Intech Investment Management LLC Purchases 38,740 Shares of Sonos, Inc. (NASDAQ:SONO)Uri upper reaches receive snowfall, rains lash plains
Wide receiver Parris Campbell’s stay on the Eagles 53-man roster was a brief one. Campbell was signed off of the practice squad on Saturday and the NFL’s daily transaction report brings word that he was waived on Monday. Campbell played 28 offensive snaps in Sunday’s win over the Ravens and was targeted with one pass by Jalen Hurts. Campbell had six catches for 30 yards in four appearances with the team earlier this season. He could return to the team’s practice squad if he clears waivers. The Eagles were without DeVonta Smith for the second straight game due to a hamstring injury. Dropping Campbell could be a sign that they expect him back against the Panthers in Week 14.Smartwatches have become an essential part of our daily lives and they integrate some advanced technology into our routines. They serve a multitude of functions from tracking fitness metrics to managing notifications and if you’re looking for the best of the best, the Galaxy Watch Ultra stands out as a top contender alongside the Apple Watch Ultra . This great device does more than just count steps, it acts as a smartphone on your wrist. This Black Friday offers an unique opportunity to get the Galaxy Watch Ultra at an all-time record low price . Originally retailing for $649, it is now available for just $189, thanks to an instant discount combined with a trade-in offer . You can get an instant savings of $160 off, and if you trade in an old smartphone or smartwatch, you can save an additional $300. This deal applies across all color options and band types, you can fully customize the watch on Samsung’s website. See Galaxy Watch Ultra LTE at Samsung.com More Than Just a Watch The Samsung Galaxy Watch Ultra is packed with advanced technology that caters to both fitness enthusiasts and casual. It features a robust 47mm titanium frame that ensures durability but also houses a fabulous 1.5-inch Super AMOLED display with a peak brightness of 3,000 nits (very easy to read in any lighting condition). The watch is equipped with an advanced BioActive Sensor that tracks heart rate, blood oxygen levels and even body composition. For those who enjoy outdoor activities, the Samsung watch includes dual-frequency GPS for accurate location tracking and its 10 ATM water resistance rating allows you to swim or dive without worry. The Galaxy Watch Ultra supports various sports modes including running, cycling, swimming and even multisport tracking for triathletes. One of the much appreciated features of the Galaxy Watch Ultra is its ability to monitor your sleep patterns and detect potential sleep apnea risks: Samsung’s AI-driven health tips also offer personalized wellness recommendations based on your activity levels and sleep quality . The watch also includes a Quick Button, which allows you to start workouts or activate features like the emergency siren with just a press. Beyond its impressive specifications, this Samsung smartwatch is designed for ease of use. The watch runs on Google’s Wear OS 5 with Samsung’s One UI 6 interface and provides a smooth user experience (even for newcomers) with customizable options for notifications and apps. You can easily navigate through your favorite apps or respond to messages directly from your wrist without needing to reach for your phone. The watch also supports gesture controls so that you can answer calls or control music playback with simple hand movements . The Galaxy Watch Ultra’s pricing this Black Friday is truly exceptional; such deep discounts have never been seen even on previous Samsung models. Make sure you grab yours before it runs out of stock. This is one of our favorite deals for this Black Friday . See Galaxy Watch Ultra LTE at Samsung.com
Larsa Pippen Who? Marcus Jordan & Eddie Murphy’s Ex-Wife Nicole Murphy Enjoy A Night OutIt’s doubtful anybody could love the Northern Lights more than Sara Housseal. The self-described metalhead and tattoo junkie from Bellevue posts her own aurora photos on X/Twitter, TikTok , Bluesky and Facebook , along with homemade videos and colorful slides packed with information about solar phenomena. Oh, and for her day job, she warns the Pentagon when the sun might erupt and fry the solar panels on their spy satellites. Housseal, 29, is a forecaster for the 2nd Weather Squadron’s Space Weather Flight, an Offutt Air Force Base military unit that monitors the sun around the clock for the U.S. armed forces. Sara Housseal and Capt. Dylan Shaver are part of 2nd Weather Squadron’s Space Weather Flight at Offutt Air Force Base, which provides 24/7 forecasts of solar phenomena for U.S. military units worldwide. CHARLES HAYMOND, 55TH WING The sun frequently spits out brief bursts of radiation called solar flares and longer blasts of plasma and radiation called coronal mass ejections. These can cause disruptions to radio GPS and GPS and interrupt power to satellites — critical tools for military operations around the world. These phenomena occur in 11-year cycles during which the sun is alternately active and quiet. That occurs because the sun rotates faster at its equator than at its poles, creating a constant tension like the stretching of a giant, super-heated rubber band. “You have this period when it’s sort of twisting,” said Capt. Dylan Shaver, 29, commander of the Space Weather Flight. “Then it snaps to a more stable configuration.” That’s what produces those massive flares and ejections, explosions many times the size of the Earth. This year, we are nearing peak activity in one of those cycles. Old Sol is exceptionally busy. A solar flare erupts from the sun on May 10. The Space Weather Flight at Offutt Air Force Base monitors solar phenomena for the U.S. military. NASA SOLAR DYNAMICS OBSERVATORY “It can be super active, then the sun takes a nap, and then it can get crazy again,” said Housseal, one of 11 forecasters in a unit with 30 to 35 military and civilian personnel. “We’re in that period of maximum right now.” This year’s solar peak has brought ample attention to NOAA’s Space Weather Prediction Center in Boulder, Colorado, known widely by its acronym, SWPC (pronounced “Swipsy”), which publishes widely viewed aurora forecasts. The Space Weather Flight is SWPC’s larger and lesser-known military cousin. The Air Force has monitored solar activity since the 1950s. Much of its work is classified — so secret that Housseal and Shaver could not meet a reporter or be photographed inside their offices at Offutt. Still, the unit’s forecasters work closely with SWPC, to compare notes and align their messages. “Their job is to tell you what’s going to happen,” Shaver said. “We tell everyone in the Department of Defense what that means for them.” Space storms, obviously, are as old — or older — than the Earth itself. Space Weather forecaster Sara Housseal created this explanation of solar flares for her followers on social media. SARA HOUSSEAL But for millennia, humans on the planet experienced nothing but the periodic explosions of color, mostly in polar regions, that came to be called aurora. The colors result from solar plasma and particles in the form of solar wind charging the Earth’s magnetic field, producing dynamic curtains, rays and flickers of brilliant light. Then in August 1859, the aurora borealis appeared in unfamiliar places like Havana, Panama, Rome and New York, according to an article last February in the New Yorker magazine called “What a Major Solar Storm Could Do To Our Planet.” At the same time, telegraph systems around the world started sending what one newspaper described as “fantastical and unreadable messages.” Many shut down completely. Some caught fire. The storm came to be known as “the Carrington Event,” named for a British astronomer who observed a solar flare at the same time while studying sunspots and linked the two phenomena. Similar events have been recorded in the decades since. A large solar storm in 1921 burned out fuses and caused fires at telephone and telegraph stations. Another in 1967 jammed radar signals at U.S. ballistic-missile early warning stations in the Arctic, which U.S. military authorities briefly feared might be a precursor to a Soviet nuclear attack. A third, in 1989, caused widespread power disruptions in the Canadian province of Quebec. “Every single transformer blew up. There was a huge blackout until they could get everything fixed,” Shaver said. The Carrington Event remains the most severe geomagnetic storm in recorded history. In the decades since, the world’s dependence on electricity and electronic devices has increased exponentially. That’s certainly true for the U.S. military, with its global reach and heavy reliance on satellites for a vast array of operations — including Offutt-based U.S. Strategic Command’s round-the-clock vigilance for nuclear attack. “We really don’t know how it would affect our technology now,” Shaver said. “We have way more satellites than we did during our last solar max.” Even under normal conditions, satellites orbiting outside the protection of Earth’s atmosphere are subject to constant bombardment from radiation: high-energy solar particles as well as cosmic rays from beyond our solar system. They can cause software upsets, memory errors (called bit flips) and runaway short circuits. “The space environment is just hostile all the time,” Housseal said. Space Weather forecaster Sara Housseal of Bellevue produced this explanation of the sun’s coronal mass ejections, which produce aurora displays in the polar regions by disrupting Earth’s magnetic fields. SARA HOUSSEAL At the same time, the military and its contractors are getting better at protecting their satellites, using lightweight shields of metal, plastic and composite as well as hardening electronic parts to withstand radiation. “We do a much better job now. We take steps to mitigate,” Shaver said. “Satellites have just gotten hardier over the last couple of decades.” The Space Weather Flight is one small slice of the Air Force’s 557th Weather Wing — also headquartered at Offutt — which is tasked with meteorological forecasts for U.S. military units in every corner of the world. Shaver, Housseal and their team look at the sun and do the same. They have help from five space weather detachments, in Australia, Italy, Hawaii, Massachusetts and New Mexico. “We create weather products for other weather people to use,” Shaver said. “And we alert satellite operators that the environment is going to get a little more hostile.” Housseal and Shaver are quite conversant in the clouds and blizzards and storms of atmospheric weather, too. Both earned bachelor’s degrees in meteorology or atmospheric science. Housseal was hired as a civilian forecaster by the Space Weather Flight in 2020 and is now working on a master’s in applied physics. Shaver earned his graduate degree in solar and space physics after joining the Air Force and was assigned to Offutt in 2023. “I’ve always been sort of a space nerd,” he said. “When I found out (about space weather forecasters), I said, ‘That’s what I’m going to be someday.’” This year’s “solar max” has kept them busy, and it’s likely to stay that way for a while. The solar cycle tends to build to a peak quickly, and taper off more slowly. “Things have been heightened for the past two-ish years,” she said. “Some of the biggest events are in the decline phase.” Her work involves watching for another disruption like the Carrington Event. It also means watching out for bright colors dancing in the sky. “Some people come to work and wish that the sun does nothing,” Housseal said. “Personally, I love never knowing what each day is going to look like.”
AWE served notice after explosive component unintentionally damaged by workersRichard Drury iShares Core High Dividend ETF ( NYSEARCA: HDV ) rebounded strongly on the back of a healthy financial growth demonstrated by its holdings, in-line with a trend I predicted early in 2024. Looking forward into 2025, HDV and the entire Analyst’s Disclosure: I/we have no stock, option or similar derivative position in any of the companies mentioned, and no plans to initiate any such positions within the next 72 hours. I wrote this article myself, and it expresses my own opinions. I am not receiving compensation for it (other than from Seeking Alpha). I have no business relationship with any company whose stock is mentioned in this article. Seeking Alpha's Disclosure: Past performance is no guarantee of future results. No recommendation or advice is being given as to whether any investment is suitable for a particular investor. Any views or opinions expressed above may not reflect those of Seeking Alpha as a whole. Seeking Alpha is not a licensed securities dealer, broker or US investment adviser or investment bank. Our analysts are third party authors that include both professional investors and individual investors who may not be licensed or certified by any institute or regulatory body.
Subscribe to our newsletter Privacy Policy Success! Your account was created and you’re signed in. Please visit My Account to verify and manage your account. An account was already registered with this email. Please check your inbox for an authentication link. Support Hyperallergic We’re funded by readers like you! If you value our reviews and news reporting, we need your support more than ever. Please join us as a member today. Already a member? Sign in here. Support Hyperallergic’s independent arts journalism for as little as $8 per month. Become a Member Scrawlspace is such a provocative title for an exhibition that before I saw it I assumed it had to be good. In some ways it is — deeply inquisitive where too many contemporary art exhibitions are merely declarative and well researched rather than organized willy nilly — but the premises of this show are in some instances cliché and a bit contradictory. Scrawlspace was conceived by Emily Alesandrini when she and her co-curator, Lucia Olubunmi R. Momoh, were both earning their master’s degrees at Tulane University. The term combines two words to suggest an area for writing that gives access to hidden parts of our spaces of habitation. Theirs is a straightforward curatorial proposition, as they explain in their brochure essay. The featured artists “examine the historically charged relationships Black Americans have maintained with writing, reading, and language, revealing new possibilities for and beyond words.” Certainly, in a show where the hypotheses are so exacting, these words matter, and they articulate a worthwhile goal. But this emphasis on “new possibilities” for language shows up in too many press releases and exhibition essays. Modernism got drunk on the idea of estrangement in order to make things new, and writers treat contemporary art’s hangover by drinking the same whiskey. Exhibitions can have other objectives: exploration; reminding viewers of forgotten things; sensitizing us to what may be ignored; fashioning something that sustains us. Alesandrini and Momoh also root the work in a particularly Black quest for freedom. Again from their essay: “Black artists have located room for resistance in writing—scrawlspaces, through which liberation can be felt and fostered.” They surmise from their research that the term originates in some lost or undocumented communication between cultural theorist Fred Moten and poet Harryette Mullen discussing the work of the Black feminist scholar Hortense Spillers in an essay examining oppressive language systems. So, the ideal of emancipation is entwined with the term. However, why is Blackness, which is a political designation, a cultural locale, and, most fundamentally, a state of being, confined to being an emblem of resistance and liberatory strategies? This association is asserted so frequently and widely in the contemporary art scene that it goes unquestioned. Yes, Blackness enables the country’s most self-serving PR statements — the Preamble to the Constitution and the Declaration of Independence — to approach being true. But as much as being Black should not be restricted to the trope of the magical negro , it should similarly not be constrained to the role of the poet warrior figure. Some Black people just want to make good food and watch their children grow. Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities Nevertheless, in some ways it makes sense that this exhibition is caught up in this confinement/liberty incongruity, given that writing is itself contradictory. To “write” means to compose a coherent text that is intended to be read and understood by others. Yet it also means to merely make marks — letters, words, or other symbols on a legible surface with an implement. It is about both making sense and making traces or imprints that may mean nothing for those other than the writer, and sometimes, it is coded and can be read only by a select group. Shinique Smith’s “Firedog” (2006) uses the latter tactic. This work of ink, spray paint, and collage on paper depicts the sweep and rhythmic calligraphy of graffiti. Whether this is a document of actual graffiti inscribed somewhere or just an example of the highly stylized ligatures and curlicues of the writing is unclear. But I imagine someone who grew up tagging, as Smith did, recognizing things here that I cannot. I do recognize the text in Lukaza Branfman-Verissimo’s “collective survival part one: won’t you celebrate with me” (2022). On a sandwich board with black lettering overlaid by multicolored chessboard motif on one side and many-hued letters interrupted by a black background on the other, the spaces typically present between words are gone, so it’s challenging and fun to read, in the way that Christopher Wool’s paintings can be. But when I decipher it I’m brought back to the beauty and bravery of Lucille Clifton’s lyric poem : “won’t you celebrate with me / what i have shaped into / a kind of life? i had no model.” The words are interspersed with the patterned motif in such a way that they together read as a kind of linguistic/design mosaic that might be its own dialect or idiolect. Despite the ponderous premise, in the show there are other moments like these that are celebratory, carefree, even spendthrift. Glenn Ligon’s “Study for Negro Sunshine #150” (2023) manipulates the close relationship between written and uttered words, showing how the phrase “negro sunshine” repeated starts to clump up in the space of the frame and lose hold of its sense. You know what this is like if you’ve said a word or phrase over and over again until it dissolves into an audio mist in which meaning is barely recognizable. This combination of oil stick, coal dust, and gesso on paper glints subtly as if the devolution from one state to the other were throwing off sparks in the transition. I also find myself appreciating Renee Gladman’s ink, acrylic, and pastel compositions on paper because the writing is so small that it’s illegible. It reminds me of how people sometimes whisper to themselves, intoning a koan, or a poem or affirmation. In her “Space Question Vector” (2021) I imagine that she is murmuring the location of these celestial bodies or the secrets of orbital patterns. Sometimes the gesture of having written is enough to indicate serious engagement, serious thought. By contrast, some works are so archly intellectual that they leave me cold, such as Jamilah Sabur’s paintings, in which neon letters and words are attached to a field of color that contains one smaller photographic image. And there are artists who I’ve been thrilled to encounter in the past, but whose art in this show is not as enthralling. This is the case with Kameelah Janan Rasheed’s pieces, such as “Each Sentence Is a Sponge” (2023), which, the caption tells me, has to do with the religious ecstatic experience of speaking in tongues or automatic writing. The problem is that the scribbles don’t come together as a coherent (that word again) story or documentation of an event. I don’t mind being trapped in an artist’s mind, but I need a bit of cheese to tempt me there. Making a case that the work means a certain thing when this thing isn’t in evidence ironically gets at the alchemy of language, but the artist doesn’t do that. As writers and readers, we are always conjuring things into existence that were not there a moment ago. Now I think of Audre Lorde’s poem “Coal ,” and her explanation of the difference between kinds of writing: I believe that Alesandrini and Momoh were after this ragged edge of language, where it falls apart into characters and forms hinting that something else was there, something impelling the act of writing. By exploring how this inflects Black experience in this nation, the show at its best creates a kind of portal to elsewhere. Scrawlspace continues at the 8th Floor gallery (17 West 17th Street, Chelsea, Manhattan) through December 7 . The exhibition was curated by Emily Alesandrini and Lucia Olubunmi R. Momoh. We hope you enjoyed this article! Before you keep reading, please consider supporting Hyperallergic ’s journalism during a time when independent, critical reporting is increasingly scarce. Unlike many in the art world, we are not beholden to large corporations or billionaires. Our journalism is funded by readers like you , ensuring integrity and independence in our coverage. We strive to offer trustworthy perspectives on everything from art history to contemporary art. We spotlight artist-led social movements, uncover overlooked stories, and challenge established norms to make art more inclusive and accessible. With your support, we can continue to provide global coverage without the elitism often found in art journalism. If you can, please join us as a member today . Millions rely on Hyperallergic for free, reliable information. By becoming a member, you help keep our journalism free, independent, and accessible to all. Thank you for reading. Share Copied to clipboard Mail Bluesky Threads LinkedIn Facebook
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