Photographer Fabian Oefner uses specialized probe lenses, sometimes coupled with focus stacking techniques, to capture stunning images from inside musical instruments. These lenses, originally designed for medical and industrial applications, allow him to navigate the intricate interiors of violins, saxophones, and pianos, revealing hidden details and the craftsmanship involved in their creation. The resulting photographs offer a unique perspective on these familiar objects, showcasing their internal structures and the beauty often concealed from the outside world.
"The Art of the Critic" argues that effective criticism goes beyond mere negativity and embraces nuance, understanding, and a generative spirit. It emphasizes the importance of considering the creator's intent, acknowledging both strengths and weaknesses, and offering constructive suggestions for improvement. True critics strive to understand the work within its context, appreciating the effort involved and engaging with it intellectually and emotionally. Ultimately, the goal of criticism isn't just to evaluate but to foster growth and deepen appreciation for the art form itself.
Hacker News users discuss the nature of good criticism, agreeing with the linked article's emphasis on understanding and appreciating the artist's intent. Several commenters highlight the importance of avoiding bad faith criticism focused solely on negativity. The most compelling comments suggest that effective criticism should offer specific, actionable feedback, enabling the artist to improve. One user argues that true criticism requires an attempt at recreating or deeply understanding the creative process. Another points out the difference between criticizing art for its execution versus its concept, a nuance often missed. Several comments touch upon the subjectivity of art and the difficulty of defining objective standards for criticism.
The author rediscovered a fractal image they'd had on their wall for years, prompting them to investigate its origins. They determined it was a zoomed-in view of the Mandelbrot set, specifically around -0.743643887037151 + 0.131825904205330i. After some searching, they found the exact image in a gallery by Jos Leys, identifying it as "Mandelbrot Set - Seahorses." This sparked a renewed appreciation for the fractal's intricate detail and the vastness of the mathematical world it represents.
Hacker News users discussed the intriguing nature of the fractal image and its creator's process. Several commenters appreciated the aesthetic qualities and the sense of depth it conveyed. Some delved into the technical aspects, questioning the specific software or techniques used to create the fractal, with particular interest in the smooth, almost painterly rendering. Others shared personal anecdotes of creating similar fractal art in the past, reminiscing about the early days of fractal generation software. A few users expressed curiosity about the "deeper meaning" or symbolic interpretation of the fractal, while others simply enjoyed its visual complexity. The overall sentiment was one of appreciation for the artistry and the mathematical beauty of the fractal.
Quantum Picturalism explores the intersection of quantum physics and art. The project uses quantum computing algorithms, specifically quantum annealing performed on D-Wave systems, to generate unique and evolving visual art. By leveraging the probabilistic nature of quantum computations and manipulating parameters like energy landscapes and entanglement, the artists create images reminiscent of abstract painting, exploring themes of emergence, complexity, and the visualization of quantum phenomena. These "quantum-native" artworks are not merely illustrations of scientific concepts, but rather aesthetic expressions born directly from the computational process itself.
Hacker News users discussed the artistic merit and technical aspects of quantum picturalism. Some questioned its novelty, comparing it to existing digital art forms and arguing that the "quantum" label is primarily a marketing tactic. Others were fascinated by the process, inquiring about the specific quantum algorithms and hardware used. Several commenters debated whether the artist's interpretation of the quantum data truly represents the underlying phenomena or merely uses it as a source of randomness. A few expressed skepticism about the artistic value, finding the images aesthetically unappealing or lacking depth. However, some appreciated the exploration of a new medium and saw potential in its further development. The overall sentiment leaned towards cautious curiosity mixed with a degree of skepticism.
Rob Horning's "Font Activations" explores how fonts, beyond mere aesthetic choices, function as active agents shaping our perception of text. He argues that fonts carry cultural baggage and evoke specific associations, influencing how we interpret and react to the written word. This "activation" occurs subconsciously, subtly coloring our understanding of the content. Horning posits that in the digital age, with the proliferation of easily accessible fonts, their impact is amplified, turning font selection into a performative act, reflecting both individual expression and broader cultural trends. This performativity is further heightened by the increasing commodification of fonts, blurring the lines between aesthetics and marketing.
HN commenters largely found the original article's concept of "font activation" pretentious and overwrought. Several mocked the academic tone and perceived lack of substance, comparing it unfavorably to corporate marketing jargon. Some suggested the author was attempting to create artificial scarcity around readily available fonts. A few commenters questioned the connection between fonts and broader societal issues, dismissing the idea that font choices hold significant cultural meaning. One commenter more charitably interpreted "font activation" as acknowledging the emotional and aesthetic impact of typefaces, while another suggested it was simply a playful way of describing font selection. Overall, the reception was highly skeptical.
The essay "Our Narrative Prison" argues that contemporary film and television suffer from a homogenization of plot and structure, driven by risk-averse studios prioritizing predictable narratives that cater to algorithms and established fanbases. This results in an overreliance on familiar tropes, like the "chosen one" narrative and cyclical, episodic structures, ultimately sacrificing originality and artistic exploration for safe, easily consumable content. This "narrative monoculture" limits creative potential and leaves audiences feeling a sense of sameness and dissatisfaction despite the abundance of available media.
Hacker News users discuss the Aeon essay's claim of narrative homogeneity in film and TV, largely agreeing with the premise. Several attribute this to risk aversion by studios prioritizing proven formulas and relying on algorithms and focus groups. Some argue this stifles creativity and leads to predictable, uninspired content, while others point to the cyclical nature of trends and the enduring appeal of archetypal stories. A compelling argument suggests the issue isn't plot similarity, but rather the presentation of those plots, citing a lack of stylistic diversity and over-reliance on familiar visual tropes. Another insightful comment notes the increasing influence of serialized storytelling, forcing writers into contrived plotlines to sustain long-running shows. A few dissenters argue the essay overstates the problem, highlighting the continued existence of diverse and innovative narratives, particularly in independent cinema.
BBC Culture highlights the 1915 novel The Thirty-Nine Steps by John Buchan as an overlooked masterpiece containing coded messages about World War I. While ostensibly a thriller, the book subtly reflects the anxieties and realities of the war, using landscape descriptions, character names, and plot points to allude to wartime strategies, spy networks, and the escalating conflict. Buchan, who worked in wartime propaganda, embedded these details, making the novel not just entertaining escapism but a coded reflection of the contemporary anxieties and a testament to his firsthand knowledge of the unfolding war.
Hacker News users discuss the BBC article about John Singer Sargent's painting "Gassed," focusing on its symbolism and the artist's personal connection to the war. Some commenters highlight the painting's powerful depiction of suffering and its subtle details, like the coded message in the arrangement of the soldiers' canes. Others debate the extent to which Sargent, known for his portraiture, truly captured the horrors of war, given his lack of frontline experience. Several users share additional historical context about Sargent's war commission and the impact of gas warfare, while others simply express their appreciation for the artwork and the article's insights. A few commenters also link to other resources, such as a higher resolution image of the painting and information about other war artists.
"Ink and Algorithms" explores the artistic landscape of pen plotting, covering both the technical and creative aspects. It delves into various techniques for generating plotter-ready artwork, from using traditional design software like Illustrator to leveraging code-based tools like Processing and Python libraries. The post examines different approaches to creating visuals, including generative art, geometric patterns, and data visualization, while also discussing the practical considerations of pen selection, paper choices, and plotter settings. Ultimately, it emphasizes the intersection of art and technology, showcasing how pen plotting offers a unique blend of algorithmic precision and handcrafted aesthetics.
HN users generally expressed fascination with pen plotting and the linked website. Several praised the site's comprehensive nature, covering both the artistic and technical sides of the craft. Some discussed their own experiences and preferences with different plotters, inks, and papers. A few commenters highlighted the nostalgic appeal of pen plotters, connecting them to older technologies and the satisfaction of physical creation. Others focused on the algorithmic aspects, sharing resources for generative art and discussing the interesting intersection of code and art. A minor thread emerged around the accessibility and cost of getting started with pen plotting.
Brian Eno envisions a "scenius," a vibrant, decentralized collective intelligence, as the ideal model for cultural and potentially political progress. He contrasts this with the traditional "genius" model, arguing that breakthroughs arise from a fertile environment of interconnected individuals exchanging and building upon each other's ideas rather than from isolated brilliance. Eno believes a scenius fosters continuous, iterative improvement through open participation and cross-pollination, leading to more robust and adaptable solutions than top-down, hierarchical systems. This model, while primarily applied to artistic creation, suggests a potential framework for a more participatory and dynamic democracy.
HN commenters generally agree with Eno's premise that small, diverse groups are better at problem-solving than large, homogenous ones. Several highlight the importance of "scenius," the collective genius of a scene, as crucial for innovation and effective governance. Some express skepticism about scaling such a model to national levels, citing the difficulties of managing larger populations and the potential for manipulation. Others suggest blockchain technology or sortition (random selection) as potential solutions for achieving a more representative democracy. A few discuss the practical limitations and potential downsides of decentralized decision-making, such as slow progress and the risk of excluding important voices. One commenter questions Eno's definition of success, pointing out that different societies may prioritize different values.
A 108-billion pixel scan of Vermeer's "Girl with a Pearl Earring," hosted by Hirox Europe, offers an unprecedentedly detailed view of the painting. This ultra-high-resolution image allows viewers to zoom in and explore the artwork's intricate details, including the artist's brushstrokes, the craquelure (fine cracks in the paint), and the subtle color variations. The interactive viewer provides a unique opportunity to examine the painting's surface and pigments with extraordinary clarity, revealing aspects previously unseen by the naked eye and offering new insights into Vermeer's techniques.
Hacker News users discussed the incredible detail revealed by the 108-billion pixel scan of Vermeer's painting. Several were fascinated by the visible brushstrokes and the ability to see the artist's process, including the underpainting and fine craquelure. Some questioned the purpose of such high resolution, debating its artistic value versus its use for archival purposes. Others pointed out the scan's limitations, noting that it couldn't capture the true texture or the way light interacts with the physical paint. A few commenters also expressed a desire for similar scans of other masterworks, speculating about the insights they could offer. There's also mention of how the scan reveals Vermeer didn't use a true pearl for the earring and how the girl's gaze doesn't follow the viewer.
Japanese woodworker and artist, Shuhei Tsuji, creates stunning, complex geometric patterns called Kumiko using a traditional, centuries-old technique. He meticulously crafts small, precisely-cut pieces of wood without nails or glue, interlocking them to form elaborate, three-dimensional designs. These intricate patterns, often inspired by nature, are then incorporated into functional objects like lamps and shoji screens, showcasing the beauty and precision of this ancient Japanese woodworking art.
HN commenters generally expressed admiration for the Kumiko woodworking technique, calling it "beautiful," "mesmerizing," and "stunning." Some discussed the precision required and the potential challenges of creating such intricate patterns. One user noted the similarities to Islamic geometric patterns, suggesting a possible historical connection or convergent evolution of design. Several commenters also pointed out existing digital tools for designing Kumiko patterns, such as the "kumiko maker" mentioned by a few users. A minor thread developed around the distinction between different Japanese woodworking joints, with some arguing that the examples shown were not technically "dovetails." Overall, the comments reflected a positive appreciation for the artistry and craftsmanship of Kumiko.
Multipaint is a web-based drawing tool that simulates the color palettes and technical limitations of retro computing platforms like the Commodore 64, NES, Game Boy, and Sega Genesis/Mega Drive. It allows users to create images using the restricted color sets and dithering techniques characteristic of these systems, offering a nostalgic and challenging artistic experience. The tool features various drawing instruments, palette selection, and export options for sharing or further use in projects.
Hacker News users generally praised Multipaint for its clever idea and execution, with several expressing nostalgia for the limitations of older hardware palettes. Some discussed the technical challenges and intricacies of working within such constraints, including dithering techniques and color banding. A few commenters suggested potential improvements like adding support for different palettes (e.g., Amiga, EGA) and implementing features found in classic paint programs like Deluxe Paint. Others appreciated the educational aspect of the tool, highlighting its value in understanding the limitations and creative solutions employed in older games and graphics. The overall sentiment is positive, viewing Multipaint as a fun and insightful way to revisit the aesthetics of retro computing.
The blog post "Nice Things with SVG" explores creating visually appealing and interactive elements using SVG (Scalable Vector Graphics). It showcases techniques for crafting generative art, animations, and data visualizations directly within the browser. The author demonstrates how to manipulate SVG properties with JavaScript to create dynamic effects, like animated spirographs and reactive blobs, highlighting the flexibility and power of SVG for web design and creative coding. The post emphasizes the accessibility and ease of use of SVG, encouraging readers to experiment and explore its potential for creating engaging visual experiences.
Hacker News users generally praised the author's SVG artwork, describing it as "beautiful," "stunning," and "inspiring." Several commenters appreciated the interactive elements and smooth animations, particularly the flowing lines and responsive design. Some discussed technical aspects, including the use of GreenSock (GSAP) for animation and the potential performance implications of SVG filters. A few users expressed interest in learning more about the author's process and tools. One commenter pointed out the accessibility challenges sometimes associated with complex SVGs and encouraged the author to consider those aspects in future work. There was also a short discussion about the merits of SVG versus Canvas for this type of art, with some advocating for Canvas's potential performance advantages for more complex scenes.
By day, Dan Lane works at a Co-op in Exeter. By night, he's a globally recognized logo designer known as the "Lord of the Logos," creating iconic designs for bands like The Black Dahlia Murder and Aborted. His portfolio spans over 400 logos, including album artwork and merchandise designs for clients worldwide, a passion he pursues in his free time while maintaining his unassuming day job. He's built this impressive career largely through word-of-mouth and online networking within the metal music scene.
Hacker News commenters were generally unimpressed with the "Lord of the Logos" article. Several found the title misleading, as the designer's work, while prolific, wasn't particularly noteworthy or high-profile. Some criticized the writing style as hyperbolic and clickbaity, arguing the story wasn't deserving of such grand pronouncements. Others pointed out the irony of a Co-op employee designing logos for competing supermarkets. A few questioned the legality and ethics of designing logos for other companies while employed, especially given the potential for intellectual property conflicts. There was also a brief discussion about the prevalence of generic-looking logos.
Rivulet is a new esoteric programming language designed to produce visually appealing source code that resembles branching river networks. The language's syntax utilizes characters like /, \, |, and - to direct the "flow" of the program, creating tree-like structures. While functionally simple, primarily focused on integer manipulation and output, Rivulet prioritizes aesthetic form over practical utility, offering programmers a way to create visually interesting code art. The resulting programs, when visualized, evoke a sense of natural formations, hence the name "Rivulet."
Hacker News users discussed Rivulet, a language for creating generative art. Several commenters expressed fascination with the project, praising its elegance and the beauty of the generated output. Some discussed the underlying techniques, connecting it to concepts like domain warping and vector fields. Others explored potential applications, such as animating SVGs or creating screensavers. A few commenters compared it to other creative coding tools like Shadertoy and Processing, while others delved into technical aspects like performance optimization and the choice of using JavaScript. There was general interest in understanding the language's syntax and semantics.
Bruno Postle's "Piranesi's Perspective Trick" explores how 18th-century Italian artist Giovanni Battista Piranesi created the illusion of vast, impossible spaces in his etchings. Piranesi achieved this not through complex mathematical perspective but by subtly shifting the vanishing points and manipulating the scale of elements within a scene. By strategically placing smaller figures and architectural details in the foreground against exaggeratedly large background elements, and by employing multiple, inconsistent vanishing points, Piranesi generated a sense of immense depth and disorienting grandeur that transcends traditional perspective rules. This artistic sleight-of-hand contributes to the dreamlike and often unsettling atmosphere of his famous "Carceri" (Prisons) series and other works.
Commenters on Hacker News largely discussed the plausibility and effectiveness of Piranesi's supposed perspective trick, as described in the Medium article. Some debated whether the "trick" was intentional or simply a result of his artistic style and the limitations of etching. One commenter suggested Piranesi's unique perspective contributes to the unsettling and dreamlike atmosphere of his works, rather than being a deliberate deception. Others pointed out that the described "trick" is a common technique in perspective drawing, particularly in stage design, to exaggerate depth and create a sense of grandeur. Several commenters also shared links to other analyses of Piranesi's work and the mathematics of perspective. A few expressed appreciation for the article introducing them to Piranesi's art.
Kylie Minogue's song "German Bold Italic," from her 2001 album "Fever," uses the typeface as a metaphor for a passionate and intense romantic relationship. The lyrics describe the feeling of being overwhelmed and consumed by love, comparing it to the visual impact of bold italicized text. The song suggests that this intense love, like the typeface, is striking and unforgettable, even if it might be a bit much at times. It plays with the idea that this love is both desirable and potentially overwhelming, much like the often-overused stylistic choice of bold italic text.
HN commenters were amused by the Kylie Minogue song "German Bold Italic," with several pointing out the unusual subject matter. Some discussed the song's quality, with opinions ranging from enjoyment to finding it silly. A few wondered about the typeface itself, with one commenter correctly identifying FF DIN as the likely inspiration. Some debated the merits of DIN, while others simply appreciated the unexpected connection between pop music and typography. A couple of users humorously suggested other typeface-inspired song titles. The overall sentiment seemed to be lighthearted appreciation for this quirky piece of pop culture trivia.
Someone modded a PlayStation 1 console by encasing it in a 3D-printed shell resembling a crab. Dubbed the "PlayStacean," this crustacean-inspired creation maintains full functionality while sporting articulated legs, claw-like controllers, and bulging eyestalks. The modder, known online as Emperor Yi, meticulously designed and printed the shell components, carefully integrating them with the original console hardware. The result is a quirky and playful reimagining of the classic gaming system.
Hacker News users generally found the PlayStation crustacean mod amusing and well-executed. Several commenters appreciated the craftsmanship and creativity, with one calling it "peak geek." Some discussed the practicality of the mod, noting the potential heat issues and the impracticality of actually using it. Others jokingly pondered the implications of "carcinization," referencing the evolutionary phenomenon where unrelated crustaceans evolve similar forms, and applying it to the PlayStation's transformation. A few commenters shared their own experiences modding consoles or creating unusual tech projects. The overall tone is lighthearted and appreciative of the whimsical nature of the modification.
A US appeals court upheld a ruling that AI-generated artwork cannot be copyrighted. The court affirmed that copyright protection requires human authorship, and since AI systems lack the necessary human creativity and intent, their output cannot be registered. This decision reinforces the existing legal framework for copyright and clarifies its application to works generated by artificial intelligence.
HN commenters largely agree with the court's decision that AI-generated art, lacking human authorship, cannot be copyrighted. Several point out that copyright is designed to protect the creative output of people, and that extending it to AI outputs raises complex questions about ownership and incentivization. Some highlight the potential for abuse if corporations could copyright outputs from models they trained on publicly available data. The discussion also touches on the distinction between using AI as a tool, akin to Photoshop, versus fully autonomous creation, with the former potentially warranting copyright protection for the human's creative input. A few express concern about the chilling effect on AI art development, but others argue that open-source models and alternative licensing schemes could mitigate this. A recurring theme is the need for new legal frameworks better suited to AI-generated content.
"Honey Bunnies" is a generative art experiment showcasing a colony of stylized rabbits evolving and interacting within a simulated environment. These rabbits, rendered with simple geometric shapes, exhibit emergent behavior as they seek out and consume food, represented by growing and shrinking circles. The simulation unfolds in real-time, demonstrating how individual behaviors, driven by simple rules, can lead to complex and dynamic patterns at the population level. The visuals are minimalist and abstract, using a limited color palette and basic shapes to create a hypnotic and evolving scene.
The Hacker News comments on "Honey Bunnies" largely express fascination and appreciation for the visual effect and the underlying shader code. Several commenters dive into the technical details, discussing how the effect is achieved through signed distance fields (SDFs) and raymarching in GLSL. Some express interest in exploring the code further and adapting it for their own projects. A few commenters mention the nostalgic feel of the visuals, comparing them to older demoscene productions or early 3D graphics. There's also some lighthearted discussion about the name "Honey Bunnies" and its apparent lack of connection to the visual itself. One commenter points out the creator's previous work, highlighting their consistent output of interesting graphical experiments. Overall, the comments reflect a positive reception to the artwork and a shared curiosity about the techniques used to create it.
Belgian artist Dries Depoorter created "The Flemish Scrollers," an art project using AI to detect and publicly shame Belgian politicians caught using their phones during parliamentary livestreams. The project automatically clips videos of these instances and posts them to a Twitter bot account, tagging the politicians involved. Depoorter aims to highlight politicians' potential inattentiveness during official proceedings.
HN commenters largely criticized the project for being creepy and invasive, raising privacy concerns about publicly shaming politicians for normal behavior. Some questioned the legality and ethics of facial recognition used in this manner, particularly without consent. Several pointed out the potential for misuse and the chilling effect on free speech. A few commenters found the project amusing or a clever use of technology, but these were in the minority. The practicality and effectiveness of the project were also questioned, with some suggesting politicians could easily circumvent it. There was a brief discussion about the difference between privacy expectations in public vs. private settings, but the overall sentiment was strongly against the project.
Karl Hans Janke, though posing as a prolific engineer with fantastical inventions, was revealed to be a complete fabrication. His elaborate blueprints and detailed descriptions of complex machines, like the "nuclear reactor bicycle" and the "cloud-slicing airship," captured the public imagination and fooled experts. However, Janke's supposed inventions were ultimately exposed as technically impossible and physically nonsensical, products of a vivid imagination rather than engineering prowess. His legacy lies not in functional technology, but as a testament to the allure of creative invention and the blurring of lines between reality and fantasy.
Hacker News users discuss Karl Hans Janke's elaborate, fictional engineering projects, focusing on the psychological aspects of his creations. Some see Janke as a misunderstood genius, stifled by bureaucracy and driven to create imaginary worlds. Others compare him to a con artist or someone with mental health issues. The most compelling comments debate whether Janke's work was a form of escapism, a commentary on societal limitations, or simply a delusion. One user highlights the potential connection to outsider art, while another draws parallels to fictional detailed worlds, like those found in the works of J.R.R. Tolkien. Several commenters express fascination with the detailed nature of Janke's inventions and the effort he put into documenting them.
The post details a surprisingly delightful email exchange between the author and the famously reclusive Edward Gorey. Initiated by the author's simple fan letter expressing admiration for Gorey's work, the correspondence blossomed into a series of witty and whimsical emails. Gorey offered insights into his creative process, shared anecdotes about his cats, and displayed a playful, self-deprecating humor that contrasted sharply with his macabre artistic style. The exchange reveals a warm, engaging personality hidden behind the public persona of the enigmatic artist, offering a glimpse into the private world of Edward Gorey.
Hacker News users discuss the shared enjoyment of discovering hidden details in Gorey's intricate work, highlighting his meticulous cross-referencing and recurring motifs. Some commenters share personal anecdotes of corresponding with Gorey, describing his kindness and unique personality. Others delve into the deeper themes of his work, exploring the macabre humor and existential anxieties present beneath the whimsical surface. The thread also touches upon Gorey's influence on other artists and the enduring appeal of his distinct style. Several users recommend further resources for exploring Gorey's work, such as "Ascending Peculiarity: Edward Gorey on Edward Gorey." Overall, the comments reflect an appreciation for Gorey's artistry and the rich, interconnected world he created.
The blog post "Narrative and the Structure of Art" explores how narrative structure, typically associated with storytelling, also underpins various art forms like music, visual art, and even abstract works. It argues that art relies on creating and resolving tension, mirroring the rising action, climax, and resolution found in traditional narratives. This structure provides a framework for engaging the audience emotionally and intellectually, guiding them through a journey of anticipation and satisfaction. While the narrative might not be a literal story, it manifests as a progression of elements, whether melodic phrases in music, brushstrokes in a painting, or shifting forms in a sculpture, ultimately creating a cohesive and meaningful experience for the observer.
HN users generally found the linked article thought-provoking, though somewhat meandering and lacking in concrete examples. Several commenters appreciated the exploration of narrative structure in different art forms beyond traditional storytelling. One compelling comment highlighted the idea of "nested narratives" and how this concept applies to music, visual art, and even architecture. Another interesting point raised was the distinction between narrative and "narrativity," with the suggestion that even abstract art can possess a sense of unfolding or progression that resembles a narrative. Some users also debated the role of intent versus interpretation in determining the "narrative" of a piece, and whether the artist's intended narrative is ultimately more important than the meaning a viewer derives. A few commenters expressed skepticism about the overall premise, finding the concept of narrative in abstract art to be a stretch.
VietGD.com showcases Vietnamese graphic design, aiming to document and promote the country's evolving visual identity. The site features a curated collection of work spanning various disciplines, including branding, typography, illustration, and packaging design, from both established and emerging Vietnamese creatives. It highlights the unique blend of traditional Vietnamese aesthetics and modern design influences present in the showcased work, offering a comprehensive overview of the current graphic design landscape in Vietnam.
Hacker News users discuss the unique aesthetic of Vietnamese graphic design showcased on vietgd.com, noting its vibrant colors, bold typography, and occasional "maximalist" approach that contrasts with Western minimalist design trends. Some commenters draw parallels to Chinese and Korean graphic design, highlighting shared cultural influences and a preference for ornamentation. Others appreciate the website's organization and the historical context provided. A few express interest in learning more about Vietnamese design principles and the cultural context that shapes these aesthetics. Some users critique the site's English translation and suggest improvements. Overall, the comments reflect a positive reception of the website and a genuine curiosity about Vietnamese graphic design.
"The Human Alphabet," published in 1848, presents a whimsical yet structured exploration of letterforms created by contorting the human body. Engraved by artist Edward Lumley, the illustrations depict men, women, and children individually and in groups, painstakingly arranged to mimic each letter of the alphabet. The poses range from simple to complex, demonstrating both the flexibility of the human form and the ingenuity required to achieve these typographic representations. Ultimately, the work serves as a playful intersection of art, anatomy, and typography, offering a unique visual interpretation of the alphabet.
Hacker News users discussed the historical context and artistic merit of human alphabets. Some noted similar formations depicted in older works, like a 15th-century manuscript. Several appreciated the diversity represented by including non-Western alphabets, pointing out examples from Ethiopia and India. There was debate about the practicality and accuracy of the formations, with some questioning how legible or standardized they truly were, particularly for languages with larger character sets. Others found the concept aesthetically pleasing and fascinating, appreciating the ingenuity and creativity of representing language through the human body. A few comments focused on the photographer's skill in capturing these intricate poses. The overall sentiment leaned toward appreciation for the historical curiosity and visual appeal of the human alphabets.
John McPhee's "The Pinball Philosophy" explores the world of competitive pinball through the lens of Roger Sharpe, a top-ranked player in 1970s New York City. The piece delves into the intense focus, strategy, and almost mystical approach Sharpe takes to the game, highlighting the nuanced skills involved beyond mere luck. It contrasts his zen-like calm and calculated nudges with the frenetic energy of pinball parlors, ultimately portraying pinball not as a mindless pastime, but as a demanding game of skill requiring precision, anticipation, and a deep understanding of the machine's mechanics. Sharpe's pursuit of mastery reveals a unique subculture where dedicated players strive for perfect games and fleeting moments of control in a world of chaos and flashing lights.
HN users largely enjoyed McPhee's writing style, praising its evocative descriptions and engaging narrative. Several commenters shared personal anecdotes about pinball, reflecting on its enduring appeal and the unique focus it demands. Some discussed the cultural and historical context of pinball, including its past association with gambling and its resurgence as a hobby. A few users expressed interest in the technical aspects of pinball machine design and operation. The overall sentiment was positive, with many commenters appreciating the rediscovery of this older article. A couple noted the philosophical connections McPhee makes, linking pinball to broader life lessons about skill, chance, and persistence.
The Surrealist Compliment Generator is a web-based tool that generates random, nonsensical, and often humorous compliments using a pre-defined grammar and a large vocabulary of unusual words. It combines disparate concepts and imagery to create bizarre yet strangely charming phrases like "Your laughter is a flock of iridescent rhinoceroses," or "Your mind is a velvet accordion filled with star-nosed moles." The generator's purpose is purely for entertainment, aiming to evoke a sense of playful absurdity and spark the imagination through unexpected juxtapositions.
HN users generally found the Surrealist Compliment Generator amusing and clever. Several pointed out the humor in the juxtaposition of mundane objects/concepts with elevated, poetic language. Some discussed the underlying mechanics, suggesting improvements like incorporating a larger word list or using Markov chains for more coherent output. One user humorously noted its potential use for writing performance reviews. A few expressed disappointment that the generator wasn't more truly surrealist, finding it relied too heavily on simple templates. Others shared their own generated compliments, further showcasing the generator's sometimes nonsensical, yet often charming output.
This project is a web-based recreation of Tom Dowdy's "Kaos", a screensaver from 1991. It features the same swirling, colorful lines and pulsating geometric shapes that made the original popular. Built with JavaScript and rendered on a canvas element, this modern homage aims to preserve and share the mesmerizing visual experience of Kaos with a new generation while offering a glimpse back in time for those familiar with the original.
HN commenters largely expressed nostalgia for the original Kaos screensaver and praised the recreation's faithfulness to it. Some shared memories of using it in the 90s, while others discussed technical aspects like the original's algorithm and the challenges of recreating it using web technologies. A few pointed out minor differences between the homage and the original, like the color palette and the behavior of the "fly" element. Several commenters appreciated the simplicity and hypnotic nature of the screensaver, contrasting it with modern, more resource-intensive alternatives. There was also some discussion about the legal implications of recreating copyrighted software, and whether screen savers are still relevant today.
Hannah Ilea built a physical rendition of Steve Reich's "Clapping Music" using two flip-disc displays. These displays, commonly found in old train station departure boards, create a visual and auditory representation of the piece. One display plays a steady, repeating 12-beat pattern while the other shifts by one beat after every 12 cycles. The clicking sounds of the flipping discs, combined with the visual pattern changes, mimic the rhythmic structure of the original composition. The project showcases a unique intersection of music, visual art, and vintage technology.
HN commenters generally enjoyed the project, praising the creator's ingenuity and the pleasing visual/auditory result. Several noted the clever use of readily available hardware and appreciated the clear explanation of the build process. Some discussed the potential for extending the project, suggesting using more complex rhythms or different types of displays. One commenter linked to a similar project using split-flap displays, while another pointed out the similarity to a "flip clock" art piece they had encountered. A few users expressed interest in the code and hardware specifics, leading to a brief discussion of microcontroller choices and potential improvements to the driving circuitry.
Summary of Comments ( 46 )
https://news.ycombinator.com/item?id=44139626
Hacker News users generally expressed fascination with the photographic technique described in the article. Several commenters with photography experience discussed their own experimentation with similar methods, including using macro lenses and reversed lenses for extreme close-ups. Some highlighted the challenges involved, such as lighting and depth of field limitations. A few commenters also pointed out the creative potential of exploring the "hidden worlds" within everyday objects, not just musical instruments. One compelling comment thread discussed the surprisingly sophisticated camera and lighting setups sometimes used in medical and industrial inspection, echoing the techniques used in the article.
The Hacker News post titled "Photos taken inside musical instruments" generated several comments discussing the article about probe lenses and focus stacking.
Several commenters expressed fascination with the photographic technique and the resulting images. One commenter, user "paxos", simply stated "Amazing!" Another, "coldtea", shared a similar sentiment, calling the photos "Absolutely beautiful." "User "prostoalex" appreciated the technical explanation provided in the article, stating "Nice article. I've always wondered how these were made."
Some users delved into more technical aspects. "User "EdT" pointed out the challenges of lighting in such confined spaces and speculated on the techniques used, writing, "I’m guessing they use a very powerful flash because the apertures must be tiny. But even so, the inside of many instruments is dark wood that absorbs a lot of light." This sparked a brief discussion about lighting techniques with user "pjmlp" suggesting fiber optic light sources and "user "coldtea" mentioning the use of long exposures. "pjmlp" also linked to a video showcasing a similar approach used in medical photography for endoscopic images, highlighting the parallel between the two fields.
Another commenter, "user "shadycuz", mentioned an alternative method using a borescope, which is a type of endoscope used for inspecting hard-to-reach areas. They described using this tool for similar photographic explorations. This broadened the discussion beyond the specific techniques in the original article.
A user, "user "benj1", brought up an interesting perspective, linking the beauty of the images to the craftsmanship of the instruments themselves, stating "The photos of the insides are beautiful because of how beautifully made these instruments are." This added a layer of appreciation for the artistry involved in instrument making.
Finally, "user "pjc50" pointed out that the website where many of the high resolution images were hosted doesn't appear to be accessible anymore.
Overall, the comments reflect a general appreciation for the artistry and technical skill involved in capturing these unique images. The discussion touched upon various aspects, including lighting techniques, alternative equipment, and the inherent beauty of musical instrument construction.