Untitled

selina-meyer:

25/200 edits of Hugh Laurie

(via inescunha)

girlactionfigure:

Link / Link

(via thoodleoo)

chaosophia218:

Circle Map showing the Anatomy of the Fibonacci Number and the Symmetrical Binary Code of Nature.

Numbers are not found in nature. Humans have created numbers in order to abstractly represent what we find. In nature, all things are individuals and together equal one whole individual the Universe. Similarly in math, 1 is the only number and all other numbers are multiples of this 1. So our number system is perfectly designed to represent the seemingly endless individuals that we find in nature. Things built of things, built of things.

The Universe is the only thing that is truly one of a kind. It is the only true individual. Like us it is composed of a number of smaller pieces but on an infinitely larger scale. The largest individuals we know that the Universe is composed of are super clusters, which are composed of galaxies, which in turn are composed of solar systems, planets, molecules, atoms and so on all the way down to its most basic pieces. It would seem logical that the shape, motion and interaction of the base units “the smallest particles of the Universe" would be directly responsible for the shape, motion and interaction of all larger cooperative structures which are composed of those smallest units. Perhaps the smallest individuals of our Universe are responsible for creating the Golden Ratio that we find so prevalent in all that we see.

The Code
When you add up any length of the Fibonacci sequence the sum is always 1 less than another Fibonacci number. Example:
1+1+2=4 (1 less than 5)
1+1+2+3=7 (1 less than 8)
This is true no matter how far you count up the Fibonacci sequence. The sum of all the numbers together will always be 1 less than another Fibonacci number. So why not add a 1? Perhaps Fibonacci was off by 1. This again seems logical because 1+1=2+1=3. That’s three 1’s in beginning. When we add a third 1 to the beginning of the Fibonacci sequence an amazing thing happens. With the extra 1 the whole sequence becomes another Fibonacci number. Example:
1+1+1+2+3=8 (another Fibonacci number)
Even more amazing is what happens when you continue this chain or mirror it back down to the last 1.
1+1+1+2+3+2+1+1+1=13 (another Fibonacci number)
In this way you can see the symmetrical anatomy of the Fibonacci number 13. This works for every Fibonacci number. Like the Universe, every Fibonacci number is composed of smaller pieces. Take the number 21 for example. If you were to break 21 into its two smaller Fibonacci numbers you would get 13 and 8. Then break those down into there smaller Fibonacci numbers. Eventually you will end up with a bunch of 1’s. When looking at a bunch of 1’s there is no discernable code or pattern, but if you group some of those 1’s into 2’s you can start to see the code of nature. 

This diagram is a hypothesis on the shape, motion and interaction of the base units of the Universe. This theory offers convincing evidence that the smallest particles or “building blocks” of the Universe are circular in shape and all the same size. There is a circular gear type process which results in symmetrical cooperative structures that create Fibonacci numbers, and subsequently exhibit the Golden Ratio. In this theory 1+1 only equals 2 when motion is not part of the equation. Motion is what enables interaction to occur between individuals. Without motion everything would remain as it originally was, stagnant and without growth or evolution.

(via wilwheaton)

npr:

As an illustrator at NPR, my work includes creating editorial illustrations for news stories, photo illustrations for the NPR Music team, looping animations for smart displays, and the occasional journalistic drawing foray out in Washington, D.C. Few things make me say, “I can’t believe this is part of my real job” quite like sketching Tiny Desk concerts as they happen.

I usually try to get to the desk during sound check to give myself a little extra time. Even so, it’s a mad rush to get a piece done before the end of the concert. Each performance lasts about 20 minutes, so I have 20 to 40 minutes to finish a piece. I do minor edits afterwards if the likeness or proportions look too off the mark, but because I’m trying to capture a specific moment in time, I try to keep post-performance edits to a minimum.

I use an iPad for the mobility and convenience of not having to carry a bag of supplies around; this way, I can draw while standing. I choose the colors based on the music because for me, it’s more about the mood the sound creates than it is about a true-to-life color palette. Sometimes, when the musicians wear striking colors or patterns, I bring elements of their clothing into the color scheme.

Tiny Sketches: An Illustrator’s-Eye View Of The Tiny Desk Concerts

Illustration: Angela Hsieh/NPR