CRA M is s ue O NE
[W W W .CRAM - M AG .CO M ]
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About 2500 pe opl e in th e Unite d State s h ave th e l as t nam e Cram , accounting for .001% of l as tnam e s . Card Random Acce s s M e m ory (C.R.A.M .) w as a type of m agne tic s torage de vice d us e d in th e e arl y 19 60's . M ore re l iabl e th an th e m agne tic tape s of th e tim e , C.R.A.M .'s coul d h ol d about5.5 M B.
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Al th ough th e y h ave be e n re porte d be tw e e n four and fifty pounds , m os t cats w e igh t be tw e e n about s ix and th irte e n pounds . Diurnaland nocturnalare th e te rm s us e d for day and nigh t pre dators ; h ow e ve r, m any anim al s cas ual l yl abe l l e d as nocturnalactual l y h unt during daw n and dus k and are cre pus cul ar. Th e m ous e , rabbit, dog, catand m oos e are al lcre pus cul ar.
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Pol ydactyl y, al s o k now n as h ype rdactyl y, is a conge nitaldis orde r th at adds an e xtra digit on th e h ands or fe e t in h um ans and cats . W h il e h um ans h ave th e ch ance of about one in five h undre d, cats are now sel e ctive l y bre d for th e trait.
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Tak e note of w h ite cats w ith bl ue e ye s : If th e y h ave one bl ue e ye and anoth e r col ore d e ye it's probabl e th e y are de af to th e e ar on th e ir bl ue s ide ; doubl e troubl e for one w ith a pair.
De ce m be r Fifte e nth , 2006
[EDITO R @
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CRAM - M AG .CO M ]
Th e 19 40 tw e l ve -inch Cram 's Te rre s trial Il l um itate d Gl as s Gl obe is notabl e for a fe w re as ons : Since it w as m ade at th e h e igh t of W orl d W ar II it s h ow s Aus tria as be ing a part of Ge rm any, Japan cl aim s th e Ch ine s e are a k now n as M anch uria, and Pal e s tine is s h ow n ins te ad of Is re al . Such gl obe s are curre ntl y sel l ing for about th re e -h undre d dol l ars on Ebay.
We l com e to CRAM H el l o and w e l com e to th e introductory is s ue of CRAM , a fre e , articl e -drive n m agaz ine . But are n't th e re a bunch of oth e r fre e pdf m agaz ine s out th e re al re ady? Ye s , m os t of th os e m agaz ine s focus on th e graph ical arts , th e ir s urrounding
cul ture (us ual l y Ne w York , Be rl in or s im il ar) and are a gre at pl ace for upcom ing artis ts to s h ow cas e th e ir w ork s . H ow e ve r, th e digital auth or, or audie nce , th at e njoys a cas ual and inform ative m agaz ine m us t s til lpay a ye arl y s ubs cription to one of th e big nam e s (Tim e , Ne w s w e e k , Ne w York e r, e t ce tra). W e w oul d l ik e to bridge th e gap and cre ate
Pat M cCarth y [ Contributor]
Pat is th e Dire ctor of Bus ine s s De ve l opm e nt at Righ t M e dia [righ tm e dia.com ], ow ne r of RM X Dire ct [dire ct.righ tm e dia.com ], and th e auth or ofth e Conve rs ion Rate r bl og [conve rs ionrate r.com ].
Ch ris toph e r Stoyanow s k i [ Contributor]
Th e w e l lve rs e d Econom ics and Bus ine s s Adm inis tration m ajor l as h e s back at al lth os e prote s t-h appy h ippie s .
Tim Forde n [ Editor]
Proving th at th e re are s til lpe opl e in th e w orl d w ith out a ph one (al th ough not m any), Tim is m ajoring in DigitalArts and Econom ics .
Cam e ron H e ndrick s [ Contributor]
H om e for th e h ol idays ge tting h is w is dom te e th pul l e d. W h e n not in agony, Cam e ron is w ork ing on ge tting h is Econom ics and Accounting m ajor finis h e d.
M as ood Al i [ Contributor]
Al th ough you coul d probabl y te l lby h is M e rl e au-Ponty articl e , M as ood is curre ntl y s tudying Ph il os oph y and m ak ing a k il l ing on Ebay.
Ron Spe nce r [ Contributor]
An Arch ite cture s tude ntby day, fil m connois s e ur by nigh t, Ron bre ak s dow n th e be s tfor your s e l e ction.
W ant to be com e a contributor?
W e 're al w ays l ook ing for m ore tal e nte d w rite rs to join in. Turn to page th irty-tw o to find outm ore .
an inform ative , e njoyabl e e xpe rie nce fre e l y avail abl e to anyone . W h at's your de finition of an articl e? Jus t about anyth ing. Th e w ork s h oul d contribute s om e th ing th at is inform ative and e ngaging— l ook th rough th is is s ue to ge t an initial ide a. Es s ays , l is ts , poe try, re cipe s , inte rvie w s , pre vie w s , re vie w s , ne w s , h is tory,
opinion... Re al l y anyth ing you w oul d l ik e to w rite about. Th is is a fre e ide a, fre e s pe e ch publ ication, but th at doe s n't m e an w e 'l lput anyth ing and e ve ryth ing in it. De pth of conte nt and q ual ity of w riting are th e driving factors to ge tting an articl e publ is h e d. So w h at doe s CRAM s tand for? It's about h aving fun and s tuffing your brain l ik e a h ol iday turk e y.
Wel com e to CRAM ... Editorial tw o
You Are H e re ... Inde x th re e
Top 10 Th ings I Le arne d atth e W e b 2.0 Sum m it... PaulM cCarth y four
W h y Bl am e Nik e ?... Ch ris toph e r Stoyanow s k i s e ve n
Em pty Cans ... Tim Forde n te n
W inte r Sal ad ... Tim Forde n th irte e n
Robbie H ous e ... Cam e ron H e ndrick s fifte e n
H um an & Anim alBe h avior ... M as ood Al i nine te e n
Top Five M ovie s Bas e d on a Com ic or Graph ic Nove l... Ron Spe nce r tw e nty-four
Publ is t... Tim Forde n Contributions /Finis h ing Up th irty-tw o
TH REE
tw e nty-s e ve n
Top 10 Th ings I Le arne d atth e W e b 2.0 Sum m it BY PAUL M CCARTH Y
A
fte r a w e e k e nd to re fl e ct, I’ve com e up w ith th e Top 10 Th ings I Le arne d at th e W e b 2.0 Sum m it th at w as put on by O ’Re il l y and h os te d by Joh n Batte l l e. 1. Googl e l ik e s itfas t. W h il e th e re s ul ts and point of h e r tal k w as n’t s urpris ing, M aris s a M aye r (s h ow n h e re ) did an e fficie nt 10 m inute tal k w ith gre at e xam pl es proving th at th e s pe e d of a w e b appl ication is one of th e m os t im portant th ings to us e rs , and it ofte n h as a ve ry dire ct corre l ation to traffic and re ve nue .
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M aris s a M aye r h as be e n w ith Googl e s ince 19 9 9 and w as one of th e ir firs t e m pl oye e s . Sh e is now Vice Pre s ide nt of Se arch Product & Us e r Expe rie nce and de al s dail y w ith Googl e 's infam ous w e b s e arch , im age s , Froogl e and oth e rs . M aye r h as al so be e n vote d onto both Ne w s w e e k 's "10 Te ch Le ade rs of th e Future " and Re d H e rrings "15 W om e n to W atch " l is ts . Ph otos by Jam e s D uncan D avids on/O 'R e illy M e dia, Inc.
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According to h e r re s e arch , M aye r h as s tate d h al f of al lne w product l aunch e s are th ough t up by Googl e e ngine e rs during "Tw e nty pe rce nt" tim e — a pe rce ntage of tim e us e d on proje cts th atinte re s tth e w ork e rs . Founde r, pre s ide nt, CEO and ch airm an of Am az on.com , Je ff Be z os w as th e nine te e nth rich e s t pe rs on in 19 9 9 (w h e n h e w as nam e d Tim e 's "Pe rs on of th e Ye ar") w ith an e s tim ate d w orth of about te n bil l ion dol l ars . In onl y th re e ye ars h is w orth pl um m e te d to one and a h al fbil l ion, buth e h as s ince s tabl iz e d to around four.
Es s e ntial l y e ve ry inte rvie w and s e s s ion I atte nde d fe ature d a q ue s tion al ong th e l ine s of “H ow can you/w e be at/com pe te w ith Googl e ?”. Again, not re al l y groundbre ak ing, but w h e n you s e e num e rous CEO s and pow e rfulpe opl e at al l th e m ajor w e b com panie s trying to ans w e r th at q ue s tion w ith out re al l y h aving a gre at ans w e r, it m ak e s it al ltoo cl e ar th at nobody k now s ye th ow to de alw ith th e 800-l b goril l a.
3. Je ffBe z os is on to s om e th ing. Am az on’s re ce nt m ove into w e b s e rvice s h as be fuddl e d anal ys ts on W al lSt., but afte r l is te ning to th e e ne rge tic Be z os tal k about th e ir ne w initiative s on th is are a you can s e e th at it is a good opportunity for Am az on, and one th e y inte nd on dom inating at. I l ik e th e m ove .
4. Adve rtis ing is be ing th row n on it’s h e ad. Th e Adve rtis ing 2.0 s e s s ion, as w e l l as oth e r s e s s ions and tal ks hel pe d s h ow th at adve rtis ing onl ine is far from be ing s e t in s tone . Ide as are s til l com ing from e ve ryw h e re , and m any l arge pl aye rs are s til l not ye t e m bracing s om e of th e ne w and be tte r ide as . Vide o adve rtis ing is a big opportunity th at’s be ing attack e d from m any diffe re nt angl e s , and nobody k now s w h at th e righ tone is ye t.
5. Th e re are n’t as m any innovative s tartups as I th ough t, at l e as t not th e re . Afte r h e aring th at th e re w e re ove r 250 com panie s th at appl ie d to be part of th e Launch pad 13 w h e re s tartups got to l aunch th e m s e l ve s w ith a 5-m inute pre s e ntation,
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2. Eve rybody is ch as ing Googl e.
and afte r s e e ing w h o th e pane lof judge s w e re , I th ough t w e w e re in for an e xciting s e t of com panie s . I w as unde rw h e l m e d, and a bit bore d by th e pre s e ntations . O ne q uarte r of th e m s e e m e d us e l e s s , one q uarte r of th e m didn’t s e e m ve ry innovative , one -q uarte r w e re actual l y inte re s ting and prom is ing, and I’d re ad/us e d about one q uarte r of th e m l ong ago (h ow is th at a l aunch ?).
6. Itfe e l s l ik e a bubbl e. It w as a re al l y nice ve nue , ve ry crow de d, th e partie s w e re pre tty l avis h , and it s e e m e d l ik e a l ot of pe opl e w e re w al k ing around h oping to ge t bough t by th e big fe w in th e indus try. Jus th ad a bubbl e vibe .
7. You can h ack a confe re nce . Re ce ntl y-l aunch e d M as h e ry h ack e d th e confe re nce by book ing a confe re nce room for a party righ t in th e m iddl e of th e action. It w as ch e ape r th an s pons oring th e e ve nt, and m ay h ave gotte n th e m m ore atte ntion.
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Eric Sch m idt, CEO of Googl e Inc. and on th e Board of Dire ctors at Appl e Com pute r, pione e re d th e 70/20/10 bus ine s s m ode l th at Googl e now re l ie s on; it s tate s th at s e ve nty pe rce nt of an e m pl oye e 's tim e s h oul d be us e d for core bus ine s s tas k s , tw e nty for bus ine s s re l ate d proje cts , and te n for unre l ate d proje cts .
8. Bas ic probl e m s s til lne e d fixing. About 40% of tal k s and s e s s ions s e e m e d to h ave probl e m s w ith th e w ire l ess conne ction, com pute rs s cre w ing up or cras h ing, or pow e r not w ork ing. And th e confe re nce w ire l e s s conne ctions w e re h it and m is s al lw e e k . It’s ironic w e ’re al ltrying to buil d th e s e ne w re vol utionary w e b appl ications , w h e n w e s til ls uffe r from s uch bas ic infras tructure probl ems.
s ocial l y aw k w ard h aving conve rs ations w ith pe opl e at th e s e e ve nts . Th e y’re e ith e r trying to s e l lm e s om e th ing, I’m trying to s e l lth e m s om e th ing, or you’re both ge ne ral l y not inte re s te d but s til lare in a s ituation w h e re a conve rs ation ne e ds to e xis t. Sure , e ve ry once in a w h il e a com m on ground is form e d and a re alconve rs ation e ns ue s , but it’s s til l pre tty s trange .
9 . Tal k ing to random pe opl e you don’tk now is s til ls ocial l y aw k w ard.
10. Eric Sch m idt tal k s th rough an API.
I’ve be e n to m any bus ine s s It w as fas cinating l is te ning to Sch m idt confe re nce s , I fe e lconfide nt about m ys e l f (above ) tal k inte l l ige ntl y, dance around and m y e m pl oye r, and I fe e lI’m a s ocial tough q ue s tions , and jab h is com pe titors pe rs on. Ye t, th e re ’s s til l s om e th ing ve ry w ith oute xpl icitl y doing s o. Ve ry w e l ldone .
W h y Bl am e Nik e ?
Al-Fas s am /Flick r
BY CH RISTO PH ER STO YANO W SK I
uring th e 19 80’s Nik e re ce ive d a l ot of criticis m and bad publ icity ove r accus ations th at th e y w e re invol ve d in and ow ne d factorie s w ith ch il d l abor and
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factorie s th at onl y e m pl oye d adul ts and h ad ade q uate w ork ing conditions . Th e s e accus ations are s til lw e l l k now n today and s om e pe opl e continue to h ol d Nik e
h orre ndous w ork ing conditions around th e w orl d. W ith th e s e accus ations s ignificantl y h urting th e ir s al e s th e y de cide d to tak e action. Nik e be gan contracting w ith
accountabl e.
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W h at is s til lre l ative l y unk now n by th e m ajority of pe opl e is th at Nik e s h oul d not h ave re ce ive d th e bl am e for th is . Th e be s t w ay to unde rs tand th is is an e conom ic and bus ine s s conce pt. Th is conce pt s tate s th at
th e re are th re e w ays to e nte r a fore ign m ark e t; th e re as ons to e nte r th is m ark e t are e ith e r a ne e d for l ocation and/or a ne e d for control . Location if you ne e d to be cl os e r to cus tom e rs /s uppl ie rs /w ork force and/or controlove r a proprie tary as s e t— s om e th ing th at m ak e s your product uniq ue or s pe cial . In M icros oft's cas e it’s th e ir program m ing code and for Nik e it’s th e Sw oos h l ogo. M icros oft's code is h arde r to re produce and is w h at dis tinguis h e s th e ir product, s o th e y h ave a ne e d for control . As for Nik e ’s Sw oos h , e ve ryone re cogniz e s it and can e as il y copy it, s o th e y h ave no ne e d for control . Th e ne e d for th e s e tw o factors gre atl y infl ue nce s th e m ark e t e ntry s trate gy a com pany w il lus e . Th e th re e e ntry s trate gie s are e xporting, l ice ns ing, or FDI (Fore ign Dire ct Inve s tm e nt). If you h ave a ne e d for controlbut no ne e d for l ocation e xporting is th e be s t option. If you h ave a ne e d for both controland l ocation FDI is th e be s t option. But if you onl y h ave a ne e d for l ocation th e n l ice ns ing is th e be s t option.
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In m any countrie s Nik e h ire d an inte rm e diary to find th e s e factorie s to produce th e ir goods . Th is furth e r w ide ns th e gap be tw e e n Nik e and th e ir produce r, w h ich m ak e s control l ing w ork ing conditions from Nik e 's pe rs pe ctive e ve n h arde r to do.” Nik e cl e arl y h as no ne e d for controls o th e y s h oul d— and h ave — ch os e n a l ice ns ing s trate gy. W h at th e y do is h ire a fore ign com pany to m ak e th e ir appare land th e n s h ip itto w h e re Nik e de s ignate s . W h y a fore ign com pany?Th ird w orl d countrie s h ave a l ot of l ow s k il l e d-l ow e ducation w ork e rs , w h ich in turn re s ul ts in ve ry l ow pay w age s in th e country. So w h at doe s th at al lm e an for Nik e ? It m e ans th e y w e re not th e one s in ch arge of th e s w e ats h ops th at are producing th e ir goods . Th e y are not th e one s s e tting up
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Ph il ip H . K nigh t, co-founde r of Nik e , is rank e d num be r th irty in th e Forbe s Four-h undre d Rich e s t Am e ricans l is t. Be ing th e rich e s t m an in O re gon com e s w ith pe rk s , l ik e s itting on a cool e igh t bil l ion dol l ars and rank ing h igh e r on th e l is t th an Ne w s Corporation ow ne r Rupe rt M urdoch .
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Th e Nik e Sw oos h w as cre ate d by Carol yn Davids on in 19 71, for th irtye igh t dol l ars . Ph ilK nigh t l ate r gave h e r s h are s ofs tock as a s ign ofappre ciation.
Paul os acram e nto.com .br
O ne .org's M ak e Pove rty H is tory cam paign is th e w orl d's l arge s t antipove rty m ove m e nt, cal l ing for ch ange s on m ul tipl e l e ve l s . You can find out m ore atM ak e Pove rtyH is tory.org.
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Eve ry day th re e h undre d-m il l ion ch il dre n go to be d h ungry. O f th os e , nine ty pe rce nt are s uffe ring l ongte rm m al nutrition.
h orribl e h ours and pl acing w ork e rs in s ubs tandard w ork ing conditions . W h at Nik e is doing is paying fore ign factorie s to produce appare lat l ow e r cos ts th an th e y w oul d h ave to pay if th e y m ade th e products th e m s e l ve s . In m any countrie s Nik e h ire d an inte rm e diary to find th e s e factorie s to produce th e ir goods . Th is furth e r w ide ns th e gap be tw e e n Nik e and th e ir produce r, w h ich m ak e s control l ing w ork ing conditions from Nik e ’s pe rs pe ctive e ve n h arde r to do. W h at Nik e is doing is w h at is in th e ir be s t inte re s t to ge ne rate profits . Sure , it m ay not be th e m os t e th icalth ing th at Nik e coul d do, but th e y can’t be bl am e d for th e s e s w e ats h ops and te rribl e w ork ing conditions , e s pe cial l y w h e n th e y are notin controlofth e factorie s . If it’s not Nik e , th e n w h os e faul t is it? Th e factory ow ne r's ? Th e gove rnm e nt's ? Th e w ork e rs th e m s e l ve s ? Sw e ats h op w ork e rs do h ave a ch oice . Th e y are not force d to w ork th e re . Th e y can e ith e r w ork in th e s e factorie s for l ow w age s and in poor w ork ing conditions or th e y can die . Th e s e are h igh q uantity, l ow s k il l , l ow e ducation w ork e rs ; if one die s or l e ave s th e factory anoth e r is re ady to re pl ace h im . Th e y h ave no al te rnative jobs w ith s uch a l ow e ducation (th e m ajority of th e pe opl e can't re ad); th us , th e re is no ince ntive for th e countrie s or factorie s to ch ange th e ir re gul ations /l aw s and w ork ing conditions . Th e onl y w ay to ch ange th is is by ge tting e ve ryone to w ork toge th e r: Com panie s s h oul d be l ook ing for factorie s w ith good w ork ing conditions ; gove rnm e nts s h oul d be trying to prote ct th e ir citiz e ns ; factorie s s h oul d be offe ring ade q uate w ork ing conditions , and th e w ork e rs s h oul d be de m anding ade q uate w ork ing conditions . Sadl y, th is w on't be h appe ning anytim e s oon, s ince th e re continue s to be pe opl e w h o are w il l ing to us e th e s e factorie s s ol el y to k e e p cos ts dow n.
Em pty Cans BY TIM FO RDEN
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utting toge th e r a h om e m ade m agaz ine is no e as y tas k . Pl e nty of tim e is w as te d s urfing th e inte rne t l ook ing for articl e s to w rite about and finding cools tuff for you to l ook at. It's a partial l y ful ltim e job th at w e coul dn't do w ith out th e s upport of our fam il y, frie nds , and caffe inate d be ve rage s . Sure , fam il y and frie nds are gre at for e m otional s upport, but it's th at tw itch inducing l iq uid l ove th at ge ts us th rough th e day. M os t of us h ave a s pe cific e ne rgy drink of ch oice th at w e w oul d gl adl y buy by th e crate , but w h at about al lth e oth e r brands ? Th at's w h y w e 've put toge th e r th is l e s s -th ancom pl e te guide to finding th e e ne rgy drink th at's righ t for you. Not onl y w il lth e drink s be te s te d for tas te and pote ncy, but w e 'l l al s o be cram m ing your h e ad ful lof nutrition facts and figure s and bre ak ing dow n ingre die nt guide s s o you can ge t to k now your s e iz ure fie nd ofch oice . O h , and you m igh t be as k ing yours e l f w h y m os t of th e s e are of th e die t varie ty; w ith h ow m any cans w e go th rough pe r h our if th e y h ad be e n ful l cal orie , s ugar-l ace d drink s w e w oul d've be e n trie d and true diabe tics l ong ago. H appy drink ing, but re m e m be r, caffe ine is a s e rious drug, don't ove rdo it. (Al l s uppl e m e nt facts are bas e d on totalcan e s tim ate s .)
Ariz ona Die t Gre e n Te a
Tas te (outof11): 8 Pote ncy (outof11): 6 De finite l y a conte nde r in th e fl avor de partm e nt, if you l ik e th e tas te of gre e n te a w ith a good am ount of s w e e tne s s . Good for s taying up an e xtra h our or tw o, but don't e xpe ct to l e ap tal lbuil dings or anyth ing. Cal orie s : 20 Carbs : 6g Vitam in C: 200% Vitam in B5: 10m g Vitam in B6: 4m g Vitam in B12: 12m cg Taurine : 2000m g Caffe ine : 160m g Panax Gins e ng: 200m g Inos itol : 200m g Guarana: 200m g Gl ucuronol actone : 200m g M il k Th is tl e : 70m g
M ons te r Lo-Carb
Tas te : 6 Pote ncy: 8 Be s t de s cribe d as a k ick in th e m outh , th e tas te l e ave s s om e th ing to be de s ire d, but drink m ore th an one and w atch out, th is drink w il l h ave you s w inging from te l e ph one pol e s jus t l ik e Spide y. Jus t w atch out for th e unforgiving e ne rgy cras h a coupl e h ours l ate r. (Som e of th e s uppl e m e nt facts h ad to be infe rre d from k now n ingre die nts , th us th e am ounts m ay not be pre cis e .) Cal orie s : 20 Carbs : 6g
VITAM IN B6: Th e body us e s B6 for th e production of h e m ogl obin (a part of re d bl ood ce l l s re s pons ibl e for carrying oxyge n to tis s ue s ). By h aving m ore B6 in th e body th e e fficie ncy of h e m ogl obin goe s up, al l ow ing it to carry m ore oxyge n. VITAM IN B12: M aintains re d bl ood and ne rve ce l l s and is a prim ary toolin cre ating DNA. A de ficie ncy in B12 can ofte n l e ad to ane m ia (al th ough m os t pe opl e ge t e nough in th e ir e ve ryday die ts ). VITAM IN B5: Al s o k now n as pantoth e nic acid— and ofte n found in s h am poo and oth e r cos m e tic products — is th ough t to h ave a m ajor rol e in h e al th y s k in and h air m ainte nance . TAURINE: Studie s s h ow th at a h e al th y am ount of taurine in a pe rs on's die t m ay be be ne ficialto th e tre atm e nt of a w ide range of cardiovas cul ar and ne urol ogicalprobl ems. Es s e ntialfor cats , w ith out th e com pound a cat's e ye s w il l sl ow l y de grade , e ve ntual l y caus ing bl indne s s . GINSENG: Al s o k now n as Ch ine s e or K ore an gins e ng (but not to be confus e d w ith Sibe rian), according to Traditional Ch ine s e M e dicine gins e ng can im prove circul ation, incre as e bl ood s uppl y, and h e l p in re cove ry afte r il l ne s s . Th e m os tcom m on s ide -e ffe ctis th e inabil ity to s l e e p. INO SITO L: Com m onl y us e d as a il l e galcutting age nt for cocaine or m e th , inos itolis w ide l y re garde d as a prom is ing s uppl e m e nt for bul im ia, panic dis orde r, bipol ar de pre s s ion and obs e s s ive -com pul s ive dis orde r. GUARANA: Sh ow n to aid in ph ys icale ndurance , m e m ory re te ntion and oth e r cognitive functions , guarana's m ain active ingre die nt, guaranine , is anoth e r type of caffe ine in m uch th e s am e w ay coffe e , te a and m ate are . SUGAR: W h e n l ook ing at th e ingre die nts l is t, any nam e th at e nds w ith “os e ” us ual l y de note s a type of s ugar. O th e r popul ar s ugars incl ude l actos e (m il k s ugar), m al tos e (produce d in th e m al ting of barl e y), tre h al os e (pre s e nt in fungi, ins e cts , and re ce ntl y indus trial iz e d from s tarch for us e as a food ingre die nt), and ce l l obios e (m os tl y found in fabrics s uch as cotton, al l ow ing it to abs orb vas t q uantitie s ofw ate r). GLUCURO NO LACTO NE: Effe ctive at im proving m e m ory re te ntion and conce ntration, initial l y th is com pound w as th ough t to h ave carcinoge nic age nts , but furth e r s tudie s h ave prove n th is fal se.
Rock s tar Sugar Fre e Ene rgy Drink
Tas te : 5 Pote ncy: 8 Am az ing pote ncy th at's w orth th e unde rw h e l m ing tas te . Caution: do not drink if you h ave l e s s th an four to s ix h ours be fore be d, you m igh t as w e l ldrink tw o and s tay up al lnigh t. Cal orie s : 20 Carbs : 0g Vitam in B2: 6.8m g Vitam in B3: 40m g Vitam in B5: 20m g Vitam in B6: 4m g Vitam in B12: 6m cg Taurine : 2000m g Caffe ine : 160m g Guarana: 50m g Inos itol : 50m g L-Carnitine : 50m g Panax Gins e ng: 50m g M il k Th is tl e : 40m g Gink go Bil oba: 30m g
Sobe No Fe ar Sugar Fre e
Tas te : 8 Pote ncy: 5 Non-offe ns ive is th e be s t w ay to put it. A sl igh tl y s w e e t and fiz z y fl avor th at doe s n't ge t in th e w ay w h e n you ne e d to pound five tw o h ours be fore a de adl ine . Th e l ittl e bit of
ELEVEN
Suppl e m e ntal Facts
Ribofl avin: 3.4m g Niacin: 40m g Vitam in B6: 4m g Vitam in B12: 12m cg Taurine : 2000m g Panax Gins e ng: 400m g L-Carnitine : ~ 350m g Gl ucos e : ~ 3500m g Caffe ine : ~ 350m g Guarana: ~ 200m g Inos itol : ~ 200m g Gl ucuronol actone : ~ 200m g M al tode xtrin: ~ 200m g
cre atine doe s n'th urte ith e r. Cal orie s : 20 Carbs : 2g Vitam in C: 200% Fol ic Acid: 200% Vitam in B6: 4m g Vitam in B12: 12m cg Se l e nium : 50% Taurine : 2000m g Inos itol : 200m g Panax Gins e ng: 100m g Guarana: 100m g Cre atine : 50m g Grape Se e d Extract: 50m g L-Carnitine : 50m g L-Arginine : 20m g
Starbuck s Caffe Grande )
M och a (Nonfat,
Tas te : 10 Pote ncy: 4 H one s tl y, I re al l y can't ge t e nough of th e s e . Ye s , you m ay h ate Starbuck s but if th e re 's one th ing th e s e guys do w e l lit h as to be th e ir m och as . Significantl y l e s s h orribl e for you, th is drink pack s a de s ce nt punch , too bad m os t of your buz z com e s in th e form of s ugar. Cal orie s : 220 Carbs : 42g Vitam in A: 10% Vitam in C: 0% Caffe ine : ~ 100m g
Starbuck s Eggnog Latte (Nonfat, Grande )
Tas te : 9 Pote ncy: 4 Not e ve ryone l ik e s e ggnog, if you're one of th os e w h o don't you s h oul d probabl y k nock th e tas te s core dow n by th re e . H ow e ve r, if you w ant to ge t into th e s pirit of th e s e as on w ith an am az ing e s pre s s o drink I w oul d h igh l y re com m e nd th is one . Ve ry tas ty, not
ve ry pow e rful , but th at's ok , add an e xtra five or s ix s h ots of e s pre s s o and you'l l w onde r w h y you e ve r ne e de d to s l e e p in th e firs tpl ace . Diabe te s is w orth it. Cal orie s : 510 Carbs : 43g Vitam in A: 10% Vitam in C: 8% Caffe ine : ~ 100m g
Tab Ene rgy
Tas te : 4 Pote ncy: 6 Ye s , it tas te s as h orribl e as th e can l ook s , but give it a try and you m igh t be s upris e d by its pote ncy. It s h oul d be note d, th at w h il e Tab m ay s e e m l ack ing in s uppl e m e nt s upport, it is th e fine l y tune d re cipe th at adds an uns us pe cting punch to th is tonic. Cal orie s : 5 Carbs : 0g Niacin: 5m g Vitam in B6: .5m g Vitam in B12: .9 m cg Taurine : 785m g Gins e ng Extract: 116m g Carnitine : 19 m g Guarana: .9 m g
Vaul t Z e ro
Tas te : 8 Pote ncy: 5 Surpris ingl y s w e e t and e ffe ctive w ith out th e us e of s ugar, Vaul t Z e ro is a good w ay to ge t a coffe e buz z , al th ough it w il ltak e m ore th an one if you pl an on finis h ing th at 10 page bus ine s s propos altonigh t. Cal orie s : 0 Carbs : 0g
w inte r s al ad BY TIM FO RDEN
I
ne vitabl y, it's th at tim e of ye ar.
Tim e to fol d th e couch out into a be d, turn th e tre adm il linto a dog w al k e r, and your l e ft l e g into an e xtra s tom ach . It's th e h ol idays . Gre at food e ve ryw h e re you l ook force d upon you by th os e k now n as "fam il y" w h e n th e y s h oul d re al l y be ide ntifie d as th e food pus h e rs th e y are . But doe s th at m e an it's ine vitabl e you'l lgain one of th os e s e xy, e xtra ch ins th is s e as on?O fcours e not. H e re 's a w ay to give back to al lth os e food pus h e rs , th is e as y fruit s al ad is a gre at s ide dis h for any h ol iday m e al .
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Th e col or O range , l ocate d be tw e e n th e 585 and 620 nanom e tre s pe ctrum of w ave l e ngth , w as nam e d afte r th e fruit of th e s am e nam e ; pre vious l y th e col or h ad be e n de s cribe d as "ge ol uh re ad" or ye l l ow -re d in O l de -Engl is h .
Can 8 oz . pine appl e ch unk s , draine d. Fre s h orange , pe e l e d and ch oppe d. Can m andarin orange s , draine d. Cup s our cre am . H andfulofm iniature m ars h m al l ow s . Cup fl ak e d coconut.
H ol y crap, l ook h ow e as y th at w as . You're notdone , butcl os e . Go find a l arge bow l th e n th row e ve ryth ing in it and tos s (no m as h ing, jus t us e your h ands and m ix it al l up— or a s patul a if you've be e n pick ing at th ings you s h oul dn't h ave ). Find a pl ace in th e fridge and l e t th e fruit s al ad s e t for tw o h ours ; w h e n you're re ady, tak e it out and e at it, or s e rve on l e ttuce l e ave s and m ak e grandm a je al ous .
TH IRTEEN
Ros w ith a-Sch ach t.de /M orgue Fil e
1 1 1 1 1 1/2
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W h e n buying diam onds , gol d or oth e r pre cious m e tal s , be s ure th e val uabl e s are m e as ure d in troy ounce s rath e r th an avoirdupois ounce s . A troy ounce is about th re e gram s m ore th an an avoirdupois — com m onl y us e d for food.
Robbie H ous e BY CAM ERO N H ENDRICK S
F
rank Ll yod W righ t w ante d h is “prairie h ous e s ” to be organic, “Bring th e outs ide w orl d into th e h ous e , and l e t th e ins ide of th e h ous e go outs ide .” De m ons trate d on h is Fre de rick C. Robie H ous e , buil t in Ch icago from 19 08 to 19 10, and s e e n as th e e pitom e of w h at is now k now n as th e prairie h ous e , th e re s ide nce e xpre s s e d al l of W righ t’s ide al s; el im inate d al l boundarie s th atim pe de d h im . Th ough oth e rs in th e are a are s im il ar, th e fact th at th e Robie H ous e w as buil t in a cons tricte d s pace furth e r e xe m pl ifie s W righ t’s gre at vis ion. W righ t’s ide alprairie h ous e w as organic, s im pl e and conve nie nt, and contradicte d m any of th e buil dings of h is tim e . W righ t s ough t to re vol utioniz e arch ite cture by introducing ne w conce pts s uch as pl as ticity and conne cting a buil ding w ith nature . Th e th e m e portraye d in al lof W righ t’s prairie h ous e s is h ow w e l le ach as pe ct of th e h ous e fl ow s w ith th e oth e r. Pl as ticity de s cribe s h ow th e outs ide fl ow s w ith th e ins ide and th e w ay in w h ich th e de tailand furniture m e s h . Th e te rm organic de s cribe s th e conne ction of
FIFTEEN
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Al th ough ne ve r unde rtak e n, W righ t propos e d a m il e h igh s k ys crape r in 19 56 nam e d Th e Il l inois . It w oul d h ave be e n five h undre d and tw e nty-e igh t s torie s tal land re q uire d it's ow n nucl e ar ge ne rator to run its e l e vators . You can s e e h is e ntire pl an in pdf form at[inte rm inatus .com /m il e h igh .pdf].
um on @ Flick r.com
th e l e as t am ount of m ate rial s pos s ibl e and to us e noth ing th at did not com e from nature . Al th ough s te e l is us e d in th e s tructure it is conce al e d. H e e xpos e s w h at is ne ce s s ary to portray th e m ood de s ire d and conce al s oth e r as pe cts th at m igh t contradict; s im pl icity and naturaltone be ing w h at W righ t s trove for. “W h e re de coration occurs , it is not s om e th ing adde d to a pre e xis ting w h ol e , but an e ffl ore s ce nce from w ith in, as th e fl ow e r form th e s te m , or th e h air from th e h e ad.” Strongl y tie d into h is ide a of pl as ticity, W righ t h e l d a s trong pos ition th at furniture s h oul d be buil t for and conne cte d to th e room , grow ing from th e fl oor. A ge ne ralfl ow s h oul d be acq uire d and a conne ction w ith th e ins ide and outs ide of th e outs ide of th e h ous e to its s urroundings , th e h ous e s h oul d be e s tabl is h e d. w h ich in th is cas e , is th e prairie . Re m aining W righ t’s s trong l oath ing for th e s im pl e ye t m ode rn, W righ t put an e m ph as is unne ce s s ary us e of w al l s and th e ge om e try on pl as ticity and bl e nding th e Robie H ous e of th e box is s h ow n in th e ope nne s s of th e w ith nature w h il e providing a ne ce s s ary bottom fl oors of al lth e prairie h ous e s . W al l s am ountofprivacy from th e outs ide w orl d. im pe de d on th e pl e as ure s of nature , and A buil ding s h oul d “appe ar to grow w e re “… part of th e box in w h ich onl y a e as il y from its s ite ;” th is q uote , from W righ t’s l im ite d num be r of h ol e s w e re to be e s s ay “In th e Caus e of Arch ite cture ,” punch e d”. H e th ough t th at al lroom s s h oul d e xpre s s e s one of th e ide as th at provide d be conne cte d and not be s e ctione d off or th e foundation for th e prairie h ous e . e ve n cons ide re d as s e parate room s . “… I Stre s s ing l ittl e ornam e ntation, s im pl e w as w ork ing tow ard th e e l im ination of th e ge om e tric s h ape s dom inate th e e xte rior of w al las a w al lto re ach th e function of a th e prairie h ous e s . Not onl y is th e m ain s cre e n as a m e ans of ope ning up s pace … ” s tructure of th e h ous e m ade to grow from Th e bottom fl oor carrie d a s e ns e of th e s ite natural l y but th e inte rior décor and ope nne s s and fre e ne s s , it gave continuity, outs ide de tailare as w e l l . H e w is h e d to us e e fficie ncy and e l im inate d w as te d s pace th at
oth e rw is e w oul d be l im ite d by de fine d room s . “… No h ol e s cut in w al l s anyw h e re or anyh ow as h ol e s are cut in a box, be caus e th is w as not in k e e ping w ith th e ide alof ‘pl as tic.’” Th e onl y room s cons ide re d to be s e parate w h e re be droom s , w h ich h e put on th e s e cond fl oor. A conne ction w ith nature is s tre s s e d, but not at th e e xpe ns e of th e ow ne rs ’ privacy. Fe ature s s uch as l arge ove rh anging e ve s , an abundance of s h rubbe ry and h igh w al l s provide privacy for th e ow ne r’s of th e h ous e . Th e l ow h anging e ve s m ade it difficul t to s e e th e w indow s from th e outs ide , giving th e h om e a l aid-back fe e l ing. From th e ins ide l ook ing out, one s til l fe l t conne cte d w ith nature , onl y from th e outs ide did pe opl e gras p to w h at e xte nt th e h ous e w as cut off from th e w orl d. An abundance of l arge w indow s gave a s e ns e of bringing nature into th e h ous e . Th e im portance of cas e m e nt w indow s w as s tre s s e d by W righ t; ins is ting th e y be us e d and, in turn, l os ing s om e cl ie nts . Th e cas e m e nt w indow s w e re an ide al fe ature for an e xte ns ion tow ard nature . By us ing m ate rial s natural to th e re gion s uch as brick , w ood and s tone th e h ous e bl e nde d w ith its s urroundings , and w ith th e us e of te rrace s , bal conie s and garde n w al l s th e Robie H ous e w as furth e r roote d. M any fe ature s of th e prairie h ous e s tre s s both continuity w ith nature and privacy, and one good e xam pl e of th is is th e
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Al w ays th e pe rfe ctionis t, W righ t not onl y cre ate d th re e h undre d and s ixty-tw o h ous e s as w e l l as countl e s s col or s ch e m e s , l igh ting fixture s and furniture , but h e de s igne d h is ow n w ardrobe as w e l l .
l arge roof. From th e outs ide th e roof is q uite intim idating and s h ie l ds m uch of th e h ous e from pas s e rbys . H ow e ve r fore boding th e roof m igh t be from th e outs ide it al so conne cte d th e h ous e to th e outs ide w orl d. Th e unde rs ide of th e roof w as fl at and h ad a l igh t col or in orde r to re fl e ct l igh t into th e uppe r fl oor. Th e y al s o provide d th e outs ide w al l s am pl e prote ction from th e el e m e nts — ge ntl y sl oping and h oriz ontal th e y atte m pt to re fl e ct th e fe ature s of th e prairie . O n th e oth e r h and, th e ir l arge s cal e dom inate s th e s ce ne . “Th e s pre ad of th e roofs and th e ir prom ine nce in th e com pos ition al s o dram atiz e th e s e ns e of sh el te r.” Anoth e r fe ature th at e xpre s s e s both
SEVENTEEN
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W righ t h ad a l arge fam il y, s om e of w h om h ave gone on to big th ings : H is s on Ll oyd W righ t w e nt on to be com e an arch ite ct in LA. Ll oyd's s on, Eric, fol l ow e d th e fam il y foots te ps and is curre ntl y re s iding as an arch ite ct in Cal ifornia. Frank 's oth e r s on, Joh n, w as an arch ite ct as w e l l , and inve nte d th e infam ous Lincol n Logs . H is granddaugh te r, Anne Baxte r, is an Acade m y Aw ard W inning Actre s s .
ide al s is th e garde n. Surrounde d by w al l s it w as partitione d off from th e re s t of th e w orl d, but from th e ins ide it again conne cte d th e h ous e w ith nature . Th e us e of s h rubbe ry doe s th e s am e in providing an obs cure d vie w of th e h ous e from th e outs ide , ye t s til l e ncouraging an organic fe e l ing. A s trong e m ph as is w as put on th e h oriz ontal ity of th e s tructure . Since m uch of th e prairie is fl at W righ t s ough t to do th e s am e w ith h is prairie h ous e s . “… Pl ane s
fl atne s s of th e roof re s e m bl e s th at of th e prairie . W righ t w e nt as far as to bring th e w h ol e s cal e of th e h ous e dow n to fit th e ave rage h um an h e igh t of five fe e t, e igh t inch e s . Th e us e of Rom an brick is al so im portant. Be ing one and five -e igh th s inch e s th ick and e l e ve n and five -e igh th s in l e ngth th e s e brick s l e nt th e m s e l ve s to an ove rw h e l m ing s e ns e ofh oriz ontal ity. W ith s trong fe e l ings on pl as ticity and conne cting w ith nature W righ t s trove to
“
God is th e gre at m ys te rious m otivator of w h at w e cal l nature and it h as be e n s aid ofte n by ph il os oph e rs , th at nature is th e w il lof God. And, I pre fe r to s ay th at nature is th e onl y body of God th at w e s h al l e ve r s e e . If w e w is h to k now th e truth conce rning anyth ing, w e 'l lfind it in th e nature ofth atth ing.” ~ Frank Ll oyd W righ t, 19 87
paral l e lto e arth ide ntify th e m s e l ve s w ith th e ground— m ak e th e buil ding be l ong to th e ground.” H e did not care for th e s te e p sl oping roof and th e appe arance of a buil ding be ing s tuck in th e ground; th e re fore , al m os t al lve rticalas pe cts w e re tak e n out or m odifie d in a w ay th at s atis fie d W righ t. Th ings s uch as th e attic and th e bas e m e nt w e re s e e n a us e l e s s and forgone . W ith out th e attic, th e roof w oul dl ie l ow and th e h ous e be cam e m ore inte grate d into its s urroundings . O th e r ve rtical el e m e nts s uch as ch im ne ys w e re buil t m ore broad and k e pt “… l ow -dow n on ge ntl y sl oping roofs or pe rh aps fl at roofs . Th e
re vol utioniz e arch ite cture . By re m oving com pone nts th at h ad traditional l y be e n us e d for ce nturie s h e k now ingl y brough t on th e w rath of m any critics . Th e Robie H ous e is onl y one e xam pl e of a prairie h ous e buil t by W righ t. Th ough h e cus tom iz e d h is proje cts to th e ne e ds of h is cl ie nts and th e s pe cific l ocation of th e proje ct, h e s trove to portray h is ove ral lvis ion w ith l ittl e com prom is e . By conne cting th e prairie h ous e w ith nature and e l im inating th e ide a of s e ctione d room s , h e ach ie ve d a re vol utionary fl ow to m ode rn h ous ing. At th e tim e h e w as s e e n as e xtre m e , but today h is w ork is s e e n as th at ofa ge nius .
M
aurice M e rl e au-Ponty w as a Fre nch ph e nom e nol ogis t w h o be l ie ve d th at pe rce ption w as not s im pl y a caus als e ns ation at an atom ic l e ve lbut w as ins te ad a dial og be tw e e n th e pe rce ive r and th e w orl d. In addition, M e rl e au-Ponty w as care ful in not privil e ging th is dial og to h um ans ; th e h um an cons cious ne s s coul d be th ough t of as m e re l y an abs tract l e ve l of be h avior th at is be ne ficial to our s urvival . O th e r anim al s al s o h ave a l e ve lof be h avior th at is m os t e fficie nt for th e ir s urvival . In s e e ing
H um an & Anim al Be h avior oth e r anim al s as h aving be h aviors , w e cannot s im pl y th ink of th e m as h ardw ire d organis m s th at run th rough a s e rie s of program m e d actions w ith out th ough t. In th e “Structure of Be h avior” M e rl e au-Ponty bl e nds e xpe rim e ntal anal ys is w ith th ough tful , e ngaging ph e nom e nol ogy th at m ak e s us see al l nature ’s organis m s as th ink ing ide ntitie s .
NINETEEN
BY M ASO O D ALI
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Th e be s t w ay to te l la toad from a frog is by finding out if it digs h ol e s — onl y toads burrow . Th e toads dry, l e ath e ry s k in al l ow s it to l ive furth e r aw ay from w ate r th an frogs w h o m us t s tay cl os e or ris k s uffocation.
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In orde r of pre fe re nce , s cram bl ed e ggs , m acaroni and ch e e s e and cook e d corn k e rnal s are a brow n rat's favorite garbage tre ats .
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Th e UK h as about tw o h undre d and fourty tim e s m ore rats th an Ne w York City doe s due to th e w arm e r w inte rs .
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W h e re h um ans h ave trich rom atic vis ion al l ow ing us to s e e re d, gre e n and bl ue (and al l th os e in be tw e e n), rats h ave dich rom atic vis ion and can onl y s e e in th e gre e n and bl ue s pe ctrum . But th e y m ak e up for th is s h ortfal l , rats can s e e into th e ul traviol e t.
K um on/Flick r
In “Th e Structure of Be h avior”, M e rl e au-Ponty w is h e s to attribute th e actions of an organis m to val ue s as cribe d to it th rough its particul ar inte gration of form . Th is conce pt of diffe re nt inte grations of s tructure s found in th e s yncre tic, am ovabl e , and s ym bol ic is crucial as it doe s not privil e ge h um ans as pos s e s s ing a cons cious ne s s or s oul , (w h ich diffe re ntiate s th e m from oth e r anim al s ) but ins te ad s tre s s e s th at s tructure s vital to our s urvival are not ne ce s s ary for oth e r organis m s caus ing us to e ngage th e w orl d diffe re ntl y. In orde r for th is conce pt of be h avior to w ork it m us t firs t be s h ow n th at th e l e ve l s of th e s yncre tic, am ovabl e , and th e s ym bol ic are inte r-conne cte d and a de l ine ation can be m ade from th e m os t bas ic form of s yncre tic to th e m os t com pl e x of th e s ym bol ic; h ow e ve r M e rl e au-Ponty is cl e ar to point out th at, “… th e re is no s pe cie s of anim al w h os e be h avior ne ve r goe s be yond th e s yncre tic l e ve l nor any w h os e be h avior ne ve r de s ce nds be l ow th e s ym bol ic form s ” (104). Syncre tic form is de s cribe d as 'ins tinctual '
be caus e it is th at w h ich is m os t vitalto th e organis m ’s s urvival . An e xam pl e of th e toad is give n in w h ich M e rl e au-Ponty s ays th re e th ings are put in front of th e toad. Th e firs t is an e arth w orm w ith a gl as s boundary pl ace d be tw e e n it and th e toad. Th e toad re pe ate dl y trie s to e at th e w orm but its progre s s is al w ays s toppe d by th e gl as s . Now it coul d be s aid th at th is is a re pe titive m otion, a m e ch anis tic trial and e rror th at is an dire ct re s pons e to th e s tim ul i, but upon furth e r de m ons tration w e s e e th at if an ant w h ich produce s a bitte r tas te in th e toads m outh is pl ace d in front of th e toad, th e cre ature w il le at it but w il l not h ow e ve r cons um e anoth e r of th e s am e s pe cie s . Furth e r it is s h ow n th at w h e n a bl ack pie ce of pape r is h e l d in front of th e toad it w il l e at th at pie ce pape r but w il lnot e at any for s e ve ralm inute s afte rw ards . Th e toad’s re action to th e l atte r s ituations varie s from th at of th e firs t and th us it can be s aid th at th e toad is not re pe ating s om e ‘h ardw ire d’ re action to diffe re nt s tim ul i; it ins te ad s h ow s th e toad’s abil ity to adapt to s ituations us ing w h at M e rl e au-Ponty cal l s ‘re fl e xoge nic’ m ove m e nt
none th e l e s s ch os e n ove r th e dark e r grain. Th is e xpe rim e nt prove s th at th e ch ick e ns did not m e re l y re s pond to th e col ors of th e s tim ul i in e ach s ituation but rath e r de ve l ope d a s ys te m atic re l ations h ip w ith te m poraland s patialfe ature s (s e q ue ncing of prior e xpe rie nce s ) th at h e l pe d th e m de te rm ine “… th e l igh te r ofth e tw o” (106). Anoth e r e xam pl e of th is is th e l ab rat; if it is traine d to turn righ t to ge t tow ards its food it w il lits w al k on th e righ t s ide of th e al l e y and not de viate . Th is is be caus e th e rat s patial l y and te m poral l y conne cte d th e path it took as one e ve nt and not a s e rie s of ins tants (107). Ente ring th e h igh e s t l e ve lof s tructural inte gration, th e s ym bol ic form is our facul ty to com pre h e nd th e w orl d of “pure ” tim e and s pace . Th is can al s o be k now n as th e virtual w orl d, for as h um ans w e can s e e ours e l ve s outs ide of our s ituation or any re al ity for th at m atte r. W h e n w e th ink about w h e re w e ’l lbe five ye ars from now , h ow w e ’re going to ge t to w ork , or w h at an octagon is s h ape d l ik e , w e proje ct form s by tak ing ours e l ve s out of th e e q uation to s e e th e s ituation as an w h ol e . O th e r anim al s cannot do th is be caus e th e y do not re cogniz e th e ir bodie s as part of th e s ituation and th e re fore can ne ve r de tach th e m s e l ve s . Th e m onk e y e xpe rim e nt s h ow s th is as th e m onk e y, not abl e to pul l th e banana tow ards its e l f, cannot figure out th at if it pus h e s th e banana to th e oth e r s ide of th e cage it can m e re l y w al k around and grab it. Th e m onk e y cannot s e e its e l f as be ing in th e s ituation and th e re fore cannot conjure up w h at it m igh t do in virtuals pace . It is al w ays and onl y in contactw ith th e l ife w orl d. M e rl e au-Ponty al so w is h e s to de s cribe th e s ym bol ic form as th at of a mel ody. H e fe e l s th at h um ans are abl e to gras p th e e s s e nce of s tructure . H e points
TW ENTY- O NE
th at is brough t about by an innate s tructure th at give s val ue to ce rtain be h aviors in orde r to k e e p th e organis m al ive . M e rl e au-Ponty w ants to re ite rate th at anim alre actions to ce rtain s tim ul i are ne ve r as s im pl e as caus e and e ffe ct be tw e e n th e s ubje ct and th e goal . H e s ays th at in orde r for th e re to be any action or re action, w e m us t “… pre s uppos e a ‘s e ns ory-m otor a priori’” (100), for th e re h as to be s om e initialpurpos e w h ich drive s us to e ve n th e m os tbas ic ofre s pons e s . Anoth e r im portant as pe ct of th is unde rl ying m e aning give n by th e s tructure is th at th e ve ry fact th at our action are drive n by m e aning give s th e anim alth e capacity for re cogniz ing s e q ue nce ; th at its actions are not a s e rie s of inde pe nde nt e ve nts and th us al l ow s it to h ave te m porals e ns ibil itie s . Th is is s e e n w ith m uch m ore s ignificance in th e am ovabl e form . Th e am ovabl e form is be s t de picte d as h aving, “… re fe re nce to re l ations ” (105). Th is tak e s th e s h ape of a s ys te m atic re l ations h ip in w h ich th e s ubje ct not onl y re acts diffe re ntl y to ch anging s tim ul i w ith re gards to its s tructuralval ue s , but can find com m onal ity am ong its traine d e xpe rie nce s and th e n de ve l op re s pons e s for untraine d s ce narios th at w oul d be w ith in a s im il ar s ys te m as th e control l e r h ad w is h e d. M e rl e au-Ponty e xam pl e of th is is K oe h l e r’s ch ick e n e xpe rim e nt in w h e re ch ick e ns w e re traine d to ch oos e , out of tw o e q ualpil e s of grain, th e one th at w as l igh t gray (G1) and to dis re gard th e m e dium gray (G2). Afte r s e ve ral h undre d training s e s s ions G2 is re pl ace d w ith an e ve n l igh te r gray G0 th e n G1 and de s pite h aving be e n conditione d to e ating th e G1 grain, th e m ajority of th e ch ick e ns ch os e G0. Ne xt, th e l igh te r grays are tak e n out and re pl ace d by G2 and an e ve n dark e r gray. Th ough th e G2 w as conditione d as th e ‘ne gative ’ grain, it is
“
W h e n w e th ink about w h e re w e 'l lbe five ye ars from now , h ow w e 're going to ge t to w ork , or w h at an octagon is s h ape d l ik e , w e proje ct form s by tak ing ours e l ve s out of th e e q uation... O th e r anim al s cannot do th is be caus e th e y do not re cogniz e th e ir bodie s as part of th e s ituation and th e re fore can ne ve r de tach th e m s e l ve s .” out th at if onl y a s ingl e s h e e t of m us ic w as l e ft, and m us ic w riting w as l os t on our m inds , w e w oul d s til l be abl e to de ciph e r a rudim e ntary s tructure w h ich th e m us ic h e l d. Al s o th e w ay in w h ich w e are abl e to re cogniz e m e l odie s pl aye d in diffe re nt tone s and on diffe re nt ins trum e nts again s h ow s th at h um ans can dis tinguis h th e form of a th ing re adil y (120-4). Th e inte rgration of th e be fore m e ntione d form s is k e y to M e rl e auPonty’s e xpre s s ion of be h avior. H e w ants to m ak e it e xpl icit th at al lorganis m s m us t s tart from th e s yncre tic s tage and th os e capabl e of m oving to th e am ovabl e s tage and final l y to th e s ym bol ic s tage (onl y h um ans ) do not l os e th e ir oth e r form s of be h avior. In fact th e y are in cons tant pl ay w ith e ach oth e r, form ing be h aviors as th e y inte ract, and th e l os s of one or fail ure of th e as s im il ation of oth e rs is crippl ing to th e organis m .
K lara/Flick r
Th e th re e form s of be h avior are s ufficie nt in e xpl icating actions at various l e ve l s of l ife ; h ow e ve r, it is th e inte gration of th e be h aviors th at re al iz e M e rl e au-Ponty’s goalof pl acing h um an be ings on Earth as anoth e r of its anim al s , de s e rving no l e s s or m ore cons ide ration on Earth th e n l ife 's s im pl e s t organis m s . Living organis m s re l ate to th e ir e nvironm e nt, th e e nvironm e nt w h ich is m ade re alto th e m th rough th e val ue s of th e a priori form s . Th e re al iz ation m us t com e th at h um ans cannot im pos e th e ir vie w of th e Earth and s e t as ide th os e of ‘l e s s e r’ be ings be caus e , jus t as th e y can’t com pre h e nd our w orl d, ne ith e r w il lh um ans k now w h at it is l ik e to be a s pide r, w e aving a w e b and w anting patie ntl y for s us te nance ; or be ing a paras ite e nte ring an organis m and l iving of its e xis te nce . W e cannot k now , and th e re fore w e m us t be tol e rant of al lth at is trying to l ive .
“
Al lcons cious ne s s is pe rce ptual ... Th e pe rce ive d w orl d is th e al w ays pre s uppos e d foundation ofal lrational ity, al lval ue and al le xis te nce .”
TW ENTY- TH REE
-M aurice M e rl e au-Ponty
Top Five M ovie s Bas e d on a Com ic or Graph ic Nove l BY RO N SPENCER
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Jim H e ns on's Cre ature Sh op, th e puppe t and anim atronics profe s s ional s us e d for th e Ninja Turtl e s M ovie , h as w on tw o Acade m y Aw ards and al s o w ork e d on th e TV s e rie s Fars cape , th e David Bow ie adve nture Labrynth , and th e cre ature s in Dr. Dool ittl e.
5
Batm an Be gins
A ne w vie w into th e inte ns e fantas y w orl d th at cre ate d th e dark k nigh t. Batm an Be gins catch e s a s pot on th is l is t, and bare l y e dge s H O NO RABLE M ENTIO N: Ninja Turtl es out th e Tim Burton original , due to its s e m iTh e s e ps ych e de l ic action figure s w e re re al is tic approach to th e w orl d of brough t to l ife for a ge ne ration curre ntl y s upe rh e ros . No ne e d for toxic w as te e xpe rie ncing a l ove affair w ith th e s pl e ndid accide nts , no abnorm als upe r pow e rs , and gre e n cre ature s . Te e nage M utant Ninja no craz y m utations brough t on by s cie ntific Turtl e s th e M ovie com bine d a dark dram atic ph e nom e nons . Th is m ovie is w ritte n in a s ide from th e com ic book s w ith a l igh t form at th at coul d e as il y be com e be l ie vabl e com e dic re l ie f for th e younge r targe t to th e typicalm ovie vie w e r. A ps ych ol ogical audie nce w atch ing on. I’m s ure I w as n’t th e battl e dw e l l s w ith in a confus e d k id bl am ing onl y one w ith a de s pe rate and pitifulcrus h h im s e l f for th e m urde r of h is pare nts , w h o on th e be auty of a re porte r April O ’Ne il . w as th e n w il l ing to give up e ve ryth ing to Al th ough w e curre ntl y l ive in an age of dis cove r a m e ans of re de m ption. Re all ife outs tanding digital te ch nol ogy cre ating te ch nol ogicale xpl anations of al lth os e nifty ne ve r be fore s e e n s pe ciale ffe cts th at can gadge ts th e k nigh t is k now n to pos s e s are e ve n m ak e Ge orge Lucas ’ m outh drop, th is e as il y w e ave d into th e s toryl ine al ong w ith a s e rie s w as fil m e d on l ive s e ts w ith h al f-w ay be l ie vabl e training of th e ph ys ical ch aracte rs in ful lcos tum e . Th e fe at for th e prow e s s of th e s upe rh e ro. Th is fil m doe s a tim e pe riod w as com pl e te l y s pe ctacul ar. fabul ous job of atte m pting to bring th e l ife of Th e bottom l ine is Te e nage M utant Ninja a s upe rh e ro into a re al and partial l y Turtl e s , w h e th e r com ic, cartoon, or m ovie , be l ie vabl e s ce nario. s e t a h igh s tandard e arl y on. I onl y h ope th e ne w ve rs ion can l ive up to an age d ge ne rations e xpe ctations .
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4
Spide r-M an
Th is m ovie jum ps tarte d th e re turn of s upe rh e ro m ovie s . Th e firs t Spide r-m an w as a com pl e te and totaltre at for com ic book fans around th e w orl d. Th e re h ad be e n a l ong s tre ak of dis appointing s upe rh e ro m ovie s and it w as about tim e for one to com e out and final l y de l ive r a s atis fying punch . Th is m ovie w ow e d audie nce s w ith its daz z l ing s pe ciale ffe cts and w e l lpie ce d toge th e r s cript. In fact, th e onl y m ovie to be at Spide r-m an on an ope ning w e e k e nd payout w as th e re ce nt Pirate s of th e Caribbe an: De ad M an’s Ch e s t. H ow e ve r, th is cre ate d one dow ns ide to gre at com ic bas e d m ovie s , th e abnorm al l y l arge payout s park e d a m as s ive H ol l yw ood outpour of dirty dis gus ting com ic-bas e d m ovie s th at s pit on th e ve ry s e rie s th e y atte m pte d to re cre ate (i.e . H ul k , Dare de vil , Catw om an, e tc.).
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W h at if th e Ve nom s ym biote ne ve r took control of Eddie Brock (th e vil l ain in th e upcom ing Spide r-M an 3 m ovie ) and took ove r Th e Punis h e r ins te ad? Th is is one of th e s ce narios th ough t up by M arve lin th e ir "W h at if...?" l ine of com ics . O th e r s toryl ine s fol l ow s im il ar l ine s , s uch as : W h at if Pe te r Park e r w oul d h ave give n h im s e l f com pl e te l y to th e s ym biote ; Supe rm an w as Rus s ian, and M agne to h ad e s tabl is h e d th e X-M e n?
3
Th e Crow
Th e originalw ith Brandon Le e , in m y m ind, re m ains untouch abl e . Dark , m ys te rious , and an al l -around k ine s th e tic bas e d e xpe rie nce . Th e Crow is a de e p and s e ns ualtrip into an al ltoge th e r une xpl ainabl e re al m . Th e m ovie m ay not h ave th e s tunning vis uale ffe cts w e 've be com e s o accus tom e d to but it prove s th at a w e l lw ritte n m ovie can s til l figh t th e s tandards of tim e . A profound m atrix of pl ots tunne lth e ir w ay about in th e back ground of th is dram atic l ove s tory th at de l ve s de e p into th e q ue s tioning of righ t ve rs us w rong. Pl us , Th e Crow brough t about one of th e m os t k il l e r H al l ow e e n cos tum e s e ve r, and e tch e d a ne w ide a into th e h e ads of a m us e s e e k ing rock cul ture . Th e Crow is a m us t ow n cl as s ic for any com ic book and h ard rock m us ic fan.
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Th e col l e ctive nam e for a group of crow s is a "m urde r," but m os t pe opl e us e th e te rm "fl ock ." Th e Crow h as h ad th re e s e q ue l s (City of Angl e s , 19 9 6; Sal vation, 2000; W ick e d Praye r, 2005) and an unofficialone cal l e d W ings ofth e Crow (2000). Jam e s O 'Barr, cre ator of th e Crow com ic, w as ins pire d both by th e l os s of h is girl frie nd and an account in a ne w s pape r articl e de s cribing a young coupl e 's m urde r ove r a tw e nty dol l ar ring.
TW ENTY- FIVE
Th e Dire ctor of Batm an Be gins , Ch ris toph e r Nol an, s tarte d w riting a s cript nam e d "M r. H ugh e s ." Th e fil m w oul d h ave be e n a portrayalof H ow ard H uge s ' l ife , m uch l ik e th e Th e Aviator, but h e s toppe d w riting afte r Scors e s e 's m ovie cam e out. In Nol an's m ovie th e rol e of H uge s w as be ing w ritte n for Jim Carre y.
1 2
Vfor Ve nde tta
Th is w as m ore th e n jus t a m ovie . It fe l t m ore l ik e a th orough m ind gam e . Al th ough th e originalcom ic auth or w as q uite ups e t w ith th e W ach ow s k i Broth e r’s s cript e diting, it w as ve ry care ful l y adapte d to curre nt is s ue s and e as il y force d de e p th ink ing. Al m os t as if th e re w as a com pl e te l y diffe re nt s cript w e ave d into th e back ground w ith s ym bol ogy and care ful l y s cripte d l anguage th at atte m pte d to m ak e th e in-de pth vie w e r ponde r its m e aning and de ciph e r th e re l ations h ips to curre nt e ve nts . Th e re w as a bol d and pow e rfuls tate m e nt h idde n in th is fil m al m os t de s cribabl e as a w arning to a nation q uick l y l oos ing th e gras p of its true origins . W h il e a cons tant fl ow of daz z l ing s pe ciale ffe cts m ay h ave be e n m is s ing from th is trul y e pic fol l ow -up to th e M atrix th e re w as a de e pe r m e aning th at m ade th e vie w e r s top and th ink about a fe w im portant is s ue s de al ing w ith l ife as w e k now it.
M os t Anticipate d:
Frank M il l e rs Sin City
A s tunning, in-your-face , burs t of re vol utionary e ye candy. Rodrigue z codire cting th is m ovie w ith Frank M il l e r h im s e l f m ay h ave h e l pe d m ak e th is m ovie th e e pic it h as be com e . O ut of al lth e com ic/graph ic nove lbas e d m ovie s I’ve s e e n in m y l ife tim e th is one , by trul y m agnifice nt proportions , s taye d true to its origins th e be s t. Th is m ovie cl e arl yl aid dow n th e foundations of a ne w ge ne ration of cine m atograph y. From its s tunning col or contras ting fil m e diting to its h igh pow e re d cas t, th is adve nture into th e w orl d of ch aos -intoxicate d l ive s prom is e s to com pl e te l y s atis fy any h ard action vie w e r. I onl y h ad tw o q ue s tions for m ys e l f afte r it w as ove r: O ne , h ow m any tim e s can I w atch th is and s til lfind m ys e l f drool ing ove r th e s tyl is h graph ics and pre cis ion e diting? Tw o, w h e n are th e s e pe opl e m ak ing anoth e r m ovie ?
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Frank M il l e r, th e cre ator of th e original 300 com ic, w as n't al w ays k now n for h is gre at s toryte l l ing. In th e 19 80's M il l e r w as be s t k now n as th e s criptw rite r for th e m ovie s Robocop 2 and 3.
300
Th e ne xt accom pl is h m e nt de rive d from Frank M il l e r’s w ork , cre ate d by s om e of th e s am e m inds invol ve d in Sin City. Afte r e xpe rie ncing th e trail e rs I’m onl y l e ft w ith a be w il de re d daz e of anticipation on m y face , and of cours e , th e ne e d of a cl e an pair of s h orts . In th e ate rs , M arch Se ve nth .
W arne r Bros .
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Publ is t BY TIM FO RDEN
A
fe w w e e k s ago I cam e acros s w h at I coul d onl y de s cribe as a s m örgås bord of w e l l -w ritte n, cre ative , and fre e re ading m ate rial . Th e s ite I found w as cal l e d PDF-M ag.com and it s ince m ade m e a m uch h appie r pe rs on.
Candy Cas tl e Error Life be at LVH RD M orph Re s graph ica Re vol utionart Tw oh undre dby200 Um m e Ve k torik a
TW ENTY- SEVEN
Re com m e nde d Re ading:
For th e pas t fe w w e e k s , I've be e n sl ow l y s am pl ing th e ne w finds w h il e continuous l y l ook ing for any oth e rs . I found a fe w th at w e re n't l is te d on PDFM ag.com , but not m any— and th os e I did find w e re us ual l y in anoth e r l anguage . W h il e th is publ ication tre as ure h unt w as going on I found th at not al l th e m agaz ine s w e re of th e s am e q ual ity, and it s om e tim e s turne d into a ch ore trying to s ift th rough al lth e m and th ink , “Th is one w as n't too good th e l as t tim e I re ad it, but m aybe if I gave one of its e arl ie r is s ue s a try?” M ore ofte n th an not th e q ual ity didn'tge tany be tte r th e e arl ie r I w e nt. Th at is w h y I've cre ate d th is l is t of PDF m agaz ine re vie w s , for th os e pe opl e w h o w il l s oone r or l ate r s tum bl e upon PDF-M ag's am az ing cach e and jus t w ant to find s om e th ing good to re ad, l ook at, or w h ate ve r, ins te ad of s pe nding h ours s ifting th rough th e dow nl oad s ite s jus t to find s om e th ing th e y don'tw ant. Al lof th e m agaz ine s l is te d can be found on PDF-M ag.com (m inus a fe w , butth e y h ave l ink s ).
Anti
O riginal as it provocative , Anti is a th e m e d, m ul ti-artis t m agaz ine th at e m brace s th e digital grunge art s ce ne w ith a force . Th e ir initial , and onl y is s ue care ful l y ride s th e artis tic l ine be tw e e n bril l iance and ins anity. W e igh ing in at s e ve nty-e igh t page s , th e gravitas unl e as h e d page afte r page is de e p to s ay th e l e as t. Ine vitabl y, s om e w ork s s e e m m ore th ough t out and finis h e d (al th ough I us e th e w ord l oos e l y), but th is is fairl y rare and doe s n't de tract from th e m agaz ine as a w h ol e . Al s o, don't e xpe ct th e incl us ion of a ge ne ralth e m e to h ave any s ort of e ffe ct on th e artis ts , th e re is us ual l y l ittl e to go by th at e ve n re m ote l y re s e m bl e s th e de s ignate d m otif. Pro: De e p, e ngaging w ork s . Good if you l ik e grunge w ork s and intros pe ctive ne s s . Con: Lack ofcontinuity. Sk il l s ofartis ts vary gre atl y. You m igh tne e d a s h ow e r afte r re ading.
Bail gun
Sk ate boarding and ph otograph y turn out wel l in th is Ge rm an m agaz ine . An inte re s ting re ad but th e l ack of fe ature s (onl y one ) or articl e s (none ) com bine to m ak e th is no m ore th an a gl orifie d ph oto al bum . M aybe th e re w il lbe m ore conte nt in l ate r is s ue s . Pro: Nice ph otograph y. Con: No s ubs tance .
Arts tubl i
A s w is s art and articl e m agaz ine th at te nds to focus on cl e an l ine s , e ye candy and inte rvie w s . M uch of th e art s h ow n h as an al m os t Tok yo-pop s tyl e to it, w h il e at th e s am e tim e k e e ping a dis tinct fl are for ae s th e tics th at's be s t de s cribe d as col orful grunge . Th e w riting s e e m s w e l l done (th e re 's onl y one articl e in Engl is h ) but I re al l y w is h th e y m ade s om e of th e fonts bigge r s o re ade rs w oul dn't h ave to s w itch from ful l -page to z oom e d m ode e ve ry tim e th e y w ant to re ad s om e th ing. M inor annoyance as ide , gre at w ork th at re al l y ge ts th e bl ood going and ins piration fl ow ing. Pro: H igh q ual ity w ork al laround. Nice m ix of Japane s e and Europe an cul ture s . Fairl yl arge (Eigh ty-pl us page s ) Con: Sm al lte xt. M os tl y non-Engl is h .
Bas tard
M is h m as h art, ph otograph y, de s ign, and th e random abil ity to actual l y pul lit al loff and you h ave Bas tard. As th e nam e im pl ie s , Bas tard is firm l y roote d in counte rcul ture ide al s and vis ce ral l y attack s th e re ade r w ith its ars e nal of s e m i-abl e artis ts . Grante d, th e re are a fe w notabl e s tandouts — Sanch e z (page forty-s ix), Ram os (one -tw e nty-s ix), Bl anco (one -th irty), and Tam (one s e ve nty-tw o)— h ow e ve r, th e vas t m ajority of th e w ork is s ub-par or w ors e . A difficul t re ad th atw il ll e ave m any confus e d. Pro: Ve ry l arge (al m os ttw o h undre d page s ) Som e h igh q ual ity artis ts . Con: Lots ofl e s s e r-q ual ity artis ts .
Uniq ue l y pop art, Batte rie h as a h igh l e ve lof q ual ity th at s us tains th rough out. Th e e ditors and artis ts h ave a pl ayfulw it th at can l e ad to s om e ve ry abs tract, ye t s urpris ingl y funny, pie ce s . For cutting e dge art w ith an attitude , Batte rie is one to w atch . Pro: Gre atartis ts e l e ction. Good us e ofth e m e . Con: Som e tim e s too abs tract.
Bl oodw ars
Grunge art and graffiti focus e d, Bl oodw ars initial is s ue offe rs ins piration for w h oe ve r w ants it. Th e l ack of diffe re nt artis ts and s tyl e s h urts , but h ope ful l y th e m agaz ine w il l ge t pick e d up by m ains tre am graffiti artis ts as a pl ace to s h ow cas e th e ir s k il l s . Th e actuall ayout of th e m agaz ine al so l e ave s s om e th ing to be de s ire d— noth ing m ore th an a col l age of picture s s poradical l y de corate d. Som e nice w ork in h e re , too bad th e pre s e ntation de tracts from th e ove ral l e xpe rie nce . Pro: Coolgraffiti w ork . Con: Lack ofartis ts . Bad ph otograph y. Layoutne e ds w ork .
Cas tl e
Anoth e r gre at m agaz ine w ith ch oice artis ts and im aginative e ditors . Th e onl y dow ns ide is th e focus tow ard a Ge rm an audie nce (w ith Engl is h a s e condary addition). Al th ough it h as l ittl e e ffe ct, th e re are s til la fe w articl e s pas s e d ove r for trans l ation. Subs cribe , be h appy. Pro: Gre atartis ts e l e ction. Con: Som e untrans l ate d articl es.
Candy
H uge . Th is m agaz ine is l oade d w ith inte rvie w s , upcom ing e ve nts (for th e UK ), and w orl d-cl as s artis ts . Th e m agaz ine l ayout is top-notch and re al l y give s oth e r de s igne rs s om e gre at ide as . Th e inte rvie w s are pl ayful and inform ative , and, al th ough I w oul d've l ik e to s e e s om e diffe re nt k inds of q ue s tions , ove ral l it h as a ve ry profe s s ional fe e l . H igh l y re com m e nde d for artis ts of al l m e dium s . Pro: Nice l ayout. Good inte rvie w s w ith top artis ts . Con: Al m os ttoo l ong. Ads .
Cue m ix
Good, originalinte rvie w s l e ts Cue m ix s tand out from th e pact, but th e daring l ayouts e nd up h urting m ore th an hel ping. Focus ing m os tl y on m ove rs and s h ak e rs in Europe , th e inte rvie w s are face -to-face — a l uxury am ong pdf m agaz ine s — and l e ads to be tte r ove ral larticl e s . Th e probl e m s be gin w h e n th e articl e s are l aid out on th e page . Th e art dire ctor m ak e s ful lus e of th e Europe an grunge art appe al , going s o far as to de tract from th e am az ing inte rvie w s . A good re ad, if you can re ad it. Pro: Gre atinte rvie w s . Con: Al m os tunre adabl e.
TW ENTY- NINE
Batte rie
De ad
Gre at articl e s and inte rvie w s is w h at th is m us ic m agaz ine 's al l about. M os tl y s tick ing to unde rground tre nds , De ad is a good re ad, it's jus t too bad m os t of th e articl e s are n'tin Engl is h . Pro: Good inte rvie w s . Con: Te xtis a l ittl e s m al l . Engl is h ?
De s tructe d
Lik e abs tract, e xpe rim e ntal art? De s tructe d is th e pl ace for you. Cl e an pre s e ntation and gre at artis ts m ak e th is m agaz ine a m us tre ad. Pro: Cl e an. Gre atvarie ty ofartis ts and s tyl es. Con: A fe w no-s o-good artis ts .
Error
De corate d in a dark , Victorian-s tyl e l ayout, Error is a m agaz ine com bining poe try, s h ort s torie s , fe ature articl e s and art. Th e dys topian l ayout w ork s h and-inh and w ith th e w e l l w ritte n, m e l anch ol y articl e s . Th e bits of art are w e l lpl ace d and bre ak up th e m agaz ine nice l y, al th ough th e y too te nd to h ave a dark fl avor. Good ove ral l , jus t m ak e s ure to tak e your antide pre s s ants be fore h and. Pro: Gre atw riting. Con: M e dication.
Life be at
[s potbit.com ] Gre at de s ign and inte re s ting articl es m ak e for an am az ing com bination w ith th is l ife s tyl e m agaz ine . O ne q uick m inor gripe , th e q ual ity of th e w riting coul d be be tte r; h ow e ve r, th is is a s poradic e rror and doe s n't de tract from th e ove ral l m agaz ine . W ith l arge , col orful l ayouts th at acce ntuate th e articl e s , Life be at is a gre at addition to th e w orl d of fre e , pdfbas e d publ ications . Pro: Coolarticl es. Wel lcrafte d s tyl e. Con: Sl igh tunpol is h e d fe e l .
LVH RD
Eve n in it's firs t is s ue LVH RD h as prove n th at it can do jus t th at, cre ating a h igh e ne rgy, w e l l -w ritte n tour de force of publ ication pow e r. It's Eas t Coas t s tyl e fl ow s e ffortl essl y w ith its bril l iant inte rvie w s and fe ature s . Th e us e r s ubm itte d de s k tops are th e onl y th ing th at de tract from th e profe s s ional is m , aw k w ardl y pl ace d at th e be ginning and cre ating a w al lth at m us t be ove rcom e to ge t to th e m e at of th e m agaz ine . Don't be s care d by th e cove r, you'l lappre ciate th is one . Pro: Journal is m atits fine s t. Lots ofcooll ink s to ch e ck out. Con: Lots ofads . W h e n's th e ne xtone com e out?
Re s graph ica
Do you k now w h o today's w orl dl e ade rs in th e graph ic arts are ?Be caus e unl e s s you re ad th is m agaz ine you don't. M ak e ita priority to incorporate th is m agaz ine into your l ife , artis tor not. Lik e al lgood th ings it's ove r be fore ityou k now it, butth is ride is al lth ril l s and no fil l e r. Pro: Th e be s tgraph ic artis ts . Con: I'm addicte d.
[re vol utionart.publ icis tas .org] Ne e d e ve n m ore art and de s ign from around th e w orl d?Ch e ck out Re vol utionart. Th is is a gre at m agaz ine to ch e ck out w h e n in ne e d of ins piration. Th e inte rvie w s are cook ie -cutte r, but th e artis ts are n't. K e e p an e ye on th is one , and its contributors . Pro: W orl d-cl as s artis ts . Con: Inte rvie w s ne e d w ork .
Tw oh undre dby200
Tw oh undre dby200 ove rfl ow s w ith pow e rful , ins igh tfulim age s th at s ink in and tak e h ol d. Sh ort but concis e book re vie w s al s o dot th e m agaz ine 's l ands cape , giving h e l pfuladvice on popul ar de s ign publ ications . Re ad up. Pro: Book re vie w s . Pow e rfulim age s . Con: Noth ing in particul ar.
M orph
Exce l l e nt inte rvie w s and s upe rb ph otos , e nough s aid. W h y s o s h ort?Gre atm ag. Pro: Eve ryth ing Con: Too dam n s h ort.
Um m e
Al th ough com pl e te l y w ritte n in Ge rm an, it's th e fantas tic ph otograph y th at re al l y m ak e s th is m agaz ine a m us t s e e . M os tl y h it or m is s , th e ph otos th at do w ork far out w e igh th e bad— th at is , in te rm s of q ual ity, not q uantity. Sk ip th e articl e s and bad art and ge tl os tin th e am az ing im age s . Pro: Fe w gre atph otograph e rs . Con: M os tare n't.
Ve k torik a
Far and aw ay th e m os t popul ar PDF m agaz ine , Ve k torik a focus e s on ve ctor il l us tration, pe riod. M aybe a fe w inte rvie w s h e re and th e re , but th e s h e ar q ual ity and q uantity of am az ing draw ings w il l dw arf m os t firs t-tim e rs . M y onl y com pl aint: can't th e y pick up a ph one and h ave a re alconve rs ation ins te ad of us ing th e s e bl and as rice e m ail q ue s tionnaire s ?Re q uire d re ading. Pro: Ve ry popul ar. Large s e l e ction ofgre atartis ts . Us e ofth e m e s . Con: Em ailinte rvie w s .
TH IRTY- O NE
Re vol utionart
Contribute W
e
ne e d
your ide as . Your
s h ort s torie s , poe m s , inte rvie w s , pre vie w s , re vie w s , diagram s , h ow -to's , rank ings , l is ts , rants , rave s , riddl e s , com ics , advice , fe ature s , opinions , ne w s , biograph ie s , guide s , re fl e ctions , re cipe s , e s s ays ... W e w il lacce pt jus t about anyth ing s o l ong as it is w e l lw ritte n and e ngaging to a ge ne ral audie nce . W e are focus ing on be com ing a inte rnationalm agaz ine , and as s uch , w orl d and h um anitarian w ork s are e ncourage d and w il l be give n h igh e s t priority.
Th e re is no m inim um or m axim um l e ngth , al th ough by s ubm itting an articl e you re tain al l copyrigh ts and agre e to al l ow CRAM to m odify your w ork (w ith re fe re nce s if ne e de d) to fit into th e m agaz ine (m aybe l os e a l ine or tw o, no m ajor al te rations th ough ). H ave an ide a for a s tory but not s ure w h e re to s tart?Em ailus [contribute @ cram m ag.com ]. W e 'l lh e l p you to cre ate an articl e from th e ground up. Th e s e cond is s ue w il l be re l e as e d January Fifte e nth , s o if you do h ave any articl e s you w oul d l ik e to h ave in th e ne xt is s ue be s ure to e m ailth e m in by January Te nth , l ate articl e s w il lbe h e l d for th e th ird is s ue . So go on and ge t out th e re , ge t w riting and ge tre ad. [ contribute @cram -m ag.com ]
Finis h ing Up W
ik e it or e at CRAM w oul d l ik e to on to anyone you th ink m igh t l w antto contribute to it! th ank you for your Th ank s for re ading and H appy H ol idays ! inte re s tin our firs tis s ue . Ne xt is s ue : CRAM w oul d al so l ik e to pe rs onal l y January Fifte e nth th ank th e contributors th at m ade th is initial is s ue pos s ibl e : Ch ris , Cam e ron, Com m e nts , conce rns or M as ood and Ron. And a ve ry s pe cial th ank s to our gue s t contributor Paul s ugge s tions ?Don'th e s itate to e m ailus : M cCarth y ofRigh tM e dia. [e ditor@ cram -m ag.com ] Th e pdf is fre e for you to e njoy and do w ith as you pl e as e ; fe e lfre e to pas s it