The local environment of this cluster is a close analogue of what existed in the early Universe, with very low abundances of elements heavier than hydrogen and helium. The existence of dark clouds of dense dust and the fact that the cluster is rich in ionised gas also suggest the presence of ongoing star formation processes. This cluster provides a valuable opportunity to examine star formation scenarios under dramatically different conditions from those in the solar neighbourhood.
It is very worth your time to click through and look at this image in all of its massive celestial glory. I found this image via Phil Plait, who calls it “one of the most jaw-droppingly mind stomping images I’ve seen from JWST” and, directing us back to the science (remember the science?!), notes that NGC 602 is actively forming stars (it’s only about 5 million years old) and that it depicts “the first young brown dwarfs outside our Milky Way”. Cool!
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From the Atlantic in 1948, Death of a Pig by E.B. White is about the story that inspired the author to write Charlotte’s Web a few years later.
The scheme of buying a spring pig in blossom time, feeding it through summer and fall, and butchering it when the solid cold weather arrives, is a familiar scheme to me and follows an antique pattern. It is a tragedy enacted on most farms with perfect fidelity to the original script. The murder, being premeditated, is in the first degree but is quick and skillful, and the smoked bacon and ham provide a ceremonial ending whose fitness is seldom questioned.
Once in a while something slips — one of the actors goes up in his lines and the whole performance stumbles and halts. My pig simply failed to show up for a meal. The alarm spread rapidly. The classic outline of the tragedy was lost. I found myself cast suddenly in the role of pig’s friend and physician — a farcical character with an enema bag for a prop. I had a presentiment, the very first afternoon, that the play would never regain its balance and that my sympathies were now wholly with the pig. This was slapstick - the sort of dramatic treatment which instantly appealed to my old dachshund, Fred, who joined the vigil, held the bag, and, when all was over, presided at the interment. When we slid the body into the grave, we both were shaken to the core. The loss we felt was not the loss of ham but the loss of pig. He had evidently become precious to me, not that he represented a distant nourishment in a hungry time, but that he had suffered in a suffering world.
The producer later said that it took him 17 takes to read the death scene of Charlotte. And finally, they would walk outside, and E.B. White would go, this is ridiculous, a grown man crying over the death of an imaginary insect. And then, he would go in and start crying again when he got to that moment.
The boxes on the chart have changed, but since the appointment of Bob Iger as CEO, Disney has seemingly doubled down on Walt’s old strategy with their increased focus on franchises.
Disney’s dominance can be boiled down very simply to one word: franchises. Or rather, an “incessant focus on franchises” in the words of former Disney CFO Jay Rasulo.
“Everything we do is about brands and franchises,” Rasulo told a group of financial analysts last September. “Ten years ago we were more like other media companies, more broad-based, big movie slate, 20 something pictures, some franchise, some not franchise. If you look at our slate strategy now, our television strategy, almost every aspect of the company, we are oriented around brands and franchises.”
Franchises are well suited to extend across multiple parts of a big business like Disney, particularly because it’s a repeating virtuous cycle: movies drive merchandise sales and theme park visits, which in turn drives interest for sequels and spin-offs, rinse, repeat, reboot.
I wonder if more tech companies could be using this strategy more effectively. Apple does pretty well; their various hardware (iPhone, iPad, Mac), software (iOS, OS X), and services (iCloud, App Store, iTunes Store) work together effectively. Microsoft rode Office & Windows for quite awhile. Google seems a bit more all over the place — for instance, it’s unclear how their self-driving car helps their search business and Google+ largely failed to connect various offerings. Facebook seems to be headed in the right direction. Twitter? Not so much, but we’ll see how they do with new leadership. Or old leadership…I discovered Walt’s chart via interim Twitter CEO Jack Dorsey.
The 1619 Project: A Visual Experience is an illustrated version of the bestselling book by Nikole Hannah-Jones, featuring archival images, photos by Black photographers, and artwork from Black artists like Carrie Mae Weems & Vitus Shell.
This short video takes us on a trip through the criminal justice system and highlights a “hidden form of punishment” directed toward incarcerated people: fees. At every turn, people who are sentenced to incarceration are subject to tens of thousands of dollars in fees: bail fees, public defender fees, filing fees, court costs, mandatory contributions to funds like the state police fund, room & board, phone calls, money transfer fees, medical co-pays, and fees for post-incarceration monitoring. This is on top of any penalties that are paid by offenders.
We’re not talking about fines, those monetary punishments that judges impose on offenders. And this isn’t about restitution, which is an additional sanction intended to reimburse victims. Fees are far more insidious, functioning like predatory taxes that raise revenue for the government. They can vary from state to state, municipality to municipality, institution to institution.
And they can have severe economic consequences, particularly for people who are already broke when they enter the system — that is, most people who run afoul of the law. The resulting debts can destroy people’s credit, prevent them from voting and interfere with their ability to find employment and housing.
And guess what? People in debt turn to crime to pay their bills. This is all just another way that America’s criminal justice system is punitive and not rehabilitative.
New children’s picture book from the excellent Jessica Hische: My First Book of Fancy Letters, “a delightful spin on the traditional alphabet book, featuring creatively hand-lettered words from A to Z”.
Pony Boys is a delightful short documentary about two boys (aged 9 & 11) who traveled from a Boston suburb to the 1967 World’s Fair in Montreal by pony cart.
In the short documentary above, the “pony boys,” Tony and Jeff Whittemore, recount that as youngsters, they were unaware of the controversial questions the trip raises. What constitutes responsible parenting? Did their parents do something dangerous, or was it a brilliant parenting move that taught lifelong lessons? What they recall is a life-changing adventure made possible by a free-spirited mother who believed they could do it.
Three thought experiments that suggest “the space-time continuum we seem to inhabit is not fundamental but an approximation of something deeper, and that the concept will eventually be replaced…” What a wrench in the works black holes are!
Freedom is the great American commitment, but as Snyder argues, we have lost sight of what it means — and this is leading us into crisis. Too many of us look at freedom as the absence of state power: We think we’re free if we can do and say as we please, and protect ourselves from government overreach. But true freedom isn’t so much freedom from as freedom to — the freedom to thrive, to take risks for futures we choose by working together. Freedom is the value that makes all other values possible.
Before Google, reference librarians answered questions via telephone. “We learned not merely how to find information but how to think about finding information. Don’t take anything for granted; don’t trust your memory; look for the context…”
This Icelandic hotel offers a unique a valuable service: an aurora wake-up call. “When the northern lights appear in the night sky, they’ll wake you to make sure don’t miss a once-in-a-lifetime viewing experience.”
For the latest installment of Every Frame a Painting, Tony Zhou and Taylor Ramos examine the artistry and thought silent film master Buster Keaton put into the physical comedy in his movies. I used to watch all sorts of old movies with my dad (Chaplin, Keaton, Laurel & Hardy) and had forgotten how good Keaton was. If you’re anything like me in wanting to head down a Keaton rabbit hole, they recommend starting with the first short film he directed and released, One Week.
I love this: a carpenter fires his nail gun in time to the music of a band practicing or performing next door. Music, artistry, and playfulness is everywhere.
The Onion: “The Donald Trump and Kamala Harris campaigns both debuted new commercials Tuesday that attempt to win support for their respective candidates with a supercut of Trump’s most racist comments.” 🎯
Oh boy, a new book from one of my favorite designers: Kelli Anderson’s Alphabet in Motion, a pop-up book that explains how typography works. Watch the video…this book is bonkers. Instant pre-order for me.
Too Much Love is a project from Katja Kemnitz in which she photographs the beloved dolls & stuffed animals of young children alongside brand-new versions of the same toys. Anyone who is a parent or caregiver can relate to the destruction on display here, as well as the difficulty of replacing these items.
I show old, much-loved teddies and dolls and compare them with as good as new doppelgangers. I think the broken stuffed animals have a lot of soul. The project is inspired by my older daughter, who took her plush dog everywhere when she was little. One day I found this dog again without button eye and torn seams in the store and bought it. She did not like him. The old one was better and could not be replaced.
An attempt to rapidly deport twelve million people will also change everyone else. As Trump has said, such an action will have to bring in law enforcement at all levels. Such a huge mission will effectively redefine the purpose of law enforcement: the principle is no longer to make all people feel safe, but to make some people unsafe. And of course the diversion of law enforcement resources to deportation means that crimes will not be investigated or prosecuted. So some people will be radically less safe, but everyone regardless of status will in fact be less safe.
Such an enormous deportation will requires an army of informers. People who denounce their neighbors or coworkers will be presented as positive examples. Denunciation then becomes a culture. If you are Latino, expect to be denounced at some point, and expect special attention from a government that will demand your help to find people who are not documented. This is especially true if you are a local civic or business leader. You will be expected to collaborate in the deportation effort: if you do, you will be harming others; if you do not, you risk being seen as disloyal yourself. This painful choice can be avoided not at a later point but only now, by voting against mass deportations.
The Trump campaign is telling us straight out that this is their plan — they are not hiding it! at all! — and historians are letting us know what has happened in similar situations in the past and it’s just not all that confusing or complicated to understand. Even if they try and don’t succeed, it’s going to be absolutely brutal. Those are the stakes.
My 17-year-old took this Street Survival driving skills course this weekend and I recommend it! They learn how to handle their own car, how it feels to stop fast, corner fast, etc. You can see the kids level up their driving throughout the day.
I did have a close working relationship with Mike Myers, who basically wrote his own sketches and would come down to our art department to talk to me about the graphics. He wanted to approve everything himself. He was very specific in what he wanted, and I truly enjoyed working with him.
I clicked with him on where he was coming from creatively. I loved establishing the Euro-style SPROCKETS graphics for him, and creating all his Simon drawings for that series of his sketches, which was really fun. As someone with a similar passion for UK ’60s pop culture, I also loved drawing and creating the title sequence for his “1960s Movie” sketch, which I have a hunch was the seed of the idea for his Austin Powers movies!
OVER presents a scenario that seems to point to a dystopian future, but which, in fact, brings together fragments of the present. The exaggerated agglomeration denounces the misleading idea of “disposal”, given that objects do not cease to exist in the world when we throw them away. Rather, they inhabit other places.
This video shows the artist’s process, from hanging out the side of a helicopter to arranging all the items in Photoshop.
Loving that the FTC has adopted a click-to-cancel rule. “Under the rule, businesses can’t force customers to cancel a subscription using a method different from how they signed up.” So if you sign up online, they can’t force you to call to cancel. 🙌
This video seems like it was made specifically for kottke.org. In the first half of it, you learn how cranberries are harvested. In the second half, there’s gorgeous HD slo-mo footage of wakeskating through a cranberry bog.
And with a Tycho soundtrack no less…it’s all too perfect. (via ★interesting)
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