greta grotesk regular

Inspired by her now iconic signature hand-lettered protest placards, an up and coming foundry, we learn via Kottke, has issued a free typeface based on the script of climate champion Greta Thunberg (previously), suitable for making one’s own posters. In typography, a grotesque refers to the family of serif fonts with irregular qualities that were particularly favoured by sign-painters for their ability to stand out.

friedliche revolution

Beginning with securing the right to hold regional open elections—with opposition candidates competing against the state party in May of 1989 and the later assemblies referred to as Montagsdemos ahead of celebrations of the country’s fortieth anniversary jubilee amid heavy crackdowns on people attempting to flee the regime, the Peaceful Revolution of East Germany showed itself as unstoppable force on 18 October 1989 when deputy and chairman of the State Council Egon Krenz, heeding the people’s will, conspired with other like-minded members of the Politbüro (with the blessings of the Soviet Union) to oppose and overthrow the long-running leadership of Erich Honecker.
It is always difficult to discern decisive moments but it seems that before this coup, the revolt could have failed.  Staunchly opposed to any reforms and the talk of glasnost and in power since 1971 (his wife Margot being the Minister of National Education all that time as well), the Chairman believed that the only way for Communism to survive the scourges of the West was to take a hard line approach, like Cuba and North Korea and was granted sanctuary in Moscow—at least until protector Mikhail Gorbachev ceded powers to Boris Yeltsin on Christmas Day in 1991. Wanting to be rid of this political liability and stateless person, Yeltsin remitted Honecker to a now united Germany—Krenz helping to oversee the transition—to stand trial. Terminally ill, the court threw the case out (not without massive protests) and eventually allowed Honecker to resettle and join his family in Santiago, Chile.

if you’re not at the table, then you’re on the menu

First exhibited at the Brooklyn Museum as a temporary installation on this day in 1980 before its 2007 return as a permanent acquisition, The Dinner Party by Judy Chicago is esteemed as the first modern, epic feminist artwork, depicting a symbolic history through elaborate and personalised placesettings around a triangular table for thirty-nine legendary and historical female figures.
Each wing accommodates thirteen banquette guests with different epochs of civilization dining together, including Boadicea, Eleanor of Aquitaine, Hildegarde of Bingen and Mary Wollstonecraft. The table itself rests on a dais called the Heritage Floor composed of floor tiling inscribed with nine-hundred ninety-nine names of woman whom contributed towards the advancement of equal rights with one man made an honourary member, misgendered by oversight, the classical Greek sculptor Kresilas. The fact that that footnote outshines all the other names shows that there’s quite some distance left to cover to earn a place at the table.

really simple syndication

A contributing author, Jamie Zawinski, refers us to a collection of nominations from scientists, historians, programmers and journalists for the most consequential pieces of code, which affects and informs society as much as any custom, convention or creation, though more aloof by design with few able to incant such spells.  
Though not exhaustive, the list and associated stories are pretty comprehensive and cover the classic milestones (often taken for granted) starting with the invention of the programmable loom in the early eighteenth century to JPEGs, GeoCities, RSS feeds, wikis and a whole host of viruses. One rather elegant vector we’re introduced to is the recursive single line of code (pictured) that is called a fork bomb or a wabbit for its prolific nature. This string of instruction (these are not the magic words, please don’t type them) launches a denial-of-service attack by repeating itself until all system resources have been taken up.

roughly the kinetic energy of a well-pitched baseball

In operation from 1986 to 1993, the Fly’s Eye ultra-high-energy cosmic ray observatory in the desert of western Utah detected on this day in 1991 a particle whose excited state was off-the-charts with nothing remotely close ever seen again (see also), though similar subsequent events suggest that it is not a malfunction. This anomaly was dubbed the “Oh-My-God particle” (not to be confused with the God Particle) due to the wallop it packed. Though this probably does not sound like an astronomical amount, to take it in context, the importance of this reading begins to take shape.
The signal represented the energy carried by a single photon—as if a beam of light could nudge something aside, concentrated on one particle and represents something magnitudes stronger than any radiation measured from the gamma bursts of distant exploding galaxies (by some twenty million fold) and twice again as much as the CERN is able to create. The cosmic ray, to have attained the title heft, was propelled along at near the speed of light (one-sextillioneth shy—that is, nine-nine percent followed by twenty-one significant digits, short scale). Were it possible to boost the particle through the infinitesimal fraction, it would have the kinetic equivalent to the potential (chemical energy) of a small automobile on a full-tank of gasoline. The Oh-My-God particle and others approaching this class originate from the direction of the asterism Ursa Major though there is no consensus on the source.

prismatic

Via the always engaging Everlasting Blört, we are treated to the AI-aided renderings of a digital artist called Matchue and his repertoire of experimental generative compositions with this lovely vignette of New York City expressed, stylised after the Cubist movement, evoking especially the Simultaneous Windows series of painter Robert Delaunay (*1885 – †1941).

gemeine stinkmorchel

Just honoured by the German Mycological Association (Deutsche Gesllschaft für Mykologie, DGfM) as mushroom of the upcoming year, we were a bit excited to share a few prime specimens in the middle stages of development of the common stinkhorn (Phallus impudicus—that is, immodest and at least a relative thereof), widely recognised by dent of its signature carrion-like odour that attracts insects to spread the spores and its distinctive shape. Not pictured is its first egg-like stage (the immature ones are prized for their culinary value and supposed aphrodisiac qualities), but later growth with the stalk forming and an olive-coloured fruiting body known as the gleba. It doesn’t take a lot of imagination to work out the sort of folktales sprouted up around these toadstools.