tag:blogger.com,1999:blog-42816549372272034302024-02-14T11:31:25.170-08:00News\GlitchZEITGEIST beyond the BubbleCreative Commonshttp://www.blogger.com/profile/11256994501847507410noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-4281654937227203430.post-80824812358953622462021-12-07T03:17:00.089-08:002022-09-25T01:27:17.093-07:00Design and Architecture – Modern Architecture and Postmodernism<div class="separator cover-item small-cover light-text-color center-text-align large-text-size" style="clear: both; text-align: center;">
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<h2>Design and Architecture of the 20th Century: Late Modernism</h2>
<p>Late Modernism was the ideological dam of modernism bursting, and the metaphorical river diverged into many tributaries of coexistent styles. The technological advances of the 60s, and particularly the 70s led to much speculation about the architecture of the future. It was during this time that the computer became more and more sophisticated. In the span of less than 20 years, the computer went from the size of a refrigerator to the size of a television set.</p>
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<p>This post will focus on a few of the many movements of this time, and the philosophies behind them: Metabolism (Japan), High Tech (Europe and some US), and finally US Corporate architecture (as a far extension of the International Style).</p>
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<span>The Post-war Era</span>
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<p><mark>Suggested Post Series</mark> Design and Architecture of the 20th Century</p>
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<h2>Metabolism in Japan</h2>
<p>After World War II, the industrial expansion of Japan as a manufacturing superpower was deemed an economic miracle. The country’s development, as well as its population growth occurred at an astonishingly rapid rate. Combined with the small size of the country, issues of space became an urban planning crisis by the turn of the 1960s</p>
<p>The Metabolists sought to use variable building elements ‘plugged in’ to a central system or infrastructure - a concept both rooted in technology and futuristic aesthetics as well as the organic structures such as beehives.</p>
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<div imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><figure><img border="0" data-original-height="1101" data-original-width="879" src="https://blogger.googleusercontent.com/img/a/AVvXsEjdUniw7Mb0hzIc1iUSWgZYwBfFQEJai9vINQMNEoWTBa4y3rvTDuQM9AslsGvhrfIcX05pid4lcPh_x74hhjbMTxDoNDJKshh8LvmeOrNspbh7ElPj8CkYR096ZNfYIslGZSZij9IBv7l-9ua6VSL9iBkj9vv-3F4e8nnU2hmNaBgTytVKn1wNlr7_Gg=s320" /><figcaption style="width: 320px;">DynaTAC by Motorola, 1983</figcaption></figure></div>
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<p>The extreme complexity of these ideas, however, made their execution almost impossible, and their only true fulfillments were in the World’s Fair Expo 70, hosted in Osaka and the Nakagin Capsule Tower (1970-72) by Kisha Kurokawa. Despite the short-livedness of the Metabolist movement, its idea of pods and clusters of human beings are very much of the 1970s, and their science-fiction aesthetic is still fascinating even today. </p>
<h2>High Tech</h2>
<p>The expression of the interior on the exterior took on another form in the High Tech architecture of the 70s. Another short-lived movement, High Tech turned buildings visually inside out with the mechanical innards and other structural components displayed on the exterior (however these were often not the actual mechanical innards but rather an artistic expression of them, just as Mies’ use of I-beams were not entirely structural but rather an expression of the structural.)</p>
<p>The High-Tech movement was spearheaded by the British architect Richard Rogers, whose collaborative work with Italian architect Renzo Piano, the 1971 Pompidou Center in Paris reached levels of structural complexity previously unheard of. </p>
<p>Despite its sci-fi aesthetic, High Tech, like Metabolism, did not last very long as its projects were notoriously expensive. However, Rogers continued to build in the style, culminating in the Lloyd’s of London Building (1978-86) and the 2016 BBVA Bancomers Tower.</p>
<h2>Corporate Architecture</h2>
<p>The previously mentioned sub-factions of architecture were almost exclusively relegated to the public realm; that is, public housing, university buildings, museums, and other artistic institutions. The corporate architecture of the era was entirely separate from its experimental contemporaries. </p>
<p>Spearheaded by architects like Kevin Roche, Philip Johnson, the previously Brutalist I.M. Pei, and massive firms like Skidmore, Owings, and Merrill (SOM), the corporate architecture of the 60s and 70s took the aesthetics of the International Style glass tower set in place by Mies to the extremes of expression. </p>
<p>American corporations needed to express their power resulted in an era of ambitious skyscraper building, whose prominent examples included the World Trade Center Twin Towers in New York (Above Left, Minoru Yamasaki, 1969, destroyed by 9/11) and the John Hancock Center in Chicago (Above Right, SOM, 1968-70).</p>
<h3>Conclusion</h3>
<p>By 1975, Postmodernism was already well underway via Robert Venturi (a student of Louis Kahn) in America and James Sterling and Charles Moore in the UK. When the 1980s rolled around, Late Modern architecture became best known as the aesthetic of evil in speculative film. (Shameless plug for my new job, by the way.)</p>
<p>Still, Late Modernism is amongst the most fascinating periods in the history of architecture - until recently, there has never been such rabid experimentation, idealism, or fear of the future, rooted in the belief that the built environment can, in fact, save the world</p>
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<div imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><figure><img border="0" data-original-height="482" data-original-width="1034" src="https://blogger.googleusercontent.com/img/a/AVvXsEidLVILj1kZJ4PPFPhHAOqqomggR09cr3vM4oFJ5hqENrkskA5SXaOY2VdzwiQoJres0_okXx4mnz6crPLbrlBtq4ibMLx6ctEx6H6eRjZJEXsS8_Ym4N9NN_ih1plrqGKQUZE6Pk37CHskdvAlaNzsePI1z4I2nIUoyaxnfi4LMXNBL6pGp_R904ZiRw=s800" /><figcaption>The Guggenheim Museum Bilbao is a museum of modern and contemporary art designed by Canadian-American architect Frank Gehry, and located in Bilbao, Spain</figcaption></figure></div>
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<cite>Of all the styles in architectural history, none has become as ubiquitous in our suburban landscape as Postmodernism, later called PoMo, for short. But what is it? How did it get here? Most importantly, Why do I care?</cite>
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<p>mcmansionhell.com, What the Hell is Postmodernism?</p>
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<h2>From Postmodernism to PoMo</h2>
<p>Let’s just say developers loved it. Through developers looking for a big ROI, the great, elegant glass box of modernism, was transformed through said developers into cheap, soulless office boxes, forgettable skyscrapers, and loathed public housing. Their shoddy modernist jobs were, by the 80s, becoming rather passé and unpopular. Thank gawd the Sony Building came along, the developers thought</p>
<p>AND SO, the original spirit of Postmodernism, lovable, colorful, nostalgic for most of my readers and myself</p>
<p>This is the crux of the failure of PoMo: Postmodernism was about using architectural ornament within a modern context because we have emotional connections and connotations to architectural ornament. These buildings were about saying through ornament “I AM A HOUSE” or “I AM A BANK” mixed, of course, with a bit of clever architectural humor. </p>
<p>However, this was also the 80s & 90s and the global corporation ruled all, and rather than using the clever language of Postmodernism, PoMo was global corporations saying architecturally: “WORK IS YOUR HOME” or “THE MALL IS YOUR HOME” or “DOLLAR GENERAL IS YOUR HOME.</p>
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<h3>So what did we learn from this endeavor?</h3>
<p>We have no choice but to live in houses that look like our office blocks, because our office blocks took the architectural symbols of our houses. And, in response, our houses took the vomited up architectural symbols from their corporate remixes, because residential architecture almost always imitates the public architecture of the time.</p>
<p>Now, I’m not saying McMansions are a product of Postmodernism, or that they are themselves Postmodern architecture, because neither is true. It’s more of a coincidence than anything else that they borrowed certain tropes from the PoMo office tower and integrated them into features like the two-story entryway with the huge transom window.</p>
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<a href="https://mcmansionhell.com/post/154043891761/what-the-hell-is-modern-architecture-part-three/">
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<span>What the Hell is Modern Architecture</span>
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<dd>
<a href="https://mcmansionhell.com/post/152216735596/what-the-hell-is-postmodernism/">
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<span>What the Hell is Postmodernism?</span>
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</blockquote>Creative Commonshttp://www.blogger.com/profile/11256994501847507410noreply@blogger.com0tag:blogger.com,1999:blog-4281654937227203430.post-38173575512837940232021-12-02T03:31:00.009-08:002022-09-25T01:28:05.098-07:00The non-humanoid world of the Birrin<div class="separator cover-item full-cover dark-text-color large-text-size" style="clear: both; text-align: center;">
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<blockquote>
<q>Too often, science fiction depicts somewhat unimaginative humanoid aliens who sometimes even look like slightly different humans. It is understandable, really. human-centric view of the world leads many of us to imagine that intelligent life in the universe would be at least somewhat like us.</q>
<footer>
<p>Alex Ries, Birrin Project - A vision of non-humanoid alien world</p>
</footer>
</blockquote>
<p>However, we often ignore the fact that the reason humans (and other land vertebrates) tend to have four limbs for example, is because we all descended from the four-finned fish that crawled onto land. It is not a safe bet to suppose that aliens will be built like us.</p>
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<a class="ns-img" href="https://i.ytimg.com/vi/jRgw1fY7s5U/maxresdefault.jpg"></a>
<div class="caption">The Incredible World of the Birrin (Part I)</div>
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<div imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><figure><img border="0" data-original-height="950" data-original-width="752" src="https://blogger.googleusercontent.com/img/a/AVvXsEi7lLkIk5xzpE3zK0Y1mIlKFqj-RRHh7rFu76_aX2tHySrWjPDswZrxyZo-cRtspxzI6UV3qbdIX17vHUjxxWgqdK0a18ttzw_xTfZVerr7yolnaU2HtTx7qa8DoJ7Xg0fmP5M-ZAlvkhGnXO3uBnEY33z4pEVVU8-IwRsYrMu9GD3UGKRCkPoO1_6QKw=s320" /><figcaption style="width: 320px;">A Metahuman meets the Birrin on their homeworld Chriirah</figcaption></figure></div>
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</aside>
<p>Alex Ries, an evidently talented concept artist and illustrator provides us with a detailed vision of an alien world Chriirah, which is populated by the sapient species Birrin.</p>
<p>Alternately referred to as The World of the Birrin or The Chronicles of Chriirah by its online following, it’s basically Alex’s solo attempt to map out — in as much detail as possible — the evolution of an intelligent alien species.</p>
<p>Keeping with his aforementioned design philosophies, Alex conceived the species in question — called Birrin — to look as distinctly non-humanoid as possible. Having evolved from basket worm-like ancestors, the Birrin resemble a cross between our world’s horses, birds, and dolphins, complete with six long, lanky limbs, two vestigial wings, and beaked mouths that open up in four different directions.</p>
<p>While the Birrin’s ocean-engulfed planet of Chriirah might look familiar to Subnautica veterans, Alex is taking his own worldbuilding aspirations further than any game developer constrained by time and money ever could. From the Birrins’ unique physique, locomotion, and clothing, down to the way in which they organize their cities and cultivate their favorite crops, his artwork leaves no stone unturned.</p>
<p>Alex’s art portfolio is a rabbit hole you won’t want to climb out of. A Tolkien-esque map, complete with epistemologically consistent names for every sea and region, turns Chriirah from a loose collection of doodles into a living, breathing ecosystem. While far from complete, the Birrin world is already on its way to becoming one of the most comprehensive works of hard sci-fi ever created.</p>
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1. A birrin egg about ready to hatch
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2. A land-sea map of the alien world Chriirah
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3. Birrin sisters out fishing in the local inlet. The eldest has become quite good with her antique spear-thrower
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4. Dawn on the farm, with giants hired on to handle the heavy work. Bluestick contains a cocktail of chemicals that are very valuable, and the challenges in growing it make the crop a valuable one
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5. These ruins represent the height of Birrin pre-industrial engineering
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6. Many birrin, being pleasurably susceptible to many of the psychoactive defence compounds found in their planets’ plants, have developed complex rituals around recreational drug use
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7. Anchored and with boiler firing to dry the latest shipment, this peat-merchant paddle wheeler has stopped off at one of the larger suppliers in the oldest parts of the forest
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8. Pictured here is one of the first dedicated Kiln runners, able to fly non-stop between airfields in the North and South to deliver people and cargo in a regular fashion
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9. A trimaran flies along the drowned coast of Tuktalli, kicking up spray with its four foils
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10. A birrin coastal town: some of the family are heading to the square to see what all the commotion is about
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11. Seen here is a vast march from a nearby tent city; angry refugees storm an area of newly (but cheaply) build admin towers created to manage the huge displaced population
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12. The Second Instar, a young being of considerable power
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13. Access to space has been achieved twice in Birrin history
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<p>Alex Ries gives us a detailed look at the evolutionary path of the Birrin, the other species they share the planet with, including their giant, cousins who they are related to roughly the same way we were related to like we are to Neanderthals.</p>
<p>His Deviant Art page is full of this art with detailed descriptions of what is going on in each picture.</p>
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<details>
<summary><span><span class="font-icon"></span><span>Additional Details</span></span></summary>
<dl>
<dt>Published by:</dt>
<dd>
<a href="https://www.inputmag.com/gaming/interview-how-the-artist-behind-subnautica-creates-aliens-that-could-actually-exist/">
<span class="font-icon"></span>
<span>How the artist behind 'Subnautica' creates aliens that could actually exist</span>
</a>
</dd>
<dd>
<a href="https://www.resetera.com/threads/alex-ries-birrin-project-a-vision-of-non-humanoid-alien-world-by-one-of-the-artists-of-subnautica.477504/">
<span class="font-icon"></span>
<span>Alex Ries' Birrin Project - A vision of non-humanoid alien world</span>
</a>
</dd>
<dd id="d20211202n1_publisher-link">
<a href="https://www.deviantart.com/abiogenisis/gallery/53818589/birrin-world/">
<span class="font-icon"></span>
<span>Abiogenisis - Birrin World</span>
</a>
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</dl>
<footer>
<span class="font-icon"></span>
<span>References and Credits:</span>
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<li><a href="https://www.deviantart.com/abiogenisis/gallery/">#</a></li>
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</footer>
</details>
</blockquote>Creative Commonshttp://www.blogger.com/profile/11256994501847507410noreply@blogger.com0tag:blogger.com,1999:blog-4281654937227203430.post-1055426012159575802021-12-01T01:51:00.008-08:002022-09-25T01:28:13.339-07:00The Mystery of Belief<div class="separator cover-item full-cover dark-text-color center-text-align large-text-size" style="clear: both; text-align: center;">
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<blockquote>
<q>The man who is admired for the ingenuity of his larceny is almost always rediscovering some earlier form of fraud. The basic forms are all known, have all been practiced…</q>
<footer>
<p>John Kenneth Galbraith, The Age of Uncertainty</p>
</footer>
</blockquote>
<p>Many of nowadays' computer-savvy crooks have taken their cue from an Italian immigrant named Charles Ponzi, a dapper, five-foot-two-inch rogue who in 1920 raked in an estimated $15 million in eight months by persuading tens of thousands of Bostonians that he had unlocked the secret to easy wealth. Ponzi's meteoric success at swindling was so remarkable that his name became attached to the method he employed, which was nothing more than the age-old game of borrowing from Peter to pay Paul.</p>
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<h2>Money taken from today's investors is used to pay off debts to yesterday's investors.</h2>
<p>Typically, these investors are lured by promises of exorbitant profits—50, even 100 percent. Often, they are coached to recruit more investors to enrich themselves further. The problem is that there is no actual investment going on; the only activity is the shuffling of money from new investors to old ones. Everything is fine until the scheme runs out of new investors and the whole house of cards comes tumbling down.</p>
<p>Ponzi and pyramid schemes are self-sustaining as long as cash outflows can be matched by monetary inflows. The basic differences arise in the type of products that schemers offer their clients and the structure of the two ploys, but both can be devastating if broken down.</p>
<aside class="custom-content-block separator">
<blockquote>
<cite>Though a pyramid-style compensation plan is not illegal, it is illegal to run a business in which recruiting new people generate all of the funds.</cite>
<footer>
<p>Joseph T. Wells, Frankensteins of Fraud</p>
</footer>
</blockquote>
</aside>
<h3>Ponzi Schemes</h3>
<p>Ponzi schemes are based on fraudulent investment management services—basically, investors contribute money to the "portfolio manager" who promises them a high return, and then when those investors want their money back, they are paid out with the incoming funds contributed by later investors. The person organizing this type of fraud is in charge of controlling the entire operation; they merely transfer funds from one client to another and forgo any real investment activities.</p>
<h3>Pyramid Schemes </h3>
<p>A pyramid scheme, on the other hand, is structured so that the initial schemer must recruit other investors who will continue to recruit other investors, and those investors will then continue to recruit additional investors, and so on. Sometimes there will be an incentive that is presented as an investment opportunity, such as the right to sell a particular product. Each investor pays the person who recruited them for the chance to sell this item. The recipient must share the proceeds with those at the higher levels of the pyramid structure.</p>
<hr class="separator content-block small-width content-spacer" />
<h2>Snake Oil, Ponzi Schemes and Crypto Scams</h2>
<p>Although the details may vary, all flimflam games rely on their basic ability to make a lie look like the truth. Even today, confidence artists continue to work their scams with great success. Time and again, people from every walk of life demonstrate their ability to abandon common sense and believe in something that is simply too good to be true by succumbing to the con man's call.</p>
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<p>Yet when all is said and done, the Internet is merely a vehicle for swindlers to reach their victims. "What is new—and striking—is the size of the potential market and the relative ease, low cost and speed with which a scam can be perpetrated," FTC Chairman Robert Pitofsky told a Senate subcommittee during a February hearing on Internet fraud. But there is nothing new in the scams themselves: they are the same pyramid schemes, phony business opportunities and phantom storefronts that have been fooling the unwary and greedy for centuries.</p>
<p>With great computer-generated graphics and fancy websites, online companies would claim to be the most Trusted Digital/Crypto Currency and Forex Trading Platforms purporting to have most advanced proprietary Artificial Intelligence (AI) technology, systems capable of assisting their professional and crop of omni-directional expert traders to wisely use your money, invest and trade and make abnormal profits on your behalf.</p>
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<div imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><figure><img border="0" data-original-height="400" data-original-width="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEjXse6ETviLnbXf5vthLzMgtzULTnvRrZNt_ETT0Ixx3Rwq9k1sBrkBFJ6pDXtE0V2OkYhQQ-20gvqlba_QmRLE0BO0Uzm6sxsjCYXibpF1YwzqUaPcNqkGTwz9jolgm6TvKwHKBdT1CRIHeO9lwzpKuuYOqSl2M9R1m-dZpMxSLISAZ_d9ZrcUo1aFCA=s320" /><figcaption style="width: 320px;">In a Bart formation, the cryptocurrency market rallies sharply</div>
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<p>Impostors masquerading as business gurus, they with their sweet talk, will lure and entice unsuspecting people into believing that those companies are able to generate and provide between 2 to 50% passive Return On Investments (ROI) along with an eye-catching affiliate program ranging between 5% to 25%. Online Referral materials, codes and referral links will be provided for Peer to Peer (P2P) and online marketing, advertisement and desirable social networking platforms. People are encouraged to “make a deposit and sit back while our experts do the work” and “let our professionals help you choose an investment plan that meets your needs”. The promise of passive income, profits, bonuses, equity and shares in companies is the order of the day.</p>
<p>In accounting terms, money paid to Ponzi investors, described as income, is actually a distribution of capital. Instead of returning profits, the Ponzi schemer is spending cash reserves, all to raise more funds. Where a basic investment scam raises money and disappears, the Ponzi scheme stays in business by circulating investor funds.</p>
<p>There are usually little, cryptocurrency, trading, IPO, FOREX trading or no legitimate investments are taking place. Promoters used most of the funds for expensive lifestyles and transferred into property or offshore accounts. Schemes typically run for at least a year, although some Ponzis have flourished for a decade or more.</p>
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<summary><span><span class="font-icon"></span><span>Additional Details</span></span></summary>
<dl>
<dt>Published by:</dt>
<dd>
<a href="https://www.smithsonianmag.com/history/in-ponzi-we-trust-64016168/">
<span class="font-icon"></span>
<span>In Ponzi We Trust</span>
</a>
</dd>
<dd>
<a href="https://www.investopedia.com/ask/answers/09/ponzi-vs-pyramid.asp">
<span class="font-icon"></span>
<span>Ponzi vs Pyramid Scheme: What's the Difference?</span>
</a>
</dd>
<dd id="d20211201n1_publisher-link">
<a href="https://kemman.co/2021/06/12/snake-oil-ponzi-schemes-and-crypto-scams/">
<span class="font-icon"></span>
<span>Snake Oil, Ponzi Schemes and Crypto Scams</span>
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<span>References and Credits:</span>
<ol>
<li><a href="https://www.atlasobscura.com/articles/mesmerizing-depictions-of-magic-and-witchcraft-throughout-history/">#</a></li>
<li><a href="https://www.atlasobscura.com/articles/ricky-jay-magic-collection/">#</a></li>
<li><a href="https://sciencebasedmedicine.org/pharmacists-selling-snakeoil/">#</a></li>
<li><a href="https://www.rmf24.pl/fakty/swiat/news-przewidziala-zamachy-na-wtc-i-narodziny-isis-wizje-na-przysz,nId,1935713">#</a></li>
<li><a href="https://www.jutarnji.hr/vijesti/hrvatska/braco-sa-srebrenjaka-iscjeljiteljski-tim-pojacao-bosanskim-indiana-jonesom-i-hrvatskim-pjevacem-radimo-terapiju-glazbom-pogledom-i-energijom-piramida-7957555">#</a></li>
<li><a href="https://www.institut-andromeda.at/shop/aurasprays/produktinfo-aurasprays/">#</a></li>
</ol>
</footer>
</details>
</blockquote>Creative Commonshttp://www.blogger.com/profile/11256994501847507410noreply@blogger.com0tag:blogger.com,1999:blog-4281654937227203430.post-21929624802224427012021-11-22T05:17:00.117-08:002023-02-17T10:51:05.978-08:00Aesthetics of the WipEout game series<div class="separator cover-item small-cover light-text-color center-text-align large-text-size" style="clear: both; text-align: center;">
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<h2>About The Designers Rebublic™</h2>
<blockquote>
<q>We focus on people — the ambition of the client, and their story (in their voice), × the desire and aspiration of their audience, in a language (both written and visual) designed to provoke the desired response. We focus on ideas and what ideas look like.</q>
<footer>
<p>Ian Anderson, The Designers Republic</p>
</footer>
</blockquote>
<p>Founded by Ian Anderson in 1986, is an internationally renowned pop-cultural hyper-creative design studio focussing on graphic design and brand communication across all media, fuelled by strategic thinking, problem solving (thinking and doing) and strong narrative.</p>
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<p>The Designers Republic (also tDR, and styled as The Designers Republic™) @ianTDR, a British design studio, designed the Wipeout logo and stunning game graphics for this groundbreaking console game; first debuted on the Sony Playstation 1.</p>
<p>The first release of Wipeout for the Playstation 1, back on September 29th, 1995 was a pivotal moment for Sony and the millions of Playstation gamers.</p>
<p>The Designers Republics groundbreaking work on the graphic design for Wipeout, which included everything from packaging to typographic selection in the game menus, has been noticed by many design and gaming publications over the years since the very first Wipeout.</p>
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<div><mark>Suggested Post</mark> Fandom of the WipEout game series</div>
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<h3>On how the Designers Republic sculpted childhoods</h3>
<p>Liverpool based developer Psygnosis asked Designers Republic to produce a series of brands for each of the games futuristic racing teams. Each team would have its own logo and brand language, this follows through to trackside advertisements sponsor logos and background billboards. In fact, each track is littered with adverts for in game teams and fictional products alongside real world Red Bull adverts.</p>
<p>Wipeout is F1 with hovercraft, it has no story but the setting is established and the experience is rich. Wipeout is peak Designers Republic; it’s confident and bold, it references its pedigree and it has an ordered, other worldly feel to it.</p>
<p>Wipeout came out in 1995, it was a snapshot of the future. Fast, smooth racing, pounding beats and slick graphic design. It referenced F1 and the brand language that surrounds modern teams and sponsors.</p>
<p>Now either Designers Republic had the foresight and vision to take modern F1 branding to its logical conclusion, predicting the future only a couple of decades early.</p>
<p>Their solid work on the graphic design for Wipeout, which included everything from packaging to typographic selection in the game menus, has been noticed by several design and gaming publications over the years. With their visually futuristic and unique design language, they also managed to appeal to a whole new target group who were not previously interested in the game medium.</p>
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<h3>wipE'out</h3>
<dl style="margin: 0px;">
<dt>Overview</dt>
<dd>
Year: 2052
</dd>
<dd>
Anti-Gravity Race League: F3600
</dd>
</dl>
<p>There are four different racing teams to choose from, and two ships for each team. Each ship with its own distinct characteristics of acceleration, top speed, mass, and turning radius. By piloting their craft over power-up pads found on the tracks, the player can pick up shields, turbo boosts, mines, shock waves, rockets, or missiles, which protect the player’s craft or disrupt the competitors’ craft. There are seven race tracks in the game total, six of them located in futuristic versions of countries such as Canada and Japan, with a seventh, hidden track set on Mars.</p>
<h3>WipEout XL</h3>
<dl style="margin: 0px;">
<dt>Overview</dt>
<dd>
Year: 2097
</dd>
<dd>
Anti-Gravity Race League: F5000 AG
</dd>
</dl>
<p>The gameplay system is similar to that of the previous game: players race against each other or computer in high-speed futuristic environments, liberally picking up weapons scattered around the stages and using them against the opponents to finish the race in the highest position. Each vehicle is provided with a shield; once this shield is breached (by weapons or other kinds of damage), the craft explodes. As in the first game, the vehicles move at very high speeds.</p>
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<figure><img border="0" data-original-height="768" data-original-width="1024" src="https://blogger.googleusercontent.com/img/a/AVvXsEhBaj4m6bY0YXjCVHr6FM3Gg96W1qrluHVjOluHBf9Q_KwjHmFgPrgWqNaoNsXIn_o4qGImmO_UE-smw-sP-5EL-Ko6Jk9nZq8QBZ76vTmCfF6r4iJJVV5DYogrrWw4Ij9Tl5XfcsvGxo6HtlP3g1iM78vbIx6jZY7ON6WkysQxtx3ub3USW_UH_mypTQ=s400" />
<figcaption style="width: 400px;">Wipeout Fusion: Auricom T-808 Series 1</figcaption>
</figure>
</div>
</div>
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<div imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; padding-right: 1em;">
<figure><img border="0" data-original-height="270" data-original-width="480" src="https://blogger.googleusercontent.com/img/a/AVvXsEgkKMEyReYZ8phezV0l7GiQ3WvOyOC-H1uP1QkAZ9K5l7YJhAQPFbyjSInKjjIYgATMLopy05y_2NBEMNVKWm5THydfQFKFDUrXVJ24tRlqdn8j1SA1YWD96x6h8ZOafzRV5fM8eymkL1UdjDve-UtQQEhUA_SX43F3_NYgbqqBJt7c5dajS5-yeWXcEQ=s400" />
<figcaption style="width: 400px;">wipE'out: Arial Tetsuo</figcaption>
</figure>
</div>
</div>
</aside>
<aside class="swipeable-item custom-content-block" style="width: 50%;">
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<legend>Wipeout Pure: Music Track Listing</legend>
</fieldset>
<ul id="d20211122n1_w3js" style="height: 510px; overflow: auto;">
<li>
<div>Photek - C Note (instrumental mix)</div>
<small>Published: Universal/MCA Music Ltd.</small>
</li>
<li>
<div>Elite Force - Cross The Line</div>
<small>Published: Universal/MCA Music Ltd.</small>
</li>
<li>
<div>Freq Nasty - Grand Theft (Edit)</div>
<small>Published: Skint Records</small>
</li>
<li>
<div>Ming + FS - Hellion</div>
<small>Published: Platinum Dogs Publishing/BMI</small>
</li>
<li>
<div>Aphex Twin - Naks Acid</div>
<small>Published: Warp Records Ltd.</small>
</li>
<li>
<div>Paul Hartnoll - Boot Up</div>
<small>Published: Paul Hartnoll</small>
</li>
<li>
<div>Paul Hartnoll - Ignition</div>
<small>Published: Paul Hartnoll</small>
</li>
<li>
<div>CoLD SToRAGE - Onyx</div>
<small>Published: Frost Byte Records</small>
</li>
<li>
<div>Cosmos - Kinection</div>
<small>Published: Machine Management</small>
</li>
<li>
<div>DrumAttic Twins - TWISTER</div>
<small>Published: FINGER LICKIN RECORDS</small>
</li>
<li>
<div>Friendly - We Got Juice</div>
<small>Published: Fat Records</small>
</li>
<li>
<div>Jay Tripwire - Room 2</div>
<small>Published: Fabric Publishing</small>
</li>
<li>
<div>LFO - Flu-Shot</div>
<small>Published: Warp Records Ltd.</small>
</li>
<li>
<div>Plump DJs - Black Jack 3</div>
<small>Published: FINGER LICKIN RECORDS</small>
</li>
<li>
<div>Rennie Pilgrem & Roxiller - Bug</div>
<small>Published: TCR Recordings</small>
</li>
<li>
<div>Röyksopp - Curves</div>
<small>Published: Universal Music Publishing Ltd.</small>
</li>
<li>
<div>Stanton Warriors - Night Mover</div>
<small>Published: Stanton Warriors</small>
</li>
<li>
<div>T Power - The System [Wipeout dub]</div>
<small>Published: Sound Boy Recordings</small>
</li>
<li>
<div>Tayo meets Acidrockers uptown - Crafty Youth</div>
<small>Published: copyright control</small>
</li>
<li>
<div>Themroc - Mean Red</div>
<small>Published: Sony/ATV Music</small>
</li>
<li>
<div>Tiësto - Goldrush</div>
<small>Published: Bucks Music Group Ltd.</small>
</li>
</ul>
<footer class="custom-content-block">
<p>wipeoutzone.com, Wipeout Pure Music Track Listing</p>
</footer>
</aside>
<hr class="separator content-block small-width content-spacer" />
<h3>Wip3out</h3>
<dl style="margin: 0px;">
<dt>Overview</dt>
<dd>
Year: 2116
</dd>
<dd>
Anti-Gravity Race League: F7200
</dd>
</dl>
<p>Like in previous installments players control highspeed hovercrafts, pick up weapons to damage the opponents’ vehicles and try to finish the race in the first position. In many aspects, the gameplay is pretty similar to its predecessor, such as selection of hovercrafts, visuals or the handling system. Beside new racing tracks the main differences include a Split-Screen Multiplayer Mode (up to four players), Weapon & Super Combo Challenges as well as various Special Weapons for each Team!</p>
<aside class="custom-content-block separator" style="max-width: 50%;">
<blockquote>
<cite>The Wipeout logo was designed by The Designers Republic in 1995, a landmark icon in Y2K graphic design. Upon looking at the design closely, one can notice these letters are actually made from partial 8 glyphs.</cite>
<footer>
<p>Y2K Aesthetic Institute, Visual Analysis of the Wipeout Logo Designed by tDR</p>
</footer>
</blockquote>
</aside>
<h3>Wipeout Pure</h3>
<aside class="custom-content-block" style="width: 50%; display: inline-block; float: none;">
<dl style="margin: 0px;">
<dt>Overview</dt>
<dd>
Year: 2197
</dd>
<dd>
Anti-Gravity Race League: FX300
</dd>
</dl>
</aside>
<p>Players take part in a futuristic racing league known as the FX300 Racing League and control a fast hovercrafts on tight, cornering tracks, vying for first place in one of many tournaments. There are ten anti-gravity vehicles available to use (two need to be unlocked), each with their own characteristics in speed, handling and acceleration. Vehicles are further divided into classes that are unlocked gradually. In later classes most of the vehicles become much faster and require more precise steering at fast speeds. In the same vein, players can unlock new tournaments.</p>
<h3>Wipeout Pulse</h3>
<dl style="margin: 0px;">
<dt>Overview</dt>
<dd>
Year: 2207
</dd>
<dd>
Anti-Gravity Race League: FX400
</dd>
</dl>
<p>Players control futuristic anti-gravity ships owned by racing corporations and pilot them on eight circuits. Each craft is equipped with an energy shield that absorbs damage sustained on the track; if the shield is disabled, the player’s craft can be knocked out of the race. Shields are regenerated in a pit lane that is set apart from the main course. The less time spent in the pit lane, the less the shield will regenerate.</p>
<button type="button" onclick="tooltip.pop(this, '##d20211122n1_publisher-link', {sticky:true, position:2, smartPosition: true, cssClass:'blog-item publisher-link main-item'});"><span>Read on</span></button>
<blockquote class="custom-content-block">
<details>
<summary><span><span class="font-icon"></span><span>Additional Details</span></span></summary>
<dl>
<dt>Published by:</dt>
<dd id="d20211122n1_publisher-link">
<a href="https://imjustcreative.com/wipeout-logo-history/2021/05/17/">
<span class="font-icon"></span>
<span>WipEout Logo History 1995-2017</span>
</a>
</dd>
<dd>
<a href="https://typeface.agency/on-how-the-designers-republic-sculpted-childhoods/">
<span class="font-icon"></span>
<span>On how the Designers Republic sculpted childhoods</span>
</a>
</dd>
</dl>
<footer>
<span class="font-icon"></span>
<span>References and Credits:</span>
<ol>
<li><a href="https://twitter.com/y2k_aesthetic/status/1072867891396075521/photo/1/">#</a></li>
<li><a href="https://wipeout.fandom.com/wiki/Wipeout_Central/">#</a></li>
</ol>
</footer>
</details>
</blockquote>Creative Commonshttp://www.blogger.com/profile/11256994501847507410noreply@blogger.com0