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    <title type="text">Culture Making Articles items tagged computers</title>
    <subtitle type="text">Culture Making Articles:Writing on Christianity and culture from Andy Crouch</subtitle>
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    <updated>2025-01-03T22:54:05Z</updated>
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    <entry>
      <title>Re&#45;kindling, by Shawn Smith</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/re-kindling_by_shawn_smith" />
      <id>tag:culture-makers.com,2025:author/1.1929</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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					<b>Nate: </b><em>?Texas artist Shawn Smith creates sculptures inspired by low-resolution computer imagery, made from painted plywood rods. Fire and animals are his most common subjects.?</em><br />
		
		<a href="http://www.shawnsmithart.com/images.htm"><img src="http://culture-making.com/media/Rekindling.jpg" alt="image" /></a><hr />
<div class="author" style="font-size: -1">"<a href="http://www.shawnsmithart.com/images.htm">Re-kindling</a>," plywood, ink, spray paint, and acrylic paint, by <a href="http://www.shawnsmithart.com/images.htm">Shawn Smith</a>, 2008 :: via <a href="http://waxy.org/links/">Waxy.org</a></div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>The market and the story</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/the_market_and_the_story" />
      <id>tag:culture-makers.com,2025:author/1.1901</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
      </author>

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					<b>Nate: </b><em>?I'm fascinated, more than troubled, by the interplay between the narrative impulse and theoretically rational pursuits. It's why I love science (and the history of science) — you find some data, propose a story to fit it, then find some more and see if the story holds. Of course with the stock market, things move at a pace such that the half-life of a story is often rather short.?</em><br />
		
		<p>The point is that 60% of stock trades are being done by machines, operating according to a set of algorithms and inputs, which (I’m pretty sure) do not include natural language parsing of the news.</p><p>Yet whenever the stock market makes a move, the financial press constructs post hoc narratives that explain what’s happened as a reaction to the news of the day, as if the news is what was was motivating the trades. For example, here’s Reuters confidently explaining today’s nose-dive in terms of various events that made headlines, none of which are a computer glitch. (15 minutes later, Reuters tweeted the alternate explanation.)</p><p>This fascinates me. Most stock market trading is being done by machines, but the stories we tell ourselves are about humans responding to new information. You can’t interview an algorithm about why it made a certain choice. In the absence of that knowledge, it seems clear that the financial press just makes educated guesses and acts as if correlation is causation. It’s speculative fiction.</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://quietbabylon.com/2010/glitch-trading/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed:+QuietBabylon+(Quiet+Babylon)&utm_content=Google+Reader">Glitch Trading</a>," by Tim Maly, <a href="http://quietbabylon.com/2010/glitch-trading/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed:+QuietBabylon+(Quiet+Babylon)&utm_content=Google+Reader">Quiet Babylon</a>, 8 May 2010</div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Lander, by Nick Gentry</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/lander_by_nick_gentry" />
      <id>tag:culture-makers.com,2025:author/1.1809</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
      </author>

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					<b>Nate: </b><em>?This is my favorite from a series of cool floppy disk paintings by UK artist Nick Gentry. The original can be yours for a mere five hundred quid, shipping included.?</em><br />
		
		<a href="http://www.nickgentry.co.uk/"><img src="http://culture-making.com/media/4341148920_4c0d47124e_b-660x880.jpg" alt="image" /></a><hr />
<div class="author" style="font-size: -1">"<a href="http://www.nickgentry.co.uk/">Lander</a>," mixed paint and used computer parts (2010), by <a href="http://www.nickgentry.co.uk/">Nick Gentry</a> :: via <a href="http://www.wired.com/gadgetlab/2010/02/art-floppy-disks/">Wired.com Gadget Lab</a></div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Consuming like it&#8217;s 2007</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/consuming_like_its_2007" />
      <id>tag:culture-makers.com,2025:author/1.1698</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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					<b>Nate: </b><em>?Committing to consuming only two-year-old media on two-year-old tech has an advantage beyond reduced prices: I'm guessing there would be a quite helpful filtering effect. A discipline of consuming the not-so-new is still, of course, a discipline of consumption—probably not the best thing to order <i>all</i> one's cultural interactions around.?</em><br />
		
		<p>It seems to me that the best way to instantly raise your standard of living is to live in the past. If you subsist entirely on two-year-old entertainment, and the corresponding two-year-old technology used to power it, you’re cutting your fun budget in half, freeing up that money for more exciting expenditures like parking meters and postage.</p>
<p>The problem is that it’s hard living out of sync with the world around you. Just ask the Amish or Bill Cosby. </p><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.wired.com/underwire/2009/10/alt-text-cult/">New Cult Spares Members From Early Adopters’ Pain</a>," by Lore Sjoburg, <a href="http://www.wired.com/underwire/2009/10/alt-text-cult/">Wired.com/Underwire</a>, 23 October 2009 :: via <a href="http://kottke.org/09/10/get-ahead-by-living-in-the-past">kottke.org</a></div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Multi&#45;touching</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/multi-touching" />
      <id>tag:culture-makers.com,2025:author/1.1622</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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			<b>Nate: </b><em>?I wound up on this product's page in the iPhone App Store on a whim—wanting to see what exactly a $149.99 application was doing in a 99-cent ecosystem. I delved into the customer reviews (one of the rising literary forms of our era) and realized that: a) nearly every reviewer was giving the product five stars; b) nobody was mentioning the price except to say how cheap it was, and c) this may have been the first and only time the App Store has made me want to smile and to cry at the same time.?</em><br />

<div class="author" style="font-size: -1">customer review for <a href="http://www.proloquo2go.com/">Proloquo2Go</a> (<a href="
http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewSoftware?id=308368164&mt=8">itunes store link</a>), 4 August 2009 :: see also "<a href="http://www.nytimes.com/2009/09/15/technology/15speech.html?hpw">Insurers Fight Speech-Impairment Remedy</a>," by Ashlee Vance, <a href="http://www.nytimes.com/2009/09/15/technology/15speech.html?hpw"><i>The New York Times</i></a>, 14 September 2009</div><hr />		
		<div style="float:right; padding:15px 5px 5px 5px"><img src="http://culture-making.com/media/iPhone_Portrait_0708_227-dc896.jpg" alt="image"></div><p>????? My daughter is 23 and has been using augmentative communication devices since she was a little girl. We have used devices from several different companies, so we are pretty experienced. This is, by far, the easiest to program. There are lots of preprogrammed categories, so it is possible to start communicating right away, without doing anything other than downloading it. ... After years of dragging around a 4–7 pound communication device that looks sort of &#8216;clinical&#8217;, it&#8217;s really cool to have a small iPod touch and a speaker (all of 15 ounces!) to bring with us. ... My daughter has enough things to separate her from her peers. It&#8217;s nice to have something for a change that&#8217;s the same as other people are using. Can&#8217;t say enough good about it!!!</p>
		
	
			
			
			

		
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    </entry>    <entry>
      <title>Moby Dick, a book about computers</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/moby_dick_a_book_about_computers" />
      <id>tag:culture-makers.com,2025:author/1.1606</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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					<b>Nate: </b><em>?I'm just slightly torn about this expose of machine-miscategorizations in many titles on Google Books. On the one hand, of course the errors ought to be fixed, and the folks at Google are certainly on the case. Honestly, though, I find the pattern of mistakes to be not just charming, but possibility-expanding: miscategorizing Jane Eyre in "Architecture" or "Antiques &amp; Collectibles" offers up a bit of the bookstore-browsing serendipity that we were worried would be lost once the direct-search online catalog took over. If nothing else the mistakes have got me pondering: <a href="http://books.google.com/books?id=D9qpNAAACAAJ&dq=intitle:mosaic+intitle:navigator&lr=&as_drrb_is=q&as_minm_is=0&as_miny_is=&as_maxm_is=0&as_maxy_is=&as_brr=0&ei=48meSpTlLZqEkATQ_aSGAQ">what sort of book about web browsers</a> would Sigmund Freud have written??</em><br />
		
		<p>Then there are the classification errors. William Dwight Whitney&#8217;s 1891 Century <i>Dictionary</i> is classified as &#8220;Family &amp; Relationships,&#8221; along with Mencken&#8217;s <i>The American Language</i>. A French edition of <i>Hamlet</i> and a Japanese edition of <i>Madame Bovary</i> both classified as &#8220;Antiques &amp; Collectibles.&#8221; An edition of <i>Moby Dick</i> is classed under &#8220;Computers&#8221;: a biography of Mae West classified as &#8220;Religion&#8221;; <i>The Cat Lover&#8217;s Book of Fascinating Facts</i> falls under &#8220;Technology &amp; Engineering.&#8221; A 1975 reprint of a classic topology text is &#8220;Didactic Poetry&#8221;; the medievalist journal <i>Speculum</i> is classified &#8220;Health &amp; Fitness.&#8221;</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://languagelog.ldc.upenn.edu/nll/?p=1701">Google Books: A Metadata Train Wreck</a>," by Geoff Nunberg, <a href="http://languagelog.ldc.upenn.edu/nll/?p=1701">Language Log</a>, 29 August 2009</div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Looks like work</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/looks_like_work" />
      <id>tag:culture-makers.com,2025:author/1.1469</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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					<b>Nate: </b><em>?An astute, amusing overview of the various visual storytelling strategies and workarounds filmmakers have come up with to handle visually boring hi-tech interactions. It seems odd having to coax 24's drama out of actors going mano-a-mano with a speakerphone, but much cinematic dialogue, at least when cutting from one face to another, has always been filmed in a one-sided way, and spliced together only afterwards.?</em><br />
		
		<p>Anyone who has followed fantasy football or an eBay auction at the office — and gotten away with it — knows that many of our everyday activities now look like work. Typing and scrolling and peering at a computer, you could be doing anything: e-mail, accounting, short-selling, browsing porn, buying uranium, getting divorced.</p><p>This odd accident of life online — the increasing visual homogeneity of our behaviors — may be a boon to procrastinators, hobbyists and multitaskers. But it has some victims. I don’t mean bosses concerned with productivity (who cares about them?). The crowd truly stymied by the merging of human activities are filmmakers. If fighting now looks like making up now looks like booking travel, as it does when people conduct their affairs online, how do film directors make human action both dramatic to viewers and roughly true to life?</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.nytimes.com/2009/05/31/magazine/31wwln-medium-t.html?_r=1&pagewanted=print">Lights! Camera! Inaction!</a>," by Virginia Heffernan, <a href="http://www.nytimes.com/2009/05/31/magazine/31wwln-medium-t.html?_r=1&pagewanted=print"><i>The New York Times Magazine</i></a>, 29 May 2009</div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Auto&#45;Tune and the cyborg embrace</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/auto-tune_and_the_cyborg_embrace" />
      <id>tag:culture-makers.com,2025:author/1.1423</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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					<b>Nate: </b><em>?I think the growing global popularity of more overt uses of Auto-Tune in music production is actually a good thing, at least to a point, in that it isn't using the computerized pitch correction to create a perfect but still "real" version of a pop performance (as real as the women on the covers of glossy magazines); instead, it's embracing the artificiality of the process to create something new. A few years back, I heard a great song by a British musician, whose name escapes me alas, who had trained his voice to mimic the Auto-Tune effect naturally. And why not? It sounded cool.?</em><br />
		
		<p align="center"><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/z_4AxzvhCPY&amp;hl=en&amp;fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/z_4AxzvhCPY&amp;hl=en&amp;fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></p><p>Vocal runs that would sound bizarre without Auto-Tune have become necessary to create some now-common effects. The plug-in facilitates something analogous to a human-machine duet. Raskin has recorded with countless major vocalists, including best-selling rapper Lil Wayne. He says that, ‘99 per cent of all pop music has corrective Auto-Tuning.’ But when artists flamboyantly foreground its use, they sing and simultaneously listen to themselves being processed. Lil Wayne records with Auto-Tune on – no untreated vocal version exists. In an era of powerful computers that allow one to audition all manner of effects on vocals after the recording session, recording direct with Auto-Tune means full commitment. There is no longer an original ‘naked’ version. This is a cyborg embrace. In <i>Cyborg Manifesto</i> (1991), Donna Haraway notes that ‘the relation between organism and machine has been a border war.’ Auto-Tune’s creative deployment is fully compatible with her ‘argument for pleasure in the confusion of boundaries and for responsibility in their construction.’</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.frieze.com/issue/article/pitch_perfect/">Pitch Perfect</a>," by Jace Clayton, <a href="http://www.frieze.com/issue/article/pitch_perfect/">Frieze Magazine</a>, May 2009 :: via <a href="http://ideas.blogs.nytimes.com/2009/05/06/in-praise-of-auto-tune/">NYTimes.com Idea of the Day</a> video via <a href="http://kottke.org/09/04/auto-tune">kottke.org</a></div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>The stream&#45;of&#45;consciousness discipline</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/the_stream_of_consciousness_discipline" />
      <id>tag:culture-makers.com,2025:author/1.1138</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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			<b><p>Nate</p>: </b><em>?The irony of this particular lament is the the guiding metaphor for reading text on computer screens is, in fact, the scroll. So it's really simply just a matter of making one's self write without editing.?</em><br />

<div class="author" style="font-size: -1">"<a href="http://ideas.blogs.nytimes.com/2008/12/08/computer-beats-kerouac-man/">Computer Beats Kerouac, Man</a>," a <a href="http://ideas.blogs.nytimes.com/2008/12/08/computer-beats-kerouac-man/">NYTimes.com Ideas blog</a> post, 8 December 2008 :: scroll video from <a href="http://www.youtube.com/watch?v=WmyS1EEVFbs">WBUR</a></div><hr />		
		<p align="center"><object width="420" height="340"><param name="movie" value="http://www.youtube.com/v/WmyS1EEVFbs&amp;hl=en&amp;fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/WmyS1EEVFbs&amp;hl=en&amp;fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="420" height="340"></embed></object></p><p><b>Literature |</b> How would Jack Kerouac cope with Microsoft Word? Not very well, a blogger <a href="http://www.guardian.co.uk/books/booksblog/2008/dec/02/jack-kerouac-on-the-road-manuscript">imagines</a>, for “the birth of the computer has led, largely, to the death of the genuine stream of consciousness novel.” It “allows us to delete, shift sections around and continually edit, in the way that Kerouac, writing on his lengthy scrolls [for “On the Road&#8221;], could not.” [<a href="http://www.guardian.co.uk/books/booksblog/2008/dec/02/jack-kerouac-on-the-road-manuscript">Guardian</a>]
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    </entry>    <entry>
      <title>Network ? community</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/network_community" />
      <id>tag:culture-makers.com,2025:author/1.1104</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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					<b><p>Nate</p>: </b><em>?Do ever-more-accurate computerized recommendation engines make culture more diverse or just more diverse-seeming? Do they bring people together or just seem to? As with most cool things once you think about them a bit more, it depends.?</em><br />
		
		<p align="center"><b>VII</b></p><p>Recommender systems can increase the experience of diversity. By drawing attention to items individuals have not found by themselves, they can lead to new experiences. But individual diversity is different from overall diversity. Some systems can increase both individual and overall diversity. Other systems increase individual diversity but, at the same time, prompt consumers to be increasingly similar to each other. Their selections then come from an increasingly narrow range of items&#8230;.<p align="center"><b>XI</b></p><p>The word “community” is widely used in conjunction with recommender systems, but they do little to build communities. Their use is essentially an individual, isolated act. Groups and networks are as important in the creation and experience of culture as individuals. Recommender systems will play a role in how culture is experienced, but they are not necessarily a strong force pushing us either towards or away from a healthy culture.</p><p align="center"><b>XII</b></p><p>Recommender systems only filter culture, in various ways; the point is to create environments in which culture can prosper.
</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://whimsley.typepad.com/whimsley/2008/11/theses-on-netflix.html">Theses on Netflix</a>," by Tom Slee, <a href="http://whimsley.typepad.com/whimsley/2008/11/theses-on-netflix.html">Whimsley</a>, 24 November 2008 :: thanks Koranteng</div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Unix, five hundred years on</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/unix_five_hundred_years_on" />
      <id>tag:culture-makers.com,2025:author/1.640</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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					<b><p>Nate</p>: </b><em>?We simply can't know which of our cultural offerings will be lasting, and which will quickly fade away. I think, actually, there's something good to be found in that tension, allowing us to work and create with foresight, care and seriousness, but also with a humble lightness, a willingness to let go.?</em><br />
		
		<p>Very few infrastructure details begin with the idea that they will last 1,000 years. Strange as it sounds it is very likely that some basic software running inside computers  today will be running in computers 500 years from now. We see that conservation in cells, where very primitive metabolic cycles present in archaic cells are still operating in cells today. All the fancy “recent” improvements run upon them. One could imagine that in 5 centuries, parts of unix will be found operating in servers.  But it is clear that no one would be more surprised than the creators of unix. Most creations, including software, are written in less than optimal conditions. Creators always have the idea that they will go back later to fix the many known imperfections. Of course they are never fixed because the shipped rev is “good enough” — and so the temporary good enough becomes a permanent good enough.</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://blog.longnow.org/2008/08/13/temporary-becomes-permanent/">Temporary Becomes Permanent</a>," by Kevin Kelly, <a href="http://blog.longnow.org/2008/08/13/temporary-becomes-permanent/">The Long Now Blog</a>, 13 August 2008</div>		
	
			
			
			

		
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    </entry>    <entry>
      <title>Skyscrapers not to scale</title>
      <link rel="alternate" type="text/html" href="https://culture-making.com/post/skyscrapers_not_to_scale" />
      <id>tag:culture-makers.com,2025:author/1.581</id>
      <published>2025-01-02T22:53:00Z</published>
      <updated>2025-01-03T22:54:05Z</updated>
      <author>
            <name>Andy Crouch</name>
            <email>andy@culture-making.com</email>
            
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			<b><p>Nate</p>: </b><em>?Of course in this rendering, Asia -- where the real population-concentration action's happening -- is just a bunch of spikes on the horizon.?</em><br />

<div class="author" style="font-size: -1">a <a href="http://blog.longnow.org/2008/07/13/data-globes/">post</a> by Alexander Ross, <a href="http://blog.longnow.org/">The Long Now Blog</a>, 13 July 2008</div><hr />		
		<p align="center"><a href="http://www.flickr.com/photos/arenamontanus/375127836/in/set-72157594509798466/"><img src="http://www.culture-making.com/media/375127836_24ef15f878_420.jpg"></a></p>
<p>I recently came across these amazing data driven globes from <a href="http://gecon.yale.edu/">Yale’s G-Econ group</a>.  The one above represents population density, but their tool allows for <a href="http://www.flickr.com/photos/arenamontanus/sets/72157594509798466/">all kinds of data to drive the topology</a> from average rainfall to distance from coastlines.
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