Gallery: Forget Cell Phones, Give Me Wearable Computing!

Experiencing augmented reality doesn’t have to be as easy as holding up a cell phone. Through the years, researchers have dreamed up and constructed hardware that is either totally cool or utterly ridiculous (sometimes both, depending on whom you ask). The above funglasses from Lumus Optical suggest you can view email, SMS and video games “inconspicuously during meetings.” Because no one would ever question why you’re wearing huge black sunglasses indoors. Needless to say, I’ll give it up that there are practical applications for this hardware (exploring a city, viewing Google Maps, etc.). Plus, it’s pretty clever: Lumus’ patented, revolutionary Light-guide Optical Element (LOE) [ ed. note : 2-3mm thick] comprises a flat, transparent optical substrate that incorporates a set of embedded partially reflecting facets. The upper figure illustrates the LOE function. An optical image, generated by a microdisplay (e.g. LCD, LCoS or OLED), is coupled into the LOE substrate. Trapped by total internal reflection, the image components are guided along the LOE. The image is then expanded and coupled out by a set of partial reflectors for viewing by the user. The LOE provides the viewing experience of a large distant screen: an enlarged, distant image, with a large field-of-view (FoV). After the jump, check out some other AR projects, old and new, which require you to look less like an iPhone fanboy and more like a cyborg… [Lumus via MedGadget ] First developed in 2002, this pack was one of four created especially for a game of “Human Pacman” , which played out in the streets of Singapore. Pacman can collect the virtual cookies by walking through them, while Ghosts can “eat” the Pacmen by physically tapping the Pacmen’s back. However, Pacmen can collect power-pills which are Bluetooth-embedded boxes hidden in the game area to become Super Pacmen for a short period of time to “eat” the Ghosts in the similar fashion. We also introduced the role of Helper, who can participate the game through the Internet. The movements of the Pacmen and Ghosts are tracked using sensors and they are linked back to a wireless Local Area Network which is connected to the Internet. Hence, the 3D-graphical version of the game can be rendered in real-time. Helpers can thus watch the game “live” and guide the Pacmen or Ghosts to reach their goal by text communication. Did I mention it was funded by the military? Around the same time, students at Carnegie-Melon’s ICES were experimenting with a Spot wearable computing device (left) and companion driver interface system, which was comprised of several cams and devices. Whatever. You still look like The Borg . Speaking of which, how could I not mention Steve Mann , author of Cyborg ? The dude’s troubles boarding airlines are well documented on Boing Boing . But regardless of such petty setbacks, just look at the evolution of that hardware… Not especially chic, but his look sure has come along way! Back in 1999, this Wireless Immersive MultiMedia Information System (WIMMIS) was comprised of a Cybertrack head tracker for “orientarion [sic] determination,” a Sony Glasstron TM display, a Xybernaut MA 4 computer, and a wireless video link. All built into a vest that just screams: “I’m a walking Radio Shack!” As of 2008, this head-mounted, retinal-scanning display weighed just 25 grams. Much lighter and stealthier than earlier incarnations from 2005 — “less than one thousandth of the previous prototype.” Compliments of Japanese-based Brother Industries . [via Gizmodo ] Why mess with glasses, goggles and thin-film displays when you can affix said display direct to your eyeball? That’s exactly what researchers at the University of Washington are wondering. And that’s why they’re developing a bionic contact lens that was unveiled last year. Already, they’ve tested the lenses on rabbits, which confirms that lab animals really do get to have all the fun.

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Gallery: Forget Cell Phones, Give Me Wearable Computing!

Geisha: The Japanese company that turned a virtual French maid into a hit product

Aris folds her tiny hands across her aproned lap and smiles. “If you need me, please poke me to get my attention!” she says in a peppy, high-pitched voice. “Just don’t poke me in a weird place! ” As if to deliberately defy her request, Taisei Tanaka, who is sitting next to me in a soccer jersey and jeans, lifts up Aris’ poofy skirt with a stick, revealing the ends of her black thigh-high socks and a glimpse of her blue panties. Aris screams at the top of her lungs. “Please stop! This kind of thing is not good!” Tanaka has every right to lift up Aris’ skirt. He is her creator, after all. Besides, Aris is not a real person; she doesn’t even really exist. She is an optical illusion, a three-dimensional projection of a brown-haired girl in a maid outfit who lives inside of a cube that looks like an oversized die. The cube has QR codes pasted on each of its sides that uses image recognition, motion-tracking, and other computer-generated data to project images into space when recorded with a webcam. I’m at the office of Geisha Tokyo Entertainment , the company that makes and sells the popular Augmented Reality Figure Aris. At first glance, it’s a cookie cutter Japanese workspace with long fluorescent ceiling lights and walls painted a sterile white. But the normalness ends there. The whiteboard by the entrance is covered with a 20-frame manga featuring egg-shaped characters in a comedy routine; a rack holding half a dozen guitars sits in the back corner of the room. Wigs and figurines line the rows of desks crammed into the 800 square foot or so space. As I look around the office upon arrival, one of the employees, a tall guy in a bandanna, waves at me with a didgeridoo in one hand and two stuffed Pokemon in the other. Three years ago, Tanaka, a lawyer-turned-engineer-turned-entrepreneur, quit his career as a game designer and gathered an all-star team of multi-talented people with Tokyo University pedigrees to start an outfit that would take “high-tech entertainment” to a whole new level. “When visitors come to Japan, they buy electronics, sing karaoke, watch anime, and play video games,” he says. “I’m trying to bring high-tech into that entertainment subculture.” The company’s first product was a flop &mdash it was a kooky cell phone game that sent players on missions to take photos of good-looking people on the street. The app used face recognition software to determine whether the subjects were really attractive or not. “It was pretty well known among media art circles, but we didn’t make that much money from it,” Tanaka tells me. Then, in March 2008, Tanaka saw a rerun of an anime called Denn? Coil on TV, and something clicked. “When the kids in the anime put on augmented reality glasses and see things that aren’t really there, I thought, I want to make those glasses.” When he talked to his colleagues at Geisha about this, they decided to take it one step further &mdash they would make a humanoid augmented reality pet. The technology was already out there &mdash university researchers had tested similar prototypes more conventional pets like dogs and cats. “We wanted to do something that would market augmented reality in a way that’s… meaningful. We were like, wouldn’t it be awesome if you could look up her skirt, or take off her clothes?” By April, the guys at Geisha had a prototype of Aris, and when the product hit stores in the fall, the first 3,000 units sold out within three days. At Geisha’s headquarters, Aris lives inside a computer screen in a makeshift living room in the corner of the office. Boxes of gadgets and books are stacked atop a tatami mat floor; there’s a sitting area with blankets and an exercise ball in front of a flat-screen TV and an old school A/C unit. Tanaka puts the augmented reality cube on the table, powers up the webcam, and clicks on a few links on his PC. I stare expectantly at the screen. All of a sudden, Aris tumbles out of the box, jumps to her feet, and starts chatting away. “Hi, I’m Aris!” she squeals. “I’m a genuine maid! Master, I am at your service!” Of course, Aris didn’t really tumble out of the box &mdash it just appears that way on the monitor. The Aris kit, which sells for about $100 online and at electronics stores throughout Japan, includes a special stick and cards, also with QR codes on them, that allow users to poke Aris, change her outfit, or give her gifts. Aris, the virtual maid, combines the fetishism of maid cafe culture with augmented reality technology and the futuristic storyline typical of modern anime. According to the backstory invented by Tanaka and his team, she is the daughter of a geisha and an inventor from the year 2025 &mdash due to the declining birthrate, the Japanese government has adopted a new policy that allows children to be created virtually and raised by humans. Once she appears via the webcam, Aris is the ideal sweet and subservient desktop companion &mdash she sweeps up virtual dust from your keyboard, pays you compliments, starts dancing like a cheerleader if you give her virtual pompoms, and whines flirtatiously when you flip up her virtual skirt or take off her virtual apron. “Everything about Aris is made according to my tastes,” Tanaka says. “I designed a character that I thought was cute &mdash her voice, her actions, everything.” Tanaka is currently trying to figure out how to incorporate haptic technology &mdash vibrations and motors that simulate the sense of touch &mdash into the next generation of Aris, so users could actually feel something on the tip of their fingers when they poke her. Geisha is a cool company &mdash it has the feel of a startup, or maybe a college dorm. Because of the small size, everyone here has multiple jobs, each one catered to his or her unique talents. When Tanaka knocks on a tiny soundproof door hidden behind a row of desks, a man in overalls and an afro steps out and chirps: “What are you doing??” in a perfect sassy old lady voice. Tanaka later tells me that he’s the voice actor and sound engineer for Geisha’s new comedic anime series called SakuranBoy DT, which is about a random, no-name provincial town in Yamagata Prefecture. The soundtrack and illustrations for the anime are also done in-house by employees who ordinarily keep books or fix servers. While Tanaka is showing me a clip from SakuranBoy on his computer, a man and woman both dressed as the blue-haired vocaloid Hatsune Miku come tumbling out of the elevator. They’ve just spent the whole day pole-dancing in a nearby park for a promo video for their newest product, an iPhone app that lets you play the imaginary character’s imaginary instrument in real life. When I smile at them in greeting, the man takes off his wig, bows slightly with his matted hair, white-caked face, and red lipstick, and then shuffles away to his desk. “He’s one of our designers,” Tanaka says, laughing. “Today, he’s a cosplayer.” Geisha has sold over 10,000 Aris figures and continues to make kooky, surprising products that don’t really fit into any existing category of entertainment. And while they make it seem like everything is just for fun, their ambitions are serious and grandiose. “We work in the spirit of prepping for an annual school festival,” Tanaka says, “But we plan on surpassing Nintendo in 20 years.”

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Geisha: The Japanese company that turned a virtual French maid into a hit product

Common outdoor climbing phobias and how to combat them

When you’re climbing outdoors, you inevitably end up facing some of your biggest fears, whether it’s heights, dirt, or pooing in the wild. Here are some tips and tools on how I dealt with three of my phobias. 1. Mosquitoes Yes, there are mosquitoes in the wild! Tons at Lover’s Leap, where I went to test my climbing gear, especially near the little stream of water that runs along the path to the crags in the early evening. Outdoor Research has gaiters &mdash durable leg warmers that go over and strap under your shoes &mdash that are treated with insect repellent. Gaiters also help keep dirt and pebbles out of your shoes. Mosquitoes are often at the campsite, too. Since a lot of climbers ditch the tent in an effort to minimize weight, taking a bug bivy with you is also a good idea. 2. Heights I’m not normally scared of heights, but I have to admit that hanging out on the edge of a 400-foot-tall cliff and trying to look down to see how my climbing buddy was doing whilst being held in place by one flimsy rope was a little freaky at times. Since positive self-talk (it’s ok, breathe, you’re not gonna fall) was not really working, I thought of my own calming down method &mdash I found tiny flowers and leaves in the rock’s cracks and pretended they were my dog Ruby. “Hi Ruby,” I’d say, and suddenly my fear was replaced by a warm, fuzzy feeling. “What are you doing here?” I know it sounds crazy, but try it. It works. 3. Getting lost This may not be a realistic fear unless you’re going way into back country, but the thought of not being able to head straight back to base camp after a long day of hiking and climbing is pretty daunting. I was with a trustworthy leader who knew his way around the Leap, but if you’re trekking out on your own, you could take the Bushnell Backtrack &mdash it records your starting point and then constantly directs you back to it with arrows and mileage. Of course, this could be totally futile if roads are windy and sparse, or if there are rivers and bears and stuff that get in the way of a direct path home. But it hooks easily onto a carabiner and for $80, it’s not bad. (I also recommend this product, by the way, to people who can’t locate their cars in mall parking lots.) 4. Pooing in the wild The only thing I have to say about pooing in nature is that it’s fun! Try it. Just remember to wipe, and take your dirty paper with you after you’re done.

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Common outdoor climbing phobias and how to combat them

Backpacking food taste-off

On a recent trip to Lover’s Leap, a prime time climbing spot in South Lake Tahoe, my friends and I did a camping food taste test. Camping foods = dehydrated meals that come in resealable pouches that can be used to carry, cook, and eat the food in. Backpacking foods were pioneered in the 50s, when a company called Richmoor needed to find a way to keep Boy Scouts well-fed in the wilderness. They’re no gourmet restaurant meals, but after a long day of climbing and hiking and being dirty, we were grateful for warm meals and pleasantly surprised by some of them. AlpineAire Foods Hurry Curry Chicken vs. Backpacker’s Pantry Pad See You with Chicken vs. Mountain House chicken breasts with rib meat & mashed potatoes The instructions for Hurry Curry Chicken were to add 2 cups of boiling water into the pouch (don’t forget to take out the oxygen absorber) and let sit for 10-12 minutes. Easy. We did that simultaneously with the Pad See You , which required 2.5 cups of boiling water and a 13-minute wait. 10 minutes later, we started up the MH chicken breasts , which only take 2-3 minutes in the pouch. Since we boiled water using a JetBoil &mdash which literally made the freezing cold Tahoe lake water boil within two minutes &mdash the whole three-course dinner for six took only 15 minutes to make. The five of us who taste-tested these meals could not agree on one that was *the best.* Personally, I thought the Pad See You was not bad &mdash I’ve had worse Asian food in San Francisco that was actually cooked by a person in a wok. Angela thought the Hurry Curry was a winner &mdash it did taste a lot like dal, and in fact, if it came on a dish with naan and tikka masala I could have been fooled too. Most surprising and controversial was the chicken breast with mashed potatoes. The chicken was well-seasoned and tasty, and the mashed potatoes tastes like chives and garlic &mdash delicious! &mdash but I couldn’t kick the thought that these were all artificial flavors. Matt almost ate the entire two-serving meal within minutes; meanwhile, Tommy thought it was just gross. Backpacker’s Pantry organic spicy omelet vs. Mountain House scrambled eggs with ham BP’s spicy omelet was a little bit labor-intensive &mdash it actually required us to cook it in low heat in a greased pan after mixing the stuff with water. The ingredients are all organic &mdash organic mozzarella, organic peppers, organic tomatoes, organic pasteurized dry whole egg &mdash but the taste was just okay. At least we knew it was marginally healthy… Mountain House’s scrambled eggs were a just-add-hot-water type of deal, and came with precooked red and green peppers. Sure enough, it looked like fluffy scrambled eggs, but it tasted kind of like cardboard. The ingredient list included stuff like xantham gum, sodium tripolyphosphate, sodium erythorbate, and sodium nitrite, which don’t really sound like food. Next on my list to try: Natural High ’s chicken enchiladas and Backpacker’s Pantry’s chocolate cheesecake . Yum!!

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Backpacking food taste-off

Louis Vuitton’s fancy Apollo-inspired trunk

Starting today, you can see this very schmancy Louis Vuitton trunk that has been custom-made for the 40th anniversary of the Apollo moon landing at the Rose Center for Earth and Space at the Museum of Natural History in NYC. via Hypebeast

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Louis Vuitton’s fancy Apollo-inspired trunk

Apollo Anniversary NYT Puzzles

The NY Times published a set of eight space-themed puzzles to commemorate the Moon landing. The answers will be published tomorrow. Until then, good luck!

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Apollo Anniversary NYT Puzzles

Moon Landing Pics: "Gee-Whiz" Afterthought

This is, perhaps, the most famous photo from the Apollo Moon landing. It was taken by Neil Armstrong, who shot most of the pics taken on the Lunar surface using a Hasselblad 500EL camera outfitted with a Zeiss Biogon f-5.6/60 mm lens and 70mm Kodak film that was “thin-based and thin emulsion double-perforated.” Called the Data Camera, the 500EL used on the Moon was modded with a special silver finish to boost the hardware’s ability to withstand extreme thermal variations (the middle camera pictured here has the silver finish). The Data Camera also featured a glass Reseau plate , which produced a 5×5 grid of little crosses you can still see on the image. NASA used the markings to help account for film distortion and calculate the angular distance(s) between specific points in the image. Pictured above is Buzz Aldrin , who appears in the bulk of the Moon landing pics. In fact, there’s essentially only one photo of Armstrong taken while on the Moon, a blurry close-up of his reflection in Aldrin’s visor. Although a lot of brainpower went into creating the camera taken to the Moon, Aldrin says little planning went into the photography itself, which is why he became the unofficial star of the Moon. From Aldrin’s book Magnificent Desolation : Neil shot most of the photos on the moon, having the camera attached to a fitting on his spacesuit much of the time while I was doing a variety of experiments. I didn’t have such a camera holder on my suit, so it just made sense that Neil should handle the photography. He took some fantastic photographs, too, especially when one considers that there was no viewfinder on the intricate Hasselblad camera. We were basically “pointing and shooting.” Imagine taking such historic photographs and not even being able to tell what image you were getting. Unlike the digital camera era of today, in 1969 we were shooting on film, typically looking through a small optical opening on the back of the camera that corresponded with what the camera’s lens was “seeing.” But with our large space helmets, such a viewfinder would have done little good anyhow. So, similar to cowboys shooting their sixguns from their hips, we aimed the camera in the direction of what we wanted to photograph, and squeezed the trigger. Given that ambiguity, it is even more of a credit to Neil that we brought back such stunning photographs from the moon. if you look more carefully at the reflection in the gold visor on my helmet, you can see the Eagle with its landing pad, my shadow with the sun’s halo effect, several of the experiments we had set up, and even Neil taking the picture. It is a truly astounding shot, and was the result of an entirely serendipitous moment on Neil’s part. Later, pundits and others would wonder why most of the photographs on the moon were of me. It wasn’t because I was the more photogenic of the two helmet-clad guys on the moon. Some even conjectured that it must have been a purposeful attempt on my part to shun Neil in the photos. That, of course, was ridiculous. We had our assigned tasks, and since Neil had the camera most of the time we were on the surface, it simply made sense that he would photograph our activities and the panoramas of the lunar landscape. And since I was the only other person there . . . Ironically, the photography on the moon was one of those things that we had not laid out exactly prior to our launch. NASA’s Public Affairs people didn’t say, “Hey, you’ve got to take a lot of pictures of this or that.” Everyone was interested in the science. So we did the science and the rest of it was sort of gee-whiz. We had not really planned a lot of the gee-whiz stuff that, in retrospect, proved quite important. You can purchase a 16×20 print of the above pic and other Apollo-11 shots from Moonpans.com . photo by Neil Armstrong/NASA via Boston Globe via Todd Lappin

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Moon Landing Pics: "Gee-Whiz" Afterthought

Buzz Aldrin: Engineer, Rapper, Heart-Breaking Realist

“That’s not going to happen.” In just five words, Buzz Aldrin casually broke my heart. Which is to say, the former astronaut-turned-rapper reminded me that despite the haze of nostalgia surrounding the 40th anniversary of the Moon landing, Aldrin is still very much an engineer, a logician who deals in pragmatic extremes. Not some romantic willing to dive into hyperbole or seemingly-pointless hypotheticals. The question prompting the above response seemed simple enough at the time: “If you could go back for another Moon walk or orbit Mars tomorrow, which would you choose?” A total softball question, I admit, but I’d just spent the last half hour listening to Aldrin mostly ramble and rehash much of what he’s already said about NASA’s failures, China, why we should focus on Mars , and more. Not all that surprising, considering Xeni found Aldrin relatively incoherent when she interviewed him a year ago . However, I had figured a simple question like this might ground us, get the 79-year-old legend reflective &mdash possibly even a little misty-eyed &mdash or at least waxing semi-poetic. After all, Aldrin took part in one of the most glorious spectacles ever captured on film, an event which garnered what was, at the time, the most-watched live TV broadcast ever (some 600 million viewers). Getting to the Moon is still the gold standard to which invention and engineering can frequently be compared &mdash i.e. “We’ve gone to the Moon, but I still can’t get cell phone reception in my home?” All I wanted was for Aldrin to utter something like: “Well, my boy, I’d orbit Mars, because it’s somewhere we’ve never been. And we should never stop pushing the limits of what’s possible.” etc. etc. Find out what he actually said, after the jump, along with more reflections with/of/from the man Snoop Dogg now calls “Doc Ron,” a shortened version of Aldrin’s nickname “Dr. Rendezvous.” photo by NASA via Boston Globe via Todd Lappin “I couldn’t go tomorrow even if I wanted,” Aldrin continued, “First of all there’s training. And we don’t have the capability to get there [Mars] just yet. Also, I’ve already had my turn. There’s a long list of people that deserve to go before me.” I understand his point, especially that last one. It’s a sentiment shared by many, like those involved with the Artemis Project which puts it this way: “12 men have walked on the Moon. When do you get to go?” Aldrin, too, has explored this idea with ShareSpace , a non-profit he founded to support the democratization of space tourism. Yet, at the same time, I didn’t need Aldrin to deconstruct why my question was improbable. I know it’s improbable, which is why I pressed on. “Right,” I replied, “But hypothetically, let’s say Richard Branson calls you up tomorrow and says, ‘I’ve got the tech; you won’t be stepping on anyone’s toes to go; where you travel is your decision…’ Which would you choose?” Alas, no dice. In the slightest. “Branson doesn’t have that technology,” Aldrin answered matter of factly. Then, seemingly realizing our conversation wasn’t going where I’d probably wanted, he added, “Look, I’m pretty literal; that’s all.” To be fair, other reporters have experienced this side of Aldrin. “We didn’t go there to have feelings or thoughts,” he recently told one journalist. “We went there to do things and to report on the things that we did.” Aldrin walking on the Moon. It’s actually a wonder I even got to speak with Aldrin. Never mind it was two days before he was set to embark on his “40th Anniversary Tour” &mdash which his publicist, whose official title is “Mission Control Director,” said was booked solid with interviews from 6am to 6pm. Instead, consider that for a number of years Aldrin was not only completely adverse to giving interviews, but lost in depression and alcoholism. As Susan Faludi recounts in Stiffed: The Betrayal of the American Man , Aldrin’s rise and fall came rather quickly. On the Apollo publicity tour, he was introduced to the bittersweet nature of celebrity. At myriad public appearances, he and Armstrong faced a seemingly unending barrage of interviews, cameras, microphones and hordes of screaming fans. “People were crawling all over us…,” Aldrin once explained, “I was overcome by nausea and dizziness.”* By the time the decorated moonwalker left NASA in 1971, he’d “sunk in a morass of despair.” Over the years, the state of his career, a failed marriage and what he was going to do with his life all weighed heavily on him. He explores all of this quite candidly in Magnificent Desolation , and today he doesn’t seem to hold back in interviews, including this one. “I was done talking about all this,” he told me. “If I tried public speaking, I’d freeze up. But I’ve met and married a woman who has helped me. Now I’m taking on new challenges that 20 years ago I wouldn’t have. I realize I want to reach the younger generation; that’s why I’ve got a Twitter and a BlackBerry.” Before I even have a chance to ask him about Snoop Dogg, Aldrin wonders, quite proudly, and completely out of nowhere, “Have you seen my video?” He tells me he worked with professional voice coaches in preparation for the stunt. Previously, he appeared alongside Elton John to sing part of “Rocket Man,” a performance Aldrin admitted to me was “embarrassing.” While I appreciate his efforts, I’d be lying if I said Aldrin’s publicity push didn’t strike me as a somewhat transparent attempt to seem hip and, to put it more crassly, sell books. Of course, I’d also be lying if I didn’t give it up that Aldrin is a true renegade, worthy hero and a total badass. He has never shied away from venting that NASA astronauts were forced into early retirement, didn’t receive adequate compensation, and even more interestingly to me, aren’t given their due respect for their service. “Anyone who visits a foreign country on behalf of their government gets called an Ambassador,” he told me, “That’s why I’d like to be known as a Lunar Ambassador, the Honorary Lunar Ambassador… When China gets to the Moon, you don’t think those astronauts are going to be taken care of for life?” Does he sound bitter? A little. Does he deserve to be? I’d argue, yes . After all, despite the above points, the guy cannot escape the daunting estimate that 6% of all Americans still believe the Moonlanding to be a hoax . Considering he risked his life for science and his country, and having talked to him about this, I find that stat more sad and depressing than ever before. On the surface, it can certainly be amusing to watch what happens when his buttons get pushed. Like when Ali G famously asked Aldrin, “What was it like not being the first man on the Moon? Was you ever jealous of Louis Armstrong?” …or when conspiracy theorist Bart Sibrel really got to Aldrin in 2002, prompting fisticuffs… “I got to a point where my emotions took over,” Aldrin explained when I asked him whether he regretted punching Sibrel. “There are people who have been misled and it’s not their fault, but they continue to believe otherwise. It’s not a good idea [to react by hitting someone], because there are legal matters that follow, but other people would thank me for doing what I did and taking a stand.” Aldrin’s footprint. Days later, I find myself navigating Aldrin’s web site , staring at snapshots of him through the years: Buzz posing with President Regan. Buzz with Liz Taylor. Buzz holding a bald eagle. As I come to the famous photo Aldrin snapped of his footprint on the Lunar surface (above), I remember his desire to be called the Honorary Lunar Ambassador. At the time, I had told him I’d happily call him whatever he wished &mdash both because I hoped to win favor with him and, well, I really do feel he deserves it. “Thanks,” he said, the realist in him taking over, “But I need the President or Secretary of State to call me that.” *When I spoke to Aldrin, I mentioned the statistic that 50% of all astronauts report feeling a perpetual state of nausea while in space. I asked whether that was his experience. It wasn’t. Ironically, it wasn’t until his return to Earth that that those symptoms became an issue for him.

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Buzz Aldrin: Engineer, Rapper, Heart-Breaking Realist

Movie Makeup Tip: It’s OK To Go Old School

Movie makeup and special effects wizardy is very much a study and exercise in materials science. Since the dawn of film, artists have been been toying with synthetic appliances, pigments, and all kinds of organic matter. Through the years, new materials, digital tools and rendering software, like ZBrush , have boosted efficiency and creativity. Rick Baker , the legendary makeup artist behind films like An American Werewolf in London , Thriller , and those Eddie-Murphy-fat-guy films, isn’t a purist when it comes to adopting new technologies. He’s stated very clearly that he embraces the use of CGI because it can accomplish what’s literally impossible &mdash even for him. And yet, for the upcoming film The Wolfman , starring Benicio Del Toro (pic above), the guru of gore decided to go old school. As an homage to makeup artist Jack Pierce, who created the effects in the original film from 1941, the Academy Award-winning special effects master decided to ditch silicone and other newfangled materials for the stuff of yesteryear &mdash foam rubber, acrylic teeth and yak hair. Yes, yak hair , which Pierce used along with kelp to transform Lon Chaney into the o.g. wolfman. So how does Baker’s wolf compare? Not sure. The film was originally due in April, got bumped to November. Color me curious to see the transformation and F/X, but concerned about everything else. Previously: Horror movie makeup of 1933 - Boing Boing Wiccan teen suspended for wearing make-up - Boing Boing Crazy makeup kits are the ultimate transformer gadgets A Visual History of Cosmetics Gadgetry Free Halloween skin for Shuttle KPC owners - Boing Boing Gadgets

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Movie Makeup Tip: It’s OK To Go Old School

Blu-ray makeup for high definition hotness

Now you can go to Sephora and buy makeup specifically engineered so you’d look good in hi-def. Product page [Cargo Cosmetics]

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Blu-ray makeup for high definition hotness

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