I love this piece from NPR about how poker player Annie Duke uses her male opponents' stereotypical views of women against them.
I figured it was part of the game that if somebody was at the table who was so emotionally invested in the fact that I was a woman, that they could treat me that way, that probably, that person wasn't going to make good decisions at the table against me. So I really tried to sort of separate that out and think about it from a strategic place of, how can I come up with the best strategy to take their money because I guess, in the end, isn't that the best revenge?
She noticed there were three types of chauvinist players and approached each with a different strategy.
VEDANTAM: She says she divided the men who had stereotypes about her into three categories.
DUKE: One was the flirting chauvinists, and that person was really viewing me in a way that was sexual.
VEDANTAM: With the guys who were like that, Annie could make nice.
DUKE: I never did go out on a date with any of them, but you know, it was kind of flirtatious at the table. And I could use that to my advantage.
VEDANTAM: And then there was the disrespecting chauvinist. Annie says these players though women weren't creative.
DUKE: There are strategies that you can use against them. Mainly, you can bluff those people a lot.
VEDANTAM: And then there's a third kind of guy, perhaps the most reckless.
DUKE: The angry chauvinist.
VEDANTAM: This is a guy who would do anything to avoid being beaten by a woman. Annie says you can't bluff an angry chauvinist. You just have to wait.
DUKE: What I say is, until they would impale themselves on your chips.
I got this link from Andy Baio, who also linked to the video of the specific match referenced in the NPR piece and noted "Phil Hellmuth attributes all of Annie's wins to luck, all of his own to skill".
I made a boiling frogs analogy in my post about coral bleaching this morning.
The oceans are slowly boiling and we're the frogs who aren't noticing.
James Fallows has been waging a small war on the use of that analogy for several years now.
You remember our old friend the boiled frog: It's the staple of any political or business-management speech, used to show that problems that build up slowly can be explained-away or ignored, while ones that happen all of a sudden are more likely to be addressed.
Conservatives use it to talk about the expansion of the socialist state. Liberals use it to talk about climate change. Business managers use it to talk about a slide toward mediocrity. Everyone can use it to talk about something.
And that's the problem with boiled-frogism. The minor issue is that the metaphor is flat wrong. If you put a frog in a pot of lukewarm water and gradually heat it up, the frog will stay there -- until things get uncomfortably warm, at which point it will climb out. But if you drop a frog into a boil of already-boiling water, the poor creature will be so badly hurt and scalded that it will stay there and die.
I'm going to defend my usage just a little. The ocean is literally water that is getting warmer. But other than that, yeah, guilty as charged. (via @jpiz)
The Light L16 camera looks interesting, both literally and figuratively. The L16 comes with 16 different built-in lenses, many of which fire at the same time, creating a super high-quality image at a 52-megapixel resolution.1 Having all those lenses firing at once lets you snap photos and decide on things like focal length and depth of field later.
Using a new approach to folded optics design, the Light L16 Camera packs DSLR quality into a slim and streamlined camera body. It's like having a camera body, zoom, and 3 fast prime lenses right in your pocket. With 16 individual cameras, 10 of them firing simultaneously, the L16 captures the detail of your shot at multiple fixed focal lengths. Then the images are computationally fused to create an incredible high-quality final image with up to 52 megapixel resolution.
Would love to try this out if anyone from Light is reading.
It's getting more difficult for new painkilling drugs to be approved because the rate of effectiveness vs. placebos in drug tests is falling. But oddly, the drop is only being seen in the US.
Based on patients' ratings of their pain, the effect of trialled drugs in relieving symptoms stayed the same over the 23-year period -- but placebo responses rose. In 1996, patients in clinical trials reported that drugs relieved their pain by 27% more than did a placebo. But by 2013, that gap had slipped to just 9%. The phenomenon is driven by 35 US trials; among trials in Europe, Asia and elsewhere, there was no significant change in placebo responses. The analysis is in press in the journal Pain.
A persistent underwater heatwave is causing corals worldwide to bleach, and scientists believe up to 5% of the world's coral will die permanently.
Hoegh-Guldberg said he had personally observed the first signs of bleaching on Australia's Great Barrier Reef in the past fortnight, months before the warm season begins. He said the warming pattern indicated bleaching this summer would likely affect 50% of the reef, leaving 5-10% of corals dead. Eakin said seeing bleaching on the reef at this time of year was "disturbing".
Also, no matter how many times I read this, it never gets less scary:
Since the early 1980s the world has lost roughly half of its coral reefs.
The oceans are slowly boiling and we're the frogs who aren't noticing. (via @EricHolthaus)
I read a lot of books by and about white men, many of them dead. So when a friend enthusiastically recommended The Warmth of Other Suns, I jumped at the chance to expand my reading horizons. I'm so glad I did...this is an amazing book.
Written by Pulitzer Prize-winning American journalist Isabel Wilkerson, The Warmth of Other Suns is about the Great Migration, the mass movement of African Americans from the Southern US to the Northeast, Midwest, and West between 1910 and 1970. During that time, roughly 6 million African Americans moved north and west to escape Jim Crow laws, discrimination, low wages, the threat of physical violence & death, and everyday humiliation & lack of freedom in the South. In the North, they found freedom, new opportunities, and better lives for their families, but they had less success escaping poverty, racism, and discrimination.
Wilkerson tells the story of the entire Migration by focusing on the paths of three people leaving the South:
Ida Mae Gladney, a Mississippi sharecropper pictured above with flowers in her hair, moved to Chicago with her family in 1937 and lived to cast a vote for Barack Obama.
George Starling, pictured above on the left, worked in the citrus groves of Florida before leaving for New York in 1945. He found a job as a baggage handler (and unofficial welcoming committee member) on a train, working the north/south lines that ferried millions of black Southerners to their new homes in the North.
Robert Foster, the gentleman above in the bow tie, became a surgeon and moved from Louisiana to Los Angeles in 1953. There, he rose to the upper ranks of black society and became personal physician to Ray Charles. Foster left the South so thoroughly behind that his daughter didn't know many of the details of his Louisiana childhood until she read it in Wilkerson's book.
Through her compelling straight-forward prose, wonderful storytelling, and diligent journalism, Wilkerson more than convinces me that the Great Migration is the greatest untold, misunderstood, and largely unknown occurrence of the American 20th century. I don't say this often, but The Warmth of Other Suns is a must-read, particularly if you want to begin to understand the racial issues still confronting the US today.
When the Curiosity rover landed on the surface of Mars, it took high-resolution photos all the way down. Luke Fitch took those photos and stitched them together into a first-person HD video of the rover's landing.
Update: I was wondering if someone had done a stabilized version of this video and lo:
In this story by Rafael Zoehler, a father who dies at 27 wrote his son a series of letters to be opened at several of life's milestones, including WHEN YOU HAVE YOUR FIRST KISS, WHEN YOU BECOME A FATHER, and WHEN YOUR MOTHER IS GONE. This letter was entitled "WHEN I'M GONE":
If you're reading this, I'm dead. I'm sorry. I knew I was going to die.
I didn't want to tell you what was going to happen, I didn't want to see you crying. Well, it looks like I've made it. I think that a man who's about to die has the right to act a little bit selfish.
Well, as you can see, I still have a lot to teach you. After all, you don't know crap about anything. So I wrote these letters for you. You must not open them before the right moment, OK? This is our deal.
I love you. Take care of your mom. You're the man of the house now.
PS: I didn't write letters to your mom. She's got my car.
How many videos can we watch about the films of Stanley Kubrick? If you're anything like me, the answer is never enough. This montage hinting at connections between his films is particularly well done.
Mashups are so ubiquitous and overdone that the bar for actually watching one is pretty high. But this one, no joke, might be the best visual movie mashup I've ever seen. Hell's Club is a tour de force of film editing, seamlessly combining scenes from dozens of different films -- Austin Powers, Cocktail, Star Wars, Terminator, Staying Alive, Boogie Nights -- into one cohesive scene. Give it 30 seconds and you'll watch the whole thing.
That is the question that physicist Lawrence Krauss answers in his book, A Universe from Nothing. The book's trailer provides a little more context.
Everything we see is just a 1% bit of cosmic pollution in a Universe dominated by dark matter and dark energy. You could get rid of all the things in the night sky -- the stars, the galaxies, the planets, everything -- and the Universe would be largely the same.
And my favorite line from the trailer:
Forget Jesus, the stars died so you could be born.
(via open culture)
Yale has made 170,000 Library of Congress photos of the US from 1935 to 1945 available online, searchable and sortable in many different ways.
In order to build support for and justify government programs, the Historical Section set out to document America, often at her most vulnerable, and the successful administration of relief service. The Farm Security Administration-Office of War Information (FSA-OWI) produced some of the most iconic images of the Great Depression and World War II and included photographers such as Dorothea Lange, Walker Evans, and Arthur Rothstein who shaped the visual culture of the era both in its moment and in American memory. Unit photographers were sent across the country. The negatives were sent to Washington, DC. The growing collection came to be known as "The File." With the United State's entry into WWII, the unit moved into the Office of War Information and the collection became known as the FSA-OWI File.
Josh Marshall argues provocatively and persuasively that news media, law enforcement, and everyone else should name the offenders in these mass shootings, in part because the refusal has become an empty sort of action that people can take to "help".
It is a grand evasion because we need to make ourselves feel better by finding a way to think we are doing 'something' even though we're unwilling to do anything that actually matters. Except for those immediately affected or those in the tightly defined communities affected we also shouldn't give ourselves the solace of watching teary-eyed memorials or all the rest. Again, as a society we've made our decision. I would go so far as to say that it's good for us to know Mercer's name since we are in fact his accomplices. It's good that we know each other.
Withholding knowledge is not the way forward.
Update: From the NY Times back in August, Zeynep Tufekci writes: The Virginia Shooter Wanted Fame. Let's Not Give It to Him.
This doesn't mean censoring the news or not reporting important events of obvious news value. It means not providing the killers with the infamy they seek. It means somber, instead of lurid and graphic, coverage, and a focus on victims. It means not putting the killer's face on loop. It means minimizing or not using the killers' names, as I have done here. It means not airing snuff films, or making them easily accessible on popular sites. It means holding back reporting of details such as the type of gun, ammunition, angle of attack and the protective gear the killer might have worn. Such detailed reporting can give the next killer a concrete road map.
Update: Read all the way to the bottom of this Mother Jones article for ways that they have changed how they report on mass shootings.
Report on the perpetrator forensically and with dispassionate language. Avoid terms like "lone wolf" and "school shooter," which may carry cachet with young men aspiring to attack. Instead use "perpetrator," "act of lone terrorism," and "act of mass murder."
This photo of five Secret Service agents bracing themselves against helicopter prop wash is my favorite photo of the week.
It's like they're each individually posing for their own super-boss album cover. Larger here.
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