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EPA says auto emissions standards are too high, questions California’s waiver | Ars Technica
It is simply impossible to produce more CO2 by burning less fuel. There is an exact and direct relationship between fuel and CO2.

In the US NOx and other trace pollutants are regulated separately from fuel economy. All vehicle engines in the US have to meet NOx emission standards. The current standard is tighter than what is used in the EU today and the US standard gets about 40% tighter over the next decade.

To be fair the US fucks up a lot when it comes to the environment pretty much the only thing we do right is vehicle emissions so don't take that from us.
trace  pollutants  environment  standards  us  eu  quote 
25 days ago by elev8
Calling Rust From Python | bheisler.github.io
Hello! This is a detailed example of exposing Rust code to other languages (in this case, Python). Most articles I’ve seen that cover this topic uses really trivial example functions, skipping over a lot of the complexity. Even the better ones out there typically don’t have a pre-existing, reasonably complex program to work with. I’m going to start with trivial functions and build my way up to being able to define a scene for my raytracer in Python using a series of calls to Rust, th...
rust  ffi  python  windows  ray  trace  5* 
5 weeks ago by ianweatherhogg
Writing a Raytracer in Rust - Part 1 - First Rays | bheisler.github.io
Hello! This is part one of a short series of posts on writing a simple raytracer in Rust. I’ve never written one of these before, so it should be a learning experience all around.
So what is a raytracer anyway? The short version is it’s a computer program that traces the paths of simulated rays of light through a scene to produce high-quality 3D-rendered images. Despite that, it also happens to be the simplest way to render 3D images.
rust  ray  trace 
5 weeks ago by ianweatherhogg
About Drawn Together | Drawn Together:
In 2008, while studying as practice-based PhD students at the University of the Arts London, MaryClare Foá, Jane Grisewood, Birgitta Hosea and Carali McCall began collaborating under the name Drawn Together on projects to address the relationship to body and presence, time and space through performance drawing.

Tracing a dialogue with the line in their individual practice, they collectively materialise performances incorporating mark-making, animation, sound and video. The artists’ diverse practices intersect through the shared concerns with how performative drawing can in different ways reveal temporal and spatial understanding of place and space. Their personal approaches allow numerous narratives to be played out in a single location.

Maryclare Foá’s work is concerned with drawing in response to the outside environment. She draws to communicate with place and to examine the relationship and affects between place and practitioner. Making work in public spaces conditions the action into a performance for the passer-by. Through interacting with outside spaces by leaving temporary trace marks on, in, and around an outside place, she has come to understand that sound is also a method of drawing. She uses her voice to sound through place, echoing, resonating, and responding to a particular location. She is currently working towards developing a contemporary songline methodology, “driftsinging” through place, while also exploring score and sound drawing processes.

Jane Grisewood explores themes of time and transience, place and memory through works on paper, photography, performance and writing. She shifts between media and uses repetitive processes to form a link between the act of making, retracing memory and recording movement. Drawing is the key activity in her work, and the ‘line’ is a consistent subject throughout her practice. The line is a journey, a between space, always in movement. Recent work focuses on live performance drawing, where she experiments with the line as a fluid and multi-layered process of recording rather than as a linear progression, providing a way of marking a temporal presence, while also tracing its passing.
maryclarefoa  drawing  collaboration  place  singing  songlines  driftsinging  lines  trace  memory  movement  performance  soundart  methodology 
8 weeks ago by oddhack
Maryclare Foá | Axisweb
I'm concerned with exploring the process of drawing/mark making, around and beyond two dimensions, involving movement of place, duration of time and selection of sound and imagery.

In 'Tracing Manhattan' (December 2003) I drew a line down Broadway the length of Manhattan Island. In 'Walking Drawing' (June 2004) I revisited Fulton and Long's walk to the country from Central St Martins to Radlett, wearing a camera and sketchbook harness.

Trace: My fascination in the Trace began when I saw a photograph of Rio Pinturas (Chile), the paint spat outline of 6 hands on a rock waving to me over thousands of years.

"He will not have been present but he will have made a gift by not disappearing without leaving a trace. But leaving a trace is also to leave it to abandon it not to insist upon it in a sign" - Derrida, from "At this very moment in this work here I am"

I mean to leave a trace temporarily, yet still I mean to leave a trace. Maybe, like Butades's daughter I'm aware of the impending loss, and need a keepsake gift for myself as solace. Butades daughter (The story that has become known as the origin of drawing) "She (the daughter of the potter Butades, who lived in Corinth) was in love with a young man, and when he was going abroad she drew a silhouette on the wall round the shadow of his face cast by the lamp."
maryclarefoa  trace  lines  drawing  place 
8 weeks ago by oddhack

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