Entries for July 2019
You may remember a few years ago when a video about Google’s Project Soli made the rounds, it promised very fine touchless gesture control with a custom chip using radar technology. Here’s the demo from back then.
Well years later, Google will finally be releasing it to the general public, including the Federal Communications Commission approved chip and a few basic gestures.
As the article at WIRED mentions, this is more important than one phone, it could be a first step in something new, like when the iPhone brought precise, quality touchscreens to a consumer device.
Google’s gesture technology is merely a glimpse of a touchless future. Just like the iPhone taught millions of people to interact with their world by tapping and swiping, the Pixel may train us on a new kind of interaction, changing how we expect to interact with all of our devices going forward.
If you’re in the US, most PBS stations will be showing the documentary Worlds of Ursula K. Le Guin on August 2nd, so that’s your Friday night sorted.
Features interviews with the author, her family and friends, and the generation of sci-fi and fantasy writers she influenced, like Margaret Atwood, Neil Gaiman, and Michael Chabon, as well as gorgeous animations illustrating her work as she reads.
One comment I noted when she passed in 2018:
One of the many, many things Le Guin gave us was a subtle one: that the “science” in science fiction could also be the social sciences, and that, indeed, without it, no science fiction could be entirely complete.
— Catherynne Valente on Twitter
And this great thread by Jeet Heer, including:
Le Guin was part of a great shift in science fiction, often called New Wave, which had many dimensions (literary, countercultural, feminist) but was also a move from xenophobia to xenophilia.
I loved this from her Rant About “Technology” which, sadly, seems to have gone offline when that site was redesigned.
Technology is the active human interface with the material world.
… But the word is consistently misused to mean only the enormously complex and specialised technologies of the past few decades, supported by massive exploitation both of natural and human resources.
And of course this great acceptance speech when she received the National Book Foundation’s Medal for Distinguished Contribution to American Letters.
(Via Eliot Peper / Neil Gaiman.)
Somewhat as a continuation to the previous post on journalism, which included a call to “look at people and how they use the technology, not just the tech itself.” I’d like to draw your attention to this post by Doug Belshaw which can be summarized as saying that the solution to the problem we have with FOMO, notifications, and busyness might simply be to think of the human (you) first. To be purposeful in your choices, to determine what you need, to focus on how best to answer those choices and needs.
Know who you are, what you care about, and the difference you’re trying to make in the world.
You should read the whole thing, but I’m including it here in part for this great list Belshaw extracted from a Kathy Sierra post from bak in “2006, in the mists of internet time,” The myth of keeping up.
Jeff Jarvis with some good comments (based primarily on a paper by Axel Bruns) arguing that the media in general needs to start with deeper questions, more research, referencing actual research, and demonstrable facts instead of presumptions. Excellent ideas.
He begins with this quote from the Bruns paper:
[T]hat echo chambers and filter bubbles principally constitute an unfounded moral panic that presents a convenient technological scapegoat (search and social platforms and their affordances and algorithms) for a much more critical problem: growing social and political polarisation. But this is a problem that has fundamentally social and societal causes, and therefore cannot be solved by technological means alone. [Emphasis mine.]
Agreed. Jarvis via Bruns then argues that these metaphors are too loosely defined, leaving room for broad usage, unclear meaning, resulting in moral panic more than actual research and fact based analysis.
He follows up with a number of articles and further research from the paper, backing up his point. Then numerous examples of media using the filter bubble shortcut. I encourage you to click through to the article and dive a bit deeper.
But that leads to another journalistic weakness in reporting academic studies: stories that takes the latest word as the last word.
Absolutely. And pretty much everyone does that at some point so it’s a good reminder to us all to consider new research and explanations of the day within broader historical context and preexisting knowledge.
The whole article (and the research paper, although I myself haven’t gotten to that yet) is worth a read, the main point of Jarvis is a good one; more questions, more research, deeper thinking. Looking at people and how they use the technology, not just the tech itself.
I do have to caveat this though by mentioning the Jarvis dismisses Shoshana Zuboff’s work on Surveillance Capitalism by portraying it as “an extreme name for advertising cookies and the use of the word devalues the seriousness of actual surveillance by governments.” One could debate whether Zuboff should have used another word, separating the practice from that of governments, but by saying “advertising cookies” Jarvis makes one of those surface remarks he raves against in his piece, somewhat discrediting it.
Lovely story of a Tokyo security guard who’s enhancing his guidance work through constructions sites with some fantastic custom made signage. He crafts those crisp and distinctive signs with… duct tape and a knife! Having no formal training in graphic design, he managed to create a style so noticeable and appreciated that it is now “highly regarded by designers and curators” and is even known as “Shuetsu Sans.”
The man in question, Shuetsu Sato, also published an instructional book and has fans on Instagram, spotting and sharing his work!
The transformation of (a lot of) the internet into simply a larger, more diversified series of tv channels continues apace. Sharing here for the last quote below, which seems like an important insight and transformation.
In 2019, authenticity has been replaced with pageantry, and relationships with viewers have been manipulated into making the audience care about something produced blatantly to turn a profit.
As the YouTube community faces a reality where “mainstream networks are starting to dominate the platform and eclipse independent creators,” they try to join those networks or endeavour to create their own TV-show-like productions.
YouTube’s community borrowed from reality TV’s most innovative narrative tool — confessionals — to create what the entire world now understands as modern vlogging. It worked extremely well. But as the vlogging format went out of style, creators are now looking for new and creative ways to remain relevant and catch people’s attention. For creators like Paul and Mongeau, that’s meant a return to the trappings of reality TV. (Emphasis mine.)
It’s always interesting to see how people feel about books. Some don’t read them, some always have one in hand, even walking. Some read everything, some pile the unreads endlessly. Some read them with purpose, to learn something, get better at some tasks; others to escape, dream, discover some new imaginary universe. Karen Olsson at the Literary Hub wonders why she doesn’t read all her books, and, contrary to her husband who diligently reads anything written by a friend or given to him, she has multiple unread books. They remind her of past interests, past lives, future intents, projects, they whisper to her.
I keep this book around even though I don’t wish to make anything of it in a literal sense—I don’t want to write fiction or nonfiction or a nutty screenplay about a mesoamerican document, but I wish for it to somehow whisper in my ear while I write something not at all about the map, for its enigmatic presence to leave some ineffable trace.
I love this idea of books as biographies, including alternative ones.
I’ve become conscious of the alternative biography my books represent, a history of stray intentions, youthful aspirations, old interests that have run their course but not quite expired, since there’s always that chance I might decide to learn at last about portrait miniatures, or neuroscience, or the Battle of the Alamo.
In some cases, there’s even some kind of fear of the real thing not matching up to the mystery.
Perhaps in some cases it has actually meant more to me to possess a book than to read it, because as long as its contents remain unknown to me, it retains its mystery. The unread book is a provocation, a promise of something that might dissipate if I slogged my way through the text.
One of the very few productivity tips I trust 100% (ok, probably the only one) is the recommendation for getting up and walking around. It’s been proven time and time again by various authors and creatives of all types, as well as by science through research after research. Walking is good for the body, changes the mode our brain is in, and helps get our thinking going.
This piece at the Guardian covers some of those ideas and research behind Shane O’Mara’s new book on the topic, In Praise of Walking.
He favours what he calls a “motor-centric” view of the brain - that it evolved to support movement and, therefore, if we stop moving about, it won’t work as well.
Needless to say, that’s not what many of us do for most of our days. It seems this sitting around and non-movement might even affect our personality.
A 2018 study tracked participants’ activity levels and personality traits over 20 years, and found that those who moved the least showed malign personality changes, scoring lower in the positive traits: openness, extraversion and agreeableness.
I’ll note here that a lot of what O’Mara cites has to do with “movement” which he equates with walking. Granted, it’s probably one of the easiest ways to move, but one assumes that any kind of movement (swimming, yoga, etc.) also fits a lot of the research he bases his comments on even though his preference is clearly for walking.
According to him, it looks like walking might even be good against one of the great problems of our time, stress and anxiety, while at the same time fostering some of the skills we need in many fields of work; learning constantly, memory, and an ability to think on our feet (pun intended) and come up with solutions.
“It turns out that the brain systems that support learning, memory and cognition are the same ones that are very badly affected by stress and depression,” he says. “And by a quirk of evolution, these brain systems also support functions such as cognitive mapping,” by which he means our internal GPS system.
You might even see walking as a kind of superpower, because “when we get up and walk, our senses are sharpened.”
As I mentioned earlier, different kinds of exercice and movement could do the job. O’Mara, correctly, raves about walking in part because it’s accessible, easily woven into every day life, and doesn’t require much preparation, if any. His recommendation is pretty simple:
To get the maximum health benefits, he recommends that “speed should be consistently high over a reasonable distance - say consistently over 5km/h, sustained for at least 30 minutes, at least four or five times a week.”
The piece finishes with some words on creativity and multiple examples of authors praising walking, I’ll close with this one:
Only thoughts reached by walking have value.
— Friedrich Nietzsche
This one is a super short article about a deep sea encounter between the Nautilus research vessel and a rare piglet squid. Beautiful little one with its tentacles pointing up like a bad hair day. It “is able to regulate buoyancy with an ammonia-filled internal chamber,” which is kind of fascinating.
It’s sometimes easy to think that we know how most things work, especially those that surround us and we take for granted. Truth is, our knowledge is still advancing and constantly updating. There is so much we don’t know, including our own bodies and even trees. This story by Ed Yong looks at how a tree stump (no leaves, no stems, no greenery) is still alive in New Zealand, accessing water from its neighbours trough a connected root system.
Leuzinger and Bader eventually showed that the stump is connected to one or more of the kauri trees around it, probably via its roots. They are hydraulically coupled: The water flowing through the full-size trees also drives water through the stump, keeping it alive. It will never green again, never make cones or seeds or pollen, never unfall, never reclaim its towering verticality. But at least for now, it’s not going to die, either.
Botanists don’t know yet how the stump is doing this, why its neighbours are sharing. Maybe they can’t identify freeloaders? Maybe they can’t break the connection? Perhaps the stump extends the root system for all of them and proves beneficial?
How the stump keeps water flowing is still a mystery. “The vessels in a tree aren’t built for this,” Leuzinger says. “They’re one-directional. Water goes from the roots to the crown. But if you’re a living stump, you have to reorganize your pathways so water can enter and leave again. This is completely unknown.”
Another botanist, Annie Desrochers, thinks this is pretty common in various forest, if misunderstood.
“That means trees can share water, nutrients, and diseases,” she says. If there’s a drought or insect epidemic, connected trees are more likely to survive, because resources can flow from unaffected individuals to beleaguered ones.
One more indication that we need to look at forests as super organisms, as a wood wide web.
(Header image by the Kauri Museum.)
I’ve always liked the concept of serendipity, even more since being involved in the early days of coworking, where we used the term “accelerated serendipity” quite a bit. The idea that, through the creation of a welcoming space and a diversified and thriving community, you could accelerate (or concentrate) “the occurrence and development of events by chance in a happy or beneficial way.” (Oxford English Dictionary)
So it’s probably a mix of Baader-Meinhof effect and well, serendipity, that these two articles grabbed my attention. In The Serendipity Engine, Gianfranco Chicco explains that he quit his job and will use the time to purposefully built up serendipity, seek fields he knows little about, learn new things, read an eclectic mix of books, be open to meeting strangers, visit new cities, etc. “Slowing down and renewing the commitment to a series of personal rituals.”
The Serendipity Engine works just like an internal combustion engine and, like with a high performance muscle car, you need to feed it with the right kind of propellant. In this analogy, the fuel is made of different activities, skills, and conversations. In my case I select them so that they are deliberately out of or tangential to my current professional domain. The engine also requires maintenance and fine tuning via iterations and changes to the activities or skills I become involved with.
He also connects his engine vision with Steven B. Johnson’s use of the concept of the adjacent possible, describing how different elements and ideas can be combined in various ways to create new elements and ideas.
The Serendipity Engine operates in a similar way, adding new stimulus into my life allow new and unexpected things to emerge.
Dan Cohen on the other hand, realized that he’s missing serendipity in the redesign of The New York Times app. Between the algorithmic “For you” tab and the pseudo old-school but very siloed “Sections,” he feels that he can’t bump into something new, he’s either presented with typecasted suggestions or enclosed in sections that don’t flow together, drawing you in from one to the next, like actual old-school paper newspapers did. For the sake of engagement, the NYT forfeits serendipity.
The engagement of For You—which joins the countless For Yous that now dominate our online media landscape—is the enemy of serendipity, which is the chance encounter that leads to a longer, richer interaction with a topic or idea. […]
Engagement isn’t a form of serendipity through algorithmically personalized feeds; it’s the repeated satisfaction of Present You with your myopically current loves and interests, at the expense of Future You, who will want new curiosities, hobbies, and experiences.
In a related idea, Kyle Chayka mourns some cancelled Netflix shows which were never presented to him because viewers are only shown a supposedly algorithmic homepage on Netflix (and elsewhere). In reality, that selection is corrupted by the business incentives of the company, pushing some shows to us, independent of our interests.
Sometimes there’s an algorithmic mismatch: your recommendations don’t line up with your actual desires or they match them too late for you to participate in the Cultural Moment. It induces a dysphoria or a feeling of misunderstanding—you don’t see yourself in the mirror that Netflix shows you.
One way to interpret all of this is that, even though we are supposed to be well served by algorithms, we end up not only missing some randomness, but we even have to actively seek it, busting our bubbles and building our own versions of Chicco’s engine. Or, as Chayka says below—and likely one of the reasons you are reading this blog:
Often we have to turn to other sources to get a good enough guide, however. Journalists, critics, and human curators are still good at telling us what we like, and have less incentive to follow the finances of the company delivering the content to us.
—
Found in the engine article; did you know that the word serendipity comes from the the Persian story of The Three Princes of Serendip? And that Serendip is one of the old names of Sri Lanka?
Gorgeous work by a Polish illustrator working in Japan. Originally found him through this page about his Tokyo storefronts book, which features a number of super detailed watercolor illustrations. You can see even more on the series page and the Tokyo by night ones are also worth a long look. He also links to this very detailed review of the storefronts book, with a page by page description (sounds boring but the work is so beautiful, it goes by fast).
Urbanowicz also has a Youtube channel with lots of making-of videos, including a series about the book above.
(Via Darran Anderson)
Incredibly (I guess), I’ve never played Fortnite. I have however been paying some attention to the game / platform, but it still surprised me to see that the prizes totaled an impressive $30 million! Held over three days this past weekend, the competition was hosted at the Arthur Ashe Stadium, home of the US Open of tennis, which is certainly an interesting image for the debate around the use of “sport” in “e-sports.” It was also more than a tournament.
But the World Cup was also home to a miniature Fortnite amusement park, a Marshmello concert, a tease of the game’s upcoming10th season, and multiple moments that blurred the line between the game and the real world. It was a chance for Epic to show off just how big Fortnite really is.
Player-fans, many of whom were attending as families, could meet mascots, speak with stars of the game, or visit and play multiple attractions. It was pretty much a small scale theme park, and of course there was lots and lots of buying of branded products.
Perhaps the most impressive thing about the World Cup was how it blurred the line between the real world and the digital universe Epic has created. Not only did locations and characters from the game make their way IRL, but so did the Battle Pass. Just like in the game, fans were encouraged to complete multiple tasks each day (in this case, that meant visiting attractions) in order to earn rewards including a physical V-Bucks coin.
More than 40 million people played in the 10 weeks of qualifiers, the oldest player in the final lineup was 24 (!!), and the winning duo won a $3 million grand prize. I feel old.
Perhaps more my beat than actually playing the game, have a look at this fascinating dive into the world of Fortnite, which debunks four hypes about the game, then considers Epic’s (makers of the game) situation and prospectives. The article then really gets interesting when the author starts looking at the use of the game as a public square, the time spent there, and how it could be / is used as a platform. Ball also writes about the founder, Tim Sweeney, and what he is planning for the cloud, a marketplace, and his long time obsession with the “Metaverse.” Imagine something like Ernest Cline’s Ready Player One and a platform vision which might face off with Zuckerberg’s similar(ish) ideas for Oculus.
This is the collision of two interesting “topic fields” I like to pay attention to. China in general, especially how media, social media, and commerce differ from the western models. And how the verticality of smartphones (and apps) is affecting media at large.
First, in this piece on The Next web about Chinese vertical dramas, we get a quick dive into the growing number of series built for the format. Aside from the visual shape, they are usually short episodes, fast-paced with many punchlines, and are exploring the possibilities of top to bottom transitions. You can find quite a few links and screenshot examples in the article.
Last time I guest edited here, I posted about an Ian Bogost piece on how Stories are overtaking social media, which focused in part on the vertical rectangle.
That name is vestigial now, because it’s only incidental that an iPhone or a Pixel is a telephone. Instead, it’s a frame that surrounds everything that is possible and knowable. A rectangle, as I’ve started calling it.
Back to China, this fascinating piece by Connie Chan at Andreessen Horowitz looks at the varied business models local internet companies are using, contrasting that to the mostly “one trick pony” approach of American counterparts. Chan focuses on books, podcasts, videos, and music, and although the examples are varied, they can be boiled down to a couple of main ideas; gamification of every possible aspect of the app and experience, and up-selling to VIP memberships and all kinds of merchandise.
Finally on the always excellent Logic mag, Christina Xu with a look at bullet comments culture in China, “an invasive species from Japan,” which layers comments over video, each attached to a specific moment. Originally popularized on the Bilibili platform, they are now present in a number of other places and media.
They represent the essence of Chinese internet culture: fast-paced and impish, playfully collaborative, thick with rapidly evolving inside jokes and memes. They are a social feature beloved by a generation known for being antisocial. And most importantly, they allow for a type of spontaneous, cumulative, and public conversation between strangers that is increasingly rare on the Chinese internet.
A new story? essay? thing? by Lydia Davis. “New Things In My Life.”
This is a fun one; over at The Takeout, they did a fantasy draft where each of the writers picked his/her favorite supermarket beer (i.e., a beer widely available at a supermarket or convenience store).
Number one overall is a favorite beer of mine: Negra Modelo.
The back and forth here is nice:
John Carruthers: Good. I’ve had #1 since two seconds after you sent this topic to me.
The very first pick, and my face of the franchise, is Negra Modelo.
Kate Bernot: That would have been in my top 3. Damn.
JC: I’m not real hot on regular Modelo, but man if the dark version isn’t almost perfect 7-Eleven beer
It’s light enough to be refreshing, but has a little more character than a lot of macro beers to keep you interested
It’s a sort of Vienna Lager, owing to the German brewing influence on Mexico’s beer culture
KB: Also a great food beer.
JC: It’s great with the free chips and salsa at a sit-down Mexican or Tex-Mex place
Honestly my idea of “I just want to sit down and order a beer and have it get here fast” perfection
Bonus: the folks at The Takeout interviewed some of their favorite brewers to find out what THEY liked to get when they’re feeling cheap and breezy. Their answers might surprise you!
It’s nothing new for people who built tools to later have remorse when seeing those tools abused. Sometimes that remorse is world-historical, like with many of the scientists whose work led to the atom bomb. Sometimes, it’s something less than that, like the guy who built the retweet button for Twitter.
In the retweet button’s case, this guy is named Chris Wetherell. He’s also responsible for leading the team that built Google Reader. This is usually posed as an irony: the guy who built a thing that’s now loathed and everywhere (the retweet) also built the thing that’s beloved after its death. But to me, it’s not so ironic.
See, what Wetherell did in both cases was less invent something from whole cloth than adapt a user behavior (manual retweets and RSS readers) into part of a corporate product. In both case, the corporate versions of each were so successful that they crowded out the original forms of user behavior. The retweet got lucrative but ugly, the RSS reader enabled all new kinds of connections, but grew costly. The retweet lived and Reader died, but the underlying pattern was the same; once it was handed over to the corporation, everyone lost control.
And I think you can argue that there’s a parallel here too with the atom bomb folks. Few of them were upset that the structure of the universe works the way their theories predicted. What terrified them was putting the tremendous power inherent in the structure of the universe at the behest of the state.
This is the builder’s remorse. Not that you invented a thing, not that the consequences were unforeseen. It’s that you gave the thing to a power structure where things were overwhelmingly likely to end in ruin. You gave the power to people who don’t care about what you claim to care about. And that problem, because of the nature and structure of money and power, is extremely hard to avoid.
Did you know @kottke has a regular reader newsletter? It’s TRUE. It’s called Noticing, and it’s absolutely free. Check out this week’s edition:
I superficially resemble Chuck Klosterman — we’re redheaded dudes with glasses and beards — but wouldn’t call myself a fan. I’ve enjoyed his writing from time to time as it’s popped up from here to there, but I’ve never read any of his books, nor am I particularly pressed to. It’s okay. He’s doing fine.
What I am struck by in this interview is the criteria Klosterman poses for liking writers and choosing their books. There’s two parts to it. Here it goes.
Which writers — novelists, playwrights, critics, journalists, poets — working today do you admire most?
This is an odd answer, but when I think about writers I “admire,” it has almost nothing to do with their books. It has more to do with how they manage their life. Writing seems to attract a lot of psychologically unhinged people, so I’m always impressed with authors who are able to view their career accurately, who are able to reconcile the inherent dissonance between commercial and critical success, and who seem to enjoy the process of writing without cannibalizing every other aspect of their existence in order to get it done. Jonathan Lethem seems like this kind of guy. George Saunders. Maria Semple. It’s possible, of course, that these writers aren’t the way they appear on the surface, and maybe if I knew them intimately I’d conclude they were all crazy. But then again, not seeming like a self-absorbed sociopath is 75 percent of the way to actually being a normal person.
Whose opinion on books do you most trust?
Part-time bookstore employees and research librarians. They have no agenda and plenty of free time. The research librarians are especially good, because they don’t even care if their suggestions make them seem cool.
1) What’s weird is we spent the better part of the twentieth century enshrining genius sociopaths at the top of the author pile. Some of this was necessary pushback against 19th century criticism that tended to be overly moralizing, equating the goodness of an author with the naively perceived goodness of their personal lives. But I wonder now whether we’re swinging back to that, by way of politics an everything else. Good writers should first and foremost be good people. Or at least, in Klosterman’s formulation, reasonably normal people.
2) This might be the most interesting piece of it for me. Librarians and bookstore employees. It makes a good deal of sense; they are the people who are closest to the books. But it also makes me wonder: whose opinion do you trust most when it comes to books? Friends? Critics? Publishers? Academics? Who’s got your number?
For Out magazine, Michelle Garcia profiles track star Caster Semenya.
Immediately after that mind-blowing 800-meter final at the 2009 World Championships, some of Semenya’s fellow competitors went for the jugular. Italy’s Elisa Cusma Piccione (sixth place) insisted she was a man. Russia’s Mariya Savinova (fifth place) urged journalists to “just look at her.” Other athletes whispered, stared, and laughed at her. Then came the IAAF.
Initially, the questions about her drastic improvement were linked to suspicions of doping. When those tests came back negative, she was subjected to rounds of gender testing, reportedly involving analysis by an endocrinologist, a psychologist, a gender expert, an internist; most humiliating was a gynecological exam that included photographing her genitals while her feet were in stirrups. Eventually she was cleared to compete on the international circuit again but not before she missed nearly a year of competition during the IAAF’s deliberation over her test results.
The dirty secret here is that gender testing is common for women athletes — and yes, only women athletes.
I get why this is happening to Semenya — sexism, racism, bureaucracy — but it’s just so fucking ridiculous. Fundamentally, elite athletes are physically and mentally gifted outliers. Like, that’s the definition. They are amazing & marvelous freaks of nature. Their minds and muscles and chemicals and limbs are just hooked up differently from the rest of us. But you didn’t see Michael Phelps being sanctioned for his long arms, Usain Bolt for his height, Bjørn Dæhlie for his VO2 Max, or any number of championship male athletes for their abundant natural testosterone. Semenya is essentially being banned for being better than everyone else…as if that isn’t the goal of athletics.
See also Ariel Levy’s 2009 New Yorker profile of Semenya.
Alan Taylor of In Focus has curated a selection of photos taken during the first few days after Disneyland was opened to the public in July 1955.
Whaaaat the hell is up with Mickey and Minnie’s faces in that last photo? Maybe that’s what the kids in the top photo are running away from in terror?
Music pioneer Fab 5 Freddy is most well-known for hosting the seminal Yo! MTV Raps, but his earliest public attention came because of his art.
In the late 1970s, Freddy became a member of the Brooklyn-based graffiti group the Fabulous 5, known for painting the entire side of New York City Subway cars. Along with other Fabulous 5 member Lee Quiñones, under his direction they began to shift from street graffiti to transition into the art world and in 1979 they both exhibited in a prestigious gallery in Rome Italy, Galleria LaMedusa. In 1980, he painted a subway train with cartoon style depictions of giant Campbell’s Soup cans, after Andy Warhol.
Freddy is back on the art scene as the host of a BBC2 documentary, A Fresh Guide To Florence With Fab 5 Freddy.
Hip hop pioneer Fred Brathwaite — aka Fab 5 Freddy — goes on a quest to uncover the hidden black figures of Italian Renaissance art. “Not only were Renaissance artists making art that defined high aesthetic ideals, but they were also groundbreaking in showing an ethnically diverse, racially mixed Italy in the 15th and 16th century. You just have to look at the art.”
Pairing a hip hop legend with Renaissance art might seem like a bit of a stretch, but NYC in the 70s and 80s was a place that a curious kid could get into all sorts of things: hip hop, graffiti, and Caravaggio.
“When I was a kid,” he says, “I would cut school to travel around Manhattan museums.” The Metropolitan was his favourite because of its lax entry policy. “I would show up and toss a nickel in the admissions box then spend a day in fantasy land, going from English armour to Renaissance paintings, pop art to expressionism.”
It was an unusual interest, not one he could share with “the kids on the corner from the hood”. But it sparked his own artistic career as a subway graffiti artist and led to a lasting bond with Basquiat, who he met as a teenager. “He would spend a lot of his childhood at the Brooklyn Museum just as I did at the Met,” he says. “Finally, there was someone I could talk to about Caravaggio and Rothko. We were both so impressed with the radical nature of modernist manifestos like futurism. They gave us — two young, black kids — the capacity to articulate what we wanted to say.”
There doesn’t seem to be a trailer or any clips available online and I don’t know if this will be released in the US at all, but I would love to see this show up on Netflix or Amazon at some point.
See also Susan Orlean’s 1991 profile of Fab 5 Freddy for the New Yorker.
I know this probably isn’t brand new, but in the past couple of weeks I’ve noticed a few articles published by big media companies that are influenced by the design of Snapchat and Instagram Stories. Just to be clear, these aren’t published on Instagram (that’s been going on for years); they are published on media sites but are designed to look and work like Instagram Stories. The first one I noticed was this NY Times piece on Guantanamo Bay.
You can see the Instagram-style progress meter at the top. And then there’s Curbed’s The Ultimate Guide to Googie, where the progress meter is indicated more playfully by the little car at the bottom (it even switches directions based on whether you’re paging forward or back through the story). Curbed EIC Kelsey Keith says it was built using “Vox Media’s new custom storytelling kit tool”.
The third piece I can’t find again — I think it was a WSJ or Washington post article — but it too was influenced by the Stories format.
It’s a good move for these companies. Snap & Instagram have worked hard to pioneer and promote this format, it’s perfectly designed for mobile, and people (especially younger folks) know how to use it. Nominally, these articles are just slideshows, a format that online media companies have been using forever. But I’d argue there are some important differentiators that point to the clear influence of Instagram and to this being a newish trend:
1. The presentation is edge to edge with full-frame photos and auto-playing videos.
2. There’s no “chrome” as there would be around a slideshow and minimal indication of controls.
3. They read best on mobile devices in portrait mode.
4. The display of progress meters.
5. Navigation by swiping or tapping on the far left or right sides of the screen, especially on mobile.
Have you seen any other examples of media companies borrowing the Stories design from Instagram?
Update: Various media outlets are using Google’s AMP Stories to make these. You can see examples on CNN, the Atlantic, and Wired.
This is likely what my mystery third story was built with. (via @adamvanlente)
The design of the medals for the 2020 Tokyo Olympics has been revealed. They’re made from metals recycled from electronics (like mobile phones).
Archaeologists are increasingly looking past the splashy artifacts of ancient elites to seek & find the dwellings and possessions of commoners. For Knowable Magazine (good title), Bob Holmes talked to retired archaeologist Jeremy Sabloff about the Archaeology of the 99%.
Archaeology frequently focused on big buildings and objects owned by elites because they were easier to find and more durable & abundant (elites had money to spend on nice things). But it was also a question of where the funding came from:
Before World War II, archaeological research was funded mostly by museums or wealthy individuals or foundations. They wanted spectacular finds — temples and palaces, not the remains of perishable structures of everyday life. They wanted royal burials, such as King Tut’s tomb, the royal treasures of Ur, great sculpture, murals, beautiful pottery, jade, what have you. They were looking for materials that they could bring back and display in museums.
Then a shift happened:
The makeup of the field changed significantly after World War II, and its practitioners became much more middle class. One reason is there were a lot more jobs available, particularly at state universities. And you started to be able to get grants for fieldwork that wasn’t based on looking for objects or spectacular finds.
And new technology has helped as well:
The richer picture we’re getting of the 100 percent is aided by tools that archaeologists 50 years ago just didn’t have available. In terms of settlement-pattern mapping, one of the huge technical breakthroughs in recent years is remote sensing, particularly LIDAR, where low-flying aircraft or drones send down laser beams and you can see the ground without the trees. You can see stone courses. You can see the remains of houses, causeways, roads, defensive fortifications. That’s going to make the mapping of sites much simpler, particularly in difficult situations like tropical rainforest or a heavily wooded area. We’re able to cover much bigger areas with much greater detail and accuracy than ever before.
I am reading Mary Beard’s SPQR: A History of Ancient Rome right now and in the first chapter she touches on what we know about ordinary Romans:
The reasons why we can tell this story in such detail are very simple: the Romans themselves wrote a great deal about it, and a lot of what they wrote has survived. Modern historians often lament how little we can know about some aspects of the ancient world. ‘Just think of what we don’t know about the lives of the poor,’ they complain, ‘or of the perspectives of women.’ This is as anachronistic as it is deceptive. The writers of Roman literature were almost exclusively male; or, at least, very few works by women have come down to us (the autobiography of the emperor Nero’s mother, Agrippina, must count as one of the saddest losses of classical literature). These men were also almost exclusively well off, even though some Roman poets did like to pretend, as poets still occasionally do, that they were starving in garrets. The complaints, however, miss a far more important point.
The single most extraordinary fact about the Roman world is that so much of what the Romans wrote has survived, over two millennia. We have their poetry, letters, essays, speeches and histories, to which I have already referred, but also novels, geographies, satires and reams and reams of technical writing on everything from water engineering to medicine and disease. The survival is largely due to the diligence of medieval monks who transcribed by hand, again and again, what they believed were the most important, or useful, works of classical literature, with a significant but often forgotten contribution from medieval Islamic scholars who translated into Arabic some of the philosophy and scientific material. And thanks to archaeologists who have excavated papyri from the sands and the rubbish dumps of Egypt, wooden writing tablets from Roman military bases in the north of England and eloquent tombstones from all over the empire, we have glimpses of the life and letters of some rather more ordinary inhabitants of the Roman world. We have notes sent home, shopping lists, account books and last messages inscribed on graves. Even if this is a small proportion of what once existed, we have access to more Roman literature — and more Roman writing in general — than any one person could now thoroughly master in the course of a lifetime.
Updates on the European heat wave. Paris hit 105ºF, the city’s highest ever recorded temperature.
https://t.co/FgZM7TJFyz
From The New Humanitarian, a mid-year update on 10 humanitarian trends and crises to watch in 2019 (here’s their initial post). The #1 item on the list, deservedly so, is climate displacement:
Vulnerable communities around the world have long known what the aid sector is just beginning to articulate: climate change is a humanitarian issue, and its fingerprints are all over today’s emergencies.
Climate shocks and disasters continued to fuel displacement around the globe through the first half of the year, from tropical cyclones to slow-burning droughts. Pacific Island nations were on high alert early in the year as storm after storm swept through the region in quick succession. Conflict is as dangerous as ever in Afghanistan, yet the number of people displaced by drought and floods in recent months is on par with the numbers fleeing war. Drought has left 45 million in need in eastern, southern, and the Horn of Africa. This, along with conflict, has spurred new displacement in countries like Somalia, where at least 49,000 people have fled their homes so far this year, according to UNHCR. The UN’s refugee agency warns of “growing climate-related displacement” - a sign of the continuing shift in the aid sector as humanitarian-focused agencies increasingly underline the links between climate change and crises.
Our rapidly changing climate has either caused or exacerbated several of the other crises on the list — Syria, Ethiopia, infectious diseases, the global refugee population. This isn’t stuff that’s going to happen…it is happening, it has happened. And it’s going to get worse. (via tmn)
From the BBC, a list of the 101 people, ideas, and things changing how we work today. I pulled out a few of things I thought were interesting.
5G — So the whole 5G thing seems like a marketing gimmick to me, but I used its inclusion on this list to finally read about why anyone should care. From this PC Magazine article:
5G brings three new aspects to the table: greater speed (to move more data), lower latency (to be more responsive), and the ability to connect a lot more devices at once (for sensors and smart devices).
Ok, I get it now. Sounds good.
Adaptability quotient (AQ) — One of the most valuable things I’ve learned in my adult life is that people have all sorts of different abilities that contribute to how “smart” they are, and most of those things have little to do with how well they did in school or what their IQ is.
The good news is that scientists agree AQ is not fixed — it can be developed. Theory U by Otto Scharmer of the Massachusetts Institute of Technology suggests three elements can help provide a framework: keeping an open mind, so you see the world with fresh eyes and remain open to possibilities; keeping an open heart, so you can try to see any situation through another person’s eyes; and keeping an open will, letting go of identity and ego to sit with the discomfort of the unknown.
The ‘FIRE’ (financial independence, retire early) movement — You obviously need a certain type of job (and likely a privileged background to obtain that job) to do this. And perhaps no children. Oh and maybe a social safety net…one significant medical issue and you can kiss your savings goodbye.
The ‘FIRE’ (financial independence, retire early) movement sees its adherents live as cheaply as possible in their 20s and 30s, squirreling enough money away to retire by middle age. These extreme savers are working longer hours to save up overtime payments while also spending less leisure time out of home to avoid costly activities.
Ghost work — Tech companies employ millions of people who are often underpaid & mistreated to do menial work.
Workers crowdsourced over the internet are paid below minimum wage to label data to train algorithms. Contractors at risk of immediate termination screen our social media feeds to keep them free of violence, hate speech and sexual exploitation. But a technology industry keen to portray itself as based on technical wizardry rather than human labour has kept its crucial contributions hidden, aided by automated workflows that treat humans as just another step in a computational pipeline.
Reverse mentoring — Mentors can and should be found anywhere, up and down the chain of wisdom and experience.
Mentoring used to mean older colleagues guiding younger workers up the career ladder. But the earliest adopters of new technologies are often young people, and so big names like Microsoft, Roche and Atkins have embraced reverse mentoring; harnessing young people to close knowledge gaps within organisations. Other benefits include promoting inclusion, increasing discussion across peer groups, and empowering future leaders.
Office farming — I am in favor of more plants in offices and more urban farms. Buildings in major cities should all have rooftop gardens.
With advances in hydroponics — growing plants in something other than soil — New York firm Kono Designs created an urban farm inside a nine-story office building in Tokyo that harvests over 280 types of vegetables, fruits, herbs and flowers. Tomato vines are suspended above conference tables, lemon and passionfruit trees are used as partitions for meeting spaces, salad leaves are grown inside seminar rooms and bean sprouts are grown under benches. With support from agricultural specialists, the employees assist in its daily upkeep that contribute to the preparation of ingredients served at its on-site cafeterias.
Last year, music software company Ableton gave music producers a challenge: take an 8-second sample of audio and make a track out of it in just 12 hours. They received almost 800 submissions, which you can listen to here. At the company’s conference, three producers working under the same conditions debuted their tracks onstage and talked about their creative process; here’s a highlight reel:
Included in a blog post about the challenge are several playlists that show the common approaches to sampling, including the use of acoustic instruments, using the sample as texture, and of course using the sample as percussion.
While listening back to this huge volume of material we noticed something interesting; above and beyond each track’s individual sound and overall character, we were able to make out a few trends and tendencies in the ways that people were working with the source material. And so we’ve assembled a few playlists with prime examples of some of the main approaches we were hearing.
You can watch the entire panel here. And if you’d like to try your hand at making your own, the sample can be found here. (via digg)
Indiewire is early out of the gate with their list of the 100 best movies of the decade, betting that anything coming out in the next 5 months will not be worthy of inclusion. There are a few eyebrow raisers on there — 75. A Star Is Born? 26. Magic Mike XXL?? 5. Inside Llewyn Davis??? 2. Under the Skin?????!!? (reader, I didn’t like it) — but mostly this list is a goldmine for good movies I haven’t seen. Here are some that I have seen and enjoyed seeing on the list:
92. Spider-Man: Into the Spider-Verse
78. Inside Out
72. The Handmaiden
63. Inception
60. Black Panther
37. Roma
32. The Grand Budapest Hotel
23. O.J.: Made in America
13. The Tree of Life
9. Mad Max: Fury Road
7. Carol
I love that Fury Road made its way into the top 10…it might be my favorite film of the past decade.
Update: Also from Indiewire, the 25 Best Movie Scenes of the Decade.
Oh, and I thought of some films that definitely should be on that list but weren’t: Arrival, Dunkirk, Selma, Upstream Color, Senna. And I will continue to stubbornly go to bat for Cloud Atlas.
Short profiles of 18 African-American astronauts. “It was 22 years after Alan Shepard’s first space trip that the U.S. sent a person of color up.”
Harriet is a biopic about freedom fighter Harriet Tubman coming out in November. Tubman is played by Cynthia Erivo, who looked super familiar but I couldn’t place her…turns out I’d seen her in Widows and Bad Times at the El Royale. Erivo is joined by fellow castmembers Leslie Odom Jr., Janelle Monáe, and Clarke Peters.
Heinrich C. Berann’s panoramic paintings of US National Parks aren’t just art and aren’t just maps but sit somewhere delightfully in the middle. The US National Park Park Service recently released ultra high-res scans of Berann’s parks panoramas for free download. You can read about the paintings at National Geographic.
Part of the appeal of Berann’s depictions of the national parks is that they look fairly realistic while at the same time greatly enhancing the landscapes in a number of ways. The end result is similar to what you might see from the window of a plane, and yet better than any possible real-world view, Patterson says.
Berann made sure all the important features of each park were visible in the scene. Sometimes this required some creative distortion. On the Yosemite National Park panorama below, for instance, Yosemite Valley is widened to allow all the rock formations, waterfalls, and man-made structures to be clearly seen. All of the valley’s iconic natural features are exaggerated, with Half Dome and El Capitan much taller than in real life, and the waterfalls significantly longer.
The NPS has many other high-resolution maps available for download here. Another good resource for downloadable maps is National Park Maps.
(As an aside, I got this link from Open Culture, who said they found it via Boing Boing. I clicked through to Boing Boing to see that they’d discovered the link from, uh, kottke.org? Perhaps from this link last year?)
50 years ago, the Sony TC-50 cassette player and recorder accompanied the Apollo 11 crew to the Moon and back. (Here’s what they listened to.) Ten years later, the company came out with the Walkman, the first portable cassette player that struck a chord with consumers. In this video, Mat of Techmoan shows us the TC-50 and shows how similar it is to the later Walkman. I found this video via Daring Fireball, where John Gruber remarked on the iterative nature of design: “You get to a breakthrough like the original iPhone one step at a time.”
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