kottke.org posts about video
A pair of physicists from MIT and Jefferson Lab and an animator have created a new visualization of the atomic nucleaus.
For the first time, the sizes, shapes and structures of nuclei in the quantum realm are visualized using animations and explained in the video.
The video also establishes what appears to be a new unit of measure with an adorable name, the babysecond:
To better define the velocities of particles at such small distance scales, we establish the baby second as 10^-23 seconds. A photon moving at the speed of light crosses three femtometers (a bit more than the radius of oxygen-16) in one baby second.
So first of all, before you watch this analysis of Chris Marker’s fantastic La Jetée, you should watch the film itself if you’ve never seen it. It’s 28 minutes long, entirely in black & white, and is a “speculative fiction masterpiece” done with “422 photos, a voiceover, and a score”. You can find it streaming at Amazon, Apple, Criterion Channel, or Kanopy. You will not regret it. And then come back and watch this analysis/appreciation by Evan Puschak.
Somehow, I missed that the teaser trailer for season two of the excellent The Last of Us premiered almost a month ago. I guess both I and the world have been busy with other things and also keeping tabs on the entire interest and media landscape is just not something that’s possible.
Anyway, I am excited for this season to drop sometime in 2025. The skinny from Wikipedia is:
The second season, based on the 2020 game The Last of Us Part II, follows Joel (Pedro Pascal) and Ellie (Bella Ramsey) five years after the events of the first season, and introduces Abby (Kaitlyn Dever).
And that “the season is expected to span seven episodes”.
When Nirvana played a huge stadium show in Buenos Aires in 1992, an all-“female/queer/trans” band called Calamity Jane opened for them. The crowd pelted the band with objects like coins and rocks, forcing them off-stage and infuriating Kurt Cobain. Instead of refusing to play, the band went out and played a bunch of songs the audience didn’t know, started but then didn’t actually play all of Smells Like Teen Spirit, and generally just had fun pissing the crowd off for more than an hour. Here’s the full video of the show:
A few of the fun parts are the two Smells Like Teen Spirit false starts at 7:34 & 10:29 and Come As You Are at 23:14 (“hey hey hey hey hey”). Here’s how Cobain tells it:
When we played Buenos Aires, we brought this all-girl band over from Portland called Calamity Jane. During their entire set, the whole audience — it was a huge show with like sixty thousand people — was throwing money and everything out of their pockets, mud and rocks, just pelting them. Eventually the girls stormed off crying. It was terrible, one of the worst things I’ve ever seen, such a mass of sexism all at once. Krist, knowing my attitude about things like that, tried to talk me out of at least setting myself on fire or refusing to play. We ended up having fun, laughing at them (the audience). Before every song, I’d play the intro to ‘Smells Like Teen Spirit’ and then stop. They didn’t realize that we were protesting against what they’d done. We played for about forty minutes, and most of the songs were off Incesticide, so they didn’t recognize anything. We wound up playing the secret noise song (‘Endless, Nameless’) that’s at the end of Nevermind, and because we were so in a rage and were just so pissed off about this whole situation, that song and whole set were one of the greatest experiences I’ve ever had.
Calamity Jane vocalist Gilly Ann Hanner recently wrote about the incident:
Somewhere around the second song or so, there is a moment when I open my eyes to finally take it all in, and realize that the crowd is competing with us — they are shouting at us and flipping us off, and even somehow penises are flashed. This really does not compute at first, I am in super punk rock overdrive, but I notice that there is a ring of spit gobs surrounding me on the stage; I look across the stage to my bandmates and there is dismay, anger, and dare I say terror in their eyes. We are now being pelted with clods of dirt, coins, ice cubes, more spit, and inundated with shouts of a word I fully understand “Puta!” (Whore). Looking out on a sea of penises and middle fingers, it is evident that they are not happy, they do not like us, and they want us off the stage. It becomes pretty impossible to continue playing — I mean we aren’t the Sex Pistols — we don’t want the crowd to actively hate us!
Aside from a reunion gig in 2016, Calamity Jane never played again — the Buenos Aires show was their last.
In 2020, during the dark days of our first pandemic winter, Dua Lipa played NPR’s Tiny Desk Concert remotely from London, which is still the most popular Tiny Desk of all time (130M views). This week, NPR had Lipa ‘round the office for a proper set, with the singer playing four songs off of her latest album, Radical Optimism.
Befitting an artist whose newest songs often reflect the pursuit of personal growth — see: “Happy for You” — Lipa and her team breezed through the NPR Music offices with a mix of low-drama professionalism and unmistakable warmth. We’ve dealt with a lot of stars (and their teams) over the years, and as often as people ask us to dish about people who’ve been difficult, we’ve mostly accumulated stories of people who’ve been lovely to have around. Even among all those, Lipa and her people stood out: They were kind, gracious, fun and game.
High above the streets of NYC, Brazilian ballet dancer Ingrid Silva performs wearing a custom paper sculpture.
Revealing the rooftop of Renzo Piano’s New York Times Building for the first time, director Jacob Krupnick captures Brazilian ballet dancer Ingrid Silva against the Manhattan skyline at sunrise for short film Above. Dancing to music by Nils Frahm and wearing a custom paper sculpture by French artist Pauline Loctin, Silva moves between HVAC utilities humming 800 feet above the city, in an unseen space with an unexpected elegance.
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.
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.
You can watch Pony Boys here and check out more about their journey here, including press clippings, letters the boys & their parents received, and photos. And VPR has an interview with the filmmaker, Eric Stange. (thx, meg)
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.
This TV ad is from 2006 but I don’t think I’ve ever seen it before. It’s so good though…no reason a deodorant commercial has to go this hard!
Kasso is a Japanese game show that’s like a skateboarding version of Ninja Warrior. A group of skaters is challenged to navigate a series of obstacle courses that require the street and park skating skills. Some of the obstacles are truly diabolical — to get the gist, check out these videos:
You can catch more of Kasso on their YouTube channel. (via @mathowie)
So first of all, this mashup of LCD Soundsystem’s New York, I Love You But You’re Bringing Me Down and a recording of Miles David from his Elevator to the Gallows score is just great to listen to musically. But the, let’s call it choreography, is brilliantly spare: a pair of YouTube videos pulled up side-by-side in a now-ancient Safari browser and pressing play to sync them by hand — jazz-like, improvisational.
If you’d like to try this yourself, here’s the LCD Soundsystem and Miles Davis videos; just press play on the David video at 32 seconds into the LCD video.
See also New Yorker film critic Richard Brody on Louis Malle’s “Elevator to the Gallows,” and Its Historic Miles Davis Soundtrack. (via James Risley in the Kottke comments)
The trailer for season two of Silo, which starts on Apple TV+ on November 15. It doesn’t reveal much but I am excited to watch the new season! (No spoilers please from folks who have read the books.)
These solidly middlebrow shows like Silo, The Diplomat, and The Gilded Age are some of my favorites to watch these days because they are well-produced with quality actors but don’t tax the viewer (ok, me…they don’t tax me) as much as more serious fare like Shōgun, My Brilliant Friend, Severance, or Chernobyl (all of which I love to bits but sometimes feels like eating your vegetables, if you know what I mean). But a good media diet is a varied media diet and stuff like Silo is really hitting the spot for me right now.
My favorite presentation at XOXO this year was Ed Yong’s talk about the pandemic, journalism, his work over the past four years, and the personal toll that all those things took on him. I just watched the entire thing again, riveted the whole time.
Hearing how thoughtfully & compassionately he approached his work during the pandemic was really inspirational: “My pillars are empathy, curiosity, and kindness — and much else flows from that.” And his defense of journalism, especially journalism as “a caretaking profession”:
For people who feel lost and alone, we get to say through our work: you are not. For people who feel like society has abandoned them and their lives do not matter, we get to say: actually, they fucking do. We are one of the only professions that can do that through our work and that can do that at scale — a scale commensurate with many of the crises that we face.
Then, it was hard to hear about how his work “completely broke” him. To say that Yong’s experience mirrored my own is, according to the mild PTSD I’m experiencing as I consider everything he related in that video, an understatement. We covered the pandemic in different ways, but like Yong, I was completely consumed by it. I read hundreds(/thousands?) of stories, papers, and posts a week for more than a year, wrote hundreds of posts, and posted hundreds of links, trying to make sense of what was happening so that, hopefully, I could help others do the same. The sense of purpose and duty I felt to my readers — and to reality — was intense, to the point of overwhelm.
Like Yong, I eventually had to step back, taking a seven-month sabbatical in 2022. I didn’t talk about the pandemic at all in that post, but in retrospect, it was the catalyst for my break. Unlike Yong, I am back at it: hopefully more aware of my limits, running like it’s an ultramarathon rather than a sprint, trying to keep my empathy for others in the right frame so I can share their stories effectively without losing myself.1
I didn’t get a chance to meet Yong in person at XOXO, so: Ed, thank you so much for all of your marvelous work and amazing talk and for setting an example of how to do compassionate, important work without compromising your values. (And I love seeing your bird photos pop up on Bluesky.)
Songs played back at much slower speeds were a thing several years ago — the effect can turn even the harshest rock song or bounciest pop tune into something that sounds like Enya or an ethereal Gregorian chant. I listen to these while I work sometimes and I’ve got a new one for the rotation: Radiohead’s Everything in Its Right Place, but played 800% slower.
See also the Seinfeld Theme Slowed Down, Justin Bieber slowed down 800%, a whole playlist of 800% slower songs, and, perhaps best of all, 80s Pop Hits sung by Alvin & the Chipmunks played at 16 RPM on a record player (“secretly the most important postpunk/goth album ever recorded”).
Oh, and some artists are releasing their own slowed-down versions of songs. LXNGVX’s Yum Yum comes in regular, slowed (my fave), super slowed, and sped up. Thom Yorke released a slower version of Creep in 2021. And Underworld released Slow Slippy, a slowed-down remix of Born Slippy, in 2017. (via @jameskelleher.pilcrow.ie)
I attended the XOXO Festival back in August, and video of some of the talks are starting to trickle online. I’m going to highlight a couple of my favorites here on the site; the first one I’d like to share is Erin Kissane’s talk about fixing the social internet.
From her notes:
The talk was about why I left the internet, how the Covid Tracking Project got me back online, and most of all how the work we did at CTP led to me to believe that we — the weirdos of internet-making and online life — have to not merely retreat from the big-world social internet, but fix it.
Kissane talked about the work she’s been doing recently: the COVID Tracking Project, the Fediverse Governance project, and the Meta in Myanmar series. It’s a great talk…I recommend setting aside some time to watch it.
I really liked this entertaining short film by Eric Kissack (editor & producer for The Good Place), in which a couple moving into a new apartment together discovers a previously unnoticed feature of their new space, which in turn…well, I don’t want to spoil anything. Just watch it.
The food documentary series Chef’s Table returns with chefs & culinary experts from Italy, China, Cambodia, and the US who all work in the medium of the noodle. Here’s the trailer for Chef’s Table: Noodles:
The four main chefs profiled are Peppe Guida, Guirong Wei, Nite Yun, and Evan Funke. Now streaming on Netflix.
Billy Wilder (Sunset Boulevard, The Apartment, Some Like It Hot) was both a great director and a great writer. In this video essay, Taylor Ramos & Tony Zhou examine how Wilder balanced the verbal, dramatic, and situational ironies of his scripts with making it all work on the screen, emotionally and structurally.
Separated is the newest documentary film from Errol Morris. Based on Jacob Soboroff’s 2020 book Separated: Inside an American Tragedy, the film probes the inhumane family separation and immigration policies of the Trump administration. From a review in The Guardian:
The Trump administration’s southern border policy began with the dream of a wall in the desert and ended with the nightmare of family separation: children torn from their parents and loaded en masse into wire-mesh cages. It was inhumane treatment, which was precisely the point. The White House’s intention was to use terror as a deterrent and effectively write every parent’s worst fear into law. “When you have that policy, people don’t come,” Donald Trump said blithely. “I know it sounds harsh, but we have to save our country.”
Errol Morris’s forensic, procedural documentary walks us through the bureaucratic backrooms to show how the policy was hatched and implemented. It explains how its principal authors — Trump adviser Stephen Miller and attorney general Jeff Sessions — junked the pre-existing catch-and-release scheme (which had allowed migrants to remain in the country until their immigration hearing) in favour of a bold new tactic of forced separation and mass imprisonment. If Separated lacks the rueful exuberance that typifies much of Morris’s early work (The Thin Blue Line, The Fog of War, even last year’s John le Carré film), that is entirely understandable. The material is sobering and the mountain of evidence needs unpicking. The film-maker handles his brief with the cold, hard precision of an expert state prosecutor.
From a Variety review:
“Harm to children was part of the point,” says Jonathan White, a committed public servant who saw his department, the Office of Refugee Resettlement, hijacked by a blatantly inhumane strategy that the Trump administration implemented for its deterrent potential. “They believed it would terrify families into not coming.” White isn’t exactly a whistleblower, although he comes across as no less courageous in describing a dictated-from-the-top family separation scheme for which he had a front-row seat.
And here’s an interview with Morris & Soboroff about the film:
For his second term, Trump and his team are planning a blockbuster sequel to these inhumane crimes entirely in the open: deporting up to 20 million people (undocumented immigrants, documented immigrants, and political opponents) with a minimum of due process, which will require a massive increase in the scale of the police state and concentration camps. That’s 6% of the US population. We don’t know if they will succeed but they will try. Those are the stakes.
It has been a week. It’s not going to fix anything, but maybe watching George Clooney chilling at the end of a movie will help you in some small way.
He has perfected the art of just chillin’ out silently for an extended period of time during the last shot of a movie while the credits roll…
(via laura olin)
Music By John Williams is a documentary film about the legendary composer who did the scores for Star Wars, Jaws, Indiana Jones, Jurassic Park, Close Encounters, Superman, E.T., Home Alone, Schindler’s List — seriously, one person composed all these?! — Saving Private Ryan, Harry Potter, Lincoln, etc. etc. etc. Oh, and the Olympic Fanfare and Theme that NBC uses for the Olympics.
Anyway, the documentary premieres on Nov 1 on Disney+.
I got a lot out of this interview with The Message author Ta-Nehisi Coates by Jon Stewart for The Daily Show.
Best-selling author Ta-Nehisi Coates sits down with Jon Stewart to talk about his latest book, “The Message,” and reconciling past and present vestiges of oppression. They discuss his visits to Senegal, South Carolina, and The West Bank, how past atrocities like slavery and the holocaust can create a zero-sum game of control, the need for safety and statehood despite morally problematic systems, his exposure to Palestinian stories that have been hidden in American media, understanding the physical traumas of the Black community, and the purpose in writing to shape the world around us.
See also his interview with Chris Hayes on MSNBC:
And with Terry Gross on Fresh Air.
It’s been awhile since I’d checked in on one of my favorite YouTube channels, Great Art Explained. In the past year, curator James Payne has done videos on Duchamp, Manet, Magritte, and that one painting by Caspar David Friedrich (you know the one). But this one, on Vincent van Gogh’s final painting, particularly caught my attention:
The mystery of what [his final painting] was and where it was painted would take over a century to solve, and that was only thanks to a worldwide epidemic. What it means is that we now have a deeper insight into what van Gogh’s final last hours were like — before his tragic death.
Let’s say you’ve got a bunch of books that need to be sorted alphabetically by author. What’s the fastest way to accomplish this task? Luckily, efficient sorting is a problem that’s been studied extensively in computer science and this TED-Ed video walks us through three possible sorts: bubble sort, insertion sort, and quicksort.
For more on sorting, check out Sorting Algorithms Visualized, sorting techniques visualized through Eastern European folk dancing, and a site where you can compare many different sorting algorithms with each other. (via the kid should see this)
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