Namor is less an early superhero than the last of the pulp icons, an antihero who threatened humanity with death and destruction. Unlike Superman, he’s not a secret alien raised by the best of humanity to save us all; he’s a hybrid mutant raised by a nonhuman race here on Earth that regards humanity as overgrown, ill-tempered children. And unlike Zack Snyder antiheroes who have to be twisted from their origin stories to bring them up to date, Watchmen-style, nothing about Namor needs to be changed to make him genuinely menacing, alien, and scary, while retaining his sexy charm. Namor’s just got it going on.
Namor’s film rights have been circuitously tied up for years, so we’ve never seen him on the silver screen. The first hit that always comes up when you search for him is Keanu Reeves, and Keanu at any age wouldn’t make a bad Namor. There’s talk of introducing him into the MCU via the Black Panther franchise, and that’s a great idea as well, since the main thing Black Panther and the Sub-Mariner share is that they’re not really super-heroes; they’re kings.
(Superman is precisely interesting to the extent that he is neither a king nor a god, but a man; these two things are not mutually exclusive. Hollywood’s inability to grasp this is part of why superhero movies have so much trouble, despite being the most dumb-simple megagenre of all time.)
The Atavist’s “Masterpiece Theater,” by Anna Altman, traces the works of an art forger, Geert Jan Jansen (aka, among others, Jan Van den Bergen). Among other notorious works, Jansen forged a Picasso drawing which was thought to have been destroyed in a robbery, then directed a writer to it so the painting could be rediscovered.
Altman spends a fair amount of time chipping away at Jansen’s motives, and those of art forgers in general:
It takes a certain psychology to exploit art’s loopholes: a tendency toward self-aggrandizement, a loose relationship with the truth, and a sense of superiority, particularly vis-Ã -vis art royalty. Many forgers take a perverse pleasure in thumbing their noses at gatekeeping elites. And forgers can be something of a Rorschach test for the public. The art world, with its exclusivity, money, and pretension, elicits strong, sometimes negative reactions. The idea of someone skilled enough with a paintbrush or pen to fool the rich and powerful can be tantalizing. “To art critics, the forger is a mediocre artist seeking revenge; to the media, a conman interested only in money; to the apologist, he is the equal of the masters he forged; to the public he is often a folk hero,” Wynne writes.
There’s an element of Catch Me If You Can here:
Inside the château, Schoeller found hundreds of artworks that he and the French police suspected were fraudulent. They were attributed to masters like Picasso, Matisse, and Joan Miró. They were arranged in neat stacks, apparently ready for sale. Fake Chagall paintings hung above the stove, drying. Several rooms were designated for a particular artist whose style was being faked. Authorities also found half-finished works, sketches for new ones, contracts with auction houses in Belgium, Switzerland, and New York, and false authentication certificates. Moreover, Van den Bergen had all the tools required to produce fake certificates of authenticity, including a bag full of stamps and 30 vintage typewriters used to approximate typefaces from various time periods. In a dustbin were strips of paper cut from forged certificates to eliminate watermarks, which might have given away the documentation’s true age.
But the tools of the craft, the seams in the story, might always be more interesting than penetrating whatever depths are in the characters at work:
Strategy, or deciding what kind of art to fake, is also key. Potentially blockbuster works—oil paintings by Michelangelo, say, that might be worth tens of millions of dollars—are likely to be put through the authentication wringer. Less prized items are not. Prints, works on paper, and gouaches (opaque watercolors) usually sell for less than $10,000 and pass through small auction houses and dealers. It’s much easier to elude detection when the stakes, relatively speaking, are low.
That may have been one reason Van den Bergen forged the types of works he did—smaller-scale compositions on paper rather than oil paintings. But he may have had other, more personal motives. Among the paintings recovered from the château were large-format abstract canvases, filled with geometric shapes in shades of lime green and orange. They were originals of the artist, and Schoeller wasn’t impressed. “He’s a perfect craftsman but not an artist,” the investigator told the Stuttgarter Nachrichten. “He has no style of his own.” Perhaps that’s why he’d become a forger in the first place—an abundance of artistic ambition without the vision to realize it.
Video essayist Jacob T. Swinney makes makes these great little supercuts of the stylistic habits of filmmakers. His two latest ones are of Barry Jenkins’ close-ups and Christopher Nolan’s wide shots.
Barry Jenkins may be the modern master of the close-up shot. Jenkins’s close-ups are reminiscent of those crafted by the late, great Jonathan Demme — shallow focus with the character looking directly into the camera’s lens. Take it from close-up aficionado, Paul Thomas Anderson. Anderson once told Jenkins, “I’m very jealous of your close-ups. There’s a long line of people who have really tried to do Jonathan Demme close-ups and I try all the time, but I have to say, you got it right better than anybody.” In Jenkins’s last two features, MOONLIGHT and IF BEALE STREET COULD TALK, the close-ups seem to transcend the narrative of the films. Time seems to stand still as we gaze into the eyes of the characters. They are intimate and profound, and they are simply pure cinema.
For a man whose films cover everything from masked vigilantes, to dream heists, to interdimensional travel, Christopher Nolan is a rather personal and intimate filmmaker. This is expressed in the way that he tends to position his camera. Nolan prefers to keep his camera close to his characters, often hugging their bodies in warm medium shots or close ups. So when Nolan chooses to back off and take a step back from his characters, we are going to feel it. Nolan’s wide shots are obviously beautiful, but what they convey extends far beyond a stunning visual. They convey magnitude and significance, isolation and disorientation.
From Kaiser Kuo, a long piece attempting to answer the question: “Why do so many people feel that the Chinese can’t possibly be OK with their government or society?”
First, I’ll look at the gap in political culture between China and the liberal Western democracies, especially the United States. I’ll argue that there is little appreciation among most WEIRD individuals — that is, Western, Educated people from Industrialized, Rich, and Developed nations — for just how highly contingent political norms they take for granted really are from an historical perspective. I’ll sketch the outlines of the major historical currents that had to converge for these ideas to emerge in the late 18th century. Then, I’ll compare this very exceptional experience with that of China, which only embraced and began to harness those engines of Western wealth and power — science, industrialization, state structures capable of total mobilization of manpower and capital — much later. And late to the game, China suffered for over a century the predations of imperial powers, most notably Japan. Hopefully, I’ll show why it was that liberalism never really took hold, why it was that Chinese intellectuals turned instead to authoritarian politics to address the urgent matters of the day, and why authoritarian habits of mind have lingered on.
Next, I’ll argue that a lot of unexamined hubris lies not only behind the belief that all people living under authoritarian political systems should be willing to make monumental sacrifices to create liberal democratic states but also behind the belief that it can work at all, given the decidedly poor record of projects for liberal democratic transformation in recent years, whether American-led or otherwise. It’s important to see what the world of recent years looks like through Beijing’s windows, and to understand the extent to which Beijing’s interpretation of that view is shared by a wide swath of China’s citizenry.
Finally, I’ll look at the role of media in shaping perspectives of China in the Western liberal democracies and in other states. A very small number of individuals — reporters for major mainstream media outlets posted to China, plus their editors — wield a tremendous amount of influence over how China is perceived by ordinary Anglophone media consumers. It’s important to know something about the optical properties of the lens through which most of us view China.
I found this via Kevin Kelly, who says: “Based on my extensive time in China I think this long article is 100% correct.”
By 1929, she began working for magazine publishers, joining both Fortune and, later, LIFE. She spent years traveling the world, covering major events from World War II to the partition of India and Pakistan, the Korean War, and much more. Bourke-White held numerous “firsts” in her professional life — she was the first foreign photographer allowed to take pictures of Soviet industry, she was the first female staff photographer for LIFE magazine and made its first cover photo, and she was the first woman allowed to work in combat zones in World War II.
Here’s Bourke-White in a fleece-lined flight suit during World War II, ready to work. Badass.
A recent poll of almost 2000 likely 2020 voters suggests that the anti-abortion movement is not really about protecting life but more about controlling the lives and bodies of women. Jill Filipovic writes about the results in The Guardian:
Do men make better political leaders than women? More than half of anti-abortion voters agreed. Do you want there to be equal numbers of men and women in positions of power in America? Fewer than half of abortion opponents said yes - compared with 80% of pro-choicers, who said they want women to share in power equally.
Anti-abortion voters don’t like the #MeToo movement. They don’t think the lack of women in positions of power impacts women’s equality. They don’t think access to birth control impacts women’s equality. They don’t think the way women are treated in society is an important issue in the 2020 election.
In other words, they don’t believe sexism is a problem, and they’re hostile to women’s rights. Pro-lifers are sexists in denial — yes, the women too.
1. Many voters are angry and worried about the state of women’s rights and gender equality in the country.
2. Women across nearly every demographic segment are more likely to think President Trump has made things worse, rather than better, for women.
3. Women voters connect a number of issues to gender equality, including violence against women, equal pay, paid family leave, and access to abortion.
4. The recent abortion bans aggravated and elevated feelings about the state of women’s rights.
5. Anti-abortion voters are among the most likely — if not the most likely — segment to hold inegalitarian views.
6. Democratic voters are more unified and mobilized around abortion than Republican voters are.
7. The way women are treated in society is a top voting issue for Democratic women voters, but not Republican women voters.
8. Democratic women are most likely to feel that the 2020 elections are “more important than usual.” Republican women are least likely to feel the upcoming elections are atypical.
And check out the Trump tag cloud on page 10. Oof.
Since reading Gregory Shill’s writing about how heavily subsidized cars are in the United States, I’ve been on the lookout for different frameworks for thinking about America’s relationship to cars. I recently ran across a pair of interesting things about cars & housing. First, a refresher on what Shill had to say about how our nation’s laws have made cars all but mandatory:
Let’s begin at the state and local level. A key player in the story of automobile supremacy is single-family-only zoning, a shadow segregation regime that is now justifiably on the defensive for outlawing duplexes and apartments in huge swaths of the country. Through these and other land-use restrictions — laws that separate residential and commercial areas or require needlessly large yards — zoning rules scatter Americans across distances and highway-like roads that are impractical or dangerous to traverse on foot. The resulting densities are also too low to sustain high-frequency public transit.
Returning to the metaphor provided by the pine beetle and blue stain fungus, one parasite often works with another. In similar form, houses cultivate cars. Integrated through planning, they displace vastly more habitat than either could manage alone. Because houses consume space and tend to surround themselves with other houses, which also consume space, people often cannot walk to where they need to go. Because all that space results in a relatively low population density, it is also not very efficient to run public transit lines to areas with many houses. Low-density areas tend to end up with very few riders for what are often very expensive systems to maintain. In short, public transit loves density. The relationship between urban density and public transit use is exceptionally strong, with some suggestion of a cutoff — perhaps around twelve persons per acre (or about three thousand per square kilometer) — below which ridership drops off and expense per user makes transit impractical. By contrast, cars love the sprawl associated with houses and houses love cars back.
Houses cultivate cars. Cars love the sprawl associated with houses and houses love cars back. Lauster continues with the nature metaphor:
Altogether, house habitat displaces alternatives. The establishment of a Great House Reserve has protected house habitat even as it continues to expand in size. Agricultural and wild lands suffer in an immediate sense, as do the more urban habitats prevented from expanding beyond a constrained Urban Core. The house allies itself with the car at the same time as both contribute to global warming, potentially risking the displacement of everyone and everything. The house habitat excludes the poor. But even for those who can afford to live there, the Great House Reserve is a troublesome place to live. By its nature it leads to disengagement, contributes to inequality, and encourages a sedentary, unhealthy lifestyle.
And so on:
Houses are not just unaffordable for most people; they’re ultimately unaffordable for cities too. The fiscal situation of cities varies from place to place, but overall, houses tend to create a drain on municipal coffers. They are often taxed at lower rates than other properties, reflecting zoning restrictions on what could be built on single-family lots and how they can be used. But houses are more expensive to service on a per-unit basis, both in terms of the basic utilities infrastructure and, as previously noted, in terms of transit and transportation infrastructure. This could mean that my modestly wealthy neighbors and I, living in low-rises and town houses, end up supporting the very wealthy house owner nearby by paying more property tax relative to the amount of urban land and services we receive. The disparity becomes more notable as one crosses municipal boundaries into nearby house-dominated suburbs, where residents frequently enjoy the services (e.g., roads, commerce, employment opportunities) provided by the city without paying into the municipal tax base at all.
Josh Vredevoogd’s No Parking Here is about the poor parking policy in LA and leads with the statement: “Let’s build houses for people, not cars.”
For commercial buildings, it’s common to see a parking space required for every 100-200 sq ft. Meaning that parking is built at an almost 2:1 ratio to actual retail space, marginalizing the place that actually creates value and prioritizing temporary car storage. This inefficiency is carried into rent, groceries, meals, and overall raises the floor for cost of living.
Per City of LA code, a set of storefronts like above are illegal to build, instead they are required to be surrounded with empty pavement at the cost of walkability and comfort.
This forces people into driving. Parking requirements increase the density of cars but reduce the density of people. It also puts pressure on businesses by taking up useful real estate and replacing it with car storage.
Certainly a lot of food for thought here. See also Cars! What’s the Matter with Cars Today? and on a lighter note, What On Earth!, Kal Pindal’s Oscar-nominated short film about Martians visiting Earth and their observations about the dominant form of life here, the automobile.
Few people would mourn a snail, but Sischo and his team had spent years caring for George. He was a daily constant, a familiar friend. He was also the last known snail of his kind, the final Achatinella apexfulva. It is said that everyone dies alone, but that was doubly true for George-alone at the end both in his cage and in the world.
When the last of a species disappears, it usually does so unnoticed, somewhere in the wild. Only later, when repeated searches come up empty, will researchers reluctantly acknowledge that the species must be extinct. But in rare cases like George’s, when people are caring for an animal’s last known representative, extinction-an often abstract concept-becomes painfully concrete. It happens on their watch, in real time. It leaves behind a body. When Sischo rang in the new year, Achatinella apexfulva existed. A day later, it did not. “It is happening right in front of our eyes,” he said.
There’s a part early on in the video where Sischo is showing the snails in his team’s care and he casually points to a small chamber and says “here is the entire world’s population of this snail species” — I found that incredibly sad and had to stop the video for awhile to regroup. (Oh and the cardboard boxes labeled “snail morgue”.)
George was unique and we’re trying to avoid another George. But we have 100 species that will be gone within the next 5 to 10 years without intervention.
SpaceX took its Starhopper rocket out for a little test run in Texas the other day, taking off and then landing about 300 feet away after reaching a height of about 500 feet. Spacehopper is a prototype of the company’s Starship spacecraft & rocket, which they plan to fly to and land on the Moon and Mars.
I’ve written about the wonder of SpaceX’s reusable rockets before, but the Starhopper test in particular seems like some deeply sci-fi shit, like what society imagined future space travel would look like. The ship looks and moves like something straight out of a late 60s Dr. Who serial.
In late July after visiting my kids at camp, I flew into LA, rented a car, and spent two weeks driving up the coast from there to Portland, OR. Along the way, I visited old friends and made some new ones, got to see how some of my favorite movie magic is performed, ate very well, spent some time in an old neighborhood, drove 1700 miles, communed with the tallest trees on Earth, and watched the ocean churn and swell and crash and froth for a very very long time. Here are some reflections and observations from the trip, from my vantage point a month later.
To start off the trip I spent a little less than three days in LA, essentially my first trip to the second largest city in the US (aside from 24 hours spent there in 2005). It was…fine? The food was good, beach was good, museums were good, but I guess I didn’t feel a whole lot of natural affinity for the place. Then again, three days isn’t a lot of time and I will go back to explore more for sure. I somehow didn’t even get tacos, an oversight I rectified once I got to Santa Barbara. But I was able to see a few friends, which trumped any possible attractions or sights I could have seen instead.
Aside from visiting friends, like 75% of the reason I wanted to go to LA was to see Chris Burden’s Metropolis II at LACMA. I timed my visit for the weekend so it’d actually be running, and it did not disappoint. Could have watched it for hours:
Electric scooters (I used the ones from Lime and Lyft) made getting around LA a breeze. Cities need to figure out how to work these into their transportation infrastructure without clogging their sidewalks, keeping riders & pedestrians safe, theft/breakage, and not undermining other more accessible forms of public transportation.
Not much to say about Big Sur other than it’s gorgeous but crowded. Around each curve was a seemingly better view than the last.
When I lived in SF from 2000-2002, my favorite place to visit was Muir Woods and I was really looking forward to seeing it again. When I swung by to visit on this trip, I was frustrated to learn from the friendly park ranger at the entrance that parking now requires advance reservations. So no Muir Woods for me this trip. Luckily there were many more redwoods to be had elsewhere…
Along almost the entire route of my trip (I stuck mostly to Highway 1 and the 101), I passed people working in fields. They were everywhere, toiling away to earn a hard living so their families could eat, so that they could pay their taxes, so that they could make a good life for their children. The news of ICE raids and the continued separation of children from their parents by the most inhumane administration in recent American history were never far from my mind.
Every summer when I was a kid, my dad, my sister, and I would take a roadtrip to a different part of the country: Florida, Virginia, Texas. Sometimes we took a car and camped along the way (with occasional motel stays) and other times we drove in a used motorhome my dad bought one year (approximately one of these). But the ocean was always a constant as a destination. My sister and I had grown up in Wisconsin but had never seen the ocean before, and after our first trip to the Gulf Coast of Texas, we were hooked. One year we drove out to California and up the coast to Oregon. I remember vividly the freezing cold ocean and the winding coastal roads — we almost got our camper stuck in a particularly tight hairpin curve. I loved those roadtrips…they are my absolute happiest memories from childhood. Driving some of those same curves in northern California this time around, I waved to pretty much any RV I saw, as if I were saying hello to my past teenaged self, who was getting a taste of what awaited him in this whole wide world.
When I was in the Bay Area, I got to fulfill a long-time dream of mine: visiting the Pixar campus in Emeryville. I gotta say, stepping into the main building, designed by Steve Jobs to foster collaboration among the company’s employees, gave me goosebumps. I could have spent hours looking at all of the sketches, storyboards, and ephemera from Incredibles II that they had hanging on the walls. I visited the recording studios, the screening rooms, the secret speakeasy, and saw a few of the animators’ wildly decorated cubicles. They told me how the process of making a movie at Pixar has changed from “laying down the track in front of a moving train” to “laying down the track in front of a moving train while also building the train”…it sounds like they’ve really worked hard on making their development process as asynchronous as possible. I was told that Pixar has an entire team just for making crowds now.
My tour guides showed me some of the company’s favorite misrendered scenes culled from an internal mailing list, including an amazing rain tornado around a car in Toy Story 4. I saw in action the AI spiders that were designed to weave the cobwebs in TS4.
Typically, cobwebs must be made by hand, but, because of the number of cobwebs which the crew wanted to include, Hosuk Chang (Sets Extensions Technical Director) wrote a program to create a group of artificial intelligence spiders to weave the cobwebs just like a real spider would.
We actually saw the AI spiders in action and it was jaw-dropping to see something so simple, yet so technically amazing to create realistic backgrounds elements like cobwebs. The spiders appeared as red dots that would weave their way between two wood elements just like a real spider would.
They showed me a scene from TS4 and how it was made — the different layers of shading and lighting, storyboards, effects, the different cameras and lenses that were available for the director’s use. One cool tidbit: the virtual cameras used in the Toy Story movies are human-scale and shot from human height so that the toys actually look like toys. Ok, another cool tidbit: the virtual cameras & lenses are based on actual cameras and actual lenses so the directors know what sort of depth of field, angle, and views they’re going to get with a given setup. The software is incredible — they showed me a screen with like 30 different camera/angle/lens/focus combinations so that a director can simultaneously watch a single scene “filmed” all those different ways and choose which shot they want to go with. I mean…
To get the motion just right for the baby carriage scene in the antique store for TS4, they took an actual baby carriage, strapped a camera to it, plopped a Woody doll in it, and took it for a spin around campus. They took the video from that, motion-captured the bounce and sway of the carriage, and made it available as a setting in the software that they could apply to the virtual camera. I MEAN…
I also heard a few Steve Jobs stories that I’m going to keep to myself for now…they are not mine to tell. Thanks to Tom, Ralph, and Bob for showing me around and being so generous with their time. Ok, </pixar>
I had forgotten that driving though the groves of eucalyptus just north of San Francisco was so wonderfully fragrant. Way better than one of those Muji aroma diffusers. But I’ll tell you: I do not miss living in SF. I spent a lovely afternoon walking around my old neighborhood, wandering in Golden Gate Park, and stopping in to check out the Dahlia Garden (my favorite place in SF), but that was enough for another few years.
While driving, I listened to To Kill a Mockingbird on audiobook; I’d never read or listened to it before. A favorite line: “Delete the adjectives and you’ll find the facts.” I’m not sure I’ve been successful in curbing my adjective use in this post.
At dinner one night, I asked an LA pal about work and she said she’d quit her bartending job to deliver weed — better schedule and pay. There were cannabis dispensaries everywhere in California and Oregon. The one I visited in central CA had a security guard outside checking for IDs and weapons, a double door system in the reception area, and once you got into the retail space, you could find out more about a product by placing it on a sensor and the info would appear on a nearby touchscreen. But at other dispensaries, like the one I walked past in Arcata, the door was wide open and you could just mosey on in. Let’s just say I slept pretty well on this trip.
After seeing the 45-minute-long line for lunch at the Tillamook Creamery (and a 20-minute-long line just for cheese samples), I decamped to a local Burger King to try the Impossible Whopper for the first time. All the people saying that the Impossible patty tastes just like a real burger have either never tasted meat before or don’t pay a whole lot of attention when they eat. It’s the best veggie burger patty I’ve ever had, but it sure ain’t beef.
A few small towns caught my attention. Cambria, CA was a cool little place I would gladly spend more time in — Moonstone Beach was beautiful. Los Alamos, CA is possibly the quaintest town I have ever seen — ate a great breakfast at Bob’s Well Bread Bakery. I breezed through Arcata, CA and explored the downtown a bit, but it had such a cool vibe that I’d definitely go back for another look.
Sometimes the problem with going on vacation is that you have to take yourself along with you. No matter how astounding the sights, how engaging the catchups with friends, how relaxing it is, and how far away the rest of the world seems, your thoughts and anxieties and hang-ups come with you everywhere you go. Near the end of my trip, I splurged on a nice hotel room for two nights in Yachats, OR and mainly sat on the rocks and watched the waves crash. It was perfect. The ocean remains my ultimate happy place and I need to find a way to spend more (or perhaps all) of my time closer to it.
And then it was time to head home. You can check out a bunch of my photos from the trip on Instagram and in this Instagram Story. Thanks to my friends Alex, Michael, and Matt for the accommodations & fellowship along the way. This trip was not the once-in-a-lifetime experience that last year’s western roadtrip was, but I did feel similarly at its conclusion:
Doing this roadtrip reminded me of many great things about this country & the people who live in it and gave me the time & space to ponder how I fit into the puzzle, without the din of the news and social media. If you can manage it, I encourage you all to do the same, even if it’s just visiting someplace close that you’ve never been to: get out there and see the world and visit with its people. This world is all we have, and the more we see of it, the better we can make it.
A photo of Jupiter taken by the Hubble Space Telescope in late June was recently released by NASA. Among other things, it shows just how much smaller, redder, and rounder the Great Red Spot has gotten.
The Great Red Spot is a towering structure shaped like a wedding cake, whose upper haze layer extends more than 3 miles (5 kilometers) higher than clouds in other areas. The gigantic structure, with a diameter slightly larger than Earth’s, is a high-pressure wind system called an anticyclone that has been slowly downsizing since the 1800s. The reason for this change in size is still unknown.
Because the storm has been contracting, the researchers expected to find the already-powerful internal winds becoming even stronger, like an ice skater who spins faster as she pulls in her arms.
Instead of spinning faster, the storm appears to be forced to stretch up. It’s almost like clay being shaped on a potter’s wheel. As the wheel spins, an artist can transform a short, round lump into a tall, thin vase by pushing inward with his hands. The smaller he makes the base, the taller the vessel will grow.
And for the first time, they shared a short visual effects breakdown of how these deepfakes are made:
Mercury/Malek says in the scene: “Even I’m not crazy enough to believe that distortion of reality.” Ctrl Shift Face is making it difficult to believe these deepfakes aren’t real.
I had dinner next to Malek at the bar in a restaurant in the West Village a few months ago, pre-Oscar. I didn’t notice who it was when he sat down but as soon as he opened his mouth, I knew it was him — that unmistakable voice. Several people came by to say hello, buy him drinks, etc. and he and his friends were super gracious to everyone, staff included. I’ve added him to my list of actors who are actually nice alongside Tom Hanks and Keanu Reeves.↩
If you need to convince yourself to go to Iceland, this short film by Vadim Sherbakov should do the trick for you. Just stunningly beautiful landscape masterfully shot.
Islandia — is a Latin name for Iceland and relative to the old language since this film portraits primordial and rough nature of Iceland. For the short duration of the film, you will be transported to a place that easily could be a million years ago. From unbelievable landscapes and vast valleys to painting-like terrain and majestic waterfalls and lakes - this film shows the unparalleled beauty of Iceland and its unearthly glory.
Watching the film, I wondered what Iceland would have looked like back when it had trees — probably even more amazing. (via colossal)
I don’t talk about it much on the site for some reason, but Mario Kart is one of my all-time favorite video games. So I am very excited that Mario Kart Tour is coming out on iOS on September 25 (just in time for my b-day). You can pre-order it here — the game is free with in-app purchases to unlock more gameplay (just like Super Mario Run). Here’s a short trailer that shows how the gameplay works:
Because of the Electoral College and the way the primary system works in the US, presidential candidates end up spending a disproportionate amount of time is so-called “battleground states” like Pennsylvania, Ohio, and our dysfunctional friend Florida and primary states like Iowa and New Hampshire and less time where most of the US population actually lives (NY, CA, TX, IL, and in cities). The campaign for the National Popular Vote has produced a map that shows where the candidates did campaign events in 2016:
Because of these state winner-take-all statutes, presidential candidates have no reason to pay attention to the issues of concern to voters in states where the statewide outcome is a foregone conclusion. In 2012, as shown on the map, all of the 253 general-election campaign events were in just 12 states, and two-thirds were in just 4 states (Ohio, Florida, Virginia, and Iowa). Thirty-eight states were completely ignored.
And here’s the map for the 2012 election, which is even more extreme:
State winner-take-all statutes adversely affect governance. “Battleground” states receive 7% more federal grants than “spectator” states, twice as many presidential disaster declarations, more Superfund enforcement exemptions, and more No Child Left Behind law exemptions.
Also, because of state winner-take-all statutes, five of our 45 Presidents have come into office without having won the most popular votes nationwide. The 2000 and 2016 elections are the most recent examples of elections in which a second-place candidate won the White House. Near-misses are also common under the current state-by-state winner-take-all method of awarding electoral votes. A shift of 59,393 votes in Ohio in 2004 would have elected John Kerry despite President Bush’s nationwide lead of over 3,000,000 votes.
I don’t know about you, but I found it extremely difficult to not watch something called “A Year Ago I Put Saltwater in a Jar, This Happened”.
Last year, this YouTuber put some seawater, sand, and a few small plants in a large jar and sealed it up and over the course of the next year, a number of surprising things occurred in this closed ecosystem.
The ecosphere has housed crabs, starfish and a lot more and is currently still housing a lot of crustaceans, paramecium, worms, other invertebrates and even spionid worms.
So cool — there are allll sorts of things in ordinary seawater and sand. See also The Solitary Garden.
By photographing two separate nighttime scenes, one in the northern hemisphere and the other in the southern hemisphere, amateur astrophotographer Maroun Habib cleverly produced this dazzling image of the complete galactic plane visible from Earth.
Is it possible to capture the entire plane of our galaxy in a single image? Yes, but not in one exposure — and it took some planning to do it in two. The top part of the featured image is the night sky above Lebanon, north of the equator, taken in 2017 June. The image was taken at a time when the central band of the Milky Way Galaxy passed directly overhead. The bottom half was similarly captured six months later in latitude-opposite Chile, south of Earth’s equator. Each image therefore captured the night sky in exactly the opposite direction of the other, when fully half the Galactic plane was visible.
For the New Yorker, Nick Paumgarten writes about this year’s measles outbreak in the US, the largest such outbreak in decades. The outbreak is solely due to a growing number of people who decline to vaccinate their children, so the fight has become one not against a disease, as it was decades ago, but against dangerous ideas.
But, if we have to pick a Patient Zero, Andrew Wakefield will do. Wakefield is the British gastroenterologist who produced the notorious article, published in The Lancet in 1998, linking the M.M.R. vaccine to autism. The study, which featured just twelve subjects, was debunked, the article was pulled, and Wakefield lost his license to practice medicine — as well as his reputation, in scientific circles anyway. But, owing to his persistence in the years since, his discredited allegations have spread like mold. In the anti-vaxxer pantheon, he is martyr and saint. There are also the movement’s celebrities, such as Jenny McCarthy and Robert F. Kennedy, Jr., stubborn in the face of ridicule, and the lesser-known but perhaps no less pernicious YouTube evangelists, such as Toni Bark, a purveyor of homeopathic products, and the Long Island pediatrician Lawrence Palevsky. If your general practitioner is Dr. Google, you can find a universe of phony expertise. The movement seems to sniff out susceptibility. Not surprisingly, there is money there, though the financial incentives behind this strand of advocacy are less clear than, say, what has led the Koch brothers to champion fossil fuels. This spring, the Washington Post reported that the New York hedge-fund manager Bernard Selz and his wife, Lisa, have given more than three million dollars to anti-vaccination causes and helped finance “Vaxxed,” Wakefield’s 2016 documentary, which purports to reveal a C.D.C. conspiracy to cover up the connection between vaccines and autism. Needless to say, the anti-vaccination ethos is by no means exclusive to the New York tristate-area Orthodox community. It thrives in certain pockets — affluent boho-yoga moms, evangelical Christians, Area 51 insurgents. The vaccination rates are about the same in Monsey and in Malibu. Before New Square, the three most recent big outbreaks of measles occurred among Somali immigrants, in Minnesota; Amish farmers, in Ohio; and a hodgepodge of visitors to Disneyland.
“It’s shocking how strong the anti-vax movement is,” Zucker said. “What surprises me is the really educated people who are passionately against vaccinations. I see this as part of a larger war against science-based reality. We need to study vaccine hesitancy as a disease.” He gave a TEDX talk recently about the crippling disconnect between the speed at which information, good or bad, spreads now and the slow, grinding pace of public-health work. He managed, by way of the general theory of relativity, to establish the equivalence of H1N1, Chewbacca Mask Lady, and Pizzagate: “How do we immunize and protect ourselves from the damaging effects of virality?”
The internet is such an efficient way to spread ideas (regardless of their validity) that you begin to wonder if instant global individual-to-individual and individual-to-everyone communication is an insurmountable Great Filter for societies.
From experimental game developer Pippin Barr, several variations on the game of chess that makes the game more interesting (or at least weirder). In “Clone” mode, every time you move a piece, a copy of that piece is made. In “Chance” mode, selecting a piece causes the piece to change randomly to another type of piece (e.g. from a pawn to a rook) that you can then move. In “Gravity” mode, pieces fall to the bottom of the board unless they’re blocked by other pieces. In “Quantum” mode, a new piece is spawned in each possible new position of a selected piece.
From a 1972 episode of Mister Rogers’ Neighborhood, Mister Rogers demonstrates how to make a record using a machine called a record cutter (also referred to as a “record lathe”). Says Rogers, apparently living his best life: “When I was a little boy, I thought the greatest thing in the world would be to be able to make records.” (via open culture)
Listen in as Anthony Vincent covered Metallica’s classic Enter Sandman in 20 different musical styles, ranging from yodeling to The Eurythmics to Hans Zimmer to Lil Uzi Vert to John Denver.
This young woman lived in what is now Britain about 5500 years ago. DNA evidence shows that the skin color of the region’s inhabitants at the time was quite dark, akin to that of modern North Africans.
This man was around 20 when he died in northern Switzerland 1300 years ago. His skull was unusual in that it contained a full set of perfect teeth.
Nilsson’s forensic technique starts with an exact 3D replica of the original skull, scanned, printed, and then modeled by hand to reflect bone structure and tissue thickness based on the individual’s origin, sex, and estimated age at death.
Recent genome studies of ancient European populations enable Nilsson to outfit his reconstructions with reasonably accurate estimates of skin, hair, and eye color. The Neolithic population that the 5,600-year-old Whitehawk woman belonged to, for instance, generally had lighter skin and darker eyes than earlier occupants of Britain such as Cheddar Man, but were darker than the exhibit’s Ditchling Road man, who arrived on the island in the first wave of light-skinned, light-eyed Beaker people from continental Europe around 4,400 years ago.
Passport photos are subject to an extensive list of guidelines and restrictions — for instance, the background has to be “plain white or off-white” with no pattern, you can’t wear glasses or hats, and the photo must be tightly cropped on your face. Max Siedentopf’s Passport Photos project imagines what might have been going on outside of that carefully controlled frame when the photos were taken. (via colossal)
In this fun BMX video, Tate Roskelley uses all sorts of props — car tires, milk crates, trees, tennis balls — to perform all kinds of street tricks and stunts. Watch until the end…his last maneuver is probably the best. (thx, matt)
If, as Wallace Stegner famously declared, the national parks are “America’s best idea,” how can we explore this idea? There is the historical aspect: America invented the concept of nationally owned and operated parks in 1872, when Ulysses S. Grant signed Yellowstone National Park into existence. But there is more to Stegner’s sentiment than just the invention of the parks. The rest of the quote goes on to say that the parks are “Absolutely American, absolutely democratic, they reflect us at our best rather than our worst.”
The national parks story isn’t simple or easy. It’s full of splendor and glory, as well as greed and exploitation. For every person who loves one of the parks like it’s their own home, there is another who resents the federal government for owning it. Even before Yellowstone became the first national park, park history was fraught with tension. Tension between preservation and use, between indigenous people and white explorers, between local rights and federal oversight, between wild freedom and human control, between park purists and park recreationists, and between commercial exploitation and historic value.
With this tense backdrop, or maybe because of it, art, imagery, writing, and design have played a vital role in the history of the national parks. Compelling creative materials that celebrated the land — including books, paintings, performances, and advertisements — have marked developments and milestones. These items have brought the rich landscapes and their scientific and historical significance to life.
Perhaps together, the tension and celebration make the National Park System - parks, monuments, natural areas, historic sites, and more - the perfect embodiment of America itself, and what the “best idea” of the parks is really all about.
In the 1960s, Haddon Salt built up a small empire of fish & chips shops in North America — they eventually had more than 500 stores. That attracted the attention of Kentucky Fried Chicken, then flush with cash after their IPO. And then…
An initial Google search revealed that this shop was the last gasp of a once-sprawling fish-and-chips empire with hundreds of locations that started with an immigrant’s secret family recipe, flourished into an eight-figure deal with Colonel Sanders and ended in collapse.
It took several years and the research help of friends to track down Mr. Salt. We found him in a remote retirement community in Southern California’s desert. The rest you can see in the film before you.
For every icon there are those who were almost famous. And perhaps they, even more than their conqueror, have the lessons we need to hear.
Le Corbuffet was a series of performances by artist Esther Choi that sought to bring together food with notable artists and designers, along with a healthy dose of puns. A cookbook based on the project will be out in October: Le Corbuffet: Edible Art and Design Classics. Here’s the page for Quiche Haring:
Says Choi about where the idea for the project came from:
In 2014, I stumbled across an elaborate menu crafted by László Moholy-Nagy. The multi-panelled bill of fare was for a dinner held in tribute to the Bauhaus founder and architect, Walter Gropius, in 1937. Inspired by the menu for Gropius’s dinner, and the questions that it raised about the elitism of cultural production, I decided to conduct a social experiment a year later.
The music video for Anna Meredith’s latest song, Paramour, is a single-take journey of a toy Lego train through a group of musicians playing cellos, drums, and tubas, from the perspective of a camera mounted on the front of the train. This has some definite Star Guitar + Wallace & Gromit vibes. (via colossal)
Li Ziqi is a woman who lives in Sichuan province in China with her grandmother, preparing food and making clothing from scratch without the use of modern technology (mostly). Her YouTube channel has more than 5.7 million subscribers. In this video, she makes a purple wool cloak for the winter:
Her practice of shooting the videos herself, her reliance on traditional techniques, and her editing style is strongly reminiscent of the Primitive Technology channel — her videos are meditative in the same way. I watched this video of her making jam this morning and was left both hungry and relaxed, an unusual combination:
Andy Bailey is a stop-motion animator at Laika who worked on Kubo and The Boxtrolls. In this video, he shares his process while making a 658-page flipbook called The Return of Grumpy Cloud that took him 35 work-days over three months to complete. The end result (skip ahead to ~14:25) is pretty impressive given the lo-fi medium. Bailey sells kits for making your own flipbooks, but the store was down for maintenance when I checked.
When astronauts look down at our planet and see its vibrant surface shining against the blackness of space, they experience the Overview Effect — a sense of awe, an awareness that everything is interconnected, and an overwhelming desire to take care of our one and only home.
Circuses, like children, are always both charming and creepy. Make it a children’s circus, i.e., like Greenboro, Vermont’s Circus Smirkus, where the stars of the circus are themselves children, and the charm and creepiness both get double-baked in.
Erin Clark for The Boston Globe took these photographs, and they were featured at The Big Picture.
This last might be my favorite. It’s not a circus kid, per se; just a kid, bored, grumpy, and uncaring who knows about it. Even the circus can be like that, kid. Maybe especially the circus. Worth filing away.
Gizmodo has a pretty cool theme this week: the Alternate Internet. Not, like, the internet where they play Stone Temple Pilots b-sides — although, cool idea. No, like, the internet of alternate universes, different pasts and futures, where things went differently and like, Yahoo doesn’t ruin all it touches. That’s my kind of party.
The story on alternate social media networks offers a nice media archaeology of all these sites; how they were covered and explained in the moment. Check out this explanation of Friendster in SF Weekly from August 13, 2003:
“Your induction into Friendster starts out innocently enough: You receive an e-mail invitation from a friend. It doesn’t cost anything to join, so you give it a whirl. You answer questions about your profession, favorite books, movies, music, and other interests, then upload a digital photo of yourself.
Thumbnail versions of your friends’ photos appear on your profile page like a collection of trading cards. Clicking on their pictures takes you to their pages, where you can see all of their friends, and so on. Even with only a few friends, you find that — through friends of friends — you suddenly have access to a social network of thousands of people.”
It’s a pretty common story what happened to all these sites; either they took the money, and got mismanaged, driving off whatever users they had in the first place, or they didn’t take the money, which meant they could never stay usable enough to support all of the users they were taking on.
A few other common threads: a fear of porn, other lewd behavior, and Yik Yak -style harassment. In short, it’s hard to make a social media site actually go big. You need money, a vanilla rep, ruthlessness, and more money. In the end, Facebook really was in the right place at the right time.
The one thing this doesn’t do is some deep left-field speculating, like, what if Google had seen what it had in Blogger to create Facebook before Facebook? Or Yahoo had figured it out with version X of whatever asset Yahoo had? There are social networks, real or latent, bigger than the social media graveyeard — some of the pieces are still here.
One of the troubles with interviewing Ira Glass is that Ira Glass has a lot of thoughts about interviews.
Claudia Dreifus: When we first discussed doing this, you asked if I had heard a recent Terry Gross interview with Howard Stern. Why was that?
Ira Glass: Because it was an interviewer interviewing an interviewer. It was interesting to hear him appreciate her moves. He also clearly had no idea who she is. He admitted, “I sort of looked you up last night.” Whereas I know Terry has been listening for years.
To be clear: he’s an excellent interviewer. Part of the pleasure was hearing these two iconic radio voices talking to each other. Stern clearly admired the interview she was doing. She did such a good job of pointing him to things, being appropriately critical of the way that he talks about women, but also being appropriately admiring.
If I were to interview him, I’d feel intimidated.
Really?
Yeah. He’s a bossy sort of presence. I don’t like interviewing famous people. They make me nervous. I’ve always tried to avoid interviewing famous people.
Is that because they are usually over-interviewed or because they arrive at an interview with impenetrable masks?
All of these things.
It’s just more difficult. To get them to say anything real, you have to find an angle on their experience that will open them up. And there are things famous people want to keep private, things they’re tired of talking about, things they’ve told so many times that they have no interest in telling them again—but will tell again in exactly the same words they’ve used in the past…
Can I go back to something? And feel free to edit this any way you like. I’m already editing this interview in my head because I’m a crazy person and can’t stop myself. This idea of not wanting to interview famous people, that’s one of the things that led to the work I’m doing today. I knew in my twenties, while at NPR, that the thing I wanted to do was document regular people’s lives. The question then was, “How do you do that?”
It is weird to me that Ira Glass in his sixties. (He just turned 60 in March.) All this time, Ira Glass was less than a year younger than Prince.
Ira Glass has a lot of thoughts about podcasts that he doesn’t seem ready to share. You can see it, he kind of schtums up and falls back on generalities and a few broad compliments. I don’t know. Maybe that’s all he’s got, maybe that’s all we can have.
Ira Glass says he borrowed and borrows a lot from Roland Barthes’ S/Z when trying to get interviewees to structure a story, but I don’t really see it. This line made me laugh though.
At college, we were assigned Barthes’s S/Z , which made me understand what I could do in radio.
Really? How did the French semiotician help shape your journalism? Frankly, a lot of people find semiotics to be…
—this incredibly pretentious literary theory that takes as its thesis that narrative is part of the general conspiracy of language to imprison us in our place in society. I ignored that.
Ira Glass should find more ways to tell stories about what working in radio was like in the seventies. There’s something there. He doesn’t catch it all.
The servers at The Restaurant of Mistaken Orders, a series of pop-up restaurants in Tokyo, are all living with dementia, which means that you might not receive what you ordered.
All of our servers are people living with dementia. They may, or may not, get your order right.
However, rest assured that even if your order is mistaken, everything on our menu is delicious and one of a kind. This, we guarantee.
“It’s OK if my order was wrong. It tastes so good anyway.” We hope this feeling of openness and understanding will spread across Japan and through the world.
At the first pop-up, 37% of the orders were mistaken. This video explains a bit more about the concept and shows the restaurant in action.
For the past year, a group of teens in Nigeria called the Critics Company have been uploading short sci-fi films to their YouTube channel. Using a smartphone with a busted screen, makeshift equipment, open source 3D tools like Blender, and green sheets hung on walls, the self-taught group has produced some professional-grade special effects. Check out this 10-minute short they uploaded in January, Z: The Beginning.
Here’s a breakdown of how they did some of the visual effects for their short called Chase:
The group has attracted some media attention; here’s a news report with some further behind-the-scenes details (see also similar reports by Reuters and Al Jazeera):
As he does every so often, President Obama shared a list of the books that he’s reading this summer in this Facebook post. I am not ashamed to admit that Obama’s recs have pushed me to read quite a few books, including Pachinko and the Three-Body Problem trilogy, and not once have I been disappointed. This time around, he recommends anything and everything by Toni Morrison and a few other things.
Exhalation by Ted Chiang is a collection of short stories that will make you think, grapple with big questions, and feel more human. The best kind of science fiction.
Wolf Hall, Hilary Mantel’s epic fictionalized look at Thomas Cromwell’s rise to power, came out in 2009, but I was a little busy back then, so I missed it. Still great today.
Lab Girl by Hope Jahren is a beautifully written memoir about the life of a woman in science, a brilliant friendship, and the profundity of trees. Terrific.
I still recommend Wolf Hall (and her follow-up, Bring Up the Bodies) to almost everyone who asks me what they should read next and am looking forward to tackling Chiang’s collection soon.
In most time lapse videos you see of the night sky, the stars wheel through the sky as the heavens revolve around the Earth. But that perspective is really only valid from our particular frame of reference standing on the Earth. What’s actually happening is that our tiny little speck of dirt is twirling amid a galactic tapestry that is nearly stationary. And in the video above, you see just that…the Earth rotating as the camera lens stays locked on a motionless Milky Way. Total mindjob.
Photos by Daehyuk Im of the Coney Island amusement rides and other structures, framed against the sky. Looking back through some photos I’ve taken of various amusement rides, this is also my favorite way of capturing them. (via moss & fog)
The first Africans to be brought as slaves to British North America landed in Port Comfort, Virginia in 1619. Thus began America’s 400-year history with slavery and its effects, which continue to reverberate today. With The 1619 Project, the NY Times is exploring that legacy with a series of essays and other works that “aims to reframe the country’s history, understanding 1619 as our true founding, and placing the consequences of slavery and the contributions of black Americans at the very center of the story we tell ourselves about who we are.” The Columbia Journalism Review explains:
Contributors consider various modern quandaries — rush hour traffic, mass incarceration, an inequitable healthcare system, even American overconsumption of sugar (the highest rate in the Western world) — and trace the origins back to slavery. Literary and visual artists drew from a timeline chronicling the past 400 years of Black history in America; their work is presented chronologically throughout the magazine. Taken together, the issue is an attempt to guide readers not just toward a richer understanding of today’s racial dilemmas, but to tell them the truth.
Nikole Hannah-Jones, who came up with the idea for the project, writes in an essay:
The United States is a nation founded on both an ideal and a lie. Our Declaration of Independence, signed on July 4, 1776, proclaims that “all men are created equal” and “endowed by their Creator with certain unalienable rights.” But the white men who drafted those words did not believe them to be true for the hundreds of thousands of black people in their midst. “Life, Liberty and the pursuit of Happiness” did not apply to fully one-fifth of the country. Yet despite being violently denied the freedom and justice promised to all, black Americans believed fervently in the American creed. Through centuries of black resistance and protest, we have helped the country live up to its founding ideals. And not only for ourselves — black rights struggles paved the way for every other rights struggle, including women’s and gay rights, immigrant and disability rights.
Without the idealistic, strenuous and patriotic efforts of black Americans, our democracy today would most likely look very different — it might not be a democracy at all.
The 13th Amendment is credited with ending slavery, but it stopped short of that: It made an exception for those convicted of crimes. After emancipation, black people, once seen as less than fully human “slaves,” were seen as less than fully human “criminals.” The provisional governor of South Carolina declared in 1865 that they had to be “restrained from theft, idleness, vagrancy and crime.” Laws governing slavery were replaced with Black Codes governing free black people — making the criminal-justice system central to new strategies of racial control.
These strategies intensified whenever black people asserted their independence or achieved any measure of success. During Reconstruction, the emergence of black elected officials and entrepreneurs was countered by convict leasing, a scheme in which white policymakers invented offenses used to target black people: vagrancy, loitering, being a group of black people out after dark, seeking employment without a note from a former enslaver. The imprisoned were then “leased” to businesses and farms, where they labored under brutal conditions.
There is a homegrown ideology of reaction in the United States, inextricably tied to our system of slavery. And while the racial content of that ideology has attenuated over time, the basic framework remains: fear of rival political majorities; of demographic “replacement”; of a government that threatens privilege and hierarchy.
The past 10 years of Republican extremism is emblematic. The Tea Party billed itself as a reaction to debt and spending, but a close look shows it was actually a reaction to an ascendant majority of black people, Latinos, Asian-Americans and liberal white people. In their survey-based study of the movement, the political scientists Christopher S. Parker and Matt A. Barreto show that Tea Party Republicans were motivated “by the fear and anxiety associated with the perception that ‘real’ Americans are losing their country.”
![How [Points In A Circle] All This Could Be Different](/plus/misc/images/Social%20Media%20Outlines.jpg "How [Points In A Circle] All This Could Be Different")
