"Deze verdachte is een man die de grens niet meer zag. Een man wiens beeld vertroebelde toen het slachtoffer zich ontwikkelde tot een jonge vrouw. De vrouw was echter nog een kind." Dit zei de officier van justitie dinsdagmiddag over Marco Borsato bij aanvang van het requisitoir, waarin het Openbaar Ministerie het bewijsmateriaal presenteert en de strafeis zal formuleren in de zaak tegen de zanger.

Het OM beschuldigt Borsato (58) van ontucht met een 15-jarig meisje. Dat zou van september 2014 tot en met januari 2015 onder meer zijn gebeurd bij haar en hem thuis en in de kleedkamer van The Voice of Holland.

De aanklager schetste een beeld van Borsato die het vermeende slachtoffer zag opgroeien, kwam kijken bij de schoolmusical en haar steunde bij de begrafenis van haar vader. "Maar het is ook de man die het slachtoffer een lekker wijf noemt en lingerie voor haar koopt. En daar blijft het niet bij. Hij betastte haar bovenbenen, borsten en vagina."

In december 2021 deed de vrouw aangifte. Het OM besloot in september 2023 de zanger te vervolgen.

Iedereen weet inmiddels dat bewegen gezond is, maar hoe je die beweging over de dag verspreidt blijkt net zo belangrijk te zijn. Een nieuwe studie uit Groot-Brittannië toont aan dat mensen die hun dagelijkse stappen tijdens langere wandelingen halen tot twee derde minder kans hebben op hart- en vaatziekten dan mensen die dezelfde hoeveelheid stappen in korte stukjes afleggen.

Onderzoekers volgden ruim 33.000 mensen van gemiddeld 62 jaar oud die maximaal 8.000 stappen per dag zetten. Dat is minder dan de vaak aangehaalde 10.000 stappen, maar nog steeds een aanzienlijke hoeveelheid beweging. De deelnemers droegen bijna een week lang een activiteitentracker aan hun pols die precies bijhield wanneer en hoe ze bewogen.

De onderzoekers keken niet alleen naar het totale aantal stappen, maar ook naar hoe die stappen waren verdeeld. Sommige mensen zetten hun stappen voornamelijk in korte stukjes van minder dan vijf minuten, bijvoorbeeld door even naar de keuken of naar de brievenbus te lopen. Anderen wandelden juist in langere periodes van tien, vijftien minuten of langer achter elkaar.

Groot verschil tussen de twee groepen

Na bijna acht jaar bleek er een enorm verschil te zijn. Van de mensen die hun stappen in korte stukjes van minder dan vijf minuten verzamelden, kreeg 13 procent hart- en vaatziekten. Bij mensen die hun stappen juist in langere periodes van vijftien minuten of meer verzamelden, was dat slechts 4,4 procent. Dat is een daling van ongeveer twee derde.

Ook het sterftecijfer verschilde. Bij de eerste groep overleed 4,4 procent binnen ongeveer tien jaar, terwijl dat bij de groep die lang wandelde slechts 0,8 procent was. Zelfs mensen die hun stappen in periodes van tien tot vijftien minuten verzamelden, hadden al een veel lager risico dan degenen die alleen korte stukjes liepen.

Waarom maken lange wandelingen een verschil?

Het verschil heeft te maken met hoe je hart en bloedvaten reageren op beweging. Wanneer je langer aan een stuk doorloopt, gaat je hartslag omhoog en blijft die een tijdje verhoogd. Je bloedvaten verwijden zich en je ademhaling wordt dieper. Deze fysiologische reactie heeft een trainingseffect op je cardiovasculaire systeem. Bij korte stukjes lopen komt je lichaam nooit echt op gang voordat je alweer stopt.

Onderzoek is niet perfect

Toch moeten de resultaten met enige voorzichtigheid worden bekeken. Het onderzoek was observationeel, wat betekent dat de onderzoekers alleen keken naar wat mensen deden zonder zelf een interventie te doen. Hierdoor kunnen ze niet met zekerheid zeggen dat de langere wandelingen de directe oorzaak zijn van het lagere risico. Mogelijk zijn mensen die langer achter elkaar wandelen ook in andere opzichten gezonder, bijvoorbeeld door beter te eten of minder te roken.

Ook werd de activiteit maar één keer gemeten, aan het begin van het onderzoek. Mensen kunnen hun bewegingspatroon in de loop der jaren veranderd hebben. Bovendien bestaat er het risico van omgekeerde causaliteit: misschien konden mensen die al wat zieker waren gewoon geen lange wandelingen meer maken, en daarom zetten ze hun stappen vooral in korte stukjes.

Bron: Annals of Internal Medicine

Je scrolt. Een korte video. Iemand belooft financiële rust in drie stappen. Het klinkt helder en vriendelijk. En vooral: snel. Dat is de kracht van finfluencers. Ze maken complexe keuzes klein en behapbaar. Maar geld is geen montage van dertig seconden. Het is context, nuance en tijd. Influencers gebruiken vaak voorbeelden die “lekker” werken in beeld. Een winstgrafiek. Een stapel munten. Een voor-en-na. Soms valt daar ook het verkopen van zilveren munten onder, gepresenteerd als makkelijke manier om budget vrij te maken voor de volgende stap. Het is een aansprekend beeld. Toch vertel je met één frame nooit het hele verhaal.

Wat je niet ziet in de video

Korte video’s laten resultaten zien, zelden de randvoorwaarden. Transactiekosten, spreads, levertijden, belastingregels, het risico dat prijzen bewegen terwijl jij wacht. Dat past niet in een soundbite. Ook mis je vaak de pechgevallen. Wie net op een piek kocht of te laat verkocht, levert geen virale content. Maar het gebeurt wel. Daarnaast werken veel tips vooral binnen een specifiek scenario: bepaald inkomen, bepaalde doelen, bepaalde risico’s. Jij kijkt met je eigen situatie, je eigen spaarbuffer en je eigen planning. Wat voor de één een slimme verschuiving is, voelt voor de ander als haastwerk.

Van hype naar handel

Platforms belonen aandacht. Wie groot denkt, krijgt bereik. Daardoor raken trends snel verhit. Je ziet het aan hashtags, challenges, “doe dit nu”-video’s. Rond edelmetaal is dat niet anders. Soms is het rustig, soms bruist het van meningen. Juist dan is traag denken nuttig. Wat wil je eigenlijk bereiken? Kort geld, of juist rust op de lange termijn? Als je zilver verkopen overweegt, is timing niet het enige punt. Ook praktische zaken tellen mee, zoals documentatie, herkomst, en of je kiest voor een handelaar of een particuliere koper. Wat je in een video ziet, is vaak de aantrekkelijke voorkant van een langere route.

Zo leer je wél van finfluencers

Finfluencers kunnen je op ideeën brengen. Ze laten nieuwe invalshoeken zien. Dat is waardevol. Kijk dan niet alleen naar wát ze doen, maar vooral naar hóe ze redeneren. Maken ze duidelijk welke aannames ze gebruiken? Vertellen ze wat er mis kan gaan? Kun je hun stappen terugvinden buiten de video, in bronnen of cijfers? Let ook op spanning tussen entertainment en educatie. Een vlotte grap of dramatische opening houdt je vast, maar vervangt geen onderbouwing.

De rol van het platform

TikTok en YouTube zijn geen neutrale plekken. Het algoritme stuurt op kijktijd en betrokkenheid. Dat betekent dat extreme meningen, grote beloftes en snelle transformaties vaker boven komen drijven dan rustige uitleg. Je krijgt zo al snel meer van hetzelfde. Daarom is het slim om je feed af en toe te “mengen”. Zoek bewust naar tegengeluid, langere uitleg of historische context. Kijk een video met een andere uitkomst dan je verwacht. En stel jezelf een simpele vraag na elke tip: past dit bij mijn doelen, of past het vooral bij het format van het platform?

GAZA-STAD (ANP/AFP) - De gewapende tak van Hamas zegt om 19.00 uur Nederlandse tijd het lichaam van een overleden gijzelaar over te dragen aan Israël. Volgens de al-Qassam-brigades gaat het om een lichaam dat recentelijk in een tunnel werd geborgen.

Eerder op de dag zei Israël dat Hamas de afspraken van het bestand had geschonden, nadat de militante groepering het gedeeltelijke stoffelijk overschot van een al eerder teruggebrachte gijzelaar aan Israël had overgedragen. Onderdeel van de afspraken in het Amerikaanse twintigpuntenplan was het overdragen van alle (ook dode) gijzelaars binnen 72 uur.

Als Hamas inderdaad een lichaam overhandigt, is dat de zestiende van de 28 gijzelaars die het nog moet overdragen.

Today's links

• Raymond Beisinger's "9 Times My Work Has Been Ripped Off": A self-defense guide for creative workers.
• Hey look at this: Delights to delectate.
• Object permanence: Gingerbread Phantom Manor; Orwell estate censors 1984; The Abbadon; Ferris wheel fine dining.
• Upcoming appearances: Where to find me.
• Recent appearances: Where I've been.
• Latest books: You keep readin' em, I'll keep writin' 'em.
• Upcoming books: Like I said, I'll keep writin' 'em.
• Colophon: All the rest.

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Raymond Beisinger's "9 Times My Work Has Been Ripped Off" (permalink)

Raymond Beisinger's new book 9 Times My Work Has Been Ripped Off is a masterclass in how creative workers can transform the endless, low-grade seething about the endless ripoffs of the industry into something productive and even profound:

https://drawnandquarterly.com/books/9-times-my-work-has-been-ripped-off/

Beisinger is an iconic designer and illustrator whose instantly recognizable style and entrepreneurial hustle have allowed him to achieve the coveted and elusive status of full-time, economically secure(ish) artist. But over the years – and even in recent times – Beisigner has found himself in the all-too-common and endlessly frustrating circumstance of being owed money by people who refuse to pay it. The sums involved are typically small by the standards of corporate budgets, but it's what Beisinger calls "needed money" – money that makes a huge difference to the life of the artist to whom it is owed.

Speaking from personal experience, getting stiffed is one of the most embittering things that can happen to a creative worker – or any worker (as the tradespeople who've had their wages stolen by Trump can attest). I remember every time I got shafted by a client and often find my mind returning to those humiliating, frustrating moments.

There was the "friend" who hired me to do some work and then just decided never to pay me the $150 we agreed on. There was the university prof who asked me to speak to his class and promised me reimbursement for the taxi and then stiffed me for 20 quid. There was the international magazine who commissioned a short story from me, accepted it, then tried to cram a bullshit contract down my throat and refused to discuss any modifications to its terrible terms, finally stiffing me for the $500 they owed me.

There was the largest publisher in the world, who commissioned a novella from me for an anthology, promising me tens of thousands of dollars, who accepted the novella, and then "discovered" they hadn't ever finalized the contract for the anthology and canceled it, stiffing me in the process. The fact that I went on to sell that novella several times over, both in book form and as a graphic novel, and for film rights (twice!), making far more money in the process, doesn't make me any less angry about these fuckers who just screwed me without a second thought.

Objectively speaking, there is no reason for me to dwell on these little humiliations. It doesn't do me any good. It doesn't make the dickheads who screwed me feel bad. It is, as the proverb goes, "drinking poison and hoping your enemy dies." But I can't help it.

Neither, it seems, can Beisinger. But unlike me, Beisinger has found an incredibly productive – and inspiring – way to deal with that otherwise pointless seething. In 9 Times My Work Has Been Ripped Off, Beisinger reflects on the nine titular ripoffs, telling the story of how he got ripped off, what he did to get his own back, how he felt about it at the time, and how he feels about it in retrospect.

The book's subtitle ("An informal self-defense guide for independent creatives") sets up this book as a kind of manual for navigating these situations in your own life, and there's plenty of that in here – successes and failures for the rest of us to learn from. These stories are often very satisfying, as the little guy gets the justice he deserves. But the most interesting part of this book is Beisinger's reflections on the meaning of the different ripoffs he confronted, and how they relate to his own work.

Because – as Beisinger will tell you – he rips stuff off, too. All artists do. "Good artists copy; great artists steal." (said Picasso (who was ripping off Faulkner) (or Stravinsky) (or Eliot) (or Trilling). He carefully parses through the muddied ethics of lifting elements for collage, for inspiration, and just because you forgot that you weren't supposed to. Much of Beisinger's early work was collage, and (as a collagist myself), and you can't do that work without developing complicated feelings about creative ownership.

Beisinger also straddles a line between commercial illustrator, producing commissioned pieces to order for magazine and advertising art directors; and fine artist, making "artistic" pieces for his own satisfaction, and selling these as prints. While he's proud of all this work, it's clear that how he relates to his own work depends a great deal on whether it falls into the former category or the latter. Part of that difference is a blanket prohibition on licensing his "artistic" pieces for commercial work.

This just adds to the moral complexity of Beisinger's deliberations: when a extremely well-funded charity misappropriates an "artistic" piece to accompany an exemplary article on women's health advocacy, he wrestles with a whole suite of concerns and mitigations – the "charity"'s reputation as a money-laundry for a wealthy plutocrat, his support for the article, his principle about not licensing his "artistic" work. It's typical of the kind of nuance that Beisinger brings to these chapters.

Also fascinating is Beisinger's chapter about a fan who solicited artistic advice from him, but went on to produce a portfolio of uncredited knock-offs of Beisinger's own signature style. Beisinger describes how he blasted this young artist for abusing his goodwill and unjustly profiting from Beisinger's own work developing his style, and then, in later years, repented of his angry outburst. In a delightful coda, Beisinger recounts how he looked up this artist years later, only to discover that he had matured into a talented, original, successful and ambitious creator. When Beisinger emailed the artist to apologize for his furious letter, the other artist replied that Beisinger's blast had been the kick in the pants he'd needed to finally figure out his own style, and he credits his later success to Beisinger's fury.

At the root of all nine tales of ripoffs is the inadequacy and/or inappropriateness of the legal system as a tool for redress when an independent creator is ripped off. In the case of commercial ripoffs – by agencies large and small, by fly-by-night concert promoters, by gallerists peddling unauthorized reproductions – the sums involved are usually far too small to involve lawyers or the courts. In the case of disputes with other artists – like the copyist who bit Beisinger's style – the law is (rightly) silent, because styles are not copyrightable.

In telling these nine tiles, Beisinger beautifully illustrates the limitations of copyright as the sole regulator of creative activity. Copyright law (and its cousin, contract law) might be suitable for mediating commercial transactions between creative workers and businesses, but it's utterly unsuitable for other kinds of interactions, including interactions between artistic peers, or between artists and creators working in related disciplines. The most important thing that Beisinger is doing in this book is setting out a continuum of relationships and detailing many of the different tools available to creators to resolve disputes arising at different points on that continuum.

Given Beisinger's justly deserved fame as an illustrator, this is also a beautiful book, published in pocket-sized trim by Drawn & Quarterly, one of the world's great indie comics presses. The many, many illustrations in this small volume don't just bring the subject matter to life – they're artistic delights in their own right. It's a reminder of how wonderful the "art" part of all this stuff is, and how that complicates the all too familiar labor issues at the book's core.

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Hey look at this (permalink)

• Twitter, Free Speech Absolutism, and Adoxastic Enshittification https://contemporaryrhetoric.com/wp-content/uploads/2025/10/Alford_Carter_15_3_1.pdf

• This Wreckage Courtesy of the Enshittification Administration: Notes On Late-State Trumpism https://www.meditationsinanemergency.com/this-wreckage-courtesy-of-the-enshittification-administration-notes-on-late-state-trumpism/

• Air filters have DRM now https://www.youtube.com/watch?v=LCu_n2Nddu0

• Washington’s Battery Strategy Is Upside Down https://christopherchico.substack.com/p/washingtons-battery-strategy-is-upside

• The New York Times is wrong about the electoral value of moderation https://www.gelliottmorris.com/p/the-new-york-times-makes-several

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Object permanence (permalink)

#20yrsago Build a gingerbread Phantom Manor from Disneyland Paris https://www.haunteddimensions.raykeim.com/index506.html

#15yrsago HOWTO explain the Internet to a Dickensian street urchin https://www.fastcompany.com/1697711/flowchart-understanding-web-fans-charles-dickens#self

#10yrsago Librarian of Congress grants limited DRM-breaking rights for cars, games, phones, tablets, and remixers https://memex.craphound.com/2015/10/27/librarian-of-congress-grants-limited-drm-breaking-rights-for-cars-games-phones-tablets-and-remixers/

#10yrsago EU, worn down by telcoms lobbyists, pass brutal net discrimination rules https://arstechnica.com/tech-policy/2015/10/net-neutrality-eu-votes-in-favour-of-internet-fast-lanes-and-slow-lanes/

#10yrsago Ministry of Irony: Orwell estate tries to censor mentions of the number 1984 https://torrentfreak.com/orwell-estate-sends-copyright-takedown-over-the-number-1984-151027/

#10yrsago Pirates are the best customers: just sell good stuff at a reasonable price in a timely fashion https://www.youtube.com/watch?v=XXxzWgl3nHs

#10yrsago Elite “wealth managers”: Renfields to the one percent bloodsuckers https://www.theatlantic.com/business/archive/2015/10/elite-wealth-management/410842/

#10yrsago The Abaddon: graphic novel based loosely on Sartre’s No Exit https://memex.craphound.com/2015/10/27/the-abaddon-graphic-novel-based-loosely-on-sartres-no-exit/

#5yrsago Surveillance startup protected sexual harassers https://pluralistic.net/2020/10/27/peads-r-us/#Verkada

#5yrsago Comcast v Comcast https://pluralistic.net/2020/10/27/peads-r-us/#diseconomies-of-scale

#5yrsago The president's extraordinary powers https://pluralistic.net/2020/10/27/peads-r-us/#peads

#5yrsago Monopolies Suck https://pluralistic.net/2020/10/27/peads-r-us/#sally-hubbard

#5yrsago Ferris wheel fine dining https://pluralistic.net/2020/10/27/peads-r-us/#ferris-dining

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Upcoming appearances (permalink)

• Miami: Enshittification at Books & Books, Nov 5
  https://www.eventbrite.com/e/an-evening-with-cory-doctorow-tickets-1504647263469

• Miami: Cloudfest, Nov 6
  https://www.cloudfest.com/usa/

• Burbank: Burbank Book Festival, Nov 8
  https://www.burbankbookfestival.com/

• Lisbon: A post-American, enshittification-resistant internet, with Rabble (Web Summit), Nov 12
  https://websummit.com/sessions/lis25/92f47bc9-ca60-4997-bef3-006735b1f9c5/a-post-american-enshittification-resistant-internet/

• Cardiff: Hay Festival After Hours, Nov 13
  https://www.hayfestival.com/c-203-hay-festival-after-hours.aspx

• Oxford: Enshittification and Extraction: The Internet Sucks Now with Tim Wu (Oxford Internet Institute), Nov 14
  https://www.oii.ox.ac.uk/news-events/events/enshittification-and-extraction-the-internet-sucks-now/

• London: Enshittification with Sarah Wynn-Williams and Chris Morris, Nov 15
  https://www.barbican.org.uk/whats-on/2025/event/cory-doctorow-with-sarah-wynn-williams

• London: Downstream IRL with Aaron Bastani (Novara Media), Nov 17
  https://dice.fm/partner/tickets/event/oen5rr-downstream-irl-aaron-bastani-in-conversation-with-cory-doctorow-17th-nov-earth-london-tickets

• London: Enshittification with Carole Cadwalladr (Frontline Club), Nov 18
  https://www.eventbrite.co.uk/e/in-conversation-enshittification-tickets-1785553983029

• Virtual: Enshittification with Vass Bednar (Vancouver Public Library), Nov 21
  https://www.crowdcast.io/@bclibraries-present

• Seattle: Neuroscience, AI and Society (University of Washington), Dec 4
  https://compneuro.washington.edu/news-and-events/neuroscience-ai-and-society/

• Madison, CT: Enshittification at RJ Julia, Dec 8
  https://rjjulia.com/event/2025-12-08/cory-doctorow-enshittification

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Recent appearances (permalink)

• Enshittification and the Rot Economy with Ed Zitron (Clarion West)
  https://www.youtube.com/watch?v=Tz71pIWbFyc

• Amanpour & Co (New Yorker Radio Hour)
  https://www.youtube.com/watch?v=I8l1uSb0LZg

• Enshittification is Not Inevitable (Team Human)
  https://www.teamhuman.fm/episodes/339-cory-doctorow-enshittification-is-not-inevitable

• The Great Enshittening (The Gray Area)
  https://www.reddit.com/r/philosophypodcasts/comments/1obghu7/the_gray_area_the_great_enshittening_10202025/

• Enshittification (Smart Cookies)
  https://www.youtube.com/watch?v=-BoORwEPlQ0

---

Latest books (permalink)

• "Canny Valley": A limited edition collection of the collages I create for Pluralistic, self-published, September 2025

• "Enshittification: Why Everything Suddenly Got Worse and What to Do About It," Farrar, Straus, Giroux, October 7 2025
  https://us.macmillan.com/books/9780374619329/enshittification/

• "Picks and Shovels": a sequel to "Red Team Blues," about the heroic era of the PC, Tor Books (US), Head of Zeus (UK), February 2025 (https://us.macmillan.com/books/9781250865908/picksandshovels).

• "The Bezzle": a sequel to "Red Team Blues," about prison-tech and other grifts, Tor Books (US), Head of Zeus (UK), February 2024 (the-bezzle.org).

• "The Lost Cause:" a solarpunk novel of hope in the climate emergency, Tor Books (US), Head of Zeus (UK), November 2023 (http://lost-cause.org).

• "The Internet Con": A nonfiction book about interoperability and Big Tech (Verso) September 2023 (http://seizethemeansofcomputation.org). Signed copies at Book Soup (https://www.booksoup.com/book/9781804291245).

• "Red Team Blues": "A grabby, compulsive thriller that will leave you knowing more about how the world works than you did before." Tor Books http://redteamblues.com.

• "Chokepoint Capitalism: How to Beat Big Tech, Tame Big Content, and Get Artists Paid, with Rebecca Giblin", on how to unrig the markets for creative labor, Beacon Press/Scribe 2022 https://chokepointcapitalism.com

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Upcoming books (permalink)

• "Unauthorized Bread": a middle-grades graphic novel adapted from my novella about refugees, toasters and DRM, FirstSecond, 2026

• "Enshittification, Why Everything Suddenly Got Worse and What to Do About It" (the graphic novel), Firstsecond, 2026

• "The Memex Method," Farrar, Straus, Giroux, 2026

• "The Reverse-Centaur's Guide to AI," a short book about being a better AI critic, Farrar, Straus and Giroux, 2026

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Colophon (permalink)

Today's top sources:

Currently writing:

• "The Reverse Centaur's Guide to AI," a short book for Farrar, Straus and Giroux about being an effective AI critic. FIRST DRAFT COMPLETE AND SUBMITTED.

• A Little Brother short story about DIY insulin PLANNING

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This work – excluding any serialized fiction – is licensed under a Creative Commons Attribution 4.0 license. That means you can use it any way you like, including commercially, provided that you attribute it to me, Cory Doctorow, and include a link to pluralistic.net.

https://creativecommons.org/licenses/by/4.0/

Quotations and images are not included in this license; they are included either under a limitation or exception to copyright, or on the basis of a separate license. Please exercise caution.

---

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"When life gives you SARS, you make sarsaparilla" -Joey "Accordion Guy" DeVilla

READ CAREFULLY: By reading this, you agree, on behalf of your employer, to release me from all obligations and waivers arising from any and all NON-NEGOTIATED agreements, licenses, terms-of-service, shrinkwrap, clickwrap, browsewrap, confidentiality, non-disclosure, non-compete and acceptable use policies ("BOGUS AGREEMENTS") that I have entered into with your employer, its partners, licensors, agents and assigns, in perpetuity, without prejudice to my ongoing rights and privileges. You further represent that you have the authority to release me from any BOGUS AGREEMENTS on behalf of your employer.

ISSN: 3066-764X

„Een enorm probleem”, volgens Brian Chesky, ceo van Airbnb. „Het moet afgelopen zijn. Het is respectloos, het is tijdverspilling”, aldus topbankier Jamie Dimon van JPMorganChase.

Sky & Hemule

Goldie

Front 242

Skin

Ray Keith, fast floor, original substitute a.o.

Japanese Telecom

CISPE says post-VMware conduct raises fresh antitrust concerns

Cloud Infrastructure Services Providers in Europe (CISPE) has issued its third European Cloud Competition Observatory (ECCO) report, praising Microsoft's licensing concessions while accusing Broadcom of worsening anti-competitive practices.…

Good luck to the 1,000 enterprise guinea pigs on the initial preview

Anthropic has opened a waitlist for Claude for Excel, promising spreadsheet devotees that its LLM will be able to understand their entire workbook.…

Thomas Hawk posted a photo:

Thomas Hawk posted a photo:

Dakloosheid is een probleem waar Rotterdam hard tegen vecht, maar dat ondanks alle moeite nog altijd bestaat. Rijnmond en debatpodium Arminius slaan de handen ineen en organiseren op dinsdag 18 november het Rotterdamse Dakloosheiddebat. Wat gaat er goed in de strijd tegen dakloosheid en wat kan er beter?

The FIA have confirmed that its review of the F1 teams’ and power unit manufacturers’ compliance with the 2024 financial regulations has been completed, with Aston Martin entering an Accepted Breach Agreement (ABA) following a minor procedural breach.

Along Britain’s sea coasts, an iconic summertime scene unfolds in outdoor pools known as lidos, where the swimming area is often built right into the beach. Some are more developed with fresh water, chlorinated like indoor pools, while others may be less formal, with the tides pushing saltwater over low walls.

The tradition is closely related to another beloved pastime, “wild swimming,” where enthusiasts take a dip in lakes, rivers, and seashores. It’s often social, further benefiting people’s mental and physical wellbeing, and wild swimming clubs have become increasingly popular. For British artist Tarka Kings, the routine of these timeless recreational attractions lays the groundwork for a series of intimate drawings.

Mornings at the Lido, the artist’s recent solo exhibition at Offer Waterman, highlights Kings’ use of graphite and colored pencil to create quiet, pensive, and relatable compositions. From getting dressed in a changing room to sitting at a cafe along the Serpentine lake in London’s Hyde Park, which features its own lido, King observes everyday yet transitional moments between interior and exterior, action and stillness, and community and solitude.

Since 2008, Kings has worked almost exclusively with graphite and colored pencil. Her pieces pull from experience, with the addition of models and photographic references, as the artist swims almost daily and looks over the River Thames from her studio. “Kings’ relationship with water, and its dynamic within the city of London, is an integral part of her work,” the gallery says.

Follow updates on the artist’s Instagram.

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For the first time, George Orwell's Animal Farm and 1984 have been translated into Welsh, with localized titles, character names, and even a Welsh version of Newspeak. The BBC reports: Animal Farm, a 1945 political allegory inspired by the Russian Revolution, is set in north-west Wales in the Welsh edition, Foel yr Anifeiliaid, with Orwell's classic characters given Welsh names to add authenticity. Mil Naw Wyth Deg Pedwar, or 1984, Orwell's vision of a bleak totalitarian future, published in 1949, contains a Welsh version of Newspeak, the novel's fictional language. Both books remain "seminal works with timeless relevance," said Welsh book publisher Melin Bapur, and feel "particularly relevant now in an age of 'alternative facts', AI, and misinformation."

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