feedzirra-podcast 0.0.9
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- checksums.yaml +7 -0
- data/.gitignore +19 -0
- data/Gemfile +4 -0
- data/LICENSE.txt +22 -0
- data/README.md +95 -0
- data/Rakefile +11 -0
- data/etc/feeds/99percentinvisible.xml +2472 -0
- data/feedzirra-podcast.gemspec +26 -0
- data/lib/feedzirra-podcast/parser/itunes_owner.rb +11 -0
- data/lib/feedzirra-podcast/parser/podcast.rb +68 -0
- data/lib/feedzirra-podcast/parser/podcast_item.rb +80 -0
- data/lib/feedzirra-podcast/parser/rss2.rb +57 -0
- data/lib/feedzirra-podcast/parser/rss2_channel_image.rb +15 -0
- data/lib/feedzirra-podcast/parser/rss2_item.rb +42 -0
- data/lib/feedzirra-podcast/version.rb +3 -0
- data/lib/feedzirra-podcast.rb +11 -0
- data/test/podcast_channel_test.rb +14 -0
- data/test/podcast_item_test.rb +25 -0
- data/test/rss_channel_test.rb +14 -0
- data/test/rss_item_test.rb +15 -0
- metadata +123 -0
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<?xml-stylesheet type="text/css" media="screen" href="http://feeds.99percentinvisible.org/~d/styles/itemcontent.css"?>
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<rss xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:wfw="http://wellformedweb.org/CommentAPI/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:sy="http://purl.org/rss/1.0/modules/syndication/" xmlns:slash="http://purl.org/rss/1.0/modules/slash/" xmlns:itunes="http://www.itunes.com/dtds/podcast-1.0.dtd" xmlns:rawvoice="http://www.rawvoice.com/rawvoiceRssModule/" version="2.0">
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<channel>
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<title>99% Invisible</title>
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<link>http://99percentinvisible.org</link>
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<description>A Tiny Radio Show about Design with Roman Mars</description>
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<lastBuildDate>Mon, 15 Jul 2013 19:22:29 +0000</lastBuildDate>
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<language>en-US</language>
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<sy:updatePeriod>hourly</sy:updatePeriod>
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<!-- podcast_generator="Blubrry PowerPress/4.0.9" -->
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<itunes:summary>Design is everywhere in our lives, perhaps most importantly in the places where we've just stopped noticing. 99% Invisible (99 Percent Invisible) is a weekly exploration of the process and power of design and architecture. From award winning producer Roman Mars and KALW in San Francisco. Learn more: http://99percentinvisible.org
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Awesome people saying nice things:
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"Roman Mars lights the radio. His pieces conjure other worlds, grapple with big ideas, make sound three dimensional. They are smart and funny and original. The Kitchen Sisters would like to be Presidents of his Fan Club." -The Kitchen Sisters, NPR
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"Highly digging 99% Invisible. One of the best podcasts I've bumped into in a while." -Jad Abumrad, Radiolab
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"I love the show. It's wonderful. Actually reminded me of why I love radio." -Jonathan Goldstein, CBC's WireTap</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:image href="http://cdn.99percentinvisible.org/wp-content/uploads/powerpress/99invisible-logo-1400.jpg" />
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<itunes:owner>
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<itunes:name>Roman Mars</itunes:name>
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<itunes:email>roman_mars@yahoo.com</itunes:email>
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</itunes:owner>
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<managingEditor>roman_mars@yahoo.com (Roman Mars)</managingEditor>
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<copyright>Copyright © 2012 Roman Mars. All rights reserved.</copyright>
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<itunes:subtitle>A tiny radio show about design, architecture & the 99% invisible activity that shapes our world.</itunes:subtitle>
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<itunes:keywords>radiolab,npr,urban,design,architecture,sanfrancisco,publicradio</itunes:keywords>
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<image>
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<title>99% Invisible</title>
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<url>http://cdn.99percentinvisible.org/wp-content/uploads/powerpress/99invisible-logo-300.png</url>
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<link>http://99percentinvisible.org</link>
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</image>
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<itunes:category text="Arts">
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<itunes:category text="Design" />
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</itunes:category>
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<atom10:link xmlns:atom10="http://www.w3.org/2005/Atom" rel="self" type="application/rss+xml" href="http://feeds.99percentinvisible.org/99percentinvisible" />
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<feedburner:info xmlns:feedburner="http://rssnamespace.org/feedburner/ext/1.0" uri="99percentinvisible" />
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<atom10:link xmlns:atom10="http://www.w3.org/2005/Atom" rel="hub" href="http://pubsubhubbub.appspot.com/" />
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<item>
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<title>84- Ode to Ladislav Sutnar plus Trading Places with Planet Money</title>
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<link>http://99percentinvisible.prx.org/2013/07/15/84-ode-to-ladislav-sutnar-plus-trading-places-with-planet-money/?utm_source=rss&utm_medium=rss&utm_campaign=84-ode-to-ladislav-sutnar-plus-trading-places-with-planet-money</link>
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<comments>http://99percentinvisible.prx.org/2013/07/15/84-ode-to-ladislav-sutnar-plus-trading-places-with-planet-money/#comments</comments>
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<pubDate>Mon, 15 Jul 2013 19:22:29 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=592</guid>
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<description><![CDATA[An ode to an information designer who made life a little bit easier for millions and millions of people: Ladislav Sutnar, the man who put parentheses around area codes. Plus 99% Invisible and Planet Money team up and we talk … <a href="http://99percentinvisible.prx.org/2013/07/15/84-ode-to-ladislav-sutnar-plus-trading-places-with-planet-money/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>An ode to an information designer who made life a little bit easier for millions and millions of people: Ladislav Sutnar, the man who put parentheses around area codes.<br />
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Plus<br />
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99% Invisible and Planet Money team up and we talk to commodities traders to answer one of the most important questions in finance: What actually happens at the end of Trading Places?<br />
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We know something crazy happens on the trading floor. We know that Eddie Murphy and Dan Aykroyd get rich and the Duke brothers lose everything. But how does it all happen? And could it happen in the real world?</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/84-Ode-to-Ladislav-Sutnar-and-Trading-Places-with-Planet-Money.mp3" length="29922328" type="audio/mpeg" />
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<itunes:subtitle>An ode to an information designer who made life a little bit easier for millions and millions of people: Ladislav Sutnar, the man who put parentheses around area codes. Plus 99% Invisible and Planet Money team up and we talk to commodities traders to...</itunes:subtitle>
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<itunes:summary>An ode to an information designer who made life a little bit easier for millions and millions of people: Ladislav Sutnar, the man who put parentheses around area codes.
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Plus
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99% Invisible and Planet Money team up and we talk to commodities traders to answer one of the most important questions in finance: What actually happens at the end of Trading Places?
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We know something crazy happens on the trading floor. We know that Eddie Murphy and Dan Aykroyd get rich and the Duke brothers lose everything. But how does it all happen? And could it happen in the real world?</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>31:04</itunes:duration>
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<title>83- Heyoon</title>
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<link>http://99percentinvisible.prx.org/2013/07/02/83-heyoon/?utm_source=rss&utm_medium=rss&utm_campaign=83-heyoon</link>
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<comments>http://99percentinvisible.prx.org/2013/07/02/83-heyoon/#comments</comments>
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<pubDate>Tue, 02 Jul 2013 22:31:31 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=588</guid>
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<description><![CDATA[Growing up in Ann Arbor, Michigan, Alex Goldman was a misfit. Bored and disaffected and angry, he longed for a place to escape to. And then he found Heyoon. The only way to find out about Heyoon for someone to … <a href="http://99percentinvisible.prx.org/2013/07/02/83-heyoon/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Growing up in Ann Arbor, Michigan, Alex Goldman was a misfit. Bored and disaffected and angry, he longed for a place to escape to. And then he found Heyoon.</p>
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<p>The only way to find out about Heyoon for someone to take you there. It was like there was this secret club of kids who knew about it. Alex got initiated when he was fifteen.</p>
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<p>To find Heyoon, you’d drive out into the middle of nowhere, deep in the country, and park alongside a dirt road. A fence ran along the property line, with signage explicitly telling passers by to keep out. Once over the fence, a path behind a white farmhouse led to a thin line of trees, and then to a huge field. And there was something else there in the field. Something man-made. Something really big.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/83-Heyoon.mp3" length="27378160" type="audio/mpeg" />
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<itunes:subtitle>Growing up in Ann Arbor, Michigan, Alex Goldman was a misfit. Bored and disaffected and angry, he longed for a place to escape to. And then he found Heyoon. - The only way to find out about Heyoon for someone to take you there.</itunes:subtitle>
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<itunes:summary>Growing up in Ann Arbor, Michigan, Alex Goldman was a misfit. Bored and disaffected and angry, he longed for a place to escape to. And then he found Heyoon.
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The only way to find out about Heyoon for someone to take you there. It was like there was this secret club of kids who knew about it. Alex got initiated when he was fifteen.
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To find Heyoon, you'd drive out into the middle of nowhere, deep in the country, and park alongside a dirt road. A fence ran along the property line, with signage explicitly telling passers by to keep out. Once over the fence, a path behind a white farmhouse led to a thin line of trees, and then to a huge field. And there was something else there in the field. Something man-made. Something really big.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>28:25</itunes:duration>
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</item>
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<item>
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<title>82- The Man of Tomorrow</title>
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<link>http://99percentinvisible.prx.org/2013/06/20/82-the-man-of-tomorrow/?utm_source=rss&utm_medium=rss&utm_campaign=82-the-man-of-tomorrow</link>
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<comments>http://99percentinvisible.prx.org/2013/06/20/82-the-man-of-tomorrow/#comments</comments>
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<pubDate>Thu, 20 Jun 2013 17:30:25 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=582</guid>
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<description><![CDATA[I’m willing to concede from the get-go that I might be wrong about the entire premise of this story, but Superman has never really worked for me as a character. I preferred the more grounded Marvel Comic book characters, like … <a href="http://99percentinvisible.prx.org/2013/06/20/82-the-man-of-tomorrow/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>I’m willing to concede from the get-go that I might be wrong about the entire premise of this story, but Superman has never really worked for me as a character. I preferred the more grounded Marvel Comic book characters, like Spider-man, who lived in real cities and had human thoughts and feelings. Superman is basically invincible, not relatable, and oozed “establishment.” And even though I really love the first Christopher Reeve Superman movie, it contains a perfect example of why I don’t really dig the character. Just so you know, this is a 25 year-old <strong>spoiler alert</strong>, but at end of the 1978 movie, all of the greatness of that film is nearly undone by the fundamental flaw in having a character that is all-powerful. Superman flies around the earth backwards and turns back time!</p>
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<p>My problems with the character aside, Superman is an extremely successful and important design. <a href="http://glenweldon.tumblr.com/" target="_blank">Glen Weldon</a>, author of <a href="http://www.amazon.com/Superman-Unauthorized-Biography-Glen-Weldon/dp/1118341848" target="_blank">Superman: The Unauthorized Biography</a> (and panelist of the great <a href="http://www.npr.org/templates/story/story.php?storyId=129472378" target="_blank">Pop Culture Happy Hour</a>) talks me through the iconography of our first superhero and why Supes has managed to stay relevant for 75 years. Glen even explains why I’m wrong about Superman “turning back time” in the 1978 Superman movie.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/82-The-Man-of-Tomorrow.mp3" length="12526826" type="audio/mpeg" />
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<itunes:subtitle>I’m willing to concede from the get-go that I might be wrong about the entire premise of this story, but Superman has never really worked for me as a character. I preferred the more grounded Marvel Comic book characters, like Spider-man,</itunes:subtitle>
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<itunes:summary>I’m willing to concede from the get-go that I might be wrong about the entire premise of this story, but Superman has never really worked for me as a character. I preferred the more grounded Marvel Comic book characters, like Spider-man, who lived in real cities and had human thoughts and feelings. Superman is basically invincible, not relatable, and oozed “establishment.” And even though I really love the first Christopher Reeve Superman movie, it contains a perfect example of why I don’t really dig the character. Just so you know, this is a 25 year-old spoiler alert, but at end of the 1978 movie, all of the greatness of that film is nearly undone by the fundamental flaw in having a character that is all-powerful. Superman flies around the earth backwards and turns back time!
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My problems with the character aside, Superman is an extremely successful and important design. Glen Weldon, author of Superman: The Unauthorized Biography (and panelist of the great Pop Culture Happy Hour) talks me through the iconography of our first superhero and why Supes has managed to stay relevant for 75 years. Glen even explains why I’m wrong about Superman “turning back time” in the 1978 Superman movie.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>12:56</itunes:duration>
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<title>81- Rebar and the Alvord Lake Bridge</title>
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<link>http://99percentinvisible.prx.org/2013/06/07/81-rebar-and-the-alvord-lake-bridge/?utm_source=rss&utm_medium=rss&utm_campaign=81-rebar-and-the-alvord-lake-bridge</link>
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<comments>http://99percentinvisible.prx.org/2013/06/07/81-rebar-and-the-alvord-lake-bridge/#comments</comments>
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<pubDate>Fri, 07 Jun 2013 06:10:53 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=578</guid>
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<description><![CDATA[There’s something about rebar that fascinates me. If nothing else because there are very few things that invoke a fear of being skewered. My preoccupation with metal reinforcement bars dovetails nicely with a structure in San Francisco I’ve kind of … <a href="http://99percentinvisible.prx.org/2013/06/07/81-rebar-and-the-alvord-lake-bridge/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>There’s something about rebar that fascinates me. If nothing else because there are very few things that invoke a fear of being skewered.</p>
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<p>My preoccupation with metal reinforcement bars dovetails nicely with a structure in San Francisco I’ve kind of become obsessed with– a tiny bridge on the eastern edge of Golden Gate Park called the Alvord Lake Bridge.</p>
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<p>Ernest Ransome, the father of modern rebar, constructed the bridge in 1889. Today, it is a dumpy, cracked and neglected structure. The inside is a surreal tunnel of phony stalactites.</p>
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<p>But the Alvord Lake Bridge is, quite literally, the bridge to the modern world. It is one the oldest reinforced concrete structures still standing. The twisted iron bars embedded in the bridge served as the model for the all the rebar containing structures that followed. It is the ancestor to an endless number of reinforced concrete buildings, bridges, tunnels, viaducts, and foundations. Ransome major innovation in rebar was to twist the square bar so that it bonded to the concrete better.</p>
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<p>Concrete has incredible compression strength, but it does not have much tensile strength. So if you want concrete to span any significant distance, you need to embed metal reinforcement.</p>
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<p>Thanks to CCA Senior Adjunct Professor of Architecture, William Littman (he of the Forgotten Monument) for first telling me about the Alvord Lake Bridge and showing me around. I spoke with Robert Courland, author of Concrete Planet: The Strange and Fascinating Story of the World’s Most Common Man-Made Material (a great book!) and Bob Risser of the Concrete Reinforcing Steel Institute (a great person to talk to!).</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/81-Rebar-and-the-Alvord-Lake-Bridge.mp3" length="11580997" type="audio/mpeg" />
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<itunes:subtitle>There’s something about rebar that fascinates me. If nothing else because there are very few things that invoke a fear of being skewered. - My preoccupation with metal reinforcement bars dovetails nicely with a structure in San Francisco I’ve kind...</itunes:subtitle>
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<itunes:summary>There’s something about rebar that fascinates me. If nothing else because there are very few things that invoke a fear of being skewered.
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My preoccupation with metal reinforcement bars dovetails nicely with a structure in San Francisco I’ve kind of become obsessed with-- a tiny bridge on the eastern edge of Golden Gate Park called the Alvord Lake Bridge.
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Ernest Ransome, the father of modern rebar, constructed the bridge in 1889. Today, it is a dumpy, cracked and neglected structure. The inside is a surreal tunnel of phony stalactites.
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But the Alvord Lake Bridge is, quite literally, the bridge to the modern world. It is one the oldest reinforced concrete structures still standing. The twisted iron bars embedded in the bridge served as the model for the all the rebar containing structures that followed. It is the ancestor to an endless number of reinforced concrete buildings, bridges, tunnels, viaducts, and foundations. Ransome major innovation in rebar was to twist the square bar so that it bonded to the concrete better.
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Concrete has incredible compression strength, but it does not have much tensile strength. So if you want concrete to span any significant distance, you need to embed metal reinforcement.
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Thanks to CCA Senior Adjunct Professor of Architecture, William Littman (he of the Forgotten Monument) for first telling me about the Alvord Lake Bridge and showing me around. I spoke with Robert Courland, author of Concrete Planet: The Strange and Fascinating Story of the World’s Most Common Man-Made Material (a great book!) and Bob Risser of the Concrete Reinforcing Steel Institute (a great person to talk to!).</itunes:summary>
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<description><![CDATA[Lawyers have an ethics code. Journalists have an ethics code. Architects do, too. According to Ethical Standard 1.4 of the American Institute of Architects (AIA): “Members should uphold human rights in all their professional endeavors.” A group called Architects, Designers, … <a href="http://99percentinvisible.prx.org/2013/05/28/80-an-architects-code/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Lawyers have an ethics code. Journalists have an ethics code. Architects do, too. According to Ethical Standard 1.4 of the American Institute of Architects (AIA):</p>
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<p>“Members should uphold human rights in all their professional endeavors.”</p>
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<p>A group called Architects, Designers, and Planners for Social Responsibility (ADPSR) has taken the stance that there are some buildings that just should not have been built. Buildings that, by design, violate standards of human rights.</p>
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<p>Specifically, this refers to prisons with execution chambers, or prisons that are designed keep people in long-term isolation (or as prison officials call it, “segregation”). The latter kind of prison is called a “supermax,” or “security housing unit” (SHU). There is no legal definition for solitary confinement, so it’s up for debate as to whether the SHU constitutes solitary confinement.</p>
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<p>There has been a lot of controversy surrounding one SHU at a Northern California prison called Pelican Bay.</p>
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<p>Life inside of the SHU at Pelican Bay means 22 to 23 hours a day inside of 7.5 by 12 foot room. It’s not a space that’s designed to keep you comfortable. But it’s not just these architectural features, that concern humanitarian activists and psychiatrists. It’s the amount of time many prisoners spend in that cells, alone, without any meaningful activity. Some psychiatrists, such as Terry Kupers, say there is a whole litany of effects that a SHU can have on a person: massive anxiety, paranoia, depression, concentration and memory problems, and loss of ability to control one’s anger (which can get a prisoner in trouble and lengthen the SHU sentence). In California, SHU inmates are 33 times more likely to commit suicide than other prisoners incarcerated elsewhere in the state. There are even reports of eye damage due to the restriction on distance viewing. Terry Kupers says that a SHU “destroys people as human beings.”</p>
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<p>Compared with some other prisons in the California system, the Pelican Bay SHU has some redeeming architectural features. Inmates can get natural light from skylights outside of their cells, which drifts in through doors made of a perforated metal. These porous doors also allow for inmates to communicate with each other, even though there are no lines of sight to any prisoner from within the cell.</p>
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<p>But on the other hand, cells don’t have windows. Inmates never get to see the horizon. The only times prisoners get to leave the cell is to visit the shower, or the exercise yard–which is an empty, windowless room not that much bigger than a cell, with twenty-foot high concrete walls.</p>
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<p>Again, there is no universally accepted definition of solitary confinement. But some groups, like Amnesty International and Human Rights Watch, have gone beyond calling the SHU solitary confinement–they call it torture. In 2011, the UN Special Rapporteur on torture said anything over 15 days in solitary confinement is a human rights abuse–which other sources have interpreted as torture.<br />
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So if it is the ethical code of architects to promote human rights…what is their responsibility to the people who are incarcerated in their buildings?</p>
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<p>Enter Raphael Sperry, a San Francisco-based architect and president of ADPSR. He believes it’s up to architects to lead the charge against these buildings. Sperry and the ADPSR are trying to get the American Institute of Architects to adopt an amendment to their ethics code:</p>
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<p>“Members shall not design spaces intended for execution or for torture or other cruel, inhuman, or degrading treatment or punishment, including prolonged solitary confinement.”</p>
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<p>This episode is a special collaboration between 99% Invisible and the podcast Life of the Law. Find out about their show at lifeofthelaw.com</p>]]></content:encoded>
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<itunes:subtitle>Lawyers have an ethics code. Journalists have an ethics code. Architects do, too. According to Ethical Standard 1.4 of the American Institute of Architects (AIA): - "Members should uphold human rights in all their professional endeavors." -</itunes:subtitle>
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A group called Architects, Designers, and Planners for Social Responsibility (ADPSR) has taken the stance that there are some buildings that just should not have been built. Buildings that, by design, violate standards of human rights.
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Specifically, this refers to prisons with execution chambers, or prisons that are designed keep people in long-term isolation (or as prison officials call it, "segregation"). The latter kind of prison is called a "supermax," or "security housing unit" (SHU). There is no legal definition for solitary confinement, so it's up for debate as to whether the SHU constitutes solitary confinement.
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There has been a lot of controversy surrounding one SHU at a Northern California prison called Pelican Bay.
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Life inside of the SHU at Pelican Bay means 22 to 23 hours a day inside of 7.5 by 12 foot room. It's not a space that's designed to keep you comfortable. But it's not just these architectural features, that concern humanitarian activists and psychiatrists. It's the amount of time many prisoners spend in that cells, alone, without any meaningful activity. Some psychiatrists, such as Terry Kupers, say there is a whole litany of effects that a SHU can have on a person: massive anxiety, paranoia, depression, concentration and memory problems, and loss of ability to control one's anger (which can get a prisoner in trouble and lengthen the SHU sentence). In California, SHU inmates are 33 times more likely to commit suicide than other prisoners incarcerated elsewhere in the state. There are even reports of eye damage due to the restriction on distance viewing. Terry Kupers says that a SHU "destroys people as human beings."
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Compared with some other prisons in the California system, the Pelican Bay SHU has some redeeming architectural features. Inmates can get natural light from skylights outside of their cells, which drifts in through doors made of a perforated metal. These porous doors also allow for inmates to communicate with each other, even though there are no lines of sight to any prisoner from within the cell.
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But on the other hand, cells don't have windows. Inmates never get to see the horizon. The only times prisoners get to leave the cell is to visit the shower, or the exercise yard--which is an empty, windowless room not that much bigger than a cell, with twenty-foot high concrete walls.
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Again, there is no universally accepted definition of solitary confinement. But some groups, like Amnesty International and Human Rights Watch, have gone beyond calling the SHU solitary confinement--they call it torture. In 2011, the UN Special Rapporteur on torture said anything over 15 days in solitary confinement is a human rights abuse--which other sources have interpreted as torture.
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Enter Raphael Sperry, a San Francisco-based architect and president of ADPSR. He believes it's up to architects to lead the charge against these buildings. Sperry and the ADPSR are trying to get the American Institute of Architects to adopt an amendment to their ethics code:
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"Members shall not design spaces intended for execution or for torture or other cruel, inhuman, or degrading treatment or punishment, including prolonged solitary confinement."
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This episode is a special collaboration between 99% Invisible and the podcast Life of the Law. Find out about their show at lifeofthelaw.com</itunes:summary>
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<description><![CDATA[For the ancient Greeks, sirens were mythical creatures who sang out to passing sailors from rocks in the sea. Their music was so beautiful, it was said, that the sailors were powerless against it–they would turn their ships towards these … <a href="http://99percentinvisible.prx.org/2013/05/08/79-the-symphony-of-sirens-plus-soviet-design/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>For the ancient Greeks, sirens were mythical creatures who sang out to passing sailors from rocks in the sea. Their music was so beautiful, it was said, that the sailors were powerless against it–they would turn their ships towards these sea nymphs and crash in the impassable reefs around them.</p>
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<p>In Homer’s Odyssey, there’s a story where Odysseus and his men are traveling near an area that Sirens are known to inhabit. Odysseus knows that if he hears the siren’s song, his ship is going to sink. But he still wants to hear what they sound like. So he comes up with a plan: Odysseus has his men tie him to the mast of his ship so that he can’t give commands. And then Odysseus has his men fill their own ears with beeswax so they can’t hear anything. They set sail in striking distance of the sirens’ call. The plan works: Odysseus gets to hear the music, his men don’t, and they sail on to safety–with Odysseus pleading with his crew to crash the boat the whole way.</p>
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<p>And for the next 2000 or so years, that’s what a siren was: a creature that makes a beautiful sound.</p>
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<p>But that all changed in 1819, when a French engineer named Charles Cagniard de la Tour decided to call the artificial noisemaker he was working on–the siren.</p>
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<p>And this new, mechanical siren became one of THE signature sounds of the turn of the Century. Sirens warned people about immanent bombing raids during World War I. Sirens announced incoming fire engines, and ambulances, and police.</p>
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<p>Thanks in part to the siren, the world of the the early 20th Century had become a lot louder than any time in human history. And we can probably assume that these sirens that people heard in cities all over the world–sounded NOTHING like the siren songs of Greek myth.</p>
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<p>At least to most. One man, a composer, named Arseny Avraamov heard music in the cacophony of the modern world. And he tried to create a composition–a symphony– from the clatter of the newly formed Soviet Union.</p>
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<p>Moscow-based producer Charles Maynes investigated the legend of Avraamov and his forgotten masterpiece. This is The Symphony of Sirens, Revisited.</p>
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<p>This story was part of the Global Story Project, presented by PRX with support from the Open Society Foundations.</p>
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<p>Plus, we hear a rebroadcast of “The Unsung Icons of Soviet Design.” (episode #25)</p>]]></content:encoded>
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<itunes:subtitle>For the ancient Greeks, sirens were mythical creatures who sang out to passing sailors from rocks in the sea. Their music was so beautiful, it was said, that the sailors were powerless against it--they would turn their ships towards these sea nymphs an...</itunes:subtitle>
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<itunes:summary>For the ancient Greeks, sirens were mythical creatures who sang out to passing sailors from rocks in the sea. Their music was so beautiful, it was said, that the sailors were powerless against it--they would turn their ships towards these sea nymphs and crash in the impassable reefs around them.
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In Homer's Odyssey, there's a story where Odysseus and his men are traveling near an area that Sirens are known to inhabit. Odysseus knows that if he hears the siren's song, his ship is going to sink. But he still wants to hear what they sound like. So he comes up with a plan: Odysseus has his men tie him to the mast of his ship so that he can't give commands. And then Odysseus has his men fill their own ears with beeswax so they can't hear anything. They set sail in striking distance of the sirens' call. The plan works: Odysseus gets to hear the music, his men don't, and they sail on to safety--with Odysseus pleading with his crew to crash the boat the whole way.
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And for the next 2000 or so years, that's what a siren was: a creature that makes a beautiful sound.
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And this new, mechanical siren became one of THE signature sounds of the turn of the Century. Sirens warned people about immanent bombing raids during World War I. Sirens announced incoming fire engines, and ambulances, and police.
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Thanks in part to the siren, the world of the the early 20th Century had become a lot louder than any time in human history. And we can probably assume that these sirens that people heard in cities all over the world--sounded NOTHING like the siren songs of Greek myth.
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At least to most. One man, a composer, named Arseny Avraamov heard music in the cacophony of the modern world. And he tried to create a composition--a symphony-- from the clatter of the newly formed Soviet Union.
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Moscow-based producer Charles Maynes investigated the legend of Avraamov and his forgotten masterpiece. This is The Symphony of Sirens, Revisited.
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This story was part of the Global Story Project, presented by PRX with support from the Open Society Foundations.
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Plus, we hear a rebroadcast of "The Unsung Icons of Soviet Design." (episode #25)</itunes:summary>
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<description><![CDATA[Americans have always had an uneasy relationship with gambling. To circumvent anti-gambling laws in the US, early slot machines masqueraded as vending machines. They gave out chewing gum as prizes, and those prizes could be redeemed for cash. That’s where … <a href="http://99percentinvisible.prx.org/2013/04/29/78-no-armed-bandit/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Americans have always had an uneasy relationship with gambling. To circumvent anti-gambling laws in the US, early slot machines masqueraded as vending machines. They gave out chewing gum as prizes, and those prizes could be redeemed for cash.</p>
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<p>That’s where the fruit logos come from. In fact, in the UK, slot machines are called “fruit machines.”</p>
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<p>To play the first slot machines, you slipped in a coin and pulled the lever to set the machine’s wheels in motion. The slot machine’s crank-action operation (and the way it took your money) earned it the nickname of the “one-armed bandit.”</p>
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<p>But today, those hand-crank levers are uncommon, and where they do exist they are known as “legacy levers,” because they have zero relation to how the machine actually works. Everything inside a slot machine has been computerized and automated–from how you enter money, to how you bet, to how you play, to how you win and lose, and even to how you feel when leave.</p>
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<p>At first, gambling machines existed at the fringes of casino culture–both figuratively and literally. The real money was in tabletop games–or so it was thought–and the slots were set up around the edges of the casino to give gamblers’ wives something to do while they waited.</p>
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<p>But then video technology expanded what slots could do. Now a machine could have more rows and columns than the standard three-by-three, and allowed you to place multiple bets on a single spin. A penny slot machine could let you place a hundred different one-cent bets per spin–so even if you win 40 cents on one line, and the machine congratulates you with flashing lights and chimes, you still lose 60 cents.</p>
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<p>And that’s how video slots have become the most lucrative–and addictive–game in a casino.</p>
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<p>Our guest this week is Natasha Dow Schüll, an MIT-based anthropologist who has been studying Las Vegas and the culture of gambling for more than fifteen years. Schüll is the author of Addiction by Design.</p>]]></content:encoded>
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<itunes:subtitle>Americans have always had an uneasy relationship with gambling. To circumvent anti-gambling laws in the US, early slot machines masqueraded as vending machines. They gave out chewing gum as prizes, and those prizes could be redeemed for cash. -</itunes:subtitle>
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<itunes:summary>Americans have always had an uneasy relationship with gambling. To circumvent anti-gambling laws in the US, early slot machines masqueraded as vending machines. They gave out chewing gum as prizes, and those prizes could be redeemed for cash.
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To play the first slot machines, you slipped in a coin and pulled the lever to set the machine's wheels in motion. The slot machine's crank-action operation (and the way it took your money) earned it the nickname of the "one-armed bandit."
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But today, those hand-crank levers are uncommon, and where they do exist they are known as "legacy levers," because they have zero relation to how the machine actually works. Everything inside a slot machine has been computerized and automated--from how you enter money, to how you bet, to how you play, to how you win and lose, and even to how you feel when leave.
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At first, gambling machines existed at the fringes of casino culture--both figuratively and literally. The real money was in tabletop games--or so it was thought--and the slots were set up around the edges of the casino to give gamblers' wives something to do while they waited.
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But then video technology expanded what slots could do. Now a machine could have more rows and columns than the standard three-by-three, and allowed you to place multiple bets on a single spin. A penny slot machine could let you place a hundred different one-cent bets per spin--so even if you win 40 cents on one line, and the machine congratulates you with flashing lights and chimes, you still lose 60 cents.
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And that's how video slots have become the most lucrative--and addictive--game in a casino.
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Our guest this week is Natasha Dow Schüll, an MIT-based anthropologist who has been studying Las Vegas and the culture of gambling for more than fifteen years. Schüll is the author of Addiction by Design.</itunes:summary>
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<description><![CDATA[Regardless of how you feel about basketball, you’ve got to appreciate the way it can bring groups of strangers together to share moments of pure adulation and collective defeat. That moment when time is running out, the team is down … <a href="http://99percentinvisible.prx.org/2013/04/15/77-game-changer/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<p>That moment when time is running out, the team is down by one, a player arcs the ball from downtown just as the buzzer sounds—and sinks it. It’s exhilarating. It’s heart breaking. And most of all, it’s good design. But it’s not the way basketball was originally designed.</p>
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<p>During pro basketball’s infancy in the 1950s, nothing forced a player to shoot the ball. If a team was winning, and they wanted to keep their lead, the team could literally hold on to the ball for ten minutes and run the clock out.</p>
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<p>But in 1954, Syracuse Nationals owner Danny Biasone had crunched some numbers, and he believed that some simple arithmetic could save basketball.</p>
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<p>Reporter Eric Mennel, from the radio show BackStory with the American History Guys, spoke with Dolph Schayes—who played on the Syracuse Nationals both before and after the advent of the shot clock—about how Biasone’s contribution to the game shaped basketball into what it has become today.</p>]]></content:encoded>
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That moment when time is running out, the team is down by one, a player arcs the ball from downtown just as the buzzer sounds—and sinks it. It’s exhilarating. It’s heart breaking. And most of all, it’s good design. But it’s not the way basketball was originally designed.
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During pro basketball’s infancy in the 1950s, nothing forced a player to shoot the ball. If a team was winning, and they wanted to keep their lead, the team could literally hold on to the ball for ten minutes and run the clock out.
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Reporter Eric Mennel, from the radio show BackStory with the American History Guys, spoke with Dolph Schayes—who played on the Syracuse Nationals both before and after the advent of the shot clock—about how Biasone’s contribution to the game shaped basketball into what it has become today.</itunes:summary>
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<description><![CDATA[On the streets of early 20th Century America, nothing moved faster than 10 miles per hour. Responsible parents would tell their children, “Go outside, and play in the streets. All day.” And then the automobile happened. And then automobiles began … <a href="http://99percentinvisible.prx.org/2013/04/03/76-the-modern-moloch/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>On the streets of early 20th Century America, nothing moved faster than 10 miles per hour. Responsible parents would tell their children, “Go outside, and play in the streets. All day.”</p>
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<p>And then the automobile happened. And then automobiles began killing thousands of children, every year.</p>
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<p>Many viewed the car as a death machine. One newspaper cartoon even compared the car to Moloch, the god to whom the Ammonites supposedly sacrificed their children.</p>
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<p>At first, pedestrian deaths were considered public tragedies. Parades were held in dozens of cities to commemorate the dead children. Cities built monuments. Mothers of children killed in the streets are given a special White Star to honor their loss.</p>
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<p>The main cause for these deaths was that the rules of the street were vastly different than they are today. A street functioned like a city park, or a pedestrian mall, where you could move in any direction without really thinking about it. The only moving hazards were animals and other people.</p>
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<p>But automotive interests wanted to claim the streets for cars.<br />
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So they put forth a radical idea–cars weren’t to blame, it was human recklessness. They found that they could exonerate the machine by placing the blame on individuals.</p>
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<p>They also coined a new term: “Jaywalking.”</p>]]></content:encoded>
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<itunes:subtitle>On the streets of early 20th Century America, nothing moved faster than 10 miles per hour. Responsible parents would tell their children, “Go outside, and play in the streets. All day.” - And then the automobile happened.</itunes:subtitle>
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And then the automobile happened. And then automobiles began killing thousands of children, every year.
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At first, pedestrian deaths were considered public tragedies. Parades were held in dozens of cities to commemorate the dead children. Cities built monuments. Mothers of children killed in the streets are given a special White Star to honor their loss.
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The main cause for these deaths was that the rules of the street were vastly different than they are today. A street functioned like a city park, or a pedestrian mall, where you could move in any direction without really thinking about it. The only moving hazards were animals and other people.
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But automotive interests wanted to claim the streets for cars.
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So they put forth a radical idea--cars weren't to blame, it was human recklessness. They found that they could exonerate the machine by placing the blame on individuals.
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They also coined a new term: "Jaywalking."</itunes:summary>
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<pubDate>Thu, 21 Mar 2013 00:26:23 +0000</pubDate>
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<description><![CDATA[Wherever there is sufficient demand to move between two points of differing elevation, there are stairs. In some hilly neighborhoods of California–if you know where to look–you’ll find public, outdoor staircases. The large number of hidden public staircases is part … <a href="http://99percentinvisible.prx.org/2013/03/20/99-invisible-75-secret-staircases/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Wherever there is sufficient demand to move between two points of differing elevation, there are stairs. In some hilly neighborhoods of California–if you know where to look–you’ll find public, outdoor staircases.</p>
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<p>The large number of hidden public staircases is part of what makes California so great. Charles Fleming is one of the world experts of coastal California’s public stairs. He has documented and mapped walking routes through nearly every useable public staircase in San Francisco’s East Bay, as well as in Los Angeles (where he lives). Charles published his findings in two walking guides, appropriately titled Secret Stairs.</p>
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<p>Producer Sam Greenspan met with Charles in the Pacific Palisades, where people from all over Los Angeles had gathered to attend one of Charles’ monthly stair walks.</p>]]></content:encoded>
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<itunes:subtitle>Wherever there is sufficient demand to move between two points of differing elevation, there are stairs. In some hilly neighborhoods of California--if you know where to look--you'll find public, outdoor staircases. -</itunes:subtitle>
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<itunes:summary>Wherever there is sufficient demand to move between two points of differing elevation, there are stairs. In some hilly neighborhoods of California--if you know where to look--you'll find public, outdoor staircases.
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The large number of hidden public staircases is part of what makes California so great. Charles Fleming is one of the world experts of coastal California's public stairs. He has documented and mapped walking routes through nearly every useable public staircase in San Francisco's East Bay, as well as in Los Angeles (where he lives). Charles published his findings in two walking guides, appropriately titled Secret Stairs.
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Producer Sam Greenspan met with Charles in the Pacific Palisades, where people from all over Los Angeles had gathered to attend one of Charles' monthly stair walks.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<pubDate>Fri, 08 Mar 2013 06:21:11 +0000</pubDate>
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<description><![CDATA[There was a time when every street sign, every billboard, and every window display was made by a sign artist with a paint kit and an arsenal of squirrel- or camel-hair brushes. Some lived an itinerant lifestyle, traveling from town … <a href="http://99percentinvisible.prx.org/2013/03/08/99-invisible-74-hand-painted-signs/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>There was a time when every street sign, every billboard, and every window display was made by a sign artist with a paint kit and an arsenal of squirrel- or camel-hair brushes. Some lived an itinerant lifestyle, traveling from town to town, knocking on the doors of local shops, asking if they could paint their signs.</p>
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<p>This was the way things were until as recently as the 1980s, when everything was upended by the vinyl plotter. Now, sign-making was faster, easier, and cheaper than ever before. Moreover, vinyl signs didn’t require any skill to make. But over time, they created an environment of anonymity and impermanence. Hand painted signs began to disappear. But not completely.</p>
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<p>Our contributor Benjamen Walker spoke with Faythe Levine and Sam Macon about their new book and documentary film, Sign Painters, which profiles more than two dozen contemporary sign painters keeping the tradition alive. Benjamen also spoke with sign painter and cartoonist Justin Green, who draws the comic series Sign Game (among others).</p>
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<p>Our own Sam Greenspan visited New Bohemia Signs in San Francisco to get their take on the sign painting scene.</p>]]></content:encoded>
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<itunes:subtitle>There was a time when every street sign, every billboard, and every window display was made by a sign artist with a paint kit and an arsenal of squirrel- or camel-hair brushes. Some lived an itinerant lifestyle, traveling from town to town,</itunes:subtitle>
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<itunes:summary>There was a time when every street sign, every billboard, and every window display was made by a sign artist with a paint kit and an arsenal of squirrel- or camel-hair brushes. Some lived an itinerant lifestyle, traveling from town to town, knocking on the doors of local shops, asking if they could paint their signs.
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This was the way things were until as recently as the 1980s, when everything was upended by the vinyl plotter. Now, sign-making was faster, easier, and cheaper than ever before. Moreover, vinyl signs didn’t require any skill to make. But over time, they created an environment of anonymity and impermanence. Hand painted signs began to disappear. But not completely.
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Our contributor Benjamen Walker spoke with Faythe Levine and Sam Macon about their new book and documentary film, Sign Painters, which profiles more than two dozen contemporary sign painters keeping the tradition alive. Benjamen also spoke with sign painter and cartoonist Justin Green, who draws the comic series Sign Game (among others).
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Our own Sam Greenspan visited New Bohemia Signs in San Francisco to get their take on the sign painting scene.</itunes:summary>
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<pubDate>Mon, 18 Feb 2013 17:00:38 +0000</pubDate>
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<description><![CDATA[There comes a time in the life of a modern city where it begins to grow up–literally. Santiago, the capital of Chile, has been going through a tremendous growth spurt since its economic boom of the mid 1990s. It happened … <a href="http://99percentinvisible.prx.org/2013/02/18/99-invisible-73-the-zanzibar-and-other-building-poems/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<p>There comes a time in the life of a modern city where it begins to grow up–literally. Santiago, the capital of Chile, has been going through a tremendous growth spurt since its economic boom of the mid 1990s. It happened fast. In just a few years, single family homes all over the city were replaced with high rises.</p>
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<p>A man named Rodrigo Rojas played a small part in Santiago’s “upward mobility”–which wouldn’t be that remarkable if he were an engineer, a real estate developer, or an architect. But Rodrigo Rojas is a poet.</p>
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<p>This is how it worked: A developer bought an old house, tore it down, and had an architect draw up plans for a high rise. And then Rodrigo stepped in to give the building a name. Rodrigo even fabricated whole stories in the service of building an identity. He came up with one story about a ship called the Zanzibar, a luxury liner built with the Titanic, but slightly smaller. You’ve never heard of it, he explained, because the Zanzibar never sank.</p>
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<p>Our reporter this week is Daniel Alarcón, host and executive producer of Radio Ambulante.</p>
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<itunes:subtitle>There comes a time in the life of a modern city where it begins to grow up--literally. Santiago, the capital of Chile, has been going through a tremendous growth spurt since its economic boom of the mid 1990s. It happened fast. In just a few years,</itunes:subtitle>
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<itunes:summary>There comes a time in the life of a modern city where it begins to grow up--literally. Santiago, the capital of Chile, has been going through a tremendous growth spurt since its economic boom of the mid 1990s. It happened fast. In just a few years, single family homes all over the city were replaced with high rises.
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A man named Rodrigo Rojas played a small part in Santiago’s "upward mobility"--which wouldn’t be that remarkable if he were an engineer, a real estate developer, or an architect. But Rodrigo Rojas is a poet.
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This is how it worked: A developer bought an old house, tore it down, and had an architect draw up plans for a high rise. And then Rodrigo stepped in to give the building a name. Rodrigo even fabricated whole stories in the service of building an identity. He came up with one story about a ship called the Zanzibar, a luxury liner built with the Titanic, but slightly smaller. You've never heard of it, he explained, because the Zanzibar never sank.
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Our reporter this week is Daniel Alarcón, host and executive producer of Radio Ambulante.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<title>99% Invisible-72- New Old Town</title>
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<pubDate>Tue, 05 Feb 2013 22:43:53 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<description><![CDATA[Like many cities in Central Europe, Warsaw is made up largely of grey, ugly, communist block-style architecture. Except for one part: The Old Town. Walking through this historic district, it’s just like any other quaint European city. There are tourist … <a href="http://99percentinvisible.prx.org/2013/02/05/99-invisible-72-new-old-town/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Like many cities in Central Europe, Warsaw is made up largely of grey, ugly, communist block-style architecture. Except for one part: The Old Town.<br />
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Walking through this historic district, it’s just like any other quaint European city. There are tourist shops, horse-drawn carriage rides, church spires. The buildings are beautiful–but they are not original.<br />
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During World War II, Nazi forces razed more than 80% of Warsaw. After Soviet troops took over, much of the city was rebuilt in the with communist style: fast, cheap, and big. They built apartment blocks, wide avenues, and heavy grey buildings. It was communist ideology in architectural form.<br />
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But when it came to the historic district of Warsaw– the Old Town and a long connecting section called the Royal Route–they decided not just to rebuild, but to restore. Builders would use the same stones, and use special kilns to make special bricks to preserve its authenticity. After six years of reconstruction, the new Old Town was opened. Poles were ecstatic to have it back. Even in the West, it was seen as a triumph of the human spirit.<br />
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But here’s the thing: Warsaw’s historic Old Town is not a replica of the original. It’s a re-imagining. An historic city that never really was.<br />
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Reporters and producers Amy Drozdowska and Dave McGuire talk with social anthropologist Michael Murawski about the fake recreation of Old Town and what it means to modern Warsaw.</p>]]></content:encoded>
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<itunes:subtitle>Like many cities in Central Europe, Warsaw is made up largely of grey, ugly, communist block-style architecture. Except for one part: The Old Town. Walking through this historic district, it’s just like any other quaint European city.</itunes:subtitle>
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<itunes:summary>Like many cities in Central Europe, Warsaw is made up largely of grey, ugly, communist block-style architecture. Except for one part: The Old Town.
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Walking through this historic district, it’s just like any other quaint European city. There are tourist shops, horse-drawn carriage rides, church spires. The buildings are beautiful--but they are not original.
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During World War II, Nazi forces razed more than 80% of Warsaw. After Soviet troops took over, much of the city was rebuilt in the with communist style: fast, cheap, and big. They built apartment blocks, wide avenues, and heavy grey buildings. It was communist ideology in architectural form.
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But when it came to the historic district of Warsaw-- the Old Town and a long connecting section called the Royal Route--they decided not just to rebuild, but to restore. Builders would use the same stones, and use special kilns to make special bricks to preserve its authenticity. After six years of reconstruction, the new Old Town was opened. Poles were ecstatic to have it back. Even in the West, it was seen as a triumph of the human spirit.
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But here's the thing: Warsaw’s historic Old Town is not a replica of the original. It’s a re-imagining. An historic city that never really was.
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Reporters and producers Amy Drozdowska and Dave McGuire talk with social anthropologist Michael Murawski about the fake recreation of Old Town and what it means to modern Warsaw.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>20:35</itunes:duration>
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<title>99% Invisible-71- In and Out of LOVE</title>
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<link>http://99percentinvisible.prx.org/2013/01/23/99-invisible-71-in-and-out-of-love/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-71-in-and-out-of-love</link>
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<pubDate>Wed, 23 Jan 2013 18:58:44 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<description><![CDATA[Though its officially name is JFK Plaza, the open space near Philadelphia’s City Hall is more commonly known as LOVE Park. With its sleek granite benches, geometric raised planter beds, and long expanses of pavement, its success as a pedestrian … <a href="http://99percentinvisible.prx.org/2013/01/23/99-invisible-71-in-and-out-of-love/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<div>
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<p>Though its officially name is JFK Plaza, the open space near Philadelphia’s City Hall is more commonly known as LOVE Park. With its sleek granite benches, geometric raised planter beds, and long expanses of pavement, its success as a pedestrian plaza is debatable. But it turned out to be perfect for skateboarding. As skateboarding culture grew in the 1990s, LOVE Park became a Mecca of the skating world–even though skateboarding was officially banned there.</p>
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<p>Skateboarder and radio producer Andrew Norton takes us for a ride through the surprising history of LOVE Park, and pulls back the curtain on a decades-old battle over public space in Philadelphia and beyond.</p>
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</div>]]></content:encoded>
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<itunes:subtitle>Though its officially name is JFK Plaza, the open space near Philadelphia’s City Hall is more commonly known as LOVE Park. With its sleek granite benches, geometric raised planter beds, and long expanses of pavement,</itunes:subtitle>
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<itunes:summary>Though its officially name is JFK Plaza, the open space near Philadelphia’s City Hall is more commonly known as LOVE Park. With its sleek granite benches, geometric raised planter beds, and long expanses of pavement, its success as a pedestrian plaza is debatable. But it turned out to be perfect for skateboarding. As skateboarding culture grew in the 1990s, LOVE Park became a Mecca of the skating world--even though skateboarding was officially banned there.
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Skateboarder and radio producer Andrew Norton takes us for a ride through the surprising history of LOVE Park, and pulls back the curtain on a decades-old battle over public space in Philadelphia and beyond.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>16:39</itunes:duration>
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<title>99% Invisible-70- The Great Red Car Conspiracy</title>
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<link>http://99percentinvisible.prx.org/2013/01/11/99-invisible-70-the-great-red-car-conspiracy/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-70-the-great-red-car-conspiracy</link>
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<pubDate>Fri, 11 Jan 2013 19:22:21 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<description><![CDATA[When Eric Molinsky lived in Los Angeles, he kept hearing this story about a bygone transportation system called the Red Car. The Red Car, he was told, had been this amazing network of streetcars that connected the city–until a car … <a href="http://99percentinvisible.prx.org/2013/01/11/99-invisible-70-the-great-red-car-conspiracy/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<div>
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<p>When Eric Molinsky lived in Los Angeles, he kept hearing this story about a bygone transportation system called the Red Car. The Red Car, he was told, had been this amazing network of streetcars that connected the city–until a car company bought it, dismantled it, and forced a dependency on freeways.</p>
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<p>But like most legends, the one that Eric heard about the Red Car is not entirely accurate. It’s true that Los Angeles did have an extensive mass transit system called the Red Car, which at one time ran on 1,100 miles of track–about 25 percent more more track mileage than New York City has today, a century later.</p>
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<p>But the Red Car wasn’t the victim of a conspiracy. The Red Car WAS the conspiracy.</p>
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</div>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/70-The-Great-Red-Car-Conspiracy.mp3" length="13343527" type="audio/mpeg" />
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<itunes:subtitle>When Eric Molinsky lived in Los Angeles, he kept hearing this story about a bygone transportation system called the Red Car. The Red Car, he was told, had been this amazing network of streetcars that connected the city--until a car company bought it,</itunes:subtitle>
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<itunes:summary>When Eric Molinsky lived in Los Angeles, he kept hearing this story about a bygone transportation system called the Red Car. The Red Car, he was told, had been this amazing network of streetcars that connected the city--until a car company bought it, dismantled it, and forced a dependency on freeways.
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But like most legends, the one that Eric heard about the Red Car is not entirely accurate. It's true that Los Angeles did have an extensive mass transit system called the Red Car, which at one time ran on 1,100 miles of track--about 25 percent more more track mileage than New York City has today, a century later.
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But the Red Car wasn't the victim of a conspiracy. The Red Car WAS the conspiracy.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>13:47</itunes:duration>
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<title>99% Invisible-69- The Brief and Tumultuous Life of the New UC Logo</title>
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<link>http://99percentinvisible.prx.org/2012/12/31/99-invisible-69-the-tumultuous-life-of-the-new-uc-logo/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-69-the-tumultuous-life-of-the-new-uc-logo</link>
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<pubDate>Mon, 31 Dec 2012 22:54:50 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<description><![CDATA[If you’re not from California, or missed this bit of news, the University of California has a new logo. Or rather had a new logo. To be more precise they had a new “visual identity system,” which is the kind … <a href="http://99percentinvisible.prx.org/2012/12/31/99-invisible-69-the-tumultuous-life-of-the-new-uc-logo/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>If you’re not from California, or missed this bit of news, the University of California has a new logo. Or rather had a new logo. To be more precise they had a new “visual identity system,” which is the kind of entirely accurate but completely wonky description that gets met with sarcastic eyerolls from anyone who isn’t a designer, but there it is. But they don’t have a new anything anymore. Because of a massive public backlash, the UC system actually suspended the entire new brand identity while we were reporting this story.</p>
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<p>In this episode, we talk to the Creative Director of the UC Office of the President, Vanessa Correa, who led the team that created this short-lived brand identity and Christopher Simmons, principal of MINE, who waded into the UC logo fight with a brilliant blog post called “Why the UC Rebrand is Better Than You Think.”</p>
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<p>Fourth generation UC Berkeley alum, Cyrus Farivar (see episodes #36 and #55, true believers) takes a look at the new UC identity and chronicles its tumultuous life and rapid death. We also use this opportunity to ruminate on the topic of how and when a design should be judged.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/69-The-Brief-and-Tumultuous-Life-of-the-New-UC-Logo1.mp3" length="24034526" type="audio/mpeg" />
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<itunes:subtitle>If you’re not from California, or missed this bit of news, the University of California has a new logo. Or rather had a new logo. To be more precise they had a new “visual identity system,” which is the kind of entirely accurate but completely wo...</itunes:subtitle>
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<itunes:summary>If you’re not from California, or missed this bit of news, the University of California has a new logo. Or rather had a new logo. To be more precise they had a new “visual identity system,” which is the kind of entirely accurate but completely wonky description that gets met with sarcastic eyerolls from anyone who isn’t a designer, but there it is. But they don’t have a new anything anymore. Because of a massive public backlash, the UC system actually suspended the entire new brand identity while we were reporting this story.
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In this episode, we talk to the Creative Director of the UC Office of the President, Vanessa Correa, who led the team that created this short-lived brand identity and Christopher Simmons, principal of MINE, who waded into the UC logo fight with a brilliant blog post called “Why the UC Rebrand is Better Than You Think.”
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Fourth generation UC Berkeley alum, Cyrus Farivar (see episodes #36 and #55, true believers) takes a look at the new UC identity and chronicles its tumultuous life and rapid death. We also use this opportunity to ruminate on the topic of how and when a design should be judged.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:duration>24:56</itunes:duration>
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<title>99% Invisible-68- Built for Speed</title>
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<link>http://99percentinvisible.prx.org/2012/12/12/99-invisible-68-built-for-speed/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-68-built-for-speed</link>
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<pubDate>Wed, 12 Dec 2012 18:50:20 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<description><![CDATA[I want you to conjure an image in your mind of the white stripes that divide the lanes of traffic going the same direction on a major highway. How long are the stripes and the spaces between them? You can … <a href="http://99percentinvisible.prx.org/2012/12/12/99-invisible-68-built-for-speed/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>I want you to conjure an image in your mind of the white stripes that divide the lanes of traffic going the same direction on a major highway. How long are the stripes and the spaces between them?</p>
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<p>You can spread your arms out to estimate if you want to.</p>
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<p>Over the course of many years, a psychology researcher named <a href="http://researchnews.osu.edu/archive/seeline.htm" target="_blank">Dennis Schafer at Ohio State</a> asked students from many different parts of the country this question and the most common response was that the white stripes are two feet long.</p>
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<p><a href="http://www.tomvanderbilt.com/" target="_blank">Tom Vanderbilt</a>, author of the brilliant book <a href="http://tomvanderbilt.com/traffic/" target="_blank">Traffic: Why We Drive the Way We Do (and What It Says About Us)</a>, reveals the real answer and some of the other perceptual countermeasures that are designed to make you feel comfortable going way faster than your brain can adequately process.</p>
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<p>We also talk about how this design language of exaggerated scale and wide vistas is great for limited access highways, but it’s problematic when these features are grafted onto suburban landscapes where they don’t belong.</p>]]></content:encoded>
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<itunes:subtitle>I want you to conjure an image in your mind of the white stripes that divide the lanes of traffic going the same direction on a major highway. How long are the stripes and the spaces between them? - You can spread your arms out to estimate if you want...</itunes:subtitle>
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<itunes:summary>I want you to conjure an image in your mind of the white stripes that divide the lanes of traffic going the same direction on a major highway. How long are the stripes and the spaces between them?
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You can spread your arms out to estimate if you want to.
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Over the course of many years, a psychology researcher named Dennis Schafer at Ohio State asked students from many different parts of the country this question and the most common response was that the white stripes are two feet long.
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Tom Vanderbilt, author of the brilliant book Traffic: Why We Drive the Way We Do (and What It Says About Us), reveals the real answer and some of the other perceptual countermeasures that are designed to make you feel comfortable going way faster than your brain can adequately process.
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We also talk about how this design language of exaggerated scale and wide vistas is great for limited access highways, but it’s problematic when these features are grafted onto suburban landscapes where they don’t belong.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:duration>12:36</itunes:duration>
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<title>99% Invisible-67- Broken Window</title>
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<link>http://99percentinvisible.prx.org/2012/11/29/99-invisible-67-broken-window/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-67-broken-window</link>
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<pubDate>Thu, 29 Nov 2012 23:55:28 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<description><![CDATA[When Melissa Lee was growing up in Hastings-on-Hudson, a small town in upstate New York, there were only so many fun things to do. One was buying geodes and smashing them apart with a hammer. (You know geodes, right? Those … <a href="http://99percentinvisible.prx.org/2012/11/29/99-invisible-67-broken-window/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>When Melissa Lee was growing up in Hastings-on-Hudson, a small town in upstate New York, there were only so many fun things to do. One was buying geodes and smashing them apart with a hammer. (You know geodes, right? Those dull-looking brown rocks that you break open to reveal crystalline structures inside?)</p>
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<p>One day, when Melissa was thirteen, she and her friend Liz bought some geodes. They didn’t want to wait to get home to crack them open, so they decided to throw them against the wall of an apartment building. Liz’s aim went wild, and the geode went through a window.</p>
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<p>Melissa and Liz tried to find person whose window they had broken, but they couldn’t figure out which door in the apartment building lead to the unit with the window in question. Eventually they gave up.</p>
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<p>Melissa would have probably forgotten about the incident had it not been for one inexplicable thing: the window didn’t get fixed. Ever.</p>
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<p>It was clear that someone lived there. Melissa would walk by the window and see the apartment lit up by a TV. Someone was opening the window in the summer, and closing it in the winter. But the hole remained.</p>
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<p>Melissa finished middle school, then high school, then went away to college. And when she came home and saw the window still broken, it had this effect of making her feel like the nervous, insecure thirteen year old she was when she broke the window.</p>
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<p>This became a pattern for Melissa: she’d leave home, do some growing up, come home, see the window, and feel like a teenager.</p>
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<p>Melissa traveled the world. She went to graduate school, She moved to Washington, DC, She got married. And every time she’d come home, she’d see the window. “As much as I was changing, this part of my past was completely frozen,” Melissa says. “As soon as I saw the window I was brought right back to those middle school days when we had broken it.”</p>
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<p>So in 2011, 22 years after the incident, Melissa went to go find the person who left the window broken for so long. She brought along a tape recorder.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/67-Broken-Window.mp3" length="11362804" type="audio/mpeg" />
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<itunes:subtitle>When Melissa Lee was growing up in Hastings-on-Hudson, a small town in upstate New York, there were only so many fun things to do. One was buying geodes and smashing them apart with a hammer. (You know geodes, right?</itunes:subtitle>
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<itunes:summary>When Melissa Lee was growing up in Hastings-on-Hudson, a small town in upstate New York, there were only so many fun things to do. One was buying geodes and smashing them apart with a hammer. (You know geodes, right? Those dull-looking brown rocks that you break open to reveal crystalline structures inside?)
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One day, when Melissa was thirteen, she and her friend Liz bought some geodes. They didn't want to wait to get home to crack them open, so they decided to throw them against the wall of an apartment building. Liz's aim went wild, and the geode went through a window.
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Melissa and Liz tried to find person whose window they had broken, but they couldn't figure out which door in the apartment building lead to the unit with the window in question. Eventually they gave up.
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Melissa would have probably forgotten about the incident had it not been for one inexplicable thing: the window didn't get fixed. Ever.
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It was clear that someone lived there. Melissa would walk by the window and see the apartment lit up by a TV. Someone was opening the window in the summer, and closing it in the winter. But the hole remained.
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Melissa finished middle school, then high school, then went away to college. And when she came home and saw the window still broken, it had this effect of making her feel like the nervous, insecure thirteen year old she was when she broke the window.
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This became a pattern for Melissa: she'd leave home, do some growing up, come home, see the window, and feel like a teenager.
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Melissa traveled the world. She went to graduate school, She moved to Washington, DC, She got married. And every time she'd come home, she'd see the window. "As much as I was changing, this part of my past was completely frozen," Melissa says. "As soon as I saw the window I was brought right back to those middle school days when we had broken it."
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So in 2011, 22 years after the incident, Melissa went to go find the person who left the window broken for so long. She brought along a tape recorder.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>11:44</itunes:duration>
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</item>
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<item>
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<title>99% Invisible-66- Kowloon Walled City</title>
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<link>http://99percentinvisible.prx.org/2012/11/19/99-invisible-66-kowloon-walled-city/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-66-kowloon-walled-city</link>
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<comments>http://99percentinvisible.prx.org/2012/11/19/99-invisible-66-kowloon-walled-city/#comments</comments>
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<pubDate>Mon, 19 Nov 2012 21:28:25 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=509</guid>
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<description><![CDATA[Kowloon Walled City was the densest place in the world, ever. By its peak in the 1990s, the 6.5 acre Kowloon Walled City was home to at least 33,000 people (with estimates of up to 50,000). That’s a population density … <a href="http://99percentinvisible.prx.org/2012/11/19/99-invisible-66-kowloon-walled-city/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Kowloon Walled City was the densest place in the world, ever.</p>
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<p>By its peak in the 1990s, the 6.5 acre Kowloon Walled City was home to at least 33,000 people (with estimates of up to 50,000). That’s a population density of at least 3.2 million per square mile. For New York City to get that dense, every man, woman, and child living in Texas would have to move to Manhattan.</p>
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<p>To put it another way, think about living in a 1,200 square foot home. Then imagine yourself living with 9 other people. Then imagine that your building is only one unit of a twelve-story building, and every other unit is as full as yours. Then imagine hundreds those buildings crammed together in a space the size of four football fields.</p>
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<p>We can’t really imagine it, either.</p>
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<p>Kowloon Walled City began as a military fort in Kowloon, a region in mainland China. In 1898, China signed a land lease with Great Britain, giving the British control of Hong Kong, Kowloon, and other nearby territories. But the lease stipulated that the fort in Kowloon would remain under Chinese jurisdiction.</p>
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<p>Over time, the fort became abandoned, leaving the area subject to neither Chinese nor British authority. This legal gray zone was attractive to displaced and marginalized people. Thousands of people moved there after the war with Japan broke out. Even more people moved there after the Communist Revolution. It attracted gangsters, drug addicts, sex workers, and refugees. And it also drew a lot of normal people from all over China who saw opportunity there.</p>
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<p>They built the city building by building, first blanketing the area of the fort, then building vertically. Buildings were packed together so tightly in the Walled City that the alleys were nearly pitch-black in the day time. Electricity and water were brought in by illegal or informal means.</p>
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<p>The Walled City gained a reputation as a sort of den of iniquity–there were high levels of prostitution, gambling, mafia activity, and, for some reason, rampant unlicensed dentistry.</p>
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<p>But an order did emerge. The Walled City had no schools, but there was an informal kindergarten. A resident’s organization settled disputes. And there was lots of industry: a fishball factory, a noodle factory, metalworking shops, a textile mill. There were stores, restaurants. You could even receive mail in the Walled City.</p>
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<p>Kowloon Walled City was torn down in 1993. Today, it’s a park, and most traces of the city are gone. But the memory of the city lives on. It was featured in the non-verbal film Baraka, plays a cameo role in Bloodsport. It’s also served as the setting in a number of video games, including most recently Call of Duty: Black Ops</p>
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<p>This week’s episode was produced by Nick van der Kolk. He spoke with photographer Greg Girard and architect Aaron Tan, who both spent time in the Walled City. Nick also talked to as Brian Douglas, who helped design Call of Duty: Black Ops.</p>
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<p>Nick is the director of the award-winning podcast, Love + Radio. You can also hear him over at Snap Judgment.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/66-Kowloon-Walled-City.mp3" length="15045448" type="audio/mpeg" />
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<itunes:subtitle>Kowloon Walled City was the densest place in the world, ever. - By its peak in the 1990s, the 6.5 acre Kowloon Walled City was home to at least 33,000 people (with estimates of up to 50,000). That's a population density of at least 3.</itunes:subtitle>
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<itunes:summary>Kowloon Walled City was the densest place in the world, ever.
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By its peak in the 1990s, the 6.5 acre Kowloon Walled City was home to at least 33,000 people (with estimates of up to 50,000). That's a population density of at least 3.2 million per square mile. For New York City to get that dense, every man, woman, and child living in Texas would have to move to Manhattan.
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653
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To put it another way, think about living in a 1,200 square foot home. Then imagine yourself living with 9 other people. Then imagine that your building is only one unit of a twelve-story building, and every other unit is as full as yours. Then imagine hundreds those buildings crammed together in a space the size of four football fields.
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We can't really imagine it, either.
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Kowloon Walled City began as a military fort in Kowloon, a region in mainland China. In 1898, China signed a land lease with Great Britain, giving the British control of Hong Kong, Kowloon, and other nearby territories. But the lease stipulated that the fort in Kowloon would remain under Chinese jurisdiction.
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Over time, the fort became abandoned, leaving the area subject to neither Chinese nor British authority. This legal gray zone was attractive to displaced and marginalized people. Thousands of people moved there after the war with Japan broke out. Even more people moved there after the Communist Revolution. It attracted gangsters, drug addicts, sex workers, and refugees. And it also drew a lot of normal people from all over China who saw opportunity there.
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They built the city building by building, first blanketing the area of the fort, then building vertically. Buildings were packed together so tightly in the Walled City that the alleys were nearly pitch-black in the day time. Electricity and water were brought in by illegal or informal means.
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The Walled City gained a reputation as a sort of den of iniquity--there were high levels of prostitution, gambling, mafia activity, and, for some reason, rampant unlicensed dentistry.
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But an order did emerge. The Walled City had no schools, but there was an informal kindergarten. A resident's organization settled disputes. And there was lots of industry: a fishball factory, a noodle factory, metalworking shops, a textile mill. There were stores, restaurants. You could even receive mail in the Walled City.
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667
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Kowloon Walled City was torn down in 1993. Today, it's a park, and most traces of the city are gone. But the memory of the city lives on. It was featured in the non-verbal film Baraka, plays a cameo role in Bloodsport. It's also served as the setting in a number of video games, including most recently Call of Duty: Black Ops
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This week's episode was produced by Nick van der Kolk. He spoke with photographer Greg Girard and architect Aaron Tan, who both spent time in the Walled City. Nick also talked to as Brian Douglas, who helped design Call of Duty: Black Ops.
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Nick is the director of the award-winning podcast, Love + Radio. You can also hear him over at Snap Judgment.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>15:34</itunes:duration>
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</item>
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<item>
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<title>99% Invisible-65- Razzle Dazzle</title>
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<link>http://99percentinvisible.prx.org/2012/11/05/99-invisible-65-razzle-dazzle/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-65-razzle-dazzle</link>
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<comments>http://99percentinvisible.prx.org/2012/11/05/99-invisible-65-razzle-dazzle/#comments</comments>
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<pubDate>Mon, 05 Nov 2012 19:54:53 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=505</guid>
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<description><![CDATA[When most people think of camouflage they think of blending in with the environment, but camouflage can also take the opposite approach. It has long been hypothesized that stripes on zebras make it difficult for a predator to distinguish one … <a href="http://99percentinvisible.prx.org/2012/11/05/99-invisible-65-razzle-dazzle/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<div id="track-description-value">
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<p>When most people think of camouflage they think of blending in with the environment, but camouflage can also take the opposite approach.</p>
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<p>It has long been hypothesized that stripes on zebras make it difficult for a predator to distinguish one zebra from another when the zebras are in a large herd. The stripes also might make zebras less attractive to blood sucking horseflies. This is called disruptive camouflage.</p>
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<p>When it comes to humans, the greatest, most jaw-droppingly spectacular application of disruptive camouflage was called Dazzle.</p>
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<p>Dazzle painting emerged in the 1910s as design solution to a very dire problem: American and British ships were being sunk left and right by German U-Boats. England needed to import supplies to fight the Central Powers, and these ships were sitting ducks in the Atlantic Ocean. They needed a way to fend of the torpedoes.</p>
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<p>Conventional high-similarity camouflage just doesn’t work in the open sea. Conditions like the color of the sky, cloud cover, and wave height change all the time, not to mention the fact that there’s no way to hid all the smoke left by the ships’ smoke stacks.</p>
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<p>The strategy of this high-difference, dazzle camouflage was not about invisibility. It was about disruption. Confusion.</p>
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<p>Torpedoes in the Great War could only be fired line-of-sight, so instead of firing at where they saw the ship was at that moment, torpedo gunners would have to chart out where the ship would be by the time the torpedo got there. They had to determine the target ship’s speed and direction with just a brief look through the periscope.</p>
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<p>The torpedo gunner’s margin of error for hitting a ship was quite low. Dazzle painting could throw off an experienced submariner by as much as 55 degrees.</p>
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<p>Our expert this week is Roy Behrens, a professor graphic design at the University of Northern Iowa. He’s published several books about camouflage, and also runs the Camoupedia blog.</p>
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</div>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/65-Razzle-Dazzle.mp3" length="12341246" type="audio/mpeg" />
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<itunes:subtitle>When most people think of camouflage they think of blending in with the environment, but camouflage can also take the opposite approach. - It has long been hypothesized that stripes on zebras make it difficult for a predator to distinguish one zebra f...</itunes:subtitle>
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<itunes:summary>When most people think of camouflage they think of blending in with the environment, but camouflage can also take the opposite approach.
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It has long been hypothesized that stripes on zebras make it difficult for a predator to distinguish one zebra from another when the zebras are in a large herd. The stripes also might make zebras less attractive to blood sucking horseflies. This is called disruptive camouflage.
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When it comes to humans, the greatest, most jaw-droppingly spectacular application of disruptive camouflage was called Dazzle.
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Dazzle painting emerged in the 1910s as design solution to a very dire problem: American and British ships were being sunk left and right by German U-Boats. England needed to import supplies to fight the Central Powers, and these ships were sitting ducks in the Atlantic Ocean. They needed a way to fend of the torpedoes.
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708
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709
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Conventional high-similarity camouflage just doesn't work in the open sea. Conditions like the color of the sky, cloud cover, and wave height change all the time, not to mention the fact that there's no way to hid all the smoke left by the ships' smoke stacks.
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The strategy of this high-difference, dazzle camouflage was not about invisibility. It was about disruption. Confusion.
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Torpedoes in the Great War could only be fired line-of-sight, so instead of firing at where they saw the ship was at that moment, torpedo gunners would have to chart out where the ship would be by the time the torpedo got there. They had to determine the target ship's speed and direction with just a brief look through the periscope.
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The torpedo gunner's margin of error for hitting a ship was quite low. Dazzle painting could throw off an experienced submariner by as much as 55 degrees.
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Our expert this week is Roy Behrens, a professor graphic design at the University of Northern Iowa. He's published several books about camouflage, and also runs the Camoupedia blog.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>12:45</itunes:duration>
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<title>99% Invisible-64- Derelict Dome</title>
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<link>http://99percentinvisible.prx.org/2012/10/25/99-invisible-64-derelict-dome/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-64-derelict-dome</link>
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<comments>http://99percentinvisible.prx.org/2012/10/25/99-invisible-64-derelict-dome/#comments</comments>
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<pubDate>Thu, 25 Oct 2012 23:26:34 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=501</guid>
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<description><![CDATA[In the Cape Cod town of Woods Hole, buildings are not usually dome-shaped. Producer Katie Klocksin was pretty surprised when she came across one. Katie started asking around about the dome. She found it was built by the late Buckminster … <a href="http://99percentinvisible.prx.org/2012/10/25/99-invisible-64-derelict-dome/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>In the Cape Cod town of Woods Hole, buildings are not usually dome-shaped. Producer Katie Klocksin was pretty surprised when she came across one.</p>
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<p>Katie started asking around about the dome. She found it was built by the late Buckminster Fuller, who called himself a “comprehensive anticipatory design scientist,” out to solve the problems confronting “Starship Earth” by changing the way we make buildings. “Bucky” Fuller invented and patented the geodesic dome, a spherical structure made from small triangles. The design is based on a lot of complicated math, but the idea is that by relying on the strength of of the triangle, these buildings could be made from cheaper materials, like plastic and aluminum instead of steel and concrete.</p>
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<p>In 1953, Fuller was commissioned to build a dome in Woods Hole by architect (and aspiring restauranteur) Gunnar Peterson. The dome would become the posh Dome Restaurant. Diners could gaze through the building’s triangular windows out on onto the sea. A zither player named Ruth Welcome entertained guests.</p>
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<p>Despite its Utopian aspirations, the building had some structural problems. The glass windows heated the restaurant up like a greenhouse, so the owner installed fiberglass over most of the dome, blocking the ocean views. It leaked constantly, and was difficult to maintain. Even though the Woods Hole dome did not radically change the world, Bucky Fuller would go on to become one of the most influential thinkers in design and architecture of the 20th Century.</p>
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<p>Today, the Dome Restaurant lies vacant. A new development project could lead to the dome’s restoration, but for now, it remains a decaying curiosity, inviting exploration from microphone-wielding out-of-towners.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/64-Derelict-Dome.mp3" length="14104198" type="audio/mpeg" />
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<itunes:subtitle>In the Cape Cod town of Woods Hole, buildings are not usually dome-shaped. Producer Katie Klocksin was pretty surprised when she came across one. - Katie started asking around about the dome. She found it was built by the late Buckminster Fuller,</itunes:subtitle>
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<itunes:summary>In the Cape Cod town of Woods Hole, buildings are not usually dome-shaped. Producer Katie Klocksin was pretty surprised when she came across one.
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Katie started asking around about the dome. She found it was built by the late Buckminster Fuller, who called himself a "comprehensive anticipatory design scientist," out to solve the problems confronting "Starship Earth" by changing the way we make buildings. "Bucky" Fuller invented and patented the geodesic dome, a spherical structure made from small triangles. The design is based on a lot of complicated math, but the idea is that by relying on the strength of of the triangle, these buildings could be made from cheaper materials, like plastic and aluminum instead of steel and concrete.
|
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743
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In 1953, Fuller was commissioned to build a dome in Woods Hole by architect (and aspiring restauranteur) Gunnar Peterson. The dome would become the posh Dome Restaurant. Diners could gaze through the building's triangular windows out on onto the sea. A zither player named Ruth Welcome entertained guests.
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Despite its Utopian aspirations, the building had some structural problems. The glass windows heated the restaurant up like a greenhouse, so the owner installed fiberglass over most of the dome, blocking the ocean views. It leaked constantly, and was difficult to maintain. Even though the Woods Hole dome did not radically change the world, Bucky Fuller would go on to become one of the most influential thinkers in design and architecture of the 20th Century.
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Today, the Dome Restaurant lies vacant. A new development project could lead to the dome's restoration, but for now, it remains a decaying curiosity, inviting exploration from microphone-wielding out-of-towners.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>14:35</itunes:duration>
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</item>
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<item>
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<title>99% Invisible-63- The Political Stage</title>
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<link>http://99percentinvisible.prx.org/2012/10/12/99-invisible-63-the-political-stage/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-63-the-political-stage</link>
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<comments>http://99percentinvisible.prx.org/2012/10/12/99-invisible-63-the-political-stage/#comments</comments>
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<pubDate>Fri, 12 Oct 2012 21:32:57 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=497</guid>
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<description><![CDATA[On this special edition of 99% Invisible, we joined forces with Andrea Seabrook of DecodeDC to investigate all the thought that goes into the most miniscule details of a political campaign. Andrea was the star of episode #48 of 99% … <a href="http://99percentinvisible.prx.org/2012/10/12/99-invisible-63-the-political-stage/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>On this special edition of 99% Invisible, we joined forces with Andrea Seabrook of <a href="http://www.decodedc.com/" target="_blank">DecodeDC</a> to investigate all the thought that goes into the most miniscule details of a political campaign. Andrea was the star of episode #48 of 99% Invisible, <a href="http://99percentinvisible.org/post/18340228807/episode-48-the-bathtubs-or-the-boiler-room" target="_blank">The Bathtubs or the Boiler Room</a>.</p>
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<p>Andrea reveals seven (and a half) secrets about the staging of events along the campaign trail. Like how every campaign has an “Advance Team” that flies in ahead of a candidate and makes everything from a campaign rally to a 20-minute media appearance run smoothly.</p>
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<p>Andrea spoke with Advance guys John Seaton and Donnie Fowler, who have been directing this very American brand of political theater for years.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/63-The-Political-Stage.mp3" length="14770431" type="audio/mpeg" />
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<itunes:subtitle>On this special edition of 99% Invisible, we joined forces with Andrea Seabrook of DecodeDC to investigate all the thought that goes into the most miniscule details of a political campaign. Andrea was the star of episode #48 of 99% Invisible,</itunes:subtitle>
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<itunes:summary>On this special edition of 99% Invisible, we joined forces with Andrea Seabrook of DecodeDC to investigate all the thought that goes into the most miniscule details of a political campaign. Andrea was the star of episode #48 of 99% Invisible, The Bathtubs or the Boiler Room.
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Andrea reveals seven (and a half) secrets about the staging of events along the campaign trail. Like how every campaign has an “Advance Team” that flies in ahead of a candidate and makes everything from a campaign rally to a 20-minute media appearance run smoothly.
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Andrea spoke with Advance guys John Seaton and Donnie Fowler, who have been directing this very American brand of political theater for years.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>15:17</itunes:duration>
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</item>
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<title>99% Invisible-62- Q2</title>
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<link>http://99percentinvisible.prx.org/2012/10/02/99-invisible-62-q2/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-62-q2</link>
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<comments>http://99percentinvisible.prx.org/2012/10/02/99-invisible-62-q2/#comments</comments>
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<pubDate>Tue, 02 Oct 2012 18:27:23 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=493</guid>
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<description><![CDATA[Benjamen Walker had a theory that priority queues are changing the American experience of waiting in line. So he visited amusement parks, highways, and community colleges to find out how these priority queues work and who is using them. What … <a href="http://99percentinvisible.prx.org/2012/10/02/99-invisible-62-q2/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Benjamen Walker had a theory that priority queues are changing the American experience of waiting in line. So he visited amusement parks, highways, and community colleges to find out how these priority queues work and who is using them. What started as an episode of 99% Invisible became a <a href="http://www.bbc.co.uk/programmes/p00y2wt0" target="_blank">half-hour radio documentary for the BBC</a>.</p>
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<p>Along the way Walker met the man that may be responsible for the reason why many Americans know the word “queue” at all: Neil Hunt from Netflix. He has been trying to abandon the word ever since he introduced it into the DVD service over a decade ago.</p>
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<p>Walker also met up with <a href="http://scrawford.net/blog/" target="_blank">Susan Crawford</a>, a net neutrality advocate, who thinks that queues are a good way to examine the pitfalls with what she calls the “cablelization” of the internet. <a href="http://www.heraldtribune.com/article/20120814/ARTICLE/308149992?p=1&tc=pg&tc=ar" target="_blank">Comcast has taken the lead</a> in providing high-speed internet to consumers, but people like the <a href="http://allthingsd.com/20120330/reed-hastings-is-just-like-you-he-complains-about-the-cable-guys-on-facebook/" target="_blank">CEO of Netflix have been critical</a> of Comcast favoring its own video content over video from third party services such as Netflix and HBO Go. Crawford’s concerns go way beyond streaming video to the heart of the net neutrality debate: is a market without any meaningful competition a safe place to determine the future of communications in this country?</p>
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<p>Maybe we should all move to <a href="http://fiber.google.com/cities/#header=check" target="_blank">Kansas City</a>.</p>]]></content:encoded>
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<wfw:commentRss>http://99percentinvisible.prx.org/2012/10/02/99-invisible-62-q2/feed/</wfw:commentRss>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/62-Q2.mp3" length="14804687" type="audio/mpeg" />
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<itunes:subtitle>Benjamen Walker had a theory that priority queues are changing the American experience of waiting in line. So he visited amusement parks, highways, and community colleges to find out how these priority queues work and who is using them.</itunes:subtitle>
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<itunes:summary>Benjamen Walker had a theory that priority queues are changing the American experience of waiting in line. So he visited amusement parks, highways, and community colleges to find out how these priority queues work and who is using them. What started as an episode of 99% Invisible became a half-hour radio documentary for the BBC.
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Along the way Walker met the man that may be responsible for the reason why many Americans know the word “queue” at all: Neil Hunt from Netflix. He has been trying to abandon the word ever since he introduced it into the DVD service over a decade ago.
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Walker also met up with Susan Crawford, a net neutrality advocate, who thinks that queues are a good way to examine the pitfalls with what she calls the “cablelization” of the internet. Comcast has taken the lead in providing high-speed internet to consumers, but people like the CEO of Netflix have been critical of Comcast favoring its own video content over video from third party services such as Netflix and HBO Go. Crawford’s concerns go way beyond streaming video to the heart of the net neutrality debate: is a market without any meaningful competition a safe place to determine the future of communications in this country?
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Maybe we should all move to Kansas City.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>15:19</itunes:duration>
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</item>
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<item>
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<title>99% Invisible-61- A Series of Tubes</title>
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<link>http://99percentinvisible.prx.org/2012/09/20/99-invisible-61-a-series-of-tubes/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-61-a-series-of-tubes</link>
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<comments>http://99percentinvisible.prx.org/2012/09/20/99-invisible-61-a-series-of-tubes/#comments</comments>
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<pubDate>Thu, 20 Sep 2012 04:58:12 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=489</guid>
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<description><![CDATA[Pneumatic (adj.): of, or pertaining to, air, gases, or wind. In the world before telephone, radio, and email, the tasks of transmitting information and moving material objects were essentially the same challenge. The way you sent someone a message was … <a href="http://99percentinvisible.prx.org/2012/09/20/99-invisible-61-a-series-of-tubes/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Pneumatic (adj.): of, or pertaining to, air, gases, or wind.</p>
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<p>In the world before telephone, radio, and email, the tasks of transmitting information and moving material objects were essentially the same challenge. The way you sent someone a message was pretty much the same process as sending someone a package—you had to send a piece of physical media through the post, or on a ship.</p>
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<p>It was really the telegraph that divided <em>telling</em> someone something from far away and <em>giving</em> someone something from far away. But every day people didn’t speak morse code (or have telegraph equipment). The message had to be deciphered, written on a slip of paper, and then that was delivered to the recipient. For many cities, the pneumatic tube was essential in getting these slips of paper to the intended recipient quickly.</p>
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<p>It’s no surprise that electronic communication eventually killed most of the need for pneumatic tubes. But you may not know that it was the telegraph itself that also put pneumatic tubes into widespread use.</p>
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<p>Architectural historian and pneumatic tube aficionada <a href="http://www.girlwonder.com/" target="_blank">Molly Wright Steenson</a> leads us through the rise and fall (but not disappearance of) pneumatic tubes in Paris, and beyond.</p>]]></content:encoded>
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<wfw:commentRss>http://99percentinvisible.prx.org/2012/09/20/99-invisible-61-a-series-of-tubes/feed/</wfw:commentRss>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/61-A-Series-of-Tubes.mp3" length="16828878" type="audio/mpeg" />
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<itunes:subtitle>Pneumatic (adj.): of, or pertaining to, air, gases, or wind. - In the world before telephone, radio, and email, the tasks of transmitting information and moving material objects were essentially the same challenge.</itunes:subtitle>
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<itunes:summary>Pneumatic (adj.): of, or pertaining to, air, gases, or wind.
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In the world before telephone, radio, and email, the tasks of transmitting information and moving material objects were essentially the same challenge. The way you sent someone a message was pretty much the same process as sending someone a package—you had to send a piece of physical media through the post, or on a ship.
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It was really the telegraph that divided telling someone something from far away and giving someone something from far away. But every day people didn’t speak morse code (or have telegraph equipment). The message had to be deciphered, written on a slip of paper, and then that was delivered to the recipient. For many cities, the pneumatic tube was essential in getting these slips of paper to the intended recipient quickly.
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It’s no surprise that electronic communication eventually killed most of the need for pneumatic tubes. But you may not know that it was the telegraph itself that also put pneumatic tubes into widespread use.
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Architectural historian and pneumatic tube aficionada Molly Wright Steenson leads us through the rise and fall (but not disappearance of) pneumatic tubes in Paris, and beyond.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>17:25</itunes:duration>
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<title>99% Invisible-60b- BackStory- Heyward Shepherd Memorial</title>
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<link>http://99percentinvisible.prx.org/2012/09/10/episode-60b-backstory-heyward-shepherd-memorial/?utm_source=rss&utm_medium=rss&utm_campaign=episode-60b-backstory-heyward-shepherd-memorial</link>
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<comments>http://99percentinvisible.prx.org/2012/09/10/episode-60b-backstory-heyward-shepherd-memorial/#comments</comments>
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<pubDate>Mon, 10 Sep 2012 17:15:50 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=482</guid>
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<description><![CDATA[I only recently started listening to BackStory with the American History Guys, but it’s already earned a top spot in my crowded weekly rotation. With great stories and lively discussion, the “History Guys” connect our history to the present day. … <a href="http://99percentinvisible.prx.org/2012/09/10/episode-60b-backstory-heyward-shepherd-memorial/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>I only recently started listening to <a href="http://backstoryradio.org/" target="_blank">BackStory with the American History Guys</a>, but it’s already earned a top spot in my <a href="http://99percentinvisible.org/faq" target="_blank">crowded weekly rotation</a>. With great stories and lively discussion, the “History Guys” connect our history to the present day. They’ll also help you win your next argument about the causes of the War of 1812. Be prepared. This happens.</p>
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<p>In this piece from their “<a href="http://backstoryradio.org/monumental-disagreements/" target="_blank">Monumental Disagreements</a>” episode, BackStory producers Eric Mennel and Nell Boeschenstein visit Harper’s Ferry, West Virginia to tell the story of a monument in honor of Heyward Shepherd, a “free black,” and the first man killed during John Brown’s 1859 raid.</p>
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<p>Season 3 starts on September 19!</p>]]></content:encoded>
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<wfw:commentRss>http://99percentinvisible.prx.org/2012/09/10/episode-60b-backstory-heyward-shepherd-memorial/feed/</wfw:commentRss>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/60b-BackStory-Shepherd-Memorial.mp3" length="12289017" type="audio/mpeg" />
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<itunes:subtitle>I only recently started listening to BackStory with the American History Guys, but it’s already earned a top spot in my crowded weekly rotation. With great stories and lively discussion, the “History Guys” connect our history to the present day.</itunes:subtitle>
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<itunes:summary>I only recently started listening to BackStory with the American History Guys, but it’s already earned a top spot in my crowded weekly rotation. With great stories and lively discussion, the “History Guys” connect our history to the present day. They’ll also help you win your next argument about the causes of the War of 1812. Be prepared. This happens.
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In this piece from their “Monumental Disagreements” episode, BackStory producers Eric Mennel and Nell Boeschenstein visit Harper’s Ferry, West Virginia to tell the story of a monument in honor of Heyward Shepherd, a “free black,” and the first man killed during John Brown’s 1859 raid.
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Season 3 starts on September 19!</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>12:41</itunes:duration>
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</item>
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<item>
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<title>99% Invisible-60a- Two Storeys</title>
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<link>http://99percentinvisible.prx.org/2012/08/22/99-invisible-60a-two-storeys/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-60a-two-storeys</link>
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<comments>http://99percentinvisible.prx.org/2012/08/22/99-invisible-60a-two-storeys/#comments</comments>
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<pubDate>Wed, 22 Aug 2012 20:13:58 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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868
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=477</guid>
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<description><![CDATA[While we’re gearing up for season 3, we present two pieces from two shows we love: First up, Language Bites from RTE Choice in Ireland. Language Bites is a series of 1-minute programs exploring the origins of popular phrases in … <a href="http://99percentinvisible.prx.org/2012/08/22/99-invisible-60a-two-storeys/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>While we’re gearing up for season 3, we present two pieces from two shows we love:</p>
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+
<p>First up, <a href="http://www.rte.ie/digitalradio/choice/languagebites.html" target="_blank"><em>Language Bites</em></a> from RTE Choice in Ireland. <em>Language Bites</em> is a series of 1-minute programs exploring the origins of popular phrases in the English language. It’s presented by Colette Kinsella and sound designed by Lochlainn Harte. This episode is about the origin of the word “storey” (or in American English “story”) when used to refer to a level of a building. There are 80 episodes in the series and I just adore them. They are in heavy rotation on the radio stream/station I curate for PRX called <a href="http://publicradioremix.org/" target="_blank">Public Radio Remix</a>.</p>
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<p>Our second selection is from Nate Dimeo’s brilliant show, <em><a href="http://thememorypalace.us/" target="_blank">the memory palace</a></em>. Each episode of the memory palace features pointedly short, surprising stories about the past. It’s sometimes heartbreaking, sometimes hysterical, and often a wonderful mix of both. It was also a huge inspiration in the creation of 99% Invisible. This episode is about the beautiful sculpture and star map commemorating the Hoover Dam.</p>]]></content:encoded>
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<wfw:commentRss>http://99percentinvisible.prx.org/2012/08/22/99-invisible-60a-two-storeys/feed/</wfw:commentRss>
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<slash:comments>0</slash:comments>
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876
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/60a-Two-Storeys.mp3" length="8362273" type="audio/mpeg" />
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<itunes:subtitle>While we’re gearing up for season 3, we present two pieces from two shows we love: - First up, Language Bites from RTE Choice in Ireland. Language Bites is a series of 1-minute programs exploring the origins of popular phrases in the English language.</itunes:subtitle>
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878
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<itunes:summary>While we’re gearing up for season 3, we present two pieces from two shows we love:
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First up, Language Bites from RTE Choice in Ireland. Language Bites is a series of 1-minute programs exploring the origins of popular phrases in the English language. It’s presented by Colette Kinsella and sound designed by Lochlainn Harte. This episode is about the origin of the word “storey” (or in American English “story”) when used to refer to a level of a building. There are 80 episodes in the series and I just adore them. They are in heavy rotation on the radio stream/station I curate for PRX called Public Radio Remix.
|
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881
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+
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Our second selection is from Nate Dimeo’s brilliant show, the memory palace. Each episode of the memory palace features pointedly short, surprising stories about the past. It’s sometimes heartbreaking, sometimes hysterical, and often a wonderful mix of both. It was also a huge inspiration in the creation of 99% Invisible. This episode is about the beautiful sculpture and star map commemorating the Hoover Dam.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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884
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>8:36</itunes:duration>
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</item>
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<item>
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<title>99% Invisible-60- Names vs The Nothing</title>
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<link>http://99percentinvisible.prx.org/2012/08/06/99-invisible-60-names-vs-the-nothing/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-60-names-vs-the-nothing</link>
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<comments>http://99percentinvisible.prx.org/2012/08/06/99-invisible-60-names-vs-the-nothing/#comments</comments>
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<pubDate>Mon, 06 Aug 2012 20:33:33 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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893
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<category><![CDATA[Uncategorized]]></category>
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894
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=472</guid>
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895
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<description><![CDATA[New Public Sites is an investigation into some of the invisible sites and overlooked features of our everyday public spaces. These are the liminal spaces within cities that are not traditionally framed as “public space” because, quite frankly, they are … <a href="http://99percentinvisible.prx.org/2012/08/06/99-invisible-60-names-vs-the-nothing/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p><a href="http://newpublicsites.org/" target="_blank">New Public Sites</a> is an investigation into some of the invisible sites and overlooked features of our everyday public spaces. These are the liminal spaces within cities that are not traditionally framed as “public space” because, quite frankly, they are often ugly and unpleasant, the leftover scraps of urban design centered on the automobile. By giving these places succinct, fun and poetic names and leading people on playful walking tours, <a href="http://grahamprojects.com/" target="_blank">Graham Coreil-Allen</a> says we can help start a discourse about our public spaces and how we want to envision them for the future. You can <a href="http://grahamprojects.com/pdfs/nps-t.pdf" target="_blank">download a pdf of the New Public Sites book</a> here.</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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899
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/60-Names-vs-The-Nothing.mp3" length="15478033" type="audio/mpeg" />
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<itunes:subtitle>New Public Sites is an investigation into some of the invisible sites and overlooked features of our everyday public spaces. These are the liminal spaces within cities that are not traditionally framed as “public space” because, quite frankly,</itunes:subtitle>
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<itunes:summary>New Public Sites is an investigation into some of the invisible sites and overlooked features of our everyday public spaces. These are the liminal spaces within cities that are not traditionally framed as “public space” because, quite frankly, they are often ugly and unpleasant, the leftover scraps of urban design centered on the automobile. By giving these places succinct, fun and poetic names and leading people on playful walking tours, Graham Coreil-Allen says we can help start a discourse about our public spaces and how we want to envision them for the future. You can download a pdf of the New Public Sites book here.</itunes:summary>
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902
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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904
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<itunes:duration>16:01</itunes:duration>
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905
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</item>
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906
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<item>
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907
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<title>99% Invisible-59- Some Other Sign that People Do Not Totally Regret Life</title>
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908
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<link>http://99percentinvisible.prx.org/2012/07/25/99-invisible-59-some-other-sign-that-people-do-not-totally-regret-life/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-59-some-other-sign-that-people-do-not-totally-regret-life</link>
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<comments>http://99percentinvisible.prx.org/2012/07/25/99-invisible-59-some-other-sign-that-people-do-not-totally-regret-life/#comments</comments>
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910
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<pubDate>Wed, 25 Jul 2012 22:28:06 +0000</pubDate>
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911
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<dc:creator>roman</dc:creator>
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912
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<category><![CDATA[Uncategorized]]></category>
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913
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=468</guid>
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914
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<description><![CDATA[Sean Cole is a poet and he knows what you think of that. He is also a radio producer. One night, drunk and stumbling around the Hudson River with his friend Malissa O’Donnell, he discovered a monument — two of … <a href="http://99percentinvisible.prx.org/2012/07/25/99-invisible-59-some-other-sign-that-people-do-not-totally-regret-life/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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915
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<content:encoded><![CDATA[<p>Sean Cole is a poet and he knows what you think of that.</p>
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916
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+
<p>He is also a radio producer. One night, drunk and stumbling around the Hudson River with his friend Malissa O’Donnell, he discovered a monument — two of them actually — to two of his poetry heroes. Apropos of the name of this show, the tribute wasn’t very obvious. In fact, he and Malissa nearly walked right past it. Still, embedded in the architecture of a 25 year old plaza were the words of Walt Whitman and Frank O’Hara. And weirdly, Sean had he’d been reciting from O’Hara’s Lunch Poems just minutes before.</p>
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917
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+
<p>Thus began Sean’s quest to talk to the people whose idea this was — forging a largely unloved art form into a permanent fixture of the cultural landscape. Along the way he talks with urban landscape architect <a href="http://www.mpfp.com/index.shtml" target="_blank">M. Paul Friedberg</a>, former Battery Park official Richard Kahan and none other than Frank O’Hara’s younger sister, Maureen O’Hara.</p>
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918
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+
<p>Sean Cole and Malissa O’Donnell both work for <a href="http://www.radiolab.org/" target="_blank">WNYC’s Radiolab</a>. And Sean is also a 99-percentilist <a href="http://99percentinvisible.org/post/3499092639/episode-17-concrete-furniture-press-play-above" target="_blank">from way back</a>.</p>]]></content:encoded>
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<wfw:commentRss>http://99percentinvisible.prx.org/2012/07/25/99-invisible-59-some-other-sign-that-people-do-not-totally-regret-life/feed/</wfw:commentRss>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/59-Some-Other-Sign-that-People-Do-Not-Totally-Regret-Life.mp3" length="18907689" type="audio/mpeg" />
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<itunes:subtitle>Sean Cole is a poet and he knows what you think of that. - He is also a radio producer. One night, drunk and stumbling around the Hudson River with his friend Malissa O’Donnell, he discovered a monument — two of them actually — to two of his poe...</itunes:subtitle>
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923
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+
<itunes:summary>Sean Cole is a poet and he knows what you think of that.
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+
He is also a radio producer. One night, drunk and stumbling around the Hudson River with his friend Malissa O’Donnell, he discovered a monument — two of them actually — to two of his poetry heroes. Apropos of the name of this show, the tribute wasn’t very obvious. In fact, he and Malissa nearly walked right past it. Still, embedded in the architecture of a 25 year old plaza were the words of Walt Whitman and Frank O’Hara. And weirdly, Sean had he’d been reciting from O’Hara’s Lunch Poems just minutes before.
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926
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+
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927
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+
Thus began Sean’s quest to talk to the people whose idea this was — forging a largely unloved art form into a permanent fixture of the cultural landscape. Along the way he talks with urban landscape architect M. Paul Friedberg, former Battery Park official Richard Kahan and none other than Frank O’Hara’s younger sister, Maureen O’Hara.
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928
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Sean Cole and Malissa O’Donnell both work for WNYC’s Radiolab. And Sean is also a 99-percentilist from way back.</itunes:summary>
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930
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<itunes:author>Roman Mars</itunes:author>
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931
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+
<itunes:explicit>no</itunes:explicit>
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932
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<itunes:duration>19:42</itunes:duration>
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933
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+
</item>
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<item>
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<title>99% Invisible-58- Purple Reign</title>
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936
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<link>http://99percentinvisible.prx.org/2012/07/13/99-invisible-58-purple-reign/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-58-purple-reign</link>
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<comments>http://99percentinvisible.prx.org/2012/07/13/99-invisible-58-purple-reign/#comments</comments>
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<pubDate>Fri, 13 Jul 2012 20:29:23 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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940
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<category><![CDATA[Uncategorized]]></category>
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941
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=463</guid>
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942
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<description><![CDATA[What’s the difference between what the public sees and what an architect sees when they look at a building? The hotel on the very prominent corner of Touhy and Kilbourn Avenues in Lincolnwood, Illinois used to be the town’s most … <a href="http://99percentinvisible.prx.org/2012/07/13/99-invisible-58-purple-reign/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>What’s the difference between what the public sees and what an architect sees when they look at a building?</p>
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<p>The hotel on the very prominent corner of Touhy and Kilbourn Avenues in Lincolnwood, Illinois used to be the town’s most famous building: The first Hyatt hotel in all of Chicagoland, premiere accommodations, top-notch restaurant. It was swank! Roberta Flack stayed there. Barry Mannilow stayed there. Perry Como. Michael Jordon stayed there on his first night in Chicago. Every thirteen year old boy in the area had his bar mitzvah there.</p>
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+
<p>Then, slowly, over time, it became Lincolnwood’s most infamous building. Changed hands, got seedy and run down. It was the home of the Midwest Fetish Fair and Marketplace convention. There were drug-fueled sex parties attended by shady Chicago politicians later convicted of things like extortion. And of course there was the convicted mobster Alan Dorfman, who was gunned down in the parking lot. It’s now dilapidated and empty.</p>
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946
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+
<p>But even if you know nothing about the history, everyone in the area knows this hotel.</p>
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947
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+
<p>Because it’s purple. Really, really purple.</p>
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948
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+
<p>Gwen Macsai grew up nearby and she always thought it was really, really ugly. Lots of people did. To be fair, <a href="http://www.savethepurple.com/" target="_blank">lots of people didn’t</a>. But everyone has an opinion about it.</p>
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<p>But Gwen Macsai, host of <a href="http://www.thirdcoastfestival.org/broadcasts/re-sound" target="_blank">Re:sound from the Third Coast International Audio Festival</a>, has a secret about the Purple Hotel.</p>
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+
<p>Gwen talks to the original architect of the Purple Hotel, plus WBEZ architecture critic <a href="http://www.wbez.org/blogs/lee-bey/" target="_blank">Lee Bey</a>, developer Jack Weiss, and the new architect, <a href="http://kooandassociates.com/" target="_blank">Jackie Koo</a>, who’s looking to bring the Purple Hotel back to its former glory.</p>]]></content:encoded>
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952
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<slash:comments>0</slash:comments>
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953
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/58-Purple-Reign.mp3" length="17917239" type="audio/mpeg" />
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<itunes:subtitle>What’s the difference between what the public sees and what an architect sees when they look at a building? - The hotel on the very prominent corner of Touhy and Kilbourn Avenues in Lincolnwood, Illinois used to be the town’s most famous building:...</itunes:subtitle>
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<itunes:summary>What’s the difference between what the public sees and what an architect sees when they look at a building?
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956
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The hotel on the very prominent corner of Touhy and Kilbourn Avenues in Lincolnwood, Illinois used to be the town’s most famous building: The first Hyatt hotel in all of Chicagoland, premiere accommodations, top-notch restaurant. It was swank! Roberta Flack stayed there. Barry Mannilow stayed there. Perry Como. Michael Jordon stayed there on his first night in Chicago. Every thirteen year old boy in the area had his bar mitzvah there.
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+
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Then, slowly, over time, it became Lincolnwood’s most infamous building. Changed hands, got seedy and run down. It was the home of the Midwest Fetish Fair and Marketplace convention. There were drug-fueled sex parties attended by shady Chicago politicians later convicted of things like extortion. And of course there was the convicted mobster Alan Dorfman, who was gunned down in the parking lot. It’s now dilapidated and empty.
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960
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961
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But even if you know nothing about the history, everyone in the area knows this hotel.
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962
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Because it’s purple. Really, really purple.
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964
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965
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Gwen Macsai grew up nearby and she always thought it was really, really ugly. Lots of people did. To be fair, lots of people didn’t. But everyone has an opinion about it.
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966
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+
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967
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+
But Gwen Macsai, host of Re:sound from the Third Coast International Audio Festival, has a secret about the Purple Hotel.
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968
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+
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Gwen talks to the original architect of the Purple Hotel, plus WBEZ architecture critic Lee Bey, developer Jack Weiss, and the new architect, Jackie Koo, who’s looking to bring the Purple Hotel back to its former glory.</itunes:summary>
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970
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<itunes:author>Roman Mars</itunes:author>
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971
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<itunes:explicit>no</itunes:explicit>
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972
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<itunes:duration>18:33</itunes:duration>
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</item>
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<item>
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<title>Kickstarter Video for Season 3 of 99% Invisible</title>
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976
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<link>http://99percentinvisible.prx.org/2012/07/12/kickstarter-video-for-season-3-of-99-invisible/?utm_source=rss&utm_medium=rss&utm_campaign=kickstarter-video-for-season-3-of-99-invisible</link>
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<comments>http://99percentinvisible.prx.org/2012/07/12/kickstarter-video-for-season-3-of-99-invisible/#comments</comments>
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978
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<pubDate>Thu, 12 Jul 2012 16:32:14 +0000</pubDate>
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979
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+
<dc:creator>roman</dc:creator>
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980
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<category><![CDATA[Uncategorized]]></category>
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981
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=456</guid>
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982
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+
<description><![CDATA[This is the Kickstarter video for funding the new season of 99% Invisible. If you enjoy the show and want to help keep it going, now is the time to go to our funding page and chip in a little. … <a href="http://99percentinvisible.prx.org/2012/07/12/kickstarter-video-for-season-3-of-99-invisible/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>This is the <a href="http://www.kickstarter.com/projects/1748303376/99-invisible-season-3">Kickstarter</a> video for funding the new season of 99% Invisible. If you enjoy the show and want to help keep it going, now is the time to go to our <a href="http://www.kickstarter.com/projects/1748303376/99-invisible-season-3">funding page</a> and chip in a little. During the campaign, any amount that you can give matters a lot, because if we don’t make the goal, even by one dollar, we don’t receive any of the funds that have been pledged. Plus, right now there are some <a href="http://www.kickstarter.com/projects/1748303376/99-invisible-season-3">amazing thank you gifts</a> available for your donation. Thanks so much for listening and for helping us out.</p>
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<p>New episode any day, probably tomorrow. Thanks!</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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987
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/99p-Invisible-Kickstarter-vid-sd.mp4" length="16996018" type="video/mp4" />
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<itunes:subtitle>This is the Kickstarter video for funding the new season of 99% Invisible. If you enjoy the show and want to help keep it going, now is the time to go to our funding page and chip in a little. During the campaign,</itunes:subtitle>
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+
<itunes:summary>This is the Kickstarter video for funding the new season of 99% Invisible. If you enjoy the show and want to help keep it going, now is the time to go to our funding page and chip in a little. During the campaign, any amount that you can give matters a lot, because if we don't make the goal, even by one dollar, we don't receive any of the funds that have been pledged. Plus, right now there are some amazing thank you gifts available for your donation. Thanks so much for listening and for helping us out.
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New episode any day, probably tomorrow. Thanks!</itunes:summary>
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992
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<itunes:author>Roman Mars</itunes:author>
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993
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<itunes:explicit>no</itunes:explicit>
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994
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+
<itunes:duration>2:38</itunes:duration>
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995
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</item>
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996
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<item>
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997
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<title>99% Invisible-57- What Gave You That Idea</title>
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998
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+
<link>http://99percentinvisible.prx.org/2012/06/28/99-invisible-57-what-gave-you-that-idea/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-57-what-gave-you-that-idea</link>
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<comments>http://99percentinvisible.prx.org/2012/06/28/99-invisible-57-what-gave-you-that-idea/#comments</comments>
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<pubDate>Thu, 28 Jun 2012 22:09:29 +0000</pubDate>
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1001
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+
<dc:creator>roman</dc:creator>
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1002
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=451</guid>
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<description><![CDATA[Starlee Kine’s friend Noel works in advertising. In 2003, Noel was working in at an agency in Richmond, VA. Everyone wanted to work on flashy spots like Apple or Nike or Gatorade. Do you know what wasn’t flashy? Insurance. Which … <a href="http://99percentinvisible.prx.org/2012/06/28/99-invisible-57-what-gave-you-that-idea/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p><a href="https://twitter.com/StarleeKine" target="_blank">Starlee Kine</a>’s friend Noel works in advertising. In 2003, Noel was working in at an agency in Richmond, VA. Everyone wanted to work on flashy spots like Apple or Nike or Gatorade. Do you know what wasn’t flashy? Insurance. Which is why when a company called Geico became a client everyone hoped the campaign wouldn’t end up on their desk. Noel ultimately got stuck with Geico. His job was help them somehow figure out a clever, not painfully boring way to explain how simple it was for people to sign up for their insurance online.</p>
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1006
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<p>Maybe you see where this is going.</p>
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1007
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<p>But you don’t know where it came from.</p>
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1008
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<p><a href="http://www.thisamericanlife.org/contributors/starlee-kine" target="_blank">Starlee Kine</a> guides us back the <a href="http://www.georgesaundersland.com/" target="_blank">surprising</a>, <a href="http://www.poetryfoundation.org/bio/stuart-dybek" target="_blank">culturally</a> <a href="http://en.wikipedia.org/wiki/Zolt%C3%A1n_Kod%C3%A1ly" target="_blank">rich</a> <a href="http://en.wikipedia.org/wiki/Claude_Debussy" target="_blank">path</a> of <a href="http://en.wikipedia.org/wiki/Charles_Baudelaire" target="_blank">inspiration</a> that <a href="http://www.poemuseum.org/index.php" target="_blank">ultimately</a> <a href="http://en.wikipedia.org/wiki/Barnaby_Rudge" target="_blank">resulted</a> <a href="http://www.ushistory.org/oddities/grip.htm" target="_blank">in</a> a <a href="http://www.youtube.com/watch?v=3F3qzfTCDG4" target="_blank">commercial for an insurance company</a>.</p>
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<p>This story originally appeared at <a href="http://www.popupmagazine.com/" target="_blank">Pop Up Magazine</a> <a href="http://www.popupmagazine.com/issue6.html" target="_blank">#6</a> in San Francisco.</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/57-What-Gave-You-That-Idea.mp3" length="14007234" type="audio/mpeg" />
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<itunes:subtitle>Starlee Kine’s friend Noel works in advertising. In 2003, Noel was working in at an agency in Richmond, VA. Everyone wanted to work on flashy spots like Apple or Nike or Gatorade. Do you know what wasn’t flashy? Insurance.</itunes:subtitle>
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<itunes:summary>Starlee Kine’s friend Noel works in advertising. In 2003, Noel was working in at an agency in Richmond, VA. Everyone wanted to work on flashy spots like Apple or Nike or Gatorade. Do you know what wasn’t flashy? Insurance. Which is why when a company called Geico became a client everyone hoped the campaign wouldn’t end up on their desk. Noel ultimately got stuck with Geico. His job was help them somehow figure out a clever, not painfully boring way to explain how simple it was for people to sign up for their insurance online.
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1015
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1016
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Maybe you see where this is going.
|
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1017
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+
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1018
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+
But you don’t know where it came from.
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1019
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+
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1020
|
+
Starlee Kine guides us back the surprising, culturally rich path of inspiration that ultimately resulted in a commercial for an insurance company.
|
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1021
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1022
|
+
This story originally appeared at Pop Up Magazine #6 in San Francisco.</itunes:summary>
|
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1023
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+
<itunes:author>Roman Mars</itunes:author>
|
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1024
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+
<itunes:explicit>no</itunes:explicit>
|
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1025
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+
<itunes:duration>14:29</itunes:duration>
|
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1026
|
+
</item>
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1027
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+
<item>
|
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1028
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+
<title>99% Invisible-56- Frozen Music</title>
|
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1029
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+
<link>http://99percentinvisible.prx.org/2012/06/14/99-invisible-56-frozen-music/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-56-frozen-music</link>
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+
<comments>http://99percentinvisible.prx.org/2012/06/14/99-invisible-56-frozen-music/#comments</comments>
|
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1031
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+
<pubDate>Thu, 14 Jun 2012 17:37:37 +0000</pubDate>
|
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1032
|
+
<dc:creator>roman</dc:creator>
|
|
1033
|
+
<category><![CDATA[Uncategorized]]></category>
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1034
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<guid isPermaLink="false">http://99percentinvisible.prx.org/?p=443</guid>
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1035
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+
<description><![CDATA[Goethe said, “Architecture is frozen music.” I like that. Of course that was before audio recording, so now, for the most part, music is frozen music. It’s only very recently in the history of music that we’ve been able to … <a href="http://99percentinvisible.prx.org/2012/06/14/99-invisible-56-frozen-music/">Continue reading <span class="meta-nav">→</span></a>]]></description>
|
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1036
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+
<content:encoded><![CDATA[<p>Goethe said, “Architecture is frozen music.” I like that.</p>
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1037
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+
<p>Of course that was before audio recording, so now, for the most part, <em>music</em> is frozen music.</p>
|
|
1038
|
+
<p>It’s only very recently in the history of music that we’ve been able to freeze music into an object. In my life, the form of this object mattered a lot. I once bought vinyl albums and cassette tapes, where there were two first songs per album, Side A and Side B. The energy of a first song makes it stand apart, at least in my head it does. Then the CD came along and eliminated Side B and there was only first song, and the actual number of a track (that you see prominently on the UI) became my index for sorting songs. Then MP3s jumbled my sense of track order, and albums began to feel more like a loose grouping of individual pieces rather than a conceptual whole. I could name hundreds more examples like these, and I welcome you to chime in, but my point is: the form of the thing matters.</p>
|
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1039
|
+
<p>But no effect has been as world changing as that original innovation: freezing music in time onto a recording, where a single version of a song, a single performance of a song, became <em>the song</em>. An inherently mutable method of communication was fundamentally changed.</p>
|
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1040
|
+
<p>I heard a radio broadcast several years ago that really affected the way I thought about all this. Jim Derogatis and Greg Kot are the hosts of a radio program I’m a huge fan of called <a href="http://www.soundopinions.org/" target="_blank">Sound Opinions</a> (<a href="http://www.soundopinions.org/podcast_landing.html" target="_blank">subscribe now</a>). The songwriter, composer, and producer,<a href="http://www.soundopinions.org/shownotes/2006/070806/shownotes.html" target="_blank"> Jon Brion came to WBEZ</a> in Chicago to talk to Sound Opinions in 2006. At the time, Brion has just co-produced Kanye West’s album Late Registration and he was also already a renowned film composer. In this interview, Brion talks about the difference between what he calls “performance pieces” and “songs” and how recorded music has changed the way we appreciate the different art forms.</p>
|
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1041
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+
<p>Special thanks to Sound Opinions for allowing me to rebroadcast this segment.</p>]]></content:encoded>
|
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+
<wfw:commentRss>http://99percentinvisible.prx.org/2012/06/14/99-invisible-56-frozen-music/feed/</wfw:commentRss>
|
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1043
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+
<slash:comments>0</slash:comments>
|
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1044
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+
<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/56-Frozen-Music.mp3" length="10095968" type="audio/mpeg" />
|
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|
+
<itunes:subtitle>Goethe said, “Architecture is frozen music.” I like that. - Of course that was before audio recording, so now, for the most part, music is frozen music. - It’s only very recently in the history of music that we’ve been able to freeze music in...</itunes:subtitle>
|
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1046
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+
<itunes:summary>Goethe said, “Architecture is frozen music.” I like that.
|
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1047
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+
|
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1048
|
+
Of course that was before audio recording, so now, for the most part, music is frozen music.
|
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1049
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+
|
|
1050
|
+
It’s only very recently in the history of music that we’ve been able to freeze music into an object. In my life, the form of this object mattered a lot. I once bought vinyl albums and cassette tapes, where there were two first songs per album, Side A and Side B. The energy of a first song makes it stand apart, at least in my head it does. Then the CD came along and eliminated Side B and there was only first song, and the actual number of a track (that you see prominently on the UI) became my index for sorting songs. Then MP3s jumbled my sense of track order, and albums began to feel more like a loose grouping of individual pieces rather than a conceptual whole. I could name hundreds more examples like these, and I welcome you to chime in, but my point is: the form of the thing matters.
|
|
1051
|
+
|
|
1052
|
+
But no effect has been as world changing as that original innovation: freezing music in time onto a recording, where a single version of a song, a single performance of a song, became the song. An inherently mutable method of communication was fundamentally changed.
|
|
1053
|
+
|
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1054
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+
I heard a radio broadcast several years ago that really affected the way I thought about all this. Jim Derogatis and Greg Kot are the hosts of a radio program I’m a huge fan of called Sound Opinions (subscribe now). The songwriter, composer, and producer, Jon Brion came to WBEZ in Chicago to talk to Sound Opinions in 2006. At the time, Brion has just co-produced Kanye West’s album Late Registration and he was also already a renowned film composer. In this interview, Brion talks about the difference between what he calls “performance pieces” and “songs” and how recorded music has changed the way we appreciate the different art forms.
|
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1055
|
+
|
|
1056
|
+
Special thanks to Sound Opinions for allowing me to rebroadcast this segment.</itunes:summary>
|
|
1057
|
+
<itunes:author>Roman Mars</itunes:author>
|
|
1058
|
+
<itunes:explicit>no</itunes:explicit>
|
|
1059
|
+
<itunes:duration>10:24</itunes:duration>
|
|
1060
|
+
</item>
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1061
|
+
<item>
|
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1062
|
+
<title>99% Invisible-55- The Best Beer in the World</title>
|
|
1063
|
+
<link>http://99percentinvisible.prx.org/2012/05/31/99-invisible-55-the-best-beer-in-the-world/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-55-the-best-beer-in-the-world</link>
|
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1064
|
+
<comments>http://99percentinvisible.prx.org/2012/05/31/99-invisible-55-the-best-beer-in-the-world/#comments</comments>
|
|
1065
|
+
<pubDate>Thu, 31 May 2012 17:51:38 +0000</pubDate>
|
|
1066
|
+
<dc:creator>roman</dc:creator>
|
|
1067
|
+
<category><![CDATA[Uncategorized]]></category>
|
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1068
|
+
<guid isPermaLink="false">http://podcast.99percentinvisible.org/?p=431</guid>
|
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1069
|
+
<description><![CDATA[If you’re a beer nerd, or have a friend who’s a beer nerd, you’ve heard of Belgian beers. Belgians take beer very seriously. Amongst the 200 Belgian breweries, there’s a very specific sub-type: Trappist beers. According to our reporter Cyrus … <a href="http://99percentinvisible.prx.org/2012/05/31/99-invisible-55-the-best-beer-in-the-world/">Continue reading <span class="meta-nav">→</span></a>]]></description>
|
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1070
|
+
<content:encoded><![CDATA[<p>If you’re a beer nerd, or have a friend who’s a beer nerd, you’ve heard of Belgian beers. Belgians take beer very seriously. Amongst the 200 Belgian breweries, there’s a very specific sub-type: Trappist beers.</p>
|
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1071
|
+
<p>According to our reporter Cyrus Farivar (also from <a href="http://soundcloud.com/roman-mars/99-invisible-36-super-bon-bonn" target="_blank">Episode #36 “Super Bonn Bon”</a>), there are two things you need to know about Trappist beers. First, they’re amazing. Second, they’re made by Trappist monks. These monks trace their roots to a monastery in 17th century France, and have since spread out to all over the world.</p>
|
|
1072
|
+
<p>The main concept behind the Trappist lifestyle is that the abbey should be economically self-sufficient. In other words, the monks should make something and sell it to the public as a way to fund the operations of the abbey itself. Some make cheese. Some make spirits. There’s even one in Germany that makes lentil soup. But none of the Trappist products are as famous as the beer.</p>
|
|
1073
|
+
<p>The beer that is considered the best of the best is <a href="http://beeradvocate.com/beer/profile/313/1545" target="_blank">Westvleteren 12</a>. With its plain brown bottle, no label, the only writing is on the cap- the beer is super cool. It’s quite rare and year after year it’s <a href="http://www.ratebeer.com/brewers/westvleteren-abdij-st-sixtus/623/" target="_blank">rated the best beer in the world</a>.</p>
|
|
1074
|
+
<p>But here’s the thing about Westvleteren. You can’t just go there and have as much beer as you want. You can’t even have it shipped from the abbey. If you want to buy beer to take with you, you have to look up the beer reservation phone number on the <a href="http://www.sintsixtus.be/eng/brouwerij.htm" target="_blank">abbey’s website</a>. Then, you call certain phone number during certain hours, on certain days.</p>
|
|
1075
|
+
<p>If you’re lucky enough to talk to a monk to take your reservation, you have to give your license plate number and be available to come pick up your crate during the appointed time that weekend. You’re limited to one crate per person per car, maximum two per car. And, you can’t buy more than one crate during a 60-day period. You also have to agree not to resell the beer.</p>
|
|
1076
|
+
<p>This sort of thing is not unheard of: velvet ropes and random reward have long been imposed to create artificial scarcity to heighten demand, but the mainstream trend today seems to be more geared toward greater access and accommodation for customers. The new ideal is that everything is available, at all times, no matter where you live. Yet the Westvleteren Trappists are trying to make it as difficult as possible.</p>
|
|
1077
|
+
<p><a href="http://www.davidsfonds.be/publisher/author/detail.phtml?id=103" target="_blank">Jef van den Steen</a>, author of a book called <em><a href="http://shop.belgianshop.com/acatalog/buy-online-book-trappist-the-seven-magnificent-beers.html" target="_blank">Trappist: The Seven Heavenly Beers</a> </em>and an <a href="http://www.glazentoren.be/home-eng.htm" target="_blank">acclaimed brewer</a> himself, says that’s not the case, “Before, Westvleteren was only well-known was in Belgium. And now it’s worldwide, and that’s the problem. They decide we will brew the same amount as the last 40-50 years, and they have enough for that, so why must they brew more? Because you want? No. They live between the walls of the abbey, so for them it’s not a problem.”</p>
|
|
1078
|
+
<p>The “customer service” is not designed to provide convenience for the consumer of their beer, it is designed for monks themselves. Their “customer” is God, so to speak. They have a mission, and making beer is only a fraction of that. The Head of the Abbey says, “We are not brewers. We are monks. We brew beer to be able to afford being monks.”</p>
|
|
1079
|
+
<p><a href="http://www.cyrusfarivar.com" target="_blank">Cyrus Farivar</a> recently returned to California after having lived in Bonn, Germany for two years. These days, he can be found frequenting <a href="http://thetrappist.com/" target="_blank">The Trappist</a> bar in downtown Oakland. He plans on presenting a bottle of Westvleteren 12 to his favorite bar owners. His book, <a href="http://www.internetofelsewhere.com" target="_blank"><em>The Internet of Elsewhere</em></a>, was published last year.</p>]]></content:encoded>
|
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|
+
<wfw:commentRss>http://99percentinvisible.prx.org/2012/05/31/99-invisible-55-the-best-beer-in-the-world/feed/</wfw:commentRss>
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1081
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+
<slash:comments>0</slash:comments>
|
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1082
|
+
<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/55-The-Best-Beer-in-the-World.mp3" length="12924312" type="audio/mpeg" />
|
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1083
|
+
<itunes:subtitle>If you’re a beer nerd, or have a friend who’s a beer nerd, you’ve heard of Belgian beers. Belgians take beer very seriously. Amongst the 200 Belgian breweries, there’s a very specific sub-type: Trappist beers. -</itunes:subtitle>
|
|
1084
|
+
<itunes:summary>If you’re a beer nerd, or have a friend who’s a beer nerd, you’ve heard of Belgian beers. Belgians take beer very seriously. Amongst the 200 Belgian breweries, there’s a very specific sub-type: Trappist beers.
|
|
1085
|
+
|
|
1086
|
+
According to our reporter Cyrus Farivar (also from Episode #36 “Super Bonn Bon”), there are two things you need to know about Trappist beers. First, they’re amazing. Second, they’re made by Trappist monks. These monks trace their roots to a monastery in 17th century France, and have since spread out to all over the world.
|
|
1087
|
+
|
|
1088
|
+
The main concept behind the Trappist lifestyle is that the abbey should be economically self-sufficient. In other words, the monks should make something and sell it to the public as a way to fund the operations of the abbey itself. Some make cheese. Some make spirits. There’s even one in Germany that makes lentil soup. But none of the Trappist products are as famous as the beer.
|
|
1089
|
+
|
|
1090
|
+
The beer that is considered the best of the best is Westvleteren 12. With its plain brown bottle, no label, the only writing is on the cap- the beer is super cool. It’s quite rare and year after year it’s rated the best beer in the world.
|
|
1091
|
+
|
|
1092
|
+
But here’s the thing about Westvleteren. You can’t just go there and have as much beer as you want. You can’t even have it shipped from the abbey. If you want to buy beer to take with you, you have to look up the beer reservation phone number on the abbey’s website. Then, you call certain phone number during certain hours, on certain days.
|
|
1093
|
+
|
|
1094
|
+
If you’re lucky enough to talk to a monk to take your reservation, you have to give your license plate number and be available to come pick up your crate during the appointed time that weekend. You’re limited to one crate per person per car, maximum two per car. And, you can’t buy more than one crate during a 60-day period. You also have to agree not to resell the beer.
|
|
1095
|
+
|
|
1096
|
+
This sort of thing is not unheard of: velvet ropes and random reward have long been imposed to create artificial scarcity to heighten demand, but the mainstream trend today seems to be more geared toward greater access and accommodation for customers. The new ideal is that everything is available, at all times, no matter where you live. Yet the Westvleteren Trappists are trying to make it as difficult as possible.
|
|
1097
|
+
|
|
1098
|
+
Jef van den Steen, author of a book called Trappist: The Seven Heavenly Beers and an acclaimed brewer himself, says that’s not the case, “Before, Westvleteren was only well-known was in Belgium. And now it’s worldwide, and that’s the problem. They decide we will brew the same amount as the last 40-50 years, and they have enough for that, so why must they brew more? Because you want? No. They live between the walls of the abbey, so for them it’s not a problem.”
|
|
1099
|
+
|
|
1100
|
+
The “customer service” is not designed to provide convenience for the consumer of their beer, it is designed for monks themselves. Their “customer” is God, so to speak. They have a mission, and making beer is only a fraction of that. The Head of the Abbey says, “We are not brewers. We are monks. We brew beer to be able to afford being monks.”
|
|
1101
|
+
|
|
1102
|
+
Cyrus Farivar recently returned to California after having lived in Bonn, Germany for two years. These days, he can be found frequenting The Trappist bar in downtown Oakland. He plans on presenting a bottle of Westvleteren 12 to his favorite bar owners. His book, The Internet of Elsewhere, was published last year.</itunes:summary>
|
|
1103
|
+
<itunes:author>Roman Mars</itunes:author>
|
|
1104
|
+
<itunes:explicit>no</itunes:explicit>
|
|
1105
|
+
<itunes:duration>13:21</itunes:duration>
|
|
1106
|
+
</item>
|
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1107
|
+
<item>
|
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1108
|
+
<title>99% Invisible-54- The Colour of Money</title>
|
|
1109
|
+
<link>http://99percentinvisible.prx.org/2012/05/16/99-invisible-54-the-colour-of-money/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-54-the-colour-of-money</link>
|
|
1110
|
+
<comments>http://99percentinvisible.prx.org/2012/05/16/99-invisible-54-the-colour-of-money/#comments</comments>
|
|
1111
|
+
<pubDate>Wed, 16 May 2012 23:21:41 +0000</pubDate>
|
|
1112
|
+
<dc:creator>roman</dc:creator>
|
|
1113
|
+
<category><![CDATA[Uncategorized]]></category>
|
|
1114
|
+
<guid isPermaLink="false">http://podcast.99percentinvisible.org/?p=426</guid>
|
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1115
|
+
<description><![CDATA[US paper currency is so ubiquitous that to really look at its graphic design with fresh eyes requires some deliberate and focused attention. So pull out a greenback from your wallet (or look at a picture one online) and just … <a href="http://99percentinvisible.prx.org/2012/05/16/99-invisible-54-the-colour-of-money/">Continue reading <span class="meta-nav">→</span></a>]]></description>
|
|
1116
|
+
<content:encoded><![CDATA[<p>US paper currency is so ubiquitous that to really look at its graphic design with fresh eyes requires some deliberate and focused attention. So pull out a greenback from your wallet (or look at a picture one online) and just take really take it in. All the fonts, the busy filigree, the micro patterns…it’s just dreadful.</p>
|
|
1117
|
+
<p>Even though paper currency itself, just idea of money, is a massive, world changing technology, the look and feel of US paper money is very stagnant. Richard Smith is the founder of the <a href="http://richardsmith.posterous.com/" target="_blank">Dollar ReDe$ign Project</a> and in an article in the <a href="http://www.nytimes.com/roomfordebate/2012/04/04/bringing-dollars-and-cents-into-this-century/redesigning-dollar-bills-and-the-american-brand" target="_blank">New York Times</a>, he pointed out five major areas where the design of US currency could improve: color, size, functionality, composition, and symbolism.</p>
|
|
1118
|
+
<p>It just so happens that Australian currency addresses each and every one of the points made by Richard Smith. Tristan Cooke and Tom Nelson of the blog Humans in Design are big fans of <a href="http://humansindesign.com/post/14625040643/humans-in-the-design-of-cash-the-worlds-most" target="_blank">all the design innovations in Australian money</a>. Aussie polymer notes are varied in color, get larger with each denomination, are more durable and are generally considered better and easier to use than US currency.</p>
|
|
1119
|
+
<p>But there are some interesting reasons why the greenback is the way it is. <a href="http://www.david-wolman.com/" target="_blank">David Wolman</a>, author of <a href="http://www.david-wolman.com/p/books_16.html" target="_blank">The End of Money</a>, explains that the legacy features that make US paper money look stale and anachronistic are meant to convey stability and timelessness. Since the US economy is so important in the world economy, why mess with it? Some fear that changing the design of the currency significantly (or eliminating the penny) could undermine the faith in the federal reserve note.</p>
|
|
1120
|
+
<p>Even though Tristan and Tom are fans of the Australian polymer bills, they share Wolman’s view that the more interesting future innovations are not going to have anything to do with physical cash. Clever user interfaces that help us manage our money better, while providing even greater convenience, are getting more refined and accepted. So that ugly $20 in your wallet may never actually get prettier and more functional, it’ll just be gone.</p>]]></content:encoded>
|
|
1121
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+
<wfw:commentRss>http://99percentinvisible.prx.org/2012/05/16/99-invisible-54-the-colour-of-money/feed/</wfw:commentRss>
|
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1122
|
+
<slash:comments>0</slash:comments>
|
|
1123
|
+
<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/54-The-Colour-of-Money.mp3" length="16069822" type="audio/mpeg" />
|
|
1124
|
+
<itunes:subtitle>US paper currency is so ubiquitous that to really look at its graphic design with fresh eyes requires some deliberate and focused attention. So pull out a greenback from your wallet (or look at a picture one online) and just take really take it in.</itunes:subtitle>
|
|
1125
|
+
<itunes:summary>US paper currency is so ubiquitous that to really look at its graphic design with fresh eyes requires some deliberate and focused attention. So pull out a greenback from your wallet (or look at a picture one online) and just take really take it in. All the fonts, the busy filigree, the micro patterns…it’s just dreadful.
|
|
1126
|
+
|
|
1127
|
+
Even though paper currency itself, just idea of money, is a massive, world changing technology, the look and feel of US paper money is very stagnant. Richard Smith is the founder of the Dollar ReDe$ign Project and in an article in the New York Times, he pointed out five major areas where the design of US currency could improve: color, size, functionality, composition, and symbolism.
|
|
1128
|
+
|
|
1129
|
+
It just so happens that Australian currency addresses each and every one of the points made by Richard Smith. Tristan Cooke and Tom Nelson of the blog Humans in Design are big fans of all the design innovations in Australian money. Aussie polymer notes are varied in color, get larger with each denomination, are more durable and are generally considered better and easier to use than US currency.
|
|
1130
|
+
|
|
1131
|
+
But there are some interesting reasons why the greenback is the way it is. David Wolman, author of The End of Money, explains that the legacy features that make US paper money look stale and anachronistic are meant to convey stability and timelessness. Since the US economy is so important in the world economy, why mess with it? Some fear that changing the design of the currency significantly (or eliminating the penny) could undermine the faith in the federal reserve note.
|
|
1132
|
+
|
|
1133
|
+
Even though Tristan and Tom are fans of the Australian polymer bills, they share Wolman’s view that the more interesting future innovations are not going to have anything to do with physical cash. Clever user interfaces that help us manage our money better, while providing even greater convenience, are getting more refined and accepted. So that ugly $20 in your wallet may never actually get prettier and more functional, it’ll just be gone.</itunes:summary>
|
|
1134
|
+
<itunes:author>Roman Mars</itunes:author>
|
|
1135
|
+
<itunes:explicit>no</itunes:explicit>
|
|
1136
|
+
<itunes:duration>16:42</itunes:duration>
|
|
1137
|
+
</item>
|
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1138
|
+
<item>
|
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<title>99% Invisible-53- The Xanadu Effect</title>
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<link>http://99percentinvisible.prx.org/2012/05/01/99-invisible-53-the-xanadu-effect/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-53-the-xanadu-effect</link>
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<pubDate>Tue, 01 May 2012 23:06:15 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<description><![CDATA[What happens when we build big? Julia Barton remembers going to the top floor of Dallas’s then-new city hall when she was teenager. The building, designed by I.M. Pei, is a huge trapezoid jutting out over a wide plaza. Julia … <a href="http://99percentinvisible.prx.org/2012/05/01/99-invisible-53-the-xanadu-effect/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>What happens when we build big?</p>
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<p>Julia Barton remembers going to the top floor of Dallas’s then-new <a href="http://en.wikipedia.org/wiki/Dallas_City_Hall" target="_blank">city hall</a> when she was teenager. The building, designed by I.M. Pei, is a huge trapezoid jutting out over a wide plaza. Julia found the view from the top pretty fantastic, especially when munching on a Caramello bar from the City Hall vending machines.</p>
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<p>But once she went to a protest in the plaza below. And those same windows, now hulking over her, made her feel small, and the whole event insignificant. Texans have a fondness for big structures—big <a href="http://stadium.dallascowboys.com/" target="_blank">arenas</a>, big <a href="http://southfork.com/" target="_blank">houses</a>, big <a href="http://www.texasfreeway.com/dallas/photos/north_dallas_aerial/north_dallas_aerial.shtml" target="_blank">freeways</a>. Julia wasn’t sure if their hidden message wasn’t simply this: I’m important, you’re nobody.</p>
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<p>For people who distrust the big project, Edward Tenner’s 2001 essay “<a href="http://www.edwardtenner.com/the_xanadu_effect_21105.htm" target="_blank">The Xanadu Effect</a>” is some comfort. Tenner, a visiting scholar at Princeton University, ponders the ways in which obsession with bigness can presage hard times for a business or even a nation. Tenner named his essay not for Olivia Newton-John’s <a href="https://www.youtube.com/watch?v=fiCYeaMJdEQ&feature=related" target="_blank">anthem</a> or even the Coleridge <a href="http://www.poetry-online.org/coleridge_kubla_khan.htm" target="_blank">poem</a>, but for the palace <a href="http://en.wikipedia.org/wiki/Xanadu_%28Citizen_Kane%29" target="_blank">Xanadu</a> built in the movie “Citizen Kane.” That Xanadu, of course, was based on a real-life palace that newspaper mogul William Randolph Hearst built in his waning days of empire:</p>
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<blockquote><p>On its 24,000 acres were a 354,000-gallon swimming pool, a private zoo and four main buildings with a total of 165 rooms. Along with other such extravagances, the estate helped send Hearst into trusteeship late in life. The cavernous halls of Welles’ gloomy cinematic Xanadu seemed to filmgoers — as the real, happier building must have appeared to many Hearst Corp. public investors — the very image of the pride that goes before a fall.</p></blockquote>
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<p>The downside of the Xanadu Effect has seen itself play out in other places—the Empire State Building, for example, was conceived in the 1920s but completed during the Great Depression, when it was known as “the Empty State Building.” Tenner’s not arguing that big things shouldn’t be built; he’s saying bigness is a gamble. It pays off when it it uplifts people, gives them a sense of grandeur and purpose. It fails when it crushes them or just makes life a pain, as in the big-built city of Moscow, where pedestrians have to scurry under the wide avenues in tunnels.</p>
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<p> </p>
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<p>On a recent reporting trip to Russia for <a href="http://www.theworld.org/" target="_blank">PRI’s “The World</a>,” Julia travelled to Sochi, Russia’s southern-most city and upcoming host of the 2014 Winter Olympics. Sochi is Europe’s biggest construction site right now, with Xanadu-like ice-palaces going up right on the Black Sea.</p>
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<p> </p>
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<p>All the construction—including billions of dollars of infrastructure—is good news for the Russian state and shoring up its presence in the Caucasus. It’s not necessarily good news for the locals. Julia interviewed a Sochi resident, Alexei Kravets, who’s been in a stand-off with authorities about the fate of the home he built by the Black Sea.</p>
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<p>Kravets’s court case to save his home has been standing in the way of a new railway complex. Construction workers have been throwing rocks through his windows, scraping his walls with backhoes, and hauling away his storage units. Kravets has been confronting them on film.</p>
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<p>It’s a dramatic example of big vs. small, but this type of conflict often happens in the face of massive development. Edward Tenner says beyond just governments or private developers, we all need to think more carefully about the costs and benefits of building big.</p>
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<p>“Bigness is a strategy that just about always fails, unless it succeeds. Or you could say it always succeeds except when it fails. And there really is no one way that you can regard it. You have to see it as a very powerful, easy-to-misuse, but also tempting way to go about things in life,” he says.</p>
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<p>Notes:</p>
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<li>Julia Barton produced another great story from 99% Invisible about the <a href="http://99percentinvisible.org/post/5440853031/episode-25-unsung-icons-of-soviet-design" target="_blank">Unsung Icons of Soviet Design</a>. An all-time fav.</li>
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<li>More audio from the Russian protest Julia attended on her own podcast, <a href="http://juliabarton.podbean.com/2012/03/01/dtfd-15-happy-russians/" target="_blank">DTFD</a>.</li>
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<li>Julia’s story for PRI’s The World: <a href="http://www.theworld.org/2012/03/sochi-2014-building-boom/" target="_blank">Sochi 2014: Building Boom for Winter Olympics Leaves Some Behind</a></li>
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</ul>]]></content:encoded>
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<itunes:subtitle>What happens when we build big? - Julia Barton remembers going to the top floor of Dallas’s then-new city hall when she was teenager. The building, designed by I.M. Pei, is a huge trapezoid jutting out over a wide plaza.</itunes:subtitle>
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<itunes:summary>What happens when we build big?
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Julia Barton remembers going to the top floor of Dallas’s then-new city hall when she was teenager. The building, designed by I.M. Pei, is a huge trapezoid jutting out over a wide plaza. Julia found the view from th...</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:duration>11:21</itunes:duration>
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<title>99% Invisible-52- Galloping Gertie</title>
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<link>http://99percentinvisible.prx.org/2012/04/18/99-invisible-52-galloping-gertie/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-52-galloping-gertie</link>
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<pubDate>Wed, 18 Apr 2012 17:35:21 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<description><![CDATA[Even during the construction of the original Tacoma Narrows Bridge, the deck would go up and down by several feet with the slightest breeze. Construction workers on the span chewed on lemon wedges to stop their motion sickness. They nicknamed … <a href="http://99percentinvisible.prx.org/2012/04/18/99-invisible-52-galloping-gertie/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Even during the construction of the original Tacoma Narrows Bridge, the deck would go up and down by several feet with the slightest breeze. Construction workers on the span chewed on lemon wedges to stop their motion sickness. They nicknamed the structure Galloping Gertie.</p>
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<p>The original Tacoma Narrows Bridge design by Clark Eldridge was pretty conventional for a suspension bridge, but it was later modified by Leon Moisseiff to be slimmer and more elegant. The most notable change was that the 25 foot lattice of stiffening trusses underneath the bridge on the original drawings, were replaced with 8 foot solid steel plate girders. The new solid girder along the side in Moisseiff’s design made for a much lighter and more flexible bridge— it also caught the wind like a sail— but they didn’t know that. Moisseiff’s design was also 2/3 the price of the original Eldridge design and that fact ultimately won the day.</p>
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<p>Motorists who used the bridge found out first hand why it got the name Galloping Gertie, and during the four months while the bridge was open, many traveled from far away just to ride the undulating waves as they crossed high above Puget Sound. The thrill ride didn’t last long.</p>
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<p>On November 7, 1940 stiff winds caused the road deck to twist violently along its center axis. The center span endured these brutal torsional forces for about an hour and finally gave way.</p>
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<p>The collapse of the twisting suspension bridge is one of the most dramatic images caught on film.</p>
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<p>I talked to <a href="http://www.facebook.com/john.marr1" target="_blank">John Marr</a> from the seminal zine <a href="http://mcbflibrary.blogspot.com/" target="_blank">Murder Can Be Fun</a> for this story and I’d like to give a shout out to Alan Bellows of <a href="http://www.damninteresting.com/" target="_blank">Damn Interesting</a> for independently suggesting Galloping Gertie as a show topic and publishing a great, <a href="http://www.damninteresting.com/the-fall-of-galloping-gertie/" target="_blank">much more detailed account of the disaster on his site</a>.</p>
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<p>Special thanks to Benjamen Walker for the audio of <a href="http://www.nytimes.com/2010/06/11/books/11book.html?_r=1" target="_blank">Kathryn Schulz</a>. That interview originally aired on his show Too Much Information in the episode called “<a href="http://tmi.wfmu.org/mistakes-were-made/" target="_blank">Mistakes Were Made</a>.”</p>]]></content:encoded>
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<itunes:subtitle>Even during the construction of the original Tacoma Narrows Bridge, the deck would go up and down by several feet with the slightest breeze. Construction workers on the span chewed on lemon wedges to stop their motion sickness.</itunes:subtitle>
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<itunes:summary>Even during the construction of the original Tacoma Narrows Bridge, the deck would go up and down by several feet with the slightest breeze. Construction workers on the span chewed on lemon wedges to stop their motion sickness. They nicknamed the structure Galloping Gertie.
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The original Tacoma Narrows Bridge design by Clark Eldridge was pretty conventional for a suspension bridge, but it was later modified by Leon Moisseiff to be slimmer and more elegant. The most notable change was that the 25 foot lattice of stiffening trusses underneath the bridge on the original drawings, were replaced with 8 foot solid steel plate girders. The new solid girder along the side in Moisseiff’s design made for a much lighter and more flexible bridge— it also caught the wind like a sail— but they didn’t know that. Moisseiff’s design was also 2/3 the price of the original Eldridge design and that fact ultimately won the day.
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Motorists who used the bridge found out first hand why it got the name Galloping Gertie, and during the four months while the bridge was open, many traveled from far away just to ride the undulating waves as they crossed high above Puget Sound. The thrill ride didn’t last long.
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On November 7, 1940 stiff winds caused the road deck to twist violently along its center axis. The center span endured these brutal torsional forces for about an hour and finally gave way.
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The collapse of the twisting suspension bridge is one of the most dramatic images caught on film.
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I talked to John Marr from the seminal zine Murder Can Be Fun for this story and I’d like to give a shout out to Alan Bellows of Damn Interesting for independently suggesting Galloping Gertie as a show topic and publishing a great, much more detailed account of the disaster on his site.
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Special thanks to Benjamen Walker for the audio of Kathryn Schulz. That interview originally aired on his show Too Much Information in the episode called “Mistakes Were Made.”</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:duration>12:27</itunes:duration>
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<title>99% Invisible-51- The Arsenal of Exclusion</title>
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<link>http://99percentinvisible.prx.org/2012/04/03/99-invisible-51-the-arsenal-of-exclusion/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-51-the-arsenal-of-exclusion</link>
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<pubDate>Tue, 03 Apr 2012 19:55:16 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<description><![CDATA[“Cities exist to bring people together, but cities can also keep people apart” – Daniel D’Oca, Urban Planner, Interboro Partners. Cities are great. They have movement, activity and diversity. But go to any city and it’s pretty clear, a place … <a href="http://99percentinvisible.prx.org/2012/04/03/99-invisible-51-the-arsenal-of-exclusion/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<blockquote><p>“Cities exist to bring people together, but cities can also keep people apart” – Daniel D’Oca, Urban Planner, <a href="http://www.interboropartners.net/" target="_blank">Interboro Partners</a>.</p></blockquote>
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<p>Cities are great. They have movement, activity and diversity. But go to any city and it’s pretty clear, a place can be diverse without really being integrated. This segregation isn’t accidental. There are design elements in the urban landscape, that Daniel D’Oca calls “weapons,” that are used by “architects, planners, policy-makers, developers, real estate brokers, community activists, neighborhood associations, and individuals to wage the ongoing war between integration and segregation.”</p>
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<p>Daniel D’Oca is an urban planner with Interboro Partners, an architecture and design firm based in New York City. Over the past few years, D’Oca, along with colleagues <a href="http://www.interboropartners.net/partners/" target="_blank">Tobias Armborst and Georgeen Theodore</a> have been cataloging all the stuff inside of a city that planners use to increase or restrict people’s access to space. They’re publishing their findings in a book called <a href="http://arsenalofexclusion.blogspot.com/" target="_blank"><em>The Arsenal of Inclusion and Exclusion: 101 Things That Open And Close the City</em></a> (Fall 2012).</p>
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<p>D’Oca took our own <a href="http://verdigris.tumblr.com/" target="_blank">Sam Greenspan</a> and Scott Goldberg on a tour of Baltimore to demonstrate the subtle ways different neighborhoods are kept apart.</p>]]></content:encoded>
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<itunes:subtitle>“Cities exist to bring people together, but cities can also keep people apart” - Daniel D’Oca, Urban Planner, Interboro Partners. Cities are great. They have movement, activity and diversity. But go to any city and it’s pretty clear,</itunes:subtitle>
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<itunes:summary>“Cities exist to bring people together, but cities can also keep people apart” - Daniel D’Oca, Urban Planner, Interboro Partners.
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Cities are great. They have movement, activity and diversity. But go to any city and it’s pretty clear, a place can be diverse without really being integrated. This segregation isn’t accidental. There are design elements in the urban landscape, that Daniel D’Oca calls “weapons,” that are used by “architects, planners, policy-makers, developers, real estate brokers, community activists, neighborhood associations, and individuals to wage the ongoing war between integration and segregation.”
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Daniel D’Oca is an urban planner with Interboro Partners, an architecture and design firm based in New York City. Over the past few years, D’Oca, along with colleagues Tobias Armborst and Georgeen Theodore have been cataloging all the stuff inside of a city that planners use to increase or restrict people’s access to space. They’re publishing their findings in a book called The Arsenal of Inclusion and Exclusion: 101 Things That Open And Close the City (Fall 2012).
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D’Oca took our own Sam Greenspan and Scott Goldberg on a tour of Baltimore to demonstrate the subtle ways different neighborhoods are kept apart.</itunes:summary>
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<link>http://99percentinvisible.prx.org/2012/03/22/99-invisible-50-deafspace/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-50-deafspace</link>
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<pubDate>Thu, 22 Mar 2012 19:49:15 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<description><![CDATA[The acoustics of a building are a big concern for architects. But for designers at Gallaudet University in Washington, DC, it’s the absence of sound that defines the approach to architecture. Gallaudet is a university dedicated to educating the deaf … <a href="http://99percentinvisible.prx.org/2012/03/22/99-invisible-50-deafspace/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>The acoustics of a building are a big concern for architects. But for designers at Gallaudet University in Washington, DC, it’s the absence of sound that defines the approach to architecture.</p>
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<p>Gallaudet is a university dedicated to educating the deaf and hard of hearing, and since 2005, they’ve re-thought principles of architecture with one question at the forefront: how do deaf people communicate in space?</p>
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<p>Unlike hearing people, the deaf have to keep sightlines in order to maintain conversations. So when deaf people walk and talk, they’ll lock into a kind of dance. Going through a doorway, one person will spin in place and walk backwards to keep talking. Walking past a column, two deaf people in conversation will move in tandem to avoid collision.</p>
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<p>Spaces designed for the hearing can also give the deaf a great deal of anxiety – when you can’t hear footsteps from around the corner or behind you, you can’t anticipate who or what is around you.</p>
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<p><a href="http://www.gallaudet.edu/faculty-staff/asl_and_deaf_studies/sirvage_robert.html" target="_blank">Robert Sirvage</a> is a deaf designer, researcher, and instructor at Gallaudet, and in collaboration with <a href="http://www.hanselbauman.com/" target="_blank">Hansel Bauman</a> — who is not deaf – and a group of staff, students and architects, they’ve developed a project called <a href="http://www.hbhmarchitecture.com/index.php?/ongoing/deaf-space-design-guide/" target="_blank">DeafSpace</a>. Reporter Tom Dreisbach took a tour through the new building at Gallaudet that is incorporating the innovations of DeafSpace to create an environment more pleasing to everyone, both hearing and deaf.</p>]]></content:encoded>
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<itunes:subtitle>The acoustics of a building are a big concern for architects. But for designers at Gallaudet University in Washington, DC, it’s the absence of sound that defines the approach to architecture. - Gallaudet is a university dedicated to educating the de...</itunes:subtitle>
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<itunes:summary>The acoustics of a building are a big concern for architects. But for designers at Gallaudet University in Washington, DC, it’s the absence of sound that defines the approach to architecture.
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Gallaudet is a university dedicated to educating the deaf and hard of hearing, and since 2005, they’ve re-thought principles of architecture with one question at the forefront: how do deaf people communicate in space?
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Unlike hearing people, the deaf have to keep sightlines in order to maintain conversations. So when deaf people walk and talk, they’ll lock into a kind of dance. Going through a doorway, one person will spin in place and walk backwards to keep talking. Walking past a column, two deaf people in conversation will move in tandem to avoid collision.
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Spaces designed for the hearing can also give the deaf a great deal of anxiety – when you can’t hear footsteps from around the corner or behind you, you can’t anticipate who or what is around you.
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Robert Sirvage is a deaf designer, researcher, and instructor at Gallaudet, and in collaboration with Hansel Bauman — who is not deaf – and a group of staff, students and architects, they’ve developed a project called DeafSpace. Reporter Tom Dreisbach took a tour through the new building at Gallaudet that is incorporating the innovations of DeafSpace to create an environment more pleasing to everyone, both hearing and deaf.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>11:42</itunes:duration>
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<title>99% Invisible-49- Queue Theory and Design</title>
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<link>http://99percentinvisible.prx.org/2012/03/09/99-invisible-49-queue-theory-and-design/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-49-queue-theory-and-design</link>
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<comments>http://99percentinvisible.prx.org/2012/03/09/99-invisible-49-queue-theory-and-design/#comments</comments>
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<pubDate>Fri, 09 Mar 2012 03:23:36 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<guid isPermaLink="false">http://invisible99.podbean.com/2012/03/08/99-invisible-49-queue-theory-and-design/</guid>
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<description><![CDATA[In the US, it’s called a line. In Canada, it’s often referred to as a line-up. Pretty much everywhere else, it’s known as a queue. My friend Benjamen Walker is obsessed with queues. He keeps sending me YouTube clips of … <a href="http://99percentinvisible.prx.org/2012/03/09/99-invisible-49-queue-theory-and-design/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>In the US, it’s called a line.</p>
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<p>In Canada, it’s often referred to as a line-up.</p>
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<p>Pretty much everywhere else, it’s known as a queue.</p>
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<p>My friend Benjamen Walker is obsessed with queues. He keeps sending me YouTube clips of queue violence. This preoccupation led him to find a man known as “Dr. Queue.” <a href="http://esd.mit.edu/faculty_pages/larson/larson.htm" target="_blank">Richard Larson</a> is a queue theorist at MIT and he talks us through some of the logic behind the design of queues.</p>
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<p>Whereas US companies like Wendy’s and American Airlines once prided themselves on their invention of the single, serpentine, first-come first-served queue, more and more companies are instituting priority queues, offering different wait times for different classes of customers.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/49-Queue-Theory-and-Design.mp3" length="9537154" type="audio/mpeg" />
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<itunes:subtitle>In the US, it’s called a line. - In Canada, it’s often referred to as a line-up. - Pretty much everywhere else, it’s known as a queue. - My friend Benjamen Walker is obsessed with queues. He keeps sending me YouTube clips of queue violence.</itunes:subtitle>
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<itunes:summary>In the US, it’s called a line.
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In Canada, it’s often referred to as a line-up.
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Pretty much everywhere else, it’s known as a queue.
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My friend Benjamen Walker is obsessed with queues. He keeps sending me YouTube clips of queue violence. This preoccupation led him to find a man known as “Dr. Queue.” Richard Larson is a queue theorist at MIT and he talks us through some of the logic behind the design of queues.
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Whereas US companies like Wendy’s and American Airlines once prided themselves on their invention of the single, serpentine, first-come first-served queue, more and more companies are instituting priority queues, offering different wait times for different classes of customers.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>9:55</itunes:duration>
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</item>
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<title>99% Invisible-48- The Bathtubs or the Boiler Room</title>
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<link>http://99percentinvisible.prx.org/2012/02/26/99-invisible-48-the-bathtubs-or-the-boiler-room/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-48-the-bathtubs-or-the-boiler-room</link>
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<comments>http://99percentinvisible.prx.org/2012/02/26/99-invisible-48-the-bathtubs-or-the-boiler-room/#comments</comments>
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<pubDate>Sun, 26 Feb 2012 22:38:32 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<guid isPermaLink="false">http://invisible99.podbean.com/2012/02/26/99-invisible-48-the-bathtubs-or-the-boiler-room/</guid>
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<description><![CDATA[“I have this habit of walking into any door that’s unlocked…You start poking around, going into doors…you find the coolest things…” -Andrea Seabrook, NPR Congressional Correspondent In the eight years Andrea Seabrook has been reporting on Congress, she has made … <a href="http://99percentinvisible.prx.org/2012/02/26/99-invisible-48-the-bathtubs-or-the-boiler-room/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<div class="editable">
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<blockquote><p>“I have this habit of walking into any door that’s unlocked…You start poking around, going into doors…you find the coolest things…”<br />
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-Andrea Seabrook, NPR Congressional Correspondent</p></blockquote>
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<p>In the eight years Andrea Seabrook has been reporting on Congress, she has made it a point to get to know the whole Capitol building. “The members of the House Republican Caucus–and sometimes the Democrats–meet in the basement for their closed door secret strategy sessions,” Andrea says. “And it’s really good place to get a tip from members that you know about what’s going on.” One day, after getting the info she needed for her story, she decided to press further on into the depths of the Capitol.</p>
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<p>That’s when she found the marble bathtubs.</p>
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<p>The bathtubs were installed around 1860 during the expansion of the Capitol. DC is known for its swampy summers, and legend has it that senators could be banished from the chamber if they were too smelly. But lawmakers–like most Americans at the time–didn’t have indoor plumbing at home. They needed a place where they could wash up.</p>
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<p>So the Architect of the Capitol ordered six marble bath tubs, each three by seven feet and carved by hand in Italy, to be installed in the Capitol basement–three on the House side, three on the senate. Today, only two tubs remain on the Senate side, in a room which now stores the building’s heating and cooling equipment. But evidence of room’s former grandeur remains.</p>
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</div>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/48-The-Bathtubs-or-the-Boiler-Room.mp3" length="10706158" type="audio/mpeg" />
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<itunes:subtitle>“I have this habit of walking into any door that’s unlocked…You start poking around, going into doors…you find the coolest things…” -Andrea Seabrook, NPR Congressional Correspondent In the eight years Andrea Seabrook has been reporting on...</itunes:subtitle>
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<itunes:summary>“I have this habit of walking into any door that’s unlocked…You start poking around, going into doors…you find the coolest things…”
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-Andrea Seabrook, NPR Congressional Correspondent
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In the eight years Andrea Seabrook has been reporting on Congress, she has made it a point to get to know the whole Capitol building. “The members of the House Republican Caucus–and sometimes the Democrats–meet in the basement for their closed door secret strategy sessions,” Andrea says. “And it’s really good place to get a tip from members that you know about what’s going on.” One day, after getting the info she needed for her story, she decided to press further on into the depths of the Capitol.
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That’s when she found the marble bathtubs.
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The bathtubs were installed around 1860 during the expansion of the Capitol. DC is known for its swampy summers, and legend has it that senators could be banished from the chamber if they were too smelly. But lawmakers–like most Americans at the time–didn’t have indoor plumbing at home. They needed a place where they could wash up.
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So the Architect of the Capitol ordered six marble bath tubs, each three by seven feet and carved by hand in Italy, to be installed in the Capitol basement–three on the House side, three on the senate. Today, only two tubs remain on the Senate side, in a room which now stores the building’s heating and cooling equipment. But evidence of room’s former grandeur remains.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>11:08</itunes:duration>
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</item>
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<title>99% Invisible-47- US Postal Service Stamps</title>
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<link>http://99percentinvisible.prx.org/2012/02/10/99-invisible-47-us-postal-service-stamps/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-47-us-postal-service-stamps</link>
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<pubDate>Fri, 10 Feb 2012 05:36:38 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2012/02/09/99-invisible-47-us-postal-service-stamps/</guid>
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<description><![CDATA[Somebody might be able to do a great painting that’s 20 x 30 inches, but you take that down to 1 x 1.5 inches, and it’s a challenge to make it work. -Ethel Kessler, Art Director for USPS Stamp Services … <a href="http://99percentinvisible.prx.org/2012/02/10/99-invisible-47-us-postal-service-stamps/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<blockquote><p>Somebody might be able to do a great painting that’s 20 x 30 inches, but you take that down to 1 x 1.5 inches, and it’s a challenge to make it work.</p>
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<p>-Ethel Kessler, Art Director for USPS Stamp Services</p></blockquote>
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<p>Stamps design takes, on average, a year to a year and a half, from conception to execution. Unfortunately, most of the stamps we encounter on a day-to-day basis are the rather predictable flag, bell, and love stamps, but there are some really fantastic commemorative stamps, which are supremely functional and affordable tiny works of art.</p>
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<p>To determine what should go on a US stamp, the Citizens Stamp Advisory Committee combs through nearly 50,000 suggestions per year offered by the general public. Once the subjects are chosen and approved by the Postmaster General, they are assigned to a handful of art directors to be designed.</p>
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<p>There are loads guidelines to help stamp subject selection, but one of the big rules recently changed. In 2012, the first living person will be commemorated on an official USPS stamp.</p>
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<p><a href="http://www.thirdcoastfestival.org/library/producers/186-julie-shapiro" target="_blank"><strong>Julie Shapiro</strong></a>, Artistic Director of the <a href="http://www.thirdcoastfestival.org/" target="_blank">Third Coast International Audio Festival</a>, produced this episode. Julie spoke with Terry McCaffrey, the retired manager of stamp development for the USPS Stamp Services Office, and Ethel Kessler, an Art Director who’s been working with Stamp Services for over 15 years.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/47-US-Postal-Service-Stamps.mp3" length="11967585" type="audio/mpeg" />
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<itunes:subtitle>Somebody might be able to do a great painting that’s 20 x 30 inches, but you take that down to 1 x 1.5 inches, and it’s a challenge to make it work. - -Ethel Kessler, Art Director for USPS Stamp Services Stamps design takes, on average,</itunes:subtitle>
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<itunes:summary>Somebody might be able to do a great painting that’s 20 x 30 inches, but you take that down to 1 x 1.5 inches, and it’s a challenge to make it work.
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-Ethel Kessler, Art Director for USPS Stamp Services
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Stamps design takes, on average, a year to a year and a half, from conception to execution. Unfortunately, most of the stamps we encounter on a day-to-day basis are the rather predictable flag, bell, and love stamps, but there are some really fantastic commemorative stamps, which are supremely functional and affordable tiny works of art.
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To determine what should go on a US stamp, the Citizens Stamp Advisory Committee combs through nearly 50,000 suggestions per year offered by the general public. Once the subjects are chosen and approved by the Postmaster General, they are assigned to a handful of art directors to be designed.
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There are loads guidelines to help stamp subject selection, but one of the big rules recently changed. In 2012, the first living person will be commemorated on an official USPS stamp.
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Julie Shapiro, Artistic Director of the Third Coast International Audio Festival, produced this episode. Julie spoke with Terry McCaffrey, the retired manager of stamp development for the USPS Stamp Services Office, and Ethel Kessler, an Art Director who’s been working with Stamp Services for over 15 years.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>12:26</itunes:duration>
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</item>
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<item>
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<title>99% Invisible-46- Vulcanite Dentures</title>
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<link>http://99percentinvisible.prx.org/2012/01/27/99-invisible-46-vulcanite-dentures/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-46-vulcanite-dentures</link>
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<comments>http://99percentinvisible.prx.org/2012/01/27/99-invisible-46-vulcanite-dentures/#comments</comments>
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<pubDate>Fri, 27 Jan 2012 08:17:40 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2012/01/27/99-invisible-46-vulcanite-dentures/</guid>
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<description><![CDATA[Before the 1850s, dentures were made out of very hard, very painful and very expensive material, like gold or ivory. They were a luxury item. The invention of Vulcanite hard rubber changed everything. It was moldable, it could be precisely … <a href="http://99percentinvisible.prx.org/2012/01/27/99-invisible-46-vulcanite-dentures/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Before the 1850s, dentures were made out of very hard, very painful and very expensive material, like gold or ivory. They were a luxury item. The invention of Vulcanite hard rubber changed everything. It was moldable, it could be precisely fitted, and it was relatively cheap. Everyone began making dentures with Vulcanite bases. But in 1864, a long disputed patent application, originally filed in 1852, was awarded and then acquired by the Goodyear Dental Vulcanite Company. It was an outfit created to collect fees, or very often, sue dentists who already used vulcanite, and there were plenty of dentists to go after.</p>
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<p>The person in charge of pursuing the violators was Josiah Bacon, the treasurer of the Goodyear Dental Vulcanite Company. The patent was enforced with extreme prejudice, despite the protestations of the US dental profession.</p>
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<p>To quote the secretary of the Goodyear Dental Vulcanite Company, Ernest Caduc: “Many dentists…relying upon the secret nature of the business, prefer to steal this property rather than buy it…”</p>
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<p>It all came to a head on Easter Sunday in 1879. A Vulcanite denture patent violating dentist named Samuel Chalfant went to settle his business with his pursuer, Josiah Bacon, in his San Francisco hotel room. Chalfant brought a gun.</p>
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<p>A print version of this story originally appeared in the fanzine <a href="http://mcbflibrary.blogspot.com/" target="_blank">Murder Can Be Fun</a> by <a href="http://www.facebook.com/john.marr1" target="_blank">John Marr</a>.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/46-Vulcanite-Dentures.mp3" length="9081573" type="audio/mpeg" />
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<itunes:subtitle>Before the 1850s, dentures were made out of very hard, very painful and very expensive material, like gold or ivory. They were a luxury item. The invention of Vulcanite hard rubber changed everything. It was moldable, it could be precisely fitted,</itunes:subtitle>
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<itunes:summary>Before the 1850s, dentures were made out of very hard, very painful and very expensive material, like gold or ivory. They were a luxury item. The invention of Vulcanite hard rubber changed everything. It was moldable, it could be precisely fitted, and it was relatively cheap. Everyone began making dentures with Vulcanite bases. But in 1864, a long disputed patent application, originally filed in 1852, was awarded and then acquired by the Goodyear Dental Vulcanite Company. It was an outfit created to collect fees, or very often, sue dentists who already used vulcanite, and there were plenty of dentists to go after.
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The person in charge of pursuing the violators was Josiah Bacon, the treasurer of the Goodyear Dental Vulcanite Company. The patent was enforced with extreme prejudice, despite the protestations of the US dental profession.
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To quote the secretary of the Goodyear Dental Vulcanite Company, Ernest Caduc: “Many dentists…relying upon the secret nature of the business, prefer to steal this property rather than buy it…”
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It all came to a head on Easter Sunday in 1879. A Vulcanite denture patent violating dentist named Samuel Chalfant went to settle his business with his pursuer, Josiah Bacon, in his San Francisco hotel room. Chalfant brought a gun.
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A print version of this story originally appeared in the fanzine Murder Can Be Fun by John Marr.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>9:26</itunes:duration>
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1400
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</item>
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<item>
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<title>99% Invisible-45- Immersive Ideal</title>
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<link>http://99percentinvisible.prx.org/2012/01/18/99-invisible-45-immersive-ideal/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-45-immersive-ideal</link>
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<comments>http://99percentinvisible.prx.org/2012/01/18/99-invisible-45-immersive-ideal/#comments</comments>
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<pubDate>Wed, 18 Jan 2012 23:19:28 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2012/01/18/99-invisible-45-immersive-ideal/</guid>
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<description><![CDATA[Beauty Pill is band I really like from Washington DC. They have released two EPs (The Cigarette Girl From the Future and You Are Right to be Afraid) and their last album, The Unsustainable Lifestyle, came out in 2004. In … <a href="http://99percentinvisible.prx.org/2012/01/18/99-invisible-45-immersive-ideal/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p><a href="http://www.beautypill.com/" target="_blank">Beauty Pill</a> is band I <em>really</em> like from Washington DC. They have released two EPs (<a href="http://www.dischord.com/release/128-5/cigarette-girl-from-the-future" target="_blank"><em>The Cigarette Girl From the Future</em></a> and <a href="http://www.dischord.com/release/138/you-are-right-to-be-afraid" target="_blank"><em>You Are Right to be Afraid</em></a>) and their last album, <a href="http://www.dischord.com/release/139/the-unsustainable-lifestyle" target="_blank"><em>The Unsustainable Lifestyle</em></a>, came out in 2004.</p>
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<p>In the interim, the singer/guitarist/producer for Beauty Pill, Chad Clark, got very sick and nearly died. That can be enough to make anyone stop making music, but in Clark’s case, he continued to make music, but he just never felt the need to release a record or play live. His music was just for him and his friends, and that was OK.</p>
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<p>But a strange confluence of opportunity, desire and architecture knocked Beauty Pill out of their unforced exile. The curators at a new multimedia art center called <a href="http://artisphere.com/calendar/event-details/Visual-Arts/IMMERSIVE-IDEAL.aspx" target="_blank">Artisphere</a> invited Chad Clark to come in and do something musical in the space. While they were showing him around, he saw the angled, 2nd floor window overlooking the Black Box Theater and it reminded him of the window in <a href="http://www.abbeyroad.com/Studio/6/Studio-Two" target="_blank">Abbey Road Studio 2</a>, made famous by The Beatles. Months later, the Black Box Theater was transformed into a very public recording studio, capturing the sounds and energy of the band, onlookers and guests over the course of a couple weeks.</p>
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<p>They called the project <a href="http://www.beautypill.com/immersive/" target="_blank"><em>Immersive Ideal</em></a>.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/45-Immersive-Ideal.mp3" length="11626106" type="audio/mpeg" />
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<itunes:subtitle>Beauty Pill is band I really like from Washington DC. They have released two EPs (The Cigarette Girl From the Future and You Are Right to be Afraid) and their last album, The Unsustainable Lifestyle, came out in 2004. - In the interim,</itunes:subtitle>
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<itunes:summary>Beauty Pill is band I really like from Washington DC. They have released two EPs (The Cigarette Girl From the Future and You Are Right to be Afraid) and their last album, The Unsustainable Lifestyle, came out in 2004.
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In the interim, the singer/guitarist/producer for Beauty Pill, Chad Clark, got very sick and nearly died. That can be enough to make anyone stop making music, but in Clark’s case, he continued to make music, but he just never felt the need to release a record or play live. His music was just for him and his friends, and that was OK.
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But a strange confluence of opportunity, desire and architecture knocked Beauty Pill out of their unforced exile. The curators at a new multimedia art center called Artisphere invited Chad Clark to come in and do something musical in the space. While they were showing him around, he saw the angled, 2nd floor window overlooking the Black Box Theater and it reminded him of the window in Abbey Road Studio 2, made famous by The Beatles. Months later, the Black Box Theater was transformed into a very public recording studio, capturing the sounds and energy of the band, onlookers and guests over the course of a couple weeks.
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1423
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They called the project Immersive Ideal.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>12:05</itunes:duration>
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</item>
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<item>
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<title>99% Invisible-44- The Pruitt-Igoe Myth</title>
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<link>http://99percentinvisible.prx.org/2012/01/06/99-invisible-44-the-pruitt-igoe-myth/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-44-the-pruitt-igoe-myth</link>
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<comments>http://99percentinvisible.prx.org/2012/01/06/99-invisible-44-the-pruitt-igoe-myth/#comments</comments>
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<pubDate>Fri, 06 Jan 2012 04:23:51 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2012/01/05/99-invisible-44-the-pruitt-igoe-myth/</guid>
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<description><![CDATA[The Pruitt-Igoe housing project in St. Louis became most famous at the moment of its demise. The thirty-three high-rise towers built in the 1950’s were supposed to solve the impending population crisis in inner city St. Louis. It was supposed … <a href="http://99percentinvisible.prx.org/2012/01/06/99-invisible-44-the-pruitt-igoe-myth/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>The Pruitt-Igoe housing project in St. Louis became most famous at the moment of its demise. The thirty-three high-rise towers built in the 1950’s were supposed to solve the impending population crisis in inner city St. Louis. It was supposed to save the urban poor from the indignities of the downtown slums that lacked natural light, water and fresh air. And for a short while, it worked. It was a housing marvel.</p>
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<p>But when conditions started to decline, everything got very bad, very fast.</p>
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<p>It got so bad, only two decades after it was built; the housing authority blew it up. The image of the first Pruitt-Igoe controlled implosion circled the globe.</p>
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<p>The implosion footage became the unassailable proof that Modernist architecture and federal housing just didn’t work.</p>
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<p><a href="http://www.pruitt-igoe.com/director-bio-and-filmography/" target="_blank">Chad Freidrichs</a> is the director of the new documentary <a href="http://www.pruitt-igoe.com/" target="_blank">The Pruitt-Igoe Myth</a> and in the film he examines all the reasons people cite for the demise of Pruitt-Igoe.</p>
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<p>In this episode of 99% Invisible, we focus on the popular idea that the architecture was to blame.</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/44-The-Pruitt-Igoe-Myth.mp3" length="11020885" type="audio/mpeg" />
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<itunes:subtitle>The Pruitt-Igoe housing project in St. Louis became most famous at the moment of its demise. The thirty-three high-rise towers built in the 1950’s were supposed to solve the impending population crisis in inner city St. Louis.</itunes:subtitle>
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<itunes:summary>The Pruitt-Igoe housing project in St. Louis became most famous at the moment of its demise. The thirty-three high-rise towers built in the 1950’s were supposed to solve the impending population crisis in inner city St. Louis. It was supposed to save the urban poor from the indignities of the downtown slums that lacked natural light, water and fresh air. And for a short while, it worked. It was a housing marvel.
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But when conditions started to decline, everything got very bad, very fast.
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It got so bad, only two decades after it was built; the housing authority blew it up. The image of the first Pruitt-Igoe controlled implosion circled the globe.
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The implosion footage became the unassailable proof that Modernist architecture and federal housing just didn’t work.
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Chad Freidrichs is the director of the new documentary The Pruitt-Igoe Myth and in the film he examines all the reasons people cite for the demise of Pruitt-Igoe.
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In this episode of 99% Invisible, we focus on the popular idea that the architecture was to blame.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>11:27</itunes:duration>
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</item>
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<item>
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<title>99% Invisible-43- Accidental Music of Imperfect Escalators</title>
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<link>http://99percentinvisible.prx.org/2011/12/19/99-invisible-43-accidental-music-of-imperfect-escalators/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-43-accidental-music-of-imperfect-escalators</link>
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<comments>http://99percentinvisible.prx.org/2011/12/19/99-invisible-43-accidental-music-of-imperfect-escalators/#comments</comments>
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<pubDate>Mon, 19 Dec 2011 08:10:56 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/12/19/99-invisible-43-accidental-music-of-imperfect-escalators/</guid>
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<description><![CDATA[“There’s a secret jazz seeping from Washington’s aging Metro escalators – those anemic metal walkways that fill our transit system…they honk and bleat and squawk…why are you still wearing those earbuds?” -Chris Richards, “Move along with the soundtrack of Metro’s … <a href="http://99percentinvisible.prx.org/2011/12/19/99-invisible-43-accidental-music-of-imperfect-escalators/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<blockquote><p>“There’s a secret jazz seeping from Washington’s aging Metro escalators – those anemic metal walkways that fill our transit system…they honk and bleat and squawk…why are you still wearing those earbuds?”</p>
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<p>-Chris Richards, “<a href="http://www.washingtonpost.com/wp-dyn/content/article/2011/01/14/AR2011011403291.html" target="_blank">Move along with the soundtrack of Metro’s screechy, wailing escalators</a>” The Washington Post, 01/14/11</p></blockquote>
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<p>Ever since the industrial revolution, when it became possible for products to be designed just once and then mass produced, it has been the slight imperfections and wear introduced by human use that has transformed a quality mass produced product into a thing we love. Your worn blue jeans, your grandmothers iron skillet, the initial design determined their quality, but it’s their imperfections that make them comfortable, that make them lovable, that make them yours.</p>
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<p>And if you think that a “slightly broken” escalator can’t be lovable, then our own Sam Greenspan would like to introduce you to Chris Richards. Chris Richards is a music critic for the Washington Post, and after years of ignoring the wailing and screeching of the much maligned, often broken escalators in the DC Metro, he began to hear them in a new way. He began to hear them as music.</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/43-Accidental-Music-of-Imperfect-Escalators.mp3" length="7077067" type="audio/mpeg" />
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<itunes:subtitle>“There’s a secret jazz seeping from Washington’s aging Metro escalators - those anemic metal walkways that fill our transit system…they honk and bleat and squawk…why are you still wearing those earbuds?” - -Chris Richards,</itunes:subtitle>
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<itunes:summary>“There’s a secret jazz seeping from Washington’s aging Metro escalators - those anemic metal walkways that fill our transit system…they honk and bleat and squawk…why are you still wearing those earbuds?”
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-Chris Richards, “Move along with the soundtrack of Metro’s screechy, wailing escalators” The Washington Post, 01/14/11
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Ever since the industrial revolution, when it became possible for products to be designed just once and then mass produced, it has been the slight imperfections and wear introduced by human use that has transformed a quality mass produced product into a thing we love. Your worn blue jeans, your grandmothers iron skillet, the initial design determined their quality, but it’s their imperfections that make them comfortable, that make them lovable, that make them yours.
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And if you think that a “slightly broken” escalator can’t be lovable, then our own Sam Greenspan would like to introduce you to Chris Richards. Chris Richards is a music critic for the Washington Post, and after years of ignoring the wailing and screeching of the much maligned, often broken escalators in the DC Metro, he began to hear them in a new way. He began to hear them as music.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>7:21</itunes:duration>
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</item>
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<item>
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<title>99% Invisible-42- Recognizably Anonymous</title>
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<link>http://99percentinvisible.prx.org/2011/12/09/99-invisible-42-recognizably-anonymous/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-42-recognizably-anonymous</link>
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<comments>http://99percentinvisible.prx.org/2011/12/09/99-invisible-42-recognizably-anonymous/#comments</comments>
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<pubDate>Fri, 09 Dec 2011 03:22:02 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/12/08/99-invisible-42-recognizably-anonymous/</guid>
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<description><![CDATA[Anonymous is not group. It is not an organization. Rob Walker describes Anonymous as a “loosely affiliated and ever-changing band of individuals who… have been variously described as hackers, hacktivists, free-expression zealots, Internet troublemakers, and assorted combinations thereof.” But when … <a href="http://99percentinvisible.prx.org/2011/12/09/99-invisible-42-recognizably-anonymous/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Anonymous is not group. It is not an organization. <a href="http://robwalker.net/" target="_blank">Rob Walker</a> describes Anonymous as a “loosely affiliated and ever-changing band of individuals who… have been variously described as hackers, hacktivists, free-expression zealots, Internet troublemakers, and assorted combinations thereof.”</p>
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1500
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<p>But when Anonymous came up against the Church of Scientiology, a small, non-hierarchical collection of Anons decided to take the disparate phrases, images and ideas circling around the 4Chan.org /b/ message board (where Anonymous has its roots) and combine them into a very engaging and effective “brand identity” (For lack of a better word. Is there a better word? I’d love to hear it. -rm).</p>
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<p>In this episode, Rob Walker explores the origins of the meme-like images in the Anonymous “visual brand” and explains why these icons so powerfully define a phenomenon that eschews definition.</p>
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<p>This piece was produced by me and Rob Walker based on his article “<a href="http://www.slate.com/articles/arts/design/2011/12/guy_fawkes_mask_how_anonymous_hacker_group_created_a_powerful_visual_brand.html" target="_blank">Recognizably Anonymous</a>” in Slate.</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/42-Recognizably-Anonymous.mp3" length="10202108" type="audio/mpeg" />
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<itunes:subtitle>Anonymous is not group. It is not an organization. Rob Walker describes Anonymous as a “loosely affiliated and ever-changing band of individuals who… have been variously described as hackers, hacktivists, free-expression zealots,</itunes:subtitle>
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<itunes:summary>Anonymous is not group. It is not an organization. Rob Walker describes Anonymous as a “loosely affiliated and ever-changing band of individuals who… have been variously described as hackers, hacktivists, free-expression zealots, Internet troublemakers, and assorted combinations thereof.”
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But when Anonymous came up against the Church of Scientiology, a small, non-hierarchical collection of Anons decided to take the disparate phrases, images and ideas circling around the 4Chan.org /b/ message board (where Anonymous has its roots) and combine them into a very engaging and effective “brand identity” (For lack of a better word. Is there a better word? I’d love to hear it. -rm).
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In this episode, Rob Walker explores the origins of the meme-like images in the Anonymous “visual brand” and explains why these icons so powerfully define a phenomenon that eschews definition.
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This piece was produced by me and Rob Walker based on his article “Recognizably Anonymous” in Slate.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>10:36</itunes:duration>
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</item>
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<item>
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<title>99% Invisible-41- The Human-Human Interface</title>
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<link>http://99percentinvisible.prx.org/2011/12/03/99-invisible-41-the-human-human-interface/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-41-the-human-human-interface</link>
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<comments>http://99percentinvisible.prx.org/2011/12/03/99-invisible-41-the-human-human-interface/#comments</comments>
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<pubDate>Sat, 03 Dec 2011 02:51:37 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/12/02/99-invisible-41-the-human-human-interface/</guid>
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<description><![CDATA[Paola Antonelli is the Senior Curator in the Department of Architecture and Design at the Museum of Modern Art. Her most recent blockbuster show, Talk to Me, explored the communication between people and objects: from chairs that talk to subway … <a href="http://99percentinvisible.prx.org/2011/12/03/99-invisible-41-the-human-human-interface/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p><a href="http://www.moma.org/explore/inside_out/author/pantonelli" target="_blank">Paola Antonelli</a> is the Senior Curator in the Department of Architecture and Design at the Museum of Modern Art. Her most recent blockbuster show, <a href="http://www.moma.org/interactives/exhibitions/2011/talktome/" target="_blank">Talk to Me</a>, explored the communication between people and objects: from chairs that talk to subway kiosks.</p>
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<p>It’s pretty easy to get overwhelmed and frustrated by all the human-object interactions in the modern world. I’ve never used a “coin return” button on a vending machine that worked and there is interesting criticism of the increasingly common “<a href="http://worrydream.com/ABriefRantOnTheFutureOfInteractionDesign/" target="_blank">pictures under glass</a>” type of interface on the iPhone and iPad.</p>
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<p>But as Paola Antonelli explains to producer Benjamen Walker (from <a href="http://tmi.wfmu.org/" target="_blank">Too Much Information</a>), the evolution of communication design is pointing to a world that minimizes human-object interfaces and leaves us to free to focus on real human habits and needs.</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/41-The-Human-Human-Interface.mp3" length="4994775" type="audio/mpeg" />
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<itunes:subtitle>Paola Antonelli is the Senior Curator in the Department of Architecture and Design at the Museum of Modern Art. Her most recent blockbuster show, Talk to Me, explored the communication between people and objects: from chairs that talk to subway kiosks.</itunes:subtitle>
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<itunes:summary>Paola Antonelli is the Senior Curator in the Department of Architecture and Design at the Museum of Modern Art. Her most recent blockbuster show, Talk to Me, explored the communication between people and objects: from chairs that talk to subway kiosks.
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It’s pretty easy to get overwhelmed and frustrated by all the human-object interactions in the modern world. I’ve never used a “coin return” button on a vending machine that worked and there is interesting criticism of the increasingly common “pictures under glass” type of interface on the iPhone and iPad.
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But as Paola Antonelli explains to producer Benjamen Walker (from Too Much Information), the evolution of communication design is pointing to a world that minimizes human-object interfaces and leaves us to free to focus on real human habits and needs.</itunes:summary>
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1539
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<itunes:author>Roman Mars</itunes:author>
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1540
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<itunes:explicit>no</itunes:explicit>
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1541
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<itunes:duration>5:11</itunes:duration>
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</item>
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<item>
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<title>99% Invisible-40- Billy Possum</title>
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<link>http://99percentinvisible.prx.org/2011/11/23/99-invisible-40-billy-possum/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-40-billy-possum</link>
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<comments>http://99percentinvisible.prx.org/2011/11/23/99-invisible-40-billy-possum/#comments</comments>
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<pubDate>Wed, 23 Nov 2011 18:10:17 +0000</pubDate>
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1548
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<dc:creator>roman</dc:creator>
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1549
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<category><![CDATA[Uncategorized]]></category>
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1550
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/11/23/99-invisible-40-billy-possum/</guid>
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<description><![CDATA[It’s totally unfair. Hydrox cookies came out four years before the introduction of Oreos, but Hydrox could never shake the image that it was a cheap knock-off, an also-ran. As a consumer product, it’s completely out of your hands if … <a href="http://99percentinvisible.prx.org/2011/11/23/99-invisible-40-billy-possum/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p class="yiv1670556537MsoNormal">It’s totally unfair. <a href="http://en.wikipedia.org/wiki/Hydrox" target="_blank">Hydrox</a> cookies came out four years before the introduction of Oreos, but Hydrox could never shake the image that it was a cheap knock-off, an also-ran. As a consumer product, it’s completely out of your hands if you’re deemed a mighty Transformer, or a loathsome Gobot.</p>
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<p class="yiv1670556537MsoNormal">Sometimes it doesn’t make any sense at all.</p>
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<p class="yiv1670556537MsoNormal">But sometimes it does.</p>
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<p class="yiv1670556537MsoNormal">This is the tale of two toys with two very different fates. The Teddy Bear, named after the charismatic president Theodore Roosevelt, was a sensation in the early twentieth century. It even displaced baby dolls as the top toy in all of the United States, but no one thought it would last.The burgeoning mass-market toy industry thought the bear was a novelty that would die out once Teddy Roosevelt left office in 1909. So the powers that be went on the search for the next cuddly companion that <span class="yshortcuts">America’s</span> children would adore. It was completely logical that they looked at the next president for inspiration, Roosevelt’s handpicked successor, William Howard Taft. In 1909, the toy makers of America placed their bets on the Taft presidency’s answer to the Teddy Bear: the Billy Possum.</p>
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<p class="yiv1670556537MsoNormal">This story comes to us from the insanely talented <a href="http://byliner.com/jon-mooallem" target="_blank">Jon Mooallem</a>. He first presented a version of this story at <a href="http://www.popupmagazine.com/issue5.html" target="_blank">Pop-Up Magazine #5</a> in <span class="yshortcuts">San Francisco</span>. Mooallem’s <a href="http://www.nytimes.com/2010/10/03/magazine/03turtles-t.html?pagewanted=all" target="_blank">latest story</a> for the New York Times Magazine is about the heroics of the Turtle People during the Gulf oil spill. He’s currently working on a book about people and animals for Penguin Press. He’s my favorite person to follow on twitter (<a href="http://twitter.com/#%21/jmooallem" target="_blank">@jmooallem</a>) because he regularly posts strange animal facts that he comes across in his research.</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/40-Billy-Possum.mp3" length="11631118" type="audio/mpeg" />
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<itunes:subtitle>It’s totally unfair. Hydrox cookies came out four years before the introduction of Oreos, but Hydrox could never shake the image that it was a cheap knock-off, an also-ran. As a consumer product, it’s completely out of your hands if you’re deemed...</itunes:subtitle>
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<itunes:summary>It’s totally unfair. Hydrox cookies came out four years before the introduction of Oreos, but Hydrox could never shake the image that it was a cheap knock-off, an also-ran. As a consumer product, it’s completely out of your hands if you’re deemed a mighty Transformer, or a loathsome Gobot.
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1562
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+
Sometimes it doesn’t make any sense at all.
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1563
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+
But sometimes it does.
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1564
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+
This is the tale of two toys with two very different fates. The Teddy Bear, named after the charismatic president Theodore Roosevelt, was a sensation in the early twentieth century. It even displaced baby dolls as the top toy in all of the United States, but no one thought it would last.The burgeoning mass-market toy industry thought the bear was a novelty that would die out once Teddy Roosevelt left office in 1909. So the powers that be went on the search for the next cuddly companion that America’s children would adore. It was completely logical that they looked at the next president for inspiration, Roosevelt’s handpicked successor, William Howard Taft. In 1909, the toy makers of America placed their bets on the Taft presidency’s answer to the Teddy Bear: the Billy Possum.
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1565
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+
This story comes to us from the insanely talented Jon Mooallem. He first presented a version of this story at Pop-Up Magazine #5 in San Francisco. Mooallem’s latest story for the New York Times Magazine is about the heroics of the Turtle People during the Gulf oil spill. He’s currently working on a book about people and animals for Penguin Press. He’s my favorite person to follow on twitter (@jmooallem) because he regularly posts strange animal facts that he comes across in his research.</itunes:summary>
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1566
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<itunes:author>Roman Mars</itunes:author>
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1567
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<itunes:explicit>no</itunes:explicit>
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1568
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<itunes:duration>12:05</itunes:duration>
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1569
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</item>
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1570
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<item>
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1571
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<title>99% Invisible-39X- The Biography of 100,000 Square Feet</title>
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1572
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<link>http://99percentinvisible.prx.org/2011/11/18/99-invisible-39x-the-biography-of-100000-square-feet/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-39x-the-biography-of-100000-square-feet</link>
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<comments>http://99percentinvisible.prx.org/2011/11/18/99-invisible-39x-the-biography-of-100000-square-feet/#comments</comments>
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1574
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<pubDate>Fri, 18 Nov 2011 07:43:05 +0000</pubDate>
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1575
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<dc:creator>roman</dc:creator>
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1576
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<category><![CDATA[Uncategorized]]></category>
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1577
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/11/18/99-invisible-39x-the-biography-of-100000-square-feet/</guid>
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<description><![CDATA[United Nations Plaza sits in the center of San Francisco. Most people consider it a complete failure as a public space. Its central feature, at the entrance of the plaza, is a unique fountain that was designed by Lawrence Halprin … <a href="http://99percentinvisible.prx.org/2011/11/18/99-invisible-39x-the-biography-of-100000-square-feet/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>United Nations Plaza sits in the center of San Francisco. Most people consider it a complete failure as a public space. Its central feature, at the entrance of the plaza, is a unique fountain that was designed by Lawrence Halprin in 1975. The water shoots out at various angles, from inside a sunken pit, filled with large granite slabs. It’s a design that kind of pulls you in and invites you to take the steps down to the water and climb in between the hulking stones. And that’s part of the problem.</p>
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+
<p>In 2004, radio producer <a href="http://www.temchine.com/" target="_blank">Ben Temchine</a>, created a really fantastic documentary of UN Plaza, called “The Biography of 100,000 Square Feet” that first aired on my first radio program called <em>Invisible Ink</em> in May of 2004. (Yep another “invisible” show) The documentary really takes a hard look at UN Plaza when it was really at its worst and asks the question, is there a point where the good intentions and idealism of a design become so removed from reality, that it actually borders on negligence?</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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1583
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/39X-The-Biography-of-100000-Square-Feet.mp3" length="30051028" type="audio/mpeg" />
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<itunes:subtitle>United Nations Plaza sits in the center of San Francisco. Most people consider it a complete failure as a public space. Its central feature, at the entrance of the plaza, is a unique fountain that was designed by Lawrence Halprin in 1975.</itunes:subtitle>
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<itunes:summary>United Nations Plaza sits in the center of San Francisco. Most people consider it a complete failure as a public space. Its central feature, at the entrance of the plaza, is a unique fountain that was designed by Lawrence Halprin in 1975. The water shoots out at various angles, from inside a sunken pit, filled with large granite slabs. It’s a design that kind of pulls you in and invites you to take the steps down to the water and climb in between the hulking stones. And that’s part of the problem.
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1586
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1587
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In 2004, radio producer Ben Temchine, created a really fantastic documentary of UN Plaza, called “The Biography of 100,000 Square Feet” that first aired on my first radio program called Invisible Ink in May of 2004. (Yep another “invisible” show) The documentary really takes a hard look at UN Plaza when it was really at its worst and asks the question, is there a point where the good intentions and idealism of a design become so removed from reality, that it actually borders on negligence?</itunes:summary>
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1588
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<itunes:author>Roman Mars</itunes:author>
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1589
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<itunes:explicit>no</itunes:explicit>
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1590
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<itunes:duration>31:17</itunes:duration>
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1591
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</item>
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<item>
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1593
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<title>99% Invisible-39- Darth Vader Family Courthouse</title>
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<link>http://99percentinvisible.prx.org/2011/10/28/99-invisible-39-darth-vader-family-courthouse/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-39-darth-vader-family-courthouse</link>
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<comments>http://99percentinvisible.prx.org/2011/10/28/99-invisible-39-darth-vader-family-courthouse/#comments</comments>
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1596
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<pubDate>Fri, 28 Oct 2011 20:45:29 +0000</pubDate>
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1597
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<dc:creator>roman</dc:creator>
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1598
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<category><![CDATA[Uncategorized]]></category>
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1599
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/10/28/99-invisible-39-darth-vader-family-courthouse/</guid>
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<description><![CDATA[It’s hard to imagine a place where more desperate and depressing drama unfolds on a daily basis than a family courthouse- custody battles, abuse, divorce- and if you were to design a place to reflect and amplify that misery, not … <a href="http://99percentinvisible.prx.org/2011/10/28/99-invisible-39-darth-vader-family-courthouse/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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1601
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<content:encoded><![CDATA[<p>It’s hard to imagine a place where more desperate and depressing drama unfolds on a daily basis than a family courthouse- custody battles, abuse, divorce- and if you were to design a place to reflect and amplify that misery, not mitigate it, it’d probably take the form of the old New York County Family Courthouse in Lower Manhattan.</p>
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1602
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+
<p>The original shiny black cube, built in 1975, was referred to as the “Darth Vader building” by court employees (presumably after 1977). The foreboding and intimidating structure is primarily criticized in relation to its function as a family courthouse, which should strive to inspire a feeling of trust, authority, and (one hopes) inclusion.</p>
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1603
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<p>The building was remodeled in 2006. The bones are largely the same, but the shiny, black cladding is gone, replaced by a more conventional grey/beige. The problematic entrance to the building has been completely opened up, making ingress and egress a much less daunting proposition. To quote our 99% Invisible reporter this week, <strong>Brett Myers</strong>, “walking into the building is no longer like being consumed by a beast.”</p>
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<p>But a little something was lost in the facelift. The original building was definitely not boring and commanded your attention. I don’t know if the same can be said for the current design. Modern design principles and cultural preservation are not necessarily at loggerheads, but when they do come into conflict, it’s not always easy to answer which ideology should win.</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/39-Darth-Vader-Family-Courthouse.mp3" length="7271403" type="audio/mpeg" />
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<itunes:subtitle>It’s hard to imagine a place where more desperate and depressing drama unfolds on a daily basis than a family courthouse- custody battles, abuse, divorce- and if you were to design a place to reflect and amplify that misery, not mitigate it,</itunes:subtitle>
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1609
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<itunes:summary>It’s hard to imagine a place where more desperate and depressing drama unfolds on a daily basis than a family courthouse- custody battles, abuse, divorce- and if you were to design a place to reflect and amplify that misery, not mitigate it, it’d probably take the form of the old New York County Family Courthouse in Lower Manhattan.
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The original shiny black cube, built in 1975, was referred to as the “Darth Vader building” by court employees (presumably after 1977). The foreboding and intimidating structure is primarily criticized in relation to its function as a family courthouse, which should strive to inspire a feeling of trust, authority, and (one hopes) inclusion.
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The building was remodeled in 2006. The bones are largely the same, but the shiny, black cladding is gone, replaced by a more conventional grey/beige. The problematic entrance to the building has been completely opened up, making ingress and egress a much less daunting proposition. To quote our 99% Invisible reporter this week, Brett Myers, “walking into the building is no longer like being consumed by a beast.”
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But a little something was lost in the facelift. The original building was definitely not boring and commanded your attention. I don’t know if the same can be said for the current design. Modern design principles and cultural preservation are not necessarily at loggerheads, but when they do come into conflict, it’s not always easy to answer which ideology should win.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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1617
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<itunes:explicit>no</itunes:explicit>
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1618
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<itunes:duration>7:33</itunes:duration>
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1619
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</item>
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1620
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<item>
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1621
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<title>99% Invisible-38- Sound of Sport</title>
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<link>http://99percentinvisible.prx.org/2011/10/13/99-invisible-38-sound-of-sport/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-38-sound-of-sport</link>
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<comments>http://99percentinvisible.prx.org/2011/10/13/99-invisible-38-sound-of-sport/#comments</comments>
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<pubDate>Thu, 13 Oct 2011 11:47:41 +0000</pubDate>
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1625
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<dc:creator>roman</dc:creator>
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1626
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<category><![CDATA[Uncategorized]]></category>
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1627
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/10/13/99-invisible-38-sound-of-sport/</guid>
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<description><![CDATA[If Dennis Baxter and Bill Whiston are doing their job right, you probably don’t notice that they’re doing their job. But they are so good at doing their job, that you probably don’t even know that their job exists at … <a href="http://99percentinvisible.prx.org/2011/10/13/99-invisible-38-sound-of-sport/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>If <a href="http://tvsoundacademy.com/" target="_blank">Dennis Baxter</a> and <a href="http://www.sislive.tv/" target="_blank">Bill Whiston</a> are doing their job right, you probably don’t notice that they’re doing their job. But they are so good at doing their job, that you probably don’t even know that their job exists at all. They are sound designers for televised sporting events. Their job is to draw the audience into the action and make sports sound as exciting as possible, and this doesn’t mean they put a bunch of microphones on the field. It sometimes means they fake it.</p>
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<p><a href="http://www.moving-air.com/" target="_blank">Peregrine Andrews</a> produced this piece narrated by Dennis Baxter for <a href="http://www.fallingtree.co.uk/" target="_blank">Falling Tree Productions</a> for BBC Radio4. It is an extract from a much longer, and really stunning doc called “<a href="http://www.fallingtree.co.uk/broadcast_history/2011/the_sound_of_sport" target="_blank">The Sound of Sport</a>.”</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/38-Sound-of-Sport.mp3" length="5289843" type="audio/mpeg" />
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<itunes:subtitle>If Dennis Baxter and Bill Whiston are doing their job right, you probably don’t notice that they’re doing their job. But they are so good at doing their job, that you probably don’t even know that their job exists at all.</itunes:subtitle>
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<itunes:summary>If Dennis Baxter and Bill Whiston are doing their job right, you probably don’t notice that they’re doing their job. But they are so good at doing their job, that you probably don’t even know that their job exists at all. They are sound designers for televised sporting events. Their job is to draw the audience into the action and make sports sound as exciting as possible, and this doesn’t mean they put a bunch of microphones on the field. It sometimes means they fake it.
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Peregrine Andrews produced this piece narrated by Dennis Baxter for Falling Tree Productions for BBC Radio4. It is an extract from a much longer, and really stunning doc called “The Sound of Sport.”</itunes:summary>
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1638
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<itunes:author>Roman Mars</itunes:author>
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1639
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<itunes:explicit>no</itunes:explicit>
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1640
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<itunes:duration>5:29</itunes:duration>
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1641
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</item>
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<item>
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<title>99% Invisible-37- The Steering Wheel</title>
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<link>http://99percentinvisible.prx.org/2011/09/29/99-invisible-37-the-steering-wheel/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-37-the-steering-wheel</link>
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<comments>http://99percentinvisible.prx.org/2011/09/29/99-invisible-37-the-steering-wheel/#comments</comments>
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<pubDate>Thu, 29 Sep 2011 04:06:56 +0000</pubDate>
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1647
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<dc:creator>roman</dc:creator>
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1648
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<category><![CDATA[Uncategorized]]></category>
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1649
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/09/28/99-invisible-37-the-steering-wheel/</guid>
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<description><![CDATA[If I asked you to close your eyes and mimic the action of using one of the simple human interfaces of everyday life, you could probably do it. Without having a button to push, you could close your eyes and … <a href="http://99percentinvisible.prx.org/2011/09/29/99-invisible-37-the-steering-wheel/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>If I asked you to close your eyes and mimic the action of using one of the simple human interfaces of everyday life, you could probably do it. Without having a button to push, you could close your eyes and pretend push a button, and that action would accurately reflect the action of pushing a real button. The same goes for flipping a switch or turning a door knob. If you closed your eyes and faked the movement, it would sync up with its real world use.</p>
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<p>Now if I asked you to do the same with a car’s steering wheel, you’d think you’d be able to describe steering accurately and mime the correct movements with your hands in the air, but you’d be wrong. Very, very wrong. You’d probably kill a bunch of imaginary people.</p>
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<p>Our friends at <a href="http://humansindesign.com/" target="_blank">Humans in Design</a>, Tristan Cooke and Tom Nelson, bring us this story about how our brain knows how to steer without really knowing how to steer, and what that means for steering wheel design. They interviewed <a href="http://www.hms.uq.edu.au/steven-cloete" target="_blank">Dr. Steve Cloete</a>, from The University of Queensland, who conducted the awesome blind driver studies.</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/37-The-Steering-Wheel.mp3" length="7058233" type="audio/mpeg" />
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<itunes:subtitle>If I asked you to close your eyes and mimic the action of using one of the simple human interfaces of everyday life, you could probably do it. Without having a button to push, you could close your eyes and pretend push a button,</itunes:subtitle>
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<itunes:summary>If I asked you to close your eyes and mimic the action of using one of the simple human interfaces of everyday life, you could probably do it. Without having a button to push, you could close your eyes and pretend push a button, and that action would accurately reflect the action of pushing a real button. The same goes for flipping a switch or turning a door knob. If you closed your eyes and faked the movement, it would sync up with its real world use.
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Now if I asked you to do the same with a car’s steering wheel, you’d think you’d be able to describe steering accurately and mime the correct movements with your hands in the air, but you’d be wrong. Very, very wrong. You’d probably kill a bunch of imaginary people.
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Our friends at Humans in Design, Tristan Cooke and Tom Nelson, bring us this story about how our brain knows how to steer without really knowing how to steer, and what that means for steering wheel design. They interviewed Dr. Steve Cloete, from The University of Queensland, who conducted the awesome blind driver studies.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>7:20</itunes:duration>
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<title>99% Invisible-36- Super Bon Bonn</title>
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<link>http://99percentinvisible.prx.org/2011/09/16/99-invisible-36-super-bon-bonn/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-36-super-bon-bonn</link>
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<pubDate>Fri, 16 Sep 2011 06:14:44 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/09/15/99-invisible-36-super-bon-bonn/</guid>
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<description><![CDATA[Cities are pretty robust organisms, they tend to survive even when put under tremendous stress and strain. Local industries rise and fall, people immigrate and emigrate, but most of these changes happen over decades. What happens to a city when … <a href="http://99percentinvisible.prx.org/2011/09/16/99-invisible-36-super-bon-bonn/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Cities are pretty robust organisms, they tend to survive even when put under tremendous stress and strain. Local industries rise and fall, people immigrate and emigrate, but most of these changes happen over decades. What happens to a city when its purpose is stripped away virtually overnight? Bonn was the quiet, unlikely capital of West Germany and then the newly unified Germany for 50 years, and then the Cold War ended and the seat of government was moved back to its historic home of Berlin. Ten years after the move, Bonn is finding its new identity and purpose, but hidden clues in the urban landscape remind us of the city it used to be.</p>
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<p><a href="http://cyrusfarivar.com/" target="_blank">Cyrus Farivar</a> takes us on a tour of his neighborhood in what used to be the diplomatic quarter of Bonn with local historian and tour guide <a href="http://www.botschaftstouren.de/" target="_blank">Michael Wenzel</a>. Farivar is the <a href="http://www.dw-world.de/dw/0,,12526,00.html" target="_blank">science and technology editor</a> at Deutsche Welle English and the author of <em><a href="http://internetofelsewhere.com/" target="_blank">The Internet of Elsewhere</a></em> – about the history and effects of the Internet on different countries around the world.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/36-Super-Bon-Bonn.mp3" length="9554281" type="audio/mpeg" />
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<itunes:subtitle>Cities are pretty robust organisms, they tend to survive even when put under tremendous stress and strain. Local industries rise and fall, people immigrate and emigrate, but most of these changes happen over decades.</itunes:subtitle>
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<itunes:summary>Cities are pretty robust organisms, they tend to survive even when put under tremendous stress and strain. Local industries rise and fall, people immigrate and emigrate, but most of these changes happen over decades. What happens to a city when its purpose is stripped away virtually overnight? Bonn was the quiet, unlikely capital of West Germany and then the newly unified Germany for 50 years, and then the Cold War ended and the seat of government was moved back to its historic home of Berlin. Ten years after the move, Bonn is finding its new identity and purpose, but hidden clues in the urban landscape remind us of the city it used to be.
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Cyrus Farivar takes us on a tour of his neighborhood in what used to be the diplomatic quarter of Bonn with local historian and tour guide Michael Wenzel. Farivar is the science and technology editor at Deutsche Welle English and the author of The Internet of Elsewhere – about the history and effects of the Internet on different countries around the world.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>9:56</itunes:duration>
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<title>99% Invisible-35- Elegy for WTC</title>
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<link>http://99percentinvisible.prx.org/2011/09/01/99-invisible-35-elegy-for-wtc/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-35-elegy-for-wtc</link>
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<pubDate>Thu, 01 Sep 2011 23:01:00 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/09/01/99-invisible-35-elegy-for-wtc/</guid>
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<description><![CDATA[I want to be careful not to overstate what it means for a building to die. A building’s worth is an infinitesimal fraction of the worth a person’s life. Even two buildings don’t even move the needle in comparison to … <a href="http://99percentinvisible.prx.org/2011/09/01/99-invisible-35-elegy-for-wtc/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>I want to be careful not to overstate what it means for a building to die. A building’s worth is an infinitesimal fraction of the worth a person’s life. Even two buildings don’t even move the needle in comparison to real human loss. But a building is still a living thing in a way. It breathes and it moves. This movement makes a sound.</p>
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<p>Les Robertson, the structural engineer of the World Trade Center, says that the people working inside the tower couldn’t feel this movement, but they could hear it.</p>
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<p>This episode of 99% Invisible was produced with the <a href="http://www.kitchensisters.org/" target="_blank">Kitchen Sisters</a>, Davia Nelson and Nikki Silva, and the creaking “Buildings Speak” section was mixed by <a href="http://99percentinvisible.org/post/3230995265/episode-15-the-sound-of-the-artificial-world" target="_blank">Jim McKee</a> of <a href="http://www.earwaxproductions.com/" target="_blank">Earwax Productions</a>. It’s comprised of extracts and outtakes from the Peabody Award Winning <a href="http://www.sonicmemorial.org/sonic/public/index.html" target="_blank">Sonic Memorial Project</a> produced in 2002. A new, tenth anniversary edition of the Sonic Memorial Project, which is narrated by my literary hero <a href="http://en.wikipedia.org/wiki/Paul_Auster" target="_blank">Paul Auster</a>, is going to be playing on <a href="http://www.prx.org/pieces/66867-the-sonic-memorial-project/" target="_blank">public radio stations around the country</a>. Find out where and when it’s playing on your local public radio station and make an appointment to listen.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/35-Elegy-for-WTC.mp3" length="6132448" type="audio/mpeg" />
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<itunes:subtitle>I want to be careful not to overstate what it means for a building to die. A building’s worth is an infinitesimal fraction of the worth a person’s life. Even two buildings don’t even move the needle in comparison to real human loss.</itunes:subtitle>
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<itunes:summary>I want to be careful not to overstate what it means for a building to die. A building’s worth is an infinitesimal fraction of the worth a person’s life. Even two buildings don’t even move the needle in comparison to real human loss. But a building is still a living thing in a way. It breathes and it moves. This movement makes a sound.
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Les Robertson, the structural engineer of the World Trade Center, says that the people working inside the tower couldn’t feel this movement, but they could hear it.
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This episode of 99% Invisible was produced with the Kitchen Sisters, Davia Nelson and Nikki Silva, and the creaking “Buildings Speak” section was mixed by Jim McKee of Earwax Productions. It’s comprised of extracts and outtakes from the Peabody Award Winning Sonic Memorial Project produced in 2002. A new, tenth anniversary edition of the Sonic Memorial Project, which is narrated by my literary hero Paul Auster, is going to be playing on public radio stations around the country. Find out where and when it’s playing on your local public radio station and make an appointment to listen.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>6:22</itunes:duration>
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<title>99% Invisible-34- The Speed of Light for Building Pyramids</title>
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<link>http://99percentinvisible.prx.org/2011/08/19/99-invisible-34-the-speed-of-light-for-building-pyramids/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-34-the-speed-of-light-for-building-pyramids</link>
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<comments>http://99percentinvisible.prx.org/2011/08/19/99-invisible-34-the-speed-of-light-for-building-pyramids/#comments</comments>
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<pubDate>Fri, 19 Aug 2011 02:15:33 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/08/18/99-invisible-34-the-speed-of-light-for-building-pyramids/</guid>
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<description><![CDATA[Last year, Steve Burrows CBE (Principle at the engineering consulting firm Arup) spent several weeks in Egypt studying the pyramids through the eyes of a modern day structural engineer. The result, which was presented in a documentary for the Discovery … <a href="http://99percentinvisible.prx.org/2011/08/19/99-invisible-34-the-speed-of-light-for-building-pyramids/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Last year, <a href="http://www.arup.com/About_us/A_people_business/People/Stephen_J_Burrows.aspx" target="_blank">Steve Burrows</a> <a href="http://en.wikipedia.org/wiki/Order_of_the_British_Empire" target="_blank">CBE</a> (Principle at the engineering consulting firm <a href="http://www.arup.com/" target="_blank">Arup</a>) spent several weeks in Egypt studying the pyramids through the eyes of a modern day structural engineer. The result, which was presented in a documentary for the <a href="http://science.discovery.com/videos/engineering-the-impossible-egypt/" target="_blank">Discovery Channel</a> and published in an article for <a href="http://www.di.net/articles/archive/learning_from_legacy/" target="_blank">DesignIntelligence</a>, presented fascinating insights into the design of the pyramids and offers some lessons in how we may think about sustainability through longevity in modern architecture.</p>
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<p>Burrows’ research reveals that some of the same practical considerations that structural engineers and architects contend with today, may have driven all the major decisions about the design and construction of the Giza Pyramids.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/34-The-Speed-of-Light-for-Building-Pyramids.mp3" length="9605298" type="audio/mpeg" />
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<itunes:subtitle>Last year, Steve Burrows CBE (Principle at the engineering consulting firm Arup) spent several weeks in Egypt studying the pyramids through the eyes of a modern day structural engineer. The result, which was presented in a documentary for the Discovery...</itunes:subtitle>
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<itunes:summary>Last year, Steve Burrows CBE (Principle at the engineering consulting firm Arup) spent several weeks in Egypt studying the pyramids through the eyes of a modern day structural engineer. The result, which was presented in a documentary for the Discovery Channel and published in an article for DesignIntelligence, presented fascinating insights into the design of the pyramids and offers some lessons in how we may think about sustainability through longevity in modern architecture.
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Burrows’ research reveals that some of the same practical considerations that structural engineers and architects contend with today, may have driven all the major decisions about the design and construction of the Giza Pyramids.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>9:59</itunes:duration>
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<title>99% Invisible-33- A Cheer for Samuel Plimsoll</title>
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<link>http://99percentinvisible.prx.org/2011/08/04/99-invisible-33-a-cheer-for-samuel-plimsoll/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-33-a-cheer-for-samuel-plimsoll</link>
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<comments>http://99percentinvisible.prx.org/2011/08/04/99-invisible-33-a-cheer-for-samuel-plimsoll/#comments</comments>
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<pubDate>Thu, 04 Aug 2011 22:44:46 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/08/04/99-invisible-33-a-cheer-for-samuel-plimsoll/</guid>
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<description><![CDATA[If you look at the outer hull of commercial ships, you might find a painted circle bisected with a long horizontal line. This marking is called the load line, or as I prefer, the Plimsoll line. This simple graphic design … <a href="http://99percentinvisible.prx.org/2011/08/04/99-invisible-33-a-cheer-for-samuel-plimsoll/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>If you look at the outer hull of commercial ships, you might find a painted circle bisected with a long horizontal line. This marking is called the load line, or as I prefer, the Plimsoll line. This simple graphic design has saved thousands of lives. The Plimsoll line shows the maximum loading point of the ship and lets a third party know, plainly and clearly, when a vessel is overloaded and at risk of sinking in rough seas. If you see that horizontal line above the water, you’re good, if you don’t, you could be sunk.</p>
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<p>The load line was named after the crusading British MP Samuel Plimsoll. The advent of insurance in the 19th century, created an incentive for ship owners to purposely sink their own ships and collect the insurance money. This grim practice became so widespread, and killed so many merchant seamen, that the over-insured, overloaded vessels became known as “coffin ships.” Samuel Plimsoll (“the sailors friend”) fought for sweeping merchant shipping regulation that led to the adoption of the marking that bears his name.</p>
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<p>Tristan Cooke, a human factors engineer and creator of a great blog called <a href="http://humansindesign.tumblr.com/" target="_blank">Humans in Design</a>, tells us the history of the Plimsoll line and explains why it’s one of his favorite examples of design.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/33-A-Cheer-for-Samuel-Plimsoll.mp3" length="6679571" type="audio/mpeg" />
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<itunes:subtitle>If you look at the outer hull of commercial ships, you might find a painted circle bisected with a long horizontal line. This marking is called the load line, or as I prefer, the Plimsoll line. This simple graphic design has saved thousands of lives.</itunes:subtitle>
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<itunes:summary>If you look at the outer hull of commercial ships, you might find a painted circle bisected with a long horizontal line. This marking is called the load line, or as I prefer, the Plimsoll line. This simple graphic design has saved thousands of lives. The Plimsoll line shows the maximum loading point of the ship and lets a third party know, plainly and clearly, when a vessel is overloaded and at risk of sinking in rough seas. If you see that horizontal line above the water, you’re good, if you don’t, you could be sunk.
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The load line was named after the crusading British MP Samuel Plimsoll. The advent of insurance in the 19th century, created an incentive for ship owners to purposely sink their own ships and collect the insurance money. This grim practice became so widespread, and killed so many merchant seamen, that the over-insured, overloaded vessels became known as “coffin ships.” Samuel Plimsoll (“the sailors friend”) fought for sweeping merchant shipping regulation that led to the adoption of the marking that bears his name.
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Tristan Cooke, a human factors engineer and creator of a great blog called Humans in Design, tells us the history of the Plimsoll line and explains why it’s one of his favorite examples of design.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>6:56</itunes:duration>
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<title>99% Invisible-32- Design for Airports</title>
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<link>http://99percentinvisible.prx.org/2011/07/28/99-invisible-32-design-for-airports/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-32-design-for-airports</link>
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<comments>http://99percentinvisible.prx.org/2011/07/28/99-invisible-32-design-for-airports/#comments</comments>
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<pubDate>Thu, 28 Jul 2011 03:10:37 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/07/27/99-invisible-32-design-for-airports/</guid>
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<description><![CDATA[When I spoke with Allison Arieff about the design of airports, she said to me, if all airports simply played Brian Eno’s album Ambient 1: Music for Airports over the speakers, every airport would be better. I say this to … <a href="http://99percentinvisible.prx.org/2011/07/28/99-invisible-32-design-for-airports/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>When I spoke with <a href="http://www.modernhouse.com/allison/" target="_blank">Allison Arieff</a> about the design of airports, she said to me, if all airports simply played Brian Eno’s album <em><a href="http://en.wikipedia.org/wiki/Ambient_1:_Music_for_Airports" target="_blank">Ambient 1: Music for Airports</a></em> over the speakers, every airport would be better. I say this to serve not only as an introduction to Allison Arieff, but also so you’ll know that she is someone whose judgment is perfectly true.</p>
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<p>Using <a href="http://www.flysfo.com/web/page/about/T2/" target="_blank">T2 at SFO</a> as an example, Allison Arieff of the <a href="http://opinionator.blogs.nytimes.com/category/allison-arieff/" target="_blank">New York Times</a> talks us through some of the considerations that go into designing an airport terminal, how the priorities have changed since 9/11, and how architects struggle to keep pace with ever-changing technology.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/32-Design-for-Airports.mp3" length="7821009" type="audio/mpeg" />
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<itunes:subtitle>When I spoke with Allison Arieff about the design of airports, she said to me, if all airports simply played Brian Eno’s album Ambient 1: Music for Airports over the speakers, every airport would be better.</itunes:subtitle>
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<itunes:summary>When I spoke with Allison Arieff about the design of airports, she said to me, if all airports simply played Brian Eno’s album Ambient 1: Music for Airports over the speakers, every airport would be better. I say this to serve not only as an introduction to Allison Arieff, but also so you’ll know that she is someone whose judgment is perfectly true.
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Using T2 at SFO as an example, Allison Arieff of the New York Times talks us through some of the considerations that go into designing an airport terminal, how the priorities have changed since 9/11, and how architects struggle to keep pace with ever-changing technology.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:duration>8:07</itunes:duration>
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<title>99% Invisible-31- Feltron Annual Report</title>
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<link>http://99percentinvisible.prx.org/2011/07/14/99-invisible-31-feltron-annual-report/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-31-feltron-annual-report</link>
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<comments>http://99percentinvisible.prx.org/2011/07/14/99-invisible-31-feltron-annual-report/#comments</comments>
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<pubDate>Thu, 14 Jul 2011 05:48:28 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/07/13/99-invisible-31-feltron-annual-report/</guid>
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<description><![CDATA[Nicholas Felton is an information designer. Since 2005, he has tabulated thousands upon thousands of tiny measurements in his life and designed stunning graphs and maps and created concise infographics that detail that year’s activities. The results were originally intended … <a href="http://99percentinvisible.prx.org/2011/07/14/99-invisible-31-feltron-annual-report/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p><a href="http://feltron.com/" target="_blank">Nicholas Felton</a> is an information designer. Since 2005, he has tabulated thousands upon thousands of tiny measurements in his life and designed stunning graphs and maps and created concise infographics that detail that year’s activities. The results were originally intended for his friends and family, but the “<a href="http://feltron.com/ar09_01.html" target="_blank">personal annual reports</a>” have found an audience with fellow designers and people that really geek out on seeing lots of data, beautifully presented.</p>
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<p>In 2010, Nicholas Felton’s father passed away, and Felton decided to turn his annual report into a full biography of his father. He took 4,348 of his father’s personal records and created an <a href="http://feltron.com/ar10_01.html" target="_blank">intimate portrait</a> of a man, using only the data he left behind.</p>
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<p>I produced this story with <a href="http://nate-berg.com/" target="_blank">Nate Berg</a>, who is an awesome freelance journalist and blogger at <a href="http://www.planetizen.com/" target="_blank">Planetizen</a> (a site you should add to your daily routine).</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/31-Feltron-Annual-Report.mp3" length="9541331" type="audio/mpeg" />
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<itunes:subtitle>Nicholas Felton is an information designer. Since 2005, he has tabulated thousands upon thousands of tiny measurements in his life and designed stunning graphs and maps and created concise infographics that detail that year’s activities.</itunes:subtitle>
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<itunes:summary>Nicholas Felton is an information designer. Since 2005, he has tabulated thousands upon thousands of tiny measurements in his life and designed stunning graphs and maps and created concise infographics that detail that year’s activities. The results were originally intended for his friends and family, but the “personal annual reports” have found an audience with fellow designers and people that really geek out on seeing lots of data, beautifully presented.
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In 2010, Nicholas Felton’s father passed away, and Felton decided to turn his annual report into a full biography of his father. He took 4,348 of his father’s personal records and created an intimate portrait of a man, using only the data he left behind.
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I produced this story with Nate Berg, who is an awesome freelance journalist and blogger at Planetizen (a site you should add to your daily routine).</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>9:55</itunes:duration>
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<title>99% Invisible-30- The Blue Yarn</title>
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<link>http://99percentinvisible.prx.org/2011/07/01/99-invisible-30-the-blue-yarn/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-30-the-blue-yarn</link>
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<comments>http://99percentinvisible.prx.org/2011/07/01/99-invisible-30-the-blue-yarn/#comments</comments>
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<pubDate>Fri, 01 Jul 2011 00:31:11 +0000</pubDate>
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1813
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<dc:creator>roman</dc:creator>
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1814
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<category><![CDATA[Uncategorized]]></category>
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1815
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/06/30/99-invisible-30-the-blue-yarn/</guid>
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<description><![CDATA[In 1998 Dr. Gary Kaplan, the CEO of Virginia Mason Medical Center in Seattle received some bad news about his hospital. It was losing money. So Dr. Kaplan started studying how other hospitals were being run to see if there … <a href="http://99percentinvisible.prx.org/2011/07/01/99-invisible-30-the-blue-yarn/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>In 1998 Dr. Gary Kaplan, the CEO of Virginia Mason Medical Center in Seattle received some bad news about his hospital. It was losing money. So Dr. Kaplan started studying how other hospitals were being run to see if there was a better way to manage his hospital. He scoured the country, looking for a hospital with a management system worth adopting, but he never found one. Instead he ended up in Japan. At a Toyota factory. This entire, multiyear overhaul started with a ball of blue yarn. The staff met with a Toyota Production System sensei and he took out the ball of blue yarn and a map of the hospital and told the staff to trace the path a cancer patient would take on a typical visit for chemotherapy treatment. When they were finished, it was an immensely powerful visual experience for everyone in the room. They all stared at this map with blue yarn snaking all over the place, doubling back on itself and making complicated twists and turns from one end of the building to the other. They understood for the first time that they were taking their sickest patients, for whom time was their most precious resource, and they were wasting huge amounts of it.</p>
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<p>This story was produced by <a href="http://www.prx.org/user/dcw2323" target="_blank">David Weinberg</a>. David spoke with Charles Kenney, author of <a href="http://www.amazon.com/Transforming-Health-Care-Virginia-Experience/dp/1563273756" target="_blank">Transforming Healthcare</a> and Dr. Henry Otero and Nurse Michele Wettland from Virginia Mason.</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/30-The-Blue-Yarn.mp3" length="9945525" type="audio/mpeg" />
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<itunes:subtitle>In 1998 Dr. Gary Kaplan, the CEO of Virginia Mason Medical Center in Seattle received some bad news about his hospital. It was losing money. So Dr. Kaplan started studying how other hospitals were being run to see if there was a better way to manage hi...</itunes:subtitle>
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<itunes:summary>In 1998 Dr. Gary Kaplan, the CEO of Virginia Mason Medical Center in Seattle received some bad news about his hospital. It was losing money. So Dr. Kaplan started studying how other hospitals were being run to see if there was a better way to manage his hospital. He scoured the country, looking for a hospital with a management system worth adopting, but he never found one. Instead he ended up in Japan. At a Toyota factory. This entire, multiyear overhaul started with a ball of blue yarn. The staff met with a Toyota Production System sensei and he took out the ball of blue yarn and a map of the hospital and told the staff to trace the path a cancer patient would take on a typical visit for chemotherapy treatment. When they were finished, it was an immensely powerful visual experience for everyone in the room. They all stared at this map with blue yarn snaking all over the place, doubling back on itself and making complicated twists and turns from one end of the building to the other. They understood for the first time that they were taking their sickest patients, for whom time was their most precious resource, and they were wasting huge amounts of it.
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This story was produced by David Weinberg. David spoke with Charles Kenney, author of Transforming Healthcare and Dr. Henry Otero and Nurse Michele Wettland from Virginia Mason.</itunes:summary>
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1826
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<itunes:author>Roman Mars</itunes:author>
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1827
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<itunes:explicit>no</itunes:explicit>
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1828
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<itunes:duration>10:20</itunes:duration>
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</item>
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<item>
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<title>99% Invisible-29- Cul de Sac</title>
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<link>http://99percentinvisible.prx.org/2011/06/17/99-invisible-29-cul-de-sac/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-29-cul-de-sac</link>
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<comments>http://99percentinvisible.prx.org/2011/06/17/99-invisible-29-cul-de-sac/#comments</comments>
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<pubDate>Fri, 17 Jun 2011 01:52:38 +0000</pubDate>
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1835
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<dc:creator>roman</dc:creator>
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1836
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<category><![CDATA[Uncategorized]]></category>
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1837
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/06/16/99-invisible-29-cul-de-sac/</guid>
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<description><![CDATA[When people critique cul-de-sacs, a lot of the time, they’re actually critiquing the suburbs more generally. The cul-de-sac has become sort of like the mascot of the suburbs– like if suburbia had a flag, it would have a picture of … <a href="http://99percentinvisible.prx.org/2011/06/17/99-invisible-29-cul-de-sac/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>When people critique cul-de-sacs, a lot of the time, they’re actually critiquing the suburbs more generally. The cul-de-sac has become sort of like the mascot of the suburbs– like if suburbia had a flag, it would have a picture of a cul-de-sac on it. Cul-de-sacs by definition aren’t well connected to other streets and they are far away town centers. People can argue whether or not these are pros or cons, depending on what lifestyle choices they prioritize. For little kids, cul-de-sacs can be great, but they do have some real, quantifiable design flaws. Imagine being a garbage collector, or a street cleaner, instead of driving down one long street and collecting all the garbage from that street, then taking a right onto the next street and so on, you have to turn around in all of these cul-de-sacs over and over again. It takes more time and uses more gas. They’re expensive for governments to maintain, and now, governments are starting to enact regulations against them. Producer <a href="http://katiemingle.com/" target="_blank">Katie Mingle</a> talks with <a href="http://www-personal.umich.edu/%7Emlassite/homepage.html" target="_blank">Matt Lassiter</a> about cul-de-sacs, the pitfalls of suburban design, and of course, E.T.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/29-Cul-de-Sac.mp3" length="11328932" type="audio/mpeg" />
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<itunes:subtitle>When people critique cul-de-sacs, a lot of the time, they’re actually critiquing the suburbs more generally. The cul-de-sac has become sort of like the mascot of the suburbs– like if suburbia had a flag, it would have a picture of a cul-de-sac on it.</itunes:subtitle>
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<itunes:summary>When people critique cul-de-sacs, a lot of the time, they’re actually critiquing the suburbs more generally. The cul-de-sac has become sort of like the mascot of the suburbs– like if suburbia had a flag, it would have a picture of a cul-de-sac on it. Cul-de-sacs by definition aren’t well connected to other streets and they are far away town centers. People can argue whether or not these are pros or cons, depending on what lifestyle choices they prioritize. For little kids, cul-de-sacs can be great, but they do have some real, quantifiable design flaws. Imagine being a garbage collector, or a street cleaner, instead of driving down one long street and collecting all the garbage from that street, then taking a right onto the next street and so on, you have to turn around in all of these cul-de-sacs over and over again. It takes more time and uses more gas. They’re expensive for governments to maintain, and now, governments are starting to enact regulations against them. Producer Katie Mingle talks with Matt Lassiter about cul-de-sacs, the pitfalls of suburban design, and of course, E.T.</itunes:summary>
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1845
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<itunes:author>Roman Mars</itunes:author>
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1846
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<itunes:explicit>no</itunes:explicit>
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1847
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<itunes:duration>11:47</itunes:duration>
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1848
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</item>
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<item>
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1850
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<title>99% Invisible-28- Movie Title Sequences</title>
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1851
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<link>http://99percentinvisible.prx.org/2011/06/10/99-invisible-28-movie-title-sequences/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-28-movie-title-sequences</link>
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<comments>http://99percentinvisible.prx.org/2011/06/10/99-invisible-28-movie-title-sequences/#comments</comments>
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<pubDate>Fri, 10 Jun 2011 00:16:14 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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1855
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<category><![CDATA[Uncategorized]]></category>
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1856
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/06/09/99-invisible-28-movie-title-sequences/</guid>
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<description><![CDATA[More and more I’m finding that the first 2-3 minutes of a movie are my favorite part of the film. My life is devoted to the beautiful expression of information, which is why film title sequences hold a special place … <a href="http://99percentinvisible.prx.org/2011/06/10/99-invisible-28-movie-title-sequences/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>More and more I’m finding that the first 2-3 minutes of a movie are my favorite part of the film. My life is devoted to the beautiful expression of information, which is why film title sequences hold a special place in my heart. On this episode, I talk with Ian Albinson (Editor-in-Chief and Founder of the kick-ass <a href="http://www.artofthetitle.com/" target="_blank">Art of the Title</a>) and the brilliant <a href="http://www.smithleedesign.com/" target="_blank">Gareth Smith</a> (title sequence designer- along with his wife Jenny Lee- of such films as <a href="http://www.smithleedesign.com/#594699/Juno" target="_blank">Juno</a> and <a href="http://www.smithleedesign.com/#594711/Up-in-the-Air" target="_blank">Up in the Air</a>) about the benchmarks of film title design and the constraints involved in presenting what is essentially a legal document to a paying audience.</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/28-Movie-Title-Sequences.mp3" length="8825785" type="audio/mpeg" />
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<itunes:subtitle>More and more I’m finding that the first 2-3 minutes of a movie are my favorite part of the film. My life is devoted to the beautiful expression of information, which is why film title sequences hold a special place in my heart. On this episode,</itunes:subtitle>
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<itunes:summary>More and more I’m finding that the first 2-3 minutes of a movie are my favorite part of the film. My life is devoted to the beautiful expression of information, which is why film title sequences hold a special place in my heart. On this episode, I talk with Ian Albinson (Editor-in-Chief and Founder of the kick-ass Art of the Title) and the brilliant Gareth Smith (title sequence designer- along with his wife Jenny Lee- of such films as Juno and Up in the Air) about the benchmarks of film title design and the constraints involved in presenting what is essentially a legal document to a paying audience.</itunes:summary>
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1864
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<itunes:author>Roman Mars</itunes:author>
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1865
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<itunes:explicit>no</itunes:explicit>
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1866
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<itunes:duration>9:10</itunes:duration>
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</item>
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<item>
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1869
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<title>99% Invisible-27- Bridge to the Sky</title>
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1870
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<link>http://99percentinvisible.prx.org/2011/06/03/99-invisible-27-bridge-to-the-sky/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-27-bridge-to-the-sky</link>
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<comments>http://99percentinvisible.prx.org/2011/06/03/99-invisible-27-bridge-to-the-sky/#comments</comments>
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<pubDate>Fri, 03 Jun 2011 06:32:34 +0000</pubDate>
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1873
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<dc:creator>roman</dc:creator>
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1874
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<category><![CDATA[Uncategorized]]></category>
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1875
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/06/02/99-invisible-27-bridge-to-the-sky/</guid>
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1876
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<description><![CDATA[There are rules that dicate what you can build and how. Rules of physics and rules of men who sit on various bureaucratic boards and bodies. These rules dictated that if silk magnate John Noble Stearns wanted to build one … <a href="http://99percentinvisible.prx.org/2011/06/03/99-invisible-27-bridge-to-the-sky/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>There are rules that dicate what you can build and how. Rules of physics and rules of men who sit on various bureaucratic boards and bodies. These rules dictated that if silk magnate John Noble Stearns wanted to build one of those ten story towers that were all the rage in 1888, on his 22 foot wide lot, he would need to build walls of stone and brick that were 5 feet thick. With tiny windows. Which left room for an interior that was only 11 feet wide. Slice off a few feet for a hallway. A few for a bathroom.A couple for a coat closet. Another for some filing cabinets and an umbrella stand. And he would be asking his well heeled tenants to work in a dark cell better suited to monks illuminating manuscripts. Stearns asked the best architects in the northeast for a solution. They all told him it couldn’t be done. Everyone except Bradford Gilbert. This week’s episode is an original commission, produced by Nate Dimeo from <em><a href="http://thememorypalace.us/" target="_blank">the memory palace</a></em>.</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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1880
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/27-Bridge-to-the-Sky.mp3" length="4573464" type="audio/mpeg" />
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<itunes:subtitle>There are rules that dicate what you can build and how. Rules of physics and rules of men who sit on various bureaucratic boards and bodies. These rules dictated that if silk magnate John Noble Stearns wanted to build one of those ten story towers that...</itunes:subtitle>
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<itunes:summary>There are rules that dicate what you can build and how. Rules of physics and rules of men who sit on various bureaucratic boards and bodies. These rules dictated that if silk magnate John Noble Stearns wanted to build one of those ten story towers that were all the rage in 1888, on his 22 foot wide lot, he would need to build walls of stone and brick that were 5 feet thick. With tiny windows. Which left room for an interior that was only 11 feet wide. Slice off a few feet for a hallway. A few for a bathroom.A couple for a coat closet. Another for some filing cabinets and an umbrella stand. And he would be asking his well heeled tenants to work in a dark cell better suited to monks illuminating manuscripts. Stearns asked the best architects in the northeast for a solution. They all told him it couldn’t be done. Everyone except Bradford Gilbert. This week’s episode is an original commission, produced by Nate Dimeo from the memory palace.</itunes:summary>
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1883
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<itunes:author>Roman Mars</itunes:author>
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1884
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<itunes:explicit>no</itunes:explicit>
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1885
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<itunes:duration>4:44</itunes:duration>
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1886
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</item>
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1887
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<item>
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1888
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<title>99% Invisible-26- Chicago’s Jailhouse Skyscraper</title>
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1889
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<link>http://99percentinvisible.prx.org/2011/05/20/99-invisible-26-chicagos-jailhouse-skyscraper/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-26-chicagos-jailhouse-skyscraper</link>
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<comments>http://99percentinvisible.prx.org/2011/05/20/99-invisible-26-chicagos-jailhouse-skyscraper/#comments</comments>
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1891
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<pubDate>Fri, 20 May 2011 04:15:24 +0000</pubDate>
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1892
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<dc:creator>roman</dc:creator>
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1893
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<category><![CDATA[Uncategorized]]></category>
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1894
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/05/19/99-invisible-26-chicagos-jailhouse-skyscraper/</guid>
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1895
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<description><![CDATA[The Metropolitan Correctional Center, or MCC, is a federal jail right in the middle of downtown Chicago. It’s a triangle-shaped skyscraper, 27 stories, with tall, super-narrow, irregularly-spaced windows up and down each wall. The outside walls look like old computer … <a href="http://99percentinvisible.prx.org/2011/05/20/99-invisible-26-chicagos-jailhouse-skyscraper/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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1896
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+
<content:encoded><![CDATA[<p>The Metropolitan Correctional Center, or MCC, is a federal jail right in the middle of downtown Chicago. It’s a triangle-shaped skyscraper, 27 stories, with tall, super-narrow, irregularly-spaced windows up and down each wall. The outside walls look like old computer punchcards. As odd as it looks, each of these striking details serve a purpose. The architect, <a href="http://en.wikipedia.org/wiki/Harry_Weese" target="_blank">Harry Weese</a>, made bold innovations that were solutions to practical problems. The triangular shape creates easy sight-lines for the guards inside. The windows are narrow (5 inches) to prevent escapes (without requiring bars), but beveled out, to funnel natural light inside. The interior design was very thoughtfully considered as well. As stunning as it is, the building can also be a little hard to see from up close. Producer/reporter <a href="http://danweissmann.com/" target="_blank">Dan Weissmann</a> worked nearby for years and rarely looked up at it. This is apparently by design, as well. The triangular shape keeps the building pushed back from the street, there’s a tall hedge between the sidewalk and the plaza in front of the jail, and the El train blocks the much of the view of the floors above. But recently Dan kind of became obsessed with the MCC and discovered that Harry Weese’s groundbreaking design may still gain admirers from the throngs of people that pass it on the street, but for the 681 temporary residents inside, it may not be living up to Weese’s grand vision.</p>]]></content:encoded>
|
|
1897
|
+
<wfw:commentRss>http://99percentinvisible.prx.org/2011/05/20/99-invisible-26-chicagos-jailhouse-skyscraper/feed/</wfw:commentRss>
|
|
1898
|
+
<slash:comments>0</slash:comments>
|
|
1899
|
+
<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/26-Chicago_s-Jailhouse-Skyscraper.mp3" length="7089590" type="audio/mpeg" />
|
|
1900
|
+
<itunes:subtitle>The Metropolitan Correctional Center, or MCC, is a federal jail right in the middle of downtown Chicago. It’s a triangle-shaped skyscraper, 27 stories, with tall, super-narrow, irregularly-spaced windows up and down each wall.</itunes:subtitle>
|
|
1901
|
+
<itunes:summary>The Metropolitan Correctional Center, or MCC, is a federal jail right in the middle of downtown Chicago. It’s a triangle-shaped skyscraper, 27 stories, with tall, super-narrow, irregularly-spaced windows up and down each wall. The outside walls look like old computer punchcards. As odd as it looks, each of these striking details serve a purpose. The architect, Harry Weese, made bold innovations that were solutions to practical problems. The triangular shape creates easy sight-lines for the guards inside. The windows are narrow (5 inches) to prevent escapes (without requiring bars), but beveled out, to funnel natural light inside. The interior design was very thoughtfully considered as well. As stunning as it is, the building can also be a little hard to see from up close. Producer/reporter Dan Weissmann worked nearby for years and rarely looked up at it. This is apparently by design, as well. The triangular shape keeps the building pushed back from the street, there’s a tall hedge between the sidewalk and the plaza in front of the jail, and the El train blocks the much of the view of the floors above. But recently Dan kind of became obsessed with the MCC and discovered that Harry Weese’s groundbreaking design may still gain admirers from the throngs of people that pass it on the street, but for the 681 temporary residents inside, it may not be living up to Weese’s grand vision.</itunes:summary>
|
|
1902
|
+
<itunes:author>Roman Mars</itunes:author>
|
|
1903
|
+
<itunes:explicit>no</itunes:explicit>
|
|
1904
|
+
<itunes:duration>7:22</itunes:duration>
|
|
1905
|
+
</item>
|
|
1906
|
+
<item>
|
|
1907
|
+
<title>99% Invisible-25- Unsung Icons of Soviet Design</title>
|
|
1908
|
+
<link>http://99percentinvisible.prx.org/2011/05/13/99-invisible-25-unsung-icons-of-soviet-design/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-25-unsung-icons-of-soviet-design</link>
|
|
1909
|
+
<comments>http://99percentinvisible.prx.org/2011/05/13/99-invisible-25-unsung-icons-of-soviet-design/#comments</comments>
|
|
1910
|
+
<pubDate>Fri, 13 May 2011 03:48:59 +0000</pubDate>
|
|
1911
|
+
<dc:creator>roman</dc:creator>
|
|
1912
|
+
<category><![CDATA[Uncategorized]]></category>
|
|
1913
|
+
<guid isPermaLink="false">http://invisible99.podbean.com/2011/05/12/99-invisible-25-unsung-icons-of-soviet-design/</guid>
|
|
1914
|
+
<description><![CDATA[There’s something that links most of the everyday objects presented in “Made in Russia: Unsung Icons of Soviet Design.” But it’s hard to tell exactly what that is just by looking at this collection of wobbly dolls, drinking glasses, primitive … <a href="http://99percentinvisible.prx.org/2011/05/13/99-invisible-25-unsung-icons-of-soviet-design/">Continue reading <span class="meta-nav">→</span></a>]]></description>
|
|
1915
|
+
<content:encoded><![CDATA[<p>There’s something that links most of the everyday objects presented in “<a href="http://www.amazon.com/Made-Russia-Unsung-Soviet-Design/dp/0847836053" target="_blank">Made in <span class="yshortcuts">Russia</span>: Unsung Icons of Soviet Design</a>.” But it’s hard to tell exactly what that is just by looking at this collection of wobbly dolls, drinking glasses, primitive arcade games, and arsonistic space heaters. The essence, argues editor <a href="http://www.michaelidov.com/" target="_blank">Michael Idov</a>, is the system that built them: a post-WWII economy, mostly closed from the rest of the world, trying to transform its tank and grenade factories into places that churned out Western-style consumer goods. Idov grew up in Soviet <span class="yshortcuts">Latvia</span> with “some pretty terrible stuff,” but he believes the experience makes him, and other Soviet citizens, hyperaware of good design when they see it. <a href="http://juliabarton.com/" target="_blank">Julia Barton</a> explores the good, the bad, and the weird products of the former empire.</p>]]></content:encoded>
|
|
1916
|
+
<wfw:commentRss>http://99percentinvisible.prx.org/2011/05/13/99-invisible-25-unsung-icons-of-soviet-design/feed/</wfw:commentRss>
|
|
1917
|
+
<slash:comments>0</slash:comments>
|
|
1918
|
+
<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/25-Unsung-Icons-of-Soviet-Design.mp3" length="7709424" type="audio/mpeg" />
|
|
1919
|
+
<itunes:subtitle>There’s something that links most of the everyday objects presented in “Made in Russia: Unsung Icons of Soviet Design.” But it’s hard to tell exactly what that is just by looking at this collection of wobbly dolls, drinking glasses,</itunes:subtitle>
|
|
1920
|
+
<itunes:summary>There’s something that links most of the everyday objects presented in “Made in Russia: Unsung Icons of Soviet Design.” But it’s hard to tell exactly what that is just by looking at this collection of wobbly dolls, drinking glasses, primitive arcade games, and arsonistic space heaters. The essence, argues editor Michael Idov, is the system that built them: a post-WWII economy, mostly closed from the rest of the world, trying to transform its tank and grenade factories into places that churned out Western-style consumer goods. Idov grew up in Soviet Latvia with “some pretty terrible stuff,” but he believes the experience makes him, and other Soviet citizens, hyperaware of good design when they see it. Julia Barton explores the good, the bad, and the weird products of the former empire.</itunes:summary>
|
|
1921
|
+
<itunes:author>Roman Mars</itunes:author>
|
|
1922
|
+
<itunes:explicit>no</itunes:explicit>
|
|
1923
|
+
<itunes:duration>8:00</itunes:duration>
|
|
1924
|
+
</item>
|
|
1925
|
+
<item>
|
|
1926
|
+
<title>99% Invisible-24- The Capitol Columns</title>
|
|
1927
|
+
<link>http://99percentinvisible.prx.org/2011/05/06/99-invisible-24-the-capitol-columns/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-24-the-capitol-columns</link>
|
|
1928
|
+
<comments>http://99percentinvisible.prx.org/2011/05/06/99-invisible-24-the-capitol-columns/#comments</comments>
|
|
1929
|
+
<pubDate>Fri, 06 May 2011 04:18:41 +0000</pubDate>
|
|
1930
|
+
<dc:creator>roman</dc:creator>
|
|
1931
|
+
<category><![CDATA[Uncategorized]]></category>
|
|
1932
|
+
<guid isPermaLink="false">http://invisible99.podbean.com/2011/05/05/99-invisible-24-the-capitol-columns/</guid>
|
|
1933
|
+
<description><![CDATA[If you were present for any of the presidential inaugurations, from Andrew Jackson to Dwight D. Eisenhower, you saw the solemn oath of office taken between twenty-two smooth, sandstone columns at the East Portico of the U.S. Capitol Building. The … <a href="http://99percentinvisible.prx.org/2011/05/06/99-invisible-24-the-capitol-columns/">Continue reading <span class="meta-nav">→</span></a>]]></description>
|
|
1934
|
+
<content:encoded><![CDATA[<p>If you were present for any of the presidential inaugurations, from Andrew Jackson to Dwight D. Eisenhower, you saw the solemn oath of office taken between twenty-two smooth, sandstone columns at the East Portico of the U.S. Capitol Building. The slabs that made up the columns were considered so important that when they were transported from a barge on the Potomac River to Capitol Hill in 1824, they were pulled by man power alone, because lowly mules were deemed unfit to move such sacred objects. The columns did not have the same standing in 1958. During the renovation of the East Portico, the columns were removed, crated and stored, until a couple of women fought to put them back on their feet in the National Arboretum. Other parts of the façade were also carted away in the renovation, but they didn’t get quite the same treatment. The episode was produced by Sam Greenspan and Jess Schreibstien, with help from Melissa Lee and John Asante. The four of them have their own fledgling podcast called <a href="http://whispercities.org/" target="_blank">Whisper Cities</a>. It presents stories of overheard and out-of-site places.</p>]]></content:encoded>
|
|
1935
|
+
<wfw:commentRss>http://99percentinvisible.prx.org/2011/05/06/99-invisible-24-the-capitol-columns/feed/</wfw:commentRss>
|
|
1936
|
+
<slash:comments>0</slash:comments>
|
|
1937
|
+
<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/24-The-Capitol-Columns.mp3" length="6260750" type="audio/mpeg" />
|
|
1938
|
+
<itunes:subtitle>If you were present for any of the presidential inaugurations, from Andrew Jackson to Dwight D. Eisenhower, you saw the solemn oath of office taken between twenty-two smooth, sandstone columns at the East Portico of the U.S. Capitol Building.</itunes:subtitle>
|
|
1939
|
+
<itunes:summary>If you were present for any of the presidential inaugurations, from Andrew Jackson to Dwight D. Eisenhower, you saw the solemn oath of office taken between twenty-two smooth, sandstone columns at the East Portico of the U.S. Capitol Building. The slabs that made up the columns were considered so important that when they were transported from a barge on the Potomac River to Capitol Hill in 1824, they were pulled by man power alone, because lowly mules were deemed unfit to move such sacred objects. The columns did not have the same standing in 1958. During the renovation of the East Portico, the columns were removed, crated and stored, until a couple of women fought to put them back on their feet in the National Arboretum. Other parts of the façade were also carted away in the renovation, but they didn’t get quite the same treatment. The episode was produced by Sam Greenspan and Jess Schreibstien, with help from Melissa Lee and John Asante. The four of them have their own fledgling podcast called Whisper Cities. It presents stories of overheard and out-of-site places.</itunes:summary>
|
|
1940
|
+
<itunes:author>Roman Mars</itunes:author>
|
|
1941
|
+
<itunes:explicit>no</itunes:explicit>
|
|
1942
|
+
<itunes:duration>6:30</itunes:duration>
|
|
1943
|
+
</item>
|
|
1944
|
+
<item>
|
|
1945
|
+
<title>99% Invisible-23- You Are Listening To + Radio Net</title>
|
|
1946
|
+
<link>http://99percentinvisible.prx.org/2011/04/22/99-invisible-23-you-are-listening-to-radio-net/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-23-you-are-listening-to-radio-net</link>
|
|
1947
|
+
<comments>http://99percentinvisible.prx.org/2011/04/22/99-invisible-23-you-are-listening-to-radio-net/#comments</comments>
|
|
1948
|
+
<pubDate>Fri, 22 Apr 2011 06:36:43 +0000</pubDate>
|
|
1949
|
+
<dc:creator>roman</dc:creator>
|
|
1950
|
+
<category><![CDATA[Uncategorized]]></category>
|
|
1951
|
+
<guid isPermaLink="false">http://invisible99.podbean.com/2011/04/21/99-invisible-23-you-are-listening-to-radio-net/</guid>
|
|
1952
|
+
<description><![CDATA[youarelistening.to appeared online on March 6, 2011 and I was hooked instantly. The combination of the police scanner and ambient music is an intriguing, and distinctly live, experience (unlike most of the time shifted audio I tend to consume). Its … <a href="http://99percentinvisible.prx.org/2011/04/22/99-invisible-23-you-are-listening-to-radio-net/">Continue reading <span class="meta-nav">→</span></a>]]></description>
|
|
1953
|
+
<content:encoded><![CDATA[<p><a href="http://youarelistening.to/" target="_blank">youarelistening.to</a> appeared online on March 6, 2011 and I was hooked instantly. The combination of the police scanner and ambient music is an intriguing, and distinctly live, experience (unlike most of the time shifted audio I tend to consume). Its other appeal is its simple and elegant execution. There are three component parts: a police radio stream from Radio Reference (radioreference.com), a pre-screened ambient music playlist from <a href="http://soundcloud.com/" target="_blank">SoundCloud</a>, and a cool photo from <a href="http://www.flickr.com/photos/hyperbolation/5331550248/" target="_blank">Flickr</a>. Each element is from some other source, that never could have envisioned that this is the way their content would be used. This is the power of a sharable and mashable web. As a bonus this week, I’ve added a story I did in 2005 about another radio obsession of mine called Radio Net. For two hours on 200 NPR stations in 1977, sound artist <a href="http://www.max-neuhaus.info/audio-video/" target="_blank">Max Neuhaus</a> conducted a massive, experimental audio symphony using processed sound from callers all around the nation. This Radio Net piece was originally broadcast on <a href="http://www.thirdcoastfestival.org/broadcasts/re-sound" target="_blank">Re:sound</a> from the <a href="http://www.thirdcoastfestival.org/" target="_blank">Third Coast International Audio Festival</a></p>]]></content:encoded>
|
|
1954
|
+
<wfw:commentRss>http://99percentinvisible.prx.org/2011/04/22/99-invisible-23-you-are-listening-to-radio-net/feed/</wfw:commentRss>
|
|
1955
|
+
<slash:comments>0</slash:comments>
|
|
1956
|
+
<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/23-You-Are-Listening-To-plus-Radio-Net.mp3" length="19008118" type="audio/mpeg" />
|
|
1957
|
+
<itunes:subtitle>youarelistening.to appeared online on March 6, 2011 and I was hooked instantly. The combination of the police scanner and ambient music is an intriguing, and distinctly live, experience (unlike most of the time shifted audio I tend to consume).</itunes:subtitle>
|
|
1958
|
+
<itunes:summary>youarelistening.to appeared online on March 6, 2011 and I was hooked instantly. The combination of the police scanner and ambient music is an intriguing, and distinctly live, experience (unlike most of the time shifted audio I tend to consume). Its other appeal is its simple and elegant execution. There are three component parts: a police radio stream from Radio Reference (radioreference.com), a pre-screened ambient music playlist from SoundCloud, and a cool photo from Flickr. Each element is from some other source, that never could have envisioned that this is the way their content would be used. This is the power of a sharable and mashable web. As a bonus this week, I’ve added a story I did in 2005 about another radio obsession of mine called Radio Net. For two hours on 200 NPR stations in 1977, sound artist Max Neuhaus conducted a massive, experimental audio symphony using processed sound from callers all around the nation. This Radio Net piece was originally broadcast on Re:sound from the Third Coast International Audio Festival</itunes:summary>
|
|
1959
|
+
<itunes:author>Roman Mars</itunes:author>
|
|
1960
|
+
<itunes:explicit>no</itunes:explicit>
|
|
1961
|
+
<itunes:duration>19:46</itunes:duration>
|
|
1962
|
+
</item>
|
|
1963
|
+
<item>
|
|
1964
|
+
<title>99% Invisible-22- Free Speech Monument</title>
|
|
1965
|
+
<link>http://99percentinvisible.prx.org/2011/04/15/99-invisible-22-free-speech-monument/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-22-free-speech-monument</link>
|
|
1966
|
+
<comments>http://99percentinvisible.prx.org/2011/04/15/99-invisible-22-free-speech-monument/#comments</comments>
|
|
1967
|
+
<pubDate>Fri, 15 Apr 2011 07:31:42 +0000</pubDate>
|
|
1968
|
+
<dc:creator>roman</dc:creator>
|
|
1969
|
+
<category><![CDATA[Uncategorized]]></category>
|
|
1970
|
+
<guid isPermaLink="false">http://invisible99.podbean.com/2011/04/15/99-invisible-22-free-speech-monument/</guid>
|
|
1971
|
+
<description><![CDATA[In 1989, a group called the Berkeley Art Project decided to hold a national public art competition to create a monument that would commemorate the 25th anniversary of the Free Speech Movement, which began on the University of California Berkeley … <a href="http://99percentinvisible.prx.org/2011/04/15/99-invisible-22-free-speech-monument/">Continue reading <span class="meta-nav">→</span></a>]]></description>
|
|
1972
|
+
<content:encoded><![CDATA[<p>In 1989, a group called the Berkeley Art Project decided to hold a national public art competition to create a monument that would commemorate the 25th anniversary of the Free Speech Movement, which began on the University of California Berkeley Campus in 1964. The winning design, created by <a href="http://www.greenmuseum.org/content/artist_index/artist_id-51.html" target="_blank">Mark Brest van Kempen</a> (who was then a graduate student at the San Francisco Art Institute), is an invisible sculpture that creates a small space completely free from laws or jurisdiction. The six inch circle of soil, and the “free” column of airspace above it, is framed by a six foot granite circle. The inscription on the granite reads, “This soil and the air space extending above it shall not be a part of any nation and shall not be subject to any entity’s jurisdiction.” The six inch free space acts as a beacon for speakers and political events. When you stand next to it today, 20 years after it was installed, you’d never suspect the contentious battle and the ironic compromise that finally led to its placement in Sproul Plaza.</p>]]></content:encoded>
|
|
1973
|
+
<wfw:commentRss>http://99percentinvisible.prx.org/2011/04/15/99-invisible-22-free-speech-monument/feed/</wfw:commentRss>
|
|
1974
|
+
<slash:comments>0</slash:comments>
|
|
1975
|
+
<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/22-Free-Speech-Monument.mp3" length="7267609" type="audio/mpeg" />
|
|
1976
|
+
<itunes:subtitle>In 1989, a group called the Berkeley Art Project decided to hold a national public art competition to create a monument that would commemorate the 25th anniversary of the Free Speech Movement, which began on the University of California Berkeley Campus...</itunes:subtitle>
|
|
1977
|
+
<itunes:summary>In 1989, a group called the Berkeley Art Project decided to hold a national public art competition to create a monument that would commemorate the 25th anniversary of the Free Speech Movement, which began on the University of California Berkeley Campus in 1964. The winning design, created by Mark Brest van Kempen (who was then a graduate student at the San Francisco Art Institute), is an invisible sculpture that creates a small space completely free from laws or jurisdiction. The six inch circle of soil, and the “free” column of airspace above it, is framed by a six foot granite circle. The inscription on the granite reads, “This soil and the air space extending above it shall not be a part of any nation and shall not be subject to any entity’s jurisdiction.” The six inch free space acts as a beacon for speakers and political events. When you stand next to it today, 20 years after it was installed, you’d never suspect the contentious battle and the ironic compromise that finally led to its placement in Sproul Plaza.</itunes:summary>
|
|
1978
|
+
<itunes:author>Roman Mars</itunes:author>
|
|
1979
|
+
<itunes:explicit>no</itunes:explicit>
|
|
1980
|
+
<itunes:duration>7:33</itunes:duration>
|
|
1981
|
+
</item>
|
|
1982
|
+
<item>
|
|
1983
|
+
<title>99% Invisible-21- BLDGBLOG: On Sound</title>
|
|
1984
|
+
<link>http://99percentinvisible.prx.org/2011/04/01/99-invisible-21-bldgblog-on-sound/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-21-bldgblog-on-sound</link>
|
|
1985
|
+
<comments>http://99percentinvisible.prx.org/2011/04/01/99-invisible-21-bldgblog-on-sound/#comments</comments>
|
|
1986
|
+
<pubDate>Fri, 01 Apr 2011 05:22:59 +0000</pubDate>
|
|
1987
|
+
<dc:creator>roman</dc:creator>
|
|
1988
|
+
<category><![CDATA[Uncategorized]]></category>
|
|
1989
|
+
<guid isPermaLink="false">http://invisible99.podbean.com/2011/03/31/99-invisible-21-bldgblog-on-sound/</guid>
|
|
1990
|
+
<description><![CDATA[Most sound design in architecture is centered around designing for silence. Buildings are trying to block out that constant stream noise from the street and insulate you from those jarring clangs of industry. Geoff Manaugh loves the intersection of sound … <a href="http://99percentinvisible.prx.org/2011/04/01/99-invisible-21-bldgblog-on-sound/">Continue reading <span class="meta-nav">→</span></a>]]></description>
|
|
1991
|
+
<content:encoded><![CDATA[<p>Most sound design in architecture is centered around designing for silence. Buildings are trying to block out that constant stream noise from the street and insulate you from those jarring clangs of industry. Geoff Manaugh loves the intersection of sound and architecture, but he’s primarily interested in those cases where buildings and spaces are designed to harness environmental sounds and bring acoustics into the architectural equation in clever ways. Manaugh’s <a href="http://bldgblog.blogspot.com/" target="_blank">BLDGBLOG</a> is a site about architectural conjecture, urban speculation, and landscape futures. Can you imagine anything better? It’s essential reading. Nick van der Kolk from the amazing <a href="http://loveandradio.org/" target="_blank">Love + Radio</a> podcast (Vocalo.org) produced this piece.</p>]]></content:encoded>
|
|
1992
|
+
<wfw:commentRss>http://99percentinvisible.prx.org/2011/04/01/99-invisible-21-bldgblog-on-sound/feed/</wfw:commentRss>
|
|
1993
|
+
<slash:comments>0</slash:comments>
|
|
1994
|
+
<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/21-BLDGBLOG_-On-Sound.mp3" length="5223778" type="audio/mpeg" />
|
|
1995
|
+
<itunes:subtitle>Most sound design in architecture is centered around designing for silence. Buildings are trying to block out that constant stream noise from the street and insulate you from those jarring clangs of industry.</itunes:subtitle>
|
|
1996
|
+
<itunes:summary>Most sound design in architecture is centered around designing for silence. Buildings are trying to block out that constant stream noise from the street and insulate you from those jarring clangs of industry. Geoff Manaugh loves the intersection of sound and architecture, but he’s primarily interested in those cases where buildings and spaces are designed to harness environmental sounds and bring acoustics into the architectural equation in clever ways. Manaugh’s BLDGBLOG is a site about architectural conjecture, urban speculation, and landscape futures. Can you imagine anything better? It’s essential reading. Nick van der Kolk from the amazing Love + Radio podcast (Vocalo.org) produced this piece.</itunes:summary>
|
|
1997
|
+
<itunes:author>Roman Mars</itunes:author>
|
|
1998
|
+
<itunes:explicit>no</itunes:explicit>
|
|
1999
|
+
<itunes:duration>5:22</itunes:duration>
|
|
2000
|
+
</item>
|
|
2001
|
+
<item>
|
|
2002
|
+
<title>99% Invisible-20- Nikko Concrete Commando</title>
|
|
2003
|
+
<link>http://99percentinvisible.prx.org/2011/03/25/99-invisible-20-nikko-concrete-commando/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-20-nikko-concrete-commando</link>
|
|
2004
|
+
<comments>http://99percentinvisible.prx.org/2011/03/25/99-invisible-20-nikko-concrete-commando/#comments</comments>
|
|
2005
|
+
<pubDate>Fri, 25 Mar 2011 05:18:19 +0000</pubDate>
|
|
2006
|
+
<dc:creator>roman</dc:creator>
|
|
2007
|
+
<category><![CDATA[Uncategorized]]></category>
|
|
2008
|
+
<guid isPermaLink="false">http://invisible99.podbean.com/2011/03/24/99-invisible-20-nikko-concrete-commando/</guid>
|
|
2009
|
+
<description><![CDATA[In 2001, Delfin Vigil was walking the streets of San Francisco and ran across the name “Nikko” carved into the concrete sidewalk. After seeing Nikko once, Delfin began to see the name everywhere. One block after another, there he was … <a href="http://99percentinvisible.prx.org/2011/03/25/99-invisible-20-nikko-concrete-commando/">Continue reading <span class="meta-nav">→</span></a>]]></description>
|
|
2010
|
+
<content:encoded><![CDATA[<p>In 2001, Delfin Vigil was walking the streets of San Francisco and ran across the name “Nikko” carved into the concrete sidewalk. After seeing Nikko once, Delfin began to see the name everywhere. One block after another, there he was again and again: Nikko. The carvings numbered in the hundreds, seemed to go back decades, and Delfin Vigil became obsessed with finding San Francisco’s mysterious “concrete commando.”</p>
|
|
2011
|
+
<p>Vigil’s story about the hunt for Nikko is beautifully written and illustrated (by Paul Madonna) in his self-published chapbook available at <a href="http://therumpus.net/2010/06/nikko/" target="_blank">The Rumpus</a>. It’s outstanding. The original, audio version of this story was produced by my future employer <a href="http://mossteph.tumblr.com/" target="_blank">Stephanie Foo</a> for the smokin’ hot, new public radio program <a href="http://snapjudgment.org/nikko" target="_blank">Snap Judgment</a>.</p>]]></content:encoded>
|
|
2012
|
+
<wfw:commentRss>http://99percentinvisible.prx.org/2011/03/25/99-invisible-20-nikko-concrete-commando/feed/</wfw:commentRss>
|
|
2013
|
+
<slash:comments>0</slash:comments>
|
|
2014
|
+
<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/20-Nikko-Concrete-Commando.mp3" length="6673275" type="audio/mpeg" />
|
|
2015
|
+
<itunes:subtitle>In 2001, Delfin Vigil was walking the streets of San Francisco and ran across the name “Nikko” carved into the concrete sidewalk. After seeing Nikko once, Delfin began to see the name everywhere. One block after another,</itunes:subtitle>
|
|
2016
|
+
<itunes:summary>In 2001, Delfin Vigil was walking the streets of San Francisco and ran across the name “Nikko” carved into the concrete sidewalk. After seeing Nikko once, Delfin began to see the name everywhere. One block after another, there he was again and again: Nikko. The carvings numbered in the hundreds, seemed to go back decades, and Delfin Vigil became obsessed with finding San Francisco’s mysterious “concrete commando.”
|
|
2017
|
+
|
|
2018
|
+
Vigil’s story about the hunt for Nikko is beautifully written and illustrated (by Paul Madonna) in his self-published chapbook available at The Rumpus. It’s outstanding. The original, audio version of this story was produced by my future employer Stephanie Foo for the smokin’ hot, new public radio program Snap Judgment.</itunes:summary>
|
|
2019
|
+
<itunes:author>Roman Mars</itunes:author>
|
|
2020
|
+
<itunes:explicit>no</itunes:explicit>
|
|
2021
|
+
<itunes:duration>6:53</itunes:duration>
|
|
2022
|
+
</item>
|
|
2023
|
+
<item>
|
|
2024
|
+
<title>99% Invisible-19X- RJDJ Reactive Music</title>
|
|
2025
|
+
<link>http://99percentinvisible.prx.org/2011/03/21/99-invisible-19x-rjdj-reactive-music/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-19x-rjdj-reactive-music</link>
|
|
2026
|
+
<comments>http://99percentinvisible.prx.org/2011/03/21/99-invisible-19x-rjdj-reactive-music/#comments</comments>
|
|
2027
|
+
<pubDate>Mon, 21 Mar 2011 05:53:28 +0000</pubDate>
|
|
2028
|
+
<dc:creator>roman</dc:creator>
|
|
2029
|
+
<category><![CDATA[Uncategorized]]></category>
|
|
2030
|
+
<guid isPermaLink="false">http://invisible99.podbean.com/2011/03/20/99-invisible-19x-rjdj-reactive-music/</guid>
|
|
2031
|
+
<description><![CDATA[This week, the radio audience heard episode #10, but for you web and podcast listeners, I have a story I did about a year and a half ago, about the reactive music app called RJDJ. I did this piece for … <a href="http://99percentinvisible.prx.org/2011/03/21/99-invisible-19x-rjdj-reactive-music/">Continue reading <span class="meta-nav">→</span></a>]]></description>
|
|
2032
|
+
<content:encoded><![CDATA[<p>This week, the radio audience heard episode #10, but for you web and podcast listeners, I have a story I did about a year and a half ago, about the reactive music app called <a href="http://rjdj.me/" target="_blank">RJDJ</a>. I did this piece for an ill fated tech show pilot that was never broadcast, which totally bummed me out at the time, but I found a way to get some of the tape and ideas into <a href="http://99percentinvisible.org/post/1135309615/download-embed-share-episode-03-99-reality" target="_blank">episode #3</a> of 99% Invisible about augmented reality. I think that episode by itself worked, but to keep the show tight and on point, I cut a lot of the cooler aspects of the original story about the broader implications of reactive music and where it fits into the evolution of music. So, here it is in it’s full glory. Enjoy! Thanks for checking it out.</p>]]></content:encoded>
|
|
2033
|
+
<wfw:commentRss>http://99percentinvisible.prx.org/2011/03/21/99-invisible-19x-rjdj-reactive-music/feed/</wfw:commentRss>
|
|
2034
|
+
<slash:comments>0</slash:comments>
|
|
2035
|
+
<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/19X-RJDJ-Reactive-Music.mp3" length="9172697" type="audio/mpeg" />
|
|
2036
|
+
<itunes:subtitle>This week, the radio audience heard episode #10, but for you web and podcast listeners, I have a story I did about a year and a half ago, about the reactive music app called RJDJ. I did this piece for an ill fated tech show pilot that was never broadca...</itunes:subtitle>
|
|
2037
|
+
<itunes:summary>This week, the radio audience heard episode #10, but for you web and podcast listeners, I have a story I did about a year and a half ago, about the reactive music app called RJDJ. I did this piece for an ill fated tech show pilot that was never broadcast, which totally bummed me out at the time, but I found a way to get some of the tape and ideas into episode #3 of 99% Invisible about augmented reality. I think that episode by itself worked, but to keep the show tight and on point, I cut a lot of the cooler aspects of the original story about the broader implications of reactive music and where it fits into the evolution of music. So, here it is in it’s full glory. Enjoy! Thanks for checking it out.</itunes:summary>
|
|
2038
|
+
<itunes:author>Roman Mars</itunes:author>
|
|
2039
|
+
<itunes:explicit>no</itunes:explicit>
|
|
2040
|
+
<itunes:duration>9:29</itunes:duration>
|
|
2041
|
+
</item>
|
|
2042
|
+
<item>
|
|
2043
|
+
<title>99% Invisible-19- Liberation Squares plus NY Dick</title>
|
|
2044
|
+
<link>http://99percentinvisible.prx.org/2011/03/11/99-invisible-19-liberation-squares-plus-ny-dick/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-19-liberation-squares-plus-ny-dick</link>
|
|
2045
|
+
<comments>http://99percentinvisible.prx.org/2011/03/11/99-invisible-19-liberation-squares-plus-ny-dick/#comments</comments>
|
|
2046
|
+
<pubDate>Fri, 11 Mar 2011 04:42:24 +0000</pubDate>
|
|
2047
|
+
<dc:creator>roman</dc:creator>
|
|
2048
|
+
<category><![CDATA[Uncategorized]]></category>
|
|
2049
|
+
<guid isPermaLink="false">http://invisible99.podbean.com/2011/03/10/99-invisible-19-liberation-squares-plus-ny-dick/</guid>
|
|
2050
|
+
<description><![CDATA[In a recent piece from Urban Omnibus, Vishaan Chakrabarti (Professor at the Graduate School for Architecture, Planning and Preservation at Columbia University), wrote about how urban open spaces contribute to political change, “Public spaces like Tompkins Square, Tiananmen Square and … <a href="http://99percentinvisible.prx.org/2011/03/11/99-invisible-19-liberation-squares-plus-ny-dick/">Continue reading <span class="meta-nav">→</span></a>]]></description>
|
|
2051
|
+
<content:encoded><![CDATA[<p>In a <a href="http://urbanomnibus.net/2011/02/liberation-squares/" target="_blank">recent piece</a> from <a href="http://urbanomnibus.net/" target="_blank">Urban Omnibus</a>, Vishaan Chakrabarti (Professor at the Graduate School for Architecture, Planning and Preservation at Columbia University), wrote about how urban open spaces contribute to political change, “Public spaces like Tompkins Square, Tiananmen Square and Tahrir Square have been stages for history because they provide the loci for urban gathering, particularly for a city’s youth…One could argue that without cities and the spaces they inspire, nations themselves would never change.” Host of <a href="http://wfmu.org/playlists/TI" target="_blank">WFMU’s Too Much Information</a>, Benjamen Walker, took a walk with Chakrabarti down to Tompkins Square Park to talk about the past and present design of the space and how the layout has affected the public actions that have taken place there. Chakrabarti also relates this to the current protests in the Middle East. Twitter and Facebook may have had a significant role in organizing the protests, but if there is no place for everyone to gather, what possible change can result?</p>
|
|
2052
|
+
<p>For you podcast listeners (and website streamers) I’ve also added a very 99% Invisible excerpt from Benjamen Walker’s brilliant radio program Too Much Information. This is a piece called “New York Dick” from the <a href="http://wfmu.org/playlists/shows/38878" target="_blank">What A Difference Makes</a> episode from Jan 17, 2011. Enjoy!</p>]]></content:encoded>
|
|
2053
|
+
<wfw:commentRss>http://99percentinvisible.prx.org/2011/03/11/99-invisible-19-liberation-squares-plus-ny-dick/feed/</wfw:commentRss>
|
|
2054
|
+
<slash:comments>0</slash:comments>
|
|
2055
|
+
<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/19-Liberation-Squares-plus-NY-Dick.mp3" length="10404822" type="audio/mpeg" />
|
|
2056
|
+
<itunes:subtitle>In a recent piece from Urban Omnibus, Vishaan Chakrabarti (Professor at the Graduate School for Architecture, Planning and Preservation at Columbia University), wrote about how urban open spaces contribute to political change,</itunes:subtitle>
|
|
2057
|
+
<itunes:summary>In a recent piece from Urban Omnibus, Vishaan Chakrabarti (Professor at the Graduate School for Architecture, Planning and Preservation at Columbia University), wrote about how urban open spaces contribute to political change, “Public spaces like Tompkins Square, Tiananmen Square and Tahrir Square have been stages for history because they provide the loci for urban gathering, particularly for a city’s youth…One could argue that without cities and the spaces they inspire, nations themselves would never change.” Host of WFMU’s Too Much Information, Benjamen Walker, took a walk with Chakrabarti down to Tompkins Square Park to talk about the past and present design of the space and how the layout has affected the public actions that have taken place there. Chakrabarti also relates this to the current protests in the Middle East. Twitter and Facebook may have had a significant role in organizing the protests, but if there is no place for everyone to gather, what possible change can result?
|
|
2058
|
+
|
|
2059
|
+
For you podcast listeners (and website streamers) I’ve also added a very 99% Invisible excerpt from Benjamen Walker’s brilliant radio program Too Much Information. This is a piece called “New York Dick” from the What A Difference Makes episode from Jan 17, 2011. Enjoy!</itunes:summary>
|
|
2060
|
+
<itunes:author>Roman Mars</itunes:author>
|
|
2061
|
+
<itunes:explicit>no</itunes:explicit>
|
|
2062
|
+
<itunes:duration>10:46</itunes:duration>
|
|
2063
|
+
</item>
|
|
2064
|
+
<item>
|
|
2065
|
+
<title>99% Invisible-18- Check Cashing Stores</title>
|
|
2066
|
+
<link>http://99percentinvisible.prx.org/2011/03/04/99-invisible-18-check-cashing-stores/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-18-check-cashing-stores</link>
|
|
2067
|
+
<comments>http://99percentinvisible.prx.org/2011/03/04/99-invisible-18-check-cashing-stores/#comments</comments>
|
|
2068
|
+
<pubDate>Fri, 04 Mar 2011 04:45:17 +0000</pubDate>
|
|
2069
|
+
<dc:creator>roman</dc:creator>
|
|
2070
|
+
<category><![CDATA[Uncategorized]]></category>
|
|
2071
|
+
<guid isPermaLink="false">http://invisible99.podbean.com/2011/03/03/99-invisible-18-check-cashing-stores/</guid>
|
|
2072
|
+
<description><![CDATA[A few years ago, journalist Douglas McGray learned that the largest chain of check cashing stores in Southern California, Nix Check Cashing, was being bought by the nation’s largest credit union, Kinecta. The credit union thought it had something to … <a href="http://99percentinvisible.prx.org/2011/03/04/99-invisible-18-check-cashing-stores/">Continue reading <span class="meta-nav">→</span></a>]]></description>
|
|
2073
|
+
<content:encoded><![CDATA[<p>A few years ago, journalist <a href="http://www.douglasmcgray.com/" target="_blank">Douglas McGray</a> learned that the largest chain of check cashing stores in Southern California, Nix Check Cashing, was being bought by the nation’s largest credit union, Kinecta. The credit union thought it had something to learn from the check casher about how to reach out and serve the poor. This was curious. McGray’s impression was that check cashers (and especially payday lenders) were predatory, the bad guys, and that credit unions, especially one dedicated to serving the poor, were the good guys. This proposed sale made McGray look at the whole situation with fresh eyes.</p>
|
|
2074
|
+
<p>I highly recommend reading Douglas McGray’s <a href="http://www.nytimes.com/2008/11/09/magazine/09nix-t.html?_r=2&ref=business&pagewanted=all&oref=slogin" target="_blank">New York Times Magazine article</a> all about it. It’s excellent.</p>
|
|
2075
|
+
<p>I, of course, was drawn to the design aspects of the story.</p>
|
|
2076
|
+
<p>Check cashing stores can feel very odd when you’re not used to them. Quite simply, they are often designed to look and feel more like a corner store. The furnishings are sparse, and the information is on signs— big, bold and clearly presented. Banks, on the other hand, have a design legacy of carpeting, heavy desks, suits, and pamphlets that are hard to parse. If you were to start over and design a financial products retail location today, which model would you follow?</p>]]></content:encoded>
|
|
2077
|
+
<wfw:commentRss>http://99percentinvisible.prx.org/2011/03/04/99-invisible-18-check-cashing-stores/feed/</wfw:commentRss>
|
|
2078
|
+
<slash:comments>0</slash:comments>
|
|
2079
|
+
<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/18-Check-Cashing-Stores.mp3" length="4955459" type="audio/mpeg" />
|
|
2080
|
+
<itunes:subtitle>A few years ago, journalist Douglas McGray learned that the largest chain of check cashing stores in Southern California, Nix Check Cashing, was being bought by the nation’s largest credit union, Kinecta.</itunes:subtitle>
|
|
2081
|
+
<itunes:summary>A few years ago, journalist Douglas McGray learned that the largest chain of check cashing stores in Southern California, Nix Check Cashing, was being bought by the nation’s largest credit union, Kinecta. The credit union thought it had something to learn from the check casher about how to reach out and serve the poor. This was curious. McGray’s impression was that check cashers (and especially payday lenders) were predatory, the bad guys, and that credit unions, especially one dedicated to serving the poor, were the good guys. This proposed sale made McGray look at the whole situation with fresh eyes.
|
|
2082
|
+
|
|
2083
|
+
I highly recommend reading Douglas McGray’s New York Times Magazine article all about it. It’s excellent.
|
|
2084
|
+
|
|
2085
|
+
I, of course, was drawn to the design aspects of the story.
|
|
2086
|
+
|
|
2087
|
+
Check cashing stores can feel very odd when you’re not used to them. Quite simply, they are often designed to look and feel more like a corner store. The furnishings are sparse, and the information is on signs— big, bold and clearly presented. Banks, on the other hand, have a design legacy of carpeting, heavy desks, suits, and pamphlets that are hard to parse. If you were to start over and design a financial products retail location today, which model would you follow?</itunes:summary>
|
|
2088
|
+
<itunes:author>Roman Mars</itunes:author>
|
|
2089
|
+
<itunes:explicit>no</itunes:explicit>
|
|
2090
|
+
<itunes:duration>5:06</itunes:duration>
|
|
2091
|
+
</item>
|
|
2092
|
+
<item>
|
|
2093
|
+
<title>99% Invisible-17- Concrete Furniture</title>
|
|
2094
|
+
<link>http://99percentinvisible.prx.org/2011/02/25/99-invisible-17-concrete-furniture/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-17-concrete-furniture</link>
|
|
2095
|
+
<comments>http://99percentinvisible.prx.org/2011/02/25/99-invisible-17-concrete-furniture/#comments</comments>
|
|
2096
|
+
<pubDate>Fri, 25 Feb 2011 07:27:34 +0000</pubDate>
|
|
2097
|
+
<dc:creator>roman</dc:creator>
|
|
2098
|
+
<category><![CDATA[Uncategorized]]></category>
|
|
2099
|
+
<guid isPermaLink="false">http://invisible99.podbean.com/2011/02/25/99-invisible-17-concrete-furniture/</guid>
|
|
2100
|
+
<description><![CDATA[The New City Hall, designed by Finnish architect Viljo Revell, was the first modern, concrete, civic building in Toronto. When it opened in 1965, it stood out very prominently in the traditional Victorian fabric of the city. The striking concrete … <a href="http://99percentinvisible.prx.org/2011/02/25/99-invisible-17-concrete-furniture/">Continue reading <span class="meta-nav">→</span></a>]]></description>
|
|
2101
|
+
<content:encoded><![CDATA[<p>The New City Hall, designed by Finnish architect Viljo Revell, was the first modern, concrete, civic building in Toronto. When it opened in 1965, it stood out very prominently in the traditional Victorian fabric of the city. The striking concrete design was carried throughout the building and was even incorporated into the office furniture. Desks, coffee tables, cabinets- they all had concrete legs- and nearly everyone hated it. A lot.</p>
|
|
2102
|
+
<p>The public was angry. Controversy ensued. Someone even resigned.</p>
|
|
2103
|
+
<p>But reporter Sean Cole found at least one person, architect Masha Kelmans, who thinks the naysayers were wrong.</p>]]></content:encoded>
|
|
2104
|
+
<wfw:commentRss>http://99percentinvisible.prx.org/2011/02/25/99-invisible-17-concrete-furniture/feed/</wfw:commentRss>
|
|
2105
|
+
<slash:comments>0</slash:comments>
|
|
2106
|
+
<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/17-Concrete-Furniture.mp3" length="6351439" type="audio/mpeg" />
|
|
2107
|
+
<itunes:subtitle>The New City Hall, designed by Finnish architect Viljo Revell, was the first modern, concrete, civic building in Toronto. When it opened in 1965, it stood out very prominently in the traditional Victorian fabric of the city.</itunes:subtitle>
|
|
2108
|
+
<itunes:summary>The New City Hall, designed by Finnish architect Viljo Revell, was the first modern, concrete, civic building in Toronto. When it opened in 1965, it stood out very prominently in the traditional Victorian fabric of the city. The striking concrete design was carried throughout the building and was even incorporated into the office furniture. Desks, coffee tables, cabinets- they all had concrete legs- and nearly everyone hated it. A lot.
|
|
2109
|
+
|
|
2110
|
+
The public was angry. Controversy ensued. Someone even resigned.
|
|
2111
|
+
|
|
2112
|
+
But reporter Sean Cole found at least one person, architect Masha Kelmans, who thinks the naysayers were wrong.</itunes:summary>
|
|
2113
|
+
<itunes:author>Roman Mars</itunes:author>
|
|
2114
|
+
<itunes:explicit>no</itunes:explicit>
|
|
2115
|
+
<itunes:duration>6:33</itunes:duration>
|
|
2116
|
+
</item>
|
|
2117
|
+
<item>
|
|
2118
|
+
<title>99% Invisible-16- A Designed Language</title>
|
|
2119
|
+
<link>http://99percentinvisible.prx.org/2011/02/18/99-invisible-16-a-designed-language/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-16-a-designed-language</link>
|
|
2120
|
+
<comments>http://99percentinvisible.prx.org/2011/02/18/99-invisible-16-a-designed-language/#comments</comments>
|
|
2121
|
+
<pubDate>Fri, 18 Feb 2011 05:27:10 +0000</pubDate>
|
|
2122
|
+
<dc:creator>roman</dc:creator>
|
|
2123
|
+
<category><![CDATA[Uncategorized]]></category>
|
|
2124
|
+
<guid isPermaLink="false">http://invisible99.podbean.com/2011/02/17/99-invisible-16-a-designed-language/</guid>
|
|
2125
|
+
<description><![CDATA[The idea is simple and quite beautiful: if we all shared a second, politically neutral language, people of all different nations and cultures could communicate freely and easily, and it would foster international understanding and peace. This is the idea … <a href="http://99percentinvisible.prx.org/2011/02/18/99-invisible-16-a-designed-language/">Continue reading <span class="meta-nav">→</span></a>]]></description>
|
|
2126
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+
<content:encoded><![CDATA[<p>The idea is simple and quite beautiful: if we all shared a second, politically neutral language, people of all different nations and cultures could communicate freely and easily, and it would foster international understanding and peace. This is the idea behind the invention of Esperanto. It was a linguistic solution to what seemed like a linguistic problem. Esperanto may not have achieved the goal of ubiquity and international peace, but it has become the most widely spoken constructed language in the world. Much of its success has to do with its design as a language. The grammar is very regular and easy to learn, but it also has a flexible and poetic nature that facilitates wordplay and artistic expression.</p>
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<p>For this episode I talked with <a href="http://en.wikipedia.org/wiki/Sam_Green" target="_blank">Sam Green</a>, director of the live documentary <a href="http://utopiainfourmovements.com/" target="_blank">Utopia in Four Movements</a> and <a href="http://arikaokrent.com/" target="_blank">Arika Okrent</a>, author of <a href="http://inthelandofinventedlanguages.com/" target="_blank">In the Land of Invented Languages: Esperanto Rock Stars, Klingon Poets, Loglan Lovers and the Mad Dreamers who tried to Build a Perfect Language</a>.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/16-A-Designed-Language.mp3" length="5729101" type="audio/mpeg" />
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<itunes:subtitle>The idea is simple and quite beautiful: if we all shared a second, politically neutral language, people of all different nations and cultures could communicate freely and easily, and it would foster international understanding and peace.</itunes:subtitle>
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<itunes:summary>The idea is simple and quite beautiful: if we all shared a second, politically neutral language, people of all different nations and cultures could communicate freely and easily, and it would foster international understanding and peace. This is the idea behind the invention of Esperanto. It was a linguistic solution to what seemed like a linguistic problem. Esperanto may not have achieved the goal of ubiquity and international peace, but it has become the most widely spoken constructed language in the world. Much of its success has to do with its design as a language. The grammar is very regular and easy to learn, but it also has a flexible and poetic nature that facilitates wordplay and artistic expression.
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For this episode I talked with Sam Green, director of the live documentary Utopia in Four Movements and Arika Okrent, author of In the Land of Invented Languages: Esperanto Rock Stars, Klingon Poets, Loglan Lovers and the Mad Dreamers who tried to Build a Perfect Language.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>5:54</itunes:duration>
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<title>99% Invisible-15- Sounds of the Artificial World</title>
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<link>http://99percentinvisible.prx.org/2011/02/11/99-invisible-15-sounds-of-the-artificial-world/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-15-sounds-of-the-artificial-world</link>
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<comments>http://99percentinvisible.prx.org/2011/02/11/99-invisible-15-sounds-of-the-artificial-world/#comments</comments>
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<pubDate>Fri, 11 Feb 2011 08:03:38 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/02/11/99-invisible-15-sounds-of-the-artificial-world/</guid>
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<description><![CDATA[Without all the beeps and chimes, without sonic feedback, all of your modern conveniences would be very hard to use. If a device and its sounds are designed correctly, it creates a special “theater of the mind” that users completely … <a href="http://99percentinvisible.prx.org/2011/02/11/99-invisible-15-sounds-of-the-artificial-world/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Without all the beeps and chimes, without sonic feedback, all of your modern conveniences would be very hard to use. If a device and its sounds are designed correctly, it creates a special “theater of the mind” that users completely buy into. Electronic things are made to feel mechanical. It’s the feeling of movement, texture and articulation where none exists. We talk with Sound Designer Jim McKee of <a href="http://www.earwaxproductions.com/" target="_blank">Earwax Productions</a> about the art of designing organic sounds for inorganic things.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/15-Sounds-of-the-Artificial-World.mp3" length="4719748" type="audio/mpeg" />
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<itunes:subtitle>Without all the beeps and chimes, without sonic feedback, all of your modern conveniences would be very hard to use. If a device and its sounds are designed correctly, it creates a special “theater of the mind” that users completely buy into.</itunes:subtitle>
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<itunes:summary>Without all the beeps and chimes, without sonic feedback, all of your modern conveniences would be very hard to use. If a device and its sounds are designed correctly, it creates a special “theater of the mind” that users completely buy into. Electronic things are made to feel mechanical. It’s the feeling of movement, texture and articulation where none exists. We talk with Sound Designer Jim McKee of Earwax Productions about the art of designing organic sounds for inorganic things.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>4:51</itunes:duration>
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</item>
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<item>
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2159
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<title>99% Invisible-14- Periodic Table</title>
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<link>http://99percentinvisible.prx.org/2011/02/04/99-invisible-14-periodic-table/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-14-periodic-table</link>
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<pubDate>Fri, 04 Feb 2011 08:18:52 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/02/04/99-invisible-14-periodic-table/</guid>
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<description><![CDATA[Everyone knows it when they see it. The classic “castle with turrets” periodic table is a beautiful and concise icon that contains a great deal of amazing information, if you only know how to read it. And even if you … <a href="http://99percentinvisible.prx.org/2011/02/04/99-invisible-14-periodic-table/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Everyone knows it when they see it. The classic “castle with turrets” periodic table is a beautiful and concise icon that contains a great deal of amazing information, if you only know how to read it. And even if you don’t know anything about the table, it’s still easy to admire and get lost in. Author of <a href="http://samkean.com/disappearing-spoon" target="_blank">The Disappearing Spoon</a>, <a href="http://samkean.com/" target="_blank">Sam Kean</a>, talks us through the design of the table that hung in the front of your science class for years, but you probably never really understood.</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/14-Periodic-Table.mp3" length="5831914" type="audio/mpeg" />
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<itunes:subtitle>Everyone knows it when they see it. The classic “castle with turrets” periodic table is a beautiful and concise icon that contains a great deal of amazing information, if you only know how to read it. And even if you don’t know anything about the...</itunes:subtitle>
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<itunes:summary>Everyone knows it when they see it. The classic “castle with turrets” periodic table is a beautiful and concise icon that contains a great deal of amazing information, if you only know how to read it. And even if you don’t know anything about the table, it’s still easy to admire and get lost in. Author of The Disappearing Spoon, Sam Kean, talks us through the design of the table that hung in the front of your science class for years, but you probably never really understood.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>6:00</itunes:duration>
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</item>
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<title>99% Invisible-13x-Game Over (Snap Judgment)</title>
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<link>http://99percentinvisible.prx.org/2011/01/07/99-invisible-13x-game-over-snap-judgment/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-13x-game-over-snap-judgment</link>
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<comments>http://99percentinvisible.prx.org/2011/01/07/99-invisible-13x-game-over-snap-judgment/#comments</comments>
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<pubDate>Fri, 07 Jan 2011 19:37:08 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2011/01/07/99-invisible-13x-game-over-snap-judgment/</guid>
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<description><![CDATA[99% Invisible Extra! The tape rolls as we witness the tearful end of a perfect online world. This is a piece I did for Snap Judgment, based on a story from Robert Ashley’s brilliant A Life Well Wasted internet radio … <a href="http://99percentinvisible.prx.org/2011/01/07/99-invisible-13x-game-over-snap-judgment/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>99% Invisible Extra! The tape rolls as we witness the tearful end of a perfect online world. This is a piece I did for <a href="http://snapjudgment.org" target="_blank">Snap Judgment</a>, based on a story from Robert Ashley’s brilliant <a href="http://alifewellwasted.com/" target="_blank">A Life Well Wasted</a> internet radio program. New episodes of 99% Invisible start on 02/04/11. Stay tuned.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/13x-Game-Over.mp3" length="10717451" type="audio/mpeg" />
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<itunes:subtitle>99% Invisible Extra! The tape rolls as we witness the tearful end of a perfect online world. This is a piece I did for Snap Judgment, based on a story from Robert Ashley’s brilliant A Life Well Wasted internet radio program.</itunes:subtitle>
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<itunes:summary>99% Invisible Extra! The tape rolls as we witness the tearful end of a perfect online world. This is a piece I did for Snap Judgment, based on a story from Robert Ashley’s brilliant A Life Well Wasted internet radio program. New episodes of 99% Invisible start on 02/04/11. Stay tuned.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>11:06</itunes:duration>
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<title>99% Invisible-13- Maps</title>
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<link>http://99percentinvisible.prx.org/2010/12/17/99-invisible-13-maps/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-13-maps</link>
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<pubDate>Fri, 17 Dec 2010 04:49:38 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2010/12/16/99-invisible-13-maps/</guid>
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<description><![CDATA[I’m sorry, but if you don’t love maps, I don’t think we can be friends anymore. Maps are amazing. They are art and story. A representation of where we are and where we wish we could be. They’ve always had … <a href="http://99percentinvisible.prx.org/2010/12/17/99-invisible-13-maps/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>I’m sorry, but if you don’t love maps, I don’t think we can be friends anymore. Maps are amazing. They are art and story. A representation of where we are and where we wish we could be. They’ve always had a power over me.</p>
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<p><a href="http://www.ucpress.edu/book.php?isbn=9780520262508" target="_blank">Rebecca Solnit’s Infinite City</a>, a new atlas of San Francisco maps, explores the poetry, beauty and arbitrary nature of maps to the fullest. The assembled cartographers, researchers, writers and artists have rendered twenty-two maps that tell strange and surprising stories about the Bay Area. Each point of fact and odd juxtaposition presents just one of the infinite possible visions of the city.</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/13-Maps.mp3" length="4387019" type="audio/mpeg" />
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<itunes:subtitle>I’m sorry, but if you don’t love maps, I don’t think we can be friends anymore. Maps are amazing. They are art and story. A representation of where we are and where we wish we could be. They’ve always had a power over me. -</itunes:subtitle>
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<itunes:summary>I’m sorry, but if you don’t love maps, I don’t think we can be friends anymore. Maps are amazing. They are art and story. A representation of where we are and where we wish we could be. They’ve always had a power over me.
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Rebecca Solnit’s Infinite City, a new atlas of San Francisco maps, explores the poetry, beauty and arbitrary nature of maps to the fullest. The assembled cartographers, researchers, writers and artists have rendered twenty-two maps that tell strange and surprising stories about the Bay Area. Each point of fact and odd juxtaposition presents just one of the infinite possible visions of the city.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>4:30</itunes:duration>
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<title>99% Invisible-12- 99% Guilt Free</title>
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<link>http://99percentinvisible.prx.org/2010/12/03/99-invisible-12-99-guilt-free/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-12-99-guilt-free</link>
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<comments>http://99percentinvisible.prx.org/2010/12/03/99-invisible-12-99-guilt-free/#comments</comments>
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<pubDate>Fri, 03 Dec 2010 08:17:18 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2010/12/03/99-invisible-12-99-guilt-free/</guid>
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<description><![CDATA[“Sustainable Design is a design philosophy that seeks to maximize the quality of the built environment, while minimizing or eliminating the negative impact to the natural environment.” -Jason F. McLennan, The Philosophy of Sustainable Design I like McLennan’s definition of … <a href="http://99percentinvisible.prx.org/2010/12/03/99-invisible-12-99-guilt-free/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>“Sustainable Design is a design philosophy that seeks to maximize the quality of the built environment, while minimizing or eliminating the negative impact to the natural environment.” -Jason F. McLennan, <em>The Philosophy of Sustainable Design</em></p>
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<p>I like McLennan’s definition of sustainable design because it’s broken into two parts (1) minimizing negative impact, and (2) maximizing quality. Minimizing the negative is a given that I think everyone understands (and is absolutely critical, no doubt), but it’s the aspect of sustainable design that is also seeking to “maximize the quality of the built environment” that I find really inspiring. That is what intrigued me about <a href="http://www.civiltwilightcollective.com/" target="_blank">Civil Twilight’s</a> <a href="http://www.civiltwilightcollective.com/lunar1.htm" target="_blank">Lunar-resonant Streetlights</a>. This project won the <a href="http://www.metropolismag.com/nextgen/pastyears.php" target="_blank">2007 Metropolis Next Generation Design Competition</a> partly because explored the serious issue of massive energy consumption by excessive outdoor lighting by offering a poetic solution that really focused on maximizing quality. Civil Twilight’s streetlights sense and respond to ambient moonlight and allow people in urban areas to reconnect with the nighttime cycles that were lost long ago to light pollution.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/12-99-Percent-Guilt-Free.mp3" length="4369892" type="audio/mpeg" />
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<itunes:subtitle>“Sustainable Design is a design philosophy that seeks to maximize the quality of the built environment, while minimizing or eliminating the negative impact to the natural environment.” -Jason F. McLennan, The Philosophy of Sustainable Design -</itunes:subtitle>
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<itunes:summary>“Sustainable Design is a design philosophy that seeks to maximize the quality of the built environment, while minimizing or eliminating the negative impact to the natural environment.” -Jason F. McLennan, The Philosophy of Sustainable Design
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I like McLennan’s definition of sustainable design because it’s broken into two parts (1) minimizing negative impact, and (2) maximizing quality. Minimizing the negative is a given that I think everyone understands (and is absolutely critical, no doubt), but it’s the aspect of sustainable design that is also seeking to “maximize the quality of the built environment” that I find really inspiring. That is what intrigued me about Civil Twilight’s Lunar-resonant Streetlights. This project won the 2007 Metropolis Next Generation Design Competition partly because explored the serious issue of massive energy consumption by excessive outdoor lighting by offering a poetic solution that really focused on maximizing quality. Civil Twilight’s streetlights sense and respond to ambient moonlight and allow people in urban areas to reconnect with the nighttime cycles that were lost long ago to light pollution.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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2237
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<itunes:explicit>no</itunes:explicit>
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2238
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<itunes:duration>4:29</itunes:duration>
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<title>99% Invisible-11- 99% Undesigned</title>
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<link>http://99percentinvisible.prx.org/2010/11/25/99-invisible-11-99-undesigned/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-11-99-undesigned</link>
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<comments>http://99percentinvisible.prx.org/2010/11/25/99-invisible-11-99-undesigned/#comments</comments>
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<pubDate>Thu, 25 Nov 2010 01:34:48 +0000</pubDate>
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2245
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<dc:creator>roman</dc:creator>
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2246
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2010/11/24/99-invisible-11-99-undesigned/</guid>
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<description><![CDATA[Almost everything in modern life is designed to waste energy. The whole system evolved on a false premise that petroleum is cheap and plentiful and will be that way forever. The awesome Lisa Margonelli, author of Oil on The Brain … <a href="http://99percentinvisible.prx.org/2010/11/25/99-invisible-11-99-undesigned/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Almost everything in modern life is designed to waste energy. The whole system evolved on a false premise that petroleum is cheap and plentiful and will be that way forever. The awesome <a href="http://www.oilonthebrain.com/" target="_blank">Lisa Margonelli</a>, author of <a href="http://www.randomhouse.com/catalog/display.pperl?isbn=9780385511452&view=quotes" target="_blank">Oil on The Brain</a> and a fellow at the <a href="http://www.newamerica.net/people/lisa_margonelli" target="_blank">New America Foundation</a>, talks us through the design of a world that completely disregards the perils of oil consumption and how new designs are meant to make us all more content with the mess we’ve made.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/11-99-Percent-Undesigned.mp3" length="4405838" type="audio/mpeg" />
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<itunes:subtitle>Almost everything in modern life is designed to waste energy. The whole system evolved on a false premise that petroleum is cheap and plentiful and will be that way forever. The awesome Lisa Margonelli, author of Oil on The Brain and a fellow at the Ne...</itunes:subtitle>
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<itunes:summary>Almost everything in modern life is designed to waste energy. The whole system evolved on a false premise that petroleum is cheap and plentiful and will be that way forever. The awesome Lisa Margonelli, author of Oil on The Brain and a fellow at the New America Foundation, talks us through the design of a world that completely disregards the perils of oil consumption and how new designs are meant to make us all more content with the mess we’ve made.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>4:31</itunes:duration>
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<title>99% Invisible-10- 99% Sound and Feel</title>
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<link>http://99percentinvisible.prx.org/2010/11/19/99-invisible-10-99-sound-and-feel/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-10-99-sound-and-feel</link>
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<pubDate>Fri, 19 Nov 2010 08:38:54 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<description><![CDATA[Chris Downey explains it like this, “Beethoven continued to write music, even some of his best music, after he lost his hearing…What’s more preposterous, composing music you can’t hear, or designing architecture you can’t see?” Chris Downey had been an … <a href="http://99percentinvisible.prx.org/2010/11/19/99-invisible-10-99-sound-and-feel/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Chris Downey explains it like this, “Beethoven continued to write music, even some of his best music, after he lost his hearing…What’s more preposterous, composing music you can’t hear, or designing architecture you can’t see?” <a href="http://www.arch4blind.com/" target="_blank">Chris Downey</a> had been an architect for 20 years before he lost his sight. It would be understandable to think that going blind would mean the end of his career, but that turned out not to be the case at all.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/10-99-Percent-Sound-and-Feel.mp3" length="4732267" type="audio/mpeg" />
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<itunes:subtitle>Chris Downey explains it like this, “Beethoven continued to write music, even some of his best music, after he lost his hearing…What’s more preposterous, composing music you can’t hear, or designing architecture you can’t see?</itunes:subtitle>
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<itunes:summary>Chris Downey explains it like this, “Beethoven continued to write music, even some of his best music, after he lost his hearing…What’s more preposterous, composing music you can’t hear, or designing architecture you can’t see?” Chris Downey had been an architect for 20 years before he lost his sight. It would be understandable to think that going blind would mean the end of his career, but that turned out not to be the case at all.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>4:52</itunes:duration>
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<item>
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<title>99% Invisible-09X-99% Doomed</title>
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2280
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<link>http://99percentinvisible.prx.org/2010/11/13/99-invisible-09x-99-doomed/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-09x-99-doomed</link>
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<comments>http://99percentinvisible.prx.org/2010/11/13/99-invisible-09x-99-doomed/#comments</comments>
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<pubDate>Sat, 13 Nov 2010 05:25:18 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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2284
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2010/11/12/99-invisible-09x-99-doomed/</guid>
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<description><![CDATA[99% Invisible Extra! NASA is figuring out how to take the next great leap into space. The difficulty is, if we leap to Mars, we might not make it back. This is a story I produced last year (Summer 2009) … <a href="http://99percentinvisible.prx.org/2010/11/13/99-invisible-09x-99-doomed/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>99% Invisible Extra! NASA is figuring out how to take the next great leap into space. The difficulty is, if we leap to Mars, we might not make it back. This is a story I produced last year (Summer 2009) for a public radio tech show pilot that didn’t get picked up, and since I am taking a week off of the radio program, and this story presents a cool design challenge (and solution!), I thought it would make a nice, extra long 99% Invisible bonus story. I hope you dig it.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/09X-99-Percent-Doomed.mp3" length="11126618" type="audio/mpeg" />
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<itunes:subtitle>99% Invisible Extra! NASA is figuring out how to take the next great leap into space. The difficulty is, if we leap to Mars, we might not make it back. This is a story I produced last year (Summer 2009) for a public radio tech show pilot that didn’t ...</itunes:subtitle>
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<itunes:summary>99% Invisible Extra! NASA is figuring out how to take the next great leap into space. The difficulty is, if we leap to Mars, we might not make it back. This is a story I produced last year (Summer 2009) for a public radio tech show pilot that didn’t get picked up, and since I am taking a week off of the radio program, and this story presents a cool design challenge (and solution!), I thought it would make a nice, extra long 99% Invisible bonus story. I hope you dig it.</itunes:summary>
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2293
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<itunes:author>Roman Mars</itunes:author>
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2294
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<itunes:explicit>no</itunes:explicit>
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2295
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<itunes:duration>11:31</itunes:duration>
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2296
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</item>
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2297
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<item>
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2298
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<title>99% Invisible-09- 99% Private</title>
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2299
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<link>http://99percentinvisible.prx.org/2010/11/05/99-invisible-09-99-private/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-09-99-private</link>
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2300
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<comments>http://99percentinvisible.prx.org/2010/11/05/99-invisible-09-99-private/#comments</comments>
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<pubDate>Fri, 05 Nov 2010 07:24:22 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2010/11/05/99-invisible-09-99-private/</guid>
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<description><![CDATA[Privately Owned Public Open Spaces, or POPOS, are these little gardens, terraces, plazas, and seating areas that are private property, but are mandated for public use. City planners require developers to add these little “parks” to their buildings to make … <a href="http://99percentinvisible.prx.org/2010/11/05/99-invisible-09-99-private/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Privately Owned Public Open Spaces, or POPOS, are these little gardens, terraces, plazas, and seating areas that are private property, but are mandated for public use. City planners require developers to add these little “parks” to their buildings to make downtown more pleasant (or even just tolerable). Some are out in the open and used regularly by downtown office workers, and some are hidden away and don’t really serve the community all that well. They pop up in the most densely populated parts of the city, where large public parks are few and far between. Whereas the physical aspect of POPOS are pretty well established by the city planners, the social aspects of what constitutes a “public” space is harder to define. Blaine Merker, from the badass design activist group <a href="http://www.rebargroup.org/" target="_blank">Rebar</a>, showed superstar producer <a href="http://mossteph.tumblr.com/" target="_blank">Stephanie Foo</a> around a few of San Francisco’s POPOS to find out just how public these open spaces really are.</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/09-99-Percent-Private.mp3" length="4379919" type="audio/mpeg" />
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<itunes:subtitle>Privately Owned Public Open Spaces, or POPOS, are these little gardens, terraces, plazas, and seating areas that are private property, but are mandated for public use. City planners require developers to add these little “parks” to their buildings ...</itunes:subtitle>
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2311
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<itunes:summary>Privately Owned Public Open Spaces, or POPOS, are these little gardens, terraces, plazas, and seating areas that are private property, but are mandated for public use. City planners require developers to add these little “parks” to their buildings to make downtown more pleasant (or even just tolerable). Some are out in the open and used regularly by downtown office workers, and some are hidden away and don’t really serve the community all that well. They pop up in the most densely populated parts of the city, where large public parks are few and far between. Whereas the physical aspect of POPOS are pretty well established by the city planners, the social aspects of what constitutes a “public” space is harder to define. Blaine Merker, from the badass design activist group Rebar, showed superstar producer Stephanie Foo around a few of San Francisco’s POPOS to find out just how public these open spaces really are.</itunes:summary>
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2312
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<itunes:author>Roman Mars</itunes:author>
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2313
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<itunes:explicit>no</itunes:explicit>
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2314
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<itunes:duration>4:30</itunes:duration>
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2315
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</item>
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2316
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<item>
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2317
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<title>99% Invisible-08- 99% Free Parking</title>
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<link>http://99percentinvisible.prx.org/2010/10/29/99-invisible-08-99-free-parking/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-08-99-free-parking</link>
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<comments>http://99percentinvisible.prx.org/2010/10/29/99-invisible-08-99-free-parking/#comments</comments>
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<pubDate>Fri, 29 Oct 2010 07:44:47 +0000</pubDate>
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2321
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<dc:creator>roman</dc:creator>
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2322
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2010/10/29/99-invisible-08-99-free-parking/</guid>
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<description><![CDATA[It’s weird how much anxiety comes from parking in a city. Beyond the stress of looking for parking, you must contend with the frequently unreliable meters. The signage can be indecipherable. As a point of interaction with your municipality, it’s … <a href="http://99percentinvisible.prx.org/2010/10/29/99-invisible-08-99-free-parking/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>It’s weird how much anxiety comes from parking in a city. Beyond the stress of looking for parking, you must contend with the frequently unreliable meters. The signage can be indecipherable. As a point of interaction with your municipality, it’s just a nightmare. Plus, from an urban planning perspective, the spaces themselves are a horribly mismanaged city resource. A new pilot program in San Francisco is looking to change all that. <a href="http://sfpark.org/" target="_blank">SFPark</a> is trying to use smart parking to make a smarter and better designed city. This episode features Jay Primus, Manager of the SFPark project and <a href="http://shoup.bol.ucla.edu/" target="_blank">Donald Shoup</a>, author of the highly influential book called, <em>The High Cost of Free Parking.</em></p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/08-99-Percent-Free-Parking.mp3" length="4727248" type="audio/mpeg" />
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<itunes:subtitle>It’s weird how much anxiety comes from parking in a city. Beyond the stress of looking for parking, you must contend with the frequently unreliable meters. The signage can be indecipherable. As a point of interaction with your municipality,</itunes:subtitle>
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<itunes:summary>It’s weird how much anxiety comes from parking in a city. Beyond the stress of looking for parking, you must contend with the frequently unreliable meters. The signage can be indecipherable. As a point of interaction with your municipality, it’s just a nightmare. Plus, from an urban planning perspective, the spaces themselves are a horribly mismanaged city resource. A new pilot program in San Francisco is looking to change all that. SFPark is trying to use smart parking to make a smarter and better designed city. This episode features Jay Primus, Manager of the SFPark project and Donald Shoup, author of the highly influential book called, The High Cost of Free Parking.</itunes:summary>
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2331
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<itunes:author>Roman Mars</itunes:author>
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2332
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<itunes:explicit>no</itunes:explicit>
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2333
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<itunes:duration>4:51</itunes:duration>
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2334
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</item>
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2335
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<item>
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2336
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<title>99% Invisible-07- 99% Alien</title>
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<link>http://99percentinvisible.prx.org/2010/10/14/99-invisible-07-99-alien/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-07-99-alien</link>
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<comments>http://99percentinvisible.prx.org/2010/10/14/99-invisible-07-99-alien/#comments</comments>
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<pubDate>Thu, 14 Oct 2010 21:16:44 +0000</pubDate>
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2340
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<dc:creator>roman</dc:creator>
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2341
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2010/10/14/99-invisible-07-99-alien/</guid>
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<description><![CDATA[Humans need a few basic things to survive- air, water, food, heat, shelter- but just surviving isn’t really enough. We also need familiarity, a little comfort, interaction, a small place of our own. When it comes to designing space habitat … <a href="http://99percentinvisible.prx.org/2010/10/14/99-invisible-07-99-alien/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Humans need a few basic things to survive- air, water, food, heat, shelter- but just surviving isn’t really enough. We also need familiarity, a little comfort, interaction, a small place of our own. When it comes to designing space habitat modules, engineers have that first set of basic needs covered, but figuring out the how to incorporate those other things, that not only keep an astronaut alive, but also mentally healthy and happy, is a little more complicated. The funniest and coolest science writer in the world, <span class="UIStory_Message"><a href="http://maryroach.net/" target="_blank">Mary Roach</a> guides us through the evolution of space habitat modules and how far design can be optimized for zero g before astronauts start to lose it.</span></p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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2347
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/07-99-Percent-Alien.mp3" length="4385353" type="audio/mpeg" />
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<itunes:subtitle>Humans need a few basic things to survive- air, water, food, heat, shelter- but just surviving isn’t really enough. We also need familiarity, a little comfort, interaction, a small place of our own. When it comes to designing space habitat modules,</itunes:subtitle>
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2349
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<itunes:summary>Humans need a few basic things to survive- air, water, food, heat, shelter- but just surviving isn’t really enough. We also need familiarity, a little comfort, interaction, a small place of our own. When it comes to designing space habitat modules, engineers have that first set of basic needs covered, but figuring out the how to incorporate those other things, that not only keep an astronaut alive, but also mentally healthy and happy, is a little more complicated. The funniest and coolest science writer in the world, Mary Roach guides us through the evolution of space habitat modules and how far design can be optimized for zero g before astronauts start to lose it.</itunes:summary>
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2350
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<itunes:author>Roman Mars</itunes:author>
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2351
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<itunes:explicit>no</itunes:explicit>
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2352
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<itunes:duration>4:30</itunes:duration>
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2353
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</item>
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2354
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<item>
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2355
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<title>99% Invisible-06- 99% Symbolic</title>
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2356
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<link>http://99percentinvisible.prx.org/2010/10/07/99-invisible-06-99-symbolic/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-06-99-symbolic</link>
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<comments>http://99percentinvisible.prx.org/2010/10/07/99-invisible-06-99-symbolic/#comments</comments>
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2358
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<pubDate>Thu, 07 Oct 2010 22:26:23 +0000</pubDate>
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2359
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<dc:creator>roman</dc:creator>
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2360
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<category><![CDATA[Uncategorized]]></category>
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2361
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<guid isPermaLink="false">http://invisible99.podbean.com/2010/10/07/99-invisible-06-99-symbolic/</guid>
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<description><![CDATA[Before I moved to Chicago in 2005, I didn’t even know cities had their own flags. In Chicago, the city flag is everywhere. It’s incorporated into all different aspects of city life and the design elements are used on businesses, … <a href="http://99percentinvisible.prx.org/2010/10/07/99-invisible-06-99-symbolic/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>Before I moved to Chicago in 2005, I didn’t even know cities had their own flags. In Chicago, the city flag is everywhere. It’s incorporated into all different aspects of city life and the design elements are used on businesses, websites, clothing and apparel. So when I moved back to San Francisco in 2008, I looked up our city flag and wondered why I never really noticed it before. Ugh, now I know. Ted Kaye, editor of Raven- a scholarly journal of vexillology and treasurer of the <a title="NAVA" href="http://www.nava.org/" target="_blank">North American Vexillological Association</a>, helps me understand the principles of good flag design and imagines with us a better flag for the greatest city on earth (IMHO).</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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2366
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/06-99-Percent-Symbolic.mp3" length="4378249" type="audio/mpeg" />
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2367
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<itunes:subtitle>Before I moved to Chicago in 2005, I didn’t even know cities had their own flags. In Chicago, the city flag is everywhere. It’s incorporated into all different aspects of city life and the design elements are used on businesses, websites,</itunes:subtitle>
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2368
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<itunes:summary>Before I moved to Chicago in 2005, I didn’t even know cities had their own flags. In Chicago, the city flag is everywhere. It’s incorporated into all different aspects of city life and the design elements are used on businesses, websites, clothing and apparel. So when I moved back to San Francisco in 2008, I looked up our city flag and wondered why I never really noticed it before. Ugh, now I know. Ted Kaye, editor of Raven- a scholarly journal of vexillology and treasurer of the North American Vexillological Association, helps me understand the principles of good flag design and imagines with us a better flag for the greatest city on earth (IMHO).</itunes:summary>
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2369
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<itunes:author>Roman Mars</itunes:author>
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2370
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<itunes:explicit>no</itunes:explicit>
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2371
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<itunes:duration>4:30</itunes:duration>
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2372
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</item>
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2373
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<item>
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2374
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<title>99% Invisible-05- 99% Forgotten</title>
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2375
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<link>http://99percentinvisible.prx.org/2010/10/01/99-invisible-05-99-forgotten/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-05-99-forgotten</link>
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<comments>http://99percentinvisible.prx.org/2010/10/01/99-invisible-05-99-forgotten/#comments</comments>
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<pubDate>Fri, 01 Oct 2010 05:00:11 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com?p=1318607</guid>
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<description><![CDATA[At the top of Mt. Olympus in San Francisco, on what was once thought to be the geographic center of the city, is a pedestal for a statue that isn’t there. There’s no marker. You can just make out the … <a href="http://99percentinvisible.prx.org/2010/10/01/99-invisible-05-99-forgotten/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>At the top of Mt. Olympus in San Francisco, on what was once thought to be the geographic center of the city, is a pedestal for a statue that isn’t there. There’s no marker. You can just make out the word “erected” on the stone surface, but there’s nothing that lets anyone know that this was once the site of San Francisco’s own (much smaller) statue of liberty and light. It is now surrounded by 1950’s condos, and even though it offers some of the best views of the city, I’ve only met two people who have even heard of it (and I asked around a lot). CCA architecture historian <a href="http://www.cca.edu/academics/faculty/wlittmann" target="_blank">Bill Littmann</a> shows us around.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/05-99-Percent-Forgotten.mp3" length="4381512" type="audio/mpeg" />
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<itunes:subtitle>At the top of Mt. Olympus in San Francisco, on what was once thought to be the geographic center of the city, is a pedestal for a statue that isn’t there. There’s no marker. You can just make out the word “erected” on the stone surface, but the...</itunes:subtitle>
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<itunes:summary>At the top of Mt. Olympus in San Francisco, on what was once thought to be the geographic center of the city, is a pedestal for a statue that isn’t there. There’s no marker. You can just make out the word “erected” on the stone surface, but there’s nothing that lets anyone know that this was once the site of San Francisco’s own (much smaller) statue of liberty and light. It is now surrounded by 1950’s condos, and even though it offers some of the best views of the city, I’ve only met two people who have even heard of it (and I asked around a lot). CCA architecture historian Bill Littmann shows us around.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>4:30</itunes:duration>
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<title>99% Invisible-04- 99% Details</title>
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<link>http://99percentinvisible.prx.org/2010/09/24/99-invisible-04-99-details/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-04-99-details</link>
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<comments>http://99percentinvisible.prx.org/2010/09/24/99-invisible-04-99-details/#comments</comments>
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<pubDate>Fri, 24 Sep 2010 07:54:17 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2010/09/24/99-invisible-04-99-details/</guid>
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<description><![CDATA[It’s a stick with bristles poking out of it. It doesn’t even qualify as a simple machine, but the careful thought and design that went into the creation of the modern, angled bristle, fat handled toothbrush shows just how much … <a href="http://99percentinvisible.prx.org/2010/09/24/99-invisible-04-99-details/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>It’s a stick with bristles poking out of it. It doesn’t even qualify as a simple machine, but the careful thought and design that went into the creation of the modern, angled bristle, fat handled toothbrush shows just how much brainpower goes into something that is designed to simply work well and not be noticed all that much (until it’s time to buy the next one). This piece features John Edson, President of <a href="http://www.lunar.com/" target="_blank">LUNAR</a>.</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/04-99-Percent-Details.mp3" length="4437518" type="audio/mpeg" />
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<itunes:subtitle>It’s a stick with bristles poking out of it. It doesn’t even qualify as a simple machine, but the careful thought and design that went into the creation of the modern, angled bristle, fat handled toothbrush shows just how much brainpower goes into ...</itunes:subtitle>
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<itunes:summary>It’s a stick with bristles poking out of it. It doesn’t even qualify as a simple machine, but the careful thought and design that went into the creation of the modern, angled bristle, fat handled toothbrush shows just how much brainpower goes into something that is designed to simply work well and not be noticed all that much (until it’s time to buy the next one). This piece features John Edson, President of LUNAR.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>4:33</itunes:duration>
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<title>99% Invisible-03- 99% Reality (only)</title>
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<link>http://99percentinvisible.prx.org/2010/09/24/99-invisible-03-99-reality-only/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-03-99-reality-only</link>
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<comments>http://99percentinvisible.prx.org/2010/09/24/99-invisible-03-99-reality-only/#comments</comments>
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<pubDate>Fri, 24 Sep 2010 07:46:47 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2010/09/24/99-invisible-03-99-reality-only/</guid>
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<description><![CDATA[There’s not much that we can do about all the physical matter that’s been designed and built by someone else. It is the way it is. But with the advent of portable devices with GPS, a compass, and a network, … <a href="http://99percentinvisible.prx.org/2010/09/24/99-invisible-03-99-reality-only/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>There’s not much that we can do about all the physical matter that’s been designed and built by someone else. It is the way it is. But with the advent of portable devices with GPS, a compass, and a network, we can now design a layer on top of the real world that can contain all kinds of new information, ideas, and experiences. This is called augmented reality. When most people use the term, they are talking about a visual experience. You hold up the camera of your smart phone and infographics overlay the image of the the thing right in front of you. But for my money, the best experience of augmented reality is auditory. Using the iPhone platform, <a title="RJDJ" href="http://www.rjdj.me/" target="_blank">RJDJ</a> is exploring the next phase of music, called reactive music. Compositions coming out the headphones are completely unique, mixed in the smart phone, having incorporated data from the listeners environment.</p>]]></content:encoded>
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<wfw:commentRss>http://99percentinvisible.prx.org/2010/09/24/99-invisible-03-99-reality-only/feed/</wfw:commentRss>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/03-99-Percent-Reality.mp3" length="4386951" type="audio/mpeg" />
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<itunes:subtitle>There’s not much that we can do about all the physical matter that’s been designed and built by someone else. It is the way it is. But with the advent of portable devices with GPS, a compass, and a network,</itunes:subtitle>
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<itunes:summary>There’s not much that we can do about all the physical matter that’s been designed and built by someone else. It is the way it is. But with the advent of portable devices with GPS, a compass, and a network, we can now design a layer on top of the real world that can contain all kinds of new information, ideas, and experiences. This is called augmented reality. When most people use the term, they are talking about a visual experience. You hold up the camera of your smart phone and infographics overlay the image of the the thing right in front of you. But for my money, the best experience of augmented reality is auditory. Using the iPhone platform, RJDJ is exploring the next phase of music, called reactive music. Compositions coming out the headphones are completely unique, mixed in the smart phone, having incorporated data from the listeners environment.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>4:30</itunes:duration>
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</item>
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<title>99% Invisible-02- 99% 180</title>
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<link>http://99percentinvisible.prx.org/2010/09/23/99-invisible-02-99-180/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-02-99-180</link>
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<comments>http://99percentinvisible.prx.org/2010/09/23/99-invisible-02-99-180/#comments</comments>
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<pubDate>Thu, 23 Sep 2010 21:25:23 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2010/09/23/99-invisible-02-99-180/</guid>
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<description><![CDATA[In the beginning, former AIA-SF president Henrik Bull and the Transamerica Pyramid did not get along. The building was an affront to late 1960’s modernist ideals. It was silly. It looked like a dunce cap. Its large scale had no … <a href="http://99percentinvisible.prx.org/2010/09/23/99-invisible-02-99-180/">Continue reading <span class="meta-nav">→</span></a>]]></description>
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<content:encoded><![CDATA[<p>In the beginning, former AIA-SF president <a href="http://en.wikipedia.org/wiki/Henrik_Bull" target="_blank">Henrik Bull</a> and the Transamerica Pyramid did not get along. The building was an affront to late 1960’s modernist ideals. It was silly. It looked like a dunce cap. Its large scale had no respect for the neighborhood in which it lived. But over 40 years, something happened…</p>]]></content:encoded>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/02-99-Percent-180.mp3" length="4363677" type="audio/mpeg" />
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<itunes:subtitle>In the beginning, former AIA-SF president Henrik Bull and the Transamerica Pyramid did not get along. The building was an affront to late 1960’s modernist ideals. It was silly. It looked like a dunce cap.</itunes:subtitle>
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<itunes:summary>In the beginning, former AIA-SF president Henrik Bull and the Transamerica Pyramid did not get along. The building was an affront to late 1960’s modernist ideals. It was silly. It looked like a dunce cap. Its large scale had no respect for the neighborhood in which it lived. But over 40 years, something happened…</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>4:30</itunes:duration>
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</item>
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<title>99% Invisible-01- 99% Noise</title>
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<link>http://99percentinvisible.prx.org/2010/09/23/99-invisible-01-99-noise/?utm_source=rss&utm_medium=rss&utm_campaign=99-invisible-01-99-noise</link>
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<comments>http://99percentinvisible.prx.org/2010/09/23/99-invisible-01-99-noise/#comments</comments>
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<pubDate>Thu, 23 Sep 2010 21:05:21 +0000</pubDate>
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<dc:creator>roman</dc:creator>
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<category><![CDATA[Uncategorized]]></category>
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<guid isPermaLink="false">http://invisible99.podbean.com/2010/09/23/99-invisible-01-99-noise/</guid>
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<description><![CDATA[This episode of 99% Invisible is all about acoustic design, the city soundscape, and how to make listening in shared spaces pleasant (or at the very least, possible). It features an interview with Dennis Paoletti from Shen Milsom & Wilke.]]></description>
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<content:encoded><![CDATA[<p>This episode of 99% Invisible is all about acoustic design, the city soundscape, and how to make listening in shared spaces pleasant (or at the very least, possible). It features an interview with <a href="http://www.smwinc.com/about/dennis_paoletti.html" target="_blank">Dennis Paoletti</a> from <a href="http://www.smwinc.com/index.html" target="_blank">Shen Milsom & Wilke</a>.</p>]]></content:encoded>
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<slash:comments>0</slash:comments>
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<enclosure url="http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/99percentinvisible/cdn.99percentinvisible.org/wp-content/uploads/01-99-Percent-Noise.mp3" length="4219483" type="audio/mpeg" />
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<itunes:subtitle>This episode of 99% Invisible is all about acoustic design, the city soundscape, and how to make listening in shared spaces pleasant (or at the very least, possible). It features an interview with Dennis Paoletti from Shen Milsom & Wilke.</itunes:subtitle>
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<itunes:summary>This episode of 99% Invisible is all about acoustic design, the city soundscape, and how to make listening in shared spaces pleasant (or at the very least, possible). It features an interview with Dennis Paoletti from Shen Milsom & Wilke.</itunes:summary>
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<itunes:author>Roman Mars</itunes:author>
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<itunes:explicit>no</itunes:explicit>
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<itunes:duration>4:21</itunes:duration>
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