Latest news with #Deitch
Mint
16-07-2025
- Politics
- Mint
Through trial and error, Iran found gaps in Israel's storied air defenses
Israel's recent war with Iran served as a cautionary tale for countries with sophisticated missile defenses and those that seek to have them. Over 12 days, Iran pierced Israel's defenses with increasing success, showing that even the world's most advanced systems can be penetrated. While most of Iran's missiles and drones were knocked down, Tehran changed tactics and found gaps in Israel's armor through trial and error. Tehran began to launch more advanced and longer-range missiles from a wider range of locations deep inside Iran, according to missile-defense experts who analyzed open-source data and public images of missile fragments. The regime also altered the timing and pattern of attacks and increased the geographic spread of targets, the analysts found. As the war went on, Iran fired fewer missiles, but its success rate rose, according to a Wall Street Journal analysis of data from think tanks based in Israel and Washington, D.C. In the first half of the conflict, 8% of Iran's missiles slipped through Israel's defenses. By the second half of the war, 16% got past Israel's interceptors, according to data from the Washington-based Jewish Institute for National Security of America, or Jinsa. The success rate doesn't take into account missiles that failed to launch or were intercepted before reaching Israeli airspace, said Mora Deitch, head of the Data Analytics Center at the Institute for National Security Studies at Tel Aviv University. Nor does it distinguish between missiles that were allowed to strike open areas in Israel and those that Israeli interceptors missed, said Deitch, whose think tank provided data on Iranian strikes and Israeli defense capabilities. Iran's most successful set of attacks came on June 22, two days before the end of the war, when 10 out of 27 missiles hit Israel, according to the Jinsa data. The data suggest that Iran successfully adapted 'how, when and what" it was firing, said Ari Cicurel, associate director of foreign policy at Jinsa. The Israeli military declined to comment on Jinsa's figures beyond saying it doesn't share specifics on interception rates. Israel's aerial defense—including the famed Iron Dome that intercepts short-range rockets from Gaza and Lebanon—is among the best in the world and was developed in partnership with the U.S. 'Any missile system, even a sophisticated one like Israel's, will leak eventually," said Raphael Cohen, a senior political scientist at Rand, created as a Pentagon think tank. 'The key for any air-defense system is less that you build a perfect system with any one layer and more the cumulative effect." An analysis of Israel's public statements indicates that its interception rate declined over the course of the war. During the conflict, the Israeli military said it was intercepting 90% to 95% of Iran's missiles. After the cease-fire on June 24, the military said it had intercepted 86% overall. In January, President Trump signed an executive order to develop the 'Iron Dome for America," a $175 billion missile-defense system originally named after Israel's array and now called Golden Dome, to protect the U.S. from potential missile attacks. America's size would make its skies much harder to defend than Israel's. Ukraine offers a better example of defending a large territory over a yearslong war, but its air defenses are a patchwork of American, European and homegrown technologies. Israel's advanced integrated system is more akin to what the U.S. seeks to develop, Cohen of Rand said. Israel's own success at attacking Iranian missile launchers prevented Iran from deploying its older, less accurate and shorter-range missiles. But it also meant that Tehran reached for its more advanced and longer-range missiles sooner in the conflict. Fragments of Iran's hypersonic Fattah-1 missile fell in at least two Israeli towns, according to footage of debris analyzed by missile experts. The Fattah-1 descends at a sharp angle from outside the Earth's atmosphere at over 10 times the speed of sound and features a warhead that detaches in flight and can dodge interceptors. Only Israel's most advanced systems—the Arrow 3 and David's Sling—can change course midflight to track it. Iran also pivoted from firing large overnight barrages to launching smaller waves during daylight hours and from a wider variety of locations. Tehran further tested Israel's interceptors by changing up its firing patterns, targeting far-apart cities and varying the intervals between attacks. 'They tried to separate the Israeli defense system," said Yehoshua Kalisky, a missile-defense expert at INSS. As the conflict wore on, a declining number of interceptors and their high cost would also have compelled Israel to conserve resources and only target missiles from Iran that posed the greatest threat, missile experts said. Israeli and Iranian officials have independently called for reviews of their aerial capabilities. 'We are both on a learning curve," said Kalisky, 'they're trying to improve their attacks, and we, our defense." Write to Benoit Faucon at
Hypebeast
10-06-2025
- Entertainment
- Hypebeast
Joe Coleman's 'Carnival' Comes Alive at Jeffrey Deitch
In an art world too often steered by polish and market predictability, the carnivalesque is the rupture we didn't know we needed. Rejecting neutrality for spectacle and reveling in contradiction and catharsis, this is the spirit that animatesCarnival,a new group show on view atJeffrey Deitch, curated by performer and painterJoe Coleman. Drawing on his earliest memories of New York – when freak shows, flea circuses and Ripley's ruled over Times Square – Coleman's latest reconnects us with a lost childhood wonder. The exhibition conjures an over 40-piece roster of artists, many of which belong to the artist's close community of burlesque dancers, sideshow performers and costume designers – key figures within modern-day senes. Together, with a handful of contemporary art darlings, they explore evolving and enduring aspects of the carnival, reworking ideas of care, empathy and acceptance along the way. Inside the gallery, the transformation is total: visitors are greeted by regalia of Mermaid Parades' past, hand-painted sideshow banners hang from above, while a magnificent beaded carousel slowly spins in the heart of the room. Further on is a small-scale recreation of Coleman's own Odditorium —his at-home tribute to the American grotesque. Ghanaian fantasy coffins, wax figures embedded with real bone and an expansive Johnny Eck tribute share space with the likes ofKembra Pfahler, Jo Weldon and Guillermo del Toro. Blue chip names, such asNadia Lee Cohen,Anne Imhof,Mickalene Thomas,George Condo,Diana Yesenia AlvaradoandMario Ayalaalso join the fray, with works that traffic in camp, excess and uncanny theatricality. 'I believe that the carnival is a kind of profane, holy place where the private desires, fantasies and fears of a society are given uninhibited free expression,' Coleman explains. 'This expression produced unique works of art to embody this mysterious part of ourselves.' Life within the carnivalesque is a dance between the raw and the superficial, mischief and play. More than a mere spectacle, the exhibition opens a space for radical self-invention, a space where strange is sacred and 'monstrous' is simply another word for misunderstood. The exhibition is now onviewin New York through June 28. Jeffrey Deitch Gallery18 Wooster St,New York, NY 10013
CBS News
03-04-2025
- General
- CBS News
Watertown's "library of things" offers creative community workspace. Here's a look inside.
The library in Watertown, Massachusetts is providing the tools and a space for people to get creative and learn new skills. "A lot of libraries have started a ' library of things ' collection, but they don't have necessarily a space to allow people to just make and create and build community," Watertown Public Library director Kim Hewitt said. "We have a big Hatch-maker space and that was one of the first in the area." The "Hatch" facility on Summer Street is right around the block from the main library. The workshop is stocked with tools, materials, and expertise for everyone to learn in a venue that fosters creativity. "We have scraps of material to play around with, the sewing machines, or create something, jewelry making. It doesn't have to be prescriptive. You can go there and see what appeals to you," Hewitt said. The Hatch space is a standout amongst similar programs in Massachusetts, and it just celebrated it's tenth birthday. It has button makers, laser cutters, and even 3-D printers. "I mean, it's just like it comes out like hard plastic," volunteer Seth Deitch said. Talented expert volunteers are there to assist patrons with their projects, which is how Deitch first started in the space. "We're very lucky to have the people that we have who volunteer here. Many of them are extremely talented. Lots of people with advanced degrees," Deitch said. Hatch also offers workshops that more and more people in the community are getting involved in. "It's nice having a space for the entire community that's free to come to and work at," Deitch said. "Nowadays, people spend a lot of their time staring at screens, not enough working with their hands." The best part is, anyone in the state can get in on the fun. "As long as you're a Massachusetts resident, you can get a library card at the Watertown Public Library," said Ran Cronin, the library's access services supervisor. "I'm really lucky to live in Watertown where we have this," Deitch said. The library is hoping to expand the Hatch space. It also has one of the largest English language-learning programs, called Project Literacy, which serves 900 students per year.
