A rendering of the Virgin Hyperloop presented at the SXSW 2021 panel “Designing the Hyperloop Passenger Experience.”Virgin Hyperloop / SXSW
Traveling from San Francisco to Los Angeles in 35 minutes may seem like a fantasy, but for Virgin, the Hyperloop is well on its way to becoming a reality.
On Nov. 8, 2020, a successful test run proved the viability of the concept. And during a SXSW Online 2021 panel on Tuesday titled “Designing the Hyperloop Passenger Experience,” Sara Luchian from Virgin Hyperloop interviewed several designers who shared insights into what this entirely new transportation experience might feel like. They shared renderings throughout the panel of interiors and exteriors.
A rendering of the Virgin Hyperloop presented at the SXSW 2021 panel “Designing the Hyperloop Passenger Experience.”Virgin Hyperloop / SXSW
“If you think about your life as a designer, how many times do you get to design an experience that no one has ever experienced before? It’s actually quite rare,” says John Baratt, the CEO of Teague, one of the firms behind the Hyperloop aesthetics.
One of the biggest challenges is creating a sense of trust for travelers who may be skeptical of the new mode of transportation. That means avoiding futuristic tropes.
A rendering of the Virgin Hyperloop presented at the SXSW 2021 panel “Designing the Hyperloop Passenger Experience.”Virgin Hyperloop / SXSW
“With any form of near future vision, there’s a great tendency for designers to go all ‘Tron’-like, or ‘Star Wars,’ with the interiors,” says Baratt. “We didn’t want to do that with this interior. Remember, we’re trying to build trust in a brand new form of mobility than can travel up to 1000 kilometers an hour in an unusual environment.”
The mentality led Virgin to take a hospitality-first approach. Since there’s no windows, dynamic ambient lighting will simulate time of the day via a false skylight and create a subtle sense of movement for each pod’s 23 passengers. A living wall of plants adds a touch of green.
A rendering of the Virgin Hyperloop presented at the SXSW 2021 panel “Designing the Hyperloop Passenger Experience.”Virgin Hyperloop / SXSW
Joel Beckerman, a composer at Man Made Music, spoke of scoring the music leading up to entering the Hyperloop as something intended to hype people up, which contrasts the calmer sounds one can expect inside. Beckerman is considering not just general musical sensibilities, but also biometric effects of the sound on passengers. However, don’t expect a constant stream of elevator music once you’re on the Hyperloop itself.
“It’s almost like the design exercise we think about as sound people is, where can we take the sound out? It’s not more sound, it’s much less sound because just like John and Jakob [Lange] do, we think about white space in design,” says Beckerman. “For us, white space in design is silence or perception of silence. Getting rid of the general chaos and din of noise in many forms of transportation, that’s the part that drives me crazy.”
Perhaps the most interesting revelation concerned how a passenger actually boards the Hyperloop.
A rendering of the Virgin Hyperloop presented at the SXSW 2021 panel “Designing the Hyperloop Passenger Experience.”Virgin Hyperloop / SXSW
“Our aim was to almost completely eliminate the feeling of being inside a typical airport or train station, but that you’re at the gate instantly,” says Jakob Lange, partner at Bjarke Ingels Group, who hopes to solve the nagging problem that travelers often spend more time going through security and waiting at their gate than actually on a plane.
1of3A rendering of the Virgin Hyperloop presented at the SXSW 2021 panel “Designing the Hyperloop Passenger Experience.”Virgin Hyperloop / SXSW
The intention is to make the time from leaving your home to takeoff as seamless and quick as possible. On that note, the designers think that should the Hyperloop succeed, cutting down the commute time could reimagine cities themselves, expanding their relative boundaries by hundreds of miles. And although it sounds like science fiction, it may be a reality sooner than anyone realizes, as Virgin is aiming to have their Hyperloop certified for safety by 2025, and begin operation in 2030.
A rendering of the Virgin Hyperloop presented at the SXSW 2021 panel “Designing the Hyperloop Passenger Experience.”Virgin Hyperloop / SXSW
Dan Gentile is the culture editor at SFGATE. He moved to San Francisco from Austin, TX where he worked as a vinyl DJ and freelance writer covering food and music. His writing has been featured in Texas Monthly, American Way, Rolling Stone, Roads & Kingdoms, VICE, Thrillist and more.
The Mandelbrot fractal has infinite depth. You can zoom in to it for all eternity and it will still serve up similar yet unique beautiful patterns. It’s a symbol of how the universe is infinitely intelligible on all scales, and us intelligent enough to see that. Some have called it “the fingerprint of God.”
AmericanExperiencePBS In the summer of 1967, thousands of young people from across the country flocked to San Francisco’s Haight Ashbury district to join in the hippie experience, only to discover that what they had come for was already disappearing. Learn more about our documentary, SUMMER OF LOVE, including where to watch the full film: http://www.pbs.org/wgbh/americanexper…
A few weeks ago, I was invited for the first time to a meeting in the Oval Office. I had always wondered what it was like inside; but when the time came to enter, I did so in disembodied form, wheeled in on a TV cart to join the meeting by Zoom because I was in quarantine at home after being exposed to someone who had tested positive for Covid-19.
It was one more strange reminder of our now year-old pandemic reality. We are still nowhere near a mature understanding of the lessons of this national experience, as it continues to unfold in what we all hope is the beginning of the end. Yet some things are coming into focus.
As a country, we have learned some lessons the hard way: the importance of leadership and clear public-health guidance, the vulnerability of the workers we have belatedly come to call “essential,” and the cruel persistence of inequities in American health and well-being.
Then there are the more personal things we have discovered. I’m among the Americans who have learned some surprising lessons of telework: that a video meeting can be less intimate than a phone call, that not commuting to work can be strangely exhausting, and that having more time doesn’t mean getting more done.
Meanwhile, my husband Chasten and I learned the basic negotiations of marriage all over again, swapping the challenges of absence and constant travel for the equal and opposite challenge of being in each other’s presence all the time. Once we were within earshot at all times, a short word or facial expression became the equivalent of a whole discussion, replacing the more straightforward text messages or phone conversations once forced on us by constant travel. Clumsily at times, we have learned a new, more finely tuned vocabulary for talking to each other.
Last fall, teaching at Notre Dame, I realized how dependent I had become on the subtle signals of faces rising and falling as I spoke. Masked and socially distanced, I would try to figure out what my students were telling me based only on what they said out loud—not nearly enough to fully sense how they were responding to the course material. I became an expert reader of eyebrows, extrapolating whole facial expressions like a scholar reconstructing ancient texts from a fragment.
In the evenings, it was the opposite challenge: faces but no sounds. Campaigning by Zoom for 2020 election candidates I supported, I came to depend on responses in the “chat” function to reveal what used to be detectable from a murmur or a chuckle at an in-person function.
Ultimately, I learned how little of what we have to tell each other is communicated in words, even in word-heavy disciplines like politics and academia. As we contemplate returning to a world without masks and constant telework, will our capacities to interact with each other be profoundly weakened, like unused muscles, and need to be retrained? Or will our old ways of sensing one another be intact and even enhanced by the new ones we have been forced to evolve? If all goes according to plan, we will know the answers soon enough.
—Mr. Buttigieg is the U.S. secretary of transportation.
The Paris Commune began an insurrection on March 18, 1871, when the largely left-wing, radical National Guard refused to accept the authority of the French government, killed two generals and took control of Paris – initiating the Communards’ febrile two-month rule over the City of Light. FRANCE 24 looks back at this seminal moment in French history, 150 years on.
The catalyst for the Paris Commune was France’s crushing defeat in the 1870-71 Franco-Prussian War – “La Débâcle”, as Émile Zola christened it in his renowned 1892 novel. France’s Emperor Napoleon III was captured in September 1870, the same month the Prussians besieged Paris. The 1.7 million Parisians spent 135 days under siege, increasingly starved of resources. The City of Light surrendered in January 1871.
The same month, the French government signed the Armistice of Versailles with Otto von Bismarck, Prussian leader and soon-to-be chancellor of a united Germany. Bismarck agreed that Prussian troops would not occupy Paris. Instead, France’s National Guard would keep order in the capital, where socialist movements such as the First International had burgeoned over the preceding years.
France’s largely Catholic, conservative electorate voted in a right-wing majority in February’s parliamentary elections. The left-wing radicals in the National Guard controlling Paris did not accept this result – setting the stage for the Commune’s emergence the following month.
“The sight of ruins is nothing compared to the great Parisian insanity,” one giant of French literature, Gustave Flaubert, wrote to another, George Sand, after visiting Paris following the Commune’s bloody defeat in May 1871. “One half of the population longs to hang the other half, which returns the compliment,” Flaubert continued, having opposed the Commune from the start.
FRANCE 24 discussed the Paris Commune with British historian Jonathan Fenby, author of “The History of Modern France”.
What caused the inception of the Paris Commune in March 1871?
One can trace the long-term causes behind the Commune to the Revolution of 1789. France had gone through a series of revolutions, 1789, 1830, 1848, and each one had emerged from a big push from the left and had ended up – with Napoleon, with King Louis-Philippe and then with Napoleon III. Revolutionary sentiment had gestated during that time in Paris.
When in 1870 France lost the Franco-Prussian War, that led to the siege of Paris and then the peace treaty at the beginning of 1871, which a lot of the radicals in Paris refused to accept. They thought the war could go on, should go on, and when national elections in France returned a right-wing majority in the National Assembly, the radicals of Paris wanted to go their own way.
The parliamentary majority was very conservative and had a strong monarchist group within it. So there was a definite division between France as a whole and Paris, where the radicals were much stronger.
Hostilities broke out between the National Guard, which was the military force within Paris itself, left over from the siege, and the national government of Adolphe Thiers over who should take control of several hundred old cannon guns in various parts of Paris. The National Guard refused to give way, and was supported by many sympathetic Parisians. Two generals were killed, and Thiers and the government left for Versailles – at which point what was to become the Commune took over in Paris.
The National Guard was the dominant force within Paris itself because the French army had largely been disarmed, either through being defeated by the Prussians during the war or through the subsequent peace treaty. The National Guard was left in Paris and was meant to keep control there, but it turned out to be a much more radical force than either Thiers or the Prussians had expected.
What was life like for Parisians under the Commune during its two-month reign over the City of Light?
As well as a divide between Paris and the rest of France, there was a divide within Paris itself – between the more radical parts of the city and the more bourgeois sections of Paris which had grown under Napoleon III, especially with Baron Haussmann’s rebuilding of Paris.
When there were elections for the 92-member council running the Commune at the end of March, there were very high abstention rates in the bourgeois areas of Paris. Quite a lot of their inhabitants left the city at some point or other during the Commune.
Life was very disjointed during the Commune period. Each district council ran itself; there was no single leader. Leadership decisions were often very confused.
There were a lot of differences between the different areas of the city, with a lot of the more radical revolutionaries trying out ideas of their own – such as workers’ control of businesses.
Church and state were separated, labour laws were brought in to reduce working hours, and there were initiatives like soup kitchens, free schools for children and so on in various parts of the city.
So there was a mixture of adrenalin and desire for change and, at the same time, an awareness that Thiers was waiting at Versailles and an army was regrouping outside the city.
The Vendôme Column was torn down on May 16 – as encouraged by the artist Gustave Courbet – as a symbol of the past, which the Commune wanted to get rid of. It had a statue of Napoleon on top to commemorate his victory in the 1805 Battle of Austerlitz, and was rebuilt after the Commune’s defeat.
From the start there was certainly a very strong anti-clerical feeling. As tension rose, particularly as the Versailles government prepared to send troops in, there was a general tightening of suspicion of anybody who might be against the Commune.
The Archbishop of Paris Georges Darboy [considered a hero for organising care for the wounded during the Franco-Prussian War] was arrested and killed, one of many executions.
How was the Commune defeated in La semaine sanglante (“The Bloody Week”), which ended when the national army destroyed the last pockets of Communard resistance on May 28?
The regular army found their way into Paris – an undefended path through the fortifications around Paris that crossed into the city and pushed through into the centre, where there was very widespread arson and destruction, notably with the burning of the Tuileries Palace and the Hôtel de Ville (city hall), mainly by the retreating Communards.
The army pressed forward into the Commune’s strongholds in Montmartre and elsewhere in the north of Paris and broke the Communards’ resistance bit-by-bit, if only through sheer weight of numbers. There were massacres on both sides – it was a very bloody week indeed.
There has been a considerable argument amongst historians about the number of people killed during the Commune, particularly during La semaine sanglante. The figure they tended to give for this week was 10,000-20,000. But Robert Tombs, now an emeritus professor of French history at Cambridge University, did some convincing work in 2012 pointing to a figure of around 6,000 to 7,000 Communards killed, based on municipal records. So it appears that the numbers were considerably smaller than the legend has it.
What were the Commune’s long-term consequences in French politics?
The Commune was of course immediately followed by the Third Republic, which was a pretty conservative government all-round, and the Commune was held up as a terrible example of what could happen if the government lost control.
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The Communards wanted to run Paris as they wished regardless of what happened in the rest of France and that led to a kind of a division for decades: Paris did not have an overall mayor until 1977, partly out of fear of what the capital would do if it had too much power and went its own way as it did under the Commune.
Karl Marx, Friedrich Engels, Vladimir Lenin and other revolutionaries seized on the Commune as an example of proletarian power, with Lenin’s alleged conclusion that the Commune’s problem was that it wasn’t ruthless enough. It remains an absolute landmark for the left and for the revolutionary strain in French politics. But the Commune’s violence also remains a warning from the right as to what radicalism can lead to.
The minoritarian revolutionary impulse provoked a majoritarian conservative reaction. It’s just not just in the nineteenth-century; you also get this into the twentieth-century. We saw this in the upheaval of 1968.
That minority, that revolutionary tradition, is extremely important for France itself. It harks back to 1789. Again and again, you get the revolutionary outburst that leads to conservatism of one degree or another.
It is an awkward element for the French in dealing with their own history. The French left in particular cherishes these revolutionary moments; they cherish the progressive side of the Commune. But at the same time they find the violence – exercised by the Communards as well as by the government troops – difficult to cater for.
Adam Curtis Documentary The final episode tells how the strange paralysis that grips us today was created. How all the different forces of our age – that started out as separate have come together to create what is a block against imagining another kind of future than this. How, money and debt, melancholy over the loss of empire, the strange roots of modern conspiracy theories, the history of China, opium and opioids, Artificial Intelligence – and love and power have all fed into creating the present time of anxiety and fearfulness about the future. And whether modern culture, despite its radicalism, is really also part of the rigid system – in the West and in Russia and China – where those in power have run out of all ideas. The film also lays out what are the different possible roads from here into the future, and the choices we will have to make about the very different futures we will have to choose very soon
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Red East
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Greatest Northern Shaanxi Folk Songs Vol. 1
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Мы не оставим города свои!!!
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Декабрь
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Война
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Māhū (‘in the middle’) in Native Hawaiian and Tahitian cultures are third gender persons with traditional spiritual and social roles within the culture, similar to Tongan fakaleiti and Samoan fa’afafine.[1] Historically and today, māhū can be assigned female or male at birth. [2]
Māhū should not be confused with aikāne, who are young kāne (men) who were lovers and favorites of ali’i or chiefs, and had specific social roles and genealogies because of their alliances with the sacred bodies of ali’i.
According to present-day māhū kumu hula Kaua’i Iki:
Māhū were particularly respected as teachers, usually of hula dance and chant. In pre-contact times māhū performed the roles of goddesses in hula dances that took place in temples which were off-limits to women. Māhū were also valued as the keepers of cultural traditions, such as the passing down of genealogies. Traditionally parents would ask māhū to name their children.[3]
History
Papa Moe (Mysterious Water), an oil painting by the Westerner, Paul Gauguin, from 1893. It depicts a māhū in Tahiti drinking from a waterfall.[4][5]
In the pre-colonial history of Hawai’i, Māhū were notable priests and healers, although much of this history was elided through the intervention of missionaries. The first published description of māhū occurs in Captain William Bligh’s logbook of the Bounty, which stopped in Tahiti in 1789, where he was introduced to a member of a “class of people very common in Otaheitie called Mahoo… who although I was certain was a man, had great marks of effeminacy about him.”[6]
A surviving monument to this history are the “Wizard Stones” of Kapaemāhū on Waikiki Beach, which commemorate four important māhū who first brought the healing arts from Tahiti to Hawaiʻi.[7] These are referred to by Hawaiian historian Mary Kawena Pukui as pae māhū, or literally a row of māhū.[8] The term māhū is misleadingly defined in Pukui and Ebert’s Hawaiian dictionary as “n. Homosexual, of either sex; hermaphrodite.”[9] The assumption of same-sex behavior reflects the conflation of gender and sexuality that was common at that time.[note 1] The idea that māhū are biological mosaics appears to be a misunderstanding of the term hermaphrodite, which in early publications by sexologists and anthropologists was used generally to mean “an individual which has the attributes of both male and female,” including social and behavioral attributes, not necessarily a biological hybrid or intersex individual. This led to homosexual, bisexual, and gender nonconforming individuals being mislabeled as “hermaphrodites” in the medical literature.[10]
In 1891, when painter Paul Gauguin first came to Tahiti, he was thought to be a māhū by the indigenous people, due to his flamboyant manner of dress during that time.[12] His 1893 painting Papa Moe (Mysterious Water) depicts a māhū drinking from a small waterfall.[12][13]
Missionaries to Hawai’i introduced biblical laws to the islands in the 1820s; under their influence Hawai’i’s first anti-sodomy law was passed in 1850. These laws led to the social stigmatization of the māhū in Hawai’i. Beginning in the mid-1960s the Honolulu City Council required trans women to wear a badge identifying themselves as male.[14]
In American artist George Biddle‘s Tahitian Journal (1920–1922) he writes about several māhū friends in Tahiti, of their role in native Tahitian society, and of the persecution of a māhū friend Naipu, who fled Tahiti due to colonial French laws that sent māhū and homosexuals to hard labor in prison in New Caledonia.[15]Rae rae is a social category of māhū that came into use in Tahiti in the 1960s, although it is criticized by some māhū as an abject reference to sex work.
During World War II, māhū and gender variant peoples of the South Pacific were encountered by American men and women in the U.S. military and helped influence the beginnings of gay liberation.
In contemporary cultures
In 1980s, Māhū and fa’afafine of Samoa and other queer cultures of the Pacific began organizing, as māhū and queer Pacific Islanders were beginning to receive international recognition in various fields.[16]
In 2003,[16] the term mahuwahine was coined within Hawaii’s queer community: māhū (in the middle) + wahine (woman), the structure of the word is similar to Samoan fa’a (the way of) + fafine (woman/wife). The term mahuwahine resembles a transgender identity that coincide with Hawaiian cultural renaissance.[17] Kumu Hinaleimoana Kwai Kong Wong-Kalu clarified that:
“Since the term māhū can have multiple spaces and experiences, Kumu Hina originally coined the terms: māhū kāne (transgender man) and māhū wahine (transgender woman). However, Kumu Hina believes that those terms should be revised due to scientific advancement and so she coined four new terms. Māhū who feel internally wahine (female) — emotionally, spiritually, psychologically and culturally — could use the term haʻawahine. If they feel more internally that they are kāne (men), they are haʻakāne. When they have taken on externally what they feel internally i.e. dressing as a female, have began to or had undergone hormone therapy and other forms of medical transitioning (including cosmetic surgery), then the term hoʻowahine would be used. Likewise, for māhū who feel that they are internally male and taking that form externally, then hoʻokāne. …”[11]
In many traditional communities, Māhū play an important role in carrying on Polynesian culture, and teaching “the balance of female and male throughout creation”.[19] Modern Māhū carry on traditions of connection to the land, language preservation, and the preservation and revival of cultural activities including traditional dances, songs, and the methods of playing culturally-specific musical instruments. Symbolic tattooing is also a popular practice. Modern Māhū do not alter their bodies through what others would consider gender reassignment surgery, but just as any person in Hawaiian/Tahitian society dress differently for work, home, and nights out.[20]
Strong familial relationships are important in Māhū culture,[21] as kinship bonds within all of Hawaiian/Tahitian cultures are essential to family survival. When possible, the Māhū maintain solid relationships with their families of origin, often by becoming foster parents to nieces and nephews, and have been noted for being especially “compassionate, and creative”.[19] This ability to bring up children is considered a special skill specific to Māhū people.[22] Māhū also contribute to their extended families and communities through the gathering and maintaining of knowledge, and the practicing and teaching of hula traditions, which are traditionally handed down through women.[19]
In situations where they have been rejected by their families of origin, due to homophobia and colonization, Māhū have formed their own communities, supporting one another, and preserving and teaching cultural traditions to the next generations. In the documentary Kumu Hina, Hinaleimoana Wong-Kalu visits one of these communities of elders up in the mountains, and meets with some of the Māhū who were her teachers and chosen family when she was young.
Musician Daryl Davis has an unusual hobby. He’s played all over the world with legends like Chuck Berry and Little Richard, but it’s what Daryl does in his free time that sets him apart.
Daryl likes to meet and befriend members of the Ku Klux Klan– something few black men can say. In his travels, he’s collected robes and other artifacts from friends who have left the klan, building a collection piece by piece, story by story, person by person in hopes of eventually opening a “Museum of the Klan”.
In Accidental Courtesy, Daryl’s journey takes him to across the country, from DC to California, Arkansas, Tennessee, Missouri and Alabama, from old friends who have left the klan, to friends still active in the organization, including a current Imperial Wizard of the KKK. In an age of digital disconnection, Daryl’s method is rooted in personal interaction and we as viewers reap the rewards.
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If you have a regular black hole that is three times the Sun’s mass you will have an event horizon radius of about 9 km. That means it has a huge density, about two quadrillion grams per cubic cm. So a penny-sized mass of this stuff would pull everything around it with a tremendous force of gravity, enough to suck the entire earth into it.
Higher education remains rooted in rigid, traditional structures and tracks — and it’s at risk of getting left behind in favor of expanded access, greater flexibility and tailored learning. Educator Tyler DeWitt explains how innovations in digital content and virtual reality are ushering in the future of learning, emphasizing why academia must adapt to this new reality and embrace an approach to education that works with students’ needs — not against them.
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