Professional road racing cyclist Lachlan Morton is attempting to complete the Tour de France this year. Except: He’s doing it entirely on his own, without teammates, support vehicles, and transportation from the previous day’s finish to the next day’s start (which might be dozens or even hundreds of miles apart). That means he’ll be riding an extra 1500 miles, climbing an additional 50,000 feet in elevation, shopping for his own meals, and still trying to beat the peloton to Paris. Here’s a quick explanatory trailer:
Ah, but — the day three press release had an ominous note in it. Right after telling us that Morton had “picked up a tub of couscous and a couple of bags of nuts for dinner” came the real kicker: our protagonist had a bad knee, and had bought new pedals to allow a switch to flat shoes.
So on day four, Morton set off with his new pedals and covered both stage four and stage five of the actual Tour de France — in a pair of Birkenstocks. Despite his sensible sandals, Morton managed to average the same speeds as the day prior, getting through the time trial in 1:17.
Great Art Explained is one of my favorite newish YouTube channels and I’ve been slowly working my way through their back catalogue. Today’s watch was a 15-minute explanation of one of the signature masterpieces of the Renaissance, Michelangelo’s David. The details related to the carving of the swollen jugular vein and the variable visibility of the veins in the hands is fantastic. (via open culture)
Using a contemporary copy of the full scene painted by Gerrit Lundens and an AI program for getting the colors and angles right, the Rijksmuseum has “restored” The Night Watch, augmenting the painting with digital printouts of the missing bits.
Edith Zimmerman got access to this technology and ran some of her own experiments of famous artworks. You may be shocked and delighted at what she found.
Drone photographer Lior Patel has spent the last several months capturing the movements of a flock of sheep in Israel as they move from their winter to summer pastures. (via colossal)
In a family house, Mathieu Stern found a box of treasures hidden away by a little girl some 120 years ago. Inside was a pair of glass plate negative images of some pets, which Stern developed using the cyanotype technique. Film development is just straight-up magic.
While the Chinese government’s obstruction may keep us from knowing for sure whether the virus, SARS-CoV-2, came from the wild directly or through a lab in Wuhan or if genetic experimentation was involved, what we know already is troubling.
Years of research on the dangers of coronaviruses, and the broader history of lab accidents and errors around the world, provided scientists with plenty of reasons to proceed with caution as they investigated this class of pathogens. But troubling safety practices persisted.
Worse, researchers’ success at uncovering new threats did not always translate into preparedness.
Even if the coronavirus jumped from animal to human without the involvement of research activities, the groundwork for a potential disaster had been laid for years, and learning its lessons is essential to preventing others.
Is it possible that SARS-CoV-2 came from a lab? Yes. Is it probable? We can’t know that right now. It’s a tantalizing puzzle involving a possible cover-up, but irresponsibly assigning certainty to the situation does no one but attention-seeking pundits any good.
This is a filmstrip version of Margaret Wise Brown’s Goodnight Moon produced in 1984. Not sure what a filmstrip is? Boing Boing explains:
From the 1940s until the low-cost videocassette boom of the 1980s, audio filmstrips were commonly used in classrooms as an alternative to 16mm film projectors that were more expensive and fiddly to keep working.
This post doubles as one of those “say how old you are without saying how old you are” Twitter prompts. Here’s more on filmstrips from the Museum of Applied Arts & Sciences:
While the show was a welcome diversion from parsing, long division and dictation, what we didn’t realise was the filmstrips were an educational revolution in Australia akin to smart boards today. They were stored in neat little canisters which could be easily dispatched to schools. Accompanying them was a script read by the teacher describing the 25 or so images depicted in the films, which were manually advanced in the projector.
Until watching this Goodnight Moon video, I had totally forgotten about the beep used in filmstrip audio used to signal someone to switch to the next frame.
In 1715, a significant chunk of Rembrandt’s masterpiece The Night Watch, including a 2-foot-wide swath from the left side of the painting, was lopped off in order to fit the painting in a smaller space. (WTF?!) Using a contemporary copy of the full scene painted by Gerrit Lundens and an AI program for getting the colors and angles right, the Rijksmuseum has “restored” The Night Watch, augmenting the painting with digital printouts of the missing bits. The uncropped Rembrandt is shown above and here is Lundens’s version:
I’m not an expert on art, but the 1715 crop and the shift of the principal characters from right-of-center to the center appears to have radically altered the whole feel of the painting.
With the addition especially on the left and the bottom, an empty space is created in the painting where they march towards. When the painting was cut [the lieutenants] were in the centre, but Rembrandt intended them to be off-centre marching towards that empty space, and that is the genius that Rembrandt understands: you create movement, a dynamic of the troops marching towards the left of the painting.
In just over two hours, this video presents 1540 paintings by impressionist master Claude Monet, a significant portion of his lifetime output. This is a really intriguing way to look at art. It’s not in-person and you don’t get a lot of time with each piece, but the video is HD, you can pause or slow the playback speed, and by seeing a lot of work over a short span of time, you can get a real sense of the stylistic choices and variations across Monet’s oeuvre — a view of the forest rather than the trees. (via open culture)
The US Postal Service has released a set of Sun Science stamps that use images from NASA’s Solar Dynamics Observatory to illustrate different solar phenomena like plasma blasts, sunspots, and solar flares.
Printed with a foil treatment that adds a glimmer to the stamps, the images on these stamps come from NASA’s Solar Dynamics Observatory, a spacecraft launched in February 2010 to keep a constant watch on the sun from geosynchronous orbit above Earth. The striking colors in these images do not represent the actual colors of the sun as perceived by human eyesight. Instead, each image is colorized by NASA according to different wavelengths that reveal or highlight specific features of the sun’s activity.
One of the stamps highlights sunspots, two feature images of coronal holes, two show coronal loops, two depict plasma blasts, one is a view of an active sun that emphasizes its magnetic fields, and two show different views of a solar flare.
Sometimes you run across an aspect of reality and it just completely blows your mind. You’ve heard of dark matter, right? Well, meet dark fish: biologists suspect that up to 95% of the world’s total fish population lives in a deep layer of the ocean that is difficult to detect and we know little about.
An international team of marine biologists has found mesopelagic fish in the earth’s oceans constitute 10 to 30 times more biomass than previously thought.
UWA Professor Carlos Duarte says mesopelagic fish — fish that live between 100 and 1000m below the surface — must therefore constitute 95 per cent of the world’s fish biomass.
“Because the stock is much larger it means this layer must play a more significant role in the functioning of the ocean and affecting the flow of carbon and oxygen in the ocean,” he says.
See also this thread from ocean scientist Andrew Thaler:
There’s a globe-spanning layer of mesopelagic fish that is so dense it distorts SONAR. For decades we had no idea what created the Deep Scattering Layer or why it moved. We still know almost nothing about it.
It’s astounding how much we don’t know about the ocean:
There’s an entire family of whales with at least 22 species that we know almost nothing about.
We know way more about stars that are billions of light years away than about some parts of the ocean a few hundred feet below the surface of our own planet.
See also dark fungi: “By one estimate, there are between 2.2 million and 3.8 million species of fungi — and more than 90% of them aren’t cataloged.”. (via @_zeets & @chadmumm)
This stop motion animation takes us on a journey through various tropical fruits, as if we’re seeing animated MRI slices of them. If you’re wondering how it’s done, a behind-the-scenes immediately follows the animation. The sound design on this video is fantastic.
This short documentary takes a look at the Black surfing community in the Rockaways. These surfers are members of the Black Surfing Association (East Coast branch), which Surfer magazine profiled last summer:
“When you talk to kids here at Rockaway, they think of a surfer as John John Florence — blonde,” says Harris. “When I say, ‘Hey, I’m a surfer,’ they’re shocked. We’re trying to reach every kid, but we’re really trying to reach the kids that wouldn’t otherwise get the opportunity.
We just want to keep kids busy and active, and spread the message and spread the stoke of surfing, and go into schools and talk to kids about water safety.”
“There’s no racism out there”, says Harris of the ocean. “When you come out of that water, of course you go back to your life. But you lose yourself when you get into the waves.”
Stevie Wonder. Mahalia Jackson. Nina Simone. Gladys Knight & the Pips. B.B. King. Sly and the Family Stone. Over six weeks in the summer of 1969, all of these legendary artists (and more!) performed at the Harlem Cultural Festival in NYC, drawing an estimated 300,000 people. The festival was filmed and broadcast on a local TV station, but the footage was never commercially released and so unlike that other 1969 festival, this event largely slipped from public memory.
Now, the Harlem Cultural Festival finally gets its due in the form of Summer of Soul, a forthcoming documentary directed by Questlove that uses that old footage to great effect. I’ve heard nothing but good things about this movie — it won both the Grand Jury Prize and the Audience Award at the Sundance Film Festival earlier this year. Summer of Soul is out in theaters and on Hulu July 2.
This isn’t a story about Elon Musk, or Tesla, or a contrarian take about how “oil is good, actually.” I unconditionally support electric vehicles in their quest to take over the primacy of gasoline-powered vehicles in the market. But I don’t save that enthusiasm for their prospects on society broadly. From the perspective of the built environment, there is nothing functionally different between an electric vehicle and a gasoline propelled one. The relationship is the same, and it’s unequivocally destructive. Cars, however they’re powered, are environmentally cataclysmic, break the tethers of community, and force an infrastructure of dependency that is as financially ruinous to our country as it is dangerous to us as people. In order to build a more sustainable future and a better world for humanity, we need to address the root problems that have brought us to where we so perilously lie today.
The second season of Ted Lasso starts on July 23rd and this new trailer has me all fired up. The first season was a very welcome diversion during the height of the pandemic and was an almost magical unicorn of a TV thing.
Clinton Jones challenged his community of 3D artists to interpret a simple animation of a person walking with a heavy load. 2400 people participated and Jones collected the 100 renders for this video. What a fantastic illustration of the power of constraints and the abundance of human creativity. Ok, much of the imagery is borrowed from Star Wars and other sci-fi universes, but the stuff that isn’t is delightful. Even with no explicit narrative connection between the scenes, somehow this all seems like part of one big journey. One of the simplest stories we tell is someone moving from one place to another and it doesn’t need to be The Odyssey, Fury Road, or Thelma & Louise to be compelling.
And it turns out, astronomers are about to witness the closest pass of this incredible round trip. Currently, 2014 UN271 is about 22 Astronomical Units (AU) from the Sun (for reference, Earth is 1 AU from the Sun). That means it’s already closer than Neptune, at 29.7 AU. And it’s not stopping there — it’s already traveled 7 AU in the last seven years, and at its closest in 2031, it’s expected to pass within 10.9 AU of the Sun, almost reaching the orbit of Saturn.
Before then, it’s expected to develop the characteristic coma and tail of a comet, as icy material on its surface vaporizes from the heat of the Sun. This close pass would give astronomers an unprecedented close look at Oort cloud objects.
C’mon NASA, let’s a get a probe fired up and visit this very unusual object!
In a TEDx Talk from 2017, LB Hannahs talks about their experience as a transgender dad, comfort vs authenticity, and the collision of theoretical gender roles & identities with the practicalities of parenthood.
Now, for most people, what their child will call them is not something that they give much thought to outside of culturally specific words or variations on a gendered theme like “mama,” “mommy,” or “daddy,” “papa.” But for me, the possibility is what this child, who will grow to be a teenager and then a real-life adult, will call me for the rest of our lives, was both extremely scary and exciting. And I spent nine months wrestling with the reality that being called “mama” or something like it didn’t feel like me at all. And no matter how many times or versions of “mom” I tried, it always felt forced and deeply uncomfortable. I knew being called “mom” or “mommy” would be easier to digest for most people. The idea of having two moms is not super novel, especially where we live.
So I tried other words. And when I played around with “daddy,” it felt better. Better, but not perfect. It felt like a pair of shoes that you really liked but you needed to wear and break in. And I knew the idea of being a female-born person being called “daddy” was going to be a harder road with a lot more uncomfortable moments. But, before I knew it, the time had come and Elliot came screaming into the world, like most babies do, and my new identity as a parent began. I decided on becoming a daddy, and our new family faced the world.
Well this is peak…something: last night surprise guest Dave Chappelle led fans in a singalong of Radiohead’s Creep at the Foo Fighters’ Madison Square Garden show (which you had to be vaccinated to get in to). Not much more to say about it — you’re either going to watch it or not based on that info. Nature is healing?!
This advertisement from Vermont granite company Rock of Ages, featuring views of their majestic quarry accompanied by soaring opera, is way better than any commercial for a local quarry has any right to be.
See also The Quarryman’s Symphony, an all-time favorite post of mine about the hand signals used by a quarry boss guiding his marble harvesting crews. (via @AndrewLiptak)
Production designers working on science fiction movies and TV shows are part-time magicians because they routinely have to invent the future using things from the present. The site Star Trek + Design is collecting the futuristic design objects — chairs, cups, silverware, sofas — that designers used on the sets of Star Trek movies and TV shows to depict the future.
Being drawn to the aesthetics of Trek, especially of The Next Generation, made me curious about the specific objects that set designers used to create the visual embodiment of what living and working on a starship would look like in a technologically-advanced, post-scarcity future.
Carlos Gauna has been recording great white sharks and other sea life with a drone off the coast of California, capturing behaviors that many of us rarely see. This video includes infrared footage, so we can observe what sharks get up to in the dark. (via digg)
Obviously, there are trees. But speaking phylogenetically, trees aren’t a thing. Some things that are trees evolved from things that are not trees and other things that are trees evolved into things that aren’t trees. Confused? This might clear things up.
“Trees” are not a coherent phylogenetic category. On the evolutionary tree of plants, trees are regularly interspersed with things that are absolutely, 100% not trees. This means that, for instance, either:
The common ancestor of a maple and a mulberry tree was not a tree.
The common ancestor of a stinging nettle and a strawberry plant was a tree.
And this is true for most trees or non-trees that you can think of.
What would the evolutionary tree of salmon, lungfish, and cows be? The answer, it appears at first glance, is simple. Salmon and lungfish, being fish, would cluster nicely together on one branch, and very non-fishy cows would be off on a separate branch. Right? Wrong. Contrary to what you might expect, what you see above is their evolutionary tree. Working up from the root, the lineage that leads to salmon branches off first. Keep tracing up the tree, and you’ll see that the lineage from which the salmon branched off eventually branches into two new lineages: the one leading to lungfish and the other leading to cows. In other words, a cow and a lungfish are more closely related to one another than either is to salmon.
Patrick Stewart, displaying the Shakespearian acting chops that landed him the role of Captain Picard on Star Trek: The Next Generation, appeared on Sesame Street in 1996, performing a parody of Hamlet’s soliloquy with the letter “B”. Stewart never doesn’t give it his all when acting.
This is a dragon’s blood tree from the island of Socotra off the coast of Yemen in the Arabian Sea. You can see the mathematics of nature at work here — self-similarity at different scales, growing to fill the available space, efficient branching behavior…I bet there’s some cool Fibonacci shit going on here too. The photo was taken by Daniel Kordan — you can see more of this series at Colossal, on Instagram, or at Fstoppers. (via colossal)
In Akira Kurosawa’s 1950 film Rashomon, the story of the murder of a samurai is told from several different viewpoints and each account of the event is different and even contradictory. In real life as in cinema, the Rashomon Effect describes how events can be recalled in contradictory ways by well-meaning but ultimately subjective witnesses. In this short TED-Ed video, the Rashomon Effect and its implications are explained and explored. (via open culture)
What do you wish people knew about being trans?
The main thing is that it’s not a choice. It’s a choice to come out, but being trans is not a choice. It wasn’t like one day I woke up and felt the way the wind blew and wanted to be a girl. I ALWAYS knew I wasn’t a boy. It wasn’t that I wanted to be a girl; I WAS a girl. I just had to put that into words and explain that.
Aya, she/her, age 9:
How did you tell your parents?
There was one night when my sister was like, ‘So… Mommy’s a girl, I’m a girl, Daddy’s a boy, and you’re a boy.’ But I immediately was like, ‘No, no, I’m a girl.’ And that was the first time, but there was another time. We were driving back from Mommy’s school, and she was telling me about the different words like transgender and all different words and when she described transgender, I was like, that’s me. I was five.
And this:
Also, fun fact: When we were watching a Mo Willems episode about drawing, he told us that his child is transgender — the one from Knuffle Bunny. Trixie is now Trix!
The comments on the post are worth reading as well — CoJ has the best comments section on the internet, quite a feat for 2021.
Perhaps the most consequential day in the Earth’s recent history was when a massive asteroid struck the planet 66 million years ago. It resulted in earthquakes, tsunamis, fireballs raining from the sky, volcanoes, atmospheric heat shocks, wildfires, global winter, and the extinction of 75% of all species on Earth, including the dinosaurs. This video by Kurzgesagt leads us through what happened that day, minute by minute.
“The meteorite itself was so massive that it didn’t notice any atmosphere whatsoever,” said Rebolledo. “It was traveling 20 to 40 kilometers per second, 10 kilometers — probably 14 kilometers — wide, pushing the atmosphere and building such incredible pressure that the ocean in front of it just went away.”
These numbers are precise without usefully conveying the scale of the calamity. What they mean is that a rock larger than Mount Everest hit planet Earth traveling twenty times faster than a bullet. This is so fast that it would have traversed the distance from the cruising altitude of a 747 to the ground in 0.3 seconds. The asteroid itself was so large that, even at the moment of impact, the top of it might have still towered more than a mile above the cruising altitude of a 747. In its nearly instantaneous descent, it compressed the air below it so violently that it briefly became several times hotter than the surface of the sun.
“The pressure of the atmosphere in front of the asteroid started excavating the crater before it even got there,” Rebolledo said. “Then when the meteorite touched ground zero, it was totally intact. It was so massive that the atmosphere didn’t even make a scratch on it.”
Unlike the typical Hollywood CGI depictions of asteroid impacts, where an extraterrestrial charcoal briquette gently smolders across the sky, in the Yucatan it would have been a pleasant day one second and the world was already over by the next. As the asteroid collided with the earth, in the sky above it where there should have been air, the rock had punched a hole of outer space vacuum in the atmosphere. As the heavens rushed in to close this hole, enormous volumes of earth were expelled into orbit and beyond — all within a second or two of impact.
“So there’s probably little bits of dinosaur bone up on the moon,” I asked.
Using publicly available datasets of English words, their etymologies, and their semantic distances, software engineer Daniel de Haas generated pairs & triples of words that have a common origin but otherwise are unrelated to each other.
“actor” & “coagulate”
Both of these words derive ultimately from the Latin “ago”, meaning “act”, “do”, “make”, and a bunch of other things.
English “actor” is a short hop away from “ago”, but “coagulate” takes a longer path: “ago” ➔ “cogo” (“collect”) ➔ “coagulum” (“a clot”) ➔ “coagulo” (“to clot”).
“educate” & “subdue”
I never would have picked those two words out of a lineup as having a shared etymological root, but sure enough it sits right there — the “du” in the middle of each word, which ultimately derives from Latin “duco”, meaning “lead”.
“Educate” comes from the Latin “eductus”, meaning to “lead or bring out”, and then the Latin “educare” (“raise, train, mould”). I love the image of education as the process of extruding a refined person out of a base of unrefined material.
“Subdue” comes from the latin “subduco”, meaning “lead under”. Again, a very clear physical description of what the word means — to put beneath you, or bring under control.
I am enjoying these embroidered forest landscapes by Katrin Vates. The stitching provides a lovely & subtle variable depth to the bushy trees that you don’t get from a drawing or painting.
Van Langren could have put these values in a table, as would have been typical for the time, but, as Friendly and Wainer observe, “only a graph speaks directly to the eyes.” Once the numbers were visualized, the enormous differences among them — and the stakes dependent on those differences — became impossible to ignore. Van Langren wrote, “If the Longitude between Toledo and Rome is not known with certainty, consider, Your Highness, what it will be for the Western and Oriental Indies, that in comparison the former distance is almost nothing.”
Van Langren’s image marked an extraordinary conceptual leap. He was a skilled cartographer from a long line of cartographers, so he would have been familiar with depicting distances on a page. But, as Tufte puts it, in his classic study “Visual Explanations” (1997), “Maps resemble miniature pictorial representations of the physical world.” Here was something entirely new: encoding the estimate of a distance by its position along a line. Scientists were well versed in handling a range of values for a single property, but until then science had only ever been concerned with how to get rid of error — how to take a collection of wrong answers and reduce its dimension to give a single, best answer. Van Langren was the first person to realize that a story lay in that dimension, one that could be physically seen on a page by abstracting it along a thin inked line.
Van Langren’s graph, which Fry says “might be the first statistical graph in history”, is pictured at the top of this post.
During the Cold War, the Soviet Union controlled the music recording industry and even restricted the types of music that were allowed to be played & listened to. Or they tried to anyway. Enterprising Soviet bootleggers took used x-ray films, many of them still containing images of bones and skulls, and recorded forbidden music on them, including jazz and rock & roll from the West. They called it ribs, bones, bone music, or jazz on ribs. From a 2017 article in Vice:
X-rays proved to be an suitable medium. They were cheaply and easily (albeit illegally) acquired from local hospitals that were required to throw out the flammable sheets. They took the groove relatively well, though nowhere near as well as vinyl — some X-ray discs apparently sound like listening to music through sand — and they were easy to fold into a shirt sleeve of pocket for a quick transaction. The X-rays were also stunningly beautiful.
Before the availability of the tape recorder and during the 1950s, when vinyl was scarce, ingenious Russians began recording banned bootlegged jazz, boogie woogie and rock ‘n’ roll on exposed X-ray film salvaged from hospital waste bins and archives.
“Usually it was the Western music they wanted to copy,” says Sergei Khrushchev. “Before the tape recorders they used the X-ray film of bones and recorded music on the bones, bone music.”
“They would cut the X-ray into a crude circle with manicure scissors and use a cigarette to burn a hole,” says author Anya von Bremzen. “You’d have Elvis on the lungs, Duke Ellington on Aunt Masha’s brain scan - forbidden Western music captured on the interiors of Soviet citizens.”
pOrtal is a project that allows for people in two different locations to interact via circular video screens. Right now, the link is between Vilnius, Lithuania and Lublin, Poland but there are plans to add more cities (Reykjavik/Vilnius and Vilnius/London to start). The production is a bit over-the-top (e.g. the video), but the idea of fun, seamless, sci-fi presence between two locations is a good one. (via moss & fog)
Photographer Sails Chong recorded something we don’t hear much of these days: the sounds of camera shutters. Accompanied by a song by Arcade Fire from the Her soundtrack, Chong presents the shutter sounds of 18 different cameras, from 35mm all the way up to large format cameras. Interestingly, the lineup does not include the iconic Leica shutter sound — “a photograph sounds like a kiss”. (thx, david)
As part of the Tech Support series, Wired had Yo-Yo Ma answer some questions about the cello and music sent in by Twitter users. What I like about this is that no critic or professional interviewer would ask these questions (they are “bad” interview questions) and yet Ma answers them all generously and thoughtfully. It reminds me a little bit of when Vogue trained an AI program to interview Billie Eilish:
What I really loved hearing Billie say was that human interviewers often ask the same questions over and over, and she appreciated that the AI questions don’t have an agenda in the same way, they’re not trying to get anything from her.
Perhaps with interesting subjects who are game, having “good” interview questions maybe isn’t that important, particularly if they are repeated queried about the same topics in every interview.
At TED2020, Ethan Hawke gave a remote talk about the benefits of being creative. As someone who often struggles to find meaning in whatever it is I do here, this bit was especially good to hear:
Do you think human creativity matters? Well, hmm. Most people don’t spend a lot of time thinking about poetry. Right? They have a life to live, and they’re not really that concerned with Allen Ginsberg’s poems or anybody’s poems, until their father dies, they go to a funeral, you lose a child, somebody breaks your heart, they don’t love you anymore, and all of a sudden, you’re desperate for making sense out of this life, and, “Has anybody ever felt this bad before? How did they come out of this cloud?”
Or the inverse — something great. You meet somebody and your heart explodes. You love them so much, you can’t even see straight. You know, you’re dizzy. “Did anybody feel like this before? What is happening to me?” And that’s when art’s not a luxury, it’s actually sustenance. We need it.
For many of us in the US and other parts of the world, with Covid-19 on the decline because of vaccinations, the last month or two has seen people getting back into the world for the first time since the pandemic began in early 2020. XKCD’s Randall Munroe plotted out some of these experiences on a scale from “normal” to “alarming”: