PUBLIC MARKS with search plastic

ARCHIGRAM dominated the architectural avant garde in the 1960s and early 1970s with its playful, pop-inspired visions of a technocratic future after its formation in 1961 by a group of young London architects – Warren Chalk, Peter Cook, Dennis Crompton, David Greene, Ron Herron and Michael Webb.

“A new generation of architecture must arise with forms and spaces which seems to reject the precepts of ‘Modern’ yet in fact retains those precepts. We have chosen to by pass the decaying Bauhaus image which is an insult to functionalism. You can roll out steel – any length. You can blow up a balloon – any size. You can mould plastic – any shape. Blokes that built the Forth Bridge – they didn’t worry.”

So wrote David Greene in a poem published in the first issue of Archigram magazine or, as Greene’s co-editor, Peter Cook, called it “a message, or abstract communication”. It was published in 1961 on a large sheet of the cheapest available paper. Filled with Greene’s poems and sketches of architectural projects designed by Cook, Michael ‘Spider’ Webb and other friends, the magazine voiced their frustration with the intellectual conservatism of the British architectural establishment.

2d world of advertising is about to be ignored when a message can be slammed together with a service.

The RFID sniffer is a simple analog electronic circuit which can detect the presence of 13.56 MHz RFID tags. These tags are commonly used in all kinds of plastic cards like access badges, bank cards, library cards, loyalty cards and so on. Also many other objects may carry RFID tags without you knowing it. Books, toys, and even clothing might be tagged. Carrying tagged objects with you can reveal your identity or whereabouts to anyone equipped with the appropiate tools to read RFID tags.

The company's plastic reader is designed to store dozens or hundreds of business documents on a very thin digital reader. It can store e-books, magazines, newspapers, PDFs and all kinds of information, the company said.

The First World War was a war dominated by high explosives and heavy artillery. Battlefield casualties included an unprecedented number with horrific facial injuries - injuries so severe the men were commonly unrecognizable to loved ones and friends. Often unable to see, hear, speak eat or drink, they struggled to re-assimilate back into civilian life. This secondary tragedy - the living unable to "live" - catalyzed Surgeon Sir Harold Gillies to transform the fledgling discipline of plastic surgery based on his unrivalled observation of the profoundly wounded and his ability to push the parameters of the profession beyond all known techniques.

What’s known about the film so far is that Joe Odagiri traveled to Brazil in March, 2008. He stayed there for two weeks to film his parts in the movie. In “Plastic City” Joe Odagiri plays Kirin, a Japanese-Brazilian orphan that becomes adopted by Yuda (Anthony Wong), a leader of an Asian mob. Kirin then becomes involved in the mob run Brazilian black market as an adult. One day his adopted father is arrested and Kirin is left to hold the empire together.