Thomas Hawk posted a photo:
Greg Adams Photography posted a photo:
"Sound II"
"Sir Antony Gormley's sculpture entitled "Sound II" has stood in the Crypt below Winchester Cathedral since the late 1980s. During the rainy months, the mysterious sculpture can often be found holding water in its cupped hands, silent in contemplation as the level rises around him to cover the stone floor." (unfortunately I was there in a dry month).
www.atlasobscura.com/places/sound-ii-winchester-cathedral
"It's time to charge for access," argues a new opinion piece at The Register. Begging billion-dollar companies to fund open source projects just isn't enough, writes long-time tech reporter Steven J. Vaughan-Nichols:
Screw fair. Screw asking for dimes. You can't live off one-off charity donations... Depending on what people put in a tip jar is no way to fund anything of value... [A]ccording to a 2024 Tidelift maintainer report, 60 percent of open source maintainers are unpaid, and 60 percent have quit or considered quitting, largely due to burnout and lack of compensation. Oh, and of those getting paid, only 26 percent earn more than $1,000 a year for their work. They'd be better paid asking "Would you like fries with that?" at your local McDonald's...
Some organizations do support maintainers, for example, there's HeroDevs and its $20 million Open Source Sustainability Fund. Its mission is to pay maintainers of critical, often end-of-life open source components so they can keep shipping patches without burning out. Sentry's Open Source Pledge/Fund has given hundreds of thousands of dollars per year directly to maintainers of the packages Sentry depends on. Sentry is one of the few vendors that systematically maps its dependency tree and then actually cuts checks to the people maintaining that stack, as opposed to just talking about "giving back."
Sentry is on to something. We have the Linux Foundation to manage commercial open source projects, the Apache Foundation to oversee its various open source programs, the Open Source Initiative (OSI) to coordinate open source licenses, and many more for various specific projects. It's time we had an organization with the mission of ensuring that the top programmers and maintainers of valuable open source projects get a cut of the tech billionaire pie.
We must realign how businesses work with open source so that payment is no longer an optional charitable gift but a cost of doing business. To do that, we need an organization to create a viable, supportable path from big business to individual programmer. It's time for someone to step up and make this happen. Businesses, open source software, and maintainers will all be better off for it.
One possible future... Bruce Perens wrote the original Open Source definition in 1997, and now proposes a not-for-profit corporation developing "the Post Open Collection" of software, distributing its licensing fees to developers while providing services like user support, documentation, hardware-based authentication for developers, and even help with government compliance and lobbying.
Screw fair. Screw asking for dimes. You can't live off one-off charity donations... Depending on what people put in a tip jar is no way to fund anything of value... [A]ccording to a 2024 Tidelift maintainer report, 60 percent of open source maintainers are unpaid, and 60 percent have quit or considered quitting, largely due to burnout and lack of compensation. Oh, and of those getting paid, only 26 percent earn more than $1,000 a year for their work. They'd be better paid asking "Would you like fries with that?" at your local McDonald's...
Some organizations do support maintainers, for example, there's HeroDevs and its $20 million Open Source Sustainability Fund. Its mission is to pay maintainers of critical, often end-of-life open source components so they can keep shipping patches without burning out. Sentry's Open Source Pledge/Fund has given hundreds of thousands of dollars per year directly to maintainers of the packages Sentry depends on. Sentry is one of the few vendors that systematically maps its dependency tree and then actually cuts checks to the people maintaining that stack, as opposed to just talking about "giving back."
Sentry is on to something. We have the Linux Foundation to manage commercial open source projects, the Apache Foundation to oversee its various open source programs, the Open Source Initiative (OSI) to coordinate open source licenses, and many more for various specific projects. It's time we had an organization with the mission of ensuring that the top programmers and maintainers of valuable open source projects get a cut of the tech billionaire pie.
We must realign how businesses work with open source so that payment is no longer an optional charitable gift but a cost of doing business. To do that, we need an organization to create a viable, supportable path from big business to individual programmer. It's time for someone to step up and make this happen. Businesses, open source software, and maintainers will all be better off for it.
One possible future... Bruce Perens wrote the original Open Source definition in 1997, and now proposes a not-for-profit corporation developing "the Post Open Collection" of software, distributing its licensing fees to developers while providing services like user support, documentation, hardware-based authentication for developers, and even help with government compliance and lobbying.
Read more of this story at Slashdot.
Project Hail Mary has now grossed $300.8 million globally after earning another $54.1 million this weekend from 86 markets, reports Variety, noting that after just nine days it's now Amazon MGM's highest-grossing film ever. And last weekend it had the best opening for a "non-franchise" movie in three years, adds the Associated Press — the best since 2023's Oppenheimer:
Project Hail Mary, which cost nearly $200 million to produce... is on an enviable trajectory. Its second weekend hold was even better than that of Oppenheimer, which collected $46.7 million in its follow-up frame.
But the movie is based on a book by The Martian author Andy Weir, described by one news outlet as "a former software engineer and self-proclaimed 'lifelong space nerd'... known for his realistic and clear-eyed approach to scientifically technical stories."
Project Hail Mary has plenty of real science in it, whether it be space mathematics, physics, or astrobiology... The film's namesake project is even comprised of the space programs of other nations, such as Roscosmos from Russia, the Chinese space program, and the European Space Agency...
The story relies on work NASA has done regarding exoplanets, or planets outside our solar system... [This includes a nearby star named Tau Ceti approximately 12 light years from Earth which is orbited by four planets — two once thought to be in "the habitable zone" where liquid water can exist.] Tau Ceti has long been the setting used by sci-fi authors and storytellers. Isaac Asimov used it for his Robot series. Arthur C. Clarke's "Rama" spacecraft came across a mysterious tetrahedron in the Tau Ceti system. Authors Ursula K. Le Guin and Kim Stanley Robinson also set stories in Tau Ceti, and it also serves as the extrasolar setting of the 1968 Jane Fonda film Barbarella. Most recently, the Bungie video game Marathon is set in the far-off system, serving as part of the background story for the extraction shooter, about a large-scale plan to colonize the Tau Ceti system.
The movie also mentions 40 Eridani A, according to the article, a real star about 16 light-years away that was said to be orbited by the fictional planet Vulcan, home to Star Trek's Mr. Spock, and mentioned in Frank Herbert's Dune as the planet of at least one alien species.
And in a video on IMAX's YouTube channel, the film's directors explain how for a crucial scene they used non-visible-light photography, which is also an important part of modern astronomy. "Even the credits incorporate real astrophotography into the final moments," the article points out, using the work of award-winning Australian astrophotographer Rod Prazeres. "The only difference between his work of capturing space data in images and what ended up on the big screen was that he gave them 'starless versions' of his photographs to make it easier to place credit text over them."
Prazeres wrote on his web site that he was touched the producers "wanted the real thing... In a world where CGI and AI are everywhere, it meant a lot..."
Project Hail Mary, which cost nearly $200 million to produce... is on an enviable trajectory. Its second weekend hold was even better than that of Oppenheimer, which collected $46.7 million in its follow-up frame.
But the movie is based on a book by The Martian author Andy Weir, described by one news outlet as "a former software engineer and self-proclaimed 'lifelong space nerd'... known for his realistic and clear-eyed approach to scientifically technical stories."
Project Hail Mary has plenty of real science in it, whether it be space mathematics, physics, or astrobiology... The film's namesake project is even comprised of the space programs of other nations, such as Roscosmos from Russia, the Chinese space program, and the European Space Agency...
The story relies on work NASA has done regarding exoplanets, or planets outside our solar system... [This includes a nearby star named Tau Ceti approximately 12 light years from Earth which is orbited by four planets — two once thought to be in "the habitable zone" where liquid water can exist.] Tau Ceti has long been the setting used by sci-fi authors and storytellers. Isaac Asimov used it for his Robot series. Arthur C. Clarke's "Rama" spacecraft came across a mysterious tetrahedron in the Tau Ceti system. Authors Ursula K. Le Guin and Kim Stanley Robinson also set stories in Tau Ceti, and it also serves as the extrasolar setting of the 1968 Jane Fonda film Barbarella. Most recently, the Bungie video game Marathon is set in the far-off system, serving as part of the background story for the extraction shooter, about a large-scale plan to colonize the Tau Ceti system.
The movie also mentions 40 Eridani A, according to the article, a real star about 16 light-years away that was said to be orbited by the fictional planet Vulcan, home to Star Trek's Mr. Spock, and mentioned in Frank Herbert's Dune as the planet of at least one alien species.
And in a video on IMAX's YouTube channel, the film's directors explain how for a crucial scene they used non-visible-light photography, which is also an important part of modern astronomy. "Even the credits incorporate real astrophotography into the final moments," the article points out, using the work of award-winning Australian astrophotographer Rod Prazeres. "The only difference between his work of capturing space data in images and what ended up on the big screen was that he gave them 'starless versions' of his photographs to make it easier to place credit text over them."
Prazeres wrote on his web site that he was touched the producers "wanted the real thing... In a world where CGI and AI are everywhere, it meant a lot..."
Read more of this story at Slashdot.
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From the not-for-profit Jewish culinary collective comes a leek and mushroom matzo brei, one-pot roasted fish and a creamy charoset parfait
(Pictured above)
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