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From houndstooth trousers to Mr Motivator’s leotards, pattern is always a delight | Hannah Jane Parkinson

I would find it difficult to muddle through life without beautiful, artistic patterns

There’s a Mary Quant exhibition on at the V&A at the moment, which, if you’re able to, I would urge you to visit. If not, and you are more talented with a sewing machine than I am, the website has downloadable sewing patterns.

I would find it difficult to muddle through life without pattern; not in the sense of routine, but actual beautiful, artistic patterns. Once, aged 18 and roaming around Moscow, I spotted an older man wearing an almost exact replica of the blue argyle sweater I had on. I bounded over and suggested a photograph together, and it is now one of my favourites: these two strangers beaming. Neither of us speaking the other’s language, but also 100% conversing sartorially. I think of him sometimes and look at that photograph like one with an old friend.

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World Edition - The Atlantic
Snap Spectacles 3 review: A better, more sophisticated novelty
In case you've forgotten, Snap makes video-recording sunglasses called Spectacles. The first two iterations didn't do very well, and you had to go to a special vending machine to pay $130 or $150 a pop. Despite lukewarm reviews, Snap is isn't g...
Engadget | Technology News, Advice and Features
Snap Spectacles 3 review: reaching new depths
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Snap says the changes reflect its intended audience for the new Spectacles: fans of high fashion and artists who relish new creative tools. It’s also a way of avoiding another big writedown: measuring demand carefully with a single online storefront, then selling each unit at a price that lets the company recoup a bigger share of its investment. And Spectacles 3 are a milestone for the company in another way, too, CEO Evan Spiegel told me in a recent interview. Thanks to a second camera that lets the device perceive depth for the first time, Snap can now integrate its software into the real world using special filters that map to the world captured in a video. “What’s really exciting about this version is that, because V3 has depth, we’re starting to actually understand the world around you,” Spiegel said. “So those augmented reality effects are not just a 2D layer. It actually integrates computing into the world around you. And that is where, to me, the real turning point is.” Spiegel is playing a long game. He often says that AR glasses are unlikely to be a mainstream phenomenon for another 10 years — there are simply too many hardware limitations today. The available processors are basically just repurposed from mobile phones; displays are too power hungry; batteries drain too quickly. But he can see a day where those problems are solved, and Spectacles becomes a primary way of interacting with the world. Spiegel says the glasses will be a pillar of the company over the next decade, along with Snapchat and Lens Studio, the company’s tool for building AR effects. “I do think this is the first time that we’ve brought all the pieces of our business together, and really shown the power of creating these AR experiences in Lens Studio and deploying them through Spectacles,” Spiegel said. “And to me, that is the bridge to computing overlaid on the world.” Last week, I spent some time with Spectacles 3 to see how that bridge is coming along. The new design will be polarizing As with many products, first impressions count for a lot, and I expect the new Spectacle design will be polarizing. I strongly suspect that I am not the target audience for Spectacles 3, but in any case I never did feel entirely myself when I had them on. Part of it was that big steel bar running across my nose, which I felt gave me a vaguely bug-like affect. And part of it was that thin steel frame, which consistently dug into my ears and scalp. The black and mineral colors are sleek, but for the most part I missed the toy-like, but comfortable, plastic of the first two generations. Next, I put the cameras through their paces. Image quality is sharp, at least when you view the shots on a phone: photos are stored at a resolution of 1,642 x 1,642 pixels, and videos record at 60 frames per second and are stored at a resolution of 1,216 x 1,216. There are four microphones built into Spectacles 3, and audio fidelity on the videos I recorded sounded good. The company says you can capture 70 videos or 200-plus photos on a single charge, which should be enough to get you through most day-long outdoor activities. To recharge Spectacles 3, you store them in an attractive fold-out leather-wallet. (The elegant wallet may actually be my favorite part of the entire product.) A full charge takes 75 minutes, and the case itself recharges via USB-C. The Spectacles 3 are charged through their included case Spectacles reverses the normal user interface for capturing images: you tap on either of the two camera buttons to record a 10-second video, or press and hold to shoot a 3D photo. As with previous generations, you can tap the button again to add 10 seconds to your video, up to a total of 60 seconds. The marquee feature on Spectacles 3 is a new kind of Snapchat filter that takes advantage of the glasses’ depth perception to create a new category of 3D effects. There are 10 of these depth perception effects available at launch — adding disco lights that bend as they hit your body; big red hearts that pop as you move through them, and so on. Unfortunately, though, you can’t see those effects while you’re shooting video. The actual process goes like this: Shoot a video. Open Snapchat. Import the snap from your Spectacles into Snapchat, where it’s stored in Memories. Choose the snap from Memories. Tap “edit snap.” Wait for the snap to be sent to the cloud for image processing, and then re-downloaded to your phone. Begin swiping to apply 3D filters to your snap. In practice, this may only take about a minute. But I found that image processing could take much longer when I was away from Wi-Fi, as I suspect many Spectacles 3 users might be when playing around with their new glasses. Delays like this can discourage the kind of artistic experimentation that Snap has put at the center of its marketing campaign for Spectacles 3. Moreover, I found the initial set of depth-sensing filters mostly underwhelming. Some applied color effects to my videos in a way that made the video look grainy and unattractive. Others aren’t particularly differentiated from regular old filters — it turns out that confetti with depth perception looks a lot like confetti without depth perception. I also found some annoying bugs. Sometimes, after sending the snap to the cloud and back for image processing, two of the included filters simply didn’t work. I swiped over to the filter, and it didn’t apply any effect to my snaps at all. One last frustration with Spectacles’ integration with Snapchat: snaps taken with Spectacles still don’t transfer automatically to your Snapchat account. Instead, you connect to your phone over Bluetooth or Wi-Fi and and transfer them manually. In my experience, this has made me reach for Spectacles less and less over time. (If you’re at home, on Wi-Fi, and have your Spectacles charging, Spectacles can be set up to export snaps to Snapchat automatically, but there’s no way to do it while you’re wearing or using them.) The Spectacles 3 package also comes with the 3D Viewer, a cardboard tool for viewing the 3D photos you take with the glasses. (It’s the same basic product as Google Cardboard, which Google just discontinued for lack of interest.) Assemble the Viewer, slip your phone into it, and Snapchat enters a special viewing mode designed for photos. I liked browsing 3D photos in the Viewer — you tap a conductive cardboard button to advance through them, and the photos rotate slightly as you move your head. To me the Viewer felt more like a novelty than a core part of the Spectacles product, but I can see how artists might find better uses for 3D photos. Taken together, the advancements in Spectacles 3 represent a meaningful improvement over what came before it — without quite making a complete case for themselves as an essential creative tool. There’s a good amount of novelty in the product, but I fear that, as with the previous two generations, that novelty will fade quickly. And that matters, since the latest generation of Spectacles is more than twice as expensive as the previous one. Snap’s best hope here is that its community of AR developers, who have proven themselves quite adept at building compelling filters and lenses, make better use of Spectacles’ new second camera than the first batch of filters do. And Spiegel is dreaming much bigger than that. I asked whether it might someday be possible to send messages from Spectacles to Spectacles, making the product feel as immediate as Snapchat itself. He told me that it was already in testing. “This is something that we’re actively experimenting with and playing with,” Spiegel said. “And I think it’s really fun to — in near-real time — see the world through someone else’s perspective, in 3D.” Of course, Snap is far from alone in working on AR glasses. Apple, Facebook, and Microsoft are among the companies with versions in the works. Of those, though, Snap is the only company currently selling to consumers. (Microsoft’s HoloLens, at $3,500, isn’t really in the same conversation.) That means its failures get more attention. I asked Spiegel what Snap got in exchange for all the pressure of building in public. He said that getting direct feedback from customers helped Snap iterate faster on its designs. “If you compare version one of spectacles to version three, it’s like night and day in terms of the quality of the product,” Spiegel said. “And so to see that evolution in such a short period of time tells me that if we just keep at this, 10 years from now, I think we’re going to be able to deliver ultra-precise, very high-quality products. And that that’s something that we’re just gonna have to learn, and it’s expensive, and it takes time. But I think in the long run, it’ll pay off.” Vox Media has affiliate partnerships. These do not influence editorial content, though Vox Media may earn commissions for products purchased via affiliate links. For more information, see our ethics policy.
The Verge
These genius translation devices will forever change the way you travel
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Mashable
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Mashable
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Mashable
Goldman Sachs will let people appeal their Apple Card credit limit after allegations of sexist algorithms
Hollis Johnson/Business Insider Goldman Sachs will allow Apple Card customers to appeal their credit limit if they think it's suspiciously low, US bank CEO Carey Hailo said on Monday evening. The bank is Apple's partner for Apple Card and determines people's credit score. It has been at the centre of accusations that it offers lower credit scores for women for no discernible reason. Programmer David Heinemeier Hansson posted a viral thread on Thursday saying that he had been offered 20 times the credit limit of his wife, despite the fact they share all their assets. Apple cofounder Steve Wozniak also said his partner had been offered a lower credit limit. Goldman Sachs hasn't explained how its algorithms come up with people's credit scores, but says it doesn't discriminate against women. Visit Business Insider's homepage for more stories. Goldman Sachs has a message for angry Apple Card customers worried about alleged sexist credit limits: "We hear you." CEO of Goldman Sachs Bank USA Carey Halio put out a statement on Twitter on Monday saying that it doesn't decide Apple Card customers' credit limits based on their gender. See the rest of the story at Business InsiderNOW WATCH: Most maps of Louisiana aren't entirely right. Here's what the state really looks like.See Also:From PewDiePie to Shane Dawson, these are the 26 most popular YouTube stars in the worldApple cofounder Steve Wozniak says Apple Card offered his wife a lower credit limitAfter more than 2 months with the Apple Card, I've never felt more attached to my iPhoneSEE ALSO: After more than 2 months with the Apple Card, I've never felt more attached to my iPhone
Business Insider
From record heat to record cold for many in the US
It was just a few weeks ago the US was sweltering in record heat. Now record cold is moving in from the Arctic and approximately 70% of Americans will feel temperatures below 32° by Wednesday morning. Pedram Javaheri has the latest on the impacts from the cold.
Sport
Raheem Sterling dropped by England after altercation with teammate
Raheem Sterling has been dropped for England's Euro 2020 qualifier against Montenegro on Thursday after an altercation with national teammate Joe Gomez.
Sport
Taliban to free American, Australian hostages in prisoner swap, Afghan president says
The Taliban kidnapped American Kevin King in 2016 along with Timothy Weeks, an Australian national, outside the American University of Afghanistan.      
USATODAY - News Top Stories
Putin has relished US political chaos. He may now fear Trump's impeachment
On Russian state television, tightly controlled by the Kremlin, support for Donald Trump in his current impeachment battle is absolute. After all it is Russia, they sometimes joke, that got the US president elected in the first place!
Politica
The Atlantic Devotes Its December Issue to a Special Report: “How to Stop a Civil War”
“We don’t believe that the conditions in the United States today resemble those of 1850s America. But we worry that the ties that bind us are fraying at alarming speed—we are becoming contemptuous of each other in ways that are both dire and possibly irreversible,” writes editor in chief Jeffrey Goldberg in an introduction to The Atlantic’s December issue, “How to Stop a Civil War.” The American experiment as we know it is not guaranteed to be eternal. This observation orients every article and essay in this singular edition, with today’s best writers confronting questions of American unity and fracture, and working to explain this particular dispiriting moment. As Goldberg writes: “Our immodest hope is that this special issue, appearing on newsstands exactly 162 years after our first issue, will provide at least a partial road map for a country stuck in a cul-de-sac of its own making.”The design of The Atlantic has been remade in striking, and gorgeous, detail beginning with this issue. The Atlantic’s new visual identity is reflected at TheAtlantic.com and with a new iOS app out today that offers a unique way to experience The Atlantic’s journalism. Among thousands of design changes, the most radical is on the cover: The Atlantic flag that’s topped the magazine for a century and a half has been replaced with a simple and declarative A.Essays and arguments that make up the December cover package are divided into three discrete sections: “On the Forces That Pull Us Apart”; “Appeals to Our Better Nature”; and “Reconciliation & Its Alternatives.” Among those writing are The Atlantic’s Adam Serwer, Yoni Appelbaum, Megan Garber, Caitlin Flanagan, Andrew Ferguson, Sophie Gilbert, and David Frum, along with contributions by Tom Junod, on what Mister Rogers would do in this moment; Tara Westover, examining the urban/rural divide in the context of our national fracturing; Retired General James Mattis, on the democratic principles that citizens must embrace; Danielle Allen, on how more robust citizen participation will enhance social cohesion; and Lin-Manuel Miranda, on art’s power to reflect the world.Please find below details about these articles and others that make up our December issue. Additional stories from this package can also be found online.Yoni Applebaum’s “How America Ends” dissects the exceptional challenges America faces as a unitary construct. Applebaum notes that no rich, stable democracy has made the demographic transition we are now experiencing. As America’s historically dominant group is on its way to becoming a political minority, a sharp political backlash has already begun, exploited and exacerbated by the president. Appelbaum writes: “Numerous examples from American history—most notably the antebellum South—offer a cautionary tale about how quickly a robust democracy can weaken when a large section of the population becomes convinced that it cannot continue to win elections, and also that it cannot afford to lose them.”Megan Garber’s “No Apologies” examines why powerful people can’t quite bring themselves to say “I’m sorry” even when acknowledging wrongdoing. “In some ways it’s understandable, this widespread apology aversion,” Garber writes. “The America of the current moment is heated and hasty, and an apology can be easily weaponized.” She points to the stark contrasts between Al Franken’s resignation and Donald Trump’s election after both were accused of sexual misconduct. “I’m sorry, said sincerely, is supposed to be the first step toward forgiveness. But forgiveness is difficult to discuss when justice is so unevenly distributed—when there’s no meaningful consensus about who deserves redemption, or under what conditions.”Adam Serwer’s “Against Reconciliation” argues that the gravest danger to American democracy isn’t an excess of vitriol—it’s the false compromise of civility. Serwer likens the current state of American politics to the Reconstruction era, “when the comforts of comity were privileged over the work of building a multiracial democracy.” He argues that the illusion of peace and civility is often purchased at the expense of true progress. “The danger of our own political moment is not that Americans will again descend into a bloody conflagration. It is that the fundamental rights of marginalized people will again become bargaining chips political leaders trade for an empty reconciliation.” Andrew Ferguson’s “Can This Marriage Be Saved?” considers whether the techniques of couples counseling might help save our polarized electorate from the same feelings of mutual contempt that spell doom for a marriage. Ferguson attends a workshop put on by the grassroots citizens’ group Better Angels, and finds that teaching people to listen better to those with different political views is helpful for those who want to understand one another. However, he notes, even techniques and classes that are effective at reducing rancor are limited to a self-selecting group, since “the world—for better or worse—isn’t a workshop.”Caitlin Flanagan’s “The Things We Can’t Face” makes the case that the abortion debate will never be won by either side. Flanagan describes how Lysol was once commonly used—even prescribed by doctors—as an agent for at-home abortions, a sign of great desperation and an indicator that women will continue to get abortions whether or not they are legal. “When we made abortion legal, we decided we weren’t going to let that happen anymore,” she writes. “We were not going to let one more woman arrive at the hospital with her organs rotting inside of her.” She notes, “the argument for abortion, if made honestly, requires many words: It must evoke the recent past, the dire consequences to women of making a very simple medical procedure illegal. The argument against it doesn’t take even a single world.” Her call to humility is powerful and essential.Also publishing today: “Why It Feels Like Everything Is Going Haywire,” a look at social media’s impact on democracy from Jonathan Haidt and Tobias Rose-Stockwell; “The Road From Serfdom,” Danielle Allen’s argument for enhancing participation among the electorate; and “The Enemy Within,” a piece from former Secretary of Defense James Mattis on teaching future generations the principles of democracy.Other features from the issue—including Jeffrey Goldberg’s conversation with Tara Westover about the roots of the urban/rural divide, and Lin-Manuel Miranda’s essay on how art can bring America together—are now available at The Atlantic. Find the December issue on newsstands beginning next week.###Media ContactHelen Tobin, The Atlanticpress@theatlantic.com
World Edition - The Atlantic
Winds fan ferocious fires in Australia's most populous state
A catastrophic fire warning was in place for Sydney, Australia's largest city, where a large blaze threatened homes on Tuesday.
NBC News - Breaking News & Top Stories - Latest World, US & Local News
Instagram is testing a new video editing tool that sounds a lot like TikTok
Illustration by Alex Castro / The Verge It was only a matter of time before Facebook’s cloning machine was spun into action to counter the growing threat from viral video app TikTok. It seems that Facebook-owned Instagram is looking to copy some of TikTok’s features, with its engineers building a new in-app video editing tool that lets users add AR effects and background music to clips, adjust their speed, and even “remix” others’ videos — a feature that’s very similar to TikTok’s “duet” functionality. The tool is reportedly called “Scenes.” The information comes from Jane Manchun Wong, a software engineer who’s made a name for herself reverse engineering code from top apps to discover as-yet-unreleased features. You can see her tweet on the subject below: Instagram is working on Scenes, a TikTok-like video editing/remixing tool for StoriesOther users will be able to remix your "Scenes" if your account is publicYou are given music, video speed, timer, AR Effect, etc to edit each clipThis feature is previously known as Clips pic.twitter.com/5y1DGACFis— Jane Manchun Wong (@wongmjane) November 12, 2019 There’s no guarantee that “Scenes” is definitely going to be launched by Instagram, but Wong has a good track record finding new functions in the app. She discovered Instagram’s mute feature a month before it was officially announced, and found tests to hide likes back in April — a feature that’s about to be tested for real in seven countries. Wong says “Scenes” is itself a remix of an earlier unreleased feature named “Clips.” We also know that Facebook is extremely keen to counter TikTok’s rise. The company has already had a limited launch for a standalone TikTok clone called Lasso, and when audio of Mark Zuckerberg speaking to employees was leaked to The Verge, the Facebook CEO indicated that Instagram might have to be enlisted in the fight against the new upstart. TikTok has “married short-form, immersive video with browse,” said Zuckerberg. “So it’s almost like the Explore Tab that we have on Instagram.” Now is a good time for TikTok’s competitors to pounce (Google is also reportedly working on its own counters). The app has seen huge growth, but is facing trouble from regulators, including a US national security review. Time’s ticking.
The Verge
Data: The UN has overlooked millions of malnourished children in Africa
Four years ago the United Nations (UN) member states created a list of international development targets, known as the Sustainable Development Goals. These included 17 urgent calls for action aimed at improving the lives of people around the world. Tackling poverty and food insecurity were placed at the top of the list. One region where hunger and poverty continue to blight the lives of millions, affecting the survival and development of children, in particular, is in West and Central Africa. For the UN to develop effective policies for reducing persistent poverty and hunger, they first needed a clear picture of… This story continues at The Next Web
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The Next Web | International technology news, business & culture
Nissan Profit Tumbles as It Struggles to Move Past Management Problems
The automaker said its quarterly profit fell nearly 55 percent, and cut its forecast for annual earnings.
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