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I loved this analysis of a scene from the final episode of season three of Mad Men.
The scene shifts. The partners go from standing in disarray around the room to orderly sitting, two by two across from one another. They go from tense standing disagreements to calm, relaxed collusion.
This video is also a reminder of what a great show Mad Men was (it’s in my all-time top 5) and how they just don’t make TV like this anymore.
This was me a couple of years ago when I first started playing Fortnite, as satirized by Adam Driver and the SNL gang:
I found this sketch via a piece that Tom Vanderbilt wrote about playing Fortnite with his daughter (and her friends).
It’s not as though Sylvie and I discussed the problem of free will as we dodged RPG rounds. For the most part, our interactions weren’t nearly so high-minded. We stole each other’s kills and squabbled over loot. She badgered me for V-Bucks so she could buy her character new baubles in the Item Shop. But sometimes, after playing, we’d go for a walk and analyze how we were able to notch a dub — Fortnite-speak for a win — or how we might have done better. We’d assess the quality of newly introduced weapons. (The best were OP, for “overpowering,” but often the makers of Fortnite would later “nerf” them for being too OP.) She’d chide me for trying to improve by battling more, rather than by practicing in Creative mode — which suddenly made her open to hearing about the late Swedish psychologist K. Anders Ericsson’s theories of “deliberate practice.” (Like many kids, she had a built-in filter against my teachable moments.) We actually were, per Adam Driver’s character, bonding.
And in our Fortnite games I saw her cultivate prowess. I’m not talking merely about the widely discussed perceptual and cognitive benefits of video games, which include an improved ability to track objects in space and tune out cognitive “distractors.” I’m talking about that suite of abilities sometimes referred to as “21st-century skills”: imaginatively solving open-ended problems, working collaboratively in teams, synthesizing complex information streams. “Unfortunately, in most formal education settings, we’re not emphasizing those very much,” argues Eric Klopfer, who directs the Education Arcade at MIT. “Just playing Fortnite doesn’t necessarily give you those skills — but playing Fortnite in the right way, with the right people, is certainly a good step in that direction.”
This is the plain and perhaps embarrassing truth: During my sabbatical, I didn’t pursue any activity (with the possible exception of mountain biking) as diligently as I did playing Fortnite. My kids have been playing it for awhile, both together and separately, and it was fun to watch them working together to complete quests and sometimes even win. I tried playing with them a few times the previous year, but the last shooter game I played was Quake III in the late 90s and so I was comically bad, running around firing my weapon into the sky or the ground and generally just embarrassing my kids, who left my reboot card where it landed after I’d died more often than not.
Early last year, even before I left on my sabbatical, I decided I wanted to learn how to play properly, so that I could do something with my kids on their turf. I played mostly by myself at first — and poorly. Slowly I figured out the rules of the game and how to move and shoot. I played online with my friend David, who was forgiving of my deficiencies, and we caught up while he explained how the game worked and we explored the island together. I finally got a kill and a win, in the same match — I’d found a good hiding place in a bush and then emerged when it was down to me and some other hapless fool (who was probably 8 years old or a bot) and I somehow got them. A friend who had arrived for dinner mid-game was very surprised when I started yelling my head off and running around the house.
Over the summer after I started the sabbatical, I played most days for at least 30 minutes. I got better and was having more fun. I won some matches and bought the Battle Pass so I could get some different skins and emotes. Even though I got a late start in the season, I grinded on quests to get the Darth Vader skin, which is amusing to wear while you’re trying out different emotes. (You haven’t lived until you’ve watched Vader do the death drop or dance to My Money Don’t Jiggle Jiggle, It Folds.1) When the kids got back from camp, I was good enough to at least not slow them down too much and get a couple of kills in the meantime. I learned the lingo and how to work as a team, with my kids leading the way.1 I’m still not great, but it’s become one of our favorite things to do together and I’m enjoying it while it lasts.
I am surprised but delighted that a huge media conglomerate like Disney allows their character/intellectual property (e.g. Vader) to perform the signature move of another character (Trinity’s slow-motion spin kick from The Matrix) owned by a competing media conglomerate (Warner Bros. Discovery), and vice versa.↩
I know some parents have a hard time with this, but after having been surpassed by my kids several years ago in skiing prowess and now basically being a lowly private in their Fortnite squad, I am a firm believer that every parent should experience, as early as they can, the sensation of your kids doing something much better, like an order of magnitude better, than you can and then letting them lead the way with it. It will change your relationship with them for the better, remind you that you are not “in charge” (and never really were), and reveal that kids are often much more capable than we give them credit for.↩
Well this is some bizarre good fun — turns out that the campy goofiness of Star Wars and the campy seriousness of high fashion make for a pretty good combination.
See also Lord of the Rings by Balenciaga and Game of Thrones by Balenciaga. Oh, and Hipster Star Wars.
You’ve probably seen the work of animation pioneer Max Fleischer; he made the old Popeye, Superman, Betty Boop, and Koko the Clown cartoons waaaay back in the early-to-mid 20th century. Films from back then are often not well-preserved, so when a copy is discovered in a film library or private collection, great care must be exercised in restoring the film for future generations to enjoy.
This video follows the restoration process of Fleischer’s 1924 Koko the Clown film Birthday, from scanning a 35mm print from 1930 to the digital retouching. The fully restored print doesn’t seem to be online anywhere, but you can see a couple of before-and-after comparisons here and here.
Insider has been doing a whole series of videos on how movie props are made (view the entire thing here) and I found this one on how prop makers rely on noiseless props to be particularly interesting. To cut down on distracting on-set noise (so dialogue can be heard, for instance), they swap racquetball balls for pool balls, silicon chunks for ice cubes, and paper bags made out of coffee filter material for real paper bags. So weird to watch those objects in action without their usual sounds. (thx, caroline)
I have to admit that as much as I love Evan Puschak’s Nerdwriter videos, I did not have high hopes for his latest video on John Singer Sargent, a painter I didn’t know a lot about and assumed, mostly based on his name (ugh, I know), that he was some fusty 19th-century painter who was not as interesting as the Impressionists. What a pleasant surprise to discover, right from Puschak’s expertly concise show-don’t-tell opening, that I am Sargent’s newest fan.
Everywhere you look in this painting you see his supremely confident looseness, a kind of painting you maybe wouldn’t think to associate with a realistic representation of the world. And yet that’s exactly the final effect — a realism that is somehow more true than finely detailed painting.
Realism through impressionism? Sign me up. Stay curious, friends…you never know what interesting new (or old!) thing you’re going to discover next.
This year, Kurzgesagt celebrates 10 years of making videos on YouTube and to mark the occasion, they’ve produced this video about their history, how their business works (their shop accounts for a large chunk of their revenue), and the values that guide their work.
Kurzgesagt’s foundation was laid when Philipp, our founder, dropped out of high school as a teenager. Learning seemed daft and useless and he was not interested in anything. Until a very special teacher at a school for dropouts grabbed him by the neck. The way she taught was different. She talked about connections and the big picture. She told a story. For the first time ever, Philipp wanted to learn more without being forced. It was a key life experience.
Kurzgesagt tries to recreate this experience for you. “Nothing is boring if you tell a good story, and we try to tell these stories to spark excitement and make you want to go on and learn more. Because of the one teacher that could do this, Philipp got a high school degree, studied history and design and eventually started Kurzgesagt as a passion project, inspired by Crash Course World history.
Some of you might not be interested in something that seems pretty inside baseball, but I post a lot of Kurzgesagt’s videos here and I’ve always admired the way they go about their business — their commitment to quality, painstaking research, an ability to admit when they got it wrong, non-extractive revenue streams with a heavy emphasis on direct reader support — and it was great to hear them talk about it.
The top two comments on YouTube sum this trailer for Asteroid City up pretty well: “Just when you don’t think it can get more Wes Anderson, it gets more Wes Anderson.” and “You know a Wes Anderson movie is a Wes Anderson movie, but you can’t really describe a Wes Anderson movie to someone who has never seen a Wes Anderson movie.” Here’s the synopsis:
The itinerary of a Junior Stargazer/Space Cadet convention (organized to bring together students and parents from across the country for fellowship and scholarly competition) is spectacularly disrupted by world-changing events.
Does it even matter to know this? At this point, you’re either throwing money at the screen after watching this trailer (*raises hand*) or you’re just not interested. For those in the former camp, Asteroid City opens in theaters on June 16.
Update: Asteroid City marks the first Wes Anderson movie without Bill Murray since Bottle Rocket — the actor came down with Covid-19 just before filming began and had to withdraw.
From Max Miller’s informative & entertaining YouTube channel Tasting History comes this lesson on pemmican, a mixture of meat and fat/tallow that was invented by the indigenous peoples of North America. Pemmican’s main attributes are its shelf-life (years), portability, and nutritional value, making it an ideal “power bar” to be taken on expeditions or long ship voyages.
See also Miller’s videos on hardtack. (via open culture)
Kirby Ferguson has released the final and “definitive” full-length version of his fantastic Everything is a Remix video series (transcript).
Memes are remixing. You take a photo, you repurpose it, then someone else tries it, then there’s a flood of everyone trying out combinations, including remixing other memes.
When you take something old and use it in something new, that’s remixing. It might just seem like just copying, but it’s actually something much more. Remixing can empower you be more creative.
Remixing allows us to make music without playing instruments, to create software without coding, to create bigger and more complex ideas out of smaller and simpler ideas.
You don’t need expensive tools to remix, you don’t need a distributor, you don’t even need skills or… good judgment. Everybody can remix and everybody does.
From our songs and games and movies and memes, to how we train computers to create, to the way we sense of reality, to the evolution of life itself, everything is definitely a remix.
(via matt haughey)
I…. Hmm. I really don’t know how to describe this video. Bobby Fingers, who seems to be a professional model maker of some sort (who can also sing and dance?), made a diorama of when Michael Jackson’s hair caught on fire during the filming of a Pepsi commercial (which, weirdly, occurred almost exactly halfway through Jackson’s life). It’s quietly and surreally hilarious — I absolutely lost it when the horse poop made an abrupt-but-relevant appearance. I don’t know what else to say…just watch it. Thank god the internet can still be weird. (thx, tim & clarke)
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.
(via open culture)
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.
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.
A set of postcards featuring the flower drawings are available from Barbarasa’s shop.
I’d seen Titanic with a Cat but hadn’t realized there were a whole collection of videos featuring OwlKitty cleverly edited into them. I really like the Jurassic Park one embedded above. The licking! The purring! Fantastic, no notes.
You can check out a bunch of other movies featuring OwlKitty on YouTube (LOTR, Top Gun, Home Alone, John Wick, Mandalorian), including some behind-the-scenes of how they’re made. Here’s how they did the Jurassic Park one:
The power of at-home filmmaking software and equipment is just incredible.
The authors of a new preprint paper claim that they’ve discovered what’s called an aperiodic monotile, a single shape that can cover a two-dimensional space with a pattern that never repeats itself exactly. One of the authors, Craig Kaplan, explains on Mastodon:
How small can a set of aperiodic tiles be? The first aperiodic set had over 20000 tiles. Subsequent research lowered that number, to sets of size 92, then 6, and then 2 in the form of the famous Penrose tiles.
Penrose’s work dates back to 1974. Since then, others have constructed sets of size 2, but nobody could find an “einstein”: a single shape that tiles the plane aperiodically. Could such a shape even exist?
Taylor and Socolar came close with their hexagonal tile. But that shape requires additional markings or modifications to tile aperiodically, which can’t be encoded purely in its outline.
In a new paper, David Smith, Joseph Myers, Chaim Goodman-Strauss and I prove that a polykite that we call “the hat” is an aperiodic monotile, AKA an einstein. We finally got down to 1!
The full paper is here. You can play around with the tiles here & here and watch an animation of an infinite array of these monotiles.
If you’re looking for a quick explanation of what aperiodic tiling is, check out the first 20 seconds of this video:
This video from Veritasium and this Numberphile one might also be helpful in understanding the concept. (thx, caroline)
Update: Siobhan Roberts wrote a good layperson’s account of the discovery and its import & implications. One of the paper’s authors discovered the hat shape while working with paper shapes:
“It’s always nice to get hands-on,” Mr. Smith said. “It can be quite meditative. And it provides a better understanding of how a shape does or does not tessellate.”
The most recognizable half of U2 made the trip to the NPR offices to perform a Tiny Desk Concert recently. Accompanied by the Duke Ellington School of the Arts Choir, the pair sang four songs from their 2000 album All That You Can’t Leave Behind, including Beautiful Day.
See also Tiny Desk Concerts from Alicia Keys, Dua Lipa, Max Richter, Coldplay, and the Sesame Street gang.
Jean-Pierre Jeunet, director of the 2001 romantic comedy The Fabulous Destiny of Amélie Poulain, has recut his beloved movie into a cheeky short film that reveals that Amélie was actually a KGB spy.
Did no one ever wonder how a young waitress afforded such sophisticated decoration for a flat in Montmartre, one of Paris’s most expensive districts?
Film editors are magicians. (via @pacanukeha)
In the last several months, semaglutide, a drug originally developed to help manage type 2 diabetes, has been in the news for its “breakthrough” weight loss abilities. This video from Vox is a good overview of what the drug does and the interest & controversy around it.
Both Ozempic and Wegovy, Ozempic’s counterpart approved specifically for weight loss by the FDA, are brand names of a drug called semaglutide. Semaglutide is one of several drugs that mimics a crucial digestive hormone called glucagon-like peptide 1, or GLP-1. It amplifies a process our bodies perform naturally.
GLP-1 is released in our intestines when we eat, and there are receptors for the hormone in cells all over the body. In the pancreas, GLP-1 promotes the production of insulin and suppresses the production of glucagon. This helps insulin-resistant bodies, like those with type 2 diabetes or obesity, manage blood sugar levels. In the stomach, GLP-1 slows gastric emptying, extending the feeling of being full. In the brain, GLP-1 suppresses appetite, which also promotes satiety and curbs hunger, so we eat less.
Jia Tolentino wrote a long piece about semaglutide for the New Yorker this week: Will Ozempic Change How We Think About Being Fat and Being Thin?
But, as I kept reminding Ozempic-curious friends, these medications were designed for chronic conditions, obesity and diabetes. For people who are dealing with those conditions, Ozempic appears to create a path toward a healthy relationship to food. For those who aren’t, it might function more like an injectable eating disorder. As the side effects make clear, it’s not a casual thing to drastically alter your body’s metabolic process, and there is no large-scale data about the safety of these drugs when taken by people who are mainly interested in treating another chronic condition, the desire to be thin.
Julia Belluz wrote a piece for Vox on Obesity in the age of Ozempic and Eric Topol wrote about The New Obesity Breakthrough Drugs.
Update: In the shuffle of the last few months, I’d missed reading Paul Ford’s piece about “the post-hunger age”, A New Drug Switched Off My Appetite. What’s Left?
I can see my anxiety mirrored in the wave of reactions starting to appear — op-eds, TV segments, people explaining why it’s good, actually, that the vast majority of those using this drug lose a quarter of their body weight. On social media, fat activists are pointing out that our lives were worthy even without this drug. The wave of opinion will not crest for years.
And that’s fair because this is new — not just the drug, but the idea of the drug. There’s no API or software to download, but this is nonetheless a technology that will reorder society. I have been the living embodiment of the deadly sin of gluttony, judged as greedy and weak since I was 10 years old-and now the sin is washed away. Baptism by injection. But I have no more virtue than I did a few months ago. I just prefer broccoli to gloopy chicken. Is this who I am?
Even outside the context of drugs, I find the tension between accepting who you are versus trying to change some behavior you find unappealing is challenging to navigate — it’s something that comes up in therapy a lot. (thx, anil)
Do you want to sit in on a 30-minute cinematography masterclass with Roger Deakins as he talks about the process behind some of his most iconic films? We’re talking Sicario, The Shawshank Redemption, 1917, Fargo, Blade Runner 2049, and No Country for Old Men here. Of course you do. And when you’re done with that, you can listen to all of these other filmmakers and actors talking about their films.
This is a clever little promo from A24 for the rerelease of Jonathan Demme’s Stop Making Sense, a concert film from 1984 featuring The Talking Heads — it, the promo, features David Byrne dropping into his dry cleaners to pick up an old, big suit. As for the film, it’s getting a 4K restoration and will be out sometime later this year.
“Stop Making Sense” stars core band members David Byrne, Tina Weymouth, Chris Frantz and Jerry Harrison along with Bernie Worrell, Alex Weir, Steve Scales, Lynn Mabry and Edna Holt. The live performance was shot roughly 40 years ago over the course of three nights at Hollywood’s Pantages Theater in December of 1983. It features Talking Heads’ most memorable songs, including “Burning Down the House,” “Once in a Lifetime” and “This Must Be the Place.”
“There was a band. There was a concert,” the Talking Heads said in a statement. “This must be the movie!”
The legendary New Yorker film critic Pauline Kael loved the film, calling it “close to perfection” in this contemporary review:
The director, Jonathan Demme, offers us a continuous rock experience that keeps building, becoming ever more intense and euphoric. This has not been a year when American movies overflowed with happiness; there was some in Splash, and there’s quite a lot in All of Me — especially in its last, dancing minutes. Stop Making Sense is the only current movie that’s a dose of happiness from beginning to end. The lead singer, David Byrne, designed the stage lighting and the elegantly plain performance-art environments (three screens used for back-lit slide projections); there’s no glitter, no sleaze. The musicians aren’t trying to show us how hot they are; the women in the group aren’t there to show us some skin. Seeing the movie is like going to an austere orgy — which turns out to be just what you wanted.
As I’ve discussed previously, the Piper Super Cub is an amazing short takeoff and landing airplane that can, under the right conditions, takeoff and land in as little as 10 or 20 feet of runway.
In a recent stunt for Red Bull, Luke Czepiela landed a Super Cub on an 88-foot-wide helipad located on the 56th story of the Burj Al Arab Hotel in Dubai. Fantastic. And I love what he did right afterwards… (via digg)
Musician Andrea Boma Boccarusso’s tour of rock ‘n roll history through guitar riffs is a lot of fun. Each year from 1965 to 2022, Boccarusso plays one iconic riff that represents the vibe of rock at the time. Here are a few that made the list:
1965 - The Rolling Stones, Satisfaction
1975 - Queen, Bohemian Rhapsody
1977 - David Bowie, Heroes
1982 - Michael Jackson, Beat It
1985 - Dire Straits, Money for Nothing
1992 - Rage Against the Machine, Killing in The Name of
1995 - Oasis, Wonderwall
2003 - The White Stripes, Seven Nation Army
The riffs get a little less iconic as the 2000s go on, but that’s to be expected in the age of the ascendancy of hip hop. (via digg)
Any Rubik’s Cube can be solved in 20 moves or less. The “meet in the middle” algorithmic trick can help a computer program solve a Cube in minutes or hours instead of millenia.
If you’re interested, there’s a lot more information about algorithms and Rubik’s Cubes in the video’s description.
See also MIT Robot Solves Rubik’s Cube in 0.38 Seconds and A Self-Solving Rubik’s Cube.
For his new video series, David Friedman of Ironic Sans finds out the secret behind an unusual object that Joe Biden has placed in the Oval Office: an empty picture frame. The object turns out to be….well, I won’t spoil it, but a few other presidents have had this thing in their Oval Offices as well.
Joe Biden put an empty picture frame in the Oval Office and it’s got a lot of people asking questions. Has a photo been removed? Is something being censored and hidden from the public? I have the answer! And it takes us down a bit of a rabbit hole.
Friedman also uploaded a copy of the White House tour brochure for Biden’s White House.
Say what you will about The Algorithms, but YouTube’s reliably informs this art history lover of every new episode of Great Art Explained and for that I am grateful. This latest episode is about the pointillist masterpiece by Georges Seurat, A Sunday on La Grande Jatte. I had a chance to see this painting in person last summer at The Art Institute of Chicago — spent quite a bit of time looking at it from all angles and distances — so this episode was the perfect accompaniment to that visit.
The lack of narrative means we really should look to the artist’s obsession with form, technique and theory — which is practically all he wrote about — and not to meaning or subject matter - which he didn’t write about at all. The painting is really his manifesto. His protagonists don’t have faces or body language, neither a history nor individuality. They are reduced to a hat, a corset, or a pet. They are just characters in his frieze. They exist only to give perfect balance to the composition.
Some paintings are designed for the viewer to “empathise with” but Seurat keeps us at arm’s length. We are not invited to “participate” in the promenade, and their psychological distance is clear. Both with their neighbors, and with us. It was ancient art that Seurat looked to — of Egypt and Greece. He once said that he “wanted to make modern people move about as they do on the Parthenon Frieze”, and placed them on canvases organized by harmonies of colour. It is what makes the painting so intriguing.
I am not a particular fan of fantasy games, but I do like watching people draw and talk about their process, particularly when it’s accessible to beginners. On his YouTube channel, JP Coovert shows people how to draw maps for fantasy games, books, and other media. Here’s a few examples to whet the appetite.
(via the kid should see this)
I loved Everything Everywhere All at Once so much when I saw it in the theater last spring. It caught me in a low moment and swept me up in a protective embrace; it was magic. I was afraid this joyously weird movie would get lost in the Very Serious Film shuffle come awards time but I was beyond thrilled when I woke up this morning to the news that EEAAO swept the major categories for which it was nominated at the Oscars. Here are all the film’s wins from last night:
Best Picture - Daniel Kwan, Daniel Scheinert, and Jonathan Wang, producers (acceptance speech).
Best Director - Daniel Kwan and Daniel Scheinert (acceptance speech).
Best Actress - Michelle Yeoh (acceptance speech).
Best Supporting Actor - Ke Huy Quan (acceptance speech).
Best Supporting Actress - Jamie Lee Curtis (acceptance speech).
Best Original Screenplay - Daniel Kwan and Daniel Scheinert (acceptance speech).
Best Film Editing - Paul Rogers (acceptance speech).
So happy for Michelle Yeoh and Ke Huy Quan in particular! Here are their acceptance speeches:
I am disappointed, but only slightly, that Stephanie Hsu didn’t win Best Supporting Actress — her audition for the role of Joy/Jobu Tupaki is amazing if you haven’t seen it. (And she also sang with David Byrne (who wore hot dog fingers) last night?)
If you live in any sort of winter climate, you have, at one time or another, wrestled with the two great mysteries of cold weather life:
1. Why does 50°F in the fall make you want to bundle up while 50°F in the spring makes you want to go for a walk in short sleeves?
2. Why the hell do kids wear shorts during the winter or go without coats when it’s literally freezing out? Like seriously, what the hell?
This short video answers both questions with one magical substance: brown fat.
55 degrees in the summer feels colder than 55 degrees in the winter. And 55 degrees as an adult likely feels colder than 55 degrees as a kid. But it’s not just a feeling. It all has to do with how our bodies use fat - specifically brown fat, a lesser-known type of fat that can produce roughly 300 times more heat than any other tissue in the body.
Brown fat isn’t the type of fat that adds to our weight (that’s white fat). Brown fat has the sole purpose of being burnt for heating the body, and it’s extremely effective at that. It only appears in specific parts of the body: around the neck, spine, heart, and kidneys. (It clumps around major blood vessels, in order to warm the blood as it passes through the body.)
In brief: 1. We have more brown fat in the spring, and 2. Kids have more brown fat in their bodies than adults. Cool! (har har)
In this final installment of Everything is a Remix, Kirby Ferguson offers his perspective on image generation with AI, how it compares to human creativity, and what its role will be in the future. In watching the part about the anxiety in the creative community about these image generators, I was reminded of what Ted Chiang has said about fears of technology actually being fears of capitalism.
It’s capitalism that wants to reduce costs and reduce costs by laying people off. It’s not that like all technology suddenly becomes benign in this world. But it’s like, in a world where we have really strong social safety nets, then you could maybe actually evaluate sort of the pros and cons of technology as a technology, as opposed to seeing it through how capitalism is going to use it against us.
I agree with Ferguson that these AI image generators are, outside the capitalist context, useful and good for helping humans be creative and express themselves. Tools like Midjourney, DALL-E, and Stable Diffusion allow anyone to collaborate with every previous human artist that has ever existed, all at once. Like, just think about how powerful this is: normal people who have ideas but lack technical skills can now create imagery. Is it art? Perhaps not in most cases, but some of it will be. If the goal is to get more people to be able to more easily express and exercise their creativity, these image generators fulfill that in a big way. But that’s really scary — power always is.
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