Sonja Hinrichsen:

Snow Drawings

Matt Morris:

Come rain or shine, 88-year-old Bermudian Johnny Barnes devotes six hours every day to an endearing traffic ritual that has made him one of the island's most cherished citizens.

THIS MUST BE THE PLACE visits Prime Burger Restaurant, in Midtown Manhattan:

There's no place like home. It's where we live, work and dream. It's our sanctuary and our refuge. We can love them or hate them. It can be just for the night or for the rest of our lives. But whoever we may be, we all have a place we call home.

Mark at Departure Arrival Firms:

On an unseasonably warm November night in Manhattan on our way to get ice cream, we stumbled upon what appeared to be a vintage shop, brightly lit display window and all. As we began to walk in, a man sitting out front warned us that we were welcome to explore, but nothing inside was for sale. Our interests piqued, we began to browse through the collections the man out front had built throughout his life. This is a story of a man and his home.

Jonathan Harris:

And now comes good sailing.

Three final stories from Baz.

Oscar Peterson & Clark Terry:

"Mumbles"

The Theory:

A lonely desk toy longs for escape from the dark confines of the office, so he takes a cross country road trip to the Pacific Coast in the only way he can - using a toy car and Google Maps Street View.

Louis Menand:

The interstates changed the phenomenology of driving.

Verlyn Klinkenborg:

Driving is the cultural anomaly of our moment. Someone from the past, I think, would marvel at how much time we spend in cars and how our geographic consciousness is defined by how far we can get in a few hours' drive and still feel as if we're close to home.

Address Is Approximate

David A. Ensminger:

Visual Vitriol: The Street Art and Subcultures of the Punk and Hardcore Generation is a vibrant, in-depth, and visually appealing history of punk, which reveals punk concert flyers as urban folk art. David A. Ensminger exposes the movement's deeply participatory street art, including flyers, stencils, and graffiti. This discovery leads him to an examination of the often-overlooked presence of African Americans, Latinos, women, and gays and lesbians who have widely impacted the worldviews and music of this subculture. Then Ensminger, the former editor of fanzine Left of the Dial, looks at how mainstream and punk media shape the public's outlook on the music's history and significance.

Often derided as litter or a nuisance, punk posters have been called instant art, Xerox art, or DIY street art. For marginalized communities, they carve out spaces for resistance. Made by hand in a vernacular tradition, this art highlights deep-seated tendencies among musicians and fans. Instead of presenting punk as a predominately middle-class, white-male phenomenon, the book describes a convergence culture that mixes people, gender, and sexualities.

This detailed account reveals how members conceptualize their attitudes, express their aesthetics, and talk to each other about complicated issues. Ensminger incorporates an array of scholarship, ranging from sociology and feminism to musicology and folklore, in an accessible style. Grounded in fieldwork, Visual Vitriol includes over a dozen interviews completed over the last several years with some of the most recognized and important members of groups such as Minor Threat, Minutemen, the Dils, Chelsea, Membranes, 999, Youth Brigade, Black Flag, Pere Ubu, the Descendents, the Buzzcocks, and others.

You can preview the book at Google Books.

From the archive, John Boehner:

Don't let those little punk staffers take advantage of you.

Visual Vitriol: The Street Art and Subcultures of the Punk and Hardcore Generation

renan ozturk:

As a climber sometimes our biggest job is to try to do justice to the amazing stories of our friends and peers. For this piece I worked with our crew at camp4collective.com to tell thenorthface.com athlete Jimmy Chin's jimmychin.com story as he in turn highlights modern day climbing in Yosemite for a National Geographic feature story.

On Assignment for National Geographic in Yosemite on Vimeo

Dustin Farrell:

Landscapes: Volume 2 is the second of a three part series (probably). Every frame of this video is a raw still from a Canon 5D2 DSLR and processed with Adobe software. In Volume 2 I again show off my beautiful home state of Arizona and I also made several trips to Utah. This video has some iconic landmarks that we have seen before. I felt that showing them again with motion controlled HDR and/or night timelapse would be a new way to see old landmarks.

Landscapes: Volume Two on Vimeo

Terje Sorgjerd:

This was filmed between 4th and 11th April 2011. I had the pleasure of visiting El Teide.

Spain's highest mountain @(3715m) is one of the best places in the world to photograph the stars and is also the location of Teide Observatories, considered to be one of the world's best observatories.

The Mountain

Otomata is a generative sequencer. It employs a cellular automaton type logic I've devised to produce sound events.

Each alive cell has 4 states: Up, right, down, left. at each cycle, the cells move themselves in the direction of their internal states. If any cell encounters a wall, it triggers a pitched sound whose frequency is determined by the xy position of collision, and the cell reverses its direction. If a cell encounters another cell on its way, it turns itself clockwise.

This set of rules produces chaotic results in some settings, therefore you can end up with never repeating, gradually evolving sequences. Go add some cells, change their orientation by clicking on them, and press play, experiment, have fun.

Otomata

I shot a photo roughly every two miles between take-off in San Francisco and landing in Paris CDG to make this airplane time lapse.

SF to Paris in Two Minutes on Vimeo

I spent a half year writing software art to generate special effects for Tron Legacy.

jtnimoy - Tron Legacy (2010)

Jonathan Franzen in The New Yorker:

REFLECTIONS about "Robinson Crusoe," the remote island of Masafuera, and the death of David Foster Wallace. In the South Pacific, five hundred miles off the coast of central Chile, is a forbiddingly vertical volcanic island, seven miles long and four miles wide, that is populated by millions of seabirds and thousands of fur seals but is devoid of people, except in the warmer months, when a handful of fishermen come out to catch lobsters.

David Foster Wallace and 'Robinson Crusoe' : The New Yorker