I love blues mixed with oranges. I have ever since I watched Jawbreaker for the first time, and was desperately jealous of Julie and her funky bedding. And, lucky me, I've been able to enjoy this combination all over the place these days. It's a popular modern color combination, and has become a beloved contrast in Hollywood's world of film-tweaking. However, as blogger Into the Abyss points out, it's overtaking Hollywood.

Abyss writer Todd Miro has shared a pretty excellent account of how this teal-orange phenomenon came to be, and some of mainstream cinema's worst offenders. He explains how Oh Brother, Where Art Thou? was the first feature to get scanned into a computer and put through a Digital Intermediary (DI) process, which allows filmmakers to control the color of every element in a film. This lead to complimentary color theory (where flesh tones thrive with teal) being implemented in many big-screen flicks, no genre being safe -- the horror and gloom of Wolfman, the superhero ways of Iron Man 2, the digital wonder of Tron 2, the retro laughs of Hot Tub Time Machine, and the prize for "one of the worst examples of unchecked teal and orange stupidity" -- Transformers 2.

So, keep an eye out next time you pop a disc into a player or hit the cineplex, you may just find yourself drowning in a sea of teal and orange. If you've noticed the phenomenon before, what flicks do you find to be the worst offenders?

Filed under: Fandom, Tech Stuff

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Nature reviews. Neuroscience, Vol. 11, No. 4. (April 2010), pp. 239-251.

Synaptic plasticity is thought to underlie learning and memory, but the complexity of the interactions between the ion channels, enzymes and genes that are involved in synaptic plasticity impedes a deep understanding of this phenomenon. Computer modelling has been used to investigate the information processing that is performed by the signalling pathways involved in synaptic plasticity in principal neurons of the hippocampus, striatum and cerebellum. In the past few years, new software developments that combine computational neuroscience techniques with systems biology techniques have allowed large-scale, kinetic models of the molecular mechanisms underlying long-term potentiation and long-term depression. We highlight important advancements produced by these quantitative modelling efforts and introduce promising approaches that use advancements in live-cell imaging.
Jeanette Hellgren Kotaleski, Kim Blackwell

We’ve seen the phenomenon known as Mood Rings back in our younger days, but what about the Mood Swing Lip Gloss? This is one lip gloss that men won’t mind buying for their other halves – after all, I am sure that many of us have suffered the wrath of a sudden mood change in women, where we are deemed to be insensitive boorish neanderthals for not knowing how they feel like. Thanks to the Mood Swing Lip Gloss, it comes with a color chart that lets you predict what your woman is feeling right now, giving you at least a fighting chance to not get stepped all over verbally (and in some cases, physically). It has a color range that changes from clear to deep crimson.

Source: Gizmodiva
Cool Gift Idea: Digital Picture Frames, check out our reviews.
[ Mood Swing Lip Gloss copyright by Coolest Gadgets ]

Publication Date: 2010 Mar 18 PMID: 20237567Authors: Huang, F. - Chakraborty, P. - Lundstrom, C. C. - Holmden, C. - Glessner, J. J. - Kieffer, S. W. - Lesher, C. E.Journal: NatureThe phenomenon of thermal diffusion (mass diffusion driven by a temperature gradient, known as the Ludwig-Soret effect) has been investigated for over 150 years, but an understanding of its underlying physical basis remains elusive. A significant hurdle in studying thermal diffusion has been the difficulty of characterizing it. Extensive experiments over the past century have established that the Soret coefficient, S(T) (a single parameter that describes the steady-state result of thermal diffusion), is highly sensitive to many factors. This sensitivity makes it very difficult to obtain a robust characterization of thermal diffusion, even for a single material. Here we show that for thermal diffusion experiments that span a wide range in composition and temperature, the difference in S(T) between isotopes of diffusing elements that are network modifiers (iron, calcium and magnesium) is independent of the composition and temperature. On the basis of this finding, we propose an additive decomposition for the functional form of S(T) and argue that a theoretical approach based on local thermodynamic equilibrium holds promise for describing thermal diffusion in silicate melts and other complex solutions. Our results lead to a simple and robust framework for characterizing isotope fractionation by thermal diffusion in natural and synthetic systems.post to: CiteULike

The fact that many people love games isn’t really that new. Retailers and even our own governments have used our love of games to sell us products and hook us on lotteries and whatever else they can think of to boost revenue. But the rise of online games such as World of Warcraft and the social and “casual” games popularized by Zynga and other companies on Facebook, such as Mafia Wars and Happy Aquarium, has arguably made gaming a far bigger part of our culture than it has ever been — not to mention location-based apps such as Foursquare and Gowalla, which have explicit game-like features built in. Online payment giant PayPal said that Zynga was its second-largest merchant last year, and PayPal does business with some of the largest companies in the world. And get ready for even more games: Flurry Analytics says that its research shows almost half of the apps that are being developed for the upcoming Apple iPad are games.

What is the impact of all that gaming on our society? One academic, Lee Sheldon of Indiana University, says the generation that has grown up with ubiquitous online gaming is bringing that culture with it into the educational system, and ultimately into the workforce. “As the gamer generation moves into the mainstream workforce, they are willing and eager to apply the culture and learning-techniques they bring with them from games,” Sheldon, an assistant professor at the university’s department of telecommunications, told ITNews. He said older managers will have to “figure out how to educate themselves to the gamer culture, and how to speak to it most effectively.”

Sheldon is already experimenting with that: over the last year, he started grading two of his classes (both involved with game design) using a system based on “experience points” or XP, similar to the way gamers in World of Warcraft and other massively-multiplayer games award points for various tasks. Students started the year at level one, with zero XP and then gained points — and higher grades — by completing “quests” and “crafting,” which corresponded to giving presentations and doing exams and quizzes. Students also formed “guilds” similar to the gaming groups that rule WoW and other multiplayer games, and Sheldon says that his students seemed far more engaged than they had been before.

A similar phenomenon was the topic of a panel at the recent SXSW conference in Austin, where Christopher Poole, the founder of the controversial discussion forum known as 4chan, and Web historian Jason Scott discussed the site and its culture — which in some cases consists of offensive material, but also involves public advocacy through offshoots such as the Anonymous group. According to a description from Austin360, Scott compared the behavior at 4chan to a game, but one in which the objective was to come up with something more shocking and/or hilarious than your competitors.

Scott noted that another site behaves in almost the exact same way: Wikipedia. And he’s got a point — the “crowdsourced” encyclopedia relies in many cases on unknown and unpaid editors and writers to produce and structure and verify its content, people who to some extent compete for the recognition of their peers on the site, and in some cases wind up “levelling up” to become senior editors and members of the internal Wikipedia “cabal” of site managers. Although Wikipedia doesn’t explicitly award experience points, the concept is the same, and it motivates people in similar ways.

The moderation of comments at Slashdot is based on a very similar system: users are able to gain “karma points” through positive actions such as posting sensible comments, voting on other comments and flagging abusive comments. When they get enough points, they are selected by the site’s algorithm to be official moderators, and can then “spend” the points they have removing comments. In such a system, it doesn’t ultimately matter whether someone is anonymous or not, because there is an incentive for them to follow the rules and behave properly (although there are always users who don’t care about the rewards and try to “troll” or disrupt any site).

The bottom line is that good games take advantage of people’s innate desire to compete with each other, but balance that with their need to receive rewards, including the approval of their peers — rewards that in some cases can be used to modify their behavior in certain ways. Those are principles that don’t just apply to games. Jesse Schell, a former creative director at Disney Imagineering Virtual Reality Studio, had a great presentation at the DICE 2010 conference last month in which he talked about the rise of social gaming and what we can learn from it, which is embedded below.

Xbox 360 Games – E3 2010 – Guitar Hero 5

Post and thumbnail photos courtesy of Stock Xchange and Flickr user chanchan222

Almost anybody you ask will tell you that these are strange days for videogames. What happened to certainty? The revenue of five-year mega projects costing tens of millions of pounds are now regularly eclipsed by throwaway mobile apps retailing for 59p a shot. Meanwhile, get-rich-quick developers scurrying to capitalise on the success of a social networking phenomenon like FarmVille decide that the lesson to learn is that the audience is craving games about agriculture.

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[In this opinion piece, Game Developer EIC Brandon Sheffield takes Electronic Arts and Visceral to task for their competition asking fans to "design a kill" for Dead Space, calling it "incredibly regressive for our industry."]

Here we are in an era of video games coming under intense scrutiny for their violence, and for any hint of sexuality. This is an era in which the Australian and German governments are rejecting the sale of certain games by the handful, Venezuela has banned all “violent” video games with sweeping terms, and psychologists study the effects of violent games on behavior around the clock.

It’s in this climate that EA has chosen to launch its Design a Kill for Dead Space 2 contest, which to me runs second only to Acclaim’s attempt to buy ad space on tombstones in terms of irresponsibility.

Here’s the text from the press release, describing the contest:

"Have you ever played a video game and thought ‘wouldn’t it be cool if...’ Well, Visceral Games announced that fans of the critically-acclaimed Dead Space franchise can make their “what if” dreams a reality. This is their chance to design a kill and get it in the game. Players can submit ideas via text, video or still images.

Since the contest began last week, there are over 1,000 entries already, so the cooler the kill, the better chance it has of winning a place in the upcoming Dead Space 2 video game. To prove to the Visceral development team that they have the right stuff, players have to demonstrate Isaac Clarke defeating or dismembering various Necromorphs including the Slasher, Lurker, or Leaper using their own signature kill.

The grand prize winner will not only have an opportunity to have their dismemberment move recreated in the game but they’ll also win the opportunity to have their likeness modeled onto a non-player character in the game."

Where To Draw The Line?

I don’t believe we should shy away from violence in games – violence is a part of life, and can make for very interesting scenarios in games. And it’s no secret that a large majority of fun video games are based on conflict, much of which is combative. But I also believe that asking fans to think as hard as they can about an innovative way to kill someone is a very regressive thing for our industry.

Just think for a second about what EA is actually asking people to do. Yes, this is what many of us do every day – there are those of us who design combat and combat scenarios for a living. But asking fans to do it is just too much.

First, it’s acknowledging that games can inspire fans to think of ways to kill. Second, through promotion, the contest is saying this is a good thing to do, or that it would be fun, posing ‘wouldn’t it be cool if...’

Third, it’s implied that this is a proper way to enter the industry (that’s part of the implication, that this design will be your foot in the door). That really hammers home the misconception that all we do is think of ways for things to kill each other.

Fourth, it asks for documented evidence of this fan violence. EA must certainly have plenty at this point, with over 1,000 submissions, which anyone will be able to view once the competition is over at the official Facebook page.

Fuel For The Fire

Many in the mainstream media, parent-advocate groups, and in the public opinion at large consider the game-playing population to be mostly children. And for better or for worse, it’s likely that a number of children have in fact played the M-rated Dead Space. This kind of contest is amazing fodder for the groups that want to limit and restrict games, and it’s hard to believe EA or Visceral would not be aware of this.

If they are not aware of the regressive nature of this competition, as the video on the official page seems to suggest, that is incredibly unconscious, and certainly indicative of the immaturity of our industry. This seems like the sort of thing you should really think through. Perhaps we’re all so desensitized to violence in this industry that they did not think about it in this light.

If the intention is to get the contest to stir up controversy, well I suppose they may achieve their goal. If the mainstream media does get wind of the competition, and they get hold of even one video of a kid doing a “brutal kill” on his brother, the shitstorm begins. I do not think the results of this storm will be positive for anyone.

Little To Smile About

One of the images that accompanies the press release (above) shows a sample entry from an actual fan, in which all the descriptions of actions are accompanied by smiley faces, such as "knee in the head ^^." This description comes after the one that says "grabs the head and shoot in the neck."

You could argue that since the creatures you kill are not human, this is not so bad. I would disagree. They are humanoid enough, and asking fans to figure out a way to kill anything is enough to cause a horrified gut reaction in any parent or politician that may see it. A company as large as EA cannot simply make the “games are just fun” excuse. I do not believe this is an overreaction. I believe the reaction from those outside the game industry would be magnitudes above what I write here.

You could argue I’m bringing more attention to this contest by mentioning it here, and you’d be right. I think we have to take these things to task when we see them, and I can only hope that if an intrepid journalist is researching this “brutal kill” phenomenon they might see this article and pause before decrying the entire industry as actively breeding violence in its players.

Know that the assumptions and drives of one marketing campaign do not reflect the majority. There are those among us who recognize that this is regressive, and I would caution any game company against taking this sort of action in the future.