About - The Pudding The Pudding explains ideas debated in culture with visual essays. By wielding original datasets, primary research, and interactivity, we try to thoroughly explore complex topics. Visual essays are an emerging form of journalism. At The Pudding, our goal is to advance public discourse and avoid media echo chambers. Frequently Asked Questions Here at The Pudding, we get asked our fair share of questions. How we do it We're six full-time journalist-engineers who operate as a collective rather than hierarchical team. Much of our work is done autonomously, with individuals choosing their essays and owning the whole story, from research to code. One luxury that separates us from traditional newsrooms is our approach to publishing urgency. So we experiment, a lot. We're also trying to advance the craft. Keeping the lights on The Pudding is financially viable, bootstrapped, and profitable (intentionally). There are no ads. Want a full rundown of the relationship between The Pudding and Polygraph?
The Ghost Shrimp | Image of the Week Image of the Week #53, July 30th, 2012: From: Hitchhiking jellyfish, gonad-loving parasites and the skeleton shrimp by Becky Crew at Running Ponies. Source: Alexander Semenov The alien creatures in movies like Prometheus still pale next to the dreamlike unpredictability of actual ocean-biodiversity. Caprella septentrionalis, seen here in a photo from the amazing biologist and photographer Alexander Semenov, looks impossible, menacing and whimsical all at once. ” …sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere…,” Huysmans, describing art by Symbolist Odilon Redon.
Sept conseils pour ne pas se faire avoir par les représentations graphiques Peut-on avoir confiance dans un « camembert » ? Un axe vertical doit-il forcément commencer à zéro ? A quel point une carte peut-elle être trompeuse ? LE MONDE | • Mis à jour le | Par Mathilde Damgé La grève des employés de la SNCF est aussi une bataille de communication, dans laquelle chaque élément compte. 1. Ces bâtons, qu’on appelle aussi histogrammes, sont censés représenter des rapports de grandeur. Il aurait fallu privilégier une représentation s’appuyant sur un axe des ordonnées à zéro, comme ici : Ce n’est par ailleurs pas la première fois que le service de communication de la SNCF joue avec la notion d’échelle pour minimiser le taux de participation des grévistes : un communiqué de presse diffusé le 4 avril utilisait les mêmes méthodes aux mêmes fins. Lire aussi cet autre exemple : Air France : pourquoi il faut se méfier des graphiques 2. Sauf que l’axe des ordonnées ne commence pas à zéro, ce qui donne à la « pente » une courbe beaucoup plus forte qu’elle ne l’est en réalité.
Deep Green Cuts: Reading Tree Rings - Media Aside from the gentle rustling of leaves in the breeze or the creaking of a bough in a winter gale, a tree’s character may best be described as “the strong and silent type”—but, as so often is the case with such personalities, they have the most hauntingly beautiful stories to tell. For nearly a century, dendrochronologists have practiced reading tree rings for clues about the lives of trees. And though the field of study has helped shed light on historic growth cycles for scientists, it’s all been rather dry and clinical. But now, thanks to a special turntable designed to read tree rings as if they were tracks on an LP, a tree’s biography can be heard like its very own discography. German artist Bartholomäus Traubeck recently debuted a record player he developed that is capable of digitally reading tree slices and translating them into moving piano music.
Série graphique Ce kit pédagogique propose aux professeurs de collège de sensibiliser leurs élèves aux créations de design graphique. Il permet de découvrir l’influence du design graphique sur l’environnement visuel et propose une sensibilisation à la typographie, à la mise en page ou aux relations sémantiques entre mots et images.Souvent confrontés à des choix graphiques lors de la mise en page de leurs travaux scolaires, du choix d'un caractère typographique, d'une image ou d'une couleur, les élèves approchent et utilisent les notions clés du design graphique souvent sans en avoir conscience. Le kit contient des éléments inducteurs de manipulations et des éléments de connaissances, notamment sur l’évolution du design graphique ou sur les problématiques soulevées par l’accumulation des signes. Les élèves peuvent, grâce à diverses fiches, outils et autres dispositifs, découvrir et s’essayer à la création d’une typographie, d’un visuel et d’éléments faisant appel au design graphique.
How Does the Brain Perceive Art? | Wired Science In 1995, the Metropolitan Museum of Art mounted a controversial exhibition entitled “Rembrandt/Not Rembrandt,” in which works considered to be genuine Rembrandts were displayed alongside those done by his students and admirers. (These lesser paintings are often dismissed as “the school of Rembrandt.”) The point of the exhibition was to reveal the fine line between genius and imitation, authenticity and fakery. A hundred years ago, about 700 works were attributed to Rembrandt. Over the course of the 20th century, that number declined by 50 percent, as critics and historians began searching for those tell-tale marks that distinguish the old master from his young pupils. What accounts for this staggering difference in value? The second possibility is that our aesthetic judgements are really complicated. To test these competing hypotheses, a team of researchers at Oxford University, including Mengfei Huang, Holly Bridge, Martin Kemp and Andrew Parker, set up a simple experiment.