Gearing up for the April 19 show at Comet Pingpong.
(photo from a shoot with Hugh Photography)
This image prompted a wild goose chase that lasted over two weeks. I’d recently seen the name of that practice of arranging equipment in an orthogonal fashion. This photo made me want to remember its name, and I couldn’t remember it.
I searched my browser history, went back through my Tumblr dashboard, tried to construct Google queries that would bring it up, but nothing worked.
Because I’m a nerd, I finally went to the reference desk at the Perry-Castañeda library to ask if they could tell me what this is called. The very helpful librarian valiantly made several queries, but she couldn’t figure it out, either.
When I returned to my fortress of nerditude, I made one more Google query, which revealed this is called Knolling. As you might expect, it’s named for the Knoll furniture company. Concerned that I might have wasted the reference staff’s time, I ran downstairs to tell them I had figured it out. They had just figured it out themselves.
I believe that the arrangement of equipment in an orthogonal fashion is named “Knolling” is officially my stupid fact of the month. Also, I think that’s a great shot of Deena. I also appreciate the help I received at the UT Libraries reference desk; I wouldn’t have figured this out if I hadn’t asked.
Yeah, this is probably too weird for Spinning® class, but
- it’s awesome.
- it would be perfect for a speed drill I’m running on Saturday.
- It came out last year, so participants can’t complain that I only play old music.
I think participants are going to be slaying some gnar to what sounds like a collabo between Neu! and Suicide.
I’m celebrating the full moon with Moonscicles! (at Pfluger Pedestrian Bridge)
With Aggie connections still a mystery, UT officials decide to remove maroon bluebonnets | The Daily Texan
The “maroon” bluebonnets looked more pink to me, and pink ones occur in nature.
In this special section, we aim to provide international perspectives on selfies. As an act of production, we are interested in why selfie-making lends itself to discussions featuring words like “narcissistic” or “empowering.” As a media genre, we are interested in the relationship of the selfie to documentary, autobiography, advertising, and celebrity. As a cultural signifier, we ask: What social work does a selfie do in communities where it was intended to circulate, and what happens when it circulates beyond those communities?