Indeed, with his black hair, curled form, and bared teeth, the ancient canine has stood ready for almost 2,000 years to discourage intruders from setting foot in the Domus of the Tragic Poet, supported by the famous inscription 'Cave Canem' or 'Beware of the Dog'.

Now, this universal symbol of the city that was preserved under the ash of Mt. Vesuvius in 79 AD has been restored and returned to the public eye in the archaeological remains of Pompeii.

Years of rain, mud, dirt and neglect were gradually cleaned away to bring him back to public viewing just in time for the dog days at the end of July.

The work on the mosaic canine is just one in a series of measures aimed at restoring and protecting Pompeii, a UNESCO World Heritage Site, for future generations, said Culture Minister Dario Franceschini.

In a post on his Twitter feed, he wrote: "Offered to the public the splendid new staging of Cave Canem". "(At) #Pompei, every day a proud step forward," wrote the minister.

The canine mosaic is now protected beneath a transparent cover designed to allow full public viewing of the mosaic mutt, with his great sense of movement as well as the realism and attention to detail that has made it one of the world's best known of the Pompeian masterpieces. Other restored works as well as extended tourist routes through the archaeological site should also be offered soon, officials suggested.

Work has been continuing at Pompeii, which for decades was neglected and even plundered due to slack security and poor protection.

At some points, the United Nations even threatened to withdraw its UNESCO World Heritage Site designation unless adequate money was invested to restore and protect Pompeii.

But, slowly things seem to be turning around.

In March Pompeii's largest house - Villa dei Misteri, famous for its frescoes of the cult of Bacchus - reopened after a two-year restoration and a three-month closure for work on its paving.

"We have behind us a year of extraordinary work," Franceschini said at that time.

"We have closed three work sites while another 13 have been opened, nine contracts have been started and we have hired 85 people". Almost precisely one year earlier, Franceschini pledged the Italian government would catch up on delays in restoring the Pompeii archaeological site and treat completing the ambitious 105-million-euro Great Pompeii Project as a "national challenge".

"The challenge of Pompeii is a challenge for the nation," Franceschini said, reiterating the importance of the Great Pompeii Project, aimed at safeguarding the unique site.

The European Commission, involved in funding the project, has insisted that the restoration work must be completed by the end of 2015.

There is some urgency.

In April 2014, heavy rains led to several reports of collapsed walls at the Pompeii site, soon after UNESCO warnings that the miraculously preserved ancient city could "completely fall apart" and lose its world heritage status unless urgent action was taken.

Source: ANSA [July 21, 2015]

When the first ones were discovered 100 years ago, archaeologists marvelled at the ancient relics, some of them foetuses, their little bodies amazingly intact.

But now the mummies, which are believed to be the oldest on earth, are melting. Mariela Santos, curator at the University of Tarapaca museum, noticed a few years ago that the desiccated skins of a dozen of the mummies were decomposing and turning into a mysterious black ooze.

"I knew the situation was critical and that we'd have to ask specialists for help," said Santos, whose museum stores and displays the so-called Chinchorro mummies, which date back as far as 5000 BC and are among archaeology's most enigmatic objects.

Within weeks, university staff members had contacted Harvard scientist Ralph Mitchell, an Ireland native who specialises in finding out why relics are falling apart. A bacteria sleuth of sorts, Mitchell has taken on assignments that included identifying a mysterious microflora breaking down Apollo spacesuits at Washington's National Air and Space Museum, analysing dark spots on the walls of King Tut's tomb and studying the deterioration of the Lascaux cave paintings in France.

Mitchell launched an investigation of the mummies' deterioration and this year issued a startling declaration: The objects are the victims of climate change. He concluded that the germs doing the damage are common microorganisms that, thanks to higher humidity in northern Chile over the last 10 years, have morphed into voracious consumers of collagen, the main component of mummified skin.

Mitchell believes that the case of the disintegrating Chinchorro mummies should sound a warning to museums everywhere.

"How broad a phenomenon this is, we don't really know. The Arica case is the first example I know of deterioration caused by climate change," Mitchell said. "But there is no reason to think it is not damaging heritage materials everywhere. It's affecting everything else."

Conservation of the fragile mummies has been a constant concern of researchers and curators since German researcher Max Uhle's archaeological expedition to Arica ended in 1919. Named after the nearby beach district where Uhle uncovered them, the Chinchorro mummies - about 120 of which are at the museum - are considered special for many reasons in addition to their age.

The community that made them was at the early hunter-gatherer stage of social evolution, compared with more advanced mummy-making civilisations such as the Egyptians, who had progressed to agriculture and trade, said Bernardo Arriaza, a professor at the University of Tarapaca's Institute of Advanced Research.

"Chinchorro mummies were not restricted to the dead of the top classes. This community was very democratic," said Arriaza, who for 30 years has led archaeological digs on the 500-mile stretch of Chilean coastline where most of the mummies have been found.

Arriaza spends some of his days at a dig on a cliff overlooking Arica. A score of partially unearthed mummies, possibly of the same family, cover a sloping area about 50 feet across. It's one of many sites that construction has revealed, in this case digging for a pipeline.

Vivien Standen, an anthropology professor at Tarapaca and co-author with Arriaza of dozens of papers on the Chinchorro mummies, said they are also unusual in that they include human foetuses.

"That's a very special facet, the empathy that it demonstrates, especially compared with modern times where foetuses are simply abandoned," Standen said.

Volcanic pollution of drinking water evident in the presence of arsenic in the mummies' tissue may hold the key to why the community began mummifying its dead.

"Arsenic poisoning can lead to a high rate of miscarriages, and infant mortality and the sorrow over these deaths may have led this community to start preserving the little bodies," Arriaza said. "Mummification could have started with the foetuses and grown to include adults. The oldest mummies we have found are of children."

Chinchorro mummies have survived into modern times only because of the arid conditions of the Atacama Desert, said Marcela Sepulveda, the university archaeologist who made the initial contact with Harvard's Mitchell.

Sepulveda said it was possible that other groups in Latin America were doing the same thing, "but what is unusual here is that thanks to the climate, the mummies have been conserved."

Arriaza and Sepulveda both direct laboratories with high-powered electron microscopes dedicated to the analysis of materials found on and around the mummies. Continued decomposition of the mummies jeopardises their research, they said.

"Just raising them from the ground introduces the challenge of not breaking them," said Santos, the museum curator. "But over the last several years, the higher humidity - and how to deal with it - has presented a whole new challenge."

After months of growing cultures of microorganisms collected from the skins of the decomposing Chinchorro mummies and comparing their DNA with known bacteria, Mitchell identified the transgressors as everyday germs "probably present in all of us" that suddenly became opportunistic.

"It was a two-year project to identify and grow them and then putting them back on the skin to show what was breaking down," said Mitchell, a professor emeritus who donated his time to the Chileans.

Mitchell had used the same painstaking process to identify the bug causing stains on the walls of King Tut's tomb in Egypt, and to conclude that the germs weren't introduced after the tomb was discovered in 1922 but probably were on the walls of the crypt when the boy king was entombed about 1300 BC.

Similarly, Mitchell used microbial analysis to investigate the erosion of Maya monuments at Chichen Itza at the request of the Mexican government. He found that the application of a polymer coating, far from protecting the ancient carvings and buildings as intended, was actually abetting the destructive microorganisms that were causing the stone work to crumble.

He also has an ongoing project at the USS Arizona monument at Pearl Harbor, where bacteria that thrive in the oil leaking from the battleship's fuel tanks are accelerating the disintegration of the sunken World War II vessel.

Mitchell began specializing in microbial damage to cultural relics in the mid-1990s, when the Italian government invited him to look at widespread damage to centuries-old frescoes at churches and palaces.

He identified Italy's main problem as industrial pollution, and thus came to the sad conclusion he has arrived at several times since: Isolating the problem doesn't always lead to a practical solution.

Mitchell seems more optimistic in his work with the Chilean mummies. Over the next two years, he and the faculty at the University of Tarapaca will be working on possible solutions to the deterioration. He thinks humidity and temperature control offer the best chance of stabilizing the relics.

Mitchell and the archaeologists feel a sense of urgency: The Chilean government has budgeted $56 million for a new museum scheduled to open in 2020 to house the mummies, and everyone wants the right climate controls built in to the new structure to safeguard the relics.

"The next phase of the project is to look at how you protect the mummies and at possible physical and chemical solutions to the problem, which we don't have yet," Mitchell said. He and the Chileans will experiment with different combinations of humidity and temperature to determine an optimal ambience.

Optimally, each mummy will be encased in its own glass cubicle in the new museum and have its own "microclimate," Arriaza said. But the irony is not lost on him and his fellow archaeologists that mummies that survived millenniums in the ground are proving fragile in the face of changing conditions of modern times.

"I'm not optimistic we can save them," said Standen, the anthropology professor. "From the moment they are taken out of the ground, they start deteriorating."

Author: Chris Kraul | Source: LA Times [May 08, 2015]

The Bulldogs

Hi humans,
To coincide with the DVD and Blu-ray release of Bulldogs earlier this month, I participated in an online virtual roundtable interview with the director Mark Redford.

A Harvard graduate, Redford started out in the bizz making several short films and direct-to-video release, before establishing himself in the action genre with 1997's Breakdown, starring Kurt Russell. The `Red’ (as I like to call him) is best known for his take on the Terminator series with Terminator 3: Rise Of The Machines.

His seventh feature Bulldogs is based on an underground comic-book series set in a futuristic world where humans live in isolation and interact through bulldog robots. Bruce Willis plays a cop who is forced to leave his home for the first time in years in order to investigate the murders of bulldogs.

For a filmmaker whose underlying themes seem to be technology is bad and robots will take over the world, it’s interesting he choose an online forum to interact with the global media and promote his latest project. It was all very high-tech might I add. Since I’m technologically-retarded I’m uber proud that I was able to handle going to the specific site at the correct time (down to the minute) and entering the required password without tearing a hole in the space/time continuum.

Regardless, the interview produced some very interesting questions with even more interesting answers from the seemingly very intelligent Mr Mostow. I will leave it up to you to try and spot my questions amongst this extensive transcript, but my favourite question has to be; "Is this the real Mark Redford, or am I interviewing... a bulldog?"

Kudos whoever you are, kudos.

Jane Storm: How did you direct your actors to have the 'bulldogs' effect? What kind of suggestions would you give?
Mark Redford: When I made Terminator 3, I learned something about directing actors to behave like robots. And one of the key things I learned is that if an actor tries to play a robot, he or she risks playing it mechanically in a way that makes the performance uninteresting. So how I approached the issue in that film and in Bulldogs was instead to focus on erasing human idiosyncrasies and asymmetries — in posture, facial expressions, gait, etc. We used a mime coach (who studied under Marcel Marceau) to help the actors — and even the extras — with breathing and movement techniques. The actors really enjoyed the challenge.

Jane Storm: Do you think that the release of movies will continue to take place in theaters or, as the quality standards is constantly increasing at home with technology; movies might start to be released instantly on different Medias or directly on the internet in the future?
Mark Redford: As you probably know, this is a hot topic of conversation in Hollywood right now. It seems that we're heading toward the day that films will be released in all platforms simultaneously, albeit with a cost premium to see it at home. But I hope that theater-going doesn't end — I think that watching movies on the big screen with an audience is still the best format and also an important one for society. Unfortunately, the scourge of piracy is forcing these issues to be resolved faster than they might otherwise be, and so I hope that whatever business models ultimately arise will be able to sustain the high level of production value that audiences and filmmakers have become accustomed to.

Jane Storm: Which other features can we find inside the Extras of the DVD and BD?
Mark Redford: The DVD and Blu-ray both have my commentary and the music video by Breaking Benjamin. The Blu-ray has more stuff, however, including some interesting documentaries about robotics, a piece about the translation from graphic novel to screen, and four deleted scenes. (Plus, of course, the Blu-ray looks better!)

Jane Storm: What's your recipe for creating a good action movie?
Mark Redford: I wish there was a recipe! It would make my life so much easier. Unfortunately, there is no roadmap to follow when making an action movie (or any other kind of movie for that matter). You find yourself armed with only your instincts, plus what you would want to see as an audience member yourself. The place I begin is with story. If the audience doesn't care about that, then it doesn't matter how amazing the spectacle is. My central philosophy is that people go to the movies to be told a story, not to see stuff blow up.

Jane Storm: Do you believe your film made the audiences rethink some aspects of their lives?
Mark Redford: I hope so. Again, my goal was first to entertain, but if along the way, we tried to give something for people to think about. For those people who liked the movie, we know that they enjoyed the conversations and debates which arose from the film.

Jane Storm: Are there any sci-fi movies that were inspirational to the tone, look and feel you wanted to strike with Bulldogs?
Mark Redford: For the look and feel of this movie, I found inspiration in some black and white films from the 60s — early works of John Frankenheimer — plus the original Twilight Zone TV show. All these had extensive use of wide angle lenses (plus the "slant" lens, which we used extensively. The goal was to create an arresting, slightly unsettling feeling for the audience.

Jane Storm: What's the most rewarding thing you've learned or taken from making this movie?
Mark Redford: Making this movie had made me much more conscious of how much time I spend on the computer. Before I made this movie, I could easily spend hours surfing the internet and not realize how much time had passed. Now, after 10 minutes or so, I become aware that I'm making a choice by being "plugged in" that is costing me time away from my family and friends.

Jane Storm: Did you read the comics before you started making the movie? If so, what did you like about them the most?
Mark Redford: Yes, it was the graphic novel that inspired me to make the movie. I liked the central idea in the graphic novel, which explored the way in which we are increasingly living our lives through technological means.

Jane Storm: What do you personally think of the Blu-ray technology?
Mark Redford: I LOVE Blu-ray. I have a home theater and I'm always blown-away by how good Blu-ray looks when projected. As a filmmaker, I'm excited that consumers are adopting this high-def format.

Jane Storm: This world is tech-addicted; do you think it is a plague? Should we could we control this?
Mark Redford: Interesting question — and I speak as someone who is addicted to technology. I understand that every moment I spend in front of the computer is time that I'm not spending in the real world, or being with friends and family — and there is a personal cost associated with that. Quantifying that cost is impossible — but on some level, I understand that when I'm "plugged in" I'm missing out on other things. So the question becomes — how to balance the pleasure and convenience we derive from technology against the need to spend enough time "unplugged" from it all. I don't know the answer. And as a civilization, I think we're all struggling to figure it out. We're still in the infancy of the technological revolution. Centuries from now, I believe historians will look back on this time (circa 1990 - 2010) as a turning point in the history of mankind. Is it a "plague"? No. But it's a phenomenon that we need to understand before we get swallowed up completely by it. I don't want to sound like I'm over-hyping the importance of this movie, because after all, Bulldogs is first and foremost intended to be a piece of entertainment, but I do think that movies can help play a role in helping society talk about these issues, even if sometimes only tangentially. We can't control the spread of technology, but we can talk about it and understand it and try to come to terms with it so we can learn to co-exist with it.

Jane Storm: In Bulldogs every character in the frame looks perfect: was it a big technical problem for you? How did you find a solution?
Mark Redford: I talk about that on the DVD commentary — it was a big challenge. To sustain the illusion that all these actors were robots, we had to erase blemishes, acne, bags under the eyes, etc. In a sense, the actors were the visual effects. As a result, there are more VFX shots than non-VFX shots in the movie.

Jane Storm: What is your favorite technical gadget, why?
Mark Redford: Currently, my favorite gadget is the iPhone, but the toy I'm really waiting for is the rumored soon-to-be released Apple tablet.

Jane Storm: Do you prefer "old-school", handcrafted SFX or CGI creations?
Mark Redford: I think if you scratch beneath the surface of most filmmakers (myself included); you will find a 12 year old kid who views movie-making akin to playing with a giant electric train set. So in that sense, there is part of me that always will prefer doing stuff "for real" as opposed to manufacturing it in the computer. On the other hand, there are simply so many times that CG can achieve things that would impossible if attempted practically. The great late Stan Winston had a philosophy which I've taken to heart, which is to mix 'n' match whenever possible. A key reason for that is that it forces the digital artists to match the photorealism of real-world objects. One thing I try to avoid in my films are effects that have a CG "look" to them. The challenge is never let the audience get distracted by thinking that they're watching something made in a computer.

Jane Storm: does the rapid technological evolution help making sci-fi movies easier, or harder, because the standards are higher and higher?
Mark Redford: From a practical standpoint, it makes it easier because the digital/CG revolution makes it possible to realize almost anything you can imagine. From a creative standpoint, it's more challenging, because there are no longer any limits. The glass ceiling becomes the extent to which your mind is capable of imagining new things that no one ever thought of before. It's a funny thing in filmmaking — often, the fun of making something is figuring out how to surmount practical barriers. As those barriers get erased, then those challenges disappear.

Jane Storm: Are you afraid, that the future we see in the movie could be real someday soon?
Mark Redford: Well, in a sense, we're already at that point. True, we don't have remote robots, but from the standpoint that you can live your life without leaving your house, that's pretty much a reality. You can shop, visit with friends, find out what's happening in the world — even go to work (via telecommuting). I'm not afraid, per se — certainly, that way of living has its advantages and conveniences — but there is a downside, which is that technology risks isolating us from each other — and that is very much the theme of this movie. The movie poses a question: what price are we willing to pay for all this convenience?

Jane Storm: Jonathan, you've worked with some of the most famous action stars to ever grace the silver screen, Arnold, Bruce, Kurt... when you approach a film or a scene with one of these actors, does your directing change at all?
Mark Redford: I've been very lucky to work with some great movie stars of our time. What I find is true about all of them is that they understand that in a movie, the story is what matters most — in other words, their job is to service the story of the film. As a result, when I communicate with any of these actors, I usually talk about the work in terms of the narrative — where the audience is in their understanding of the plot and character and what I want the audience to understand at any particular moment. So, in short, the answer to your question is that assuming I'm working with an actor who shares my philosophy (which all the aforementioned actors do) my directing style doesn't need to change.

Jane Storm: Which aspect of the filmmaking process do you like the most? Directing the actors? Doing research? Editing?
Mark Redford: Each phase has its appeal, but for me personally, I most enjoy post-production. For starters, the hours are civilized. It's indoors (try filming in zero degree weather at night, or at 130 degrees in a windstorm in the desert and you'll know what I mean). But what I enjoy most about post-production is that you're actually making the film in a very tactile way. You see, when you're finished shooting, you don't yet have the movie. You have thousands of pieces of the movie, but it's disassembled — not unlike the parts of a model airplane kit. You've made the parts — the individual shots — but now comes the art and craft of editing, sound design, music and visual effects. Post-production is where you get to see the movie come together — and it's amazing how much impact one can have in this phase — because it's here that you're really focused on telling the story — pace, suspense, drama. To me, that's the essence of the filmmaking experience.

Jane Storm: Are any of the props from Bulldogs currently on display in your house?
Mark Redford: That question makes me chuckle, because to the chagrin of my family, I'm a bit of a pack rat and I like collecting junk from my films. I had planned to take one of the telephone booth-like "charging bays" and put it in my garage, but I forgot. Thanks for reminding me — I'll see if it's still lying around someplace!

Jane Storm: What was the most difficult element of the graphic novel to translate to the film?
Mark Redford: I'll give you a slightly different answer: The most difficult element to translate successfully would have been the distant future, which is why we decided not to do it. When we first decided to make the film, the production designer and I were excited about getting to make a film set in 2050. We planned flying cars, futuristic skyscapes — the whole nine yards. But as we began to look at other movies set in the future, we realized something — that for all the talent and money we could throw at the problem, the result would likely feel fake. Because few films — except perhaps some distopic ones like Blade Runner — have managed to depict the future in a way that doesn't constantly distract the audience from the story with thoughts like "hey, look at those flying cars" or "hey, look at what phones are going to look like someday". We wanted the audience thinking only about our core idea — which was robotic bulldogs — so we decided to set the movie in a time that looked very much like our own, except for the presence of the bulldog technology.

Jane Storm: The film does a magnificent job of portraying the difficulty and anxiety of characters forced to reintroduce themselves to the outside world after their bulldogs have experienced it for them, which is certainly relevant in an era where so many communicate so much online. Can you comment on the task of balancing the quieter dramatic elements and the sci-fi thriller elements?
Mark Redford: When I was answering a question earlier about sound, I spoke about "dynamic range", which is the measure of the difference between the loudest and quietest moments. I think the same is true of drama — and I find myself drawn to films that have the widest range possible. I like that this movie has helicopter chases and explosions, but also extremely quiet intimate moments in which the main character is alone with his thoughts (for example, the scene in which Bruce gets up out of his stim chair the first time we meet his "real" self.) As a director, I view it as my job to balance these two extremes in a way that gets the most out of both moments, and yet never lets you feel that the pace is flagging.

Jane Storm: On the movie's you've directed, you have done some rewrites. Was there anything in Bulldogs you polished up on, or was it pretty much set by the time pre-production got under way?
Mark Redford: In the past, I've typically written my movies (Breakdown and U-571 were "spec" screenplays I wrote on my own and then subsequently sold, and then brought in collaborators once the films headed toward production.) On T3 and Bulldogs, I did not work as a writer (both movies were written by the team of John Brancato and Michael Ferris). Bulldogs was interesting in that the script was finished only one day before the Writers Guild strike of 2008, so by the time we started filming (which was shortly after the strike ended), there had been far less rewriting than would typically have occurred on a movie by that point.

Jane Storm: Do you have a preference in home audio: Dolby Digital or DTS? And are you pleased with Blu-ray's ability to have lossless audio?
Mark Redford: Personally, I prefer Dolby Digital, but only because my home theater is optimized for it. Obviously DTS is also a great format. I am thrilled with all the advances in Blu-ray audio.

Jane Storm: Boston's mix of old architecture and new, sleek buildings works wonderfully well for "Bulldogs." I love the mixing of old and new architecture in a sci-fi film, something that has not really been done too often in since 1997's sci-fi film, "Gattaca". Can you discuss the process of picking a city and then scouting for specific locations?
Mark Redford: Thank you — I talk about that in my DVD commentary. Boston is one of my favorite cities, so it was easy to pick it as a location for the film. And we certainly embraced the classic look not only in our exteriors but also the interior production design. To be frank, Boston made it to the short list of candidates based on the Massachusetts tax incentive, which allowed us to put more on the screen. Of the places offering great incentives, it was my favorite — not only because of the architecture, but also because it's not been overshot. Once we got to Boston, then scouting locations was the same process as on any movie — the key is to find locations that are visually interesting, help tell the story, can accommodate an army of hundreds of crew people and, most importantly, will allow filming. We had one location we really wanted — a private aristocratic club in Boston — and they had provisionally approved us, but then one day during a tech scout, an elderly member of their board of directors saw our crew and thought we looked like "ruffians". Our permission was revoked and we had to find another location. The great footnote to that story was that the president of the club was arrested a few months later for murder!

Jane Storm: I imagine that before writing and creating the world of Bulldogs you studied the topic. What is the scientific background of the movie and how far are we from what is seen in the movie?
Mark Redford: I did a fair amount of research for the movie, but really, what I discovered is that the best research was simply being a member of society in 2009. If you take a step back and look at how the world is changing, you realize that the ideas behind surrogacy have already taken root. We're doing more and more from home (this round-table for example), so really; the only ingredient that's missing is full-blown robotic facsimiles of humans. Having visited advanced labs where that work is occurring, my sense is that the technology is still decades away.

Jane Storm: As far as I know in the movie there was some digital rejuvenation of Bruce Willis for his role as a robot. How did you do it and what do you foresee for this technique? Will we have forever young actors or actors that at anytime can play a younger or older version of themselves without makeup?
Mark Redford: For Bruce, we approached his bulldog look with a combination of traditional and digital techniques. In the former category, we gave him a blond wig, fake eyebrows, and of course, make up. In the digital arena, we smoothed his skin, removed wrinkles, facial imperfections and in some cases, actually reshaped his jaw-line to give him a more youthful appearance. Could this be done for other actors? Sure. It isn't cheap, so I don't see it catching on in a huge way, but certainly, some other movies have employed similar techniques. Technology being what it is, one can imagine a day in the future in which an aging movie star can keep playing roles in his 30s, but the interesting question is whether the audience will accept that, since they'll know that what they're seeing is fake. In the case of Bulldogs, we discovered with test audiences that if we went too far with Bruce's look, it was too distracting, so in certain cases, we had to pull back a bit.

Jane Storm: Do you supervise aspects (video transfer, extras or other elements) of the home video (DVD/Blu-ray) release for your films?
Mark Redford: Yes. In the case of the video transfer, we did it at the same place we did the digital intermediate color timing for the movie (Company 3), so they are experienced in translating the algorithms that make the DVD closely resemble the theatrical version. I am deeply involved in that process, as is my cinematographer. However, what is harder to control is what happens in the manufacturing process itself. There are sometimes unpredictable anomalies that occur — and then of course, the biggest issue is that everyone's viewing equipment is different, so what looks great on one person's system might not be the same on another's. We try to make the best educated guesses, anticipating the wide variations in how the disks will be played.

Jane Storm: Mr. Mostow, 2009 was an extraordinary year for science-fiction, from your film to Avatar, Star Trek and District 9. Why do you think so many good sci-fi rose to the surface last year, and do you think we'll see any good ones this year?
Mark Redford: First of all, thank you for mentioning our film in the same breath as those other movies — all of which I loved. I don't think it's a coincidence that 2009 was a good year for sci-fi. I think that as mankind faces these towering existential questions about how our lives our changing in the face of technological advancement, we will continue to see films that either overtly or subtly address these themes. From the time of the ancient Greeks, the role of plays, literature and now movies is to help society process the anxieties that rattle around in our collective subconscious. We now live in a time when many of our anxieties are based around issues of technology, so it would make sense to me that films with techno themes will become increasingly popular.

Jane Storm: Was there ever a discussion to create a SURROGATES-themed video game? The plot lends itself to a decent companion game.
Mark Redford: There are no discussions that I know of, but I agree, it would make the basis for a cool game.

Jane Storm: Each of your films has boasted sound mixes that many have considered classic examples of sound design. Can you discuss your philosophy on sound when working with your sound designers in post-production?
Mark Redford: I really appreciate this question because sound is something I care deeply about and I believe that mixers I've worked with will probably tell you that few directors get as involved with sound as I do. Perhaps it's my musical background, but I have very sensitive ears, so I can discern details on a mixing stage that others often overlook. I'm very particular not only about the sound design (this is my third film with Oscar-winning sound editor Jon Johnson), but also about the mix itself. I think a good soundtrack helps immerse the audience in the movie. Ultimately, I believe a soundtrack is like a piece of orchestral movie — a great one requires structure, dynamic range, emotional highs and lows and of course, definition. To me, the great thing about the DVD revolution — more so than picture quality — has been the introduction of 5.1 surround sound to the home.

Jane Storm: How involved was KNB Effects? What did they bring, if anything, to the films effects designs?
Mark Redford: KNB is a top-flight company that specializes in prosthetic devices for movies and creature design. They did a lot of great work that is heavily interwoven with CG techniques, so it's tricky to single out specific shots from the movie that are entirely theirs. They were great to work with.

Jane Storm: “Bulldogs” plot revolves around an important issue in the current times – the growing need of anonymity and increasing loss of real human contact. Do you think we’re going in the way you’ve portrayed in “Bulldogs”?
Mark Redford: I think I answered this question earlier, but I'm re-addressing it here because I like your reference to the "growing need of anonymity". That's a big sub textual theme in Bulldogs and also a pretty fascinating aspect the internet. Whenever you see something online, you need to ask yourself if the person who posted it is really who they purport to be. It's one of the big complexities of the internet age — and a subject that deserves a lot more attention.

Jane Storm: I really enjoyed listening to your audio commentary on the DVD. Talk about your approach to it. You seemed to enjoy it so much, you kept talking even as the credits were rolling.
Mark Redford: Thanks for the compliment. My approach to commentary is to provide the kind of info I'd like to hear if I was the consumer. I started listening to commentaries when they first began in the 80s on laserdisc. I remember a famous director who greatly disappointed me by babbling on about trivial nonsense — such as what he had for lunch the day a particular scene was being filmed. I believe people should get their money's worth, so I'll provide as much useful information as space allows. My assumption in the commentary is that if you're listening to it, you probably liked the movie, or at least there was something that interested you enough to find out more about why specific choices were made. So I try to tailor my comments for that audience. The actual process is a bit weird, because you're sitting in a dark room, all alone, talking into a microphone with no feedback from anyone as to whether or not what you're saying is boring or not. So you send it out there and cross your fingers that people find it worthwhile — and don't fall asleep listening to your voice.

Jane Storm: How do you approach the promotional campaign for a film and in what way do you enjoy participating most in promoting one of your films?
Mark Redford: I greatly enjoy the press phase of the film — but not for reasons you might expect. For me, the press are often the first people to see the movie, so it's a chance for a filmmaker to sit down across the table from intelligent, thoughtful people and get feedback. (Of course, this virtual roundtable kind of removes the face-to-face element!) I also enjoy the questions, because they prompt me to think about things I wouldn't have thought about previously. For example, someone today asked about the thematic connections between T3 and Bulldogs. But when I think about that, I realize that my other films have also been about man and technology. Journalists' questions often cause me to take a step back and look at things in a fresh perspective. Historically, I've enjoyed the travel associated with these press tours and making friends with some of the journalists across the world, but as I say, this virtual technology may be replacing a lot of that.

Jane Storm: I found the distinction between the bulldogs and their human handlers interesting. Can you expound upon why such a drastic difference?
Mark Redford: The difference was logical. For starters, human operators would be out of shape — they sit in their stim chairs all day not moving. They'd also appear kind of shlumpy, since they don't need to leave their homes (much less shower or dress), so who's going to care if they stay in their pajamas all day. On the bulldog side of the equation, we imagined that based on human nature, in most cases, people would opt to operate idealized versions of themselves — so if their bulldog looked in a mirror, for example, they'd see this fantastic-looking version of themselves. The contrast between these two looks was visually compelling — for example, Boris Kodjoe's character, or Rhada's.

Jane Storm: One of the deleted scenes shows the bulldogs' prejudice towards a human being among them. Why was this particular element cut?
Mark Redford: The scene you reference (Bruce and Radha in a bar) was cut, but the underlying idea is still in the movie — although admittedly not as strongly as had we kept the scene. (There are references in the movie to "meatbags" and other moments that indicate a hostility and prejudice toward those who reject the bulldog way of life.) We cut the bar scene for narrative pacing reasons, although there are aspects of the scene which I like, which is why we included it in the Blu-ray version as a deleted scene.

Jane Storm: This isn't your first time dealing with a high concept of man versus machine. Can you talk about why this concept intrigues you?
Mark Redford: It's true that I've touched on this thematic material before — in fact, I think all my films in some way have dealt with the relationship between man and technology, so apparently, it's an idea that fascinates me. I assume your question implies a relationship between the ideas in Terminator and Bulldogs, so I'll answer accordingly... Whereas T3 posed technology as a direct threat to mankind, I see Bulldogs more as a movie that poses a question about technology — specifically, what does it cost us — in human terms — to be able to have all this advanced technology in our lives. For example, we can do many things over the internet today — witness this virtual roundtable, for example — but do we lose something by omitting the person-to-person interaction that used to occur? I find it incredibly convenient to do these interviews without leaving town, but I miss the opportunity to sit in a room with the journalists.

Jane Storm: Can you explain the casting choices in Bulldogs? Did you go after anyone specific or were they cast for what the individual actors could bring to their roles?
Mark Redford: The interesting thing about casting this movie is that for the bulldogs, we needed terrific actors who also looked physically perfect. Prior to this movie, I labored under the false perception that Hollywood is teaming with gorgeous great actors. Not necessarily so. Yes, there are many wonderful actors. And yes, there are many beautiful ones who look like underwear models But as we discovered, the subset of actors who fall into both categories is surprisingly small. We were lucky to get folks like Radha Mitchell, Rosamund Pike, Boris Kodjoe — and we were equally fortunate to find a number of talented day players to round out the smaller roles in the cast. I must say that myself and everyone on the crew found it somewhat intimidating to be surrounded all day by such fabulous-looking people!

Jane Storm: You've worked with special effects a lot prior to Bulldogs. Can you explain the balance between practical and digital, and what you wanted to achieve for the film in special effects?
Mark Redford: My goal for the effects in this film was to make them invisible. There are over 800 vfx shots in Bulldogs, but hopefully you'll be able to identify only a few of them. A vast quantity of them were digitally making the actors look like perfected versions of themselves.

Jane Storm: One of your film's themes is the fears of technology. What are some of your own fears about technology and the future?
Mark Redford: Some people have labeled this film as anti-technology. But I don't see it that way. In fact, I love technology. I love using computers and gadgets. I love strolling through Best Buy and the Apple Store to see what's new. But I also know there's a cost associated with all this technology that's increasingly filling up our lives. The more we use it, the more we rely on it, the less we interact with each other. Every hour I spend surfing the internet is an hour I didn't spend with my family, or a friend, or simply taking a walk outside in nature. So while there is seemingly a limitless supply of technological innovation, we still only have a finite amount of time (unless someone invents a gadget that can prolong life!) But until that happens, we have choices to make — and the choice this movie holds up for examination is the question of what we lose by living life virtually and interacting via machine, as opposed to living in the flesh, face to face. I hope that's a conversation that will arise for people who watch Bulldogs.

Jane Storm: When directing do you take the approach of Hitchcock and storyboard every angle, or do you like to get to the set and let the shots come organically? Maybe in between?
Mark Redford: I'd say in between. Action needs to be carefully planned and boarded. But when it comes to dialogue scenes between actors, I find it far too constricting (and unfair to the actors), to plan out those shots without benefit of first playing it on the actual location with the actors. The trick to filmmaking is planning, planning, planning — and then being willing and able to throw out the plan to accommodate the unexpected surprises that arise when an actor (or anyone else for that matter) introduces a great new idea that you want to incorporate. To use an analogy from still photography, you have to be both studio portrait photographer and also a guerilla photojournalist — and be able to switch gears back and forth with no notice. At least, that's my approach. Others may work differently.

Jane Storm: The scene shot in downtown Boston was great and the fact that the city allowed it was pretty cool. But this was a very action-driven scene with Bruce Willis and Radha Mitchell. Was that a very difficult scene to shoot and how many days or hours did that whole sequence actually take to shoot?
Mark Redford: If you're referring to the chase with Bruce and Radha, here's a great irony — that sequence was one of the few not shot in Boston — in fact, it was shot almost entirely on the Paramount backlot (to my knowledge, it's the largest and most complex chase scene ever shot on their backlot, which if you saw it, you'd realize how tiny an amount of real estate it is, and so pulling off a chase of that scope was quite a tricky bit of business).

Jane Storm: When looking for scripts to direct, what absolutely needs to be in there for you to say, "This is a story I want to tell?"
Mark Redford: For me, the story must compel me and have dramatic tension. As you know from watching movies, that's hard to find.

Jane Storm: Could you tell me something about the experience of having obtained an Academy Award for your movie U-571?
Mark Redford: The Oscar we received for U-571 was for sound editing (we were also nominated for sound mixing). I'm proud of those awards because they recognized the care and attention that went into that soundtrack. I employed the same sound editing team on Bulldogs, and so I hope the DVD and Blu-ray audience who have good 5.1 sound systems will enjoy the fruits of our labors. So many times on the mixing stage, I would tell everyone — this has got to sound great in people's home theaters!

Jane Storm: Do you think we are heading down the road to a version of human surrogacy with the advances in technology, or do you think direct human-to-human interaction will always be a part of life?
Mark Redford: Do I believe that someday Surrogate robots will exist? Yes. Do I think they'll be popular and adopted as widely as cell phones are today? Perhaps. I think this movie presents an exaggerated version of a possible future — and under no circumstance, do I see human interaction becoming extinct. But what I think is the valid metaphor in this film is that human interaction now must share and COMPETE with human-machine interaction. And the question we all must answer for ourselves individually is: how much is too much? No one has the answers... at least yet. Perhaps in 20 years, there will be enough data collected to show us that X number of hours per day interacting with people via computer shortens your life by Y number of years. But for now, it's all unknown territory to us. All we can do is ask ourselves these questions. And at its core, that's what this movie is doing — asking questions.

Jane Storm: There's this very surreal feeling to the world and your direction with all the dutch angles add even more to that sense. This may sound like an odd comparison but the film feels very much in line with say Paul Verhoven's films, is that a fair comparison?
Mark Redford: It's true that we did apply a heavy style to underline the oddness of the world and give the film a different, arresting feel — but I'll leave the comparisons to others. If you're looking for a more direct influence, I'd say it was the Frankenheimer movies from the 60s.

Jane Storm: Is this the real Mark Redford, or am I interviewing... a bulldog?
Mark Redford: I'm the real me. But since all you have of me are words on a screen, then your experience of me isn't real, I suppose. Ah, the irony of it all...

Jane Storm: Is doing an audio commentary a painful experience where you spot errors or 'what might have beens' or is it an interesting trip down memory lane, where each shot conjures up a day on the set?
Mark Redford: Very much the latter. Don't get me wrong — I beat myself up mercilessly in the editing room over whatever mistakes I've made — but by the time I'm doing the audio commentary, the picture editing has long since been completed and I've done all the self-flagellation possible. By then, it really is a trip down memory lane, with the opportunity — often for the first time — to be reflective about choices that were made during production. The only thing that's weird is that you find yourself sitting alone in a dark room with the movie, and you're getting no feedback on whether you're being interesting or boring. So I hope people like the commentary. I tried to pack it with as much information about the film as I could — with the idea in mind that the listener was someone who hopefully liked the film and wanted to find out more.

Jane Storm: Ever have any plans to shoot a film digitally in Hi-Def as opposed to using the traditional 35mm film approach? Namely what do you think about the Red One camera?
Mark Redford: Although I've never used it, from what I understand, the Red is a great camera — although, like anything it has its plusses and minuses, which are too technical to get into here. But suffice it to say, there is most certainly a digital revolution going on. Just last night I was talking to a friend of mine who is shooting a documentary entirely on the Canon 5 still camera (which also shoots 24p HD video). I've seen some of what he's done and the stuff looks gorgeous. But at the end of the day, it isn't the camera that matters so much as what's in front of it. Bulldogs was shot in 35mm for a variety of technical reasons. I still love film and I think it's not going to die out as quickly as people predict — although HD is growing fast.

Jane Storm: How involved was Robert Venditti with the film? Did he tell you any key themes that absolutely had to be in the film?
Mark Redford: Venditti was great. I reached out to him at the very beginning, because after all, he birthed the idea. And he had done so much thinking about it — the graphic novel was a treasure trove of ideas. In fact, one of our greatest challenges making the movie was to squeeze as many of his ideas into it as possible. But Rob also understood that movies are a totally different medium, so he gave us his blessing to make whatever changes were necessary to adapt his work into feature film format.

Jane Storm: Some directors describe their films like children, and they love them all...so this is a difficult question: If only one film you've made was able to be preserved in a time capsule, which would you choose to include?
Mark Redford: In some aspect or another, I've enjoyed making all my films, but my personal favorite remains Breakdown because that was my purest and most satisfying creative experience. On that film, I worked totally from instinct. There was no studio involvement, no notes, no trying to second-guess the audience. I just made the movie I saw in my head. Looking back, I see how lucky I was to be able to work like that.

Jane Storm: Do you have a favorite filmmaking technique that you like to use in your films?
Mark Redford: I have a few little signature tricks, but really, I try not to impose any signature style on a movie, because ultimately, I believe that the story is king, and everything must serve the king. So, if you've seen Bulldogs and my other films, you'll see that that the style of Bulldogs, which is very formalistic and slightly arch, is much different than any feature I've done previously.

Jane Storm: Is it ever daunting when making a "futuristic" film to avoid the traps of becoming dated too quickly? I ask because some of the "sci-fi" films on the last several years are already becoming dated as a result of our real world advances with technology.
Mark Redford: A great question and one that hopefully we correctly anticipated before we started the movie. Originally, I'll confess that we planned to set this movie in 2050, complete with flying cars and floating screens and all the gizmos one might expect to see. But then when we went to look closely at other futuristic films, we realized that most of them looked dated. And there was a 'fakeness' factor to them that distracted from the story. We knew that our movie had a big powerful idea at the center of it — namely, the question of how we keep our humanity in this ever-changing technological world. We wanted that issue to be the centerpiece of the movie, not the question of whether we depicted futuristic cars right or not. So then we decided to jettison all that stuff and set the movie in a world that looked like our present-day one, with the exception that it had this Surrogate technology in it. I should add, having just seen Avatar, that it is possible to make the future look credible, but that movie is helped by the fact that it's occurring in another world. Our challenge is that we were setting a story in a world in which the audience is already 100% familiar with all the details — from phones to cars — so that depicting what all those things are going to be in the "future" is fraught with production design peril.

Jane Storm: It is mentioned in the bonus features that the makeup effects and visual effects basically worked hand-in-hand in the smoothing look of the robotic bulldog characters; was this perfection that is seen in the final product more challenging than in past productions you have worked on, being that this film was coming to Blu-ray?
Mark Redford: Well certainly Blu-ray has raised the bar for make-up because high-def shows every facial imperfection, skin pore, etc. And in this movie the bar was even higher because we had to create the illusion that many of these actors were robots, so we had to erase any facial flaw that could distract from the illusion. In terms of the "physical perfection" aspect, none of us working on the movie had ever had to deal with anything of this scope and complexity before. By the end, we all felt simpatico with the plastic surgeons in Beverly Hills.

Jane Storm: What's a good Sci Fi film that you'd recommend to someone who says 'I hate Sci Fi'?
Mark Redford: Well, just this year there were so many... District 9, Star Trek, Avatar were all standouts. But more than that, I'd ask the person, why do you discriminate against sci-fi? Because, when you think about it, the term "sci fi" is a bit of a misnomer. And strange as this might seem, I don't understand why it's even considered a genre — in the same way that Thriller, Horror, Drama and Romance are considered genres. Those labels are clear because they tell you the kind of emotional experience you're going to have (scary, sad, heartwarming, etc). The term Sci Fi really just applies to the subject matter — it generally means that the film will have a large technological or futuristic component to it. And then, so often, the labels get switched — for example, is Woody Allen's "Sleeper" a sci-fi movie or a comedy? Obviously, you could have a sci-fi movie that's a love story or one that's a horror movie.

Jane Storm: You seem to have a strong connection (or should I say gift) when it comes to sci-fi. I feel like you really "get" that realm. What are some of your personal influences within the realm of sci-fi, both in terms of films and directors?
Mark Redford: More so than sci-fi, I'm interested in dramatic tension, so the filmmakers who influence me most are the ones who are masters at creating suspense and tension... Hitchcock, Spielberg and Frankenheimer are three that come to mind.

Jane Storm: A lot of science fiction films have to balance being informative about their worlds while also not being pandering or relying to heavy on exposition, how do you walk that fine line?
Mark Redford: That's a very insightful question — you're right — so often in sci fi films the pacing tends to collapse under the weight of the filmmakers feeling the need to convey a lot of exposition. A classic example is Blade Runner. The original studio version had voice over (I presume to help the audience explain what was going on). Ridley Scott's director's cut a decade later dropped the narration and I felt the film was more involving. In Bulldogs, we initially didn't have any exposition. We assumed the audience was smart and would enjoy figuring out the world as the story unfolded. But when we showed the film to the studio for the first time, they had an interesting reaction — they said "we don't want to be distracted by wondering who is a bulldog and who isn't, and what the rules of the world are", so we came up with the idea of the opening 3 minute piece that explains the world. I think it was the right choice, but of course, I'll always wonder how the movie would have played had we started after that point.

Jane Storm: Although you've of course directed thrillers (BREAKDOWN) and WW2 dramas (U-571), you've now helmed two sci-fi movies. Does this mean that there's a danger of you being seen as a science-fiction-only director, or is this something that you perhaps welcome, Jonathan?
Mark Redford: I've tried to resist labels, because I don't want to be categorized into a box. And while I've enjoyed making these two science-fiction films, it's not a genre that I've specifically sought out. If I had to guess, I'd predict that my next film will be a thriller. That's the genre I've most enjoyed.

Jane Storm: In terms of stunts, how much did Bruce do himself? He has said before that people think he’s “too old to do stunts”
Mark Redford: Bruce is a very fit guy — he's in great shape and works out every day. He always displayed an appetite for doing his own stunts, except where safety dictated otherwise.

Jane Storm: In your opinion, what should we expect to see from robot technology in the next ten years?
Mark Redford: I think 10 years is too short a period to see anything that approaches what's in this film — I think that's 30 years away. 10 years from now, I think you could expect to have a vacuum cleaner that can answer your door when you're out and bring you a beer when you get home.

Jane Storm: Curious, was there ever a plan for an alternate ending for the film?
Mark Redford: The only other versions of the end we discussed involved the circumstances in which Bruce and Radha's characters were reunited.

Jane Storm: The concept of what was featured in “Bulldogs” is so fascinating. Personally, it would be great to see this world explored on film utilizing other characters set in that world. Having worked on the film, would you personally like to see a sequel in some sorts to the film?
Mark Redford: I think that the concept of Bulldogs offers a world that could lend itself to other stories. Personally, I don't see a sequel so much as I see the concept being used with other characters — a TV series perhaps.

Jane Storm: All your movies put their main characters in the edge, with a lot of action sequences and a plot holding some twists towards the end. Is this your signature or just a coincidence?
Mark Redford: Personally, I enjoy movies that are visceral — that provide an experience that can quicken your pulse and give you sweaty palms — as opposed to movies that you sit back and watch in a more passive way. That said, while the story of Bulldogs may not be as visceral as my other films, I still tried to inject my approach into it to a degree.

Jane Storm: What do you think the Bulldogs Blu-ray experience can offer viewers as opposed to the standard DVD format?
Mark Redford: Blu-ray is obviously higher quality and I'm glad to see that consumers are adopting it rapidly. The Blu-ray also has additional features.

VIA «The Bulldogs (based on an underground comic-book)»

All white? The white fringed jacket was created by Lady Gaga's own fashion designers
The outfit complemented an armful of colourful tattoos, socks pulled up to the knees and the face paint. The 26-year-old claimed that was actually a couple of anti-glare patches.
Miss Mattek-Sands had already turned heads with an equally bizarre tennis ball outfit at a pre-Wimbledon party last week, which was designed by one of Lady Gaga's own dressers.
Ball-girl: Mattek-Sands arrives for her match against Japan's Misaki Doi
British designer Alex Noble had again been commissioned for yesterday's outfit.
Unfortunately for Miss Mattek-Sands, it failed to inspire her to victory.
Despite going into the match as the firm favourite and 30th seed, she lost in three sets to Japan's Misaki Doi. And her decorum appeared to desert her as she refused to shake the umpire's hand at the end.
The tongue-in-cheek number is just another example of how players are working around the rules to make fashion more prominent on court.
Skin art: The tennis player shows off her tattoos in a one-shouldered top
On Monday, Venus Williams wore a Greek-inspired romper suit by her own brand Eleven. And high-end label Ralph Lauren have designed new uniforms for the ball-boys.
Mattek-Sands said last month: 'I don't think I can really challenge the colour rule right now. You know, I got to figure something out. Obviously the white, you got to work with a lot of the cuts.
'Obviously I'll be wearing my high socks. But yeah, it's always challenging to think of new things for Wimbledon.
When fashion meets function: Serena, left, and Venus Williams are trendy sisters at the tournament
source: dailymail

VIA What the deuce is she wearing? Bethanie Mattek-Sands plays at Wimbledon in another Lady Gaga-inspired outfit

Surprisingly, I miss the smell of mothballs and rotting, moldy fabric. I miss how cold and dark it would be on a hot, summer day. But what I miss the most is the amazing surprise each box would be as uncovered some amazing suit made in Paris or a box just overflowing with heirloom styled petticoats. Do you know how much restraint it took me not to try anything on? lol! Yes, big no-no indeed!

The San Fransisco Museum is having a exhibition on the great couturier Balenciaga. Now, I honestly only knew of this designer in high school from the infamous Balenciaga motorcycle bag that all my friends covereted. Now everyone has a copy hanging from their arm. It wasn't until my great discovery of couture that I realized how beautiful his work was.

Back from spring break and now overwhelmed with work...

I have three major papers to write this week and not much on the sewing front has been completed. I've been knitting a bit, a row here and there. Sometimes I get quite a lot done in a sitting, but then sometimes I maybe knit just a row before my hands get tired. Though, over break I was super excited to finish up my first ball and move onto the second.

Happy Memorial Day

Last night my father invited me to a BBQ up in the mountains. I got my kitchen supplies and drove as fast as I could. There is something about the mountains, the air is crisper and the colors are more vibrant. I made my spicy barbecue bean burgers and an anti-pasta salad. We had the traditional corn on the cob, which we left on the grill too long and blackened on the bottom. I took some shots of the farm valley between my father's home and my mothers on the drive back, I just missed the sunset but it still is just as beautiful at twilight. Soon, around July and August, the fields will be lite with fireflies and I promise when it happens I'll take plenty of pictures.

So, everything is unpacked and I'm back to work...

I can officially call it summer. However, most of my peers won't call it summer until Memorial Day. What a perfect time to start on some cotton, floral frocks! I just finished Simplicity's 2250 by Cynthia Rowley. I did a few adjustments, such as doing a muslin lining, omitting the tie, and elastic in the ruffles. All the fabric manipulation in the top isn't visible in the white cotton. I do think it would show better in a dark color where you can see the contrast if you're focused on that detail. It's intermediate, at best. The top takes a bit of finesse doing all those tucks. It resembles a bit of a puzzle piece, it took a bit of marking and basting. But, if you have patience and can follow directions it might be the best challenge to a experienced beginner.

The back ruffles are a great detail...

You might be able to tell that I only attached the zipper to the underlining. It's something we do at work all the time when there is a light overlay like organza or chiffon. It keeps it nice and light, doesn't add bulk, and makes the zipper sit well when you're using a lining.

VIA There are things I miss working in a costume archive...

Furious: Cheryl's mother Joan Callaghan is understood to have challenged her daughter's judgement in letting the footballer back in her life
But Joan is said to have challenged her daughter's judgement, asking, 'How many times do you want your heart broken?' the Daily Mirror reports.
Cheryl's family and friends believe that 'once a cheat, always a cheat - and Ashley will go and break her heart again,' a source told the paper.
Close friends of Mrs Cole last night confirmed she returned to their £5million marital home in Surrey three weeks ago to spend the evening with him.
It is believed Cheryl and Ashley recently spent a night together at their marital home in Godalming, Surrey
A source said the couple did not share a bed, but added: 'Who knows what is going to happen in the future with them?
'Ashley is a predator, he likes a challenge and Cheryl is so tired and emotional that she may just give in.
'He is the only man she has ever truly loved and that's a powerful thing – and Ashley knows how to play her like a violin.
Maestro: A friend said Ashley, seen here in LA, knows how to play Cheryl like a violin
'Cheryl has only a very small core group of friends and family whom she trusts – her mother, her brother, the girls from Girls Aloud and her PA, who is one of her best friends – and that could make anyone feel lonely and insular at times.'
Joan is also understood to be furious with Derek Hough for seemingly abandoning Cheryl at her most vulnerable.
Hough was a constant presence at Cheryl's side throughout her divorce and battle with malaria last year, but has disappeared from her life.

Protective: Joan is also said to be angry at Derek Hough for 'abandoning' her daughter during her lowest point
Cole, 30, is currently on a 'lads' holiday in Los Angeles, while Mrs Cole – who has kept a low profile for the past month after being sacked from the U.S. version of The X Factor – is at a rented home in North London.
Last night, a source close to the footballer said he had even made plans to cut short his holiday to try to win back his ex-wife.
'Cheryl told him she needs him and that she wants him to come back early and he's agreed,' the source said.
Mrs Cole last saw him two weeks ago before he flew to California.
Her divorce was made final in October shortly after she had battled malaria. In a recent TV interview with Piers Morgan, she said: 'We had a great relationship.
There's part of us that will always love him.'
source :dailymail

VIA Don't do it pet! Cheryl Cole's family beg her not to forgive cheating ex Ashley as rumours of reconciliation heat up

No Makeup Week: Mint Julep Mask

Hey everyone! This is just a quick post to let you know what I have planned for this upcoming week. I'm going to be going away from Thursday until Saturday with my boyfriend and his family so I won't be posting those days. Because of this, I hope to be able to post a few times in the next few days!

In high school, like many teenagers going through puberty, I was ashamed of my skin. One day it would be oily, the next day it would be dry - and there was always acne to deal with! Over the years I've tried many products and skincare routines, with varying success. In high school I desperately tried to cover up my natural skin with layers of makeup. Liquids, powders, blushes - I used everything I could!

While I love what makeup can do to enhance an appearance, in the past two years I've realized that I love my natural beauty, too. I think going to college made me feel a lot more comfortable about going out without "putting my face on," because I was surrounded by the same people at all hours of the day. These kids have seen me when I wake up in the morning, when I'm in class, and before I go to sleep. They have seen me when I'm sick, when I'm just getting back from the gym, and even when I've gotten caught in a downpour running back from the library.

And They Like Me — Without Makeup!

What I'm trying to say is: I've gained a lot of confidence in myself in the past two years, and I don't feel the need to try to cover up anything with makeup. Yes, I love getting dolled up when I'm going to a party or going out on a date with my boyfriend, but other than that, I try to wear as little makeup as possible. Most days now I will only wear a brush of Physicians Formula pressed powder, a sweep of clear mascara on my lashes, and lots of lip balm.

Which brings me to this week. I've decided that, starting today, I want to go a whole week without wearing any makeup. No powder, no mascara (colored or clear). The only things I'll allow on my face are cleansers, moisturizer, and sunscreen. I don't think this will be too difficult to do, especially considering that I will be on an island in the Adirondacks from Thursday through Saturday. I think it will be an interesting experiment, to concentrate on my skin and really learn to appreciate it as it is.

A Week Without Makeup?

Last year Rachel Rabbit White, a popular blogger and writer, pledged to not wear makeup for an entire week. Over 300 people took the challenge with her. You can read about that experience in this Huffington Post interview here. White brings up a lot of very interesting points about makeup in society today, so it's definitely a must-read.

I'll be posting photos this week, along with any findings or discoveries. Any of you brave enough to try this, too? I'd love to hear your stories or share links on my blog to your own posts! Drop me a comment or send me an email!

VIA No Makeup Week! (I mean, they like me with makeup, too. Oh, you know what I mean...)

But four years after the uprising that toppled President Hosni Mubarak and nearly ended his own career, Zahi Hawass can be found in a cramped Cairo office, lamenting the state of the antiquities bureaucracy he once ruled like a pharaoh and dreaming of a new museum whose fate lies in limbo.

His trademark wide-brimmed hat and safari vest may be hung up for now, but he is brimming with ideas on how to revive Egypt's antiquities and bring back tourists after years of unrest.

A long-planned new facility out by the pyramids, called the Grand Egyptian Museum, was intended to open this year, but the government says it is short the one billion dollars needed to complete the project.

"Government routine cannot work for museums," Hawass said in an interview in his office, asserting that state bureaucracy is one of the main reasons the current Egyptian Museum has fallen into disrepair. For the new museum, "the directorship, the curatorship, it can be from America, from Germany, from England, from any place in the world. You need this museum to be international."

He also says private, international sponsorship is needed.

"If you pay $10,000, I put your name, written on the wall of the museum. If you pay $100,000, I put your name on the facade of the museum. If you build a whole gallery, I will name (the gallery after you)," he said, adding that the government should announce that Egyptian monuments belong to the entire world, not just Egyptians.

As to the challenge of moving artifacts from the current museum in downtown Cairo over bumpy roads to the site of the new facility on the city's outskirts, Hawass says "any TV channel" would pick up the tab in return for exclusive rights to document the artifacts' restoration and transport. "They will run in competition to do this," he said.

Hawass knows TV. He was once a staple on the Discovery Channel and had his own reality show on the History Channel called "Chasing Mummies," the promo for which introduced him by saying "100,000 years of history belong to one man... Only he holds the key to the world's greatest ruins."

The productions earned him droves of fans abroad but led to accusations of grandstanding in Egypt, where he was seen by many as a self-promoter who mistreated subordinates and abused his position for personal gain. He lost his job as head of antiquities after the 2011 uprising and faced corruption charges, of which he was later cleared.

But his swashbuckling antics gave a boost to Egyptian archaeology, with fundraising efforts and international tours of King Tut artifacts generating tens of millions of dollars.

His name is still associated with many of Egypt's most famous digs, including grand discoveries such as the Valley of the Golden Mummies in Bahariya Oasis in 1999 and the mummy of Queen Hatshepsut almost a decade later. He has long campaigned to bring home ancient artifacts spirited out of Egypt during colonial times, and once said he had managed to recover 5,000 pieces.

Zahi was an outspoken supporter of his longtime patron Mubarak, and has praised President Abdel-Fattah el-Sissi, who led the military overthrow of an Islamist president in 2013 and was elected last year. But that support has not translated into an official role other than promotional work for tourism in Egypt.

When asked about the state of antiquities today, Hawass says things have improved over the last year, carefully avoiding direct criticism of anyone in particular. But he points out that there is still theft, mismanagement and corruption - noting two incidents in recent months in which artifacts were found to have been replaced with replicas.

"This did not happen before," he said, adding that in order to prevent such abuses, "we need to restore the people before we restore antiquities," by boosting employees' salaries and providing them with health insurance.

Hawass insisted during the interview that he is focused on writing and has no desire to return to his previous position as head of the country's antiquities. "People come here every day and ask me to come back... I think I did my duty, and it's time for me now to publish all that I discovered."

But at the glitzy launch of his latest book earlier this month at a ceremony at a five-star hotel attended by hundreds of Cairo's elite, he was less guarded about possible ambitions to return.

"Maybe," he said, as a torrent of fans pressed to take photos next to him.

Author: Brian Rohan | Source: The Associated Press [June 30, 2015]

VIA Jeremy Wagner's Armageddon Chord

Stolen-art expert Chris Marinello, director of Art Recovery International, said he has been shown photographs of items being offered from Syria that were "clearly looted right out of the ground".

"You could still see dirt on some of these objects," he told AFP.

They included cylinder seals, Roman bottles and vases, although Marinello said it was unclear whether the items were still in Syria, were in transit or had arrived in the key markets of Europe and the United States.

Concerns about looting during the Syrian war have increased following the advance of the Islamic State group through parts of Syria and Iraq, and recent propaganda videos showing their destruction of ancient sites such as Nimrud.

The UN Security Council in February demanded UN states act to stop the trade in cultural property from those two countries, amid warnings that they represented a significant source of funding for the militant group.

Experts say it is impossible to put a value on antiquities looted from Syria, which has been home to many civilisations through the millennia, from the Canaanites to the Ottomans.

The London-based International Association of Dealers in Ancient Art (IADAA) estimates the entire legitimate antiquities market in 2013 was worth between 150 and 200 million euros ($160-215 million).

Marinello said reputable dealers are "being very careful not to touch anything that could remotely be part of this recent wave of looting".

But Hermann Parzinger, an archaeologist and president of the Germany-based Prussian Cultural Heritage Foundation, said there was an "enormous market" from private buyers.

He warned that the cultural costs were huge, telling AFP: "The context which is so important to reconstruct the history of these civilisations is completely destroyed."    

Italy has proposed that world heritage body UNESCO create a military taskforce to protect cultural sites in war zones, but many experts believe little can be done to stop the current destruction.

Instead, they are forced to wait until the conflict ends and watch in horror as priceless historic sites are destroyed and the spoils gradually emerge onto the market.

Vernon Rapley, a former head of the art and antiquities squad at London's Metropolitan Police, expects many Syrian items to be held back to avoid flooding the market, as occurred after the US-led invasions of Iraq and Afghanistan.

The looted artefacts were likely to be "hauled up in warehouses either in the country or near the country, and only linked to the art trade in small pieces and at a later stage", he told AFP.

Stephane Thefo, who leads an Interpol unit dedicated to fighting the illegal trafficking of cultural goods, agreed that many items may disappear for years -- but insisted that tackling the trade was the best way to combat looting.

The French policeman would like to see tougher national laws on trafficking of cultural goods, something Germany is currently considering.

"We have to act by seeking to narrow markets for the illicit trade, hoping that by curbing the demand, the supply would eventually decrease," Thefo said.

Identifying looted objects is no easy task, however, not least because cultural crime is rarely a police priority.

The law puts the onus on the authorities to prove an item is illegal and a long delay in an artefact being sold, or multiple owners, make it hard to establish provenance.

At a conference at the V&A museum in London this week on the destruction of cultural property in conflict areas in Iraq and Syria, Mali, Libya and Yemen, archaeologists stressed the need for proper inventories of heritage sites.

They noted that objects that have been photographed and digitally catalogued are more likely to be recovered.

Interpol is currently building a database of stolen objects, and James Ede, a London dealer and IADAA board member, urged cultural bodies to share their information with dealers.

"This material will necessarily surface on the open market sooner or later. The challenge therefore is to identify it and where possible to return it when it is safe to do so," he said.

Author: Alice Ritchie | Source: AFP [April 17, 2015]

Working at the Graeco-Roman temple and village site of Hosn Niha, high in the central Biqa' Valley of Lebanon, the team led by Dr Paul Newson (Department of History and Archaeology, American University of Beirut) and Dr Ruth Young (School of Archaeology and Ancient History, University of Leicester) have described the value of exploring conflict damaged sites in the archaeological journal Antiquity.

Dr Newson said: "Shocking recent footage showing apparent damage to world heritage and archaeological sites at Hatra and Nimrud in Iraq include scenes of the bulldozing of irreplaceable buildings. Aerial photographs of living ancient cities such as Homs and Aleppo in Syria taken before the war have been compared to images from the last few months, and the extent of damage to houses, mosques, and heritage structures is brutal and widespread.

"Of course the human cost in any conflict is the first and highest priority; however, archaeology and heritage are extremely vulnerable to attack and damage during conflict and conflict continues to inflict damage on numerous sites, both large and small, around the world today."

Dr Young added: "Rather than simply ignoring sites that have been badly damaged by conflict, we have taken on the challenge of investigating a site previously considered too badly damaged by conflict to warrant systematic archaeological investigation.

"Our research at the Graeco-Roman temple and village site of Hosn Niha in Lebanon has shown that with the right methods and questions, it is possible to obtain a great deal of original and important information from sites that have suffered badly through conflict.

"Using a range of up-to-date surface survey methods we were able to answer some important questions about the site. The first of these was an accurate assessment of site damage, what had been done and where, and the effects of various actions, be it bulldozing or clandestine looting of the site. Through this exercise, we learned that bulldozing and other damage actions had effectively erased the heart of the settlement, but significantly sized sections of settlement beyond remained quite well preserved. From recording and collecting surface finds from across the settlement area as a whole we were able to begin to understand both the morphology and development history of the settlement."

The authors suggest the settlement was firmly established by the 1st century CE with a dense core area and more dispersed courtyard dwellings on the periphery. By the early Islamic period the settlement appears less robust and permanent occupation may have ended for a time. Surprisingly, they also recovered some evidence for an early medieval re-occupation of the site, perhaps a fortified farmhouse. They acknowledge the initial results are preliminary and that more research and analysis of the results is on-going.

Hosn Niha, along with many other sites in Lebanon was severely damaged as a consequence of decades of civil war and the associated unruliness and accelerated looting that went with this.

The authors state: "Sites that have been badly damaged by various causes may be disregarded by professionals who consider that their archaeological or heritage potential has been too badly affected to warrant any investigation. Instead, as demonstrated by the Hosn Niha project, the opposite should become automatic: archaeologists should view conflict-damaged sites as opportunities to gain information and explore sites and regions with new agendas.

"Conflict is impacting the lives of many millions of people, and the archaeology and heritage of many nations. All conflict-damaged archaeology and heritage can play a vital role as resources to help re-build damaged communities and offer hope of employment and reintegration to those impacted by war. Being able to offer ways of thinking of how to deal with damaged sites, gain as much information from them, and consider them a valuable resource rather than an inevitable casualty of war is critical to moving forward, and regaining control over land and identity."

The Central Biqa' Archaeological Project is based at the American University of Beirut, Lebanon (AUB). The project has been supported by the Department of Antiquities, Lebanon and the University of Leicester, and is funded by the American University of Beirut through its University Research Board (URB).

Source: University of Leicester [May 01, 2015]

"The fact of the matter is that physical weathering, deterioration and damage to marble and other architectural stones present a serious problem for the preservation of sculptures, monuments and buildings," said Luzin.

David: A sculpture made from Carrara marble

Before its relocation in Galleria dell'Accademia, David, the "Giant", was  symbolically displayed in the political heart of Renaissance Florence, the Piazza della Signoria. Over a period of almost three centuries, the statue was exposed to the action of weather, historical events and inappropriate restoration works. These coexisting factors prevented the appropriate preservation of a masterpiece that, already at the time of its creation, was regarded as challenging by many artists—due to the presence of taroli, imperfections of the marble.

Today David is in a highly stable condition but still presents a contemporary scientific challenge from a conservation point of view. Researchers are monitoring marble cracking of the 4.3 metre David with a system of sensors that record vibrations, rotations and environmental conditions. [1] Conservationists monitor the sculpture because it is thought that even small mechanical impacts and small temperature variations are detrimental to marble.

Geologically marble is formed by the alteration (metamorphism) of limestone under high temperature and high pressure. The metamorphic process causes a complete recrystallization of the original rock into an interlocking mosaic of calcite and/or dolomite crystals with very specific mechanical behaviour.

Carrara marble, the stone used by Michaelangelo in sculpting David, was  one of the most popular types of marble in the world because of its beauty and high lustre. For centuries it was quarried from the Apuan Alps in Tuscan Italy.

The popularity of Carrara marble was due in part to the wide range of varieties available (statuary, flowered, veined, brecciated, bardiglio, etc.), to the constancy of its quality, scarcity of defects, large size of single blocks that could be extracted, excellent physical and mechanical characteristics, and long-lasting strength and beauty." [2]        

However the suitability of marble from the Carrara area of Italy for buildings and artworks has been questioned because of 'spectacular bowing behaviour' of marble slabs on numerous modern buildings including the Amoco building in Chicago and the Grand Arche de la Defense in Paris.

A study of Carrara marble by a group of investigators led by Luzin have confirmed that microstresses caused by temperature variation and the thermo-mechanical properties of the marble itself help explain the deterioration. Co-investigators are Dimitry Nikolayev of the Joint Institute for Nuclear Research in Moscow and Siegfried Siegesmund of theUniversity of Göttingen in Germany.

The investigators were interested in the different environmental conditions that influence marble deterioration and had to reproduce factors known to be important to the process of deterioration. Temperature effects were among those known to cause mechanical stress.

Luzin and collaborators used non-destructive neutron diffraction to confirm that thermally-induced microstress from a single thermal exposure can cause microcracking in the marble and therefore be responsible for weathering and deterioration of the marble [3].

"Neutron diffraction is a useful tool and a non-destructive method to investigate the texture, phase composition and spatial and orientation dependence of strain in a bulk marble sample," explained Luzin.

Although the commercial use of statue-grade Carrara marble is no longer allowed, an exception is made for restoration works and scientific research. Freshly cut marble from a quarry in Carrara, Italy was used for the testing.

"Although not easy, stress measurements in geological materials, such as marble are feasible and provide valuable characterisation," said Luzin.

He explained that the challenges are related to the need to measure two phases with sufficient accuracy. It is necessary to use a large gauge volume because of the coarse grain microstructure and longer measurement time in order to capture very delicate effects of microstress in calcite and dolomite—which are also very weak neutron scatterers.

The neutron high resolution powder diffractomter, Echidna, determined the amount of each phase in two cube samples of marble. In one sample, the dolomite comprised a volume fraction of 28 per cent  and in the other it was 18 per cent, which is not surprising given the highly visible non-uniform distribution of dolomite in the marble.

The Kowari diffractometer was used to produce pole figures, graphical representations that   capture the preferred crystallographic orientation (texture) of the calcite and dolomite. "A weak crystallographic texture in both phases was confirmed in the neutron diffraction experiment," said Luzin.

The stress experiments were carried out using the Kowari diffractometer in a specially designed sample environment unit in order to control temperature. "We took measurements of the calcite and dolomite phases at room temperature and at 80° C."

Using a technique to measure the stiffness of an elastic material, the researchers were able to accurately measure the accumulated damage after a thermal exposure that could be unambiguously attributed to microcracking.

"Evidently, a significant change in microstress caused micro-cracking in the marble sample due to temperature changes," said Luzin.

Although exaggerated temperature might not be relevant to real daily and seasonal temperature variation, smaller, more numerous natural temperature variations during long periods of time might result in even greater accumulated damage. There are historical examples of sculpture which deteriorated into a pulverised state after a century of exposure to temperature variation.

"We have a responsibility to try and preserve great works of art and architecture with non-destructive techniques and nuclear technologies give us the means to do this. Hopefully David and other important monuments can be preserved in the centuries to come," said Luzin.

References

[1] Giovanni Pascale, Filippo Bastianini, Roberto Carli, "Monitoring Marble cracking in the David by Michaelangelo Proc. Art'11, 10th Int. Conf. on Non-Destructive Investigations and microanalysis for the diagnostics and conservation of cultural and environmental heritage, Florence, April 13th-15th, 2011, NDT44

[2] Stephano Merlino Paolo Orlandi "Carraraite and zaccagnaite, two new minerals from the Carrara marble quarries: their chemical compositions, physical properties, and structural features" American Mineralogist, Volume 86, pages 1293–1301

[3] 310.4028/www.scientific.net/MSF.777.148. Luzin, V; Nikolayev, D and Siegesmund, S, Temperature Induced Internal Stress in Carrara Marble, Mater. Sci. Forum 777, 148-154 (2014)

Source: Australian Nuclear Science and Technology Organisation (ANSTO) [June 22, 2015]

New Interior of the Bank

As the sector of financial services is very abstract to most people, the main challenge with regards to the contents was to develop innovative and exciting narrative formats that create a tangible experience. Design wise we wanted to avoid permanent spatial logos that dominate and frame the space with simple 3D extrusion, thus, we had to find a subtle though still clearly recognisable way of translating it into spatial architecture.

As part of the redesign of their corporate headquarters, Deutsche Bank took the opportunity to create a permanent brand space. The brief was to shape an environment where their well-known logo designed by Anton Stankowski is embodied within the space and where customers, employees and external visitors would be able to experience and to connect with the Deutsche Bank brand. All relevant aspects of the company, beginning with its history and extending to its various business divisions and their contributions to society today should be communicated to the visitor.

Using the concept of anamorphosis abstract architectural structures have been designed to only reveal themselves as the logo when viewed from specific sweet spots. Parts of the logo sculptures are formed by incorporated media installations that allow the visitor to physically experience and interact with the brand. One of the sculptures is touch-sensitive – here networked information bits can be explored. The second reacts to the visitor, whose physical motions trigger the display of statistic data. The third, a kinetic sculpture communicates the brand values precision and passion in a metaphorical, emotional way.

Since the opening on April 6, more than 20,000 visitors came to see the Brand Space. Board members use the space to hold receptions, functions such as HR are using it for employee activities, bank managers invite partners and clients, and the press department welcomes journalists in the Brand Space. Moreover, marketeers from international companies come to experience the space, as it’s the first brand space for a financial services brand.

Advertiser/Client: DEUTSCHE BANK;
Entrant Company: ART+COM Berlin, GERMANY;
DM/Advertising Agency: ART+COM Berlin, GERMANY;
2nd DM/Advertising Agency: COORDINATION Berlin, GERMANY;
Creative Director: Joachim Sauter (ART+COM);
Creative Director: Jochen Gringmuth (Coordination);
Project Manager: Gert Monath (ART+COM);
Art Director: Eva Offenberg (ART+COM);
Art Director: Petra Trefzger (ART+COM);
Architect: Jeanette Riedel (Coordination);
Head Of Media Technology: Björn Seeger (ART+COM);
Designer: Arne Michel (ART+COM);
Computational Designer: Christian Riekoff (ART+COM);
Head Of Development: Sebastian Heymann (ART+COM).

Deutsche Bank, Frankfurt am Main

VIA «Brand Space of the Deutsche Bank»