At John Lewis’s funeral yesterday, Barack Obama delivered a eulogy for his friend and mentor, praising him for his achievements in the struggle for civil rights. He also took the opportunity to suggest what politicians might do to honor Lewis and to continue his struggle, beyond just words. From the text of his speech:
If politicians want to honor John, and I’m so grateful for the legacy of work of all the Congressional leaders who are here, but there’s a better way than a statement calling him a hero. You want to honor John? Let’s honor him by revitalizing the law that he was willing to die for. And by the way, naming it the John Lewis Voting Rights Act, that is a fine tribute. But John wouldn’t want us to stop there, trying to get back to where we already were. Once we pass the John Lewis Voting Rights Act, we should keep marching to make it even better.
By making sure every American is automatically registered to vote, including former inmates who’ve earned their second chance.
By adding polling places, and expanding early voting, and making Election Day a national holiday, so if you are someone who is working in a factory, or you are a single mom who has got to go to her job and doesn’t get time off, you can still cast your ballot.
By guaranteeing that every American citizen has equal representation in our government, including the American citizens who live in Washington, D.C. and in Puerto Rico. They are Americans.
By ending some of the partisan gerrymandering — so that all voters have the power to choose their politicians, not the other way around.
And if all this takes eliminating the filibuster — another Jim Crow relic — in order to secure the God-given rights of every American, then that’s what we should do.
The Auralnauts, who have rejiggered the dialogue and sounds from your favorite movies with hilarious results (most notably Star Wars), have reimagined Bane from The Dark Knight Rises as a coronavirus mask advocate for their latest video.
Do I look like I live in fear of anything?! I’m wearing this mask for you, the people of Gotham, who, I can’t help but notice, are not social distancing!
In a piece for Essence, prison industrial complex abolitionists Mariame Kaba and Andrea Ritchie challenge us to consider whether arresting and prosecuting the police officers who killed Breonna Taylor (or George Floyd or Elijah McClain) will result in justice.
Beyond strategic assessments of what is most likely to bring justice, ultimately, we must choose to support collective responses that align with our values. Demands for arrests and prosecutions of killer cops are inconsistent with demands to #DefundPolice because they have proven to be sources of violence not safety. We can’t claim the system must be dismantled because it is a danger to Black lives and at the same time legitimize it by turning to it for justice. As Angela Y. Davis points out, “we have to be consistent” in our analysis, and not respond to violence in a way that compounds it. We need to use our radical imaginations to come up with new structures of accountability beyond the system we are working to dismantle.
Noting that “turning away from systems of policing and punishment doesn’t mean turning away from accountability”, Kaba and Ritchie argue that use of a reparations framework would be more effective in delivering justice to Taylor’s family and in preventing future killings and violence by police.
Under a reparations framework Breonna’s family — and all of us — are also entitled to more than an individualized response to what is a systemic problem. We are entitled to immediate cessation of the actions that caused her death — no knock warrants, to be sure, but also short knock warrants, and dangerous drug raids in all their forms. And all of us are entitled to non-repetition, an end to the conditions that produced her death, including an end to the drug war that killed her, and the forces of gentrification that brought police into her neighborhood. It is long past time for an approach to drug use that saves lives instead of ending them — whether in a raid or in a cell — and a reckoning with the ways in which economic policies are driving deadly policing practices.
“Screen time expert” Anya Kamenetz reflects on what she’s learned about kids & screens during the intense pandemic lockdown time. “Lean into video chat and real-time interactions. And play games, watch TV and videos together as a family.”
TheirTube lets you see YouTube recommended videos for preppers, liberals, climate deniers, fruitarians, conservatives, etc. Here’s the climate deniers home page from a couple of days ago:
Theirtube is a Youtube filter bubble simulator that provides a look into how videos are recommended on other people’s YouTube. Users can experience how the YouTube home page would look for six different personas. Each persona simulates the viewing environment of real Youtube users who experienced being inside a recommendation bubble through recreating a Youtube account with a similar viewing history.
The simulator was developed by Tomo Kihara after he got into an argument with someone who lived in a completely different filter bubble:
This whole project started when I was in a heated discussion with a person who thought climate change was a hoax and 9/11 was a conspiracy. Through conversations with him, I was surprised to learn that he thought everyone’s YouTube feed had the same information as his own feed. When we showed each other our YouTube homepages, we were both shocked. They were radically different. And it got me thinking about the need for a tool to step outside of information bubbles.
Update: Leveraging Twitter’s lists functionality, Vicariously lets you see the timelines of other Twitter users. And not only that, but you can merge the timelines of several users, only the mutual follows of those users, and other options.
I think about Breonna Taylor often. She was the same age as the two daughter-girls from my school in South Africa who’ve been quarantining with Stedman and me since March. In all their conversations I feel the promise of possibilities.
Their whole lives shine with the light of hopefulness. That was taken away from Breonna in such a horrifying manner.
Imagine if three unidentified men burst into your home while you were sleeping. And your partner fired a gun to protect you. And then mayhem.
What I know for sure: We can’t be silent. We have to use whatever megaphone we have to cry for justice.
And that is why Breonna Taylor is on the cover of O magazine.
I cry for justice in her name.
The illustration of Taylor is by Dallas digital artist Alexis Franklin.
Working as a digital portrait artist, I reimagine an existing image and can quickly switch moods or colors. The original photo is one Breonna took herself and has been featured in the news many times. Looking at it, I see an innocence, simple but powerful. It was critical for me to retain that. And there was a sparkle in Breonna’s eyes-a young Black woman posing in her Louisville EMS shirt, happy to be alive.
The funeral of US Congressman and civil rights leader John Lewis will be held today in Atlanta, GA. Before he died, Lewis wrote an essay to be published posthumously. From the NY Times, Together, You Can Redeem the Soul of Our Nation by John Lewis.
Ordinary people with extraordinary vision can redeem the soul of America by getting in what I call good trouble, necessary trouble. Voting and participating in the democratic process are key. The vote is the most powerful nonviolent change agent you have in a democratic society. You must use it because it is not guaranteed. You can lose it.
You must also study and learn the lessons of history because humanity has been involved in this soul-wrenching, existential struggle for a very long time. People on every continent have stood in your shoes, though decades and centuries before you. The truth does not change, and that is why the answers worked out long ago can help you find solutions to the challenges of our time. Continue to build union between movements stretching across the globe because we must put away our willingness to profit from the exploitation of others.
Though I may not be here with you, I urge you to answer the highest calling of your heart and stand up for what you truly believe. In my life I have done all I can to demonstrate that the way of peace, the way of love and nonviolence is the more excellent way. Now it is your turn to let freedom ring.
One of the downsides of running a laundry shop is sometimes people drop off their clothes to be cleaned and they never come back to pick them up or, crucially, to pay the bill for services already rendered. About a month ago, Reef Chang came up with the idea of styling his octogenarian grandparents in some of the forgotten clothes from their Taiwan laundry shop and posted the results to Instagram. The internet, starving for positivity in the midst of global turmoil, responded energetically to the upstart modeling careers of Chang Wan-ji and Hsu Sho-er. The NY Times reports:
They are naturals in front of the camera. Ms. Hsu, 84, exudes the haughtiness of a supermodel but retains an air of playfulness. Mr. Chang, 83, is the perfect foil, complementing his wife’s swagger with a chill disposition while rocking bountiful eyebrows.
“His eyebrows really are something else,” Ms. Hsu said smiling in an interview in the rear of the laundry shop, next to a small shrine to the earth god Tudigong, a common feature of traditional Taiwanese homes.
The clothes they model are eclectic, funky and fun. Both can be seen in matching laced sneakers, and jauntily perched caps and hats. He sometimes sports brightly colored shades. One photo shows her leaning coolly against a giant washing machine, arms crossed, as he casually holds the open door, grinning. They pose at a place they know well — their shop, which provides an industrious backdrop of customers’ laundry, stacked and rolled into plastic bundles or hanging from racks.
A compilation of TV news clips of people saying “mask debate” (which sounds very much like another unrelated word when spoken — try saying it out loud right now to see what I mean), stitched together by the folks at Last Week Tonight with John Oliver. It feels good to laugh at infuriating things sometimes.
BTW, the actual debate over masks will continue to wane — science and then culture will win most people over and it’ll just become a normal thing that most people do in public all the time, like wearing shoes or carrying a bag.
Filmmaker Errol Morris has uploaded the entire two-season run of his 2000-2001 TV series First Person to YouTube for free viewing: season 1 playlist, season 2 playlist. Each of the show’s 17 episodes is a one-on-one interview with someone who Morris finds fascinating, shot in the style that would find a wider audience and greater critical acclaim in The Fog of War two years later.
In the first season, Morris interviewed Temple Grandin about slaughterhouse design:
And Tony Mendez, former espionage expert for the CIA, whose work was the subject of the 2012 film Argo:
In season two, he profiled Josh Harris, one of the first internet celebrities:
Again, you can find every episode of First Person on YouTube: season 1, season 2.
The Washington Post recently ran a profile of DC-area resident Dan Smith. Smith is 88 years old, participated in the March on Washington, and, along with other activists, crossed the Edmund Pettus Bridge in Selma. He is also the living child of a former enslaved person.
The whipping post. The lynching tree. The wagon wheel. They were the stories of slavery, an inheritance of fear and dread, passed down from father to son.
The boy, barely 5, would listen, awed, as his father spoke of life in Virginia, where he had been born into bondage on a plantation during the Civil War and suffered as a child laborer afterward.
As unlikely as it might seem, that boy, Daniel Smith, is still alive at 88, a member of an almost vanished demographic: The child of someone once considered a piece of property instead of a human being.
Smith is an example of The Great Span, the link across seemingly long periods of history by individual humans. In this case, just two people span almost two-thirds the history of the United States, linking slavery and the Civil War to the civil rights movement and eventually to George Floyd. 155 years may seem like a long time, but Smith’s story is a testament to how slow progress has been in the struggle for social justice for Black Americans. After all, up until earlier this year the US government was still paying out a Civil War pension to the daughter of a former Confederate and US soldier.
I Am a Scientist is an effort to introduce children to scientists outside of the narrow stereotypes that our culture typically offers (old, male, white, nerdy). They’re doing this through “scientist-of-the-month toolkits” that tell stories about contemporary working scientists who embody an “incredible range of personalities, interests, backgrounds, and pursuits”. From a blog post about the program:
Science has been the driving force in the modernization of the world as we know it, yet science as an industry has failed to adequately diversify with the times. While the new digital age offers opportunities to expand interest in and appeal of STEM careers, many barriers still hinder equitable access for all students. Conversations of famous scientists often draw answers such as “Albert Einstein” and “Bill Nye the Science Guy”. While accurate references of scientific leaders, the lack of diversity in the public image of scientists can contribute to the lack of diversity in STEM fields.
Introducing the “I Am A Scientist” initiative, which provides opportunities for students, specifically those in Junior High School and High School, to interact with the science and stories of today’s scientists-breaking down barriers like race, gender, and personal interests.
The program’s collection of classroom toolkits provide real-life stories of modern scientists, classroom resources, posters, career resources, and more. The initiative aims to help students engage with scientists that may look, act, or think like them, and are making great strides in remarkable fields that are often left out of career planning discussions. With featured scientists that range from multidimensional graduate students to globally recognized innovators at the top of their field, “I Am A Scientist” tunes into the power that comes from discovering a wide range of role models.
Ten years on from the release of Christopher Nolan’s Inception, Andrew Saladino of The Royal Ocean Film Society smartly traces the key influences of the film, rejecting the simplistic notion that Inception is just a rip-off of Paprika or The Matrix. Instead, he delves into long-standing themes in science fiction and other genres that Nolan is able to synthesize into something new. (Remember, everything is a remix.)
Also, kudos to Saladino to getting through an entire video on the ideas that influenced Inception without making an inception joke or reference, e.g. “Dark City incepted Nolan into including malleable architecture”. Clearly I could not have resisted.
Estelle Caswell talks to Tony Hawk and architectural historian Iain Borden (author of
Skateboarding and the City) about some of skateboarding’s most iconic spots and how skate architecture has changed over the years, from sidewalks to empty swimming pools in the desert to home-built halfpipes to “if you can see it you can skate it” structures (curbs, handrails, hydrants) all over cities.
Matthew Highton is recreating the opening credit sequences of TV shows using only stock video footage. Here’s the intro to Friends and (my favorite) the Duck Tales intro:
We can virtually eliminate the virus any time we decide to. We can be back to a reasonably normal existence: schools, travel, job growth, safer nursing homes and other settings. And we could do it in a matter of weeks. If we want to.
Take New Zealand. With its fancy curve and life back to normal. Why can’t we? Not fair, you say. It’s an island nation. Okay. What about Germany? Not an island nation, large, growing diversity. Don’t like that comparison? What about countries that have been in big trouble? There’s Italy, France, and Spain. Those countries had it reasonably bad the same time we did. In fact, pick virtually any country you want.
But don’t tell me the United States can’t take action if we want to. And we can’t face the families of 150,000 people who didn’t have to die and tell them this had to happen. And I think it’s why our national political leaders won’t go near these families and the grieving process.
The good news — and it is good news — is we are always four to six weeks from being able to do what countries around the world have done.
I know this article is supposed to be hopeful and optimistic, but people have known what to do about Covid-19 since at least March. Instead the United States has not done it and indeed has done mostly the opposite. The “we” that are supposed to decide to lead this effort won’t because they don’t want to put in the work (it’s easier to blame the virus, Democrats, and China), they don’t want to just give money to people to stay home (a huge no-no for Republicans), and they don’t care that much about who is dying (urbanites, low-income, the elderly, Black & brown people).
As long as Republicans control the Senate and White House, the current scattershot approach of each state/county/city/person deciding what is best (or most in their self-interest) is what we’re stuck with. Treatments will improve, vaccines will be developed, many people will do the right thing and mostly stay home for many more months (sacrificing their mental health to do so), and Covid-19 will eventually come under control, but hundreds of thousands more people will die, many more will recover but carry chronic illnesses for years, vital years of the survivors’ lives will have been lost, and we will collectively grieve these losses for generations.
The kids and I were talking about how slow motion video works the other day, so I was happy to see this new video from Phil Edwards detailing how the technique works and its history in cinema, from Eadweard Muybridge to Wes Anderson and from Seven Samurai to The Matrix.
Solidarity, the July 2020 Square Print Sale, will bring together over 100 images by international visual artists in support of the NAACP. In a year of global societal and political upheaval that has seen the Black Lives Matter cause taken up around the world as well as hundreds of millions facing government restrictions on movement, this theme challenges participating photographers to reflect upon the power of togetherness in tumultuous times.
The photographers and their subjects include bold-faced names like Muhammad Ali, Angela Davis, Bruce Davidson, Barack Obama, and Robert Capa, but there is strong work throughout from amazing photographers all over the world. Each print is $100 and either signed by the photographer or stamped by their estate and 50% of the proceeds will go to the NAACP. Check out the full selection here; the sale ends on Aug 2.
For children growing up during the era of mass incarceration, seeing armed officers in their schools is commonplace. Federal grants have supported more and more cops in schools. Federal programs like the Community Oriented Policing Services (“COPS”) have provided millions of dollars to hire and train local police, including police in schools.
Police officers do not have specialized training in adolescent or childhood development. They are not mental health experts, social workers with licensed degrees, psychologists, or school counselors. They are not educators. To be clear, school resource officers are career law enforcement officers, with arresting authority, and a license to carry a weapon. Police officers patrol school hallways just like they do city streets. More than one and a half million students attend schools with an SRO, but no counselor.
There are better, safer, and cheaper alternatives. In 2016, Intermediate School District 287, a school west of the Twin Cities with a high concentration of students with special needs and mental health needs that can result in behavior issues, replaced their school resource officers with Student Safety Coaches. The Student Safety Coaches specialize in mental health, restorative justice, de-escalation, and building positive relationships with their students. Arrests decreased by 80 percent in the pilot school after implementation of the program.
The common, and commonsense, thread through all of these proposals is to replace armed, untrained responders who make difficult situations less safe with people & organizations that are specifically trained to help people in distress or crisis.
The European Space Agency’s Solar Orbiter is not even at its closest distance to the Sun and its telescope has already captured some images that reveal new information about our star, including features called “campfires” that are too small to have been captured by previous instruments. From the description of the video embedded above:
This animation shows a series of close-up views captured by the Extreme Ultraviolet Imager (EUI) at wavelengths of 17 nanometers, showing the upper atmosphere of the Sun, or corona, with a temperature of around 1 million degrees.
These images reveal a multitude of small flaring loops, erupting bright spots and dark, moving fibrils. A ubiquitous feature of the solar surface, uncovered for the first time by these images, have been called ‘campfires’. They are omnipresent miniature eruptions that could be contributing to the high temperatures of the solar corona and the origin of the solar wind.
The Solar Orbiter can also peek around the back side of the Sun for the first time:
“Right now, we are in the part of the 11-year solar cycle when the Sun is very quiet,” says Sami Solanki, the director of the Max Planck Institute for Solar System Research in Gottingen, Germany, and PHI Principal Investigator. “But because Solar Orbiter is at a different angle to the Sun than Earth, we could actually see one active region that wasn’t observable from Earth. That is a first. We have never been able to measure the magnetic field at the back of the Sun.”
As revealing as these first images are, at its closest approach later in the mission the Solar Orbiter’s resolving power will roughly double. Can’t wait to see what else it turns up.
Biologically, a vaccine against the COVID-19 virus is unlikely to offer complete protection. Logistically, manufacturers will have to make hundreds of millions of doses while relying, perhaps, on technology never before used in vaccines and competing for basic supplies such as glass vials. Then the federal government will have to allocate doses, perhaps through a patchwork of state and local health departments with no existing infrastructure for vaccinating adults at scale. The Centers for Disease Control and Prevention, which has led vaccine distribution efforts in the past, has been strikingly absent in discussions so far — a worrying sign that the leadership failures that have characterized the American pandemic could also hamper this process. To complicate it all, 20 percent of Americans already say they will refuse to get a COVID-19 vaccine, and with another 31 percent unsure, reaching herd immunity could be that much more difficult.
I am the least anti-vaxxer person in the world, but I have to say that getting a vaccine for Covid-19 that was rushed through trials in time for the election (October surprise!) and signed off by a Trump administration that has completely politicized science does not sound like something I want to go near. Which, for me personally, is a really really depressing thing to even think.
Update: I got a lot of flack for suggesting that I’d be skeptical of a Trump-approved vaccine rushed to market in time for the election (a very specific set of circumstances). But his buddy Putin is attempting something similar in Russia (skipping phase 3 trials), so if you don’t think Trump can try to bully the FDA and CDC into signing off on a vaccine that hasn’t been fully tested — perhaps made by a company whose CEO has donated millions to a Trump SuperPAC? — in order to salvage his reelection chances, I suggest that you haven’t paying proper attention over the past 4 years.
Update:A poll suggests that many Americans across the political spectrum are worried about a politicized FDA being forced to approve a Covid-19 vaccine before it’s adequately tested.
Seventy-eight percent of Americans worry the Covid-19 vaccine approval process is being driven more by politics than science, according to a new survey from STAT and the Harris Poll, a reflection of concern that the Trump administration may give the green light to a vaccine prematurely.
The response was largely bipartisan, with 72% of Republicans and 82% of Democrats expressing such worries, according to the poll, which was conducted last week and surveyed 2,067 American adults.
The sentiment underscores rising speculation that President Trump may pressure the Food and Drug Administration to approve or authorize emergency use of at least one Covid-19 vaccine prior to the Nov. 3 election, but before testing has been fully completed.
Donald Trump’s idiotic brag about how well he did on a cognitive test (“Person. Woman. Man. Camera. TV.”) set to Daft Punk’s Harder, Better, Faster, Stronger.
You just have to laugh because if you actually stop to think about how much harm this man has done and will continue to do in his remaining time in office, the incandescent rage might make you pass out.
Earlier this week, Republican Representative Ted Yoho accosted Democratic Representative Alexandria Ocasio-Cortez on the steps of the Capitol Building and called her “disgusting”, “crazy”, “dangerous”, and, as a parting shot, a “fucking bitch”. After Yoho offered a non-apology on the House floor, Ocasio-Cortez responded to both the incident and his remarks in a short speech before the House.
The video is only 10 minutes long — I urge you to watch the whole thing if you haven’t seen it. It’s masterful. Here are some excerpts from the transcript.
This is not new, and that is the problem. Mr. Yoho was not alone. He was walking shoulder to shoulder with Representative Roger Williams, and that’s when we start to see that this issue is not about one incident. It is cultural. It is a culture of lack of impunity, of accepting of violence and violent language against women, and an entire structure of power that supports that. Because not only have I been spoken to disrespectfully, particularly by members of the Republican Party and elected officials in the Republican Party, not just here, but the President of the United States last year told me to go home to another country, with the implication that I don’t even belong in America. The governor of Florida, Governor DeSantis, before I even was sworn in, called me a “whatever that is”. Dehumanizing language is not new, and what we are seeing is that incidents like these are happening in a pattern. This is a pattern of an attitude towards women and dehumanization of others.
…
I do not need Representative Yoho to apologize to me. Clearly he does not want to. Clearly when given the opportunity he will not and I will not stay up late at night waiting for an apology from a man who has no remorse over calling women and using abusive language towards women, but what I do have issue with is using women, our wives and daughters, as shields and excuses for poor behavior. Mr. Yoho mentioned that he has a wife and two daughters. I am two years younger than Mr. Yoho’s youngest daughter. I am someone’s daughter too. My father, thankfully, is not alive to see how Mr. Yoho treated his daughter. My mother got to see Mr. Yoho’s disrespect on the floor of this House towards me on television and I am here because I have to show my parents that I am their daughter and that they did not raise me to accept abuse from men.
1. An expression of regret - this, usually, is the actual “I’m sorry.”
2. An explanation (but, importantly, not a justification).
3. An acknowledgment of responsibility.
4. A declaration of repentance.
5. An offer of repair.
6. A request for forgiveness.
As Ocasio-Cortez correctly notes, Yoho’s attempt does not make the grade.
And so what I believe is that having a daughter does not make a man decent. Having a wife does not make a decent man. Treating people with dignity and respect makes a decent man, and when a decent man messes up as we all are bound to do, he tries his best and does apologize. Not to save face, not to win a vote, he apologizes genuinely to repair and acknowledge the harm done so that we can all move on.
Lastly, what I want to express to Mr. Yoho is gratitude. I want to thank him for showing the world that you can be a powerful man and accost women. You can have daughters and accost women without remorse. You can be married and accost women. You can take photos and project an image to the world of being a family man and accost women without remorse and with a sense of impunity. It happens every day in this country. It happened here on the steps of our nation’s Capitol. It happens when individuals who hold the highest office in this land admit, admit to hurting women and using this language against all of us.
Again, I urge you to watch the whole thing — it’s full of powerful truths expertly and passionately delivered. Among many thoughts I had while watching it, one in particular kept rising in my mind: Alexandria Ocasio-Cortez will one day be President of the United States and we will be very lucky to have her.
Update: Ocasio-Cortez didn’t write out her speech ahead of time; she jotted down a few notes just minutes before she started speaking.
Many have asked me if my speech was pre-written. The answer is no. But in some ways, yes. Yes because this speech was a recounting of thoughts that so many women and femme people have carried since the time we were children. It flowed because every single one of us has lived this silent script: stay silent (why?), keep your head down (for whom?), suck it up (to whose benefit?). But my chosen words were largely extemporaneous. I got to the House floor about ten minutes before my speech and scribbled down some quick notes after reflecting on what had transpired over the last few days. Pictured here are all the notes I had, and from there I improvised my composition and spoke live.
This part hasn’t been reported: The next day Ocasio-Cortez approached Yoho and told him, “You do that to me again, I won’t be so nice next time.” She felt his actions had violated a boundary, stepping “into the zone of harassment, discrimination.” His mocking response, straight out of Veep: “Oh, boo-hoo.” Publicly, Yoho doubled down, issuing a non-apology on the House floor, citing his wife and daughters as character witnesses.
As part of their NYC Dance Project and in partnership with Harper’s Bazaar, photographers Ken Browar and Deborah Ory photographed Misty Copeland, a principal dancer with the prestigious American Ballet Theatre, recreating scenes from the works of French artist Edgar Degas. Above, Copeland poses as the subject of Degas’ La Petite Danseuse de Quatorze Ans (Little Dancer of Fourteen Years) dressed in a $9000 Alexander McQueen dress & corset.
The Harper’s piece vaguely hints at his representation of the ballerinas being “far from sympathetic” but as Julia Fiore wrote in The Sordid Truth behind Degas’s Ballet Dancers, the reality of the Parisian ballet that he was depicting was unsettling.
The formerly upright ballet had taken on the role of unseemly cabaret; in Paris, its success was almost entirely predicated on lecherous social contracts. Sex work was a part of a ballerina’s reality, and the city’s grand opera house, the Palais Garnier, was designed with this in mind. A luxuriously appointed room located behind the stage, called the foyer de la danse, was a place where the dancers would warm up before performances. But it also served as a kind of men’s club, where abonnés — wealthy male subscribers to the opera — could conduct business, socialize, and proposition the ballerinas.
For Degas, the fact that young dancers had sex with old men read not as abuse on the part of the latter but as sin on the part of the former. He assumed girls’ transactions with powerful men meant they could pull strings from behind the scenes, a thought that elicited both horror and fascination. Degas clearly saw something vital in his recurring subjects, who spurred quotes from him like, “I have locked away my heart in a pink satin slipper.”
Degas’ disdain for women — and ballerinas in particular — is writ across “Little Dancer” itself, whose sculptural features were altered to emphasize van Goethem’s moral degeneracy. Degas subscribed to physiognomy, which presumes that criminal behaviors are passed on genetically and thus manifest in physical features. And so he flattened van Goethem’s skull and stretched her chin so she appeared especially “primitive,” a visual reflection of an internal state.
The subject of La Petite Danseuse de Quatorze Ans, Marie van Goethem, did not remain a ballerina for that long after posing for the sculpture:
Marie van Goethem was the “petit rat” who posed for the sculpture, and she likely engaged in the sexually predatory economy of the ballet world to survive. Van Goethem disappeared from the public eye shortly after the sculpture was completed; after being late to a rehearsal, the Paris Opera Ballet dismissed her. The teenager probably returned home to follow in the footsteps of her mother — a laundress and likely prostitute — and older sister, who was also a sex worker.
I wonder if the photographers were aware of this context when taking these photos? Is there something about the photos, about Copeland’s life story or status as a prominent Black ballerina, or about dressing her in thousands of dollars of contemporary couture that subverts Degas’ work and its themes? If so, I’d be fascinated to read an expert analysis that explored these issues. (via cup of jo)
Isamu Yamamoto is 17 years old and has been one of the world’s best freestyle skateboarders for years — he won his first world championship in 2014 at the age of 11. He started skating because he saw a video of Rodney Mullen and now Mullen says of Yamamoto:
The way he links his tricks together and the speed of them — it’s beautiful to watch. I would dare say that not many could do that, in that way, if they tried.
The three videos above show off Yamamoto’s seemingly effortless virtuosity on a skateboard; from top to bottom: a session from 2019, a 2017 short film, and his routine for the World Freestyle Round-Up, held virtually due to the pandemic — he ended up finishing second. (via @cdevroe)
This piece by Elitsa Dermendzhiyska about how and why psychotherapy works, the effectiveness of the bond between therapists and their patients, and attachment theory is interesting throughout but a bit tough to summarize. Let’s start here, with the idea that therapy provides the opportunity of a do-over in the building your emotional self that mirrors what happens, ideally, in early life between a loving, supportive caregiver and a child.
All of this suggests a tantalising alternative to both the medical professional’s and the layperson’s view of therapy: that what happens between client and therapist goes beyond mere talking, and goes deeper than clinical treatment. The relationship is both greater and more primal, and it compares with the developmental strides that play out between mother and baby, and that help to turn a diapered mess into a normal, healthy person. I am referring to attachment.
To push the analogy further, what if, attachment theory asks, therapy gives you the chance to reach back and repair your earliest emotional bonds, correcting, as you do, the noxious mechanics of your mental afflictions?
As someone who has been in therapy but doesn’t actually know a whole lot about how it works, I found the whole piece fascinating.
Oh god, I needed this video in my life this morning. Watch as Uncle Roger (a character created by comedian Nigel Ng) hilariously critiques a BBC Food video about how to cook fried rice. Spoiler alert: the cook drains the rice in a colander and then rinses it with water. Oh, and no MSG.
If you sad in life, use MSG. If you happy in life, use MSG. Put MSG in everything, it’ll turn it better. You just get a baby? Put MSG on baby, it’ll be better baby, smarter.
In this video, Lin-Manuel Miranda shares how he came up with some of his most iconic songs from In the Heights, Hamilton, Moana, and even Star Wars (he wrote a cantina song for The Force Awakens). I can sit and listen to creators talking about how they came up with their best work pretty much forever. But honestly the reason I’m sharing this is this incredible detail about the “whoa whoa whoa” bit in “My Shot” (at ~7:35):
And then the “whoa” is based on the AOL startup dial sound, because I wanted it to feel like his words are connecting with the world and they’re reverberating out into the world. And I associate that with the first time I signed on to the internet and you hear [simulated modem noises]. It’s the AOL dialup octave.
Well, I’ll never listen to that song in the same way again. For spry minds, inspiration comes from everywhere. (via the spry minds at open culture)
Eater food critic Ryan Sutton, who had Covid-19 back in March, isn’t dining out at restaurants right now and explains why.
What’s more is that local health regulations for dining out aren’t strong enough. Before every shift, restaurants have to screen employees with health based questions, but temperature checks aren’t mandatory for either staffers or employees. And even though patrons are encouraged to wear masks at tables while they’re not actively eating or drinking, few really do. Even if no one dies or is sent to intensive care under these conditions, the notion of being in a place where underpaid staffers are financially compelled to interact with unscreened and unprotected patrons seeking leisure is unacceptable to me on a very basic human level.
I miss dining out so SO much. I miss my friends in the industry and am furious that federal and state governments have pushed them back into unsafe working conditions in the idiotic & dangerous race to “open up the economy” before any reasonable system of test/trace/isolate + a mask mandate is put into place nationwide. But I haven’t been in a restaurant since early March and will not return to one, outside dining or no, until the pandemic is over.1 I’ve been ordering takeout as much as I can (and heavily tipping) to support local businesses that are operating safely. But the whole concept of dining out seems very irresponsible to me and should not even be an option right now.
If “over” actually has any meaning in the context of the pandemic. I keep saying “when this is over” and hearing others say it, but I have no idea what it means. Whatever “this” eventually is, I’m not sure it has an end, happy or otherwise.↩
The Racist History of Tipping. “The practice spread throughout the country after the Civil War as U.S. employers, largely in the hospitality sector, looked for ways to avoid paying formerly enslaved workers.”
To create this ultra HD footage of the surface of Mars, high-definition panoramas created from hundreds of still photos taken by the Mars rovers are panned over using the Ken Burns effect. The end product is pretty compelling — it’s not video, but it’s not not video either.
A question often asked is: ‘Why don’t we actually have live video from Mars?’
Although the cameras are high quality, the rate at which the rovers can send data back to earth is the biggest challenge. Curiosity can only send data directly back to earth at 32 kilo-bits per second.
Instead, when the rover can connect to the Mars Reconnaissance Orbiter, we get more favourable speeds of 2 Megabytes per second.
However, this link is only available for about 8 minutes each Sol, or Martian day.
As you would expect, sending HD video at these speeds would take a long long time. As nothing really moves on Mars, it makes more sense to take and send back images.
In this video and accompanying infographic, scientist Dominic Walliman of Domain of Science explains what viruses are, how they infect cells, how they replicate, and what can be done to mitigate their effects on the human body.
At the beginning of this pandemic like everyone I was hearing lots about viruses, but realised I didn’t know that much about what they are. So I did a load of research and have summarised what I learned in these nine images. This video explains the key aspects of viruses: how big they are, how they infect and enter and exit cells, how viruses are classified, how they replicate, and subjects involving viral infections like how they spread from person to person, how our immune system detects and destroys them and how vaccines and anti-viral drugs work.
In this special video edition of the Code Switch podcast, host Gene Demby explores the dangers of running while Black and why the safety of Black runners has not been given the same sort of attention as the safety of white women. The most striking bit of the video for me was right in the beginning when Demby debunks the myth of “all you need to run is a pair of shoes”.
When we runners talk about running — or let’s be real — when we evangelize about it, we talk a lot about how democratic it is. But it’s not really that simple. You’re gonna want gear, which costs money. Then there’s the issue of actual physical space. You want sidewalks that aren’t jagged, trails that aren’t overgrown, air that’s clean enough to breathe. (So ideally you don’t live near landfills or power plants or factories.) So yeah… all you need are shoes. And space. And money. And time. Oh and you also need something from the people around you — the sense that you belong in that space. Women don’t always get that luxury. And neither do runners of color.
Even a seemingly simple thing like running and who can do it is affected by decades of policy decisions that disproportionately favor residents of predominantly white neighborhoods.
Design a better face mask, win $1 million. “The $1M Next-Gen Mask Challenge aims to reimagine protective face masks used to prevent the spread of COVID-19 by making them more comfortable, functional, accessible, and even stylish.”
My two favorite performances in the Disney+ version of Hamilton are Renée Goldsberry’s Angelica Schuyler and Daveed Diggs’ twin roles as Marquis de Lafayette and Thomas Jefferson. But perhaps a close third is Jonathan Groff’s turn as King George III. Ever since we watched the show a few weeks ago, my kids and I have been walking around the house breaking into song and talking a lot about what was so mesmerizing about Groff’s performance.
So, I was excited to run across this video of musical theatre coach Marc Daniel Patrick breaking down his performance of “You’ll Be Back”. Yes, he covered the spitting but I found the discussion of how he held specific members of the audience with his gaze for extended periods much more relevant in understanding what made that performance work. I particularly loved how still Groff held his body and the rest of his head as his lower jaw pistoned up and down like a ventriloquist dummy’s singing the “da da da dat” parts. The audio is funny enough, but his possessed mandible makes me laugh every time I see it.
Fifty-one years ago today, on July 20, 1969, Neil Armstrong & Buzz Aldrin landed on the Moon and went for a little walk. For the 12th year in a row, you can watch the original CBS News coverage of Walter Cronkite reporting on the Moon landing and the first Moon walk on a small B&W television, synced to the present-day time. Just open this page in your browser today, July 20th, and the coverage will start playing at the proper time. Here’s the schedule (all times EDT):
4:10:30 pm: Moon landing broadcast starts
4:17:40 pm: Lunar module lands on the Moon
4:20:15 pm - 10:51:26 pm: Break in coverage
10:51:27 pm: Moon walk broadcast starts
10:56:15 pm: First step on Moon
11:51:30 pm: Nixon speaks to the Eagle crew
12:00:30 am: Broadcast end (on July 21)
Set an alarm on your phone or calendar!
This is one of my favorite things I’ve ever done online…here’s what I wrote when I launched the project in 2009:
If you’ve never seen this coverage, I urge you to watch at least the landing segment (~10 min.) and the first 10-20 minutes of the Moon walk. I hope that with the old time TV display and poor YouTube quality, you get a small sense of how someone 40 years ago might have experienced it. I’ve watched the whole thing a couple of times while putting this together and I’m struck by two things: 1) how it’s almost more amazing that hundreds of millions of people watched the first Moon walk *live* on TV than it is that they got to the Moon in the first place, and 2) that pretty much the sole purpose of the Apollo 11 Moon walk was to photograph it and broadcast it live back to Earth.
The radio voices you hear are mostly Mission Control in Houston (specifically Apollo astronaut Charlie Duke, who acted as the spacecraft communicator for this mission) and Buzz Aldrin, whose job during the landing was to keep an eye on the LM’s altitude and speed - you can hear him calling it out, “3 1/2 down, 220 feet, 13 forward.” Armstrong doesn’t say a whole lot…he’s busy flying and furiously searching for a suitable landing site. But it’s Armstrong that says after they land, “Houston, Tranquility Base here. The Eagle has landed.”. Note the change in call sign from “Eagle” to “Tranquility Base”. :)
With time to burn during ye olde pandemic, practitioners of a musical genre called bardcore have been taking pop songs and medieval-izing their lyrics and tunes. The three examples embedded above are Radiohead’s Creep, Jolene by Dolly Parton, and Paint It Black by the Rolling Stones. Here’s how Creep starts off:
When thou wert here before
I could not look thee in the eye
Thou art like an angel
Thy skin makes me cry
Thou float’st like a feather
In a beautiful world
I wish I was special
Thou’rt so very special
But I am a creep
I am a weirdo
What in hell am I doing here?
I do not belong here
The Claudia Kishi Club is a short documentary by Sue Ding about the impact of the Claudia Kishi character from The Baby-Sitters Club book series on a group of Asian-American creatives. They read the books when they were kids and in the film, they reflect on the importance of Claudia in shaping their perceptions of themselves in an era where Asian-American characters were rare in books, movies, and TV.
The six people interviewed in the film are novelist Sarah Kuhn, YA author CB Lee, Naia Cucukov (executive producer of the Netflix series The Babysitter’s Club), comic book artist & author Yumi Sakugawa, blogger Phil Yu, and Gale Galligan (author of The Baby-Sitter’s Club graphic novels, which my daughter loves).
This is the day you start to turn. What we suck up from your lungs turns frothy pink and then the frank red of blood. We don’t know if your heart is finally failing or if the virus has destroyed so much tissue that this is necrosis, hemorrhaged in your lungs. There are tests, but no one willing to run them — you are too sick, and you have never cleared the virus. No one would ever want to be what you are now: a hazard, a threat, a frightening object on the edge of death. We try not to touch you. We construct our plans for saving you around staying as far away from you as possible.
I tell your husband about the blood. It’s true that nothing else has changed: your struggling lungs, with help, still take in air, your heart, with help, still brags along. “But she is stable,” he asks, barely a question. Why do I lie? “Yes,” I say, “for now.”
DeForest wrote this in early May as Covid-19 cases peaked at her hospital in New Haven. The country and its leaders ignored this and now cases are spiking in many hospitals all around the country now. Just some sniffles, though, nothing to bother anyone about.
For io9, Eleanor Tremeer digs into the complex and sexist legacy in Star Trek’s progressive universe. From Uhura on, Star Trek has always pushed the boundaries of how women were portrayed on TV, particularly in science fiction, but in some aspects, the shows have also been undeniably sexist.
With Yar gone, the women of The Next Generation fit more snugly into classic feminine molds, as Marina Sirtis reminisces. “They got it right, they cast a woman as the security chief. But Denise left, and the two remaining women were in caring professions. So it was ok to be on a spaceship as a woman, but you had to be a nurturer.” Speaking to io9, Gates McFadden (Crusher) is scathing about the few times the women would be thrown together, not to work together, but to gossip. “If the ladies did have a scene together we were dressed up in leotards talking about men. We weren’t sharing opinions on a medical issue!”
Over the ensuing years, Troi and Crusher would slowly get more screen time, as their characters became more nuanced, but they would rarely get the chance to break out of their nurturer molds. And with Crosby gone, security chief wasn’t the only position that needed filling. “I was never supposed to be the chick on the show, the va-va-voom. That was supposed to be Denise,” Sirtis told us. For as progressive as Star Trek tried to be with its women, every show has something in common: There has to be a hot chick.
To understand why this was the case, you have to look behind the scenes and at who was making the casting and plotting decisions.
If the entertainment industry is dominated by men now, this was even more the case decades ago. Star Trek has had a few female writers and producers over the years-DC Fontana wrote for The Original Series, The Next Generation, and Deep Space Nine; Jeri Taylor got her start producing The Next Generation before co-creating Voyager, to name just two immensely influential staffers. But, as Sirtis points out, Star Trek was a franchise created by men: “Even though we were writing a show about the 24th century, apart from Jeri Taylor and Melinda Snodgrass [another writer], the writers and producers were all men. Twentieth-century men. So it’s not gonna be that far-reaching.”
We could argue, of course, that Star Trek was a product of its era, but the actors were aware, at the time, that the show could be better. This aggravated Gates McFadden, as early as season one of The Next Generation, as she revealed to io9. “I wondered, did the women exist for the men to react to? Even Wesley just reacted to his mother, not seeking out her counsel-for counsel he sought out the men on the ship.” Coming from academia, McFadden was used to a collaborative creative environment, but she didn’t encounter that behind the scenes of The Next Generation. “Jonathan Frakes could bound into the producer’s office and put his feet up, but I couldn’t. That wasn’t acceptable.”
I’m rewatching The Next Generation right now and have been paying a lot of attention to how the women on the show (both the recurring cast and various single-episode characters) are portrayed. There’s definitely improvement after the first season or two, but there’s just so much on the show that’s off and obviously written primarily by and for men.
Sometimes I forget what a big space dork I am and then a comet comes along and I’m texting everyone I know to get their asses outside to see the amazing sky thing. Anyway, what I’m trying to say is that this is a Comet Neowise fan blog now. After seeing it last night in my backyard,1 I went looking for some of the best photos of it.
After seeing it briefly two nights ago before some haze settled in (and only then with the aid of binoculars), I stepped out on my deck last night just after 10pm and bam, it was right there, totally visible with the naked eye. I grabbed the binoculars and got a pretty good view and then got out the telescope. Whoa, papa. Totally mind-blowing.↩
Well this is lovely: Window Swap lets you experience other people’s views from around the world in the form of videos taken from their windows.
Window Swap is here to fill that deep void in our wanderlust hearts by allowing us to look through someone else’s window, somewhere in the world, for a while.
If you’ve been wondering about the risk of contracting Covid-19 while performing common activities vs. the risk of doing stupid shit, XKCD has you covered. I feel like “getting a dental cleaning from a Tinder date” should have been much more high risk than its position on the chart.
A taxonomy of Reply Guy behaviors. “LIFE STORY REPLY GUY: He saw you post personal anecdotes and assumes that replying to you with HIS life story will be very interesting.”
As a child of the 80s, this Lego set of the Nintendo Entertainment System activates a very ancient and primal region of my brain. As you can see in this short video, the set includes a controller, a cartridge that you can put into the machine, and a vintage TV with a hand-crank that you can use to “play” Super Mario Bros.
On an Instagram account called Plague History, artist Genevieve Blais has been modifying the subjects of artworks to give them face masks. You know I couldn’t resist including her rendition of Vermeer’s Girl with a Pearl Earring.
Taking a page from The Up Series, director John Sutter is making a series of films that revisit four geographic locations every 5 years until 2050 in order to document the effects in those areas due to climate change. The name of the series is Baseline and it’s a reference to the concept of shifting baselines, which the trailer above defines as “a phenomenon of lowered expectations in which each generation regards a progressively poorer natural world as normal”. The four areas the films will focus on are Alaska, Utah, Puerto Rico, and the Marshall Islands.
Sutter did a TEDx Talk about shifting baselines and climate change — the clip he shows right at the beginning featuring the shifting sizes of fish caught in Key West, Florida is astonishing.
He also wrote a piece about the series and the Alaskan village featured in it.
From BBC Ideas, the story of three people who pioneered the science of climate change — Eunice Foote, Guy Stewart Callendar, and Charles Keeling — each of whom was under-recognized for their achievements at the time.
Looking back on Earth’s history, Foote explains that “an atmosphere of that gas would give to our earth a high temperature … at one period of its history the air had mixed with it a larger proportion than at present, an increased temperature from its own action as well as from increased weight must have necessarily resulted.” Of the gases tested, she concluded that carbonic acid trapped the most heat, having a final temperature of 125 °F. Foote was years ahead of her time. What she described and theorized was the gradual warming of the Earth’s atmosphere — what today we call the greenhouse effect.
In an opinion piece for the NY Times, Kara Swisher argues that Facebook’s Mark Zuckerberg “cannot hold on to such enormous power and avoid responsibility when things get tough”. She uses an analogy about a butcher shop to explain the problem at the heart of Facebook:
This week, I finally settled on a simpler comparison: Think about Facebook as a seller of meat products.
Most of the meat is produced by others, and some of the cuts are delicious and uncontaminated. But tainted meat — say, Trump steaks — also gets out the door in ever increasing amounts and without regulatory oversight.
The argument from the head butcher is this: People should be free to eat rotten hamburger, even if it wreaks havoc on their gastrointestinal tract, and the seller of the meat should not be the one to tell them which meat is good and which is bad (even though the butcher can tell in most cases).
Basically, the message is that you should find the truth through vomiting and — so sorry — maybe even death.
She goes on to say:
In this, Mr. Zuckerberg is serving up a rancid meal that he says he’s not comfortable cooking himself, even as his hands control every aspect of the operation.
This year, my personal challenge is around being thankful for the food I have to eat. I think many people forget that a living being has to die for you to eat meat, so my goal revolves around not letting myself forget that and being thankful for what I have. This year I’ve basically become a vegetarian since the only meat I’m eating is from animals I’ve killed myself.
Dorsey said he and Zuckerberg waited around 30 minutes for the goat to cook in the oven. Afterward, Zuckerberg believed the meal was ready and the two sat together to eat.
“We go in the dining room. He puts the goat down. It was cold,” said Dorsey in Rolling Stone. “That was memorable. I don’t know if it went back in the oven. I just ate my salad.”
Surreal. If all this were from the screenplay of a proposed The Social Network sequel, there’s no way this movie gets greenlit. (via daring fireball)
From director Marjane Satrapi, who made the acclaimed animated film Persepolis, comes Radioactive, a film about Marie Curie, who was the first woman to win a Nobel Prize, the first person to win two Nobel Prizes, and the only person to ever win Nobel Prizes in two different scientific disciplines. Curie is played by Rosamund Pike and the film is based on a graphic novel of the same name by Lauren Redniss, a finalist for the National Book Award.
How is it that I am sitting here writing this right now and you are sitting there reading this at some later point which seems like now to you? These behaviors are the result of a series of interconnected processes that have evolved over billions of years that we collective call “intelligence”.
In this video, Kurzgesagt takes a crack at explaining the simple view of intelligence as “a mechanism to solve problems” that involves several aspects: information, memory, learning, knowledge, creativity, the use of physical tools, the ability to plan for the future, and culture. As usual, their extensive list of sources provides more details and opportunities for further exploration.
This is a fan-made rendition of act 1 of the hit musical Hamilton sung by The Muppets.
The impressions of the Muppets aren’t bad and the “casting” is about what you’d expect:
Alexander Hamilton - Kermit the Frog
Aaron Burr - The Great Gonzo
Eliza Schuyler - Miss Piggy
Marquis de LaFozette - Fozzie Bear
George Washington - Sam the Eagle
I don’t know if listening to this all the way through is wise, but you should listen at least until Kermit/Hamilton makes his entrance at ~1:18. Oh, and skip ahead to 17:09 to hear The Swedish Chef do Samuel Seabury and to 19:01 to hear You’ll Be Back performed by Animal. (via open culture)
On September 16, 1991, about a week before the band’s breakthrough album Nevermind was released, Nirvana played a 45-minute in-store set at Beehive Records in Seattle. When I watch videos like this (here’s the Notorious BIG rapping on a street corner at 17 and a 17-year-old LL Cool J playing to a mostly empty gym1), I look at the crowd just as much or more than the performers. Do the people in that music shop audience know they’re witnessing an early performance of one of the last great consequential rock songs or do they only realize it later?
Hell, I suppose you could ask the same question of the performers: did Cobain or Biggie or LL Cool J know at the time that they were going to blow up in a matter of weeks and months? In Cobain’s case, he may have. From a biography called Heavier Than Heaven:
Two days later, Nirvana held an “in-store” at Beehive Records. DGC expected about 50 patrons, but when over 200 kids were lined up by two in the afternoon — for an event scheduled to start at seven — it began to dawn on them that perhaps the band’s popularity was greater than first thought. Kurt had decided that rather than simply sign albums and shake people’s hands — the usual business of an in-store — Nirvana would play. When he saw the line at the store that afternoon, it marked the first time he was heard to utter the words “holy shit” in response to his popularity. The band retreated to the Blue Moon Tavern and began drinking, but when they looked out the window and saw dozens of fans looking in, they felt like they were in the movie A Hard Day’s Night. When the show began, Beehive was so crowded that kids were standing on racks of albums and sawhorses had to be lined up in front of the store’s glass windows to protect them. Nirvana played a 45-minute set — performing on the store floor — until the crowd began smashing into the band like the pep rally in the “Smells Like Teen Spirit” video.
Kurt was bewildered by just how big a deal it had all become. Looking into the crowd, he saw half of the Seattle music scene and dozens of his friends. It was particularly unnerving for him to see two of his ex-girlfriends — Tobi and Tracy — there, bopping away to the songs. Even these intimates were now part of an audience he felt pressure to serve. The store was selling the first copies of Nevermind the public had a chance at, and they quickly sold out. “People were ripping posters off the wall,” remembered store manager Jamie Brown, “just so they’d have a piece of paper for Kurt to autograph.” Kurt kept shaking his head in amazement.
Kurt retreated to the parking lot for a smoke and some downtime. But there, the day became even more freakish when he saw two of his old Montesano schoolmates, Scott Cokely and Rick Miller, holding copies of “Sliver.” Though Kurt signed signed hundreds of autographs that day, none made him feel more surreal than putting his signature on a single about his grandparents for two guys from the town his grandparents lived in. They talked about their mutual friends from the harbor, but the conversation made Kurt wistful — Cokely and Miller were a reminder of a past Kurt thought he had left behind. “Do you get back to the harbor much?” Cokely asked. “Not very often,” Kurt replied. Both Cokely and Miller were confused when they looked at their singles and noticed Kurt had signed them “Kurdt.”
Kurt later cited this exchange as one of the first moments he realized he was famous. Yet rather than comfort him, this realization set off something just short of a panic. Though he had always wanted to be famous — and back when he was in school in Monte, he had promised his classmates one day he would be — the actual culmination of his dreams deeply unnerved him. Krist would recall this particular show — a free show in a record store a week before the album’s official release date — as a turning point in Kurt. “Things started to happen after that,” Krist said. “We weren’t the same old band. Kurt, he just kind of withdrew. There was a lot of personal stuff that was going on. It got complicated. It was more than we bargained for.”
If you live in the US and Canada, you might have the opportunity to check out Comet NEOWISE over the next few weeks with a good pair of binoculars or even with the naked eye. EarthSky has the skinny.
By mid-July (around July 12-15), the comet will also become visible at dusk (just after sunset), low in the northwest horizon, for observers in the mid- and northern U.S. How can it be visible in both dawn and dusk? The answer is that the comet is now very far to the north on the sky’s dome. For those at latitudes like those in the southern U.S. (say, around 30 degrees north latitude), the comet is very nearly but not quite circumpolar, that is, it’s nearly in the sky continually, but it isn’t quite … that’s why we at southerly latitudes will have a harder time spotting it in the evening.
It appears this comet is holding up better than Comet ATLAS did earlier in the year. Here’s a beautiful time lapse of NEOWISE rising over the Adriatic Sea in the early dawn:
And a time lapse of the comet from the International Space Station (it starts rising around the 3-minute mark):
What bird are you most like? I’m a red-tailed hawk! “You understand strategy, and sometimes work with a partner, but overall most of the time you are happy to be alone.”
You’ve probably seen the photograph: Tommie Smith and John Carlos each raising a black-gloved fist during the playing of the US nation anthem during the medals ceremony at the 1968 Summer Olympic Games in Mexico City. But as this video explains, their protest was a part of a larger effort to use the Olympics to highlight racial inequality in American sports and society.
After watching the video, you might be interested in reading about the aftermath of the protest. Smith and Carlos were both suspended from the US team and expelled from the Games. They were both subject to abuse from the American press and received death threats. Australian Peter Norman, who had come in second and supported the protest, was ostracized in his own country. But when Norman died in 2006, both Smith and Carlos were pallbearers at this funeral.
This is delightful. Over the past few months of pandemic lockdown, the residents and staff of the Sydmar Lodge Care Home in Edgware, England have passed the time by recreatingfamous album covers.
After producing over 220 art history videos in 6 years, YouTube channel The Art Assignment is going to take an extended break to “reassess what educational art content should look like in 2020 and beyond”. In the video above, creator Sarah Urist Green reflects on her experience so far and what’s happening next. I’m always interested in what people have to say about their projects at inflection points like this, but I was blindsided by the almost total resonance of Green’s remarks with my own thoughts about the advantages & limitations of how I’ve chosen to work here at kottke.org. Here’s an extended quote from the transcript of the particularly resonant bit:
I don’t actually enjoy being on camera, but individual authentic voices have always been at the core of what makes YouTube great. And I’ve been glad to be able to lend my own voice in the hopes of making art and art history more accessible.
Over time I’ve learned to appreciate the specificity of my own point of view — but also its limitations. I’m a person who’s more interested in art from the 1960s than the 1560s. I have a deeper background in art from North America than South America.
Making this channel has been a hugely rewarding way to stretch beyond my formal education and natural inclinations. But any channel on YouTube, and indeed any experience, is shaped by bias and perspective — both the content itself and the way that each of us interprets and responds to it. The fact that my voice sounds grating to some and comforting to others is a reminder of that.
I’ve also learned that these biases are often reinforced by the recommendation algorithms that govern the platforms we frequent. Whether we want to or not, we citizens of the internet work in collaboration with these algorithms to curate information feeds for ourselves. And even if our feeds feel objective, they never are.
The Art Assignment isn’t, and has never been, the history of art or an introduction to the art world. It’s always been my history of art and a glimpse into my art world. I hope that’s been part of what makes it good, but it’s also part of what makes it limited, subjective, and necessarily incomplete.
The more videos we make, the more aware I am of the vast amount we haven’t covered. Trying to make content on this platform that is both educational and also clickable can be a challenging task with many pitfalls.
We’ve used what I think of as a buckshot technique — making a huge variety of kinds and formats of episodes to see what might possibly stick.
In doing so, we’ve discovered that more people click on names of art movements they’ve already heard of, artworks they’ve seen before, and already famous artists (mostly male).
More people watch when I do a hot take about those rare moments when art hits the wider news, like a Banksy stunt or a banana duct-taped to a wall.
I’ve also learned what YouTube viewers are less likely to click on, which is artists they’ve never heard of, artworks they haven’t seen before, and topics that don’t court controversy or outrage. This says something about the YouTube algorithm, but it also says something about what kinds of information we’re all drawn to online. Who wants to watch an educational video when you can watch The Try Guys eat 400 dumplings? (Seriously, I just watched it, it’s great.)
But because I know what tends to get clicked on more and watched for longer stretches, I’ve been more likely to try to serve that to you. Not all the time of course, but even when served in moderation that’s not really good for art history. It reinforces dominant narratives and offers up the same boring old menu of famous artists again and again.
However, I’ve also learned that you all are willing to dive down lesser-known and unexpected rabbit holes of research and bear with me as I simultaneously cook poorly and attempt to understand the eating and cooking lives of artists. You’ve taught me you’re willing to reconsider art and artists you didn’t think you liked, and you’ve tried approaches to art that are far outside of your comfort zones and made beautiful and vulnerable work in response. You’ve tackled really difficult questions with me and been willing to linger in grey zones and leave questions unanswered. I mean we’ve never even established a definition of art on this channel.
Because of your capacity for the abstract and lesser-known, we’ve been able to keep going all these years. And, with the incomparable backing of PBS, we’ve been able to make content not just for the most people, but for an open-minded and discerning audience like you.
I can’t adequately relate to you how unnerving it was for me to hear her say all that — change a few specific references and I very easily could have written it (but not as well). Doing kottke.org is this constant battle with myself: staying in my comfort zone vs. finding opportunities for growth, posting what I like or find interesting vs. attempting to suss out what “the reader” might want, celebrating the popular vs. highlighting the obscure, balancing the desire to define what it is I do here vs. appreciating that no one really knows (myself included), posting clickable things vs. important things I know will be unpopular, protecting myself against criticism vs. accepting it as a gift, deciding when to provoke & challenge vs. when to comfort & entertain, feeling like this is frivolous vs. knowing this site is important to me & others, being right vs. accepting I’ll make mistakes, and saying something vs. letting the content and its creators speak for themselves.
I know that all sounds super dramatic — I don’t intensely feel all of that when I’m working, but that video made me reflect on it hard. And I suspect that many people who do creative work in public struggle in similar ways. Like Green with respect to PBS, I am grateful to kottke.org’s members (“an open-minded and discerning audience” if there ever was one) for their support of my work and trust in the limited & imperfect human who does it.
Felicia Chiao’s illustrations depicting isolation, dissociation, and loneliness have taken on an added resonance during the pandemic. In a caption for one of her illustrations, she explains where the drawings come from:
I dissociate a lot. I like to think of my brain as a series of rooms. On good days I’m up front engaging with the world, and on bad days I’m waaay in the back. I can still kind of see and hear what’s going on outside but it’s far away and I don’t feel a part of it. It’s not unpleasant but time moves weird and I feel everything and nothing. A lot of you are connecting with my work because you’re literally stuck inside and probably a little depressed too so…Welcome to my rooms! Please take your shoes off and be nice.
This is a great interview with Jia Tolentino in Interview magazine. Take for instance her answer to the question “What has this pandemic confirmed or reinforced about your view of society?”:
That capitalist individualism has turned into a death cult; that the internet is a weak substitute for physical presence; that this country criminally undervalues its most important people and its most important forms of labor; that we’re incentivized through online mechanisms to value the representation of something (like justice) over the thing itself; that most of us hold more unknown potential, more negative capability, than we’re accustomed to accessing; that the material conditions of life in America are constructed and maintained by those best set up to exploit them; and that the way we live is not inevitable at all.
I think the American obsession with symbolic freedom has to be traded for a desire for actual freedom: the freedom to get sick without knowing it could bankrupt you, the freedom for your peers to live life without fearing they’ll be killed by police. The dream of collective well-being has to outweigh, day-to-day, the dream of individual success.
And I’m struggling with quarantine in this way as well:
In quarantine I’ve been aware of the intellectual stagnation that comes when you stop physically seeking out and experiencing new things. There’s a loss that comes from not meeting strangers, not doing things just for the hell of doing them, not having everyday avenues of discovery and surprise.
People ought to seek out the genuine pleasure of decentering themselves, and read fiction and history alongside these popular anti-racist manuals, and not feel like they need to calibrate their precise degree of guilt and goodness all the time.
“The genuine pleasure of decentering themselves”. Yep.
In this meditative short film, Etsuro Sotoo talks about what made him want to spend 41 years working as a sculptor in an attempt to finish Antoni Gaudí’s Sagrada Família basilica in Barcelona. From a website dedicated to Sotoo:
In 1978 Etsuro Sotoo arrived in Barcelona. He had just graduated in Fine Arts, he had just one year of experience as an Art teacher. When impressed by the unfinished temple: “It was the most fabulous pile of stones I had ever seen” …He asked for a job as a stonecutter. He wanted to continue the Nativity façade (the only façade that, thanks to his work, would be declared by Unesco World Heritage). He did a test and they gave him the position. Since then, he has completed what Gaudí did not even have time to think about. When he finished with the gaps, he started with the architect’s notes. When the tracks are over, it’s up to him to make decisions.
According to the video, Sotoo even converted to Catholicism as a way for him “to know Gaudí”. (via craig mod)
From more than 6000 submissions, the National Audubon Society has selected the winners of The 2020 Audubon Photography Awards, featuring some of the best bird photography of the year. The top photo, of a cormorant diving for dinner, is by Joanna Lentini and the second photo, of a thirsty hummingbird, was taken by Bibek Ghosh.
Maybe climate chaos, a rising chorus of alarm signals from around the world, will simply become our new normal. Hell, maybe income inequality, political dysfunction, and successive waves of a deadly virus will become our new normal. Maybe we’ll just get used to [waves hands] all this.
Humans often don’t remember what we’ve lost or demand that it be restored. Rather, we adjust to what we’ve got.
The concept of shifting baselines was introduced in a 1995 paper by Daniel Pauly. Roberts explains:
So what are shifting baselines? Consider a species of fish that is fished to extinction in a region over, say, 100 years. A given generation of fishers becomes conscious of the fish at a particular level of abundance. When those fishers retire, the level is lower. To the generation that enters after them, that diminished level is the new normal, the new baseline. They rarely know the baseline used by the previous generation; it holds little emotional salience relative to their personal experience.
And so it goes, each new generation shifting the baseline downward. By the end, the fishers are operating in a radically degraded ecosystem, but it does not seem that way to them, because their baselines were set at an already low level.
Over time, the fish goes extinct — an enormous, tragic loss — but no fisher experiences the full transition from abundance to desolation. No generation experiences the totality of the loss. It is doled out in portions, over time, no portion quite large enough to spur preventative action. By the time the fish go extinct, the fishers barely notice, because they no longer valued the fish anyway.
And it’s not just groups of people that do this over generations:
It turns out that, over the course of their lives, individuals do just what generations do — periodically reset and readjust to new baselines.
“There is a tremendous amount of research showing that we tend to adapt to circumstances if they are constant over time, even if they are gradually worsening,” says George Loewenstein, a professor of economics and psychology at Carnegie Mellon. He cites the London Blitz (during World War II, when bombs were falling on London for months on end) and the intifada (the Palestinian terror campaign in Israel), during which people slowly adjusted to unthinkable circumstances.
“Fear tends to diminish over time when a risk remains constant,” he says, “You can only respond for so long. After a while, it recedes to the background, seemingly no matter how bad it is.”
Ok, I’ll let you just read the rest of it, but it’s not difficult to see how shifting baselines apply to all sorts of challenges facing the world today. I mean the lines “You can only respond for so long. After a while, it recedes to the background, seemingly no matter how bad it is.” seem like they were written specifically about the pandemic.
Some Americans obviously aren’t troubling themselves with this but many of us are constantly running risk calculations in our heads for every little thing we do and don’t do during the course of the week during the pandemic.
Is it ok to visit the grocery store more than once this week? Can my kid have a playdate with her friend? Has her friend’s family been careful about seeing other people and how do I even ask them about it without sounding judgmental? Should I order that thing online or go to the store for it? Is it safe to take a roadtrip to a neighboring state? (Where the hell are we supposed to stop to use the bathroom?) Can I get a haircut? Do I need to order that thing online or do I just want it? Should schools reopen in the fall? And if they do, should I send my kids? Is eating at a restaurant safe for the staff? Can a friend come over for dinner? Can my son safely play in a baseball league? Will there be too many people not wearing masks in the store that I need to visit to get this one thing? Should I keep going to my favorite coffee shop when the barista just can’t seem to keep his mask up over his nose?
It goes on and on and on and IT’S EXHAUSTING. Comic from XKCD.
This video provides a quick overview of the history of policing in America through the lens of race, from the slave patrols in the South to the violent and discriminatory policing of Black migrants in the North in the midst the Great Migration. At its conclusion, historian Khalil Gibran Muhammad, author of The Condemnation of Blackness, asks a very direct question:
And so the question that has to be asked in the wake of George Floyd — and I think this question is being asked and answered by more white people than I’ve seen in my lifetime is — do white people in America still want the police to protect their interests over the rights and dignity and lives of Black and, in too many cases, brown, Indigenous, and Asian populations in this country?
From January to the end of June, over 500,000 people died of confirmed cases of Covid-19. In order to demonstrate the magnitude of the pandemic, James Beckwith made a time lapse map of each Covid-19 death.
Each country is represented by a tone and an expanding blip on the map when a death from Covid-19 is recorded. Each day is 4 seconds long, and at the top of the screen is the date and a counter showing the total numbers of deaths. Every country that has had a fatality is included.
As was the case with the pandemic, the video starts slow but soon enough the individual sounds and blips build to a crescendo, a cacophony of death. The only way this could be made more ominous & upsetting is by including the first song off of Cliff Martinez’s Contagion soundtrack as a backing track. As Beckwith notes in the description: “It is likely a sequel will need to be made.” (via open culture)
For What the police really believe, Vox’s Zack Beauchamp interviewed several former police officers and policing experts to find out how police think of themselves, their jobs, and the communities they are supposed to be protecting and serving.
Police officers across America have adopted a set of beliefs about their work and its role in our society. The tenets of police ideology are not codified or written down, but are nonetheless widely shared in departments around the country.
The ideology holds that the world is a profoundly dangerous place: Officers are conditioned to see themselves as constantly in danger and that the only way to guarantee survival is to dominate the citizens they’re supposed to protect. The police believe they’re alone in this fight; police ideology holds that officers are under siege by criminals and are not understood or respected by the broader citizenry. These beliefs, combined with widely held racial stereotypes, push officers toward violent and racist behavior during intense and stressful street interactions.
In 1995, after his massively popular single-panel cartoon The Far Side had run daily in newspapers for 15 years, cartoonist Gary Larson retired at the top of his game and scarcely a peep has been heard from him since. Until recently. Back in September, Larson launched a website for The Far Side with a daily archival cartoon. But then yesterday, Larson revealed that he’s been working on some new stuff with “a digital tablet” (likely an iPad).
The “New Stuff” that you’ll see here is the result of my journey into the world of digital art. Believe me, this has been a bit of a learning curve for me. I hail from a world of pen and ink, and suddenly I was feeling like I was sitting at the controls of a 747. (True, I don’t get out much.) But as overwhelmed as I was, there was still something familiar there — a sense of adventure. That had always been at the core of what I enjoyed most when I was drawing The Far Side, that sense of exploring, reaching for something, taking some risks, sometimes hitting a home run and sometimes coming up with “Cow tools.” (Let’s not get into that.) But as a jazz teacher once said to me about improvisation, “You want to try and take people somewhere where they might not have been before.” I think that my approach to cartooning was similar — I’m just not sure if even I knew where I was going. But I was having fun.
There are only three new pieces so far, but I’d guess more are on the way. The new stuff is more painterly and definitely has that drawn-in-Procreate feel to it, but the Larson’s trademark humor is very much in evidence.
Quechua is an indigenous language family spoken by millions of people in the Andean region of South America, primarily in Peru, Ecuador, and Bolivia. It was the main language of the Inca empire and today is the most widely spoken pre-Columbian language in the Americas. In her music, Peruvian singer/songwriter Renata Flores combines modern forms like hip hop, electronic, and trap music with native instruments and vocals sung in Quechua. Here’s the video for one of her most popular songs, Tijeras:
Flores also does covers of pop songs (Billie Eilish’s Bad Guy, Fallin’ by Alicia Keys) and she first captured people’s online attention with a Quechua cover of Michael Jackson’s The Way You Make Me Feel performed when she was 14 years old:
It’s very common for many Quechua speakers to not teach their children or grandchildren the language because they consider this knowledge as a burden. To explain the shortage of active bilingualism in Peru, the linguist Virginia Zavala uses the concept of “linguistic ideologies,” which are the ideas that people have about languages. For example: French is the language of love; German sounds rough; Italian, Portuguese, and Spanish are similar.
Quechua, similarly to other indigenous languages, is associated with poverty, rural life, and illiteracy. These ideas have been shaped by history and society to the point that people hold on to these beliefs as if they were universal truths. And these “truths” are deeply embedded in their conscious thought process. Value hierarchies also exist with languages. Some are “worth” more than others.
The end result is that many native Quechua speakers believe that using Quechua in public is unnecessary after learning Spanish. Either by shyness or shame, they reserve their maternal tongue for private spaces and intimate conversations.
Listen to Tom Hanks, people! “Wear a mask, social distance, wash your hands. That alone means you are contributing to the betterment of your house, your work, your town, your society as a whole. And it’s such a small thing.”
A pair of aquariums in Japan have published flowcharts that track the relationships of their penguins.
Penguins, the way they waddle around and protect their eggs, are often thought of as cute, cuddly and romantic. But those who observe them for extended periods know they have a dark side. Two aquariums in Japan, Kyoto Aquarium and Sumida Aquarium, keep obsessive tabs on their penguins and maintain an updated flowchart that visualizes all their penguin drama.
As Kyoto-based researcher Oliver Jia points out, penguin drama can include serious crushes and heartbreaks but also adultery and egg-stealing. And these Japanese aquariums have it all charted in a flowchart that can be studied for hours.
Trials rider Danny MacAskill (one of our favorite athletes around these parts) has recently started sharing some behind-the-scenes looks at some of the coolest tricks he’s done for his videos. The video above shows him trying to barrel roll his bike with a trailer attached, which he likens to “doing a rally [race] with a caravan on the back”. What’s fascinating is that it takes him forever to get the maneuver down, but once he does, he’s able to do it over and over again — “gradually, then suddenly” in action. You can see the finished product in his Danny Daycare video.
Two more behind-the-scenes videos he’s done so far: the backwards roll and the log slide (which also takes him forever to do but he’s then able to repeat three more times in a row).
The Pandemic Experts Are Not Okay. American public health officials – ignored, attacked, overworked, underappreciated, frustrated, and fatigued – are at risk of burning out just a few months into a years-long pandemic.
Linguist William Lutz, former editor of the Quarterly Review of Doublespeak, went on CSPAN in 1989 to promote his book, Doublespeak. The video above is a 7-minute distillation of his thoughts on what he calls “language designed to mislead while pretending not to”. (Watch Lutz’s full interview here.)
Doublespeak is not the product of carelessness or sloppy thinking. Indeed, most doublespeak is the product of clear thinking and carefully designed and constructed to appear to communicate when in fact it doesn’t. It is language designed not to lead but mislead. It is language designed to distort reality and corrupt thought… In the world created by doublespeak, if it’s not a tax increase, but rather “revenue enhancement” or “tax base broadening”, how can you complain about higher taxes? If it’s not acid rain, but rather “poorly buffered precipitation”, how can you worry about all those dead trees?
For his Descendents series, Drew Gardner takes photographs of people done up to look like their famous ancestors. The Smithsonian Magazine recently featured Gardner’s photo of Shannon LaNier recreating a portrait of his great-great-great-great-great-great-grandfather, Thomas Jefferson. Here’s the description of Jefferson’s portrait on the White House website:
The portrait of Jefferson was completed in Philadelphia before mid-May 1800 when he left that capital for Monticello. The face has the glow of health, a warm complexion. The sitter here looks directly at us and does so with candor, as our equal. The splendid eyes and mouth convey reason and tolerance.
Tennessee Williams with Air-Conditioning. “There is no need to sweat or shout in such a small, well-chilled apartment. I can be heard across the room without raising my voice. Look, I have created a chore wheel for the three of us…”
A Mind Sang is an inventive short film about “perception, rebirth, and transformation”. What I most liked about watching was how effortless it was to see the transitions between all the optical illusions — but it wasn’t too easy. A great sense of pacing by filmmaker Vier Nev. Read an interview with Nev about his film on Vimeo’s blog. (via @mikeindustries)
When the Fourth of July Was a Black Holiday. “The Fourth became an almost exclusively African American holiday in the states of the former Confederacy - until white Southerners…snuffed these black commemorations out.”
In a powerful video for the Movement For Black Lives, Daveed Diggs asks: “What, to My People, is the Fourth of July?”
What, to my people, is the Fourth of July? My people, who are failed every day by every country, sleepless in the long night, terrorized by fireworks, we who have cried salt baths for our kin.
Look at all we have borne for you: arms, armistice, the sweetest fruits, flesh of children hidden away from the ugly summer of their own blood — we are on the front lines. Help me, tell me, what do we tell the children of your Fourth of July? What is death to a daughter? What is river to a sea? Where is the country where my people are safe?
Ancestors set the table send dream mares in high supply. Too heavy, too spent, too hot to cook, no promise beyond the sparkly simple bombs. Keep your holiday, your hunger, the blood in your teeth. Police parade down streets, proud descendants of the slave patrol. Theater of denial, a propaganda pageant, and we are on the front lines all summer. My uncle can’t sleep and he was born free. And he ain’t never been.
The text performed by Diggs — written by Safia Elhillo, Danez Smith, Lauren Whitehead, W. Kamau Bell, Angel Nafis, Idris Goodwin, Pharoahe Monch, Camonghne Felix, and Nate Marshall — was inspired by Frederick Douglass’ July 5, 1852 speech, in which he asked, “What, to the American slave, is your Fourth of July?”
Fellow-citizens, pardon me, allow me to ask, why am I called upon to speak here to-day? What have I, or those I represent, to do with your national independence? Are the great principles of political freedom and of natural justice, embodied in that Declaration of Independence, extended to us? and am I, therefore, called upon to bring our humble offering to the national altar, and to confess the benefits and express devout gratitude for the blessings resulting from your independence to us?
Optical Arts conceived this video as a “live action musical animation” of cups, plates, and glasses smashing and un-smashing accompanied by the toccata section of Johann Sebastian Bach’s famous organ piece, Toccata and Fugue in D Minor. I thought it was fully CGI at first (as The Morning News reported), but then I found the making of video on the project page and it’s not — they filmed all the glasses and dished smashing at extremely high speeds between 1000 and 5000 frames/second on Phantom cameras.
I don’t know about you, but this video is what it looks like inside my head lately. Smash smash smash! (via the morning news)
Anti-racism work is supposed to be hard. “There should be tears. There should be grief and guilt. There should be shouting and bad words and silence. There should be wariness, even at the best of intentions.”
October 31, 2000 was the last day all humans were together on Earth. That day, the rocket containing the crew of Expedition 1 lifted off from the Baikonur Cosmodrome in Kazakhstan and carried them to the International Space Station for a long-term stay. Fittingly, the mission left from the same launchpad that was used to launch Yuri Gagarin into space on April 2, 1961, which was the first time in history that all humans were not together on Earth. Ever since the Expedition 1 crew docked, there’s been an uninterrupted human presence on the ISS, which may continue until 2028 or 2030, by which time there may be humans on the Moon or Mars on a permanent basis. Will humans ever be only Earth-bound again?
BTW, I guess you could argue that the ISS isn’t really separate enough from Earth or that since regular commercial airplane flights began, humans have been separate from the Earth. You could also say that at any given time, thousands of people are in the air while jumping and therefore not on the Earth with the rest of us. I don’t find any of those arguments meaningful. Perhaps someday if space travel is more routine — “just popped up into orbit to visit my daughter” — and the human population is much more distributed, these same distinctions won’t hold, but for now the ISS is definitely apart from the Earth in a way that flying or jumping are not.
A caste system is an artificial construction, a fixed and embedded ranking of human value that sets the presumed supremacy of one group against the presumed inferiority of other groups on the basis of ancestry and often immutable traits, traits that would be neutral in the abstract but are ascribed life-and-death meaning in a hierarchy favoring the dominant caste, whose forebears designed it. A caste system uses rigid, often arbitrary boundaries to keep the ranks apart, distinct from one another and in their assigned places.
Throughout human history, three caste systems have stood out. The lingering, millenniums-long caste system of India. The tragically accelerated, chilling and officially vanquished caste system of Nazi Germany. And the shape-shifting, unspoken, race-based caste pyramid in the United States. Each version relied on stigmatizing those deemed inferior to justify the dehumanization necessary to keep the lowest-ranked people at the bottom and to rationalize the protocols of enforcement. A caste system endures because it is often justified as divine will, originating from sacred text or the presumed laws of nature, reinforced throughout the culture and passed down through the generations.
Linking the caste systems of America, India, and Nazi Germany, Wilkerson explores eight pillars that underlie caste systems across civilizations, including divine will, bloodlines, stigma, and more. Using riveting stories about people — including Martin Luther King, Jr., baseball’s Satchel Paige, a single father and his toddler son, Wilkerson herself, and many others — she shows the ways that the insidious undertow of caste is experienced every day. She documents how the Nazis studied the racial systems in America to plan their out-cast of the Jews; she discusses why the cruel logic of caste requires that there be a bottom rung for those in the middle to measure themselves against; she writes about the surprising health costs of caste, in depression and life expectancy, and the effects of this hierarchy on our culture and politics. Finally, she points forward to ways America can move beyond the artificial and destructive separations of human divisions, toward hope in our common humanity.
The Warmth of Other Suns is one of my favorite books I’ve read in the past decade, so I’m very much looking forward to her new one.
A group of creative folks recently came together to produce a 40-day-long Big Read of Samuel Taylor Coleridge’s 18th century epic poem, The Rime of the Ancient Mariner. Readings on sections of the poem from people like Jeremy Irons, Tilda Swinton, Hilary Mantel, and Iggy Pop were paired with artworks from Marina Abramovic, William Kentridge, Cornelia Parker, and Yinka Shonibare. I was struck right off the bat by the first piece, Glenn Brown’s The Shallow End.
As one of the organizers, writer Philip Hoare, writes in The Guardian, Coleridge’s poem is particularly suited for the present situation, with its subject matter touching on isolation, plague, abolition, and the human impact on the natural world.
Roaring out of the radical 1790s, The Rime of the Ancient Mariner is a founding fable for our time. A fable must by definition revolve around an animal, and in Samuel Taylor Coleridge’s nightmare the slain albatross hangs around the fated sailor’s neck like a broken cross, an emblem of his sin against nature. It is all too relevant today, as a statement of isolation and despair: “Alone, alone, all, all alone, / Alone on a wide, wide sea!” Yet in that forlorn expression is great power; the power of art to change us.
You can watch the entire 41-minute read in this video (embedded above).
In this hauntingly beautiful video, Jonna Jinton performs an ancient Nordic herding call called kulning to summon a herd of cows.
The herds grazed during the daytime, wandering far from the cottages, and thus needed to be called in each night. Women developed kulning to amplify the power of their voices across the mountainous landscape, resulting in an eerie cry loud enough to lure livestock from their grazing grounds.
One should always take caution when hanging out with someone kulning, as it can’t be done quietly. Rosenberg, who’s researched the volume of kulning, says it can reach up to 125 decibels — which, she warns, is dangerously loud for someone standing next to the source. Comparable to the pitch and volume of a dramatic soprano singing forte, kulning can be heard by an errant cow over five kilometers away.
From the creators the Daily Overview website that showcases beautiful & educational satellite imagery of Earth, comes a new book about the Earth’s changing landscape. Overview Timelapse: How We Change the Earth is a book of satellite imagery that shows how landscapes change over time due to things like volcanic eruptions, climate change, population growth, and massive construction projects.
With human activity driving this transformation faster than ever, visible signs can now be seen across the planet. With more than 250 new, mesmerizing images such as sprawling cities and the patterns created by decades of deforestation, this book offers a fresh perspective of change on Earth from a larger-than-life scale.
Here’s a layout from the book that shows the construction of the Beijing Daxing International Airport over the course of several years:
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