An article about the new Star Wars exhibition at the Powerhouse Museum for the Sydney Morning Herald. Original here.
Somewhere in a laboratory a scientist is watching Star Wars and taking notes. It's not the popular story, engaging characters or entertaining action scenes that capture the scientist's attention - it's the speeders, robots and spacecraft. But what do these on-screen technologies have to do with science as we know it now?
The Powerhouse Museum has the answer. Its new exhibition, Star Wars: Where Science Meets Imagination, will use the Star Wars films to introduce visitors to real scientific concepts that are being developed today.
Developed by the Museum of Science, Boston, in collaboration with Star Wars creator George Lucas's company, Lucasfilm Ltd, the exhibition will explore the real science behind the fantasy technologies depicted in the films, comparing these with the latest research that could lead to real-life equivalents.
Kerrie Dougherty, the curator of space technology at the Powerhouse, says the exhibition also explores the role that imagination has played in inspiring real-life scientific work.
"People have always been inspired by science-fiction, and that creative spark leads to innovation," she says. "The aim of this exhibition will be to encourage people to think about the future of science and where these new technologies are headed."
The exhibition will draw on four technological themes from the Star Wars films: transport, robotics, medical developments and environmental adaptation. It will feature more than 20 examples of real-world technology to tie in with these themes, including video interviews with filmmakers, scientists and engineers, hands-on interactive displays, and props, models and costumes from all six films, including Luke Sky- walker's speeder from Episode IV, original models or robots R2D2 and C3PO.
Over two levels, the exhibition also allows visitors to experiment in two makeshift engineering labs, where they can build magnetic levitation devices and miniature droids, and spin around in a real hovercraft.
The point of all this will be to get people thinking about the real-life equivalent of the technologies they see at work, such as modern prosthetics, medical implants, adapting to new environments as global warming takes its toll and questions of ethics, such as whether robots should have rights.
"This exhibition is all about education, but it's not just for children," Dougherty says. "I recommend this to anyone, Star Wars fan or not. There is so much knowledge to take away about everything from robotics and technology to science in general. Star Wars is the perfect platform to teach about these things because people know about it even if they haven't seen any of the films. It's become embedded in popular culture."
Why has Star Wars remained so popular? Dougherty remembers the hype surrounding the first film as it premiered in Sydney in 1977.
"People were amazed. I think Star Wars has endured the test of time because it's such an endearing story. It keys into all the stories we use in our society: the good triumphing over evil, the hero's journey etc. It's got all the good stuff that we love. It's a very simple story in one sense but a powerful one."
The exhibition's original curator, Ed Rodley from the Museum of Science in Boston, says that despite its title the exhibition is not about Star Wars.
"It's about our world, and our future. So, why Star Wars then? One of the greatest challenges of thinking about the future lies in visualising things, particularly technologies that don't yet exist. To talk about our future, we needed a depiction of a tech- nologically advanced society that was familiar to a broad audience."
This is not the first Star Wars exhibition at the Powerhouse. In 2002, Star Wars: The Power Of Myth explored the archetypal themes and motifs from classical mythology in the films. One of the most successful Powerhouse exhibitions, it attracted more than 200,000 visitors in five months. The two exhibitions differ in aims but expectations are high that the new Star Wars exhibition will attract even more visitors.
Dawn Casey, the museum's director, says there will be a focus on the educational component of the exhibition.
The museum will run school seminars for students in their final years of high school, and host teacher forums to introduce the exhibition and offer professional development. "We're keen to reverse the shortage of children taking up science, and we see the exhibition as a launching pad to increase the involvement children have with the subject," Casey says. "With the last Star Wars exhibition we didn't get as many school groups coming through as we would have liked."
Casey has run forums with museum colleagues and academics to gauge the future of the Powerhouse Museum.
"We discovered that people think it's time for the museum to take on a stronger science and technology focus, and we're taking this on board with the new Star Wars exhibition.
"The story of Star Wars engages everyone, no matter what their age. People have grown up with the characters, and the imagination around it. It's lighthearted and it feeds the imagination."
Star Wars: Where Science Meets Imagination opens on December 4 at the Powerhouse Museum.
Thursday, November 20, 2008
Wednesday, November 19, 2008
Australia's Internet Censorship
This is an article on internet censorship for The Guardian. Original can be found here.
Won't somebody think of the children? This mantra is being used with great effect by the Australian government to increase its control over what Australians see, watch and do - all, ostensibly, in the name of protecting the nation's youth. And a scheme that amounts to censorship is coming closer: the government has said that it wants to start live trials of ISP-level content filtering before Christmas.
In January, the government annouunced its $A128.5m (£55.2m) Plan for Cyber-Safety - a content-filtering scheme based on the pre-election pledge of Kevin Rudd, who became prime minister last year. His plan follows the failure of the A$189m NetAlert scheme put in place by the government of John Howard, who was defeated in the last federal election.
The plan was put together by Australian Labor senator Stephen Conroy, the minister for broadband, communications and the digital economy, with the aim of protecting children from pornography and violent websites and the banning outright of illegal material.
Australians will be unable to opt out of the scheme. Senator Conroy told the Australian media: "Labor makes no apologies to those that argue that any regulation of the internet is like going down the Chinese road. If people equate freedom of speech with watching child pornography, then the government is going to disagree."
Keeping it clean
The scheme will require ISPs to offer a "clean-feed" web service to all homes, schools and public internet access points. There will be two blacklists: one that blocks all illegal material, such as child pornography; and the second which blocks a list of things deemed unsuitable for children, to be determined by the Australian Communications and Media Authority (ACMA). Only the latter blacklist will be optional.
What better rationale than children's sensibilities to reassure people the trampling of their rights is worth it? The Australian government's agenda on national censorship is based on an appeal to emotion - it doesn't matter what it bans or censors, it can always claim it's for the benefit of children.
However, the response has been largely hostile. An online poll by the Courier-Mail newspaper in Queensland showed that some 86% of respondents do not support the scheme. And concerns that it is technically impossible to implement and will slow further Australia's already slow internet speeds by as much as 30% are just some of the fears.
Civil liberties groups say that the scheme is an infringement of Australians' rights. Colin Jacobs, who chairs the online users' lobby group Electronic Frontiers Australia, says: "I'm not exaggerating when I say that this model involved more technical interference in the internet infrastructure that what is attempted in Iran, one of the most regressive censorship regimes in the world."
Australia doesn't have a good track record on censorship. For example, the continued refusal by the attorneys-general of Australia to introduce an R18+ classification for videogames is just one issue in addition to the proposed filtering scheme.
When DH Lawrence's Lady Chatterley's Lover was first published in 1928, Australia was not the only nation to ban the book. But 40 years later, it remained one of the only countries where the ban was still in force. Bret Easton Ellis's American Psycho is still in effect banned in the state of Queensland - the book is classified a Category 1 publication, meaning it cannot be sold in the state and must be sealed in plastic before it is sold anywhere else. And Australia's previous attempt to censor the internet is nothing to be proud of. In August last year, 16-year-old Tom Wood was able to hack through the NetAlert filters, put in place by the previous government at a cost said to be A$84m, in just half an hour (Are web filters just a waste of everyone's time and money? August 30 2007). When the Australian government was apprised of that, it added another filter; Wood cracked that in 10 minutes.
Helen Coonan, the then communications minister, said at the time that "unfortunately, no single measure can protect children from online harm and ... traditional parenting skills have never been more important". But perhaps that has been rethought in favour of ever more ambitious filters. While nobody would argue that it's important for everyone to have access to child pornography, the counter-argument - that it's more important to find the tiny number of people who access such content and prosecute them, while leaving everyone else alone - doesn't seem to have occurred to the Australian government.
Who benefits?
The Rudd government has released the results of a lab trial carried out last year by the ACMA, a closed-environment test of ISP-level content filters which tested the effect on network traffic and its effectiveness at identifying and blocking banned content. While the filtering technology had improved since a trial in 2005, what is clear is that a slower network is guaranteed. Of the six ISP-level filters tested in July by the ACMA, the majority caused drops in speed between 21% and 86%. The filters also proved inaccurate, with a significant number of innocuous pages blocked (1.3% to 7.8%) and unsafe pages let through (2% to 13%).
What's more, the scheme will only be applied to web traffic, meaning that peer-to-peer filesharing will not be filtered, despite accounting for an estimated 60% of internet traffic in Australia.
The government has tried to get around these problems by pointing to Britain, Sweden, Canada and New Zealand, which all have similar filtering systems. However, in those countries the filtering systems are not mandatory. In the UK, BT's CleanFeed system uses a list of thousands of sites hosting content such as child pornography provided by the UK-based Internet Watch Foundation; the list is offered without compulsion to ISPs.
The Australian government is commited to pushing ahead with its trials, despite the overwhelmingly negative reaction. Nobody seems to be benefiting from the move - except possibly the ISPs, who will be able to charge for additional filters. The children the government is so keen to protect will simply see their internet speeds degraded.
Won't somebody think of the children? This mantra is being used with great effect by the Australian government to increase its control over what Australians see, watch and do - all, ostensibly, in the name of protecting the nation's youth. And a scheme that amounts to censorship is coming closer: the government has said that it wants to start live trials of ISP-level content filtering before Christmas.
In January, the government annouunced its $A128.5m (£55.2m) Plan for Cyber-Safety - a content-filtering scheme based on the pre-election pledge of Kevin Rudd, who became prime minister last year. His plan follows the failure of the A$189m NetAlert scheme put in place by the government of John Howard, who was defeated in the last federal election.
The plan was put together by Australian Labor senator Stephen Conroy, the minister for broadband, communications and the digital economy, with the aim of protecting children from pornography and violent websites and the banning outright of illegal material.
Australians will be unable to opt out of the scheme. Senator Conroy told the Australian media: "Labor makes no apologies to those that argue that any regulation of the internet is like going down the Chinese road. If people equate freedom of speech with watching child pornography, then the government is going to disagree."
Keeping it clean
The scheme will require ISPs to offer a "clean-feed" web service to all homes, schools and public internet access points. There will be two blacklists: one that blocks all illegal material, such as child pornography; and the second which blocks a list of things deemed unsuitable for children, to be determined by the Australian Communications and Media Authority (ACMA). Only the latter blacklist will be optional.
What better rationale than children's sensibilities to reassure people the trampling of their rights is worth it? The Australian government's agenda on national censorship is based on an appeal to emotion - it doesn't matter what it bans or censors, it can always claim it's for the benefit of children.
However, the response has been largely hostile. An online poll by the Courier-Mail newspaper in Queensland showed that some 86% of respondents do not support the scheme. And concerns that it is technically impossible to implement and will slow further Australia's already slow internet speeds by as much as 30% are just some of the fears.
Civil liberties groups say that the scheme is an infringement of Australians' rights. Colin Jacobs, who chairs the online users' lobby group Electronic Frontiers Australia, says: "I'm not exaggerating when I say that this model involved more technical interference in the internet infrastructure that what is attempted in Iran, one of the most regressive censorship regimes in the world."
Australia doesn't have a good track record on censorship. For example, the continued refusal by the attorneys-general of Australia to introduce an R18+ classification for videogames is just one issue in addition to the proposed filtering scheme.
When DH Lawrence's Lady Chatterley's Lover was first published in 1928, Australia was not the only nation to ban the book. But 40 years later, it remained one of the only countries where the ban was still in force. Bret Easton Ellis's American Psycho is still in effect banned in the state of Queensland - the book is classified a Category 1 publication, meaning it cannot be sold in the state and must be sealed in plastic before it is sold anywhere else. And Australia's previous attempt to censor the internet is nothing to be proud of. In August last year, 16-year-old Tom Wood was able to hack through the NetAlert filters, put in place by the previous government at a cost said to be A$84m, in just half an hour (Are web filters just a waste of everyone's time and money? August 30 2007). When the Australian government was apprised of that, it added another filter; Wood cracked that in 10 minutes.
Helen Coonan, the then communications minister, said at the time that "unfortunately, no single measure can protect children from online harm and ... traditional parenting skills have never been more important". But perhaps that has been rethought in favour of ever more ambitious filters. While nobody would argue that it's important for everyone to have access to child pornography, the counter-argument - that it's more important to find the tiny number of people who access such content and prosecute them, while leaving everyone else alone - doesn't seem to have occurred to the Australian government.
Who benefits?
The Rudd government has released the results of a lab trial carried out last year by the ACMA, a closed-environment test of ISP-level content filters which tested the effect on network traffic and its effectiveness at identifying and blocking banned content. While the filtering technology had improved since a trial in 2005, what is clear is that a slower network is guaranteed. Of the six ISP-level filters tested in July by the ACMA, the majority caused drops in speed between 21% and 86%. The filters also proved inaccurate, with a significant number of innocuous pages blocked (1.3% to 7.8%) and unsafe pages let through (2% to 13%).
What's more, the scheme will only be applied to web traffic, meaning that peer-to-peer filesharing will not be filtered, despite accounting for an estimated 60% of internet traffic in Australia.
The government has tried to get around these problems by pointing to Britain, Sweden, Canada and New Zealand, which all have similar filtering systems. However, in those countries the filtering systems are not mandatory. In the UK, BT's CleanFeed system uses a list of thousands of sites hosting content such as child pornography provided by the UK-based Internet Watch Foundation; the list is offered without compulsion to ISPs.
The Australian government is commited to pushing ahead with its trials, despite the overwhelmingly negative reaction. Nobody seems to be benefiting from the move - except possibly the ISPs, who will be able to charge for additional filters. The children the government is so keen to protect will simply see their internet speeds degraded.
Tuesday, November 18, 2008
Tharen's
Another restaurant review to be found in 3D World on Monday.
Tharen’s Restaurant and Bar
15 Kellet Way, Kings Cross
I was duped by Tharen’s. In my research I discovered that this little French restaurant in Kings Cross is owned by a beautiful French woman named Tharen, who escaped from the clutches of the evil Nazis in Paris during WWII and came to Australia to set up a lovely restaurant in the name of her dead parents. As it turns out, Tharen’s is owned by a 20-something Australian guy named Bobby.
“I feel bad about the whole thing,” he said. “The story is made up, and it’s effective, but it’s time we let it go. We’re all Aussies here, and we’re proud of our French restaurant.”
Going back to 1979, the recently updated and refurbished Tharen’s has been given a new life by its manager and director, Bobby Jewell. After buying the restaurant from its previous owners at the ripe old age of 21, Jewell re-designed it to fit the theme of a rather loud, raucous and fun costume party. Hats of every size, shape and colour adorn the restaurant walls. A woman in a Queen of Hearts costume greeting you by the door, with fire spinners in her hands. The hat stand by the front door is full of feather boas and other accessories. Magicians, fantasy face painters and performers walk through the restaurant at regular intervals.
At first my partner and I were shy – we chose a hat and sat down at our table as the restaurant around us began to slowly fill with the excited chatter of newcomers: two birthday parties, one hen’s night and an office party. The restaurant caters for parties of 4 to 180 and the menu is set. For $55 per person (food only) you can have your choice of six exotic entrees, mains and desserts, and buy your own drinks from the bar. For entrees, we opted for the Moroccan spiced lamb with chickpea, tomato, preserved lime and cucumber riata and the caramelised onion, goat’s cheese and tomato tart with green olive dressing. Both arrived on time (after complimentary garlic bread and salad) and tasted delicious. The portions weren’t big, but that left us excited about the mains. When the mains did arrive, the restaurant party was in full swing – the soundtrack playing was made for sing-alongs, and everyone was taking advantage of it. My partner’s main of herb and garlic chicken ballentine on spec and pumpkin rosti and citrus basil beurre blanc was succulent and tangy, while the red wine jus on my mustard roasted veal loin fillet with potato and kumara gratin made me, albeit discreetly, lick my plate.
Seeing as there were a few birthdays to celebrate, including my own, we were informed that we’d have to try the Tharen’s house special Bombe Alaska baked ice cream cake. As the cakes are brought out by staff in fancy dress, the house lights dim as the whole restaurant bursts into chorus to sing ‘Happy Birthday’. The cakes are lit on fire, briefly, before being divided into portions. I’ve never had fiery baked ice cream before, but I’m sure to make it a habit after this particular experience. The pace inside the restaurant picked up after dessert – tables were pushed back and people took to dancing. We marveled for a while at the sight of a restaurant where complete strangers become best friends by the end of the night, before calling it quits ourselves after four hours of extravagant, Tharen’s fun.
Tharen’s Restaurant and Bar
15 Kellet Way, Kings Cross
I was duped by Tharen’s. In my research I discovered that this little French restaurant in Kings Cross is owned by a beautiful French woman named Tharen, who escaped from the clutches of the evil Nazis in Paris during WWII and came to Australia to set up a lovely restaurant in the name of her dead parents. As it turns out, Tharen’s is owned by a 20-something Australian guy named Bobby.
“I feel bad about the whole thing,” he said. “The story is made up, and it’s effective, but it’s time we let it go. We’re all Aussies here, and we’re proud of our French restaurant.”
Going back to 1979, the recently updated and refurbished Tharen’s has been given a new life by its manager and director, Bobby Jewell. After buying the restaurant from its previous owners at the ripe old age of 21, Jewell re-designed it to fit the theme of a rather loud, raucous and fun costume party. Hats of every size, shape and colour adorn the restaurant walls. A woman in a Queen of Hearts costume greeting you by the door, with fire spinners in her hands. The hat stand by the front door is full of feather boas and other accessories. Magicians, fantasy face painters and performers walk through the restaurant at regular intervals.
At first my partner and I were shy – we chose a hat and sat down at our table as the restaurant around us began to slowly fill with the excited chatter of newcomers: two birthday parties, one hen’s night and an office party. The restaurant caters for parties of 4 to 180 and the menu is set. For $55 per person (food only) you can have your choice of six exotic entrees, mains and desserts, and buy your own drinks from the bar. For entrees, we opted for the Moroccan spiced lamb with chickpea, tomato, preserved lime and cucumber riata and the caramelised onion, goat’s cheese and tomato tart with green olive dressing. Both arrived on time (after complimentary garlic bread and salad) and tasted delicious. The portions weren’t big, but that left us excited about the mains. When the mains did arrive, the restaurant party was in full swing – the soundtrack playing was made for sing-alongs, and everyone was taking advantage of it. My partner’s main of herb and garlic chicken ballentine on spec and pumpkin rosti and citrus basil beurre blanc was succulent and tangy, while the red wine jus on my mustard roasted veal loin fillet with potato and kumara gratin made me, albeit discreetly, lick my plate.
Seeing as there were a few birthdays to celebrate, including my own, we were informed that we’d have to try the Tharen’s house special Bombe Alaska baked ice cream cake. As the cakes are brought out by staff in fancy dress, the house lights dim as the whole restaurant bursts into chorus to sing ‘Happy Birthday’. The cakes are lit on fire, briefly, before being divided into portions. I’ve never had fiery baked ice cream before, but I’m sure to make it a habit after this particular experience. The pace inside the restaurant picked up after dessert – tables were pushed back and people took to dancing. We marveled for a while at the sight of a restaurant where complete strangers become best friends by the end of the night, before calling it quits ourselves after four hours of extravagant, Tharen’s fun.
Sunday, November 16, 2008
The Chophouse
A restaurant review to be found in 3D World magazine on Monday.
Chophouse Restaurant and Bar
25 Bligh St, Sydney
Kingsley Smith’s new restaurant has no windows. This is an unusual design decision for the restaurateur, whose successful Kingsleys Steak and Crabhouse in Woolloomooloo overlooks the wharf with sprawling city views. But then again, the Chophouse is re-inventing many restaurant rules.
Set in the heart of the CBD, the Chophouse is a modern steakhouse with a health conscious focus. As we learn from Executive Chef David Clarke (formerly of Quay Restaurant), the purpose of no windows inside the restaurant is to offer customers a break from their day-to-day high-rise surroundings.
“You can come here to eat fast, healthy, food and get away from the bustle of the city,” Clarke said.
The effect is immediate—the stained and crumbling walls of the Chophouse with its high ceilings contrast perfectly with the immaculate tables and mood lighting, like you’re about to embark on a fine dining experience in the midst of an abattoir. Even the stainless steel sculptures hanging from the ceiling look remarkably like the ribs of a cow.
The menu is also not what you’d expect from a typical steakhouse—half of it is dedicated to salads.
“A lot of people are health-conscious these days, and we’ve made that the focus of the Chophouse,” Clarke said. “We make everything ourselves right here, including growing our own herbs and getting the best seasonal produce from local growers.”
This, Clarke says, is also to attract more women clientele, who traditionally steer clear of ‘giant steak and pint of beer’ steakhouses.
As we sit down to dinner we can’t help noticing the extensive wine list. I didn’t count, but it’s safe to say more than 100 were on offer, ranging in price from $34 to over $800 a bottle. We chose a modest $41 bottle of 2006 Grant Burge ‘Hillcot’ Merlot. For starters I know I must try one of the salads and so opt for the crisp pork belly and sea scallop salad ($18.90) while my dining partner goes for the spinach and tallegio risotto ($18.50). For mains we choose the glazed beef short rib with house made BBQ sauce ($28.90) and the T-bone with chutney and jus ($46.50). The mains don’t come with any sides, so we get shoestring fries ($6.90) and a salad called The Wedge (iceberg lettuce, bacon, blue cheese, salad onions, basil and dried tomatoes, $12.90). When the entrees arrive, my partner swoons over his risotto which melts in his mouth, and I dig into my pork belly and sea scallop salad, still warm, and have a similar reaction: I’m glad someone thought of mixing these two foods together, because they taste amazing.
The mains come in huge portions, but we’re not put off—my partner’s steak glistens on his plate while my ribs are so tender they practically fall off the bone. The house made BBQ sauce is great, but the salad left me a bit disappointed—it tasted good, but there was just too much lettuce. We could barely fit in dessert but we did our best, with the gooey goodness and candied almonds of a Peach Melba ($12) and an opulent flourless chocolate cake ($14.50). So delicious was the whole ordeal that I looked longingly at my unfinished beef ribs and was almost tempted to ask for a doggy-bag. As a woman, I can say with certainty that I’ll definitely be joining the regular clientele of the Chophouse.
Chophouse Restaurant and Bar
25 Bligh St, Sydney
Kingsley Smith’s new restaurant has no windows. This is an unusual design decision for the restaurateur, whose successful Kingsleys Steak and Crabhouse in Woolloomooloo overlooks the wharf with sprawling city views. But then again, the Chophouse is re-inventing many restaurant rules.
Set in the heart of the CBD, the Chophouse is a modern steakhouse with a health conscious focus. As we learn from Executive Chef David Clarke (formerly of Quay Restaurant), the purpose of no windows inside the restaurant is to offer customers a break from their day-to-day high-rise surroundings.
“You can come here to eat fast, healthy, food and get away from the bustle of the city,” Clarke said.
The effect is immediate—the stained and crumbling walls of the Chophouse with its high ceilings contrast perfectly with the immaculate tables and mood lighting, like you’re about to embark on a fine dining experience in the midst of an abattoir. Even the stainless steel sculptures hanging from the ceiling look remarkably like the ribs of a cow.
The menu is also not what you’d expect from a typical steakhouse—half of it is dedicated to salads.
“A lot of people are health-conscious these days, and we’ve made that the focus of the Chophouse,” Clarke said. “We make everything ourselves right here, including growing our own herbs and getting the best seasonal produce from local growers.”
This, Clarke says, is also to attract more women clientele, who traditionally steer clear of ‘giant steak and pint of beer’ steakhouses.
As we sit down to dinner we can’t help noticing the extensive wine list. I didn’t count, but it’s safe to say more than 100 were on offer, ranging in price from $34 to over $800 a bottle. We chose a modest $41 bottle of 2006 Grant Burge ‘Hillcot’ Merlot. For starters I know I must try one of the salads and so opt for the crisp pork belly and sea scallop salad ($18.90) while my dining partner goes for the spinach and tallegio risotto ($18.50). For mains we choose the glazed beef short rib with house made BBQ sauce ($28.90) and the T-bone with chutney and jus ($46.50). The mains don’t come with any sides, so we get shoestring fries ($6.90) and a salad called The Wedge (iceberg lettuce, bacon, blue cheese, salad onions, basil and dried tomatoes, $12.90). When the entrees arrive, my partner swoons over his risotto which melts in his mouth, and I dig into my pork belly and sea scallop salad, still warm, and have a similar reaction: I’m glad someone thought of mixing these two foods together, because they taste amazing.
The mains come in huge portions, but we’re not put off—my partner’s steak glistens on his plate while my ribs are so tender they practically fall off the bone. The house made BBQ sauce is great, but the salad left me a bit disappointed—it tasted good, but there was just too much lettuce. We could barely fit in dessert but we did our best, with the gooey goodness and candied almonds of a Peach Melba ($12) and an opulent flourless chocolate cake ($14.50). So delicious was the whole ordeal that I looked longingly at my unfinished beef ribs and was almost tempted to ask for a doggy-bag. As a woman, I can say with certainty that I’ll definitely be joining the regular clientele of the Chophouse.
Wednesday, November 5, 2008
Parkour
My lover Darryn and I did a story together for The Vine on Parkour. The French invented it and it's all about getting from one place to the other in the shortest amount of time possible. Exciting stuff. There's also jumping from buildings and doing flips and what not.
Anyway, I took some pictures and Darryn did some wonderful things with them in Photoshop and here is the result. The original story is here.
Anyway, I took some pictures and Darryn did some wonderful things with them in Photoshop and here is the result. The original story is here.
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