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13 things I learned from six years at the Guardian – Mary Hamilton – Medium
I started at the Guardian in 2011 as an SEO subeditor, working out how to bring the Guardian’s journalism to the widest possible relevant audience; in 2013 I moved to Australia to launch the local…
15 hours ago by MattieTK
Introducing Snippets – giving extra context to complex stories | Help | The Guardian
Today we launched Snippets to give you the extra information you need to understand complex stories
15 hours ago by MattieTK
Insectageddon: farming is more catastrophic than climate breakdown | George Monbiot | Opinion | The Guardian
The shocking collapse of insect populations hints at a global ecological meltdown, writes Guardian columnist George Monbiot
green  environment  Guardian  Monbiot 
18 hours ago by nigelthomp
Mystery over Christ’s orb in $100m Leonardo da Vinci painting
The Salvator Mundi (Saviour of the World) portrays Jesus gesturing in blessing with his right hand while holding a crystal orb in his left hand.Crystal sphere in Salvator Mundi artwork lacks optical exactitude, prompting experts to speculate over motive and authenticity. “In one respect, it is rendered with beautiful scientific precision … But Leonardo failed to paint the distortion that would occur when looking through a solid clear orb at objects that are not touching the orb.“Solid glass or crystal, whether shaped like an orb or a lens, produces magnified, inverted, and reversed images. Instead, Leonardo painted the orb as if it were a hollow glass bubble that does not refract or distort the light passing through it.”A Christie’s spokeswoman said: “Leonardo’s paintings are known for their mystery and ambiguity. He was intimately familiar with the technicality and qualities of optics and light. If he had recreated the image with optical exactitude, the background would have been distorted.“It is our opinion that he chose not to portray it in this way because it would be too distracting to the subject of the painting.”
Guardian  arts  debates  controversies 
yesterday by thomas.kochi
Man Booker prize goes to second American author in a row
The book is based around a real event: the night in 1862 when Abraham Lincoln buried his 11-year-old son Willie in a Washington cemetery. Imagining the boy trapped in the Bardo – a Tibetan Buddhist term for a kind of limbo – Saunders’ novel follows the fellow dead, also trapped in the graveyard and unwilling to accept death, who observe the boy as he desperately waits for his father to return.Written almost entirely in dialogue, the novel also includes snippets of historical texts, biographies and letters, some of which contradict each other and others that Saunders, 58, created himself.ccepting the prize, athe 58-yearold Texan-born author made an eloquent defence of the importance of culture. “If you haven’t noticed, we live in a strange time, so the question at the heart of the matter is pretty simple,” he said. “Do we respond to fear with exclusion and negative projection and violence? Or do we take that ancient great leap of faith and do our best to respond with love? And with faith in the idea that what seems other is actually not other at all, but just us on a different day.“In the US we’re hearing a lot about the need to protect culture. Well this tonight is culture, it is international culture, it is compassionate culture, it is activist culture. It is a room full of believers in the word, in beauty and ambiguity and in trying to see the other person’s point of view, even when that is hard.”
Guardian  awards  books 
3 days ago by thomas.kochi

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