American Atheists: In The Closet?

A study suggests many non-believers may uncomfortable telling a pollster they don’t believe in God. elenabsl / Shutterstock.

A new study suggests that the number of atheists in uStates is considerably higher than the numbers shown by traditional polls by Pew and Gallup. The study is flawed, and the authors cheerfully admit this and are working on better ways to conduct their poll, and they remain convinced there are more atheists than assumed. I don’t find that terribly difficult to believe, as atheism in this country carries a high stigma, and in a number of states, could cost people their jobs and turn goodwill towards them cold. Politics here are inextricably linked with religion, and a politician who states they are an atheist aren’t going to find themselves very popular, to say the least. Even when a lot of atheists are willing to admit it, they quickly follow it up with making nice noises about religious people, or point out that they aren’t against religion, it’s just not their thing.

I remember when atheists at large were utterly thrilled when President Obama acknowledged the existence of atheists in America. He was soundly condemned for that mention by theists. We were thrilled because that simple acknowledgement was a large risk to take. It’s a stark illustration of just how much atheism is considered to be a dirty little secret here, and in the minds of many, it remains linked with being a dirty commie.

Here’s a simple question: How many Americans don’t believe in God?

Pew and Gallup — two of the most reputable polling firms in America — both come to a similar figure. About 10 percent of Americans say they do not believe in God, and this figure has been slowly creeping up over the decades.

But maybe this isn’t the whole story. University of Kentucky psychologists Will Gervais and Maxine Najle have long suspected that a lot of atheists aren’t showing up in these polls. The reason: Even in our increasingly secular society, there’s still a lot of stigma around not believing in God. So when a stranger conducting a poll calls and asks the question, it may be uncomfortable for many to answer truthfully.

Gervais and Najle recently conducted a new analysis on the prevalence of atheists in America. And they conclude the number of people who do not believe in God may be even double that counted by these polling firms.

“There’s a lot of atheists in the closet,” Gervais says. “And … if they knew there are lots of people just like them out there, that could potentially promote more tolerance.”

Vox has the full story.

Mother Jones also has this story, but with a different perspective: the new study showed that not one single republican identified as an atheist. I don’t find that surprising at all.

The War Over the Blackest Black.

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^That is Vantablack, a ferocious matte black which absorbs 99.96% of the light that hits it, and no matter what’s underneath Vantablack, it looks flat and completely empty. Vantablack was extremely exciting in artist’s circles when the news first broke, but it had barely broken before Anish Kapoor brokered an exclusivity deal. That didn’t go down well among artists. The world’s blackest black, and only available to one artist? Stuart Semple, another British artist, fought back with the World’s Pinkest Pink, and the Most Glittery Glitter, available to everyone except Kapoor. Now Semple has come out with Black 2.0, his answer to Vantablack 2.0:

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Before anyone starts scratching their heads over this, wondering WTF, yes, artists are rather obsessed with black, and in particular, a matte black which will eat light. It’s a thing, what can I say?
Black 2.0 is available to all, except Kapoor.

Now, with the recent release of Vantablack 2.0, which is the world’s newest blackest black, Semple has released his own newest blackest black. Called Black 2.0, Semple calls it “the most pigmented, flattest, mattest, black acrylic paint in the world.” Much like Vantablack, it’s able to turn 3D surfaces into flat-looking holes, but it’s not quite got the staring-into-the-abyss qualities of the original. (Or the laser-eating capabilities of Vantablack 2.0, which the researchers at NanoSystem have said is “so black that our spectrometers can’t measure it!”)

You can read all about the blackest of black wars here.

Badger Buries Cow Carcass.

Warning: If you don’t want bad Benny Hill skits in your head, mute video immediately. Badger buries cow.

After scientists set up cameras to keep tabs on the behavior of scavenger animals in Utah, they were surprised to discover a badger buried a small cow carcass, according to a new study published Friday.

While badgers, which are small, omnivorous mammals, were known to scavenge and store small food items underground, this was the first evidence of the critter storing an animal carcass larger than itself, according to the study, which was led by undergraduate students from the University of Utah.

You can read all about it here.

Killing Ourselves Harshly.

(Brian Gratwicke, Fickr).

(Brian Gratwicke, Fickr).

That is a Striped Blenny, a popular aquarium fish. Also known as a Fang Blenny. There are a number of different types, and they have exploded into a different kind of popularity, outside of aquarist circles. Blennies defend themselves with a venomous bite. The venom doesn’t kill, but it does get the potential predator woozed out on opiones, so the Blenny can make a quick get away. The venom has intrigued medical researchers, particularly those who want to come up with a painkiller which actually works, and doesn’t have such heavy addiction potential. Sounds good so far, right? There’s something of a problem though – the natural home of Blennies is The Great Barrier Reef, which is dying an all too rapid death from bleaching. This is a reminder of just how little we actually know of our planet, or of all the potential benefits to ourselves are out there, right now, but we’re very busy killing off so many different types of habitats, we are killing ourselves.

So the fang blenny’s potential isn’t just blue-sky thinking; there’s a very real and somewhat straight path for studying this opioid to make it useable as a pharmaceutical.

The number one hurdle is the health of the Great Barrier Reef, where these fish live. There’s an immense amount of unknown diversity in ecosystems around the world disappearing at unprecedented rates due to climate change, and the GBR is fragile among these. Current policies of both the Australian and American governments don’t bode well for slowing climate change and preserving nature to its full potential to help us.

Here’s the key thing: a better opioid is worth tens of billions of dollars. The best source of inspiration for new pharmaceuticals is nature, and that’s what we are destroying for a few million or even hundred million in the short term.

The reality is that the economic argument for conservation vastly outweighs the economic argument for destruction.The fang benny populations are declining as the reef gets bleached and destroyed, and with it goes millions of years of perfecting potentially life-savings drugs for our use.

Full story here.

Also see: Putin thinks Russia will benefit from climate change and communities will ‘adjust’.

“I haven’t been in a science class in a long time, but…”

Republican Pennsylvania State Senator Scott Wagner.

Republican Pennsylvania State Senator Scott Wagner.

We open today’s can of stupid with Pennsylvania, and Sen. Scott Wagner. Wagner is all for  opening up state forests to drilling for natural gas. Why, we don’t need forests, what are they good for? Just full of trees and animals and stuff, they aren’t important at all. Yesterday, we had the tin cap idiocy of Lord Monckton, and today the climate change theories of Wagner:

NPR reports that Pennsylvania State Senator Scott Wagner on Tuesday gave a talk in favor of conducting natural gas drilling in state forests — and he justified his position by using a scientifically incorrect analysis of climate change.

Specifically, Wagner said he wasn’t worried about carbon emissions leading to a warming planet because the change in the planet’s temperature was more likely caused by the Earth getting closer to the sun every year.

“I haven’t been in a science class in a long time, but the earth moves closer to the sun every year–you know the rotation of the earth,” Wagner said. “We’re moving closer to the sun.”

I don’t believe you. I don’t think you have ever been in a science class. That said, why are you relying on your own ignorance? There is a ton of information, clear, concise, evidence-backed, and easily understood, even by people like yourself, available. Information which would point out the idiocy of destroying state forests.

Wagner also suggested that climate change could be caused by the heat emitted from human bodies.

“We have more people,” he said. “You know, humans have warm bodies. So is heat coming off? Things are changing, but I think we are, as a society, doing the best we can.”

Oh ffs. Climate change is driven by humans, but not in that way. If this is how you did in school, I am absolutely amazed you graduated. Via Raw Story.

Tin Cap Time.

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The Heartland Institute recently had their “Fuck the Planet!” conference, attended by the Mercers, and all those others who have some sort of vested interest in killing off everyone and everything. I guess they’ll bug out to Mars with Musk when life becomes unsustainable.

The atmosphere was buoyant at a conference held by the conservative Heartland Institute last week at a downtown Washington hotel, where speakers denounced climate science as rigged and jubilantly touted deep cuts President Trump is seeking to make to the Environmental Protection Agency.

Front and center during the two-day gathering were New York hedge fund executive Robert Mercer and his daughter Rebekah Mercer, Republican mega-donors who with their former political adviser Stephen K. Bannon helped finance an alternative media ecosystem that amplified Trump’s populist themes during last year’s campaign.

The Mercers’ attendance at the two-day Heartland conference offered a telling sign of the low-profile family’s priorities: With Trump in office, the influential financiers appear intent on putting muscle behind the fight to roll back environmental regulations, a central focus of the new administration.

The Washington Post has a full run down on the conference.

I’ll just focus here on the batshit element of such conferences, this time, embodied by ever loony Lord Christopher Monckton:

Raw Story has a rundown of his 5 main points, so click on over if you prefer to read.

Nemo’s Megalodon! And Giant Squid! And Cycloptopus! And…

Oh, the work of Nemo Gould is so many things. Wonderful. Awesome. Imaginative. Out of the Box. Fun. Every good thing. His outlook relates very much to mine, and I love that, but it’s hard to see how anyone wouldn’t take joy in his work. Also, he has a thing for tentacled beings, what’s not to love? He even did work for the Monterey Aquarium!

Nemo Gould.

Nemo Gould.

The Megalodon is Gould’s latest work, a 16-foot-long salvaged fuel tank from an F-94 bomber plane’s wing. The shark has working propellors for fins, and a tail that glides back and forth ominously. A cutaway on the side reveals various boiler and control rooms, each with their own delicately installed moving parts. It’s packed full of tiny human figures and whimsical creatures alike, all in mid-task as they operate their predatory underwater vessel.

The project took Gould a little over two years to finish. “I’d wanted to make a cutaway vessel for years, and had been putting objects aside for that purpose,” he explains. “I know it sounds backwards, but the tank was the last missing piece.” He found it at an aircraft salvage business, and from there he was able to assemble the final sculpture.

Gould says his process is a lot like solving a puzzle. “I maintain an extensive collection of things that I feel strongly about one way or another,” he says. “The challenge is to find which of the million potential relationships between these things could lead to the best art.” More so than his skills as an artist, machinist, fabricator, woodworker, et al., Gould says that “maintaining a vast, organized library of seemingly random objects is the real trick.”

Megalodon 2016 (extended) from Nemo Gould on Vimeo.

Just two more, and it’s killing me to not post all of them, and there are so many, so you’ll have to go visit!

Nemo Gould.

Nemo Gould.

Cycloptopus is a fearsome hybrid of two of my favorite monsters, one real, one mythical.  This creature is particularly dangerous because of its irritability.  You’d be irritable too if you were powered by an open flame and your body was made of wood.

Materials:

Radio cabinets, rocking chairs, fake fireplace, decorative clock elements, cabinet knobs, wall paper, chair parts, lamp parts, wheel hub, motors, LEDs.

Nemo Gould.

Nemo Gould.

I have been fascinated by the Giant Squid for quite some time. A real life, terrifying mystery of the deep.

I have posted a step-by-step essay of this piece with lots of process photos over at Instructables.com

Materials:

Street light covers, belt wheels, railing sections, brass fireplace hardware, candle sticks, drawer pulls, chandelier parts, wood planks, vanity mirror frame, timing motor, gear motor, LEDs, lawn sprinkler, pop rivets.

There are videos for most all the wondrous creations, showing them in their full glory and movement! Fair warning, you’ll be lost in Nemo’s world for a long time, but that is in no way a bad thing!

Oh, and don’t miss Octovarius! * Nemo Gould, Kinetic Sculpture from Found Materials. Go visit!

Via Make.

Beyond the Edge.

BEYOND the EDGE – NTM 006 from Teun van der Zalm on Vimeo.

In the second quarter of 2015, I began to research an new project; “What lies beyond the edge of the Observable Universe?”. I began an experiment to visualize this through our universal language: Mathematics. In this series I continue my search for new nebula forms, using particles controlled by physics and noise. They are fully designed to work in a 3d engine.

Directed and Designed by Teun van der Zalm

salmonick-atelier.com/

The Secret Life of Art.

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That’s a tiny bit of a wooden altar, revealing the layers, types, and colours of paint used. Art restoration is a fascinating business, and there’s art under the art, in the science of restoration.

Stratigraphic studies is one of the standard examination methods that provides very precise information about the complexity of paint layers that make up a painting or decorative finish. It is the key method to assess the extent and condition of different painting layers. Stratigraphic studies can reveal the way the paint layers are applied and consequently, they tell us how the artist worked. Tiny samples of paint are taken from discrete and representative areas and mounted in clear resin. Such prepared samples are observed under a binocular microscope at high magnification between 50x and 200x depending on the thickness of the examined layer.

Thorough observation of the various layers enables the conservator to determine the history of the object and whether interventions have occurred by inspecting layers of dirt, varnish and paint. Additionally the media analysis can be carried out on the cross-sections which provide important information about an artist’s technique, and helps to determine the most appropriate conservation treatments to use.  A technique of staining of cross-sections can detect the presence of certain materials in the various painting layers such as lipids (suggesting an oil-containing medium), or proteins (signifying a gum-, casein- or animal glue-based medium).

The information revealed using the stratigraphic analysis can be recorded using microphotography and then compared with UV, IR and X-ray examination, consequently providing reliable information on the object’s history and artist’s technique.

Then there are the amazing microphotographs of wood. This is a bit of Norway Fir:

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When identifying wood, it may only be necessary to determine if the wood is a hardwood or a softwood. In other cases, determining the individual species is necessary. Thin sections are prepared from small wood samples. Light microscopy is employed to distinguish anatomical characteristics of wood using features such as their cells and tissues visible only under high magnification. Technical literature and the collection of samples of numerous wood species are used during the identification.

Go have a wander over to visit Damian Lizun at Fine Art Conservation!

Autonomous Car Trap 001.

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The Creators Project has an absolutely fascinating interview with James Bridle, whose current project involves the magical science of fucking up autonomous cars. While this is a fun and intriguing project, Bridle brings up a very good point about just how easy it would be to interfere with those wondrous self-driving cars. Pictured above is a salt trap, blending the legendary magic of yore with modern road/driving signals.

Is it a silly prank, a Pagan ritual, or a genius discovery about the next era of mass transit? In a picture posted to Flickr by artist James Bridle—known for coining the term, “New Aesthetic”—a car is sitting in the middle of a parking lot has been surrounded by a magic salt circle. In the language of road markings, the dotted white lines on the outside say, “Come On In,” but the solid white line on the inside says, “Do Not Cross.” To the car’s built-in cameras, these are indomitable laws of magic: Petrificus Totalus for autonomous automobiles.

Captioned simply, “Autonomous Trap 001,” the scene evokes a world of narratives involving the much-hyped technology of self-driving cars. It could be mischievous hackers disrupting a friend’s self-driving ride home; the police seizing a dissident’s getaway vehicle; highway robbers trapping their prey; witches exorcizing a demon from their hatchback.

Self-driving cars aren’t there yet, but the artist-philosopher-programmer’s thought-provoking photo is a reminder that we’ll have to start thinking about these things soon. If a self-driving car is designed to read the road, what happens when the language of the road is abused by those with nefarious intent?

[…]

Now Bridle is trying to build his own self-driving car, and made the sardonic artwork Autonomous Trap 001 in the process. He’s released all the code developed in pursuit of the DIY self-driving car here. We spoke to Bridle to learn more about the circumstances behind this vague photo series and better understand his apprehension and curiosity about the robot chauffeurs of the future.

Creators: What are we looking at here? Can you give me a brief explanation of Autonomous Trap 001?

James Bridle: What you’re looking at is a salt circle, a traditional form of protection—from within or without—in magical practice. In this case it’s being used to arrest an autonomous vehicle—a self-driving car, which relies on machine vision and processing to guide it. By quickly deploying the expected form of road markings—in this case, a No Entry glyph—we can confuse the car’s vision system into believing it’s surrounded by no entry points, and entrap it.

Is this actually an autonomous car, or is it conceptual?

I don’t actually have a self-driving car, unfortunately—I don’t think any have made it to Greece yet, plus the cost issue—but I do have a pretty good understanding of how the things work, having been researching them for a while. And the one in the picture is a research vehicle for building my own. As usual, I’ve got totally carried away in the research, and ended up writing a bunch of my own software, rigging up cameras and building neural networks to reproduce some of the more interesting currents in the field. Like the trap, I wouldn’t entirely trust what I’ve built, but the principles are sound.

Where did you take these pictures?

I made this Trap while training the car on the roads around Mount Parnassus in Central Greece. Parnassus feels like an appropriate location because, as well as being quite spectacular scenery and wonderful to drive and hike around, it’s the home of the Muses in mythology, as well as the site of the Delphic Oracle. The ascent of Mount Parnassus is, in esoteric terms, the journey towards knowledge, and art.

There’s much more at The Creator’s Project!

Mesmerizing?

This well-known photograph was taken (extremely) shortly after the detonation of a nuclear device during Operation Tumbler-Snapper.

This well-known photograph was taken (extremely) shortly after the detonation of a nuclear device during Operation Tumbler-Snapper.

Ars Technica has an article up about recently declassified nuclear tests, which are now being plastered on youtube. I watched two of the videos, and realized I was physically pulled back, half turned away, in cringe mode. Yes, I can see where someone could find these mesmerizing, but I don’t, I just find them terrifying. I find every single thing about it terrifying – that we ever reached this point at all is a terror.

From 1945 until the practice was ended in 1963 with the Limited Nuclear Test Ban Treaty, the US conducted 210 above-ground nuclear weapons tests. The majority of those took place at the Nevada National Security Site, then on remote Pacific atolls. Obviously, since the purpose of the tests was to understand this powerful new class of weapon, all of the tests were captured with multiple high-speed cameras (running at roughly 2,400 frames per second). And until now, many of those films have languished in classified vaults. But Greg Spriggs and his colleagues at Lawrence Livermore National Labs (LLNL) are rescuing and declassifying many of them, posting them on YouTube in the process.

The first 64 declassified films were uploaded this week, with footage from Operations Upshot-Knothole, Castle, Teapot, Plumbbob, Hardtack I, Hardtack II, and Dominic. And they’re utterly mesmerizing. In fact, they’re truly awesome, in the literal sense of the word.

No, I don’t find them awesome, either. They don’t fill me with awe, they fill me with dread. I find them disgraceful, discouraging, darkly dystopian, and we are now tottering on the edge of actual deployments, not tests. What I find even more dismal is that there will be too many people who will shout “oh cool, look at that, destroyed!” or some such, like cheering on destruction in a video game, rather than enough people who will take these for the warning they should be. And yes, I know there is a fascination to watching shock waves intersect and all, but these make me want to hide in a cave. Not that it would help.

Via Ars Technica.