The transformation of Hangzhou’s old steelworks into a park is a tribute to China’s industrial past in a city of the future The congressional hearing about Chinese AI engine DeepSeek held in the US this April has propelled Hangzhou, the heart of China’s new digital economy, to the headlines. With companies such as DeepSeek, Unitree and Alibaba – whose payment app allowed me to get on the metro without needing to buy a ticket – headquartered in Hangzhou, China’s future in AI, robotics and automation is emanating from this city. Getting off the metro in the suburban area of Gongshu, the sun was shining on an old steelworks, overgrown with vines and flowers now that it is being transformed by Jiakun Architects and TLS Landscape Architecture into the Grand Canal Steelworks Park. The unfolding trade war might help to accelerate China’s journey into an automated future, leaving the world of factories behind, yet this new public space shows an impulse to commemorate the country’s economic history, and the forces that have shaped its contemporary built environment. Starting in Hangzhou and travelling more than 1,700km to Beijing, the Grand Canal is an engineering project built 2,500 years ago to connect the different regions of eastern China. The country’s geography means rivers flow from west to east: from higher elevations, culminating in the Himalayas, to the basin that is the country’s eastern seaboard. Historically, it was difficult to transport goods from mercantile centres in the south, including Hangzhou and Suzhou, to the political centre in Beijing up north. As a civil engineering project, the Grand Canal rivals the Great Wall, but if the Great Wall aims to protect China from the outside, the Grand Canal articulates Chinese commerce from the inside. The historic waterway has been an important conduit of economic and cultural exchange, enabling the movement of people and goods such as grain, silk, wine, salt and gravel across the country. It became a UNESCO World Heritage site in 2014. The state‑owned enterprise collective was founded, and the physical facility of Hangzhou steelworks built, in the 1950s during the Great Leap Forward, when China strove for self‑sufficiency, and wended its way through the country’s economic trajectory: first the economic chaos of the 1960s, then the reforms and opening up in the 1980s. Steel remains an important industry today in China, home to more than half of the world’s production, but the listing of the Grand Canal enabled city leaders to move production to a new site and decommission the Hangzhou steelworks. External mandates, including entry into the World Trade Organization, the Beijing Olympics and UNESCO listings, have been instrumentalised in the country to pursue a range of internal interests, particularly economical and real estate ones.  In 2016, the factory was shut down in 150 days, in what the company describes as a ‘heroic’ effort, and the site attracted tourists of industrial ruins. In the competition brief, Hangzhou planners asked for ‘as much of the existing blast furnaces and buildings’ as possible to be preserved. When I arrived in China in 2008, Chinese cities were notorious for heritage demolition, but today urban planners and architects increasingly work to preserve historical buildings. Just like several industrial sites in Beijing and Shanghai have been transformed into major public and cultural spaces in the past decade, in the Yangtze River Delta – of which Hangzhou is a major hub – several industrial sites along the Grand Canal’s course are being given a new lease of life. Today, the three blast furnaces of Hangzhou steelworks remain, with the silhouettes of their smokestacks easily recognisable from a distance. The project preserves as much as possible of the aesthetics of a steel mill with none of the danger or dust, ready to welcome instead new community facilities and cultural programmes in a vast and restored piece of landscape. Situated in a former working‑class district that has been gentrifying and welcoming young families, the new park is becoming a popular venue for music festivals, flower viewing in springtime and year‑round picnics – when I visited, parents were teaching their children to ride a bicycle, and students from Zhejiang University, about a kilometre from the park, were having lunch on the grass. New programmes accommodated in the old coke oven and steel mills will include a series of exhibition halls and spaces welcoming a wide range of cultural and artistic workshops as well as events – the project’s first phase has just completed but tenant organisations have not yet moved in, and works are ongoing to the north of the park. On the day of my visit, a student art exhibition was on display near one of the furnaces, with works made from detritus from the site, including old packing containers. The rehabilitated buildings also provide a range of commercial units, where cafés, restaurants, shops, a bookshop, ice cream shop and a gym have already opened their doors to visitors.  Several structures were deemed structurally unsafe and required demolition, such as the old iron casting building. The architects proposed to partially reconstruct it on its original footprint; the much more open structure, built with reclaimed bricks, now houses a semi‑outdoor garden. Material choices evoke the site’s industrial past: weathered steel, exposed concrete and large expanses of glazing dominate the landscape. The widespread use of red, including in an elevated walkway that traverses the park – at times vaguely reminiscent of a Japanese torii gate in the space below – gives a warm and reassuring earthiness to the otherwise industrial colour palette. Elements selected by the designers underwent sanitisation and detoxification before being reused. The landscaping includes old machinery parts and boulders; recuperated steel panels are for instance inlaid into the paving while pipes for pouring molten steel have been turned into a fountain. The train tracks that once transported material continue to run through the site, providing paths in between the new patches of vegetation, planted with local grasses as well as Japanese maples, camphors and persimmon trees. As Jiawen Chen from TLS describes it, the aesthetic feels ‘wild, but not weedy or abandoned’. The landscape architects’ inspiration came from the site itself after the steelworks’ closure, she explains, once vegetation had begun to reclaim it. Contaminated soil was replaced with clean local soil – at a depth between 0.5 and 1.5 metres, in line with Chinese regulations. The removed soil was sent to specialised facilities for purification, while severely contaminated layers were sealed with concrete. TLS proposed phytoremediation (using plants to detoxify soil) in selected areas of the site ‘as a symbolic and educational gesture’, Chen explains, but ‘the client preferred to be cautious’. From the eastern end of the park, hiking trails lead to the mountain and its Buddhist temples. The old steel mill’s grounds fade seamlessly into the hills. Standing in what it is still a construction site, a sign suggests there will soon be a rowing centre here.  While Jiakun Architects and TLS have prioritised making the site palatable as a public space, the project also brings to life a history that many are likely to have forgotten. Throughout, the park incorporates different elements of China’s economic history, including the life of the Grand Canal and the industrial era. There is, for example, a Maoist steelworker painted on the mural of one of the cafés, as well as historical photographs and drawings of the steelworks peppering the site, framed and hung on the walls. The ambition might be in part to pay homage to steelworkers, but it is hard to imagine them visiting. Gongshu, like the other suburbs of Hangzhou, has seen rapid increases in its property prices.  The steelworks were built during the Maoist era, a time of ‘battling with earth, battling with heaven, battling with humanity’, to borrow Mao’s own words. Ordinary people melted down pots and pans to surpass the UK in steel production, and industry was seen as a sharp break from a traditional Chinese way of life, in which humans aspire to live in harmony with their environment. The priorities of the government today are more conservative, seeking to create a garden city to attract engineers and their families. Hangzhou has long represented the balmy and sophisticated life of China’s south, a land of rice and fish. To the west of the city, not far from the old steelworks, are the ecologically protected Xixi wetlands, and Hangzhou’s urban planning exemplifies the Chinese principle of 天人合一, or nature and humankind as one.  Today, Hangzhou is only 45 minutes from Shanghai by high‑speed train. The two cities feel like extensions of one another, an urban region of 100 million people. The creation of the Grand Canal Steelworks Park reflects the move away from heavy industry that Chinese cities such as Hangzhou are currently making, shifting towards a supposedly cleaner knowledge‑driven economy. Yet the preservation of the steelworks epitomises the sentimental attitude towards the site’s history and acts as a reminder that today’s middle classes are the children of yesterday’s steelworkers, drinking coffee and playing with their own children in grassy lawns next to shuttered blast furnaces.  The park’s second phase is already nearing completion, and the competition for the nearby Grand Canal Museum was won by Herzog & de Meuron in 2020 – the building is under construction, and should open at the end of this year. It is a district rich in history, but the city is resolutely turned towards the future.  2025-06-02 Reuben J Brown Share AR May 2025CircularityBuy Now

May 30: Statehood Day in Croatia (1990) Johann Sebastian Bach 1431 – Hundred Years' War: After being convicted of heresy, Joan of Arc was burned at the stake in Rouen, France. 1723 – Johann Sebastian Bach (pictured) assumed the office of Thomaskantor in Leipzig, presenting the cantata Die Elenden sollen essen in St. Nicholas Church. 1922 – The Lincoln Memorial in Washington, D.C., featuring a sculpture of the sixteenth U.S. president Abraham Lincoln by Daniel Chester French, opened. 1963 – Buddhist crisis: A protest against pro-Catholic discrimination was held outside the National Assembly of South Vietnam in Saigon, the first open demonstration against President Ngô Đình Diệm. 2008 – The Convention on Cluster Munitions, prohibiting the use, transfer, and stockpiling of cluster bombs, was adopted. Ma Xifan (d. 947)Colin Blythe (b. 1879)Norris Bradbury (b. 1909)Wynonna Judd (b. 1964) More anniversaries: May 29 May 30 May 31 Archive By email List of days of the year About

After more than two decades, Onimusha 2: Samurai’s Destiny is back! First released in 2002 as a sequel to the critically acclaimed Onimusha: Warlords, this game expands on the original’s exhilarating Sengoku-era adventure by introducing a new story and protagonist — Jubei Yagyu, a samurai on a quest for revenge. 10 years after the events of Onimusha: Warlords, the demonic Nobunaga Oda’s strength has been restored, and his sights are set on conquering Japan, starting with Yagyu Village. When Jubei, returns to find his home in ruins, he sets out to bring Nobunaga to justice. On his quest, Jubei meets four individuals who can ally with and aid him on his journey. Give these allies various gifts to strengthen your affinity with them, have them help you in battle, and steer your adventure to different endings. There are many ways to obtain gifts, including buying them in shops, receiving them from other allies, and by finding them hidden throughout the game. Choose wisely which gifts you give to which ally, as they all have their own preferences. Giving enough of the right gifts to the right ally may even unlock them as a playable character for a portion of the game. We asked some of Capcom’s staff to choose their favorite gift reactions. Keep an eye out for them as you play the game! Ekei Ankokuji is a Buddhist priest, but he loves money, booze, and women, living a life of debauchery. You might think arts and entertainment wouldn’t be his style, but if you give him a huqin or folding fan, for example, he’ll promise to enchant you with a dance, with a wide smile. Magoichi Saiga is chief of the Kishu Saiga Gun Team. Fearless and keen of mind, he has a passion for books. He sounds like the type of guy to appreciate a good history book, but if you give him one by itself, he’ll let you know he’d rather read them all at once. Perhaps it would be best to wait to have a complete set of books before gifting them to him… The youngest ally, Kotaro Fuma, is a ninja serving the Hojo clan in the Kanto region. Gift him something old-fashioned like a Tengu mask, and he’ll swiftly respond that it’s for old people, forcing Jubei to quietly take it back. Oyu is a mysterious woman clad in Western armor. Though she fights alongside Jubei, she often comes off as shady – and not just when she’s apprehensive about your gift choices, in this case, after she’s been gifted The Art of War. Sometimes, giving certain gifts in just the right order will change your ally’s response. Producer Kosuke Tanaka’s favorite reaction happens when you give raw fish and wasabi to Magoichi. Lastly, for Director Motohide Eshiro’s favorite reaction: Some gifts touch on sore subjects, and for Ekei, that would be any gift relating to hair. Try giving Ekei something like a comb or hair oil, and this is how he’ll respond. There are many more items to collect and reactions to discover in Onimusha 2: Samurai’s Destiny. Experiment with different gifts and combinations, and reclaim your destiny in the newly remastered Onimusha 2, out now for Xbox One and Xbox Series X|S. Onimusha 2: Samurai's Destiny CAPCOM CO., LTD. ☆☆☆☆☆ 39 ★★★★★ $29.99 Get it now Reclaim your destiny. Onimusha 2: Samurai's Destiny returns with HD graphics and modernised controls to perform issen critical counter attacks and intense swordplay. Play as Jubei Yagyu and make your way through feudal Japan with your allies. This game has additional language support adapted from the original script. Additional features include: – New Gallery mode with over 100 sketches by the game's character designer, Keita Amemiya. – New digital soundtrack selection with all 43 tracks from the original soundtrack of Onimusha 2: Samurai's Destiny. – Hell mode difficulty. – The Man in Black, Team Oni, and Puzzle Phantom Realm mini games will be available to play at the very beginning. – Auto-save feature and easy weapon switch for improved playability. You can also get a special outfit for Jubei if you have save data from Onimusha: Warlords. To switch Jubei's outfit select Special Features → Jubei's Outfit and select between Normal and Special from the title-screen menu. This will only alter the appearance. Your status will be the same as the armour you equip in-game. This content is also a part of the Onimusha bundle. (Aquire this bundle before June 30, 2025, to receive a limited-time bonus!) ©CAPCOM ONIMUSHA is a trademark and/or registered trademark of CAPCOM CO., LTD and/or its subsidiaries in the U.S. and/or other countries. Onimusha 1+2 Pack CAPCOM CO., LTD. ☆☆☆☆☆ 7 ★★★★★ $38.99 Get it now Experience the origins of the classic samurai series remastered in high-definition! The first two Onimusha games are now available in 16:9 widescreen format with additional gameplay enhancements such as modernised controls. Onimusha: Warlords The first game in the series features popular actor Takeshi Kaneshiro as both the voice and face model of main character Samanosuke Akechi. Play as Samanosuke as he battles the Demons armed with the Oni Gauntlet bestowed to him by the Oni clan. Onimusha 2: Samurai's Destiny Jubei Yagyu returns in this sequel. Voiced by Yusaku Matsuda, Jubei will forge new alliances as he sets out on a quest of revenge with awakened powers of the Oni. *Games also available separately. Please be careful not to obtain the same product twice. You can also get a special outfit for Jubei if you have save data from Onimusha: Warlords. To switch Jubei's outfit select Special Features → Jubei's Outfit and select between Normal and Special from the title-screen menu. This will only alter the appearance. Your status will be the same as the armour you equip in-game. ——————————— Get the Onimusha 2: Orchestra Album Selection Pack limited-time bonus when you obtain the pack before June 30th, 2025, 23:59. Track List: – Truth Of Brave ~Warring mix~ – Truth Of Resolution ~Oyu's Theme~ – Truth Of Edge ~Magoichi's Theme~ – Truth Of Loyalty ~Ekei's Theme~ – Truth Of Desire ~Kotaro's Theme~ *Select Special Features → Gallery → Original Soundtrack to access these tracks from the title-screen menu. Also, get this pack of items to use in-game: – Herb x3 – Medicine x2 – Secret Medicine x1 – Special Magic Liquid x2 – Perfect Medicine x1 – Talisman x1 – Red Soul x10,000 Please note that this content can only be used in Onimusha 2: Samurai's Destiny. The content will appear after meeting Takajo in the early game. If you have already met Takajo, the content will appear when you select "Load Game". The content listed in the DLC may become available separately at a later date. Character Samanosuke Akechi by ©Amuse/Fu Long Production, ©CAPCOM CO., LTD. 2001, 2018 ALL RIGHTS RESERVED. Guest Creator:Takeshi Kaneshiro ©CAPCOM ONIMUSHA is a trademark and/or registered trademark of CAPCOM CO., LTD and/or its subsidiaries in the U.S. and/or other countries.

I think we, as engineers and designers, have a lot to gain by stepping outside of our worlds. That’s why in previous pieces I’ve been drawn towards architecture, newspapers, and the occasional polymath. Today, we stumble blindly into the world of philosophy. Bear with me. I think there’s something to it. In 1974, the American philosopher Robert M. Pirsig published a book called Zen and the Art of Motorcycle Maintenance. A flowing blend of autobiography, road trip diary, and philosophical musings, the book’s ‘chautauqua’ is an interplay between art, science, and self. Its outlook on life has stuck with me since I read it. The book often feels prescient, at times surreal to read given it’s now 50 years old. Pirsig’s reflections on arts vs. sciences, subjective vs. objective, and systems vs. people translate seamlessly to the digital age. There are lessons there that I think are useful when trying to navigate — and build — the web. Those lessons are what this piece is about. I feel obliged at this point to echo Pirsig and say that what follows should in no way be associated with the great body of factual information about Zen Buddhist practice. It’s not very factual in terms of web development, either. Buddha In The Machine Zen is written in stages. It sets a scene before making its central case. That backdrop is important, so I will mirror it here. The book opens with the start of a motorcycle road trip undertaken by Pirsig and his son. It’s a winding journey that takes them most of the way across the United States. Despite the trip being in part characterized as a flight from the machine, from the industrial ‘death force’, Pirsig takes great pains to emphasize that technology is not inherently bad or destructive. Treating it as such actually prevents us from finding ways in which machinery and nature can be harmonious. Granted, at its worst, the technological world does feel like a death force. In the book’s 1970s backdrop, it manifests as things like efficiency, profit, optimization, automation, growth — the kinds of words that, when we read them listed together, a part of our soul wants to curl up in the fetal position. In modern tech, those same forces apply. We might add things like engagement and tracking to them. Taken to the extreme, these forces contribute to the web feeling like a deeply inhuman place. Something cold, calculating, and relentless, yet without a fire in its belly. Impersonal, mechanical, inhuman. Faced with these forces, the impulse is often to recoil. To shut our laptops and wander into the woods. However, there is a big difference between clearing one’s head and burying it in the sand. Pirsig argues that “Flight from and hatred of technology is self-defeating.” To throw our hands up and step away from tech is to concede to the power of its more sinister forces. “The Buddha, the Godhead, resides quite as comfortably in the circuits of a digital computer or the gears of a cycle transmission as he does at the top of a mountain or in the petals of a flower. To think otherwise is to demean the Buddha — which is to demean oneself.”— Robert M. Pirsig Before we can concern ourselves with questions about what we might do, we must try our best to marshal how we might be. We take our heads and hearts with us wherever we go. If we characterize ourselves as powerless pawns, then that is what we will be. Where design and development are concerned, that means residing in the technology without losing our sense of self — or power. Technology is only as good or evil, as useful or as futile, as the people shaping it. Be it the internet or artificial intelligence, to direct blame or ire at the technology itself is to absolve ourselves of the responsibility to use it better. It is better not to demean oneself, I think. So, with the Godhead in mind, to business. Classical And Romantic A core concern of Zen and the Art of Motorcycle Maintenance is the tension between the arts and sciences. The two worlds have a long, rich history of squabbling and dysfunction. There is often mutual distrust, suspicion, and even hostility. This, again, is self-defeating. Hatred of technology is a symptom of it. “A classical understanding sees the world primarily as the underlying form itself. A romantic understanding sees it primarily in terms of immediate appearance.”— Robert M. Pirsig If we were to characterize the two as bickering siblings, familiar adjectives might start to appear: Classical Romantic Dull Frivolous Awkward Irrational Ugly Erratic Mechanical Untrustworthy Cold Fleeting Anyone in the world of web design and development will have come up against these kinds of standoffs. Tensions arise between testing and intuition, best practices and innovation, structure and fluidity. Is design about following rules or breaking them? Treating such questions as binary is a fallacy. In doing so, we place ourselves in adversarial positions, whatever we consider ourselves to be. The best work comes from these worlds working together — from recognising they are bound. Steve Jobs was a famous advocate of this. “Technology alone is not enough — it’s technology married with liberal arts, married with the humanities, that yields us the result that makes our heart sing.”— Steve Jobs Whatever you may feel about Jobs himself, I think this sentiment is watertight. No one field holds all the keys. Leonardo da Vinci was a shining example of doing away with this needless siloing of worlds. He was a student of light, anatomy, art, architecture, everything and anything that interested him. And they complemented each other. Excellence is a question of harmony. Is a motorcycle a romantic or classical artifact? Is it a machine or a symbol? A series of parts or a whole? It’s all these things and more. To say otherwise does a disservice to the motorcycle and deprives us of its full beauty. Just by reframing the relationship in this way, the kinds of adjectives that come to mind naturally shift toward more harmonious territory. Classical Romantic Organized Vibrant Scaleable Evocative Reliable Playful Efficient Fun Replicable Expressive And, of course, when we try thinking this way, the distinction itself starts feeling fuzzier. There is so much that they share. Pirsig posits that the division between the subjective and objective is one of the great missteps of the Greeks, one that has been embraced wholeheartedly by the West in the millennia since. That doesn’t have to be the lens, though. Perhaps monism, not dualism, is the way. In a sense, technology marks the ultimate interplay between the arts and the sciences, the classical and the romantic. It is the human condition brought to you with ones and zeros. To separate those parts of it is to tear apart the thing itself. The same is true of the web. Is it romantic or classical? Art or science? Structured or anarchic? It is all those things and more. Engineering at its best is where all these apparent contradictions meet and become one. What is this place? Well, that brings us to a core concept of Pirsig’s book: Quality. Quality The central concern of Zen and the Art of Motorcycle Maintenance is the ‘Metaphysics of Quality’. Pirsig argues that ‘Quality’ is where subjective and objective experience meet. Quality is at the knife edge of experience. “Quality is the continuing stimulus which our environment puts upon us to create the world in which we live. All of it. Every last bit of it.”— Robert M. Pirsig Pirsig's writings overlap a lot with Taoism and Eastern philosophy, to the extent that he likens Quality to the Tao. Quality is similarly undefinable, with Pirsig himself making a point of not defining it. Like the Tao, Plato’s Form of the Good, or the ‘good taste’ to which GitHub cofounder Scott Chacon recently attributed the platform’s success, it simply is. Despite its nebulous nature, Quality is something we recognise when we see it. Any given problem or question has an infinite number of potential solutions, but we are drawn to the best ones as water flows toward the sea. When in a hostile environment, we withdraw from it, responding to a lack of Quality around us. We are drawn to Quality, to the point at which subjective and objective, romantic and classical, meet. There is no map, there isn’t a bullet point list of instructions for finding it, but we know it when we’re there. A Quality Web So, what does all this look like in a web context? How can we recognize and pursue Quality for its own sake and resist the forces that pull us away from it? There are a lot of ways in which the web is not what we’d call a Quality environment. When we use social media sites with algorithms designed around provocation rather than communication, when we’re assailed with ads to such an extent that content feels (and often is) secondary, and when AI-generated slop replaces artisanal craft, something feels off. We feel the absence of Quality. Here are a few habits that I think work in the service of more Quality on the web. Seek To Understand How Things Work I’m more guilty than anyone of diving into projects without taking time to step back and assess what I’m actually dealing with. As you can probably guess from the title, a decent amount of time in Zen and the Art of Motorcycle Maintenance is spent with the author as he tinkers with his motorcycle. Keeping it tuned up and in good repair makes it work better, of course, but the practice has deeper, more understated value, too. It lends itself to understanding. To maintain a motorcycle, one must have some idea of how it works. To take an engine apart and put it back together, one must know what each piece does and how it connects. For Pirsig, this process becomes almost meditative, offering perspective and clarity. The same is true of code. Rushing to the quick fix, be it due to deadlines or lethargy, will, at best, lead to a shoddy result and, in all likelihood, make things worse. “Black boxes” are as much a choice not to learn as they are something innately mysterious or unknowable. One of the reasons the web feels so ominous at times is that we don’t know how it works. Why am I being recommended this? Why are ads about ivory backscratchers following me everywhere? The inner workings of web tracking or AI models may not always be available, but just about any concept can be understood in principle. So, in concrete terms: Read the documentation, for the love of god.Sometimes we don’t understand how things work because the manual’s bad; more often, it’s because we haven’t looked at it. Follow pipelines from their start to their finish.How does data get from point A to point Z? What functions does it pass through, and how do they work? Do health work.Changing the oil in a motorcycle and bumping project dependencies amount to the same thing: a caring and long-term outlook. Shiny new gizmos are cool, but old ones that still run like a dream are beautiful. Always be studying.We are all works in progress, and clinging on to the way things were won’t make the brave new world go away. Be open to things you don’t know, and try not to treat those areas with suspicion. Bound up with this is nurturing a love for what might easily be mischaracterized as the ‘boring’ bits. Motorcycles are for road trips, and code powers products and services, but understanding how they work and tending to their inner workings will bring greater benefits in the long run. Reframe The Questions Much of the time, our work is understandably organized in terms of goals. OKRs, metrics, milestones, and the like help keep things organized and stuff happening. We shouldn’t get too hung up on them, though. Looking at the things we do in terms of Quality helps us reframe the process. The highest Quality solution isn’t always the same as the solution that performed best in A/B tests. The Dark Side of the Moon doesn’t exist because of focus groups. The test screenings for Se7en were dreadful. Reducing any given task to a single metric — or even a handful of metrics — hamstrings the entire process. Rory Sutherland suggests much the same thing in Are We Too Impatient to Be Intelligent? when he talks about looking at things as open-ended questions rather than reducing them to binary metrics to be optimized. Instead of fixating on making trains faster, wouldn’t it be more useful to ask, How do we improve their Quality? Challenge metrics. Good ones — which is to say, Quality ones — can handle the scrutiny. The bad ones deserve to crumble. Either way, you’re doing the world a service. With any given action you take on a website — from button design to database choices — ask yourself, Does this improve the Quality of what I’m working on? Not the bottom line. Not the conversion rate. Not egos. The Quality. Quality pulls us away from dark patterns and towards the delightful. The will to Quality is itself a paradigm shift. Aspiring to Quality removes a lot of noise from what is often a deafening environment. It may make things that once seemed big appear small. Seek To Wed Art With Science (And Whatever Else Fits The Bill) None of the above is to say that rules, best practices, conventions, and the like don’t have their place or are antithetical to Quality. They aren’t. To think otherwise is to slip into the kind of dualities Pirsig rails against in Zen. In a lot of ways, the main underlying theme in my What X Can Teach Us About Web Design pieces over the years has been how connected seemingly disparate worlds are. Yes, Vitruvius’s 1st-century tenets about architecture are useful to web design. Yes, newspapers can teach us much about grid systems and organising content. And yes, a piece of philosophical fiction from the 1970s holds many lessons about how to meet the challenges of artificial intelligence. Do not close your work off from atypical companions. Stuck on a highly technical problem? Perhaps a piece of children’s literature will help you to make the complicated simple. Designing a new homepage for your website? Look at some architecture. The best outcomes are harmonies of seemingly disparate worlds. Cling to nothing and throw nothing away. Make Time For Doing Nothing Here’s the rub. Just as Quality itself cannot be defined, the way to attain it is also not reducible to a neat bullet point list. Neither waterfall, agile or any other management framework holds the keys. If we are serious about putting Buddha in the machine, then we must allow ourselves time and space to not do things. Distancing ourselves from the myriad distractions of modern life puts us in states where the drift toward Quality is almost inevitable. In the absence of distracting forces, that’s where we head. Get away from the screen.We all have those moments where the solution to a problem appears as if out of nowhere. We may be on a walk or doing chores, then pop! Work on side projects.I’m not naive. I know some work environments are hostile to anything that doesn’t look like relentless delivery. Pet projects are ideal spaces for you to breathe. They’re yours, and you don’t have to justify them to anyone. As I go into more detail in “An Ode to Side Project Time,” there is immense good in non-doing, in letting the water clear. There is so much urgency, so much of the time. Stepping away from that is vital not just for well-being, but actually leads to better quality work too. From time to time, let go of your sense of urgency. Spirit Of Play Despite appearances, the web remains a deeply human experiment. The very best and very worst of our souls spill out into this place. It only makes sense, therefore, to think of the web — and how we shape it — in spiritual terms. We can’t leave those questions at the door. Zen and the Art of Motorcycle Maintenance has a lot to offer the modern web. It’s not a manifesto or a way of life, but it articulates an outlook on technology, art, and the self that many of us recognise on a deep, fundamental level. For anyone even vaguely intrigued by what’s been written here, I suggest reading the book. It’s much better than this article. Be inspired. So much of the web is beautiful. The highest-rated Awwwards profiles are just a fraction of the amazing things being made every day. Allow yourself to be delighted. Aspire to be delightful. Find things you care about and make them the highest form of themselves you can. And always do so in a spirit of play. We can carry those sentiments to the web. Do away with artificial divides between arts and science and bring out the best in both. Nurture a taste for Quality and let it guide the things you design and engineer. Allow yourself space for the water to clear in defiance of the myriad forces that would have you do otherwise. The Buddha, the Godhead, resides quite as comfortably in a social media feed or the inner machinations of cloud computing as at the top of a mountain or in the petals of a flower. To think otherwise is to demean the Buddha, which is to demean oneself. Other Resources Zen and the Art of Motorcycle Maintenance by Robert M. Pirsig The Beauty of Everyday Things by Soetsu Yanagi Tao Te Ching “The Creative Act” by Rick Rubin “Robert Pirsig & His Metaphysics of Quality” by Anthony McWatt “Dark Patterns in UX: How to Identify and Avoid Unethical Design Practices” by Daria Zaytseva Further Reading on Smashing Magazine “Three Approaches To Amplify Your Design Projects,” Olivia De Alba “AI’s Transformative Impact On Web Design: Supercharging Productivity Across The Industry,” Paul Boag “How A Bottom-Up Design Approach Enhances Site Accessibility,” Eleanor Hecks “How Accessibility Standards Can Empower Better Chart Visual Design,” Kent Eisenhuth

Observation Rocket Report: SpaceX’s expansion at Vandenberg; India’s PSLV fails in flight China's diversity in rockets was evident this week, with four types of launchers in action. Stephen Clark – May 23, 2025 7:00 am | 7 Dawn Aerospace's Mk-II Aurora airplane in flight over New Zealand last year. Credit: Dawn Aerospace Dawn Aerospace's Mk-II Aurora airplane in flight over New Zealand last year. Credit: Dawn Aerospace Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Welcome to Edition 7.45 of the Rocket Report! Let's talk about spaceplanes. Since the Space Shuttle, spaceplanes have, at best, been a niche part of the space transportation business. The US Air Force's uncrewed X-37B and a similar vehicle operated by China's military are the only spaceplanes to reach orbit since the last shuttle flight in 2011, and both require a lift from a conventional rocket. Virgin Galactic's suborbital space tourism platform is also a spaceplane of sorts. A generation or two ago, one of the chief arguments in favor of spaceplanes was that they were easier to recover and reuse. Today, SpaceX routinely reuses capsules and rockets that look much more like conventional space vehicles than the winged designs of yesteryear. Spaceplanes are undeniably alluring in appearance, but they have the drawback of carrying extra weight (wings) into space that won't be used until the final minutes of a mission. So, do they have a future? As always, we welcome reader submissions. If you don't want to miss an issue, please subscribe using the box below (the form will not appear on AMP-enabled versions of the site). Each report will include information on small-, medium-, and heavy-lift rockets, as well as a quick look ahead at the next three launches on the calendar. One of China's commercial rockets returns to flight. The Kinetica-1 rocket launched Wednesday for the first time since a failure doomed its previous attempt to reach orbit in December, according to the vehicle's developer and operator, CAS Space. The Kinetica-1 is one of several small Chinese solid-fueled launch vehicles managed by a commercial company, although with strict government oversight and support. CAS Space, a spinoff of the Chinese Academy of Sciences, said its Kinetica-1 rocket deployed multiple payloads with "excellent orbit insertion accuracy." This was the seventh flight of a Kinetica-1 rocket since its debut in 2022. Back in action ... "Kinetica-1 is back!" CAS Space posted on X. "Mission Y7 has just successfully sent six satellites into designated orbits, making a total of 63 satellites or 6 tons of payloads since its debut. Lots of missions are planned for the coming months. 2025 is going to be awesome." The Kinetica-1 is designed to place up to 2 metric tons of payload into low-Earth orbit. A larger liquid-fueled rocket, Kinetica-2, is scheduled to debut later this year. The Ars Technica Rocket Report The easiest way to keep up with Eric Berger's and Stephen Clark's reporting on all things space is to sign up for our newsletter. We'll collect their stories and deliver them straight to your inbox. Sign Me Up! French government backs a spaceplane startup. French spaceplane startup AndroMach announced May 15 that it received a contract from CNES, the French space agency, to begin testing an early prototype of its Banger v1 rocket engine, European Spaceflight reports. Founded in 2023, AndroMach is developing a pair of spaceplanes that will be used to perform suborbital and orbital missions to space. A suborbital spaceplane will utilize turbojet engines for horizontal takeoff and landing, and a pressure-fed biopropane/liquid oxygen rocket engine to reach space. Test flights of this smaller vehicle will begin in early 2027. A risky proposition ... A larger ÉTOILE "orbital shuttle" is designed to be launched by various small launch vehicles and will be capable of carrying payloads of up to 100 kilograms (220 pounds). According to the company, initial test flights of ÉTOILE are expected to begin at the beginning of the next decade. It's unclear how much CNES is committing to AndroMach through this contract, but the company says the funding will support testing of an early demonstrator for its propane-fueled engine, with a focus on evaluating its thermodynamic performance. It's good to see European governments supporting developments in commercial space, but the path to a small commercial orbital spaceplane is rife with risk. (submitted by EllPeaTea) Dawn Aerospace is taking orders. Another spaceplane company in a more advanced stage of development says it is now taking customer orders for flights to the edge of space. New Zealand-based Dawn Aerospace said it is beginning to take orders for its remotely piloted, rocket-powered suborbital spaceplane, known as Aurora, with first deliveries expected in 2027, Aviation Week & Space Technology reports. "This marks a historic milestone: the first time a space-capable vehicle—designed to fly beyond the Kármán line (100 kilometers or 328,000 feet)—has been offered for direct sale to customers," Dawn Aerospace said in a statement. While it hasn't yet reached space, Dawn's Aurora spaceplane flew to supersonic speed for the first time last year and climbed to an altitude of 82,500 feet (25.1 kilometers), setting a record for the fastest climb from a runway to 20 kilometers. Further along ... Aurora is small in stature, measuring just 15.7 feet (4.8 meters) long. It's designed to loft a payload of up to 22 pounds (10 kilograms) above the Kármán line for up to three minutes of microgravity, before returning to a runway landing. Eventually, Dawn wants to reduce the turnaround time between Aurora flights to less than four hours. "Aurora is set to become the fastest and highest-flying aircraft ever to take off from a conventional runway, blending the extreme performance of rocket propulsion with the reusability and operational simplicity of traditional aviation," Dawn said. The company's business model is akin to commercial airlines, where operators can purchase an aircraft directly from a manufacturer and manage their own operations. (submitted by EllPeaTea) India's workhorse rocket falls short of orbit. In a rare setback, Indian Space Research Organisation's (ISRO) launch vehicle PSLV-C61 malfunctioned and failed to place a surveillance satellite into the intended orbit last weekend, the Times of India reported. The Polar Satellite Launch Vehicle lifted off from a launch pad on the southeastern coast of India early Sunday, local time, with a radar reconnaissance satellite named EOS-09, or RISAT-1B. The satellite was likely intended to gather intelligence for the Indian military. "The country's military space capabilities, already hindered by developmental challenges, have suffered another setback with the loss of a potential strategic asset," the Times of India wrote. What happened? ... V. Narayanan, ISRO's chairman, later said that the rocket’s performance was normal until the third stage. The PSLV's third stage, powered by a solid rocket motor, suffered a "fall in chamber pressure" and the mission could not be accomplished, Narayanan said. Investigators are probing the root cause of the failure. Telemetry data indicated the rocket deviated from its planned flight path around six minutes after launch, when it was traveling more than 12,600 mph (5.66 kilometers per second), well short of the speed it needed to reach orbital velocity. The rocket and its payload fell into the Indian Ocean south of the launch site. This was the first PSLV launch failure in eight years, ending a streak of 21 consecutive successful flights. (submitted by EllPeaTea) SES makes a booking with Impulse Space. SES, owner of the world's largest fleet of geostationary satellites, plans to use Impulse Space’s Helios kick stage to take advantage of lower-cost, low-Earth-orbit (LEO) launch vehicles and get its satellites quickly into higher orbits, Aviation Week & Space Technology reports. SES hopes the combination will break a traditional launch conundrum for operators of medium-Earth-orbit (MEO) and geostationary orbit (GEO). These operators often must make a trade-off between a lower-cost launch that puts them farther from their satellite's final orbit, or a more expensive launch that can expedite their satellite's entry into service. A matter of hours ... On Thursday, SES and Impulse Space announced a multi-launch agreement to use the methane-fueled Helios kick stage. "The first mission, currently planned for 2027, will feature a dedicated deployment from a medium-lift launcher in LEO, followed by Helios transferring the 4-ton-class payload directly to GEO within eight hours of launch," Impulse said in a statement. Typically, this transit to GEO takes several weeks to several months, depending on the satellite's propulsion system. "Today, we’re not only partnering with Impulse to bring our satellites faster to orbit, but this will also allow us to extend their lifetime and accelerate service delivery to our customers," said Adel Al-Saleh, CEO of SES. "We're proud to become Helios' first dedicated commercial mission." Unpacking China's spaceflight patches. There's a fascinating set of new patches Chinese officials released for a series of launches with top-secret satellites over the last two months, Ars reports. These four patches depict Buddhist gods with a sense of artistry and sharp colors that stand apart from China's previous spaceflight emblems, and perhaps—or perhaps not—they can tell us something about the nature of the missions they represent. The missions launched so-called TJS satellites toward geostationary orbit, where they most likely will perform missions in surveillance, signals intelligence, or missile warning.  Making connections ... It's not difficult to start making connections between the Four Heavenly Gods and the missions that China's TJS satellites likely carry out in space. A protector with an umbrella? An all-seeing entity? This sounds like a possible link to spy craft or missile warning, but there's a chance Chinese officials approved the patches to misdirect outside observers, or there's no connection at all. China aims for an asteroid. China is set to launch its second Tianwen deep space exploration mission late May, targeting both a near-Earth asteroid and a main belt comet, Space News reports. The robotic Tianwen-2 spacecraft is being integrated with a Long March 3B rocket at the Xichang Satellite Launch Center in southwest China, the country's top state-owned aerospace contractor said. Airspace closure notices indicate a four-hour-long launch window opening at noon EDT (16:00–20:00 UTC) on May 28. Backup launch windows are scheduled for May 29 and 30. New frontiers ... Tianwen-2's first goal is to collect samples from a near-Earth asteroid designated 469219 Kamoʻoalewa, or 2016 HO3, and return them to Earth in late 2027 with a reentry module. The Tianwen-2 mothership will then set a course toward a comet for a secondary mission. This will be China's first sample return mission from beyond the Moon. The asteroid selected as the target for Tianwen-2 is believed by scientists to be less than 100 meters, or 330 feet, in diameter, and may be made of material thrown off the Moon some time in its ancient past. Results from Tianwen-2 may confirm that hypothesis. (submitted by EllPeaTea) Upgraded methalox rocket flies from Jiuquan. Another one of China's privately funded launch companies achieved a milestone this week. Landspace launched an upgraded version of its Zhuque-2E rocket Saturday from the Jiuquan launch base in northwestern China, Space News reports. The rocket delivered six satellites to orbit for a range of remote sensing, Earth observation, and technology demonstration missions. The Zhuque-2E is an improved version of the Zhuque-2, which became the first liquid methane-fueled rocket in the world to reach orbit in 2023. Larger envelope ... This was the second flight of the Zhuque-2E rocket design, but the first to utilize a wider payload fairing to provide more volume for satellites on their ride into space. The Zhuque-2E is a stepping stone toward a much larger rocket Landspace is developing called the Zhuque-3, a stainless steel launcher with a reusable first stage booster that, at least outwardly, bears some similarities to SpaceX's Falcon 9. (submitted by EllPeaTea) FAA clears SpaceX for Starship Flight 9. The Federal Aviation Administration gave the green light Thursday for SpaceX to launch the next test flight of its Starship mega-rocket as soon as next week, following two consecutive failures earlier this year, Ars reports. The failures set back SpaceX's Starship program by several months. The company aims to get the rocket's development back on track with the upcoming launch, Starship's ninth full-scale test flight since its debut in April 2023. Starship is central to SpaceX's long-held ambition to send humans to Mars and is the vehicle NASA has selected to land astronauts on the Moon under the umbrella of the government's Artemis program. Targeting Tuesday, for now ... In a statement Thursday, the FAA said SpaceX is authorized to launch the next Starship test flight, known as Flight 9, after finding the company "meets all of the rigorous safety, environmental and other licensing requirements." SpaceX has not confirmed a target launch date for the next launch of Starship, but warning notices for pilots and mariners to steer clear of hazard areas in the Gulf of Mexico suggest the flight might happen as soon as the evening of Tuesday, May 27. The rocket will lift off from Starbase, Texas, SpaceX's privately owned spaceport near the US-Mexico border. The FAA's approval comes with some stipulations, including that the launch must occur during "non-peak" times for air traffic and a larger closure of airspace downrange from Starbase. Space Force is fed up with Vulcan delays. In recent written testimony to a US House of Representatives subcommittee that oversees the military, the senior official responsible for purchasing launches for national security missions blistered one of the country's two primary rocket providers, Ars reports. The remarks from Major General Stephen G. Purdy, acting assistant secretary of the Air Force for Space Acquisition and Integration, concerned United Launch Alliance and its long-delayed development of the large Vulcan rocket. "The ULA Vulcan program has performed unsatisfactorily this past year," Purdy said in written testimony during a May 14 hearing before the House Armed Services Committee's Subcommittee on Strategic Forces. This portion of his testimony did not come up during the hearing, and it has not been reported publicly to date. Repairing trust ... "Major issues with the Vulcan have overshadowed its successful certification resulting in delays to the launch of four national security missions," Purdy wrote. "Despite the retirement of highly successful Atlas and Delta launch vehicles, the transition to Vulcan has been slow and continues to impact the completion of Space Force mission objectives." It has widely been known in the space community that military officials, who supported Vulcan with development contracts for the rocket and its engines that exceeded $1 billion, have been unhappy with the pace of the rocket's development. It was originally due to launch in 2020. At the end of his written testimony, Purdy emphasized that he expected ULA to do better. As part of his job as the Service Acquisition Executive for Space (SAE), Purdy noted that he has been tasked to transform space acquisition and to become more innovative. "For these programs, the prime contractors must re-establish baselines, establish a culture of accountability, and repair trust deficit to prove to the SAE that they are adopting the acquisition principles necessary to deliver capabilities at speed, on cost and on schedule." SpaceX's growth on the West Coast. SpaceX is moving ahead with expansion plans at Vandenberg Space Force Base, California, that will double its West Coast launch cadence and enable Falcon Heavy rockets to fly from California, Spaceflight Now reports. Last week, the Department of the Air Force issued its Draft Environmental Impact Statement (EIS), which considers proposed modifications from SpaceX to Space Launch Complex 6 (SLC-6) at Vandenberg. These modifications will include changes to support launches of Falcon 9 and Falcon Heavy rockets, the construction of two new landing pads for Falcon boosters adjacent to SLC-6, the demolition of unneeded structures at SLC-6, and increasing SpaceX’s permitted launch cadence from Vandenberg from 50 launches to 100. Doubling the fun ... The transformation of SLC-6 would include quite a bit of overhaul. Its most recent tenant, United Launch Alliance, previously used it for Delta IV rockets from 2006 through its final launch in September 2022. The following year, the Space Force handed over the launch pad to SpaceX, which lacked a pad at Vandenberg capable of supporting Falcon Heavy missions. The estimated launch cadence between SpaceX’s existing Falcon 9 pad at Vandenberg, known as SLC-4E, and SLC-6 would be a 70-11 split for Falcon 9 rockets in 2026, with one Falcon Heavy at SLC-6, for a total of 82 launches. That would increase to a 70-25 Falcon 9 split in 2027 and 2028, with an estimated five Falcon Heavy launches in each of those years. (submitted by EllPeaTea) Next three launches May 23: Falcon 9 | Starlink 11-16 | Vandenberg Space Force Base, California | 20:36 UTC May 24: Falcon 9 | Starlink 12-22 | Cape Canaveral Space Force Station, Florida | 17:19 UTC May 27: Falcon 9 | Starlink 17-1 | Vandenberg Space Force Base, California | 16:14 UTC Stephen Clark Space Reporter Stephen Clark Space Reporter Stephen Clark is a space reporter at Ars Technica, covering private space companies and the world’s space agencies. Stephen writes about the nexus of technology, science, policy, and business on and off the planet. 7 Comments

“Metamorphosis of Consciousness” (2025), mixed media, dimensions variable. All images courtesy of Red Brick Art Museum Through Fairy Lights and Butterflies, Chiharu Shiota Tethers Presence and Absence May 22, 2025 Art Grace Ebert In one of the foundational texts of Taoism, Chinese philosopher Zhuang Zhou recalls a dream in which he was a butterfly, soaring through the sky with no recollection of his human form. Upon waking, though, he finds himself firmly in a bipedal body, prompting an important question: is he a butterfly dreaming he’s Zhuang Zhou or a man dreaming he’s a butterfly? This ancient story of transformation and the thin line between states of mind informs a dazzling new installation by Chiharu Shiota (previously). “Metamorphosis of Consciousness” suspends glimmering lights and faint butterfly wings above an iron-framed twin bed topped with a white blanket and pillow. Rejecting the strict separation between body and mind, Shiota references her belief in the spirit’s ability to endure long after one’s final breath. “While each time we slip into sleep, it is a rehearsal for death—a journey beyond the body,” she says. “Metamorphosis of Consciousness” (2025), mixed media, dimensions variable Exemplary of the artist’s interest in memory and knowledge, “Metamorphosis of Consciousness” is just one of the immersive works in the monumental exhibition Silent Emptiness at Red Brick Art Museum in Beijing. On view through August 31, the show revolves around Shiota’s ongoing explorations into the “presence in absence,” this time extending such inquiries into ideas of emptiness as it relates to Eastern philosophy and enlightenment. Included in the exhibtion is an antique Tibetan Buddhist doorway that anchors “Gateway to Silence,” an explosive installation that entwines the elaborately carved wood structure in a dense, criss-crossing labyrinth of string. Red thread, one of the artist’s favored materials, symbolizes relationships. And in this case, it’s an invitation to introspection and finding an awareness of the present moment. Metaphorically interlacing art, memory, and faith, Shiota very literally visualizes the intextricable web in which we’re all bound, regardless of geography or era. Pieces like “Echoes of Time” and “Rooted Memories” incorporate materials like soil and large stones, presenting the passage of time as cyclical and the past as always shaping the present. Detail of “Gateway to Silence” (2025), antique porch and red wool, dimensions variable Born in Osaka, the artist has lived in Berlin for much of her life, and Silent Emptiness also tethers her roots to more global experiences. Shiota likened her understanding of herself to the way salt molecules appear as crystals only after water evaporates. “I was not visible as an individual in Japan,” she says. “Whereas I did not know who I was, what I wanted to do, and what was necessary in the water, I feel that I became an individual and crystal, and understood those things for the first time by coming to Germany.” Another example of finding presence in absence, Shiota’s migration and experience of discovery provides an important touchstone for her thinking and practice. She adds, “Absence does not signify disappearance but rather an integration into a vaster universe, re-entering the flow of time and forming new connections with all things.” (via designboom) “Gateway to Silence” (2025, antique porch and red wool, dimensions variable Detail of “Gateway to Silence” (2025, antique porch and red wool, dimensions variable Detail of “Metamorphosis of Consciousness” (2025), mixed media, dimensions variable “Rooted Memories” (2025), red rope, boat, and earth, dimensions variable “Rooted Memories” (2025), red rope, boat, and earth, dimensions variable Detail of “Rooted Memories” (2025), red rope, boat, and earth, dimensions variable “Multiple Realities” (2025), mixed media, dimensions variable “Echoes of Time” (2025), black yarn and rock, dimensions variable “Echoes of Time” (2025), black yarn and rock, dimensions variable Next article

Ace Ventura: Pet Detective Limited Edition Steelbook (4K Blu-ray) $33 at Walmart | $36 at Amazon (was $45) | Releases July 29 Preorder at Amazon Preorder at Walmart Ace Ventura: Pet Detective Collector's Edition (4K Blu-ray) $40 | Releases July 29 Preorder at Amazon Preorder at Walmart If you weren't a regular moviegoer in 1994, then it must have been a confusing year, thanks to everyone around you peppering their speech with "Alriiiiiiighty then" catchphrases. Jim Carrey's breakout year at the box office started with Ace Ventura: Pet Detective, and at long last, that comedy classic is releasing on 4K Blu-ray on July 29. The Limited Edition Steelbook version is available to preorder for $33 at Walmart or $36 at Amazon. Amazon has sold out of preorders once already (at full price), but if it remains in stock this time, we'd expect the retailer to match Walmart's price prior to launch. That said, it's also possible that the price-matching will go the other way, and Walmart increases its price to $36. Ace Ventura: Pet Detective Limited Edition Steelbook (4K Blu-ray) $33 at Walmart | $36 at Amazon (was $45) | Releases July 29 The 4K Blu-ray edition of Ace Ventura: Pet Detective was created using the original 35mm camera negative. It supports Dolby Vision with HDR10 and DTS-HD 5.1 Surround Sound. There aren't any new bonus features, but the audio commentary with director Tom Shadyac is included on both the 4K Blu-ray disc and remastered 1080p Blu-ray disc. The latter should offer better visual and audio quality than the original Blu-ray release since it is based on the 4K transfer. The Blu-ray disc also has the theatrical trailer.The original 1997 laserdisc release of Pet Detective had three episodes of the Ace Ventura animated series, but unfortunately those episodes have never been included with subsequent Blu-ray releases.The steelbook case features original artwork of Ventura's signature hairstyle and a pigeon worth $25,000 resting on Jim Carrey's head. Preorder at Amazon Preorder at Walmart Ace Ventura: Pet Detective Collector's Edition (4K Blu-ray) $40 | Releases July 29 Ace Ventura: Pet Detective is also getting a standard edition 4K Blu-ray release on the same day. Though it's officially called a "Collector's Edition," make no mistake that the collectible version is the aforementioned Steelbook Edition. This edition includes a standard plastic case and cardboard sleeve with one of the promotional images for the theatrical release.At the time of writing on May 21, this edition is actually more expensive than the Limited Edition Steelbook at both retailers. Preorder at Amazon Preorder at Walmart Ace Ventura was one of the biggest comedy films of the mid-1990s, thanks mostly to Jim Carrey's wild performance as the titular pet detective. While the movie does have some content that is very dated when viewed through a modern lens, it's still a laugh riot thanks to the constant flow of one-liners and a solid mystery at its core. A sequel would arrive a few years later and it saw Ventura travel to Africa--much to the relief of several dozen Buddhist monks--but this one hasn't received a 4K Blu-ray release yet. You can find it on Blu-ray, or as part of an Ace Ventura Blu-ray double feature.Continue Reading at GameSpot

Higher power Do these Buddhist gods hint at the purpose of China’s super-secret satellites? Until recently, China's entries in the realm of spaceflight patches often lacked originality. Stephen Clark – May 17, 2025 1:00 pm | 14 This illustration of Chíguó, protector of the east in Buddhism's Four Heavenly Kings, shows the divine being strumming a pipa, a traditional Chinese musical instrument. Credit: Shanghai Academy of Spaceflight Technology This illustration of Chíguó, protector of the east in Buddhism's Four Heavenly Kings, shows the divine being strumming a pipa, a traditional Chinese musical instrument. Credit: Shanghai Academy of Spaceflight Technology Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Mission patches are a decades-old tradition in spaceflight. They can range from the figurative to the abstract, prompting valuable insights or feeding confusion. Some are just plain weird. Ars published a story a few months ago on spaceflight patches from NASA, SpaceX, Russia, and the NRO, the US government's spy satellite agency, which is responsible for some of the most head-scratching mission logos. Until recently, China's entries in the realm of spaceflight patches often lacked the originality found in patches from the West. For example, a series of patches for China's human spaceflight missions used a formulaic design with a circular shape and a mix of red and blue. The patch for China's most recent Shenzhou crew to the country's Tiangong space station last month finally broke the mold with a triangular shape after China's human spaceflight agency put the patch up for a public vote. But there's a fascinating set of new patches Chinese officials released for a series of launches with top secret satellites over the last two months. These four patches depict Buddhist gods with a sense of artistry and sharp colors that stand apart from China's previous spaceflight emblems, and perhaps—or perhaps not—they can tell us something about the nature of the missions they represent. Guardians of the Dharma The four patches show the Four Heavenly Kings, protector deities in Buddhism who guard against evil forces in the four cardinal directions, according to the Kyoto National Museum. The gods also shield the Dharma, the teachings of the Buddha, from external threats. These gods have different names, but in China, they are known as Duōwén, Zēngzhǎng, Chíguó, and Guăngmù. Duōwén is the commander and the guardian of the north, the "one who listens to many teachings," who is often depicted with an umbrella. Zēngzhǎng, guardian of the south, is a god of growth shown carrying a sword. The protector of the east is Chíguó, defender of the nation, who holds a stringed musical instrument. And guarding the west is Guăngmù, an all-seeing god usually depicted with a serpent. The patches for a quartet of Chinese satellites launched since March each portray one of the Four Heavenly Kings. We know little about these satellites, other than their names and locations, and they were reportedly manufactured by the Shanghai Academy of Spaceflight Technology, a division of China's main state-owned aerospace contractor. They are part of a series of Chinese missions known as Tongxin Jishu Shiyan (TJS), or what China calls communication technology test satellites. But that's likely a cover for their real purpose. This artwork released by one of China's state-run space companies shows the Four Heavenly Kings. Clockwise, in order of launch from the upper left: TJS-15 as King of the West, TJS-16 as King of the East, TJS-17 as King of the North, and TJS-19 as King of the South. Credit: Shanghai Academy of Spaceflight Technology China launched TJS-15, the first satellite with a Heavenly King mascot, on March 9 aboard a Long March 3B rocket. A Long March 7A rocket launched the TJS-16 satellite March 29, and another Long March 3B deployed the TJS-17 payload April 10. Finally, on Monday, a Long March 3C rocket sent China's TJS-19 satellite into orbit, skipping TJS-18 in the sequence. All four satellites are on their way to, or already operating in, geosynchronous orbit more than 22,000 miles (nearly 36,000 kilometers) over the equator. At that altitude, a satellite's orbital velocity matches the speed of Earth's rotation, allowing it to remain over the same part of the planet. Notably, ground-based trackers have detected unexpected objects that appear to have separated from TJS-15 and TJS-17 in geosynchronous orbit. These may be remnant rocket engines that helped inject the satellites into their operating orbits, but a handful of earlier Chinese satellites also released smaller spacecraft to perform their own maneuvers. Orbital intrigue US officials believe China uses many of the TJS satellites for missile warning or spy missions. In the first instance, some of the TJS satellites may be similar to the US Space Force's fleet of early warning satellites, on guard with heat sensors to detect the thermal signature of a ballistic missile launch. TJS satellites filling the role of a reconnaissance mission might have enormous umbrella-like reflectors to try and pick up signals transmitted by foreign forces, such as those of the United States. It's not difficult to start making connections between the Four Heavenly Gods and the missions that China's TJS satellites likely carry out in space. A protector with an umbrella? An all-seeing entity? This sounds like a possible link, but there's a chance Chinese officials approved the patches to misdirect outside observers, or there's no connection at all. All of the TJS satellites are parked in geosynchronous orbit over the Indian Ocean, Southeast Asia, or the Western Pacific, except for one—TJS-7—positioned over the Eastern Pacific, with good visibility over the entire United States. A Long March 7A rocket carrying the TJS-16 satellite lifts off from the Wenchang Space Launch Site on March 30, 2025, in Wenchang, Hainan Province of China. Credit: Liu Guoxing/VCG via Getty Images Mike Dahm, a researcher at the Mitchell Institute for Aerospace Studies and a former naval intelligence officer, told the US-China Economic and Security Review Commission last year that TJS-7 is probably a missile warning satellite, but it could be spying on signals coming from the US homeland. Some of the TJS satellites might also be capable of maneuvering near other satellites for closeup inspection. The US military has its own inspector satellites, known as GSSAP, to get a closer look at interesting things happening in geosynchronous orbit. And the Space Force is using them. One of these GSSAP platforms, designated USA-324, approached within about 10 miles of China's new TJS-16 and TJS-17 satellites on April 26 and April 29, according to COMSPOC, a commercial satellite tracking company. A video animation released by COMSPOC, embedded below, shows how the USA-324 satellite maneuvered close to each of the Chinese satellites last month over the Western Pacific Ocean. It seems the Space Force is intrigued by China's flurry of new top secret satellites missions, too. Stephen Clark Space Reporter Stephen Clark Space Reporter Stephen Clark is a space reporter at Ars Technica, covering private space companies and the world’s space agencies. Stephen writes about the nexus of technology, science, policy, and business on and off the planet. 14 Comments