Handsome, Travel-Friendly Surfboards From the Beats Design Team




The design team at San Francisco-based Ammunition does work for companies with a heavy tech slant: Beats by Dre, Adobe, and Polaroid are all clients. As an antidote to all that hyper-connectivity, last year Ammunition launched Octovo: a spin-off line of travel goods meant to create an experience that, as Ammunition partner Matt Rolandson puts it, “is the complete opposite on the spectrum of checking Twitter.”


The thinking behind Octovo is simple: Our phones and tablets take us on virtual vacations every day, through screens. While actually traveling, however, we should be looking up, taking in our physical surroundings. We already have technology to help us stay wired; therefore, we should have other products that let us focus on our senses. The first Octovo goods were leather wallets and accessories. Now, they’ve partnered with Oregon-based Tilley Surfboards for a line of travel-friendly boards.


WS_Tilley-7

Ammunition



Rolandson met Jason Tilley years ago. Tilley, who lives in the coastal Oregon town of Port Orford, is trained in building custom wooden sailboats. His work dovetails philosophically with the Octovo brand. “Wooden sailboats are totally custom in this really intimate way, and they’re all about interacting with travel and the environment,” Rolandson says. Tilley is also a lifelong surfer, and had been working on a technique for building custom wooden surfboards. Most boards have a foam core and fiberglass exterior; the combination is simultaneously lightweight and sturdy. Instead of fiberglass, Tilley’s boards have an exoskeleton of locally milled cedar, that’s layered on the foam core in sheets and then vacuum molded to fit. The result is more sumptuous, and according to Rolandson, stronger.


“We talked about, what would a traveling surfer need?” he says. “We looked about some shapes about boards that could be utilized in several conditions.” Surfboards come in roughly three shapes: shortboards (“Pro surfers use them like skateboards, for doing tricks, getting air,” Rolandson says), longboards, for cruising, and gun boards, for taking on massive waves. The Octovo x Tilley boards have a shape that’s somewhere in the middle, so surfers can take them along different coastlines, in varying water conditions. The Ammunition team also created five bags for each Octovo x Tilley board out of material that’s UV-proof and water resistant.


“The idea of how to directly, viscerally, connect with the world, rather than connect through technology—that’s really heady stuff,” Rolandson says. “But when I look at what Jason is doing, it becomes really clear in how he lives his life outside in the wilderness, and how he’s totally devoted to experiencing wilderness through surfboards.”


The Octovo x Tilley starts at $3,000 a board, and can be found here.



Mary’s Monday Metazoan: Evil Rising [Pharyngula]



We’ve had a very wet summer so far here in the upper Midwest — the potholes are full of water, our backyard is sodden, the plants are thriving, but that also means that this plague is drifting in vast clouds everywhere.



The horror. The horror.




Grueling 39K-Mile Yacht Race Tests the Sanity of Cramped Crews



The idea of sailing around the world seems a bit iffy, even on a huge luxury liner with hot meals, cold alcohol, ample shuffleboard, and a decent bed. The idea turns horrific when you’re talking about doing it on a 65-foot sailing yacht with no fresh food, no shower, a narrow net of a bed, one change of clothes, and a single “toilet” the size and shape of a mixing bowl.

(P.S. You need to share that micro-toilet with seven other people.)


This is what the members of Team Alvimedica have signed up for. Led by skipper Charlie Enright and general manager Mark Towill, they’ll make up one of six competing teams in the Volvo Ocean Race, widely considered the toughest sailing race in the world.


The 2014-15 edition of the race, which takes place every three years, will cover 39,000 miles, hit six continents, and run from October to June. This is the first time it will be a “one-design” race: All entrants must use a specially designed boat—the $6 million Volvo 65—with the same exact specifications. The new carbon-fiber boat, designed by Farr Yacht Design in Annapolis, Md. specifically for the next two Volvo Ocean Races and assembled in different spots around the world, are strong and sturdy.


The idea is that giving everyone the same boat will keep teams from sacrificing safety features at the expense of speed. That’s not an idle worry: The race has claimed the lives of five sailors in its 41-year history. That doesn’t mean the boats are slow. With two sails, the 65-foot long craft can hit 30 knots (34.5 mph).


The identical boats will emphasize sailing skills, which could make this year’s race more competitive than ever. Teams will be evenly matched off the starting line. Once on the water, they monitor the weather to determine the exact route they want to take and which sails to use (Team Alvimedica will bring seven options to choose from). Depending on their choices, the boats may end up close together for some of the legs.


Each of the Volvo Ocean Race’s nine legs is treated as an independent races with points allotted for the top finishers. At each port stop, the boats compete in shorter sprint races. The in-port races are used as tiebreakers if there’s a dead heat in the overall competition.


Volvo_Ocean_65_03

Volvo Ocean Race



No creature comforts


The boat may be safer than ever this year, but it offers little in the way of temperature control and sleep-friendliness. The cramped innards house a communications center, a video-editing lab, sleeping quarters (basically hammocks), and the head (a very non-private toilet). Enright says the temperature down there is either “really really hot or really really cold.” Carbon fiber doesn’t exactly dampen noise, so the cramped below-deck quarters pound constantly with the sound of waves hitting the hull.


We checked out Team Alvimedica’s boat on a gorgeous 80-degree day in New York City. It was a scorching, claustrophobic slice of hell. A tiny electric fan mounted to the right of the boat’s navigation center—a couple of ThinkPads with a cable-suspended seat in front—provided a sip of relief. It’s hard to imagine what would help if it were cold. There is no fireplace.


Obstacles


Each stage of the race is its own unique flavor of nightmare, from typhoons off the southern coast of China, dodging steamships in Malaysia, pirates near Somalia, and a combination of massive waves, powerful winds, and gigantic icebergs in the southernmost stretch of the competition. The first leg will take the teams Alicante, Spain to Cape Town, South Africa—a 6,487-mile jaunt that will last more than three weeks. The teams will swing so far west after passing through the Strait of Gibraltar, they’ll practically scrape the coast of Brazil. Then they loop back east to Cape Town. It’s not the most-direct route, but it may get them there the fastest thanks to the trade winds. As an added bonus, the route should also steer them clear of potential pirate attacks off the west coast of Africa.


If the competitors can duck and dodge their way through all of that, they’ll still need to make sure they don’t run out of food. That requires careful planning. Too much food will add unwanted weight to the boat. Too little of it would be disastrous during a slower-than-expected leg. During the last Volvo Ocean Race, the American PUMA Ocean Racing team ran out of food a day and a half from port on one leg.


But no matter how much food they bring, it will not be delicious. It’ll be freeze-dried everything, little packets of blech that won’t replenish the crazy amount of calories each crew burns on board. It’s no shock that the first thing the team will do when they get to each port is eat actual food, “or maybe get a blood test,” says Enright.


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Tim Moynihan



When things go bad


When you’re stuck on a boat for weeks with a small crew, personnel decisions are a big deal. Substitutions are allowed between legs—and boats rarely finish the race with the same crew they had at the start—but while on the water, you’re stuck with whomever you’ve got. So each team builds a roster loaded with specialists who can deal with whatever happens: An electrician, a sailmaker, a medic, maybe a bowman or a strong grinder for the winches. A media specialist will also be on each boat to edit together video, as well as an embedded onboard reporter who’s only allowed to report, cook, and clean. It’ll be all-hands-on-deck, except for that reporter.


If something does go horribly wrong, the teams are on their own for a little while. The sailing yachts won’t be followed by chase boats and they’re often thousands of miles from land. In 2012, the mast of Team PUMA’s boat snapped in three places in the middle of the Southern Atlantic Ocean and ended up on Tristan da Cunha, the most remote inhabited island on the planet.


The boats are tracked: Every five minutes, Volvo Ocean Race officials will receive an update of each boat’s location, and the boats are certainly equipped for several forms of communication. A few Inmarsat Sailor satellite antennas are in the back of each boat: A large unit used for beefier transmissions, such as sending video from the boat via satellite. A second, smaller Inmarsat Sailor antenna will be used for less-demanding data delivery: Text messages and e-mails back home. Ordering a pizza probably won’t work.


There will also be five video cameras on board, including a pair mounted to the mast, and they’ll be rolling at all times. Not all the footage will be saved, however. Instead, there will be a buffer of at least 30 minutes so that the ship’s media crew member can review footage in case anything goes wrong, and to have more leeway when editing together montages. The mast-mounted cameras are controlled from below the deck, with a panel that can swap cameras, operate the zoom on each of them, and move them around. There’s also a Panasonic Toughpad the team can use on deck to see what’s happening, and remotely control the navigation system below.


According to Enright, the yachts were practically designed around one of the many cameras, a live-stream-capable module above the hatch that’s also equipped with a microphone for chatting. There won’t be a live-stream from the boat’s cameras, so you’re out of luck if you want to follow along with them for nine months straight. But you can follow them with an online map, and the media crew member will be editing videos aboard the ship and can send produced packages to TV stations via satellite.


The toughest part of the race will likely be the fifth and longest leg—the 6,776-mile, iceberg-infested stretch in the Southern Ocean from New Zealand to Brazil. “There, it’s not about going fast, it’s about controlling the crew and the boat,” says Enright, who anticipates filling the boat’s ballast tanks during that leg to slow the boat down and keep it more manageable. “To finish first, you must first finish.”


The prize for finishing first? Zero dollars. Each boat’s crew members are professional sailors that will be paid by their teams, but there’s no jackpot at the end of this grueling race.


The trophies aren’t too bad, though.



A Perfect Post-Apocalyptic Library That Offers Books and Booze

The folks at the Long Now Foundation think deep thoughts about humanity’s future—their to-do list includes building a clock that’ll keep time for 10,000 years. But in the meantime they’ve built something more practical: a very nice bar. Located at San Francisco’s Fort Mason, the new lounge, called the Interval, will host events and discussions, and it’ll feature plenty of steampunk treats: custom-designed bottles of spirits stored in overhead racks, a robot that writes specials on a chalkboard, and another that dispenses the botanicals for your gin. But the real attraction will be the library. The Long Now crew calls it the Manual for Civilization—thousands of books recommended by foundation members and more than a dozen celebrity thinkers. So no matter what happens, from climate change to killer asteroids, whoever’s left can rebuild. Or at least have something to read while sipping house-aged whiskey.



STEWART BRAND


Founder: Long Now Foun­dation, Whole Earth Catalog




Highlights


The Iliad and The Odyssey by Homer (trans. Robert Fagles)


The Prince by Machiavelli


The Foundation Trilogy by Isaac Asimov


A Pattern Language by Christopher Alexander, et al.


Approach


“I’m particu­larly interested in the continu­ity of civiliza­tion and how it gets bet­ter and more refined. It’s better to keep civilization going than to count on it stopping and starting in an interest­ing way.”




VIOLET BLUE


Journalist, sex educator




Highlights


Guide to Getting It On by Paul Joannides


X: The Erotic Treasury by Susie Bright


Bonk: The Curious Coupling of Science and Sex by Mary Roach


Love and Sex With Robots by David Levy


Approach


“I wanted time­ less books that would help people with a topic that’s been one of the most divi­sive, political, scary, thrill­ing, empower­ing, intimate, shunned, exploited, and smile­ inducing aspects of being human.”




DANNY HILLIS


Inventor, engineer




Highlights


Democracy in America by Alexis de Tocqueville Principia Mathematica


by Alfred North Whitehead and Bertrand Russell


The Feynman Lectures on Physics by Richard Feynman


SR-71 Blackbird Pilot’s Flight Manual


Grimm’s Fairy Tales


Approach


“I tried to avoid just putting in my favorite books. The question I asked myself is, what books have information in them that took humanity a while to figure out?”



A Mod That Adds Co-Op Capabilities to Your StarCraft Campaign


When it comes to real-time strategy games, there are usually two main gameplay modes: the single-player campaign, where you play through a series of missions and experience the game’s story, and the multiplayer, where you play on balanced maps against an opponent with access to the exact same resources as you.


However, if you wanted to play cooperatively with a friend, at least in the case of the hugely popular StarCraft, you could only do so by playing a team multiplayer match—two versus two, three versus one, etc. Aside from taking turns at the keyboard, there was no way to play the campaign and experience the story together.


That all changes thanks to the StarCraft Co-Op Campaign Mod from the two-person team of “TyrZ” and “r4z0r84.” The mod—which we should note is for the 16-year-old original StarCraft, not its 2010 sequel StarCraft II: Wings of Liberty—makes it so two players can cooperatively play through the entire game’s campaign. Each player controls their own army while working together to complete the game’s objectives. (Think of it as the difference between playing Team Slayer and doing a co-op campaign in Halo.)


For non-base missions where you play through a somewhat linear path and complete objectives rather than setting up a base and expanding out, triggers such as unit-replenishment and cutscene-activation have been scripted for two players so that events happen dynamically, especially depending on the skill and choices of your partner. Base missions provide a unique new challenge, too, as they will not always spawn players near each other (which would prompt the decision to build a singular, defensible position). Sometimes players are spawned on opposite sides of the map, requiring coordinated, long-distance efforts to defeat their common foe. Also, difficulty has been scaled up to compensate for twice as many players fighting their way across the battlefield.


Currently, all three campaigns (Protoss, Terran, and Zerg) have been completed for the base “vanilla” StarCraft game, along with the Terran and Protoss campaigns from the game’s expansion pack StarCraft: Brood War. (The latter of which launched just over a week ago.) The Brood War Zerg campaign is currently under construction.



See Outtakes From Some of History’s Most Iconic Photos



A new photo exhibit from the storied Magnum Photo agency allows the public to view the contact sheets of 20 renowned Magnum photographers going back to the first days of the agency. That means viewers can see the shots that were taken before and after the photos that they’ve come to know so well.

The exhibition, which opened yesterday at the Milk Gallery in Manhattan, displays prints of the photos alongside the original session’s contact sheets—the pages of un-enlarged thumbnail prints that photo editors use to make selections. It’s a rare look at the shooting process of some of the last century’s best photographers.


“It’s really great to celebrate the old guard, the new guard, everything in between, to be able to look at the contact sheet and really see the labor that goes into capturing things and what that photographer was trying to convey and how they got there,” says Lauren Simon, who curated and organized the event as part of Magnum’s annual general meeting.


Contact sheets have long been a staple of the photo process for publishers around the world. They’re often created as transfers made from direct physical and chemical contact with the negatives. As a result the original format dimensions are retained—a 35mm shot remains 35mm in size. They made for handy organizational and retouching tools, but they’re something of an artifact in the age of digital photos, functionally replaced by an SD card or Photoshop session.


Their borderline extinction is unfortunate since they can be quite revealing. For one, they show a more complete picture of a photographer’s process than the final, chosen shot on its own. Guy Le Querrec’s sheet from shooting Miles Davis in 1969 shows how many ideas he tried, flipping the frame and trying different compositions (it also shows that it was impossible to take an uncool picture of Miles Davis). Seeing the arc of a photo session with James Dean shows that it took a lot of posing to get those pictures with his trademark allure.


Even more, highlights and markings of the photographers and their editors hint at their photographic preferences in a way that the final image might not. The contact sheet that contains Elliott Erwitt’s haunting photo of Jackie Onassis at her husband’s funeral creates another level of the story. Among all the photos from that grim day, a single frame is sharply outlined in red, an ominous image in its own right.


“It’s very rarely a happy coincidence. It usually takes quite a bit of a trained eye to see what they’re getting at, but then being able to select and know which image has the balance, the composition, the right lighting,” says Simon.


Magnum was founded by Henri Cartier-Bresson, a street photographer who famously championed a philosophy of what he called the decisive moment. He never cropped his images, and was known to suddenly snap pictures in a fluid and immediate way, rather than laboring over a subject until he got the “perfect shot.” He was also atypical—most photographers must work with their subjects for a period of time before managing to represent them the way they want.


“Sometimes the first shot you take isn’t always the best, sometimes it happens half way down the contact sheet, sometimes it’s the very last frame,” says Simon. “A lot of the iconic images came to be because, at the time, a photo editor at said magazine picked that image. Sometimes it’s a personal choice by someone years ago and now, when we get to reexamine these contact sheets, we get to see all these hidden treasures in them.”


The exhibition runs through July 13. Prints and several contact sheets are for sale, but even if you don’t intend to buy anything it’s worth a visit to see the photographic process laid out this way. Besides that, it’s a group show of some of Magnum’s top photographers, and that doesn’t happen very often.


“I wanted to have a show up where we could have as much of the photographers’ work up as possible,” says Simon, “But being able to see these works all in one place—I think once it’s up on the wall I’m going to be a little starstruck, even though this is what I do all day.”


All images courtesy of Magnum Photos



5 Ways to Forget How Bad Transformers: Age of Extinction Is


Transformers Prime

Hasbro



By now, you’ve survived the Age of Extinction and once again succumbed to the lure of those Robots in Disguise, despite the presence of Mark Wahlberg and excitable directorial presence of Michael Bay. But where do you turn after you’ve realized that the 10-year-old inside you can’t stop wanting more Transformers?


Luckily, there is a lot of Transformers material out there, as only befits a franchise that celebrates its 30th anniversary this year (Happy Birthday, Optimus Prime! You’re one of the few who have made it this far relatively unscathed—the guy doing your voice now is the same one who started it all the way back in the 1980s cartoon series). If this weekend’s fourth cinematic installment of the rock ‘em, sock ‘em robot saga wet your whistle for more, here’s where you should start.


The Transformers: The Movie (1986)


For a certain generation of Transformers fans, no amount of visual effects or Michael Bay-hem will be able to match the overwhelming appeal of this mid-1980s spin-off from the original animated series. It took full advantage of the increased scale afforded by the format to dramatically change the status quo, replacing the entire cast of the series (in the process, killing off both Optimus Prime and Megatron, although the latter was rebuilt as new villain Galvatron), introducing a new threat that just happened to be a Transformer that turned into an entire planet, and giving us possibly the only movie in existence that featured contributions from Weird Al, Orson Welles and Casey Kasem. For those who want to know just how strange and epic Transformers media can get, this will be your jam.


How to watch it: Somewhat surprisingly, the movie isn’t currently available on DVD or Blu-ray, with the most recent release (the 20th anniversary edition from 2006) having fallen out of print. If you don’t want to pay impressively expensive prices online or hit up a local video store if one still exists near you, there’s always YouTube.


The Transformers: Best of UK — Dinobots (1986)


There’s no denying that the Dinobots were definitely one of the high points of Transformers: Age of Extinction, if only because the simple math of “robots + dinosaurs = awesome” still holds as true today as it did nearly 30 years ago when the characters first appeared. The characterization of Grimlock, Snarl et al is something that’s been anything but consistent through the years, however—sometimes, they’re mindless monsters, something brutish idiots, or simply surly heroes. Some of the best portrayals of the characters came from the much-lauded Marvel U.K. run of the original Transformers comic book series, in which writer Simon Furman treated them with enough respect to give them a modicum of intelligence but ensured that their social skills kept them outcasts from the rest of the good guys. Imagine a team of robot Wolverines from the X-Men, essentially, and who wouldn’t want to read that?


How to read it: Available in the Transformers: Best of UK — Dinobots collected edition.


Transformers: War Within (2002)


One of the givens in any version of the Transformers mythology (and there have been many across the last three decades) is that there was a war between the Autobots and Decepticons on their home planet. But the backstory of that war is something that’s rarely been explored beyond the occasional flashback setting something up for a particular plot point in a contemporary story, which is what makes War Within such an interesting read; it’s a comic book series set entirely prior to the Transformers coming to Earth, and one that deals with the war on Cybertron. If you’ve found yourself wondering just what the robots in disguise have been fighting about (or what they were like before they were in disguise, for that matter), then this is the best place to look.


How to read it: Available in the Transformers: War Within collected edition.


The Transformers: All Hail Megatron (2008-2009)


What if the Decepticons won? More to the point, what if the Decepticons won, and managed to get the Autobots off Earth entirely, letting them rule the planet with nothing to stand in their way? That’s the concept behind All Hail Megatron, a comic book series that sent Optimus Prime and his comrades back to Cybertron to lick their metallic wounds while Megatron got on with his dream of running the world. A surprisingly subtle series, with the characters forced to grow now that the status quo they were used to is taken away from them, AHM pushed the franchise into new directions that are still being explored in the current Transformers comic series today.


How to read it: Available digitally and in the Transformers: All Hail Megatron collected editions (four volumes in total).


Transformers: Prime (2011-2013)


While the Transformers movies pretty much stand alone in terms of their continuity, Transformers Prime is the closest thing you’ll find to a direct spin-off of the Michael Bay version of the characters. Co-created by movie writers Alex Kurtzman and Roberto Orci and featuring Peter Cullen, again, as the voice of Optimus Prime, the 65-episode series certainly doesn’t lack for ambition, setting Autobots against Decepticons against humans, and revealing that Earth isn’t what everyone thought it was. (Spoiler: Earth is a Transformer. No, that’s not a joke.) Will Optimus Prime sacrifice humanity to save Cybertron? Will Starscream finally take over the Decepticons once and for all? And, seriously, the Earth is a Transformer? All manner of insanity is on offer here—including voice cameos from the likes of John Noble, Gina Torres, Michael Ironside, George Takei, and Clancy Brown. Not only “more than meets the eye,” Prime also kind of has to be seen to be believed.


How to watch it: Available on DVD and Blu-ray, as well as digitally on Netflix.