This

This

A maquette of the invisible id monster from Forbidden Planet (1956).

The animated monster as it appeared in the film, lit up by energy from a forcefield fence and ray guns.

Doom soundtrack intensifies

In their defence, a lot of it is sand.

I'm starting to think that maybe Europe just isn't that big

no but because australia is close to the bottom of the map and the flat map is distorted to fit a square map shape, australia on the flat map is significantly smaller compared to places closer to the equator.

Thank you for being the one single person in the notes who understands map projections. Australia is big, but still significantly smaller than the US.

Australia is not significantly smaller than the mainland US, no. These are the real sizes, not a Mercator projection. I think you're misunderstanding what yanzinator said. The US does have significantly larger island territories than Australia, though.

The continuous US (so, not counting the islands and Alaska) and Australia are roughly the same size:

US: 2,959,064.44 square miles (7,663,941.7 km2)

Australia: 2,969,907 sq mi (7,692,024 km2)

And the person above has the impact of the Mercator projection completely backwards: North America and Europe appear much larger than they actually are due to their latitudes. Most notably Greenland looks like it is bigger than Africa! (It isn’t.)

In the picture below, the pale blue is Mercator and the dark blue is actual size:

And here is Africa vs Greenland:

There is a website where you can drag and drop countries on top of each other to see the actual size comparison taking into account projection

It's pretty cool and also Japan is a lot bigger than I thought it was

I keep thinking this had become common knowledge but apparently not, this is a good reminder.

It all started with a mouse

For the public domain, time stopped in 1998, when the Sonny Bono Copyright Act froze copyright expirations for 20 years. In 2019, time started again, with a massive crop of works from 1923 returning to the public domain, free for all to use and adapt:

https://web.law.duke.edu/cspd/publicdomainday/2019/

No one is better at conveying the power of the public domain than Jennifer Jenkins and James Boyle, who run the Duke Center for the Study of the Public Domain. For years leading up to 2019, the pair published an annual roundup of what we would have gotten from the public domain in a universe where the 1998 Act never passed. Since 2019, they've switched to celebrating what we're actually getting each year. Last year's was a banger:

https://pluralistic.net/2022/12/20/free-for-2023/#oy-canada

But while there's been moderate excitement at the publicdomainification of "Yes, We Have No Bananas," AA Milne's "Now We Are Six," and Sherlock Holmes, the main event that everyone's anticipated arrives on January 1, 2024, when Mickey Mouse enters the public domain.

The first appearance of Mickey Mouse was in 1928's Steamboat Willie. Disney was critical to the lobbying efforts that extended copyright in 1976 and again in 1998, so much so that the 1998 Act is sometimes called the Mickey Mouse Protection Act. Disney and its allies were so effective at securing these regulatory gifts that many people doubted that this day would ever come. Surely Disney would secure another retrospective copyright term extension before Jan 1, 2024. I had long arguments with comrades about this – people like Project Gutenberg founder Michael S Hart (RIP) were fatalistically certain the public domain would never come back.

But they were wrong. The public outrage over copyright term extensions came too late to stave off the slow-motion arson of the 1976 and 1998 Acts, but it was sufficient to keep a third extension away from the USA. Canada wasn't so lucky: Justin Trudeau let Trump bully him into taking 20 years' worth of works out of Canada's public domain in the revised NAFTA agreement, making swathes of works by living Canadian authors illegal at the stroke of a pen, in a gift to the distant descendants of long-dead foreign authors.

Now, with Mickey's liberation bare days away, there's a mounting sense of excitement and unease. Will Mickey actually be free? The answer is a resounding YES! (albeit with a few caveats). In a prelude to this year's public domain roundup, Jennifer Jenkins has published a full and delightful guide to The Mouse and IP from Jan 1 on:

https://web.law.duke.edu/cspd/mickey/

So! This is a perfect case study in situations where you should be wary of misinformation.

Take a moment and ask yourself, a project like this requires a lot of time, money and dedication of resources, why would scientists dedicate that time to something that could just be done by a tree?

The answer is they wouldn't. So that means this claim requires further investigation!

This project is called LIQUID 3, and it's not meant for cities with wide open spaces, it's meant for cities like Belgrade in Serbia. These cities are densely populated and heavily polluted, to the point where pollution actually chokes out current trees and makes creating green spaces difficult.

Liquid 3 was a PhD scientists answer to these problems. The microalgae tank is intended for spaces where you either:

The tank is extremely efficient when you consider the amount of space needed compared to the amount of CO2 turned into oxygen. The tank can operate throughout the winter. And most importantly, it can be quickly set up in areas that desperately need relief from air pollution NOW not in 10 years when trees are done growing. Children currently suffocating on polluted air can't wait for trees to grow, they need to be taken care of now, and Liquid 3 is one of the ways to take care of them. Depending on the species of microalgea used, a number have shown a pretty amazing capacity to pull heavy metals out of the air which is something trees can get choked up by.

The tanks aren't just tanks either! Liquid 3 have solar panels placed on top, they have lighting and mobile phone charging, and they work as public benches. The designers of it want to encourage green spaces where there's room, but where there isn't room or time, Liquid 3 can step in. Realistically, this isn't a replacement for trees. It's replacing boring metal city benches with new, cooler benches that also clean the air (and have at least some heating during the winter).

Not only that, but the microalgea that grows is native to Serbia and all that microalgea has a ton of great uses! It makes for great fertilizer, compost, wastewater treatment, cleaner biofuels and even for helping create new tanks for further air purification. They only require a quick algae divide once a month, and the produced algae can be carted off to where ever it's needed. This makes them effective solutions for areas that can't sustain complex installations.

So yeah, there's actually quite a lot of places that would like these. Lots of people currently breathing in terrible quality air would much rather have their boring city benches replaced with really fucking cool algae tanks that clean the air and can be used to help create + sustain future green spaces in cities. I dunno about you, but I'd take that over a dumb metal bench any day. Put these at every bus stop and I'd be delighted.

Re-blogging as too many people take memes at face value.

Strange Days (1995) dir. Kathryn Bigelow

This is the future they promised us...

In Plagiarism and You(Tube), Hbomb says "If you consider something so obscure you can get away with stealing it, you do not respect it." Save that line for the next time someone tries to tell you that Roy Lichtenstein brought respect to comics as art.

It's since been pointed out that while Lichtenstein did copy one of Russ Heath's drawings of an airplane getting hit, the painting depicted above was actually copied off Irv Norvick, because Lichtenstein did this so many times to so many comic artists.

In Lichtenstein's defense, he was doing this in a time when comic artists frequently weren't even credited in the issues themselves. In his condemnation, he never even tried to check, nor has he made any move to pay or credit any of the comic artists who recognized their own work later on. Rather than elevating the "low art" of comics, he was widening the gap of financial success and respect even further.

The Hbomberguy of this story is art historian David Barsalou, who has now spent decades tracking down the original art and the names of the original artists used in Lichtenstein's most famous output. Here's the full flickr gallery for the Deconstructing Roy Lichtenstein project. Frequently copied were Tony Abruzzo, Ted Galindo, Mike Sekowsky, Joe Kubert, Jerry Grandenetti, and dozens more Golden Age artists who aren't very well known in comics circles, let alone art history books. Many of them died in poverty. That's something that the Hero Initiative, mentioned in Russ Heath's comic above, aims to prevent.

Also, Lichtenstein didn't even paint Ben-Day dots. That's a specific thing.

Another throughline here: Plagarized work is lazy work, and lazy work shows through in the final product.

In a massive stroke of irony, the commercial artists he copied from display much higher classical technical skill than his enormous-scale paintings. There's a delicacy to the brushstrokes, a level of expressiveness, and a clear understanding of form and shadow in those tiny newsprint originals.

The changes Lichtenstein made often omitted or simplified backgrounds and text, used garish primary colors, and—later in his work—undressed the women in the panels. Central to his "iconoclasm" was depicting comic art as even more simplistic and culturally shallow than it already was.

Copyright law offers no help to the original creatives, freelancers on exploitative short-term contracts. Russ Heath explains, “I couldn’t do anything because all the characters that I did draw for comic books were, at that time, owned by the comic book company. So, if they want to sue, they could sue and have a legitimate reason to sue. But they wouldn’t make enough to bother having a suit.” Most of the writers ripped off by Somerton, too, were on contracts which meant they do not have the rights to their own work.

Art historians are correct that Roy Lichtenstein's work raises interesting questions about mass reproduction, parody, and the border between "commercial" and "high" art. The answers to those questions, however, are not flattering to the art world at all.

Remember if you’re out at a store and someone says “This is a robbery” you can say “no it’s not” and then the robber will leave because theyre a robber and this is no longer a robbery .

You can not just say this without dropping the whole story

Ok so,

My dads coworker is at the front and this man comes Up and hands him a document.

The coworker took a Look at the document and while he couldn't read the things written by Hand, because he wasn't wearing his glases, he did notice the Logo of a different Bank so he's like:

"Oh, sorry sir you can't do that here! You have to go to the other Bank for this :)"

The man, visibly confused leaves, but dosen't take the document with him.

The coworker, now just as confused as the Guy actually Takes Out his glases and reads the hand written part:

This is a robbery

Can you imagine trying to rob a god damn bank and the teller just cheerfully tells you to go rob the competition instead

I worked as a bank teller for several years and a few things you should know, bank robberies happen far more frequently than you might think and they come in waves. When a bank gets robbed a notification with photos goes to all banks in the area to be on the lookout. And there are two kinds of robbery, the pass the note and the takeover (what you see in movies).

So our branch had had a big takeover robbery as well as a note one. We also had a teller that had transferred to our branch after having been through a robbery. She was sweet as apple pie, hair up to the ceiling, southern lady who had just been through multiple robberies.

A guy comes in and hands her a folded note. Her immediate thought was “this guy needs to learn you don’t hand bank tellers notes. I am just not going to read that.” So how the conversation goes:

Her: how can I help you today?

Him: I’m here to get money

Her: great *hands him a withdrawal slip*

Him: all the information is on the paper

Her: to process the transaction I need you to put it on my piece of paper

SO HE FILLS OUT A WITHDRAWAL SLIP. Meanwhile another coworker is looking at her latest robbery notification email thinking the guy at the window looks a lot like him but the teller is calm and seems to be following standard transaction.

Back at the window the teller notices his name on the withdrawal slip doesn’t match the name on the account so she asks for his ID. He once again tells her all the relevant info is on the folded note but also gives her his ID and says it is his dad’s account. She tells him he will need a check from his dad to get cash. He grabs the note and leaves.

ONE HOUR LATER

Two new robbery notifications hit our emails, both branches within a mile. It is our guy. Teller goes over to the manager and sheepishly informs them he was here and the time. Security department is notified as are local police and the FBI. The FBI comes over believing that these poor tellers had been robbed for the 3rd time in a month and take her statement. She is completely embarrassed telling them how everything went down and he kept signaling to the note and telling her to read it but she was just done.

To which this FBI agent of 40 years who has been to the scene of many bank robberies (several at this branch in recent weeks) says: Ok. Let me see if I got this right, he came in fully intending to rob you. He gave you the note and you just…refused to read it? So he left and went to the bank literally across the street, handed them the exact same note, and they just handed him five grand? Do I have that correct?”

Her: I am so embarrassed

FBI: this is best thing I have ever heard. He even handed you his ID! Holy-

Her: I feel so dumb!

FBI: don’t! This is the best thing I have ever heard. This is going to be in training courses. (He sat there giddy for at least 5 more minutes)

I have a similar story from my friend Fred, who is a great human and I like him lots.

He was working at a 7-11 that got robbed a lot, working nights. And he was bored and read though his entire contract and learned if you're shot at work you get $200,000. Also, he hated his boss and the job.

So when a guy came in to rob him at gunpoint he got excited and was able to hatch the plan he had been pondering while dealing with a Shitty Boring Job.

"Dude. Shoot me in the leg. Right here- it'll go through and not hit anything vital and I'll be able to quit this fucking job. I'll give you fifty fucking grand to shoot me in the leg then you can take everything in the register."

This ended with him chasing the weeping attempted burglar out of his store screaming "SHOOT ME YOU FUCKING COWARD I WANT THE MONEY".

@rmilkies

One of my uncles was a branch manager at a local bank when I was a kid. His branch had the dubious honor of being one of- if not the- most robbed bank in the area. There was a bullet hole in the wall behind his desk where he'd been shot at once.

One day, this guy came in and announced he was there to rob the place. This man was smoking a cigar with one hand and had a gun in the other.

My uncle pointed at the "No Smoking" sign and told him in no uncertain terms, "Put that cigar out, or finish it outside first."

This guy, bless his heart, went back outside to finish his cigar.

My uncle locked the door behind him and waited for the cops to show up.

This is what I like to call the Bugs Bunny Deescalation Strategy

Lancer comm wip depicting some boarding actions

Really like the art. The sleek, curvy (yet still tanky thanks to the proportions) and colorful chassis cutting through the boxier, industrial olive drab mech with sparks and shrapnel everywhere. Love all the detail and use of color, one of the more original looks for a chain sword as well. 

My cartoon for the latest issue of New Scientist.

Our world.

This is the future they promised us.

Saving these pictures that have been posted for reference. Tried a few swamp/marsh scenes in the best that where meant to be creepy but it didn’t work out, my color pallet was too vibrant. Swamps and marshes can be very colorful and beautiful like with any other landscape full of water and life. But now I know what I was missing, overcast. The calm waters reflects the grey clouds above as well as the surrounding plants and trees creating a much more muted scene. Add the mist from the changing temperatures and the detail surrounding start to become more and more blur together, more mysterious, more eerie.      

Different Stories Resonate with Different People

I will always reblog this.

I once spent three hours scouring the internet to find this comic again, I will not let that be repeated.

@signoraviolettavalery I meant to ask last night if you’d ever seen this comic before.

This is one of the few things I always reblog when it comes round, because everyone should get to see it. 

A great comic always worth re-blogging.

Kilroy Was Here!

He’s engraved in stone in the National World War II Memorial in Washington, DC – back in a small alcove where very few people have seen it. For the WWII generation, this will bring back memories. For younger folks, it’s a bit of trivia that is an intrinsic part of American history and legend.

Anyone born between 1913 to about 1950, is very familiar with Kilroy. No one knew why he was so well known….but everybody seemed to get into it. It was the fad of its time!

          At the National World War II Memorial in Washington, DC

So who was Kilroy?

In 1946 the American Transit Association, through its radio program, “Speak to America,” sponsored a nationwide contest to find the real Kilroy….now a larger-than-life legend of just-ended World War II….offering a prize of a real trolley car to the person who could prove himself to be the genuine article.

Almost 40 men stepped forward to make that claim, but only James Kilroy from Halifax, Massachusetts, had credible and verifiable evidence of his identity.

“Kilroy” was a 46-year old shipyard worker during World War II (1941-1945) who worked as a quality assurance checker at the Fore River Shipyard in Quincy, Massachusetts (a major shipbuilder for the United States Navy for a century until the 1980s).  

His job was to go around and check on the number of rivets completed. (Rivets held ships together before the advent of modern welding techniques.) Riveters were on piece work wages….so they got paid by the rivet. He would count a block of rivets and put a check mark in semi-waxed lumber chalk (similar to crayon), so the rivets wouldn’t be counted more than once.

                                     A warship hull with rivets

When Kilroy went off duty, the riveters would surreptitiously erase the mark. Later, an off-shift inspector would come through and count the rivets a second time, resulting in double pay for the riveters!

One day Kilroy’s boss called him into his office. The foreman was upset about unusually high wages being “earned” by riveters, and asked him to investigate. It was then he realized what had been going on. 

The tight spaces he had to crawl in to check the rivets didn’t lend themselves to lugging around a paint can and brush, so Kilroy decided to stick with the waxy chalk. He continued to put his check mark on each job he inspected, but added ”KILROY WAS HERE!“ in king-sized letters next to the check….and eventually added the sketch of the guy with the long nose peering over the fence….and that became part of the Kilroy message.

   Kilroy’s original shipyard inspection “trademark” during World War II

Once he did that, the riveters stopped trying to wipe away his marks.

Ordinarily the rivets and chalk marks would have been covered up with paint. With World War II on in full swing, however, ships were leaving the Quincy Yard so fast that there wasn’t time to paint them. As a result, Kilroy’s inspection “trademark” was seen by thousands of servicemen who boarded the troopships the yard produced.

His message apparently rang a bell with the servicemen, because they picked it up and spread it all over the European and the Pacific war zones.

Before war’s end, “Kilroy” had been here, there, and everywhere on the long hauls to Berlin and Tokyo. 

To the troops outbound in those ships, however, he was a complete mystery; all they knew for sure was that someone named Kilroy had “been there first.” As a joke, U.S. servicemen began placing the graffiti wherever they landed, claiming it was already there when they arrived.

As World War II wore on, the legend grew. Underwater demolition teams routinely sneaked ashore on Japanese-held islands in the Pacific to map the terrain for coming invasions by U.S. troops (and thus, presumably, were the first GI’s there). On one occasion, however, they reported seeing enemy troops painting over the Kilroy logo!

Kilroy became the U.S. super-GI who had always “already been” wherever GIs went. It became a challenge to place the logo in the most unlikely places imaginable. (It is said to now be atop Mt. Everest, the Statue of Liberty, the underside of the Arc de Triomphe in Paris, and even scrawled in the dust on the moon by the American astronauts who walked there between 1969 and 1972.

In 1945, as World War II was ending, an outhouse was built for the exclusive use of Allied leaders Harry Truman, Joseph Stalin, and Winston Churchill at the Potsdam Conference. It’s first occupant was Stalin, who emerged and asked his aide (in Russian), “Who is Kilroy?”

To help prove his authenticity in 1946, James Kilroy brought along officials from the shipyard and some of the riveters. He won the trolley car….which he attached to the Kilroy home and used to provide living quarters for six of the family’s nine children….thereby solving what had become an acute housing crisis for the Kilroys.

                     The new addition to the Kilroy family home.

                                        *          *          *          *

And the tradition continues into the 21st century…

In 2011 outside the now-late-Osama Bin Laden’s hideaway house in Abbottabad, Pakistan….shortly after the al-Qaida-terrorist was killed by U.S. Navy SEALs. 

>>Note: The Kilroy graffiti on the southwest wall of the Bin Laden compound pictured above was real (not digitally altered with Microsoft Paint, as postulated by some). The entire compound was leveled in 2012 for redevelopment by a Pakistani company as an amusement park….and to avoid it becoming a shrine to Bin Laden’s nefarious memory.

                                         *          *          *          *

A personal note….

My Dad’s trademark signature on cards, letters and notes to my sisters and I for the first 50 or so years of our lives (until we lost him to cancer) was to add the image of “Kilroy” at the end. We kids never ceased to get a thrill out of this….even as we evolved into adulthood. 

To this day, the “Kilroy” image brings back a vivid image of my awesome Dad into my head….and my heart!

Dad: This one’s for you!

Love this story….

For all the stealth archers out there...