(One of the teachers with whom I worked had a beautiful tattoo of this painting on her inner wrist. She said it gave her strength. I need to send this to her, as she tutors STEAM aside from classroom work, and this is her top favorite painting.)
Starry Night, by Vincent van Gogh. The painting is currently held in the Museum of Modern Art in New York, USA.
Scientists have peered at Vincent van Gogh’s The Starry Night painting and discovered it displays a startling resemblance to real atmospheric turbulence.
To see stars, one needs clear skies. But just because we can’t see it, doesn’t mean there aren’t intricate patterns of air movement above us on a clear night.
A paper published in Physics of Fluids, suggests that van Gogh had an “intuitive” understanding of this while making his famous painting in 1889.
A Chinese and French team analysed the brush strokes in The Starry Night, aiming to see how similar they were to real atmospheric movements.
The masterpiece has been the subject of several atmospheric studies before, with contradictory conclusions, but the researchers say they’re the first to look at all of the painting’s whirls and eddies.
They looked at the 14 main swirls in the painting, and compared these with theories on energy and turbulent flows in the atmosphere.
“The scale of the paint strokes played a crucial role,” says author Associate Professor Yongxiang Huang, a researcher in fluid dynamics at Xiamen University, China.
“With a high-resolution digital picture, we were able to measure precisely the typical size of the brushstrokes and compare these to the scales expected from turbulence theories.”
The authors measured the whirling brush strokes in van Gogh’s “The Starry Night,” along with variances in brightness of the paint colours, to see how closely they reflected real atmospheric physics. There were several matches between the painting and fluid dynamics, suggesting van Gogh had an “intuitive” understanding of these concepts. Credit: Yinxiang Ma
As well as brush stroke size, the researchers also examined the “relative luminance” of paint colours used in the painting’s swirls.
They found that the picture aligned with a theory of turbulence called Kolmogorov’s Law, which predicts atmospheric movement based on measured inertia.
The changes in brightness reflect a process called Batchelor’s scaling, which describes how fluids diffuse at smaller scales.
“It reveals a deep and intuitive understanding of natural phenomena,” says Huang.
“Van Gogh’s precise representation of turbulence might be from studying the movement of clouds and the atmosphere or an innate sense of how to capture the dynamism of the sky.”
I’m pretty sure it’s no secret, nor a surprise, that I read comics (considering I post several here.) I started reading Last Kiss on GoComics, and one day I had a little time so I went to the artist/author’s page, then went to his blog. I signed up for emails, even, though I read at GoComics most days in the week. Anyway, this one was in yesterday’s email. I thought of getting it and posting it, but I’m a little crunched with writing the GOTV postcards, and I didn’t get it done. I read the email again today, and decided Scottie’s is a good place for this one. I think everyone would enjoy these; they’re quirky but I haven’t seen a rude one yet.
Shortly after Donald Trump was arrested last year in Fulton County, Georgia on charges related to electoral fraud in the 2020 election, he returned to X/Twitter for the first time since Elmo lifted his ban, and shared his mugshot with the caption, “Never surrender.”
Never mind the fact that it was a photo of him surrendering. Republicans are idiots. Merchandise with that image is for sale on his campaign’s website along with merch featuring images from the assassination attempt in Butler, Pennsylvania.
Now, Trump will try to make money off this incident of a guy hiding in bushes with an assault rifle. What will they try to sell, pictures of his fat ass being whisked away on a golf cart? He also can’t parade around with a giant bandage from this incident since the bush person not only didn’t hit him with a bullet but didn’t even get a shot off. The potential assassin never even saw Trump.
The mental case was waiting in bushes along the golf course hoping Trump would eventually waddle by.
I got over 1,100 replies to my tweet about Trump being uninjured after not being shot at, and I think all the angry replies wish Trump was shot at so they can push the martyred victim bullshit. (snip-MORE)
The song is part of Transa, a compilation album that also features several trans and nonbinary artists including Sam Smith, Hunter Schafer, Perfume Genius, and Clairo.
Nigerian-British singer Sade is set to release her first song in about six years, and it’s dedicated to her trans child, Izaak Theo Adu.
The song is part of Transa, a new compilation album from activist music organization Red Hot. The album will feature a bevy of trans and nonbinary artists, including Sam Smith, Hunter Schafer, Perfume Genius, Clairo, and more. The album, according to the organization, represents a “spiritual journey in eight chapters” and features 46 songs, running at over three-and-a-half hours.
Sade’s song, “Young Lion,” is dedicated to Adu, who is a trans man. Though Sade is known for keeping her personal life private, her son has posted about her support of him in the past. “Thank you for staying by my side these past 6 months Mumma,” Adu wrote in an Instagram caption in 2019, alongside a photo with his mother. “Thank you for fighting with me to complete the man I am. Thank you for your encouragement when things are hard, for the love you give me. The purest heart.”
Dust Reid, who put together the album alongside trans artist and activist Massima Bell, said Red Hot wanted a project “talking about all the gifts that trans artists have been giving to the world.”
“We hoped to create a narrative that positions trans and non-binary people as leaders in our society insofar as the deep inner work they do to affirm who they are in our current climate,” Reid told Variety. “We felt this is something everybody should do. Whether you identify as trans or non-binary or otherwise, if you took the time to explore your gender, get in touch with the feeling side of yourself, maybe we would have a future oriented around values of community, collaboration, care, and healing.” (snip-MORE)
Maybe others here enjoyed Sergio Mendes’s talent, too.
Sérgio Mendes, Brazilian Bossa Nova Musician, Dies of Long Covid at 83
The two time Grammy winner died on Thursday, Sept. 5, in a Los Angeles hospital
By Charna Flam Published on September 6, 2024 06:40 PM EDT
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Sérgio Mendes in Beverly Hills in May 2018. Photo: Chrissy Hampton/Getty
Sérgio Mendes, the Brazilian-born musician who brought bossa nova music to a global audience in the 1960s, died on Thursday, Sept. 5, in a Los Angeles hospital. He was 83.
The renowned musician’s family announced his death in a statement on his social media channels. His family said that his death was caused by effects of long Covid.
“His wife and musical partner for the past 54 years, Gracinha Leporace Mendes, was by his side, as were his loving children,” the statement read. “Mendes last performed in November 2023 to sold out and wildly enthusiastic houses in Paris, London and Barcelona.”
Throughout his six-decade career, Mendes recorded more than 35 albums, but he is best known for popularizing Brazilian music on a global stage beginning in the 1960s, starting with his composition of “Mas Que Nada.”
“It was completely different from anything, and definitely completely different from rock ’n’ roll,” the Latin music scholar Leila Cobo said in the 2020 HBO documentary Sergio Mendes in the Key of Joy. “But that speaks to how certain Sérgio was of that sound. He didn’t try to imitate what was going on.” (snip-MORE)
Barbara Gittings was a lover of books. She realized, from a young age, that she also loved girls. So when, in 1949, she left Wilmington, Delaware to attend Northwestern University, she did what any bookish young lesbian would do: research homosexuality in the school’s library. What Gittings found was not comforting. The vast majority of sources were written by medical professionals and described homosexuality as an illness or a perversion. She became so consumed with spending time in various Chicago libraries that she neglected her coursework and flunked out of school. But as a result of the discouraging information she found, an activist was born. With passion, determination, and what she would come to refer to as “gay gumption,” Gittings would spend the rest of her life working, in various ways, to correct those lies she found in the pages of books and scientific journals on the library shelves.
Gittings moved to Philadelphia in 1950 and supported herself with part-time clerical work. She continued to read everything she could find on homosexuality and, as part of her search, discovered Donald Webster Cory’s The Homosexual in America: A Subjective Approach, originally published in 1951. Gittings was particularly impressed with Cory’s arguments that gays and lesbians constituted a large unrecognized minority who deserved civil rights and his attempts to cultivate empathy in his readers by outlining the difficulties faced by American homosexuals. She wrote to Cory’s publisher and discovered he lived in New York City. The two met on several occasions, and Cory informed Gittings of a newly-formed gay organization in Los Angeles: the Mattachine Society, founded in 1950 by Harry Hay.
In the summer of 1956, when she was on vacation from her office job, Gittings boarded a plane to Los Angeles and visited the office of ONE, Inc., a homophile organization who had amicably split from the Mattachine Society in 1952. The members of ONE, Inc. informed her of the existence of a San Francisco-based organization for lesbians, the Daughters of Bilitis (DOB), founded in 1955 by lesbian partners Del Martin and Phyllis Lyon.
Gittings once again boarded a plane, this time bound for San Francisco. The DOB were, fatefully, having a meeting that very evening in a member’s apartment. The meeting was the first time in her life Gittings would interact with a group of lesbians outside of a bar setting. Two years later, in 1958, Gittings officially joined the DOB and was tapped by Martin and Lyon to start an East Coast chapter of the organization based in New York City. With her co-founder, Marion Glass, Gittings built the chapter into the largest in the country.
In 1963, Gittings, whose enthusiasm and knowledge of literature left an impression on Martin and Lyon, was tapped to be the editor of The Ladder, the DOB’s national magazine for gay women. Gittings transformed The Ladder from what was essentially a newsletter to a national magazine respected within gay circles. With the help of her partner, Kay “Tobin” Lahusen, whom she met in 1961 at a DOB picnic in Rhode Island, Gittings replaced the amateurish illustrations that typically adorned the cover of The Ladder with photographs taken by Lahusen of actual lesbians who appeared confident and happy.
Gittings began to take The Ladder in an increasingly militant direction, reporting on protests, questioning the merits of various activist strategies such as picketing, and engaging in debates with so-called “experts,” arguing that homosexuality was a social and cultural problem, not a psychological problem. The activist bent of The Ladder under Gittings’ editorship alarmed the West Coast leadership of the DOB. When Gittings, amidst her many activities on behalf of gay rights, was late with the August 1966 issue, Martin and Lyon used her tardiness as an excuse to oust her as editor.
Gittings would also find a kindred spirit in Frank Kameny, who she credited as the first person to articulate a fully coherent philosophy of gay rights. She and Lahusen partnered with Mattachine Washington, of which Kameny was a co-founder, working alongside other lesbians and gay men to directly challenge the federal government. Gittings participated in the first picket of the White House for homosexual rights on April 17th of 1965.
Gittings worked with Kameny and other activists to lobby the American Psychiatric Association (APA) to remove homosexuality as a diagnostic category from the Diagnostic and Statistical Manual (DSM). At the APA’s 1972 conference, held in Dallas, Texas, Gittings, Kameny, and Lahusen created a display entitled “Gay, Proud, and Healthy: The Homosexual Community Speaks.” The exhibit, which featured photographs of gay couples taken by Lahusen, was adorned with the word “LOVE” in bold letters and portrayed gay people as healthy and happy, not as patients who were tormented and in need of a cure. In December of 1973, the APA board of trustees voted to pass a resolution to remove homosexuality from the DSM, effectively declassifying it as a mental illness.
Gittings was a lifelong bibliophile, and though she recognized the importance of taking on the federal government and institutions such as the APA, she never lost sight of the “lies in the libraries” she discovered as a college freshman and the importance of gay representation. In 1970, she joined the American Library Association’s (ALA) newly-formed Task Force on Gay Liberation (TFGL). The TFGL, whose mission was to provide support for gay librarians within the profession and increase gay representation in libraries, was glad to have a veteran activist like Gittings join their ranks.
With the help of Israel Fishman, the first coordinator of the TFGL, Gittings organized a gay kissing booth — titled “Hug-a-Homosexual: Free Kisses” — for the 1971 ALA conference in Dallas, Texas. While the group could have created a nice display featuring gay books, periodicals, and their bibliography, they instead decided to make their presence known by showing gay love live. The publicity was better than Gittings and the TFGL could have imagined, and continued to spark discussions within the ALA over the next year.
In 1999, in honor of her contributions to create more visibility for gays and lesbians in libraries and in the profession, Gittings was awarded a lifetime membership at the annual ALA conference, held that year in New Orleans, Louisiana. The ALA also named an award after Gittings as part of their Stonewall Book Awards, sponsored by the Gay, Lesbian, Bisexual, and Transgender Round Table (GLBTRT), the contemporary iteration of the TFGL. The Stonewall Book Award-Barbara Gittings Literature Award is given annually for works of fiction that exhibit “exceptional merit relating to the LGBT experience.”
Barbara Gittings died on February 18th, 2007 at the age of 74 after a long battle with breast cancer. In a 1999 interview with American Libraries magazine, she summarized her career as a gay activist with the wit and wisdom she was known for:
“As a teenager, I had to struggle alone to learn about myself and what it meant to be gay. Now for 48 years I’ve had the satisfaction of working with other gay people all across the country to get the bigots off our backs, to oil the closet door hinges, to change prejudiced hearts and minds, and to show that gay love is good for us and for the rest of the world too. It’s hard work — but it’s vital, and it’s gratifying, and it’s often fun!”