In the late nineteenth century, Realist landscape painters challenged themselves with increasingly difficult reflections, where the water surface isn’t mirror-like, but broken.
Gustave Caillebotte (1848–1894), Rain on the Yerres (1875), oil on canvas, 81 x 59 cm, Indiana University Art Museum, Bloomington IN. WikiArt.
Gustave Caillebotte’s Rain on the Yerres (1875) is an innovative study of a reflective water surface disrupted by circles projected by raindrops.
Martín Rico y Ortega (1833–1908), A Canal in Venice (c 1875), oil on canvas, 50.2 x 67.9 cm, The Metropolitan Museum of Art, New York, NY. Wikimedia Commons.
The broken reflections in Martín Rico’s A Canal in Venice from about the same time may have been painted mostly en plein air, despite their fine detail.
Martín Rico y Ortega (1833–1908), Canal in Venice (date not known), oil on canvas, dimensions not known, The Art Institute of Chicago, Chicago, IL. Wikimedia Commons.
Rico’s Canal in Venice uses more painterly marks in its reflections.
At the same time, Eilert Adelsteen Normann was painting the grander effects seen in the fjords of Norway.
Eilert Adelsteen Normann (1848–1918), From Romsdal Fjord, 1875 (1875), oil on canvas, dimensions not known, Bergen kunstmuseum (Kunstmuseene i Bergen), Bergen, Norway. Wikimedia Commons.
Normann’s From Romsdal Fjord, also from 1875, shows the ninth longest fjord in Norway as it carves its way through this huge mountain gorge. Although much of the water surface is glassy calm, there’s a slight blur of fine ripples, and patches where it’s more disrupted by gentle breeze.
Eilert Adelsteen Normann (1848-1918), The Steamship (date not known), further details not known. Wikimedia Commons.
The unidentified fjord in Normann’s undated The Steamship shows a similar repertoire of subtle optical effects.
Laurits Andersen Ring (1854–1933), Alder Trunks (1893), oil on canvas, 52.9 x 73.5 cm, Collection of Her Majesty the Queen Margrethe II, Copenhagen, Denmark. Wikimedia Commons.
Alder Trunks from 1893 is one of Laurits Andersen Ring’s finest landscapes, and has earned its place in the Danish Royal Collection. He shows these old coppiced alders mainly in reflection. Although their details are quite painterly, the overall effect is that of meticulous realism.
The specialist of this period is the Norwegian Frits Thaulow.
Frits Thaulow (1847–1906), Winter at the River Simoa (1883), oil on canvas, 49.5 x 78.5 cm, Nasjonalgalleriet, Oslo, Norway. Wikimedia Commons.
Thaulow seems to have discovered what was going to be his recurrent theme for much of his career by 1883, when he painted this scene of Winter at the River Simoa. A lone woman, dressed quite lightly for the conditions, is rowing her tiny boat over the quietly flowing river, towards the tumbledowns on the other side. The surface of the river shows the glassy ripples so common on semi-turbulent water, and the effect on reflections is visibly complex. The distant side of the river is also partly frozen, breaking the reflections further.
Frits Thaulow (1847–1906), The Mills at Montreuil-sur-Mer, Normandy (1894), oil on canvas, dimensions not known, Minneapolis Institute of Art, Minneapolis, MN. Wikimedia Commons.
Thaulow later returned to his studies of flowing rivers, for example in The Mills at Montreuil-sur-Mer, Normandy. This painting has been claimed to date from 1891, before the artist moved to Montreuil, but I think that its date reads 1894.
Frits Thaulow (1847–1906), The Adige River at Verona (c 1894), oil on canvas, 81 x 100 cm, Walters Art Museum, Baltimore, MD. Wikimedia Commons.
In 1894, Thaulow travelled across northern Italy to Venice, stopping off to paint The Adige River at Verona. This shows the five arches of the Ponte della Pietra, with wonderfully disrupted reflections describing the river’s turbulent flow.
Frits Thaulow (1847–1906), La Dordogne (1903), oil, further details not known. Wikimedia Commons.
Soon after Thaulow had settled at Beaulieu in central France, he found form with the magnificent river surface and lighting of La Dordogne (1903), whose precise detail in the foreground quickly yields to a more sketchy background.
A few artists rose to the challenge of combined reflected and refracted images, among them Kazimierz Sichulski.
Kazimierz Sichulski (1879–1942), Fish (1908), pastel on paperboard, 63 x 82 cm, Muzeum Narodowe w Poznaniu, Poznań, Poland. Wikimedia Commons.
Sichulski’s Fish (1908) is a startlingly unusual pastel painting, a virtuoso combination of reflections from and views through this water surface. It’s an essay in practical optics.
Four years after the Russian invasion of Ukraine sent energy prices soaring, the war in Iran is posing another challenge to efforts to revive European factories.
The country has prioritized self-sufficiency in producing a crucial battlefield weapon, though weaning itself fully off cheaper Chinese components is difficult.
Once celebrated for its fiery spirits, the town of Maotai has reeled from a bad Chinese economy, changing tastes and a crackdown on boozy official banquets.
The goal of between 4.5 percent and 5 percent, announced at a gathering of Communist Party leaders, was the lowest since 1991 and can offer clues about China’s policymaking plans.
General Motors, Ford and other established automakers risk becoming relics if they don’t catch up to Chinese carmakers and technology companies in electric vehicles and self-driving cars.
Investors are selling shares of Chinese E.V. companies, concerned that intensifying competition and shorter production cycles mean the years of easy growth are over.
Many humans and animals are fascinated by reflections. Whether they’re images of themselves seen in mirrors, or an inverted copy of a landscape seen on the surface of a lake, we can spend embarrassingly long periods just staring at them. For visual artists, those reflections have been a technical challenge and, for those who rise to it, an opportunity to display their painting skills. This series sets out to describe and illustrate how, from the early Renaissance to the twentieth century, masters have painted reflections.
Jan van Eyck (c 1380/90-1441), Portrait of Giovanni Arnolfini (?) and his Wife (1434), oil on oak panel, 82 x 59.5 cm. The National Gallery, London. Wikimedia Commons.
Optical effects are one of the central themes in the Northern Renaissance, as seen in Jan van Eyck’s most famous painting The Arnolfini Wedding (or similar variations), completed in 1434. Between this newly-wed couple holding hands next to their marital bed, in the midline of the painting is a prominent circular convex mirror. The reflection is probably the first example of mirror-play in European art, as it shows a view of the room looking in the opposite direction, past the couple to another two figures, who might be the artist and another.
Jan van Eyck (c 1380-1441), Portrait of Giovanni(?) Arnolfini and his Wife (detail) (1434), oil on oak panel, 82.2 x 60 cm. National Gallery, London. WikiArt.Jan van Eyck (c 1390–1441), The Madonna of Chancellor Rolin (detail) (c 1435) oil on panel, 66 x 62 cm. Musée du Louvre, Paris (WikiArt).
Look in the landscape behind Jan van Eyck’s Madonna of Chancellor Rolin, probably painted the following year, and you’ll see one of the earliest examples of the meticulously accurate depiction of reflections on water.
Caravaggio (Michelangelo Merisi da Caravaggio) (1571–1610), Narcissus (1594-96), oil on canvas, 110 × 92 cm, Galleria Nazionale d’Arte Antica, Rome. Wikimedia Commons.
In some paintings, reflections are essential to their narrative. Caravaggio’s brilliant Narcissus of 1594-96 uniquely combines chiaroscuro with reflections to provide just enough visual clues to tell this myth so effectively.
The optics of reflections appear to have confounded some painters, while others have deliberately flouted physics for effect, in this case what has become known as the Venus Effect.
Diego Velázquez (1599–1660), Venus at Her Mirror, The Toilet of Venus (Rokeby Venus) (1644-48) [101], oil on canvas, 122.5 x 177 cm, The National Gallery, London. Image by Diego Delso, via Wikimedia Commons.
Although often illustrated by one of Titian’s paintings of Venus, the canonical example must be Velázquez’ Venus at Her Mirror, also known as The Toilet of Venus or the Rokeby Venus, from 1644-48. It shows the goddess Venus, whose face is blurred in a false reflection in a mirror being held by her son Cupid. The theme was common, seen in paintings by Titian and Rubens, with Venus sat upright. Giorgione and others had posed her reclining and facing the viewer, making her pose here unusual. Most other paintings of Venus set her in a landscape: here she rests on luxurious even sensuous fabrics.
No matter how convincing her face might appear in the mirror, a moment spent placing yourself in the same position confirms that the image in the mirror is wholly imaginary, and optically incorrect.
Pierre Bonnard is among the most prolific and inventive of mirror-players.
Pierre Bonnard (1867-1947), Woman Getting Dressed (1906), oil on canvas, 42 x 58.7 cm, Private collection. The Athenaeum.
In his Woman Getting Dressed from 1906, it’s the mirror at the left that reveals the subject, who is sat beyond the right edge of the painting, getting dressed. Venus has here become a pile of discarded clothing.
As landscape painting became popular, many of the most proficient sought out locations where they could demonstrate their skills at getting them right. Others used reflections as their theme.
Vincent van Gogh (1853–1890), Starry Night over the Rhône (1888), oil on canvas, 72.5 x 92 cm, Musée d’Orsay, Paris. WikiArt.
In the last two years of Vincent van Gogh’s life, he painted this landmark nocturne Starry Night over the Rhône (1888) with its many shimmering reflections.
Laurits Andersen Ring (1854–1933), Alder Trunks (1893), oil on canvas, 52.9 x 73.5 cm, Collection of Her Majesty the Queen Margrethe II, Copenhagen, Denmark. Wikimedia Commons.
Alder Trunks from 1893 is one of Laurits Andersen Ring’s finest landscapes, and has earned its place in the Danish Royal Collection. He shows these old coppiced alders almost entirely in reflection.
Théo van Rysselberghe (1862-1926), Canal in Flanders (1894), oil on canvas, 152.4 x 203.2 cm, Private collection. WikiArt.
Théo van Rysselberghe’s eye-catching geometry in his Canal in Flanders (1894) combines radical perspective projection, intense rhythm and meticulous broken reflections.
Reflections are also used by some of the Surrealists.
Paul Nash’s Landscape from a Dream (1936-38) was inspired by Freud’s theories of the significance of dreams as reflections of the unconscious. This collection of incongruous objects is gathered on the Dorset coast, a landscape Nash associated with the praeternatural. Dominating the scene is a large framed planar mirror, almost parallel with the picture plane. Stood at the right end of the mirror is a hawk staring at its own reflection, which Nash explained is a symbol of the material world. To the left, the mirror reflects several floating spheres, referring to the soul. The reflection shows that behind the viewer is a red sun setting in a red sky, with another hawk flying high, away from the scene.
I hope you’ll join me in the reflections to come in this series.
Even as American automakers have scaled back their ambitions for electric vehicles, some are pivoting to a technology that could help boost renewable energy.
The shipping traffic and factories never stop in China’s port city of Ningbo, but the local housing market has crashed and nearby restaurants sit empty.
Over the last few weeks, I’ve been posed a series of questions that can only be resolved using the log, such as why Time Machine backups are failing to complete. The common confounding factor is that something has gone wrong at an unknown time, but if you don’t know exactly what you’re looking for, nor when to look, the Unified log is a hostile place, no matter which tool you use to browse its constant deluge of entries.
This is compounded by the fact that errors seldom come singly, but often propagate into tens of thousands of consequential log entries, and those not only make the cause harder to find, but can shorten the period covered by the log. In the worst case, by the time you get to look for them, the entries you needed to find are lost and gone forever.
In late 2017, I experimented with a log browser named Woodpile that approached the log differently, starting from a histogram of frequencies of log entries from different processes.
Viewed across the whole of a log file, this could draw attention to periods with frequent entries indicating potential problems.
The user could then zoom into finer detail before picking a time period to browse in full detail. Of course, at that time the Unified log was in its early days, and entries were considerably less frequent than they are now today.
A related feature in my later Ulbow log browser provides similar insights over the briefer periods covered, but like Woodpile that view seems little used, and isn’t offered in LogUI.
Another concern is that a great deal of importance can be recorded in the log, but the user is left in the dark unless they hunt for it. I documented that recently for Time Machine backups, and note from others that this isn’t unusual. Wouldn’t it be useful to have a utility that could monitor the log for signs of distress, significant errors or failure? To a degree, that’s what The Time Machine Mechanic (T2M2) sets out to do, only its scope is limited to Time Machine backups, and you have to run it manually.
Given the sheer volume and frequency of log entries, trying to monitor them continuously in real time would have a significant impact on a Mac, even if this were to be run as a background process on the E cores of an Apple silicon Mac. In times of distress, when this would be most critical, the rate of log entries can rise to thousands per second, and any real-time monitor would be competing for resources just when they were most needed for other purposes.
A better plan, less likely to affect either the user or the many background services in macOS, would be to survey log events in the background relatively infrequently, then to look more deeply at periods of concern, should they have arisen over that time. The log already gives access to analysis, either through the log statistics command, or in the logdata.statistics files stored alongside the folders containing the log’s tracev3 files. Those were used by Woodpile to derive its top-level overviews.
Those logdata.statistics files are provided in two different formats, plain text and JSON (as JSON lines, or jsonl). Text files are retained for a shorter period, such as the last four days, but JSON data are more extensive and might go back a couple of weeks. I don’t recall whether JSON was provided eight years ago when I was developing Woodpile, but that app parses the current text format.
Keeping an eye on the log in this way overlaps little with Activity Monitor or other utilities that can tell you which processes are most active and using most memory, but nothing about why they are, unless you run a spindump. Those also only show current figures, or (at additional resource cost) a few seconds into the past. Reaching further back, several hours perhaps, would require substantial data storage. For log entries, that’s already built into macOS.
I can already see someone at the back holding up a sign saying AI, and I’m sure that one day LLMs may have a role to play in interpreting the log. But before anyone starts training their favourite model on their Mac Studio M3 Ultras with terabytes of log entries, there’s a lot of basic work to be done. It’s also worth bearing in mind Claude’s recent performance when trying to make sense of log entries.
U.S. trade policy has devastated the Canadian auto industry and pushed the country to reach an agreement that will make it easier for Chinese companies to sell cars there.
A hugely controversial company that aims to transform the future of transportation, and our world by introducing an electricity revolution, Tesla has been in the media spotlight for years. As its valuation surpassed all other car manufacturers that sell much more cars and have much more history than Tesla, we must ask ourselves, does the magical story of Tesla really stands?
Chapter 1: Elon’s cult of personality
Elon Musk has received many praises throughout the years and has managed to gather a very enthusiastic following. Arguably, he can be considered as a social media influencer that utilizes his following to achieve his goals. He frequently interacts with his fanbase on twitter and replies to requests from random users which keeps the flame going. It is like having a hand-shaking meeting which is practiced by singers and others alike in Japan, where their fans would be able to shake their hands and the star would typically say a sentence in return. This has proven to be hugely successful in Japan, and based on Elon’s twitter feed, the same works online.
His cult of personality has grown through arguably one of his most damning failures, the production numbers of Tesla Model 3, where for months the actual production numbers remained much less than his promised ones, and as Tesla faced more bottlenecks in increasing production capacity, he kept on promising more without delivering. However, he even managed to turn this in his personal following’s favor, when he finally delivered by pulling some ‘superman tactics’, such as by working extremely long hours, sleeping in the factory, being actual hands on with the production line, building a temporary factory in a tent, and flying in equipment from Germany. However, if we cut out Elon’s cult of personality, we will see that this as a huge red flag instead of Elon pulling his magic. It is unfathomable that Elon as the CEO of Tesla has to get on the production lines to make things worked out, as he was instead wasting precious time needed to make proper, good, and reasonable decisions as the CEO instead of a production line worker. Tesla does not pay him to be on the production lines making tweaks, Tesla pays him to make those proper, good, and reasonable decisions that he neglected to do, when he instead made bold claims about the production numbers without a way of fulfilling it. Flying in heavy equipment was the solution to increasing the production numbers but had there been better planning, such an expensive manoeuvre could have been avoided entirely.
The truth is, Elon remains much less than a responsible CEO and is more of an engineer that likes to focus more on the technical as seen by his role as chief engineer in SpaceX. A responsible CEO would not have said ‘The coronavirus panic is dumb’, ‘Am considering Tesla private at $420’, ‘Tesla stock price is too high imo’, and much more. What Elon has instead continuously demonstrated is that he is very much still an individual that is not willing to be bound by his duties and rules that apply to him, and such an individual in charge of the biggest car manufacturer in the world by valuation, makes him Tesla’s greatest asset and liability at the same time.
Elon Musk smoking a weed on a podcast live
Chapter 2: Underlying culture
‘Autopilot’ is a feature that can be included in Tesla EVs, but the term is misleading. For one, assisted driving technology is classified into different tiers, each representing the extent that machine is in control of the car, or autonomous level. Tesla’s autopilot feature is classified as level 2 where the car can act autonomously but requires constant driver supervision who needs to be prepared to take over control at all times. A German court has ruled Tesla’s claims misleading and there have been numerous cases where the driver who is supposedly in constant supervision instead falls asleep or is on their phone. The National Transportation Safety Board have criticized Tesla’s lack of system safeguards in a fatal 2018 Autopilot crash in California and for failing to foresee and prevent the ‘predictable abuse’ of autopilot.
The fact is, although the claims on ‘Autopilot’ are believed to be abusive and dangerous or at the minimum, misleading by many professionals, they are kept in Tesla’s marketing. This decision is just one of the many intentionally made decisions that show a truer picture of Tesla’s culture, one that does not consider itself to be accountable to rules that apply to Tesla, just like its CEO.
One such instance happened in China, the biggest car market in the world and where Tesla has gained huge grounds, some literal, as Gigafactory 2 was opened in Shanghai a few months ago. Just as the sales of Tesla cars grew, so did the problems that encountered it. Tesla has been ordered to recall 30,000 cars by the China’s State Administration for Market Regulation, but instead of addressing the suspension problem that forced the order to recall those cars, Tesla instead blamed it on ‘driver abuse’ without offering any evidence to support the claim. This came after Tesla executives were summoned by the China’s Ministry of Industry and Information Technology back in March 2020 because Tesla used the old version of computer chips in Model 3s instead of the new version as promised to the consumers, which sparked outrage and resulted in the same Chinese government agency to formally require Tesla to immediately correct the chip downgrade, which Tesla again, instead of recognizing the problem and their own fault, blamed their actions on the supply chain disruption due to COVID-19.
As these stories show, the below-grade manufacturing is far from just a few instances in Tesla, be it in China or elsewhere. It is in fact the culture of Tesla that causes this, of course, at the expense of its customers and potential future sales.
Beyond manufacturing problems that are caused by this culture, these has been numerous whistleblowers and articles that is alleging all sorts of crazy acts happening within Tesla. Mr. Karl Hansen has filed a lawsuit alleging Elon and Tesla’s management have ‘intentionally interfered with efforts to seek employment with other employers in retaliation for outspoken union support’, actively concealed and participated in spying on its employees, improper contracts, theft orchestrated by organized crimes, terminated a Tesla employee’s contract after reporting the theft of $13,000 USD of copper wire to law enforcement, and more. There are more claims after from Mr. Hansen’s, and numerous lawsuits have been filed in what is described by some media as ‘Whistleblower Hell’. It is likely that we continue to see more allegations to come out of Tesla, a terrible position to be in for anyone, especially so for a company that dissolved its U.S. PR unit in October 2020.
To a large extent, Elon is Tesla, and so is his mentality the Tesla culture. Just as his successes support the entire company, so does his own problems creep in. This translates into troubles for Tesla, and if not managed well enough, could be potential deathtraps that threatens the existence of the company itself. The mentality of Elon Musk to ignore the rules whether social expectations, constraints, or perfectly legitimate laws has sparked equal number of innovations and PR crises that lacks a PR department to manage (in the U.S.), and this does not always mean well for the culture of any company, let alone a multinational which is the most valuable car maker in the world.
Simply put, Tesla’s history of troubling actions will continue into the future as it is the company culture that shapes its actions, and Elon’s mentality that shapes its culture.
Chapter 3: Tesla China
Tesla in 2018 became the first foreign car manufacturer to be in sole possession of its Chinese subsidiary, this is followed by the construction of Gigafactory 2 in Shanghai after being offered very beneficial terms by the Shanghai Municipal Government. Construction progressed at a rapid pace and production started just 1 year later in 2019. One of the most impactful effect that Giga Shanghai has brought has been the lowered production cost of Tesla EVs in China, since localized production gets rid of import taxes and lower cost overall. As a result, Tesla has been able to lower its offerings in China to attract more customers, but the way this has been accomplished has tainted its image.
The way that Tesla has lowered the price of its offerings can be described as bad business practice at best, and on the far end, intentionally fooling its customers. Tesla lowers its prices without any prior warning or compensation for customers that have purchased the cars right before the price was lowered. Often customers find themselves to have purchased the car the very day before the price decrease, when Tesla sales agents employ marketing techniques to urge customers make the purchase quickly, presumably before the price is lowered. It is not one, or twice, or thrice that Tesla has lowered its prices this way, but Tesla has adjusted its prices near 60 times after entering the Chinese market which saw the price of Model 3 slashed in half. Predictably this has angered customers that think they were tricked into buying the cars right before the price decrease, often without any compensation and this has sparked outcry on Chinese social media.
Lowering the price of products is generally a good thing for a business because it attracts more customers, but the way that Tesla has done it has made Chinese consumers weary of purchasing Tesla cars because there would be no guarantee that the price would drop by 10% right after you have made the purchase.
Apart from the price issue, Tesla has sparked more outcry on Chinese social media after the recent article that came out with allegation such as quality control issues, ‘Giga-sweatshop’, Tesla operations in Greater China being isolated from the rest of the world bringing opportunities to use practices banned by the company elsewhere, and sales personnel selling Model 3s through private channels at a discount, in stark opposition with the direct sales model that Tesla embraces.
PingWest is the media that published the article, and this is the third instalments of their ‘Tesla China chaos’ series. Only the third is translated into English, and the Chinese version offers much more detail and includes links to the first two instalments of the series.
Chapter 4: Giga Shanghai, my observations and speculations
Disclaimer: My words do not constitute professional opinion, investment advice, or any similar notion in any way, it is only my personal speculation as a tourist and is not meant to be taken seriously beyond the mere literary expression, and the actions you take out of my words is taken entirely at your own responsibility.
In this chapter, I will only address the latest instalment of the series by combining what is described in the article and what I saw and speculate as a result at Tesla’s Giga Shanghai.
There was nothing notable about the factory, the east side expansion was on its way and trucks transporting construction materials were parked on the side of the road. However, given what I was able to see through the extremely limited information outside of the factory, I believe that the article mentioned prior is true.
Rubbish on the side of the road
On the road out of the factory gates, the side is littered with primarily 2 kinds of rubbish, masks and food packaging, in particular, masks were on top of food packaging suggesting that the food packaging existed before the pandemic began. This corroborates with the claim that Giga Shanghai’s food options have been deteriorating since it opened (in 2019, before the pandemic) and inadequate. The container made guard room at the gate of the factory also show signs of trouble, I was unable to take pictures inside due to the guards but if you believe what I say, there was the phone number for the local police station placed at a prominent position that is easy for viewing by the guards. I believe that it was placed later and was not there initially because it was in an awkward position, put on the wall surrounded by plans of the factory and other images, far away on the left-side from where other phone numbers are posted (on the right-side). This has led me to believe that the police number was put there later because they did not put it along with all the other phone numbers (that were on the right-side of the wall), but only felt it was necessary later, potentially due to the chaos described by PingWest.
The grey container is the guard room
The other speculation I would make is that Giga Shanghai faces management chaos. This is the car transporter truck that came out of the factory and this is the same truck a few minutes later stopped at the end of a road. You can tell it is the same truck because it carries Teslas and is white, the other car transporter truck that came out of the factory around that time is blue. The white truck stopped at the end of the road where I observed all other trucks make a U-turn to head towards the highway. I was unable to take a picture of the two workers (due to fear of increased risk as I have lingered around the factory for sometime already) so you have to take my word for it. Two workers were standing on the left side of the truck, one appears to be the driver as the driver’s cabin door was open and there was no one inside, and he wore the driver’s uniform I saw earlier, and the other one appears to be another type of worker, potentially a supervisor as he wore a different uniform than the two kinds I saw earlier. The ‘supervisor’ was holding a binder that contained documents and a pen, and he appeared to be checking with the driver on something. While it is impossible to speculate on the content of the binder or what they were specifically checking on, I believe this shows the management chaos as no reasonable company would conduct its final checks on its deliveries right outside the factory instead of inside, because of the increased risk. Furthermore, this appears to be an isolated instance as I did not see the blue truck that departed later, suggesting that they only discovered something wrong with the white truck last minute and managed to stop it right outside of the factory. In the best sense this shows mismanagement as it is risky to park a truck full of newly made cars at a road construction site, worse this shows the chaos in management that even the checks on new deliveries cannot be done properly.
Tesla has come far and has made giant leaps. Elon Musk has been monumental for Tesla in terms of pushing it to come to where it is today. Not willing to obey the rules is the reason behind Tesla’s numerous innovations, but also its crises. A Chinese proverb says that ‘water floats, and sinks a ship’, what has made Tesla Tesla, could also ultimately be its downfall.
Images taken at Giga Shanghai
White truck departing the factoryThe blue truck came laterWhite truck stopped at the end of the road (do not enter sign can be clearly seen)Map showing where white truck was parked
Further reading
252 judgements: Behind the lawsuits that Tesla brought onto itself in China (in Chinese)
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