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A Mobile Virtual Tour App for an Art Gallery

Case study: sago galleries.

This case study is inspired by a Sharpen prompt to create a mobile virtual tour app for an art gallery. It is a documentation of my portfolio project that I completed as part of the first five courses of the Google UX Design Professional Certification. Duration: Two months (December 2022 + February 2023)
 Role: Product Designer + Graphic Designer

The incorporation of digital technology into the art world has served to facilitate processes and administration. For a world that has traditionally been high-touch, high-tech systems that enable nimbler transactions of tickets and art works are welcome. In the past few years, galleries have been exploring digital means to elevate their presentation and engagement with art enthusiasts and collectors. David Zwirner, one of the world’s leading art galleries, was an early adopter of using technology to present artists and their body of work through Online Viewing Rooms (OVRs) since 2017. The gallery saw an in increase sales volume via its viewing room by 200% a year after its launch and 400% year-on-year in 2019. The virtual realm holds promise for art galleries. While the pivot to online platforms was a strategic move for many galleries during the recent pandemic, it has presented galleries a glimpse into untapped opportunities for client engagement. For one, these viewing rooms have been well received by the Asian market. Post-pandemic sales of artworks continue to be robust through such channels. People are nonetheless still eager to return to the galleries. There is much to be explored with technology as a medium to interface the physical realm with the digital realm.

David Zwirner’s Online Viewing Room for Josh Smith’s Hand-Painted Monotypes

“Design a virtual tour app for an art gallery”

In order to provide a more grounded basis for this mobile app case study, I decided to flesh out some hypothetical contextual information.

Sharpen Prompt Design Challenge Generator

Sago Galleries is a leading medium-sized art gallery for contemporary Asian art that represents and nurtures early and mid-career artists of Asian descent or who are based in Asia. They have galleries in Singapore, Hong Kong, Seoul and Jakarta. Sago Galleries wants to leverage a mobile app to build an online presence and increase their outreach across Asia. I consider what a mobile app could look like and what a virtual tour feature could do for users who are using this app outside of their galleries. The Sago team hopes the app will draw more visitors to visit their on-site premises and to purchase artworks.

There are two distinct contexts in which the target user would access this app. The first context is when the user is not on the galleries’ premises, while the second context is when the user is physically present at the galleries. The scope of this project will focus on developing a flow for the user in the first context.

Exploratory Research and Competitive Audit

When creating an experience like a virtual tour, I framed my foundational research around these essential questions:

• What information do users seek and need to make the decision to visit a gallery in person?
• What would users expect from an art gallery’s virtual tour?
• What are the affordances and limitations of mobile devices when it comes to viewing a virtual tour?

To get a sense of where Sago Galleries’ mobile app would be positioned among existing products, I looked at a few direct and non-direct competitors. I chose apps that allowed users to explore and engage with art, whether through interactive Augmented Reality (AR) filters or gallery guides. I also looked at apps that served mainly as a platform for the purchase and sales of art works. Through this competitive audit, I got an understanding of what features Sago Galleries should offer to users as a baseline and how it might be able to differentiate itself from the rest.

Table 1: A comparison of features across six art-related mobile apps *Artsy and The Artling’s apps are free for users, but they do offer paid art consultancy services separately.

Foregrounding the User

Based on the profiles provided in the Google UX Design course, one apparent group of users was a constellation of young professionals who have a passion or budding interest in art. While they are not formal or full-time artists, they typically look to expand their art knowledge and cultivate their aesthetic sensibilities. I thus came up with a user persona called Ming.

User Journey Map

I mapped out Ming’s journey and the steps he would take when making a visit to an art gallery and attending an exhibit. I started by listing the actions (as indicated across the cells in the first row of the table above) and then indicating the accompanying tasks Ming had to do and any associated emotion(s) I would imagine he might have for each action.

Figure 2. User Journey Map of Ming Making a Visit to an Art Gallery

With reference to the user journey map, I identified pain points and potential improvements that can be made to enhance Ming’s experience at the gallery. I segmented the journey and outline the two contexts in which Ming will use the mobile app — the first context is when he is planning a trip to the gallery and the second context is when he is at the gallery.
 I decided to focus on the first two actions since he faces significant pain points at these junctures, which a virtual tour app can help address these pain points.

Proposed User Flow

Figure 3. Main User Flow for Viewing Virtual Tour and Purchasing Tickets

Wireframes, Prototypes and Usability Studies

Low-fidelity wireframes and prototype.

With the above research, user journey map and user flow in mind, I began ideating and creating different screens for the app. I first listed the essential elements and features for users like Ming. Then, I sketched paper wireframes for my first draft of the main user flow. In doing so, I mapped out the various elements and their placement and organisation on each screen.

I translated these paper wireframes into digital low-fidelity wireframes on Figma and fleshed out some details to ready them for the first round of usability testing with five users.

Fig 4. Sketches of Paper Wireframes for Four Screens from the Main User Flow

Figure 5 (a). Considering different form inputs for the Date Picker

Figure 5 (b). Considering different form inputs for the Ticket Number Selector

Figure 5 (c). Considering different form inputs for the Time Slot Picker

After receiving feedback from my usability test participants, I finalised the screens to develop into mock-ups and took the following insights to work on for the high-fidelity prototype:

• Users would like current and upcoming exhibits to be clearly signposted
• Users want to know what to expect from a 360° view of an exhibit
• Users may want to find out more about “Friends of the Gallery”
• Users would like for an interface that can support navigational ability to view the artworks in situ within the virtual exhibit environment.
• Users would like to see more artwork-related info on the Exhibit Info Page and the 360° exhibit view

Sticker Sheet

Before I worked on the high-fidelity prototype, I built a sticker sheet to provide broad design guidelines for the app. I kept mostly to a clean, minimalist look as is expected of most art gallery websites and mobile apps.

Fig 6. Sticker Sheet for the Sago Galleries App

I selected a mostly grayscale colour palette. Such a colour palette would focus the user’s attention on the assets of the exhibits and art works. For the accent colour, I chose ebony to give the app a slight pop of colour. For the typography, I chose to go with a neo-grotesque typeface, namely Neue Haas Unica Pro, to convey a sense of modernism and simplicity. I used fonts in varying weights and sizes to label and convey different textual information.

High-Fidelity Prototype

Tapping on the idea of atomic design, I utilised Figma’s component creation feature to build certain elements and section of pages. These components allow for user interactivity and state changes in the high-fidelity prototype.

Fig 7. A Few Components Created for the High-Fidelity Prototype

I decided to design a 360° view of the exhibit space for the virtual tour feature and it will provide users with just enough information they need to buy tickets to come see the gallery in person. Keeping in mind the potential drawbacks of virtual tours , I decided to reference this video tutorial to set up user pathways that enable users to view more about a particular artwork.
 Using Photoshop, I created a 360° panoramic background stitched together using assets from various digital creators on Pexels and Shutterstock for the mock gallery. This is the most feasible option that allows user the closest to “being in the gallery” but also not compromise on the app’s latency time between action and response. The user will be able to have a look around the exhibit by dragging their finger across the screen.

Fig 8. A GIF Illustrating the a 360° View of the Exhibit

After creating the high-fidelity prototype, I set up for another round of user testing with five users (two repeat participants and three new participants) and made the following changes:

• Changed bottom navigation bar to a floating hamburger menu
• Removal of the section titled "At One of the Galleries?" to re-focus user flows for users outside of the gallery
• Renaming the 360° view to Virtual Viewing Room (VVR) to reduce confusion about the virtual tour feature
• Added data fields for Full Name and Email to the form so that tickets identified with the user

SOME THOUGHTS AND CONSIDERATIONS

“that's what technology is for, isn't it convenience.” participant 2.

All of the users found the main user flow to be straightforward; information about the exhibit is clearly displayed on the Exhibit Information Page. The Virtual Viewing Room offers the user an idea of how the exhibit will look like in person. Usability test participants think it is efficient in terms of purchasing timed-entry tickets. While I had set out to design a virtual art gallery tour app for users like Ming, there are other things that came up that questioned the app as a solution in and of itself. One of the participants (Participant 3) from the first usability study mentioned that she was not too inclined to download an app just to buy and present tickets at the exhibit. She would rather purchase tickets on the gallery website and separately present a digital copy of the ticket in person. Another participant (Participant 6) brought up a similar preference of using a desktop to purchase tickets for entry into museums and galleries because of how content-heavy these institutions’ websites can be. Moreover, such mobile apps are only feasible for sizeable art galleries. The uptake of such VVRs is limited by the financial and technical costs that are associated with creating the assets and hosting these assets on servers for users to access. This is typically a cost that can only be absorbed by bigger players.

Potential Next Steps

The next steps would be to consider and design for the second context in which users will use this app, i.e. in person at the gallery. The user flows developed for this context are more likely to justify the basis of Sago Galleries having a mobile app as it would allow users to access the app’s features on the move. It is also interesting to explore and expand on the possibility of VVRs beyond mobile devices, such as Virtual Reality headsets.

My Thanks To

• Artists and Creators whose works I have incorporated to build the mock exhibit in the app
• Andreaa CH, Francesco Ungaro, Aritz Jauregui, Matheus Bertelli, Juan Martin Lopez, Pew Nguyen , Adrien Olichon , Mike B , Poramet amongst many others
• Two Figma community creators (Farshad and Purwa) from whom I have adopted their UI toolkits for the dropdown menu designs I used in my prototype

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The Gallery on Fifth, a seven-story urban living space in Tucson, Arizona, is much more than an apartment complex. It’s an innovative space that celebrates art in every form. From its architecture to furniture to paintings, it’s an immersive experience for the senses. The artistic expressions go beyond the traditional display scene by placing visually stunning and distinct pieces atop each interior door. Each floor has a theme, including Hollywood stars, artists, movie posters, landmarks, and paintings. From Elvis Presley to the Girl with the Pearl Earring to scenes from the world, each door is a beacon of inspiration and conversation. The complex includes 96 doors, requiring a material that would display the art beautifully while still durable enough for constant use.

FINDING THE RIGHT MATERIAL WITHOUT COMPROMISING

Locating a suitable material to use was a significant component of the project. Florencia DeRoussel, principal and director of design at Within Studio, and her team considered durability, performance, and cost. They began to research several options and quickly realized that standard peel and stick paper materials wouldn’t work in a high traffic area. While the peel and stick would have been easy on the budget, DeRoussel considered the total cost of ownership versus the concerns regarding the temporary nature of this material, since the project is permanent. “The peel and stick would have been easy to damage or peel off just from normal use. Water could seep in, too.” The next option considered was commercial vinyl, which is predominantly a material used on car wraps. The film produces vibrant imagery, but they were unsure of its longevity. At this time, DeRoussel reached out to the local Specification Rep at Wilsonart, Joseph Kluger, and they reviewed possibilities, ultimately landing on RE-COVER™ for ease of installation. Kluger mentioned, “The application for these images is in a high-traffic and high-touch space, requiring a material with high endurance. Additionally, they needed something easy to clean and long-lasting. Wilsonart® By You (WXY) met every performance and design need for the space.”

Having the ability to customize the material with the added benefit of durability for cleaning while still creating an art-gall ery-like atmosphere made Wilsonart® RE-COVER™ even more desirable. Kluger added, “The doors won’t just be doors, they’re really going to be art now.” The WXY product combines the high-performance of Wilsonart’s High Pressure Laminate (HPL) with personal customization. HPL delivers long-lasting performance that’s a great sustainable choice and provides a world of possibilities. RE-COVER™ offers a way to combine laminate with a pre-applied adhesive. The material always impacts the look, and these doors need to be vibrant and high-quality. Oftentimes, practicality is chosen over design functionality when specifying a material, but Wilsonart’s fully custom HPL capabilities addressed both design functionality and practicality.

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Laboratory Research Scientist - Tybulewicz Lab

Tybulewicz lab

Immune Cell Biology Laboratory & Down Syndrome Laboratory

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Key information

Laboratory Research Scientist - Genetics of Down Syndrome

This is a full-time, 3-year fixed term contract on Crick terms and conditions of employment.

The Tybulewicz group

Genetics of Down Syndrome Laboratory

The lab is studying the genetics of Down Syndrome (DS). Our aim is to identify genes on human chromosome 21 that are required in three copies to cause DS phenotypes and to establish how increased dosage of these genes causes different aspects of DS pathology. A major focus of the group is to understand why congenital heart defects occur in DS. With collaborators we are also working to understand the neurological aspects of DS. We have generated a series of genetically modified mouse strains with which we can map the location of causative genes, and study pathological mechanisms. The lab currently consists of around 12 researchers including PhD students, postdocs and laboratory research scientists. For more information see the lab website .

Lana-Elola, E. ... Tybulewicz, V. L. J. (2016). Genetic dissection of Down syndrome-associated congenital heart defects using a new mouse mapping panel. eLife , 5 :e11614. doi:10.7554/eLife.11614.001. PMID: 26765563 .

Watson-Scales, S. ... Tybulewicz, V. L. J. (2018). Analysis of Motor Dysfunction in Down Syndrome reveals Motor Neuron Degeneration. PLoS Genetics , 14 :e1007383. PMID: 29746474 .

Ahlfors, H., ... Tybulewicz, V. L. J. (2019). Gene Expression Dysregulation Domains are not a Specific Feature of Down Syndrome. Nat Comms , 10 :2489. doi: 10.1038/s41467-019-10129-9. PMID: 31171815 .

Lana-Elola, E, ... Tybulewicz, VLJ (2021). Comprehensive phenotypic analysis of the Dp1Tyb mouse strain reveals a broad range of Down Syndrome-related phenotypes. Dis Model Mech , 14 , dmm.049157. PMID: 34477842 .

Lana-Elola, E, Aoidi, R ... Tybulewicz, VLJ (2024). Congenital heart defects in Down syndrome are caused by increased dosage of DYRK1A. Sci Transl Med , 16 :eadd6883. PMID: 38266108 .

The role of the Laboratory Research Scientist will be to support the postdocs and PhD students working on the genetics of DS, reporting to the Group Leader, Victor Tybulewicz. The postholder will be responsible for the maintenance of multiple genetically altered mouse colonies that are being used to study the genetics of DS, and for the supply of experimental animals from these colonies to members of the group and to several collaborators outside the group. The postholder may on occasion need to organise the import and rederivation of novel genetically altered mouse strains. Furthermore, the postholder will be actively involved in studies of congenital heart defects in DS, using high resolution imaging microscopy and other cutting-edge imaging methods. The postholder may be involved in the generation of novel genetically altered mouse strains. Finally, the postholder will be responsible for general lab management, including ordering for the lab.

Key responsibilities

These include but are not limited to:

Maintenance of mouse colonies

Ordering for the lab

General Lab management

Supporting research projects of the postdocs and students working on the genetics of Down Syndrome

Analysis of congenital heart defects in mouse models of Down Syndrome

Key experience and competencies

The post holder should embody and demonstrate our core Crick values: bold, open, and collegial, in addition to the following:

BSc (or higher) degree in a relevant subject, e.g. biomedical sciences, genetics

Experience of management of genetically altered mouse strains

Knowledge of mouse genetics

Excellent organisational skills

Experience of mammalian developmental biology

Experience of image analysis

Crick lab/facility

Victor tybulewicz.

• Job title: Principal Group Leader - Assistant Research Director

The Francis Crick Institute is a unique partnership between

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InfoQ Homepage News Netflix Adopts Virtual Threads: a Case Study on Performance and Pitfalls

Netflix Adopts Virtual Threads: a Case Study on Performance and Pitfalls

Aug 05, 2024 3 min read

A N M Bazlur Rahman

Netflix, a long-time Java adopter, recently upgraded to Java 21. They are now harnessing new features such as generational ZGC , introduced in JEP 439, and virtual threads , introduced in JEP 444, to improve performance across its extensive microservices fleet. While virtual threads, designed for high-throughput concurrent applications, showed early promise, they also brought unique challenges in real-world scenarios.

In a recent post on the Netflix Tech Blog, the JVM Ecosystem team shared insights from their experience with virtual threads, particularly an issue where services experienced timeouts and hung instances. The issue was related to the interaction of virtual threads with blocking operations and OS thread availability, resulting in a deadlock-like situation in their SpringBoot-based applications.

Initial diagnostics suggested that virtual threads were implicated in the issue, although they didn't appear in traditional thread dumps. Using jcmd Thread.dump_to_file , the team found thousands of "blank" virtual threads, indicating threads created but not yet running. The issue was traced to Tomcat's request handling, where new virtual threads were created but couldn't be scheduled due to the unavailability of OS threads.

The analysis revealed that Tomcat's virtual thread executor was creating threads for each request, but these threads were stuck waiting for a lock. Specifically, the threads were pinned to OS threads due to blocking operations within synchronized blocks, exacerbated by the limited number of available OS threads in the ForkJoinPool .

The problem resulted from a classic deadlock scenario in which virtual threads could not proceed because the required lock was held by other virtual threads pinned to all available OS threads. This prevented new virtual threads from being scheduled, effectively stalling the application.

To resolve the issue, Netflix's JVM Ecosystem team used a heap dump to inspect the lock's state and confirmed that no thread owned it, yet the threads waiting for it were unable to proceed. This was a transient state that should have resolved but was instead causing a deadlock-like situation.

The team identified the root cause and developed a reproducible test case to prevent similar issues in the future. While virtual threads in Java 21 have shown potential for improving performance by reducing overhead, this case highlights the importance of understanding their interaction with existing threading models and locking mechanisms.

Adding to Netflix's findings, a recent case study on InfoQ also delves into the practical challenges and benefits of virtual threads, particularly in scenarios involving heavy concurrent workloads. This study underscores the need for careful consideration and testing when integrating virtual threads into production systems, as even small architectural details can lead to significant performance impacts.

In addition to virtual threads, Netflix’s adoption of generational ZGC has also played a crucial role in optimizing its systems, as mentioned in one of the recent articles . ZGC, with its ability to maintain low pause times even as heap sizes grow, has significantly improved Netflix's application performance by reducing garbage collection overhead and enhancing responsiveness. More on generational ZGC can be found in this InfoQ news item .

Netflix also has a robust alert system, leveraging its Atlas Streaming Eval platform, which was vital in identifying and diagnosing these issues. The system, designed for improved real-time monitoring and alerting, enabled the team to catch instances in a problematic state and provided critical data for retroactive analysis.

Despite the challenges, Netflix is optimistic about the future of virtual threads and anticipates further improvements in upcoming Java releases, particularly in addressing the integration challenges with locking primitives. This case study is a valuable example for performance engineers and developers as they explore virtual threads in their applications.

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Rate this article, this content is in the java topic, related topics:.

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• Virtual Thread

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Fisheries and Seafood Scheme: Selected case studies

A selection of projects supported by the Fisheries and Seafood Scheme (FaSS).

Since opening in 2021, FaSS has been incredibly successful with £33 million invested in over 1,600 projects supporting England’s catching, aquaculture and processing sectors, as well as projects that are improving the marine environment.

FaSS is currently closed for applications as the budget has been exhausted.  Any updates on future funding will be published through the following link Fisheries and Seafood Scheme - GOV.UK (www.gov.uk) .

This collection of case studies provides examples of a range of projects already supported by FaSS. Details of all successful applicants, and information about the scheme can be found on the Fisheries and Seafood Scheme guidance page.

Case Studies

Cornwall: Value of Seafood - Case study

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More From Forbes

Why solo apps just don’t work: a kardashian case study.

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LOS ANGELES, CA - OCTOBER 27: (L-R) TV personalities Khloe Kardashian and Kim Kardashian watch the ... [+] season opening game between the Los Angeles Clippers and the Los Angeles Lakers at Staples Center on October 27, 2009 in Los Angeles, California. NOTE TO USER: User expressly acknowledges and agrees that, by downloading and or using this photograph, User is consenting to the terms and conditions of the Getty Images License Agreement. Mandatory Copyright Notice: Copyright 2009 NBAE (Photo by Kevork Djansezian/Getty Images)

In today’s world, if one is lucky enough to amass millions of followers or fans, it’s hard not to think of the millions they can help create in revenue.The potential for monetization has been made clear by social media sites and yet, sometimes, what traditional social media has to offer doesn’t seem like enough. That’s where the Kardashians found themselves just shy of a decade ago. They figured that if they could get their “followers” to follow them to their own app, they could charge the followers and convert their follower count into a dollar count. The Kardashians’ logic was sound, and their path is one that’s tempting to follow, however it ended in failure. How did their seemingly bright idea of solo-apps fade? Why hasn’t this become the model for all social media stars?

Content is Queen

Kim Kardashian West made her App Store debut with a game, “Kim Kardashian: Hollywood,” which may have grossed the star and development partner $200 million in annual revenue . The game was free-to-play but players could purchase in-game currency, “K-stars ,” to buy in-game items, like special wardrobe items and furniture . That seemed to pave the way for individual Kardashian sister apps, and in 2015, the whole family got involved.

Kim Kardashian West, Khloé Kardashian, Kendall Jenner and Kylie Jenner each launched their own subscription apps, all of which shot up into the App Store’s top charts . There was no charge for each of the Kardashian-Jenner apps, but they all offered additional content to subscribers who paid $2.99 per month .

The difference between Kim’s initial launch and the subsequent solo apps was that a game has very clear content and an experience that can’t be found anywhere else. However the sister’s solo apps largely shared content that was being offered for free elsewhere—namely on Instagram. This difference was significant: Kim’s game lasted for nearly a decade , whereas the solo apps died within three years. With the rise of social media, consumers are used to obtaining content for free, making monetization even more difficult. Requiring an audience to move to another platform necessitates that celebrities and creators provide a deeper level of access to exclusive content.

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Value is Vital

The importance of ample, quality content in the success of a content creator’s standalone app is made quite apparent by one of the few solo apps that’s still standing: Martha Stewart TV . Martha Stewart has created seasons of beloved television shows and, as she said when the app launched, “ Wherever I go, I am always asked where these classic television shows can be found - everyone misses them .” At launch, her app made over 750 episodes available to an audience that had been wanting them; it added value to her fans’ experience. By contrast, the Kardashian-Jenner apps offered content that could be found elsewhere. As Vox put it, rather bitingly, “ Can you think of a time when you didn’t have easy access to healthy living and motherhood tips from Kourtney Kardashian? Or workout tips and product recommendations from Khloé Kardashian? Or Kylie Jenner’s personal music preferences? ”

Safety in Numbers

While the promise of having one’s own app seems desirable for purposes of hoarding all the possible revenue, there are also problems with being the only celeb on an app. Taylor Swift experienced this pitfall. Her short-lived app The Swift Life , which debuted at #1 in the App Store in 2017, fell to 56th place by day three and plummeted to 793rd in its second week, mainly because its content moderation system couldn’t handle all the racist and homophobic users who seem to have embraced the dedicated app as the perfect place to air all their fury . And Swift wasn’t the only one whose app faced this fate. Jeremy Renner’s app came and went in about six months thanks to the community on the app being unbelievably toxic . But this isn’t the only reason it’s beneficial to be on an app with others. Marketing costs can skyrocket when trying to get fans to download a specific program. They already have so many other apps in the palm of their hand—Instagram, TikTok, et al.—it’s often more cost-effective to distribute content on a shared platform, assuming one can capture the fans’ attention there. Platforms like Patreon, OnlyFans, Substack and Fireside exist to help celebrities and creators maintain control by owning and monetizing their content, while simultaneously providing the same ‘safety in numbers.’ Fans also still have the benefit of accessing all of their content in one place without needing to download additional applications.

Back to Basics

While it’s understandable that the Kardashian-Jenners liked the idea of being a big fish in a small pond—so small that they were the only fish, and it seemed sensible that they might be able to convert their followers to subscribers of their solo app, time has shown that there’s been little to lose for sticking with a shared platform. Every single one of the Kardashian-Jenner sisters has more than doubled their Instagram follower count in the past six years and, as of July 2024, Kourtney has 222 million followers, Kim has 362 million followers, Kylie has 398 million followers, Kendal has 292 million followers and Khloe has 308 million followers . Given that Kylie makes $847,544 per sponsored Instagram post and no longer has any of the costs of keeping up a solo app, she clearly demonstrates that there’s plenty of reason to enjoy being an influencer fish in a big social media pond.

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What Exactly is “Righteous Anger?”

“Do you do well to be angry?”

That’s what God asks Jonah in Jonah 4:4 after the prophet prayed an angry prayer. Jonah is sitting outside of Nineveh watching the city not get destroyed. And he’s hopping mad. He’s mad that they repented. And he’s mad that God relented from judging them.

The first time God answers the question Jonah doesn’t respond. At least not verbally. He built a shelter and sat down to watch. I’m assuming that Jonah wonders if his little fit moved the heart of God to destroy the Ninevites.

While out in the scorching heat, God provides for His stubborn prophet. A plant grows up and gives him shade. But then God decided to give mercy to a hungry worm. As that worm chewed up Jonah’s plant, the prophet once again becomes angry. When a scorching east wind settles upon the now exposed prophet, we hear another lament. Jonah wants to die.

God asks him another question. “Is it right for you to be angry about the plant?”

And then Jonah says it. “It is!” And in fact, God, “I’m so angry I wish I were dead.” I don’t want to live in a world where my plants die and those stupid Ninevites live!!! That’s what Jonah is essentially saying to the Lord. Jonah believes his anger to be righteous.

We can read this story and see that Jonah’s anger is unjustified. But I wonder if we read our own story through a similar lens. Is there such a thing as righteous anger? And if so, how do I know my anger is righteous?

Where Do We Find This Concept in the Bible?

You will not find the phrase “righteous anger” in the Bible. But we can develop this concept, at least when we talk about God, by combining a few things we know to be true. First, we know from Psalm 145:17 that, “The Lord is righteous in all his ways and kind in all his works.” Secondly, we can read in places like Numbers 11:1 that God’s “anger was kindled” against the Israelites for their foolish grumbling. If we combine this with a belief that God is always righteous — we are brought to the conclusion that God is righteous in His anger towards the Israelites.

We might say something similar of Jesus cleansing the temple in the Gospels. He is certainly righteous in this cleansing and it is clear that He is angry. Therefore, we see a human (yes, the God-Man) to be both righteous and angry. But can this be said of us who are not perfectly righteous?

Ephesians 4:26 seems to call us to anger. The NIV has softened this a little by saying, “In your anger do not sin.” But the original is an imperative. “Be angry” (ESV) isn’t an awful translation of an imperative. Many, then, take this to mean that we ought to be angry. Eugene Peterson in the Message even says, “Go ahead and be angry. You do well to be angry…” If that’s correct then I suppose there is a type of anger that is indeed “good” and righteous. Besides, Paul is just borrowing from David in Psalm 4:4 .

James 1:19-20 also tells us to be “slow to anger,” which doesn’t exactly say “never be angry.” Maybe there are some things of which anger is a proper emotional response. Maybe we do well to be angry on occasion.

If there is righteous anger, how do I know my anger is righteous? How do I know I’m not being a Jonah?

How Do You Know if Anger Is Righteous?

We must acknowledge from the beginning that our anger isn’t “righteous” simply because we feel justified in having it. Or that we can build a case for why we have been treated unfairly. Jonah could have done both of those things. Jonah was convinced that his anger was a good thing for him to hold onto. And Jonah was wrong.

We’re not the best judge of whether or not our anger is righteous. We are quick to be deceived. That’s why it is helpful to have at least some baseline biblical criteria for how anger could be righteous. I like the summary Robert Jones gives in his book, Uprooting Anger . He gives us three criteria:

• Righteous anger reacts against actual sin
• Righteous anger focuses on God and His Kingdom, Rights, and Concerns, not on me and my kingdom, rights, and concerns.
• Righteous anger is accompanied by other godly qualities and expresses itself in godly ways

We might say that Jonah would have been right to be angry about the sin of the Ninevites. Their horrible treatment of people and their defaming of God was worth Jonah’s anger. But when they repented and he was still angry, that tells us more was going on. He didn’t want their redemption. He wanted their destruction. Why? Because Jonah’s heart was really offended for his kingdom and not God’s. Therefore, his anger wasn’t accompanied by those other godly qualities. And he certainly was right to be mad at God for his little plant dying.

Compare this with Jesus in the temple. He’s angry at actual sin. They are making the temple a den of robbers. But it’s not even about them turning the temple into a Wal-Mart. The bigger issue is they are blocking would-be worshippers out of the kingdom. They are trying to make a buck off the poor and vulnerable. Jesus’ words echo the heart of Jeremiah’s complaint — the people are unrighteous and building their own fallen kingdom instead of one which honors God and creates flourishing for even the weakest members of their society.

Jesus is angry at this injustice. His anger isn’t about Himself (at least not in His humanity). Even here I think we could argue that His heart beats for the repentance of the religious leaders. He didn’t sit outside Jerusalem waiting for their destruction, He bled there in hopes they’d come to repentance.

All this to say, I think there is such a thing as righteous anger. I’m just not sure we fallen humans are capable of it. At times our anger might begin with mostly righteousness, but it quickly morphs into something else. I’m not confident we’re all that capable of righteous anger, nor am I convinced it’s a characteristic we are supposed to pursue. A closer look at Ephesians 4:26 will be helpful.

Does Ephesians 4:26 Really Teach Righteous Anger?

“In your anger do not sin: Do not let the sun go down while you are still angry.”

As you can see from some different translations of Ephesians 4:26 , there is some debate about how to handle the imperative in that verse. Is it a command to be angry? Or is it saying something closer to the NIV, “In your anger do not sin…”?

An indicative is a statement. “The trash is smelly.” An imperative is a command. “Take out the trash!” But sometimes an imperative can be what is called a concessive. Take as an example John 7:52 . Here the religious leaders are challenging people to go look at the Scriptures and see if a prophet comes from Galilee. The meaning is something like, “If you go check it out (imperative), you’ll find that a prophet doesn’t come from Galilee.”

Most Greek scholars believe that the imperative in Ephesians 4:26 is doing something similar. The main point Paul is making here is clearly that anger shouldn’t be maintained. I find it strange then that we would think this verse is encouraging people to pursue anger. “Pursue it, but drop it really quickly” seems like a strange command.

This is especially the case when we consider a few verses down we are said to “Let all bitterness and wrath and anger  … be put away.” Why would Paul command the church to pursue something, drop something, and then a few verses down say to put every bit of it away? It doesn’t make much sense in the context. Maybe it would be better, then, to say, “You’re going to get angry. But when you do. Deal with it before bedtime. Don’t nourish this thing.”

Keep Your Eyes on the Gospel

There is much more that could be said here but I’ll sum it up this way: Yes, there is such a thing as righteous anger. But I doubt this side of glory we humans fully experience it. Sin is far too mixed, even in the heart of those declared righteous by Christ.

My thinking on this is that there will be times when true righteous anger will bubble up when we see or experience an injustice. Some of our anger will have righteousness in it. But it will seldom stay there. As soon as we declare ourselves righteous, we tend to lose sight of the gospel. And when we lose sight of the gospel, well, bad stuff happens in our hearts.

The problem with a focus on righteous anger is that we’re usually trying to declare ourselves righteous. And when we do this, we put ourselves in the position of Jonah. We are prone to stand outside of Nineveh comforting ourselves with our own righteousness until we are confronted with the God of mercy. Jonah could have been celebrating inside Nineveh. He could have been swimming in an ocean of grace. He chose His self-declared righteous anger.

The anger of man does not bring about the righteousness of God. But the good news of Jesus does.

Source Robert Jones, Uprooting Anger , 29-30

Photo credit: ©Getty Images/ideabug

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Modelling ecological hazards and causal factors in the yellow river basin’s key tributaries: a case study of the kuye river basin and its future outlook.

1. Introduction

2. materials and methods, 2.1. overview of study area, 2.2. data sources, 2.3. research methodology, 2.3.1. research framework, 2.3.2. land use structure, 2.3.3. landscape patterns and landscape ecological risk, 2.3.4. geographical detectors, 2.3.5. plus model, 3.1. spatiotemporal distribution of land use, 3.2. land use dynamic structure, 3.3. landscape ecological risk assessment results, 3.3.1. landscape pattern index, 3.3.2. spatiotemporal dynamics of landscape ecological risk, 3.4. driving factors of landscape ecological risk, 3.4.1. power of determinant, 3.4.2. interactive detection, 3.4.3. landscape ecological risk zone detection and analysis, 3.5. scenario simulation prediction of future development of land use and landscape ecological risk, 3.5.1. land use prediction results, 3.5.2. landscape ecological risk prediction results, 4. discussion, 4.1. analysis of land use and landscape ecological risks, 4.2. analysing natural and social economic factors, 4.3. optimisation suggestions for future regulatory measures and policy formulation, 5. conclusions, author contributions, institutional review board statement, informed consent statement, data availability statement, conflicts of interest.

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Wu, Y.; Qin, F.; Dong, X.; Li, L. Modelling Ecological Hazards and Causal Factors in the Yellow River Basin’s Key Tributaries: A Case Study of the Kuye River Basin and Its Future Outlook. Sustainability 2024 , 16 , 6977. https://doi.org/10.3390/su16166977

Wu Y, Qin F, Dong X, Li L. Modelling Ecological Hazards and Causal Factors in the Yellow River Basin’s Key Tributaries: A Case Study of the Kuye River Basin and Its Future Outlook. Sustainability . 2024; 16(16):6977. https://doi.org/10.3390/su16166977

Wu, Yihan, Fucang Qin, Xiaoyu Dong, and Long Li. 2024. "Modelling Ecological Hazards and Causal Factors in the Yellow River Basin’s Key Tributaries: A Case Study of the Kuye River Basin and Its Future Outlook" Sustainability 16, no. 16: 6977. https://doi.org/10.3390/su16166977

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