• 15 Inspiring Designers From Shelter’s Showcase by Afternoon Light

    The inaugural edition of Shelter – a design fair on the occasion of NYCxDESIGN 2025, organized by the online collectible design platform Afternoon Light – was held on the third floor of Chelsea’s historic Starrett-Lehigh building. The 1930s-era daylit factory is an architectural relic from a time when industrial spaces of the same typology prioritized creative wellness through a structural-utilitarian-aesthetic unity. Its physicality provided an idyllic backdrop for the show’s eclectic, experimental design, which, when coupled with an expansive floorplate, promoted a sense of community among participants.
    More than 100 brands and makers across furniture, lighting, and product design converged on the bazaar of sorts to mingle with other trade professionals and media in what proved to be a creative convivance – something critical for in-person events looking to wrest audience attention and social currency back from the digital realm. Designers embraced the building’s ribbon-windowed, sun-drenched interior with some choosing to unfurl product-filled landscapes in lieu of walled booths while others opted for scene-building by erecting immersive sets. Aptly themed “Mart Nouveau,” Shelter’s successful launch has already positioned itself as a purveyor of taste and a collector of oddities in the best possible way.
    “We wanted to reference the industry-event tradition while also signaling that our activation is something entirely new… with a little aesthetic flair, too,” shares fair co-founder Minya Quirk. “Art Nouveau as a movement was about breaking from historical styles and creating something modern and forward-thinking, which we tempered by leaning into the larger concept of ‘shelter’ – protection, cover, the comfort of a hug.”
    Far from an exhaustive list, continue reading for a glimpse at 15 enchanting designers and the beguiling pieces that captured our attention at this year’s event.

    Matter.Made
    Matter.Made’s creative director and founder Jamie Gray launches the Delphi Pendant with star-like tubular detailing for a design that sparks great joy upon inspection. The versatile lighting collection is constructed of cast and machine brass paired with fluted glass in an homage to Greek columns. What’s more, the proprietary brass chain unlocks many use cases through customization as a pendant, sconce, and chandelier.

    N. Shook
    Reconfigurable, streamlined, and conceived as an architectural system. The Ledoux Prêt perforated shelving units, which revolve around a central spine, are satisfyingly thick with a lightness of form from their carefully calculated perforations. The cabinet doors swing on visible wooden hinges in an honest approach articulating their fully wooden joinery.

    Avram Rusu Studio
    Spring melds with summer in Psychogeography, a collaboration between Avram Rusu, Token, and Wallpaper Objects. The peachy-pink, biophilic glass orbs are whimsical by design suspended in space as they toe the line between sea creature and weeping botanicals. The sleek, bulbous forms and slightly organic folds pepper the collection with visual interest while enhancing their glow.

    Riffmade
    Riffmade’s Veil Curtain Desk is contemporary in appearance all the while deeply rooted in the domestic tradition that favors a slower pace. It supports a dynamic, modern work-life rhythm by hiding professional work stations behind a textile curtain and allowing users to create boundaries for the sake of their personal time.

    Jackrabbit Studio for Roll & Hill
    The Checa Stools commemorate Jackrabbit Studio’s first collection with New York-based, artisan manufacturer Roll & Hill. Each of the three options find themselves grounded in warmth, made even more inviting by Brett Miller’s inimitable round form-making, here inspired by the surface tension of water droplets.

    Ford Bostwick
    Finding furniture and lighting by way of architecture, designer Ford Bostwick takes the edge off rigid material forms with his indulgence in light and color. Lucy, the sculptural luminaire, can be stacked vertically or built out horizontally to create near-infinite linear combinations with her modules. She can be configured as a tower, room divider, wall feature, wall-mounted sconce, or ceiling-suspended pendant for a variety of programmatic needs.

    Yamazaki Home
    Smart brands like Yamazaki Home are approaching pet products with the same level of scrutiny and attention to detail as they would when designing goods for their human counterparts. The Tilted Pet Food Bowls elevate – quite literally – the dining experience for domesticated animals while creating a beautiful design object that doesn’t feel out of place in the contemporary home.

    Fort Standard Hardware
    Hardware bridges the gap between architecture and decorative objects, but few function with excellence at both. Fort Standard successfully expands into architectural hardware with beautiful home solutions through their Concave Collection. The slightly oversized handles boast a visual and physical weight that is hard to ignore. And, they are available in a variety of dimensions to accommodate a wide range of applications.

    M.Pei StudioMaggie Pei presented her Portico Console Table and Wall Hanging Mirror as M. Pei Studio within a capsule showcase for Colony – a community of independent furniture, lighting, textile, and objects designers brought together by curator Jean Lin. Pei’s portico is monumental, meant for entryways that command passersby to gaze at and inspire a moment of personal reflection.

    A Space Studio
    Marble is arguably one of the trade’s most venerable building materials and A Space Studio takes a ‘waste not, want not’ approach to their use of it. The studio’s Slanted Armchair No. 1 is seductive, cut from a single sheet of Indian Onyx and leaning into its angular architecture.

    Michiko Sakano Studio
    Brooklyn-based, multi-hyphenate maker Michiko Sakano is all about duality. Her practice is an amalgam of art and design while her work blends utility with aesthetics. This current collection on view, Stacks, builds on previous explorations of jewelry. Here, rigid glass bangles of varying thicknesses and opacities are caught in tension as they melt into the layers below. It explores an inherent contrast between softness and structure, the negotiation between tradition and experimentation, and exemplifies Sakano’s skills as a fabricator when they meet her creative impulses.

    John Wells Heavy Metal & FDK Junior
    In a shared exhibition space, the natural patination of John Wells’ ES-07 Sconces complemented the iridescence found on Fernando Kabigting’s wall sconce from his collection 01 Capsule: Rooted in Nature. The two share a propensity for narrative driven design with contrasting approaches to storytelling through material finish and edgework. Wells’ sconces comprise stacked, terraced plates backed by LED strip lighting that echo elements of Art Deco design, while Kabigting looks to nature pulling inspiration from capillary waves caused by a droplet of water or the crinkled edge of crisp leaves.

    Heako Studio
    A good lede can make or break a story with its power to pull readers in. The same goes for objects with compelling visual contrast, which commands an audience. Soul-born artist Hea Ko knows how to craft a strong design narrative as demonstrated by the Himalaya Lunar Lamp. With this piece Ko creates a vignette distilling the serene yet powerful juxtaposition of the moon in dialogue with the snow-capped peaks of the Himalayas – and bridging the natural with the celestial.

    Garnier Pingree
    Good collage is esoteric, expressive, and sometimes elusive, relying on chance for the perfect amalgamation of media. Marie Garnier and Asa Pingree, the duo behind Garnier Pingree, present the Claude Mirror I – a collage of simple shapes, a primary color, and superimposed textures – above their ‘A’ chair in a delightful display of materiality and wit. The seat offers a variety of ways to engage with comfort and even a little humor while settling in to relax.
    #inspiring #designers #shelters #showcase #afternoon
    15 Inspiring Designers From Shelter’s Showcase by Afternoon Light
    The inaugural edition of Shelter – a design fair on the occasion of NYCxDESIGN 2025, organized by the online collectible design platform Afternoon Light – was held on the third floor of Chelsea’s historic Starrett-Lehigh building. The 1930s-era daylit factory is an architectural relic from a time when industrial spaces of the same typology prioritized creative wellness through a structural-utilitarian-aesthetic unity. Its physicality provided an idyllic backdrop for the show’s eclectic, experimental design, which, when coupled with an expansive floorplate, promoted a sense of community among participants. More than 100 brands and makers across furniture, lighting, and product design converged on the bazaar of sorts to mingle with other trade professionals and media in what proved to be a creative convivance – something critical for in-person events looking to wrest audience attention and social currency back from the digital realm. Designers embraced the building’s ribbon-windowed, sun-drenched interior with some choosing to unfurl product-filled landscapes in lieu of walled booths while others opted for scene-building by erecting immersive sets. Aptly themed “Mart Nouveau,” Shelter’s successful launch has already positioned itself as a purveyor of taste and a collector of oddities in the best possible way. “We wanted to reference the industry-event tradition while also signaling that our activation is something entirely new… with a little aesthetic flair, too,” shares fair co-founder Minya Quirk. “Art Nouveau as a movement was about breaking from historical styles and creating something modern and forward-thinking, which we tempered by leaning into the larger concept of ‘shelter’ – protection, cover, the comfort of a hug.” Far from an exhaustive list, continue reading for a glimpse at 15 enchanting designers and the beguiling pieces that captured our attention at this year’s event. Matter.Made Matter.Made’s creative director and founder Jamie Gray launches the Delphi Pendant with star-like tubular detailing for a design that sparks great joy upon inspection. The versatile lighting collection is constructed of cast and machine brass paired with fluted glass in an homage to Greek columns. What’s more, the proprietary brass chain unlocks many use cases through customization as a pendant, sconce, and chandelier. N. Shook Reconfigurable, streamlined, and conceived as an architectural system. The Ledoux Prêt perforated shelving units, which revolve around a central spine, are satisfyingly thick with a lightness of form from their carefully calculated perforations. The cabinet doors swing on visible wooden hinges in an honest approach articulating their fully wooden joinery. Avram Rusu Studio Spring melds with summer in Psychogeography, a collaboration between Avram Rusu, Token, and Wallpaper Objects. The peachy-pink, biophilic glass orbs are whimsical by design suspended in space as they toe the line between sea creature and weeping botanicals. The sleek, bulbous forms and slightly organic folds pepper the collection with visual interest while enhancing their glow. Riffmade Riffmade’s Veil Curtain Desk is contemporary in appearance all the while deeply rooted in the domestic tradition that favors a slower pace. It supports a dynamic, modern work-life rhythm by hiding professional work stations behind a textile curtain and allowing users to create boundaries for the sake of their personal time. Jackrabbit Studio for Roll & Hill The Checa Stools commemorate Jackrabbit Studio’s first collection with New York-based, artisan manufacturer Roll & Hill. Each of the three options find themselves grounded in warmth, made even more inviting by Brett Miller’s inimitable round form-making, here inspired by the surface tension of water droplets. Ford Bostwick Finding furniture and lighting by way of architecture, designer Ford Bostwick takes the edge off rigid material forms with his indulgence in light and color. Lucy, the sculptural luminaire, can be stacked vertically or built out horizontally to create near-infinite linear combinations with her modules. She can be configured as a tower, room divider, wall feature, wall-mounted sconce, or ceiling-suspended pendant for a variety of programmatic needs. Yamazaki Home Smart brands like Yamazaki Home are approaching pet products with the same level of scrutiny and attention to detail as they would when designing goods for their human counterparts. The Tilted Pet Food Bowls elevate – quite literally – the dining experience for domesticated animals while creating a beautiful design object that doesn’t feel out of place in the contemporary home. Fort Standard Hardware Hardware bridges the gap between architecture and decorative objects, but few function with excellence at both. Fort Standard successfully expands into architectural hardware with beautiful home solutions through their Concave Collection. The slightly oversized handles boast a visual and physical weight that is hard to ignore. And, they are available in a variety of dimensions to accommodate a wide range of applications. M.Pei StudioMaggie Pei presented her Portico Console Table and Wall Hanging Mirror as M. Pei Studio within a capsule showcase for Colony – a community of independent furniture, lighting, textile, and objects designers brought together by curator Jean Lin. Pei’s portico is monumental, meant for entryways that command passersby to gaze at and inspire a moment of personal reflection. A Space Studio Marble is arguably one of the trade’s most venerable building materials and A Space Studio takes a ‘waste not, want not’ approach to their use of it. The studio’s Slanted Armchair No. 1 is seductive, cut from a single sheet of Indian Onyx and leaning into its angular architecture. Michiko Sakano Studio Brooklyn-based, multi-hyphenate maker Michiko Sakano is all about duality. Her practice is an amalgam of art and design while her work blends utility with aesthetics. This current collection on view, Stacks, builds on previous explorations of jewelry. Here, rigid glass bangles of varying thicknesses and opacities are caught in tension as they melt into the layers below. It explores an inherent contrast between softness and structure, the negotiation between tradition and experimentation, and exemplifies Sakano’s skills as a fabricator when they meet her creative impulses. John Wells Heavy Metal & FDK Junior In a shared exhibition space, the natural patination of John Wells’ ES-07 Sconces complemented the iridescence found on Fernando Kabigting’s wall sconce from his collection 01 Capsule: Rooted in Nature. The two share a propensity for narrative driven design with contrasting approaches to storytelling through material finish and edgework. Wells’ sconces comprise stacked, terraced plates backed by LED strip lighting that echo elements of Art Deco design, while Kabigting looks to nature pulling inspiration from capillary waves caused by a droplet of water or the crinkled edge of crisp leaves. Heako Studio A good lede can make or break a story with its power to pull readers in. The same goes for objects with compelling visual contrast, which commands an audience. Soul-born artist Hea Ko knows how to craft a strong design narrative as demonstrated by the Himalaya Lunar Lamp. With this piece Ko creates a vignette distilling the serene yet powerful juxtaposition of the moon in dialogue with the snow-capped peaks of the Himalayas – and bridging the natural with the celestial. Garnier Pingree Good collage is esoteric, expressive, and sometimes elusive, relying on chance for the perfect amalgamation of media. Marie Garnier and Asa Pingree, the duo behind Garnier Pingree, present the Claude Mirror I – a collage of simple shapes, a primary color, and superimposed textures – above their ‘A’ chair in a delightful display of materiality and wit. The seat offers a variety of ways to engage with comfort and even a little humor while settling in to relax. #inspiring #designers #shelters #showcase #afternoon
    DESIGN-MILK.COM
    15 Inspiring Designers From Shelter’s Showcase by Afternoon Light
    The inaugural edition of Shelter – a design fair on the occasion of NYCxDESIGN 2025, organized by the online collectible design platform Afternoon Light – was held on the third floor of Chelsea’s historic Starrett-Lehigh building. The 1930s-era daylit factory is an architectural relic from a time when industrial spaces of the same typology prioritized creative wellness through a structural-utilitarian-aesthetic unity. Its physicality provided an idyllic backdrop for the show’s eclectic, experimental design, which, when coupled with an expansive floorplate, promoted a sense of community among participants. More than 100 brands and makers across furniture, lighting, and product design converged on the bazaar of sorts to mingle with other trade professionals and media in what proved to be a creative convivance – something critical for in-person events looking to wrest audience attention and social currency back from the digital realm. Designers embraced the building’s ribbon-windowed, sun-drenched interior with some choosing to unfurl product-filled landscapes in lieu of walled booths while others opted for scene-building by erecting immersive sets. Aptly themed “Mart Nouveau,” Shelter’s successful launch has already positioned itself as a purveyor of taste and a collector of oddities in the best possible way. “We wanted to reference the industry-event tradition while also signaling that our activation is something entirely new… with a little aesthetic flair, too,” shares fair co-founder Minya Quirk. “Art Nouveau as a movement was about breaking from historical styles and creating something modern and forward-thinking, which we tempered by leaning into the larger concept of ‘shelter’ – protection, cover, the comfort of a hug.” Far from an exhaustive list, continue reading for a glimpse at 15 enchanting designers and the beguiling pieces that captured our attention at this year’s event. Matter.Made Matter.Made’s creative director and founder Jamie Gray launches the Delphi Pendant with star-like tubular detailing for a design that sparks great joy upon inspection. The versatile lighting collection is constructed of cast and machine brass paired with fluted glass in an homage to Greek columns. What’s more, the proprietary brass chain unlocks many use cases through customization as a pendant, sconce, and chandelier. N. Shook Reconfigurable, streamlined, and conceived as an architectural system. The Ledoux Prêt perforated shelving units, which revolve around a central spine, are satisfyingly thick with a lightness of form from their carefully calculated perforations. The cabinet doors swing on visible wooden hinges in an honest approach articulating their fully wooden joinery. Avram Rusu Studio Spring melds with summer in Psychogeography, a collaboration between Avram Rusu, Token, and Wallpaper Objects. The peachy-pink, biophilic glass orbs are whimsical by design suspended in space as they toe the line between sea creature and weeping botanicals. The sleek, bulbous forms and slightly organic folds pepper the collection with visual interest while enhancing their glow. Riffmade Riffmade’s Veil Curtain Desk is contemporary in appearance all the while deeply rooted in the domestic tradition that favors a slower pace. It supports a dynamic, modern work-life rhythm by hiding professional work stations behind a textile curtain and allowing users to create boundaries for the sake of their personal time. Jackrabbit Studio for Roll & Hill The Checa Stools commemorate Jackrabbit Studio’s first collection with New York-based, artisan manufacturer Roll & Hill. Each of the three options find themselves grounded in warmth, made even more inviting by Brett Miller’s inimitable round form-making, here inspired by the surface tension of water droplets. Ford Bostwick Finding furniture and lighting by way of architecture, designer Ford Bostwick takes the edge off rigid material forms with his indulgence in light and color. Lucy, the sculptural luminaire, can be stacked vertically or built out horizontally to create near-infinite linear combinations with her modules. She can be configured as a tower, room divider, wall feature, wall-mounted sconce, or ceiling-suspended pendant for a variety of programmatic needs. Yamazaki Home Smart brands like Yamazaki Home are approaching pet products with the same level of scrutiny and attention to detail as they would when designing goods for their human counterparts. The Tilted Pet Food Bowls elevate – quite literally – the dining experience for domesticated animals while creating a beautiful design object that doesn’t feel out of place in the contemporary home. Fort Standard Hardware Hardware bridges the gap between architecture and decorative objects, but few function with excellence at both. Fort Standard successfully expands into architectural hardware with beautiful home solutions through their Concave Collection. The slightly oversized handles boast a visual and physical weight that is hard to ignore. And, they are available in a variety of dimensions to accommodate a wide range of applications. M.Pei Studio (as curated by Colony) Maggie Pei presented her Portico Console Table and Wall Hanging Mirror as M. Pei Studio within a capsule showcase for Colony – a community of independent furniture, lighting, textile, and objects designers brought together by curator Jean Lin. Pei’s portico is monumental, meant for entryways that command passersby to gaze at and inspire a moment of personal reflection. A Space Studio Marble is arguably one of the trade’s most venerable building materials and A Space Studio takes a ‘waste not, want not’ approach to their use of it. The studio’s Slanted Armchair No. 1 is seductive, cut from a single sheet of Indian Onyx and leaning into its angular architecture. Michiko Sakano Studio Brooklyn-based, multi-hyphenate maker Michiko Sakano is all about duality. Her practice is an amalgam of art and design while her work blends utility with aesthetics. This current collection on view, Stacks, builds on previous explorations of jewelry. Here, rigid glass bangles of varying thicknesses and opacities are caught in tension as they melt into the layers below. It explores an inherent contrast between softness and structure, the negotiation between tradition and experimentation, and exemplifies Sakano’s skills as a fabricator when they meet her creative impulses. John Wells Heavy Metal & FDK Junior In a shared exhibition space, the natural patination of John Wells’ ES-07 Sconces complemented the iridescence found on Fernando Kabigting’s wall sconce from his collection 01 Capsule: Rooted in Nature. The two share a propensity for narrative driven design with contrasting approaches to storytelling through material finish and edgework. Wells’ sconces comprise stacked, terraced plates backed by LED strip lighting that echo elements of Art Deco design, while Kabigting looks to nature pulling inspiration from capillary waves caused by a droplet of water or the crinkled edge of crisp leaves. Heako Studio A good lede can make or break a story with its power to pull readers in. The same goes for objects with compelling visual contrast, which commands an audience. Soul-born artist Hea Ko knows how to craft a strong design narrative as demonstrated by the Himalaya Lunar Lamp. With this piece Ko creates a vignette distilling the serene yet powerful juxtaposition of the moon in dialogue with the snow-capped peaks of the Himalayas – and bridging the natural with the celestial. Garnier Pingree Good collage is esoteric, expressive, and sometimes elusive, relying on chance for the perfect amalgamation of media. Marie Garnier and Asa Pingree, the duo behind Garnier Pingree, present the Claude Mirror I – a collage of simple shapes, a primary color, and superimposed textures – above their ‘A’ chair in a delightful display of materiality and wit. The seat offers a variety of ways to engage with comfort and even a little humor while settling in to relax.
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  • Three circular volumes create Villa Noon in Sotogrande designed by Fran Silvestre Arquitectos

    Submitted by WA Contents
    Three circular volumes create Villa Noon in Sotogrande designed by Fran Silvestre Arquitectos

    Spain Architecture News - May 30, 2025 - 12:29  

    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ";
    Valencia-based architecture practice Fran Silvestre Arquitectos has revealed design for a house composed of three circular volumes in Sotogrande, Spain.Named Villa Noon, the house is thoughtfully incorporated into a topographically defined setting, utilizing the slope of the ground to open each volume onto a distinct horizon. In order to achieve visual harmony with the natural environment without leaving an unwelcome footprint on the landscape, the house's layout, which is divided into five circular sections, was designed to seamlessly blend with the surroundings.Every one of these pieces has a rear patio that offers protection from the strongest winds and a front terrace that shields from the sun. In addition to optimizing orientation, this circular geometry reduces the volumetric impact, enabling the building to interact with the landscape in a controlled and deliberate manner. The outside materiality gradually integrates into its surroundings because it was constructed from indigenous Sierra Elvira stone, which has white veins and grey tones. This organic texture will eventually blend in as though it were a natural feature of the relief of the ground.A spacious, open vestibule that serves as a threshold between the outside and the inside of the villa is the entryway. It is surrounded by a curved wall. Visitors are introduced to a series of chambers that adjust to the various terrain levels in this transitional area. While the day area unfolds on a lower platform, open to the landscape and directly connected to the outdoors, the night area is located on a higher level, apart from the other functions.The well-being areas, like the gym, are located on the same floor and provide both practical and visual connections to the separate visitor area. Each zone's privacy is protected by this tiered arrangement, which also keeps the composition's overall spatial continuity flexible. By combining geothermal and aerothermal technologies, the house produces an excess of electricity and becomes energy self-sufficient. A mechanism for atmospheric water condensation is also included, which draws moisture from the air for household usage.Techniques including choosing native plant species based on their water requirements, utilizing natural mulch to prevent evaporation, and installing a drip irrigation system that only turns on when required are used to cut down on water usage in the garden. While infiltration trenches, also known as swales, filter and direct rainfall, green roofs enhance insulation and collect rainfall. This system is completed by permeable surfaces and cisterns, which enable the collected water to be stored and used again.By taking these steps, the house also becomes self-sufficient in water, which is a very reasonable objective in this region of Spain, which is the wettest in the nation due to the Sierra de Grazalema."We have always been fascinated by how the Namib Desert beetle collects water: in an extremely arid environment, this insect tilts its body into the wind to condense fog on its shell, whose surface combines areas that attract water and others that repel it, allowing the droplets to slide directly into its mouth," said Fran Silvestre Arquitectos."A natural lesson in efficiency that inspires and reinforces the logic of this system," the firm added.The idea is reminiscent of architectural works like Kazuyo Sejima's Villa in the Forest and Arne Jacobsen's Leo Henriksen House, whose circular shapes and attention to the environment served as inspiration. In contrast to radiocentric solutions, this proposal chooses what we refer to as "the squaring of the circle": service areas are included into irregularly shaped zones, while residential spaces are resolved through an orthogonal floor plan. In the end, we anticipate that this architecture will blend in with its surroundings over time, appearing to be a component of a karstic relief.SketchRoof level planFirst floor planGround floor planBasement floor planSectionRecently, Fran Silvestre Arquitectos unveiled design for a winery with curvacious form adressing winemaking process in Zayas de Báscones, Soria, Spain. In addition, the firm completed a house featuring irregularly shifted volumes on an irregularly shaped plot within Altos de Valderrama, in Sotogrande, Spain.Project factsProject name: Villa NoonArchitects: Fran Silvestre ArquitectosLocation: Sotogrande, Spain.Developer: Cork Oak MansionAll renderings & drawings courtesy of Fran Silvestre Arquitectos.> via Fran Silvestre Arquitectos
    #three #circular #volumes #create #villa
    Three circular volumes create Villa Noon in Sotogrande designed by Fran Silvestre Arquitectos
    Submitted by WA Contents Three circular volumes create Villa Noon in Sotogrande designed by Fran Silvestre Arquitectos Spain Architecture News - May 30, 2025 - 12:29   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "; Valencia-based architecture practice Fran Silvestre Arquitectos has revealed design for a house composed of three circular volumes in Sotogrande, Spain.Named Villa Noon, the house is thoughtfully incorporated into a topographically defined setting, utilizing the slope of the ground to open each volume onto a distinct horizon. In order to achieve visual harmony with the natural environment without leaving an unwelcome footprint on the landscape, the house's layout, which is divided into five circular sections, was designed to seamlessly blend with the surroundings.Every one of these pieces has a rear patio that offers protection from the strongest winds and a front terrace that shields from the sun. In addition to optimizing orientation, this circular geometry reduces the volumetric impact, enabling the building to interact with the landscape in a controlled and deliberate manner. The outside materiality gradually integrates into its surroundings because it was constructed from indigenous Sierra Elvira stone, which has white veins and grey tones. This organic texture will eventually blend in as though it were a natural feature of the relief of the ground.A spacious, open vestibule that serves as a threshold between the outside and the inside of the villa is the entryway. It is surrounded by a curved wall. Visitors are introduced to a series of chambers that adjust to the various terrain levels in this transitional area. While the day area unfolds on a lower platform, open to the landscape and directly connected to the outdoors, the night area is located on a higher level, apart from the other functions.The well-being areas, like the gym, are located on the same floor and provide both practical and visual connections to the separate visitor area. Each zone's privacy is protected by this tiered arrangement, which also keeps the composition's overall spatial continuity flexible. By combining geothermal and aerothermal technologies, the house produces an excess of electricity and becomes energy self-sufficient. A mechanism for atmospheric water condensation is also included, which draws moisture from the air for household usage.Techniques including choosing native plant species based on their water requirements, utilizing natural mulch to prevent evaporation, and installing a drip irrigation system that only turns on when required are used to cut down on water usage in the garden. While infiltration trenches, also known as swales, filter and direct rainfall, green roofs enhance insulation and collect rainfall. This system is completed by permeable surfaces and cisterns, which enable the collected water to be stored and used again.By taking these steps, the house also becomes self-sufficient in water, which is a very reasonable objective in this region of Spain, which is the wettest in the nation due to the Sierra de Grazalema."We have always been fascinated by how the Namib Desert beetle collects water: in an extremely arid environment, this insect tilts its body into the wind to condense fog on its shell, whose surface combines areas that attract water and others that repel it, allowing the droplets to slide directly into its mouth," said Fran Silvestre Arquitectos."A natural lesson in efficiency that inspires and reinforces the logic of this system," the firm added.The idea is reminiscent of architectural works like Kazuyo Sejima's Villa in the Forest and Arne Jacobsen's Leo Henriksen House, whose circular shapes and attention to the environment served as inspiration. In contrast to radiocentric solutions, this proposal chooses what we refer to as "the squaring of the circle": service areas are included into irregularly shaped zones, while residential spaces are resolved through an orthogonal floor plan. In the end, we anticipate that this architecture will blend in with its surroundings over time, appearing to be a component of a karstic relief.SketchRoof level planFirst floor planGround floor planBasement floor planSectionRecently, Fran Silvestre Arquitectos unveiled design for a winery with curvacious form adressing winemaking process in Zayas de Báscones, Soria, Spain. In addition, the firm completed a house featuring irregularly shifted volumes on an irregularly shaped plot within Altos de Valderrama, in Sotogrande, Spain.Project factsProject name: Villa NoonArchitects: Fran Silvestre ArquitectosLocation: Sotogrande, Spain.Developer: Cork Oak MansionAll renderings & drawings courtesy of Fran Silvestre Arquitectos.> via Fran Silvestre Arquitectos #three #circular #volumes #create #villa
    WORLDARCHITECTURE.ORG
    Three circular volumes create Villa Noon in Sotogrande designed by Fran Silvestre Arquitectos
    Submitted by WA Contents Three circular volumes create Villa Noon in Sotogrande designed by Fran Silvestre Arquitectos Spain Architecture News - May 30, 2025 - 12:29   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Valencia-based architecture practice Fran Silvestre Arquitectos has revealed design for a house composed of three circular volumes in Sotogrande, Spain.Named Villa Noon, the house is thoughtfully incorporated into a topographically defined setting, utilizing the slope of the ground to open each volume onto a distinct horizon. In order to achieve visual harmony with the natural environment without leaving an unwelcome footprint on the landscape, the house's layout, which is divided into five circular sections, was designed to seamlessly blend with the surroundings.Every one of these pieces has a rear patio that offers protection from the strongest winds and a front terrace that shields from the sun. In addition to optimizing orientation, this circular geometry reduces the volumetric impact, enabling the building to interact with the landscape in a controlled and deliberate manner. The outside materiality gradually integrates into its surroundings because it was constructed from indigenous Sierra Elvira stone, which has white veins and grey tones. This organic texture will eventually blend in as though it were a natural feature of the relief of the ground.A spacious, open vestibule that serves as a threshold between the outside and the inside of the villa is the entryway. It is surrounded by a curved wall. Visitors are introduced to a series of chambers that adjust to the various terrain levels in this transitional area. While the day area unfolds on a lower platform, open to the landscape and directly connected to the outdoors, the night area is located on a higher level, apart from the other functions.The well-being areas, like the gym, are located on the same floor and provide both practical and visual connections to the separate visitor area. Each zone's privacy is protected by this tiered arrangement, which also keeps the composition's overall spatial continuity flexible. By combining geothermal and aerothermal technologies, the house produces an excess of electricity and becomes energy self-sufficient. A mechanism for atmospheric water condensation is also included, which draws moisture from the air for household usage.Techniques including choosing native plant species based on their water requirements, utilizing natural mulch to prevent evaporation, and installing a drip irrigation system that only turns on when required are used to cut down on water usage in the garden. While infiltration trenches, also known as swales, filter and direct rainfall, green roofs enhance insulation and collect rainfall. This system is completed by permeable surfaces and cisterns, which enable the collected water to be stored and used again.By taking these steps, the house also becomes self-sufficient in water, which is a very reasonable objective in this region of Spain, which is the wettest in the nation due to the Sierra de Grazalema."We have always been fascinated by how the Namib Desert beetle collects water: in an extremely arid environment, this insect tilts its body into the wind to condense fog on its shell, whose surface combines areas that attract water and others that repel it, allowing the droplets to slide directly into its mouth," said Fran Silvestre Arquitectos."A natural lesson in efficiency that inspires and reinforces the logic of this system," the firm added.The idea is reminiscent of architectural works like Kazuyo Sejima's Villa in the Forest and Arne Jacobsen's Leo Henriksen House, whose circular shapes and attention to the environment served as inspiration. In contrast to radiocentric solutions, this proposal chooses what we refer to as "the squaring of the circle": service areas are included into irregularly shaped zones, while residential spaces are resolved through an orthogonal floor plan. In the end, we anticipate that this architecture will blend in with its surroundings over time, appearing to be a component of a karstic relief.SketchRoof level planFirst floor planGround floor planBasement floor planSectionRecently, Fran Silvestre Arquitectos unveiled design for a winery with curvacious form adressing winemaking process in Zayas de Báscones, Soria, Spain. In addition, the firm completed a house featuring irregularly shifted volumes on an irregularly shaped plot within Altos de Valderrama, in Sotogrande, Spain.Project factsProject name: Villa NoonArchitects: Fran Silvestre ArquitectosLocation: Sotogrande, Spain.Developer: Cork Oak MansionAll renderings & drawings courtesy of Fran Silvestre Arquitectos.> via Fran Silvestre Arquitectos
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  • Mickey 17: Stuart Penn – VFX Supervisor – Framestore

    Interviews

    Mickey 17: Stuart Penn – VFX Supervisor – Framestore

    By Vincent Frei - 27/05/2025

    When we last spoke with Stuart Penn in 2019, he walked us through Framestore’s work on Avengers: Endgame. He has since added The Aeronauts, Moon Knight, 1899, and Flite to his impressive list of credits.
    How did you get involved on this show?
    Soon after we had been awarded work, Director Bong visited our London Studio in May 2022 to meet us and share his vision with us.

    How was the sequences made by Framestore?
    Framestore was responsible for the development of the Baby and Mama Creepers. We worked on the shots of the Baby Creepers within the ship, and the Creepers in the caves and the ice crevasse. We developed the ice cave and crevasse environments, including a full-CG shot of Mickey falling into the crevasse.
    Within the ship we were also responsible for the cycler room with its lava pit, the human printer, a range of set extensions, Marshall’s beautiful rock and—one of my personal favourites—Pigeon Man’s spinning eyes. We also crafted the spacewalk sequence. All the work came out of our London and Mumbai studios.

    Bong Joon Ho has a very distinct visual storytelling style. How did you collaborate with him to ensure the VFX aligned with his vision, and were there any unexpected creative challenges that pushed the team in new directions?
    Director Bong was fun to work with, very collaborative and had a very clear vision of where the film was going. We had discussions before and during the shoot. While we were shooting, Director Bong would talk to us about the backstory of what the Creepers might be thinking that went beyond the scope of what we would see in the movie. This really helped with giving the creatures character.

    Can you walk us through the design and animation process for the baby and mother creepers? What references or inspirations helped shape their look and movement?
    Director Bong had been working with his creature designer, Heechul Jang, for many months before production started. We had kickoffs with Director Bong and Heechul that provided us with some of the best and most thought out concepts I think we’ve ever received. Director Bong set us the challenge of bringing them to life. We took the lead on the Baby and Mama Creepers and DNEG took on the Juniors.
    It’s fun to note that the energy and inquisitive nature of the Babies was inspired by reference footage of puppies.

    Were these creatures primarily CG, or was there any practical element involved? How did you ensure their integration into the live-action footage?
    They were all CG in the final film. On set we had a range of stuffies and mockups for actors to interact with and for lighting reference. People became quite attached to the baby creeper stuffies! For the Mama there was a head and large frame that was controlled by a team of puppeteers for eyeline and lighting reference.

    The ice cave has a very distinct visual style. How did you achieve the look of the ice, and what techniques were used to create the lighting and atmospheric effects inside the cave?
    I was sent to Iceland for a week to gather reference. I visited a range of ice cave locations—driving, hiking and being dropped by helicopter at various locations across a glacier. This reference provided the basis for the look of the caves. The ice was rendered fully refractive with interior volumes to create the structures. As it’s so computationally expensive to render we used tricks where we could reproject a limited number of fully rendered frames. This worked best on lock offs or small camera moves—others we just had to render full length.

    How were the scenes featuring multiple Mickeys filmed? Did you rely mostly on motion control, digital doubles, or a combination of techniques to seamlessly integrate the clones into the shots?
    For our shots it was mostly multiple plates relying on the skill of camera operators to match the framing and move and the comp work to either split frames or lift one of the Mickeys from a plate and replace the stand-in.

    Since Mickey’s clones are central to the story, what were the biggest VFX challenges in making them interact convincingly? Were there any specific techniques used to differentiate them visually or subtly show their progression over time?
    This really all came down to Robert Pattinson’s performances. He would usually be acting with his double for interaction and lighting. They would then switch positions and redo the performance. Robs could switch between the Mickey 17 and 18 characters with the assistance of quick hair and makeup changes.
    The prison environment seems to have a unique aesthetic and mood. How much of it was built practically, and how did VFX contribute to enhancing or extending the set?
    The foreground cells and storage containers were practical and everything beyond the fence was CG with a DMP overlay. The containers going off into the distance were carefully positioned and lit to enable you to feel the vast scale of the ship. We also replaced the fence in most shots with CG as it was easier than rotoing through the chain links.
    When Mickey is outside the ship, exposed to radiation, there are several extreme body effects, including his hand coming off. Can you discuss the challenges of creating these sequences, particularly in terms of digital prosthetics and damage simulations?
    Knocking Mickey’s hand off was quite straight forward due the speed of the impact. We started with a plate of the practical arm and glove and switch to a pre-sculpted CG glove and arm stump. The hand spinning off into the distance was hand animated to allow us to fully art direct the spin and trajectory. The final touch was to add and FX sim for the blood droplets.
    How did you balance realism and stylization in depicting the effects of radiation exposure? Were there real-world references or scientific studies that guided the look of the damage?
    Most of the radiation effects came from great make up and prosthetics—we just added some final touches such as an FX sim for a bursting blister. We tried a few different simulations based on work we had none on previous shows but ultimately dialed it back to something more subtle so it didn’t distract from the moment.

    Were there any memorable moments or scenes from the film that you found particularly rewarding or challenging to work on from a visual effects standpoint?
    There were a lot of quite diverse challenges. From creature work, environments, lava to a lot of ‘one off’ effects. The shot where the Creepers are pushing Mickey out into the snow was particularly challenging, with so many Creepers interacting with each other and Mickey, it took the combination of several animators and compositors to bring it together and integrate with the partial CG Mickey.

    Looking back on the project, what aspects of the visual effects are you most proud of?
    The baby creeper and the Ice cave environment.
    How long have you worked on this show?
    I worked on it for about 18 months
    What’s the VFX shots count?
    Framestore worked on 405 shots.
    A big thanks for your time.
    WANT TO KNOW MORE?Framestore: Dedicated page about Mickey 17 on Framestore website.
    © Vincent Frei – The Art of VFX – 2025
    #mickey #stuart #penn #vfx #supervisor
    Mickey 17: Stuart Penn – VFX Supervisor – Framestore
    Interviews Mickey 17: Stuart Penn – VFX Supervisor – Framestore By Vincent Frei - 27/05/2025 When we last spoke with Stuart Penn in 2019, he walked us through Framestore’s work on Avengers: Endgame. He has since added The Aeronauts, Moon Knight, 1899, and Flite to his impressive list of credits. How did you get involved on this show? Soon after we had been awarded work, Director Bong visited our London Studio in May 2022 to meet us and share his vision with us. How was the sequences made by Framestore? Framestore was responsible for the development of the Baby and Mama Creepers. We worked on the shots of the Baby Creepers within the ship, and the Creepers in the caves and the ice crevasse. We developed the ice cave and crevasse environments, including a full-CG shot of Mickey falling into the crevasse. Within the ship we were also responsible for the cycler room with its lava pit, the human printer, a range of set extensions, Marshall’s beautiful rock and—one of my personal favourites—Pigeon Man’s spinning eyes. We also crafted the spacewalk sequence. All the work came out of our London and Mumbai studios. Bong Joon Ho has a very distinct visual storytelling style. How did you collaborate with him to ensure the VFX aligned with his vision, and were there any unexpected creative challenges that pushed the team in new directions? Director Bong was fun to work with, very collaborative and had a very clear vision of where the film was going. We had discussions before and during the shoot. While we were shooting, Director Bong would talk to us about the backstory of what the Creepers might be thinking that went beyond the scope of what we would see in the movie. This really helped with giving the creatures character. Can you walk us through the design and animation process for the baby and mother creepers? What references or inspirations helped shape their look and movement? Director Bong had been working with his creature designer, Heechul Jang, for many months before production started. We had kickoffs with Director Bong and Heechul that provided us with some of the best and most thought out concepts I think we’ve ever received. Director Bong set us the challenge of bringing them to life. We took the lead on the Baby and Mama Creepers and DNEG took on the Juniors. It’s fun to note that the energy and inquisitive nature of the Babies was inspired by reference footage of puppies. Were these creatures primarily CG, or was there any practical element involved? How did you ensure their integration into the live-action footage? They were all CG in the final film. On set we had a range of stuffies and mockups for actors to interact with and for lighting reference. People became quite attached to the baby creeper stuffies! For the Mama there was a head and large frame that was controlled by a team of puppeteers for eyeline and lighting reference. The ice cave has a very distinct visual style. How did you achieve the look of the ice, and what techniques were used to create the lighting and atmospheric effects inside the cave? I was sent to Iceland for a week to gather reference. I visited a range of ice cave locations—driving, hiking and being dropped by helicopter at various locations across a glacier. This reference provided the basis for the look of the caves. The ice was rendered fully refractive with interior volumes to create the structures. As it’s so computationally expensive to render we used tricks where we could reproject a limited number of fully rendered frames. This worked best on lock offs or small camera moves—others we just had to render full length. How were the scenes featuring multiple Mickeys filmed? Did you rely mostly on motion control, digital doubles, or a combination of techniques to seamlessly integrate the clones into the shots? For our shots it was mostly multiple plates relying on the skill of camera operators to match the framing and move and the comp work to either split frames or lift one of the Mickeys from a plate and replace the stand-in. Since Mickey’s clones are central to the story, what were the biggest VFX challenges in making them interact convincingly? Were there any specific techniques used to differentiate them visually or subtly show their progression over time? This really all came down to Robert Pattinson’s performances. He would usually be acting with his double for interaction and lighting. They would then switch positions and redo the performance. Robs could switch between the Mickey 17 and 18 characters with the assistance of quick hair and makeup changes. The prison environment seems to have a unique aesthetic and mood. How much of it was built practically, and how did VFX contribute to enhancing or extending the set? The foreground cells and storage containers were practical and everything beyond the fence was CG with a DMP overlay. The containers going off into the distance were carefully positioned and lit to enable you to feel the vast scale of the ship. We also replaced the fence in most shots with CG as it was easier than rotoing through the chain links. When Mickey is outside the ship, exposed to radiation, there are several extreme body effects, including his hand coming off. Can you discuss the challenges of creating these sequences, particularly in terms of digital prosthetics and damage simulations? Knocking Mickey’s hand off was quite straight forward due the speed of the impact. We started with a plate of the practical arm and glove and switch to a pre-sculpted CG glove and arm stump. The hand spinning off into the distance was hand animated to allow us to fully art direct the spin and trajectory. The final touch was to add and FX sim for the blood droplets. How did you balance realism and stylization in depicting the effects of radiation exposure? Were there real-world references or scientific studies that guided the look of the damage? Most of the radiation effects came from great make up and prosthetics—we just added some final touches such as an FX sim for a bursting blister. We tried a few different simulations based on work we had none on previous shows but ultimately dialed it back to something more subtle so it didn’t distract from the moment. Were there any memorable moments or scenes from the film that you found particularly rewarding or challenging to work on from a visual effects standpoint? There were a lot of quite diverse challenges. From creature work, environments, lava to a lot of ‘one off’ effects. The shot where the Creepers are pushing Mickey out into the snow was particularly challenging, with so many Creepers interacting with each other and Mickey, it took the combination of several animators and compositors to bring it together and integrate with the partial CG Mickey. Looking back on the project, what aspects of the visual effects are you most proud of? The baby creeper and the Ice cave environment. How long have you worked on this show? I worked on it for about 18 months What’s the VFX shots count? Framestore worked on 405 shots. A big thanks for your time. WANT TO KNOW MORE?Framestore: Dedicated page about Mickey 17 on Framestore website. © Vincent Frei – The Art of VFX – 2025 #mickey #stuart #penn #vfx #supervisor
    WWW.ARTOFVFX.COM
    Mickey 17: Stuart Penn – VFX Supervisor – Framestore
    Interviews Mickey 17: Stuart Penn – VFX Supervisor – Framestore By Vincent Frei - 27/05/2025 When we last spoke with Stuart Penn in 2019, he walked us through Framestore’s work on Avengers: Endgame. He has since added The Aeronauts, Moon Knight, 1899, and Flite to his impressive list of credits. How did you get involved on this show? Soon after we had been awarded work, Director Bong visited our London Studio in May 2022 to meet us and share his vision with us. How was the sequences made by Framestore? Framestore was responsible for the development of the Baby and Mama Creepers. We worked on the shots of the Baby Creepers within the ship, and the Creepers in the caves and the ice crevasse. We developed the ice cave and crevasse environments, including a full-CG shot of Mickey falling into the crevasse. Within the ship we were also responsible for the cycler room with its lava pit, the human printer, a range of set extensions, Marshall’s beautiful rock and—one of my personal favourites—Pigeon Man’s spinning eyes. We also crafted the spacewalk sequence. All the work came out of our London and Mumbai studios. Bong Joon Ho has a very distinct visual storytelling style. How did you collaborate with him to ensure the VFX aligned with his vision, and were there any unexpected creative challenges that pushed the team in new directions? Director Bong was fun to work with, very collaborative and had a very clear vision of where the film was going. We had discussions before and during the shoot. While we were shooting, Director Bong would talk to us about the backstory of what the Creepers might be thinking that went beyond the scope of what we would see in the movie. This really helped with giving the creatures character. Can you walk us through the design and animation process for the baby and mother creepers? What references or inspirations helped shape their look and movement? Director Bong had been working with his creature designer, Heechul Jang, for many months before production started. We had kickoffs with Director Bong and Heechul that provided us with some of the best and most thought out concepts I think we’ve ever received. Director Bong set us the challenge of bringing them to life. We took the lead on the Baby and Mama Creepers and DNEG took on the Juniors. It’s fun to note that the energy and inquisitive nature of the Babies was inspired by reference footage of puppies. Were these creatures primarily CG, or was there any practical element involved? How did you ensure their integration into the live-action footage? They were all CG in the final film. On set we had a range of stuffies and mockups for actors to interact with and for lighting reference. People became quite attached to the baby creeper stuffies! For the Mama there was a head and large frame that was controlled by a team of puppeteers for eyeline and lighting reference. The ice cave has a very distinct visual style. How did you achieve the look of the ice, and what techniques were used to create the lighting and atmospheric effects inside the cave? I was sent to Iceland for a week to gather reference. I visited a range of ice cave locations—driving, hiking and being dropped by helicopter at various locations across a glacier. This reference provided the basis for the look of the caves. The ice was rendered fully refractive with interior volumes to create the structures. As it’s so computationally expensive to render we used tricks where we could reproject a limited number of fully rendered frames. This worked best on lock offs or small camera moves—others we just had to render full length. How were the scenes featuring multiple Mickeys filmed? Did you rely mostly on motion control, digital doubles, or a combination of techniques to seamlessly integrate the clones into the shots? For our shots it was mostly multiple plates relying on the skill of camera operators to match the framing and move and the comp work to either split frames or lift one of the Mickeys from a plate and replace the stand-in. Since Mickey’s clones are central to the story, what were the biggest VFX challenges in making them interact convincingly? Were there any specific techniques used to differentiate them visually or subtly show their progression over time? This really all came down to Robert Pattinson’s performances. He would usually be acting with his double for interaction and lighting. They would then switch positions and redo the performance. Robs could switch between the Mickey 17 and 18 characters with the assistance of quick hair and makeup changes. The prison environment seems to have a unique aesthetic and mood. How much of it was built practically, and how did VFX contribute to enhancing or extending the set? The foreground cells and storage containers were practical and everything beyond the fence was CG with a DMP overlay. The containers going off into the distance were carefully positioned and lit to enable you to feel the vast scale of the ship. We also replaced the fence in most shots with CG as it was easier than rotoing through the chain links. When Mickey is outside the ship, exposed to radiation, there are several extreme body effects, including his hand coming off. Can you discuss the challenges of creating these sequences, particularly in terms of digital prosthetics and damage simulations? Knocking Mickey’s hand off was quite straight forward due the speed of the impact. We started with a plate of the practical arm and glove and switch to a pre-sculpted CG glove and arm stump. The hand spinning off into the distance was hand animated to allow us to fully art direct the spin and trajectory. The final touch was to add and FX sim for the blood droplets. How did you balance realism and stylization in depicting the effects of radiation exposure? Were there real-world references or scientific studies that guided the look of the damage? Most of the radiation effects came from great make up and prosthetics—we just added some final touches such as an FX sim for a bursting blister. We tried a few different simulations based on work we had none on previous shows but ultimately dialed it back to something more subtle so it didn’t distract from the moment. Were there any memorable moments or scenes from the film that you found particularly rewarding or challenging to work on from a visual effects standpoint? There were a lot of quite diverse challenges. From creature work, environments, lava to a lot of ‘one off’ effects. The shot where the Creepers are pushing Mickey out into the snow was particularly challenging, with so many Creepers interacting with each other and Mickey, it took the combination of several animators and compositors to bring it together and integrate with the partial CG Mickey. Looking back on the project, what aspects of the visual effects are you most proud of? The baby creeper and the Ice cave environment. How long have you worked on this show? I worked on it for about 18 months What’s the VFX shots count? Framestore worked on 405 shots. A big thanks for your time. WANT TO KNOW MORE?Framestore: Dedicated page about Mickey 17 on Framestore website. © Vincent Frei – The Art of VFX – 2025
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  • JDM: Japanese Drift Master Review – Toothless Roads

    The concept of Gaming Factory’s JDM: Japanese Drift Master is enough to get the blood pumping. A drift-focused racing game with a large open world based in Japan with manga-style story-telling? The spirit of legendary properties like Initial D is right there, waiting to be channeled as one dives into the country’s racing culture.
    The results are a different story entirely. Japanese Drift Master has a pretty impressive-looking world yet struggles to do anything notable with it. Mission design is full of contradictory goals and annoying AI. Progression is less about maximizing rewards and more about grinding out reputation and leveling up a car. The drifting intrigues with its fundamentals yet frustrates in their utilization. Then there are the collisions, which defy logic and real-world physics.
    The story begins with Thomas, later nicknamed Toma, mourning his father’s passing. Things seem dire after he loses his license and can’t race in Europe for a year until he converses with Hideo and learns about a garage his father left for him in Japan.

    "To make things worse, you can’t overlook the story either because it feeds into the mission-based gameplay loop. JDM begins with only main missions to complete and driving school available to hone your skills."
    As you might expect, he quickly becomes involved in street races, gains a heated rival in Hasashi “Scorpion” Hatori, meets a mysterious masked individual, and is embroiled in an unresolved case. All in less than two chapters, naturally, but the actual missions make the narrative feel less exciting than it actually is.
    At times, they tie in well enough – show up for your showdown with Hasashi. At others, less so, bordering on the bizarre, like matching Hasashi’s drift and sticking close throughout an entire race, as specified, only for him to laugh you off afterwards like nothing even happened.
    The actual writing isn’t anything special and has its fair share of grammatical errors, but the art is solid. Character details and expressions could be improved in some places, but the line work is clean, and the cars are impressively depicted. Unfortunately, some speech bubbles have way more text crammed in than others, resulting in a much smaller font, and there’s no option to zoom in. Also, the manga is the only fundamental means of story-telling. Aside from appearing in cars or via in-game menus, the characters may as well not exist.
    To make things worse, you can’t overlook the story either because it feeds into the mission-based gameplay loop. JDM begins with only main missions to complete and driving school available to hone your skills. As you progress, the world opens up with new mission types like underground races and additional delivery tasks. The former is straightforward enough – earn a specific amount of money and reach the end to make bank. Higher amounts mean less time, adding an element of risk vs. reward.
    The delivery missions, on the other hand, are awful. I’m not against a “Get to this destination and deliver a package within the allotted time” objective, especially if it’s in fun ways. JDM wants you to avoid hitting solid obstacles or cars lest you damage the deliverable.
    Oh, and make sure you’re drifting about to build up that style score, i.e. the exact opposite of driving carefully and avoiding traffic. The two requirements are so antithetical to each other that it’s mind-boggling, surpassed only by the fact that one solid collision can take off 35 percent of the item’s “durability” bar. Is the package attached to the hood? Slamming into breakable objects is perfectly fine, by the way.

    "Amid all my complaining, I admit that drifting can feel good under the right conditions. When you hit a corner just right and balance the angle meter just right to chain a long drift, the Initial D rush kicks in."
    You can also partake in challenges for Drifting, Grip, and more on specific tracks to earn money. However, this doesn’t change the fact that most of the world feels relatively unused, which is a shame because there are some aesthetically pleasing locales, like flower gardens and castles, to admire. I’m not expecting Forza Horizon levels of open-world design, but it feels like such wasted potential when it’s not wasting my time to get to a mission.
    Starting Chapter 2, my next mission involved meeting Tiger, the aforementioned masked driver, south in the prefecture. No garage to fast travel to. Thus began the long, arduous slog without any distractions along the way to liven things up and annoying bouts of traffic to prevent me from drifting around. One does become available later, but then I discovered that delivery and underground racing missions change locations upon completion, and they won’t always be close enough to a fast travel point, further adding to the tedium.
    Gaming Factory recently addressed the frustrations that traffic can cause by letting you turn it off at any time. It doesn’t outright excuse the delivery mission design, but it does help. However, it also removes the last vestige of life from the open world, making me question its existence all the more.
    Amid all my complaining, I admit that drifting can feel good under the right conditions. When you hit a corner just right and balance the angle meter just right to chain a long drift, the Initial D rush kicks in. It feels all the more enjoyable when going up against tougher opponents, especially since you’re stuck with an Alpha Moriyamo clunker for the entirety of the first chapter. And while more variety is desperately needed – I counted 27 cars in total – at least brands like Honda, Mazda, Nissan, and Subaru are all here.
    I also like how weather and track conditions can severely impact your driving, forcing you to accelerate more carefully. The problem is that drifting, especially when you must rack up enough points, is easily gamed by simply wiggling back and forth. Early drifting competitions against the AI were a pain, especially since it makes almost no mistakes.
    Then I implemented this approach, sometimes going off track in the process and racking up an extensive amount of points just for maintaining a long drift. The handling also felt off at times, with too much understeer at points, and improving acceleration and top speed resulted in my drifts consistently turning into spin-outs. Probably working as intended, but considering the game wants me to be faster and execute those drifts, it feels like a clash of styles.
    The collisions are also utterly baffling at times. Veering off-angle during a drift can reduce the multiplier to 1.0 and grant significantly fewer points. Hitting obstacles sometimes has the same effect, and sometimes it doesn’t. Sometimes, my car would begin wall-riding like it’s Mario Kart World. Even on Arcade Mode, it’s immensely far-fetched. The collisions are also strange, unpredictable and often frustratingly weighed against you. Then again, colliding into a car in the open world so hard that it changed directions, and proceeded to drive back the way it came, was unintentionally hilarious.

    "There’s still much work needed on world design, AI, collisions, and progression, not to mention adding more content, before it can truly be called a master of anything, much less my time."
    Also, whether it’s a Moriyamo or a 2013 Subaru BRZ, be prepared to grind for the parts you want. Reputation must be leveled by either drifting through the world or completing missions and only then can you purchase specific parts, even if you have the cash on hand. Even more frustrating is that cosmetic parts directly tie into a car’s level. If you want to embrace a core aspect of street racingand customize its looks, you better get ready to grind.
    Then there’s the performance, which is a mixed bag at worst and competent at best. Despite my CPU being below the recommended requirements, I had a relatively consistent 60 FPS on High settings at 1440p with DLSS set to Quality. An attempt to play at Ultra was made, resulting in the frame rate tanking heavily during a thunderstorm. At least the flashes of lightning and rain droplets looked nice, accentuated by the city skyline at night, though the overall fidelity is above average.
    There are some decently catchy tunes, especially when tuning into the rock and Eurobeat stations, though some of the lighter tracks can work wonders during drifts. They’re not particularly memorable, but at least they add some atmosphere. Why can I only cycle forward through stations and not back? Why does a particularly nice song cut off during a loading screen? Questions for another time, apparently.
    I’m left dazed, confused, and a little annoyed at JDM: Japanese Drift Master. The concept felt ripe for a solid racer with a distinct style and mood, but the execution felt awkward and unfulfilling. It could shore up the driving and fine-tune objectives to deliver a better drifting experience. However, there’s still much work needed on world design, AI, collisions, and progression, not to mention adding more content, before it can truly be called a master of anything, much less my time.
    This game was reviewed on PC.
    #jdm #japanese #drift #master #review
    JDM: Japanese Drift Master Review – Toothless Roads
    The concept of Gaming Factory’s JDM: Japanese Drift Master is enough to get the blood pumping. A drift-focused racing game with a large open world based in Japan with manga-style story-telling? The spirit of legendary properties like Initial D is right there, waiting to be channeled as one dives into the country’s racing culture. The results are a different story entirely. Japanese Drift Master has a pretty impressive-looking world yet struggles to do anything notable with it. Mission design is full of contradictory goals and annoying AI. Progression is less about maximizing rewards and more about grinding out reputation and leveling up a car. The drifting intrigues with its fundamentals yet frustrates in their utilization. Then there are the collisions, which defy logic and real-world physics. The story begins with Thomas, later nicknamed Toma, mourning his father’s passing. Things seem dire after he loses his license and can’t race in Europe for a year until he converses with Hideo and learns about a garage his father left for him in Japan. "To make things worse, you can’t overlook the story either because it feeds into the mission-based gameplay loop. JDM begins with only main missions to complete and driving school available to hone your skills." As you might expect, he quickly becomes involved in street races, gains a heated rival in Hasashi “Scorpion” Hatori, meets a mysterious masked individual, and is embroiled in an unresolved case. All in less than two chapters, naturally, but the actual missions make the narrative feel less exciting than it actually is. At times, they tie in well enough – show up for your showdown with Hasashi. At others, less so, bordering on the bizarre, like matching Hasashi’s drift and sticking close throughout an entire race, as specified, only for him to laugh you off afterwards like nothing even happened. The actual writing isn’t anything special and has its fair share of grammatical errors, but the art is solid. Character details and expressions could be improved in some places, but the line work is clean, and the cars are impressively depicted. Unfortunately, some speech bubbles have way more text crammed in than others, resulting in a much smaller font, and there’s no option to zoom in. Also, the manga is the only fundamental means of story-telling. Aside from appearing in cars or via in-game menus, the characters may as well not exist. To make things worse, you can’t overlook the story either because it feeds into the mission-based gameplay loop. JDM begins with only main missions to complete and driving school available to hone your skills. As you progress, the world opens up with new mission types like underground races and additional delivery tasks. The former is straightforward enough – earn a specific amount of money and reach the end to make bank. Higher amounts mean less time, adding an element of risk vs. reward. The delivery missions, on the other hand, are awful. I’m not against a “Get to this destination and deliver a package within the allotted time” objective, especially if it’s in fun ways. JDM wants you to avoid hitting solid obstacles or cars lest you damage the deliverable. Oh, and make sure you’re drifting about to build up that style score, i.e. the exact opposite of driving carefully and avoiding traffic. The two requirements are so antithetical to each other that it’s mind-boggling, surpassed only by the fact that one solid collision can take off 35 percent of the item’s “durability” bar. Is the package attached to the hood? Slamming into breakable objects is perfectly fine, by the way. "Amid all my complaining, I admit that drifting can feel good under the right conditions. When you hit a corner just right and balance the angle meter just right to chain a long drift, the Initial D rush kicks in." You can also partake in challenges for Drifting, Grip, and more on specific tracks to earn money. However, this doesn’t change the fact that most of the world feels relatively unused, which is a shame because there are some aesthetically pleasing locales, like flower gardens and castles, to admire. I’m not expecting Forza Horizon levels of open-world design, but it feels like such wasted potential when it’s not wasting my time to get to a mission. Starting Chapter 2, my next mission involved meeting Tiger, the aforementioned masked driver, south in the prefecture. No garage to fast travel to. Thus began the long, arduous slog without any distractions along the way to liven things up and annoying bouts of traffic to prevent me from drifting around. One does become available later, but then I discovered that delivery and underground racing missions change locations upon completion, and they won’t always be close enough to a fast travel point, further adding to the tedium. Gaming Factory recently addressed the frustrations that traffic can cause by letting you turn it off at any time. It doesn’t outright excuse the delivery mission design, but it does help. However, it also removes the last vestige of life from the open world, making me question its existence all the more. Amid all my complaining, I admit that drifting can feel good under the right conditions. When you hit a corner just right and balance the angle meter just right to chain a long drift, the Initial D rush kicks in. It feels all the more enjoyable when going up against tougher opponents, especially since you’re stuck with an Alpha Moriyamo clunker for the entirety of the first chapter. And while more variety is desperately needed – I counted 27 cars in total – at least brands like Honda, Mazda, Nissan, and Subaru are all here. I also like how weather and track conditions can severely impact your driving, forcing you to accelerate more carefully. The problem is that drifting, especially when you must rack up enough points, is easily gamed by simply wiggling back and forth. Early drifting competitions against the AI were a pain, especially since it makes almost no mistakes. Then I implemented this approach, sometimes going off track in the process and racking up an extensive amount of points just for maintaining a long drift. The handling also felt off at times, with too much understeer at points, and improving acceleration and top speed resulted in my drifts consistently turning into spin-outs. Probably working as intended, but considering the game wants me to be faster and execute those drifts, it feels like a clash of styles. The collisions are also utterly baffling at times. Veering off-angle during a drift can reduce the multiplier to 1.0 and grant significantly fewer points. Hitting obstacles sometimes has the same effect, and sometimes it doesn’t. Sometimes, my car would begin wall-riding like it’s Mario Kart World. Even on Arcade Mode, it’s immensely far-fetched. The collisions are also strange, unpredictable and often frustratingly weighed against you. Then again, colliding into a car in the open world so hard that it changed directions, and proceeded to drive back the way it came, was unintentionally hilarious. "There’s still much work needed on world design, AI, collisions, and progression, not to mention adding more content, before it can truly be called a master of anything, much less my time." Also, whether it’s a Moriyamo or a 2013 Subaru BRZ, be prepared to grind for the parts you want. Reputation must be leveled by either drifting through the world or completing missions and only then can you purchase specific parts, even if you have the cash on hand. Even more frustrating is that cosmetic parts directly tie into a car’s level. If you want to embrace a core aspect of street racingand customize its looks, you better get ready to grind. Then there’s the performance, which is a mixed bag at worst and competent at best. Despite my CPU being below the recommended requirements, I had a relatively consistent 60 FPS on High settings at 1440p with DLSS set to Quality. An attempt to play at Ultra was made, resulting in the frame rate tanking heavily during a thunderstorm. At least the flashes of lightning and rain droplets looked nice, accentuated by the city skyline at night, though the overall fidelity is above average. There are some decently catchy tunes, especially when tuning into the rock and Eurobeat stations, though some of the lighter tracks can work wonders during drifts. They’re not particularly memorable, but at least they add some atmosphere. Why can I only cycle forward through stations and not back? Why does a particularly nice song cut off during a loading screen? Questions for another time, apparently. I’m left dazed, confused, and a little annoyed at JDM: Japanese Drift Master. The concept felt ripe for a solid racer with a distinct style and mood, but the execution felt awkward and unfulfilling. It could shore up the driving and fine-tune objectives to deliver a better drifting experience. However, there’s still much work needed on world design, AI, collisions, and progression, not to mention adding more content, before it can truly be called a master of anything, much less my time. This game was reviewed on PC. #jdm #japanese #drift #master #review
    GAMINGBOLT.COM
    JDM: Japanese Drift Master Review – Toothless Roads
    The concept of Gaming Factory’s JDM: Japanese Drift Master is enough to get the blood pumping. A drift-focused racing game with a large open world based in Japan with manga-style story-telling? The spirit of legendary properties like Initial D is right there, waiting to be channeled as one dives into the country’s racing culture. The results are a different story entirely. Japanese Drift Master has a pretty impressive-looking world yet struggles to do anything notable with it. Mission design is full of contradictory goals and annoying AI. Progression is less about maximizing rewards and more about grinding out reputation and leveling up a car. The drifting intrigues with its fundamentals yet frustrates in their utilization. Then there are the collisions, which defy logic and real-world physics. The story begins with Thomas, later nicknamed Toma, mourning his father’s passing. Things seem dire after he loses his license and can’t race in Europe for a year until he converses with Hideo and learns about a garage his father left for him in Japan. "To make things worse, you can’t overlook the story either because it feeds into the mission-based gameplay loop. JDM begins with only main missions to complete and driving school available to hone your skills." As you might expect, he quickly becomes involved in street races, gains a heated rival in Hasashi “Scorpion” Hatori, meets a mysterious masked individual, and is embroiled in an unresolved case. All in less than two chapters, naturally, but the actual missions make the narrative feel less exciting than it actually is. At times, they tie in well enough – show up for your showdown with Hasashi. At others, less so, bordering on the bizarre, like matching Hasashi’s drift and sticking close throughout an entire race, as specified, only for him to laugh you off afterwards like nothing even happened. The actual writing isn’t anything special and has its fair share of grammatical errors, but the art is solid. Character details and expressions could be improved in some places, but the line work is clean, and the cars are impressively depicted. Unfortunately, some speech bubbles have way more text crammed in than others, resulting in a much smaller font, and there’s no option to zoom in. Also, the manga is the only fundamental means of story-telling. Aside from appearing in cars or via in-game menus, the characters may as well not exist. To make things worse, you can’t overlook the story either because it feeds into the mission-based gameplay loop. JDM begins with only main missions to complete and driving school available to hone your skills. As you progress, the world opens up with new mission types like underground races and additional delivery tasks. The former is straightforward enough – earn a specific amount of money and reach the end to make bank. Higher amounts mean less time, adding an element of risk vs. reward. The delivery missions, on the other hand, are awful. I’m not against a “Get to this destination and deliver a package within the allotted time” objective, especially if it’s in fun ways (see Crazy Taxi). JDM wants you to avoid hitting solid obstacles or cars lest you damage the deliverable. Oh, and make sure you’re drifting about to build up that style score, i.e. the exact opposite of driving carefully and avoiding traffic. The two requirements are so antithetical to each other that it’s mind-boggling, surpassed only by the fact that one solid collision can take off 35 percent of the item’s “durability” bar. Is the package attached to the hood? Slamming into breakable objects is perfectly fine, by the way. "Amid all my complaining, I admit that drifting can feel good under the right conditions. When you hit a corner just right and balance the angle meter just right to chain a long drift, the Initial D rush kicks in." You can also partake in challenges for Drifting, Grip, and more on specific tracks to earn money (which you then spend on more cars and parts). However, this doesn’t change the fact that most of the world feels relatively unused, which is a shame because there are some aesthetically pleasing locales, like flower gardens and castles, to admire. I’m not expecting Forza Horizon levels of open-world design, but it feels like such wasted potential when it’s not wasting my time to get to a mission. Starting Chapter 2, my next mission involved meeting Tiger, the aforementioned masked driver, south in the prefecture. No garage to fast travel to. Thus began the long, arduous slog without any distractions along the way to liven things up and annoying bouts of traffic to prevent me from drifting around. One does become available later, but then I discovered that delivery and underground racing missions change locations upon completion, and they won’t always be close enough to a fast travel point, further adding to the tedium. Gaming Factory recently addressed the frustrations that traffic can cause by letting you turn it off at any time. It doesn’t outright excuse the delivery mission design, but it does help. However, it also removes the last vestige of life from the open world, making me question its existence all the more. Amid all my complaining, I admit that drifting can feel good under the right conditions. When you hit a corner just right and balance the angle meter just right to chain a long drift, the Initial D rush kicks in. It feels all the more enjoyable when going up against tougher opponents, especially since you’re stuck with an Alpha Moriyamo clunker for the entirety of the first chapter. And while more variety is desperately needed – I counted 27 cars in total – at least brands like Honda, Mazda, Nissan, and Subaru are all here. I also like how weather and track conditions can severely impact your driving, forcing you to accelerate more carefully. The problem is that drifting, especially when you must rack up enough points, is easily gamed by simply wiggling back and forth. Early drifting competitions against the AI were a pain, especially since it makes almost no mistakes (when it’s not willfully slamming into you during races). Then I implemented this approach, sometimes going off track in the process and racking up an extensive amount of points just for maintaining a long drift. The handling also felt off at times, with too much understeer at points, and improving acceleration and top speed resulted in my drifts consistently turning into spin-outs. Probably working as intended, but considering the game wants me to be faster and execute those drifts, it feels like a clash of styles. The collisions are also utterly baffling at times. Veering off-angle during a drift can reduce the multiplier to 1.0 and grant significantly fewer points. Hitting obstacles sometimes has the same effect, and sometimes it doesn’t. Sometimes, my car would begin wall-riding like it’s Mario Kart World. Even on Arcade Mode, it’s immensely far-fetched. The collisions are also strange, unpredictable and often frustratingly weighed against you. Then again, colliding into a car in the open world so hard that it changed directions, and proceeded to drive back the way it came, was unintentionally hilarious. "There’s still much work needed on world design, AI, collisions, and progression, not to mention adding more content, before it can truly be called a master of anything, much less my time." Also, whether it’s a Moriyamo or a 2013 Subaru BRZ, be prepared to grind for the parts you want. Reputation must be leveled by either drifting through the world or completing missions and only then can you purchase specific parts, even if you have the cash on hand. Even more frustrating is that cosmetic parts directly tie into a car’s level. If you want to embrace a core aspect of street racing (at least, that’s what JDM tells me) and customize its looks, you better get ready to grind. Then there’s the performance, which is a mixed bag at worst and competent at best. Despite my CPU being below the recommended requirements, I had a relatively consistent 60 FPS on High settings at 1440p with DLSS set to Quality. An attempt to play at Ultra was made, resulting in the frame rate tanking heavily during a thunderstorm. At least the flashes of lightning and rain droplets looked nice, accentuated by the city skyline at night, though the overall fidelity is above average. There are some decently catchy tunes, especially when tuning into the rock and Eurobeat stations, though some of the lighter tracks can work wonders during drifts. They’re not particularly memorable, but at least they add some atmosphere. Why can I only cycle forward through stations and not back? Why does a particularly nice song cut off during a loading screen? Questions for another time, apparently. I’m left dazed, confused, and a little annoyed at JDM: Japanese Drift Master. The concept felt ripe for a solid racer with a distinct style and mood, but the execution felt awkward and unfulfilling. It could shore up the driving and fine-tune objectives to deliver a better drifting experience. However, there’s still much work needed on world design, AI, collisions, and progression, not to mention adding more content, before it can truly be called a master of anything, much less my time. This game was reviewed on PC.
    0 Yorumlar 0 hisse senetleri
  • Google Just Launched New AI Models for Video and Images

    The pace of AI progress is showing no signs of slacking. Following ChatGPT's big image upgrade a few weeks ago, it's now Google's turn to show off new models for generating videos and pictures from text prompts: We've got Veo 3and Imagen 4, announced during Google I/O 2025, and they come with some significant improvements.Starting with Veo 3, it's the next step up from the Veo 2 model that was recently pushed out to paying Gemini subscribers last month. Google says Veo 3 brings with it notable improvements in real-world physicsand details such as lip-syncing. In short: Your clips should look more realistic than ever.There's another crucial upgrade here, and that's sound. Previously, Veo-made clips came without any audio attached, but the AI is now smart enough to add in suitable ambient sounds, including traffic noise, wildlife sounds, and even dialog between characters.Google has provided a few example videos to show off the new capabilities, as you would expect, including Old Sailor. Of course, it's impressive that a clip like this can be produced from a text prompt, and it is up to a high standard in terms of realism—we're no longer getting the six-fingered hands that we used to with AI.

    Still, the usual hallmarks of artificial intelligence are evident: This is a generic sailor, on a generic sea, speaking generic dialogue about the ocean. It's a mashing together and averaging out of every video of the sea and old sailors that Veo 3 has been trained on, and may or may not match the original prompt.Veo 3 is only available to those brave enough to pay a month for Google's AI Ultra plan, but Veo 2 is also getting some upgrades for those of us paying a tenth of that for AI Pro. It's now better at control and consistency, according to Google, with improved camera movements and outpainting. It can also have a go at adding and removing objects from clips now.Moving on to images: We've got Imagen 4, the successor to Imagen 3. Here, we're promised "remarkable clarity in fine details like intricate fabrics, water droplets, and animal fur," plus support for higher resolutionsand more aspect ratios. You get top-tier results in both photorealistic and abstract styles, as per Google.

    There are sheep as big as tractors in Google's AI world.
    Credit: Google

    Google has also tackled one of the major problems with AI image generation, which is typography. Imagen 4 is apparently much better than the models that came before it in terms of making characters and words look cohesive and accurate, without any weird spellings or letters than dissolve into unintelligible hieroglyphics.Imagen 4 is available now to all users, inside the Gemini app. Google hasn't mentioned any usage limits, though presumably if you don't have a subscription you'll hit these limits more quickly, as is the case with Imagen 3.The carefully curated samples Google has provided look good, without any obvious mistakes or inaccuracies—just the usual AI sheen. Imagen 4 is faster than Imagen 3 too, Google says, with more improvements on the way: A variant on the model that's 10x faster than Imagen 3 is going to be launching soon.There's one more image and video tool to talk about: Flow. It's an AI filmmaking tool from Google that pulls together its text, video, and image models to help you stitch together successive scenes that are consistent, featuring the same characters and locations. You can use Flow if you're an AI Pro or AI Ultra subscriber, with higher usage limits and better models for those on the more expensive plan.
    #google #just #launched #new #models
    Google Just Launched New AI Models for Video and Images
    The pace of AI progress is showing no signs of slacking. Following ChatGPT's big image upgrade a few weeks ago, it's now Google's turn to show off new models for generating videos and pictures from text prompts: We've got Veo 3and Imagen 4, announced during Google I/O 2025, and they come with some significant improvements.Starting with Veo 3, it's the next step up from the Veo 2 model that was recently pushed out to paying Gemini subscribers last month. Google says Veo 3 brings with it notable improvements in real-world physicsand details such as lip-syncing. In short: Your clips should look more realistic than ever.There's another crucial upgrade here, and that's sound. Previously, Veo-made clips came without any audio attached, but the AI is now smart enough to add in suitable ambient sounds, including traffic noise, wildlife sounds, and even dialog between characters.Google has provided a few example videos to show off the new capabilities, as you would expect, including Old Sailor. Of course, it's impressive that a clip like this can be produced from a text prompt, and it is up to a high standard in terms of realism—we're no longer getting the six-fingered hands that we used to with AI. Still, the usual hallmarks of artificial intelligence are evident: This is a generic sailor, on a generic sea, speaking generic dialogue about the ocean. It's a mashing together and averaging out of every video of the sea and old sailors that Veo 3 has been trained on, and may or may not match the original prompt.Veo 3 is only available to those brave enough to pay a month for Google's AI Ultra plan, but Veo 2 is also getting some upgrades for those of us paying a tenth of that for AI Pro. It's now better at control and consistency, according to Google, with improved camera movements and outpainting. It can also have a go at adding and removing objects from clips now.Moving on to images: We've got Imagen 4, the successor to Imagen 3. Here, we're promised "remarkable clarity in fine details like intricate fabrics, water droplets, and animal fur," plus support for higher resolutionsand more aspect ratios. You get top-tier results in both photorealistic and abstract styles, as per Google. There are sheep as big as tractors in Google's AI world. Credit: Google Google has also tackled one of the major problems with AI image generation, which is typography. Imagen 4 is apparently much better than the models that came before it in terms of making characters and words look cohesive and accurate, without any weird spellings or letters than dissolve into unintelligible hieroglyphics.Imagen 4 is available now to all users, inside the Gemini app. Google hasn't mentioned any usage limits, though presumably if you don't have a subscription you'll hit these limits more quickly, as is the case with Imagen 3.The carefully curated samples Google has provided look good, without any obvious mistakes or inaccuracies—just the usual AI sheen. Imagen 4 is faster than Imagen 3 too, Google says, with more improvements on the way: A variant on the model that's 10x faster than Imagen 3 is going to be launching soon.There's one more image and video tool to talk about: Flow. It's an AI filmmaking tool from Google that pulls together its text, video, and image models to help you stitch together successive scenes that are consistent, featuring the same characters and locations. You can use Flow if you're an AI Pro or AI Ultra subscriber, with higher usage limits and better models for those on the more expensive plan. #google #just #launched #new #models
    LIFEHACKER.COM
    Google Just Launched New AI Models for Video and Images
    The pace of AI progress is showing no signs of slacking. Following ChatGPT's big image upgrade a few weeks ago, it's now Google's turn to show off new models for generating videos and pictures from text prompts: We've got Veo 3 (for video) and Imagen 4 (for pictures), announced during Google I/O 2025, and they come with some significant improvements.Starting with Veo 3, it's the next step up from the Veo 2 model that was recently pushed out to paying Gemini subscribers last month. Google says Veo 3 brings with it notable improvements in real-world physics (something AI video often struggles with) and details such as lip-syncing. In short: Your clips should look more realistic than ever.There's another crucial upgrade here, and that's sound. Previously, Veo-made clips came without any audio attached, but the AI is now smart enough to add in suitable ambient sounds, including traffic noise, wildlife sounds, and even dialog between characters.Google has provided a few example videos to show off the new capabilities, as you would expect, including Old Sailor. Of course, it's impressive that a clip like this can be produced from a text prompt, and it is up to a high standard in terms of realism—we're no longer getting the six-fingered hands that we used to with AI. Still, the usual hallmarks of artificial intelligence are evident: This is a generic sailor, on a generic sea, speaking generic dialogue about the ocean. It's a mashing together and averaging out of every video of the sea and old sailors that Veo 3 has been trained on, and may or may not match the original prompt (which Google hasn't given).Veo 3 is only available to those brave enough to pay $250 a month for Google's AI Ultra plan, but Veo 2 is also getting some upgrades for those of us paying a tenth of that for AI Pro. It's now better at control and consistency, according to Google, with improved camera movements and outpainting (expanding the view of a frame). It can also have a go at adding and removing objects from clips now.Moving on to images: We've got Imagen 4, the successor to Imagen 3. Here, we're promised "remarkable clarity in fine details like intricate fabrics, water droplets, and animal fur," plus support for higher resolutions (up to 2K) and more aspect ratios. You get top-tier results in both photorealistic and abstract styles, as per Google. There are sheep as big as tractors in Google's AI world. Credit: Google Google has also tackled one of the major problems with AI image generation, which is typography. Imagen 4 is apparently much better than the models that came before it in terms of making characters and words look cohesive and accurate, without any weird spellings or letters than dissolve into unintelligible hieroglyphics.Imagen 4 is available now to all users, inside the Gemini app. Google hasn't mentioned any usage limits, though presumably if you don't have a subscription you'll hit these limits more quickly, as is the case with Imagen 3 (there's no fixed quota for these limits, and it seems they depend on general demand on Google's AI infrastructure).The carefully curated samples Google has provided look good, without any obvious mistakes or inaccuracies—just the usual AI sheen. Imagen 4 is faster than Imagen 3 too, Google says, with more improvements on the way: A variant on the model that's 10x faster than Imagen 3 is going to be launching soon.There's one more image and video tool to talk about: Flow. It's an AI filmmaking tool from Google that pulls together its text, video, and image models to help you stitch together successive scenes that are consistent, featuring the same characters and locations. You can use Flow if you're an AI Pro or AI Ultra subscriber, with higher usage limits and better models for those on the more expensive plan.
    0 Yorumlar 0 hisse senetleri
  • Fake Rain and Water Droplets | Blender 3D Tutorial

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    ⠀⠀⠀⠀⠹⣶⠆⠀⠀⠀⠀⠀⡴⠃⠀⠀⠘⠤⣄⣠⠞⠀
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    ⣼⣿⠍⠉⣿⡭⠉⠙⢺⣇⣼⡏⠀⠀⠀⣄⢸⠀⠀⠀⠀⠀⠀
    ⣿⣿⣧⣀⣿.........⣀⣰⣏⣘⣆⣀⠀⠀

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    4:03 Glass & Rain droplets
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    Fake Rain and Water Droplets | Blender 3D Tutorial
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  • Penguin poop may help preserve Antarctic climate

    smelly shield

    Penguin poop may help preserve Antarctic climate

    Ammonia aerosols from penguin guano likely play a part in the formation of heat-shielding clouds.

    Bob Berwyn, Inside Climate News



    May 24, 2025 7:07 am

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    This article originally appeared on Inside Climate News, a nonprofit, non-partisan news organization that covers climate, energy, and the environment. Sign up for their newsletter here.
    New research shows that penguin guano in Antarctica is an important source of ammonia aerosol particles that help drive the formation and persistence of low clouds, which cool the climate by reflecting some incoming sunlight back to space.
    The findings reinforce the growing awareness that Earth’s intricate web of life plays a significant role in shaping the planetary climate. Even at the small levels measured, the ammonia particles from the guano interact with sulfur-based aerosols from ocean algae to start a chemical chain reaction that forms billions of tiny particles that serve as nuclei for water vapor droplets.
    The low marine clouds that often cover big tracts of the Southern Ocean around Antarctica are a wild card in the climate system because scientists don’t fully understand how they will react to human-caused heating of the atmosphere and oceans. One recent study suggested that the big increase in the annual global temperature during 2023 and 2024 that has continued into this year was caused in part by a reduction of that cloud cover.
    “I’m constantly surprised at the depth of how one small change affects everything else,” said Matthew Boyer, a coauthor of the new study and an atmospheric scientist at the University of Helsinki’s Institute for Atmospheric and Earth System Research. “This really does show that there is a deep connection between ecosystem processes and the climate. And really, it’s the synergy between what’s coming from the oceans, from the sulfur-producing species, and then the ammonia coming from the penguins.”
    Climate survivors
    Aquatic penguins evolved from flying birds about 60 million years ago, shortly after the age of dinosaurs, and have persisted through multiple, slow, natural cycles of ice ages and warmer interglacial eras, surviving climate extremes by migrating to and from pockets of suitable habitat, called climate refugia, said Rose Foster-Dyer, a marine and polar ecologist with the University of Canterbury in New Zealand.
    A 2018 study that analyzed the remains of an ancient “super colony” of the birds suggests there may have been a “penguin optimum” climate window between about 4,000 and 2,000 years ago, at least for some species in some parts of Antarctica, she said. Various penguin species have adapted to different habitat niches and this will face different impacts caused by human-caused warming, she said.

    Foster-Dyer has recently done penguin research around the Ross Sea, and said that climate change could open more areas for land-breeding Adélie penguins, which don’t breed on ice like some other species.
    “There’s evidence that this whole area used to have many more colonies … which could possibly be repopulated in the future,” she said. She is also more optimistic than some scientists about the future for emperor penguins, the largest species of the group, she added.
    “They breed on fast ice, and there’s a lot of publications coming out about how the populations might be declining and their habitat is hugely threatened,” she said. “But they’ve lived through so many different cycles of the climate, so I think they’re more adaptable than people currently give them credit for.”
    In total, about 20 million breeding pairs of penguins nest in vast colonies all around the frozen continent. Some of the largest colonies, with up to 1 million breeding pairs, can cover several square miles.There aren’t any solid estimates for the total amount of guano produced by the flightless birds annually, but some studies have found that individual colonies can produce several hundred tons. Several new penguin colonies were discovered recently when their droppings were spotted in detailed satellite images.
    A few penguin colonies have grown recently while others appear to be shrinking, but in general, their habitat is considered threatened by warming and changing ice conditions, which affects their food supplies. The speed of human-caused warming, for which there is no precedent in paleoclimate records, may exacerbate the threat to penguins, which evolve slowly compared to many other species, Foster-Dyer said.
    “Everything’s changing at such a fast rate, it’s really hard to say much about anything,” she said.
    Recent research has shown how other types of marine life are also important to the global climate system. Nutrients from bird droppings help fertilize blooms of oxygen-producing plankton, and huge swarms of fish that live in the middle layers of the ocean cycle carbon vertically through the water, ultimately depositing it in a generally stable sediment layer on the seafloor.

    Tricky measurements
    Boyer said the new research started as a follow-up project to other studies of atmospheric chemistry in the same area, near the Argentine Marambio Base on an island along the Antarctic Peninsula. Observations by other teams suggested it could be worth specifically trying to look at ammonia, he said.
    Boyer and the other scientists set up specialized equipment to measure the concentration of ammonia in the air from January to March 2023. They found that, when the wind blew from the direction of a colony of about 60,000 Adélie penguins about 5 miles away, the ammonia concentration increased to as high as 13.5 parts per billion—more than 1,000 times higher than the background reading. Even after the penguins migrated from the area toward the end of February, the ammonia concentration was still more than 100 times as high as the background level.
    “We have one instrument that we use in the study to give us the chemistry of gases as they’re actually clustering together,” he said.
    “In general, ammonia in the atmosphere is not well-measured because it’s really difficult to measure, especially if you want to measure at a very high sensitivity, if you have low concentrations like in Antarctica,” he said.
    Penguin-scented winds
    The goal was to determine where the ammonia is coming from, including testing a previous hypothesis that the ocean surface could be the source, he said.
    But the size of the penguin colonies made them the most likely source.
    “It’s well known that sea birds give off ammonia. You can smell them. The birds stink,” he said. “But we didn’t know how much there was. So what we did with this study was to quantify ammonia and to quantify its impact on the cloud formation process.”
    The scientists had to wait until the wind blew from the penguin colony toward the research station.
    “If we’re lucky, the wind blows from that direction and not from the direction of the power generator,” he said. “And we were lucky enough that we had one specific event where the winds from the penguin colony persisted long enough that we were actually able to track the growth of the particles. You could be there for a year, and it might not happen.”

    The ammonia from the guano does not form the particles but supercharges the process that does, Boyer said.
    “It’s really the dimethyl sulfide from phytoplankton that gives off the sulfur,” he said. “The ammonia enhances the formation rate of particles. Without ammonia, sulfuric acid can form new particles, but with ammonia, it’s 1,000 times faster, and sometimes even more, so we’re talking up to four orders of magnitude faster because of the guano.”
    This is important in Antarctica specifically because there are not many other sources of particles, such as pollution or emissions from trees, he added.
    “So the strength of the source matters in terms of its climate effect over time,” he said. “And if the source changes, it’s going to change the climate effect.”
    It will take more research to determine if penguin guano has a net cooling effect on the climate. But in general, he said, if the particles transport out to sea and contribute to cloud formation, they will have a cooling effect.
    “What’s also interesting,” he said, “is if the clouds are over ice surfaces, it could actually lead to warming because the clouds are less reflective than the ice beneath.” In that case, the clouds could actually reduce the amount of heat that brighter ice would otherwise reflect away from the planet. The study did not try to measure that effect, but it could be an important subject for future research, he added.
    The guano effect lingers even after the birds leave the breeding areas. A month after they were gone, Boyer said ammonia levels in the air were still 1,000 times higher than the baseline.
    “The emission of ammonia is a temperature-dependent process, so it’s likely that once wintertime comes, the ammonia gets frozen in,” he said. “But even before the penguins come back, I would hypothesize that as the temperature warms, the guano starts to emit ammonia again. And the penguins move all around the coast, so it’s possible they’re just fertilizing an entire coast with ammonia.”

    Bob Berwyn, Inside Climate News

    4 Comments
    #penguin #poop #help #preserve #antarctic
    Penguin poop may help preserve Antarctic climate
    smelly shield Penguin poop may help preserve Antarctic climate Ammonia aerosols from penguin guano likely play a part in the formation of heat-shielding clouds. Bob Berwyn, Inside Climate News – May 24, 2025 7:07 am | 4 Credit: Getty Credit: Getty Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more This article originally appeared on Inside Climate News, a nonprofit, non-partisan news organization that covers climate, energy, and the environment. Sign up for their newsletter here. New research shows that penguin guano in Antarctica is an important source of ammonia aerosol particles that help drive the formation and persistence of low clouds, which cool the climate by reflecting some incoming sunlight back to space. The findings reinforce the growing awareness that Earth’s intricate web of life plays a significant role in shaping the planetary climate. Even at the small levels measured, the ammonia particles from the guano interact with sulfur-based aerosols from ocean algae to start a chemical chain reaction that forms billions of tiny particles that serve as nuclei for water vapor droplets. The low marine clouds that often cover big tracts of the Southern Ocean around Antarctica are a wild card in the climate system because scientists don’t fully understand how they will react to human-caused heating of the atmosphere and oceans. One recent study suggested that the big increase in the annual global temperature during 2023 and 2024 that has continued into this year was caused in part by a reduction of that cloud cover. “I’m constantly surprised at the depth of how one small change affects everything else,” said Matthew Boyer, a coauthor of the new study and an atmospheric scientist at the University of Helsinki’s Institute for Atmospheric and Earth System Research. “This really does show that there is a deep connection between ecosystem processes and the climate. And really, it’s the synergy between what’s coming from the oceans, from the sulfur-producing species, and then the ammonia coming from the penguins.” Climate survivors Aquatic penguins evolved from flying birds about 60 million years ago, shortly after the age of dinosaurs, and have persisted through multiple, slow, natural cycles of ice ages and warmer interglacial eras, surviving climate extremes by migrating to and from pockets of suitable habitat, called climate refugia, said Rose Foster-Dyer, a marine and polar ecologist with the University of Canterbury in New Zealand. A 2018 study that analyzed the remains of an ancient “super colony” of the birds suggests there may have been a “penguin optimum” climate window between about 4,000 and 2,000 years ago, at least for some species in some parts of Antarctica, she said. Various penguin species have adapted to different habitat niches and this will face different impacts caused by human-caused warming, she said. Foster-Dyer has recently done penguin research around the Ross Sea, and said that climate change could open more areas for land-breeding Adélie penguins, which don’t breed on ice like some other species. “There’s evidence that this whole area used to have many more colonies … which could possibly be repopulated in the future,” she said. She is also more optimistic than some scientists about the future for emperor penguins, the largest species of the group, she added. “They breed on fast ice, and there’s a lot of publications coming out about how the populations might be declining and their habitat is hugely threatened,” she said. “But they’ve lived through so many different cycles of the climate, so I think they’re more adaptable than people currently give them credit for.” In total, about 20 million breeding pairs of penguins nest in vast colonies all around the frozen continent. Some of the largest colonies, with up to 1 million breeding pairs, can cover several square miles.There aren’t any solid estimates for the total amount of guano produced by the flightless birds annually, but some studies have found that individual colonies can produce several hundred tons. Several new penguin colonies were discovered recently when their droppings were spotted in detailed satellite images. A few penguin colonies have grown recently while others appear to be shrinking, but in general, their habitat is considered threatened by warming and changing ice conditions, which affects their food supplies. The speed of human-caused warming, for which there is no precedent in paleoclimate records, may exacerbate the threat to penguins, which evolve slowly compared to many other species, Foster-Dyer said. “Everything’s changing at such a fast rate, it’s really hard to say much about anything,” she said. Recent research has shown how other types of marine life are also important to the global climate system. Nutrients from bird droppings help fertilize blooms of oxygen-producing plankton, and huge swarms of fish that live in the middle layers of the ocean cycle carbon vertically through the water, ultimately depositing it in a generally stable sediment layer on the seafloor. Tricky measurements Boyer said the new research started as a follow-up project to other studies of atmospheric chemistry in the same area, near the Argentine Marambio Base on an island along the Antarctic Peninsula. Observations by other teams suggested it could be worth specifically trying to look at ammonia, he said. Boyer and the other scientists set up specialized equipment to measure the concentration of ammonia in the air from January to March 2023. They found that, when the wind blew from the direction of a colony of about 60,000 Adélie penguins about 5 miles away, the ammonia concentration increased to as high as 13.5 parts per billion—more than 1,000 times higher than the background reading. Even after the penguins migrated from the area toward the end of February, the ammonia concentration was still more than 100 times as high as the background level. “We have one instrument that we use in the study to give us the chemistry of gases as they’re actually clustering together,” he said. “In general, ammonia in the atmosphere is not well-measured because it’s really difficult to measure, especially if you want to measure at a very high sensitivity, if you have low concentrations like in Antarctica,” he said. Penguin-scented winds The goal was to determine where the ammonia is coming from, including testing a previous hypothesis that the ocean surface could be the source, he said. But the size of the penguin colonies made them the most likely source. “It’s well known that sea birds give off ammonia. You can smell them. The birds stink,” he said. “But we didn’t know how much there was. So what we did with this study was to quantify ammonia and to quantify its impact on the cloud formation process.” The scientists had to wait until the wind blew from the penguin colony toward the research station. “If we’re lucky, the wind blows from that direction and not from the direction of the power generator,” he said. “And we were lucky enough that we had one specific event where the winds from the penguin colony persisted long enough that we were actually able to track the growth of the particles. You could be there for a year, and it might not happen.” The ammonia from the guano does not form the particles but supercharges the process that does, Boyer said. “It’s really the dimethyl sulfide from phytoplankton that gives off the sulfur,” he said. “The ammonia enhances the formation rate of particles. Without ammonia, sulfuric acid can form new particles, but with ammonia, it’s 1,000 times faster, and sometimes even more, so we’re talking up to four orders of magnitude faster because of the guano.” This is important in Antarctica specifically because there are not many other sources of particles, such as pollution or emissions from trees, he added. “So the strength of the source matters in terms of its climate effect over time,” he said. “And if the source changes, it’s going to change the climate effect.” It will take more research to determine if penguin guano has a net cooling effect on the climate. But in general, he said, if the particles transport out to sea and contribute to cloud formation, they will have a cooling effect. “What’s also interesting,” he said, “is if the clouds are over ice surfaces, it could actually lead to warming because the clouds are less reflective than the ice beneath.” In that case, the clouds could actually reduce the amount of heat that brighter ice would otherwise reflect away from the planet. The study did not try to measure that effect, but it could be an important subject for future research, he added. The guano effect lingers even after the birds leave the breeding areas. A month after they were gone, Boyer said ammonia levels in the air were still 1,000 times higher than the baseline. “The emission of ammonia is a temperature-dependent process, so it’s likely that once wintertime comes, the ammonia gets frozen in,” he said. “But even before the penguins come back, I would hypothesize that as the temperature warms, the guano starts to emit ammonia again. And the penguins move all around the coast, so it’s possible they’re just fertilizing an entire coast with ammonia.” Bob Berwyn, Inside Climate News 4 Comments #penguin #poop #help #preserve #antarctic
    ARSTECHNICA.COM
    Penguin poop may help preserve Antarctic climate
    smelly shield Penguin poop may help preserve Antarctic climate Ammonia aerosols from penguin guano likely play a part in the formation of heat-shielding clouds. Bob Berwyn, Inside Climate News – May 24, 2025 7:07 am | 4 Credit: Getty Credit: Getty Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more This article originally appeared on Inside Climate News, a nonprofit, non-partisan news organization that covers climate, energy, and the environment. Sign up for their newsletter here. New research shows that penguin guano in Antarctica is an important source of ammonia aerosol particles that help drive the formation and persistence of low clouds, which cool the climate by reflecting some incoming sunlight back to space. The findings reinforce the growing awareness that Earth’s intricate web of life plays a significant role in shaping the planetary climate. Even at the small levels measured, the ammonia particles from the guano interact with sulfur-based aerosols from ocean algae to start a chemical chain reaction that forms billions of tiny particles that serve as nuclei for water vapor droplets. The low marine clouds that often cover big tracts of the Southern Ocean around Antarctica are a wild card in the climate system because scientists don’t fully understand how they will react to human-caused heating of the atmosphere and oceans. One recent study suggested that the big increase in the annual global temperature during 2023 and 2024 that has continued into this year was caused in part by a reduction of that cloud cover. “I’m constantly surprised at the depth of how one small change affects everything else,” said Matthew Boyer, a coauthor of the new study and an atmospheric scientist at the University of Helsinki’s Institute for Atmospheric and Earth System Research. “This really does show that there is a deep connection between ecosystem processes and the climate. And really, it’s the synergy between what’s coming from the oceans, from the sulfur-producing species, and then the ammonia coming from the penguins.” Climate survivors Aquatic penguins evolved from flying birds about 60 million years ago, shortly after the age of dinosaurs, and have persisted through multiple, slow, natural cycles of ice ages and warmer interglacial eras, surviving climate extremes by migrating to and from pockets of suitable habitat, called climate refugia, said Rose Foster-Dyer, a marine and polar ecologist with the University of Canterbury in New Zealand. A 2018 study that analyzed the remains of an ancient “super colony” of the birds suggests there may have been a “penguin optimum” climate window between about 4,000 and 2,000 years ago, at least for some species in some parts of Antarctica, she said. Various penguin species have adapted to different habitat niches and this will face different impacts caused by human-caused warming, she said. Foster-Dyer has recently done penguin research around the Ross Sea, and said that climate change could open more areas for land-breeding Adélie penguins, which don’t breed on ice like some other species. “There’s evidence that this whole area used to have many more colonies … which could possibly be repopulated in the future,” she said. She is also more optimistic than some scientists about the future for emperor penguins, the largest species of the group, she added. “They breed on fast ice, and there’s a lot of publications coming out about how the populations might be declining and their habitat is hugely threatened,” she said. “But they’ve lived through so many different cycles of the climate, so I think they’re more adaptable than people currently give them credit for.” In total, about 20 million breeding pairs of penguins nest in vast colonies all around the frozen continent. Some of the largest colonies, with up to 1 million breeding pairs, can cover several square miles.There aren’t any solid estimates for the total amount of guano produced by the flightless birds annually, but some studies have found that individual colonies can produce several hundred tons. Several new penguin colonies were discovered recently when their droppings were spotted in detailed satellite images. A few penguin colonies have grown recently while others appear to be shrinking, but in general, their habitat is considered threatened by warming and changing ice conditions, which affects their food supplies. The speed of human-caused warming, for which there is no precedent in paleoclimate records, may exacerbate the threat to penguins, which evolve slowly compared to many other species, Foster-Dyer said. “Everything’s changing at such a fast rate, it’s really hard to say much about anything,” she said. Recent research has shown how other types of marine life are also important to the global climate system. Nutrients from bird droppings help fertilize blooms of oxygen-producing plankton, and huge swarms of fish that live in the middle layers of the ocean cycle carbon vertically through the water, ultimately depositing it in a generally stable sediment layer on the seafloor. Tricky measurements Boyer said the new research started as a follow-up project to other studies of atmospheric chemistry in the same area, near the Argentine Marambio Base on an island along the Antarctic Peninsula. Observations by other teams suggested it could be worth specifically trying to look at ammonia, he said. Boyer and the other scientists set up specialized equipment to measure the concentration of ammonia in the air from January to March 2023. They found that, when the wind blew from the direction of a colony of about 60,000 Adélie penguins about 5 miles away, the ammonia concentration increased to as high as 13.5 parts per billion—more than 1,000 times higher than the background reading. Even after the penguins migrated from the area toward the end of February, the ammonia concentration was still more than 100 times as high as the background level. “We have one instrument that we use in the study to give us the chemistry of gases as they’re actually clustering together,” he said. “In general, ammonia in the atmosphere is not well-measured because it’s really difficult to measure, especially if you want to measure at a very high sensitivity, if you have low concentrations like in Antarctica,” he said. Penguin-scented winds The goal was to determine where the ammonia is coming from, including testing a previous hypothesis that the ocean surface could be the source, he said. But the size of the penguin colonies made them the most likely source. “It’s well known that sea birds give off ammonia. You can smell them. The birds stink,” he said. “But we didn’t know how much there was. So what we did with this study was to quantify ammonia and to quantify its impact on the cloud formation process.” The scientists had to wait until the wind blew from the penguin colony toward the research station. “If we’re lucky, the wind blows from that direction and not from the direction of the power generator,” he said. “And we were lucky enough that we had one specific event where the winds from the penguin colony persisted long enough that we were actually able to track the growth of the particles. You could be there for a year, and it might not happen.” The ammonia from the guano does not form the particles but supercharges the process that does, Boyer said. “It’s really the dimethyl sulfide from phytoplankton that gives off the sulfur,” he said. “The ammonia enhances the formation rate of particles. Without ammonia, sulfuric acid can form new particles, but with ammonia, it’s 1,000 times faster, and sometimes even more, so we’re talking up to four orders of magnitude faster because of the guano.” This is important in Antarctica specifically because there are not many other sources of particles, such as pollution or emissions from trees, he added. “So the strength of the source matters in terms of its climate effect over time,” he said. “And if the source changes, it’s going to change the climate effect.” It will take more research to determine if penguin guano has a net cooling effect on the climate. But in general, he said, if the particles transport out to sea and contribute to cloud formation, they will have a cooling effect. “What’s also interesting,” he said, “is if the clouds are over ice surfaces, it could actually lead to warming because the clouds are less reflective than the ice beneath.” In that case, the clouds could actually reduce the amount of heat that brighter ice would otherwise reflect away from the planet. The study did not try to measure that effect, but it could be an important subject for future research, he added. The guano effect lingers even after the birds leave the breeding areas. A month after they were gone, Boyer said ammonia levels in the air were still 1,000 times higher than the baseline. “The emission of ammonia is a temperature-dependent process, so it’s likely that once wintertime comes, the ammonia gets frozen in,” he said. “But even before the penguins come back, I would hypothesize that as the temperature warms, the guano starts to emit ammonia again. And the penguins move all around the coast, so it’s possible they’re just fertilizing an entire coast with ammonia.” Bob Berwyn, Inside Climate News 4 Comments
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  • Ash-Rich Volcanic Eruptions Change Icy Clouds, Regulating Radiation on Earth

    Although volcanic eruptions are mostly known for their devastating impacts on land, they also influence the atmosphere in surprising ways. Particles that are catapulted into the sky by eruptions can alter the composition of clouds, cooling the surface below. Volcanic ash, as new research suggests, plays an unexpected role in cloud formation by manipulating ice crystals.A new study published in Science Advances found that volcanic ash enables ice to take shape in clouds, a process that hasn’t been studied extensively before. The environmental effects — how volcanic ash contributes to radiation on Earth — are still up for debate, but a better understanding of cloud formation could inform geoengineering efforts that aspire to slow global warming. How Clouds and Volcanoes Impact Radiation Clouds have a complex relationship with radiation. This is seen with their influence on Earth’s radiation budget, the balance between incoming shortwave radiation from the Sun and outgoing longwave radiation from Earth. Depending on the thickness and elevation of a cloud, it can either have an absorbing or reflecting effect. Lower, thicker clouds reflect more radiation coming from the Sun and cool the Earth’s surface. Higher, thinner clouds reflect less incoming solar radiation and even tend to absorb outgoing infrared radiation constantly emitted by Earth itself. Cirrus clouds — wispy, icy clouds that sit high in the atmosphere — generally have a net warming effect on Earth. Volcanoes also affect Earth’s radiation budget through the particles they eject. Scientists have mostly focused on sulfate aerosols, which form after sulfur dioxide is released into the atmosphere by an eruption. Although sulfate aerosols can deplete the ozone layer and produce acid rain, they also help cool Earth by reflecting solar radiation. The Impact of Volcanic Ash Volcanic ash hasn’t garnered as much attention as sulfate aerosols, but the new study proves that it also needs to be considered in climate discussions. In the study, researchers from the Lawrence Livermore National Laboratorygathered information on ice crystals in clouds by examining radar and lidar data from NASA’s Cloudsat and CALIPSO missions. The team found that ash-rich volcanic eruptions caused clouds to host fewer, but larger ice crystals. “At the beginning of the study, we did expect clouds affected by volcanic eruptions to look different from natural clouds, but not in the way we ultimately found,” said Lin Lin, a scientist at LLNL, in a statement. “We anticipated that volcanic aerosols would lead to an increase in the number of ice crystals in clouds. But to our surprise, the data showed the opposite.”Dealing with Cirrus CloudsThe team initially thought that an eruption would cause homogenous nucleation, in which ice forms spontaneously without the need for a surface. They instead found that ash-heavy eruptions prompt an opposite reaction called heterogenous nucleation, in which ice needs an “impurity” like volcanic ash to form. After an eruption, water droplets stick to ash particles before they can get cold enough to freeze. By producing fewer and larger ice crystals, clouds that undergo heterogenous nucleation end up reflecting less solar radiation, but they also allow more radiation from Earth to escape into space. The team also determined that ash-rich eruptions led to a higher frequency of cirrus clouds. The researchers say volcanic ash needs to be implemented in more climate models to understand exactly how all of these factors influence Earth’s surface temperature. Further studies on volcanic ash could also guide plans for cirrus cloud thinning, a proposed idea for mitigating global warming. This process would involve spraying aerosols into the atmosphere to thin or eliminate cirrus clouds, allowing more longwave radiation to leave Earth. Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:Science Advances. Ice nucleation by volcanic ash greatly alters cirrus cloud propertiesJack Knudson is an assistant editor at Discover with a strong interest in environmental science and history. Before joining Discover in 2023, he studied journalism at the Scripps College of Communication at Ohio University and previously interned at Recycling Today magazine.
    #ashrich #volcanic #eruptions #change #icy
    Ash-Rich Volcanic Eruptions Change Icy Clouds, Regulating Radiation on Earth
    Although volcanic eruptions are mostly known for their devastating impacts on land, they also influence the atmosphere in surprising ways. Particles that are catapulted into the sky by eruptions can alter the composition of clouds, cooling the surface below. Volcanic ash, as new research suggests, plays an unexpected role in cloud formation by manipulating ice crystals.A new study published in Science Advances found that volcanic ash enables ice to take shape in clouds, a process that hasn’t been studied extensively before. The environmental effects — how volcanic ash contributes to radiation on Earth — are still up for debate, but a better understanding of cloud formation could inform geoengineering efforts that aspire to slow global warming. How Clouds and Volcanoes Impact Radiation Clouds have a complex relationship with radiation. This is seen with their influence on Earth’s radiation budget, the balance between incoming shortwave radiation from the Sun and outgoing longwave radiation from Earth. Depending on the thickness and elevation of a cloud, it can either have an absorbing or reflecting effect. Lower, thicker clouds reflect more radiation coming from the Sun and cool the Earth’s surface. Higher, thinner clouds reflect less incoming solar radiation and even tend to absorb outgoing infrared radiation constantly emitted by Earth itself. Cirrus clouds — wispy, icy clouds that sit high in the atmosphere — generally have a net warming effect on Earth. Volcanoes also affect Earth’s radiation budget through the particles they eject. Scientists have mostly focused on sulfate aerosols, which form after sulfur dioxide is released into the atmosphere by an eruption. Although sulfate aerosols can deplete the ozone layer and produce acid rain, they also help cool Earth by reflecting solar radiation. The Impact of Volcanic Ash Volcanic ash hasn’t garnered as much attention as sulfate aerosols, but the new study proves that it also needs to be considered in climate discussions. In the study, researchers from the Lawrence Livermore National Laboratorygathered information on ice crystals in clouds by examining radar and lidar data from NASA’s Cloudsat and CALIPSO missions. The team found that ash-rich volcanic eruptions caused clouds to host fewer, but larger ice crystals. “At the beginning of the study, we did expect clouds affected by volcanic eruptions to look different from natural clouds, but not in the way we ultimately found,” said Lin Lin, a scientist at LLNL, in a statement. “We anticipated that volcanic aerosols would lead to an increase in the number of ice crystals in clouds. But to our surprise, the data showed the opposite.”Dealing with Cirrus CloudsThe team initially thought that an eruption would cause homogenous nucleation, in which ice forms spontaneously without the need for a surface. They instead found that ash-heavy eruptions prompt an opposite reaction called heterogenous nucleation, in which ice needs an “impurity” like volcanic ash to form. After an eruption, water droplets stick to ash particles before they can get cold enough to freeze. By producing fewer and larger ice crystals, clouds that undergo heterogenous nucleation end up reflecting less solar radiation, but they also allow more radiation from Earth to escape into space. The team also determined that ash-rich eruptions led to a higher frequency of cirrus clouds. The researchers say volcanic ash needs to be implemented in more climate models to understand exactly how all of these factors influence Earth’s surface temperature. Further studies on volcanic ash could also guide plans for cirrus cloud thinning, a proposed idea for mitigating global warming. This process would involve spraying aerosols into the atmosphere to thin or eliminate cirrus clouds, allowing more longwave radiation to leave Earth. Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:Science Advances. Ice nucleation by volcanic ash greatly alters cirrus cloud propertiesJack Knudson is an assistant editor at Discover with a strong interest in environmental science and history. Before joining Discover in 2023, he studied journalism at the Scripps College of Communication at Ohio University and previously interned at Recycling Today magazine. #ashrich #volcanic #eruptions #change #icy
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    Ash-Rich Volcanic Eruptions Change Icy Clouds, Regulating Radiation on Earth
    Although volcanic eruptions are mostly known for their devastating impacts on land, they also influence the atmosphere in surprising ways. Particles that are catapulted into the sky by eruptions can alter the composition of clouds, cooling the surface below. Volcanic ash, as new research suggests, plays an unexpected role in cloud formation by manipulating ice crystals.A new study published in Science Advances found that volcanic ash enables ice to take shape in clouds, a process that hasn’t been studied extensively before. The environmental effects — how volcanic ash contributes to radiation on Earth — are still up for debate, but a better understanding of cloud formation could inform geoengineering efforts that aspire to slow global warming. How Clouds and Volcanoes Impact Radiation Clouds have a complex relationship with radiation. This is seen with their influence on Earth’s radiation budget, the balance between incoming shortwave radiation from the Sun and outgoing longwave radiation from Earth. Depending on the thickness and elevation of a cloud, it can either have an absorbing or reflecting effect. Lower, thicker clouds reflect more radiation coming from the Sun and cool the Earth’s surface. Higher, thinner clouds reflect less incoming solar radiation and even tend to absorb outgoing infrared radiation constantly emitted by Earth itself. Cirrus clouds — wispy, icy clouds that sit high in the atmosphere — generally have a net warming effect on Earth. Volcanoes also affect Earth’s radiation budget through the particles they eject. Scientists have mostly focused on sulfate aerosols, which form after sulfur dioxide is released into the atmosphere by an eruption. Although sulfate aerosols can deplete the ozone layer and produce acid rain, they also help cool Earth by reflecting solar radiation. The Impact of Volcanic Ash Volcanic ash hasn’t garnered as much attention as sulfate aerosols, but the new study proves that it also needs to be considered in climate discussions. In the study, researchers from the Lawrence Livermore National Laboratory (LLNL) gathered information on ice crystals in clouds by examining radar and lidar data from NASA’s Cloudsat and CALIPSO missions. The team found that ash-rich volcanic eruptions caused clouds to host fewer, but larger ice crystals. “At the beginning of the study, we did expect clouds affected by volcanic eruptions to look different from natural clouds, but not in the way we ultimately found,” said Lin Lin, a scientist at LLNL, in a statement. “We anticipated that volcanic aerosols would lead to an increase in the number of ice crystals in clouds. But to our surprise, the data showed the opposite.”Dealing with Cirrus CloudsThe team initially thought that an eruption would cause homogenous nucleation, in which ice forms spontaneously without the need for a surface. They instead found that ash-heavy eruptions prompt an opposite reaction called heterogenous nucleation, in which ice needs an “impurity” like volcanic ash to form. After an eruption, water droplets stick to ash particles before they can get cold enough to freeze. By producing fewer and larger ice crystals, clouds that undergo heterogenous nucleation end up reflecting less solar radiation, but they also allow more radiation from Earth to escape into space. The team also determined that ash-rich eruptions led to a higher frequency of cirrus clouds. The researchers say volcanic ash needs to be implemented in more climate models to understand exactly how all of these factors influence Earth’s surface temperature. Further studies on volcanic ash could also guide plans for cirrus cloud thinning, a proposed idea for mitigating global warming. This process would involve spraying aerosols into the atmosphere to thin or eliminate cirrus clouds, allowing more longwave radiation to leave Earth. Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:Science Advances. Ice nucleation by volcanic ash greatly alters cirrus cloud propertiesJack Knudson is an assistant editor at Discover with a strong interest in environmental science and history. Before joining Discover in 2023, he studied journalism at the Scripps College of Communication at Ohio University and previously interned at Recycling Today magazine.
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  • A Public Health Researcher and Her Engineer Husband Found How Diseases Can Spread through Air Decades before the COVID Pandemic

    May 21, 202522 min readMildred Weeks Wells’s Work on Airborne Transmission Could Have Saved Many Lives—If the Scientific Establishment ListenedMildred Weeks Wells and her husband figured out that disease-causing pathogens can spread through the air like smoke Dutton; Lily WhearAir-Borne: The Hidden History of the Life We Breathe, by Carl Zimmer, charts the history of the field of aerobiology: the science of airborne microorganisms. In this episode, we discover the story of two lost pioneers of the 1930s: physician and self-taught epidemiologist Mildred Weeks Wells and her husband, sanitary engineer William Firth Wells. Together, they proved that infectious pathogens could spread through the air over long distances. But the two had a reputation as outsiders, and they failed to convince the scientific establishment, who ignored their findings for decades. What the pair figured out could have saved many lives from tuberculosis, SARS, COVID and other airborne diseases. The contributions of Mildred Weeks Wells and her husband were all but erased from history—until now.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.TRANSCRIPTCarl Zimmer: Mildred is hired in the late 1920s to put together everything that was known about polio. And she does this incredible study, where she basically looks for everything that she can find about how polio spreads.At the time, the idea that it could spread through the air was really looked at as being just an obsolete superstition. Public health experts would say, look, a patient's breath is basically harmless. But the epidemiology looks to her like these germs are airborne, and this goes totally against the consensus at the time.Carol Sutton Lewis: Hello, I'm Carol Sutton Lewis. Welcome to the latest episode of Lost Women of Science Conversations, where we talk with authors and artists who've discovered and celebrated female scientists in books, poetry, film, and the visual arts.Today I'm joined by Carl Zimmer, an award-winning New York Times columnist and the author of 15 books about science. His latest book, Airborne: The Hidden History of the Life We Breathe, focuses on the last great biological frontier: the air. It presents the history of aerobiology, which is the science dealing with the occurrence, transportation, and effects of airborne microorganisms.The book chronicles the exploits of committed aerobiologists from the early pioneers through to the present day. Among these pioneers were Mildred Weeks Wells and her husband, William Firth Wells.Airborne tells the story of how Mildred and William tried to sound the alarm about airborne infections, but for many reasons, their warnings went unheard.Welcome, Carl Zimmer. It's such a pleasure to have you with us to tell us all about this fascinating woman and her contributions to science.Can you please tell us about Mildred Weeks Wells—where and how she grew up and what led her to the field of aerobiology?Carl Zimmer: She was born in 1891, and she came from a very prominent Texas family—the Denton family. Her great-grandfather is actually whom the city of Denton, Texas is named after. Her grandfather was a surgeon for the Confederate Army in the Civil War, and he becomes the director of what was called then the State Lunatic Asylum.And he and the bookkeeper there, William Weeks, are both charged with embezzlement. It's a big scandal. The bookkeeper then marries Mildred's mother. Then, shortly after Mildred's born, her father disappears. Her mother basically abandons her with her grandmother. And she grows up with her sister and grandmother in Austin, Texas. A comfortable life, but obviously there's a lot of scandal hanging over them.She is clearly incredibly strong-willed. She goes to medical school at the University of Texas and graduates in 1915, one of three women in a class of 34. That is really something for a woman at that point—there were hardly any women with medical degrees in the United States, let alone someone in Texas.But she books out of there. She does not stick around. She heads in 1915 to Washington, D.C., and works at the Public Health Service in a lab called the Hygienic Laboratory. Basically, what they're doing is studying bacteria. You have to remember, this is the golden age of the germ theory of disease. People have been figuring out that particular bacteria or viruses cause particular diseases, and that knowledge is helping them fight those diseases.It's there in Washington at this time that she meets a man who will become her husband, William Firth Wells.Carol Sutton Lewis: Just a quick aside—because we at Lost Women of Science are always interested in how you discover the material in addition to what you've discovered. How were you able to piece together her story? What sources were you able to find? It seems like there wasn't a lot of information available.Carl Zimmer: Yeah, it was a tough process. There is little information that's really easy to get your hands on. I mean, there is no biography of Mildred Wells or her husband, William Firth Wells.At the Rockefeller archives, they had maybe 30 document boxes full of stuff that was just miraculously conserved there. There are also letters that she wrote to people that have been saved in various collections.But especially with her early years, it's really tough. You know, in all my work trying to dig down for every single scrap of information I could find of her, I have only found one photograph of her—and it's the photograph in her yearbook. That’s it.Carol Sutton Lewis: You talked about that photograph in the book, and I was struck by your description of it. You say that she's smiling, but the longer you look at her smile, the sadder it becomes. What do you think at that young age was the source of the sadness?Carl Zimmer: I think that Mildred grew up with a lot of trauma. She was not the sort of person to keep long journals or write long letters about these sorts of things. But when you've come across those clues in these brief little newspaper accounts, you can kind of read between the lines.There are reports in newspapers saying that Mildred's mother had come to Austin to pay a visit to Mildred because she had scarlet fever when she was 10, and then she goes away again. And when I look at her face in her yearbook, it doesn't surprise me that there is this cast of melancholy to it because you just think about what she had gone through just as a kid.Carol Sutton Lewis: Oh. Absolutely. And fast forward, she meets William and they marry. They have a son, and they start collaborating. How did that begin?Carl Zimmer: The collaboration takes a while. So William Wells is also working at the Public Health Service at the time. He is a few years older than Mildred and he has been trained at MIT as what was called then a sanitarian. In other words, he was going to take the germ theory of disease and was going to save people's lives.He was very clever. He could invent tests that a sanitarian could use, dip a little tube into a river and see whether the water was safe or not, things like that. He was particularly focused on keeping water clean of bacteria that could cause diseases like typhoid or cholera and he also, gets assigned by the government to study oysters because oysters, they sit in this water and they're filtering all day long. And you know, if there's bacteria in there, they're going to filter it and trap it in their tissues. And oysters are incredibly popular in the early nineteen hundreds and a shocking number of people are keeling over dying of typhoid because they're eating them raw. So William is very busy, figuring out ways to save the oyster industry. How do we purify oysters and things like that? They meet, they get married in 1917.In 1918 they have a child, William Jr. nicknamed Bud. But William is not around for the birth, because he is drafted into the army, and he goes off to serve. in World War I.Carol Sutton Lewis: So Mildred is at home with Bud and William's off at the war. But ultimately, Mildred returns to science. A few years later, where she is hired as a polio detective. Can you tell me a little bit about what the state of polio knowledge was at the time and what precisely a polio detective did?Carl Zimmer: It doesn't seem like polio really was a thing in the United States until the late 1800s. And then suddenly there's this mysterious disease that can strike children with no warning. These kids can't. walk, or suddenly these kids are dying. Not only are the symptoms completely terrifying to parents, but how it spreads is a complete mystery. And so Mildred, seems to have been hired at some point in the late 1920s To basically put together everything that was known about polio to help doctors to deal with their patients and to, you know, encourage future science to try to figure out what is this disease.You know, Mildred wasn't trained in epidemiology. So it's kind of remarkable that she taught herself. And she would turn out to be a really great epidemiologist. But, in any case, She gets hired by the International Committee for the Study of Infantile Paralysis, that was the name then for polio. And she does this incredible study, where she basically looks for everything that she can find about how polio spreads. Case studies where, in a town, like this child got polio, then this child did, and did they have contact and what sort of contact, what season was it? What was the weather like? All these different factors.And one thing that's really important to bear in mind is that, at this time, the prevailing view was that diseases spread by water, by food, by sex, by close contact. Maybe like someone just coughs and sprays droplets on you, but otherwise it's these other routes.The idea that it could spread through the air was really looked at as being just obsolete superstition. for thousands of years, people talked about miasmas, somehow the air mysteriously became corrupted and that made people sick with different diseases. That was all thrown out in the late 1800s, early 1900s when germ theory really takes hold. And so public health experts would say, look, a patient's breath is basically harmless.Carol Sutton Lewis: But Mildred doesn't agree, does she?Carl Zimmer: Well, Mildred Wells is looking at all of this, data and she is starting to get an idea that maybe these public health experts have been too quick to dismiss the air. So when people are talking about droplet infections in the 1920s, they're basically just talking about, big droplets that someone might just sneeze in your face. But the epidemiology looks to her like these germs are airborne, are spreading long distances through the air.So Mildred is starting to make a distinction in her mind about what she calls airborne and droplet infections. So, and this is really the time that the Wellses collectively are thinking about airborne infection and it's Mildred is doing it. And William actually gives her credit for this later on.Carol Sutton Lewis: Right. and her results are published in a book about polio written entirely by female authors, which is quite unusual for the time.Carl Zimmer: Mm hmm. Right. The book is published in 1932, and the reception just tells you so much about what it was like to be a woman in science. The New England Journal of Medicine reviews the book, which is great. But, here's a line that they give, they say, it is interesting to note that this book is entirely the product of women in medicine and is the first book.So far as a reviewer knows. by a number of authors, all of whom are of the female sex. So it's this: Oh, look at this oddity. And basically, the virtue of that is that women are really thorough, I, guess. so it's a very detailed book. And the reviewer writes, no one is better fitted than a woman to collect data such as this book contains. So there's no okay, this is very useful.Carol Sutton Lewis: PatronizeCarl Zimmer: Yeah. Thank you very much. Reviewers were just skating over the conclusions that they were drawing, I guess because they were women. Yeah, pretty incredible.Carol Sutton Lewis: So she is the first to submit scientific proof about this potential for airborne transmission. And that was pretty much dismissed. It wasn't even actively dismissed.It was just, nah, these women, nothing's coming outta that, except William did pay attention. I believe he too had been thinking about airborne transmission for some time and then started seriously looking at Mildred's conclusion when he started teaching at Harvard.Carl Zimmer: Yeah. So, William gets a job as a low level instructor at Harvard. He's getting paid very little. Mildred has no income. He's teaching about hygiene and sanitation, but apparently he's a terrible teacher. But he is a clever, brilliant engineer and scientist; he very quickly develops an idea that probably originated in the work that Mildred had been doing on polio. that maybe diseases actually can spread long distances through the air. So there are large droplets that we might sneeze out and cough out and, and they go a short distance before gravity pulls them down. But physics dictates that below a certain size, droplets can resist gravity.This is something that's going totally against what all the, the really prominent public health figures are saying. William Wells doesn't care. He goes ahead and he starts to, invent a way to sample air for germs. Basically it's a centrifuge. You plug it in, the fan spins, it sucks in air, the air comes up inside a glass cylinder and then as it's spinning, if there are any droplets of particles or anything floating in the air, they get flung out to the sideS.And so afterwards you just pull out the glass which is coated with, food for microbes to grow on and you put it in a nice warm place. And If there's anything in the air, you'll be able to grow a colony and see it.Carol Sutton Lewis: Amazing.Carl Zimmer: It is amazing. This, this was a crucial inventionCarol Sutton Lewis: So we have William, who is with Mildred's help moving more towards the possibility of airborne infection, understanding that this is very much not where science is at the moment, and he conducts a really interesting experiment in one of his classrooms to try to move the theory forward. We'll talk more about that experiment when we come back after the break.MidrollCarol Sutton Lewis: Welcome back to Lost Women of Science Conversations. We left off as the Wellses were about to conduct an experiment to test their theories about airborne infections. Carl, can you tell us about that experiment?Carl Zimmer: Okay. it's 1934, It's a cold day. Students come in for a lecture from this terrible teacher, William Wells. The windows are closed. The doors are closed. It's a poorly ventilated room. About 20 minutes before the end of the class, he takes this weird device that's next to him, he plugs it into the wall, and then he just goes back and keeps lecturing.It's not clear whether he even told them what he was doing. But, he then takes this little pinch of sneezing powder. out of a jar and holds it in the sort of outflow from the fan inside the air centrifuge. So all of a sudden, poof, the sneezing powder just goes off into the air. You know, there are probably about a couple dozen students scattered around this lecture hall and after a while they start to sneeze. And in fact, people All the way in theback are sneezing too.So now Wells turns off his machine, puts in a new cylinder, turns it on, keeps talking. The thing is that they are actually sneezing out droplets into the air.And some of those droplets contain harmless bacteria from their mouths. And he harvests them from the air. He actually collects them in his centrifuge. And after a few days, he's got colonies of these bacteria, but only after he had released the sneezing powder, the one before that didn't have any.So, you have this demonstration that William Wells could catch germs in the air that had been released from his students at quite a distance away, And other people can inhale them, and not even realize what's happening. In other words, germs were spreading like smoke. And so this becomes an explanation for what Mildred had been seeing in her epidemiology..Carol Sutton Lewis: Wow. That was pretty revolutionary. But how was it received?Carl Zimmer: Well, you know, At first it was received, With great fanfare, and he starts publishing papers in nineteen thirty he and Mildred are coauthors on these. And, Mildred is actually appointed as a research associate at Harvard, in nineteen thirty it's a nice title, but she doesn't get paid anything. And then William makes another discovery, which is also very important.He's thinking okay, if these things are floating in the air, is there a way that I can disinfect the air? And he tries all sorts of things and he discovers ultraviolet light works really well. In fact, you can just put an ultraviolet light in a room and the droplets will circulate around and as they pass through the ultraviolet rays, it kills the bacteria or viruses inside of them. So in 1936, when he's publishing these results, there are so many headlines in newspapers and magazines and stuff about this discovery.There's one headline that says, scientists fight flu germs with violet ray. And, there are these predictions that, we are going to be safe from these terrible diseases. Like for example, influenza, which had just, devastated the world not long beforehand, because you're going to put ultraviolet lights in trains and schools and trolleys and movie theaters.Carol Sutton Lewis: Did Mildred get any public recognition for her contributions to all of this?Carl Zimmer: Well not surprisingly, William gets the lion's share of the attention. I mean, there's a passing reference to Mildred in one article. The Associated Press says chief among his aides, Wells said, was his wife, Dr. Mildred Wells. So, William was perfectly comfortable, acknowledging her, but the reporters. Didn't care,Carol Sutton Lewis: And there were no pictures of herCarl Zimmer: Right. Mildred wasn't the engineer in that couple, but she was doing all the research on epidemiology. And you can tell from comments that people made about, and Mildred Wells is that. William would be nowhere as a scientist without Mildred. She was the one who kept him from jumping ahead to wild conclusions from the data he had so far. So they were, they're very much a team. She was doing the writing and they were collaborating, they were arguing with each other all the time about it And she was a much better writer than he was., but that wasn't suitable for a picture, so she was invisible.Carol Sutton Lewis: In the book, you write a lot about their difficult personalities and how that impacted their reputations within the wider scientific community. Can you say more about that?Carl Zimmer: Right. They really had a reputation as being really hard to deal with. People would politely call them peculiar. And when they weren't being quite so polite, they would talk about all these arguments that they would get in, shouting matches and so on. They really felt that they had discovered something incredibly important, but they were outsiders, you know, they didn't have PhDs, they didn't have really much formal training. And here they were saying that, you know, the consensus about infectious disease is profoundly wrong.Now, ironically, what happened is that once William Wells showed that ultraviolet light could kill germs, his superior at Harvard abruptly took an intense interest in all of this and said, Okay, you're going to share a patent on this with me. My name's going to be on the patent and all the research from now on is going to happen in my lab. I'm going to have complete control over what happens next. And Mildred took the lead saying no way we want total autonomy, get out of our face. She was much more aggressive in university politics, and sort of protecting their turf. And unfortunately they didn't have many allies at Harvard and pretty soon they were out, they were fired. And William Wells and his boss, Gordon Fair, were both named on a patent that was filed for using ultraviolet lamps to disinfect the air.Carol Sutton Lewis: So what happened when they left Harvard?Carl Zimmer: Well, it's really interesting watching them scrambling to find work, because their reputation had preceded them. They were hoping they could go back to Washington DC to the public health service. But, the story about the Wells was that Mildred, was carrying out a lot of the research, and so they thought, we can't hire William if it's his wife, who's quietly doing a lot of the work, like they, for some reason they didn't think, oh, we could hire them both.Carol Sutton Lewis: Or just her.Carl Zimmer: None of that, they were like, do we hire William Wells? His wife apparently hauls a lot of the weight. So no, we won't hire them. It's literally like written down. It’s, I'm not making it up. And fortunately they had a few defenders, a few champions down in Philadelphia.There was a doctor in Philadelphia who was using ultraviolet light to protect children in hospitals. And he was, really, inspired by the Wellses and he knew they were trouble. He wrote yes, I get it. They're difficult, but let's try to get them here.And so they brought them down to Philadelphia and Mildred. And William, opened up the laboratories for airborne infection at the University of Pennsylvania. And now actually Mildred got paid, for the first time, for this work. So they're both getting paid, things are starting to look betterCarol Sutton Lewis: So they start to do amazing work at the University of Pennsylvania.Carl Zimmer: That's right. That's right. William, takes the next step in proving their theory. He figures out how to actually give animals diseases through the air. He builds a machine that gets to be known as the infection machine. a big bell jar, and you can put mice in there, or a rabbit in there, and there's a tube connected to it.And through that tube, William can create a very fine mist that might have influenza viruses in it, or the bacteria that cause tuberculosis. And the animals just sit there and breathe, and lo and behold, They get tuberculosis, they get influenza, they get all these diseases,Now, meanwhile, Mildred is actually spending a lot of her time at a school nearby the Germantown Friends School, where they have installed ultraviolet lamps in some of the classrooms. And they're convinced that they can protect kids from airborne diseases. The biggest demonstration of what these lamps can do comes in 1940, because there's a huge epidemic of measles. In 1940, there's, no vaccine for measles. Every kid basically gets it.And lo and behold, the kids in the classrooms with the ultraviolet lamps are 10 times less likely to get measles than the kids just down the hall in the regular classrooms. And so this is one of the best experiments ever done on the nature of airborne infection and how you can protect people by disinfecting the air.Carol Sutton Lewis: Were they then finally accepted into the scientific community?Carl Zimmer: I know you keep waiting for that, that victory lap, but no. It's just like time and again, that glory gets snatched away from them. Again, this was not anything that was done in secret. Newspapers around Philadelphia were. Celebrating this wow, look at this, look at how we can protect our children from disease. This is fantastic. But other experts, public health authorities just were not budging. they had all taken in this dogma that the air can't be dangerous.And so again and again, they were hitting a brick wall. This is right on the eve of World War II.And so all sorts of scientists in World War II are asking themselves, what can we do? Mildred and William put themselves forward and say we don't want soldiers to get sick with the flu the way they did in World War I. They're both haunted by this and they're thinking, so we could put our ultraviolet lamps in the barracks, we could protect them. Soldiers from the flu, if the flu is airborne, like we think, not only that, but this could help to really convince all those skepticsCarol Sutton Lewis: mm.Carl Zimmer: But they failed. The army put all their money into other experiments, they were blackballed, they were shut out, and again, I think it was just because they were continuing to be just incredibly difficult. Even patrons and their friends would just sigh to each other, like, Oh my God, I've just had to deal with these, with them arguing with us and yelling at us. And by the end of World War II, things are bad, they have some sort of split up, they never get divorced, but it's just too much. Mildred, like she is not only trying to do this pioneering work in these schools, trying to keep William's labs organized, there's the matter of their son. Now looking at some documents, I would hazard a guess that he had schizophrenia because he was examined by a doctor who came to that conclusion.And so, she's under incredible pressure and eventually she cracks and in 1944 she resigns from the lab. She stops working in the schools, she stops collaborating with her husband, but she keeps doing her own science. And that's really amazing to me. What kinds of things did she do after this breakup? What kind of work did she conduct? And how was that received?Mildred goes on on her own to carry out a gigantic experiment, in hindsight, a really visionary piece of work. It's based on her experience in Philadelphia. Because she could see that the ultraviolet lamps worked very well at protecting children during a really intense measles epidemic. And so she thought to herself, if you want to really make ultraviolet light, and the theory of airborne infection live up to its true potential to protect people. You need to protect the air in a lot more places.So she gets introduced to the health commissioner in Westchester County, this is a county just north of New York City. And she pitches him this idea. She says, I want to go into one of your towns and I want to put ultraviolet lights everywhere. And this guy, William Holla, he is a very bold, flamboyant guy. He's the right guy to ask. He's like, yeah, let's do this. And he leaves it up to her to design the experiment.And so this town Pleasantville in New York gets fitted out with ultraviolet lamps in the train station, in the fountain shops, in the movie theater, in churches, all over the place. And she publishes a paper with Holla in 1950 on the results.The results are mixed though. You look carefully at them, you can see that actually, yeah, the lamps worked in certain respects. So certain diseases, the rates were lower in certain places, but sadly, this incredibly ambitious study really didn't move the needle. And yeah, it was a big disappointment and that was the last science that Mildred did.Carol Sutton Lewis: Even when they were working together, Mildred and William never really succeeded in convincing the scientific community to take airborne infection seriously, although their work obviously did move the science forward. So what did sway scientific opinion and when?Carl Zimmer: Yeah, Mildred dies in 1957. William dies in 1963. After the Wellses are dead, their work is dismissed and they themselves are quite forgotten. It really isn't until the early 2000s that a few people rediscover them.The SARS epidemic kicks up in 2003, for example, and I talked to a scientist in Hong Kong named Yuguo Li, and he was trying to understand how was this new disease spreading around? He's looking around and he finds references to papers by William Wells and Mildred Wells. He has no idea who they are and he sees that William Wells had published a book in 1955 and he's like, well, okay, maybe I need to go read the book.Nobody has the book. And the only place that he could find it was in one university in the United States. They photocopied it and shipped it to him in Hong Kong and he finally starts reading it. And it's really hard to read because again William was a terrible writer, unlike Mildred. But after a while it clicks and he's like, oh. That's it. I got it. But again, all the guidelines for controlling pandemics and diseases do not really give much serious attention to airborne infection except for just a couple diseases. And it's not until the COVID pandemic that things finally change.Carol Sutton Lewis: Wow. If we had listened to Mildred and William earlier, what might have been different?Carl Zimmer: Yeah, I do try to imagine a world in which Mildred and William had been taken seriously by more people. If airborne infection was just a seriously recognized thing at the start of the COVID pandemic, we would have been controlling the disease differently from the start. We wouldn't have been wiping down our shopping bags obsessively. People would have been encouraged to open the windows, people would have been encouraged to get air purifiers, ultraviolet lamps might have been installed in places with poor ventilation, masks might not have been so controversial.And instead these intellectual grandchildren of William and Mildred Wells had to reinvent the wheel. They had to do new studies to persuade people finally that a disease could be airborne. And it took a long time. It took months to finally move the needle.Carol Sutton Lewis: Carl, what do you hope people will take away from Mildred's story, which you have so wonderfully detailed in your book, rendering her no longer a lost woman of science? And what do you hope people will take away from the book more broadly?Carl Zimmer: I think sometimes that we imagine that science just marches on smoothly and effortlessly. But science is a human endeavor in all the good ways and in all the not-so-good ways. Science does have a fair amount of tragedy throughout it, as any human endeavor does. I'm sad about what happened to the Wells by the end of their lives, both of them. But in some ways, things are better now.When I'm writing about aerobiology in the early, mid, even late—except for Mildred, it's pretty much all men. But who were the people during the COVID pandemic who led the fight to get recognized as airborne? People like Linsey Marr at Virginia Tech, Kim Prather at University of California, San Diego, Lidia Morawska, an Australian researcher. Now, all women in science still have to contend with all sorts of sexism and sort of baked-in inequalities. But it is striking to me that when you get to the end of the book, the women show up.Carol Sutton Lewis: Well,Carl Zimmer: And they show up in force.Carol Sutton Lewis: And on that very positive note to end on, Carl, thank you so much, first and foremost, for writing this really fascinating book and within it, highlighting a now no longer lost woman of science, Mildred Weeks Wells. Your book is Airborne: The Hidden History of the Life We Breathe, and it's been a pleasure to speak with—Carl Zimmer: Thanks a lot. I really enjoyed talking about Mildred.Carol Sutton Lewis: This has been Lost Women of Science Conversations. Carl Zimmer's book Airborne: The Hidden History of the Life We Breathe is out now. This episode was hosted by me, Carol Sutton Lewis. Our producer was Luca Evans, and Hansdale Hsu was our sound engineer. Special thanks to our senior managing producer, Deborah Unger, our program manager, Eowyn Burtner, and our co-executive producers, Katie Hafner and Amy Scharf.Thanks also to Jeff DelViscio and our publishing partner, Scientific American. The episode art was created by Lily Whear and Lizzie Younan composes our music. Lost Women of Science is funded in part by the Alfred P. Sloan Foundation and the Anne Wojcicki Foundation. We're distributed by PRX.If you've enjoyed this conversation, go to our website lostwomenofscience.org and subscribe so you'll never miss an episode—that's lostwomenofscience.org. And please share it and give us a rating wherever you listen to podcasts. Oh, and please don't forget to click on the donate button—that helps us bring you even more stories of important female scientists.I'm Carol Sutton Lewis. See you next time.HostCarol Sutton LewisProducerLuca EvansGuest Carl ZimmerCarl Zimmer writes the Origins column for the New York Times and has frequently contributed to The Atlantic, National Geographic, Time, and Scientific American. His journalism has earned numerous awards, including ones from the American Association for the Advancement of Science and the National Academies of Sciences, Medicine, and Engineering. He is the author of fourteen books about science, including Life's Edge.Further Reading:Air-Borne: The Hidden History of the Life We Breathe. Carl Zimmer. Dutton, 2025Poliomyelitis. International Committee for the Study of Infantile Paralysis. Williams & Wilkins Company, 1932 “Air-borne Infection,” by William Firth Wells and Mildred Weeks Wells, in JAMA, Vol. 107, No. 21; November 21, 1936“Air-borne Infection: Sanitary Control,” by William Firth Wells and Mildred Weeks Wells, in JAMA, Vol. 107, No. 22; November 28, 1936“Ventilation in the Spread of Chickenpox and Measles within School Rooms,” by Mildred Weeks Wells, in JAMA, Vol. 129, No. 3; September 15, 1945“The 60-Year-Old Scientific Screwup That Helped Covid Kill,” by Megan Molteni, in Wired. Published online May 13, 2021WATCH THIS NEXTScience journalist Carl Zimmer joins host Rachel Feltman to look back at the history of the field, from ancient Greek “miasmas” to Louis Pasteur’s unorthodox experiments to biological warfare.
    #public #health #researcher #her #engineer
    A Public Health Researcher and Her Engineer Husband Found How Diseases Can Spread through Air Decades before the COVID Pandemic
    May 21, 202522 min readMildred Weeks Wells’s Work on Airborne Transmission Could Have Saved Many Lives—If the Scientific Establishment ListenedMildred Weeks Wells and her husband figured out that disease-causing pathogens can spread through the air like smoke Dutton; Lily WhearAir-Borne: The Hidden History of the Life We Breathe, by Carl Zimmer, charts the history of the field of aerobiology: the science of airborne microorganisms. In this episode, we discover the story of two lost pioneers of the 1930s: physician and self-taught epidemiologist Mildred Weeks Wells and her husband, sanitary engineer William Firth Wells. Together, they proved that infectious pathogens could spread through the air over long distances. But the two had a reputation as outsiders, and they failed to convince the scientific establishment, who ignored their findings for decades. What the pair figured out could have saved many lives from tuberculosis, SARS, COVID and other airborne diseases. The contributions of Mildred Weeks Wells and her husband were all but erased from history—until now.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.TRANSCRIPTCarl Zimmer: Mildred is hired in the late 1920s to put together everything that was known about polio. And she does this incredible study, where she basically looks for everything that she can find about how polio spreads.At the time, the idea that it could spread through the air was really looked at as being just an obsolete superstition. Public health experts would say, look, a patient's breath is basically harmless. But the epidemiology looks to her like these germs are airborne, and this goes totally against the consensus at the time.Carol Sutton Lewis: Hello, I'm Carol Sutton Lewis. Welcome to the latest episode of Lost Women of Science Conversations, where we talk with authors and artists who've discovered and celebrated female scientists in books, poetry, film, and the visual arts.Today I'm joined by Carl Zimmer, an award-winning New York Times columnist and the author of 15 books about science. His latest book, Airborne: The Hidden History of the Life We Breathe, focuses on the last great biological frontier: the air. It presents the history of aerobiology, which is the science dealing with the occurrence, transportation, and effects of airborne microorganisms.The book chronicles the exploits of committed aerobiologists from the early pioneers through to the present day. Among these pioneers were Mildred Weeks Wells and her husband, William Firth Wells.Airborne tells the story of how Mildred and William tried to sound the alarm about airborne infections, but for many reasons, their warnings went unheard.Welcome, Carl Zimmer. It's such a pleasure to have you with us to tell us all about this fascinating woman and her contributions to science.Can you please tell us about Mildred Weeks Wells—where and how she grew up and what led her to the field of aerobiology?Carl Zimmer: She was born in 1891, and she came from a very prominent Texas family—the Denton family. Her great-grandfather is actually whom the city of Denton, Texas is named after. Her grandfather was a surgeon for the Confederate Army in the Civil War, and he becomes the director of what was called then the State Lunatic Asylum.And he and the bookkeeper there, William Weeks, are both charged with embezzlement. It's a big scandal. The bookkeeper then marries Mildred's mother. Then, shortly after Mildred's born, her father disappears. Her mother basically abandons her with her grandmother. And she grows up with her sister and grandmother in Austin, Texas. A comfortable life, but obviously there's a lot of scandal hanging over them.She is clearly incredibly strong-willed. She goes to medical school at the University of Texas and graduates in 1915, one of three women in a class of 34. That is really something for a woman at that point—there were hardly any women with medical degrees in the United States, let alone someone in Texas.But she books out of there. She does not stick around. She heads in 1915 to Washington, D.C., and works at the Public Health Service in a lab called the Hygienic Laboratory. Basically, what they're doing is studying bacteria. You have to remember, this is the golden age of the germ theory of disease. People have been figuring out that particular bacteria or viruses cause particular diseases, and that knowledge is helping them fight those diseases.It's there in Washington at this time that she meets a man who will become her husband, William Firth Wells.Carol Sutton Lewis: Just a quick aside—because we at Lost Women of Science are always interested in how you discover the material in addition to what you've discovered. How were you able to piece together her story? What sources were you able to find? It seems like there wasn't a lot of information available.Carl Zimmer: Yeah, it was a tough process. There is little information that's really easy to get your hands on. I mean, there is no biography of Mildred Wells or her husband, William Firth Wells.At the Rockefeller archives, they had maybe 30 document boxes full of stuff that was just miraculously conserved there. There are also letters that she wrote to people that have been saved in various collections.But especially with her early years, it's really tough. You know, in all my work trying to dig down for every single scrap of information I could find of her, I have only found one photograph of her—and it's the photograph in her yearbook. That’s it.Carol Sutton Lewis: You talked about that photograph in the book, and I was struck by your description of it. You say that she's smiling, but the longer you look at her smile, the sadder it becomes. What do you think at that young age was the source of the sadness?Carl Zimmer: I think that Mildred grew up with a lot of trauma. She was not the sort of person to keep long journals or write long letters about these sorts of things. But when you've come across those clues in these brief little newspaper accounts, you can kind of read between the lines.There are reports in newspapers saying that Mildred's mother had come to Austin to pay a visit to Mildred because she had scarlet fever when she was 10, and then she goes away again. And when I look at her face in her yearbook, it doesn't surprise me that there is this cast of melancholy to it because you just think about what she had gone through just as a kid.Carol Sutton Lewis: Oh. Absolutely. And fast forward, she meets William and they marry. They have a son, and they start collaborating. How did that begin?Carl Zimmer: The collaboration takes a while. So William Wells is also working at the Public Health Service at the time. He is a few years older than Mildred and he has been trained at MIT as what was called then a sanitarian. In other words, he was going to take the germ theory of disease and was going to save people's lives.He was very clever. He could invent tests that a sanitarian could use, dip a little tube into a river and see whether the water was safe or not, things like that. He was particularly focused on keeping water clean of bacteria that could cause diseases like typhoid or cholera and he also, gets assigned by the government to study oysters because oysters, they sit in this water and they're filtering all day long. And you know, if there's bacteria in there, they're going to filter it and trap it in their tissues. And oysters are incredibly popular in the early nineteen hundreds and a shocking number of people are keeling over dying of typhoid because they're eating them raw. So William is very busy, figuring out ways to save the oyster industry. How do we purify oysters and things like that? They meet, they get married in 1917.In 1918 they have a child, William Jr. nicknamed Bud. But William is not around for the birth, because he is drafted into the army, and he goes off to serve. in World War I.Carol Sutton Lewis: So Mildred is at home with Bud and William's off at the war. But ultimately, Mildred returns to science. A few years later, where she is hired as a polio detective. Can you tell me a little bit about what the state of polio knowledge was at the time and what precisely a polio detective did?Carl Zimmer: It doesn't seem like polio really was a thing in the United States until the late 1800s. And then suddenly there's this mysterious disease that can strike children with no warning. These kids can't. walk, or suddenly these kids are dying. Not only are the symptoms completely terrifying to parents, but how it spreads is a complete mystery. And so Mildred, seems to have been hired at some point in the late 1920s To basically put together everything that was known about polio to help doctors to deal with their patients and to, you know, encourage future science to try to figure out what is this disease.You know, Mildred wasn't trained in epidemiology. So it's kind of remarkable that she taught herself. And she would turn out to be a really great epidemiologist. But, in any case, She gets hired by the International Committee for the Study of Infantile Paralysis, that was the name then for polio. And she does this incredible study, where she basically looks for everything that she can find about how polio spreads. Case studies where, in a town, like this child got polio, then this child did, and did they have contact and what sort of contact, what season was it? What was the weather like? All these different factors.And one thing that's really important to bear in mind is that, at this time, the prevailing view was that diseases spread by water, by food, by sex, by close contact. Maybe like someone just coughs and sprays droplets on you, but otherwise it's these other routes.The idea that it could spread through the air was really looked at as being just obsolete superstition. for thousands of years, people talked about miasmas, somehow the air mysteriously became corrupted and that made people sick with different diseases. That was all thrown out in the late 1800s, early 1900s when germ theory really takes hold. And so public health experts would say, look, a patient's breath is basically harmless.Carol Sutton Lewis: But Mildred doesn't agree, does she?Carl Zimmer: Well, Mildred Wells is looking at all of this, data and she is starting to get an idea that maybe these public health experts have been too quick to dismiss the air. So when people are talking about droplet infections in the 1920s, they're basically just talking about, big droplets that someone might just sneeze in your face. But the epidemiology looks to her like these germs are airborne, are spreading long distances through the air.So Mildred is starting to make a distinction in her mind about what she calls airborne and droplet infections. So, and this is really the time that the Wellses collectively are thinking about airborne infection and it's Mildred is doing it. And William actually gives her credit for this later on.Carol Sutton Lewis: Right. and her results are published in a book about polio written entirely by female authors, which is quite unusual for the time.Carl Zimmer: Mm hmm. Right. The book is published in 1932, and the reception just tells you so much about what it was like to be a woman in science. The New England Journal of Medicine reviews the book, which is great. But, here's a line that they give, they say, it is interesting to note that this book is entirely the product of women in medicine and is the first book.So far as a reviewer knows. by a number of authors, all of whom are of the female sex. So it's this: Oh, look at this oddity. And basically, the virtue of that is that women are really thorough, I, guess. so it's a very detailed book. And the reviewer writes, no one is better fitted than a woman to collect data such as this book contains. So there's no okay, this is very useful.Carol Sutton Lewis: PatronizeCarl Zimmer: Yeah. Thank you very much. Reviewers were just skating over the conclusions that they were drawing, I guess because they were women. Yeah, pretty incredible.Carol Sutton Lewis: So she is the first to submit scientific proof about this potential for airborne transmission. And that was pretty much dismissed. It wasn't even actively dismissed.It was just, nah, these women, nothing's coming outta that, except William did pay attention. I believe he too had been thinking about airborne transmission for some time and then started seriously looking at Mildred's conclusion when he started teaching at Harvard.Carl Zimmer: Yeah. So, William gets a job as a low level instructor at Harvard. He's getting paid very little. Mildred has no income. He's teaching about hygiene and sanitation, but apparently he's a terrible teacher. But he is a clever, brilliant engineer and scientist; he very quickly develops an idea that probably originated in the work that Mildred had been doing on polio. that maybe diseases actually can spread long distances through the air. So there are large droplets that we might sneeze out and cough out and, and they go a short distance before gravity pulls them down. But physics dictates that below a certain size, droplets can resist gravity.This is something that's going totally against what all the, the really prominent public health figures are saying. William Wells doesn't care. He goes ahead and he starts to, invent a way to sample air for germs. Basically it's a centrifuge. You plug it in, the fan spins, it sucks in air, the air comes up inside a glass cylinder and then as it's spinning, if there are any droplets of particles or anything floating in the air, they get flung out to the sideS.And so afterwards you just pull out the glass which is coated with, food for microbes to grow on and you put it in a nice warm place. And If there's anything in the air, you'll be able to grow a colony and see it.Carol Sutton Lewis: Amazing.Carl Zimmer: It is amazing. This, this was a crucial inventionCarol Sutton Lewis: So we have William, who is with Mildred's help moving more towards the possibility of airborne infection, understanding that this is very much not where science is at the moment, and he conducts a really interesting experiment in one of his classrooms to try to move the theory forward. We'll talk more about that experiment when we come back after the break.MidrollCarol Sutton Lewis: Welcome back to Lost Women of Science Conversations. We left off as the Wellses were about to conduct an experiment to test their theories about airborne infections. Carl, can you tell us about that experiment?Carl Zimmer: Okay. it's 1934, It's a cold day. Students come in for a lecture from this terrible teacher, William Wells. The windows are closed. The doors are closed. It's a poorly ventilated room. About 20 minutes before the end of the class, he takes this weird device that's next to him, he plugs it into the wall, and then he just goes back and keeps lecturing.It's not clear whether he even told them what he was doing. But, he then takes this little pinch of sneezing powder. out of a jar and holds it in the sort of outflow from the fan inside the air centrifuge. So all of a sudden, poof, the sneezing powder just goes off into the air. You know, there are probably about a couple dozen students scattered around this lecture hall and after a while they start to sneeze. And in fact, people All the way in theback are sneezing too.So now Wells turns off his machine, puts in a new cylinder, turns it on, keeps talking. The thing is that they are actually sneezing out droplets into the air.And some of those droplets contain harmless bacteria from their mouths. And he harvests them from the air. He actually collects them in his centrifuge. And after a few days, he's got colonies of these bacteria, but only after he had released the sneezing powder, the one before that didn't have any.So, you have this demonstration that William Wells could catch germs in the air that had been released from his students at quite a distance away, And other people can inhale them, and not even realize what's happening. In other words, germs were spreading like smoke. And so this becomes an explanation for what Mildred had been seeing in her epidemiology..Carol Sutton Lewis: Wow. That was pretty revolutionary. But how was it received?Carl Zimmer: Well, you know, At first it was received, With great fanfare, and he starts publishing papers in nineteen thirty he and Mildred are coauthors on these. And, Mildred is actually appointed as a research associate at Harvard, in nineteen thirty it's a nice title, but she doesn't get paid anything. And then William makes another discovery, which is also very important.He's thinking okay, if these things are floating in the air, is there a way that I can disinfect the air? And he tries all sorts of things and he discovers ultraviolet light works really well. In fact, you can just put an ultraviolet light in a room and the droplets will circulate around and as they pass through the ultraviolet rays, it kills the bacteria or viruses inside of them. So in 1936, when he's publishing these results, there are so many headlines in newspapers and magazines and stuff about this discovery.There's one headline that says, scientists fight flu germs with violet ray. And, there are these predictions that, we are going to be safe from these terrible diseases. Like for example, influenza, which had just, devastated the world not long beforehand, because you're going to put ultraviolet lights in trains and schools and trolleys and movie theaters.Carol Sutton Lewis: Did Mildred get any public recognition for her contributions to all of this?Carl Zimmer: Well not surprisingly, William gets the lion's share of the attention. I mean, there's a passing reference to Mildred in one article. The Associated Press says chief among his aides, Wells said, was his wife, Dr. Mildred Wells. So, William was perfectly comfortable, acknowledging her, but the reporters. Didn't care,Carol Sutton Lewis: And there were no pictures of herCarl Zimmer: Right. Mildred wasn't the engineer in that couple, but she was doing all the research on epidemiology. And you can tell from comments that people made about, and Mildred Wells is that. William would be nowhere as a scientist without Mildred. She was the one who kept him from jumping ahead to wild conclusions from the data he had so far. So they were, they're very much a team. She was doing the writing and they were collaborating, they were arguing with each other all the time about it And she was a much better writer than he was., but that wasn't suitable for a picture, so she was invisible.Carol Sutton Lewis: In the book, you write a lot about their difficult personalities and how that impacted their reputations within the wider scientific community. Can you say more about that?Carl Zimmer: Right. They really had a reputation as being really hard to deal with. People would politely call them peculiar. And when they weren't being quite so polite, they would talk about all these arguments that they would get in, shouting matches and so on. They really felt that they had discovered something incredibly important, but they were outsiders, you know, they didn't have PhDs, they didn't have really much formal training. And here they were saying that, you know, the consensus about infectious disease is profoundly wrong.Now, ironically, what happened is that once William Wells showed that ultraviolet light could kill germs, his superior at Harvard abruptly took an intense interest in all of this and said, Okay, you're going to share a patent on this with me. My name's going to be on the patent and all the research from now on is going to happen in my lab. I'm going to have complete control over what happens next. And Mildred took the lead saying no way we want total autonomy, get out of our face. She was much more aggressive in university politics, and sort of protecting their turf. And unfortunately they didn't have many allies at Harvard and pretty soon they were out, they were fired. And William Wells and his boss, Gordon Fair, were both named on a patent that was filed for using ultraviolet lamps to disinfect the air.Carol Sutton Lewis: So what happened when they left Harvard?Carl Zimmer: Well, it's really interesting watching them scrambling to find work, because their reputation had preceded them. They were hoping they could go back to Washington DC to the public health service. But, the story about the Wells was that Mildred, was carrying out a lot of the research, and so they thought, we can't hire William if it's his wife, who's quietly doing a lot of the work, like they, for some reason they didn't think, oh, we could hire them both.Carol Sutton Lewis: Or just her.Carl Zimmer: None of that, they were like, do we hire William Wells? His wife apparently hauls a lot of the weight. So no, we won't hire them. It's literally like written down. It’s, I'm not making it up. And fortunately they had a few defenders, a few champions down in Philadelphia.There was a doctor in Philadelphia who was using ultraviolet light to protect children in hospitals. And he was, really, inspired by the Wellses and he knew they were trouble. He wrote yes, I get it. They're difficult, but let's try to get them here.And so they brought them down to Philadelphia and Mildred. And William, opened up the laboratories for airborne infection at the University of Pennsylvania. And now actually Mildred got paid, for the first time, for this work. So they're both getting paid, things are starting to look betterCarol Sutton Lewis: So they start to do amazing work at the University of Pennsylvania.Carl Zimmer: That's right. That's right. William, takes the next step in proving their theory. He figures out how to actually give animals diseases through the air. He builds a machine that gets to be known as the infection machine. a big bell jar, and you can put mice in there, or a rabbit in there, and there's a tube connected to it.And through that tube, William can create a very fine mist that might have influenza viruses in it, or the bacteria that cause tuberculosis. And the animals just sit there and breathe, and lo and behold, They get tuberculosis, they get influenza, they get all these diseases,Now, meanwhile, Mildred is actually spending a lot of her time at a school nearby the Germantown Friends School, where they have installed ultraviolet lamps in some of the classrooms. And they're convinced that they can protect kids from airborne diseases. The biggest demonstration of what these lamps can do comes in 1940, because there's a huge epidemic of measles. In 1940, there's, no vaccine for measles. Every kid basically gets it.And lo and behold, the kids in the classrooms with the ultraviolet lamps are 10 times less likely to get measles than the kids just down the hall in the regular classrooms. And so this is one of the best experiments ever done on the nature of airborne infection and how you can protect people by disinfecting the air.Carol Sutton Lewis: Were they then finally accepted into the scientific community?Carl Zimmer: I know you keep waiting for that, that victory lap, but no. It's just like time and again, that glory gets snatched away from them. Again, this was not anything that was done in secret. Newspapers around Philadelphia were. Celebrating this wow, look at this, look at how we can protect our children from disease. This is fantastic. But other experts, public health authorities just were not budging. they had all taken in this dogma that the air can't be dangerous.And so again and again, they were hitting a brick wall. This is right on the eve of World War II.And so all sorts of scientists in World War II are asking themselves, what can we do? Mildred and William put themselves forward and say we don't want soldiers to get sick with the flu the way they did in World War I. They're both haunted by this and they're thinking, so we could put our ultraviolet lamps in the barracks, we could protect them. Soldiers from the flu, if the flu is airborne, like we think, not only that, but this could help to really convince all those skepticsCarol Sutton Lewis: mm.Carl Zimmer: But they failed. The army put all their money into other experiments, they were blackballed, they were shut out, and again, I think it was just because they were continuing to be just incredibly difficult. Even patrons and their friends would just sigh to each other, like, Oh my God, I've just had to deal with these, with them arguing with us and yelling at us. And by the end of World War II, things are bad, they have some sort of split up, they never get divorced, but it's just too much. Mildred, like she is not only trying to do this pioneering work in these schools, trying to keep William's labs organized, there's the matter of their son. Now looking at some documents, I would hazard a guess that he had schizophrenia because he was examined by a doctor who came to that conclusion.And so, she's under incredible pressure and eventually she cracks and in 1944 she resigns from the lab. She stops working in the schools, she stops collaborating with her husband, but she keeps doing her own science. And that's really amazing to me. What kinds of things did she do after this breakup? What kind of work did she conduct? And how was that received?Mildred goes on on her own to carry out a gigantic experiment, in hindsight, a really visionary piece of work. It's based on her experience in Philadelphia. Because she could see that the ultraviolet lamps worked very well at protecting children during a really intense measles epidemic. And so she thought to herself, if you want to really make ultraviolet light, and the theory of airborne infection live up to its true potential to protect people. You need to protect the air in a lot more places.So she gets introduced to the health commissioner in Westchester County, this is a county just north of New York City. And she pitches him this idea. She says, I want to go into one of your towns and I want to put ultraviolet lights everywhere. And this guy, William Holla, he is a very bold, flamboyant guy. He's the right guy to ask. He's like, yeah, let's do this. And he leaves it up to her to design the experiment.And so this town Pleasantville in New York gets fitted out with ultraviolet lamps in the train station, in the fountain shops, in the movie theater, in churches, all over the place. And she publishes a paper with Holla in 1950 on the results.The results are mixed though. You look carefully at them, you can see that actually, yeah, the lamps worked in certain respects. So certain diseases, the rates were lower in certain places, but sadly, this incredibly ambitious study really didn't move the needle. And yeah, it was a big disappointment and that was the last science that Mildred did.Carol Sutton Lewis: Even when they were working together, Mildred and William never really succeeded in convincing the scientific community to take airborne infection seriously, although their work obviously did move the science forward. So what did sway scientific opinion and when?Carl Zimmer: Yeah, Mildred dies in 1957. William dies in 1963. After the Wellses are dead, their work is dismissed and they themselves are quite forgotten. It really isn't until the early 2000s that a few people rediscover them.The SARS epidemic kicks up in 2003, for example, and I talked to a scientist in Hong Kong named Yuguo Li, and he was trying to understand how was this new disease spreading around? He's looking around and he finds references to papers by William Wells and Mildred Wells. He has no idea who they are and he sees that William Wells had published a book in 1955 and he's like, well, okay, maybe I need to go read the book.Nobody has the book. And the only place that he could find it was in one university in the United States. They photocopied it and shipped it to him in Hong Kong and he finally starts reading it. And it's really hard to read because again William was a terrible writer, unlike Mildred. But after a while it clicks and he's like, oh. That's it. I got it. But again, all the guidelines for controlling pandemics and diseases do not really give much serious attention to airborne infection except for just a couple diseases. And it's not until the COVID pandemic that things finally change.Carol Sutton Lewis: Wow. If we had listened to Mildred and William earlier, what might have been different?Carl Zimmer: Yeah, I do try to imagine a world in which Mildred and William had been taken seriously by more people. If airborne infection was just a seriously recognized thing at the start of the COVID pandemic, we would have been controlling the disease differently from the start. We wouldn't have been wiping down our shopping bags obsessively. People would have been encouraged to open the windows, people would have been encouraged to get air purifiers, ultraviolet lamps might have been installed in places with poor ventilation, masks might not have been so controversial.And instead these intellectual grandchildren of William and Mildred Wells had to reinvent the wheel. They had to do new studies to persuade people finally that a disease could be airborne. And it took a long time. It took months to finally move the needle.Carol Sutton Lewis: Carl, what do you hope people will take away from Mildred's story, which you have so wonderfully detailed in your book, rendering her no longer a lost woman of science? And what do you hope people will take away from the book more broadly?Carl Zimmer: I think sometimes that we imagine that science just marches on smoothly and effortlessly. But science is a human endeavor in all the good ways and in all the not-so-good ways. Science does have a fair amount of tragedy throughout it, as any human endeavor does. I'm sad about what happened to the Wells by the end of their lives, both of them. But in some ways, things are better now.When I'm writing about aerobiology in the early, mid, even late—except for Mildred, it's pretty much all men. But who were the people during the COVID pandemic who led the fight to get recognized as airborne? People like Linsey Marr at Virginia Tech, Kim Prather at University of California, San Diego, Lidia Morawska, an Australian researcher. Now, all women in science still have to contend with all sorts of sexism and sort of baked-in inequalities. But it is striking to me that when you get to the end of the book, the women show up.Carol Sutton Lewis: Well,Carl Zimmer: And they show up in force.Carol Sutton Lewis: And on that very positive note to end on, Carl, thank you so much, first and foremost, for writing this really fascinating book and within it, highlighting a now no longer lost woman of science, Mildred Weeks Wells. Your book is Airborne: The Hidden History of the Life We Breathe, and it's been a pleasure to speak with—Carl Zimmer: Thanks a lot. I really enjoyed talking about Mildred.Carol Sutton Lewis: This has been Lost Women of Science Conversations. Carl Zimmer's book Airborne: The Hidden History of the Life We Breathe is out now. This episode was hosted by me, Carol Sutton Lewis. Our producer was Luca Evans, and Hansdale Hsu was our sound engineer. Special thanks to our senior managing producer, Deborah Unger, our program manager, Eowyn Burtner, and our co-executive producers, Katie Hafner and Amy Scharf.Thanks also to Jeff DelViscio and our publishing partner, Scientific American. The episode art was created by Lily Whear and Lizzie Younan composes our music. Lost Women of Science is funded in part by the Alfred P. Sloan Foundation and the Anne Wojcicki Foundation. We're distributed by PRX.If you've enjoyed this conversation, go to our website lostwomenofscience.org and subscribe so you'll never miss an episode—that's lostwomenofscience.org. And please share it and give us a rating wherever you listen to podcasts. Oh, and please don't forget to click on the donate button—that helps us bring you even more stories of important female scientists.I'm Carol Sutton Lewis. See you next time.HostCarol Sutton LewisProducerLuca EvansGuest Carl ZimmerCarl Zimmer writes the Origins column for the New York Times and has frequently contributed to The Atlantic, National Geographic, Time, and Scientific American. His journalism has earned numerous awards, including ones from the American Association for the Advancement of Science and the National Academies of Sciences, Medicine, and Engineering. He is the author of fourteen books about science, including Life's Edge.Further Reading:Air-Borne: The Hidden History of the Life We Breathe. Carl Zimmer. Dutton, 2025Poliomyelitis. International Committee for the Study of Infantile Paralysis. Williams & Wilkins Company, 1932 “Air-borne Infection,” by William Firth Wells and Mildred Weeks Wells, in JAMA, Vol. 107, No. 21; November 21, 1936“Air-borne Infection: Sanitary Control,” by William Firth Wells and Mildred Weeks Wells, in JAMA, Vol. 107, No. 22; November 28, 1936“Ventilation in the Spread of Chickenpox and Measles within School Rooms,” by Mildred Weeks Wells, in JAMA, Vol. 129, No. 3; September 15, 1945“The 60-Year-Old Scientific Screwup That Helped Covid Kill,” by Megan Molteni, in Wired. Published online May 13, 2021WATCH THIS NEXTScience journalist Carl Zimmer joins host Rachel Feltman to look back at the history of the field, from ancient Greek “miasmas” to Louis Pasteur’s unorthodox experiments to biological warfare. #public #health #researcher #her #engineer
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    A Public Health Researcher and Her Engineer Husband Found How Diseases Can Spread through Air Decades before the COVID Pandemic
    May 21, 202522 min readMildred Weeks Wells’s Work on Airborne Transmission Could Have Saved Many Lives—If the Scientific Establishment ListenedMildred Weeks Wells and her husband figured out that disease-causing pathogens can spread through the air like smoke Dutton (image); Lily Whear (composite)Air-Borne: The Hidden History of the Life We Breathe, by Carl Zimmer, charts the history of the field of aerobiology: the science of airborne microorganisms. In this episode, we discover the story of two lost pioneers of the 1930s: physician and self-taught epidemiologist Mildred Weeks Wells and her husband, sanitary engineer William Firth Wells. Together, they proved that infectious pathogens could spread through the air over long distances. But the two had a reputation as outsiders, and they failed to convince the scientific establishment, who ignored their findings for decades. What the pair figured out could have saved many lives from tuberculosis, SARS, COVID and other airborne diseases. The contributions of Mildred Weeks Wells and her husband were all but erased from history—until now.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.TRANSCRIPTCarl Zimmer: Mildred is hired in the late 1920s to put together everything that was known about polio. And she does this incredible study, where she basically looks for everything that she can find about how polio spreads.At the time, the idea that it could spread through the air was really looked at as being just an obsolete superstition. Public health experts would say, look, a patient's breath is basically harmless. But the epidemiology looks to her like these germs are airborne, and this goes totally against the consensus at the time.Carol Sutton Lewis: Hello, I'm Carol Sutton Lewis. Welcome to the latest episode of Lost Women of Science Conversations, where we talk with authors and artists who've discovered and celebrated female scientists in books, poetry, film, and the visual arts.Today I'm joined by Carl Zimmer, an award-winning New York Times columnist and the author of 15 books about science. His latest book, Airborne: The Hidden History of the Life We Breathe, focuses on the last great biological frontier: the air. It presents the history of aerobiology, which is the science dealing with the occurrence, transportation, and effects of airborne microorganisms.The book chronicles the exploits of committed aerobiologists from the early pioneers through to the present day. Among these pioneers were Mildred Weeks Wells and her husband, William Firth Wells.Airborne tells the story of how Mildred and William tried to sound the alarm about airborne infections, but for many reasons, their warnings went unheard.Welcome, Carl Zimmer. It's such a pleasure to have you with us to tell us all about this fascinating woman and her contributions to science.Can you please tell us about Mildred Weeks Wells—where and how she grew up and what led her to the field of aerobiology?Carl Zimmer: She was born in 1891, and she came from a very prominent Texas family—the Denton family. Her great-grandfather is actually whom the city of Denton, Texas is named after. Her grandfather was a surgeon for the Confederate Army in the Civil War, and he becomes the director of what was called then the State Lunatic Asylum.And he and the bookkeeper there, William Weeks, are both charged with embezzlement. It's a big scandal. The bookkeeper then marries Mildred's mother. Then, shortly after Mildred's born, her father disappears. Her mother basically abandons her with her grandmother. And she grows up with her sister and grandmother in Austin, Texas. A comfortable life, but obviously there's a lot of scandal hanging over them.She is clearly incredibly strong-willed. She goes to medical school at the University of Texas and graduates in 1915, one of three women in a class of 34. That is really something for a woman at that point—there were hardly any women with medical degrees in the United States, let alone someone in Texas.But she books out of there. She does not stick around. She heads in 1915 to Washington, D.C., and works at the Public Health Service in a lab called the Hygienic Laboratory. Basically, what they're doing is studying bacteria. You have to remember, this is the golden age of the germ theory of disease. People have been figuring out that particular bacteria or viruses cause particular diseases, and that knowledge is helping them fight those diseases.It's there in Washington at this time that she meets a man who will become her husband, William Firth Wells.Carol Sutton Lewis: Just a quick aside—because we at Lost Women of Science are always interested in how you discover the material in addition to what you've discovered. How were you able to piece together her story? What sources were you able to find? It seems like there wasn't a lot of information available.Carl Zimmer: Yeah, it was a tough process. There is little information that's really easy to get your hands on. I mean, there is no biography of Mildred Wells or her husband, William Firth Wells.At the Rockefeller archives, they had maybe 30 document boxes full of stuff that was just miraculously conserved there. There are also letters that she wrote to people that have been saved in various collections.But especially with her early years, it's really tough. You know, in all my work trying to dig down for every single scrap of information I could find of her, I have only found one photograph of her—and it's the photograph in her yearbook. That’s it.Carol Sutton Lewis: You talked about that photograph in the book, and I was struck by your description of it. You say that she's smiling, but the longer you look at her smile, the sadder it becomes. What do you think at that young age was the source of the sadness?Carl Zimmer: I think that Mildred grew up with a lot of trauma. She was not the sort of person to keep long journals or write long letters about these sorts of things. But when you've come across those clues in these brief little newspaper accounts, you can kind of read between the lines.There are reports in newspapers saying that Mildred's mother had come to Austin to pay a visit to Mildred because she had scarlet fever when she was 10, and then she goes away again. And when I look at her face in her yearbook, it doesn't surprise me that there is this cast of melancholy to it because you just think about what she had gone through just as a kid.Carol Sutton Lewis: Oh. Absolutely. And fast forward, she meets William and they marry. They have a son, and they start collaborating. How did that begin?Carl Zimmer: The collaboration takes a while. So William Wells is also working at the Public Health Service at the time. He is a few years older than Mildred and he has been trained at MIT as what was called then a sanitarian. In other words, he was going to take the germ theory of disease and was going to save people's lives.He was very clever. He could invent tests that a sanitarian could use, dip a little tube into a river and see whether the water was safe or not, things like that. He was particularly focused on keeping water clean of bacteria that could cause diseases like typhoid or cholera and he also, gets assigned by the government to study oysters because oysters, they sit in this water and they're filtering all day long. And you know, if there's bacteria in there, they're going to filter it and trap it in their tissues. And oysters are incredibly popular in the early nineteen hundreds and a shocking number of people are keeling over dying of typhoid because they're eating them raw. So William is very busy, figuring out ways to save the oyster industry. How do we purify oysters and things like that? They meet, they get married in 1917.In 1918 they have a child, William Jr. nicknamed Bud. But William is not around for the birth, because he is drafted into the army, and he goes off to serve. in World War I.Carol Sutton Lewis: So Mildred is at home with Bud and William's off at the war. But ultimately, Mildred returns to science. A few years later, where she is hired as a polio detective. Can you tell me a little bit about what the state of polio knowledge was at the time and what precisely a polio detective did?Carl Zimmer: It doesn't seem like polio really was a thing in the United States until the late 1800s. And then suddenly there's this mysterious disease that can strike children with no warning. These kids can't. walk, or suddenly these kids are dying. Not only are the symptoms completely terrifying to parents, but how it spreads is a complete mystery. And so Mildred, seems to have been hired at some point in the late 1920s To basically put together everything that was known about polio to help doctors to deal with their patients and to, you know, encourage future science to try to figure out what is this disease.You know, Mildred wasn't trained in epidemiology. So it's kind of remarkable that she taught herself. And she would turn out to be a really great epidemiologist. But, in any case, She gets hired by the International Committee for the Study of Infantile Paralysis, that was the name then for polio. And she does this incredible study, where she basically looks for everything that she can find about how polio spreads. Case studies where, in a town, like this child got polio, then this child did, and did they have contact and what sort of contact, what season was it? What was the weather like? All these different factors.And one thing that's really important to bear in mind is that, at this time, the prevailing view was that diseases spread by water, by food, by sex, by close contact. Maybe like someone just coughs and sprays droplets on you, but otherwise it's these other routes.The idea that it could spread through the air was really looked at as being just obsolete superstition. for thousands of years, people talked about miasmas, somehow the air mysteriously became corrupted and that made people sick with different diseases. That was all thrown out in the late 1800s, early 1900s when germ theory really takes hold. And so public health experts would say, look, a patient's breath is basically harmless.Carol Sutton Lewis: But Mildred doesn't agree, does she?Carl Zimmer: Well, Mildred Wells is looking at all of this, data and she is starting to get an idea that maybe these public health experts have been too quick to dismiss the air. So when people are talking about droplet infections in the 1920s, they're basically just talking about, big droplets that someone might just sneeze in your face. But the epidemiology looks to her like these germs are airborne, are spreading long distances through the air.So Mildred is starting to make a distinction in her mind about what she calls airborne and droplet infections. So, and this is really the time that the Wellses collectively are thinking about airborne infection and it's Mildred is doing it. And William actually gives her credit for this later on.Carol Sutton Lewis: Right. and her results are published in a book about polio written entirely by female authors, which is quite unusual for the time.Carl Zimmer: Mm hmm. Right. The book is published in 1932, and the reception just tells you so much about what it was like to be a woman in science. The New England Journal of Medicine reviews the book, which is great. But, here's a line that they give, they say, it is interesting to note that this book is entirely the product of women in medicine and is the first book.So far as a reviewer knows. by a number of authors, all of whom are of the female sex. So it's this: Oh, look at this oddity. And basically, the virtue of that is that women are really thorough, I, guess. so it's a very detailed book. And the reviewer writes, no one is better fitted than a woman to collect data such as this book contains. So there's no okay, this is very useful.Carol Sutton Lewis: PatronizeCarl Zimmer: Yeah. Thank you very much. Reviewers were just skating over the conclusions that they were drawing, I guess because they were women. Yeah, pretty incredible.Carol Sutton Lewis: So she is the first to submit scientific proof about this potential for airborne transmission. And that was pretty much dismissed. It wasn't even actively dismissed.It was just, nah, these women, nothing's coming outta that, except William did pay attention. I believe he too had been thinking about airborne transmission for some time and then started seriously looking at Mildred's conclusion when he started teaching at Harvard.Carl Zimmer: Yeah. So, William gets a job as a low level instructor at Harvard. He's getting paid very little. Mildred has no income. He's teaching about hygiene and sanitation, but apparently he's a terrible teacher. But he is a clever, brilliant engineer and scientist; he very quickly develops an idea that probably originated in the work that Mildred had been doing on polio. that maybe diseases actually can spread long distances through the air. So there are large droplets that we might sneeze out and cough out and, and they go a short distance before gravity pulls them down. But physics dictates that below a certain size, droplets can resist gravity.This is something that's going totally against what all the, the really prominent public health figures are saying. William Wells doesn't care. He goes ahead and he starts to, invent a way to sample air for germs. Basically it's a centrifuge. You plug it in, the fan spins, it sucks in air, the air comes up inside a glass cylinder and then as it's spinning, if there are any droplets of particles or anything floating in the air, they get flung out to the sideS.And so afterwards you just pull out the glass which is coated with, food for microbes to grow on and you put it in a nice warm place. And If there's anything in the air, you'll be able to grow a colony and see it.Carol Sutton Lewis: Amazing.Carl Zimmer: It is amazing. This, this was a crucial inventionCarol Sutton Lewis: So we have William, who is with Mildred's help moving more towards the possibility of airborne infection, understanding that this is very much not where science is at the moment, and he conducts a really interesting experiment in one of his classrooms to try to move the theory forward. We'll talk more about that experiment when we come back after the break.MidrollCarol Sutton Lewis: Welcome back to Lost Women of Science Conversations. We left off as the Wellses were about to conduct an experiment to test their theories about airborne infections. Carl, can you tell us about that experiment?Carl Zimmer: Okay. it's 1934, It's a cold day. Students come in for a lecture from this terrible teacher, William Wells. The windows are closed. The doors are closed. It's a poorly ventilated room. About 20 minutes before the end of the class, he takes this weird device that's next to him, he plugs it into the wall, and then he just goes back and keeps lecturing.It's not clear whether he even told them what he was doing. But, he then takes this little pinch of sneezing powder. out of a jar and holds it in the sort of outflow from the fan inside the air centrifuge. So all of a sudden, poof, the sneezing powder just goes off into the air. You know, there are probably about a couple dozen students scattered around this lecture hall and after a while they start to sneeze. And in fact, people All the way in the [00:16:00] back are sneezing too.So now Wells turns off his machine, puts in a new cylinder, turns it on, keeps talking. The thing is that they are actually sneezing out droplets into the air.And some of those droplets contain harmless bacteria from their mouths. And he harvests them from the air. He actually collects them in his centrifuge. And after a few days, he's got colonies of these bacteria, but only after he had released the sneezing powder, the one before that didn't have any.So, you have this demonstration that William Wells could catch germs in the air that had been released from his students at quite a distance away, And other people can inhale them, and not even realize what's happening. In other words, germs were spreading like smoke. And so this becomes an explanation for what Mildred had been seeing in her epidemiology..Carol Sutton Lewis: Wow. That was pretty revolutionary. But how was it received?Carl Zimmer: Well, you know, At first it was received, With great fanfare, and he starts publishing papers in nineteen thirty he and Mildred are coauthors on these. And, Mildred is actually appointed as a research associate at Harvard, in nineteen thirty it's a nice title, but she doesn't get paid anything. And then William makes another discovery, which is also very important.He's thinking okay, if these things are floating in the air, is there a way that I can disinfect the air? And he tries all sorts of things and he discovers ultraviolet light works really well. In fact, you can just put an ultraviolet light in a room and the droplets will circulate around and as they pass through the ultraviolet rays, it kills the bacteria or viruses inside of them. So in 1936, when he's publishing these results, there are so many headlines in newspapers and magazines and stuff about this discovery.There's one headline that says, scientists fight flu germs with violet ray. And, there are these predictions that, we are going to be safe from these terrible diseases. Like for example, influenza, which had just, devastated the world not long beforehand, because you're going to put ultraviolet lights in trains and schools and trolleys and movie theaters.Carol Sutton Lewis: Did Mildred get any public recognition for her contributions to all of this?Carl Zimmer: Well not surprisingly, William gets the lion's share of the attention. I mean, there's a passing reference to Mildred in one article. The Associated Press says chief among his aides, Wells said, was his wife, Dr. Mildred Wells. So, William was perfectly comfortable, acknowledging her, but the reporters. Didn't care,Carol Sutton Lewis: And there were no pictures of herCarl Zimmer: Right. Mildred wasn't the engineer in that couple, but she was doing all the research on epidemiology. And you can tell from comments that people made about, and Mildred Wells is that. William would be nowhere as a scientist without Mildred. She was the one who kept him from jumping ahead to wild conclusions from the data he had so far. So they were, they're very much a team. She was doing the writing and they were collaborating, they were arguing with each other all the time about it And she was a much better writer than he was., but that wasn't suitable for a picture, so she was invisible.Carol Sutton Lewis: In the book, you write a lot about their difficult personalities and how that impacted their reputations within the wider scientific community. Can you say more about that?Carl Zimmer: Right. They really had a reputation as being really hard to deal with. People would politely call them peculiar. And when they weren't being quite so polite, they would talk about all these arguments that they would get in, shouting matches and so on. They really felt that they had discovered something incredibly important, but they were outsiders, you know, they didn't have PhDs, they didn't have really much formal training. And here they were saying that, you know, the consensus about infectious disease is profoundly wrong.Now, ironically, what happened is that once William Wells showed that ultraviolet light could kill germs, his superior at Harvard abruptly took an intense interest in all of this and said, Okay, you're going to share a patent on this with me. My name's going to be on the patent and all the research from now on is going to happen in my lab. I'm going to have complete control over what happens next. And Mildred took the lead saying no way we want total autonomy, get out of our face. She was much more aggressive in university politics, and sort of protecting their turf. And unfortunately they didn't have many allies at Harvard and pretty soon they were out, they were fired. And William Wells and his boss, Gordon Fair, were both named on a patent that was filed for using ultraviolet lamps to disinfect the air.Carol Sutton Lewis: So what happened when they left Harvard?Carl Zimmer: Well, it's really interesting watching them scrambling to find work, because their reputation had preceded them. They were hoping they could go back to Washington DC to the public health service. But, the story about the Wells was that Mildred, was carrying out a lot of the research, and so they thought, we can't hire William if it's his wife, who's quietly doing a lot of the work, like they, for some reason they didn't think, oh, we could hire them both.Carol Sutton Lewis: Or just her.Carl Zimmer: None of that, they were like, do we hire William Wells? His wife apparently hauls a lot of the weight. So no, we won't hire them. It's literally like written down. It’s, I'm not making it up. And fortunately they had a few defenders, a few champions down in Philadelphia.There was a doctor in Philadelphia who was using ultraviolet light to protect children in hospitals. And he was, really, inspired by the Wellses and he knew they were trouble. He wrote yes, I get it. They're difficult, but let's try to get them here.And so they brought them down to Philadelphia and Mildred. And William, opened up the laboratories for airborne infection at the University of Pennsylvania. And now actually Mildred got paid, for the first time, for this work. So they're both getting paid, things are starting to look betterCarol Sutton Lewis: So they start to do amazing work at the University of Pennsylvania.Carl Zimmer: That's right. That's right. William, takes the next step in proving their theory. He figures out how to actually give animals diseases through the air. He builds a machine that gets to be known as the infection machine. a big bell jar, and you can put mice in there, or a rabbit in there, and there's a tube connected to it.And through that tube, William can create a very fine mist that might have influenza viruses in it, or the bacteria that cause tuberculosis. And the animals just sit there and breathe, and lo and behold, They get tuberculosis, they get influenza, they get all these diseases,Now, meanwhile, Mildred is actually spending a lot of her time at a school nearby the Germantown Friends School, where they have installed ultraviolet lamps in some of the classrooms. And they're convinced that they can protect kids from airborne diseases. The biggest demonstration of what these lamps can do comes in 1940, because there's a huge epidemic of measles. In 1940, there's, no vaccine for measles. Every kid basically gets it.And lo and behold, the kids in the classrooms with the ultraviolet lamps are 10 times less likely to get measles than the kids just down the hall in the regular classrooms. And so this is one of the best experiments ever done on the nature of airborne infection and how you can protect people by disinfecting the air.Carol Sutton Lewis: Were they then finally accepted into the scientific community?Carl Zimmer: I know you keep waiting for that, that victory lap, but no. It's just like time and again, that glory gets snatched away from them. Again, this was not anything that was done in secret. Newspapers around Philadelphia were. Celebrating this wow, look at this, look at how we can protect our children from disease. This is fantastic. But other experts, public health authorities just were not budging. they had all taken in this dogma that the air can't be dangerous.And so again and again, they were hitting a brick wall. This is right on the eve of World War II.And so all sorts of scientists in World War II are asking themselves, what can we do? Mildred and William put themselves forward and say we don't want soldiers to get sick with the flu the way they did in World War I. They're both haunted by this and they're thinking, so we could put our ultraviolet lamps in the barracks, we could protect them. Soldiers from the flu, if the flu is airborne, like we think, not only that, but this could help to really convince all those skepticsCarol Sutton Lewis: mm.Carl Zimmer: But they failed. The army put all their money into other experiments, they were blackballed, they were shut out, and again, I think it was just because they were continuing to be just incredibly difficult. Even patrons and their friends would just sigh to each other, like, Oh my God, I've just had to deal with these, with them arguing with us and yelling at us. And by the end of World War II, things are bad, they have some sort of split up, they never get divorced, but it's just too much. Mildred, like she is not only trying to do this pioneering work in these schools, trying to keep William's labs organized, there's the matter of their son. Now looking at some documents, I would hazard a guess that he had schizophrenia because he was examined by a doctor who came to that conclusion.And so, she's under incredible pressure and eventually she cracks and in 1944 she resigns from the lab. She stops working in the schools, she stops collaborating with her husband, but she keeps doing her own science. And that's really amazing to me. What kinds of things did she do after this breakup? What kind of work did she conduct? And how was that received?Mildred goes on on her own to carry out a gigantic experiment, in hindsight, a really visionary piece of work. It's based on her experience in Philadelphia. Because she could see that the ultraviolet lamps worked very well at protecting children during a really intense measles epidemic. And so she thought to herself, if you want to really make ultraviolet light, and the theory of airborne infection live up to its true potential to protect people. You need to protect the air in a lot more places.So she gets introduced to the health commissioner in Westchester County, this is a county just north of New York City. And she pitches him this idea. She says, I want to go into one of your towns and I want to put ultraviolet lights everywhere. And this guy, William Holla, he is a very bold, flamboyant guy. He's the right guy to ask. He's like, yeah, let's do this. And he leaves it up to her to design the experiment.And so this town Pleasantville in New York gets fitted out with ultraviolet lamps in the train station, in the fountain shops, in the movie theater, in churches, all over the place. And she publishes a paper with Holla in 1950 on the results.The results are mixed though. You look carefully at them, you can see that actually, yeah, the lamps worked in certain respects. So certain diseases, the rates were lower in certain places, but sadly, this incredibly ambitious study really didn't move the needle. And yeah, it was a big disappointment and that was the last science that Mildred did.Carol Sutton Lewis: Even when they were working together, Mildred and William never really succeeded in convincing the scientific community to take airborne infection seriously, although their work obviously did move the science forward. So what did sway scientific opinion and when?Carl Zimmer: Yeah, Mildred dies in 1957. William dies in 1963. After the Wellses are dead, their work is dismissed and they themselves are quite forgotten. It really isn't until the early 2000s that a few people rediscover them.The SARS epidemic kicks up in 2003, for example, and I talked to a scientist in Hong Kong named Yuguo Li, and he was trying to understand how was this new disease spreading around? He's looking around and he finds references to papers by William Wells and Mildred Wells. He has no idea who they are and he sees that William Wells had published a book in 1955 and he's like, well, okay, maybe I need to go read the book.Nobody has the book. And the only place that he could find it was in one university in the United States. They photocopied it and shipped it to him in Hong Kong and he finally starts reading it. And it's really hard to read because again William was a terrible writer, unlike Mildred. But after a while it clicks and he's like, oh. That's it. I got it. But again, all the guidelines for controlling pandemics and diseases do not really give much serious attention to airborne infection except for just a couple diseases. And it's not until the COVID pandemic that things finally change.Carol Sutton Lewis: Wow. If we had listened to Mildred and William earlier, what might have been different?Carl Zimmer: Yeah, I do try to imagine a world in which Mildred and William had been taken seriously by more people. If airborne infection was just a seriously recognized thing at the start of the COVID pandemic, we would have been controlling the disease differently from the start. We wouldn't have been wiping down our shopping bags obsessively. People would have been encouraged to open the windows, people would have been encouraged to get air purifiers, ultraviolet lamps might have been installed in places with poor ventilation, masks might not have been so controversial.And instead these intellectual grandchildren of William and Mildred Wells had to reinvent the wheel. They had to do new studies to persuade people finally that a disease could be airborne. And it took a long time. It took months to finally move the needle.Carol Sutton Lewis: Carl, what do you hope people will take away from Mildred's story, which you have so wonderfully detailed in your book, rendering her no longer a lost woman of science? And what do you hope people will take away from the book more broadly?Carl Zimmer: I think sometimes that we imagine that science just marches on smoothly and effortlessly. But science is a human endeavor in all the good ways and in all the not-so-good ways. Science does have a fair amount of tragedy throughout it, as any human endeavor does. I'm sad about what happened to the Wells by the end of their lives, both of them. But in some ways, things are better now.When I'm writing about aerobiology in the early, mid, even late—except for Mildred, it's pretty much all men. But who were the people during the COVID pandemic who led the fight to get recognized as airborne? People like Linsey Marr at Virginia Tech, Kim Prather at University of California, San Diego, Lidia Morawska, an Australian researcher. Now, all women in science still have to contend with all sorts of sexism and sort of baked-in inequalities. But it is striking to me that when you get to the end of the book, the women show up.Carol Sutton Lewis: Well,Carl Zimmer: And they show up in force.Carol Sutton Lewis: And on that very positive note to end on, Carl, thank you so much, first and foremost, for writing this really fascinating book and within it, highlighting a now no longer lost woman of science, Mildred Weeks Wells. Your book is Airborne: The Hidden History of the Life We Breathe, and it's been a pleasure to speak with—Carl Zimmer: Thanks a lot. I really enjoyed talking about Mildred.Carol Sutton Lewis: This has been Lost Women of Science Conversations. Carl Zimmer's book Airborne: The Hidden History of the Life We Breathe is out now. This episode was hosted by me, Carol Sutton Lewis. Our producer was Luca Evans, and Hansdale Hsu was our sound engineer. Special thanks to our senior managing producer, Deborah Unger, our program manager, Eowyn Burtner, and our co-executive producers, Katie Hafner and Amy Scharf.Thanks also to Jeff DelViscio and our publishing partner, Scientific American. The episode art was created by Lily Whear and Lizzie Younan composes our music. Lost Women of Science is funded in part by the Alfred P. Sloan Foundation and the Anne Wojcicki Foundation. We're distributed by PRX.If you've enjoyed this conversation, go to our website lostwomenofscience.org and subscribe so you'll never miss an episode—that's lostwomenofscience.org. And please share it and give us a rating wherever you listen to podcasts. Oh, and please don't forget to click on the donate button—that helps us bring you even more stories of important female scientists.I'm Carol Sutton Lewis. See you next time.HostCarol Sutton LewisProducerLuca EvansGuest Carl ZimmerCarl Zimmer writes the Origins column for the New York Times and has frequently contributed to The Atlantic, National Geographic, Time, and Scientific American. His journalism has earned numerous awards, including ones from the American Association for the Advancement of Science and the National Academies of Sciences, Medicine, and Engineering. He is the author of fourteen books about science, including Life's Edge.Further Reading:Air-Borne: The Hidden History of the Life We Breathe. Carl Zimmer. Dutton, 2025Poliomyelitis. International Committee for the Study of Infantile Paralysis. Williams & Wilkins Company, 1932 “Air-borne Infection,” by William Firth Wells and Mildred Weeks Wells, in JAMA, Vol. 107, No. 21; November 21, 1936“Air-borne Infection: Sanitary Control,” by William Firth Wells and Mildred Weeks Wells, in JAMA, Vol. 107, No. 22; November 28, 1936“Ventilation in the Spread of Chickenpox and Measles within School Rooms,” by Mildred Weeks Wells, in JAMA, Vol. 129, No. 3; September 15, 1945“The 60-Year-Old Scientific Screwup That Helped Covid Kill,” by Megan Molteni, in Wired. Published online May 13, 2021WATCH THIS NEXTScience journalist Carl Zimmer joins host Rachel Feltman to look back at the history of the field, from ancient Greek “miasmas” to Louis Pasteur’s unorthodox experiments to biological warfare.
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