ARNHEM (ANP) - Nederland is onvoldoende voorbereid op crisissituaties die door extreme hitte worden veroorzaakt. Dat schrijft het Nederlands Instituut Publieke Veiligheid (NIPV) op basis van een eerste en korte analyse van de hittegolf van eind juni. Het pleit voor een landelijk crisisplan voor hitte.
Onderzoekers van het kennisinstituut brachten op basis van onder meer mediaberichten en informatie van veiligheidsregio's de situatie in kaart rond de hittegolf, waarbij voor het eerst code rood werd afgegeven. Zij zagen dat de hittegolf de zorg, infrastructuur, bedrijven, hulpdiensten en het onderwijs onder druk zette. Daarbij verschilden de maatregelen per veiligheidsregio en andere crisisdiensten.
De onderzoekers stellen dat "hitte als een grenzeloze crisis" moet worden gezien. Niet alleen omdat hitte heel Nederland treft, maar ook omdat het diverse beleidsterreinen raakt.
Tijdens de hittegolf steeg in Limburg het kwik naar ruim 39 graden. Nog nooit was het in juni zo warm.
At the age of 14, Janice Yang and her family emigrated from South Korea to the U.S. in the wake of a financial crisis that upended their sense of security. (Incidentally, the Korean stock market is experiencing a historic crash this month in the wake of unwinding global trade in the AI sector.) Displaced from everything they knew, her family had to start again. “Our stable economic situation in Korea changed to more precarious working-class reality in the U.S., where repeated business failures left us in a lot of debt,” Yang tells Colossal.
For two decades, Yang worked unpaid at her family’s small sushi restaurant, where she dreamed of eventually pursuing her studies to become an artist, all while navigating a new culture and helping to carry her family’s financial burden. “These years of labor and adaptation have profoundly shaped my identity as a first-generation immigrant and my artistic practice,” she says. Her figurative paintings, which often center self-portraits amid busy kitchens, are accompanied by dream-like clouds and distant vistas that open up in walls and windows or float around the figures’ heads. There’s also a lot of fish.
Whether filleted, whole, chopped, or cooking, salmon are prevalent in many of Yang’s compositions. In a sense, they were the artist’s constant companions for years. “Every day, I saw salmon getting flayed and prepped in plastic wrap to be stored into the fridge,” she says. “I would develop personal feelings to salmon and personify them, since they reminded me the unfulfilled dream I had as an artist.” They also represent the desire to return home.
Every year, salmon complete the physically demanding biological process of spawning, in which they migrate from the ocean to their native freshwater streams and rivers to lay eggs. Huge numbers of the fish home in on the place they were born, fighting their way upstream to ensure the survival of the next generation. “This related to my feelings and hopes to reach my dream and find the sense of belonging in a new place where I felt often lost,” Yang says. Occasionally, her paintings incorporate salmon ash along with acrylic and oil pigments.
The artist also nods to symbolic elements of Korean art history and visual culture, such as a scroll painting by Ahn Gyeon, a court painter during Joseon Dynasty in the 15th century. The unfurled work sits on the lap of the figure in “Ahn Gyeon’s Dream Journey to the Peach Blossom Land.” The painting is now held in a collection in Japan, and Yang describes how Koreans hope to see the painting returned to its homeland someday. Korean aesthetics converge with classical Western artistic methods like one-point perspective. Yang says, “For me, this blending of visual languages becomes a way to think through ideas of home, coexistence, and contradiction, and to reflect on the complexity of diasporic identity.”
Starting next month, Yang will be an artist-in-residence at Gallery MOMO in Johannesburg, South Africa, where she will also present an exhibition. And in September, she will commence a nine-month artist residency at Lillstreet Art Center in Chicago, where she will teach, in addition to being a visiting lecturer at the School of the Art Institute’s Painting and Drawing Department. See more on Yang’s Instagram.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Janice Yang’s Symbol-Rich Paintings Conjure Dreams and the Desire for Home appeared first on Colossal.
Father of 10-year-old rescued in a dramatic scene captured on video says lifeguard saved his son
The father of a 10-year-old rescued from pounding surf off the California coast in a dramatic scene captured on video says he is beyond grateful to the teenage lifeguard who saved his son.
“He ran into that water despite those conditions that are deadly,” Sumit Rai told the Associated Press on Wednesday. “You have 10ft waves; you have riptides and currents coming in.
Continue reading...The late-night host discussed reminders for the president that he was closely associated with the disgraced financier
Seth Meyers discussed Donald Trump’s unfortunate week of Jeffrey Epstein reminders from his attendance at the White House correspondents’ dinner to being heckled in Michigan.
On Late Night, Meyers spoke about Trump’s “rough reception” at the past weekend’s dinner where his comedy routine was universally ridiculed.
Continue reading...
LinkedIn, a social network awash with long AI-generated posts from executives and other corporate workers, has introduced a new button that users can click to flag if a post “seems like AI slop,” according to 404 Media’s own tests.
If you have been anywhere near LinkedIn in the past couple of years, you have undoubtedly seen users posting blatantly AI-generated missives. Often these posts take some sort of news event, and opine on how this relates to thought leadership, or some other LinkedIn brainrot term. It’s also pretty wild the button specifically uses the term “AI slop” and not, say, “It seems this was generated with AI.”
Here’s what the button looks like, available when a user clicks on the three dots at the top of a post:
I scrolled for about six seconds before finding a post that sure looked like AI slop, based on the gratuitous spacing between single sentences, lists of takeaways, emoji use, and “X is not Y” sentence construction. When I clicked the “seems like AI slop button,” LinkedIn told me, “Thanks for letting us know. Your feedback helps improve the feed.” It then hid the post itself.
Earlier this month, 404 Media reported that AI detection service Pangram estimated 41 percent of long form posts and 30 percent of short form posts on LinkedIn are likely AI generated. (Disclosure: Pangram previously ran an advertisement on 404 Media.)
If you Google “linkedin AI” or similar, there are a ton of guides — some on LinkedIn itself — telling people how to use AI to write their LinkedIn posts.
There is of course some irony in that LinkedIn itself has generative AI features. Its AI-powered writing assistant helps people “share personalized suggestions for your profile, to help you stand out and get noticed,” according to LinkedIn’s website.
LinkedIn did not immediately respond to a request for comment. When asked for comment about the Pangram report, LinkedIn said it was taking steps to crack down on AI slop, and referred us to a policy change it made in May designed to disincentivize slop: “Professionals come to LinkedIn to hear from real people and their unique insights and perspectives. We actively work to reduce low quality, automated or generic content, and while AI can be used to beat the blank page problem, our focus is on surfacing professional conversations that help people advance their careers.”
