Anna Holmes defines 'hype aversion' as a reflex against being told what to like, suggesting that popularity can create pressure rather than signal quality. This feeling can lead to a deliberate choice to resist mainstream culture.
I would squirm in my chair as my new teacher worked their way through the class register, and my stomach would drop as they attempted to say my full name: Priti Ubhayakar.
Clothing that bears the name of a city near or far has become a closet staple for many consumers in recent years, evolving from impulse purchases to mainstream fashion.
Distance does not soften the terror. It only deepens my helplessness. In moments like this, I realize that geography is not measured in miles, but in attachment. War rearranges distance. These days I find myself returning to "The Conference of the Birds," the 12th-century poem by Attar of Nishapur, seeking meaning through ancient wisdom about spiritual journeys and transformation.
This weekend sees the start of the 23rd San Francisco Greek Film Festival, which since 2004 has provided a local showcase for new screen work from the "cradle of Western civilization" still most associated with its contributions to arts and ideas in the ancient world. This latest edition brings together eight fictive features, sixteen documentaries of various length, and nine narrative shorts.
In Italy, the most common topic mentioned as a source of national pride was culture and the arts. These were cited by 38 percent of respondents, more than any other place. An Italian woman who took part in the survey said she was proud of 'the works in the churches, paintings, sculpture ... most places in Italy have something beautiful.' An Italian man said that 'Italy is an open-air museum.'
On the first hike, about half-way up the mountain, I reached a point where the path was too slippery, steep and scary. Even though my wonderful guide talked me through the tough parts, I finally realized I'd have to do the same thing going back downhill. So, I stopped. I sat on a moss covered rock. I enjoyed the forest flowers and tree bark and birds and ferns and more.
The Irish government will give 2,000 artists unrestricted weekly stipends in a program officials described as a "recognition, at government level, of the important role of the arts in Irish society." After a successful three-year pilot, the Irish government made its basic income program for artists permanent. Similar pilots have been launched here in the United States, but they're supported primarily by the nonprofit sector.
We are living through one of the most disorienting periods in recorded history. The AI race is accelerating toward ever faster, ever more sophisticated automation and optimization. Agentic AI systems are moving from research labs into workplaces, healthcare, and governance. Geopolitical tensions are restructuring alliances faster than institutions can adapt. And planetary systems are signaling, with increasing urgency, that our current trajectory is unsustainable. Amid all this, it is dangerously easy to lose sight of a foundational question: What are we actually optimizing for?
Here dwells the indigenous Tzotzil community which has kept a pastoral way of life against the march of time. Apart from the odd forest ranger and passerby, Ruvalcaba's film focuses almost entirely on the Tzotzil women. Together, they tend herds of sheep which they still shear by hand, and use traditional tools for spinning yarns and natural dye for fabrics.
H ave you heard Solomon Ray's new album Faithful Soul? It's number one on the gospel charts-and entirely AI generated, just like the musical artist behind it. The idea that a hit Spotify artist might not be human is a satire of the attention economy itself: an ecosystem once based on authenticity and connection now topped by a synthetic voice engineered for maximum uplift. What does "soul" even mean when it's made by software trained on real music?
The Stasi, the secret police, were legendary for their data files. Their work was based on instilling fear, and they induced stunningly amazing numbers of East Germans into informing on their neighbors. Something along the lines of 1 in 6 East Germans were informants, whether out of fear or out of approval of what the East German government was doing.
Country of origin labeling became mandatory on all international products entering the United States in 2009. The goal was to ensure American consumers knew where the products they were buying came from, enabling shoppers to make informed buying decisions. These products include everything from Mexican avocados to French wine to pasta from Italy, with the latter thankfully safe from recent U.S. tariffs. However, does the location a product comes from actually matter?
His investigation began after identifying recurring giant T-shapes, three-level indents, and step pyramids carved into ancient stones worldwide. 'These specific symbols that are built in different size proportions, and the symbols are found in ancient stones around the world, are not supposed to exist; no cultures are supposed to have any cross-platform,' LaCroix explained. The symbols appear in locations ranging from Turkey's Van region to South America and Cambodia.
We meet CultureSync Media founder Timmy Bankole, formerly of SCMP, discusses why cultural insight and audience understanding are fast becoming the most valuable currencies in modern advertising... Timmy Bankole has a wide range of experience across the ad tech spectrum, counting roles at Blis, PHD and South China Morning Post, and has recently founded agency CultureSync Media. In this Q&A, Timmy shares how agencies can move beyond generic targeting to uncover the deeper cultural codes shaping consumer behaviour.
A large global study across 69 countries found something unexpected: the more individualistic a society is, the more similar people are in how they feel-and in how they want to feel. Across 59 out of 60 emotions, emotional experiences showed greater uniformity in individualistic cultures. This challenges the common assumption that collectivistic cultures are emotionally restrictive because they suppress individuality. In fact, emotional life in individualistic societies appears to be shaped by strong shared norms that dictate which emotions are acceptable, desirable, or problematic-especially regarding negative emotions.
This is the time of year when my kitchen starts to tell the truth about who I am. Scottish crab, fresh from Tarbert, is lowered gently into a bubbling chilli bath of sambal and egg to become chilli crab, scooped up with steamed mantou buns and eaten messily with friends and family. Oysters from Lindisfarne are deep-fried in a light cloak of rice and corn flour, fished out of the wok with long chopsticks and dipped into sweet chilli sauce.
Can architecture be built from food? Between the fire that warms, the smells that spread, and the bodies that gather around the table, the apparent banality of cooking and eating reveals itself as a choreographed dance of spatial appropriation and belonging. These gestures organize routines, produce bonds, and transform the built environment into lived place. The kitchen- domestic, communal, or urban -thus ceases to be merely a functional space and affirms itself as a territory of encounter.
Tattoos and fermentation rarely appear in the same conversation, yet across the world, they share a quiet kinship. Both are practices of transformation, crafts that reshape raw material over time through care and relationships to the land, the spiritual, and the community. Tattooing inscribes identity and ancestry onto skin, while fermentation preserves, nourishes, and binds communities through shared taste and ritual. Both create change, brewing something more than themselves through embodied knowledge passed between generations.
A sprawling tale of two Singapores, the short documentary Sandcastles draws connections between Singapore, Michigan - a 19th-century ghost town swallowed by sand following widespread deforestation - and the island country of Singapore, where rapid development and land reclamation has, for decades, been enabled by the importation of sand. More poetic exploration than call to action, the work surveys waterways, cycles of development and the transient nature of sand - deceptively sturdy over short timescales but, over decades, quite volatile.
