Kevin Osepa (1994) krijgt de Prix de Rome, de Nederlandse stimuleringsprijs voor hedendaagse kunst, voor het nieuwe werk ‘Lusgarda’ dat hij voor de expositie rond de prijs heeft gemaakt.
/s3/static.nrc.nl/wp-content/uploads/2025/12/17174717/171225CUL_2027602772_OsepaWerk2.jpg)
Uit satellietbeelden blijkt dat de paramilitaire Rapid Support Forces in Darfur systematisch de bevolking uitmoorden, en de bewijzen ervan vernietigen. „De schaal waarop op deze slachtingen plaatsvinden, hebben we nog nooit eerder gezien.”
/s3/static.nrc.nl/wp-content/uploads/2025/12/17161447/171225BUI_2027534401_1.jpg)
Een fietstour door Rotterdam-Delfshaven bracht onverwacht twee werelden samen. Lisa Koolhoven, kleindochter van een bombardementsslachtoffer, ontmoette Kristen Hayford, kleindochter van een Amerikaanse gevechtspiloot die in de Tweede Wereldoorlog dienst had. “Ik dacht, oh no. Was het van mijn opa?”
Het jubileumseizoen van ‘Wie is de Mol?’ is al bij de finale aanbeland, maar de fanatieke Molloten zijn er nog niet uit. Waarom voelt de rol van Loes Haverkort (44) dit seizoen zo anders? In 2018 was ze nog ‘gewoon’ kandidaat, maar het lijkt er sterk op dat het nu anders is.
Wie goed kijkt, ziet een spoor van taalkundige hints, opvallende stiltes en Molwaardige sabotage-acties. Of is dat allemaal toeval?
De letter L
Neem alleen al de letter L. In aflevering 3 moesten sporttassen met geld uit een loods worden gesmokkeld. Loes deed weinig opvallends, maar de setting was veelzeggend: de plattegrond van de loods vormde duidelijk de letter L. Diezelfde letter dook eerder al op bij de voorstelvideo’s, waarin oud-Mollen onder elkaar stonden opgesteld in exact die vorm.
Tramopdracht
Ook bij de Tramopdracht in aflevering 4, ‘Liefs uit Lissabon’, gingen bij kijkers de wenkbrauwen omhoog. De kandidaten moesten op alfabetische volgorde gaan zitten op basis van het land waar hun vorige seizoen begon. Loes hield zich opvallend afzijdig en bleef stil zitten. Pas na expliciet aandringen zei ze dat haar seizoen in Georgië begon. Dat klopt niet: haar avontuur startte in Rusland. Ze corrigeerde zichzelf niet, liet de groep de fout maken en gaf pas in haar biecht toe dat ze zich had vergist.
Het lichtmoment
Dan was er nog het lichtmoment in aflevering 6. Kandidaten zien bij het indrukken van de knop een felle flits. Molloten groeven dieper en ontdekten dat ‘licht’ in het Portugees ‘luz’ is, uitgesproken als Loes.
Moordspel
Tijdens het moordspel in aflevering 5 wordt het nog concreter. Loes houdt de uv-lamp vast en bepaalt letterlijk waar wel en niet gezocht wordt. Bloed wordt gevonden in de bibliotheek, maar de kapel blijft buiten beeld. Later blijkt juist daar ook bloed te liggen. Door haar regie loopt de opdracht mis.
Titels
Zelfs de afleveringstitels lijken mee te werken. Aflevering 6 heet Rendez-vous, toevallig ook de titel van de film Rendez-Vous, Loes’ grote doorbraak. En aflevering 4, Een prettig weerzien, markeert haar terugkeer bij Art Rooijakkers, presentator van haar seizoen in 2018.
Follow the Money
En dan is er nog het geldspoor: Merel heeft nog het meest haar best gedaan: 1313 euro in de pot. Nathan komt ondanks zijn overdreven enthousiasme en inzet niet verder dan 982 euro, maar met stip onderaan staat Loes. Ze bracht maar 126 euro binnen. Anne-Marie Jung is overigens de echte grootverdiener van de club. De actrice die al eerder het spel moest verlaten, wist meer dan 2000 euro te verdienen.
Bron: RTL
The head of operations for Sweden’s navy said the individuals were likely employees of private security companies.
Meta is informing some users that they will soon be restricted in how many link posts they can share each month, unless they pay for its Meta Verified subscription service. As per the notification message: "Starting December 16, certain Facebook profiles without Meta Verified, including yours, will be limited to sharing links in 2 organic posts per month. Subscribe to Meta Verified to share more links on Facebook, plus get a verified badge and additional benefits to help protect your brand."
To be clear, right now this is a limited test, so relatively few Pages are impacted. But understandably, a lot of users are also seeking more information on the change, and whether it could be expanded to all Pages. So, Meta's seeking to boost take-up of Meta Verified, in order to make more money out of its subscription option, which, for business users, costs between $14.99 and $499 per month, depending on which package you choose.
To be clear, right now this is a limited test, so relatively few Pages are impacted. But understandably, a lot of users are also seeking more information on the change, and whether it could be expanded to all Pages. So, Meta's seeking to boost take-up of Meta Verified, in order to make more money out of its subscription option, which, for business users, costs between $14.99 and $499 per month, depending on which package you choose.
Read more of this story at Slashdot.
Today's links
- Happy Public Domain Day 2026! The best way to cut through the hellishly complex thicket and bring our culture back to life.
- Hey look at this: Delights to delectate.
- Object permanence: Weird D&D advice; Email sabbaticals.
- 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.
Happy Public Domain Day 2026! (permalink)
In 1998, Congress committed an act of mass cultural erasure, extending copyright by 20 years, including for existing works (including ones that were already in the public domain), and for 20 years, virtually nothing entered the US public domain.
But then, on January 1, 2019, the public domain reopened. A crop of works from 1923 entered the public domain, to great fanfare – though honestly, precious few of those works were still known (that's what happens when you lock up 50 year old works for 20 years, ensuring they don't circulate, or get reissued or reworked). Sure, I sang Yes, We Have No Bananas along with everyone else, but the most important aspect of the Grand Reopening of the Public Domain was the works that were to come:
https://www.youtube.com/watch?v=Z2ryWm0bziE
The mid/late-1920s were extraordinarily fecund, culturally speaking. A surprising volume of creative work from that era remains in our consciousness, and so, every January 1, we have been treated to a fresh delivery of gifts from the past, works that are free and open and ours to claim and copy and use and remix.
No one chronicles this better than Jennifer Jenkins and James Boyle, the dynamic duo of copyright scholars who run Duke's Center for the Public Domain. During the 20 year public domain drought, Jenkins and Boyle kept the flame of hope, publishing an annual roundup of all the works that would have entered the public domain, but for Congress's act of wanton cultural vandalism. But starting in 2019, these yearly reports were transformed – no longer are they laments for the past we're losing; today, they are celebrations of the past that's showering down around us.
2024 marked another turning point for the public domain: that was the year that the first Mickey Mouse cartoons entered the public domain:
https://pluralistic.net/2023/12/20/em-oh-you-ess-ee/#sexytimes
Does that mean that Mickey Mouse is in the public domain? Well, it's complicated. Really complicated. To a first approximation, the aspects of Mickey that were present in those early cartoons enterted the public domain that year, while other, later aspects of his character design (e.g. the big white gloves) wouldn't enter the public domain until later. But that's not the whole story, because not every aspect of character design is even copyrightable, so some later refinements to The Mouse were immediately public. This is such a chewy subject that Jenkins devoted a whole separate (and brilliant) article to it:
https://pluralistic.net/2023/12/15/mouse-liberation-front/#free-mickey
You see, Jenkins is a generationally brilliant legal communicator, much sought after for her commentary of these abstract matters. You may have heard her giving her characteristically charming, crisp and clear commentaries on NPR's Planet Money:
She and Boyle have produced some of the best copyright textbooks – from popular explainers to the definitive casebooks for classroom use – in circulation today, and they release these as free, shareable, open-access works:
Yesterday, Jenkins and Boyle published the 2026 edition of their Public Domain Day omnibus:
https://web.law.duke.edu/cspd/publicdomainday/2026/
There are some spectacular works that are being freed on January 1:
- Dashiell Hammett's Maltese Falcon
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Agatha Christie's Murder at the Vicarage (Miss Marple's debut)
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The first four Nancy Drew books
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The first Dick and Jane book
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TS Eliot's Ash Wednesday
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Olaf Stapledon's Last and First Men
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Sigmund Freud's Civilization and Its Discontents (in German)
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Somerset Maugham's Cakes and Ale
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Bertrand Russell's The Conquest of Happiness
That's just a small selection from thousands of books.
Things are pretty amazing on the film side too: we're getting Academy Award winners like All Quiet on the Western Front, another Marx Brothers movie (Animal Crackers); the debut film appearance of two of the Three Stooges (Soup To Nuts); a Gary Cooper/Marlene Dietrich vehicle (Morocco); Garbo's first talkie (Anna Christie); John Wayne's big break (The Big Trail); a Hitchcock (Murder!); Jean Harlow's debut (Hell's Angels, directed by Howard Hughes); and so, so many more.
Then there's music. On the composition side, there's some great Gershwins (I Got Rhythm, I've Got a Crush on You, Embraceable You). There's Hoagy Carmichael's Georgia On My Mind. There's Dream a Little Dream of Me, Sunny Side of the Street, Livin' in the Sunlight, Lovin' in the Moonlight, Just a Gigolo; and a Sousa march, The Royal Welch Fusiliers.
There's also some banger recordings: Marian Anderson's Nobody Knows the Trouble I've Seen; Bessie Smith and Louis Armstrong's St Louis Blues; Clarence Williams’ Blue Five's Everybody Loves My Baby (but My Baby Don't Love Nobody but Me); Louis Armstrong's If I Lose, Let me Lose; and (again) so many more!
On top of that, there's a bunch of 2D art, including a Mondrian, a Klee, and a ton more work from 1930, which means a lot of Deco, Constructivism, and Neoplasticism. As a collagist, I find this very exciting:
https://pluralistic.net/2025/12/03/cannier-valley/#bricoleur
As with previous editions, Jenkins and Boyle use this year's public domain report as a jumping-off point to explain some of the gnarlier aspects of copyright law. This year's casus belli is the bizarre copyright status of Betty Boop.
https://web.law.duke.edu/cspd/publicdomainday/2026/#boopanchor
On January 1, the first Betty Boop cartoon, Dizzy Dishes, will enter the public domain. But there are many aspects of Betty Boop that are already in the public domain, because the copyright on many later Boop cartoons was never renewed – until 1976, copyright holders were required to file some paperwork at fixed intervals to extend the copyright on their works. While the Fleischer studio (where Betty Boop was created) renewed the copyright on Dizzy Dishes, there were many other shorts that entered the public domain years ago.
That means that all the aspects of Betty Boop that were developed for Dizzy Dishes are about to enter the public domain. But also, all the aspects of Betty Boop from those non-renewed shorts are already in the public domain. But some of the remaining aspects of Betty Boop's character design – those developed in subsequent shorts that were also renewed – are also in the public domain, because they aren't copyrightable in the first place, because they're "generic," or "trivial," constitute "minuscule variations," or be so standard or indispensable that as to be a "scène à faire."
On top of that, there are aspects of the Betty Boop design that may be in copyright, but no one is sure who they belong to, because a lot of the paperwork establishing title to those copyrights vanished during the various times when the Fleischer studio and its archives changed hands.
But we're not done yet! Just because some later aspects of the Betty Boop character design are still in copyright, it doesn't follow that you aren't allowed to use them! US Copyright law has a broad set "limitations and exceptions," including fair use, and if your usage fits into one of these exceptions, you are allowed to reproduce, adapt, display and perform copyrighted works without permission from the copyright holder – even (especially) if the copyright holder objects.
And finally, on top of all of this, there's trademark, which is often lumped in with copyright as part of an incoherent, messy category we call "intellectual property." But trademark is absolutely unlike copyright in virtually every way. Unlike copyright, trademarks don't automatically expire. Trademarks remain in force for so long as they are used in commerce (which is why a group of cheeky ex-Twitter lawyers are trying to get the rights to the Twitter trademarks that Musk abandoned when he rebranded the company as "X"):
But also, trademark exists to prevent marketplace confusion, which means that you're allowed to use trademarks in ways that don't lead to consumers being misled about the origin of goods or services. Even the Supreme Court has (repeatedly) upheld the principle that trademark can't be used as a backdoor to extend copyright.
That's important, because the current Betty Boop license-holders have been sending out baseless legal threats claiming that their trademarks over Betty Boop mean that she's not going into the public domain. They're not the only ones, either! This is a routine, petty scam perpetrated by marketing companies that have scooped up the (usually confused and difficult-to-verify) title to cultural icons and then gone into business extracting rent from people and businesses who want to make new works with them. Scammers in this mold energetically send out bullshit legal threats on behalf of the estates of Charlie Chaplin, Alfred Hitchcock, and Herge, salting their threats with nonsense about different terms of copyright in the UK and elsewhere.
As Jenkins and Boyle point out, the thing that copyright expiration get us is clarity. When the heroic lawyer and Sherlockian Les Klinger succesfully wrestled the Sherlock Holmes rights out of the Doyle estate, he did us all a solid:
https://esl-bits.eu/ESL.English.Listening.Short.Stories/Rendition/01/default.html
But "wait until Les gets angry enough to spend five years in court" isn't a scalable solution to the scourge of copyfraud. It's only through the unambiguous expiry of copyright that we can all get clarity on which parts of our culture are free for all to use.
Now, that being said, copyright's limitations and exceptions are also hugely important, because there are plenty of beneficial uses that arise long before a work enters the public domain. To take just one example: for the past week, the song in top rotation on my music player has been the newly (officially) released Fatboy Slim track Satisfaction Skank, a mashup of Slim's giant hit Rockefeller Skank and the Rolling Stones' even bigger hit (I Can't Get No) Satisfaction:
https://www.youtube.com/watch?v=_c_V3oPCe-s
This track is one of Fatboy Slim's all-time crowd-pleasers, the song he would bust out during live shows to get everyone on the dance-floor. But for more than 20 years, the track has been exclusive to his live shows – despite multiple overtures, Fatboy Slim couldn't get the Rolling Stones to respond to his attempts to license Satisfaction for an official release.
That changed when – without explanation – the Rolling Stones reached out the Slim and offered to license the rights, even giving him access to the masters:
https://www.bbc.com/news/articles/c2dzre3z96go
This is a happy ending, but it's also a rarity. For every track like this – where the rightsholders decide to grant permission, even if it takes decades – there are thousands more that can't be officially released. This serves no one's interests – not musicians, not fans. The irony is that in the golden age of sampling, everyone operated from the presumption that sampling was fair use. High profile lawsuits and gunshy labels killed that presumption, and today, sampling remains a gigantic, ugly mess:
Which is all to say that the ongoing growth of the public domain, after its 20-year coma, is a most welcome experience – but if you think the public domain is great, wait'll you see what fair use can do for creativity!
(Image: Jennifer Jenkins and James Boyle, CC BY 4.0)
Hey look at this (permalink)
- NVIDIA Isn't Enron – So What Is It? https://www.wheresyoured.at/nvidia-isnt-enron-so-what-is-it/
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How Google Maps quietly allocates survival across London’s restaurants – and how I built a dashboard to see through it https://laurenleek.substack.com/p/how-google-maps-quietly-allocates
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Who do they think you are? https://hidden-selves.wove.co/
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Datacenters in space are a terrible, horrible, no good idea. https://taranis.ie/datacenters-in-space-are-a-terrible-horrible-no-good-idea/
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Mobile Voting Project’s vote-by-smartphone has real security gaps https://blog.citp.princeton.edu/2025/12/16/mobile-voting-projects-vote-by-smartphone-has-real-security-gaps/
Object permanence (permalink)
#20yrago Sony DRM Debacle Roundup Part V https://memex.craphound.com/2005/12/16/sony-drm-debacle-roundup-part-v/
#15yrsago Weird D&D advice-column questions https://comicsalliance.com/weird-dd-questions-dungeons-dragons/
#10yrsago America’s permanent, ubiquitous tent-cities https://placesjournal.org/article/tent-city-america/
#10yrsago The changing world of webcomics business models https://web.archive.org/web/20151218130702/http://shadowbinders.com/webcomics-changing-business-model-podcast/
#10yrsago Cop who demanded photo of sexting-accused teen’s penis commits suicide https://arstechnica.com/tech-policy/2015/12/cop-who-wanted-to-take-pic-of-erection-in-sexting-case-commits-suicide/
#10yrsago Saudi millionaire acquitted of raping teen in London, says he tripped and accidentally penetrated her https://www.telegraph.co.uk/news/uknews/crime/12052901/Ehsan-Abdulaziz-Saudi-millionaire-cleared-of-raping-teenager.html
#10yrsago Someone snuck skimmers into Safeway stores https://krebsonsecurity.com/2015/12/skimmers-found-at-some-calif-colo-safeways/
#10yrsago Philips promises new firmware to permit third-party lightbulbs https://web.archive.org/web/20151216182639/http://www.developers.meethue.com/content/friends-hue-program-update
#5yrsago Jan 1 is Public Domain Day for 1925 https://pluralistic.net/2020/12/16/fraught-superpowers/#public-domain-day
#5yrsago Landmark US financial transparency law https://pluralistic.net/2020/12/16/fraught-superpowers/#financial-secrecy
#5yrsago Chaos Communications Congress https://pluralistic.net/2020/12/16/fraught-superpowers/#rc3
#5yrsago Email sabbaticals https://pluralistic.net/2020/12/16/fraught-superpowers/#email-sabbatical
Upcoming appearances (permalink)
- Hamburg: Chaos Communications Congress, Dec 27-30
https://events.ccc.de/congress/2025/infos/index.html -
Denver: Enshittification at Tattered Cover Colfax, Jan 22
https://www.eventbrite.com/e/cory-doctorow-live-at-tattered-cover-colfax-tickets-1976644174937 -
Colorado Springs: Guest of Honor at COSine, Jan 23-25
https://www.firstfridayfandom.org/cosine/
Recent appearances (permalink)
- (Digital) Elbows Up (OCADU)
https://vimeo.com/1146281673 -
How to Stop “Ensh*ttification” Before It Kills the Internet (Capitalisn't)
https://www.youtube.com/watch?v=34gkIvYiHxU -
Enshittification on The Daily Show
https://www.youtube.com/watch?v=d2e-c9SF5nE -
Enshittification with Four Ways to Change the World (Channel 4)
https://www.youtube.com/watch?v=tZQaEeuuI3Q -
The Plan is to Make the Internet Worse. Forever. (Novarra Media)
https://www.youtube.com/watch?v=7wE8G-d7SnY
Latest books (permalink)
- "Canny Valley": A limited edition collection of the collages I create for Pluralistic, self-published, September 2025
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"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).
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"The Bezzle": a sequel to "Red Team Blues," about prison-tech and other grifts, Tor Books (US), Head of Zeus (UK), February 2024 (thebezzle.org).
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"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).
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"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).
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"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.
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"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
Upcoming books (permalink)
- "Unauthorized Bread": a middle-grades graphic novel adapted from my novella about refugees, toasters and DRM, FirstSecond, 2026
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"Enshittification, Why Everything Suddenly Got Worse and What to Do About It" (the graphic novel), Firstsecond, 2026
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"The Memex Method," Farrar, Straus, Giroux, 2026
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"The Reverse-Centaur's Guide to AI," a short book about being a better AI critic, Farrar, Straus and Giroux, June 2026
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. LEGAL REVIEW AND COPYEDIT COMPLETE.
-
"The Post-American Internet," a short book about internet policy in the age of Trumpism. PLANNING.
-
A Little Brother short story about DIY insulin PLANNING
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.
How to get Pluralistic:
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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
europeanspaceagency posted a photo:
On 17 December at 05:01 GMT (06:01 CET), two new Galileo satellites lifted off from Europe’s Spaceport in French Guiana aboard an Ariane 6 rocket. This marked the 14th launch for Europe’s satellite navigation operational satellite programme, reinforcing Europe’s resilience and autonomy.
The flight, designated VA266, was the first launch of Galileo satellites on Europe’s newest heavy-lift launcher Ariane 6.
The European Space Agency (ESA) is responsible for carrying out the Galileo launch with Arianespace on behalf of the European Commission. The Galileo satellites were manufactured by OHB, under contract with ESA. Once in orbit, the EU Agency for the Space Programme (EUSPA) will bring the satellites into service and oversee their operation.
Follow the launch campaign
Credits: ESA - S. Corvaja
europeanspaceagency posted a photo:
Europe shines brightly at night, as seen in this mosaic created from over 7000 pictures taken by astronauts on the International Space Station. This is the first nighttime mosaic of Europe in colour ever produced with calibrated space images.
The composition uses images from 2017 with a resolution of around 100 metres per pixel. Until 2021, the International Space Station was the only spacecraft suitable for capturing colour images of Earth at night. Resolution is equally important: astronauts were able to capture images at five metres per pixel, exceeding the capabilities that most satellites can currently offer.
Astronaut photography has emerged as the best source for scientists to map artificial light. All space agencies and their crews contribute to the effort, with ESA astronauts playing a vital role since Paolo Nespoli became one of the pioneers of nighttime photography from space in 2010.
“Most of the images that you see of Europe at night are artistic interpretations of black and white images, not real colour,” explains Alejandro Sánchez de Miguel from the Complutense University of Madrid and the Institute of Astrophysics of Andalusia in Spain.
By combining citizen science with artificial intelligence, the Cities at Night project created the mosaic by processing thousands of images and time-lapses, and correcting distortions in them. The missing patches at the bottom (north of Africa) and top (Scotland in the UK) of this mosaic are filled with data from NASA’s weather satellite Suomi NPP.
Different colours represent different lighting technologies, with warmer, redder tones generally indicating sodium light sources. The whiter and bluer emissions belong to light-emitting diode lamps, or LED technology, in our streets. The whitening of artificial light can be seen in this comparison between 2017 and 2022.
According to scientists, the transition towards white and blue-rich light radiation is eroding the natural nighttime cycles across the continent. Excessive lighting disrupts the circadian day-and-night rhythm of living organisms, including humans, with negative health effects on species and whole ecosystems.
A scientific study identified three major negative impacts: the suppression of melatonin, the response of insects and bats towards or away from light, and the visibility of stars in the night sky.
“Astronaut photography allows us to look back in time at global light pollution during periods when no colour-sensitive satellites existed,” adds Alejandro.
As part of the Plan-B project to protect our biodiversity and ecosystems, Cities at Night will release an app in 2026 that will allow Europeans to check how light pollution has evolved over time where they live.
Credits: ESA/NASA/Cities at Night
europeanspaceagency posted a photo:
On 17 December at 05:01 GMT (06:01 CET), two new Galileo satellites lifted off from Europe’s Spaceport in French Guiana aboard an Ariane 6 rocket. This marked the 14th launch for Europe’s satellite navigation operational satellite programme, reinforcing Europe’s resilience and autonomy.
The flight, designated VA266, was the first launch of Galileo satellites on Europe’s newest heavy-lift launcher Ariane 6.
The European Space Agency (ESA) is responsible for carrying out the Galileo launch with Arianespace on behalf of the European Commission. The Galileo satellites were manufactured by OHB, under contract with ESA. Once in orbit, the EU Agency for the Space Programme (EUSPA) will bring the satellites into service and oversee their operation.
Follow the launch campaign
Credits: ESA - S. Corvaja
europeanspaceagency posted a photo:
On 17 December at 05:01 GMT (06:01 CET), two new Galileo satellites lifted off from Europe’s Spaceport in French Guiana aboard an Ariane 6 rocket. This marked the 14th launch for Europe’s satellite navigation operational satellite programme, reinforcing Europe’s resilience and autonomy.
The flight, designated VA266, was the first launch of Galileo satellites on Europe’s newest heavy-lift launcher Ariane 6.
The European Space Agency (ESA) is responsible for carrying out the Galileo launch with Arianespace on behalf of the European Commission. The Galileo satellites were manufactured by OHB, under contract with ESA. Once in orbit, the EU Agency for the Space Programme (EUSPA) will bring the satellites into service and oversee their operation.
Follow the launch campaign
Credits: ESA - S. Corvaja
europeanspaceagency posted a photo:
On 17 December at 05:01 GMT (06:01 CET), two new Galileo satellites lifted off from Europe’s Spaceport in French Guiana aboard an Ariane 6 rocket. This marked the 14th launch for Europe’s satellite navigation operational satellite programme, reinforcing Europe’s resilience and autonomy.
The flight, designated VA266, was the first launch of Galileo satellites on Europe’s newest heavy-lift launcher Ariane 6.
The European Space Agency (ESA) is responsible for carrying out the Galileo launch with Arianespace on behalf of the European Commission. The Galileo satellites were manufactured by OHB, under contract with ESA. Once in orbit, the EU Agency for the Space Programme (EUSPA) will bring the satellites into service and oversee their operation.
Follow the launch campaign
Credits: ESA - S. Corvaja