From fiber to fixed wireless internet, let's compare internet providers in Lynchburg.

OpinionNovember 15, 20244 min readEnding NASAs Chandra Will Cut Us Out of the High-Resolution X-Ray UniverseThe Chandra X-ray Observatory is facing closure. Shutting it down would be a loss to science as a wholeBy Mara AriasNASA's Chandra X-ray Observatory as it may appear at about 50,000 miles from the Earth, nearly twice as high as Earth-orbiting geosynchronous satellites. Walter Myers/Stocktrek Images Inc. Alamy Stock PhotoThe Chandra X-ray Observatory is the darling of high-energy astrophysics. Famed for providing unequaled x-ray views of voracious supermassive black holes, exploding massive stars and even dark matter-infused collisions between galaxy clusters, the spacecraft probes the biggest mysteries in astrophysics.But 25 years after seeing its first light, Chandras future is up in the air.In March NASA slashed Chandras budget from $68 million in 2024 to $41 million in 2025 and $26 million a year later. According to the Chandra X-ray Center, which operates the telescope, this only allows for mission closeout. In the months since, a series of eventsincluding an intense publicity campaign and a show of congressional supporthas kept Chandra funded through September 2025. But for this years Senior Review, which evaluates NASAs missions, the Chandra X-ray Center has been told to stay within the proposed budget numbersthat is, to plan how the spacecraft will shut down.This is a mistake. Chandra should remain operational until it encounters a critical failure or is replaced by a comparable mission. Chandra is the only high angular resolution x-ray telescope in space, and there is no mission with similar capabilities scheduled to replace it until 2032 at the earliest.One could ask: What new discoveries can Chandra make that it hasnt made over the past 25 years? And thats a good question. But our observational capabilities have changed greatly since Chandra was launched, and therefore so has its potential for making discoveries that require multiple telescopes. We have only recently reached the era of multiwavelength, multimessenger astrophysics, allowing simultaneous views of stars and galaxies in everything from the radio spectrum to gamma rays, neutrinos and gravitational waves. Much of that critical synergy will be lost and squandered if we give up on the high-resolution x-ray coverage.In a sense, Chandra was ahead of its time. Some of the discoveries it will be remembered for, such as the detection of sound waves from supermassive black holes, are Chandra-only science. But its most significant recent results come from the combination of its keen x-ray vision with new instruments such as the James Webb Space Telescope or the Event Horizon Telescope.The Chandra X-Ray Observatory was the heaviest payload to be carried into space by a shuttle. It's been looking at supernovas, black holes and spiral galaxies for two decades.In 2017, when the emitted gravitational waves of two merging neutron stars reached Earth, all the major observatories in the world conducted follow-up observations on this historic, never-before-seen celestial event. The binary neutron star merger resulted in a kilonova explosion, which shone across the electromagnetic spectrum. Its x-ray emission was due to the explosions blast wave accelerating particles and gave us information about the material surrounding the binary. No other facility could have localized the merger as accurately as Chandra did: our understanding of one of the most important astrophysical events of modern times would be incomplete without it.After a quarter-century of operations, Chandra is a well-oiled machine, with a highly experienced team that has adapted to the ageing telescope. Keeping Chandra up and running at the forefront of astronomy is getting more complex, but its not getting costlier. We're just getting better at it every single day, says Daniel Castro, an astrophysicist at Chandra Science Operations.The crux of the matter lies in the presidential budget request from last March, which to communal consternation mischaracterized Chandra as rapidly degrading and increasingly expensive. A further source of frustration within the community is that NASA sidestepped its own peer-review procedure for evaluating the timeliness of mission closeout, the Senior Review (which had given Chandra top marks in 2022), by unexpectedly cutting Chandras funding. The budget cuts end Chandras mission without any discussion or input from the astrophysics community.An interesting choice of NASAs was to award $50 million to the development of the Habitable Worlds Observatory, or HWO, where the same funding would keep Chandra fully operational. HWO is an infrared, optical and ultraviolet NASA flagship telescope that is 20 to 30 years from launch, and which will most likely cost more than its estimated $6 to $10 billion.Webb, whose costs ballooned from an initial $2 billion to $8 billion, looms large in the decision to prioritize funding for HWO. Its commendable that NASA is keeping an eye on future challenges, but a lot of this first allocation of money for HWO will go into preliminary overheads, such as building a project office and establishing industry partnerships. It is worth considering whether awarding $50 million, decades before launch, to a multibillion-dollar mission justifies shutting down a mission as productive as Chandra.Astronomers have thrown around ideas for other sources of funding for Chandra, such as selling its operations to the Japanese or European Space agencies or relying on private donations. Collaboration with other space agencies and companies is standard in astrophysics, but it is a lengthy process, and a lot of the technology in Chandra is walled off by U.S. technology transfer restrictions. And NASAs policy directive, while it allows for donations, does not allow for conditions on their use. Besides, do we want (sometimes erratic) space billionaires to expand into fundamental science? Access to the universe is a public good, and most of us astronomers would like to avoid the possibility that oligarchs become its gatekeepers.Killing Chandra highlights the tension inherent in flagship-style astronomical missions. They make stunning discoveries, but they also have a way of soaking up the budget of medium-size or existing missions. We need more powerful telescopes because they open new parameter space, which is the way truly revolutionary discoveries get made. But there is a delicate balance to be maintained here: What are we giving up by allocating such early funding to HWO? Id say were opening a window, but closing a door. We are choosing to be blind to the high-resolution x-ray universe. And thats a loss to science as a whole.This is an opinion and analysis article, and the views expressed by the author or authors are not necessarily those of Scientific American.

November 14, 202420 min readThis Human Computer Created a System for Measuring Vast Distances in Our UniverseVisual artist Anna Von Mertens looks to astronomer Henrietta Swan Leavitt and her vision of the universe for inspiration Lily Whear (composite); MIT Press (image)Attention Is Discovery, visual artist Anna Von Mertenss thoughtful new exploration of astronomer Henrietta Swan Leavitt, describes and illuminates Leavitts decades-long study of stars, including the groundbreaking system she developed for measuring vast distances within our universe simply by looking at photographic plates. Leavitt studied hundreds of thousands of stars captured on the glass plates at the Harvard College Observatory, where she worked as a human computer from the turn of the 20th century until her death in 1921. Von Mertens explores her life, the women she worked alongside and her discoveries, weaving biography, science and visual imagery into a rich tapestry that deepens our understanding of the universe and the power of focused, methodical attention.LISTEN TO THE PODCASTOn supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.TRANSCRIPT:Anna Von Mertens: Hubble's discovery was not possible without Leavitt's work. It is Leavitt's work that began this understanding of our three-dimensional universe.Carol Sutton Lewis: I'm Carol Sutton Lewis, and this is Lost Women of Science Conversations, a series where we talk to writers, poets, and artists who focus on forgotten female scientists.In the late 1800s, the scale of the cosmos was unknowable. But this all started to change at the turn of the 20th century with the meticulous calculations and shrewd observations of astronomer, Henrietta Swan Leavitt. Leavitt, a human computer at the Harvard College Observatory, pouring over glass plate photographs of the sky, discovered a system for measuring vast distances within our universe.She turned what were once unreachable regions of the cosmos into a measurable map of stars, using the power of attention.For Anna Von Mertens, a visual artist based in New Hampshire, the power of attention was nothing new. Anna makes work that investigates science and history, and her use of paper and pencil or thread and cloth requires time, patience and intense focus. And so when she came across Henrietta Leavitt's work, she immediately felt a kinship. After spending many hours in the archives looking at the examples of early astrophotography, which Leavitt used to make her astral discoveries, Anna created graphite drawings of glass plates and hand stitched quilts inspired by Leavitt's legacy.And, going even further, she decided to write a book that merges these visual works with lyrical and detailed essays that delve into Leavitt's science. That book, Attention Is Discovery: The Life and Legacy of Astronomer Henrietta Leavitt, came out in September, and it's the topic of our conversation today.So let's get into it. Hi, Anna. Thanks for coming onto the show.Anna Von Mertens: Hi, Carol. Thank you so much for that lovely introduction.Carol Sutton Lewis: Anna, you're an artist known for your use of various textile processes and quilt making techniques. So, how did you decide to write a book about Henrietta Swan Leavitt?Anna Von Mertens: So as a visual artist, my work often uses observable phenomena, patterns in nature that reveal structural revelations and understandings.And so because of this type of work that I do that is so steeped in history and science, I was invited by Jennifer Roberts to the Harvard Radcliffe Institute, and Jennifer was the Director of Arts at the time there, and she invited me to develop a research-based exhibition.And the various archives and libraries on campus at Harvard University were generously opened up to me to investigate as a possible subject for this exhibition. And we toured exquisite archives. But when I arrived at the Harvard College Observatory, I knew I had found my subject matter.Because there, housed, are over 550,000 glass plate photographs of the night sky. Now this is the oldest and largest archive of those type of photographs in the world. And Harvard, being Harvard, established an observatory in the 19th century in Peru. So that archive covers both the northern and southern hemispheres, and it's the only complete record of the sky.So viewing some of these glass plate photographs, I first heard Henrietta Leavitt's name. I had never heard her name before. And through these objects, these glass plates, I learned of her name and learned of her discovery and struck by its significancestruck by the profundity of her discoveryI knew that I wanted to develop a project around her life and work.Carol Sutton Lewis: And what a project it is. The book is really a wonderful, unusual combination of art and science.It's a very detailed explanation of Henrietta Swan Leavitt's work and the impact it had on science, but it's also a beautiful, artistic interpretation of the glass plates that you saw. And I could go on and on about this book, but we'll come back to it in a bit. Let's talk a little bit about Leavitt herself. She came to work at the Harvard College Observatory in the 1890s.What was known about our universe then?Anna Von Mertens: Right. Leavitt studied these photographs of the night sky, but almost nothing was known about the stars that shone in that night sky. So at the time of Leavitt's research, there was no sense of the chemical composition of the stars, and no way to know how far away these lights were from us. So for example, if a bright light shone in the sky, did that mean that it was intrinsically larger and brighter? Or did that mean simply that it was of equal brightness to a dim star, but simply closer to us? So there was no sense of depth to the stars. There was no sense of structure to this sea of stars that we were swimming in.Carol Sutton Lewis: And tell me a little bit more about the Harvard College Observatory. How did they come to be on the cutting edge of astronomical research? I mean, what were they doing that the others weren't?Anna Von Mertens: So the glass plate photographs that Leavitt studied were a new kind of technology, dry plate photography, and previously its predecessor, wet collodion photography. An astronomer would need to coat a glass surface with an emulsion, expose it to starlight through a telescope's lens, and then develop that photograph all within a span of 15 minutes, but with dry plate photographya much more stable substructurethat enabled exposures that were multiple hours in length.And so with that accumulation of starlight onto the glass surface, these dim stars could be pulled into view over an exposure that might be up to four hours length in time. And so with this new technology, a survey of the stars was possible previously, right?It would be dependent on a single individual's eye looking through a telescope, studying an individual object and finding observations on that individual celestial object. Here the stars could be studied en masse. So, Edward Pickering, who was the director of the Harvard College Observatory at the time of Leavitt's study, he realized that, that no astronomical research could move forward without building an empirical foundation of knowledge that future discoveries could be made from. So he quickly adopted this new technology, dry plate photography.And with those glass plates, a huge inundation of data. It was the first sort of flood of big data into the field of astronomy. So with that influx of data, of course, a workforce was needed to process that data. And Edward Pickering, despite being at Harvard, did not have an enormous budget. There was no funding from the college. He had to simply operate the observatory, based on interest from the observatory's endowment. So he had to be quite frugal in how he proceeded. And he realized that women as a labor force could be hired more cheaply than men, and they could analyze these glass plates, again, sort of organizing the data on them so that they could be more readily available for study. One of the things I love about thinking about Leavitt and sort of this access point to the science is that Pickering opened the door to it. It reminds me of this idea of a Room of One's Own.So here Leavitt and her female colleagues, they had a building of their own. So literally only women during her time worked in the brick building where the glass plate collection was housed. Now, yes, they were cataloging this data, but given access to this data and really given agency within their work from the director, these women not only organized the data, but within that close proximity to the data, went ahead and made the discoveries in their own right.Carol Sutton Lewis: And so Anna, initially, what was Leavitt asked to do? What was her task within the observatory, within this group, this building of women?Anna Von Mertens: So, nothing was known about the stars at this time, and director Edward Pickering wanted to survey the stars, and the most basic element of the star, the information that could be gleaned, was the brightness of that star. So, Leavitt was tasked with trying to assess the magnitude, the brightness of each individual star.And this seemed simple enough. But if you think about what she had to navigate, it is an incredibly nuancing, complex. So the photograph was made by coating a glass plate with a light sensitive emulsion. That plate was placed in the telescope and gathered starlight on its surface.It was then developed and each star would register as a tiny black speck of emulsion. If you think of pepper sort of scattered across the surface of a glass plate that might sort of give a sense of the minute details that she needed to study. So most of the plates she studied were photographic negatives with each star represented as a tiny speck of emulsion.And so she went about assessing the magnitude of each star by measuring, estimating the sort of diameter of each circle, of each tiny speck. Adding complexity to this task, the photographic medium was nascent and unreliable. And so for example, results would deviate from the center of a glass plate simply to its edges.Also the color of starlight would affect its results on glass. So for example, red stars barely registered with this new medium. And most significantly, Leavitt had to gather information of photographs made by various telescopes, made by different telescopes, made from different exposure times, so comparing a 15-minute exposure taken by one telescope to a three hour exposure taken by another telescope, so she really had to first understand this new translation of starlight onto glass. And then once she had formed that understanding, she could go and further her research.Carol Sutton Lewis: And in the midst of all this meticulous work, what did Leavitt discover? What did she learn about the cosmos?Anna Von Mertens: So in this work of trying to assess their individual brightness and survey the stars, Leavitt noticed that some of these stars changed in their brightness, so called variable stars.So instead of a consistent amount of light, over time that light would shift brighter, and then dimmer, and then brighter again. And at the time Leavitt began this research, only several hundred variable stars were even known. But Leavitt made this a particular avenue of her research, and one of the most inventive techniques of hers that she developed to identify these variable stars, was to take a glass plate negative of a certain patch of sky.And, remember, so each star would register as a black speck of emulsion. And then she would take another photograph of that same patch of sky, but on a different night. And she would translate that negative into a positive. She would then superimpose a positive and negative glass plate of the same patch of sky taken on different nights.And, if it was a traditional star, it would just, right, those specks would fill in the holes on the positive and cancel each other out. But a variable star might announce itself as a tiny white halo of light. And if that indicated that it could be a variable, she would go through time, go through plates and try to track that changing light through time. Now, as I said, only a few hundred variable stars were known at the beginning of Leavitt's research. In her lifetime, Leavitt personally discovered 2,400 variable stars, which is more than half of all known variables at the time. So she was the resident expert in this field of research.Carol Sutton Lewis: That is incredible. So, in your book, you lay out all the many inconsistencies of early astrophotography, the plate defects, the differing exposure times, the blurry edges, emulsions, as you said, with different reaction speeds.She had to take all of those potential inaccuracies into account when she was doing this analysis, which brings me to the title of your book, Attention is Discovery. So why do you think the work of noticing the work of finding patterns was so important to her work? I mean, clearly she could have just been cataloging this, but why do you think that the noticing, helped her make these discoveries?Anna Von Mertens: Well when something is known, when a scientific discovery is announced, it can seem almost self-evident. Like there's such a clarity to its truth, and one can, uh, see and observe that truth. And so it's helpful to sort of go back deeper into Leavitt's methodologies to understand really how there were no guideposts. There were no orientation markers to navigate the sea of data. So within that you have to really have faith in the process of - take an observation, see what you can pull from that, and then repeat that action. And you have to have this, this sort of fluid back and forth where you are open to investigation.You're not closing off certain lines of research, but you have this receptivity to what you are seeing, but then you're allowing that seeing to guide you. And so, Leavitt did exactly that in her groundbreaking discovery is that while she was working, while she was studying variable stars, she decided to turn her attention to the small Magellanic cloud.Now this is a celestial object that we now know as a satellite galaxy separate from our own, but at the time it was just considered a fuzzy patch of sky. And Leavitt, as she turned her attention to the small Magellanic cloud, as she studied variable stars that she found there, she, she made an incredibly important simplifying assumption. She said, I will treat this as an individual celestial object, the small Magellanic cloud, and so therefore any variable stars I find there will be equal distant to us from Earth, right? So, If she finds a bright star there and a dim star, both within the small Magellanic in a cloud, they're traveling an equal amount of distance to each other to us, and therefore, equally dimmed by that distance. So that means she knows that relationship within the cloud is true. That bright star is truly brighter than the dim star next to it and so, as it translated onto glass, she would know that that relationship held true there. That meant she could turn to her glass plates and study variable stars in the small Magellanic cloud and see what she noticed. As she started to track these stars in their brightening and dimming cycles, she noticed that the brighter stars seemed to take longer to complete their pulsation period, as it traveled through that curve of dim to light and back to dim again.And it took her several years to follow up on this line of thinking and confirm that, indeed, it was true that the brighter the star, the longer it took to pulse. And Leavitt in 1912 published a paper that graphed this relationship and the smoothness of the logarithmic curve of that graph was so smooth and so pronounced that it was, indeed, a direct relationship.And in, in fact, it was law. It's now known as the Leavitt Law, the period-luminosity relation, that establishes that the brighter a variable star is, the longer it takes to pulse. And astronomers immediately recognized the significance of this finding. So astronomers could simply observe a variable star pulsing, and based on that observation, determine how bright it should be.And if it was not as bright as it should be, they could calculate the amount of distance causing that light to dim.Carol Sutton Lewis: So, Anna, for those of us listening who are, like me, not quite as well versed in the field of astronomy, in just a sentence or two, can you please summarize for us why Leavitt's Law changed our understanding of the cosmos?Anna Von Mertens: Sure. Leavitt provided an astronomical tool that allowed. astronomers to simply observe the pulsation period of a variable star. And from that, determine how far away it is from us. And so this gift of being able to see something quite clearly, just the changing fluctuation of a star, and being able to calculate astronomical distance, opened up an entire new field of research.Carol Sutton Lewis: More after the break.Carol Sutton Lewis: So Henrietta Swan Leavitt, after all of this painstaking detailed work, determined a system to help us measure the distances to pulsating stars, also known as Cepheid variable stars. How is this groundbreaking discovery then used?Anna Von Mertens: So once this tool was established that astronomers could simply observe the changing brightness of a Cepheid variable star and based on those observations calculate its distance to us. This was most significantly put to use with Edwin Hubble was studying spiral nebulae. And perhaps the most famous astronomical glass plate photograph in the history of astronomy is a plate taken in 1923, where Hubble photographed the Andromeda Nebula, as it was called at the time, and he noticed three new lights. And he identified those as Nova, new star.But the next night he went back and noticed that one of those Nova, one of those new stars, it changed in brightness. And he realized, aha, that is a Cepheid variable star. That's one of Leavitt's Cepheid variables. And so he crossed out N, Nova for new star, and wrote V A R exclamation point.And I like to point out that exclamation points don't show up in scientific data very often, but there was good reason for it. Is that Hubble knew just based on that one single star, he could observe its changing brightness over time. And once he established its pulsation period, he could calculate its distance to us.And so with one single star, he could show that Andromeda was so far away from us, it had to be outside the scope of the Milky Way galaxy, and was a galaxy in its own right. And now, think about that. Think that with one Cepheid variable, he could make this determination. Now, if we go back to the fact that Leavitt discovered 2,400 variable stars in her lifetime, and then within that discovery made this important singular discovery that Cepheid variable star, the brighter it is, the longer it takes to pulse. Hubble's discovery was not possible without Leavitt's work. It is Leavitt's work that began this understanding of our three-dimensional universe.Carol Sutton Lewis: So you've just brought up the 2,400 variable stars that through incredibly meticulous, detailed work Leavitt discovered during her lifetime. And so this brings me back to the attention to detail theme that runs through her work and through your own artistic practice. And I want to turn to your art for a moment.You have a series called the Artifact Series, which was inspired by Leavitt's work. Can you tell me about that, how you put it together?Anna Von Mertens: I wanted to practice, as it were, the way that Leavitt studied these glass plates. So I turned and, looking at these glass plates, tried to apply my own attention to them. And one particular plate caught my interest because at the edges of the plate, there was this very pronounced warping.So as the starlight traveled through the telescope's lens, it warped at the edges of the plate. Now, this was a phenomenon that Leavitt knew well, and she needed to navigate as she tried to pull set data from these surfaces. But I was quite enamored of these artifacts, of the way that the starlight was warped, because it almost seemed to sort of attach wings to these stars, as if they were sort of moths and dragonflies and birds almost taking flight.And the specificity of those objects caught my attention, and reminded me of how Leavitt built her discovery, that she needed to build it star by star by star. And so I decided to appreciate that specificity by magnifying sections of the plate and drawing these particular artifacts across the surface.And what I was surprised is how easily my attention was held by their, their elegance, their transparencies, their depth, their peculiarities. And It reminded me how Leavitt, just how evidently committed and engaged Leavitt was in her own work. And so I've mentioned that part of what drew me to Leavitt's story is that she had this profound discovery that launched modern cosmology, but because she herself did not live to see the impact of that discovery, I wanted to know, well, was she satisfied in her own work?And reading her scientific papers, reading her letters, and looking at these glass plates myself, I could see how transfixed and engaged and delighted she was by this dedicated work.Carol Sutton Lewis: Anna, your enthusiasm and admiration for Leavitt's work is wonderfully clear. But you just mentioned that Leavitt didn't live long enough to see the impact of her work. So, can you tell me about the end of her career? What happened after her groundbreaking discovery?Anna Von Mertens: So, Leavitt spent her life studying variable stars on these glass plates at Harvard and announced her discovery to the world, Leavitt's Law, and astronomers sort of immediately understood its significance and sort of discovery tumbled forth from there. But, Leavitt sadly died in 1921, and, if you think about that famous glass plate photograph that, Hubble took, it was in 1923. So only two years after Leavitt died, Hubble found a Cepheid variable in the Andromeda galaxy and proved it was, indeed, a galaxy. And from there, right, that, that Hubble's work continued, that each time Hubble identified a Cepheid variable star in a spiral nebula, he could calculate the amount of distance to it and prove that. How far away it was and culminating at the end of the 1920s with his 1929 paper showing that not only were there galaxies all around us, but he proved in the redshift of their light, that the farther a galaxy was away from us, the faster it was receding. So, our universe was expanding.So you think within just a decade, there is this profound shift in our awareness of going from, right? In the night sky, unsure of any sense of depth to them to understanding the shape and scope of our Milky Way and galaxies outside our own. So, I wanted to celebrate this woman, who truly founded modern cosmology, but then also celebrate the life that she lived within it.Carol Sutton Lewis: Earlier, you mentioned that Leavitt was one of the many women working at Harvard, and they had their own building to do this work. And yet, even though they had jobs in the field, astronomical work was still very much divided by gender. Women could only catalog and analyze the data while the men collected it. Can you talk a little bit more about the impact that women generally had on astronomy at this time?Anna Von Mertens: You're right in that uh, women were not allowed to make the photographs or observe at night through the eye of the telescope. They worked by day analyzing the glass plates. What's interesting there is there was sort of a hierarchy given thinking that observations directly made through the telescope was where the science was. The science was actually on, on the plates. That is where the data was and that's where the discoveries were latent. And so the women Leavitt and her colleagues, now known as the Harvard Computers, were given access, this first access point to the data. And yes, it was, there was only one job description for the women at the time, they were called computers and there was only one pay rate and no sort of chance of ascending up a ladder on a career, but given access to this world, it is evident how committed and dedicated Leavitt and her colleagues were to this work, and you know, Leavitt spent her entire adult life there working at the Harvard College Observatory until her death.But alongside her were women who you know, I have a list of of certainly, Annie Jim Cannon is well known as her work focused on the studying of stellar spectra, but she worked there for her lifetime. Mabel and Edith Gill were sisters who worked there for decades. Ida Woods, another Harvard computer, worked there for 37 years.So these women were dedicated to the work and around that, an evident warmth developed both for the work and for each other.Carol Sutton Lewis: And it seems that some of the women were given recognition at the time, but why do you think our retelling of history often overlooks the work of these Harvard computers?Anna Von Mertens: that is fascinating component that surfaced in my research for the book, is that I think many of us, assumed that it was the sexism of Leavitt's day that limited her recognition. And looking at that time, the women, the Harvard computers were at the hub, at the very center of international astronomical research. So often in the archive, there's these letters written to the director of the observatory at the time of saying, what are the latest updates? You know, can you tell me more about this finding? Where are we at on this research? So these women and Leavitt in particular with her variable star research, it was well known within the astronomical community, what she was up to and, you know, that their research depended on her work.So what I found it is that actually it is the retelling of history, of that history, that is more problematic. So often the sort of women are sort of dismissed as like, oh yes, it's very tedious meticulous work and it's recognized, but sort of seen as perfunctory, or just sort of, you know, the needed work to get down to the real research. And what I found is that, yes, like all science results need to be repeated. Science has a certain amount of tedium to it, just as Hubble needed to measure circles of emulsion on his glass plates to make his own findings. So the process is the same, but somehow the work of the women is diminished as sort of, being in the background where really they were at the leading edge of research, pushing the field of astronomy forward.Carol Sutton Lewis: That feels like a great place for us to end. But before we do, do you have any final words on how we should all remember Leavitt and this exciting time in astronomical history?Anna Von Mertens: So certainly celebrating her discovery and her legacy is an enormous part of this book of really seeing the science and seeing the impact that her discovery had on all future discoveries. But returning to that sort of elemental unit of measuring a star's brightness and star by star building a finding, that on attention was, was really helpful for me as a reminder that we can apply that skill to whatever endeavor we are undertaking, whether it's an artistic practice or a scientific one. So, the way that I could see Leavitt's engagement with this work, see this dedication, this commitment, even she writes the words pleasure and delight, recognizing how attention builds and provides a richness to the world around us and what is available to see, that that was such a gift, as part of her legacy as well.Carol Sutton Lewis: So beautifully said. Anna, thank you so much for writing this book and for joining us today.Anna Von Mertens: Oh, thank you so much for having me. And yes, thank you for helping tell Leavitt's story.Carol Sutton Lewis: This has been Lost Women of Science. I'm your host, Carol Sutton Lewis. This episode was produced by Sophie McNulty. Our thanks go to Anna Von Mertens for taking the time to talk with us. Hansdale Hsu was our sound engineer, Lexi Atiya was our fact checker, Lizzie Younan composes all of our music, and Lily Whear designed our art.Thanks to Jeff DelViscio at our publishing partner, Scientific American. Thanks also to executive producers Katie Hafner and Amy Scharf, senior managing producer Deborah Unger, and program manager Eowyn Burtner. Lost Women of Science was funded in part by the Alfred P. Sloan Foundation and the Anne Wojcicki Foundation. We're distributed by PRX. Thanks for listening, and do subscribe to Lost Women of Science at lostwomenofscience.org so you'll never miss an episode.HostCarol Sutton LewisProducerSophie McNultyGuestAnna Von MertensAnna is a visual artist and researcher who has exhibited widely, including in Boston, San Francisco, and Oslo. She was the recipient of an Alfred P. Sloan Foundation Public Understanding of Science and Technology book grant to support the publication of Attention Is Discovery. She lives and works in Peterborough, New Hampshire.Further ReadingAttention Is Discovery: The Life and Legacy of Astronomer Henrietta Leavitt. Anna Von Mertens. MIT Press, 2024The Glass Universe: How the Ladies of the Harvard Observatory Took the Measure of the Stars. Dava Sobel. Viking Penguin, 2016The Rise of the Milky Way. Presented by Joo Alves at the Radcliffe Institute for Advanced Study, Harvard University, April 3, 2019Review: How a Group of Women Launched Modern Cosmology, by Lucy Tu, in Scientific American; September 2024

Dragon Age: Inquisition players can't import their world states from the Dragon Age Keep"I know the whole 'we are working on it' message gets old. Believe me, I get it!"Image credit: BioWare News by Vikki Blake Contributor Published on Nov. 16, 2024 Dragon Age: Inquisition players are still struggling to import their world states despite the issue being flagged to BioWare and EA over a week ago.Regardless of what platform you're playing on, it seems some players can only see default world states.EA community manager EA_Shepard acknowledged the issue on the official forums 10 days ago, saying the team was "aware and investigating". Shepard also validated another issue, this one with the Golden Nug, which goes AWOL mid-playthrough or disappears entirely for some.To see this content please enable targeting cookies. Dragon Age The Veilguard Review: The BEST Bioware Has EVER Been! (Spoiler-Free).Watch on YouTubeRevealing that they "reported this [to the studio] at the end of the week last week and checked up on this", EA_Shepard recently confirmed that it was "still an open issue" and the team "is still working on this one".The issue has apparently been further compounded by some players getting confused "around the world state importing into their game"."When you import your world state, it will say default world state. The name does not change," Shepard explained."When you want to import a world state, rename it in the Keep first, import it in the Keep, and then start a new game," they added, acknowledging that when they tried it themselves on PC, PS5, and Xbox Series X, only one was successfully imported.Shepard also confirmed that there "are ways to try to get it resolved by manually choosing the options and creating entirely new world states after you sync and replay the keep", but acknowledged this "has not worked for all players".Towards the end of the week, Shepard shared a further update."Wanted to let you know I am still looking out for this one," they said. "I know the whole 'we are working on it' message gets old. Believe me, I get it! There is a lot happening and being worked on with Dragon Age so things are a bit slower on other fronts. I am watching it closely though so I have not forgotten about the community!""I get that Veilguard support is prioritised at the moment since it's a brand new game, and Keep has always been kinda buggy, but I think I speak for all of us when I ask that this issue be made more of a priority," said one player.As for Dragon Age: The Veilguard? Eurogamer's Robert Purchese had a lot of good things to say about BioWare's latest Dragon Age in his five star review."From head to toe, wing to wing, The Veilguard is exquisitely realised and full of sophistication across systems and storytelling," he wrote. "It's warm and welcoming, funny and hopeful, gentle when it needs to be, and of course it's epic - epic in a way I think will set a high bar not only for BioWare in years to come but for role-playing games in general."

Nintendo cross-referenced reddit posts and hardware repairs to locate this Switch pirateBy analysing the hacker's digital footprint, the Japanese megacorp was able to hunt them down.Image credit: Nintendo News by Vikki Blake Contributor Published on Nov. 16, 2024 Nintendo reportedly hunted down an alleged Switch pirate by tracking their reddit posts.Earlier this year, after putting Switch pirate Gary Bowser behind bars and targeting emulator software Yuzu, Nintendo resumed its fight against the modded console business with new lawsuits, including one against James "Archbox" Williams, who was the main moderator behind r/SwitchPirates.As reported by Game File, it seems Williams was located after Nintendo commissioned a law firm to investigate "freeshops" or online repositories for pirated Switch games.To see this content please enable targeting cookies. Nintendo has announced new hardware, but it's not Switch 2 - so what's the point of Alarmo?Watch on YouTubeBy analysing Williams' past posts online - including one from reddit user "archbox" in 2015 that was very complementary about Midwestern University's optometry clinic - the firm helped the Japanese company "succeed in linking Archbox with at least two Nintendo accounts for an individual named James Williams".And because Williams seemingly used the same email address to get repairs for their Nintendo Switch, staff at Nintendo's Product Lifecycle Management group was able to find his shipping address.Once it had acquired Williams' address, Nintendo sent a cease and desist, after which Williams initially agreed to "comply and cooperate" with Nintendo's demands. However, Williams then went dark and failed to show up at court, defaulting judgement in favour of Nintendo.When Nintendo moved to shutdown streamer Jesse Keighin's streams via copyright notices on YouTube, Twitch, and other streaming platforms, he reportedly told them he "could do this all day" and had "a thousand burner accounts".Nintendo further alleges that as well as broadcasting unreleased games, he also instructed others on how to obtain pirated games via "circumvention devices" Nintendo calls "trafficking".

You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games hereMarvel Rivals is just under a few weeks away from launch and players are highly anticipating its release after a round of alpha and beta test phases that left them wanting more. With an expansive roster and a 6v6 free-to-play gameplay, the NetEase title is slowly shaping up to be the biggest release of the year.Tending to the hype, we chatted with the game director Thaddeus Sasser recently about the game and its upcoming launch date.However, ahead of launch, the devs have revealed the entire roadmap for the first couple of months for seasons which will bring plenty of new content and a storyline centered around a popular character.Marvel Rivals to launch with Season 0 featuring Doctor DoomMarvel Rivals Creative Director GuangGuang spoke in the latest video about the roadmap of upcoming content to the game post-launch. He began by informing players how Hulk was the first designed hero in the game during development and how the journey began from there.Marvel Rivals dev reveals the official Season 1 date. Image by NetEase Games.Furthermore, he revealed that the game will launch into season 0, Dooms Rise which will only last a month, and seasons 1 and on will all be around 3 months each. The launch phase will feature Dooms Timestream Entanglement and how it has resulted in the creation of 4 chronoverses 2099: Techno-Dystopia, Present: Evil Strikes, Mosaic Timeline: Unstable Space-Time, and Collapsing: Even the Gods Die.He further informed that Season 1 will begin in January 2025 and every season will launch with new content, heroes, maps, Team-Up Abilities, and maybe even new game modes. Moreover, 33 heroes will be released by the end of Season 0 and players will be able to play for free. Adding to that, 8 maps for quick match and competitive as well as 1 conquest map will similarly be released by the end of season 0, plus a brand new practice range will also be added. Since season 0 is only a month-long, its Battle Pass will feature half the content and will cost half the priceTalking about servers, Guang announced that 3 servers in North America will be added Oregon, Dallas, and Northern Virginia and additional servers in Europe, the Middle East, South America, and Asia-Pacific will launch alongside. Players will be able to freely jump between servers where the tick rate is 60.As players await the full launch of Marvel Rivals coming December 6, itll finally unfold if it is a worthy competitor to existing shooters like Overwatch 2 or if itll be just another Concord story in the gaming world.Marvel RivalsPlatform(s):macOS, PC, PlayStation 5, Xbox Series S, Xbox Series XGenre(s):Fighting, ShooterSubscribe to our newsletters!By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime.Share

You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games hereTravis Scott is one of the most popular artists in Fortnite. The rapper was first added to the game in Chapter 2 Season 2 but has become quite rare. His skin has only been out on six different days and hasnt been seen since April 27, 2020. Due to this, its no surprise that many players are wondering when Travis Scott will come back to Fortnite.Since we are currently in the Chapter 2 Remix season, this could be a perfect opportunity to bring him back. However, Epic Games may have different plans.Is Travis Scott blacklisted in Fortnite?The controversies surrounding Travis Scott have resulted in numerous rumors in the Fortnite community. One of the most popular rumors is that the rapper has been blacklisted and will never return to the game. However, this is absolutely untrue. Even Tim Sweeney, Epic Games CEO, confirmed that the rapper is welcome to come back. However, the executive is not in charge of the Item Shop rotation.Many players are waiting for Travis skins to come back to the game, and the release date might be around the corner. Epic added the artist back with the latest update, as his song with Ice Spice can be heard playing at Ice Isle. Furthermore, the season-ending Fortnite event will feature giant versions of rappers, similar to Scotts performance in Chapter 2 Season 2.Travis Scotts Fortnite event drew more than 27 million players. Image by VideoGamerThere is no denying that Travis Scott is a big part of Fortnite. His Astronomical event in April 2020 drew 12.3 million players for the first showing and 27 million players in total across five events. This astonishing number of players was only surpassed by The Devourer of World, a season-ending event from Chapter 2 Season 4.While Epic has set the stage for the return of Travis Scott in Fortnite, nothing has been confirmed yet. The Remix season is scheduled to end on November 30, and well have to wait for a while longer to see if he comes back. In the meantime, the artist will remain the fifth-rarest skin in the video game. FortnitePlatform(s):Android, iOS, macOS, Nintendo Switch, PC, PlayStation 4, PlayStation 5, Xbox One, Xbox Series S/XGenre(s):Action, Massively Multiplayer, Shooter9VideoGamerSubscribe to our newsletters!By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime.Share

The bidetsome people want one, others are curious, but no one really talks about them. Still, you dont often see them in the pages of design magazines, and feature stories celebrate its importance or history. There isnt anyone credited with the design of the first bidet, but we want to give the fixture some of the attention that it deserves. Well share some of the history, reflect on its place in our lives, and extol the other virtues of this instrument of hygiene. In a world that cares more and more about cleanliness, health, and wellness, well discover that the bidet has a lot to say if we stop and listen to it, even if it tends to speak quietlyor rather, in gurgles.A story of prudery and redemptionThe hero of this story has long been portrayed in a pristine white uniform, although its outfits have been increasingly colorful in recent yearsbidets are often stylish followers of fashion. Originally from France, a land synonymous with elegance and luxury, the bidet later made its way south into the homes of Italians, where it was embraced. But lets first step back and start from the beginning, in the 17th century, when the bidet (then made of wood and elevated on legs) began to make its mark in refined aristocratic salons. It was a time when washing was considered suspect if not outright dangerous and the bidet offered a way to clean part of the body without option for a full shower or bath.This bidet from Ceramica Dolomites Oltre collection, created by designer Nilo Gioacchini, is distinguished by the geometric composition of its ceramic elements. Its a combination of functionality and aesthetics that offers solutions for a variety of bathroom styles.Photo Courtesy of Ceramica DolomiteThe 17th century, with its powdered wigs and intense perfumes, was an era when nobles merely brushed their faces with a damp handkerchief and water was regarded with distrust. It is in this context that our pony (the original meaning of the French word) debuts, ready to bring a breath of freshness to a society that largely lacked it. At first it was adopted only in certain brothels, where prostitutes used it to clean themselves after amorous encounters.An elegant matching pair: A suspended toilet and bidet from Grohes Essence line.Photo Courtesy of GroheIt was used by many as a means of contraception, and thus began its career that straddled two worlds. It was viewed as a device that was too intimate to be welcomed into respectable homes and suited only for those places where rules of morality were more flexible and yet on the other hand it was also an essential tool for cleanliness.Then came the enormous leap following the bidets arrival in Italy. In the Protestant countries of northern Europe, the bidet was often viewed as nothing less than an emissary of the devil while in the Mediterranean it wasnt judged so harshly and instead forgiven any purported sins. In the late 18th century, Maria Carolina of Habsburg-Lorraine, Queen of Naples, decided to make a bold decision for her time and installed a bidet in the Palace of Caserta. In her lavish neoclassical marble bath, the bidet was a novelty and it can still be seen there today. The widespread adoption of this bath accessory in more ordinary Italian homes didnt occur until World War II, however.Most PopularAD-it-YourselfThe 15 Best Oven Ranges Designers Often Choose for Kitchen RenovationsBy Rebecca Shinners Travel20 Beautiful Castle Hotels Around the WorldBy Allix CottArchitecture + DesignA Beaux Arts Apartment in NYC Is Transformed Into a History-Referencing Pied--TerreBy Katherine Burns OlsonThe saturated colors of the suspended sanitary ware from Ceramica Cielo's I Catini collection add a bold look to any bathroom. Courtesy Ceramica CieloPhoto Courtesy of Ceramica CieloNot everyone was ready for this hygiene revolution, and the bidet sometimes had to wait patiently for its moment to step onto the stage. There were difficult moments like an incident in 1900, when the Ritz Hotel in New York was forced to remove its bidets in response to protests by self-proclaimed guardians of morality. Yet, stoic and determined, the bidet carried on. Its now conquering the United States as well, where its quickly becoming a must-have bathroom fixture.The Geberit AquaClean Alba is a multi-functional bidet that combines elegance and technology.Photo Courtesy of GeberitMost PopularAD-it-YourselfThe 15 Best Oven Ranges Designers Often Choose for Kitchen RenovationsBy Rebecca Shinners Travel20 Beautiful Castle Hotels Around the WorldBy Allix CottArchitecture + DesignA Beaux Arts Apartment in NYC Is Transformed Into a History-Referencing Pied--TerreBy Katherine Burns OlsonA very Italian throneThis supporting character in many bathrooms has long been seen as synonymous with Italy, where bidets are practically ubiquitous, and a particular approach to cleanliness. It may not be the first image that comes to mind when we think of the country, but Italians grow up with the knowledge that a splash of water can make a big difference. And bidets have also offered Italian designers a device where they can demonstrate their talents. They are carefully crafting entire lines of bathroom fixtures, imagining elegant shapes and harmonious proportions for sinks, tubs, and toilets. The bidet is often an integral part of these collections. Often they have been grounded on the floor, but todays more popular style is to have it suspended, as light as air and elegantly discreet.Why experts say the bidet is a winnerIt may seem strangeperhaps even a bit excessivebut in Italy the law requires a bidet in at least one bathroom in an apartment. The legislation which went into effect in 1975 state provides that, For each dwelling, at least one bathroom must be equipped with the following sanitary facilities: toilet, bidet, bathtub or shower, washbasin. Even if it werent required by law, Italians immediately notice the bidets absence when its not there. Franesca Panzeri, a Milanese architect who has overseen many renovations, explains: Even though bidets can be replaced with contemporary alternatives like bidet sprayers, my clients still prefer a complete bathroom set. The current trend, however, is to sacrifice a few precious inches of the bidet in favor of ever-wider showers. Eliminating the bidet completely can mean gaining two feet, if not more, to create a more spacious and open bathroom, she explains. I also find bidets useful aesthetically, because they help to define spaces. Paired with elegant faucets and other fixtures, the result is guaranteed to leave an impression.Efi, Ceramica Flaminias historic series of toilets and bidets, includes a model thats a good choice for bathrooms with limited space.Photo Courtesy of Ceramica FlaminiaMost PopularAD-it-YourselfThe 15 Best Oven Ranges Designers Often Choose for Kitchen RenovationsBy Rebecca Shinners Travel20 Beautiful Castle Hotels Around the WorldBy Allix CottArchitecture + DesignA Beaux Arts Apartment in NYC Is Transformed Into a History-Referencing Pied--TerreBy Katherine Burns OlsonThe Milan-based design duo Ludovica Serafini and Roberto Palomba discussed the central importance of the bidet in Italy with us: The use of the bidet is so ingrained in Italian life that its a part of many jokes and idioms. We believe that the bidet is often misunderstood because of its very intimate use, making it a less common topic in everyday conversation. But we are made of both a body and a soul. Our bodies deserve respect and care. And theres another important use: To wash your feet before going to bed! These authorities on the subject say that The most interesting thing for an architect is to design an object. Regardless of its use or our personal opinions about bidets, the key thing is to create something that has the same aesthetic dignity as the rest of the bathroom. In essence, it is a structure that contains water. The model we made for Flaminia, for example, which was designed many years ago, is a minimalist and simple object that found its place in the market precisely because we eliminated everything that was extraneous in a context like the bathroom. As Brancusi, the famous Romanian artist, once said, Simplicity is complexity resolved.An important recent architectural change is that the reduction of space in the bathroom is pushing us to integrate the two functions, the bidet and the toilet, with new fixtures that combine them, the pair continues. Initially, there was a camouflage approach, in which the line of the bidet inconspicuously followed that of the toilet. Subsequently, thanks to technology, we now have innovative solutions such as special jets and handheld sprayers, which, in the Victorian era, would have been considered even more sinfula reason to get out the pitchforks. In reality, these solutions allow us to optimize space and create small oases of well-being, even where it appears physically impossible to maintain both functions. Without going too far into all the excesses of Japanese toilets, bidets there include music, heating, and other new features.Offset by antoniolupi is an elegant built-in unit that unifies the bathroom, concealing any recesses and protrusions into a perfect backdrop. An evolution of Anima Liquida, it also includes storage with compartments for towels and other items. A choice of finishes and colors allow for complete customization.Photo Courtesy of AntoniolupiMost PopularAD-it-YourselfThe 15 Best Oven Ranges Designers Often Choose for Kitchen RenovationsBy Rebecca Shinners Travel20 Beautiful Castle Hotels Around the WorldBy Allix CottArchitecture + DesignA Beaux Arts Apartment in NYC Is Transformed Into a History-Referencing Pied--TerreBy Katherine Burns OlsonBe that as it may, bidets remain indispensable in many spaces in Italy. Massimo Vismara, a Vice President at Ideal Standard International confirms this to us, explaining, Despite the new jetted solutions, in Italy the bidet is undeniably important. Abroad, well, they dont even know what one is! You also have to consider that in many markets, bathrooms are so small that a bidet would be an unthinkable luxury. In the U.S., however, although the products from the Italian company Ideal Standard dont work for that market, the bidet is beginning to make inroads. Americans, however, prefer larger ones. It is a matter of different cultural norms, yes, but the bidet is proving itself indispensable.Leonardo Dainelli of Dainelli Studio, also based in Milan, is absolutely convinced that a bidet is an essential element of a bathroom. He tells us, Today the bidet is an embodiment of Italy as much as pasta and pizza! When a bathroom has a bidet in Italy, it feels natural for it to be there. When it is missing, it creates an unbridgeable void. As far as I am concerned, it is one of the first thoughts that goes through my head the moment I have to plan any trip abroad. We should create a committee to define its functional but more importantly its aesthetic and formal importance. In terms of elegance and symmetry, it will always be linked to its eternal neighbor, the toilet, and it may not get the same attention. But theres more we could do to elevate it.Matteo Cibic, art director of the Milan design brand and gallery Delvis Unlimited, is another fan of the bidet. He shares, Its my favorite object. Its always been part of my life, offering ever new functions and experiences. As a child I would test my plumbing skills by plugging its holes and silently flooding the house. To this day Ill still put rubber ducks in it and Ive always considered it a great shelf for towels, books, and magazines. It is the most multifunctional object in a home, and it is the confidant of every family member. The fondest memory I have of a bidet is that I was using one when I found out I was going to be a dad. Moreno Vannini, who worked for the Japanese studio Nendo, shares an especially poignant description for the bathroom installation: The bidet offers a moment of reflection with ourselves.Most PopularAD-it-YourselfThe 15 Best Oven Ranges Designers Often Choose for Kitchen RenovationsBy Rebecca Shinners Travel20 Beautiful Castle Hotels Around the WorldBy Allix CottArchitecture + DesignA Beaux Arts Apartment in NYC Is Transformed Into a History-Referencing Pied--TerreBy Katherine Burns OlsonSuspended bidet H830331 is part of a complete bathroom line inspired by Kartells iconic design combined with Laufens quality.Photo Courtesy of LaufenThere are, however, some who take a contrarian position. Designer Federica Biasi sees the bidet as an awkward intruder. I don't love it; In fact, I find it clumsy and superfluous. After all, today there are Japanese toilets with integrated bidet sprayers, which solve the problem of hygiene with more grace and style and without taking up precious space. In short, out with the old bidet and in with a new era of minimalist and sophisticated cleanliness. Sara Ricciardi, a designer who has partnered on projects with a number of Italian brands, shares Biasis feelings. The traditional bidet is too hospital-like. It almost looks like a medical tool ready for emergency surgery, she shares. I cant bring myself to like it, with that clinical look that takes away any trace of sensuality from the toilet. Much better is the understated elegance of Japanese toilet-bidets, which do their double duty in a discrete, delicate, and never awkward way.At this point one wonders: Are we at the dawn of a new debate, like the one that has long pitted those who prefer showers over bathtubs? This new Italian clash may unfold around the bidet versus the bidet sprayers. And even as the latter gains ground, the simplicity and tradition of old-fashioned bidets may still have the last word.Traditional elegance: the Classic collection from Devon & Devon.Photo Courtesy of Devon & DevonThis bidet from Ideal Standards Dolcevita collection demonstrates how bathroom fixtures, can embody a certain lifestyle.Photo Courtesy of Ideal StandardThe Flag line of sanitary ware and washbasins, designed by architect Alessio Pinto for Ceramica Flaminia, uses two-tone color schemes.Photo Courtesy of Ceramica Flaminia

Originally known as the Shelton Ranch, the property was homesteaded by settlers in 1880, according to the ranchs website. In 1914, it was purchased by glass tycoon William S. Ford and federal judge Howard Clark Hollister and named the Ford-Hollister Ranch.Its iconic lodge, designed by an architectural firm from Toledo, Ohio, was built in 1917. The main timber that is up in the roof is 153 feet long, and it is actually one single tree, explained Yellowstone set decorator Curry. They were so protective of the logs that when they harvested the logs they actually wrapped them in burlap until they were ready to put them in place just so that they would keep them from getting nicked and damaged.In the 1950s, the Ford-Hollister Ranch was sold and renamed Chief Joseph Ranch. Its current namesake honors the New Perc chief who may have crossed the land with his tribe more than a century ago.How was Chief Joseph ranch picked to be the home of Yellowstone?Cole Hauser as Rip Wheeler and Kelly Reilly as Beth Dutton on an upcoming episode of YellowstonePhoto: Emerson Miller / Courtesy of Paramount

Here's an overview of the most recent Blender jobs on Blender Artists, ArtStation and 3djobs.xyz: I am looking for someone who can support me in my work on various projects. 50,- ph For more jobs, look here.Source