Classic Furniture Warehouse And Showroom

Classic Furniture Warehouse And Showroom

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05:25

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>> andrew blauvelt: it's always great, twogreat friends of the walker christopher monkhousewho many of you will know from the mia is now the eloise martin curator and chairmanof the department of european decorative arts of the art institute of chicago;which is actually a shorter title than your previous title.you're making progress. and he was actually a contributorto the exhibition catalogue, and he'll discuss the design of themiller house in columbus, indiana, saarinen's residential masterwork.and following him will be tom fischer [assumed spelling], dean of the college of designat the university of minnesota and a great

friend and partner on this project as wellas many others who will discuss saarinen's legacy for contemporary architecture.tom, besides being dean, is also the author of numerous books including his most recentarchitectural design and ethics tools for survival which i see is now listed onamazon so it must be out-- out and about. so without further adieu, please helpme welcome christopher monkhouse. [ audience clapping ] >> christopher: well one of the advantagesof coming late in the day is that the subject of my talk needs no introduction startingwith last night's wonderful discussion with belvisar [assumed spelling] korab[assumed spelling] and his family,

we kept hearing about themiller house again and again and we've heard a little bit this morningtalking about his religious architecture, about miller himself as a patron, but wehaven't really seen this great patron, irwin [assumed spelling] miller andhis wife zania [assumed spelling] who i have on the screen.this is your first introduction to them. the millers' are a very interesting familyand it's actually leon sakowski [assumed spelling]who reminded me that in a profile in we think fortune magazine in the 60's,it was even suggested that he would make very good presidential timberto the united states of america.

and in given his many accomplishmentswhich i am going to briefly recede one can wellsee why that was suggested. well, i'm talking about a privateresidence in the public realm-- the j. irwin miller house in columbus, indiana.despite irwin miller's public roles in business and banking, religion, education,politics and the arts, he actively guarded his and his family's privacy.eero saarinen and interior designer alexander girard [assumed spelling] had proved sensitiveto these concerns when collaborating on the family's canadian retreat.in a sense that 1950 commission served for

both designers and clients as a dress rehearsalfor the columbus project that immediately followed in 1953-57.since winning the 1948 jefferson national expansion memorial competition in st. louis,saarinen's projects tended to be media events. for the miller house however,client and architect went out of their way to avoid attention.miller selected a site of roughly 15 acres on the edge of columbus,a far less conspicuous location that the large prominently situated brick houseof his childhood, which i might add if you knew what to lookfor when jennifer showed the tabernacle church this morning, the photograph of it,you could just see on the left, an

axial view of that in-townhouse.the landscape served as a fortress-like barrier, and here you see the house placed on topof the berm here with one side of the house overlooking a flood plainof the flat rock river, and this photograph was taken from the edge of the flat rock river;and the other three enclosed by staggered edges of tall arborvitae.here's one of them and then another. and of course this might remind some of youof a certain residence in wysetta where dan kiley,who is responsible for these arborvitae hedges also left his handy work.landscape architect, dan kiley, created a series of outdoor roomsin tree lined allays to echo

the houses grid pattern.saarinen repaid the compliment by introducing large expanses of glass on three sidesof the miller house to kiley's landscape so kiley's landscape could befully appreciated from within. miller intended to maintain the low profileof his single story flat-roofed house by severely restricting the house's appearancein publications, and forbidding any mention of his name, the house'sspecific location or its cost. what did appear in print, however,extended the miller house's impact on domestic architecturethroughout north america and abroad. the professional architecturecommunity was treated to its first peak

in the september 1958 issueof architectural forum. arresting plans and details from saarinen'soffice were greatly enhanced by stunning images from world renowned architectural photographerezra stoller; the only photograph saarinen and the millers' allowed to be published.starting with title, a contemporary palladian villa,the author went to great effort do draw parallels between the miller houseand palladia's [assumed spelling] villa rotunda in vicenza, italy built four centuries earlier.thumbnail sketches-- here are those thumbnail sketches, there's the villa rotunda;this is the miller house with the four private areas which we've already been introducedtoo;

this is the master bedroom, children'sarea, this is where the guestroom, servants as well as car andthen down here is the kitchen. thumbnail sketches illustratedthe author's contention that both structures utilized four looselyconnected houses, performing separate functions, arranged around the centraldominant space which in turn reached out into the surroundinglandscape in all four sides. the article got it all wrong according tokevin roche, associate architect for the project.roche had been expecting critics to describe themiller house in mesian [assumed spelling]

termsand in the process zero in on their real source of inspiration,mies van der rohe barcelona pavilion of 1929 andi think we could also add the farnsworth house. house and garden's february 1929issue propelled the miller house into the consciousness of the general public.the miller house served as its hallmark house for 1959, the third in a seriesof houses selected for having met the following criteria and i quote, "our measure is thevalue of the house in human terms; a measurethat comprises exhilarating space to move about in visual richness todelight the eye, a total environment

to nurture the spirits ofthe people who live in it." through the eye of ezra stoller's lensthe house appeared on the front covered, followed by more than 20 pageswithin including six in full color; and here i just want to make an aside.i'm very grateful to judy dayton for many reasons,and in particular for this lecture lending me her much treasured copyof that house and garden. and as you see it's still very much aprecious relic from the family archive which i have been sure i must return uponthe end of this lecture, but it also is so importantfor this audience because this

shows again the popular receptionof the house through these two journals. this is the one that ken andjudy saw that inspired them to ultimately build their rimaldi [assumedspelling] jurgular [assumed spelling] house in the 60's and of coursetheir vince james house now. so this is just one example of howthe miller house literally comes home for us in this community.this is the power of house and garden which perhaps today we don't put itin such an influential plane but it was then as this article,this pivotal article makes so readily apparent. the article mentioned neither platonism [assumedspelling] norton mies [assumed spelling];

instead invoking a surprising referenceto vernacular sources and i quote, "the great center area is a bighands-infested meeting room for activities and entertainment inspired by old midwestfarm houses where all rooms opened on a commonroom, it has the same magnetic effect,expresses the common unity of the family." what did kevin roche think of that?although not quite what the architect had in mind,the farmhouse comparison was easily overlooked when seen in the larger context of the article.house and garden proudly presented the house room by room as zania miller might have donefor her guests, and i'm now going to

give you a sort of room by room tour.aspects that sparked the imagination and lead to imitation began with the entrance hall,opening onto the great central living room. a floor to ceiling panelfunctioned as a theater curtain. this is the area last night that baldocycora [assumed spelling] mentioned to us that he specifically worked on and you'regoing to now see a series from the yale archive of little photographs of marquette as heendlessly came up with combinations ultimately for saarinen to either select or reject.but first of all i want to show you the screen that acted as a place for art.now the millers' never considered themselves art collectors.the art came after the house and was clearly

meant to just enhance the daily experience.one of the first works they acquired was the onethat you're now going to see; i'm sorry, they we are.this is a picasso from 1911, a still life of a karaft [assumed spelling] and a glass.this was bought in 1962 so it's very early and they're collectingand not surprisingly they put it on the entrance screen and it was still therewhen i had the privilege to visit the house in 1994.i'm going to come back to the role of the art in the house later.but they never, never considered themselves as collectors per se.now there's the other side of the screen.

it hid the stage set on the other sideand helped anchor the freestanding fireplace in the round to its left.now this is the area where baldo cycora spent a great deal of time thinking aboutand making models to consider all the possibilities.ultimately, it's a very simple one that they came up with but initially,and this is one of the archival photographs, the fireplace in the round,the cylindrical fireplace, was going to have twowalls flanking it and then another alternative, there are about 12 differentalternatives, was this more bold version of two walls flanking thefireplace as to serve as anchors.

i think we can see why we'rehappy that got rejected. this is another cylindrical view freestandingand this time with a canopy around it. and of course that might made you think ofcanada which i'll be showing in a minute. freestanding fireplaces becamevery popular in the 1960's; and the miller example no doubtcontributed to that trend. the simple cylindrical shape fittedwell into its marble-lined environment. its strategic location offeredunobstructed views from the den with the fires glow complimented thatand emanating from the television screen and from the dining room and living roomwhere the crackling flames enhanced the

discussion taking place at the tableor in the conversation pit; reminiscent of thecampfire, it also served as the centerpiece of the millers' less formal livingroom in canada from 1950 which saarinen and girard also worked on, and it'sinteresting in one of those alternative designs for the fireplace in themiller house in columbus, they came up with a solutionvery similar to this indeed. the principal backdrop for thefireplace along the east wall of the living room was a 50 foot longshelving unit, a detail which appeared on the magazine's cover designedby alexander girard and inspired

by one george nelson developedfor herman miller in 1946, it reads like a three dimensional mural.girard alternated panels of rosewood doors hiding a television screen, bar, record player,and storage for camera equipment with open shelving for booksand multicolored niches for precious objects. since its brilliant interpretation in themiller house, the constant wonder camera look for living rooms has never gone out of fashion.guest rooms-- a guest could enjoy drinks and conversation before dinner by the firewhere sitting furniture was always close at hand, though i might add absent in the photosby stoller who removed it, the furniture, to emphasize the uninterrupted flow of spacewhich again is another point, photographs

aren'talways honest in what they show us in terms of how the family actually lived.the dining room beckoned from behind the curtains that could be opened dramaticallyto reveal a special table setting. the massive circular table allowed saarinento revisit a similar 1929 table his father designedfor saarinen house at cranbrook; but unlike elial's [assumed spelling] wooden table,eero's pedestal and 96 foot diameter surface were made entirely of marble.most significantly the flare coned support encased a brass pump mechanismthat supplied water to a recessed bowl which could function as a fountain,a fully planted garden or a

pool for lilies and orchids.and there you see one of the place settings oftable, and also it's wonderful in the exhibit that the builders have lent some of the verychina you see in this iconic photograph. although the stoller photographs taken shortlyafter the house's completion shows charles aimes chairs with steel eiffel tower legs,they were immediately replaced as soon as saarinen's iconic tulipchair went into production. the tulip chairs reinforced the design ofthe table and dramatically reduced the clutterof furniture saarinen called a slum of legs. and it is interesting in terms of the family'sperception of their own house when i was talking

to their daughter betsy, is an old friend,and i was making reference to the stoller photographwhich for most people is the only view they know of the house; there were aimes chairsand she said, "no, no, no, there were never aimes chairs in my parents' dining room.we always used the saarinen tulip chair so here's another instance ofphotographs being deceptive. for after dinner coffee and socializing, guestscould retire to the center of the living room where they descended into a recessed spacewith built-in seating variously described by forumand house and garden as a conversation center, conversation pool or a lounge pit.as stoller's photograph makes clear, the

recessed pit allowed the western viewof dan kiley's landscaped grounds to be enjoyed without any distraction.this novel concept in social engineering could well be the miller house's mostinfluential innovation. it inspired a flood of imitationsthroughout the 1960's and early 1970's. the house and garden article's receptioncould not have been more positive starting with a letter to eero and aideen [assumedspelling] saarinen and kevin roche, from edgar kaufman junior; then the museumof modern arts curator of architecture and design whose father hired franklloyd wright to design falling water. kaufman observed "house and garden major worklooks splendid and filled me with respect,

a major job of architecture inthe rounded sense," edgar kaufman. as the article described the 10 foot wideterrazzo surrounding house as a "a sort of arabian nights platform, and the conversationpit in the living room as in oasis," perhaps it is not surprising that it inspireda middle eastern construction company out of bahrain and i'll show you a letterfrom the archive, to inquire about purchasing. the miller house's plan for an unnamed"prominent personality belonging to the ruling family of bahrain."needless to say, saarinen declined the opportunity.the house also captured the imagination of house and garden's general leadership,including a reader with the

suggestive initials tlc of cleveland,ohio whose leader to the editor enthusiastically praised "the wonderful story to allin the living room which is really a work of art."she did express some reservations, however, and i quote "maybe i'm old-fashioned,but the conversation pool reminds me of a jazzed up roman bath,but i do realize this is a new idea in living room seating and like all such concepts,takes a little getting used to by its older folks.it looks mighty comfortable but is inflexible. i'm afraid it would frustrate mefor i'm one of those housewives who really enjoy rearranging the livingroom now and then for a change of scene."

had tlc visited the house in person,she may have discovered the climbing in and out of the pit crew challengingfor older folk, eventually challenging themillers' to install a handrail. saarinen and girard have been movingtoward the fully developed conversation pit in their respective work for some time.as early as 1941, saarinen with his father introduced a partially sunken living roomin the a.c. warmouth [assumed spelling] house in fort wayne, indiana.he further examined the idea in his highly visible 1945 case study house number 9for john entinza [assumed spelling]. saarinen expanded the reach of theconversation piece by using one

as the lounge's central feature in his 1958emma hartman noise house dormitory at vassar collegein pekipsee [assumed spelling], new york. first published an architectural recordin september 1959, it looked as modern as a recently landed flying saucer.it must have inspired more than a few progressive vassar alumsto consider one for their own home. paul rudolph did as much as anyarchitect to promote the conversation pit, starting with one in his new haven officewhere he met with potential clients. they frequently appear in hiswell-regarded florida homes from the 1960's and in turn inspired a series of livelycartoons by allen [assumed spelling] dunn

for the architectural recordof which i show you just one. this is the first four that allen dunn did.that one is for small talk. and i think when features of this nature getturned into cartoons particularly in places like the new yorker; youknow you're on to something. this is something new; it'screating a lot of talk as it were. and it is interesting-- paul rudolph probablytook the conversation pit to the highest level of execution, and it is probably perhaps oneof his greatest domestic work which i just happenedto have the privilege of seeing last weekend; and when i was in fort worth,texas and this is the sid and ann bass

house of 1970 which doesn't have onebut two conversation pits in a perfect state of preservation.of all the ripples emanating from the miller's conversation pit, perhaps none was more poeticthan that from landscape architect, dan kiley. having worked with saarinen on the groundsfor the st. louis gateway arch and the millerhouse, kiley was uniquely qualified to carrythe conversation pit into the garden. in the early 1960's minnesotacouples, stanley and bill gregory, provided kiley with the opportunity at theirfortress-like house near lake minnetonka; coincidentally house andgarden's hallmark house for 1968.

working with chicago architect,ike coburn [assumed spelling] kiley created a dining terrace that tied in perfectlywith his ongoing exploration of the interplay between inside and outside space.he introduced a square recess with built-in seating and a center table--as if to emphasize the connection with saarinen and millers' a fountain bubbledup from the table's base as you see here. the miller house remains saarinen's most fullyrealized example of domestic architecture. through its appearance in architecturalforum in house and garden in such thoughtful and creative responses as kiley'sel fresco conversation pit, the house exerts an influencewell beyond its role

as a very private residencein a small mid-western town. i now want to consider two other aspects--one is that ripple effect and like all things a conversation pit having been out of fashionfor a long time, sort of written off as an architectural cliche,but like all things they have a way of coming around again.this just happens to be an instance that appearedin the new york times back last november; thisis in london and it's for richard rodgers' son;and this is one in thailand that appeared last winter in the new york times;just two further indications that the

launching pad for the conversation pit,i.e. the miller house, is still alive and welland is influential today as it was when it was built.but there's another part to the miller house story,and also turning to the popular press again, many of you may have seen in 2007 in june,there was a reference to a painting sold by the miller family that brought a record,a monet, about 80.4 million dollars. the millers' have or their childrenhave indeed sold the art from the house which presents a very interesting situation.but the first thought is, "oh the art's gone. does that mean the house is next?"and the good news is and i

think i'm at liberty to mention,the fact that the family do appreciate that the miller house is a very special legacyof their parents, not to mention eero saarinen and his office and that it should be preserved;and therefore they're making every effort to work out an arrangementwith the indianapolis art museum, highly appropriate in view of the factthat zania miller in the 1970's got the indianapolis art museumto have a satellite art gallery in columbus, indiana for changing exhibitions;there's already a nice relationship there. and one likes to think that the sale ofthe art might also endow this endeavor. so there are a lot of positivethings that can come of this.

and this is a photograph i wanted toshare with you because it shows the monet, the most valuable work in the house;it shows irwin miller playing not only a violin but a stradivarius violin.he is truly the modern medache [assumed spelling]and that is his daughter-in-law accompanying him at the grand piano.but it's important to realize the art, as isaid early-on, they never wanted to be thought of as collectors; it was there merelyto enhance the bones of the architecture which they were privileged to live in,and this painting in fact came very late into their possession; it actually had belongedto his sister and she left it to her brother

in 1993, so it came very lateon in the history of the house. and also it's interestingto note that here in the-- the little red button doesn't want to work--but here in the niches of the alexander girard storage units, some of the folk artthat was originally housed in there have been replaced with small works of artthat appealed to them over the years. on the left and i'll show you the detail ina moment, it is a matisse [assumed spelling] from 1904 and on the far right is a buddha.here we are, this is the matisse and this is the eugene buddha.their case, primarily french art 19th and 20th century, he particularly liked picasso,still likes with guitars in them, probably

areference to the fact that he played a violin. well the art as i said is gone.this also pertains to two sculptures outside the house.this is this allay of honeysuckles planted by dan kiley.dan kiley always meant this allay not to be read with an allay with an axial featureat either end, but more like a loggia of columns that you look through out to the floor plane.so this sculpture in the foreground by henry moorefrom 1957 wasn't acquired by the family until 1971.the allay in other words had been in place for over 50 years.at the far end is the lipchitz, still life

actually incorporating a guitar again,and that was acquired in 1977; and even dan kiley said himself i've never thoughtthat these were integral to my project. well the fact is they're notnow; they have been sold as well. but i leave with this image to point out thisis one instance where the hole is greater thansome of the parts; and even though the art mayhave left the house it was never central to the house, never central to its design.the house itself has such good bones, such abeautiful use of material, the best materials, the detailing is exquisite, not to mentionthe bucolic [assumed spelling] setting

in which it finds itself.this is all in place indeed. this may be the example ofwhen less is truly more. so when this house is opened tothe public, the people will see it as with stoller has turnedit into a visual icon for us. it will revert back to its early life inhouse and garden and architectural record, and then we'll also join a great traditionof historic house museums from the 20th centurywhich preserve such masterpieces as frank lloyd rice--falling water; not to mention his totality essence;carboze's [assumed spelling] villa sevault

[assumed spelling] mies' farnsworth house,johnson's glass house, and even gropius' [assumed spelling] house in lincoln,massachusetts and now we hope sooner than later, because you're going to bein for a great treat this little architectural mecca in the midwest called columbus,indiana will now have a missing element for people who have gone to visit itfor its many architectural wonders over the years.they're now going to be able to see a masterpiece of domestic architectureby eero saarinen for one of his greatest and most informed clients, irwin and zamia miller,and i can't think of a better conclusion to this symposium in terms of preservation aswell

as the preservation of the legacy forsaarinen, not to mention the millers'. thank you very much.[audience clapping]

Classic Furniture Vs Modern

Classic Furniture Vs Modern

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05:25

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edward -you might have bought the phone but whoever hacked it they are the one who owns it. any device that is on here you can operate independently. shane - so it is true, you can get into the phone and turn the camera on? e - ya, absolutely. s - is there a way you can tell if your phone has been hacked? e - perhaps the most terrifying thing is if your phone had been hacked you would never know. s - this week on vice: the inside story of america's surveillance program. e - i'm going to be detaching the camera.

the devices that you paid for, watch you, on our behalf. s - it seems like technology allows, almost anyone to spy, on almost anyone. e - even if you trust the government today... what happens when it changes? when eventually we get an individual who says... "you know what? let's flip that switch." s - first of all i'd like to say thank you for meeting us today here at the storied hotel metropol in moscow. i say storied because for the longest time it was the

designated hotel where foreigners were allowed to stay. and it was rumoured that every room was bugged. e - *laughs* i would definitely presume that in any world capital when you're in a major business hotel... if the hotel rooms aren't pre-wired for surveillance they can be wired almost immediately. s - for the last 3 years, a controversy has raged about the us governments surveillance of its own people. the terrorist attack last december in san bernardino, ca

brought this debate to a tipping point. reporter - 14 people are dead and 21 people have been injured after a married couple opened fire at the inland regional centre in san bernardino. reporter #2 - a judge is ordering apple to help the fbi break into a cellphone used by one of the san bernardino shooters. reporter #3 - apple is saying "look this is something that no court can order us to do. tim cook - what is at stake here is...

can the government compel apple to write software that would make hundreds of millions of customers vulnerable around the world? obama - if it is possible to make an impenetrable device. how do we solve or disrupt a terrorist plot? s - but according to the most famous whistleblower in the world, the government already had this capability. s - as it turns out, snowden, was proved right. because the fbi was able to crack the iphone,

without apples help. now edward snowden remains a polarizing figure in america. politics. because on one side he's considered a hero on the level of woodward and bernstein who broke the watergate scandal. but on the other, he is considered a traitor who jeapardized american intelligence and security around the world senator burr - a traitor! a traitor to the united states.

senator nelson - these records were spread about publicly by edward snowden. intentionally. recklessly. and i might say illegally. s - so we went to moscow to speak to this controversial figure about the state of surveillance in america today. so nsa, cia, fbi... can they get into my phone?

e - yes. s - can they get into my laptop? e - absolutely. s - ipad...? e - anything. as long as they can dedicate people, money and time to the target... they can get it. s - and what kind of information can they get from my phone for example? e - uh, everything in your contacts list.

every sms messenger that you use. every place that has ever been where the phone is physically located. even if you've got gps disabled because they can see which wireless access points are near you. every part of a private life, today, is found on someones phone. we used to say a mans home is his castle. today, a mans phone is his castle. s - my question to you is why don't more people care? because we've gone from cold war, pre-9/11

to effectively a police state that is watching your every move and everyone went "meh". why? e - part of it is the fact it happened invisibly. if a politician had said we want to watch everybody in the country. people would have been up in arms about it. in the wake of september 11th the vice president of the united states, dick cheney, and his personal lawyer david addington conspired with a number of top level officials

in the nsa and other agencies to change not only what they considered to be the legal restraints but actually the culture of surveillance in the intelligence community. they moved from the exceptional surveillance to the surveillance of everyone. technology has changed, instead of sending people to follow you; we use the devices that you pay for. the services and the systems that surround you invisibly every day to watch you, on our behalf.

metadata, is the fact that a communication occurred. s - so i called you e - you called me, when you called me, where you called me from. this information is the same thing that's produced when a private investigator follows you around all day. they can't sit close enough to you in every cafe to hear every word you're saying. but they can be close enough to know when you left your house,

what the license plate of the car you're driving with, where you went, who you sat with. how long you were there, when you left, where you went after that. that's metadata. s - now all of this metadata it turns out is actually remarkably easy to get at. in fact you don't even have to hack the phone at all. all you need is technology that is readily available. called an imsi catcher that can intercept your phones

metadata remotely. e - every phone has what's called an imsi. s - uh huh. e - which is actually for the sim card. that's your subscriber information. what your name is; what your phone number is. all of our devices, as they travel throughout the day are constantly broadcasting in sort of this radio orchestra. imsi catchers masquerade as the legitimate cellphone tower.

so when you're saying "hey - cell phone tower" "can you hear me?" - instead a man in the middle, somebody with an imsi catcher in the trunk of their car. in a briefcase in their office has it send a louder signal back to you, than the cell phone tower, then say "i'm the cell phone tower". s - now this sounds pretty complex. how hard is it to make or buy an imsi catcher?

e - it's incredibly easy. you buy these things off the shelf. every police department in the united states seems to be buying these things nowadays. s - really? now the use of imsi catchers by police recently caused international headlines when a newspaper in norway attempted to track the amount of imsi catchers in oslo. and actually found so many that they questioned

if their tracker was working properly. after hiring a cyber security firm they discovered not only were they indeed correct but that these devices were actually being used to spy on their own government facilities. andreas - 5 places in oslo the measurement was so serious that they could say with high probability that there was imsi catchers. the most clear signs was in the area of the prime ministers office and the ministry of defense. we also got alerts up in the embassies area.

and in front of the parliament. s - and while the police initially denied using imsi catchers extensively; in the face of overwhelming evidence they were eventually forced to admit it. a - the police stated that "we are using imsi catchers at minimum once a week." that was the first time, ever, that the police had gone out and stated how often they were using these kinds of equipment. in all the areas that we detected signals, thousands of

people are flowing by every day. so that's, i think that is some of the problem with these kinds of technology because you are looking for one number but you are, in the same phase, you are collecting hundreds of numbers. s - now this technology is being used by police forces all over the world. in fact in new york city alone imsi catchers have been used more than a thousand times, by police, since 2008

and that's just the tip of the iceberg. as they are now being used all around us... all the time e - there is a joint cia/nsa program called appropriately enough, "shenanigans". shenanigans was a project to mount on airplanes an imsi catcher and fly it around the city. they can tell when you've travelled, they can tell when you move and this all happens without warrants. s - right.

e - shenanigans was happening in yemen. that is where it was being tested and you go "well look this is being used to aim missiles at terrorists." i'm okay with that. but these programs have a disturbing frequency, a tendency... to move from war front to home front. e - and within six months of shenanigans being reported, the wall street journal reported,

that the same technology was now being used domestically inside the united states. the fbi has a specific aviation unit that is flying around cities and frequently they are monitoring protesters instead of violent criminals. the black lives matter protests in baltimore, the fbi was flying surveillance over the protesters. s - now this has been cause for alarm because modern surveillance technologies are

already being used by oppressive regimes to suppress government opposition. "allahu akbar" (over and over) ala'a - since 2011, bahrain has witnessed some of the largest protests in its history where there are thousands of protesters taking to the streets. who are demanding more democratic reforms and a change in regime. s - ala'a shehabi is a bahraini activist who found herself the target

of government surveillance. a - in 2012 i was briefly arrested. immediately after i was released, i received a string of 4 or 5 emails that were very suspicious to me. i suspected that this was a cyber attack so i immediately sent the suspicious emails to my colleague morgan, at citizen lab, it actually turned out that this spyware was produced and operated by a british

and german company called finfisher. this is a company that specializes in producing hacking software. it claims it sells it to government regimes. so that immediately fitted with my suspicion that this was the bahraini regime. the spyware is capable of switching your microphone on, your camera, it is capable of logging every single thing that you type. there are a handful of key companies, in europe, that are openly marketing, promoting and selling these

tools in arms exhibitions. in european capitals. they are not being used in the name of tackling terrorism. they are being used to keep these regimes in place and in power. s - now to see exactly what type of information a hacked phone can yield, we contacted the same hacker who uncovered the bahraini scandal and asked him to hack one of our own reporters.

using the same type of software that targeted ala'a shehabi. we were able to completely commandeer bens phone and he never knew it. so ben was in pakistan doing a shoot on polio. so you hacked his phone and you figured out who he called morgan - right and so i mean what we've got here is i can see who he is calling and when he called them and how long the calls were. we can actually record his calls, lets have a listen to them.

m - this will also keep a list of bens web browsing history. and so for instance you can see here he is google searching for bbc. you can see news articles that he is writing. checking his twitter. it's sort of like reading someones mind. because you can sort of see what they're thinking while they're on the internet. so we've been location tracking ben. you can even get it to animate and so it will show where ben is at various sort of times. you can see him travelling around the city there

and you can tell exactly where he is. which is obviously you know in terms of keeping on someone a highly desirable thing. think about anything that the phone can do. right, like once you've actually installed this malicious software on the phone, then it's simply a matter of activating the phones capabilities. so i mean the phone has a camera right? well now we can turn on the camera. s - what are these ambient recordings? m - ya so the ambient recording is kind of the invisible microphone, the real sort of spy stuff.

s - so he's interviewing a gitmo detainee - a former gitmo detainee - so i guess when you talk about protecting journalists, protecting your source is a big issue. m - can you be said to be practicing journalism in a traditional sense if you can't guarantee source protection? you may be sort of actively endangering their livelihood, welfare and life. s - now with software like this and the other more commercially available software

it seems like technology allows... almost anyone to spy on almost anyone m - we live in a golden age of convenience enabled by technology. so that means that you and i can be on other sides of the planet and we can have a conversation in real time for no money. technology has enabled convenience of communication but also convenience of surveillance. s - now this so called golden age of technology has essentially made it possible for anyone to spy on anyone else

it begs the question - can people, for example journalists, ever go dark? is that even possible now with these new advancements? how do we go black? e - well so going black is a pretty big ask. for me for example, i really know what i'm doing. s - ya. e - but if the nsa wants to pop my box. you know they're totally going to do it. but if you know you're actively under threat,

if you know your phone has been hacked, these are ways that you can ensure that your phone works for you rather than working for somebody else. you might have bought the phone but whoever hacked it s - that's because third parties can actually turn on your phones microphones and cameras without you knowing it. e - any device that is on here you can operate independently. s - so it's true you can get into the phone and turn the camera on? e - ya, absolutely. so you would turn this guy on

and you'll just heat that guy until the solders molten. because i'm going to be detaching the rhythm cables... that are connecting the camera... as a surface mount device you'll be able to just pull it off like that. s - so this is the camera? what's that? e - this is the other camera. you got 2 cameras in your phone, you got your front facing camera, for sort of the selfies.

and you got your rear facing camera, that's it. i think this one has a multi microphone array which is going to be this guy this guy and this guy. s - but if you take out the microphones then how do you use it as a phone? e - you would add your own external microphone. for example the ipod type earbuds that have the mic integrated on the lanyard.

e - perhaps the most terrifying thing is, if your phone had been hacked you would never know. s - and as vice news reporter jason leopold found surveillance has become so ubiquitious that even the government agencies responsible for policing it are not secure. you got a foia request recently in the mail that is causing quite a stir. j - the way that this all surfaced, dianne feinstein,

she made this extraordinary floor speech. s - as the head of the senate intelligence committee feinstein delivered some shocking allegations. senator feinstein - on 2 occasions cia personnel electronically removed committee access to cia documents. j - she said that the cia had hacked into senate computers while these staffers who worked for her were

writing a report about the cia's torture program. john brennan, the director of the cia said that is proposterous. our only way to look deeper into it was to file a freedom of information act request. so these documents absolutely backed up everything that dianne feinstein said. what's most interesting though, what i would call a smoking gun, john brennan wrote a letter and he said that the cia

staff had improperly accessed your computers. but john brennan never sent this letter to dianne feinstein. they said that this letter was mistakenly turned over to us. it was an accident and it actually should not have been released to us and they asked us not to, uh, post it. s - because it's embarrassing? j - completely embarrassing for them. and we declined that request because there was no national security concerns in this letter. this is simply

something that john brennan did not want the public to see after making after making all of these statements about what the cia did not do. s - we now know that the cia officers were in fact spying on the committee charged with keeping them in line. so we spoke to one of those committee members senator ron wyden about the letter than brennan never meant to send. senator ron wyden - this will be the first time i've ever said this publicly.

my sense is there were clearly people at the cia who understood that what mister brennan had done was flat out wrong. and they drafted an apology letter. and yet, mr brennan was just unwilling to publicly acknowledge wrongdoing. this is basically re-writing the law. we are the agency that is required by law to conduct vigorous oversight over the cia. we can't do vigorous oversight over the agency

if the agency we're supposed to be overseeing is in fact secretly searching our files. s - now senator wyden has become a leader in attempting to reign in our intelligence community. w - director clapper, i want to ask you... e - senator ron wyden said "is the nsa collecting any kind of data at all on millions or hundreds of millions of americans?" and james clapper sort of scratched his head james clapper - no sir.

e - and he said no...senator wyden - it does not?e - ...they do not clapper - not wittingly. e - the most senior intelligence official in the united states of america raised his hand and swore an oath to tell the truth to congress. and he lied on camera. he wasn't charged, despite the fact that is a felony; he didn't even lose his job, he's still doing the same thing today. within a few months he admitted that he had lied. he said his answer was too cute by half

and the least untruthful statement that he felt he could have made at the time. w - my view is that if you're going to protect the american people you've got to embed those protections into law. and we of course have been very concerned about with what i call "secret law" s - and at the heart of that secret law is fisa

the foreign intelligence surveillance act. which authorised secret courts to greenlight domestic spying programs w - the government persuaded the court to say it was okay to collect metadata. when you read the fundamental law you didn't hear anything about metadata and collecting millions of records on law abiding people.

that was all done in secret. and in fact i went to the floor of the senate and i warned that when the american people found out how that law had been secretly interpreted they would be very angry. and that in fact was the case. s - now public anger hasn't been enough to end many of these programs. but increasingly the question isn't whether or not they can be justified under law but whether they're actually effective

in the first place. recently there were attacks in paris. what happens when you have a terrorist attack like that- within security agencies, the nsa for example? e - i was working at the nsa during the boston marathon bombing investigation. and as it was playing on the news myself and colleagues were in the cafeteria and we turned to each other

and said... i'll bet you anything... we already knew about these guys in the databases. and in paris, i'm certain that the same conversation happened. this is really the legacy of mass surveillance. it's the fact that when you are watching everyone you know who these individuals are, they're in the banks, you had the information you needed to stop, to prevent even the worst atrocities.

but the problem is when you cast the net too wide, when you're collecting everything, you understand nothing. we know for a fact that it is not effective for stopping terrorist attacks and it never has been. the white house appointed 2 independent commissions in the wake of my disclosures in 2013 to review mass surveillance programs

and go "alright do these have value? should they be changed? should they be reformed?" they looked at the evidence, the classified evidence, and they found wow, despite the fact that this been going since 2001, it had never stopped a single terrorist attack in the united states. and that's after monitoring the phone calls of everyone in the country. s - so that's a huge point. so two independent

commissions, started by the white house, said "mass surveillance has not stopped a terrorist attack." e - and both of them found that these programs should be ended and then they came up with forty two different points for reform that they recommended should happen to restrict the use of these powers. the last time that i saw a review of this, the president only adopted three of the forty two points.

s - why? e - because they would limit the exercise of executive power. this is something that you have to understand is not about this president... it's about...the presidency. it's clear that the public opposes a majority of these policies. and yet politicians, because the word terrorism is involved, they can't justify being the one to stand

and mount the vote, because they know there will be another terrorist attack. s - because if they say "no we're not doing this" and then there is a terrorist attack, they get painted with that brush. e - they know they'll be blamed by their political opponents and they're right. of course their political opponents will do this it's the easiest thing in the world to do. and unfortunately it's quite effective. because we live in a time where the

politics of fear are the most persuasive thing on the table. s - now while the debate over surveillance continues to rage here in the us, edward snowden remains a fugitive for his revelations about the nsa. and he had a cautionary statement about what's at stake. when the world was first introduced to you, you made a statement about turnkey tyranny...

what did you mean by that? e - it means that even if you trust the government today what happens when it changes? in our democracy we're never more than 8 years away from a total change of government. suddenly, everybody is vulnerable to this individual and the systems are already in place. what happens tomorrow, in a year, in 5 years, in 10 years,

when eventually we get an individual who says "you know what? lets flip that switch... and use the absolute full extent of our technical capabilities to ensure the political stability of this new administration." when we think about the future and where we go from here the question is are we going to change?

and enter sort of a quantified world where everywhere you've been, everyone you talk to, it's indexed it's analyzed, it's stored and it's used. maybe against you. cop - within our technologies here we have our license plate reader system, which we can capture dozens of license plates in a matter of a second. e - or will we recognize the danger of that

and embrace the fact that people should have space to make mistakes, without judgement, to have sort of the unconsidered thought or conversation with your friend. but if that was recorded in a database where you know, you say "i think donald trump should be kicked off a cliff" and donald trump becomes president someday, and then everybody who said that ends up getting thrown off a cliff.

that's a very dangerous world. and i think this really is... the question that... our political structures... are not yet comfortable even discussing. but whether they like it or not, it's a world that is coming and we're going to have to confront.

Tips To Buy Classic Furniture California

Tips To Buy Classic Furniture California

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here comes on i got em dude come on let me hook you up come on there it is hook ot up what you got beautiful have a great day you got a dollar i can borrow you got some moneykeep on playing man makes everybody gather round come on let do this thing i need a hot roddude i did good how you do not bad not bad check it out you will that work it will come on lets see if we can build a car for this season of hot rod garage presented by lincoln tech lucky and iare gonna start picking you guys bigger projects and longer episodes thank goodness longermore more more that's gonna give them good times a day the first thing we'regoing to do is build a low buck budget drag car something thats really closeto my heart i built a lot of grimy

cheap fast cars and i know it's somethingyou gotta try to do at home you're probably working on a fixed budgetsavings you can spending along the way so we're gonna do something very similarhere we're gonna keep track of every dollar spent on going to build somethingnasty fast nasty fast being dirty funky grimy sketchy scary speed i'm down with that thefirst thing you want to do is find a car yeah so we're going to get a 69 rss nonot at all at least a standard right now no way c no c lower lower than c f class we're going to find thecheapest thing we can with its as light as possible with four wheels on it idon't to spend any more than like 1500

two grand for this thing if it'sadvertiser 1500 you gonna hit them with like 8 i'll be like i'll give you six bucks that's the cool thingabout craigslist and all the electronics now and social media back in my day itwas jumping your car with your buddies and drive around cool stuff not so muchthought into starting with a hand crank or looking for the cars that aren'tquite so popular something about like cutlass and skylarks instead ofchevelles get an impala or omega instead of nova stuff like that we just want something with fourwheels its kinda straight and we can put a big engines and some horsepower in it anddrag that the industry basically just not nothing thats crunch or crashed something semistraight as got four wheels on it does

look kinda safe not safe alright so you're a start looking alreadybuddy lets do it there is a ton of old stuff look at that boat justsitting waiting for the flood and i think the trailer had sold weredriving around the middle of nowhere california where about two hours east of la in the barren desert because we found a camaro on craigslist now in la cars are bought and sold on craigslistin a matter of minutes so there is a big selection with you right on top of stuffso i found a 79 camaro no engine or transfer $1000 which is a steal got norust which is pretty common out here in the desert

it says its got no rust we'll see hopefully he's got no rust andpink slip in hand and pink slip in hand which i have recently learned that couldmean getting it from another guy or i applied for it a couple weeks but this guy says he'sgot keys title and 79 camaro with no rust that's in somewhat decent shapefor $1000 it sounds like a perfect project candidate for us now have to dois find this thing everybody try to act cool we don't need this they need usthis sort of terrible but not supposed to be pretty cheap at one time the tirefell off not going to matter much no probably not now windshield busted seats are greattires are relatively new i think this is a real z28 at some point

heartbeat of america sticker over hereits got a ten bolt rear in it frame looks straight no rear crash damage and i can see paint job pretty close toready your ac it's a waste to bad it doesn't have a radiator i see and here the body's prettystraight the frame looks like it's never been wrecked there's no real rust on itand it kinda looks like garbage so this is aperfect car for us to get nice and cheap yeah it's going what's up dude you saidyou're going to make a drag product and yeah that's the goal is to make a dragproject but you know things happen times change and it's one of those situationsand say you're leaving town yeah moving out of states so i give you cash this car is gonna

help you get out of here yeah i'll be happy to do that you were asking a thousandbucks do have any wiggle room there a little bit you know you know i take eight hundred bucks for it just to get you outof this town i eight hundreds of deal man i appreciated awesome i am stoked 800 bucks is a great deal for this car and it's going to work with this budget we've got set up for thisproject i cannot wait to dump a bunch of horsepower in this old raggedy machine and make it fly alright so were back in the hot rod garage with our 79camaro we drag this thing out of a very beautiful desert community it was lovelywe stole this thing 800 bucks for this car and two hundredfor another fresh windshield we put in this

morning what we gonna do next startscattering stuff yeah we're gonna tear out a bunch of stuff extraneous weight since i magninremanence inner fender something that we don't need and i started jamminghorsepower inside this car is nasty home of millions of spiders last 10 years clean out your comb once in awhile day two with our low buck camaro we've got itpretty clean out so lucky is here with our swap engine and when i can see itlooks really complete shows an lm7 iron block ls based truck engine to5.3 liter we got i'm really full swap for eleven hundred and eighty buckswhich is the steal let's go this thing

i'm liking this already there is acomplete enough for air hoses manifolds everything looks great so we called up alocal dismantle error and and bought this out of a running crash truck that'sa great way to do it cuz you can ask for is complete the swabs you can you buylike a block on craigslist along loc here and kill yourself nickel and dimedby and injectors and coil packs and all sorts of stuff it adds up very fast so foreleven hundred and eighty bucks we got a full harness computer starter powersteering all accessories fan i throttle we can use try to buy theaftermarket wire harness kit there for five hundred bucks but in reality you canthin this out

yeah no we're going to use this forsure while lucky finishes tearing off the rest of the engines stuff that we don't need likethe a/c compressor a couple of brackets and when to pull the wiring offso we can strip the harness down to the essentials off the car i'm going to start putting inthese hooker amounts again we are going budget budget budget so these are thecheapest things we can get their hundred and sixteen bucks and we're gonna use themounts that are on the cross member in the camaro themselves and these are justmounts that we'll bolt on the engine and all of those things those things are made ofpudding yeah yeah i got a trick alright so here it is the engine for ourlow buck camaro is an lm7 5.3 liter

out of a 2002 chevy avalanche lsbased engine ls engines are awesome they were produced from 1997 until now insizes from 4.8 liters to 7 liters making between about 270 to 650horsepower we actually went a little bit further to find a less desirable cheaperengine so we picked an iron block 5.3 liter that bring the price down evenmore in stock form this thing makes about 285 horsepower 325 foot-pounds oftorque and what's nice about the earlier engine 2002 model is that this thinghas mechanical throttle body and a conventional fuel system with a returnline and regulator can make it really easy to swap in a car so as soon as thetransmission shows up we're gonna slap

it on lucky and i will throw thisthing in mounts fit hopefully we not do too much modifications can start on all thesystems wiring fuel you know all that sort of stuff get this thing running asquickly as we can so before we can get this engine kind ofmocked up into place we're going to replace these engine mounts these areabsolutely annihilated i want to show you this cool trick on how to makepolyurethane upgraded mounts at home by using our stock mounts but our stockones are absolutely trashed and falling apart so we went out and we bought two new mounts about $9.99 apiece we are budget-minded any two-month 3m

window weld that's about seventeen bucksonline 3m window weld is a quick-drying polyurethane that basicallyallows you to fill all the voids in your stock mount and make them a really stiffpolyurethane mount for about half the price now i'm good obviously stiffermotor mounts an upgrade when you start increasing power increased load startsthings around you just don't stop movin too far in a stock engine mount has aton of playing it so we're gonna try to get that all out of there we bought our lm 7 swap we had theopportunity to buy the 4l60e transmission with it for another $750that's a good transmission but you need

to stand alone controller to control itnow costs about another $600 and that's just too much for our low budget so whatwe did is we scoured craigslist and found this steve sharp with the local builderworked over transmission and we got the guy down about 750 bucks he paid wellover a thousand for it had it for some project it never happened and we're ableto score that way unfortunately is just a transit no torque converter in thereyet but gonna find brackets and it dip stick to but this is a good deal and itsgonna save us a lot of money in the long run it's actually smaller so it will fit well too how long can you hold that does it get lighter wait don't scratch the paint yeah that's on camera

we got the motor mount transmissionmocked up with the motor mounts actually install we did little roundcan magically anything now we're set up with the transmission crossmember kindof where it needs to be we're gonna punch some holes in the frame bolt in thecrossmember when that's also make sure everything is nice and straight measurefor the transmission crossmember stick some more stuff on this motor make somenoise ok to use a new and the old valvetransmission that turbo 400 what we're using you got to get an adapterand different flex played crank snout adapter to make them work together solucky's pulling the turbo 400 out he's

yank the old flex plate out gonna bolt this stuff in andthen we needed to find a torque converter that work and i went on craigslist and i waslooking for a deal because obviously dirty cheap speed is over going for whatwhat i found was called a b&m holeshot 2400 and i got it for 100 bucks and i'm looking at it and it feelspretty questionable there's some risk involved i'm not a hundred percent surethere's even an upgraded converter but it's going to fit in the car on thetrack so its a mystery see what happens we actually put the flex plate back offline up the holes with the torque converter saw which ones actually will workand marked them with some paint pens so i think of spin around and checking there's a ton of holes in theflex plate for different converters and we

don't wanna be spending at times tryingto spin the engine over and figure out what's what according to the instructions your going to do three passes torquing at the 14 and 37 pounds andthen finally 74 foot-pounds the final torque so work to do that now i just got done hooking up the shift linkage in the camaro we're still undeterminedwhether or not this was a six cylinder or v8 but the one cool thing that tonypointed out to me that i was wondering if it was accurate or not was shifter was a rocket shifter if youmove the shifter too low move it to the right start ratchetingand a locks out of neutral so you can

accidentally miss issue that is bringingcool what i did underneath here so that we can use that with the turbo 400 witha used to stock linkage i just cut the year up from it looked just like this took that here well get on down hereit's locked into just about putting the dell right here this should becompletely adjustable and fully functional as we've got tyler from drmines incorporated a local drive line shop these you just about every customdriveshaft we do one thing we love it that they actually come out to themeasuring and then we'll deliver the drive shaft so i was explaining thepoint of the camaro is fully lololo buck

save every penny we can we saved theoriginal drive shaft from the camaro which was set up for a th350 turbo 350 trans so i'm hoping we can just put it 400 yoke on the front and either lengthen or shortenthis thing to fit you think this will take some horsepower yeah i meannormally when build something a little bigger but the budget build it should begood good morning another beautiful day insunny southern california the update on the bone marrow as it's been dubbed bythe internet is the motors and transmissions in it

couple adjustments here and there wellthe little cuddle little growing a little today's wiring day good times onwiring day this is all it took to make it run before that's literally six wirescouple sensor workers are missing nothing serious we don't need thatthat's all history now all we have to do a wire this up can't really be that complicated can itcan we're gonna end up doing is today going to hardwire the whole thing justmake it kind of work kind of run don't really care for pics of pantyhose don'treally care four runs great was gonna make some noise thin it all-out make itmore aerodynamic and super light and

make some fire because of all thesecurity stuff that is built in an easy to ecu's unlocked for the work on a swap cardwithout an immobilized and stuff like that so we found it on craigslist 780bucks unlock this ecu later on the revenue split into non it to findsomeone in your area to if you haven't sent out ok cool right i'll just driving aroundnow i got a little cooler than we did was we bought a 2002 camaro radiator theoverall height and length arm super similar to what was in the carregionally but it's got and the arab

league port for ellis motor so i thinkit's going to be perfect we paid about $100 for the toll it up some aluminum got some scramblingaround the shop here gonna build an upper radiator support bracket and justbeen the edges couple holes and is it to the thing and all the radiator and i cannow aluminum butchered my resume right now but in some of the wiring onthe electoral system of the bone marrow you can tell a lot of its a message on awire up the electric fan i'm gonna use a relay to do it because i want to use thetrigger from the ecm which is a ground trigger to turn the fan on as opposed torun hot wire through the firewall to a

switch on the dashboard for moreinformation on what you can do with this relay and believe me there's a honesti've you can do with the relay is talking with your lincoln tech too manyautomotive products involved hi karen electrical accessories relays must beused to deliver high current in these components need things are you reallyare electric fans like fuel pump electric power steering pump andheadlight things like that let's start with a basic really and how it works ireally is basically a small electromagnetic to me to switch once itis energized really can handle a much higher lower than a regular toggleswitch and when used properly they're

able to deliver the high current neededfor many of today's powerful electrical accessories and components using therelay diagram you can see that you run a fuse wire from your fuse block to atoggle switch on the dash who are coming from the switcheroo go to number 86 inthe relay heavier gauge at least 12 gauge wire with the fuse would come offthe battering go to post them 3085 when you sent you a good ground and numbereighty seventy output will go to your high amperage accessory or like lincoln tech and teach you how to have acareer working with cars say lincoln tech dot edu

so when we look at high and low forelectric fan for the census is a budget build we were looking online we werelooking at a local auto parts stores i won't name them and it seemed like allthe fans were well over $100 and then they wouldn't come complete tony saysthere's a dormant ran out there that comes off of thunderbird thinking 95 to97 something like that i think the part number was 6:20 118 and the way i knowthat is not because i'm david freiburger but because i wrote on a piece of paperright here on this side of the frame about 75 bucks and they come with thefan shroud you can see right here to two-speed fan i can make a goal oh hi ican do anything i want to move it was

like three thousand cfm superficialworks great next up for the fuel system on thisthing for carbureted to fuel injection find a nice big good way to save money is to buy one ofthese this is a bosch fuel pump it's a stock holder 911 911 call the ciscontinuous injection system and a fuel pressure on that day runs over 100 psinow when you bring this down to 40 50 psi like we're running the ball you gothrough this report about 600 horsepower and that's more than i make now but ifyou want to make eventually i scored a 100 bucks number is 805 8025 404 444 todo is get the fuel tanks

injection was also cracked garbage wetook it to a local radiator shop online for your dash texts on fb and then cleanthe whole thing out about a hundred and forty books now all you can do isconnect everything for this party going to do it voltage a gas and you can't deny this islike the dirt bag cream caramel time this is in everybody's backyard fallingapart but together and i love this thing ya gonna do everything drift probably drag burnout is perfectand i got a call earlier this morning from the driveshaft guys they told methat they didn't really recommend that

stock driveshaft anything more than 300horsepower and since this thing just might get some serious horsepower in thevery near future i decided this spring for three and trash total price 450bucks one of the most expensive thing we paid for but good forever so we did itstart yet the battle is going to start your homework you see the fire with fire their stuffleaking gas gasoline noticed the fuel pressure through a hose fuel leaks fixedwe build up the cooling system lucky is goofing around and fell off theexhaust we threw in a cheap intake and achieve universal throttle cable andwe're just about to try to start this

thing you can do this a serious car to the neighbors in thearea we should apologize you didn't like the whole exhausted and we've got plansplans for this thing next episode i love this car feels great and by great i meansuper sketchy and out of control but he seems to run well and this car rules wewill therefore not didn't smoke doesn't leak stopped and went yeah turnsanything so go for trying out a new segment here athigher grounds for many little q&a session i put some questions out on ouroverall shows facebook and punching great questions back to run through someof now

fernando more a says will be ebc mustangever before said i can't answer that question yes yes we will be right now was first nine months ago when one ofthe guys in our office that we share with bought it and we tried every day sosorry about that so then gone says there are many have you ever been convicted ofa felony now i'm convicted never never know andreas heard he's from germany english is not the best but i hope youcan help me i build a hot rod for my delayed till 9 1929 the engines from acorvette c4 1985 also the gear big-tent

she's so what do not get rebuilttransmission actions mean i don't know this could beeight anyway my man is looking for wheels of some kind of laid out ingermany he says he can't find them in half by 16th best ever and germany justoutside of frankfurt there's a company called testament gentleman's name is lindseythey work on import cars and import in germany would be a camaro mustang cobraand give him a call ago that's handled the boy has someinformation i thought i never get to use a beautiful radiator says anywhere i geta parts list for role smoky would be

much appreciated my grandfather battledcancer for four years and save my life deadly addiction and i want to restoreand upgrade his truck in the memory of my best friend he's got a nice lookingfirst gen ram here mid-eighties so yeah listen brady i will make sure that you get afull parts list and we will put on facebook and/or send your message job that's really cool product lookslike your truck only nice totally alright good match fit for the firstepisode of the bone marrow bare-bones camara project we bought and built thiscar in three days for the low low price

of forty nine hundred and 42 dollarsthat's pretty awesome seriously insane so next time guess what we're gonna keepgoing with this theme but more power and less money to stay tuned no something we don't often hearsomething about anyway don't count on social media instagram and facebookor hotrod garage show i'm tangelo96 he's mobile tech lucky we will see you guysnext time

Classic Furniture Online Store

Classic Furniture Online Store

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if you had twenty-four hours with thesetwo cars what would you do as it turns out our company is sort ofannoyed with all that dirt ball stuff that we've been doing on road kill sothey threw money at us they give a six thousand dollars so we went and rented this lamborghiniaventador that's like that's like four dollars a minute forthe next 24 hours that's like if you're from alabama that's yourmortgage for about

seven or eight months that car costas much as my house the tax on it is as much as we pay you in a year that hurts this is a 2012 lamborghini aventador it's supposed to be the king of the hillthe california model has 691 horsepower it's a seven-speed paddle shifted singleclutch transmission its all-wheel-drive and it looks like agiant piece a tupperware we got 24 hours to do whatever we wantwith it but we didn't really want to be seen itso we also brought this car with this rat rod at the 1930 model atwo-door sedan

and it was bought as sort of a hacked uprat rod and hot rod magazine in conjunction withmackie's hot rod shop reworked it for sailor jerry rum it's amarketing piece it's designed basically to just be looked at which is kind of agood thing is it a little hard to drive with how heavily chopped and channel that is it'spowered by a small block chevy and has a turbo 350 automatic transmission so we're gonna hit the road here insouthern california see what kinda damage we can do

which one you gonna drive i know you'rethe boss so for you to pick you pick i'm taking therat rod how i was surprise i alright that was such surprise myglasses are in yeah i'm not sure which one of these isworse that i haven't heard not sure how to even drive this thingokay this car actually has like bathroom door locks that's what sex sounds likeyou're right there do you see my steering wheel anywhere don't worrythat a buff out

i found it don't hurt yourself boy okay are you ready to go on that gold chain mobile i know this cool place down by the beachwe're gonna go breakfast see what people think it is two cars together okay stuck he got stuck its stuck i a thought thats awesome thats why i chose the lamborghini he can't go backwards either as big a douche bags i feel fordriving a rented lamborghini

the fact that he's stuck in the deathtrap on a driveway that's too steep that somehow worse to me you man it'shard to get out of this thing gonna be a long day for him hey fennigan i think i'll justlisten to the radio ican't even get out i need a hand i literally can't get out what a piece a crap not happening i think rocking it washelping yeah ready

not happening the rocker stuck inthe ground yeah i know you beached it hot rods areperfectly practical vehicles for daily use dude it bashed the door you need to get out too we need the weight off it okay let'ssee if we can shove it backwards girl of okay one two 3 okay yeah

jump in it back up hug this wall andthen come across this okay hard yeah there you go by doing this thing runs start it yeah don't stop just go are you sure that's not going to justrip the corner panels off it this is the only driveway but does thatmean you want to rip the corner panels corner panels off do this cut the wheel this way back upmore and make more of an angle go for it

sailor jerry i'll probably never loan us their car again whoops you know when i leave the doorsnot gonna fly open love the lambo good thing that it was this car not the lamborghinii'm so glad that was you and not me the rat rod as a whole lot of fun in theory until somebody forces youto actually drive it the car so heavily chopped that there's barelyany windshield in it and it's so heavily channel that there'snot a lot of headroom and not a lot of space between the steering wheel

and the floor so to drive this thing i had lean way back put my foot up on the dash and sort of drivefull on monkey style is actually pretty miserable the mostexcitement i'm having right now is hitting the button to raise and lowerthe front and for railroad tracks potholes in driveways so pretty much i'm relegated to just posing right now saying hey a girl how you doing meanwhile freiburger is inthe talk like a pirate car yeah baby with no air conditioning

no radio lease it's quite no safety impossible to see out this thing no shame oh yeah this is hot roding yeah i could drive this every day you'reright on that i could be fantastic if there wasn't noother cars on the road nobody's really looking at me this car like i'm invisible they're all checking out the pirate car in front of me

model a is popular right now i think as people are worried aboutrunning into it and needing a tetanus shot afterwards oh yes it is better to look good andfeel good and i look good turn signal lever is kind of in a weirdspot here because of the paddle shifters notice the hand signal yeah there's no turn signal i know if i remember what those arecorvette guy digs me the old broads like sailor jerry check itout

see old people dig it no one gives a shit about the lamborghini david is driving so slow because hedrove any faster kill himself there is no speedometer thebrakes only sorta work you can't see anything yeah just get used to this it's going tobe like whole trip out of gas

david just ran outta gas are you sure it just didn't load up 0 fuel pressure that's out of gas so i need to go get gasin a lamborghini yeah i go throw a five gallon jug inthere nobody will know yeah nobody will care fight spill any on the leather not bothering me right nowalright what good is a six thousand dollar rental but you can't go get gas in it's a good point be somebody i'll beback

i win the chick attention thing so farout dude told you it's a senior citizen blue hairs back there that we'reliterally ready to rip they're jogging suits of for you now where do you find gas in hermosa beach what you didn't want to spill it on the lambo california gas can get stuck in the driveway run outta gasi see how this day is going dude the restaurants is right around thecorner and it's like right on the beach chicks playing volleyball in the wholedeal we're gonna prove once again the

chicks dig the rat rod not the lambo beautiful downtown hermosabeach california where people have no idea what they'relooking at with this car a big part of what we're doing hereis really figuring out which one of these cars is a better attention hore and we went down to the beach firstthing and i gotta say chicks check out the rat rod and dudescheck out the lamborghini inverted of what you would think so sofar i completely win the chick contest i'mserious

let me tell you something the only people that checkedme in that car are dudes i stopped open the door next thing i know a little point and shoot cameracame in the window i was like what the and it was some guy igot a picture the aventador logo for my roommate icouldn't get out of the car that car is a death trap i have to laydown in its just to be able to steer i can hear you're saying because there's chicks playing volleyball wow this is the right place to come i figure from here were almost

obligated to cruise pch a little bit andthen mulholland right we need to get out the city the lambo is useless yeah the rat rod is fairly useless in traffic i didn't get out of third gear it sucked so from here out in the citymulholland then after we can go out to the desert go really fast and not go to jail we have 24 hours to kill who's driving what i'm driving the rat rod cruise the beach we're gonna go to mulholland soi'm not gonna argue with your ready are gonna suck in that thing

not for me i've never had the countachposter when i was a kid i not a lamborghini fanboy i'd just don't care it's not automatic things are hard to get into as the hotrod all these guys were worshiping that caron the motor trend youtube channel everything the week i'm gonna give it toyou straight the lamborghini really that cool if you paid fourhundred thousand dollars for a car wouldn't want electric seat adjuster the rat rod is a total freak showdifficult to drive

but badass none the less the thing is a naturally aspirated v126.5 liters 691 horsepower and i truly appreciatethat 8500 rpm redline you hear that pumping and thing does not drive that muchdifferently then the hot rod i wonder if it'll downshift yes it will okay it's peppy i feel like carlos lago right now poor finnegan in front of me in the hotrod not good

so i was driving the sailor jerry carand our goal is to get both cars at the mulholland drive and drive around the curves we get stuck in typical la traffic aboutfive miles into literally crawling i watch the tempgauge just go 220 230 240 a it's gettinghot you wanna pull over not my car i never even look at the gage i'm going to film this there's cops everywhere

yeah it's our maiden voyage in trafficso apparently found out the limit on thecooling system it's alright if we sit here for a few minutes let it cool off and get it out of the way okay i know we shouldn't be i hate to hurt the motor we rented it strange and i think i'm getting better so iguess drive leaking coolant everywhere it's not going to cool off with the engine on

i'll see if it'll start so my first experience driving the ratrod was it overheating in la traffic fivemiles after i get behind the wheel this thing is boiling over i got to get off the road before i can even get off thehighway it goes 260 on the gauge and geyserscomes out and we really shot straight up in theair over the cabinet staying it's got a cam is top on it that wasn'ton there and i was literally leaning over thinking

i'm getting burned right here it's goingthrough the roof it will use so on road kill were on a loose scheduleyeah i remember that thing we said we are gonna do about going to mulholland and hauling butt around curves that's not happening cuz this thingoverheated california has this bitch in program with guys and truck to justdrive around to help stranded motorists and so that guy pulled over game is so much watercooled off and we hit the road again maybe half an hour later and after that is fine as long as i carsmoving your good to go

you get stuck in traffic your gettingscaled probably overheating blew our plans to go blast around mulholland andthe thing we've got to do now give get out to the desert because whatwe're really doing with these two cars is shooting really important a cover for a all new issue hot rod magazineand we've got to meet the photographer out there and with any luck we'll get there earlyenough we can beat the hell out these things on the open road hop in

see the beauty this is it's not mylamborghini so we can do it it doesn't sound good to you there yougo all seven grand when we stopped out with the middle of the desert we meet this young couple and once again the guy love the lambo thechick really liked the hot rod what do you think of the model a almost every woman we ran into wants to go for a ride and model a whatyou think like i want to keep it yes for what the cars

and ready soi pick pick what let me guess the one that doesn't doesn't hurt your ass bingo alright bout to go drag racing in a car that youreally can see more than 10 feet in front of i wanna my brightestmoves but aleast i'll look cool lets go drag race how do you stall a automatic lamborghini

the lamborghini has what they call thrust mode launch control drag race to launchcontrol and i tried to activate it but seems if you hold the thing up on therev limiter long enough while your trying to launch that it eventually backed down or ilifted the gauge automatic clutch i don't know i beat freibergerdriving the rat rod the first race second he kick the crap outta me onceyou figure out how to drive the car the thrust modes actually kind of cool

you turn off the stability control andit lets you stand on the break floor the gas becomes up to like 5400 rpm and then you just swapfeet and mat it and hooks up and launches it doesn't launch that hard to me its not four hundredthousand dollars fast at all if that the best at work ever this isprobably the best one i so after we were done messin aroundout in the desert we had to wait till dusk and we went straight into our hot rodmagazine cover shoot we found an

abandoned desert road in the first thingwe did is we got a couple very slow car to carshots to get from action for the magazine and then our photographer west allison set them both up on the road and we lit them to shoot the coverat the september issue of hot rod magazine which is going to be this all-new complete makeover on themagazine so this was a really important shoot it doesn't seem like it but it's really hard work falling around with reallygreat cars and so

done with photo shoot time to go eatsome food here's we can't drink in the lambo we signed a contract if can't afford to fail that contract i will say this i'm not a lambo guy but i'mdefinitely a v12 guy now about 8500 rpm nothing sounds like that badass it'slike playing a video game here in seventh gear in tap tap tap year and second unit doesn'tcare doesn't whine about thats totally the best part the cars theseventy mile an hour quadruple downshift

in it's really it's only redeemingvalue because chick seemed like this better mostpeople say that they would take this home instead of that you have to admitt it yeah those people never gonefor a ride it doesn't stop it doesn't go this is literally acompound fracture waiting to happen this is a death trapjust legs broken dangling off i so what now i'm you go somewhere we've gotnearly eight hours left paying five

dollars a minute lamborghini and were hanging out in this pile andi was 25 bucks for it there i'm getting out of here this was ostensibly a comparison tothese two cars although we really know that it was just a freak show for ourfun and enjoyment but i do have some thoughts to take awayfrom it the rat rod think it's so popular rightnow and i know why it's because the cars are cartoony and fun and evil and they just look like we wish hotrods really were the truth is

it's not fast it's not a performance carit's not that fun to drive around unless all youwant to do is get looked at it's a miracle i'm sitting here todaythe rat rod there's no good way to describe thisthing where you're going to want to drive this car it's an attention grabber it's a lot offun it's a cartoon great marketing tool for sailor jerrybut not something that you want to drive every single day even though you can drive it whatevercar show you want the lamborghini

i i just don't see it finnegan thinksthe car is brutally fast if you're real hot rodder you're probably not gonna sayyou like a lamborghini but if you ever got the chance to be tossthe keys to one you can't buy it seems it does have somevalue on the freeway when your cruise along into sixth orseventh and you downshift like second stand on it the v12 screams likea banshee and that is pretty cool to me that's the best feature the car is being able to shriek at the 8500 rpm but you know what it's just as hard toget you now to the lamborghini is it is

the rat rod the scissor doors are just annoying and you need like know how torun a hewlett packard computer to function thecenter console way too many switches and gadget on itit's not that comfortable it's not that fast the thing i will giveit is that we had no real track time at all no performance testing on a road coursei think the lamborghini with really kick ass the all-wheel-drive unbeatable butthat's just not our skills that we were

looking at this more from the regular muscle car died theirone-dimensional car as you drive a ride cuz you want to be seen you by the lambo cuz you want to be seenyou're never gonna push it the way you should push it or the way wepushed it now so pretty much their posers cars youknow you can afford either one you buy forwhatever reason you're

Classic Furniture At China Market

Classic Furniture At China Market

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male speaker: it's my pleasureto introduce jean penicaut from lumiere technology whogoing to describe their work in advanced digitizationof fine art. jean penicaut: thank you. thank you for coming. my name is jean penicaut i amthe ceo of lumiere technology. we are originally a manufacturerof rgb and gis high definition scanningsystems. and we sell cameras with a resolution of 240 millionpixels and with a

geometry certification of 12microns for [unintelligible] format for digitizingarchives. that was our former business. and we have customers as thewestern michigan university, the french [unintelligible] authority. or for rgb we have the libraryof congress in washington, the washington state archives inolympia, and we deliver some machines in museums, and somenewspapers too, and

prestigious institutions asarchives of canada in ottawa, and the canton of genevein geneva. so we send now a service whichis totally different over a new technology with amultispectral scanner. we scan in public and privatecollections with the highest definition ever obtained before,240 million true pixels, an accuracy neverobtained, never, never before, with a special technique. digital public and privatecollections with the highest

resolution. so we come to museums and wescan with this jumbolux and jumbolite patented systemdigital artwork. this is the scan of is la viede picasso at the cleveland museum of art. and you see is white true raywho is passing 13 times of the canvas and we share the lightand the answer of the pigment from uv to infraredas its definition. so we obtain 13 files and thatgives us, by reconstruction

and resizing amazing images with1.6 gigabytes of data. and we obtained this onewith this definition. and because we have ameasurement and not just a representation, we have alsobehind this image, the knowledge of this imaged withinfrared with the same definition, and the staff ofart before the restoration, and the cracks, and the varnish,and the pigment, and the [unintelligible],et cetera. so this is the most powerfultool for studying

the history of art. so we can also browse thesekind of images online. so i want to show you now whatwe made with mona lisa. so we obtained with this camera13 pictures from uv to infrared sharing the lightall of the 14 nanometers. we have uv, it is invisible hereand you have the infrared here, which are alsoinvisible. and we reconstruct after thatthe images to give you the perfect color of the painting.

that gives you thisresolution. so that was the digital can ofmona lisa in the louvre two years ago we with a researchlaboratory of french museums. and so you have the ability tosee each detail and in each pixel you have the spectrum ofthe pigment of the bind and of the varnish usedby the painter. so it is an incredible toolfor knowledge, studying, reproduction, curating,and as you want. and it is a measurement so wecan follow the evolution for a

very long time off all thescreens and the printing process in papers, et cetera,to obtain perfect gamut. the gamut is a memory you havein your mind of the perception of the color. and we cover 97% of thegamut as rgb 55. rgb is just a representationbecause when you digitize something with rgb in photoshopafter that you adjust the digitization asyou feel at this time. with our measurement, neverwe correct, it's always a

scientific measure. and we can compare on samebasis paintings. so this is mona lisa as you cansee her actually behind the glass in the louvre. but also we have the knowledgeof this painting with all its restoration. and you can see by this infraredfalse-color process, totally automatically generatedwhen we construct the painting, you have theexact ability to see the

differences of the pigment. this here is azurite andhere is lapis lazuli. you can see with a very goodprecision all the cracks and all the restoration in violet. you can see also theunder drawing under the infrared here. she has moved her hand. and you can see also a cover,a [unintelligible] cover she has on her knee.

i'm sorry, i am unable, as acanadian explained to us, i am unable to tell you is thatshe was pregnant. i don't know, it's impossiblefor me to give you this information. but what can i do is give youanother information, very interesting, the truecolor of mona lisa. we have removed the varnish. and i will show you now how fromthis information we have removed the varnish totallyvirtually from the

painting like that. sorry, i have to find. so the pixels give us on theentire surface the pigments, the bind, and the varnish. and we have that on the entiresurface of the painting. so for this painting we have86 million pixels. and in each pixel we havecertain information which give you the exact spectrumdefinition of the painting and the varnish.

so we have decided to removevirtually the varnish by first an aging process with equivalentvarnish used by leonardo da vinci. so we aged it for 500hundred centuries by a special treatment. and we make, after that, thespectrum in each pixel. this is the blue one. and the spectrum of the varnishis a pink one, so we subtract the pink onefrom the yellow one.

mathematically, it's not exactlysimple, but we obtain the result of the yellow one andwe verify it with the pure pigment here on theblue light one. and the average of that givesyou this information from the original color to the virtualrestoration of mona lisa. so what is totally new is thatwe can make that for any paintings we have digitized. and this is the ultimatedigital capture system for fine art.

so the experts and actuallythe first report in a news magazine in france explained topeople that now we have the dna of any paintingwe digitize. so here you see we have 80million pixels of this information and each pixel hasthis curve and the curve gives you the exact measurementof a painting forever. so now we are coming tosee more paintings. this one is from john-jamesaudubon at the new york historical society.

so you can see all the detailsof the royal eagle of the watercolor as acquired fromjohn-james audubon and with very interesting details. and now here is the drawing,et cetera. so what is able now is wecan browse inside a painting and online. so i can show you more, thegreat egret from also the new york historical society. i can show you also the famouspink flamingos that every us

family has at home, i think. sorry? male speaker: that'sonly in florida. jean penicaut: but it'sinteresting that we have the true color and i have never seenin a shop the true color. and so you can seelots of details. i can show you now this onewho is [unintelligible] that give you lots ofinformation of the technique with the verdaccio.

so you can see with thisprecision how he put his stroke with pink and green. you can also lots ofdetails in this canvas, or it is a panel. there is a little guy here orsome ghosts here, boats here. and you have also wonderfulred and gold details very difficult to obtainby a simple rgb. we can see also thisinteresting georges de la tour.

and what we see from thispainting from the museum of cherbourg is that we discoveredwith our system some little, not mushrooms, buti think behind the bind and the varnish which was verydamaged for the painting. so that was very easy to find. male speaker: fungus,you mean? jean penicaut: fungus, yes. this is a [unintelligible] from a private collection.

we can see also more fromhere with details. this is a panel from mycollection, quattrocento period, so the sameage as mona lisa. and we can see the false color,so all the restoration and the state of this paintingand also the infrared in back and wide. but you know, false color givesyou more information because that gives youdiscrimination. i can show also how weunvarnish a painting.

so this is a panel froma dutch painter, his name is van delen. and you have the false colorinfrared will give you details of the correction of thepainting at the same time. and also we can simulate theunvarnished painting before restoration to just evaluate therestoration and the work you' have to make. but if you just see the underdrawing you see details from the original.

i can show you nowa fragonard. this fragnoard is in a familycollection in paris before to be donated to the louvre. and i have the infrared too. i love this painting becausei hit in front of i think a hundred times in my life andi've never seen as i see now with detail like here, thelittle nuance of red here and also the details on the hands. so this is the new wayfor studying art.

we can see more then. another one here ismarie-antoinette. this is an interesting pasteland the study of this pastel with the infrared gives youdetails of the original of this pastels and confirms thatfrom the uv and infrared you have a difference. and the difference reveals thatwas the first pastel ever made by ducreux at theaustrian court. and we know that the mother offin fact marie-antoinette

refused the first one becauseshe considered the first one too young. so it was not the idea of afiance that she wanted to give to the old king of france. so the infrared gives youthis is information. you compare it is notthe same portrait. so that gives you all theidentification of the painting, and we have also someinteresting discovery.

a guy came with this niceangelus by millet. he considered after a littlestudy, he was a plumber in the south of france, a lovingheart, as you and me. and he both that for,i think, $20 or $40. and in his mind, he said, it isa nice copy of millet, who has copied millet? and van gogh was on the toplist. so he sent a picture to the van gogh museum and, ofcourse, the van gogh museum answered no.

so he came to visit us and saidcould you please scan this nice painting because i amsure that perhaps we will discover something. so details of this paintinggive us some answers. here you have somethinglike millet. and if we have the first colorthat gives you d'apres millet. and the d'apres milletthe exact scripturation of van gogh. and we know that he made thispainting and later he

mentioned that he made it. so the guy now is coming to thevan gogh museum with the perfect file we made for him itwith his brother inside and with a nice copy, a printedcopy, and lots of information about the pigment definitionof the painting and of the varnish. so for expertise it isan incomparable tool. lots of nice thingsi can show you. this one too is supposedto be van gogh.

it was from van gogh's sisterjohanna's collection, but once an expert told the signaturewas not from van gogh. so this painting was sold for$100, i don't know where in the netherlands. and we scanned it and thedetails it's totally incredible here. this is a glaneuse, i don't knowthe name of a woman who was in the countryfor that, but you know, look at the detail.

also, we can scan just[unintelligible] or [unintelligible] this is a picasso. and you have uv and infraredwith the same knowledge. and i can show you more. a difficult littlepanel to see. it is a painting overanother painting. it's difficult just by your eyeand you can go inside this panel and you have thefalse-color, which reveals

that the portrait of the womanis over the little man. and the infrared will give youmore information for the under drawing and how he madethis painting. it is perhaps a picasso from thevery early period in the bateau-lavoir. and it is perhaps thesister of picasso. we can see this isamazing chagall. the most difficult for us is tocan red because to give you the nuances of red, that isthe main difficulty for

photographs. and so here you can see theamazing nuances that this prince of color whowas chagall made. and we have also behind that allthe infrared and all the study of the painting. and just to finish, this is anice renoir you can see at the musee de l'orangerie. and you have also thefalse-color that will give you lots of information.

another big one, renoir,where is it? so we are online too. so it is totally new because wecan share this information with everybody online,and that's the reason why i'm here. because now we can have thisis kind of visit of museums with the same acuity, and thesame accuracy, and the same definition. so the main difficulty for usis to come in museums for a

digitization. and we have now online from ourwebsite lumiere technology the ability to go and to browseexactly with the same definition as two minutesbefore on my computer. it's very easy. it is actually just forpc and with explorer. but inside this nice paintingyou have details as this signature inside thebody of the central detail of the painting.

so you can see and consultthat on our website. for us, the analogy with googleearth is evident. we use the same sensor tocapture the image from satellites. we have the same approach, theteam that we visited in purdue university, we invented themultispectral scan just to see the state of art of the growthand culture of corn paid and sponsored by kellogg's. so we made them and theywere totally amazed by

the result of this. and they made lots ofverifications and to say you are at the top off yourtechnology too in front of a canvas. i was, last week, in pasadena atthe 34th conference of the museum computer network. and i met around 40 museums. icame also to the getty and the studio department last mondaywith the top of the technique of digitization.

and what they saw andwhat you see now has changed their minds. now we have to come in museumsto digitize their entire collections, hanging and stored,on more or less a long period, it depends on the timeof the museum and the time of a museum is not our time hereon our business company. so the most difficult to take apainting, to unframe it, to put it on a roll, and to bringit in front of the scanner. so we want to install in museumsmultispectral rooms.

and in 20 to 40 minutes we willdigitize a painting and we have the equivalent time to reconstruct on our quad computers. and we deliver at the sametime this result on any luminance you want because thebeauty of that is that we have achieved the dreamof bill gates. we have now the abilities toput on your wall the exact color of a painting underany luminance you wish. if you want the luminance ofthe candlelight as leonardo

saw his painting in his roomor if you want to see that because you are [unintelligible]and you have trouble for red and green, wecan give you this information on the screen as we want. so the data is stored on oursever in the museums for studying with equivalence withour pigment databases because we made also lots of researchabout pigments, and also to be sure that the data will be keptsafely and with always the same scientific protocol.

so when we talk with museums,they all explain to us that they don't want to make as theydid with corbis five or six years ago. because corbis was founded bybill gates just in this goal to puts on the wallsmasterpieces of art. they want to keep the copyrightof the image and i understand, i agree with that. because the knowledge of thisimage we just have this knowledge, not the museum.

because we have the equivalence with the pigment databases. so what is important now isnot the image, but the knowledge of the image. and we can provide forcomparison study or producing, with the best quality,these images. and this data, nobody except uscan create value from it. what we want to do is to createworldwide databases of pigments of the digital palateof painters around the world,

by period, blue one, pink onefor picasso, et cetera. and we think we can make thatin less than three years. after that, we will have suchinformation that these next 20 years will not suffer to studythem with all the art departments in universities. yes? audience: surely, the copyrightson these things are old enough where they wouldbe expired by now. jean penicaut: i'll explainfor the copyrights after.

in fact, actually, we have nolegal statutes for the pixel and the knowledgeof the pixel. we know for the image but wedon't know behind the image. so it's empty, we have to createthis new paradigm for legacy and copyright. audience: but you are allowedto freely redistribute the pictures that you take? jean penicaut: we want to createa network with the museums to follow this knowledgeand to share this

knowledge with the museums. wehave in each painting the dna of the painting. we have the truth ofthe paintings. so we can make lots of profitsfrom this knowledge and partly from this image, but alsofrom something that doesn't exist now. identification, comparison,epublishing, poster, insurance, certification,ratings for sales, et cetera. we can create, first, apay-per-view, the perfect

pay-per-view system fordigital images as its to visit virtual exhibitionsafter an event around a [unintelligible] ora new painter. you have actually exhibitionsaround the world, three months in chicago, three months inlondon, three months in madrid, or in ottawa. and after that you just have adirty book with dirty colors to remember this amazingexhibition. imagine the second life of thisexhibition online with

this accuracy, pay-per-view, youjust have to pay and you can go in this amazing tizianoexhibition, da vinci exhibition, and we cancreate this memory. we can also from this virtualexhibition create lots of derived products, posters, etcetera, with [unintelligible] certification as the bestprinted posters and you can order that on the illuminanceyou want. it is an occasion to open thevalue of such exhibitions for people who can't travel and thistime and would appreciate

to visit it. instead of having 300 visitors,imagine the audience on the web in two or three yearfrom china, from africa, india, or here, america, forpeople who never will go to chicago or to paris tovisit an exhibition. such digitization should alsodecrease the insurance rates from shipping by a betterknowledge of the state of the paintings. i think the masterword for this

knowledge economy is sharing. we have to share, we have toshare, we have to share. and we can reinvent a new accessfor fine art and a new way for also sponsoringexhibition. and it's not here, i am in themecca of the profit by advertising. and it's not here, i haveto explain to you that. but imagine a visit of a museumwith all the paintings like that and with localadverts and publishing

adverts, et cetera. we can also change the mannerof patroning an exhibition. for google, it will be thefair manner to patron, i think, a new way for a digitalart and for the knowledge about fine art. given another impression thatyou are in europe and, i think, everywhere as a cultural predator sometimes, sorry. if you listen to just thereaction of the local chairman

of the french library, etcetera, you see that it's very difficult for them tounderstand, in fact, the amazing work you do. last week at the mcn conferenceyou had at station about google and thumbnailsissued from the museum's collection. what a pity to see suchdistinguished persons arguing on the intellectual propertyof a vignette just because they don't value the shareof [unintelligible]

expected from googleof such its age. so i have a dream, perhapswe can create together google art. in three years, to sponsor thedigitization of all the masterpieces for art in storageand on the walls of museums, i think it concerns 100museums and the budget of that could be around$35 to $40 million. it is the price of avery bad picasso. but, from that you couldencourage this innovating

vision of studying picturesof artworks. and it is a very profitable[unintelligible] at term around all derived products,which don't exist yet, but which will generate revenuesand income. if you think to apply the goldenrule in this matter, sharing, sharing, sharing, withall people, institutions, museums, estates involved inor by the diffusion of the image and the knowledgearound them. and it's the reason why all thislegacy problem will be

resolved because if you pay, ifyou share, you can make a large consensus of the diffusionof the image with lots of security systems,watermarked, et cetera. audience: you're talking aboutsharing it, but you're still going to charge peoplewho access it. jean penicaut: yes, but theincome will be shared. for high resolution, if you wantto use these images for a university, for a pitch, aconference, et cetera, you can pay $10 or $20 for that.

it is easy and also you canenter in this knowledge with lots of adverts aroundthe event or around this museum, et cetera. what is the value? i just want to open your mind ofsome new business possible. look, this is a fragonard. what is the value of the nuancesof this painting for a woman who wants to change thedecoration in her flat from this portrait of fragonard, theyellow for the chairs, the

gray for the carpet, thered for the curtains? by just giving to the paintmaker, the guy who the paint, the idea of the nuances andthe luminance she wishes, because in fact, she wants thisyellow, but in a dark room, without windows,without daylight. so she wants the same nuancewith a halogen lamp. she will obtain a perfectrestitution or her sensible perception of this artwork andshe can pay $50 for that and it is pure margin.

what is the value of the advertsaround this painting or this artist automaticallygenerated by amazon on printed fine arts or last minute whowants to propose a trip to a museum with lots of fragonard. what is the value of the newbooks, like getty books, i explained that to the getty. a nice cube as you can see inthe getty, you go inside this little cube and you have arelaxing massage armchair, an ice cream, and you can go insidethe painting, listening

to, because it is renoir, themusic of faure or ravel, and have lots of fun and enjoymentjust to see what you have seen in the reality. and you can pay for that $5. or you can have some moreadverts around this consultation. audience: disneylandand gettyland. jean penicaut: yeah, what isthe value of a digitization pay-per-view for the aredepartment of a library or a

university? last year i came to visit theart department of stanford and they explained to me that, forthem, just to pay $10,000 each year to have access to 18thcentury painting databanks with such resolution isnot wrong for them. they think it is interestingto pay for such access of such quality. what is the valueof movie-making? from this data we can make onemovie about fragonard with two

or three experts. every image from thismultispectral scan has a value, a certification,a usage to generate in common pleasure. so to build this amazing projectwe needs a strong partnership. the reason why i'm here is totell you that we can together make the best, largest, andrevolutionary research image portal for museums' collectionsabout ancient and

contemporary artists, tobecome the real leading basement of historyof art studies. once we will have digitized10,000 paintings, it will be very profitable. with your patronage, googleart, as louis vuitton made that for the big exhibitions inchicago and in paris, but here are on the web it would bevery easy and acceptable by the majority of museums. itwould be a perfect answer to those who claim against google,showing also your

ability to encourage andpatron art research. beyond images, to manage theknowledge of paintings of their history, two open theminds of people always constrained, actually, by poorreproductions so far from the reality, it is now, i think,in the digital age, a knowledge economy absolutelyunacceptable. the reason why i'm here also isto find investors, so it's the reason why i come in thevalley, who could easily understand the development ofour project from acquisition

to research, from diffusionto creation of value, from promotion of a norm as dolbyfor the sound, but here we have dolby for the color and wecan make the standard for printing and for research. we have the perfecttool for that. and we can also give the rulesfor the best definition for screens, for printing,and for choosing ink. we have, next year, orderedprint machines with 24 inkjet specification to obtain thebest printed and the best

gamut, the best definitionof colors of the reality. we have supplied the bestdigital capture system in the world of art. and for a long time, asmeasurement, we have supplied the smartest browser on pc formuseums to communicate, merging documents, mpeg,pictures, like that. you can put beside any paintinga video very easily. and so a curator canexplain a painting just beside the painting.

we can merge these documentswith mpegs, with links, with comments, sounds, et cetera,and adverts at the highest definition possible. and behind the painting givingyou the invisible and that is really impressive. and this knowledge, passionatepeople who love art, just to see behind the painting, how wasthe painting, et cetera. so we have proven our abilitiesand we have to deploy our service.

of course, we will new legalstatutes of the pixel to argue, copyrights arenow not sufficient. at the famous picture agencyvisited last year in seattle who told me-- corbis-- jean you changed ourbusiness forever. i answered, no, i go furtherin the unlimited way of digital knowledge ona scientific basis. it is time to share knowledgelaboratories and publications

letting ignorant, nice peoplediscovering at home, or on the fair market, wonderfulmasterpieces of art as i showed you two minutes before. each week we have requestsabout people and such paintings supposed to be a vangogh, or picasso, or chagall, always recused on littlepictures without any element of comparison just bymail to say, no. and you have seen the result. we don't want to be experts,we want to deliver the most

complete files to experts,increasing their expertise. it is time also online to buildthe bureau veritas for pictures of artwork. you know the bureau veritas hasall the ships around the world and the boats andthey have a central authority for that. and insurance companies willbe very interested by collecting this informationto, with all security and confidentiality processes,of course.

it is time to give to ourchildren and students the exact reason why renoir painted without dark and black. you don't have any dark in thispainting, only with blue. by letting our children discoverby themselves this new matter about impression,they will enjoy in its true dimensions, this incomparablemovement of art in art history. we can now study, as never,browsing inside the image and

enjoy with unique pleasure howthis painting was made, strokes, color palate of thepainter, et cetera, on site and online. i think after seeing this kindof painting online, you change your mind when youenter a museum. it is another way forunderstanding and your next visit to a museum will be moreenjoyable because you will also share this pleasurewith people around you. and i think if we succeed wewill have made something that

will further us and this is thereason why i'm happy to work in this company. what i know is thati will make it. i don't know with authoritiesor patrons, but i will make it. and i wish to create a strongpartnership, perhaps with you, i hope so, to create this googleart vision from europe, to new york, and here to buildsomething that will further us in the universal peacefuldomain, beyond all our

differences, art. so that was what i wanted totell you this morning. i'm sorry because it's not ingood english, because i am french and that's notall the time easy. but just a detail, this ismona lisa, and we have discovered just by our softwarethat here you have a minium drop. minium is an orange, modernpigment that you pout under the iron to avoidthe oxidation.

perhaps is was the guy who stolethis painting in 1911, he was a painter. and we think that taking thepainting in his house, he some minium on his coat, somethinglike that. so we have discovered that. it's passionate for people. mona lisa is like agoddess in japan. so imagine the day we will opena website with mona lisa, with the louvre, onpay-per-view.

we will have great success. all the experts involved in thismatter of mona lisa, art, et cetera, italians from firenze[unintelligible] are totally amazed by thismanner to study. so now, how can we change theworld of art together? that's my question. thank you. [applause]