In a suburban industrial park south of Los Angeles, researchers have taken a significant step toward mastering nuclear fusion—a process that could provide abundant, cheap, and clean energy. A privately funded company called Tri Alpha Energy has built a machine that forms a ball of superheated gas—at about 10 million degrees Celsius—and holds it steady for 5 milliseconds without decaying away. That may seem a mere blink of an eye, but it is far longer than other efforts with the technique and shows for the first time that it is possible to hold the gas in a steady state—the researchers stopped only when their machine ran out of juice.
Nathan Friend’s digital replica of the classic Spirograph toy. Written in TypeScript, using D3.js.
I like this weekly challenge to readers to rewrite a sentence as concisely as possible. It’s likely that by the time you read this, the answers to this week’s challenge will be posted. The sentence to shorten is ‘This tool helps companies identify which of the 60 the most likely cyberattack scenarios are relevant to their situation’.
I forgot to post this last week. MailChimp have released their internal style guide under a Creative Commons licence. See also Voice and tone their guide to, well, those two things.
5: Emoji mosaic
THIS IS CRAZY MAGIC. Upload an image to turn into a mosaic made out of emoji. (Emojis?)
In the present tense, you aren’t stuck to the moment—you can go forward and backward in time. In fiction, the demands of the present tense are in some ways the opposite of that exploration of uncertainty—the tense places a demand for the elimination of all other possibilities in the writer’s imagination—this is what happened and is what is still happening whenever this memory returns to this character or whenever this moment matters. Granted, it requires a belief that memory is like a text that cannot change, in the way writing can, once printed, be permanent and collectible. But the best writers play with this, say, as in Margaret Atwood’s Cat’s Eye, where she moves from the past tense recollections of an adult painter returned to her hometown to the present tense narrative of the child that painter was—and the subject is soon what she has chosen to remember and what to forget—and this is given to the reader, not to the narrator, to discover.