PR-chitecture is architecture and design content that has been dreamed up from scratch to look good on instagram feeds or, more simply, for clicks. It is only within this substance-less, critically lapsed media landscape that Coronagrifting can prosper. […] You may be asking, “What’s the harm in all this, really, if it projects a good message?” And the answer is that people are plenty well encouraged to stay home due to the rampant spread of a deadly virus at the urging of the world’s health authorities, and that these tone-deaf art world creeps are using such a crisis for shameless self promotion and the generation of clicks and income, while providing little to no material benefit to those at risk and on the frontlines. […] There is something truly chilling about an architecture firm, in order to profit from attention seized by a global pandemic, logging on to their computers, opening photoshop, and drafting up some lazy, ineffectual, unsanitary mockup featuring figures in hazmat suits carrying a dying patient (macabrely set in an unfinished airport construction site) as a real, tangible solution to the problem of overcrowded hospitals; submitting it to their PR desk for copy, and sending it out to blogs and websites for clicks, knowing full well that the sole purpose of doing so consists of the hope that maybe someone with lots of money looking to commission health-related interiors will remember that one time there was a glossy airport hospital rendering on designboom and hire them.

Pinegrow is a Mac, Windows and Linux web editor that lets you build responsive websites faster with live multi-page editing, CSS & SASS styling, CSS Grid editor and smart components for Bootstrap, Foundation and WordPress.

Tumult Whisk is the lightweight HTML and PHP editor with a live preview pane that displays the updated page as you type. It is an essential app for your web dev toolkit.

A Virtual Aquatic Ecosystem. --- This is a virtual ecosystem where different species of creature can live, grow and die as part of a self-contained food chain. Please: Play, Experiment, & Observe

Customers trying to avoid online delivery platforms like Grubhub by calling restaurants directly might be dialing phone numbers generated and advertised by those very platforms — for which restaurants are charged fees that can sometimes exceed the income the order generates. […] Here’s how phone fees work: Grubhub (which also owns Seamless, MenuPages, Tapingo, and LevelUp) generates a unique phone number for each restaurant on its platform; it appears on the restaurant’s Grubhub or Seamless page and redirects to the restaurant's own phone line (a restaurant cannot list its own phone number on its Grubhub or Seamless page). The redirect number can also appear higher in Google search results (including the Google panel for that business) than the restaurant’s own line. This leads some customers to call it even if they don’t intend to use Grubhub.

These platforms are all losing money. Just think of all the meetings and lines of code and phone calls to make all of these nefarious things happen which just continue to bleed money. Why go through all this trouble? Grubhub just lost $33 million on $360 million of revenue in Q1. Doordash reportedly lost an insane $450 million off $900 million in revenue in 2019 (which does make me wonder if my dream of a decentralized network of pizza arbitrageurs does exist). Uber Eats is Uber's "most profitable division” 😂😂. Uber Eats lost $461 million in Q4 2019 off of revenue of $734 million. Sometimes I need to write this out to remind myself. Uber Eats spent $1.2 billion to make $734 million. In one quarter. Amazon just bailed on restaurant delivery in the U.S. What is it about the food delivery platform business? Restaurants are hurt. The primary labor is treated poorly. And the businesses themselves are terrible. […] A few months ago, in the pre-pandemic times, I was at an East Village pizza place and watched as the owner was arguing with a Doordash driver. The owner insisted the driver take the pizza in a heated bag so the customer didn’t get cold pizza, but leave an ID so the driver would be compelled to return the bag. The driver argued the amount of time it would take to come back to return the bag would mean he couldn’t make enough deliveries to “pay my rent”. #Innovation.

That these are sad times and it feels bad to live in them is hardly insightful, but lately I’ve been wondering if it’s not so much the sadness but the sameness. Watching wicked people prosper over and over, having the same conversations about powerful men and the consequences they will never face, witnessing suffering that was easily anticipated and avoided, asking again and again what can be done about it and being told again and again, essentially, “nothing.” For a moment, early on in this present calamity, it felt like perhaps this could be a real rupture, but by now it’s clear our response will be more asking and more answering with “nothing,” more suffering, more pointless conversations, more prospering for a few of the expense of the rest. […] The vast majority of people have jobs that are boring, at best. I recommend cultivating a healthy resentment toward your work. Put in just enough effort to keep your job and no more. The fantasy that an exciting career is enough to sustain a life is one of the most harmful of the modern age—you were never going to find meaning there. I don’t think we really find meaning at all. We build it, most often with others. The only real antidote I’ve found to a sense of ever-present sameness is to attend to things that grow and change: living things. Care for something alive—start with something small and pitiful like a plant, if you want. A cat; a friend; a neighbor. Be wasteful and unproductive in your pursuits.

Generate lyrics like they're from Drake or Rihanna – all magic done by a Markov Chain

The Times spoke with four landlords and four tenants across Los Angeles County to understand how they’re coping with the fallout from the coronavirus.

Hear three random bird sounds from any location, then try to guess what they are.

It’s able to detect the words f***, s***, p***, t***, w***, c*** and dozens more, but with a special exemption for “Scunthorpe”; that town has suffered enough. Modern fonts can combine letters into a single ligature, usually for things like fi or fl but you can pick anything so we’ve done it for swears.

But in a world where everyone’s struggling through the quicksand of reality, Fieri is a king among slugs. During the height of #MeToo, he escaped unscathed. There are remarkably few stories about him being a dick in public; in fact, the majority of public opinion is just that he’s the nicest guy. And now, the latest news coming in piping hot from Flavortown, just like one of his recipes, such as I’ve Got the Need, the Need for Fried Cheese! (Jesus Christ, buddy, I’m trying to help you here), is that Fieri is doing a lot more for out-of-work restaurant employees than most people. Since the coronavirus outbreak, he’s raised more than $20 million for a relief fund for restaurant workers. You know who didn’t do that?? Any of your extremely chill, fashionable faves, probably wearing $350 chunky mustard mules, including every single one of the people on Instagram currently trying to convince me to make bread.

We asked artists sheltering in place across the city to illustrate what it looks and feels like outside their windows.

Rarely mentioned is the fact that our economy was heading into a recession before the coronavirus hit. Or that living and working conditions for the majority of Americans were declining even during the past years of expansion. Or that the share of workers in low-wage jobs was growing over the past 15 years. Or that Americans are facing a retirement crisis. Or that life expectancy fell from 2014 to 2017 because of the rise in mortality among young and middle-aged adults of all racial groups due to drug overdoses, suicides and alcoholism. If existing patterns of ownership and production remain largely unchanged, we face a future of ever greater instability, inequality and poverty.

This crisis is a chance to rebuild our economy for the good of humanity. Let’s bail out the living world, not its destroyers, says Guardian columnist George Monbiot. --- Governments should provide financial support to company workers while refashioning the economy to provide new jobs in different sectors. They should prop up only those sectors that will help secure the survival of humanity and the rest of the living world. They should either buy up the dirty industries and turn them towards clean technologies, or do what they often call for but never really want: let the market decide. In other words, allow these companies to fail. […] The only meaningful reform is fewer flights. Anything that impedes the contraction of the aviation industry impedes the reduction of its impacts. […] In other words, let’s have what many people were calling for long before this disaster hit: a green new deal. But please let’s stop describing it as a stimulus package. We have stimulated consumption too much over the past century, which is why we face environmental disaster. Let us call it a survival package, whose purpose is to provide incomes, distribute wealth and avoid catastrophe, without stoking perpetual economic growth. Bail out the people, not the corporations. Bail out the living world, not its destroyers. Let’s not waste our second chance.

Background art for video conference calls on Zoom, Google Meet, etc. An ever growing collection of virtual backdrops for use in video call apps. Expressions of optimism and art by the world's best designers, illustrators, animators, photographers, filmmakers and artists.

Browse 676,693 works of art.

When The Met was founded in 1870, it owned not a single work of art. Through the combined efforts of generations of curators, researchers, and collectors, our collection has grown to represent more than 5,000 years of art from across the globe—from the first cities of the ancient world to the works of our time.

Welcome to Smithsonian Open Access, where you can download, share, and reuse millions of the Smithsonian’s images—right now, without asking. With new platforms and tools, you have easier access to nearly 3 million 2D and 3D digital items from our collections—with many more to come. This includes images and data from across the Smithsonian’s 19 museums, nine research centers, libraries, archives, and the National Zoo.

Paris Musées is a public entity that oversees the 14 municipal museums of Paris, including the Musée d’Art Moderne de la Ville de Paris, Petit Palais, and the Catacombs. Users can download a file that contains a high definition (300 DPI) image, a document with details about the selected work, and a guide of best practices for using and citing the sources of the image. “Making this data available guarantees that our digital files can be freely accessed and reused by anyone or everyone, without any technical, legal or financial restraints, whether for commercial use or not,” reads a press release shared by Paris Musées.

Have you ever tried running with fabric in front of your mouth? It’s scientifically ludicrous to insist on this. Find another outlet for your frustration.

Stream on, Waxahatchee and Kevin Morby. Do your thing, James Blake. You all make livestreams suck a little less. What has been really, truly dispiriting is the ceaseless sequence of sanitized at-home performances thrust upon us by the world’s celebrities and major media outlets. These have largely been charitable efforts featuring strikingly similar performance lineups, the likes of Billie Eilish and Elton John working their way across the networks. […] The ordeal suggested that the celebrity class had learned very little from the Gal Gadot “Imagine” debacle. Here again was a parade of celebrities — John Legend and Sam Smith, Shawn Mendes and Camila Cabello, multiple iterations of Keith Urban — attempting to supply inspiration from their luxurious outposts, as if the mere sight of famous people was supposed to make us feel all warm and fuzzy inside. In place of entertainment value, they had substituted somber, faux-profound schlock. It turns out livestreams suck even worse with high production values and the cheery artificiality of TV talk shows. […] We no longer have to wonder what a coronavirus-era “We Are The World” would be like because here it is, an insufferably smarmy Zoom meeting reeking of expensive vanilla. I like some of these people’s music quite a bit, but none of them came out of this looking anything but thirsty. […] Entertainers can present a united front and raise money for worthwhile causes without resorting to treacle like this. Just look at “House Party,” a quarantine posse cut that brought together the unlikely team of New Kids On The Block, Boyz II Men, Big Freedia, Jordin Sparks, and Naughty By Nature. This was pure goofy fun — an insubstantial lark, maybe, but one far too cute to clown. No one was trying to dredge up some humanitarian statement beyond their depth. It was just a bunch of creative people goofing off, having a blast. Such contagious giddiness feels especially like a blessing right now. On the benevolence front, consider Angel Olsen, who embarked on a smaller-scale, more personal fundraising effort by performing a ticketed online concert to support her road crew. There was nothing ostentatious about it, with none of the icky implications of wealthy people soliciting common people’s money from within their comfortable bubble. Fans paid to watch a performance, and the performer passed on the proceeds to people she cares about: simple, beautiful, unpretentious.

A story about a pandemic written in 2015 that is eerily resonant with our current pandemic. Some days it’s hard to imagine that this will ever be over, that we’ll ever be able to get things back to normal at all. When everyone is sniping at each other it feels like you’ve always been trapped in the middle of a half-dozen bickering children and always will be. When you’re in the midst of grief, it’s hard to imagine spring ever coming.

Food product dating, as the U.S. Department of Agriculture calls it, is completely voluntary for all products (with the exception of baby food, more on that later). Not only that, but it has nothing to do with safety. It acts solely as the manufacturer’s best guess as to when its product will no longer be at peak quality, whatever that means.

Much of the confusion around masks stems from the conflation of two very different uses. --- Models show that if 80 percent of people wear masks that are 60 percent effective, easily achievable with cloth, we can get to an effective R0 of less than one. That’s enough to halt the spread of the disease. Many countries already have more than 80 percent of their population wearing masks in public, including Hong Kong, where most stores deny entry to unmasked customers, and the more than 30 countries that legally require masks in public spaces, such as Israel, Singapore, and the Czech Republic. Mask use in combination with physical distancing is even more powerful. […] The community use of masks for source control is a “public good”: something we all contribute to that eventually benefits everyone—but only if almost everyone contributes, which can be a challenge to persuade people to do. It’s like emission filters in our car exhausts and chimneys: They need to be installed in all cars, factories, and houses to guarantee clean air for everyone. Usually, laws, regulations, mandates, or strong cultural norms ensure maximal participation. And once that happens, the result can be amazing. […] We know a vaccine may take years, and in the meantime, we will need to find ways to make our societies function as safely as possible. Our governments can and should do much—make tests widely available, fund research, ensure medical workers have everything they need. But ordinary people are not helpless; in fact, we have more power than we realize. Along with keeping our distance whenever possible and maintaining good hygiene, all of us wearing just a cloth mask could help stop this pandemic in its tracks.

The play’s brusque, polemical energy feels like a throwback to a different time—perhaps to an earlier version of multiculturalism, one that aspired to trouble the mainstream rather than enter it.

Jacinda Ardern’s leadership style, focused on empathy, isn’t just resonating with her people; it’s putting the country on track for success against the coronavirus. --- Ardern’s style would be interesting—a world leader in comfy clothes just casually chatting with millions of people!—and nothing more, if it wasn’t for the fact that her approach has been paired with policies that have produced real, world-leading results. Since March, New Zealand has been unique in staking out a national goal of not just flattening the curve of coronavirus cases, as most other countries have aimed to do, but eliminating the virus altogether. And it is on track to do it. COVID-19 testing is widespread. The health system has not been overloaded. New cases peaked in early April. Twelve people have died as of this writing, out of a population of nearly 5 million. […] Ardern’s government also took decisive action right away. New Zealand imposed a national lockdown much earlier in its outbreak than other countries did in theirs, and banned travelers from China in early February, before New Zealand had registered a single case of the virus. It closed its borders to all nonresidents in mid-March, when it had only a handful of cases. […] The success, of course, isn’t all Ardern’s doing; it’s also the product of an impressive collective effort by public-health institutions, opposition politicians, and New Zealanders as a whole, who have largely abided by social-distancing restrictions.

On October 10, 1980, Margaret Thatcher delivered a speech to the Conservative Party, something of a Top Ten hit for her followers. She spoke about repaying the “debt which had been run up by our predecessors,” the way predecessors do, what with their curiously unverifiable but limitlessly stupid antecedent behavior. After beating up the previous administrations a bit more, Thatcher celebrated investment “opportunities overseas,” which she said would “help to secure our living standards long after North Sea oil has run out.” It’s amusing to think Thatcher had any intention of bowing to the limits of nature or, worse, accepting a version of “the natural” that wasn’t based on the unnatural condition of state-supported monopoly. Because, hey, we’re all just selves, aren’t we? Look what you can do with a self! […] For a kid trying to understand music in 1981, the future was obvious. All bands were interracial and every album had two parts, the singing version and the dub version. Margaret Thatcher and Ronald Reagan were the enemies of the people and Jah was a post office box in Bethnal Green.

Disappointment and uncertainty are inevitable. But we don’t have to turn them into suffering.

Where DID you come from, Cotton Eye Joe? --- The first known published version appeared in Alabama writer Louise Clarke Pyrnelle’s 1882 novel Diddie, Dumps, and Tot, or Plantation Child-Life, a nostalgic look at the antebellum South. Drawing heavily on her own childhood experiences on her father’s plantation, the novel gives credence to what most experts now hold as fact: "Cotton-Eyed Joe" originated with black slaves well before the Civil War. Pyrnelle’s version describes the titular character as an ugly man ("His eyes wuz crossed, an' his nose wuz flat / An' his teef wuz out, but wat uv dat?") who swoops into town and steals the narrator’s sweetheart. "Ef it hadn't ben fur Cotton-eyed Joe," the jilted narrator sings, "I'd er ben married long ergo." That basic plot line—boy loses girl to mysterious charmer—drives most iterations of "Cotton-Eyed Joe," including the one Texas-born "song catcher" Dorothy Scarborough included in her 1925 book On the Trail of Negro Folk Songs. As Scarborough writes, she learned parts of the tune from "an old man in Louisiana," who picked it up from slaves on a plantation. Three years earlier, in 1922, the noted black cultural historian and longtime Fisk University chemistry professor Thomas W. Talley shared a slightly different rendition in his book Negro Folk Rhymes. The son of former Mississippi slaves, Talley came across a version wherein "Cotton-Eyed Joe" isn’t just a person, but also a dance: "I'd a been dead some seben years ago / If I hadn't a danced dat Cotton Eyed Joe." The song ends by saying Joe has "been sol' down to Guinea Gall," which again implies he was a slave.