Tuesday, September 16, 2008

Machinarium


Several years ago, I discovered Samorost. My daughter adored it, and played it a lot.

Now it seems that the Amanita team which brough us Samorost and Samorost2 is working on a full length adventure game, Machinarium. You can see screenshots and a couple of previews here.

Monday, September 8, 2008

Arachnophilia


If you don't like spiders... then beware this link. Actually, you probably saw the illustration, screamed and shut the browser. Thanks to BoingBoing for the link.

Cool desktop pet type thing which you can feed and play with. Strangely enchanting as long as you aren't phobic.

Sunday, September 7, 2008

Tunng


My brother pointed me towards a new band he's started listening to, called Tunng. You'll find them here and here and here... and their own website is here.

I've been unable to stop humming the song, and keep going back to play the youtube versions of Bullet. Hope you like it too.

Friday, August 1, 2008

National Portrait Gallery Copyright... the gift that keeps on taking...

I am currently engaged on collecting together materials for my Quaker meeting's 350th anniversary. As you can imagine, Quaker paintings for the 17th and 18th century are a bit thin on the ground, so I was delighted when I found a picture which is apparently in the National Portrait Gallery, of Benjamin West the celebrated painter, and his father, John West, who was an Uxbridge Quaker at the beginning of the 18th century.

I contacted the National Portrait Gallery to find out about the cost of having a print of the painting and also to ask about permission to reproduce in the leaflet that we will be producing. This is likely to have a short print run, and be handed out to a few people during our open days in September and October.

I really expected that they would tell me that as the artist died in 1814 and the painting was first published in 1779, there was no copyrght payable. Not so, however. Unlike the US where you are unable to claim copyright in a photograph which only includes a work which is out of copyright, the National Portrait Gallery would like to charge me the cost of a black and white print for the painting and then £25.10 including VAT for the coyright fee.

It is possible for me to go to the National Portrait Gallery and take pictures myself, but if I do, they claim copyright on my photographs too! As it outlines on their web page (my italics and emboldening):

Copyright and the National Portrait Gallery
As a National Gallery, we have a public duty, not only to display and conserve the works in our collection, but also to ensure that the works are correctly represented in reproductions and publications of these works. As a result of continuing research, from time to time, adjustments are made in the attributions of both artists and sitters for paintings. It is also extremely important that pictures are represented in their most recent state of restoration. There are, in many other cases, issues for the artists, sitters, donors or lenders of works in the
collection, to which, as an institution, we have to be sensitive. For these reasons, we need to control very tightly the circumstances and quality of reproductions from the collection.

In order to do this, we have a very active picture library and licencing department, which loans transparencies for the purpose of reproduction. We also exert strict controls on all photography in the Gallery, which is allowed only on the understanding that copyright rests with the us and that any further reproduction deriving from the resulting photographic materials is subject to our written permission.

The National Portrait Gallery is a strong supporter of free entry - we do not think visitors should have to pay in order to see the collection. Those who may never be able to visit us can still enjoy and learn about the collection through the images published in books, magazines, on the television and the Internet. The Picture Library raises money by licensing such reproduction, which supports the 'free entry' policy and the Gallery's main functions in looking after its paintings, drawings, etchings and sculptures, and in teaching people about the works.

I have written to protest about this abuse of their position. It looks as though I may be able to obtain the images without copyright fee from American museums, and if I can, I shall.

I will await the National Portrait Gallery's response with interest.

Thursday, July 31, 2008

Bosnian Pyramids

Looking at the age of this stuff, I am astonished that I haven't seen it before.

As usual, I came by the story in a roundabout way. I was searching for free stone textures or pictures of stone to make into textures. I found a picture of a huge round ball, which was apparently found in Bosnia after an earthquake. I was struck by how similar they were to the south American balls that no one has ever explained.

Then I saw an article about the finding of a pyramid in Bosnia... and saw the pictures of the mountain looking very even and man made. There's even an Indiana Jones-like archaeologist in charge of the excavatation.

Anyway... dig around and see what you think....ah...I should have checked it out with wikipedia... they disbelieve the pyramids... have seen nothing about the balls,

Thursday, July 24, 2008

London Bodies


Happened across the exhibition in the Wellcome Institute on Euston Road in London about London bodies. Skeletons from two thousand years of the city's history lie laid out in glass cases, with tantalising notes beside them.

An elderly man with evidence of rickets in childhood and another bone bending disease in adulthood. A baby with smallpox. A prostitute with syphilis. A young woman with no obvious disease.

The light is low, the skeletons all look roughly the same at first glance, and only the careful and brief notes with them distinguish one from another. Then, a shock. William Wood, exhumed from his grave from the 19th century. How would I feel if one of my 19th century ancestors had been laid out in this way for all to see?

The Institute is of course a temple to science, and scientific methods. It looks at the human and sees only the flesh and the bones... the things which can be measured, touched, documented and studied. But the remains of human bodies, these skeletons... once they were people, and they loved and lost and lived and died... maybe it should make no difference whether they are a nameless man from a Cluniac monastery from six centuries ago or a beadle from the 19th century, but somehow... it seems disrespectful, wrong, to bring someone out of the grave after so short a time in it. How would I feel, similarly displayed, in 2170?

We looked at them with interest, tried to compare the teeth of the Romans who ground them down, and those of the 18th century Londoners... rotten. I wondered what sort of lives these people represented... mostly hard I guessed, with broken bones badly mended, and signs of vitamin deficiencies.

Mostly I felt uncomfortable in a world which ignores our deeply spiritual nature, which cannot be neatly filed away in a box, in favour of the material witness to our existence, numbered and stored away for future reference.

However, it's very interesting - more detail here.

Keith Barry TED Talk magic












Indebted to BoingBoing once again for a link to an interesting Ted talk... Keith Barry seems to be from the same school of magicianship as Derren Brown.

I just had to add it to my mysterious miscellany.