TIFI

Michael Lewis in New York Times Magazine

Right away, [John Seo] could see the problem with natural catastrophe. An insurance company could function only if it was able to control its exposure to loss. Geico sells auto insurance to more than seven million Americans. No individual car accident can be foreseen, obviously, but the total number of accidents over a large population is amazingly predictable. The company knows from past experience what percentage of the drivers it insures will file claims and how much those claims will cost. The logic of catastrophe is very different: either no one is affected or vast numbers of people are. After an earthquake flattens Tokyo, a Japanese earthquake insurer is in deep trouble: millions of customers file claims. If there were a great number of rich cities scattered across the planet that might plausibly be destroyed by an earthquake, the insurer could spread its exposure to the losses by selling earthquake insurance to all of them. The losses it suffered in Tokyo would be offset by the gains it made from the cities not destroyed by an earthquake. But the financial risk from earthquakes — and hurricanes — is highly concentrated in a few places.

Via Paul Kedrosky’s Infectious Greed.

Posted by Nicolai Ouroussoff to NYT > Arts.

This effect was amplified by the play of light and sound. By turning on and off the various floodlights outside, you could adjust the mood of the entire house. When the lights are dimmed, for example, the house becomes less theatrical, more tender. Voices too travel through the rooms, so that you are always faintly aware of the presence of the other.

It wasn’t until we arose the next morning, however, that we fully understood Chareau’s choreography. The bathroom floor is raised in certain areas so that as we crossed it, we could catch occasional glimpses of each other before suddenly dropping back out of view.

Tobias battenberg, from Germany, made a nice experiment with video projections in several buildings and structures in the city, about the font “akzidenz grotesk”.
Akzidenz grotesk is known as a font that tolerates a lot, that holds out a lot - my plan was to get a proof by the font herself. the font demonstrated her character at its best.

His website, or a direct link to the pdf

Via Type for you via Monoscope.

Via Kenny G at WFMU’s Beware of the Blog.

Vanity Fair article by by David Kamp on Sly Stone’s reappearance.

“There’s one that’s called ‘We’re Sick Like That,’” he continues. “It says, ‘Give a boy a flag and teach him to salute / Give the same boy a gun and teach him how to shoot / And then one night, the boy in the bushes, he starts to cry / ‘Cause nobody ever really taught him how to die.’”

The obvious allusion to the current war jars me, and I soon realize why: Stone has been absent from the scene for such a duration that it’s hard to imagine that he was with us all along, experiencing all the things we experienced over the years—the fall of the Berlin Wall, the collapse of the Soviet Union, Nelson Mandela’s release from prison, the rise of the World Wide Web, the attacks on 9/11, the invasion of Iraq. It’s almost as if he went into a decades-long deep freeze, like Austin Powers or the astronauts in Planet of the Apes. Except he didn’t.

Via Bruce Sterling at Beyond the Beyond.

Electric contacts are mounted on the support block of the Machine, where the hand is situated. These contacts are activated as soon as the first “nervous sweat” appears that turns the skin into a conductor. Subsequently the computer becomes disturbed by the electric current that is now transmitted via the skin.

This has two effects: on the one hand, sounds are generated by the closure of the contacts (circuit bending) that can either be interpreted as warning or act as an additional source of stress. On the other hand, they can have an effect on the position of the knife which is controlled by the computer and thereby hurt the potential perpetrator of the disturbance.

By 5voltcore

Via Daring Fireball.

New York Times Magazine feature by Joshua Yaffa on the typography and design of highway signage, particular regarding Clearview, the new typeface designed to replace Highway Gothic as the standard for signage in the U.S.

Posted by Station Manager Ken to WFMU’s Beware of the Blog.

Not that William Shatner needs any help re-inventing himself musically or otherwise, but here’s a remix of him cruising along in his racecar at 160 MPH, and discussing it with Conan O’Brien

Via MAKE: Blog.

Matthias Wandel has the coolest project ever, a binary marble computer.

When the architects at Skidmore, Owings & Merrill wanted to prove the brilliance of their planned 919-window roof for a new terminal at Singapore’s Changi International Airport, they invited officials to Austria for a sneak peek. “It was a hard sell,” architect Ross Wimer says of the $1.7 billion plan, “until they stuck their heads inside the building.”

From Economist.com News Analysis.

Last October the Luxury Marketing Council, an international organisation of 675 luxury-goods firms, opened its India chapter. Its boss, Devyani Raman, described India’s luxury-goods market as “a cupboard full of beautiful clothes with a new outfit arriving every day—it could start to look messy without the right care”. This, she said, included everything from teaching shop assistants appropriate manners to instilling in the Indian public a proper understanding of the concept of luxury. “How do you educate them”, she asked, “about the difference between a designer bag that costs $400 and a much cheaper leather bag that functions perfectly well?”