Almost 300 days out of every year, there are thunderstorms over Venezuela’s Lake Maracaibo. Called Catatumbo lightning — “Catatumbo means ‘House of Thunder’ in the language of the local Barí people” — the phenomenon is caused by the unique confluence of warm air and water from the Caribbean Sea with the cold air flowing down from the Andes, which nearly surround the lake. The result is near-nightly storms with the world’s highest density of lightning and up to 200 flashes in a minute. It sounds, literally, awe-some.
The short video above is a profile of photographer Jonas Piontek, who has captured some amazing photos and video of the Catatumbo lightning. The NY Times featured some of his photos in this piece about the lightning.
Less than half an hour after the first cloud forms, it starts to flash. It does this faster and faster - 200 flashes a minute is not uncommon. After that, the cloud becomes a giant bulb that lights up the night.
“You can read a newspaper in the middle of the night because it’s so bright,” said Jonas Pointek, a photographer who has documented the storms.
From the Brennan Center for Justice, A Proposal to Reduce Unnecessary Incarceration. "The federal government must reorient its grant spending to press states to end punitive policies that fail to deliver public safety."
The origin story of Ted Lasso - the character didn't originate with those NBC commercials in 2013 but much earlier in an Amsterdam comedy club.
The assassin’s teapot is certainly an eye-catching name for pottery, but there’s also an interesting bit of physics going on here. The teapot in question has two separate chambers for holding liquid, and the flow out of the pot from each chamber can be controlled by covering or uncovering small holes located on the handle. So, as the legend goes, a would-be assassin could pour themselves a perfectly fine drink from one chamber and then pour a poisoned drink to their prey from the other chamber, just by discreetly covering and uncovering the proper holes with their fingers. As the video explains, the mechanism here has to do with surface tension and air pressure.
You can get your own assassin’s teapot right here.
For an exhibition entitled DEATH TO THE LIVING, Long Live Trash now on view at the Brooklyn Museum, artist Duke Riley takes trash that he’s collected on the beach and turns it into art — think mosaics made from bottle caps, bread bag clips, and tampon applicators. But his plastic scrimshaw creations are absolute genius:
Scrimshaw art was made by whalers in the 19th century by carving designs into the teeth, bones, and baleen of whales. Riley has cleverly adopted the practice using aesthetically similar white plastics, producing a series he calls the Poly S. Tyrene Maritime Museum. The NY Times:
As whalers often depicted the leaders and profiteers of their day, Riley portrays the C.E.O.s of chemical companies, plastic industry lobbyists and others he deems responsible for producing the devastating tonnages of single-use plastics that are engulfing our oceans and threatening our ecosystems. It’s a downer, but if you look closely there’s often a Riley twist of humor, like the seagull shown relieving itself on the head of a water bottle magnate.
This is unfortunate: a Holocaust-themed video game depicted in Tomorrow, and Tomorrow, and Tomorrow includes many similar elements to Brenda Romero's game Train. "A theme in the book is how women struggle to get credit for their work."
For over 100 years, the NY Times' logo included a period - like so: "The New York Times." - until it was dropped in the 60s. "Dropping the period caused much consternation and soul-searching at the Times..."
The aptly named “Fusion of Helios” is a fusion from the minds of two astrophotographers, Andrew McCarthy and Jason Guenzel. Using a custom-modified hydrogen alpha solar telescope, the combined data from over 90,000 individual images was jointly processed to reveal the layers of intricate details within the solar chromosphere. A geometrically altered image of the 2017 eclipse as an artistic element in this composition to display an otherwise invisible structure. Great care was taken to align the two atmospheric layers in a scientifically plausible way using NASA’s SOHO data as a reference.
So how do I resolve atmospheric details, like spicules, prominences, and filaments? The trick is tuning the telescope to an emission line where these objects aren’t drown out by the bright photosphere. Specifically, I’m shooting in the Hydrogen-alpha band of the visible spectrum (656.28nm). Hydrogen Alpha (HA) filters are common in astrophotography, but just adding one to your already filtered telescope will just reduce the sun’s light to a dim pink disk, and using it without the aperture filter we use to observe the details on the photosphere will blind you by not filtering enough light. If you just stack filters, you still can’t see details. So what’s the solution?
A series of precisely-manufactured filters that can be tuned to the appropriate emission line, built right into the telescope’s image train does the trick! While scopes built for this purpose do exist (look up “coronado solarmax” or “lunt solar telescope” I employ a heat-tuned hydrogen alpha filter (daystar quark) with an energy rejection filter (ERF) on a simple 5” doublet refractor. That gives me a details up close look at our sun’s atmosphere SAFELY. I’ve made a few custom modifications that have helped me produce a more seamless final image, but am not *quite* yet ready to share them, but just the ERF+Quark on a refractor will get you great views.
Photography has always been a combination of technology, artistry, and wrangling whatever light you can get to best express the feeling that you’re going for — astrophotography certainly dials that wrangling up to 11.
Prints of this image (and some digital downloads) are available in various sizes from McCarthy and Guenzel.
Every day for three years, Iancu Barbarasa drew a flower for his partner and recently he compiled all the drawings into this lovely short film set to Chopin’s Minute Waltz. I loved his acknowledgement of his sources and influences:
Questlove once said that “all creative ideas are derivative of another.” My project would not exist (or at least not in this form) without the influences of: Katsuji Wakisaka, textile designer and founder of Sou·Sou, who has drawn over 10,000 postcards for his wife — Christoph Niemann’s work and also his short film “A Tribute to Maurice Sendak” — “Beyond Noh (Masks of our world)” short film by Patrick Smith — “Plante” short film by Reka Bucsi — and Philippa Perry’s “The Book You Wish Your Parents Had Read (and Your Children Will Be Glad That You Did)”. Last but not least, the end credits are a tribute to Hayao Miyazaki’s wonderful “My Neighbour Totoro” film.
No one disputes that referees are as fit as they’ve ever been. The problem, according to many observers, is that referees are also worse than they’ve ever been. In 2017, then-Arsenal manager Arsène Wenger claimed that English referees’ level “drops every season”. The next season, Cardiff manager Neil Warnock despaired at how the “best league in the world” could possibly have “the worst officials”.
Today, that story of perpetual decline has given way to one of full-blown crisis. Every week brings a new wave of anger — from fans, players, managers and pundits — about alleged errors, inconsistencies and incompetence. This is at the polite end of the spectrum. On social media, referees’ mistakes are often blamed not on inevitable human error, or even simple ineptitude, but on elaborate conspiracies to derail this or that club. (The fact that every fanbase believes there is a conspiracy against their particular club does not seem to give people pause.)
There is no statistical evidence to support this story of decline. In fact, all such evidence suggests that referees are making fewer mistakes a match, with accuracy rising each season. (However, these statistics themselves are difficult to assess, given that they are collected not by a truly independent body, but by PGMOL and the Premier League, and very little of this data has ever been made public.) Instead, the critics point to a large, often indisputable, collection of individual errors and baffling decisions. These errors amount to only a tiny percentage of all decisions, but having been replayed and discussed over and over, they are the ones etched into memory.
In season one of his podcast Against the Rules, Michael Lewis explored the disconnect between how referees are perceived and their actual performance, not just in sports but also in governance, business, and even the arts.
There are interesting bits throughout the piece, many of which deal with human psychology (esp. of groups) and even philosophy. I found this bit worth quoting:
On the next day I spent with England, 5 November, he was refereeing the champions, Manchester City, at home to Fulham. In a room at a swanky hotel on the outskirts of Manchester, England and his team gathered for their pre-match meeting. His usual assistants had been replaced, because they support Manchester clubs. (Every official must declare their allegiances, and will not be assigned that team’s matches or those of their closest rivals. Other factors that determine appointments include how many times an official has refereed each club that season, how close they live to the stadium, and which teams their family members support.)
Fascinating! Do any of the sports leagues in the US do this? Or is, as I suspect, the support for one’s team in England just so much more intense and foundational to one’s personal identity than in America?
A Map of Places in the US with the Same Name. "We calculated what place someone is most likely referring to, depending on where they are." For instance, in most of the country, when you say "Springfield", people think "Springfield, MA".
