Built in collaboration between Ford and Webasto, Mustang Lithium project vehicle generates more than 1000 ft.-lbs. of instant torque and more than 900 horsepower for new levels of performance and technology with its 800-volt Webasto battery system with EVDrive technology.
Best of both worlds, Mustang Lithium accelerates the next generation of performance: unique 6-speed manual shifting, track handling and stunning quarter-mile acceleration with instant electric torque, and zero emissions.
Ford and Webasto today reveal Mustang Lithium, an ultra-high-performance battery electric Mustang fastback prototype. With more than 1,000 ft.-lbs. of torque and more than 900 horsepower instantaneously available, this Mustang amps muscle car performance to a new level and helps gauge the level of interest the next wave of performance customers have in lightning-quick performance that only fully electric powertrains can deliver.
In this gorgeously illustrated collection of airline route maps, Mark Ovenden and Maxwell Roberts look to the skies and transport readers to another time. Hundreds of images span a century of passenger flight, from the rudimentary trajectory of routes to the most intricately detailed birds-eye views of the land to be flown over. Advertisements for the first scheduled commercial passenger flights featured only a few destinations, with stunning views of the countryside and graphics of biplanes. As aviation took off, speed and mileage were trumpeted on bold posters featuring busy routes. Major airlines produced highly stylized illustrations of their global presence, establishing now-classic brands. With trendy and forward-looking designs, cartographers celebrated the coming together of different cultures and made the earth look ever smaller.
A nostalgic and celebratory look back at one hundred years of passenger flight, featuring full-color reproductions of route maps and posters from the world’s most iconic airlines, from the author of bestselling cult classic Transit Maps of the World.
In a statement on the artist’s website, the Maelstrom series is described as “a cursory glimpse of the exchange, cycle and balance of power fundamental to the functioning of our planet and its oceans… Maelstrom encourages the viewer to reflect upon our own naivety and place as a species within the greater natural balance of power.”
Luke Shadbolt captures the roiling majesty of ocean waves in his large-scale aquatic photographs. Printed at 150 x 100 cm (nearly 6 feet by 3.3 feet), the color and black-and-white images show the dramatic shapes and dynamic textures of open water when agitated by major weather events.
The Acquiesce the Front series similarly seeks to draw connections between the human experience and our natural environment. “The physical manifestations portrayed are a deft reflection of those storms that are implicit to the human condition,” and our individual frailty in the face of big events. Yet Shadbolt finds hope in the potential “to learn and grow from these events. While we may be powerless to stop the storm from approaching, we can work to redirect the flood.”
“I suppose I started off with a fairly literal view of the world,” he says. “But, quite early on, it became clear to me that there was much more going on than simply the picture I was seeing; that the natural world had an agenda of its own; that it was going to live out life, regardless of how we viewed it and how we used it; and, indeed, regardless of the fancy metaphors that we used.”
Oh my goodness. Where to begin?
I could start with the ‘Praying Beech’ – a tree whose (‘whose’? The human possessive feels simultaneously wrong and yet just right) two branch stubs clasped each other like hands. Once, when the rain fell in an apocalyptic burst, Richard Mabey watched its bark melt in front of his eyes. It was, of course, no stranger to extremes of weather: one summer past, the tree had been split by lightning, bees hunkering down in its newly-created hollows. Sometime later, a storm had toppled it, leaving fungi free to colonise its delicious surfaces: knobbly coral spots; dead man’s fingers rising corpse-like from the tree’s own rot; white porcelain tufts, like Royal Worcester plates awaiting a delicate slice of egg-yellow sponge.
A film commissioned by Goldsmith’s Compay for Goldsmith’s Fair 2019. This year’s theme was about collecting and collectors.
Goldsmiths’ Fair is recognised internationally as the premier UK showcase for contemporary jewellery and silver.
Each year, this unique event draws collectors, design lovers and luxury shoppers to the magnificent Goldsmiths’ Hall where they can browse the latest collections from this handpicked selection of craftsmen and women.
NPR’s Tamara Keith and Amy Walter of the Cook Political Report join Amna Nawaz to discuss the latest political news, including the release of transcripts from the impeachment inquiry, what three upcoming gubernatorial races say about President Trump’s support, early polling in key 2020 battleground states and the waning distinction between local and national politics.
The investigators discovered that patients with a higher genetic risk for depression were more likely to be diagnosed with depression over the next 2 years. However, more physically active patients at baseline were less likely to depression, even after they accounted for genetic risks.
Increasing physical activity could pay dividends for people with a high risk of developing depression.
A team from Massachusetts General Hospital (MGH) recently discovered that several hours of weekly exercise result in a decreased chance to be diagnosed with a new episode of depression, even in patients with a higher genetic risk of developing Major Depressive Disorder (MDD).
The team examined the genomic and electronic health record (EHR) data of approximately 8000 patients in the Partners Healthcare Biobank, which represents the first study to show how physical activity influences depression despite genetic risk.
One hundred years ago this month, you opened the shutters of a small bookshop on rue Dupuytren. Its name was Shakespeare and Company. I often wonder if, on that first morning, you could ever have imagined how important your story would be.
You were only 32 but had already lived quite a life. Soulful and fearless, witty and energetic, you’d been active in the women’s suffrage movement, studied French poetry in Paris, and served with the Red Cross in Serbia during the First World War. You had also met Adrienne Monnier, one of the first women in France to found her own bookshop. Adrienne would be your companion for decades to come.
Your bookshop—first on rue Dupuytren, then around the corner on rue de l’Odéon—became a sanctuary for Anglophone and Francophone writers. T.S. Eliot, Gertrude Stein, Ezra Pound, James Joyce, Ernest Hemingway, Djuna Barnes, and F. Scott Fitzgerald, as well as André Gide, Paul Valéry, and Louis Aragon, among many others, all bought and borrowed books from you, and attended readings and parties at Shakespeare and Company. As André Chamson wrote about you: “Sylvia Beach carried pollen like a bee. She cross-fertilised these writers. She did more to link England, the United States, Ireland, and France than four great ambassadors combined.” I think of this whenever I ponder the role booksellers and bookshops can play during this age of political and ecological turbulence. When James Joyce couldn’t find anyone to publish Ulysses—his modernist masterpiece that had been condemned for obscenity—you stepped up. Even when you closed your bookshop in 1941, it was not an act of defeat but of defiance—you would rather see your life’s work shuttered forever than sell Finnegans Wake to a high-ranking Nazi officer.
Sylvia Whitman
When my father, George Whitman, opened this bookshop in 1951, you were not just a regular visitor but an inspiration. You had shown how a true bookseller must also be prepared to be a librarian, a publisher, a PO box, a banker, a hotelier, and—most importantly—a friend to writers and readers. For your belief that a love of reading is more important than the quest for profit, you have been called the patron saint of independent bookstores. We’re sure that your extraordinary memoir and your beautiful letters continue to embolden booksellers the world over, just as they embolden us. Particularly during hard times, your story stands like a beacon when we need direction, comfort, or inspiration.
Thank you, Sylvia, for everything you did and everything you stood for.
Dalí poses as the Magician, his wife Gala becomes the Empress, and the death of Julius Caesar is reinterpreted as the Ten of Swords in the artist’s extraordinary custom tarot deck. First published in a 1984 limited edition that has since long sold out, this lush box set brings back all 78 cards, each dazzling in color, along with a companion book on the making-of and practical instructions.
We conclude that Pollock avoided the appearance of the hydrodynamic instabilities, contrary to what was argued by previous studies. Pollock selected the physical properties of the paint to prevent filament fragmentation before deposition, and applied it while moving his hand sufficiently fast and at certain heights to avoid fluid filaments from coiling into themselves. An understanding of the physical conditions at which these patterns were created is important to further art research and it can be used as a tool in the authentication of paintings.
Considered one of the most prominent American painters of the 20th century, the life and work of Jackson Pollock have been the subject of books, movies, and documentaries [1–3]. His paintings can be broadly categorized as being abstract-expressionist. Although his painting style evolved during his sometimes tormented life, the so-called ‘dripping’ technique is certainly the most widely recognized both by experts and the general public.
Jackson Pollock described the technique himself [4]. In summary, Pollock would lay a canvas horizontally and pour paint on top of it, in a controlled manner. To regulate the flow of paint, he either used an instrument (a stick, knife or a brush), poured it directly from a can and in some instances he also used a syringe. Viscous fluid filaments were produced and laid over the canvas while ‘rhythmically moving’ around it. It is believed that Pollock developed this technique strongly influenced by an experimental painting workshop, organized in New York by Mexican muralist David Alfaro Siqueiros in 1936 [5]. Interestingly, Siqueiros himself also developed the ‘accidental painting’ technique during this workshop, which was recently analyzed by Zetina et al. [6].