Along with imagining Mary Poppins as one of Doctor Who's Time Lords, one of my favorite literary alternate realities is imagining Hermione Granger as the main character of the Harry Potter books. In 2011, Sady Doyle wrote a review of the books as if Rowling had focused on Hermione.
In Hermione, Joanne Rowling undermines all of the cliches that we have come to expect in our mythic heroes. It's easy to imagine Hermione's origin story as some warmed-over Star Wars claptrap, with tragically missing parents and unsatisfying parental substitutes and a realization that she belongs to a hidden order, with wondrous (and unsettlingly genetic) gifts. But, no: Hermione's normal parents are her normal parents. She just so happens to be gifted. Being special, Rowling tells us, isn't about where you come from; it's about what you can do, if you put your mind to it. And what Hermione can do, when she puts her mind to it, is magic.
Ditto for the whole "Chosen One" thing. Look: I've enjoyed stories that relied on a "Chosen One" mythology to convince us that the hero is worth our time. I liked Buffy the Vampire Slayer as much as anyone. But it's hard to deny that "Chosen Ones" are lazy writing. Why is this person the hero? Because everyone says he's the hero. Why does everyone say he's the hero? Because everyone says so, shut up, there's magic.
And more recently, Daniel Dalton had a more overtly feminist and humorous take.
It was clear that she was the one who was protecting Harry and Ron, and this was never more evident than when she revealed she could control time.
She'd been using her Time-Turner to attend twice the number of classes, but she agreed to use it to help Harry save his godfather, even though it meant she'd never be able to use it again.
She'd given up her greatest power for her best friend, because helping people made her feel good.
And though she hoped he understood the sacrifice she was making by letting her education slide, she knew he didn't. Because men.
Over the past year or so, I've been rereading the books and rewatching the movies with my kids through the Hermione-as-hero lens. And I've noticed that even without altering the story as Doyle and Dalton do, Hermione is by far the smartest, most loyal, and bravest young witch or wizard at Hogwarts. Harry has his moments but the kid had a rough and abusive childhood and so his principal talent is getting angry and doing stupid impulsive shit. Mainly, he's manipulated by Voldemort and Dumbledore into doing exactly what they want him to do, and he plays the part splendidly. On the other hand, Hermione is an amazing witch and has a real choice as to how she wants to apply her considerable talents. And she chooses goodness, friendship, and doing the right thing over comfort, power, and even her own family, every time. (via @djacobs)
So. Steven Soderbergh has cut his own version of Stanley Kubrick's 2001: A Space Odyssey. Like, !!!1
I haven't had a chance to watch this yet, so I don't know what's different about it aside from the shorter runtime of 1h50m. If someone watches it and wants to report in about the differences, let me know. Soderbergh also guessed that Kubrick would have liked shooting on digital:
let me also say i believe SK would have embraced the current crop of digital cameras, because from a visual standpoint, he was obsessed with two things: absolute fidelity to reality-based light sources, and image stabilization. regarding the former, the increased sensitivity without resolution loss allows us to really capture the world as it is, and regarding the latter, post-2001 SK generally shot matte perf film (normally reserved for effects shots, because of its added steadiness) all day, every day, something which digital capture makes moot. pile on things like never being distracted by weaving, splices, dirt, scratches, bad lab matches during changeovers, changeovers themselves, bad framing and focus exacerbated by projector vibration, and you can see why i think he might dig digital.
See also Soderbergh's B&W edit of Raiders of the Lost Ark. (via @fengypants)
Update: Reader and 2001 fan Dan Norquist watched Soderbergh's edit and reported back via email:
I love everything Soderbergh does and I love the fact that he cut this film. It's fun to see it in a more concise form. Really, there's no choppy edits or anything that doesn't make sense (except the whole movie of course!). I did miss some of my favorite parts. I love when the father is talking to his daughter on the video phone. Also, if you weren't around in 1968 it's really hard to describe how scary the Cold War was. There was always this thing hanging over our heads, that the Russians really had the means to destroy us with nuclear weapons. So you really need the full scene where the American meets the Russians (Soviets). The forced, unnatural politeness is so brilliant and helped to give the film context in its time.
All the important stuff is there -- the apes, the monolith, HAL turning evil, astronaut spinning away, the speeding light show (shortened?), old man pointing at space child -- and it's all recut by a master.
Finally, there is something about the full length of the original film that is part of its strength as a piece of art. There is no hurry, no cut to the chase. It's almost as if you have to go through the entire journey before you can earn the bubble baby at the end.
No surprise that he tightened it up into something less Kubrickian and more Soderberghish. Dan closed his email by saying he would recommend it to fans of the original. (thx, dan)
Update: I've seen some comments on Twitter and elsewhere about the legality of Soderbergh posting the 2001 and Raiders edits. The videos are hosted on Vimeo, but are private and can't be embedded on any site other than Soderbergh's. But any enterprising person can easily figure out how to download either video. The Raiders video has been up since September, which means either that Paramount doesn't care (most likely in my mind) or their lawyers somehow haven't caught wind of it, even though it was all over the internet a few months ago (less likely). We'll see if whoever owns the rights to 2001 (Time Warner?) feels similarly.
An interesting wrinkle here is that Soderbergh has been outspoken about copyright piracy and the Internet. From a 2009 NY Times article about a proposed French anti-piracy law:
In the United States, a Congressional committee this week began studying the issue. In a hearing Monday before the Foreign Affairs Committee of the House of Representatives, Steven Soderbergh, the film director, cited the French initiative in asking lawmakers to deputize the American film industry to pursue copyright pirates.
Deputizing the film industry to police piracy sounds a little too much like putting the fox in charge of the henhouse. I wonder if Soderbergh feels like these edits are legal to post publicly, if they are fair use for example. Or rather if he feels it's not but he can get away with it because he is who he is. (thx, @bc_butler)
Update: Soderbergh has removed his cut of 2001 from his site "AT THE REQUEST OF WARNER BROS. AND THE STANLEY KUBRICK ESTATE". So, that answers that question. (via @fengypants)
Khoi Vinh is coming out with a book soon called How They Got There: Interviews With Digital Designers About Their Careers. It is, as Tyler Cowen would say, self-recommending. Vinh explains a bit more:
You can read terrific profiles of many of these folks elsewhere, but the conversations that I conducted with them are both narrower and more in-depth. They focus squarely on how these folks discovered their callings in the design profession, how they got their first big breaks, how they put together successful careers in digital media. There are some wonderful, insightful, brilliant, hilarious and amazing stories captured here.
Basically, this is the book that I wish that I could have had handy when I was just starting out, when I was trying to figure out how to get from A to B career-wise. Even better, what I found when I was writing it was that the conversations were so interesting that I felt newly inspired myself. I think you'll feel similarly.
Forget the book (I mean, it looks great), but Khoi, where do you find the time for everything? Three kids, two or three side projects, regular blogger, startup VP...you're almost as productive these days as Beyonce is.
The Pew Research Center shares some of the most interesting findings from the reports they published in 2014. The increasing gap in wealth between white and non-white households since the 2007 recession was the most shocking to me.
Over the past 10 years, the net worth of black households has been cut in half.
From Tony Zhou's Every Frame a Painting, an appreciation of Jackie Chan and his particular and excellent brand of action comedy.
I love old Jackie Chan movies. When I lived in Minneapolis, a theater there showed them on Saturday nights, late. Drunken Master II is a particular favorite...the final fight scene is AMAZING. The part about how the camera never moves and shoots wide-angle during his scenes is why action in contemporary Hollywood films leaves me yawning.
Are you ready for a new level of discomfort in air travel? A major US airline is considering a seating class called Economy Minus, which would offer smaller seats at a lower price.
Now a major airline may be considering another breakthrough idea: "Economy Minus," a seat that offers less legroom at a discount price.
Before you scoff, consider that a new survey found that 42% of airline travelers said they would be very likely or somewhat likely to book a seat with less legroom if it means getting a cheap fare.
See also Why Airlines Want to Make You Suffer. (A: maximizing shareholder value)
Book 1 of Karl Ove Knausgaard's epic My Struggle is now available in English as an audiobook. This was by far my favorite book of 2014...the first 50 pages punched me in the gut about 10 times and the rest did not disappoint. After a bit of a break to recover, I am looking forward to tackling Book 2 & Book 3 in the next couple of months. (via @tylercowen)
Richard Rhodes, who wrote two of my favorite nonfiction books ever (The Making of the Atomic Bomb and Dark Sun), is coming out with a new book in February. Hell and Good Company is a history of the Spanish Civil War.
The Spanish Civil War (1936-1939) inspired and haunted an extraordinary number of exceptional artists and writers, including Pablo Picasso, Joan Miro, Martha Gellhorn, Ernest Hemingway, George Orwell, and John Dos Passos. The idealism of the cause-defending democracy from fascism at a time when Europe was darkening toward another world war-and the brutality of the conflict drew from them some of their best work: Guernica, For Whom the Bell Tolls, Homage to Catalonia, The Spanish Earth.
The war spurred breakthroughs in military and medical technology as well. New aircraft, new weapons, new tactics and strategy all emerged in the intense Spanish conflict. Indiscriminate destruction raining from the sky became a dreaded reality for the first time. Progress also arose from the horror: the doctors and nurses who volunteered to serve with the Spanish defenders devised major advances in battlefield surgery and front-line blood transfusion. In those ways, and in many others, the Spanish Civil War served as a test bed for World War II, and for the entire twentieth century.
From eHistory, a time lapse view from 1776 to the present day of how the US government systematically took land from Native Americans through treaties and executive orders that were rarely honored for long.
There's a companion piece at Aeon by Claudio Saunt as well as an interactive version of the map featured in the video.
The final assault on indigenous land tenure, lasting roughly from the mid-19th century to 1890, was rapid and murderous. (In the 20th century, the fight moved from the battlefield to the courts, where it continues to this day.) After John Sutter discovered gold in California's Central Valley in 1848, colonists launched slaving expeditions against native peoples in the region. 'That a war of extermination will continue to be waged between races, until the Indian race becomes extinct, must be expected,' the state's first governor instructed the legislature in 1851.
In the Great Plains, the US Army conducted a war of attrition, with success measured in the quantity of tipis burned, food supplies destroyed, and horse herds slaughtered. The result was a series of massacres: the Bear River Massacre in southern Idaho (1863), the Sand Creek Massacre in eastern Colorado (1864), the Washita Massacre in western Oklahoma (1868), and a host of others. In Florida in the 1850s, US troops waded through the Everglades in pursuit of the last holdouts among the Seminole peoples, who had once controlled much of the Florida peninsula. In short, in the mid-19th century, Americans were still fighting to reduce if not to eliminate the continent's original residents.
FYI, it's always a good rule of thumb to not read comments on YouTube, but in this case you really really shouldn't read the comments on this video unless you want a bunch of reasons why it was ok for Europeans to drive Native Americans to the brink of total genocide.
Helen Green drew all the hairstyles worn by David Bowie from before he was a star in 1964 on up to the present day. Here's they are in a glorious animated GIF:
Green also did a one-sheet of the B&W drawings. See also every Prince hairstyle from 1978 to 2013. (via @Coudal)
Over the holiday, the Smithsonian's Freer|Sackler art galleries put more than 40,000 works of art online; that's their entire collection available for high-resolution download. Here's the announcement on their blog.
We've digitized our entire collection and today, we're making it available to the public. That's thousands of works now ready for you to download, modify, and share for noncommercial purposes. As Freer|Sackler Director Julian Raby said, "We strive to promote the love and study of Asian art, and the best way we can do so is to free our unmatched resources for inspiration, appreciation, academic study, and artistic creation."
Great to see galleries and museums doing this sort of thing, e.g. the Met and all the institutions participating in The Commons at Flickr. (via the verge)
The Strange Maps book is out today. The book is based on the awesome Strange Maps blog, one the very few sites I have to exercise restraint in not linking to every single item posted there. The content of the book is adapted from the site, so of course it's top shelf.
My only reservation in recommending the book is the design. When I cracked it open, I was expecting full-bleed reproductions of the maps, large enough to really get a detailed look at them. The maps *are* the book, after all. But that's not the case...only a few of the maps get an entire non-full-bleed page and some of the maps are stuck in the corner of a page of text, like small afterthoughts. The rest of the design is not much better, cheesy at best and distracting at worst. I wasn't expecting Taschen-grade production values, but something more appropriate to the subject matter would have been nice.
It's 2015. Stuff that happened in the 80s and 90s is getting to be positively ancient. Allow Tim Urban to make you feel old. I want to quote the whole thing, but I'll make do with just a few snippets:
These movies came out closer to World War II than to today: The Empire Strikes Back, The Shining, Airplane, Caddyshack.
There are millions of people alive today who will live well into the 22nd century.
How about 1980? It's closer to FDR, Churchill and Hitler fighting each other than it is to 2015.
As you know, I love this sort of thing. Part of it is nostalgia and the whole "fuck I'm old" lament. I like it for the shift in perspective; it's cheap time travel.
Update: And whoa, somehow I missed Urban's post on Putting Time in Perspective. Wow.
Software developer and free software advocate Richard Stallman lists several reasons why using Uber is not a good idea. Stallman is definitely a hardliner1, but I agree with several of his points here. (via hacker news)
Stephen Biesty is a illustrator for books who draws "illustrations that are unrivaled for their ambitious scope and attention to detail". I love this but somehow I hadn't seen any of his apparently quite popular books. Many of them appear to be out of print, but there are some available on Amazon: Stephen Biesty's Incredible Cross-Sections, Stephen Biesty's Incredible Everything, and Into the Unknown.
Looking through these illustrations and also thinking about Richard Scarry's books, I'm reminded of the intricate cross-sections from Wes Anderson's movies. For instance, the boat from The Life Aquatic:
Biesty's first book with this illustration style came out in 1992, the same year a 23-year-old Anderson shot his first short film, Bottle Rocket. But the director's first real use of the cross-section didn't happen until The Royal Tenenbaums in 2001, and even then it wasn't explicit...but the tour of the Tenenbaum house definitely felt detailed in the same way as Biesty's intricate cross-sectional drawings. I'm not the first person to draw parallels between Anderson's work and Scarry, but I wonder if Biesty is somewhere in there too. (via @aaroncoleman0)
Last week, Tommy Caldwell and Kevin Jorgeson completed the first free ascent of The Dawn Wall on Yosemite's El Capitan. It's been called the most difficult climb ever completed. The NY Times has some good coverage of the climb, including an interactive feature/map of the wall and a 3.4 gigapixel zoomable photograph of the climb in progress. Here's a 3-minute video of Caldwell navigating Pitch 15, one of the most difficult sections of the climb:
"The crux holds of pitch 15 are some of the smallest and sharpest holds I have ever attempted to hold onto," Tommy wrote on his Facebook page. Four unique camera angles reveal those minuscule holds and the 1,300 feet of exposure under Tommy's precarious foot placements. While multiple pitches of extremely difficult climbing remained above, the completion of pitch 15 was considered the last major hurdle to the eventual success of this seven-year project.
It gets intense around 1:30. Jesus, my palms are sweating right now. I feel like I'm gonna pass out! (via @sippey)
Update: I totally didn't notice but several people pointed this out on Twitter: Caldwell only has 4 fingers on his left hand. He cut off his index finger with a table saw, got it reattached, and then removed again so it wouldn't hinder his climbing.1
And as if completing the most difficult climb in the world with only 9 fingers and discarding a finger to pursue a passion isn't quite enough for one life, Caldwell and some friends were captured by rebels while climbing in Kyrgyzstan. Caldwell helped save the group by pushing one of their captors over a cliff.
All the scheming comes to nothing, until at one point three of the rebels go away leaving a lone man in charge of the captives as they climb a steep ridge. Then, near the top ...
Tommy Caldwell: Our captor sees that the hillside is easing off and he starts to run ahead. He has been really scared this whole time on this cliff because he's not a climber. So I asked Beth if she thinks I should do this.
Beth Rodden: And at that point I just thought that this was our best opportunity.
Tommy Caldwell: So I ran up behind him and grabbed him by his gun strap and pulled him over the edge. We were probably about 2,000 feet (610 meters) above the river, but it's a cliff that is pretty sheer. We saw him fall 20 feet (6 meters), bounce off this ledge, and then fall basically into the black abyss below. I totally panicked. I broke down. I couldn't believe I'd just done that, because it's something that I never morally thought I could do and I never wanted to do. And Beth came up and, you know, gave me a lot of comfort as well as Jason and John.
Beth Rodden: I told him he'd just saved our lives and now we had this opportunity to run and hopefully find the Kyrgyz Army.
Reading that story makes my palms sweat almost as much as watching the video. Jesus.
From astrophysicist Robert Simpson, a tour of the Universe from humans to the largest structure of the Universe. The piece is full of interesting little bits like:
The average female is 1.62 metres [tall] -- that's 5.4 light-nanoseconds.
If the Earth was a beach ball then all life on Earth exists within just 1mm around the surface.
Out by Pluto, the Sun itself is has dimmed to look like an other stars.
If the Sun was a blood cell then the Milky Way is the size of Europe.
See also Steven Strogatz on the Sagan Planet Walk in Ithaca, NY.
As you stroll from one to another, you can't help noticing that the first four planets are really close together. It takes a few seconds, a few tens of steps, to walk from the Sun to Mercury and then on to Venus, Earth and Mars. By contrast, Jupiter is a full two-minute walk down the block, just past Moosewood Restaurant, waiting for someone to stop by and admire it. The remaining planets are even lonelier, each marooned in its own part of town. The whole walk, from the Sun to Pluto, is about three-quarters of a mile long and takes about 15 minutes.
My favorite detail: they added a new station to the Sagan Walk, the star nearest to our solar system. It's in Hawaii.
One of the most difficult things to get right in movies about aliens or the future is matching the cultural and technological sophistication of a people with their environment and history. In Avatar, the Na'vi are portrayed as a Stone Age tribe, living in relatively small groups and essentially ignorant or uninterested in technology beyond simple knives and bows. But the Na'vi are also very physically capable, obviously very intelligent, aware of their global environment, well-nourished, healthy, omnivorous, adaptive, and even inventive. They have domesticated animals, are troubled by few serious natural predators, can live in different environments, have easy access to many varied natural resources (for sustenance and building/making), and can travel and therefore communicate over long distances (dozens if not hundreds of miles a day on their winged animals).
And most importantly, the Na'vi have regular and intimate access to a moon-sized supercomputer -- a neural net supercomputer at that -- that connects them to every other living thing on their world and have had such access for what could be millennia.
It just doesn't add up. The Na'vi are too capable and live in an environment that is far too pregnant with technological possibility to be stuck in the Stone Age. Plot-wise it's convenient for them to be the way they are, but the Na'vi really should have been more technologically advanced than the Earthlings, not only capable of easily repelling any attack from Captain Ironpants but able to keep the mining company from landing on the moon in the first place.
From Mike Hale in the NY Times, a short appreciation of Hayao Miyazaki, among the best filmmakers of his generation.
Even at its high end, in the works of the Pixar studio or the director Henry Selick, the American children's movie (a category that these days is pretty much congruent with the animated feature film) approaches its young viewers in a different and less rewarding way. There is always a sense of the filmmakers looking across a divide at their audience, trying with various degrees of grace or desperation to create an entertainment for them, to figure out what will keep those allegedly hyperdistracted children from losing interest.
Mr. Miyazaki cares deeply about that young audience, but you get the feeling that he doesn't waste any time trying to guess what it wants. Like other great directors of films for and about children -- Carroll Ballard ("The Black Stallion") Steven Spielberg ("E.T."), Alfonso Cuaron ("A Little Princess" and "Harry Potter and the Prisoner of Azkaban") -- he inhabits the child's point of view and directly communicates her joys, her trepidations and, perhaps most important, her endless curiosity.
Today I learned that the US government considers the US border as extending 100 miles into the country. This means that states like Maine, Michigan, and Florida are entirely within the border area and 2/3 of the US population lives within the border.
The problem with this, from the standpoint of the ACLU, is that Border Patrol agents have "certain extra-Constitutional powers" within this area and "routinely" overstep their bounds and violate the constitutional rights of innocent people.
See also 35 maps that explain how America is a nation of immigrants. (via @tcarmody)
Update: So, as you may know, I am not a Constitutional lawyer or even a regular lawyer. The ACLU presumably employs and/or utilizes experts on Constitutional and immigration law. But they have a viewpoint, right? They are interested in the civil liberties of individual Americans. Anyway, Scott Bomboy of the National Constitution Center (who is also not a lawyer), notes that the US has a couple of different ideas of what a border is and what can be done at or within each kind of border is slightly different.
Legally, the 100-mile-wide region is called the "extended border" of the U.S., as defined by Title 8 of the Federal Code of Regulations. There is also something called the "functional equivalent" border, which is the area around international airports in the interior region of the U.S.
The DHS ruling from last Friday said its "warrantless searches" applied to the U.S. "border and its functional equivalent," with no mention of the extended 100-mile border.
Two analysis papers from the Congressional Research Service from 2009 offer some legal insight into what tactics agents can follow within the 100-mile-wide extended border, and why the distinction between the extended border and the other two borders is important.
Searches within the 100-mile extended border zone, and outside of the immediate border-stop location, must meet three criteria: a person must have recently crossed a border; an agent should know that the object of a search hasn't changed; and that "reasonable suspicion" of a criminal activity must exist, says the CRS. (The service had done the legal analyses to prepare Congress members for legislation.)
"Although a search at the border's functional equivalent and an extended border search require similar elements, the extended border search entails a potentially greater intrusion on a legitimate expectation of privacy. Thus, an extended border search always requires a showing of 'reasonable suspicion' of criminal activity, while a search at the functional equivalent of the border may not require any degree of suspicion whatsoever," the CRS says.
In November of 2014, This American Life aired a piece on several people who record on video their interactions with Border Patrol agents at inland checkpoints.
So if you haven't spent much time in the Southwest, you might not know about this. But there are these Border Patrol checkpoints that are just like in the middle of highway interstates and other roads, not at the border, not even near the border. They're as far as 100 miles from the border.
There are dozens of these interior or inland checkpoints across the country. They're mostly in California, Arizona, New Mexico, and Texas. But now there are a couple in Vermont, New Hampshire, and Washington state. You know that you're approaching one of these checkpoints, because the speed limit will suddenly drop to 45 miles an hour and then 25. You'll slow down, and you stop, you see these orange cones coming up. And then often there's this big sort of tent-looking structure, like, right in the middle of the highway.
And then you stop, and you're right in the middle of the highway. And an agent in uniform, an armed agent walks up and asks you questions like, are you an American citizen? Sometimes he asks to look in your trunk. All this so they can catch undocumented immigrants and drug smugglers.
I've been through one of these checkpoints in VT, about 40-50 miles from the Canadian border, and hey, these checkpoints really make you feel like a criminal...like if you seem nervous they're going to pull you over and detain you because you seem like you've done something wrong. And that's what the ACLU is concerned about: Border Agents routinely treating law-abiding US citizens as criminals far from their true areas of jurisdiction. Again from This American Life, one guy got his car window broken at a checkpoint because he did not want to cooperate with the agents:
Violence like this doesn't happen a lot in these videos, but it does happen. Agents also broke the window of that pastor I mentioned earlier, Steven Anderson. They tased him and bloodied his face.
In Robert's case, he says the agents seized his cameras, put him in handcuffs, drove him far away to a holding cell, and detained him for hours. Then they drove them even farther away to El Cajon, California, let him out late at night at a bus station, and drove off.
You can watch the video here:
The glass is broken at ~11:00. (thx, @harryh & martha)
On the off chance you get this before it spontaneously combusts, you should probably know that Earth just experienced its hottest year on record (again). You can blame humans, you blame nature, you can blame Mister Heat Miser. But for most scientists, there is a towering body of evidence to explain this inferno, and the debate over what's causing the warm-up has already been decided (which is good, because the venue where the debate was being held just melted).
WaPo got reactions to the latest numbers from 21 scientists: "The temperature record is yet another brick in the massive wall of evidence that the climate is warming due to human activity." Hey, (Science) Teacher, leave them kids alone...
If we're going down in flames, let's at least take 5 charts that explain 2014's record-smashing heat. Or perhaps you'd prefer an animation?
Apparently, human activity has pushed Earth beyond four of nine planetary boundaries. (In layman's terms: Uh oh.)
In other news, ocean life faces mass extinction.
Syndicated from NextDraft. Subscribe today or grab the iOS app.
Alastair Humphreys writes about making his living as an adventurer. But really, this advice works for anyone who wants to turn their hobby into a job. For instance, this list of reasons he's an adventurer is pretty much why I did the same thing with kottke.org almost 10 years ago.
- I love almost every aspect of what I do.
- I love being self-employed: the freedom and the responsibility and the pressure.
- I think I'm probably now un-employable.
- I love being creative.
- I appreciate that building a profile helps generate exciting opportunities. (And I have come to accept -- though not enjoy -- the weird world of relentless self-promotion that being a career adventurer requires. I remain uncomfortable with people praising me more than I deserve, and I continue to get very angry and upset with the inevitable haters that your self-promotion will attract.)
Notice I don't mention "going on adventures", because there are loads of ways to do that in life. Don't become a career adventurer solely because you want to go off on fun trips. There's easier ways to do that.
That third point is a real double-edged sword. I can't imagine what other job I would be even remotely qualified for other than this one. Feels like walking a tightrope without a safety net sometimes. (via @polarben)
Kazuo Ishiguro wrote his excellent novel, The Remains of the Day, in only four weeks (more or less).
So Lorna and I came up with a plan. I would, for a four-week period, ruthlessly clear my diary and go on what we somewhat mysteriously called a "Crash". During the Crash, I would do nothing but write from 9am to 10.30pm, Monday through Saturday. I'd get one hour off for lunch and two for dinner. I'd not see, let alone answer, any mail, and would not go near the phone. No one would come to the house. Lorna, despite her own busy schedule, would for this period do my share of the cooking and housework. In this way, so we hoped, I'd not only complete more work quantitively, but reach a mental state in which my fictional world was more real to me than the actual one.
Nice four-minute video about how the creators of The Lego Movie used CGI to make the movie look like it was 100% constructed with real Lego bricks with fingerprints and everything and animated in stop motion.
I've watched it twice with my kids, and The Lego Movie was way better than it had any right to be. They so easily could have bollocksed the whole thing up. Maybe the secret is Chris Pratt? Guardians of the Galaxy was better than it should have been as well. I'm bearish on Jurassic World, but come on Indy! (via devour)
I know nothing about this book or its author (Kevin Murrell, Director of Britain's National Museum of Computing), but something called Early Home Computers is pretty much self-recommending. Amazon has an excerpt.
If they were considered at all by the average person, computers were thought to be impressive, mysterious, awe-inspiring and frightening in equal measure. Press coverage of the time typically described new computers as 'electronic brains' and they were often depicted as cartoon machines with faces and arms. Despite the best efforts of engineers explaining their inventions, most people knew more about malevolent computers like HAL from Kubrick's film 2001 - A Space Odyssey, than the real thing.
In the UK there was at least one well-known benevolent computer: ERNIE. Electronic Random Number Indicating Equipment, or ERNIE for short, was a special-function computer designed to generate random numbers as part of the government's Premium Bond saving scheme. Each month the computer would produce a random batch of bond numbers and the winning bondholders would be awarded cash prizes. ERNIE became so well known in the popular imagination that winners would write personally to thank him!
Presumably home computers were also benevolent...I like that idea. (via russell davies)
Update: See also Digital Retro.
This book tells the story behind 40 classic home computers of an infamous decade, from the dreams and inspiration, through passionate inventors and corporate power struggles, to their final inevitable demise. It takes a detailed look at every important computer from the start of the home computer revolution with the MITS Altair, to the NeXT cube, pehaps the last serious challenger in the personal computer marketplace.
Good review of Digital Retro here. (via @LangeAlexandra)
All day on Saturday, Amazon will be streaming their acclaimed series Transparent for free (US-only probs) in celebration of the show's wins at the Golden Globes (best TV series and best actor for Jeffrey Tambor). Here's the press release.
"We're incredibly proud of everyone involved in the making of Transparent-the team took a risk and it paid off," said Jeff Bezos, founder and CEO of Amazon.com. "Big kudos and congrats to Jill, Jeffrey, and all the cast and crew."
Written, directed and executive produced by Emmy-nominee and 2013 Sundance Best Director winner Jill Soloway, Transparent is a 10-episode, half-hour novelistic series that explores family, identity, sex, and love.
Amazon is also offering a Saturday-only discount on 1-yr Amazon Prime subscriptions...$72 instead of the usual $99. I loved Transparent...if you're not doing anything for 5 hours on Saturday, I recommend hopping on this.
TV1 is the place to be. Amazon recently signed Woody Allen up to do a show. And today, The New Yorker debuts the first episode of their new show on Amazon: The New Yorker Presents, complete with a Alfred Hitchcock-esque silhouette on the title card to match the riff on the name of Hitch's 50s TV program.
America's most award-winning magazine comes to life in this new docu-series. Produced by Oscar & Emmy winner Alex Gibney, the pilot features a doc from Oscar winner Jonathan Demme based on Rachel Aviv's article "A Very Valuable Reputation," writer Ariel Levy interviewing artist Marina Abramovic, a sketch from Simon Rich and Alan Cumming, poetry read by Andrew Garfield, and cartoons by Emily Flake.
The first episode is free to watch for all. I watched the first five minutes and it's promising and pretty much what you would expect.
If you weren't watching the new HD remaster of The Wire over the holidays, you may have been tuning in to Black Mirror on Netflix. Charlie Brooker's dystopian sci-fi series was broadcast in Britain beginning in 2011 but only recently became available in the US on Netflix. Emily Nussbaum reviews the show for the New Yorker's latest issue.
Still, for all the show's inventive storytelling, its true provocation is its righteous outrage, which shares something with Mike White's whistle-blower series "Enlightened," although it's overlaid with a dark filter. Like "Enlightened," "Black Mirror" is about love in the time of global corporate hegemony. It's a bleak fairy tale that doubles as an exposé. An anthology series, it consists of six one-hour episodes spanning two seasons (plus a Christmas special), each with a new story and a different cast. In various future settings, Brooker's characters gaze into handhelds or at TV-walled cells, using torqued versions of modern devices. In one episode, a couple has sex while stupefied by virtual visions of earlier, better sex. In another, a woman builds a replica of her husband from his photos and posts on social media. In a third, workers watch streaming schlock and are docked points if they shut their eyes. Some plots deal with political terrorism (or performance art-on this show, there's little difference) and the criminal-justice system; there are warped versions of reality TV. Though the episodes vary in tone, several have a Brechtian aggression: the viral video "Too Many Cooks" would fit right in. But, in even the most perverse installments, there's a delicacy, a humane concern at how easily our private desires can be mined in the pursuit of profit. The worlds can be cartoonish, but the characters are not.
Like Nussbaum, I also watched the show "through occult means"1 and it's fun hearing from friends who are catching up on it. Too bad the show couldn't have found a way over here earlier.
Update: From Josh Dzieza at The Verge, I can't stop comparing everything to Black Mirror:
A friend recently told me that his favorite thing about the show Black Mirror is that he finally has a term for a certain type of technological anxiety. It's a type of anxiety that seemed everywhere this year. The Sony hack could have been an episode of Black Mirror, as could Gamergate. In the same way that we refer to Blade Runner as shorthand for gritty dystopian cityscapes, Gattaca for worries about corporate use of genetic information, and Terminator for ominously powerful AI, Black Mirror has become shorthand for a certain type of contemporary internet-age creepiness.
In a post on his great blog, The Year in Pictures, James Danziger discusses some of the photography featured in a forthcoming book, The Final Four of Everything, including Danziger's own selections for Iconic American Photographs. The Final Four of Everything seems to be a sequel of sorts to The Enlightened Bracketologist by the same authors...or perhaps just the same book with a much better title.
Wonderful piece on Laura Hillenbrand, author of Seabiscuit and Unbroken. Hillenbrand has suffered from chronic fatigue syndrome for more than 25 years and can barely leave her own house, but she has turned her illness into an advantage in some ways.
Somehow, through the dizziness and disorientation, Hillenbrand has managed to produce two of the most critically and commercially successful nonfiction books in recent decades. "Seabiscuit" and "Unbroken" have together sold more than 10 million copies, and the hardcover edition of "Unbroken" remained on The Times's best-seller list for 185 continuous weeks, which by some accounts is the fourth-longest reign of all time. In fact, the hardcover was so successful that Hillenbrand's publisher, Random House, waited nearly four years before releasing a paperback edition this summer; since then, the paperback has held the top position on The Times's list every week except one. Sallye Leventhal, the book buyer for history and politics at Barnes & Noble, told me that Hillenbrand's commercial success is unparalleled. "There are other phenomenal best sellers, but not this phenomenal," she said. "Not with this velocity, year after year after year."
What's startling to consider is that Hillenbrand has done this with little access to the outside world. She is cut off not only from basic tools of reporting, like going places and seeing things, but also from all the promotional machinery of modern book selling. Because of the illness, she is forced to remain as secluded from the public as the great hermetic novelists. She cannot attend literary festivals, deliver bookstore readings or give library talks and signings. Even the physical act of writing can occasionally stymie her, as the room spins and her brain swims to find words in a cognitive haze. There have been weeks and months -- indeed, sometimes years -- when the mere effort to lift her hands and write has been all that she can muster. "In the middle of working on 'Unbroken,'" she told me, "I went just off a cliff and became very suddenly totally bedridden -- I didn't get out of the house for two years." To function as an author, Hillenbrand has been forced to develop a unique creative process. Everything in her working life is organized around the illness: the way she reads, the way she thinks about language, even the way she describes familiar places. When Hillenbrand writes about the "rough, rasping tremor" of the Pacific and the "smoky brown oval" of Pimlico, her readers feel closer to the ocean and the racetrack than Hillenbrand is ever likely to be again.
After you read that, check out Hillenbrand's piece on her illness written for the New Yorker in 2003.
Molly Beauchemin is a dental health enthusiast. She talked to several dentists about what the current best practices are for keeping your teeth and gums as healthy as possible: The Truth About Your Smile.
Most people have heard a common criticism of hand sanitizer: using it too often makes you more vulnerable to sickness because it kills off even the beneficial germs that fight viruses like the cold and flu. The same is true for the bacteria in your mouth: mouthwash is so antiseptic that most dentists recommend you only use it if you are impaired or have an injury that prevents you from brushing. Otherwise, you risk killing off even the beneficial flora (yes, our mouths are disgusting wastelands of bacteria, but a lot of them are good guys) that help fight plaque and odor-causing bacteria.
I've been searching around for something like this for a few months. Dental hygiene, for me, is a set of mesofacts -- I'm mired in the knowledge of my youth about how to brush, when to floss, etc. -- but increasingly the kids would come home from the dentist with some new tidbit I'd never heard of before, like the thing about not rinsing the toothpaste out of your mouth after brushing. I have to say though, the oil pulling bit at the end sounds like a bunch of hokum.
The Art of the Title covers the opening title sequence to Kubrick's Dr. Strangelove.
Notably, none of the aerial footage in the opening came from -- or was even made for -- Kubrick's film. The footage is all stock. Because it came from more than one stock reel, the sequence features multiple aircraft, including an angle from a KC-135 Stratotanker's refueling deck, which dates back to October 20, 1956 and came directly from the Boeing company. The sequence shows the KC-135 transferring its precious fluids to a B-52 Stratofortress, the colossal bomber featured later in the film. The phallic piece of machinery in the first shot, however, is not the refueling probe of a B-52 or of a KC-135, as one would assume, but possibly that of a Gloster Meteor jet fighter. Regardless, it is the first in a long line of sight gags and sex jokes sprinkled throughout the film.
Also included is a short interview with the title designer, Pablo Ferro.
I've never looked closely at my dishwasher's instruction manual before, but apparently all the manuals tell you how best to load the dishwasher. Joe Clark went through a bunch these manuals and compiled screenshots of the "Loading Your Dishwasher" pages and put them on Flickr.
And now some potential good news about climate change. Efforts to restore the world's rainforests have gained traction and are having small but definite effects on the amount of carbon dioxide in the atmosphere.
Over just a few decades in the mid-20th century, this small country chopped down a majority of its ancient forests. But after a huge conservation push and a wave of forest regrowth, trees now blanket more than half of Costa Rica.
Far to the south, the Amazon forest was once being quickly cleared to make way for farming, but Brazil has slowed the loss so much that it has done more than any other country to limit the emissions leading to global warming.
And on the other side of the world, in Indonesia, bold new promises have been made in the past few months to halt the rampant cutting of that country's forests, backed by business interests with the clout to make it happen.
In the battle to limit the risks of climate change, it has been clear for decades that focusing on the world's immense tropical forests -- saving the ones that are left, and perhaps letting new ones grow -- is the single most promising near-term strategy.
I wish Arbor Day was still a bigger thing. Parts of the US used to be covered by vast forests as well and an effort to encourage the planting of more trees might have an impact not only on our climate but also on the wellbeing of people. It might not seem like much in comparison to the Amazon rain forest, but planting millions of trees each year in the US, if you did it consistently over 20-25 years, would be a wonderful thing. (via @riondotnu)
Update: According to this publication by The Forest History Society, American forests are in better shape today than they've been in decades.
Today about one-third of the land area of the U.S. is forested. This is about two-thirds of the forest area that existed in 1600. The area of forestland today is about the same as it was in 1920.
The average volume of wood per acre in U.S. forests today is 50 percent greater than it was in 1953. In the eastern United States, average volume per acre has almost doubled since 1953.
Robert Yeoman has been the cinematographer for all of Wes Anderson's movies, save for the stop-motion The Fantastic Mr. Fox. Kyle Buchanan at Vulture talked to Yeoman about how he shot nine iconic scenes from Anderson's films. Of the one-take shot near the end of The Royal Tenenbaums:
We had to triple up on scenes from The Royal Tenenbaums just so we could include this subtly marvelous shot from the finale of the film, where the camera drifts from character to character in the aftermath of an accident. "There were a lot of moving parts, and it was very difficult - Wes was determined to get it in one take and didn't want to make a cut, so we did, I think, about 20 takes of it," says Yeoman, who mounted a crane arm to a dolly for fluid movement. "The tough part is that it ends with a very emotional moment between Gene Hackman and Ben Stiller, and this scene was so difficult technically - things didn't always happen when we wanted them to happen, and we'd have to cut - that it's a testament to Gene and Ben that they were able to hang in there and really deliver on take 20." What was going wrong before then? "I don't want to name names, but there was one actor about two thirds of the way through it who kept blowing his lines, and we'd have to start over again," says Yeoman. "That was a little frustrating, especially because Gene and Ben were waiting there, getting themselves to a certain place emotionally. I felt bad for them, but that's just part of making films."
Paul Cronin's book of conversations with filmmaker Werner Herzog is called Werner Herzog - A Guide for the Perplexed. On the back cover of the book, Herzog offers a list of advice for filmmakers that doubles as general purpose life advice.
1. Always take the initiative.
2. There is nothing wrong with spending a night in jail if it means getting the shot you need.
3. Send out all your dogs and one might return with prey.
4. Never wallow in your troubles; despair must be kept private and brief.
5. Learn to live with your mistakes.
6. Expand your knowledge and understanding of music and literature, old and modern.
7. That roll of unexposed celluloid you have in your hand might be the last in existence, so do something impressive with it.
8. There is never an excuse not to finish a film.
9. Carry bolt cutters everywhere.
10. Thwart institutional cowardice.
11. Ask for forgiveness, not permission.
12. Take your fate into your own hands.
13. Learn to read the inner essence of a landscape.
14. Ignite the fire within and explore unknown territory.
15. Walk straight ahead, never detour.
16. Manoeuvre and mislead, but always deliver.
17. Don't be fearful of rejection.
18. Develop your own voice.
19. Day one is the point of no return.
20. A badge of honor is to fail a film theory class.
21. Chance is the lifeblood of cinema.
22. Guerrilla tactics are best.
23. Take revenge if need be.
24. Get used to the bear behind you.
I bet this is some of the stuff you learn at Herzog's Rogue Film School:
The Rogue Film School is not for the faint-hearted; it is for those who have travelled on foot, who have worked as bouncers in sex clubs or as wardens in a lunatic asylum, for those who are willing to learn about lockpicking or forging shooting permits in countries not favoring their projects. In short: for those who have a sense of poetry. For those who are pilgrims. For those who can tell a story to four year old children and hold their attention. For those who have a fire burning within. For those who have a dream.
As a young graduate student, Brian Greene caught the very beginning of the superstring revolution in physics. 30 years later, Greene provides an accessible overview of string theory's current status.
While spectacularly successful at predicting the behavior of atoms and subatomic particles, the quantum laws looked askance at Einstein's formulation of gravity. This set the stage for more than a half-century of despair as physicists valiantly struggled, but repeatedly failed, to meld general relativity and quantum mechanics, the laws of the large and small, into a single all-encompassing description.
Such was the case until December 1984, when John Schwarz, of the California Institute of Technology, and Michael Green, then at Queen Mary College, published a once-in-a-generation paper showing that string theory could overcome the mathematical antagonism between general relativity and quantum mechanics, clearing a path that seemed destined to reach the unified theory.
The idea underlying string unification is as simple as it is seductive. Since the early 20th century, nature's fundamental constituents have been modeled as indivisible particles-the most familiar being electrons, quarks and neutrinos-that can be pictured as infinitesimal dots devoid of internal machinery. String theory challenges this by proposing that at the heart of every particle is a tiny, vibrating string-like filament. And, according to the theory, the differences between one particle and another -- their masses, electric charges and, more esoterically, their spin and nuclear properties -- all arise from differences in how their internal strings vibrate.
As you know, I love videos of how stuff is made. (See below.) Well, I just discovered this treasure trove of more than 300 14-minute videos from a Japanese show called The Making: playlist #1, playlist #2. Each video shows how a different thing is made, from wires to sugar to trophies to cheese and all of them are dialogue-free. Here's the one on how golf balls are made:
I can't wait to show some of these to the kids. Their favorite online video, which they request weekly, is this one on how croissants are made.
When I was a kid, maybe 12 or 13 years old, I watched this program on PBS that showed how a snack food manufacturer came up with a new snack food, from design to manufacturing. The thing that stuck with me the most was that they showed a number of the missteps in-between...like they tried a certain shape with a certain filling and it didn't work out in taste tests, that sort of thing. I LOVED seeing that trial and error in action. I only saw the show once, but it's one of my most vivid childhood TV memories. Maybe it's why I ended up becoming a designer?
Wait, wait! Holy shit, holy shit! I found the show! It was a NOVA program called How to Create a Junk Food that aired in 1988, when I was 14. I couldn't find the video or even a clip, but here's a review in the LA Times.
The ultimate weapon is the flavorist, a 20th-Century alchemist who analyzes natural things like Danish blue cheese or barbecued beef, reconstructs them chemically in the lab and produces their essences to punch up the taste of bland fillings.
Marketing and technology co-produce a croissant-dough cone with a moist meat or cheese filling that appears perfect. But when they test it on the mouths of real consumers (English housewives), it's a bloomin' flop.
Undaunted, the technologists go back to their gizmos and test tubes. After doing such goofy things as gluing electrodes to a chewer's cheeks to get "chew profiles" of different fillings, they come up with a second prototype, Crack a Snack. The wheat-cracker wrapped "savory tube" is called a "triumph of food engineering," which, we're warned, if it is given the proper image, "there's little doubt we'll buy it."
New Scientist wrote about Crack a Snack around the same time.
So yeah, now you know I'm the sort of kid who gleefully watched food engineering documentaries on PBS at 14. But you probably already suspected as much. (via @go)
That's a movie poster for Argo, the fake movie that the CIA "made" as a cover for getting six American diplomats out of Iran in 1980. Ben Affleck's Argo, which cements the former prettyboy actor's status as one of the best young American directors, is somewhat loosely based on The Master of Disguise, a book written by the guy Affleck plays in Argo, and a 2007 Wired magazine article by Joshuah Bearman called The Great Escape. Argo is up for several Oscars and is now available on Blu-ray and DVD.
Update: Here's a CIA report written by Mendez about the caper. And I'm listening to the soundtrack right now.
Lucky Peach, the publishing arm of the Momofuku restaurant group, recently launched their new web site with a bunch of online content. Among their offerings is a series of videos featuring David Chang making various foods, including this omelette flavored with an instant ramen seasoning packet:
See also Chang making tonkotsu broth and gnocchi from instant ramen noodles.
A supercut of all the times Carl Sagan says "million", "billion", "trillion", and "quadrillion" during Cosmos.
Update: Oh man, and here's Sagan saying "billion" once but stretched out over an hour.
The Atlantic is beefing up their photography coverage with the launch of The Atlantic Photo. This replaces In Focus and will be edited by Alan Taylor.
I'd like to introduce our readers to The Atlantic's new Photo section, an expanded home for photography at TheAtlantic.com. This new section features not only an updated look, but more variety in formats, wider images for bigger screens, and a design that works well across a range of mobile devices.
As the editor of the Photo section, I'll continue to publish long-form photo essays nearly every day, as I have for years, in a series we'll still call In Focus, but I'll also start publishing shorter posts-often just a single noteworthy image-under a new category we're calling Burst. I'm really excited to be able to share even more high-quality photography with even more readers.
NiemanLab did a Q&A with Taylor about the new site.
I spend almost all of my day looking through photos, trying to find stories to tell the next day or the next week. Pretty often, I will come across a single image or two or three images, and there's nothing more to go with it. And since I've made it my thing to always be posting longform narratives -- constructed either from a single photographer or multiple photographers -- I thought it would be confusing to mix it up, so I just shied away from doing it.
I've been doing the photo editing now for seven years, and now it's nice to have the ability to do it just whenever something comes up. If I want to do a historic photo of the day, something from the archives, or something from the Library of Congress, or a really amazing photo was just released by NASA -- I just don't really have an easy outlet for that, and it'd be nice to have. And now I'm going to have it, hopefully.
I've long been a fan of Taylor (since the Big Picture days) and am excited to see what he gets up to with The Atlantic Photo.
Matchbook Diaries is an Instagram account collecting photos of NYC restaurant matchbooks. Some notables:
Paul Ford writes about how Greg Knauss scaled Paper's web site after they broke the internet with nude photos of Kim Kardashian.
Via email, Jacobs told Knauss that PAPER believed "they've got something that they think will generate at least 100 million page views, and will their current infrastructure support that?"
"This sort of cold thrill goes down my spine," Knauss said, "and the only thought that makes it out of my brain is, 'Eep.'"
He continued: "I reflexively begin designing the architecture in my head. It's a nerd impulse. Dogs chase after thrown balls, system administrators design to arbitrary traffic."
I love this article for a whole bunch of reasons (including that it's written by a friend about two other friends, one of whom is responsible for keeping kottke.org's servers going), but I was just talking about the burstable web scaling issue with a friend the other day. She was trying to make a reservation for a ferry. The reservations open for the entire season on a particular day at a particular hour and in a matter of hours, most (if not all) of the reservations are taken. And of course, their tiny web site and backend systems melts into a huge puddle that day, people can't get in, and everyone wastes 4 hours of their day trying to make a simple reservation. Basically, the ferry company needs to be Ticketmaster, but only for 3 or 4 hours every year. That's a weird problem and it's been an issue on the web since forever, and no one has solved it in an entirely off-the-shelf way. Someone get on this, riches await.
Responsive web design is a technique used by web builders where the design adapts to different screen sizes. Designer Joe Harrison has built a page with responsive logos for several well-known brands, including Coca-Cola, Nike, Disney, and Levi's. If you resize the page, you can see the logos change. Here's how the Disney logo looks as your browser window gets smaller (from L to R):
As the browser gets smaller, the logos lose detail and become more abstract. By the time you get to the smallest screen width, you're down to just the Disney "D" or Nike swoosh or Heineken red star, aka the bare minimum you need to render the logo recognizable, if only on a subconscious or emotional level. Which reminds me of Scott McCloud's discussion of iconic abstraction (and The Big Triangle) in Understanding Comics, which is still one of the best books on design and storytelling I've ever read. Here's a bit of the relevant passage:
Defining the cartoon would take up as much space as defining comics, but for now, I'm going to examine cartooning as a form of amplification through simplification. When we abstract an image through cartooning, we're not so much eliminating details as we are focusing on specific details. By stripping down an image to its essential "meaning", an artist can amplify that meaning in a way that realistic art can't.
The reason why those particular logos work responsively is because they each have abstract representations that work on that meaningful emotional level. You see that red Levi's tag or Nike swoosh and you feel something.1 I think companies are having to design logos in this way more frequently. Contemporary logos need to look good on freeway billboards, on letterhead, as iOS icons, and, in the case of the Facebook, Twitter, or Pinterest logos, affixed to tiny tweet/like/pin buttons. (via ministry of type)
Buzzfeed's Carolyn Kylstra asked some scientists and medical professionals about juice cleanses and while they are (mostly) harmless, they definitely don't do any of the magical things you think they do, like flush the toxins out of your body or reset your system.
"I don't know why someone would do a juice cleanse," Dr. John Buse, M.D., Ph.D., chief of the division of endocrinology at the University of North Carolina at Chapel Hill, told BuzzFeed Life. "There's very little evidence that it does anything good for you."
And it definitely won't "rid your body of toxins." That really is what your liver (and your kidneys and intestines) is for. "I don't like the marketing around juice cleanses," Eric Ravussin, Ph.D., associate executive director for clinical science at Pennington Biomedical Research Center, told BuzzFeed Life. "That it's going to detox and mobilize all these toxins and all that -- this is pure marketing."
Update: From the NY Times in 2009, Flush Those Toxins! Eh, Not So Fast. The last paragraph makes me angry:
Still, many people swear by these programs. Denise Whitney, 37, a registered nurse and mother of three in Traverse City, Mich., did the Master Cleanse over a seven-day period, plus six days of pre and post cleanse, which included consuming copious amounts of organic juice, fruit and vegetables. "With all the fast food, preservatives, chemicals in our food, it seems impossible that our bodies are not loaded with toxins," Ms. Whitney said, adding that she plans to repeat it in the next few months. "I had more energy during this cleanse than I can ever remember having."
Can we get this nurse unregistered, please? FFS. But at The Guardian, Oliver Burkeman cautions against over-debunking.
We live in the Age of Debunking: no sooner has somebody made a false or hyperbolic claim online (resulting in clicks) than someone else announces, with an air of triumph, that they've debunked it (resulting in clicks). I plead guilty. And often enough, debunking is a noble pursuit: the idea that we only use 10% of our brains, to pick one example, is flat wrong, and people who believe it ought to be corrected. No convincing evidence of a Benghazi conspiracy has ever been unearthed. Marie Antoinette almost certainly didn't say "let them eat cake".
But the internet's enthusiasm for a vigorous debunking now frequently spills over into what you might call the pseudo-debunk. Sometimes, this involves cynically claiming you're debunking when you're really just disagreeing -- thereby implying that your opinion is more than mere opinion; it's "the facts".
(via @fakejoshstein & @neversent)
Using ice-penetrating radar and ice cores, NASA has been able to map the layers in the Greenland ice sheet.
This new map allows scientists to determine the age of large swaths of Greenland's ice, extending ice core data for a better picture of the ice sheet's history. "This new, huge data volume records how the ice sheet evolved and how it's flowing today," said Joe MacGregor, a glaciologist at The University of Texas at Austin's Institute for Geophysics and the study's lead author.
Greenland's ice sheet is the second largest mass of ice on Earth, containing enough water to raise ocean levels by about 20 feet. The ice sheet has been losing mass over the past two decades and warming temperatures will mean more losses for Greenland. Scientists are studying ice from different climate periods in the past to better understand how the ice sheet might respond in the future.
One way of studying this distant past is with ice cores. These cylinders of ice drilled from the ice sheet hold evidence of past snow accumulation and temperature and contain impurities like dust and volcanic ash that were carried by snow that accumulated and compacted over hundreds of thousands of years. These layers are visible in ice cores and can be detected with ice-penetrating radar.
Ice-penetrating radar works by sending radar signals into the ice and recording the strength and return time of reflected signals. From those signals, scientists can detect the ice surface, sub-ice bedrock and layers within the ice.
New techniques used in this study allowed scientists to efficiently pick out these layers in radar data. Prior studies had mapped internal layers, but not at the scale made possible by these newer, faster methods. Another major factor in this study was the amount of Greenland IceBridge has measured.
It's amazing that the detectors and data analysis are sensitive enough to pick out different layers in the ice just from radar. (via @ptak)
Leo Gerard, president of the United Steelworkers International union, writes about a Institute for Policy Studies report called Fleecing Uncle Sam. One of the most eyebrow-raising details is this:
Of America's 100 top-paid CEOs, 29 worked schemes that enabled them to collect more in compensation than their corporations paid in income taxes. The average pay for these 29: $32 million. For one year.
And from the report:
All seven of these firms were highly profitable, collectively reporting more than $74 billion in U.S. pre-tax profits. However, they received a combined total of $1.9 billion in refunds from the IRS, giving them an effective tax rate of negative 2.5 percent.
The seven CEOs leading these tax-dodging corporations were paid $17.3 million on average in 2013. Boeing and Ford Motors both paid their CEOs more than $23 million last year while receiving large tax refunds.
2014 was a year that humans treated each other horribly. But we continue to treat the natural world even worse. Living Alongside Wildlife has a list of 22 species of animal declared extinct in 2014, extending humanity's long streak of causing plant and animal extinctions.
The last known Christmas Island Forest Skink (Emoia nativitatis) died alone in a zoo on May 31st, 2014. It is unknown why the species disappeared from its natural habitat of Christmas Island (an Australian territory) but invasive species may have played a key role.
The St. Helena Giant Earwig (Labidura herculeana) is extinct. This species is notable for being fairly large (over three inches) and was found on the island of St. Helena in the southern Atlantic Ocean.
Plectostoma sciaphilum was a snail that lived entirely on one Malaysian hill. A cement company wiped them all out.
Earlier this month, one of the last remaining northern white rhinos died; only 5 remain. The western black rhino was declared extinct in 2011, wiped out by poaching.
I don't think he's talked about it on his site yet, but Tyler Cowen has a new book coming out called Create Your Own Economy: The Path to Prosperity in a Disordered World.
As economist Tyler Cowen boldly shows in Create Your Own Economy, the way we think now is changing more rapidly than it has in a very long time. Not since the Industrial Revolution has a man-made creation -- in this case, the World Wide Web -- so greatly influenced the way our minds work and our human potential. Cowen argues brilliantly that we are breaking down cultural information into ever-smaller tidbits, ordering and reordering them in our minds (and our computers) to meet our own specific needs.
Create Your Own Economy explains why the coming world of Web 3.0 is good for us; why social networking sites such as Facebook are so necessary; what's so great about "Tweeting" and texting; how education will get better; and why politics, literature, and philosophy will become richer. This is a revolutionary guide to life in the new world.
I never properly reviewed Cowen's last book (sorry!), but I found it as enlightening and entertaining as Marginal Revolution is. (via david archer)
This is pretty much the point at which I knew I was going to love Inglourious Basterds:
Although I can sure see why someone might hate it; the film rode that razor's edge all the way through.
The Truman Show delusion is how some psychiatrists are describing the condition of psychotic patients who believe they are filmed stars of reality TV programs.
Another patient traveled to New York City and showed up at a federal building in downtown Manhattan seeking asylum so he could get off his reality show, Dr. Gold said. The patient reported that he also came to New York to see if the Twin Towers were still standing, because he believed that seeing their destruction on Sept. 11 on television was part of his reality show. If they were still standing, he said, then he would know that the terrorist attack was all part of the script.
As for the movie itself, for all its popularity and critical success when released, it's little-remembered today. And unfairly so; the "realness" about our increasingly mediated lives remains a hot topic of debate.
Someone called TolkienEditor has cut the three Peter Jackson The Hobbit movies down into a single 4-hour film and put the result up on BitTorrent. Their goal was to make the film hew more closely to the book, put the focus back on Bilbo as the main character, and to quicken the pace of the narrative.
The investigation of Dol Guldor has been completely excised, including the appearances of Radagast, Saruman and Galadriel. This was the most obvious cut, and the easiest to carry out (a testament to its irrelevance to the main narrative). Like the novel, Gandalf abruptly disappears on the borders of Mirkwood, and then reappears at the siege of the Lonely Mountain with tidings of an orc army.
The Tauriel-Legolas-Kili love triangle has also been removed. Indeed, Tauriel is no longer a character in the film, and Legolas only gets a brief cameo during the Mirkwood arrest. This was the next clear candidate for elimination, given how little plot value and personality these two woodland sprites added to the story. Dwarves are way more fun to hang out with anyway.
I enjoyed PJ's The Hobbit, particularly the second one, but my main criticism was the lack of focus on Bilbo. I couldn't rustle up any interest in the dwarves or their quest...they were a bunch of ex-rich dudes trying to get their money back. Bah! Martin Freeman was an amazing Bilbo and we just didn't get enough of him. (via @tcarmody)
Update: There is also a three-hour cut of the film that keeps even closer to the spirit of the book. (via @cdwarren)
What if the Busy Busy Town Richard Scarry wrote about was Silicon Valley circa 2015? Meet the fine citizens of Business Town. Great stuff, but did someone forget to credit Ruben Bolling's comic strip Richard Scarry's 21st Century Busy Town Jobs for the inspiration?
If you've read The Hobbit and the Lord of the Rings trilogy (and/or watched the movies1) but didn't delve into the appendices or, shudder, The Silmarillion, this is the video for you. It explains about the Gods who created Middle Earth, what wizards are (not men, but angels), and the specialness of Men and Elves.
After writing The Cat in the Hat in 1955 using only 223 words, Dr. Seuss bet his publisher that he could write a book using only 50 words. Seuss collected on the wager in 1960 with the publication of Green Eggs and Ham. Here are the 50 distinct words used in the book:
a am and anywhere are be boat box car could dark do eat eggs fox goat good green ham here house I if in let like may me mouse not on or rain Sam say see so thank that the them there they train tree try will with would you
From a programming perspective, one of the fun things about Green Eggs and Ham is because the text contains so little information repeated in a cumulative tale, the story could be more efficiently represented as an algorithm. A simple loop would take the place of the following excerpt:
I do not like them in a box.
I do not like them with a fox.
I do not like them in a house.
I do not like them with a mouse.
I do not like them here or there.
I do not like them anywhere.
I do not like green eggs and ham.
I do not like them, Sam I am.
But I don't know...
foreach ($items as $value) doesn't quite have the same sense of poetry as the original Seuss.
You've probably seen many of these images pop up on FB and Twitter this year. And they are amazing! But actually totally fake!
No, this isn't a solar eclipse as seen from the International Space Station.
Space photo researcher @FakeAstropix keeps debunking this one, but it keeps popping up in every corner of the internet. Which is why it's earned our top spot today. It's actually a rendering from DeviantArt user A4size-ska. Beautiful, but totally fake.
Does "even if it's fake it's real" apply here? (via @john_overholt)
Removal of items from US National Parks is illegal (or at least highly frowned upon). In the case of the Petrified Forest National Park in Arizona, the removal of petrified wood has come to be seen by some as unlucky. Bad Luck, Hot Rocks is a book and web site containing "conscience letters" from those who are returning stolen rocks to the park.
In the more than one hundred years since its establishment in 1906, however, some visitors have still been unable to resist the urge to remove wood from the park. Some of these same visitors eventually return their ill gotten souvenirs by mail, accompanied by 'conscience letters.' The content of each letter varies, but writers often include stories of misfortune, attributed directly to their stolen petrified wood. Car troubles. Cats with cancer. Deaths of family members. For many, their hope is that by returning these rocks, good fortune will return to their lives. Other common themes include expressions of remorse, requests for forgiveness, and warnings to future visitors.