In 2004, artist Luke Jerram began a visually scientific sculpture series entitled Glass Microbiology. With help from both expert virologists and talented glassblowers, Jerram has created a collection of glass sculptures accurately depicting some of the most prevalent viruses out there, including HIV, malaria, and the swine flu (notoriously recognized in the 2009 flu pandemic). What inspired this project was the constant, inaccurate depictions of viruses in textbooks and media outlets. Since the wavelength for color is larger than the microbes, they do not naturally have a pigment. However, in many renderings they appear as bright or multi-colored entities. The artist felt this presented not only a skewed idea of each infectious agent, but also hindered the learning process if each microbe is different, in terms of artistic representation. As a result of his efforts, Jerram’s work has now made its way into countless medical texts and is being used in the media as well. They provide not only accurate renderings of their subjects, but also quite fetching formations. Their sculptural forms are stunning, which makes it all the more intriguing to view such elegantly crafted pieces while keeping in mind how dangerous their real-life counterparts are. (via Beautifully Accurate Glass Sculptures of Deadly Viruses - My Modern Metropolis)
Instead, what I find is absent from streaming music is everything that complements the act of listening to music. It’s the very thing that digital music, more even than records and CDs, should excel at: metadata.
Who produced that debut album from Lorde? Who were the musicians who played with her on it? Where was it recorded, and when? Does Lorde thank God, her parents, and/or her cat for making the record possible? I don’t know the answer to any of these questions, because I’ve only ever experienced Lorde’s music via Spotify, where such information is absent entirely."
Reblogged from underwatermess