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The Metropolitan Museum of Art announced Tuesday that more than 375,000 of its "public-domain artworks" are now available for unrestricted use. "We have been working toward the goal of sharing our images with the public for a number of years," said Thomas P. Campbell, director and CEO of the Met, in a statement. "Our comprehensive and diverse museum collection spans 5,000 years of world culture and our core mission is to be open and accessible for all who wish to study and enjoy the works of art in our care." Fortune reports: The image collection covers photographs, paintings, and sculptures, among other works. Images now available for both scholarly and commercial purposes include Emanuel Leutze's famous painting Washington Crossing the Delaware; photographs by Walker Evans, Alfred Steiglitz, and Dorothea Lange; and even some Vincent van Gogh paintings. The Met has teamed up with Creative Commons, Wikimedia, Artstor, Digital Public Library of America, Art Resource, and Pinterest to host and maximize the reach of their enormous collection. There is also a public GitHub repository of the images.

The Metropolitan Museum of Art announced Tuesday that more than 375,000 of the Museum's "public-domain artworks" are now available for unrestricted use. From a report: "We have been working toward the goal of sharing our images with the public for a number of years," said Thomas P. Campbell, director and CEO of the Met, in a statement. "Our comprehensive and diverse museum collection spans 5,000 years of world culture and our core mission is to be open and accessible for all who wish to study and enjoy the works of art in our care." The image collection covers photographs, paintings, and sculptures, among other works. Images now available for both scholarly and commercial purposes include Emanuel Leutze's famous painting Washington Crossing the Delaware; photographs by Walker Evans, Alfred Steiglitz, and Dorothea Lange; and even some Vincent van Gogh paintings.

A number of companies are either selling or preparing to sell 3-D scanners. Aside from fun (but interesting) uses, like duplicating chess pieces or possibly reproducing a miniature of Rodin's famous sculpture, Fallen Caryatid Carrying Her Stone, Matterform anticipates archeologists reproducing artifacts so that students can study them without handling the precious originals. This video is an interview with Matterform co-founder Drew Cox, who was exhibiting Matterform's scanner at CES 2014. MakerBot is also selling a scanner, as are a growing number of others. In fact, even though Matterform talks about being a low-cost (pre-order price $579) scanner for home use, as opposed to a commercial one that costs thousands. There are also several interesting hand-held scanners out there. Sense sells theirs for $399. Structure has one for $349 that's essentially a peripheral for an iPad. And this is just a random selection from a brief Google search. Use "3-D Scanner" as your search term and you'll find multiple Google pages full of 3-D scanners and information about them -- including software being developed at ETH zurich that turns your smartphone into a 3-D scanner.

An article at The Verge discusses a new exhibit at the Metropolitan Museum of Art which traces the history of photo manipulation, starting in the mid-1800s. Early photographers used simple techniques like painting on their negatives or simply forming a composite image from many painstakingly framed shots. That period of time even had its own approximation of modern memes: "A large number of prints from that era — featuring decapitated subjects holding, juggling, or otherwise posing with their own heads — might be seen as the lolcats of their day, owing to an alluringly macabre and widespread fascination with parlour tricks and stage magic." However, lying with pictures really took off when business and government figured out how effective it could be as a tool for propaganda. The exhibit has many examples, such as President Ulysses S. Grant's head superimposed onto a soldier's body and a different background, or another of Joseph Goebbels removed from a photo of a party. The article likens these manipulations to more recent situations like the faked pictures of Osama Bin Laden's corpse, and often-hilarious altered ads featured on Photoshop Disasters. The article ends with a quote from photographer Jerry Uelsmann: "Let us not delude ourselves by the seemingly scientific nature of the darkroom ritual. It has been and always will be a form of alchemy."

An article at The Verge discusses a new exhibit at the Metropolitan Museum of Art which traces the history of photo manipulation, starting in the mid-1800s. Early photographers used simple techniques like painting on their negatives or simply forming a composite image from many painstakingly framed shots. That period of time even had its own approximation of modern memes: "A large number of prints from that era — featuring decapitated subjects holding, juggling, or otherwise posing with their own heads — might be seen as the lolcats of their day, owing to an alluringly macabre and widespread fascination with parlour tricks and stage magic." However, lying with pictures really took off when business and government figured out how effective it could be as a tool for propaganda. The exhibit has many examples, such as President Ulysses S. Grant's head superimposed onto a soldier's body and a different background, or another of Joseph Goebbels removed from a photo of a party. The article likens these manipulations to more recent situations like the faked pictures of Osama Bin Laden's corpse, and often-hilarious altered ads featured on Photoshop Disasters. The article ends with a quote from photographer Jerry Uelsmann: "Let us not delude ourselves by the seemingly scientific nature of the darkroom ritual. It has been and always will be a form of alchemy."

An article at The Verge discusses a new exhibit at the Metropolitan Museum of Art which traces the history of photo manipulation, starting in the mid-1800s. Early photographers used simple techniques like painting on their negatives or simply forming a composite image from many painstakingly framed shots. That period of time even had its own approximation of modern memes: "A large number of prints from that era — featuring decapitated subjects holding, juggling, or otherwise posing with their own heads — might be seen as the lolcats of their day, owing to an alluringly macabre and widespread fascination with parlour tricks and stage magic." However, lying with pictures really took off when business and government figured out how effective it could be as a tool for propaganda. The exhibit has many examples, such as President Ulysses S. Grant's head superimposed onto a soldier's body and a different background, or another of Joseph Goebbels removed from a photo of a party. The article likens these manipulations to more recent situations like the faked pictures of Osama Bin Laden's corpse, and often-hilarious altered ads featured on Photoshop Disasters. The article ends with a quote from photographer Jerry Uelsmann: "Let us not delude ourselves by the seemingly scientific nature of the darkroom ritual. It has been and always will be a form of alchemy."

RobotWisdom writes "The new New Yorker magazine has posted two long non-technical articles about the Chudnovsky brothers and their homebrew supercomputers. One is a 1992 article about how they calculated pi to over two billion decimal places using a $70,000 cluster with 16 nodes. The other is a brandnew piece about how they spent months creating a seamless multi-gigabyte image of a fifteenth century tapestry for New York's Metropolitan Museum of Art. Tapestries are essentially pixel-art on a non-rigid (cloth) matrix, so the manual labor of photographing it inch by inch had introduced many tiny deformations in the images, which they had to mathematically iron out. Old lo-res pix of the tapestries are on the Met's site, pix of the brothers are in the world brain."