, Miles Davis are having to be saved. Even the legends themselves; including Odetta, Abbey Lincoln, Hank Jones, Elvin Jones, Ruth Brown, Etta James and so many others have been touched by the Jazz Foundation of America. Had there been radio royalties all these years, I can guarantee that many of the crises these great talents have had to face in their old age would never have had to exist.

Byrne urges us to show our respect for music by joining him in signing this petition.  
More on the royalty atrocities against artists can be found in Byrne’s altogether indispensable How Music Works.

explore-blog:

In his latest email newsletter, David Byrne explores the travesties of performance royalties on commercial radio:

I’ve been getting together in the last few months with a small group of musicians and writers who are concerned that there is no organization to represent us on many of the issues that affect us. More on that later. One issue that has been discussed recently is the payment of performance royalties on commercial radio broadcasts in the U.S.

When many of us think of the song “Respect,” we think of Aretha Franklin. Many people are shocked to learn that Aretha never made a penny from all the radio broadcasts of her performance of R-E-S-P-E-C-T (this is because she wasn’t the composer.) It’s true—many musicians receive little compensation or struggle to pay bills despite having widely-aired recordings. Executive Director of The Jazz Foundation, Wendy Oxenhorn, recently released an eye-opening statement explaining why performance royalties on radio broadcasts are so vital:

For nearly 14 years, I’ve been working to save jazz and blues musicians from eviction, homelessness and hunger. On a daily basis, legends who recorded with Billie Holiday, Duke Ellington, Chet Baker, Miles Davis are having to be saved. Even the legends themselves; including Odetta, Abbey Lincoln, Hank Jones, Elvin Jones, Ruth Brown, Etta James and so many others have been touched by the Jazz Foundation of America. Had there been radio royalties all these years, I can guarantee that many of the crises these great talents have had to face in their old age would never have had to exist.

Byrne urges us to show our respect for music by joining him in signing this petition.  

More on the royalty atrocities against artists can be found in Byrne’s altogether indispensable How Music Works.

(Source: explore-blog)