This personal essay in The Atlantic raises a difficult ethical question. The author and his wife found out that she had about three years to live, but didn’t tell their three young children because they didn’t want them to worry. So they knew she had cancer and that it had returned, but didn’t know it was terminal. The good news is that she wound up living for 10 years, and her children all say they are glad they didn’t know, because they would have worried too much. But it’s still a really tough question. Shouldn’t they have known the truth?
My father died of cancer, and he refused to talk about his prognosis because he didn’t want to dwell on the negative — he wanted to focus on getting better (which was never really an option). I respected his choice, but it meant that we couldn’t really talk about his eventual death, or what would happen afterwards, or even about his life, because to do so was to acknowledge what he didn’t want to talk about. I wish we had had the ability to do that, but then I wasn’t a young child, so my perspective is probably significantly different.
We decided not to tell the kids. Marla knew that once our three daughters understood that their mother had been given 1,000 days to live, they’d start counting. They would not be able to enjoy school, friends, their teams, or birthday parties. They’d be watching too closely—how she looked, moved, acted, ate, or didn’t. Marla wanted her daughters to stay children: unburdened, confident that tomorrow would look like yesterday.
This is such a fascinating story — how Audrey Munson, a young girl from Rochester, became the muse for dozens of famous artists and sculptors around the turn of the century, her face and body immortalized in statues and busts all around New York. And then, just as suddenly, she was out of fashion, fell on hard times and was eventually committed to a mental institution.
She modeled for the greatest sculptors and painters in New York, including Alexander Stirling Calder, Daniel Chester French, and Karl Bitter. She made thirty-five dollars a week and lived simply, in a small one-bedroom apartment that she shared with her mother. The art that she posed for, however, was a gateway into the upper echelon of society. When Queen Wilhelmina of the Netherlands commissioned Bitter to create a Venus de Milo statue “with arms,” Audrey’s arms served as the inspiration. The Rockefeller
This is well worth reading from Whitney Phillips, a professor of communications, culture and digital technologies at Syracuse University. She is also the author of a great report from Data & Society called “The Oxygen of Amplification,” about how not to report on extremists and trolls.
Too much false and misleading information, too much harassment, too many memes, spreading too quickly with too little oversight or editorial restraint: This outcome isn’t incidental to how contemporary information systems function. It is a function of how these systems function.
They may have taken place at a much slower pace — months or even years instead of minutes or hours — but the 17th century saw its share of social warfare and accusations of “fake news.” Christy Henshaw writes at the Wellcome Collections website about an argument that took several years to play out. And the subject? Whether or not one Richard Dugdale was possessed by a demon.
This little treatise was written in 1697 by a group of Dissenters (Protestants who had split from the Church of England for a variety of reasons), and described in detail the possession of Mr. Dugdale by Satan or his servants, and the “strange and dreadful actings in and about the body” of the said Mr. Dugdale. Later that year, however, a Church of England priest said the whole story was a fake, and accused the original authors of being “papists” in league with the Vatican.
The following year, one of the men involved in the Dugdale exorcism wrote his own treatise, saying the incident was true (although he said he couldn’t vouch for all the details). Finally, the skeptical priest Zachary Taylor wrote his own followup in 1699, entitled: “Popery, Superstition, Ignorance, and Knavery, Confess’d, and fully Proved on the Surey Dissenters” in which he doubled-down on his initial allegations, which he claimed had all been proven beyond a shadow of a doubt.
This is a fascinating story that I was unaware of: As Jason Kottke points out, the iconic picture of a mother cradling her children during the Dust Bowl migration of the 1930s has become a symbol of the Great Depression, but there is a lot more to it than it first appears. For one thing, the woman in question wasn’t a resident of the migrant camp where it was taken — she had stopped to fix the family’s car — and she was also a full-blooded Cherokee
One day awhile back, I saw someone post on Twitter that they had created an interactive travel log that combined a regular blog-style overview of a number of trips with a map that automatically flew to and then zoomed in on the place the person was writing about. It looked pretty cool, and the person who created it — Lauren Hallden, a product designer with Stitch — made the code open-source by putting it on Github. So since I’ve been playing around on a test server I have, I decided to see if I could replicate what she did, and I think I’ve gotten it working pretty well. I liked it so much I created a second one focused solely on our trips to Italy, including our time in Turin, Venice, Cinque Terre and the Amalfi Coast: Travelog: Italy.
Best part of doing this was it forced me to go back through all of my photos from our various trips last year, and that reminded me of how many amazing places we had been and how much fun it all was. I’m thinking I might make other travel logs for individual trips. Thanks for doing this, Lauren, and for allowing others to re-use your code.
This is such a fascinating piece, about the rustic buildings called “bothies” that dot the hillsides in rural England, Wales and Scotland — free for hikers to use.
My overnight home, the Hutchison Memorial Hut, colloquially called the Hutchie Hut, which I visited in late October, is one of more than 100 rustic shelters scattered throughout England, Wales and Scotland that are frequented by a motley assortment of outdoor adventurers. Left unlocked, free to use and with most offering little more than a roof, four walls and perhaps a small wood-burning stove, the buildings, called bothies (rhymes with “frothy”), are an indispensable — if for many years underground — element of British hill culture.
This is incredible: A professional restorer has painstakingly recreated a Hupfeld Phonoliszt-Violina, something I didn’t even realize existed until now — like a giant player piano but with violins:
Three violins (each with only one active string) mounted vertically were played by a round rotating bow made of 1300 threads of horse hair, according to the program on the roll of perforated paper. The small bellows replaced the violin player’s fingers, pressing on the strings to obtain the necessary notes. The piano can be driven either unaccompanied or together with the violins. It controls 38 accompaniment keys with 12 high notes (one octave) in extension. The whole pneumatic systems are controlled by an electric engine of uninterrupted current.