Entries for October 2018
In collaboration with creative agency Sagmeister & Walsh, Kurzgesagt explores what beauty is and how it makes people happier. This Atlantic piece is a good companion piece that summarizes some of the research done about beauty’s connection to happiness.
The usual markers of happiness are colloquially known as the “Big Seven”: wealth (especially compared to those around you), family relationships, career, friends, health, freedom, and personal values, as outlined by London School of Economics professor Richard Layard in Happiness: Lessons from a New Science. According to the Goldberg study, however, what makes people happiest isn’t even in the Big Seven. Instead, happiness is most easily attained by living in an aesthetically beautiful city. The things people were constantly surrounded by — lovely architecture, history, green spaces, cobblestone streets — had the greatest effect on their happiness. The cumulative positive effects of daily beauty worked subtly but strongly.
See also Richard Feynman on Beauty.
After he retired from making feature length films in 2013, legendary animator Hayao Miyazaki started work on a short film using CGI animation techniques, which he had never worked with before. For two years, a film crew followed him and his progress, resulting in a feature-length documentary, Never-Ending Man: Hayao Miyazaki. You can watch the trailer above.
I’m a weak used-up old man. It’d be a ridiculous mistake to think I’ll ever regain my youth. But what do I do with the time I have left?
The documentary was shown on Japanese TV in 2016 but will make its American debut in December, showing on December 13 and 18.
Possible spoiler alert for the documentary: Miyazaki unretired last year and is turning that short film into a full-length feature.
Samer Dabra uses a drawing machine called the AxiDraw and a custom program to generate Impressionistic line drawings of people. The machine builds the portraits using four single lines drawn in the four CMYK colors, one on top of another, with minimal tweaking from Dabra. Rion Nakaya of The Kid Should See This edited together a video of the machine creating drawings.
There is something more than a little Vincent van Gogh & Georges Seurat about these. You can see the results on Instagram.
For Literary Hub, Alison Pearlman writes about how secret menus at fast food joints like In-N-Out (4x4, animal style) and McDonald’s (a McDonald’s Double Cheeseburger with a McChicken sandwich crammed into it) are an attempt by customers to push back against corporate standardization.
As you might guess, chain restaurants with units in the many hundreds or thousands lean toward standardization. The larger the chain, the more it regulates everything from menus to service, which creates the public perception of a homogenous and regimented operation.
This is the strongest at limited-service chains because every segment of the company-designed encounter between patron and server is at its most rote. Regulars are supposed to be addressed the same way as first-timers. Managers don’t encourage servers to recall a repeat customer’s favorite dish or how much ice she likes in her tea. That would only slow operations down-the kiss of death for a high-volume operation. If a server does become familiar with a repeat customer, that relationship could lead to special treatment, such as extra generous provisions of fries or special sauce, but interactions like these stray from the company line.
The piece is excerpted from Pearlman’s new book on the design of restaurant menus, May We Suggest: Restaurant Menus and the Art of Persuasion, which sounds fascinating. As a former designer who still very much thinks like one, almost every time I interact with a restaurant menu, I’m looking at how it’s arranged and designed. I think often of William Poundstone’s analysis of Balthazar’s menu.
2. The price anchor. Menu consultants use this prime space for high-profit items, and price “anchors”, in this case the Le Balthazar seafood plate, for $115 (£70). By putting high-profit items next to the extremely expensive anchor, they seem cheap by comparison. So, the triple-figure price here is probably to induce customers to go for the $70 (£43) Le Grand plate to the left of it, or the more modest seafood orders below it.)
And of course, there’s the 11-page menu from Shopsin’s circa-2004 that defies all rational analysis, a “tour de force of outsider information design”.
For New York magazine, Michael Avedon took photos of 27 survivors of school shootings, including Parkland’s Anthony Borges, a 15-year-old who “barricaded a door to a classroom to protect other students, saving as many as 20 lives”:
Also pictured are survivors from Virginia Tech, Columbine, San Bernardino, and a 1946 shooting in Brooklyn. Accompanying the photos are interviews with each survivor. Here’s Colin Goddard, who was shot at Virginia Tech in 2007:
There were 17 people in that room with me. I’m one of seven alive today.
Eventually, I was able to play sports again and return to my same physical state, which helped my mental state. However, ten years later, I’m dealing with lead poisoning. My mom forwarded me an article about lead levels in gunshot victims, saying, “You ever get tested?” I was never told to.
Sure enough, I had significantly elevated levels of lead in my blood. Thousands of people get shot in this country every year. It’s blown me away that there really is no consensus about how to treat this.
NASA’s Kepler space telescope has run out of fuel, ending its mission. Over the past decade, Kepler has discovered more than 2600 exoplanets.
In a piece for The Atlantic, Ian Bogost argues that Mister Rogers’ “look for the helpers” advice for tragic events was intended for preschoolers and that “turning the reassuring line for children into a meme for adults should make everyone uncomfortable”.
Once a television comfort for preschoolers, “Look for the helpers” has become a consolation meme for tragedy. That’s disturbing enough; it feels as though we are one step shy of a rack of drug-store mass-murder sympathy cards. Worse, Fred Rogers’s original message has been contorted and inflated into something it was never meant to be, for an audience it was never meant to serve, in a political era very different from where it began. Fred Rogers is a national treasure, but it’s time to stop offering this particular advice.
I touched on this briefly in a post a couple of weeks ago:
Fred Rogers often quoted his mother as saying, “Look for the helpers. You will always find people who are helping.” That message was directed at young children who he wanted to help feel secure. For us adults, Rogers might have encouraged us to exercise more moral courage and become those helpers, not just look for them. The world today could use more of that.
(via @davidzweig)
In this video, Carlos Maza talks about how the Republican Party has become more extremist than the Democrats, which has caused our government to cease working in the way that it should. It’s worth watching in full.
Over the past few decades, both Democrats and Republicans in Congress have moved away from the center. But the Republican Party has moved towards the extreme much more quickly — a trend that political scientists’ call “asymmetrical polarization.”
That asymmetry poses a major obstacle in American politics. As Republicans have become more ideological, they’ve also become less willing to work with Democrats: filibustering Democratic legislation, refusing to consider Democratic appointees, and even shutting down the government in order to force Democrats to give in to their demands.
Democrats have responded in turn, becoming more obstructionist as Republican demands become more extreme.
Maza references the work of Norman Ornstein and Thomas Mann, who have written several books on Congress, most relevantly 2012’s It’s Even Worse Than It Looks. The pair have been saying for some time that the present dysfunction in American politics is the fault of the Republican Party, as in a 2012 Washington Post piece titled Let’s just say it: The Republicans are the problem. and a 2017 piece in the NY Times.
What is astounding, and still largely unappreciated, is the unexpected and rapid nature of the decline in American national politics, and how one-sided its cause. If in 2006 one could cast aspersions on both parties, over the past decade it has become clear that it is the Republican Party — as an institution, as a movement, as a collection of politicians — that has done unique, extensive and possibly irreparable damage to the American political system.
In the video, Maza and Ornstein rightfully criticize the “knee-jerk neutrality” on the part of the news media, the inclination to blame “both sides” for failing to work together on specific issues and for the general dysfunction, and in the process refusing to acknowledge that Republican extremist views and tactics are to blame much of the time. They’re not talking about propaganda outlets like Fox News or Breitbart here, by the way — they’re referring to the NY Times, MSNBC, CNN, NPR, and the like. They argue that this impulse results in Americans not getting a clear picture of how our government is failing. Adam Davidson recently made much the same point on Twitter.
Both-sidism operates at every level. From the highest and most noble aspirations and core identity of journalists to the most cowardly, trying to solve a quick problem on deadline level. It is shoved into the brains of newbies and a source of enormous pride for veterans.
Both-sidism determines who gets hired, who gets promoted or fired, how editorial and business decisions are made.
It is so fundamental that there is no mechanism, no language to truly critique it from within. And little ability to adjust when it makes no sense.
You can see “both sides” at work in stories about climate change (making it seem like the science isn’t settled), vaccines (ditto), and even mass murders (“Billy was a quiet boy who loved his momma until he killed 12 children with an assault rifle”). These kinds of stories do their readers the injustice of not telling them the truth. Journalists need to stop doing this and as readers, we need to push them on it.
But what about the voters? Leading up to next week’s midterm elections, much of the focus of progressive anger has been on Donald Trump. But he seems to me to be a symptom and not the disease. The Republican Party is the disease. Take Trump away and, while that might mean fewer accidental nuclear wars, the biggest problems still remain. As long as Republicans persist in operating as a bloc with obstructionist tactics and producing legislation without meaningful debate against the desires of the people, there are no good Republicans. Vote them out, all of them.
If you need a moment of relaxation today, check out this live feed of a Norwegian train making its journey through the wintery countryside. A fine example of slow TV.
Another thing I learned on my visit to Topographie Des Terrors in Berlin was how the Nazis subtly twisted the meaning of “protective custody”. That term is typically thought of as a measure to safeguard an individual who might be harmed. It’s not always a positive term — “custody” after all is not freedom and in US prisons, protective custody often subjects the person being protected to solitary confinement.
Beginning in 1933, the Nazis began placing people deemed subversive to the Reich under protective custody, presumably so they would not be harmed by German people upset with their disruptive influence in society. But really, protective custody was a euphemism for jailing Jews, homosexuals, the disabled, Communists, the elderly, Roma, “work-shy”, and political opponents outside of the normal judicial system.
With the reinterpretation of “protective custody” (Schutzhaft) in 1933, police power became independent of judicial controls. In Nazi terminology, protective custody meant the arrest — without judicial review — of real and potential opponents of the regime. “Protective custody” prisoners were not confined within the normal prison system but in concentration camps under the exclusive authority of the SS (Schutzstaffel; the elite guard of the Nazi state).
No due process…these people went straight to concentration camps and were then often murdered. The entity being protected in protected custody was the Nazi regime. From a 1939 article in The Atlantic written by someone who had been imprisoned in the Sachsenhausen concentration camp::
In Germany the words ‘protective custody’ have a double meaning. Originally the term meant the incarceration of people who were threatened by others and who were guarded for their own safety so that they might be protected from their enemies. Now, however, men in protective custody are mostly those who are brought, for the ‘protection of the people and the State,’ into a concentration camp without hearing, without court sentence, without the possibility of redress, and for an indefinite time.
Language, as Orwell and others have long noted, is a powerful tool of fascists and authoritarians. In addition to “protective custody”, the Nazis referred to their plans for Jewish genocide as the “Final Solution to the Jewish Question” and murdering people as subjecting them to “special treatment”. It all sounds so civilized and palatable, easily digestible to normal folks.
New Orleans’ Hot 8 Brass Band somehow reimagines Joy Division’s Love Will Tear Us Apart Again as an upbeat jazzy tune.
The band also did a cover of Marvin Gaye’s Sexual Healing a few years ago.
For the most recent issue of the kottke.org weekly newsletter, Tim wrote about watching almost all of legendary director Hayao Miyazaki’s films, from Nausicaa: Valley of the Wind to The Wind Rises.
The unsurprising verdict: these movies are amazing works of art, each and every one. I was especially charmed by two movies I’ve always mentally skimmed over: Laputa — Castle in the Sky and Whisper of the Heart. They’re insanely different movies. Laputa is maybe as close as Miyazaki gets to a good guy vs. bad guy epic (although even the pirates who start the film as antagonists end up being comrades by the end of it), and Whisper of the Heart, despite a couple of fantasy sequences, is even closer to straight realism than Miyazaki’s last film, The Wind Rises.
Also probably unsurprising: for allaying anxiety, the movies are a mixed bag, to say the least. There’s an escapism factor to each of them, or rather, an absorption factor, that’s extremely welcome. But they’re also emotionally complex fables about self-destruction, the need for love, and the brutality of the future.
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In 2011, an anonymous blogger defined the term “stochastic terrorism”.
Stochastic terrorism is the use of mass communications to incite random actors to carry out violent or terrorist acts that are statistically predictable but individually unpredictable. In short, remote-control murder by lone wolf.
This is what occurs when Bin Laden releases a video that stirs random extremists halfway around the globe to commit a bombing or shooting.
This is also the term for what Beck, O’Reilly, Hannity, and others do. And this is what led directly and predictably to a number of cases of ideologically-motivated murder similar to the Tucson shootings. As of this writing, there is no evidence to link Jared Loughner to a specific source of incitement; but some of the other cases can be clearly linked.
The stochastic terrorist is the person who is responsible for the incitement. For example they go on radio or television and stir up hatred toward a particular person or group.
During the 2016 Presidential campaign, David Cohen noted in Rolling Stone that Donald Trump was practicing stochastic terrorism.
Speaking to a crowd in Wilmington, North Carolina, Tuesday, Trump expressed concern about Hillary Clinton possibly picking Supreme Court justices and other judges. He then said, “If she gets to pick her judges, nothing you can do, folks. Although the Second Amendment people, maybe there is. I don’t know.”
Let that soak in for a second. One of the two major-party nominees for president just called for “Second Amendment people” to “do” something about his political opponent’s judges. According to the Trump campaign’s rapid response team, he was talking about those “Second Amendment people” coming together politically - “unification,” as they called it. The Clinton campaign, and pretty much the entire Internet, saw it differently: as a clear suggestion of violence against a political opponent.
Rewarded for this rhetoric with the highest office in the land, Trump has kept on stoking his base into a furor with tweets and rallies, resulting in the recent pipe bomb mailings to prominent Democrats and the massacre of 11 people at a Pittsburgh synagogue.
I spent a few days in Berlin last week.1 One of things you notice as a visitor to Berlin is the remembrance of the Holocaust and the horrors of the Nazi regime. There’s the Jewish Museum, the Memorial to the Murdered Jews of Europe, and the Topographie Des Terrors, which is an excellent (and free) exhibition detailing how the Nazi terror machine worked.
At the massive train yard at the Deutsches Technikmuseum, they have a dedicated exhibition on how the German rail system was used to transport Jews to concentration camps, including a freight car used in the transports that you could walk into and try to imagine, in some small way, you and your children cheek to jowl with 80 other people, on the way to be murdered. A powerful experience.
Outside a train station, there was a sign listing concentration camps: “places of horror which we must never forget”.
Just as important, the language they used on the displays in these places was clear and direct, at least in the English translations. It was almost never mealy-mouthed language like “this person died at Treblinka”…like they’d succumbed to natural causes or something. Instead it was “this person was murdered at Treblinka”, which is much stronger and explicitly places blame on the Nazis for these deaths.
As the exhibition at the Topographie Des Terrors made clear, the German response to the Holocaust and Nazi regime wasn’t perfect, but in general, it’s very clear that a) this happened here, and b) it was terrible and must never happen again.
On Saturday morning in Pittsburgh, a man radicalized by the President of the United States and right-wing media walked into a synagogue and killed 11 people.
With overt anti-Semitism growing in the US (as well as other things like the current administration’s policies on immigration and jailing of children in concentration camps), it’s instructive to compare the German remembrance of the Holocaust to America’s relative lack of public introspection & remembrance about its dark history.
In particular, as a nation the US has never properly come to terms with the horrors it inflicted on African Americans and Native Americans. We build monuments to Confederate soldiers but very few to the millions enslaved and murdered. Our country committed genocide against native peoples, herded them onto reservations like cattle, and we’re still denying them the right to vote.
These things happened in our history in part because powerful people needed an enemy to rally everyone against. It’s an old but effective tactic: blacks, Indians, Jews, homosexuals, gypsies, Irish, Arabs, Muslims, Mexicans, Chinese, Japanese — they are here to take your jobs, steal your money, rape your women! It’s what slaveowners did to make their forced labor camps socially acceptable to polite Southern society, it’s what the Nazis did to make murdering Jews acceptable to the German people, it’s what the US government and settlers did to commit genocide against Native Americans, and it’s what Donald Trump is doing now. The monuments, exhibitions, and museums I saw in Berlin last week formed a powerful rejoinder to this type of fascism. I think the US really needs to grapple with its history in this regard…or it’ll just keep happening again.
Update: An earlier version of this post stated that one of the victims of the Pittsburgh shooting was a Holocaust survivor. She was not. (thx, vanessa)
I cannot wait to see the new Freddie Mercury biopic, Bohemian Rhapsody. It’s out in wide release on November 2 after a long time in the making (Sacha Baron Cohen was attached for six years before dropping out in 2013 over a dispute with the remaining band members). I still think SBC would have made a great Freddie Mercury, and it sounds like some, ahem, colorful details may not have made it into the film. Per NME:
There are amazing stories about Freddie Mercury,” he explained. “The guy was wild. There are stories of little people with plates of cocaine on their heads walking around a party.” However, Baron Cohen learned that these stories would not make the film. “They wanted to protect their legacy as a band.”
Queen was so revered in my household growing up that my father bought me and my siblings each authentic sixpence for when we see the movie together over Thanksgiving. Apparently Brian May considers guitar picks too flexible and uses a vintage sixpence coin instead (they’ve been out of circulation since 1980). I’m hoping the mixed reviews are ignored so that it’s still in the theater after three weeks. Full disclosure: I’ve broken the cardinal blogging rule and not fully read these reviews before posting so I don’t spoil the movie for myself since I MUST SEE IT.
In anticipation of the film’s release, you may want to read this Rolling Stone feature on Queen, which gives significant backstory about Freddie Mercury and the band.
In Queen’s early years, a legend persisted that the band had spent a year or two mapping out the stratagems of its success before anybody ever heard the music. (Deacon once boasted to friends that the group had a “10-year plan.”) For the music press, this sort of ambition showed guile rather than any true passion for the meaning or social possibilities of music. It was an image that Queen didn’t escape for most of their career. In truth, Queen’s rise was beset by questionable business deals and serious health problems (at one point May almost lost an arm to gangrene, and was later hospitalized with hepatitis, then an ulcer). But for Mercury, there was no fallback. May, Taylor and Deacon could all resort to their original academic-bred careers: May kept working toward his Ph.D. thesis in astrophysics in the band’s early years, and Deacon later admitted that he wasn’t convinced Queen were truly viable until after their third LP. Mercury eventually persuaded the band that it was worth abjuring any other careers. “If we were going to abandon all the qualifications we had got in other fields to take the plunge into rock,” May later said, “we weren’t prepared to settle for second-best.”
Settle they did not, by any stretch. Freddie Mercury burned bright and died way too young, at 45.
People had trouble with how Mercury lived and with how he died. There were homophobes who saw his deterioration as a punishment for his sexuality and promiscuity. Others, who had done work combating AIDS, faulted him for not acknowledging his condition until the end. Those judgments will always follow Mercury, but if his music is any key at all, there was an almost prayerful quality about his failings. In song after song he sang about mortality, solitary desolation and hopefulness, but he also implored some unattainable sanctuary — nowhere so openly as in “Save Me,” from The Game: “I have no heart, I’m cold inside/I have no real intent…./Save me/I can’t face this life alone.” But Mercury often felt he had to stay alone, as he had done in his childhood. “It can be a very lonely life,” he said, “but I choose it.” (In the early 1970s, when Austin suggested they have a child together, Mercury allegedly responded, “I’d rather have a cat.”) Instead of domestic refuge, Mercury sought ecstasy and restlessness for most of his life, and obviously that choice incurred a cost. One of his best songs, “Don’t Stop Me Now,” set out his ethos with a starkness that was also blissful: “I’m a rocket ship on my way to Mars/On a collision course/I’m a satellite out of control/I’m a sex machine ready to reload.”
I think we can all agree that Freddie Mercury is a rock god and that Queen’s Live Aid performance is legendary. Please go see the movie when it’s out next week!
Amanda Chicago Lewis is the best weed reporter.
Los Angeles is widely agreed to be the biggest and most important cannabis economy in the world, with a few million consumers, tens of thousands of workers, and billions of dollars each year in sales. It is also, from a business and government standpoint, one of the most contentious, complex, and gridlocked legal-marijuana markets in the United States.
It’s both astounding but also completely makes sense that there are 1,700 illicit dispensaries in Los Angeles on top of the 169 licensed establishments. It’s the wild west for weed right now. And the way authorities are handling the explosive growth is less than ideal.
Meanwhile, the DEA sent out threatening letters, and the city and the feds raided dispensaries indiscriminately, regardless of who had registered. Several shop owners went to prison—especially people of color. Even though most early weed entrepreneurs had worked on the illicit market, white dispensary owners who had previously been drug dealers were significantly less likely to have been arrested, and law enforcement was looking for people with criminal records. As time went on, the gray area of medical marijuana’s legality only deepened the racial divide.
You probably know Shirley Jackson as the author of “The Haunting of Hill House” but you should know her because of the brilliant and eerie “We Have Always Lived in the Castle.”
Zoë Heller on the new Jackson biography:
In a new, meticulously researched biography, “A Rather Haunted Life,” Ruth Franklin sets out to rescue Jackson from the sexists and the genre snobs who have consigned her to a dungeon of kooky, spooky middlebrow-ness. Franklin’s aim is to establish Jackson as both a major figure in the American Gothic tradition and a significant, proto-feminist chronicler of mid-twentieth-century women’s lives. In contrast to Jackson’s first biographer, Judy Oppenheimer, whose 1988 book, “Private Demons,” somewhat played up Jackson’s alleged occult powers, Franklin argues that Jackson’s sorceress persona was mostly shtick: a fun way to tease interviewers and to sell books. Jackson was interested in witchcraft, she writes, less as a “practical method for influencing the world” than as “a way of embracing and channeling female power at a time when women in America often had little control over their lives.” Similarly, Jackson used supernatural elements in her work not to deliver cheap thrills but, in the manner of Poe or James, “to plumb the depths of the human condition,” or, more particularly, to explore the “psychic damage to which women are especially prone.”
Heller goes deeper into the gender issues at play:
The tension between socially acceptable housewifery and creative ambition is certainly easy to find in Jackson’s life, but it’s rather harder to locate in her fiction. There’s no question that, in her books, the house is a deeply ambiguous symbol—a place of warmth and security and also one of imprisonment and catastrophe. But the evil that lurks in Jackson’s fair-seeming homes is not housework; it’s other people—husbands, neighbors, mothers, hellbent on squashing and consuming those they profess to care for. And what keeps women inside these ghastly places is not societal pressure, or a patriarchal jailer, but the demon in their own minds. In this sense, Jackson’s work is less an anticipation of second-wave feminism than a conversation with her female forebears in the gothic tradition.
Shirley Jackson and her husband, the lesser-known author Stanley Edgar Hyman, lived in my hometown of North Bennington, in a house just down the street from where I grew up.
In 1945, after their first child was born, they settled in Vermont, where Hyman had been offered a post on the literature faculty at Bennington College. Here, in a rambling, crooked house in North Bennington, they raised four children and became the center of a social set that included Howard Nemerov, Ralph Ellison, Bernard Malamud, and Walter Bernstein. Their domestic life, as described in the comic dispatches that Jackson wrote for Good Housekeeping and Woman’s Home Companion, was raucous and warm. But Jackson was miserable a good deal of the time, as indicated by her increasing reliance on alcohol, tranquillizers, and amphetamines. She felt patronized in her role as a faculty wife and frozen out by the townspeople of North Bennington. (She took her revenge by using them as the model for the barbaric villagers in “The Lottery.”)
This reminds me, she’s not the only novelist to fictionalize my hometown.
Here’s a quick roundup of podcasts I’ve been into lately:
30 for 30: Bikram
Beware how you talk about this show if you have any friends who are Bikram practitioners…
Uncover: Escaping NXIVM
The journalist got incredible access because he was a childhood friend of the source. The whole story is bonkers.
The Gateway
This series about controversial social media spiritual guru Teal Swan is highly disturbing and utterly fascinating. The host and producer did an AMA.
The Indicator
Short and smart stories from the Planet Money team.
Slow Burn
Great reporting and pacing in the second season here, on the Clinton-Lewinsky scandal.
(Thanks Marisa, Emily, and Audrey)
For fans of High Maintenance (don’t miss the original HM web series), Broad City (the final season starts in January), and Strangers (a remarkably good show somehow on Facebook): Wobble Palace is streaming now.
The filmmakers behind Wobble Palace, Eugene Kotlyarenko and Dasha Nekrasova, spoke about the esoteric reverse romantic comedy:
One of the influences on this fractured narrative was the 1956 Japanese novel The Key, by Jun’ichiro Tanizaki. “It’s a book where a couple each keep different diaries and the chapters go back and forth between their diaries,” explains Kotlyarenko. “At a certain point, they realize that the other person is breaking into their drawer and reading their diary so they start writing performatively for the other person and it starts destabilizing what is reliable narrative.” Kotlyarenko and Nekrasova mention a few other works that offered some inspiration — La Bon Année (1973) by Claude LeLouch, they say, influenced their film’s ending and Immoral Tales (1973) influenced a masturbation scene.
I’m a sucker for maps so I’ve been into Haptic Labs quilts since we found out about them nine years ago (thanks Kelsey!). Founder Emily Fischer is endlessly creative, but technical, and is one of the best layoff success stories I know. She originally programmed quilting machines to create to-scale neighborhood map quilts, though now they’re now all handmade.
It’s hard to pick a favorite between the city maps, coastal maps, and constellation quilts. She even does baby quilts (a great gift) and has three lines of kites.
And now Haptic Lab makes quilted coats, which look great but also feel like draping yourself in bedding. Kind of genius considering the stressful times we live in, no need to get out of bed.
This is much more satisfying than browsing Google Trends, and just as illuminating about cultural shifts. Merriam-Webster’s new Time Traveler surfaces words based on the year they were first introduced in print*.
Apparently I was born the same year as the high five, ecofeminism, air guitar, voice mail, gridlock, heavy lifting, and gazillionaire.
My alma mater was founded in the same year as the words capitalism, Chianti, sassy, pants, pseudoclassic, tragic irony, mauve, and, my personal favorite, somnambulate.
*An important note on First Known Use dates:
The date most often does not mark the very first time that the word was used in English. Many words were in spoken use for decades or even longer before they passed into the written language. The date is for the earliest written or printed use that the editors have been able to discover.
It’s been eight years since Robyn’s last release, which seems like a Donna Tartt-esque wait in the pop music world. Her new album, Honey, is finally out tomorrow. She’s endured a breakup, a reconciliation, and the death of her longtime collaborator and producer, Christian Falk. Exploration of grief and loss are not the most uplifting themes in dance music, but Robyn has a depth beyond most pop stars.
What’s more interesting is seeing Robyn’s relationship to a mind/body connection play out. She got into psychoanalysis, which she calls “un-rigid and experimental” and “an inspiring, amazing place.” Equally important, she danced throughout the making of the album, getting lost in hypnotic rhythms, which in itself is a form of deep therapy.
Missing U is a solid Robyn dance track.
I hope this release means she and her platforms will soon be back on SNL.
And if you happen to be in Stockholm, she’s playing a “secret” gig on Saturday.
This is an interesting look at how Apple News approaches curating their product, which reaches 90 million people. Unlike other algorithm-focused Silicon Valley giants, Apple uses human editors to surface news stories. They layer those hand-picked stories, some of which will get a million views each, with trending and topic-based stories via algorithm.
Apple (surprisingly) gave access to their News editor in chief, Lauren Kern, who weighs accuracy above speed.
Ms. Kern criticized the argument that algorithms are the sole way to avoid prejudice because bias can be baked into the algorithm’s code, such as whether it labels news organizations liberal or conservative. She argued that humans — with all their biases — are the only way to avoid bias.
“We’re so much more subtly following the news cycle and what’s important,” she said. “That’s really the only legitimate way to do it at this point.”
To further her point:
When Apple in June unveiled a special section on the midterm elections, it highlighted Fox News and Vox as partners. Apple said there are as many people reading traditionally left-leaning publications as traditionally right-leaning publications on Apple News.
The piece goes further into the business side and raises the question of whether Apple News can, as it aims, help save journalism. While newsrooms are seeing a bump in traffic from Apple News, significant now that Facebook has changed how their algorithm surfaces publishers, the question remains of whether such a closed platform will grow media revenues enough to make a difference.
There are hints of what is to come:
There are ambitious plans for the product. Apple lets publishers run ads in its app and it helps some sign up new subscribers, taking a 30 percent cut of the revenue. Soon, the company aims to bundle access to dozens of magazines in its app for a flat monthly fee, sort of like Netflix for news, according to people familiar with the plans, who declined to be identified because they weren’t authorized to speak publicly. Apple also hopes to package access to a few daily-news publications, like The Times, The Post and The Wall Street Journal, into the app, the people said.
Perhaps this is all related to the press event Apple is hosting in Brooklyn next week?
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