Next Gen Digital Archaeology: Google Reveals Detailed Models Of Important Heritage Sites

Its latest online collection, “Open Heritage,” features digitized, 3D models of over 25 locations from around the world, from the ancient Mayan metropolis of Chichen Itza in Mexico to the protected Watangi Treaty Grounds in New Zealand. Each was created by CyArk, a nonprofit that has been engineering incredibly detailed 3D versions of heritage sites since 2003 with the intention of archiving and freely sharing the results with the public.

What’s The Harm In Gamifying Your Life? Well …

The game – for instance, getting more money back on CVS cards, or figuring out which credit card to use in which specific situation – is infinite, and rigged. “It’s not a zero-sum, winners-and-losers sort of game, like Monopoly or cage fighting, but rather one that continues as long as you want to play and one that, in a sense, you can’t win.”

The Life Of A Conflict Photographer

Andrea Bruce took a photography class for fun in the last semester of her undergrad degree in 1995, and since then, she’s photographed some of the most challenging and conflict-ridden places in the world. “I have experienced many roadside bombs and suicide bombs and been under fire. Most of the time it’s just unpredictable — you’re in a war zone and things just happen. You have to know what is worth the risk and what’s not.”

A Museum Devoted To One French Artist Just Discovered That More Than Half Of Its Collection Is Made Of Fakes

Étienne Terrus was a friend of Henri Matisse, and the museum devoted to his works had gotten the help of the town of Elne to buy many works over two decades. Then an art historian came to town – and alerted the museum staff to the fakes. “In interviews on Friday, the mayor of the Pyrenees town, Yves Barniol, said the situation was ‘a disaster’ and apologised to those who had visited the museum in good faith.”

T.V. Revivals Have Become Dangerous, Lazy Replicants

Just stop already. “Each joke is played with a knowing wink, with countless call-backs to episodes of yore. It’s reminiscent of a breaking of the fourth wall, but done in a fashion so grand and garish it becomes spectacle viewing. It also reminds viewers of the more cynical purpose behind the series returning to television: not because there’s more of a story to be told, but because there’s more money to be made by manipulating our desire to derive comfort from the familiar.”