“Victory is reserved for those who are willing to pay its price.”
– Sun Tzu
First the robots came for our jobs. Then they came for our chess tournaments. Now, they’re coming for our martial arts too. Meet MOTOMAN-MH24, a robot who, depending on where you stand on the spectrum of robotics, is either a piece of metallic awesomeness, or an absolute nightmare.
More of a robotic arm than a full robot, Motoman was given a samurai sword and the opportunity to analyze and “learn” the three-dimensional sword techniques of master swordsman Isao Machii, a modern day samurai and the holder of 5 Guinness World Records pertaining to cutting things.
To commemorate their 100-year anniversary, Yaskawa Electric, a Japanese electronics company, pitted Motoman and Machii together in a tournament of sword-wielding speed and technique. Referred to as theYaskawa Bushido Project, the initiative was designed as a campaign to illustrate the possibilities of the company’s human-assisting robots.
TWITTER PERMITIRÁ A USUARIOS SEGUIR EVENTOS EN VIVO, NO SOLO A PERSONAS.
SAN FRANCISCO (Reuters) – Twitter Inc comenzará a seleccionar tuits sobre eventos en vivo, dijo el servicio de mensajería instantánea, en momentos que planea grandes cambios para hacer más atractiva su sección de noticias en tiempo real.
Los cambios, en un plan llamado Project Lightning, permitirán a los usuarios seguir los eventos en vez de solo a personas y cargar de inmediato fotografías y videos que podrán ser compartidos en varios sitios de Internet, informó el jueves el sitio de noticias y entretenimiento Buzzfeed.
Un equipo de editores seleccionará los mensajes visualmente más atractivos y relevantes de, por ejemplo, una alfombra roja o un rodaje, y los presentará en un lugar para que los usuarios no se vean inundados con todos los tuits que son publicados, dijo Buzzfeed.
La aplicación de Twitter para teléfonos móviles mostrará eventos programados y noticias de último momento, Buzzfeed.
La portavoz de Twitter, Rachel Millner, confirmó el reporte, pero declinó hacer más comentarios.
Twitter ha tenido problemas con el crecimiento de usuarios. Aproximadamente 1.000 millones de personas han visitado el sitio, pero solo 302 millones son usuarios.
Invierte en bolsa, puedes generar altas ganancias con acciones de #Twitter
PEOPLE THAT MATTER: JÖEL DUPUCH / ostréiculteur, the artist of the sea
‘He was a bold man that first ate an oyster’
From ‘nowness.com’, a secret from France we would like to share, another addition to our collection of people that matter.
“Eating oysters is like kissing the sea on the lips,” the French poet Léon-Paul Fargue once wrote. In his ode to the aphrodisiacal mollusk, creative director Sergio Penzo traveled to the Arcachon coast in south-west France to capture the working day of famed sixth-generation oyster farmer and actor Joël Dupuch.
“The work of the oyster culture is very lonely,” muses San Sebastian filmmaker Penzo, who as one half of Panthalassa alongside director Douglas Guillot documents the magnetism of the ocean through an ongoing series of films. “Dupuch is a bit like [the titular character from Hemingway’s] The Old Man and the Sea. I think of him as the Gérard Depardieu of oyster culture.”
While an oyster is usually devoured on an impulse, says Dupuch, regarding the unique aspect of the crustacean, it takes four years of dedicated attention by the farmers to enable it bloom to maturity.
“Joël has all this time to contemplate and think about the world around us,” says Penzo. “It is the same when you’re traveling and suddenly see the world differently. The ocean has that effect on people, it makes you meditate.”
PEOPLE THAT MATTER: WES ANDERSON / the director of aesthetics
‘The universe is built on a plan the profound symmetry of which is somehow present in the inner structure of our intellect.’
-Paul Valery
Bolstered by the support of veteran director James L. Brooks and producer Polly Platt, Wes Anderson attained a status in the late 1990s that most young filmmakers only dream of achieving – he proved that he could work within the Hollywood studio system and still create distinctive, willfully quirky films infused with an independent sensibility. Born and raised in Houston, Texas, Anderson was interested in filmmaking and performance from a young age, shooting crude Super-8 movies and staging elaborate school plays (including a hand-puppet adaptation of the 1980 Kenny Rogers vehicle The Gambler).
As a philosophy student at the University of Texas at Austin, Anderson found a kindred spirit in classmate Owen Wilson, who shared the director’s passion for playwriting and watching classic films of the ‘70s. The two became roommates and lingered at UT – even after they had completed their degree requirements – as Anderson honed his skills at a local public access television station and Wilson performed in local stage productions. The duo then set out to shoot a full-length script they wrote, titled Bottle Rocket, recruiting two of Wilson’s brothers, Luke Wilson and Andrew Wilson, to perform. Despite Andrew’s production connections in Austin, however, the team eventually ran out of film stock and funds, and they had to edit their footage into a 13-minute short. The black-and-white production eventually found its way to fellow Texan filmmaker L.M. Kit Carson, a family friend of the Wilsons who was so impressed with the work that he sent a copy to his colleague Platt and convinced Anderson to enter the film in the Sundance Film Festival. Before long, the film had also garnered the attention of Platt’s partner, Brooks, and he orchestrated a deal for Anderson to shoot the full-length feature with Columbia Pictures.
Billed as a botched-heist comedy, Bottle Rocket also made room for its characters’ romantic neuroses and aimless slacker ennui. Though critics responded to such a mix – likening the coming-of-age tale to everything from Easy Rider to Saturday Night Fever – Columbia barely promoted the picture’s early-1996 release, and it was quickly swept out of theaters. Luckily, positive word-of-mouth gave it a healthy life on video, and Anderson remained a noteworthy young talent, winning the Best New Filmmaker award at the MTV Movie Awards later that year. The director began to shop his second script around town with little success, until Disney chairman and Joe Roth signed on toAnderson’s project, vowing to give him low-budget, hands-off support.
The resulting film, Rushmore, was completed in 1998. Instead of test-marketing the film with focus groups, Roth and Anderson opted instead to take the feature to festivals. Critics gave the film an overwhelmingly enthusiastic reception: by the time it opened in wide release in February, 1999, Premiere magazine had called Rushmore the best film of the year, and co-star Bill Murray had already been named Best Supporting Actor by both the New York and Los Angeles Film Critics Associations, as well as the National Film Critics Society. A bittersweet coming-of-age tale about an underachieving but ambitious-to-a-fault teen, played with gusto by the unknown Jason Schwartzman, the film scored points for its wry, deadpan sense of humor and inventive visuals. Anderson drew from sources as disparate as Murmur of the Heart, Charles Schultz’s Peanuts cartoons, and Meatballs, giving the proceedings a giddy absurdity without ever losing genuine compassion for his characters. Despite the orgy of positive reviews and Touchstone studios’ aggressive marketing campaign, however, the director’s second feature failed to resonate with audiences who may have been expecting a laugh-a-minute Murray vehicle. Worse yet, when Academy Awards nominations were announced in mid-February, Murray was passed over in favor of actors in more traditionally high-minded roles.
Still, Anderson’s ardent fans – including director Martin Scorsese, who listed Rocket as one of his 10 favorite movies of the 1990s – eagerly awaited his 2001 effort. Titled The Royal Tenenbaums, the J.D. Salinger-inspired tale revolved around a loose-knit, oddly-dressed, super-intellectual Manhattan family, and reunited some of the cast of Rushmore with a new phalanx of stars including Danny Glover, Anjelica Huston, and Gene Hackman. Given a careful platform release by Touchstone, the film garnered enough critical praise and positive word-of-mouth to rally over $50 million dollars in box office receipts – more than three times that of Rushmore – proving perhaps that the public had finally come around to Anderson’s uniquely skewed worldview. At the very least, the members of the Academy had: In February, 2002, Anderson and Wilson garnered a Best Original Screenplay nomination for their multi-character tragicomedy.
Anderson’s worldview didn’t serve him quite as well on his next feature, 2004’s curiously titled seafaring opus The Life Aquatic With Steve Zissou. Pairing again with Bill Murray on the heels of the actor’s acclaimed turn in Lost in Translation, Anderson crafted a paean to another arrested adolescent, this time a sort of slacker Jacques Cousteau. Co-writing the screenplay with Kicking and Screaming auteur Noah Baumbach – thereby freeing up his usual scribe-mate Wilson for a prominent supporting role as Zissou’s purported son – Anderson crafted an absurdist adventure as whimsical as it was sprawling. Bolstered by an omnipresent promotional campaign, The Life Aquatic attracted hordes of Anderson-philes to the theaters, at least in its first couple of weeks. Unfortunately, the film was greeted with what must’ve been a first for the young filmmaker: critical indifference. Despite its candy-colored visual scheme, The Life Aquatic didn’t attract half the audience of Tenenbaums, and was ignored in year-end awards races.
Regrouping for a project that was at once more ambitious and less far-flung, Anderson collaborated with Rushmore star Schwartzman and friend Roman Coppola on the script for 2007’s India-set The Darjeeling Limited. Exploring a similar dynamic to Bottle Rocket, the film set three fractious brothers – Schwartzman, Wilson and Adrien Brody – on a life-changing journey through the subcontinent. Toning down the whimsy and amping up the drama, the Fox Searchlight release found mixed reviews and a mostly appreciative, if small, audience.
Anderson returned two-years later with a stop-motion animation adaptation of Roald Dahl’s The Fantastic Mr. Fox, a film that earned an Oscar nomination for Best Animated Film. He returned to live action in 2012 with Moonrise Kingdom, a romantic comedy about two kids who fall in love while at camp that reunited him with regular collaborators Bill Murray and Jason Schwartzman.
NETFLIX SE DISPARA A NUEVO RECORD, DESPUÉS DEL ANUNCIO DE SU SPLIT EL 14 DE JULIO
En las operaciones de la apertura, las acciones de Netflix se dispararon hasta 3.52 por ciento a 705.19 dólares, un precio sin precedentes, para sumar una capitalización de mercado de 42.8 mil millones de dólares.
El proveedor de contenidos audiovisuales estadounidense Netflix ha anunciado este martes que canjeará cada título existente por siete nuevas acciones, después de coronarse como el valor que más sube en el S&P 500 en lo que va de año.
Desde enero, las acciones de la tecnológica han más que duplicado su cotización en bolsa. El canje tendrá lugar el próximo 14 de julio y se aplicará a aquellos tenedores que lo sean con fecha de 2 de julio de ese mismo mes.
El canje de acciones es una operación que no tiene repercusión sobre el capital de la compañía que lo realiza ni sobre el valor de la cartera del inversor, y únicamente sirve para cambiar el valor nominal de los títulos en circulación.
With an intense focus on conservation and sustainability, the Proximity Hotel in Greensboro, North Carolina touts itself as the “greenest” hotel in America. And the title is well-earned. Not only was the Proximity the first hotel ever to be certified LEED Platinum, but the Proximity also engages in a variety of practices to save energy—using 39.2 percent less energy than a typical hotel.
These energy-saving measures can be found in all areas of the hotel. Let us count the ways:
1. There are 100 solar panels heat the water for the Proximity’s 147 guest rooms.
2. That’s about 4,000 square feet of rooftop, and supposedly could heat water for 100 homes.
3. The new Regenerative Drive model of the Otis Gen2 elevator feeds energy back into the building’s electrical grid.
4. The bar is made from salvaged walnut that “came down through sickness or storm.”
5. Roomservice trays are made out of bamboo plywood—or “Plyboo.”
6. In the kitchen,a series of sensors in the restaurant’s speed hoods keep the kitchen’s operational levels to 25 percent of capacity.
7. Geothermal energy is used for the restaurant’s refrigerators.
Best of all, hotel guests see tangible benefits of sustainability practices, too. Enormous windows open the lofty hotel spaces up to tons of light and bicycles are available for exploring the area. Which, naturally, is full of greenery.
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IT’S YOURS
“In character, in manner, in style, in all the things, the supreme excellence is simplicity”
-Henry Wadsworth Longfellow, Favorite Poems
Like feeling like a local when you travel? Then for your next trip to San Francisco, jump the crowds in clamorous Union Square and opt forThe Buchanan, a boutique hotel that opened last week and offers a more personal, insider experience.
San Francisco designer Nicole Hollis styled the rooms in the image of a sleek urban apartment. As a result, each of the hotel’s 131 rooms echo the vibe of their stylish neighbors, Pacific Heights and Japan Town. With minimalist décor and bold statement pieces, the rooms evoke clean white canvasses, with pops of navy and Japanese shibori-print accent pillows (a subtle nod to the property’s predecessor, the funky, kitschy Hotel Tomo).
In the lobby, a daring Japanese whiskey bottle sculpture and wall made of reclaimed whiskey barrels welcomes guests, while a serene private courtyard offers a temporary oasis from the bustle of the international city. It’s a testament to how much San Francisco offers visitors, when you realize that staying far from Union Square doesn’t mean missing out on the action.
The Buchanan is a short walk to popular eateries like Pizzeria Delfina, Out the Door, and SPQR. It’s also close to a stretch of Fillmore Street with a row of high-end local boutiques, and traditional Japanese restaurants like Kappa. You’ll barely be here a day before you’ll feel like it’s your new home.
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THE SPA
Some people think luxury is the opposite of poverty. It is not. It is the opposite of vulgarity.
-Coco Chanel
Chanel Will Open its First Spa at Hotel Ritz Paris
The famous luxury brand Chanel is set to open its first spa at Hotel Ritz Paris.
Anyone can say that no other hotel in the city has so much glamour and history attached than the Ritz Paris. So there could be no better choice for the location of Chanel’s new spa.
When the French fashion house announced the opening of “Chanel au Ritz Paris” everyone was so happy.
The spa is set to open at the end of the year along with the hotel which has been closed for renovations since 2012.
Due to re-open later this year, the Ritz Paris is the perfect place to house this particularly special beauty sanctuary since it has a long history with the fashion house.
When the renovations are complete, the hotel will also include a new Coco Chanel suite inspired by the one she originally occupied. It is known that Chanel has had very strong ties with the Place Vendôme hotel since she was its resident for 34 years.
About the treatment menu is not much yet known, but one can only imagine the range of products and the signature treatments that would be offered in there.
And what better city to open a spa at other than Paris, the city of romance, shopping, amazing food, elegant architecture.
In a statement from Chanel, “The story linking Chanel and the Ritz Paris would not be complete without the opening of a new Coco Chanel suite inspired by the one she originally occupied and by the decor she loved so much,”
Chanel confirmed to WWD that the storied fashion house will open “Chanel au Ritz Paris” — a spa dedicated to its skin care — in the city’s Ritz Club by the end of 2015.
No details have been revealed about the Ritz Paris spa’s opening date.
“The strong bond that unites Chanel and the Ritz Paris was initiated by Mademoiselle Chanel who lived 34 years at the Ritz. Located in the Ritz Club, ‘Chanel au Ritz Paris’ will provide women with a unique sensorial and customized experience,” the brand said in a statement, according to The Cut.
According to WWD, the shape of the Chanel No. 5 bottle was reportedly inspired by the arrangement of buildings on the Place Vendôme, where the Ritz sits in a prime corner location.
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COCKTAIL HOUR
The Glenlivet Founder’s Reserve es whisky escocés en su más alto estado de pureza. Este single malt, creado bajo la fórmula y procesamiento originales de George Smith, fundador de la casa The Glenlivet, tiene un suave tono dorado, aroma a cítricos, un acabado suave, cremoso y largo.
The Glenlivet es una de las etiquetas de mayor prestigio dentro de los whiskies escoceses de una sola malta y desde que nació ha estado en constante evolución.
Es principalmente por esta razón que con su nuevo whisky permite a nuevos consumidores conocer los sabores más tradicionales, a la par de consentir a aquellos que sólo buscan la perfección a cada sorbo.
La versatilidad de este licor le permite combinarse con jarabes, jugos e incluso con otros licores que permiten respirar al whisky escocés pero que también enaltecen sus cualidades más precisas.
Y es que aunque la mayoría de las personas piensan que un whisky de esta pureza siempre se debe de tomar en las rocas o solo, los aromas y las notas principales de este single malt se pueden apreciar también con la mezcla correcta. “Un whisky se toma mejor como a uno le guste, y con buena compañía,” dice Ann Miller, Brand Ambassador de Chivas Brothers.
Aquí la receta de uno de los mejores cocteles de Mike Aikman, fundador de Bramble Bar y uno de los mejores bartenders de Edimburgo.
Founder’s Fizz
· 50 ml The Glenlivet Founder’s Reserve
· 25 ml de jugo de limón
· 10 ml Cassis
· Una pizca de jarabe de azúcar
· Un poco de agua mineral
Método: Añadir todos los ingredientes, excepto el agua de soda, agregar hielo molido al vaso, mezclar suavemente y añadir hielo al vaso. Terminar con un chorrito de agua mineral.
Vaso: Sling.
Garnish: Moras y zarzamoras.
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LA TABLE
Una experiencia gastronómica de aforo limitado. El restaurante más pequeño de la Ciudad de México. El santo grial de los foodies.
De la colaboración entre Möet Hennessy y The St. Regis Mexico City sólo podía nacer un concepto revolucionario: “Llevar la gastronomía a nuevos horizontes ofreciendo una experiencia epicúrea multi-sensorial en un ambiente único para 12 comensales”, afirman los anfitriones.
“La Table de Krug será el restaurante francés más íntimo de México. Una experiencia como ninguna otra, en la que la belleza, el placer y disfrute de cada bocado serán el único objetivo”, asegura Bernard de Villèle, director general de The St. Regis Mexico City.
“Encontramos el mejor aliado en Moët Henessy y estamos muy emocionados de presentar esta nueva propuesta gastronómica, diseñada especialmente para los grandes conocedores de la gastronomía y los amantes de Krug”, añadió.
Notas:
¿Cuándo?
De martes a sábado, 8 pm. Desde el 9 de junio. Martes, miércoles y sábado, configuración de tres mesas de cuatro personas. Jueves y viernes, mesa comunal de doce comensales. El arte de compartir ‘la table’.
El diseño
Una mesa de mármol de Carrara que tomó más de cinco meses en su elaboración, vajilla, copas, y cubertería de distintos materiales y texturas. “Buscamos una experiencia Rough Luxury”, comparte Paulina Feltrin, directora de RRPP del hotel. La mesa y sillas son más altas de lo habitual y con cada botella de Krug suena una música diferente – a través de la App de Krug y el ID de cada botella se puede saber a qué suena cada champagne según grandes maestros de la música– trasladando al comensal a una experiencia apoteósica.
El Chef
Sylvain Desbois perfeccionó su arte culinario con leyendas de la cocina francesa como Bernard Loiseau y Eric Frechon, ambos reconocidos con tres estrellas Michelin. También fue parte del equipo de Le Bristol en Paris. Lleva diez años en México –antes en St. Regis Punta Mita– y en La Table Krug presenta una propuesta que hunde sus raíces en Bretaña y la Riviera Francesa.
“La Table Krug es un proyecto que me emociona, será un espacio único para crear y sorprender a la comunidad gourmand, al mismo tiempo que experimentamos con texturas, sabores y aromas que mariden a la perfección con los grandes champagne de la Casa Krug”.
Krug
La Maison Krug traslada sus valores e historia a La Table. “Cuando pienso en quienes son los amantes de Krug veo que son personas independientes, con personalidades únicas y una fuerte confianza en sí mismas. Son amantes del contraste y la paradoja, buscan el disfrute. Ellos quieren una experiencia inolvidable, el placer más allá de la perfección” dijo Olivier Krug, sexta generación de la familia Krug.
Por eso ha elegido este lugar para que sólo aquí pueda adquirirse Krug Vintage 2000 (95/100 Wine Spectator). Adriana Angulo, directora de Krug México, afirma: “Se dice que hay una sola manera de vivir la experiencia del champagne Krug: Medir su personalidad en comparación con la de uno mismo”.
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