If you spin these sculptures by artist John Edmark at a certain speed and light them with a strobe, they appear to animate in slowly trippy ways.
Blooms are 3-D printed sculptures designed to animate when spun under a strobe light. Unlike a 3D zoetrope, which animates a sequence of small changes to objects, a bloom animates as a single self-contained sculpture. The bloom’s animation effect is achieved by progressive rotations of the golden ratio, phi (ϕ), the same ratio that nature employs to generate the spiral patterns we see in pinecones and sunflowers. The rotational speed and strobe rate of the bloom are synchronized so that one flash occurs every time the bloom turns 137.5º (the angular version of phi).
The effect seems computer generated (but obviously isn’t) and is better than I anticipated. (via colossal)
Update: While not as visually smooth as his sculptures, Edmark’s rotation of an artichoke under strobe lighting deftly demonstrates the geometric rules followed by plants when they grow.
Here we see an artichoke spinning while being videotaped at 24 frames-per-second with a very fast shutter speed (1/4000 sec). The rotation speed is chosen to cause the artichoke to rotate 137.5º — the golden angle — each time a frame is captured, thus creating the illusion that the leaves are moving up or down the surface of the artichoke. The reason this works is that the artichoke grows by producing new leaf one at a time, with each new leaf positioned 137.5º around the center from the previous leaves. So, in a sense, this video reiterates the artichoke’s growth process.
Update: This similar sculpture by Takeshi Murata is quite impressive as well.
The Upshot recently conducted a survey about 29 gun control ideas and graphed the results based on the popularity of the ideas with the American public and their potential effectiveness according to experts.
Oh, shit like this makes me SO ANGRY. I didn’t even include the bottom part of the graph because there’s nothing down there. That’s right, the majority of Americans support all sorts of different gun control tactics, especially those likely to be most effective. But a focused and organized minority of gun nuts has somehow made it impossible for any reform to happen, so things like Newtown and Orlando and Charleston and San Bernardino and Aurora and toddlers killing people with guns will just continue to happen all over the nation like it’s completely fucking normal.
Last night, as she accepted a lifetime achievement award at the Golden Globes, Meryl Streep made some comments about the current political situation and about Donald Trump in particular (although she never mentioned him by name). The clip above (which may not last long on YouTube) is worth watching.
But there was one performance this year that stunned me. It sank its hooks in my heart. Not because it was good; there was nothing good about it. But it was effective and it did its job. It made its intended audience laugh, and show their teeth. It was that moment when the person asking to sit in the most respected seat in our country imitated a disabled reporter. Someone he outranked in privilege, power and the capacity to fight back. It kind of broke my heart when I saw it, and I still can’t get it out of my head, because it wasn’t in a movie. It was real life. And this instinct to humiliate, when it’s modeled by someone in the public platform, by someone powerful, it filters down into everybody’s life, because it kinda gives permission for other people to do the same thing. Disrespect invites disrespect, violence incites violence. And when the powerful use their position to bully others we all lose. OK, go on with it.
And the NY Times — in an effort to “get both sides” of the story, I guess? — ran a story that I’m not going to link to called “Donald Trump Says He’s Not Surprised by Meryl Streep’s Golden Globes Speech”. Is it newsworthy, what he thought of Streep’s remarks? Unless he agrees with her and plans to honestly reevaluate how he treats others when he speaks, I would argue it’s not at all worth printing what’s essentially a Trump press release full of bullshit. And news outlets that actually care about the truth and not just printing spin should stop doing it.
Geoff Manaugh at BLDGBLOG has written a terrific riff on historian John R. Gillis’s new book The Human Shore: Seacoasts In History. After a phrase from Steve Mentz, it’s called “Fewer Gardens, More Shipwrecks”:
“Even today,” Gillis claims, “we barely acknowledge the 95 percent of human history that took place before the rise of agricultural civilization.” That is, 95 percent of human history spent migrating both over land and over water, including the use of early but sophisticated means of marine transportation that proved resistant to archaeological preservation. For every lost village or forgotten house, rediscovered beneath a quiet meadow, there are a thousand ancient shipwrecks we don’t even know we should be looking for…
We are more likely, Gillis and Mentz imply, to be the outcast descendants of sunken ships and abandoned expeditions than we are the landed heirs of well-tended garden plots.
Seen this way, even if only for the purpose of a thought experiment, human history becomes a story of the storm, the wreck, the crash—the distant island, the unseen reef, the undertow—not the farm or even the garden, which would come to resemble merely a temporary domestic twist in this much more ancient human engagement with the sea.
The Hebrew Bible famously begins human history with a garden, followed by agriculture, then a flood, then cities, then wandering in exodus — but that story’s probably completely inverted. (The fact that the story’s written in a script likely borrowed by seafaring merchants is a tell.)
Even after agricultural urban civilization settles in, there are continued raids from “sea peoples”, Vikings, Mongols, and the British Empire — wanderers over land and sea who periodically crash into the farmers’ cities and make them their own, through trade and/or plunder.
Robert Graves thought all Greek mythology (and maybe all mythologies) dramatized the conflict between new and old gods, particularly the matriarchal gods of agriculture with the patriarchal gods of the sky and sea. In all the stories, he thought, you could find a trace of the suppressed gods, a counter-narrative that was never completely erased.
Here, too, we get our opposing views of nature: the regular, settled rhythms of Hades and Demeter, and the inhuman danger of Zeus and Poseidon — Walden vs. Moby-Dick.
Maybe the most successful myths are the ones that reconcile the two strands, legitimizing the victorious shipwrecked wanderers by explaining that the gardens they conquered were always theirs to begin with — that they had brought civilization and enlightenment to the farmers, whose songs their children sung, without knowing where they had come from.
(Top image from D’aulaire’s Book of Greek Myths)
It’s that time of year again. No, not Christmas or Hanukkah. As the year winds down, it’s an opportunity for Americans to investigate how differently they use words in different parts of the country. In December 2013, for example, people lost their damn minds over the NY Times’ dialect quiz. This year, you can play around with The Great American Word Mapper which uses Twitter data from 2014 to plot geographic usage patterns.
For instance, you can see where people use “supper” vs. “dinner” (see above). The map indicates mixed usage where I grew up, which checks out…we mostly said “supper” but “dinner” was not uncommon, particularly as I got older. Other results are less useful…the Twitter-based “soda” vs. “coke” vs. “pop” doesn’t tell you as much as directly asking people what they call soft drinks.
The swearing maps are always fun (see also the United States of Swearing)…I wonder why “shit” is so relatively popular in the South?
Some other interesting searches: “moma” (alternate spelling of “momma” in the South with a small pocket of usage around NYC for MoMA), “city” doesn’t give the result you might expect, the distribution of “nigger” vs “nigga” suggests they are two different words with two different meanings, and in trying to find a search that would isolate just urban areas, the best I could come up with was “kanye” (or maybe “cocktails” or “traffic”). And harsh, map! Geez. (via @fromedome)
Bill Gates and a number of other investors are starting a billion venture fund focused on “cheap, clean, reliable energy”.
Bill Gates is leading a more than $1 billion fund focused on fighting climate change by investing in clean energy innovation.
The Microsoft co-founder and his all-star line-up of fellow investors plan to announce tomorrow the Breakthrough Energy Ventures fund, which will begin making investments next year. The BEV fund, which has a 20-year duration, aims to invest in the commercialization of new technologies that reduce greenhouse-gas emissions in areas including electricity generation and storage, transportation, industrial processes, agriculture, and energy-system efficiency.
The company’s tagline is “Investing in a Carbonless Future” and their investment criteria are:
- CLIMATE IMPACT. We will invest in technologies that have the potential to reduce greenhouse gas emissions by at least half a gigaton.
- OTHER INVESTMENTS. We will invest in companies with real potential to attract capital from sources outside of BEV and the broader Breakthrough Energy Coalition.
- SCIENTIFIC POSSIBILITY. We will invest in technologies with an existing scientific proof of concept that can be meaningfully advanced.
- FILLING THE GAPS. We will invest in companies that need the unique attributes of BEV capital, including patience, judgment by scientific milestones, flexible investment capabilities, and a significant global network.
Jeff Bezos, Mike Bloomberg, Richard Branson, Reid Hoffman, and Jack Ma are also participating in the fund.
In related-yet-unrelated news, a recent report says investment funds controlling more than $5 trillion in assets have dropped some or even all of their fossil fuel stocks.
The report, released Monday, said the new total was twice the amount measured 15 months ago — a remarkable rise for a movement that began on American college campuses in 2011. Since then, divestment has expanded to the business world and institutional world, and includes large pension funds, insurers, financial institutions and religious organizations. It has also spread around the world, with 688 institutions and nearly 60,000 individuals in 76 countries divesting themselves of shares in at least some kinds of oil, gas and coal companies, according to the report.
“It’s a stunning number,” said Ellen Dorsey, the executive director of the Wallace Global Fund, which has promoted fossil fuel divestment and clean energy investment as part of its philanthropy.
Like it or not, economics has to be a significant driver for combatting climate change. Driving public opinion against fossil fuel companies, falling prices for solar and battery energy, and clean energy investment funds: it all helps support the decisions made by the world’s forward-thinking leaders. And maybe, just maybe, if you can get the world’s leaders, the public, and the economy all pointed in the right direction, we’ve got a chance.
From an excerpt of Kevin Kelly’s recent book, The Inevitable, a list of the Seven Stages of Robot Replacement:
1. A robot/computer cannot possibly do the tasks I do.
2. [Later.] OK, it can do a lot of those tasks, but it can’t do everything I do.
3. [Later.] OK, it can do everything I do, except it needs me when it breaks down, which is often.
4. [Later.] OK, it operates flawlessly on routine stuff, but I need to train it for new tasks.
5. [Later.] OK, OK, it can have my old boring job, because it’s obvious that was not a job that humans were meant to do.
6. [Later.] Wow, now that robots are doing my old job, my new job is much more interesting and pays more!
7. [Later.] I am so glad a robot/computer cannot possibly do what I do now.
I predict that getting to #6 will be challenging for many people.
Today marks the 10th anniversary of the introduction of the iPhone.
In the ten years since, iPhone has enriched the lives of people around the world with over one billion units sold. It quickly grew into a revolutionary platform for hardware, software and services integration, and inspired new products, including iPad and Apple Watch, along with millions of apps that have become essential to people’s daily lives.
You can watch Steve Jobs introduce the iPhone during the MacWorld 2007 keynote in the video above; it’s one of the best technology demos ever. Here’s my liveblog of the keynote, my thoughts from a couple of days later, and my review after getting an iPhone in June. (I also constructed a cardboard version of the phone to see how the size compared to my then-current mobile phone.)
I guess we know why iPod development has seemed a little sluggish lately. When the Zune came out two months ago, it was thought that maybe Apple was falling behind, coasting on the fumes of an aging product line, and not innovating in the portable music player space anymore. I think the iPhone puts this discussion on the back burner for now. And the Zune? The supposed iPod-killer’s bullet ricocheted off of the iPhone’s smooth buttonless interface and is heading back in the wrong direction. Rest in peace, my gentle brown friend.
It’s difficult to overstate the impact of the iPhone on the world. In just 10 short years, smartphones have completely and irreversibly changed how a large part of humanity communicates and is quickly changing how the rest will. And that all started with the iPhone. As I noted at the time, you could see a product like this coming but Apple put it all together in a way that became the blueprint, for better and for worse, for every device and mobile application that followed. Not bad for a computer that didn’t have copy/paste when it launched.
For his new book, Evolution: A Visual Record, photographer Robert Clark has collected dozens of images that show the varying ways in which plants and animals have adapted to their changing surroundings.
Evidence of evolution is everywhere. Through 200 revelatory images, award-winning photographer Robert Clark makes one of the most important foundations of science clear and exciting to everyone. Evolution: A Visual Record transports readers from the near-mystical (human ancestors) to the historic (the famous ‘finches’ Darwin collected on the Galapagos Islands that spurred his theory); the recently understood (the link between dinosaurs and modern birds) to the simply astonishing.
The photo above is of a southern cassowary, a flightless bird that is particularly dinosaur-esque in stature and appearance.
French visual effects artist Maxime Causeret took a track from Max Cooper’s album Emergence and created these wonderful biologically inspired patterns and interactions.
Maxime also shows us a section of animated reaction-diffusion patterns, where simple chemical feedback mechanisms can yield complex flowing bands of colour — these forms of system were originally thought up by Alan Turing, and were part of the early seeds of the field of systems biology, which seeks to simulate life with computers, in order to better understand the systems producing the complexity we see in the living world. They were also the starting point of my main research area many years ago before I got lost in music! (where I began with the question of what patterns could be produced via reaction-diffusion forms of system as opposed to gene-regulatory network controlled patterning).
There’s a blue brain coral pattern at the 1:30 mark and a neuron-ish pattern at 2:30 that I wish would go on forever. Headphones recommended, psychoactive drugs optional. (via colossal)
Robert Hickey is the deputy director of The Protocol School of Washington, which provides etiquette and protocol training. In his book Honor & Respect, he covers the “correct written and oral forms of address for everyone from local officials to foreign heads of state”. For The President of the United States, the proper forms of address are:
Letter salutation: Dear Mr. President:
Complimentary close: Most respectfully,
Announced: The President of the United States
Introduction: Mr. President, may I present …
Conversation: Mr. President
And contrary to how many media outlets refer to former US Presidents, they should not be referred to as “President” (e.g. “President Bush”):
“While it is common practice in the media and elsewhere to address and identify former presidents as ‘President (Name),’ this is a mistake,” said Hickey. “Serving as President of the United States does not grant one the personal rank of ‘President’ for life. The office of President is a one-person-at-a-time role that a specific individual holds and then hands off to the next person.”
“Courtesies, honors, and special forms of address are symbols of the power of the office. They belong to the office and to the citizens, not former office holders.”
Hickey recommends “The Honorable” as an official title (e.g. “The Honorable Jimmy Carter”) and “Mr./Ms.” for conversation or salutation (e.g. “Mr. Clinton”).
While Donald Trump was officially sworn in as the President on Friday, this site will continue to refer to Trump as “Trump” or “Donald Trump”1 and not as “President Trump”. Again and again, almost to a pathological degree, Trump has demonstrated, in word and deed, that he has not earned and does not deserve our respect and the title of his office. It’s a small protest by a small “media outlet”, perhaps petty, but as long as the First Amendment still applies, I will publish what I like on my own damn website.
And since I am all for the “one-person-at-a-time” rule, this site will also continue to refer to Barack Obama as “President Obama”. He’s earned it many times over.
Reuters editor-in-chief Steve Adler wrote a message to staff called “Covering Trump the Reuters Way.” After noting that “Reuters is a global news organization that reports independently and fairly in more than 100 countries, including many in which the media is unwelcome and frequently under attack,” he lays down some do’s and do-not-do’s1:
—Cover what matters in people’s lives and provide them the facts they need to make better decisions.
—Become ever-more resourceful: If one door to information closes, open another one.
—Give up on hand-outs and worry less about official access. They were never all that valuable anyway. Our coverage of Iran has been outstanding, and we have virtually no official access. What we have are sources.
—Get out into the country and learn more about how people live, what they think, what helps and hurts them, and how the government and its actions appear to them, not to us.
—Keep the Thomson Reuters Trust Principles close at hand, remembering that “the integrity, independence and freedom from bias of Reuters shall at all times be fully preserved.”
—Never be intimidated, but:
—Don’t pick unnecessary fights or make the story about us. We may care about the inside baseball but the public generally doesn’t and might not be on our side even if it did.
—Don’t vent publicly about what might be understandable day-to-day frustration. In countless other countries, we keep our own counsel so we can do our reporting without being suspected of personal animus. We need to do that in the U.S., too.
—Don’t take too dark a view of the reporting environment: It’s an opportunity for us to practice the skills we’ve learned in much tougher places around the world and to lead by example - and therefore to provide the freshest, most useful, and most illuminating information and insight of any news organization anywhere.
These are good rules. (That one about giving up on access and hand-outs is downright fire.) They’re particularly good rules for a place like Reuters, that has a specific style, tradition, and role in the news ecosystem.
But they’re not necessarily good rules for everybody. Different news organizations are going to need to fill different roles in the ecosystem, different spaces on the multiple axes of personal, political, intellectual, and business commitments. If Gawker were still here in its full glory, Nick Denton could write up “Covering Trump the Gawker Way” and it would probably be a totally different but equally valuable list of guidelines.
The other thing news organizations (and other companies too) will need to figure out in L’Age D’Trump are their commitments to their staff. Reporters and media organizations need legal protections so they can’t be prosecuted as criminals or sued by proxy billionaires for doing their job; but they also need to be able to talk freely about how to do their job and balance all of those commitments for themselves without being shown the door.
The pressure is going to be coming from a lot of directions, not always the obvious ones. When the stakes are this high, and the conditions this uncertain, it helps to allay as many uncertainties as possible. When the shit goes down, you need to know who’s going to have your back.
Emmett Till, 14, was murdered and mutilated for flirting with a white woman, Carolyn Bryant, 21, in August 1955. Some reports say Till whistled at Bryant; others that he said “bye, baby” when leaving her store. Bryant’s husband Roy and his half-brother J.W. Milam kidnapped, tortured, and killed Till, then dumped his body in the river. Bryant and Milam were acquitted by an all-white, all-male jury that September. Till’s lynching and the Brown v. Board of Education Supreme Court decision the year before mark the beginning of the modern civil rights movement in the United States.
There are two new books about Emmett Till — or rather, partly about Till and partly about the world around him, which is not so far from ours as we might like. Timothy B. Tyson’s The Blood of Emmett Till includes interviews with Carolyn Bryant Donham, now 82, where she recants much of her testimony in the Till case, including her claim that Till made verbal or physical advances on her.
Clearly, he observed, she had been altered by the social and legal advances that had overtaken the South in the intervening half century. “She was glad things had changed [and she] thought the old system of white supremacy was wrong, though she had more or less taken it as normal at the time.” She didn’t officially repent; she was not the type to join any racial reconciliation groups or to make an appearance at the new Emmett Till Interpretive Center, which attempts to promote understanding of the past and point a way forward.
But as Carolyn became reflective in Timothy Tyson’s presence, wistfully volunteering, “Nothing that boy did could ever justify what happened to him.”
John Edgar Wideman’s Writing to Save A Life takes up the story of Till’s father Louis, who beat his wife, left the family destitute, chose the army over prison, then was court-martialed and hanged in Italy during World War 2 on thinly substantiated rape charges. When it comes to sex and race, the lines we might draw between legal and extralegal punishment, rough familial revenge and precise military bureaucracy, gets blurrier and blurrier. What Wideman finds instead in both Till cases, father and son, is a “crime of being.”
I had never once thought of nor seen Louis Till before Wideman painted him so exquisitely, and now I have to acknowledge that he is all around me. Walter Scott? He’s Louis Till; so is Eric Garner. Michael Brown, unsympathetic as he appears on that convenience-store video — I can no longer see him without conjuring Emmett’s father. Seventeen-year-old Laquan McDonald, wandering through the Chicago night until his body jumps and jerks from 16 shots? Louis (Saint) Till. Poor Philando Castile — pulled over at least 49 times in 13 years before the final and fatal interaction that left him bleeding in front of his girlfriend and her daughter and all the rest of us on Facebook Live — is a high-tech Louis Till. Ditto Alton Sterling down in Baton Rouge, Freddie Gray up in Baltimore and “bad dude” Terence Crutcher out in Tulsa: all these men are Louis Tills. Trayvon Martin and 12-year-old Tamir Rice are something else altogether, heart-rending combinations of both Tills, pÃ¨re and fils, doomed man-children in the fretful, trigger-happy imagination of American vigilantes and law enforcement. Whatever other crimes may or may not have been committed, may or may not have potentially been on the brink of being committed, these were all crimes of being before they were anything else.
It may be too hard to hold all of this in our heads — the elderly woman making gestures of repentance but still complicit in that horrible, racist crime, and the mysterious, violent man ground to dust by racist military machinery — and also recognize that this is still living memory: that Emmett Till and so many others should still be here to tell the stories of their lives, not have others speak for them. At the same time, when the horrors of World War 2 and Jim Crow suddenly in some ways feel closer than ever, how can we not strain to hear whatever they have to tell us?
Brexit, climate change, Trump, Syria, white nationalism, Turkey, racism and police violence, the Flint water crisis, natural disasters, terrorist attacks, drowned migrants. I was tempted to just post a photo of a burning dumpster or the this is fine dog and leave it at that. But professional photographers and the agencies & publications that employ them are essential in bearing witness to the atrocities and injustices and triumphs and breakthroughs of the world and helping us understand what’s happening out there. It’s worth seeking out what they saw this year.
Several sites, publications, and agencies have published lists of the best and most newsworthy photos of the year. Among them are In Focus’ Top 25 News Photos of 2016 as well as their three-part 2016: The Year in Photos (part 1, part 2, part 3), National Geographic’s The 52 Best Photographs of 2016, Time’s Top 100 Photos of the Year 2016, AFP’s Pictures of the Year (part 1, part 2, part 3), 2016: The Year in Photos from CNN, Pictures of the Year 2016 from Reuters, the AP’s Top Photos of 2016, some of the top images from the World Press Photo exhibition, which “highlights the best photojournalism of the year”, The Top Photos of 2016 from Maclean’s, and The Best Weird and Wonderful Photos of 2016 from totallycoolpix.com.
I’ve selected five of my favorite photos from these lists and included them above. From top to bottom, the photographers are Jonathan Bachman, Brent Stirton, Kai Pfaffenbach, Anuar Patjane Floriuk, and Mahmoud Raslan. The top photo, by Bachman, pictures the arrest of Ieshia Evans while protesting the death of Alton Sterling by the Baton Rouge police and is just flat-out amazing. In a piece for The Guardian, Evans wrote:
When the armored officers rushed at me, I had no fear. I wasn’t afraid. I was just wondering: “How do these people sleep at night?” Then they put me in a van and drove me away. Only hours later did someone explain that I was arrested for obstructing a highway.
There’s so much fear in that photo — institutional fear, racial fear, societal fear — but none of it is coming from Evans. Total hero.
Update: Buzzfeed shares The 46 Most Powerful Photos of 2016 and the BBC has the 15 finalists in the 2016 Art of Building architectural photography competition.
Update: The NY Times offers up The Year in Pictures 2016.
Update: From Artsy, The Most Powerful Moments of Photojournalism in 2016.
Update: World Press Photo announced the winners of their 2017 Photo Contest (of photos taken in 2016).
You may have heard about the dumb old lady who was driving with a cup of McDonald’s coffee in her lap, spilled it, and then greedily sued McDonald’s, winning millions of dollars and setting off an epidemic of frivolous personal injury lawsuits that’s still alive and well today. Well, that’s not really what happened. Adam Conover explains what actually went down in this entertaining short video.
P.S. If you’re following along, what we have here is a video by CollegeHumor of a comedian debunking misinformation deliberately spread by a large multinational corporation (with publicly available sources!), packaged as a comedy bit but is every bit as informational as a piece in the Times or on Vox. If you’re being disingenuous, you might call this fake news. (See also Last Week Tonight, The Daily Show, The Colbert Report, etc.) (via subtraction)
Update: Hot Coffee is a feature-length documentary about the McDonald’s coffee case and tort reform in America. (via @aabhowell)
Update: Retro Report has a piece on the suit as well. (via @DavidGrann)
Not going to say much about this one. Just watch it…especially if somehow, as a curious, thoughtful person who reads this site regularly, you are unaware of how many in the black community feel about the police and that they have conversations like this with their children about those who are supposed to protect and serve people.
Need to sleep, focus on work, get away from the news, meditate, or just tickle your ASMR receptors? Try 10 hours of ambient noise from a Norwegian icebreaker idling in the frozen Arctic.
10 hours video of Arctic ambience with frozen ocean, ice cracking, snow falling, icebreaker idling and distant howling wind sound. Natural white noise sounds generated by the wind and snow falling, combined with deep low frequencies with delta waves from the powerful icebreaker idling engines, recorded at 96 kHz — 24 bit and designed for relaxation, meditation, study and sleep.
That is some “Calgon take me away”-level shit. See also the most relaxing song in the world. (via bb)
Print book sales are increasing (slightly) while e-book sales continue to fall (sharply), says Nielsen’s Jonathan Stolper. Which means for the first time in more than four years, hardcover books are outselling e-books. Stolper lists a few factors driving the switch: the price of e-books has gone up, and fewer people are using dedicated e-readers. Even people buying and reading e-books are doing it on their phones and tablets, not Kindles or Nooks or what-have-you.
Whatever the causes for the decrease in e-book sales, the decline has resulted in something that many publishing experts thought would never happen—unit sales of hardcovers overtook unit sales of e-books. With hardcover units up 5% in 2016 over 2015, hardcover’s 188 million units sold topped that of e-books for the first time since Borders closed in 2012, Stolper said.
I have a pet theory about this, and it’s very simple: it’s about the stores. Here’s how it works.
- E-bookstores expand to country after country, publisher after publisher => sales of e-books go up.
- Borders and other chain bookstores shut down => sales of print books go down.
- Barnes & Noble and other e-bookstores shut down, leaving Amazon basically the only game in town => sales of e-books go down. (Also prices go up.)
- People stop using devices that are basically stores with readers attached, and use phones and tablets where it’s harder to buy => sales of e-books go down some more.
It’s the same boom-and-bust that we had when the new chain bookstores came through thirty years ago and gradually killed each other off! Lots of places to buy books, then hardly any places to buy books.
Meanwhile, indie bookstores are weathering the storm and big box stores are still pushing books at a discount, keeping print books afloat. Which is exactly what the publishers and a lot of other players in the market have always wanted: a high e-book prices, both to preserve a revenue floor and to keep the entire print market chain in business. And Amazon’s fine with it — they got the near-monopoly on e-retail they wanted.
Meanwhile, readers are paying more for books and have fewer places from which to buy them. As much as I like a good hardcover, that hardly feels like a win.
Buying a book is what they call a crime of opportunity. If there were more viable e-bookstores (and if DRM weren’t such a monster, there’s no reason every website couldn’t be an e-bookstore), we’d have better competition on price (collusion and market choices aside) and everyone would sell a whole lot more e-books.
Update: I screwed up the first draft of this and conflated hardcover units with total print sales. (I also forgot to include the link to the Publishers Weekly story I quoted.) To be clear, hardcovers are outselling e-books now, from the publishers covered in Nielsen’s survey. E-books have never outsold all print books — even rosy projections back in 2014, when e-book sales were about a third of the market, didn’t think they’d cross that 50/50 threshold until well into this decade. Thanks to Doug Gates who spotted the error.
Update 2: Dan Cohen pointed out a number of other factors tipping sales measurement in favor of print: “dark” but legal reading of e-books that doesn’t get counted (libraries, open e-books, DRM-free private sales by authors and indies), and increased sales of audiobooks, which eats away at the e-book market. E-readers, too, haven’t really improved much; neither have the aesthetics of the books themselves. Other readers pointed out that readers feel burned by stores and services failing.
In short, “cost” is probably the biggest factor, broadly defined — but what exactly that means and how it plays out in readers’ choices is a lot more complex than a binary choice between e-books and print.
That wraps up my week and a day on Kottke.org. I want to thank Jason for letting me sit in his imaginary chair, and I especially want to thank Kottke readers and site members for letting me think my way through a weird-ass, anxiety-inducing time in all of our lives.
If you’re not a member of kottke.org, please consider it: Jason’s work on this site is extraordinary, and still too unsung. Among other things, your support helps him give work to folks like me to keep this place running when he’s not around.
Jason should be back on Monday. Before I check out, I want to tease you with a short list of stories drafted but not published this week. Just imagine what could have been.
Companies and their avatars (why we give Tesla’s Elon Musk crap, but not Marvel’s Ike Perlmutter)
The experience of time in Hell (and why does it feel like we’re all there already)
Eli Whitney was not black, but lots of people think so (lots of other people got here first, look it up)
“I Am Not Your Negro”: A Review (I had to cancel plans to see it this afternoon)
The Seven NBA All-Stars I Would Not Be Willing To Street Fight, and Why (sometimes fanfic just gets out of hand)
Always a pleasure to write for the best blog in the world.
If you point a video camera at a projection of the video camera’s output — and if the conditions are just so — you get some interesting patterns that look almost biological. It’s fascinating that video feedback strongly resembles the patterns on brain coral. There must be an underlying emergent process for filling space that links the two patterns together. The video was made by Ethan Turpin…you can see more of his work here. (via @sleeptest)
Real Engineering takes a look at some of the greatest innovations in F1 racing, including those that have made their way into passenger cars, like disc brakes, carbon fiber construction, and aerodynamics. The part about how the teams of engineers started competing with each other to increase the aerodynamics was really interesting. The 2014 F1 season was an instance where one team’s innovations were so dominant that the drivers were almost irrelevant. Mercedes dominated in 2015 and 2016 as well, but rule changes for 2017 (wider tires, wider cars, and lower spoilers mean faster cornering) will have everyone scrambling to find the advantages.
I’m happy and proud to announce that my pal Brian Bartels’ book The Bloody Mary will be out in a couple months.
The Bloody Mary is one of the most universally-loved drinks. Perfect for breakfast, brunch, lunch, dinner, and beyond, there simply isn’t a wrong time for a Bloody.
In The Bloody Mary, author Brian Bartels — beverage director for the beloved West Village restaurants Jeffrey’s Grocery, Joseph Leonard, Fedora, Perla, and Bar Sardine — delves into the fun history of this classic drink. (Did Hemingway create it, as legend suggests? Or was it an ornery Parisian bartender?)
More than 50 eclectic recipes, culled from top bartenders around the country, will have drinkers thinking outside the vodka box and taking garnishes to a whole new level.
Brian is probably the one person most responsible/culpable for introducing me, somewhat later in life than many, to the wonderful world of spirits and cocktails. I am not a particular fan of the Bloody Mary, but I’m buying this book because Brian has yet to steer me wrong when it comes to beverages.
This is from Walter Benjamin’s essay “On the Concept of History,” but I’m going to use the old translation back when it was called “Theses on the Philosophy of History,” and mess with the line breaks a little. If you’ve read this a million times, forgive me; it’s always worth reading again.
A Klee painting named “Angelus Novus” shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread.
This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage and hurls it in front of his feet.
The angel would like to stay, awaken the dead, and make whole what has been smashed.
But a storm is blowing in from Paradise; it has got caught in his wings with such a violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward.
This storm is what we call progress.
Benjamin wrote this in 1940, in Paris; he’d left Germany shortly before the Nazis seized power. After the Nazis invaded France, he fled to Spain, with a precious travel visa to the United States. Spain’s government then cancelled all transit papers. The police told Benjamin and all the other Jewish refugees in his group would be returned to France. He killed himself.
His friend Hannah Arendt later made it across the border safely; she had the manuscript of this essay. Which is why it exists.
Why is this useful?
These are chaotic times. But to the angel of history, it’s not a sudden eruption of chaos, but a manifestation of an ongoing vortex of chaos that stretches back indefinitely, without any unique origin. When we’re thrust into danger, in a flash we get a more truthful glimpse of history than the simple narratives that suffice in moments of safety. As Benjamin puts it, “the tradition of the oppressed teaches us that the ‘state of emergency’ in which we live is not the exception but the rule.”
Global refugees, the stubborn pervasiveness of white supremacy, the arbitrary power of the state, the fragility of national and international institutions — we’ve been here for some time now, haven’t we? One day, you stir, and there you are — right where you’ve always been. With nothing under your feet, and ghosts pausing for breath next to your cheek.
This is not normal — and yet it’s the same as it’s always been. Because there is no normal. Not really. Just a series of accidents, a trick of the light, a collective hallucination we’ve all worked to diligently maintain.
Even now, most of us are working to impose an order on the world, to see a plan at work, to sort the chaos into “distractions” and “reality,” whether it’s “real news,” uncovering the secret aims of an unseen puppet master, or articulating the one true politics that can Fix Everything. We can’t help it; it’s what we do.
Remembering the angel helps ameliorate that impulse. Yes, there are opportunists everywhere, and real losses and victories, but the perfect theory that links events into beautiful chains of causality is elusive enough to be a dream for a fallen people. “Only a redeemed mankind receives the fullness of its past — which is to say, only for a redeemed mankind has its past become citable in all its moments.” For now, it’s all part of the storm; we’re all going to have to improvise.
For all his pessimism, rooted in a contempt and longing for a safety he couldn’t enjoy, Benjamin (I think) really did believe in the possibility of a Messiah, who would appear at a moment of great danger. It was a Jewish and a Marxist belief for someone who had great difficulty believing in either Judaism or Marxism in any of their existing forms.
There are a lot of people, on the left and the right, who share a version of this idea as a matter of dogma, without anything like the Kierkegaardian leap of faith Benjamin took in order to suspend his disbelief in it. Better to knock everything down, to build something new to replace it; heighten the stakes, so we have no choice but to take drastic steps to build paradise. I’m a lot less sure. I know what it took to build those things, and the emergencies that forced us to build them. It’s not an algebra problem to me, a clever lecture, a witty conjecture. I like those. Those are fun. This is not fun. This is blood and bones and broken things that do not come back. It would be nice to have a political or religious framework in which all those things can be mended or redeemed. It’s not available to me, except in its absence.
But for all that, I think I do believe in something smaller, more limited:
- I believe that moments of emergency are shot through with new possibilities;
- I believe there are more of us and there is more to us than we know;
- I think that we are always becoming something new;
- and this is because we don’t have a choice in the matter.
I think James Baldwin is right (Baldwin, like Benjamin, is somehow always right) when he writes in “Stranger in the Village” that while so many “American white men still nourish the illusion that there is some means of recovering the European innocence, of returning to a state in which black [and brown] men [and women] do not exist,” that
This is one of the greatest errors Americans can make. The identity they fought so hard to protect has, by virtue of that battle, undergone a change: Americans are as unlike any other white people in the world as it is possible to be. I do not think, for example, that it is too much to suggest that the American vision of the world — which allows so little reality, generally speaking, for any of the darker forces in human life, which tends until today to paint moral issues in glaring black and white — owes a great deal to the battle waged by Americans to maintain between themselves and black men a human separation which could not be bridged. It is only now beginning to be borne in on us — very faintly, it must be admitted, very slowly, and very much against our will— that this vision of the world is dangerously inaccurate, and perfectly useless. For it protects our moral high-mindedness at the terrible expense of weakening our grasp of reality. People who shut their eyes to reality simply invite their own destruction, and anyone who insists on remaining in a state of innocence long after that innocence is dead turns himself into a monster.
The time has come to realize that the interracial drama acted out on the American continent has not only created a new black man, it has created a new white man, too. No road whatever will lead Americans back to the simplicity of this European village where white men still have the luxury of looking on me as a stranger. I am not, really, a stranger any longer for any American alive. One of the things that distinguishes Americans from other people is that no other people has ever been so deeply involved in the lives of black men, and vice versa. This fact faced, with all its implications, it can be seen that the history of the American Negro problem is not merely shameful, it is also something of an achievement. For even when the worst has been said, it must also be added that the perpetual challenge posed by this problem was always, somehow, perpetually met. It is precisely this black-white experience which may prove of indispensable value to us in the world we face today. This world is white no longer, and it will never be white again.
In short, I believe in the future — not a paradise, not a tranquil place, not a reward, but in all its mundane possibility and broken uncertainty. I choose to believe in the future, simply because we have nowhere else to go.
You never really need a good reason to listen to Stevie Wonder. But his peak run of albums in the 1970s are particularly welcome today. The songs are beautiful, they’re familiar, and they’re varied. They engage melancholy without being defeated by sadness; they engage anger without being defeated by despair. Stevie Wonder is invincible.
He’s also probably underrecognized as a political songwriter. Marvin Gaye, Curtis Mayfield, James Brown, Sly Stone, or even George Clinton are probably much better known for their politics and political anthems. Stevie, the balladeer, is just as fierce, but sly, emotional, and psychologically devastating.
Here are three songs, from three albums recorded in three consecutive years, all from the Nixon era. Each year, the lyrics get more pointed, more obvious in their contempt. But it’s a contempt mingled with understanding, and grounded in a deep, deep love for the people most affected by political failure.
On August 7, 1974, Stevie released “You Haven’t Done Nothin’” as a single, with the two-year-old “Big Brother” as a B-side. (MESSAGE!) Two days later, Nixon resigned.1 By November, the song was a Billboard number one.
And that’s why you don’t mess with Stevie Wonder.
(There was even a Trump-themed remix of “You Haven’t Done Nothin’” that came out last year, but I’m not really a fan. I’d rather listen to Stevie sing with the Jackson 5 than hear his music all mixed up with Trump quotes.)
The next album that would come in the sequence is Songs In the Key of Life. Out of all of Stevie’s albums, this is the hardest for me to listen to right now. It touches too many personal memories, hopes and fears and dreams.
Songs in the Key of Life tries to reconcile the reality of the post-Nixon era — the pain that even though the enemy is gone, the work is not done and the world has not been transformed — with an inclusive hope that it one day will be, and that faith, hope, and love are still possible.
It’s what makes the album such a magnificent achievement. But I’m not there. I don’t know when I will be. So for now I’m keeping Songs In the Key of Life on the shelf. An unopened bottle of champagne for a day I may never see. But I’d like to.
A Canadian musician called TRONICBOX is taking contemporary pop songs like Katy Perry’s Firework, Baby by Justin Bieber, and Somebody I Used To Know by Gotye and remixing them so they sound like they came out in the 80s. The effect is unnerving for someone like me who grew up immersed in 80s pop music. Even though it’s impossible, I can almost remember listening to some of these songs back in my bedroom, probably taped off the radio during Casey Kasem’s top 40 countdown. Total time travel paradox nostalgia bombs. (via digg)
This is cool and a little mesmerizing: animated US maps showing the most popular baby name in each state from 1910 to 2014 for boys and girls. There are three separate visualizations. The first just shows the most popular baby name in each state. Watch as one dominant name takes over for another in just a couple of years…the Mary to Lisa to Jennifer transition in the 60s and 70s is like watching an epidemic spread. Celebrity names pop up and disappear, like Betty (after Betty Boop and Betty Grable?) and Shirley (after Shirley Temple) in the 30s. The boy’s names change a lot less until you start getting into the Brandons, Austins, and Tylers of the 90s.
The next visualization shows the most particularly popular name for each state, e.g. Brandy was the most Louisianan name for female newborns in 1975. And the third visualization shows each name plotted in the averaged geographical location of births — so you can see, for example, the northward migration of Amanda during the 80s.
P.S. Guess what the most popular boy’s name in the state of my birth was the year I was born? And the most particularly popular boy’s name in the state I moved to just a year later? Jason. I am basic af.
Update: From Flowing Data, some graphs of the most unisex names in US history. (thx, paul)
Sean Charmatz makes these cute little video vignettes about the secret lives of everyday things like French fries, leaves, paper, ice, mops, Post-it Notes, and the like. Think Christoph Niemann but even simpler. Basically: these videos will start making you happy in less than 10 seconds or your money back.1 (via @arainert)
Rahawa Haile is an Eritrean-American writer who spent most of 2016 as one of a very small number of black women hiking the Appalachian trail. Trail hikers are thought to be between 66 and 75 percent male, and overwhelmingly white; there’s also a long history of formal and informal racial exclusion in national parks, wilderness areas, and other outdoor spaces, through statute, violence, and “soft” racism. And in Appalachia, many of the small towns along the trail where hikers stop to get food, mail, clean clothes, and other supplies are often unwelcome or hostile to black people.
Haile brought, photographed, and left behind books by black writers at points along the trail. She explains why in an interview with Atlas Obscura’s Sarah Laskow:
In 2015, I started a Twitter project called Short Story of the Day. This was a way to say, “This is the extent that I can participate in literature at this moment.” Diversity matters to me. Many of the most celebrated short story collections are by white men, so on Twitter I published one short story a day by underrepresented groups.
When I thought about 2016—how can I participate in literature this year?—I thought, I want to bring these books places no one likely has. I want to document where black brilliance belongs. There’s so much talk about where the black body belongs. Most of my hike was saying, this is a black body, and it belongs everywhere. These books were a way of me saying, black intellect belongs here, too. I was hoping that by carrying these books and taking them to these incredible vistas, fellow people of color might say, “If those books can go there, so can I.”
In an essay for BuzzFeed, Haile lists a remarkable catalogue of the weights she carried on the trip. (Hiking, as I learned this year from Rahawa, is in large part about managing weight):
Pack: 40 ounces. Tent: 26. A pound to “love myself when I am laughing…and then again when I am looking mean and impressive.” Seven ounces of James Baldwin. Thirteen of Octavia Butler. Nine violent ounces of home, the from-from, “originally, I mean.” 7,628 feet: the elevation of Asmara, Eritrea. Rain jacket: 5.5 ounces. Options for ZZ Packer. Blues for Toni Morrison. Dragons for Langston Hughes. A river for Jamaica Kincaid. Nine ounces, eight ounces, ten ounces, six. Fifteen: the number of years I spent watching my African grandmother die in the flatness of Florida. Gloves: 1.3 ounces. Warsan Shire: 2.4. Keys to a place I call home: none. Colson Whitehead: 1 pound. Assets: zero. Resting mass of light: none. Headlamp: 3.9 ounces. Their names: endless. Trayvon, Renisha, Sandra, Tamir. Spork: 0.6 ounces. Water filter: 3 ounces. Down jacket: seven ounces. Fuel canister: four. Current atmospheric carbon dioxide levels: greater than 400 ppm. Average elevation above sea level in Miami: six feet. Therapists I can no longer afford: one. Kiese Laymon: 9.6 ounces. Amiri Baraka: 1.4 pounds. The amount black women earn for every white male dollar: 63 cents. Bandana: 1.12 ounces. Pack towel: 0.5 ounces. The number of times I’ve told myself to put a gun to my head between 2013 and 2016: 8,000-10,000. Bear bagging kit: 3 ounces. Aracelis Girmay: 6.4 ounces. Roxane Gay: 4.8. Emergency whistle: 0.14, orange, should I find myself in the midst of hunting season.
The trail, she writes, is “considered a great equalizer in most other respects” — everyone alike has to deal with rattlesnakes, rainstorms, and sore feet. “A thing I found myself repeatedly explaining to hikers who asked about my books and my experience,” she adds, “wasn’t that I feared them, but that there was no such thing as freedom from vulnerability for me anywhere in this land. That I might be tolerated in trail towns that didn’t expect to see a black hiker, but I’d rarely if ever feel at ease.” Nobody else walking the trail would have to carry the same weight.
The Pixar Theory is an idea forwarded by Jon Negroni that all of Pixar’s movies take place in the same universe and are all connected to each other somehow. (Negroni turned the theory into a 100-page book.)
Centuries later, the animals from Brave that have been experimented on by the witch have interbred, creating a large-scale population of animals slowly gaining personification and intelligence on their own.
There are two progressions: the progression of the animals and the progression of artificial intelligence. The events of the following movies set up a power struggle between humans, animals, and machines.
The stage for all-out war in regards to animals is set by Ratatouille, Finding Nemo, and Up, in that order. Notice I left out A Bug’s Life, but I’ll explain why later.
Last week, the official Toy Story account released a video on Facebook that make explicit many of the connections between the films:
One of the dinosaurs from The Good Dinosaur shows up in Inside Out, a Monsters Inc. character is pictured in Brave, a Lightning McQueen toy is in Toy Story 3, a moped from Ratatouille is in Wall-E’s junkyard, etc. etc. This is a perfect bit of superfan trolling from the Pixar team. Kudos.
In a short film shot in 1957, Walt Disney described the multiplane camera, one of the many inventions and innovations his company had developed in order to produce more realistic and affecting animations. Instead of shooting single cels of animation on a single movable background, the multiplane camera could shoot several independently moving backgrounds, creating a sense of depth and perspective. A 1938 article in Popular Mechanics explained how the camera works.
Disney wanted to increase the eye value of the many paintings making up a picture by achieving a soft-focus effect on the backgrounds, illuminating the various levels of each scene individually, and separating” background from foreground, thus keeping background objects to their proper relative size.
His production crew labored for three years to perfect the novel picture-taking device to achieve these results. It consists of four vertical steel posts, each carrying a rack along which as many as eight carriages may be shifted both horizontally and vertically. On each carriage rides a frame containing a sheet of celluloid, on which is painted part of the action or background.
Resembling a printing press, the camera stands eleven feet tall and is six feet square. Made with almost micrometer precision, it permits the photographing of foreground and background cels accurately, even when the first is held firmly in place two feet from the lens and the lowest rests in its frame nine feet away. Where the script calls for the camera to “truck up” for a close-up, the lens actually remains stationary, while the various cels are moved upward. By this means, houses, trees, the moon, and any other background features, retain their relative sizes.
After being deployed on a short film as a test, the multiplane camera was used to film Snow White and the Seven Dwarfs, the first feature-length animated film. In the chapter on “Illusion” in his newest book Wonderland: How Play Made the Modern World, Steven Johnson writes that the use of the multiplane camera (along with other innovations in animation developed since the days of Steamboat Willie) had a profound effect on audiences.
All of these technical and procedural breakthroughs summed up to an artistic one: Snow White was the first animated film to feature both visual and emotional depth. It pulled at the heartstrings in a way that even live-action films had failed to do. This, more than anything, is why Snow White marks a milestone in the history of illusion. “No animated cartoon had ever looked like Snow White,” Disney’s biographer Neil Gabler writes, “and certainly none had packed its emotional wallop.” Before the film was shown to an audience, Disney and his team debated whether it might just be powerful enough to provoke tears — an implausible proposition given the shallow physical comedy that had governed every animated film to date. But when Snow White debuted at the Carthay Circle Theatre, near L.A.’s Hancock Park, on December 21, 1937, the celebrity audience was heard audibly sobbing during the final sequences where the dwarfs discover their poisoned princess and lay garlands of flowers on her. It was an experience that would be repeated a billion times over the decades to follow, but it happened there at the Carthay Circle first: a group of human beings gathered in a room and were moved to tears by hand-drawn static images flickering in the light.
In just nine years, Disney and his team had transformed a quaint illusion — the dancing mouse is whistling! — into an expressive form so vivid and realistic that it could bring people to tears. Disney and his team had created the ultimate illusion: fictional characters created by hand, etched onto celluloid, and projected at twenty-four frames per second, that were somehow so believably human that it was almost impossible not to feel empathy for them.
Interestingly, the multiplane camera also seems to be an instance of simultaneous invention (a concept also covered by Johnson in an earlier book, Where Good Ideas Come From). In addition to Disney’s multiplane camera, there were a few earlier earlier efforts and it’s unclear whether they were invented independently or how one inventor influenced another. But one thing is for certain: only Disney’s camera was deployed so skillfully and artfully that it changed cinema and our culture forever.1
In a bonus from the food series The Mind of a Chef, LA chef Ludo Lefebvre visits a butter factory where they make customized butter for restaurants.
So when we visited the Jean-Yves Bordier Butter factory in the Brittany region of France and had chef Ludo Lefebvre help in the process, it was nothing but pure amazement in his eyes. Le Beurre Bordier customizes it’s butter to the specifications of the chefs they send it to.
The video is subtitled and they go really quick, but I love the look on Lefebvre’s face after he runs his thumb through the finished butter: pure childlike wonder. The full episode featuring Lefebvre is available on PBS’s website (likely for US viewers only). This clip pairs well with this video on how to make croissants. (via the excellent the kid should see this)
Shigeru Miyamoto has designed dozens of the most popular video games in the world: Donkey Kong, Super Mario Bros, and the Legend of Zelda among them. In this video by Vox, Miyamoto shares how he thinks about game design.
This is one of the first times that a video game’s plot and characters were designed before the programming. [Miyamoto:] “Well, early on, the people who made video games, they were technologists, they were programmers, they were hardware designers. But I wasn’t. I was a designer, I studied industrial design, I was an artist, I drew pictures. And so I think that it was in my generation that people who made video games really became designers rather than technologists.”
Also worth watching is this video by Game Maker’s Toolkit about how Nintendo builds everything in their games around a fun and unique play mechanic.
It seems to me that these two videos slightly contradict each other, although maybe you’ll disagree.
Here’s a technique for putting a comforter inside a duvet cover that involves rolling the whole thing up “like a burrito” and then two solid pieces of matter somehow pass through each other? I dunno, that is some goddamned witchcraft that defies the laws of physics and topology and is probably related to at least one of the Millennium Prize Problems. I don’t know if it’s easier than doing it the normal way1 but it certainly is more entertaining.
See also how to fold a fitted sheet and how to fold a t-shirt in two seconds.
I posted earlier about Atul Gawande’s piece in the New Yorker on the importance of incremental care in medicine. One of the things that the Affordable Care Act1 did was to make it illegal for insurance companies to deny coverage to people with “preexisting conditions”, which makes it difficult for those people to receive the type of incremental care Gawande touts. And who has these preexisting conditions? An estimated 27% of US adults under 65, including Gawande’s own son:
In the next few months, the worry is whether Walker and others like him will be able to have health-care coverage of any kind. His heart condition makes him, essentially, uninsurable. Until he’s twenty-six, he can stay on our family policy. But after that? In the work he’s done in his field, he’s had the status of a freelancer. Without the Affordable Care Act’s protections requiring all insurers to provide coverage to people regardless of their health history and at the same price as others their age, he’d be unable to find health insurance. Republican replacement plans threaten to weaken or drop these requirements, and leave no meaningful solution for people like him. And data indicate that twenty-seven per cent of adults under sixty-five are like him, with past health conditions that make them uninsurable without the protections.
That’s 52 million people, potentially ineligible for health insurance. And that’s not counting children. Spurred on by Gawande, people have been sharing their preexisting conditions stories on Twitter with the hashtag #the27Percent.
The 27% figure comes from a recent analysis by the Kaiser Family Foundation:
A new Kaiser Family Foundation analysis finds that 52 million adults under 65 — or 27 percent of that population — have pre-existing health conditions that would likely make them uninsurable if they applied for health coverage under medical underwriting practices that existed in most states before insurance regulation changes made by the Affordable Care Act.
In eleven states, at least three in ten non-elderly adults would have a declinable condition, according to the analysis: West Virginia (36%), Mississippi (34%), Kentucky (33%), Alabama (33%), Arkansas (32%), Tennessee (32%), Oklahoma (31%), Louisiana (30%), Missouri (30%), Indiana (30%) and Kansas (30%).
36% uninsurable in West Virginia! You’ll note that all 11 of those states voted for Trump in the recent election and in West Virginia, Trump carried the day with 68.7% of the vote, the highest percentage of any state. The states whose people need the ACA’s protection the most voted most heavily against their own interest.
Update: An earlier version of this post unfairly pinned the entire blame for the lack of coverage of those with preexisting conditions on the insurance companies.2 I removed the last paragraph because it was more or less completely wrong. Except for the part where I said we should be pissed at the Republican dickheads in Congress who want to repeal the ACA without replacing it with something better.3 And the part where we should be outraged. And the part where we regulated cars and cigarettes and food to make them safer, forced companies to build products in ways they didn’t want, and saved millions of lives. We can’t make everyone healthier and raise taxes to do it? Pathetic for what is supposedly the world’s most powerful and wealthy nation. (thx @JPVMan + many others)
Smartphones have been getting more water-resistant for a while now, but this is pretty crazy. Via Ina Fried at Recode, who writes:
The phone is a successor to an earlier handset that worked only with certain types of hand soap. The washable phone can be used with a range of soaps, including foaming body wash and hand soap… Waterproof phones have long been a thing in Japan, so it’s not too much of a stretch to think there might be an appetite for soap-proof devices.
In the US, smartphones have gotten so ubiquitous as to be boring — all of them big, flat, and offering slightly different versions of the same thing. I don’t know — maybe that’s an unfair characterization. But I wish the market were just a little weirder, wilder, offering different things to different people with different needs and lives.
Here are some things I liked this year: Arrival. Halt and Catch Fire. Hamilton. Swiss Army Man. Kurzgesagt. The Underground Railroad by Colson Whitehead. kottke.org. Westworld. The San Junipero episode of Black Mirror. Seveneves. Gravitational waves. Museums with friends. Sapiens: A Brief History of Humankind by Yuval Noah Harari. Hillary Clinton. The Neapolitan Novels. Game of Thrones. My kids. OJ: Made in America. Flat water with ample skipping stones. The Americans. Bruce Conner’s Crossroads at The Whitney. My baby momma. Wait But Why. Mad River Glen. Sunsets. Zero Days. Fleabag. My local (which is not so local anymore). Fall foliage. Transparent. Instagram. Swim holes on hot summer days. Lemonade. the lemons. The Power Broker by Robert Caro. The Obamas. Force Majeure. Snap peas from the farmer’s market. All of the kottke.org members, each and every damn one of you beautiful people. Reading Harry Potter to my kids. Jumping waves in Mexico. Story of Your Life by Ted Chiang. Steak for two. Dope. A bunch of stuff I’m forgetting. Picasso’s Bull’s Head at MoMA. A Moon Shaped Pool. The Crown. Journalism. Carol. The Auralnauts. Wonderland by Steven Johnson. SNL’s Black Jeopardy. Twitter. Epoch by Tycho. Every Frame a Painting. My friends, old and new, you know who you are.
Here are some things I didn’t like this year: Brexit. Trump. The media. Finishing reading the Harry Potter books to my kids. The 2016 election, every single fucking second of it. Leaving New York. Nino Sarratore. The continued retreat of the American public from reality. The demise of Gawker and sale of Gawker Media. Twitter. The unprecedented warming of both poles. Shutting down Stellar. Too many dinners for one. The continued inaction on gun deaths. Misogyny. Xenophobia. Fascism. Racism. White nationalism. Authoritarianism. Religiously motivated terrorism. Climate change denialism. Here’s to fewer isms in 2017.
As part of Time magazine’s recent selection of the 100 most influential photos of all time, art historian Christine Roussel talks about the story behind the iconic Lunch Atop a Skyscraper photograph of a group of construction workers on their lunch break. Interestingly, no one knows for sure who the workers were and who actually took the photograph.
According to a recent poll, over a third of those polled did not know that Obamacare and the Affordable Care Act were the same thing.
In the survey, 35 percent of respondents said either they thought Obamacare and the Affordable Care Act were different policies (17 percent) or didn’t know if they were the same or different (18 percent). This confusion was more pronounced among people 18 to 29 and those who earn less than $50,000 — two groups that could be significantly affected by repeal.
And that’s perhaps not even the worse part:
For instance, only 61 percent of adults knew that many people would lose coverage through Medicaid or subsidies for private health insurance if the A.C.A. were repealed and no replacement enacted. In contrast, approximately one in six Americans, or 16 percent, said that “coverage through Medicaid and subsidies that help people buy private health insurance would not be affected” by repeal, and 23 percent did not know.
I’ve never liked the Obamacare moniker, but clearly that’s only part of the problem.
Mini Metros features small and simplified maps of over 200 metro and light rail systems from around the world. Many of the systems are small and simple themselves, just a single line or two, like in Edmonton, Mumbai, Seville, and Qingdao. Others, like in Munich, Shanghai, Tokyo, London, Seoul, and New York, are densely interconnected.
Prints and mugs are available.
Collaborating with a number of different people from all over the place, filmmaker Oscar Boyson went out into the world and came back with this excellent 18-minute video on the future of cities. Among the cities profiles are Shenzhen, Detroit, Singapore, NYC, Copenhagen, Seoul, Lagos, and Mumbai.
What does “the future of cities” mean? To much of the developing world, it might be as simple as aspiring to having your own toilet, rather than sharing one with over 100 people. To a family in Detroit, it could mean having non-toxic drinking water. For planners and mayors, it’s about a lot of things — sustainability, economy, inclusivity, and resilience. Most of us can hope we can spend a little less time on our commutes to work and a little more time with our families. For a rich white dude up in a 50th floor penthouse, “the future of cities” might mean zipping around in a flying car while a robot jerks you off and a drone delivers your pizza. For many companies, the future of cities is simply about business and money, presented to us as buzzwords like “smart city” and “the city of tomorrow.”
A few tidbits from the video to whet your appetite:
- An estimated 70% of the world’s population will live in urban areas by 2050. (It’s currently 54%.)
- Buying a Toyota Corolla in Singapore costs $140,000.
- In 2012, 52% of the cost of US highways and roads was paid by general tax revenue rather than by drivers (through gas tax and tolls). In 1972, it was only 30%, which means car usage is much more heavily subsidized than it used to be.
- When you buy a car in Denmark, you pay a 150% tax, even if it’s electric.
- And a relevant quote from Jane Jacobs’ The Death and Life of Great American Cities: “Lowly, unpurposeful, and random as they may appear, sidewalk contacts are the small change from which a city’s wealth of public life may grow.”
And boy, listening to Janette Sadik-Khan talk about cities being for people and the importance of public transportation and then, directly after, having to listen to some dipshit from Uber was tough. (via @mathowie)
I know, I know. This is a car commercial and it’s morbid and at this moment in time it’s not really that funny, but it caught me at just the right time today and I laughed harder at this than I have at something in several weeks. So I guess even ad agencies are capable of enabling righteous acts (or at least inappropriately hilarious acts) these days?
It makes sense that villages and towns would develop a short distance away from each other so that people living nearby wouldn’t have to travel far to sell their goods, bank, or go to school. But what about cities? Geography has a lot ot do with where cities are located.
If you enjoy this video but haven’t read Jared Diamond’s Guns, Germs, and Steel yet, you probably should.
An excerpt from Elisa Chavez’s poem “Revenge” in the Seattle Review of Books:
Since you mention it, I think I will start that race war.
I could’ve swung either way? But now I’m definitely spending
the next 4 years converting your daughters to lesbianism;
I’m gonna eat all your guns. Swallow them lock stock and barrel
and spit bullet casings onto the dinner table;
I’ll give birth to an army of mixed-race babies.
With fathers from every continent and genders to outnumber the stars,
my legion of multiracial babies will be intersectional as fuck
and your swastikas will not be enough to save you,
This is a powerful poem, and I laughed out loud so hard to the “This is a taco truck rally and all you have is cole slaw” line.
Since its initial release in 2009, Minecraft has matured to the point of being a platform for people who want to make art and also for people who want to make money. Phil Edwards of Vox highlights some of the beautiful structures being created by Minecraft players (some of which are collected in this coffee table book called Beautiful Minecraft) and the challenges faced by creators trying to make money within a game owned by a large company.
The creativity “Creative Mode” enables is obvious in the work that talented designers produce. Sometimes Minecraft artists will create interactive worlds that replicate historic events; other times, Minecraft’s many cubes coalesce into a sculptural image, the same way pointillism’s dots disappear to form a picture. These images and worlds can be eerie, magical, and surprisingly beautiful.
But perhaps most surprising of all, Minecraft worlds can also be a business. Companies like Blockworks make maps for private Minecraft servers (computer networks that host Minecraft games), and they also occasionally design maps in collaboration with institutions and companies like Minecraft owner Microsoft.
BlockWorks — company tagline: “creative Minecraft solutions” — has done some really fantastic designs for themselves and their clients.
Back in the days of silent film, directors and cinematographers had to be exceedingly clever to pull off visual effects that appeared real. There were obviously no computers so they had to rely on skewed perspectives, glass matte paintings, and double exposures. That famous clip of Harold Lloyd hanging off of a clock…here’s how that was done:
Here are several more examples. See also Disney’s multiplane camera. (via @mccanner)
From Feminist Frequency, a quick video biography of Ada Lovelace, which talks about the importance of her contribution to computing.
A mathematical genius and pioneer of computer science, Ada Lovelace was not only the created the very first computer program in the mid-1800s but also foresaw the digital future more than a hundred years to come.
This is part of Feminist Frequency’s Ordinary Women series, which also covered women like Ida B. Wells and Emma Goldman.
Back in November, former Obama administration official Cass Sunstein came up with a list of five books that conservatives should read to in order to learn something about contemporary progressivism. On the list is Success and Luck: Good Fortune and the Myth of Meritocracy by Robert Frank:
In Frank’s view, we overstate the role of individual merit and underestimate the massive role of luck in producing individual success or failure — being born into the right family, finding oneself in the right place at the right time, having a good mentor. He makes “there but for the grace of God go I” into a rallying cry.
A month earlier, Sunstein offered a similar list of books liberals should read to learn something about conservatives, including Jonathan Haidt’s The Righteous Mind:
Do conservatives have moral commitments that progressives may not even recognize? Haidt says yes, and he identifies three: authority, loyalty and sanctity. If, for example, someone has betrayed a trust, or treated a boss or a parent disrespectfully, conservatives are far more likely to be outraged than progressives.
Haidt is not himself a conservative, but he offers a sympathetic explanation of why progressives often fail to understand their political adversaries. He also shows that the moral commitments that resonate among conservatives have deep roots in human history — and that it is a form of blindness not to acknowledge and respect those commitments.
In the Atlantic, Ian Bogost takes on the accepted view that Apple has great design, calling it “the biggest myth in technology today”.
At base, such a claim seems preposterous. In 1977, the Apple II made the microcomputer useful and affordable. In 1984, the Macintosh made the computer more usable by the everyperson thanks to the graphical user interface. In 2001, the iPod fit a music library in a pocket. In 2007, the iPhone made computing portable (and obsessive).
But if Apple designs at its best when attending closely to details like those revealed in the construction of its spaceship headquarters, then presumably the details of its products would stand out as worthy precedents. Yet, when this premise is tested, it comes up wanting. In truth, Apple’s products hide a shambles of bad design under the perfection of sleek exteriors.
While I find this piece to be hyperbolic, it hints at where Apple’s design is weakest. Apple is great at designing products but less good at designing the connections between these products and the rest of the world.1 iPhones, iPods, and iPads are great, but you have to go through iTunes to manage their contents. As Bogost notes, the power cords and chargers for their products are often bulky and awkward…you can’t even charge the newest iPhone using the newest Macbook Pro without a separate adapter. Who makes all the apps that people want to use on their iPhones to chat/connect/flirt/collaborate with their loved ones? Facebook, Snap, Google, Slack…not Apple, who initially wasn’t even going to provide a way for 3rd parties to build apps for the iPhone. Almost every attempt by Apple to build services to connect people — remember Ping?! — has failed. Even iCloud, which promised to unite all Apple devices into one fluid ecosystem, was plagued for years with reliability problems and still isn’t as good as Dropbox. How devices, apps, and people interconnect are far more important now than in 1977, 1984, and even 2007, when the iPhone was introduced, and Apple could stand to focus more of their design energy on that experience.
From design firm Blind Ltd, the user interface graphics they did for Rogue One. They had some graphics from the original Star Wars to play off of, but this is still really nice work. Blind also did onscreen interfaces for The Force Awakens, the Batman films, and some recent Bond films. (via @pieratt)
Lin-Manuel Miranda recently released the early drafts of eight Hamilton songs on Soundcloud. Miranda sings all the parts himself and they’re a lot less showtuney and more hip-hoppy than the finished product. Worth a listen for fans of process.
Michael Shainblum makes time lapse videos of nature, landscapes, and cities, and some of them are very relaxing to watch. The resolution on these is great, so make ‘em big, sit back, and enjoy. (via bb)
The American Library Association maintains a list of Frequently Challenged Children’s Books, books that people try to get banned from libraries due to their “inappropriate” content. The list includes Judy Blume’s Are You There God? It’s Me, Margaret., Roald Dahl’s James and the Giant Peach, Dr. Seuss’s Hop On Pop (???), Heather Has Two Mommies by Leslea Newman, as well as the Harry Potter and His Dark Materials series. Perri Klass writes about what children can learn from these banned books.
“I think it happens in the U.S. more than in some other countries,” said Leonard Marcus, a children’s book historian and critic. “There’s a squeamishness in the U.S. about body parts I think that goes back to the Puritan tradition, and has never completely died out.” He pointed to the controversy around Maurice Sendak’s 1970 children’s book “In the Night Kitchen,” which centered on the illustrations showing the naked — and anatomically correct — little boy whose nocturnal adventures make up the story.
In the Night Kitchen? Seriously? Seriously?! That was one of my favorites as a kid and so we bought it for our kids. Come on, America…we’ve got worse things to worry about. Klass’s point here is exactly right:
When your children read books that have been challenged or banned, you have a double opportunity as a parent; you can discuss the books themselves, and the information they provide, and you can also talk about why people might find them troubling.
We’ve definitely had to do that with the Harry Potter books, the Little House books, and many other books we read together. Reading any book published before the 70s, for instance, is a great opportunity to discuss how the past and current roles of women in society.
In 1937, Ernest Hemingway devised a cocktail called Death in the Gulf Stream for dealing with hard times.
Take a tall thin water tumbler and fill it with finely cracked ice.
Lace this broken debris with 4 good purple splashes of Angostura, add the juice and crushed peel of 1 green lime, and fill glass almost full with Holland gin…
No sugar, no fancying. It’s strong, it’s bitter — but so is English ale strong and bitter, in many cases.
We don’t add sugar to ale, and we don’t need sugar in a “Death in the Gulf Stream” — or at least not more than 1 tsp. Its tartness and its bitterness are its chief charm.
More drinks should involve lacing broken debris with alcohol. So the next time you feel like Hemingway kicking this can…
…you’ll have something to drink. (via rands in repose)
In the NY Times Magazine, Gideon Lewis-Kraus reports on Google’s improving artificial intelligence efforts. The Google Brain team (no, seriously that’s what the team is called) spent almost a year overhauling Google’s translate service, resulting in a startling improvement in the service.
The new incarnation, to the pleasant surprise of Google’s own engineers, had been completed in only nine months. The A.I. system had demonstrated overnight improvements roughly equal to the total gains the old one had accrued over its entire lifetime.
Just after the switchover, Japanese professor Jun Rekimoto noticed the improvement. He took a passage from Ernest Hemingway’s The Snows of Kilimanjaro, translated it into Japanese, and fed it back into Google Translate to get English back out. Here’s how Hemingway wrote it:
Kilimanjaro is a snow-covered mountain 19,710 feet high, and is said to be the highest mountain in Africa. Its western summit is called the Masai “Ngaje Ngai,” the House of God. Close to the western summit there is the dried and frozen carcass of a leopard. No one has explained what the leopard was seeking at that altitude.
And here’s the AI-powered translation:
Kilimanjaro is a mountain of 19,710 feet covered with snow and is said to be the highest mountain in Africa. The summit of the west is called “Ngaje Ngai” in Masai, the house of God. Near the top of the west there is a dry and frozen dead body of leopard. No one has ever explained what leopard wanted at that altitude.
Not bad, especially when you compare it to what the old version of Translate would have produced:
Kilimanjaro is 19,710 feet of the mountain covered with snow, and it is said that the highest mountain in Africa. Top of the west, “Ngaje Ngai” in the Maasai language, has been referred to as the house of God. The top close to the west, there is a dry, frozen carcass of a leopard. Whether the leopard had what the demand at that altitude, there is no that nobody explained.
Bravo to National Geographic for putting a transgender girl on the cover of the magazine. Editor-in-chief Susan Goldberg explains why:
Today that and other beliefs about gender are shifting rapidly and radically. That’s why we’re exploring the subject this month, looking at it through the lens of science, social systems, and civilizations throughout history.
In a story from our issue, Robin Marantz Henig writes that we are surrounded by “evolving notions about what it means to be a woman or a man and the meanings of transgender, cisgender, gender nonconforming, genderqueer, agender, or any of the more than 50 terms Facebook offers users for their profiles. At the same time, scientists are uncovering new complexities in the biological understanding of sex. Many of us learned in high school biology that sex chromosomes determine a baby’s sex, full stop: XX means it’s a girl; XY means it’s a boy. But on occasion, XX and XY don’t tell the whole story.”
As part of their coverage, the magazine went out, asked kids from around the world their thoughts about being boys and girls, and came back with this video.
W.E.B. Du Bois was an American author, sociologist, historian, and activist. Apparently Du Bois was also a designer and design director of some talent as these hand-drawn infographics show.
In addition to an extensive collection of photographs, four volumes containing 400 official patents by African Americans, more than 200 books penned by African-American authors, various maps, and a statuette of Frederick Douglass, the exhibition featured a total of fifty-eight stunning hand-drawn charts (a selection of which we present below). Created by Du Bois and his students at Atlanta, the charts, many of which focus on economic life in Georgia, managed to condense an enormous amount of data into a set of aesthetically daring and easily digestible visualisations. As Alison Meier notes in Hyperallergic, “they’re strikingly vibrant and modern, almost anticipating the crossing lines of Piet Mondrian or the intersecting shapes of Wassily Kandinsky”.
Update: Oh, this is great: Mona Chalabi has updated Du Bois’ charts with current data.
Wealth. If I had stayed close to the original chart, the updated version would have shown that in 2015, African American households in Georgia had a median income of about $36,655, which would fail to capture the story of inflation (net asset numbers aren’t published as cumulative for one race). Instead, I wanted to see how wealth varies by race in America today.
The story is bleak. I hesitated to use the word “worth”, but it’s the language used by the Census Bureau when they’re collecting this data and, since money determines so much of an individual’s life, the word seems relevant. For every dollar a black household in America has in net assets, a white household has 16.5 more.
To celebrate Marquee Moon’s 40th (!) anniversary, Damien Love has posted an extended interview with guitarist Richard Lloyd. Lloyd describes meeting Richard Hell (then Richard Meyers) and Tom Verlaine (then Tom Miller), forming a band, making some singles, Hell leaving to form the Voidoids, and then recording what would slowwwwly turn out to be one of the greatest albums ever.
Tom and I, our guitars meshed together immediately. I had studied a kind of classic rock guitar, where you do whole step bends, half step bends. When I was a teenager, I had a friend who knew Jimi Hendrix, and Jimi gave this guy lessons, who passed them on to me, and I met Hendrix and watched him play, so that’s where I was coming from.
Tom played with a completely different style. He used the classical vibrato. It’s technical to describe, but it’s like on a violin: you move your wrist back and forth, the finger doesn’t move, but the pitch goes up and down. I don’t know where he got it. It was more like a sitar player, but that was Tom’s style, this magnificent classical vibrato. He’d never do whole step bends, always micro-bends. But our two styles just suited each other beautifully. Between the two of us, we had all the different guitar aspects you could want. I was playing much more classical rock, Tom was playing his odd, in-between thing. But if Tom would show me something, I could play it.
The next thing was convincing Richard Hell to play bass. Tom couldn’t do it. Richie said, “I’m not a musician. I can’t do it.” When Tom wasn’t around, I asked him what the problem was. He said, “Listen. Playing with Tom is like going to the dentist. Except you’d rather go to the dentist.”
Like a lot of kids with a lot of cult rock bands, I didn’t hear about Television until I went to college. I really liked Talking Heads, and in the liner notes of their greatest hits comp Sand in the Vaseline, David Byrne says that when their band first got together, they sounded a lot like “early Television.” I was intrigued.
Then VH1 (this being the glory days of VH1) put out a “100 Greatest Albums” special and threw in Marquee Moon at #83. They showed clips of the band and their songs, and people I knew like Sonic Youth and Henry Rollins talking about how beautiful and influential it was.
It didn’t sound like anything else on that list, besides maybe The Velvet Underground & Nico. (At the time, I thought VU was a totally obscure band that I was a genius for discovering and liking.) It still doesn’t. It didn’t sound like the other punk albums, and the only other indie rock album that made the cut was The Replacements’ Let It Be, which has a totally different vibe. It was this little constellation of Gen X diamonds hidden in a list otherwise dominated by aging boomers and young pop-worshippers, with a few undeniable golden age hip-hop albums thrown in to mix it up.
I think I went out and bought Marquee Moon, Van Morrison’s Astral Weeks, Liz Phair’s Exile In Guyville, and Iggy & The Stooges’ Raw Power the next day. Television helped get me to Big Star, The New York Dolls, My Bloody Valentine, and the hundred other record-store guitar bands that made me a sweetly happy, insufferable, twentysomething clichÃ©, now fully prepared to crap all over VH1’s or any other list of 100 Greatest Albums.
But while my pleasure in debating greatest-ever lists has faded, as has my joy in digging through album crates and filesharing sites to find new bands everyone else has already heard of, my love and appreciation for Marquee Moon remains pretty much the same.
Great sound, great songs, great gossipy soap-opera stories — what else could you want?
Is this a blurry photo of some sliced ham? Or is the ham perfectly in focus? This is a gnarly optical illusion, that’s for sure. Even when I force myself to realize the photo is in focus, that ham still looks blurry. (via digg)
The annual list of media errors and corrections by Poynter is always worth a read. Some favorites:
Because of an editing error, an article on Monday about a theological battle being fought by Muslim imams and scholars in the West against the Islamic State misstated the Snapchat handle used by Suhaib Webb, one of Muslim leaders speaking out. It is imamsuhaibwebb, not Pimpin4Paradise786.
No wonder people think the NY Times is untrustworthy. Another from the Times:
An article on March 20 about wave piloting in the Marshall Islands misstated the number of possible paths that could be navigated without instruments among the 34 islands and atolls of the Marshall Islands. It is 561, not a trillion trillion.
This one was only slightly wrong:
CORRECTION: Boris Johnson’s award-winning limerick about the Turkish president referred to Erdogan as a wanker who performed a sex act with a goat. A previous version of this article included the prompt for the poetry contest, which included a different sex act, also with a goat.
When in doubt, blame technology:
Correction at 9:58 a.m. on 3/09/2016: Due to an oversight involving a haphazardly-installed Chrome extension during the editing process, the name Donald Trump was erroneously replaced with the phrase “Someone With Tiny Hands” when this story originally published.