internet census – 2012

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“To test if we could see a day night rhythm in the utilization of IP spaces we used all ICMP records to generate a series of images that show the difference from daily average utilization per half an hour. We composed theses images to a GIF animation that clearly shows a day night rhythm. The difference between day and night is lower for US and Central Europe because of the higher number of “always on” Internet connections. Full resolution GIFs and single images are available for download here.

Using a #botnet last year some hacker folks mapped the largest and most comprehensive IPv4 census ever. More here

The extrapolated size “If you added those, it would make for a total of 1.3 Billion used IP addresses“…

via Bruce Sterling

Taklamakan

Pete took this in stride. NAFTA, Sphere, and Europe: the
trilateral superpowers jostled about with the uneasy
regularity of sunspots, periodically brewing storms in the proxy regimes of the South. During his fifty-plus years, Pete had
seen the Asian Cooperation Sphere change its public image
repeatedly, in a weird political rhythm. Exotic vacation spot
on Tuesdays and Thursdays. Baffling alien threat on Mondays and
Wednesdays. Major trading partner each day and every day,
including weekends and holidays. At the current political moment, the Asian Cooperation Sphere was deep into its Inscrutable Menace mode, logging lots of grim media coverage as NAFTA’s chief economic adversary. As far as
Pete could figure it, this basically meant that a big crowd of goofy North American economists were trying to act really macho.Their major complaint was that the Sphere was selling NAFTA too many neat, cheap, well-made consumer goods. That was an extremely
silly thing to get killed about. But people perished horribly for
much stranger reasons than that.

By Bruce Sterling via http://lib.ru/

New Haven house – Charles Moore

Back in the spring, Alexandra Lange made the case for Why Charles Moore (Still) Matters, in Metropolis Magazine.

She closes “For many years he worked with photographer Morley Baer, trucking in his own ornaments and bentwood chairs to get the mood just right. Photographs of the early MLTW interiors, the later fountains, faculty clubs, and academic buildings are shot through with diagonals. Up into the clerestory, down into a tower, through a cutout, across a crowded room. Moore’s interest in the layers of history manifested itself, through all his partnerships, in projects domestic and urban, in architecture to be experienced in movement—swinging between inside and out in a hammock, on two legs, or on wheels.