Tom and Jerry - Hatch Up Your Troubles - [03:37]
Tom and Jerry - Flirty Bird - [02:44;02:45;02:46]
Glow in the dark eyes
Wile E Coyote and Road Runner - episode 2 - [04:15]
Tom and Jerry - Dr Jekyll and Mr Mouse - [01:51]
[65:34] (Alice Roberts)
“…by changing the design of our eyes, we could achieve this (seeing in low light levels) with visible light. It’s simple a matter of scale. As they evolve to live or hunt in semi-darkness, nocturnal animals often have Their enlarged pupils allow more light to hit the retina, increasing visual sensitivity.”
“I’ve been looking at eyes and I think our eyeballs could be better, so they could let more light in and we could trap more light, as well. And I think the eyeballs need to be about 20-25% larger than they are at the moment.”
[66:16] (Scott Eaton)
“You know, I think that’s just big enough that they will look really interesting. There’s no doubt about it. You’re going to have big old cartoon eyes.”
[05:24] (Dr Fabic Silva – Skyscape Archaeologist Bournemouth University) “In a perfectly dark night sky the human eye can see around 5,000 stars. To look beyond and see things that we wouldn’t normally see, we need the telescope. And I think that such technology was already present 6,000 years ago, 1,000 years before Stonehenge and about 1,500 years before the pyramids in Egypt. And we also find the remains of it here in Portugal, in the shape of these stone monuments, or dolmens. They only had stone tools, wooden tools and possibly bone tools and yet, somehow, they managed to carve these rocks out of the landscape, drag them a few miles and put them in place. This was clearly a project of huge significance for these communities. And they didn’t just do it once, there are between 15 and 20 monuments in this river valley alone with the same orientation towards the East. I think these rock chambers were used to accustom their eyes to the dark, allowing them to see fainter stars.”
Peter Rice: An Engineer Imagines (BBC)
The Full Moon Theatre – Humbert Camerlo and Peter Rice
[10:02] (Andy Sedgwick – Director Arup)
“Peter was keen to use some sort of structural shape to try and collect moonlight.
A paraboloid has the character that, if you point it at a source a long way away,
[19:55] (Kevin Barry)
“Because Ove Arup is, to him, somebody who has confidently built up a company founded on a set of principles of the social purpose of engineering. So that modernity isn’t simply for its own sake, making it new. But it’s related to some kind of reflection. It says man has won that battle with nature. And now, we have to live with the consequences of managing this conquered territory.”
[29:25] (Peter Rice)
“And I thought that if somehow, by introducing elements like that, we can make people, people who would normally be alienated by things, feel comfortable… it proved to me that the things that really matter is to introduce elements and materials into buildings in a way which reflects their real nature.”
[30:10] (Kevin Berry)
“Rice was somebody who didn’t want institutions to weigh on people. The building is a performance.
And the people who are in the building are seeing that performance from their different perspectives.
And the building ought to be as alive as something that is happening. And in that way, I think his humanism is to make people part of the play, spectators and actors at once. Building, for Rice, is a performance art.”
[31:43] (Humbert Camerlo)
“For Peter, I think the two things which interested him to start with was, of course,
to work with light, with natural light . But also, to be involved in cross discipline, artist and scientist and scientific environments. The organic development of a project. The important thing is not to be prisoner of the idea you wanted to reach. You have to resist to the attraction of the goal. The attraction of the target. And you have to work and work, and then it’s not the arrow that goes into the target, it’s the target that comes to the arrow. As the Taoist philosopher says,
“ Nothingness is the meeting place of the noble traveller.””
[35:32] (Sophie Le Bouvra – Associate Director Arup)
“He liked having discussions about design. And not necessarily draw it too early, that was certainly one of the things he taught me is don’t draw things too early, because it stops the thinking. Whereas, if you’re only talking about it, there is a room where different people may have But it leaves those ideas alive, whereas if you’ve drawn it, it sort of freezes the sort of ideas.”
[40:14] (Martin Francis – designer)
“And one of the early meetings I have with Peter, I said one of the things engineers don’t understand is that glass is a flexible material. And this was when Peter had this sort of eureka moment in which her said, if that’s the case, then we don’t need a rigid structure. Hitherto, everything was, you know, glass has got to be in a rigid frame, to stop it breaking. And he had this moment of insight.”
[56:02] (Humbert Camerlo)
“We would say in French, une demeure spirituelle. Demeure is more than home. Sculpture can be une demeure for the psyche. You know? A painting can be une demeure. A masterpiece is a psychic house for people. So, Peter, he found a place where he could rest.”
[55:47] In a radical theory, known as the holographic universe, space and time are created by entangled quantum particles on a sphere that is infinitely far away.
The grid-auto-flow property controls how auto-placed items are inserted in the grid.
This grid has three columns and two rows.
Insert items column by column:
Insert items row by row:
What can I do? Well, I’ve got to hop like this. I got a big backpack, and you have to acknowledge that you are carrying that when you make a turn. It really wasn’t what you’d call a challenge, other than to look nonchalant in front of people.”
Chasing the Moon series 1: 6. Magnificent Desolation
[09:31] (Theo Kameke – NASA Filmmaker) “There was a video camera that was recording them coming down the ladder, and then there was another portable camera, which they took and moved out away from the lunar module. And that was the only vision that humans around the world had of what was happening on the moon. (…) There’s a ghostly quality about it, because you can see through people. Well, that’s a very clever way that they had of limiting the amount of signal that they had to broadcast. You couldn’t transmit high-definition television from the equipment that they had on the moon. It couldn’t be done, so you’re going to have to pare down your expectations of the quality of the image that you’re going to see.”
Yehwan Song - Disorganized scroll speed(2) @yehwan.yen.song
The resize Property
The transition Property
Hover over the green object above, to see the transition effect.
The writing-mode Property
Some text with default writing-mode.
Some text with a span element with a vertical-rl writing-mode.
Some text with writing-mode: vertical-rl.
Click and hold the mouse button down while moving the green square.
Drag and drop Charac between the two boxes.
Things to Plan
Things I'm thinking about: