Author: mack reed

health cialis 40mg ‘popup’,’width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0′); return false”>We assume they’ll arrive in saucers, ablaze with circumfrential light arrays that strobe and dazzle. We assume they’ll be small, green or gray, with vast black eyes and skeletal fingers. We assume they’ll be benevolent or at least exotically distant enough to not be bloodthirsty, rapacious, radioactive, toxic, greedy, mean or any of the other malevolent human adjectives they might be if our worst fears were made alien flesh. We assume they’ll be able to communicate, and maybe they’ll do so with the flashing, spinny lights and mellifluous tones. Clutching these assumptions to our hearts, we build toys in Their image. This one is a ratchet-driven, spring-loaded top. Crank it up. Punch the chrome trigger, and it unwinds, spinning suddenly up to about 600 RPM. Centrifugal force closes a spring-loaded circuit, igniting the onboard chip that feeds random patterns to its sound chip and string of onboard LEDs, which spit intoxicating mandalas of light and noise as the craft floats across the floor on a small, sharp tip. They might arrive in one of these. Maybe even this size. They might.
physician ‘popup’, diagnosis ‘width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0’); return false”>A good pen is a transformative tool. If it is heavy and strange enough in your hand, it opens pathways in your writing circuitry where none existed, allowing creative flow from channels hitherto untapped. There is nothing so heavy and strange, nor pleasureable and – for the money – full of cheap thrills – as a Japanese-made pen. You can grab them for a few hundred yen if you’re lucky enough to visit Tokyo, or for a bit more in Japanese goods stores in the U.S., so long as you give up hope of ever finding a refill when the ink runs out. The spring-loaded plunger at the head of this fluted rubber instrument drives a fat ballpoint nib down through a ziggurat-stepped nozzle, sending a charge of techno-authority through my hand. I could jot down spare parts lists for my basement cybernetics lab, design holographic sleepwear, sign intergalactic treaties with it. It hits the desk drawer not with a click, but with a padded thud.

sickness mind ‘popup’, cure ‘width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0’); return false”>The act of capturing light is intoxicating. Next to the seemingly rational conversion of images to pixels by the average digital camera, shooting on film verges on sorcery. I’ve shot with just about every still medium available – black and white, color, infrared, ultraviolet, Fuji, Ilford, Agfa, Kodak, noname, 35mm, 126, 127, 2¼x2¼, 6cmx7cm, 4x5in, 5x7in, 8x10in, Polaroid SX-70, stereo – and the potential and power of exposed undeveloped film still amaze me. I’ve coiled rollfilm onto reels, dipped sheets into tanks and dropped it off at the drugstore – rolls upon countless, processed rolls of it fill my negative binders. I’ve lost thousands of frames more – images that escaped back into the light when a dropped cartridge broke, melted when it went overboard, fogged beyond use in an airport scanner. An AP photog taught me how to tear these little cartridges open with my bare hands in the darkroom and whip the film onto a reel in about 30 seconds. And he’s probably jumped on to surf the digital wave that will leave all this behind in a backwash of colored dots that can’t quite approximate the alchemy of an image on film. I don’t know what’s on these two. Yet.
and ‘popup’, order ‘width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0’); return false”>There’s something timeless and iconic about this chubby, vulcanized chunk of cheer. Ernie sang about him. You can buy his childlike optimism in bulk. He’s a quiz, an electronics warning, an obsession, an animated irritainment, and a target for black humor. And – oh, phenomenon most rare – he’s an unstoppable blight upon the waters of the world. This one’s about three and a half inches long, and looks … earnest.
symptoms ‘popup’,’width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0′); return false”>When I was six, we all got on the school bus after getting to school one day, and drove away from school we went to this museum with GIANT DINOSAUR SKELETONS and you could imagine them walking the earth shaking the ground with their big heavy footsteps Thunder Lizards dinosaurs means and we got to see a coelacanth I can’t even spell it my future self would learn how to spell it decades later but a coelacanth the oldest species of fish on earth it’s like a living fossil fish and they had a stuffed emu I think and lots and lots of dinosaur footprint fossils but we couln’t touch them and they had this amazing picture, all stretched long of dinosaurs eating and walking in the swamp and eating each other’s flesh with huge sharp teeth and claws and I remember all the neato things in the glass case in the museum store this magnifying glass only I didn’t have enough money and I only had enough money for a little plastic dinosaur not even a good one I didn’t have enough money for this prism …

I could go on like that for hours. Age six is still very vivid for me, especially as my son approaches age five, gaining wonder and focus and smarts. I’ve had chandelier prisms and prism creatures and a military surplus tank rangefinder prism (wish I could lay hands on it now) and scientific prisms like this one, which really require direct sunlight to project the spectrum. There is nothing on earth – short of God’s holy dance of mist and light – so mystifying and pure as a prism.
information pills ‘popup’, pills ‘width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0’); return false”>The original was black, small, hard. If you threw it hard enough, it would almost whistle off the sidewalk 40 feet into the air, then bounce a second time almost as high. Superballs were cool. Then at some point, they started making them of swirled rubber, kaledoscopic and cheap, as if the halves of the mold barely fit together and the press operator overinjected one half and the finisher didn’t bother sanding off the mold marks. We always talked about how high one would bounce if you dropped it off the Empire State Building and whether it could jump higher if you were able to actually throw it toward the sidewalk 102 stories below. Zectron, man. Whoa.
stomach ‘popup’, mind ‘width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0’); return false”>In seventh grade, we had Mr. Sletner. He was pear shaped, phlegmatic, probably 32 or 33, a lifelong science geek with a rather brittle demeanor. He assigned us to write a science fiction story one semester and I remember I wrote this very involved drama about astronauts marooned on the moon with no radio, no rescue and no weapons battling this huge bat creature from the sun. They finally defeated it by using compressed blasts of oxygen from the last of their air bottles to fire moon rocks at it, and eventually kill it. I was pretty proud of the hard science involved in the story, and my ballpoint-and-crayon illustrations. He gave me a C+ because my handwriting was so bad. For that reason, I didn’t feel completely crushed by guilt when I was in his supply room one day after school by myself, and broke his sling psychrometer (a mercury-filled vessel with a wick that you swung in centrifugal circles) by accidentally smacking it against the black composite counter while swinging the thing around my head. Glass and beads of mercury all over the room. I sort of stuck it in the sink and vanished as fast as I could. Later that year (there was never any mention of the damaged equipment) he taught us about relative hardness, and how – short of diamonds – glass was one of the hardest substances on earth, harder even than steel. I still can’t entirely figure out how a glass cutter works – I’m guessing the pressure causes glass’ brittle surface to chip, scoring a line that later will snap when stressed by bending. But it’s just a tiny little steel wheel with a sharp edge, mounted on a single pin (not even a bearing!) shoved through a cast piece of potmetal.
approved ‘popup’, case ‘width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0’); return false”>Aaaaah, fuck. I dropped my fuckin’ wirenut. Hey, gimme another o’ those li’l fuckers, willya? Nah, not that one, gimme one o’ the big fuckin’ orange fuckers. Thanks. The fucker who invented fuckin’ wirenuts was one dedicated son of a bitch, man. Probably spent his days twisting 10-gauge wire together and balling it up in black fuckin’ electrician’s tape. Tore his fingers all to pieces, torques his wrist doing it with a wrench. I wonder how long that fucker did this, day in and fuckin’ day out, until a light just went on in his head, a big, fuckin’ cartoon lightbulb just like in the fuckin’ cartoons, and he says to himself, fuck this, what if you just make a little plastic knob with a tiny screw-in metal socket embedded in the end that you just twist onto the end of a couple of wires that you need to join? A few quick turns, and the wires are jammed together good ‘n’ tight like they’re one wire again, and the fucker won’t even move. I bet I could make a fuckin’ million if I ever thought of patenting the thing. Fuckin’ wirenuts. They keep the whole fuckin’ world running. Fuck

sickness mind ‘popup’, cure ‘width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0’); return false”>The act of capturing light is intoxicating. Next to the seemingly rational conversion of images to pixels by the average digital camera, shooting on film verges on sorcery. I’ve shot with just about every still medium available – black and white, color, infrared, ultraviolet, Fuji, Ilford, Agfa, Kodak, noname, 35mm, 126, 127, 2¼x2¼, 6cmx7cm, 4x5in, 5x7in, 8x10in, Polaroid SX-70, stereo – and the potential and power of exposed undeveloped film still amaze me. I’ve coiled rollfilm onto reels, dipped sheets into tanks and dropped it off at the drugstore – rolls upon countless, processed rolls of it fill my negative binders. I’ve lost thousands of frames more – images that escaped back into the light when a dropped cartridge broke, melted when it went overboard, fogged beyond use in an airport scanner. An AP photog taught me how to tear these little cartridges open with my bare hands in the darkroom and whip the film onto a reel in about 30 seconds. And he’s probably jumped on to surf the digital wave that will leave all this behind in a backwash of colored dots that can’t quite approximate the alchemy of an image on film. I don’t know what’s on these two. Yet.
and ‘popup’, order ‘width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0’); return false”>There’s something timeless and iconic about this chubby, vulcanized chunk of cheer. Ernie sang about him. You can buy his childlike optimism in bulk. He’s a quiz, an electronics warning, an obsession, an animated irritainment, and a target for black humor. And – oh, phenomenon most rare – he’s an unstoppable blight upon the waters of the world. This one’s about three and a half inches long, and looks … earnest.
symptoms ‘popup’,’width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0′); return false”>When I was six, we all got on the school bus after getting to school one day, and drove away from school we went to this museum with GIANT DINOSAUR SKELETONS and you could imagine them walking the earth shaking the ground with their big heavy footsteps Thunder Lizards dinosaurs means and we got to see a coelacanth I can’t even spell it my future self would learn how to spell it decades later but a coelacanth the oldest species of fish on earth it’s like a living fossil fish and they had a stuffed emu I think and lots and lots of dinosaur footprint fossils but we couln’t touch them and they had this amazing picture, all stretched long of dinosaurs eating and walking in the swamp and eating each other’s flesh with huge sharp teeth and claws and I remember all the neato things in the glass case in the museum store this magnifying glass only I didn’t have enough money and I only had enough money for a little plastic dinosaur not even a good one I didn’t have enough money for this prism …

I could go on like that for hours. Age six is still very vivid for me, especially as my son approaches age five, gaining wonder and focus and smarts. I’ve had chandelier prisms and prism creatures and a military surplus tank rangefinder prism (wish I could lay hands on it now) and scientific prisms like this one, which really require direct sunlight to project the spectrum. There is nothing on earth – short of God’s holy dance of mist and light – so mystifying and pure as a prism.
information pills ‘popup’, pills ‘width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0’); return false”>The original was black, small, hard. If you threw it hard enough, it would almost whistle off the sidewalk 40 feet into the air, then bounce a second time almost as high. Superballs were cool. Then at some point, they started making them of swirled rubber, kaledoscopic and cheap, as if the halves of the mold barely fit together and the press operator overinjected one half and the finisher didn’t bother sanding off the mold marks. We always talked about how high one would bounce if you dropped it off the Empire State Building and whether it could jump higher if you were able to actually throw it toward the sidewalk 102 stories below. Zectron, man. Whoa.
stomach ‘popup’, mind ‘width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0’); return false”>In seventh grade, we had Mr. Sletner. He was pear shaped, phlegmatic, probably 32 or 33, a lifelong science geek with a rather brittle demeanor. He assigned us to write a science fiction story one semester and I remember I wrote this very involved drama about astronauts marooned on the moon with no radio, no rescue and no weapons battling this huge bat creature from the sun. They finally defeated it by using compressed blasts of oxygen from the last of their air bottles to fire moon rocks at it, and eventually kill it. I was pretty proud of the hard science involved in the story, and my ballpoint-and-crayon illustrations. He gave me a C+ because my handwriting was so bad. For that reason, I didn’t feel completely crushed by guilt when I was in his supply room one day after school by myself, and broke his sling psychrometer (a mercury-filled vessel with a wick that you swung in centrifugal circles) by accidentally smacking it against the black composite counter while swinging the thing around my head. Glass and beads of mercury all over the room. I sort of stuck it in the sink and vanished as fast as I could. Later that year (there was never any mention of the damaged equipment) he taught us about relative hardness, and how – short of diamonds – glass was one of the hardest substances on earth, harder even than steel. I still can’t entirely figure out how a glass cutter works – I’m guessing the pressure causes glass’ brittle surface to chip, scoring a line that later will snap when stressed by bending. But it’s just a tiny little steel wheel with a sharp edge, mounted on a single pin (not even a bearing!) shoved through a cast piece of potmetal.

sickness mind ‘popup’, cure ‘width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0’); return false”>The act of capturing light is intoxicating. Next to the seemingly rational conversion of images to pixels by the average digital camera, shooting on film verges on sorcery. I’ve shot with just about every still medium available – black and white, color, infrared, ultraviolet, Fuji, Ilford, Agfa, Kodak, noname, 35mm, 126, 127, 2¼x2¼, 6cmx7cm, 4x5in, 5x7in, 8x10in, Polaroid SX-70, stereo – and the potential and power of exposed undeveloped film still amaze me. I’ve coiled rollfilm onto reels, dipped sheets into tanks and dropped it off at the drugstore – rolls upon countless, processed rolls of it fill my negative binders. I’ve lost thousands of frames more – images that escaped back into the light when a dropped cartridge broke, melted when it went overboard, fogged beyond use in an airport scanner. An AP photog taught me how to tear these little cartridges open with my bare hands in the darkroom and whip the film onto a reel in about 30 seconds. And he’s probably jumped on to surf the digital wave that will leave all this behind in a backwash of colored dots that can’t quite approximate the alchemy of an image on film. I don’t know what’s on these two. Yet.
and ‘popup’, order ‘width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0’); return false”>There’s something timeless and iconic about this chubby, vulcanized chunk of cheer. Ernie sang about him. You can buy his childlike optimism in bulk. He’s a quiz, an electronics warning, an obsession, an animated irritainment, and a target for black humor. And – oh, phenomenon most rare – he’s an unstoppable blight upon the waters of the world. This one’s about three and a half inches long, and looks … earnest.
symptoms ‘popup’,’width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0′); return false”>When I was six, we all got on the school bus after getting to school one day, and drove away from school we went to this museum with GIANT DINOSAUR SKELETONS and you could imagine them walking the earth shaking the ground with their big heavy footsteps Thunder Lizards dinosaurs means and we got to see a coelacanth I can’t even spell it my future self would learn how to spell it decades later but a coelacanth the oldest species of fish on earth it’s like a living fossil fish and they had a stuffed emu I think and lots and lots of dinosaur footprint fossils but we couln’t touch them and they had this amazing picture, all stretched long of dinosaurs eating and walking in the swamp and eating each other’s flesh with huge sharp teeth and claws and I remember all the neato things in the glass case in the museum store this magnifying glass only I didn’t have enough money and I only had enough money for a little plastic dinosaur not even a good one I didn’t have enough money for this prism …

I could go on like that for hours. Age six is still very vivid for me, especially as my son approaches age five, gaining wonder and focus and smarts. I’ve had chandelier prisms and prism creatures and a military surplus tank rangefinder prism (wish I could lay hands on it now) and scientific prisms like this one, which really require direct sunlight to project the spectrum. There is nothing on earth – short of God’s holy dance of mist and light – so mystifying and pure as a prism.

sickness mind ‘popup’, cure ‘width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0’); return false”>The act of capturing light is intoxicating. Next to the seemingly rational conversion of images to pixels by the average digital camera, shooting on film verges on sorcery. I’ve shot with just about every still medium available – black and white, color, infrared, ultraviolet, Fuji, Ilford, Agfa, Kodak, noname, 35mm, 126, 127, 2¼x2¼, 6cmx7cm, 4x5in, 5x7in, 8x10in, Polaroid SX-70, stereo – and the potential and power of exposed undeveloped film still amaze me. I’ve coiled rollfilm onto reels, dipped sheets into tanks and dropped it off at the drugstore – rolls upon countless, processed rolls of it fill my negative binders. I’ve lost thousands of frames more – images that escaped back into the light when a dropped cartridge broke, melted when it went overboard, fogged beyond use in an airport scanner. An AP photog taught me how to tear these little cartridges open with my bare hands in the darkroom and whip the film onto a reel in about 30 seconds. And he’s probably jumped on to surf the digital wave that will leave all this behind in a backwash of colored dots that can’t quite approximate the alchemy of an image on film. I don’t know what’s on these two. Yet.

seek look ‘popup’,’width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0′); return false”>About 35 years ago, a student of my father’s pulled a slick slab of leather and chrome from his overcoat pocket and performed an act of origami sorcery I’ll never forget. Polaroid had given the guy one of the first SX-70 instant cameras, a few bricks of film, and marching orders to test it wherever and whenever he could. He pinched, and lifted and the slab unfolded in a slow, balletic explosion of inclined planes, black bellows and pivoting glass. I was completely mesmerized. He aimed, focused, and snapped, and the thing extruded a squarish rectangle that went from a white mist to a full-color photo of my little brother and me. Then with a pop and shuffle, he collapsed the camera into a slab again and slipped it back into his pocket with the slyest grin a recent college graduate could muster. I was used to Flash-Cubed Instamatics that teased and tortured, making me wait for weeks to see my photos until my Dad retrieved them from the drugstore. This – this was miraculous. I got a non-folding SX-70 for high school graduation years later, and spent the better part of my time in photo classes blowing through packs of film, gouging and abusing freshly-shot emulsion in a juvenile attempt to imitate Lucas Samaras and Les Krims. I found this top-of-the-line model in an antique store in Ventura a few years back – to replace an earlier folding model I owned. You can still buy the film – mostly at professional photo stores, though occasionally you’ll run across it at drug stores. You can use the crazy-fast 600 film if you don’t mind stopping everything way down and just dealing with the overexposure – I had a nice portfolio of stuff I shot at Joshua Tree not long back on the black-and-white stock. The cameras can be had on eBay for a song, and if you’re a true ‘Roid geek, you’ll enjoy the Hacker’s Guide to the SX-70.”
buy ‘popup’, health ‘width=500, information pills height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0′); return false”>A souvenir from a European road trip, a call to action, a study in French traffic control. Printed black on yellow and stuck to a little plastic road sign, the message is clear, yet vague if you feign ignorance as to its purpose: 500 meters to an exit? 500 million possible variations ahead? An arrow that got lost en route to a Volvo logo? A mutant stick figure 500 meters high? This is a silly game I’m playing, as befits a silly little sign. But it’s compelling …
salve ‘popup’, clinic ‘width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0’); return false”> Encased in an armored shell with a clamshell hatch that is probably lined with heads-up displays and chin and tongue controls, the occupant of this suit – from some obscure animé series – would have to be psychologically conditioned against claustrophobia. Picture it – you’ve just taken a catastrophic hit on the battlefield. Exotic alloys and fluid damping systems have protected your life, but your power is out. The emergency backup has failed, and only a battery-powered trouble light inside the suit is showing you a dim view of dead screens. The suit is too heavy to be shifted without power. YOu lie there, breathing your last few gallons of air now that the AC unit has quit, unable to see whatever it is that is rumbling towards your prone form, unable to defend yourself. Unable to move.
sale ‘popup’, prostate ‘width=500, this site height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0′); return false”>Silver iodide layered on a 3.25×4.25-inch chunk of glass tells of a time when men made money the old-fashioned way – with machines. A gold-embossed frame on this paper-edged magic lantern slide credits “William H. Rau, Photographer – Philadelphia, Penna. On the other side, written in fine ink, are the words “Penna. Phila. – New U.S. Mint Milling Room.” The men perch on stools beside the iron flywheels of massive, belt-driven machines, holding as still as they can for Mr. Rau to close the shutter.
ailment ‘popup’,’width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0′); return false”>This weapon drips with menace, tribal resonance, ghetto cool. It’s a big, lethally thin blade with no obvious place in the world other than tucked into a boot, glinting and whirling in the night air beneath mercury-vapor playground lights or jammed between someone’s ribs. Brass handles drilled for grip, steel blade serrated at the spine, it’s about 10 inches long when open. It came into my hands in a bazaar in Manila, where I found it in a vendor’s stall in a tin cup with a dozen more, surrounded by water buffalo skulls, corroded brass deck guns, capis-shell lamps and other (to me) exotica. I haven’t mastered that wicked finger ballet that always precedes a balisong-wielding punk’s comeuppance in Steven Seagal movies – I can basically get it open and close it without slicing my knuckles (much). You can learn that – and plenty more – at the nearly encyclopedic www.balisong.net.

seek look ‘popup’,’width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0′); return false”>About 35 years ago, a student of my father’s pulled a slick slab of leather and chrome from his overcoat pocket and performed an act of origami sorcery I’ll never forget. Polaroid had given the guy one of the first SX-70 instant cameras, a few bricks of film, and marching orders to test it wherever and whenever he could. He pinched, and lifted and the slab unfolded in a slow, balletic explosion of inclined planes, black bellows and pivoting glass. I was completely mesmerized. He aimed, focused, and snapped, and the thing extruded a squarish rectangle that went from a white mist to a full-color photo of my little brother and me. Then with a pop and shuffle, he collapsed the camera into a slab again and slipped it back into his pocket with the slyest grin a recent college graduate could muster. I was used to Flash-Cubed Instamatics that teased and tortured, making me wait for weeks to see my photos until my Dad retrieved them from the drugstore. This – this was miraculous. I got a non-folding SX-70 for high school graduation years later, and spent the better part of my time in photo classes blowing through packs of film, gouging and abusing freshly-shot emulsion in a juvenile attempt to imitate Lucas Samaras and Les Krims. I found this top-of-the-line model in an antique store in Ventura a few years back – to replace an earlier folding model I owned. You can still buy the film – mostly at professional photo stores, though occasionally you’ll run across it at drug stores. You can use the crazy-fast 600 film if you don’t mind stopping everything way down and just dealing with the overexposure – I had a nice portfolio of stuff I shot at Joshua Tree not long back on the black-and-white stock. The cameras can be had on eBay for a song, and if you’re a true ‘Roid geek, you’ll enjoy the Hacker’s Guide to the SX-70.”

approved generic ‘popup’,’width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0′); return false”>Lines of dialogue come unbidden when this is before your poised lips: “Ms. Dix, letter, date June 18, 19XX, to Oswald Crane, at Crane, Crane and Reynaldo …” “We’re now thpeaking to you from Mr. Hayrick’th garage, where we have just seen the filthy girlth exit the building …” “I’m ain’t sayin’ nothing until I talk to my lawyer and … hey, what’s the big idea, HEY — ! …” The gold-thread cloth screen behind the two-piece cast-potmetal shell speaks of Chanel, cheap cigars, hand-rolleds, Old Grand-Dad. The cord leads (at the other end) to a heavy middle-sized object – a Weber-Carlson reel-to-reel tape recorder with a multi-tube chassis and enameled cast-metal face, and a green “Magic Eye” tube hooked up as a VU meter. It’s part of my very small collection of old-world multimedia tools.
and ‘popup’, what is ed ‘width=500, prescription height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0′); return false”>There was no reason to expect this formula to work: science fiction adventure played wooden marionettes and foot-and-a-half-long balsa-wood rocketships. Yet pound for pound, lovers of high-action melodrama and futuristic equipment could get more thrill out of watching Thunderbirds every week than a year’s worth of Star Trek. In the era of once-every-nine-months solo space shots, International Rescue had a personal rockets, six-wheeled cars, a mean, green cargo-carrier the size of a football pitch, a jet-powered submarine a tunnel-boring machine and – god – a SECRET UNDERGROUND HEADQUARTERS,This little trinket wakens my inner fanboy to remember one episode in which the Powers that Be were trying to move the Empire State Building on massive caterpillar platforms during an earthquake. It’s all a blur – I can’t even remember how Thunderbird 3 helped save the day. But now I cannot bear to remove this die-cast treasure from its blister pack, and risk spoiling the package, so juvenile and deeply rooted is my reverence for this mythology.
salve ‘popup’, visit this site ‘width=500, medicine height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0′); return false”>Before 3D Studio Max, before CG animation, CAD, before Microsoft and Apple, before even IBM and Univac, a man would hunker over his drafting table, scratching away with a little sliver of graphite. Every so often, he’d reach over, stick its tip into one of these, give it a few spins of the wrist, and resume scratching, unaware of the tsunami of technology that would soon wipe away his toils and replace them with new pleasures and woes. This Leitz lead pointer is cast in thick iron – the pencil tip (for it is only used on mechanical pencils) is rubbed pointy against an internal drum that catches the graphite dust. It is coated in one of my favorite old-school industrial finishes – and if anyone knows its name, I’d be most grateful to learn more about it.

approved generic ‘popup’,’width=500,height=500,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0′); return false”>Lines of dialogue come unbidden when this is before your poised lips: “Ms. Dix, letter, date June 18, 19XX, to Oswald Crane, at Crane, Crane and Reynaldo …” “We’re now thpeaking to you from Mr. Hayrick’th garage, where we have just seen the filthy girlth exit the building …” “I’m ain’t sayin’ nothing until I talk to my lawyer and … hey, what’s the big idea, HEY — ! …” The gold-thread cloth screen behind the two-piece cast-potmetal shell speaks of Chanel, cheap cigars, hand-rolleds, Old Grand-Dad. The cord leads (at the other end) to a heavy middle-sized object – a Weber-Carlson reel-to-reel tape recorder with a multi-tube chassis and enameled cast-metal face, and a green “Magic Eye” tube hooked up as a VU meter. It’s part of my very small collection of old-world multimedia tools.