The Lambda S is only 1.15 inches square, but that much neodymium is capable of firmly holding 1lb of metal. In this case, it comes in a protective jacket made from aerospace aluminum, and you get plenty of 3M tape in the box for sticking it to new spots. The combination of size and magnetism makes it a nice perch for a phone, but you could also use it for holding on to kitchen utensils or safely storing keys on your car’s dashboard. To grab the Neutron S magnet at the reduced price, head for the link below.
- Still, she’s got a lot of spirit. I don’t know, what do you think?
- A tremor in the Force. The last time I felt it was in the presence of my old master.
- Leave that to me. Send a distress signal, and inform the Senate that all on board were killed.
- The Force is strong with this one. I have you now.
To be happy in this world, first you need a cell phone and then you need an airplane. Then you’re truly wireless.
To Nader, images—particularly digital—are inherently broken. The fact that you can see them in millions of different places at the same exact moment is proof of that. In the digital world, images bend and warp the minute they’re created. They inflate to wall-sized proportions and shrink to mere pixels. Along the way their quality strains to the brink of shattering. And then Nader breaks them. “I’m interested in the ubiquity of these images,” he says. “The way they span the globe and the way they can fall apart and become something new.”
To make this happen, Nader has developed specific techniques using software. In his Scream series, Nader removes humans and products from fashion advertisements then refills the blank space on each individual RGB channel with Photoshop’s content aware fill tool. Using the warp perspective tool, he makes slight adjustments to the images, which result in a blurred displacement of color and shape. In Nodes, the process is similar, only in the end he masks the photos into a moiré pattern to produce a single image whose layers seem to be fighting each other for the viewer’s attention. His video work best shows how eerily striking this technique can be. In “Someone to See,” Nader again removes products and actors from commercials. Using a tool in After Effects (similar to content aware fill in Photoshop) he fills in the gaps and adjusts the speed of the video causing the ripped out images to make their way through the video like ghosts.
It’s hard to imagine how there might be drawbacks to this, but Greg Beck first started to consider them a year or two ago while visiting his girlfriend’s family in Korea. As usual, he was diligently documenting the trip with his smartphone. At some point his hosts pulled out an old album filled with decades’ worth of family photographs. Beck couldn’t help but wonder about the fate of his own snapshots.