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In the shadow of the freeway, the Embarcadero waterfront became an urban dead zone, used mostly for parking cars in empty buildings.
Until the 19th Century, it was normal to bury the urban dead in churchyards.
Evolutionarily speaking, it sits somewhere between games like Planetarion and Urban Dead, and more modern Facebook roleplaying games like Crime City.
The vast majority of people had never played a persistent browser game before (those of us who had played Urban Dead or Planetarion were very few in number by comparison, for example), and so simple interactions and rediscovery of old ideas (like levelling up) seemed brand new again.
Like his lovely pocket-sized personal documentaries — some about animal rescue, others about finding the owners of lost objects or turning a small urban dead space into a vegetable garden — it's a story about the impulse to help, with lovely performances by actors you've likely never seen but should (in the cosmic justice sense) see more.
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Asked to identify two significant lesser-known works in the Tate show, Chambers first identifies the urban still life Dead Spring from 1929, which depicts a dead pot plant and set of drawing instruments on the window sill of Nash's London flat overlooking an empty St Pancras advertising hoarding.
Both seek to transform dead urban areas into lively public forums, employing powerful architectural expressions of a democratic ideal.
Not only is the folly ingenious and low-impact, it poetically turns a patch of dead urban space into a living venue.
Just as the cities now view themselves as solvent, polished and politically fashionable, they find they are no longer shunned by political leaders who used to consider urban concerns a dead end.
It should be noted that the current results may be biased toward urban environments, where dead birds were more likely found, and because the sampling efforts for the bird mortality were rather based on local residents' reports than a designed random sampling method.
Companies are bringing life back to urban areas that were dead or dangerous.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com