Stay Hungry, Stay Foolish” The Whole Earth Catalog Now Online

Between 1968 and 1972, Stew­art Brand pub­lished The Whole Earth Cat­a­log an Amer­i­can coun­ter­cul­ture cat­a­log. It was essen­tially “a paper-based data­base offer­ing thou­sands of hacks, tips, tools, sug­ges­tions, and pos­si­bil­i­ties for opti­miz­ing your life.” For Steve Jobs, it was a “Bible” of his gen­er­a­tion, a life –trans­form­ing publication.

Click on the image above to go to the online ver­sion of the The Whole Earth Cat­a­log that is now avail­able online. The col­lec­tion of that work pro­vided on this site is not com­plete — and prob­a­bly never will be — but it is a gift to read­ers who loved the CATALOG and those who are dis­cov­er­ing it for the first time.

The title Whole Earth Cat­a­log came from a pre­vi­ous project of Stew­art Brand. In 1966, he ini­ti­ated a pub­lic cam­paign to have NASA release the then-rumored satel­lite photo of the sphere of Earth as seen from space, the first image of the “Whole Earth.” He thought the image might be a pow­er­ful sym­bol, evok­ing a sense of shared des­tiny and adap­tive strate­gies from peo­ple. The Stanford-educated Brand, a biol­o­gist with strong artis­tic and social inter­ests, believed that there was a groundswell of com­mit­ment to thor­oughly ren­o­vat­ing Amer­i­can indus­trial soci­ety along eco­log­i­cally and socially just lines, what­ever they might prove to be.

Steve Jobs, chief exec­u­tive offi­cer and co-founder of Apple Com­puter and of Pixar Ani­ma­tion Stu­dios, urged grad­u­ates at Stan­ford to pur­sue their dreams and see the oppor­tu­ni­ties in life’s set­backs — includ­ing death itself — at the university’s 114th Com­mence­ment on June 12, 2005.

Jobs explained why he drew inspi­ra­tion from this intel­lec­tual cre­ation of the 60s counterculture:

When I was young, there was an amaz­ing pub­li­ca­tion called The Whole Earth Cat­a­log, which was one of the bibles of my gen­er­a­tion. It was cre­ated by a fel­low named Stew­art Brand not far from here in Menlo Park, and he brought it to life with his poetic touch. This was in the late 1960′s, before per­sonal com­put­ers and desk­top pub­lish­ing, so it was all made with type­writ­ers, scis­sors, and polaroid cam­eras. It was sort of like Google in paper­back form, 35 years before Google came along: it was ide­al­is­tic, and over­flow­ing with neat tools and great notions.

Stew­art and his team put out sev­eral issues of The Whole Earth Cat­a­log, and then when it had run its course, they put out a final issue. It was the mid-1970s, and I was your age. On the back cover of their final issue was a pho­to­graph of an early morn­ing coun­try road, the kind you might find your­self hitch­hik­ing on if you were so adven­tur­ous. Beneath it were the words: “Stay Hun­gry. Stay Fool­ish.” It was their farewell mes­sage as they signed off. Stay Hun­gry. Stay Fool­ish. And I have always wished that for myself. And now, as you grad­u­ate to begin anew, I wish that for you.”

You can watch the video below


The Art of Creative Coding

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Pro­gram­ming plays a huge role in the world that sur­rounds us, and though its uses are often purely func­tional, there is a grow­ing com­mu­nity of artists who use the lan­guage of code as their medium. Their work includes every­thing from com­puter gen­er­ated art to elab­o­rate inter­ac­tive instal­la­tions, all with the goal of expand­ing our sense of what is pos­si­ble with dig­i­tal tools.

To sim­plify the cod­ing process, sev­eral plat­forms and libraries have been assem­bled to allow coders to cut through the nitty-gritty of pro­gram­ming and focus on the cre­ative aspects of the project. These plat­forms all share a strong open source phi­los­o­phy that encour­ages growth and exper­i­men­ta­tion, cre­at­ing a rich com­mu­nity of artists that share their strate­gies and work with unprece­dented openness.


AirBurr, Autonomous Flying Robot

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Robots capa­ble of flight in cramped and clut­tered envi­ron­ments have many advan­tages over their ground-based coun­ter­parts, but most cur­rent sys­tems suf­fer from the same fun­da­men­tal prob­lem: any con­tact with obsta­cles has cat­a­strophic, mission-ending results. What if instead of avoid­ing col­li­sions, a fly­ing robot can become robust to them, and even take advan­tage of con­tact with its environment?

Meet the Air­Burr, an autonomous fly­ing robot specif­i­cally designed for mis­sions in dif­fi­cult, con­fined envi­ron­ments under total dark­ness. Air­burr is inspired b the sim­ple nav­i­ga­tion strat­egy that insects use to fol­low – It fol­lows a path and if it col­lides, it has an excel­lent abil­ity to recover.

In this video the Air­Burr nav­i­gates a cor­ri­dor and a nar­row door­way towards a light source using the sig­nals from 4 sim­ple pho­to­di­odes. This strat­egy is par­tic­u­larly adapted to fol­low­ing faint sig­nals in unstruc­tured, clut­tered envi­ron­ments, such as gas leaks in col­lapsed indus­trial plants. The Air­Burr is then pro­grammed to explore a small room using a ran­dom direc­tion algo­rithm sim­i­lar to the one used by most robotic vac­uum clean­ers. This explo­ration strat­egy is use­ful in sit­u­a­tions where other sen­sors can­not be used. It is demon­strated through a flight in a com­pletely dark room where vision-based nav­i­ga­tion isn’t pos­si­ble, and can also be used in smoke-filled envi­ron­ments where laser scan­ners have trou­ble func­tion­ing correctly.


I Dream Of Wires

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I Dream of Wires” (IDOW) is an upcom­ing, inde­pen­dent doc­u­men­tary film about the phe­nom­e­nal resur­gence of the mod­u­lar syn­the­sizer – explor­ing the pas­sions, obses­sions and dreams of peo­ple who have ded­i­cated part of their lives to this eso­teric elec­tronic music machine. Writ­ten and directed by Robert Fan­ti­natto, with Jason Amm (Ghostly Inter­na­tional record­ing artist Sol­vent) serv­ing as pro­ducer and co-writer, IDOW is set to receive it’s fes­ti­val pre­miere, May 2013.

If you’re a fan of music, you’ll want to keep this doc­u­men­tary on your radar as it talks about the his­tory of the elec­tronic syn­the­sizer in mod­ern music. Lots of old gear (that still works!) and tons of experts at cre­at­ing music and sounds with the synth.


The Pirate Bay Leaves Sweden

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The Pirate Bay will no longer be hosted by the Swedish Pirate Party, due to mount­ing legal pres­sure from a domes­tic anti-piracy group rep­re­sent­ing the enter­tain­ment indus­try. Accord­ing to Tor­rent­F­reak, the file-sharing site will now be hosted with sup­port from the pirate par­ties in Nor­way and Spain, where it may find more favor­able legal environments.

In Octo­ber, the Pirate Bay relo­cated its oper­a­tions to the cloud as part of an effort to evade police raids and the loca­tion of its head­quar­ters remains unknown, though it has con­tin­ued to use web host­ing ser­vices pro­vided by the Swedish Pirate Party. Ear­lier this month, how­ever, the Pirate Party was threat­ened with a law­suit from Sweden’s Rights Alliance, which rep­re­sents the movie and music indus­tries. The Rights Alliance gave the pirates until Feb­ru­ary 26th to cut ties with the Pirate Bay, forc­ing the site to come up with a backup plan.

Ear­lier today, the Pirate Bay finally cut ties with its Swedish allies, and shifted its web host­ing ser­vices to Nor­way and Spain. “TPB did of course have lots of backup tran­sit lined up for ages. This is how­ever the first time we are going to show two at the same time,” The Pirate Bay’s Winona told Tor­rent­F­reak. “It will be inter­est­ing to see who is now blamed for host­ing TPB. In the end, maybe the anti-interneterians will under­stand that they can’t win a fight when they have the peo­ple against them.”

The organization’s choice of relo­ca­tion was likely informed by legal prece­dent in each coun­try. In 2010, enter­tain­ment indus­try groups failed to force a Nor­we­gian ISP to block the Pirate Bay, while Span­ish courts have thus far been reluc­tant to take action against file-sharing sites, on the grounds that link­ing to other plat­forms is not a valid basis for copy­right liability.


3Doodler: The World’s First 3D Printing Pen

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Have you ever just wished you could lift your pen off the paper and see your draw­ing become a real three dimen­sional object?

3Doodler is the world’s first 3D Print­ing Pen. Using ABS plas­tic (the mate­r­ial used by many 3D print­ers), 3Doodler draws in the air or on sur­faces. It’s com­pact and easy to use, and requires no soft­ware or com­put­ers. You just plug it into a power socket and can start draw­ing any­thing within min­utes. Oh, and it’s also the most afford­able way to 3D print… by a looong way!

As 3Doodler draws, it extrudes heated plas­tic, which quickly cools and solid­i­fies into a strong sta­ble struc­ture. This allows you to build an infi­nite vari­ety of shapes and items with ease! Most peo­ple will instantly be able to trace objects on paper, and after only a few hours of prac­tice you will be able to make far more intri­cate objects.

Check out 3Doodler: The World’s First 3D Print­ing Pen on their Kick­starter page.


Animated GIFs: The Birth of a Medium

GIFs are one of the old­est image for­mats used on the web. The GIF graph­ics file for­mat was invented by Com­puServe in 1987. Throughout their his­tory, they have served a huge vari­ety of pur­poses, from func­tional to enter­tain­ment. Now, 25 years after the first GIF was cre­ated, they are expe­ri­enc­ing an explo­sion of inter­est and inno­va­tion that is push­ing them into the ter­rain of art.

Please watch the fol­low­ing episode of Off Book, fea­tur­ing inter­views of Christo­pher Price Edi­to­r­ial Direc­tor at Tum­blr, Patrick David­son from Meme­Fac­tory, a group that gives pre­sen­ta­tions about inter­net memes, Pamela Reed and Mathew Rader from REED + RADER, mostly ded­i­cated to fash­ion pho­tog­ra­phy and Visual Graph­ics Artist Kevin Burg with pho­tog­ra­pher Jamie Beck cre­ators of Cin­ema­graph.

We love ani­mated GIFs here at ‘The Remains’ and we con­stantly see amaz­ing exam­ples of cre­ative and inspir­ing GIFs in sites like Tum­blr where they are spe­cially pop­u­lar, but we par­tic­u­larly like the work of artist Max Capac­ity. I will ven­ture here to say that his ani­mated GIFs are post­mod­ern, com­bin­ing in them glitch art, pixel art, movies and stuff I can­not even start to describe. The fact that he uses the name Max Capac­ity is prob­a­bly not a coin­ci­dence as he has a lot of work to show up for. I can spend hours jump­ing from his Flickr site to his Tum­blr site to his YouTube chan­nel check­ing out his uni­verse of pro­lific cre­ation. Watch some sam­ples of his work below:

Ok, lastly we want to leave you with one last video from PBS Off Book. A 25th Anniver­sary GIF short Mashup set to 8-bit Dubstep.


We live in a cut and paste world — Hacking manual

We live in a cut and paste world: Control-C and Control-V give us the free­dom to rearrange words, pic­tures, video and sound to trans­form any old thing into our new thing
with tremen­dous ease and power.”

That is accord­ing to Nico­las Collins, com­poser of elec­tronic music and pio­neer in the use of micro­com­put­ers in live per­for­mance. He uses ‘home-made’ elec­tronic cir­cuitry, radio, found sound mate­r­ial, and trans­formed musi­cal instruments.

He wrote the book “Hand­made Elec­tronic Music: The Art of Hard­ware Hack­ing.”  “Assum­ing no tech­ni­cal back­ground what­so­ever, the book car­ries the reader through a series of sound-producing elec­tronic con­struc­tion projects, from mak­ing sim­ple con­tact micro­phones, to trans­form­ing cheap elec­tronic toys into playable instru­ments, to design­ing cir­cuits from scratch. ”

You can get a taste of some great infor­ma­tion on this mat­ter by click­ing on the above image for the PDF of “Hard­ware Hack­ing,” a com­pi­la­tion of class hand­outs from Nicola’s classes at Depart­ment of Sound at The School of the Art Insti­tute of Chicago.

Nico­las Collins is a sound-tinkerer, who makes almost every elec­tri­cal device an instrument. I invite you to go to his web­site where he has a bunch of more great mate­r­ial like Hack­ing Work­shopsVideo Tuto­ri­als and Audio Exam­ples.

Take a look at the fol­low­ing video which is a com­pi­la­tion of moments of some of his hard­ware hack­ing workshops.


Ray & Charles Eames’ Powers of Ten

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Pow­ers of Ten takes us on an adven­ture in mag­ni­tudes. Start­ing at a pic­nic by the lake­side in Chicago, this famous film trans­ports us to the outer edges of the uni­verse. Every ten sec­onds we view the start­ing point from ten times far­ther out until our own galaxy is vis­i­ble only as a speck of light among many oth­ers. Return­ing to Earth with breath­tak­ing speed, we move inward– into the hand of the sleep­ing pic­nicker — with ten times more mag­ni­fi­ca­tion every ten sec­onds. Our jour­ney ends inside a pro­ton of a car­bon atom within a DNA mol­e­cule in a white blood cell.

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Pow­ers of Ten is a 1968 Amer­i­can doc­u­men­tary short film writ­ten and directed by Ray Eames and her hus­band, Charles Eames, rere­leased in 1977. The film depicts the rel­a­tive scale of the Uni­verse in fac­tors of ten (see also log­a­rith­mic scale and order of mag­ni­tude). The film is an adap­ta­tion of the 1957 book Cos­mic View by Kees Boeke, and more recently is the basis of a new book version.

In 1998, “Pow­ers of Ten” was selected for preser­va­tion in the United States National Film Reg­istry by the Library of Con­gress as being “cul­tur­ally, his­tor­i­cally, or aes­thet­i­cally significant”.


Molecule Synth

I love DIY projects, though I hardly ever fin­ish any one I start; but cir­cuit bend­ing and out of the ordi­nary elec­tronic instru­ments fas­ci­nate me. We have posted in the past arti­cles about Leo ThereminClara Rock­more8 bit music and glitch, also a hack­ing man­ual with links to work­shops to cre­ate elec­tronic musi­cal devices.

This time a want to intro­duce you to a project by Travis Feld­man, an edu­ca­tor, inven­tor, and musi­cian. He cre­ates art­ful hand­made elec­tronic devices, and has been mak­ing elec­tronic musi­cal instru­ments and mod­i­fy­ing his own home stu­dio record­ing gear since 1999. He has taught courses on games, ani­ma­tion art, and lit­er­a­ture at the Uni­ver­sity of Wash­ing­ton, Lewis & Clark Col­lege, and the Pem­broke Hill School.

Now he has decided to leave his lit­er­a­ture teach­ing life for some­thing much closer to his per­sonal pas­sion: cre­ate elec­tronic musi­cal instru­ments. He is the cre­ator of Mol­e­cule Synth.

The Mol­e­cule Synth is a unique, utterly new kind of musi­cal instru­ment. It offers the ele­men­tal com­po­nents of a tra­di­tional key­board syn­the­sizer — a speaker & amp, a sound gen­er­a­tor, and a pitch con­troller — but presents those ele­ments as pieces that you arrange (and rearrange!) in var­i­ous com­bi­na­tions to cre­ate your own musi­cal device. The Mol­e­cule Synth is designed to be intu­itive to use: each of its hexag­o­nal pieces is color-coded to indi­cate what that piece is and does, and each piece is marked to show how it con­nects to other pieces. With these build­ing blocks, you choose how to con­fig­ure your instru­ment, and, later, you can move the pieces and con­fig­ure an entirely new instrument!

Mol­e­cule Synth should become what he describes as the addi­tion of Lego + Synths and Phys­i­cal Elec­tronic… a “wild” synth expe­ri­ence that should enrich if not over­pass whichever sounds that come out of tra­di­tional keyboards.