Jan.07 — Daimler AG Chief Executive Officer Ola Kallenius unveiled a flashy concept vehicle inspired by one of the most expensive Hollywood blockbusters ever made. The Mercedes-Benz AVTR, is named after the environmentally-conscious sci-fi film Avatar. Oscar-winning director James Cameron joined Kallenius on stage at CES in Las Vegas.
Daily Archives: January 7, 2020
Interview Podcasts: 68-Year Old “Fresh Air” Host Terry Gross (New Yorker)
David Remnick has appeared as the guest of Terry Gross on “Fresh Air” a number of times over the years, talking about Russia, Muhammad Ali, and other subjects. Hosting “Fresh Air” for nearly forty-five years, Gross is a defining voice of NPR, and is perhaps the most celebrated interviewer of our time.
In October, 2019, the tables turned, and Gross joined Remnick as his guest for a live interview at The New Yorker Festival. They spoke about how she first found her way to the microphone, the role of feminism in establishing NPR, the limits of her expertise, and what she has had to give up to prepare for serious conversations day after day.
Nature & Science Videos: Glacial Lakes In Nepal (National Geographic)
See what challenges face a team of scientists gathering core sediment samples from a glacial lake in the Himalayas.
Medical Care Videos: “Radiofrequency Ablation For Benign Thyroid Nodules” (NYU)
NYU Langone surgeon Dr. Kepal Patel explains radiofrequency ablation, which is a minimally invasive treatment for large, benign thyroid nodules.
Learn more about treatment for benign thyroid nodules: https://nyulangone.org/conditions/thy…
New Photography Books: “Michael Wolf | Paris”
MICHAEL WOLF | PARIS
Michael Wolf achieved fame when he won the 2005 World Press Photo with his China, Factory of the World project, and the 2010 World Press Photo with his Tokyo Compression. The present book offers his personal take on the French capital. Singling out typical architectural features of the Parisian landscape he renders the seemingly banal immortal, as only he knows how.
Roofs, chimneys, and lights provide the pictures with rhythm, with their colours, shapes, and above all their volumes. Wolf invites the reader to enter his highly distinctive visual world and let his gaze follow the snaking lines of walls and gutters, dwelling on unexpected details lovingly picked out. The photographer’s underlying desire is to encourage us to consider the environmental and architectural context that provides a framework for all these rigorously rectangular features.
This dreamlike journey into a Paris viewed from the rooftops is underlined in the second part of the book. The shadows of trees decorate the façades of various buildings, creating a visual poetry and prompting an intimate dialogue where, in the absence of all human presence, nature and architecture blend into one another.
Michael Wolf (1954-2019) lived in Europe, America, and Asia, spending his last years in Hong Kong. A German photographer specialized in urban shots, he graduated in photography from the Folkwang University of the Arts in Essen, where he studied under Otto Steinert. Among his most noteworthy projects are the “beehive” skyscrapers in Hong Kong. The focus of his research is city life, especially in overpopulated contemporary metropolises, and their inhabitants’ loss of individuality. Wolf’s work has been displayed in a variety of locations, including the Venice Biennale of Architecture, the Aperture Foundation Gallery in New York, the Hong Kong Shenzhen Biennale, and the Museum of Contemporary Photography in Chicago. His works are also present in many permanent collections, including those of the Metropolitan Museum of Art in New York, the Museum of Contemporary Photography in Chicago, and the German Architecture Museum in Frankfurt.
Johan-Frederik Hel Guedj, a French writer, has published two novels (Le traitement des cendres, L’amour grave), a collection of short stories (De mon vivant), an account of polar exploration (Chercheurs d’éternité), and an essay on Orson Welles (La règle du faux). He lives in Brussels and writes on contemporary art in the daily newspaper L’Echo/De Tijd.
Fine Art: 79-Year Old Renowned Stage Director Robert Wilson On Monet’s “Water Lilies” (Video)
Hailed as “a towering figure in the world of experimental theater” by the New York Times Waco, Texas-born Robert Wilson has created singular works in the realms of opera, performance, video art, glass, architecture, and furniture design since 1963. Prolific yet exacting in his approach to staging, light, and direction, Wilson has been honored with numerous awards for excellence including a Pulitzer Prize nomination, the Golden Lion of the Venice Biennale, and an Olivier Award. He is also the founding director of The Watermill Center, a laboratory for the arts and humanities in Water Mill, New York.
Political News: Tamara Keith And Lisa Lerer On Politics Monday (PBS)
NPR’s Tamara Keith and Lisa Lerer of The New York Times join Judy Woodruff to discuss the latest political news, including how the killing of a top Iranian general could affect U.S. policy in the Middle East, President Trump’s reelection strategy and 2020 Democrats, why Republicans are supporting Trump on Iran, the latest poll numbers from Iowa and why this primary campaign is “unprecedented.”
1950’s English Sports Cars: “1956 Austin-Healey BN2”
From Wikipedia:
The Austin-Healey 100 is a sports car that was built by Austin-Healey from 1953 until 1956.
Based on Austin A90 Atlantic mechanicals, it was developed by Donald Healey to be produced in-house by his small Healey car company in Warwick.
Healey built a single Healey Hundred for the 1952 London Motor Show, and the design impressed Leonard Lord, managing director of Austin, who was looking for a replacement for the unsuccessful A90. Body styling was by Gerry Coker, the chassis was designed by Barry Bilbie with longitudinal members and cross bracing producing a comparatively stiff structure upon which to mount the body, innovatively welding the front bulkhead to the frame for additional strength. In order to keep the overall vehicle height low the rear axle was underslung, the chassis frame passing under the rear axle assembly.
Lord struck a deal with Healey to build it in quantity; bodies made by Jensen Motors were given Austin mechanical components at Austin’s Longbridge factory. The car was renamed the Austin-Healey 100.
The “100” was named by Healey for the car’s ability to reach 100 mph (160 km/h); its successor, the better known Austin-Healey 3000, was named for the 3000 cc displacement of its engine.
Apart from the first twenty cars, production Austin-Healey 100s were finished at Austin’s Longbridge plant alongside the A90 and based on fully trimmed and painted body/chassis units produced by Jensen in West Bromwich—in an arrangement the two companies previously had explored with the Austin A40 Sports. 14,634 Austin-Healey 100s were produced.
The 100 was the first of three models later called the Big Healeys to distinguish them from the much smaller Austin-Healey Sprite. The Big Healeys are often referred to by their three-character model designators rather than by their models, as the model names do not reflect the mechanical differences and similarities well.
Boomers Daily 