See the world's best space images from the Astronomy Photographer of the Year 2024 award

The Euclid space telescope's massive “cosmic atlas” promises to shed light on fundamental questions in physics and cosmology

Maggie Aderin-Pocock, who has worked on the JWST, catalogues the science behind its most stunning images in her new book, Webb's Universe. Here's her pick of the telescope’s best shots

It can be difficult to spot AI generated videos known as deepfakes, but there are ways to spot one if you know what to look for

The British Heart Foundation’s Reflections of Research competition showcases beautiful images captured by researchers studying heart and circulatory disease

Des voleurs ont réussi à dérober un guichet automatique en le tirant à travers la devanture vitrée de l’immeuble à l’aide d’un camion.

Neurosurgeon Vitor Mendes Pereira has grown accustomed to treating brain aneurysms with only blurry images for guidance.

Equipped with a rough picture of the labyrinthine network of arteries in the brain, he does his best to insert mesh stents or coils of platinum wire—interventions intended to promote clotting and to seal off a bulging blood vessel.

The results are not always perfect. Without a precise window into the arterial architecture at the aneurysm site, Pereira says that he and other neurovascular specialists occasionally misplace these implants, leaving patients at a heightened risk of stroke, clotting, inflammation, and life-threatening ruptures. But a new fiber-optic imaging probe offers hope for improved outcomes.

Pereira et al./Science Translational Medicine

According to Pereira’s early clinical experience, the technology—a tiny snake-like device that winds its way through the intricate maze of brain arteries and, using spirals of light, captures high-resolution images from the inside-out—provides an unprecedented level of structural detail that enhances the ability of clinicians to troubleshoot implant placement and better manage disease complications.

“We can see a lot more information that was not accessible before,” says Pereira, director of endovascular research and innovation at St. Michael’s Hospital in Toronto. “This is, for us, an incredible step forward.”

And not just for brain aneurysms. In a report published today in Science Translational Medicine, Pereira and his colleagues describe their first-in-human experience using the platform to guide treatment for 32 people with strokes, artery hardening, and various other conditions arising from aberrant blood vessels in the brain.

Whereas before, with technologies such as CT scans, MRIs, ultrasounds, and x-rays, clinicians had a satellite-like view of the brain’s vascular network, now they have a Google Street View-like perspective, complete with in-depth views of artery walls, plaques, immune cell aggregates, implanted device positions, and more.

“The amount of detail you could get you would never ever see with any other imaging modality,” says Adnan Siddiqui, a neurosurgeon at the University at Buffalo, who was not involved in the research. “This technology holds promise to be able to really transform the way we evaluate success or failure of our procedures, as well as to diagnose complications before they occur.”

A Decade of Innovation

The new fiber-optic probe is flexible enough to snake through the body’s arteries and provide previously unavailable information to surgeons.Pereira et al./Science Translational Medicine

The new imaging platform is the brainchild of Giovanni Ughi, a biomedical engineer at the University of Massachusetts’ Chan Medical School in Worcester. About a decade ago, he set out to adapt a technique called optical coherence tomography (OCT) for imaging inside the brain’s arteries.

OCT relies on the backscattering of near-infrared light to create cross-sectional images with micrometer-scale spatial resolution. Although OCT had long been used in clinical settings to generate pictures from the back of the eye and from inside the arteries that supply blood to the heart, the technology had proven difficult to adapt for brain applications owing to several technical challenges.

One major challenge is that the fiber-optic probes used in the technology are typically quite stiff, making them too rigid to twist and bend through the convoluted passageways of the brain’s vasculature. Additionally, the torque cables—traditionally used to rotate the OCT lens to image surrounding vessels and devices in three dimensions as the probe retracts—were too large to fit inside the catheters that are telescopically advanced into the brain’s arteries to address blockages or other vascular issues.

“We had to invent a new technology,” Ughi explains. “Our probe had to be very, very flexible, but also very, very small to be compatible with the clinical workflow.”

To achieve these design criteria, Ughi and his colleagues altered the properties of the glass at the heart of their fiber-optic cables, devised a new system of rotational control that does away with torque cables, miniaturized the imaging lens, and made a number of other engineering innovations.

The end result: a slender probe, about the size of a fine wire, that spins 250 times per second, snapping images as it glides back through the blood vessel. Researchers flush out blood cells with a tablespoon of liquid, then manually or automatically retract the probe, revealing a section of the artery about the length of a lip balm tube.

St. Michael’s Foundation

Clinical Confirmation

After initial testing in rabbits, dogs, pigs, and human cadavers, Ughi’s team sent the device to two clinical groups: Pereira’s in Toronto and Pedro Lylyk’s at the Sagrada Familia Clinic in Buenos Aires, Argentina. Across the two groups, neurosurgeons treated the 32 participants in the latest study, snaking the imaging probe through the patients’ groins or wrists and into their brains.

The procedure was safe and well-tolerated across different anatomies, underlying disease conditions, and the complexity of prior interventions. Moreover, the information provided frequently led to actionable insights—in one case, prompting clinicians to prescribe anti-platelet drugs when hidden clots were discovered; in another, aiding in the proper placement of stents that were not flush against the arterial wall.

“We were successful in every single case,” Ughi says. “So, this was a huge confirmation that the technology is ready to move forward.”

“We can see a lot more information that was not accessible before.” —Vitor Mendes Pereira, St. Michael’s Hospital

A startup called Spryte Medical aims to do just that. According to founder and CEO David Kolstad, the company is in discussions with regulatory authorities in Europe, Japan, and the United States to determine the steps necessary to bring the imaging probe to market.

At the same time, Spryte—with Ughi as senior director of advanced development and software engineering—is working on machine learning software to automate the image analysis process, thus simplifying diagnostics and treatment planning for clinicians.

Bolstered by the latest data, cerebrovascular specialists like Siddiqui now say they are chomping at the bit to get their hands on the imaging probe once it clears regulatory approval.

“I’m really impressed,” Siddiqui says. “This is a tool that many of us who do these procedures wish they had.”

Learn how to take simple x/y coordinates, and create map polygons shaped like holiday images, that can be plotted using SAS/Graph's PROC GMAP.

The British Heart Foundation’s Reflections of Research competition showcases beautiful images captured by researchers studying heart and circulatory disease

Alcon Entertainment says it denied a request to use material from the film at the Tesla cybercab event.

The accounts are part of pro-Trump and pro-Harris networks sharing each other’s content multiple times a day.

The U.S. said about 100,000 Russian troops have been deployed near the Ukrainian border. Satellite images show the growing presence of military equipment at several locations. Photo: Maxar Technologies

North Korea released images of earth from space, which it claims were captured by a camera attached to the Hwasong-12 intermediate-range ballistic missile it launched Sunday. The weapon tested appears to be one of the country’s most powerful in years. Photo: KCNA/KNS/AFP

Satellite images show parts of the Pacific nation of Tonga before and after a tsunami triggered by an underwater volcanic eruption damaged the archipelago’s coastline. Vast areas were blanketed in ash. Photos: Maxar Technologies/Reuters

[s.l.] : Amsterdam University Press, 2023.

Abingdon, Oxon : Routledge, 2017.

New York : Routledge, 1999.

London : Routledge, 2014.

Sullivan, Kathy, 1951- author

Twitter feature will soon expand to support multiple images, GIFs and videos.

Take advantage of the new element and new features of in your next responsive website.

Since launching the Ask Luke feature on this site last year, we've added the ability for the system to respond to questions about product design by citing articles, videos, audio, and PDFs. Now we're introducing the ability to cite the thousands of images I've created over the years and reference them directly in answers.

Significant improvements in AI vision models have given us the ability to quickly and easily describe visual content. I recently outlined how we used this capability to index the content of PDF pages in more depth making individual PDF pages a much better source of content in the Ask Luke corpus.

We applied the same process and pipeline to the thousands of images I've created for articles and presentations over the years. Essentially, each image on my Website gets parsed by a vision model and we add the resulting text-based description to the set of content we can use to answer people's design questions. Here's an example of the kinds of descriptions we're creating. As you can see, the descriptions can get pretty detailed when needed.

If someone asks a question where an image is a key part of the answer, our replies not only return streaming text and citations but inline images as well. In this question asking about Amazon's design changes over the years, multiple images are included directly in the response.

Not only are images displayed where relevant, the answer refers to them and often refers to the contents of the image. In the same Amazon navigation example, the answer refers to the green and white color scheme of the image in addition to its contents.

Now that we've got citations and images steaming inline in Ask Luke responses, perhaps adding inline videos and audio files queued to relevant timestamps might be next? We're already integrating those in the conversational UI so why not... AI is a hell of a drug.

Further Reading

Additional articles about what I've tried and learned by rethinking the design and development of my Website using large-scale AI models.

• New Ways into Web Content: rethinking how to design software with AI
• Integrated Audio Experiences & Memory: enabling specific content experiences
• Expanding Conversational User Interfaces: extending chat user interfaces
• Integrated Video Experiences: adding video experiences to conversational UI
• Integrated PDF Experiences: unique considerations when adding PDF experiences
• Dynamic Preview Cards: improving how generated answers are shared
• Text Generation Differences: testing the impact of AI new models
• PDF Parsing with Vision Models: using AI vision models to extract PDF contents
• Streaming Citations: citing relevant articles, videos, PDFs, etc. in real-time
• Streaming Inline Images: indexing & displaying relevant images in answers

Acknowledgments

Big thanks to Sidharth Lakshmanan and Sam Breed for the development help.

Steve Winter has been a contributing wildlife photographer with National Geographic for over 20 years. As a wildlife photographer, Steve always has tons of photographs to sift through, and eventually whittle down. Watch as Steve lays out how he actually goes about choosing the perfect photograph.

In 15 years, Google Street View has circled the planet 400 times. WIRED walks through all those years of gadgets and gear to understand the tools Google Street View uses to map the world.

The James Webb Space Telescope has dazzled us with its first batch of images. WIRED got in touch with the one and only Bill Nye to break down some of these astonishing photos, explaining what we're really looking at. Bill analyzes some images of the Carina Nebula, Southern Ring Nebula, Stephan's Quintet and more.

Facial recognition technology is getting more sophisticated, more reliable, and more pervasive as the world eases its way toward becoming an all-encompassing surveillance state. That surveillance state does not even have to be built; it is increasingly ready for deployment as law enforcement agencies cut deals with private companies that have already assembled the tools and databases for use. As with cell phone tracking, that plug-and-play quality does an end-run around safeguards that, at least nominally, restrict government actors, and invites legal challenges based on civil liberties concerns.

Update: The Metropolitan Museum of Art has put online 492,000 high-resolution images of artistic works. Even better, the museum has placed the vast majority of these images into the public domain, meaning they can be downloaded directly from the museum’s website for non-commercial use. When you browse the Met collection and find an image that […]

IEEE / Institute of Electrical and Electronics Engineers Incorporated

We're talking how we stay online - or not - on vacation, is create-guten-block the future for us WP developers? Can we get a state of the web component address from the President of web components? Have we seen the last new browser engine? And deciding whether to add features or remove them from your app.

Fred K. Schott stops by to talk about building community, open source and sponsorship, building on partnerships in the dev community, WordPress + Astro, view transitions, using Discord for support, and leaking secret Astro Studio details.

Eric Meyer gift wraps the most awkwardly shaped of boxes using nothing but CSS, HTML and a little curl of ribbon. No matter how well you plan and how much paper you have at your disposal, sometimes you just need to slant the gift to the side.

We have a lot of new layout tools at our disposal these days—flexbox is finally stable and interoperable, and Grid very much the same, with both technologies having well over 90% support coverage. In that light, we might think there’s no place for old tricks like negative margins, but I recently discovered otherwise.

Over at An Event Apart, we’ve been updating some of our landing pages, and our designer thought it would be interesting to have slanted images of speakers at the tops of pages. The end result looks like this.

The interesting part is the images. I wanted to set up a structure like the following, so that it will be easy to change speakers from time to time while preserving accessible content structures:

<div id="page-top">
  <ul class="monoliths">
    <li>
      <a href="https://aneventapart.com/speakers/rachel-andrew"> 
        <img src="/img/rachel-andrew.jpg" alt=""> 
        <div> 
          <strong>Rachel Andrew</strong> CSS Grid 
        </div> 
      </a>
    </li>
    <li>
      <a href="https://aneventapart.com/speakers/derek-featherstone"> 
        <img src="/img/derek-featherstone.jpg" alt=""> 
        <div> 
          <strong>Derek Featherstone</strong> Accessibility 
        </div> 
      </a>
    </li>
    <li>
      …
    </li>
    <li>
      …
    </li>
  </ul>
</div>

The id value for the div is straightforward enough, and I called the ul element monoliths because it reminded me of the memorial monoliths at the entrance to EPCOT in Florida. I’m also taking advantage of the now-ubiquitous ability to wrap multiple elements, including block elements, in a hyperlink. That way I can shove the image and text structures in there, and make the entire image and text below it one link.

Structure is easy, though. Can we make that layout fully responsive? I wondered. Yes we can. Here’s the target layout, stripped of the navbar and promo copy.

So let’s start from the beginning. The div gets some color and text styling, and the monoliths list is set to flex. The images are in a single line, after all, and I want them to be flexible for responsive reasons, so flexbox is 100% the right tool for this particular job.

#page-top { 
  background: #000; 
  color: #FFF; 
  line-height: 1; 
} 
#page-top .monoliths { 
  display: flex; 
  padding-bottom: 1em; 
  overflow: hidden; 
}

I also figured, let’s give the images a simple basis for sizing, and set up the hyperlink while we’re at it.

#page-top .monoliths li { 
  width: 25%; 
} 
#page-top .monoliths a { 
  color: inherit; 
  text-decoration: inherit; 
  display: block; 
  padding: 1px; 
}

So now the list items are 25% wide—I can say that because I know there will be four of them—and the links pick up the foreground color from their parent element. They’re also set to generate a block box.

At this point, I could concentrate on the images. They need to be as wide as their parent element, but no wider, and also match height. While I was at it, I figured I’d create a little bit of space above and below the captioning text, and make the strong elements containing speakers’ names generate a block box.

#page-top .monoliths img { 
  display: block; 
  height: 33rem; 
  width: 100%; 
} 
#page-top .monoliths div { 
  padding: 0.5em 0; 
} 
#page-top .monoliths strong { 
  display: block; 
  font-weight: 900; 
}

It looks like the speakers were all cast into the Phantom Zone or something, so that needs to be fixed. I can’t physically crop the images to be the “correct” size, because there is no correct size: this needs to work across all screen widths. So rather than try to swap carefully-sized images in and out at various breakpoints, or complicate the structure with a wrapper element set to suppress overflow of resized images, I turned to object-fit.

#page-top .monoliths img { 
  display: block; 
  height: 33rem; 
  width: 100%; 
  object-fit: cover; 
  object-position: 50% 20%; 
}

If you’ve never used object-fit, it’s a bit like background-size. You can use it to resize image content within the image’s element box without creating distortions. Here, I set the fit sizing to cover, which means all of the img element’s element box will be covered by image content. In this case, it’s like zooming in on the image content. I also set a zooming origin with object-position, figuring that 50% across and 20% down would be in the vicinity of a speaker’s face, given the way pictures of people are usually taken.

This is fairly presentable as-is—a little basic, perhaps, but it would be fine to layer the navbar and promo copy back over it with Grid or whatever, and call it a day. But it’s too square and boxy. We must go further!

To make that happen, I’m going to take out the third and fourth images temporarily, so we can see more clearly how the next part works. That will leave us with Rachel and Derek.

The idea here is to clip the images to be slanted, and then pull them close to each other so they have just a little space between them. The first part is managed with clip-path, but we don’t want to pull the images together unless their shapes are being clipped. So we set up a feature query.

@supports (clip-path: polygon(0 0)) or (-webkit-clip-path: polygon(0 0)) { 
  #page-top .monoliths li { 
    width: 37.5%; 
  } 
}

I decided to test for both the un-prefixed and WebKit-prefixed versions of clip-path because Safari still requires the prefix, and I couldn’t think of a good reason to penalize Safari’s users for the slowness of its standards advancement. Then I made the images wider, taking them from 25% to 37.5%, which makes them half again as wide.

Thanks to object fitting, the images don’t distort when I change their parent’s width; they just get wider and scale up the contents to fit. And now, it is time for clipping!

@supports (clip-path: polygon(0 0)) or (-webkit-clip-path: polygon(0 0)) { 
  #page-top .monoliths li { 
    width: 37.5%; 
    -webkit-clip-path: polygon(25% 0, 100% 0, 75% 100%, 0 100%); 
    clip-path: polygon(25% 0, 100% 0, 75% 100%, 0 100%); 
  } 
}

Each coordinate pair in the polygon() is like the position pairs in background-position or object-position: the horizontal distance first, followed by the vertical distance. So the first point in the polygon is 25% 0, which is 25% of the way across the element box, and no distance down, so right at the top edge. 100% 0 is the top right corner. 75% 100% is on the bottom edge, three-quarters of the way across the element, and 0 100% is the bottom left corner. That creates a polygon that’s a strip three-quarters the full width of the element box, and runs from bottom left to top right.

Now we just have to pull them together, and this is where old tricks come back into play: all we need is a negative right margin to bring them closer together.

#page-top .monoliths li { 
  width: 37.5%; 
  margin-right: -7.5%; 
  -webkit-clip-path: polygon(25% 0, 100% 0, 75% 100%, 0 100%); 
  clip-path: polygon(25% 0, 100% 0, 75% 100%, 0 100%); 
}

The separation between them is a little wider than we were originally aiming for, but let’s see what happens when we add the other two images back in and let flexbox do its resizing magic.

Notice how the slants actually change shape as the screen gets narrower or wider. This is because they’re still three-quarters the width of the image element’s box, but the width of that box is changing as the screen width changes. That means at narrow widths, the slant is much steeper, whereas at wide widths, the slant is more shallow. But since the clipping path’s coordinates were all set with percentage distances, they all stay parallel to each other while being completely responsive to changes in screen size. An absolute measure like pixels would have failed.

But how did the images get closer together just by adding in two more? Because the list items’ basic sizing added up to more than 100%, and they’re all set to flex-shrink: 1. No, you didn’t miss a line in the CSS: 1 is the default value for flex-shrink. Flex items will shrink by default, which after all is what we should expect from a flexible element. If you want to know how much they shrunk, and why, here’s what Firefox’s flex inspector reports.

When there were only two list items, there was space enough for both to be at their base size, with no shrinkage. Once we went to four list items, there wasn’t enough space, so they all shrank down. At that point, having a negative right margin of -7.5% was just right to pull them together to act as a unit.

So, now they’re all nicely nestled together, and fully responsive! The captions need a little work, though. Notice how they’re clipped off a bit on the left edge, and can be very much clipped off on the right side at narrower screen widths? This happens because the li elements are being clipped, and that clipping applies to all their contents, images and text alike. And we can’t use overflow to alter this: clipped is clipped, not overflowed.

Fortunately, all we really need to do is push the text over a small amount. Inside the feature query, I added:

#page-top .monoliths div { 
  padding-left: 2%;
  padding-right: 26%; 
}

This shifts the text just a bit rightward, enough to clear the clip path. On the right side, I padded the div boxes so their contents wouldn’t fall outside the clipped area and appear to slide under the next caption. We could also use margins here, but I didn’t for reasons I’ll make clear at the end.

At the last minute, I decided to make the text at least appear to follow the slants of the images. For that, I just needed to shift the first line over a bit, which I did with a bit more padding.

#page-top .monoliths strong { 
  padding-left: 1%; 
}

That’s all to the good, but you may have noticed the captions still overlap at really narrow screen widths. There are a lot of options here, from stacking the images atop one another to reverting to normal flow, but I decided to just hide the captions if things got too narrow. It reduces clutter without sacrificing too much in the way of content, and by leaving them still technically visible, they seem to remain accessible.

@media (max-width: 35rem) { 
  #page-top .monoliths div { 
    opacity: 0.01 
  } 
}

And that, as they say, is that! Fully responsive slanted images with text, in an accessible markup structure. I dig it.

I did fiddle around with the separations a bit, and found that a nice thin separator occurred around margin-right: -8%, whereas beefier ones could be found above -7%. And if you crank the negative margin value to something beyond -8%, you’ll make the images overlap entirely, no visible separation—which can be a useful effect in its own right.

I promised to say why I used padding for the caption text div rather than margins. Here’s why.

#page-top .monoliths div { 
  padding-left: 3%; 
  padding-right: 26%; 
  border-top: 2px solid transparent; 
  background: linear-gradient(100deg,hsl(292deg,50%,50%) 50%, transparent 85%); 
  background-clip: padding-box; 
}

It required a wee bit more padding on the left to look decent, and an alteration to the background clipping box in order to keep the purple from filling the transparent border area, but the end result is pretty nifty, if I do say so myself. Alternatively, we could drop the background gradient on the captions and put one in the background, with a result like this.

I have no doubt this technique could be extended, made more powerful, and generally improved upon. I really wished for subgrid support in Chrome, so that I could put everything on a grid without having to tear the markup structure apart, and there are doubtless even more interesting clipping paths and layout patterns to try out.

I hope these few ideas spark some much better ideas in you, and that you’ll share them with us!

About the author

Eric A. Meyer (@meyerweb) has been a burger flipper, a college webmaster, an early blogger, one of the original CSS Samurai, a member of the CSS Working Group, a consultant and trainer, and a Standards Evangelist for Netscape. Among other things, Eric co-wrote Design For Real Life with Sara Wachter-Boettcher for A Book Apart and CSS: The Definitive Guide with Estelle Weyl for O’Reilly, created the first official W3C test suite, assisted in the creation of microformats, and co-founded An Event Apart with Jeffrey Zeldman. Eric lives with his family in Cleveland, Ohio, which is a much nicer city than you’ve probably heard. He enjoys a good meal whenever he can and considers almost every form of music to be worthwhile.

More articles by Eric

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