Trump's "sheriff star" tweet marks another unforced error for the campaign, in what's become an almost constant stream of gaffes and blunders.
Enjoy Juno's trip to Jupiter — after that we'll see a little gap in planetary science missions from the U.S. That's because a NASA budget crunch several years ago left fewer missions in the pipeline.
London-based tech companies face the uncertainty of the upcoming exit from the European Union. Many worry about less investment and less access to the talent they need to grow. Some may just leave.
The Lumineers are among many artists frustrated by people on their mobile devices during performances. Their singer explains why they're asking fans to lock up their phones with a new technology.
Western Australia's government is seeking the power to approve activities that could ‘take or disturb' an endangered species
Western Australia's government could have the power to approve activities that could make a threatened species extinct, under biodiversity laws now before state parliament.
The provision has been dubbed “the God clause” by scientists and conservationists, who say giving the environment minister discretion to effectively authorise the extinction of a species contradicts the very purpose of biodiversity legislation.
Related: Numbats given reprieve as WA council scraps plans for rubbish dump
Related: Global biodiversity targets won't be met by 2020, scientists say
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Few things can ruin a good run like turning a corner and facing a towering hill. You were making good time! You were flying along and everything felt great and the robot lady on your running app was whispering excellent numbers into your ear. Now that all comes to an end. You must trudge.
Hills are as much a mental challenge as a physical one. If you fear hills, it's hard to get better at running them. Maybe you can't turn off gravity, but you can change the way you think.
This is an especially important point in races, and anytime you're running with other people. No matter how much you slow down, remember that everyone else is slowing down too. Even the people that have their heads high and look like they're breathing easy. Those people know how to run hills (and soon you will, too) but gravity applies to them just as it does to you. They are fighting to chug up the hill. They are much slower, now, than they were on the flat a few minutes ago. That's normal.
So don't be discouraged that you, too, slow down when you hit a hill. Just like the speedsters are faster than you on the flat, some people will be faster than you on a hill. When people start passing you, you can't wish yourself stronger. All you can do is use the strength that you have today, however much or how little that might be.
We've explained hill running techniques before, but one part is crucial: you can't let yourself work harder on the hill than on flat ground. Does that sound impossible? Remember, you're slower on the hills. You know this, so you're allowing yourself to go slow. Even embarassingly slow. (But now that you understand this, you won't be embarrassed.) You must go so slow that the hill no longer feels difficult.
http://vitals.lifehacker.com/how-to-run-hil...
The easiest way to do this is to listen to the rhythm of your footsteps. When the road starts to slope upwards, keep that rhythm the same, but make your strides smaller. It may feel like you're only moving by an inch with each step. That's okay. You're still moving.
It only takes about ten seconds to gauge whether your steps are small enough. If you're out of breath, try again: step even smaller. You need to find the place where you're not working any harder than you would be on flat ground.
What if you're stepping so small that it would be faster to just walk? There are two answers to this. If you're in a race, do whatever is faster for the same effort. On very steep hills, that might be walking. But if you're on a training run where pace isn't super important, practice running even if you're slow. That will build the right muscles so someday soon you will be able to run faster.
If you end up walking because you started up the hill too fast, that's okay. Walking does not mean giving up. Keep up the same effort level as when you were jogging on the flat. Stay strong. Keep climbing.
Now that you're locked in to the perfect pace, do not look up. Hold your head high, because that's good running form, but don't pay attention to the top of the hill. There are two reasons for this.
First, the top of the hill is an illusion. If you pick a spot that looks like the top, and decide your effort will be over when you reach that spot, you'll find when you arrive that you are not at the top after all.
Second, this isn't a sprint with a finish line. You chose a pace that feels easy, so you shouldn't be longing for the stretch to end. I once tried to explain this to my son in terms of the fable about the tortoise and the hare. You don't want to sprint like the hare, because you'll get tired, I said. But before I could blurt out some advice about going “slow,” he explained it better than I could. “OK, not rabbit fast,” he said. “I'll go turtle fast.”
You can go turtle fast forever. It doesn't matter how far away the top of the hill is. It could be ten paces, it could be ten miles. You're going, and that's all that counts. Don't look up.
When you tell yourself that you're good at hills, it becomes true. Skeptical? Go out and run a small hill this week. Use these techniques and try to make your climb feel easy and great. Now, stick that happy easy hill run into your mental highlight reel. The next time you hit a monster hill, smile. You know hills. You're good at hills. You've got this.
http://vitals.lifehacker.com/make-a-mental-...
Even with that minimal preparation, you have a real advantage over the hill-phobes: confidence. They fear the hill and stop, walk, feel defeated, feel that they failed. You hit the same hill and slow down, but you are in your element. You are not afraid to keep moving. You respect the hill, but you conquer it.
Illustration by Angelica Alzona.
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Harvesting the eggs, sperm and tissue of endangered animals for future cloning is a good plot for a horror film, but not reality (Report, 5 July). We need to spend time and resources on saving existing animals whose natural habitats are fast disappearing, rather than trying to resurrect them. Cloning animals after they've vanished from nature is fraught with problems, such as severe birth defects, premature degenerative diseases and poor immunity. If wild animals were cloned, they would likely end up in zoos, denied the opportunity to do almost anything natural and enjoyable, just like the polar bears, elephants and other animals currently kept captive. It is inarguably urgent to save threatened species' habitats, but inflicting pain and torture is not the answer. If Dolly has taught us one thing, it's that cloning animals belongs only in sci-fi stories.
Jennifer White
London
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Daily Mail | Washington University to train locusts to 'sniff out explosives' Daily Mail A team of engineers from Washington University in St. Louis hopes to breed 'cyberinsects' tuned to smell out explosives. Wing tattoos will allow researchers to steer the insects remotely. HOW IT WILL WORK. Researchers hope to develop and demonstrate a ... Cyborg locusts being developed to sniff out explosivesITV News Scientist Wants to Engineer Locusts Into Remote-Controlled Bomb DetectorsGizmodo Why is the Navy paying to engineer hordes of tattooed robot locusts?TrustedReviews BBC News -The Stack -Telegraph.co.uk -Engadget all 12 news articles » |
The Guardian | Amazon moves one step closer toward army of warehouse robots The Guardian Kiva robots transport goods at an Amazon Fulfillment Center, ahead of the Christmas rush, in Tracy, California in 2014. Photograph: Noah Berger/Reuters. Sam Thielman in New York. @samthielman. Tuesday 5 July 2016 15.15 EDT Last modified on Tuesday ... Amazon robot competition won by shelf stacking AI that could one day be used in warehousesThe Independent Team Delft Wins Amazon Picking ChallengeIEEE Spectrum Amazon robots close to replacing the rest of warehouse workersExtremeTech The Verge -BBC News -Engadget -Tech News Today all 23 news articles » |
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You don't need animal protein to bulk up: just look at the gorilla, hippo, rhino, and elephant -- all herbivores!
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Read more: Environment, National Monuments, Sierra Club, Public Lands, Stonewall, Green News
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The Islamic holy month of Ramadan is a time of reflection and prayer. Muslims refrain from eating, drinking, smoking, and sex during the daylight hours in order to focus on spirituality, good deeds, and charity. When the sun sets, communities come together for Iftar, the breaking of the fast. Now that the month has come to a close, Eid al-Fitr, or the festival of the breaking of the fast, begins. We looked at Ramadan earlier this month, but there were just so many more great photographs, we're doing it again.
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Sunset over Tottenham
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Oystermouthcastle, castle / swansea / wales / united kingdom
The early castle[edit]
The first castle was founded by William de Londres of Ogmore Castle soon after 1106 following the capture of Gower by the Normans. In 1116 the Welsh of Deheubarth retook the Gower Peninsula and forced William to flee his castle which was put to the torch. The castle was rebuilt soon afterwards, but was probably destroyed again in 1137 when Gower was once more retaken by the princes of Deheubarth. The Londres or London family finally died out in 1215 when Gower was again taken by the Welsh under the leadership of Llywelyn the Great. In 1220 the Welsh were expelled from the peninsula and the government of Henry III of England returned the barony of Gower to John de Braose who rebuilt both Swansea Castle and Oystermouth.
The Horniman's Festival of Brasil is a cocktail of culture, costumes and chaos and carnival spirit is just what we need this British so-called summertime
How could I stop thinking about Britain's misery? There I was, in a sunny south London park on a Sunday afternoon, dully reading political news on my phone, when I was persuaded to put on a cow mask and skirt and join in a carnival. Crisis? What crisis? It was time to parade and dance.
Led by a mirror-shaded policeman riding a hobbyhorse and seduced by trumpeters and drummers, a crowd of dazed Brits embraced a Brazilian festive fever. We became a small part of Rio de Janeiro. As the carnival director told us, the point was not to show off our costumes but to go wild and enjoy ourselves without inhibitions, by dancing to that infectious beat, throwing ourselves to the ground, forming human tunnels. And doing a hokey cokey in which everyone near me shouted “In”'. (Turns out, you can't escape the aftermath of the EU referendum.)
Related: Wild walks, slides and crazy golf: art shows to throw yourself into
Continue reading...From superstar cantors to Streisand and CBGB's roster of rebels, Jews have played an influential part in the rise of popular music. The new exhibition Jukebox, Jewkbox! charts the highs of Yiddish theatre, punk politics and Israeli folk
Coca Cola Zero Sugar has been re-launched in the UK, backed by a £10 million ad campaign, a new name and new design.
Formerly Coke Zero, the renamed drink fits in with other products in the Coke family as part of it's “one brand” strategy, as we found out from vice president of global design at Coca-Cola James Somerville in April. You can read the full story here.
The new Coca Cola Zero Sugar design, which features a red disk was unveiled in April but only rolls out to the UK market now. It carries the strapline “Taste's more like Coke, looks more like Coke”.
The new campaign and the positioning are part of Coca Cola's drive to encourage consumers to cut down the amount of sugar they consume.
Coke Zero's last overhaul was in 2014, which was designed by Bulletproof and positioned around a “Just add Zero” campaign.
The post Coke Zero rebrands as Coca Cola Zero Sugar with message of moderation appeared first on Design Week.
It's been a tough year for charities. According to a report by the Charity Commission, their reputation has collapsed. We're uncomfortable with their aggressive fundraising, we distrust how they spend our money and we have doubts about the difference they make to the causes we support.
Design can't change the way charities behave. But the connections they make with us are what creates trust, so their need to communicate well is greater now than ever.
It's been decades since charities first latched onto the importance of identity so why does the sector still look like a design scrapyard? Why is it awash with clichés and me-too design? What's with all the corny people icons, fake kid's drawings, and vacuous, clipart-like symbols? Why are so many charity identities mind-numbingly ordinary if not downright garbage?
A shortage of half-sensible budgets is one reason. But there's more to it than that. Charities do themselves all sorts of disfavours. They like jumping on bandwagons. They're inclined to imitate rather than embrace ideas that are individual to them. And they want to be loved by everyone, which can make impossible demands on their communications.
What's more, charities can be exasperating to deal with because of their governance and the “democratic” way they're managed. Trustees usually have the final say on a new identity, but they generally know little or nothing about communications so their opinions can be irritatingly subjective.
So here's how to survive in the curious world of charity identity and how to go about conjuring up work that invites people in and makes them want to know more.
Stop peddling snake oil
You know who you are. You use words like differentiation, touchpoints, behaviours and learnings. Time and again, gibberish is passed off as “brand insight” and the upshot is work that's not what it's cracked up to be. Quit trying to bamboozle people and do your job properly. If you expect charities to behave with honesty, integrity and straightforwardness, you should too.
Listen
Listening is the most important thing designers do. Everyone's got stories to tell so listen to trustees, listen to management, listen to staff and listen to volunteers. You only learn things when you listen.
Have an opinion
In the creativity game, you're not a player unless you've got an opinion. Be single-minded. Don't waste time trying to please everyone. Be crystal-clear about what you need to do and get on with it. One bloody good idea is all it takes.
Trust your intuition
Charities are increasingly risk-averse. Consultation and research are used to lessen the risk of failure rather than boost the chance of success. Design should be about the sheer joy and excitement of doing things that haven't been done before. So if you want your work to be truly unforgettable, you've got to be daring and you've got to trust your intuition it's always right.
Don't take no for an answer
Intelligent, idiosyncratic identities can be hard to sell because they drag people into their discomfort zone. Charities are inclined to resist ideas that rock the boat, so design that's never going to get noticed usually wins the day. Don't let it happen. Gutsy, ballsy, feisty ideas are what charities really need and it's up to you to make sure that's what they get.
Idiosyncratic + ruthless = unforgettable
I've said it before and I'll say it again, this is my formula for an unforgettable identity. It has to be idiosyncratic; that's to say, everything an organisation says and does and the way it looks should be so individual and characteristically ‘them' that they just couldn't be mistaken for any other. It's those idiosyncrasies that need to be uncovered, given form and voice, and ruthlessly protected.
John Spencer is the founder and creative director of Offthetopofmyhead
The post How to rebrand a charity and do it well appeared first on Design Week.
Technology brand Dyson will open its first ever permanent London store this week, which will allow people to try out products first-hand and learn about the science behind them.
The Dyson Demo is based on Oxford Street, and showcases the company's portfolio of products including its regular, cordless and autonomous vacuum cleaners, purifier fans, LED lighting and the recently launched Supersonic hairdryer.
Dyson Demo has been designed by Dyson in partnership with WilkinsonEyre, the architectural practice which also recreated the brand's headquarters and factory in Malmesbury, Wiltshire in a £250 million project in 2014.
The space is spread over two floors the ground floor features white plinths presenting the portfolio of products, including the Dyson Pure Cool Link purifier fan, the Dyson 360 Eye robot (robot vacuum cleaner), Supersonic hairdryer, and the Cu-Beam lighting range.
The walls are also adorned with copies of the V8 cord-free vacuum, alongside pots containing different types of dust, food and debris. Visitors are then invited to test the vacuum cleaner on four different floor surfaces, with the dirt of their choice.
A glass staircase designed by WilkinsonEyre leads to the first floor, which includes hair salon stations where visitors can have their hair styled with the Supersonic hairdryer. The area also includes moving, mechanical installations which demonstrate the product testing phase of the hairdryer on real samples of human hair.
Dyson “experts”, who work alongside engineers at the headquarters in Malmesbury, will also be stationed around the store at all times for visitors to speak to about the science behind the products.
Tom Mogridge, a Dyson senior design engineer, says that these “experts” “understand how the engineers think” and have “good insight into the company's products”. “It's really exciting that a product that I've worked on is able to be demonstrated for visitors in store,” he says.
The space also includes digital screens used across walls, which show the products in action.
There are no tills, but visitors are able to buy products in-store once they have spoken to somebody and tested out a product.
Jake Dyson, research, design and development director, and the son of company founder James Dyson, says: “The Dyson Demo encourages people to be hands-on. It's all about showing the inner workings of products it's really important to demonstrate them first hand so people understand the engineering behind them.”
Max Conze, chief executive officer at Dyson, adds that the space will help to educate visitors about the “fundamentally different ways” that Dyson technology works, and will “bring engineering to life”.
The space will also be used for engineering workshops for school children during holidays, hosted by the James Dyson Foundation.
The Dyson Demo concept was originally created in Paris, France in 1999, also designed by WilkinsonEyre. A space was created in Tokyo, Japan last year, and in Jakarta, Indonesia earlier this year. Dyson hopes to roll out more Demo retail spaces worldwide, including in the U.S.
The interactive learning environment concept is similar to that of Apple, which opened a San Francisco learning space earlier this year. The first similar conceptual Apple store was opened in 2001.
The Dyson Demo London retail space is based at 447 Oxford Street, London and opens 6 July.
The post Dyson “brings engineering to life” with new London store appeared first on Design Week.
Doppler Labs has designed a set of sound-customising earphones, which can be used for everything from dealing with an open office to amplifying hearing.
The product includes two wireless bluetooth earbuds and a connected mobile app that use Doppler Labs' sound-morphing technology.
A limited release of 10,000 of its first generation Hear Active Listening earphones were distributed in January to people including early backers and professional musicians.
They had several features, including real-world volume control, EQ and sound effects.
The earphones were tried out at events such as LA music festival, Coachella, where users were able to customise their festival experience by altering sound settings such as the bass level.
While Hear Active Listening received positive feedback when it came to music functionality, the tech company's focus for the second generation Here One earphones was more on everyday use.
Features include highly targeted adaptive filtering, meaning that the wearer will be able to block out or turn down sounds such as sirens or crying babies, as well as layered listening that blends the sound coming from the headphones with the outside world.
This means that in the future you could be watching a baseball game in person while having commentary layered over the top.
Here One goes on sale to the public in November, and will cost $299 (£228).
The post Doppler Labs set to launch earphones that can control background noise appeared first on Design Week.
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Slovenian Minister of Economic Development and Technology, Zdravko Počivalšek (left), and ESA Director General Johann-Dietrich Woerner, with the Association Agreement for Slovenia at the official signing ceremony at ESA Headquarters in Paris, on 5 July 2016.
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On July 4th, NASA Television aired live coverage of the solar-powered Juno spacecraft's arrival at Jupiter after an almost five-year journey. Juno is the first spacecraft to orbit the poles of our solar system's most massive planet. It will circle the Jovian world 37 times during 20 months, skimming to within 3,100 miles (5,000 kilometers) above the cloud tops, providing new answers to ongoing mysteries about the planet's core, composition and magnetic fields.
After an almost five-year journey to the solar system's largest planet, NASA's Juno spacecraft successfully entered Jupiter's orbit during a 35-minute engine burn. Confirmation that the burn had completed was received on Earth at 8:53 p.m. PDT (11:53 p.m. EDT) Monday, July 4.
“Independence Day always is something to celebrate, but today we can add to America's birthday another reason to cheer -- Juno is at Jupiter,” said NASA administrator Charlie Bolden. “And what is more American than a NASA mission going boldly where no spacecraft has gone before? With Juno, we will investigate the unknowns of Jupiter's massive radiation belts to delve deep into not only the planet's interior, but into how Jupiter was born and how our entire solar system evolved.”
Confirmation of a successful orbit insertion was received from Juno tracking data monitored at the navigation facility at NASA's Jet Propulsion Laboratory (JPL) in Pasadena, California, as well as at the Lockheed Martin Juno operations center in Littleton, Colorado. The telemetry and tracking data were received by NASA's Deep Space Network antennas in Goldstone, California, and Canberra, Australia.
“This is the one time I don't mind being stuck in a windowless room on the night of the 4th of July,” said Scott Bolton, principal investigator of Juno from Southwest Research Institute in San Antonio. “The mission team did great. The spacecraft did great. We are looking great. It's a great day.”
Preplanned events leading up to the orbital insertion engine burn included changing the spacecraft's attitude to point the main engine in the desired direction and then increasing the spacecraft's rotation rate from 2 to 5 revolutions per minute (RPM) to help stabilize it..
The burn of Juno's 645-Newton Leros-1b main engine began on time at 8:18 p.m. PDT (11:18 p.m. EDT), decreasing the spacecraft's velocity by 1,212 miles per hour (542 meters per second) and allowing Juno to be captured in orbit around Jupiter. Soon after the burn was completed, Juno turned so that the sun's rays could once again reach the 18,698 individual solar cells that give Juno its energy.
“The spacecraft worked perfectly, which is always nice when you're driving a vehicle with 1.7 billion miles on the odometer,” said Rick Nybakken, Juno project manager from JPL. “Jupiter orbit insertion was a big step and the most challenging remaining in our mission plan, but there are others that have to occur before we can give the science team the mission they are looking for.”
Over the next few months, Juno's mission and science teams will perform final testing on the spacecraft's subsystems, final calibration of science instruments and some science collection.
“Our official science collection phase begins in October, but we've figured out a way to collect data a lot earlier than that,” said Bolton. “Which when you're talking about the single biggest planetary body in the solar system is a really good thing. There is a lot to see and do here.”
Juno's principal goal is to understand the origin and evolution of Jupiter. With its suite of nine science instruments, Juno will investigate the existence of a solid planetary core, map Jupiter's intense magnetic field, measure the amount of water and ammonia in the deep atmosphere, and observe the planet's auroras. The mission also will let us take a giant step forward in our understanding of how giant planets form and the role these titans played in putting together the rest of the solar system. As our primary example of a giant planet, Jupiter also can provide critical knowledge for understanding the planetary systems being discovered around other stars.
One of Juno's primary missions is to peer deep inside the gas giant and unravel the mystery of how it generates its powerful magnetic field, the strongest in the solar system. One theory is that about halfway to Jupiter's core, the pressures and temperatures become so intense that the hydrogen that makes up 90 percent of the planet -- molecular gas on Earth -- looses hold of its electrons and begins behaving like a liquid metal. Oceans of liquid metallic hydrogen surrounding Jupiter's core would explain its powerful magnetic field.
The Juno spacecraft launched on Aug. 5, 2011 from Cape Canaveral Air Force Station in Florida. JPL manages the Juno mission for NASA. Juno is part of NASA's New Frontiers Program, managed at NASA's Marshall Space Flight Center in Huntsville, Alabama, for the agency's Science Mission Directorate. Lockheed Martin Space Systems in Denver built the spacecraft. The California Institute of Technology in Pasadena manages JPL for NASA.
The Daily Galaxy via NASA/JPL
Hundreds of hidden nearby galaxies have been studied for the first time, shedding light on a mysterious gravitational anomaly dubbed the Great Attractor, which appears to be drawing the Milky Way and hundreds of thousands of other galaxies towards it with a gravitational force equivalent to a million billion Suns. Despite being just 250 million light years from Earth--very close in astronomical terms--the new galaxies had been hidden from view until now by the Milky Way.
Using CSIRO's Parkes radio telescope equipped with an innovative receiver, an international team of scientists were able to see through the stars and dust of the Milky Way, into a previously unexplored region of space. Lead author Lister Staveley-Smith, from The University of Western Australia node of the International Centre for Radio Astronomy Research (ICRAR), said the team found 883 galaxies, a third of which had never been seen before. "The Milky Way is very beautiful of course and it's very interesting to study our own galaxy but it completely blocks out the view of the more distant galaxies behind it," he said.
Staveley-Smith said scientists have been trying to get to the bottom of the mysterious Great Attractor since major deviations from universal expansion were first discovered in the 1970s and 1980s. "We don't actually understand what's causing this gravitational acceleration on the Milky Way or where it's coming from," he said.
The Milky Way resides in the outskirts of the Laniakea Supercluster, 500 million light-years in diameter and contains the mass of one hundred million billion Suns spread across 100,000 galaxies.. Within the boundaries of the Laniakea Supercluster, galaxy motions are directed inward, in the same way that water streams follow descending paths toward a valley. The Great Attractor region is a large flat bottom gravitational valley with a sphere of attraction that extends across the Laniakea Supercluster.
"We know that in this region there are a few very large collections of galaxies we call clusters or superclusters, and our whole Milky Way is moving towards them at more than two million kilometers per hour."
"Laniakea," which means "immense heaven" in Hawaiian. This discovery clarifies the boundaries of our galactic neighborhood and establishes previously unrecognized linkages among various galaxy clusters in the local Universe.The Milky Way resides in the outskirts of the supercluster, whose extent has for the first time been carefully mapped using these new techniques. This so-called Laniakea Supercluster is 500 million light-years in diameter and contains the mass of one hundred million billion Suns spread across 100,000 galaxies.
This study also clarifies the role of the Great Attractor, a gravitational focal point in intergalactic space that influences the motion of our Local Group of galaxies and other galaxy clusters. Within the boundaries of the Laniakea Supercluster, galaxy motions are directed inward, in the same way that water streams follow descending paths toward a valley. The Great Attractor region is a large flat bottom gravitational valley with a sphere of attraction that extends across the Laniakea Supercluster.
The Milky Way and its neighboring Andromeda galaxy, along with some 30 smaller ones, form what is known as the Local Group, which lies on the outskirts of a “super cluster”—a grouping of thousands of galaxies—known as Virgo shown in the image above, which is also pulled toward the Great Attractor. Based on the velocities at these scales, the unseen mass inhabiting the voids between the galaxies and clusters of galaxies amounts to perhaps 10 times more than the visible matter.
Even so, adding this invisible material to luminous matter brings the average mass density of the universe still to within only 10-30 percent of the critical density needed to "close" the universe. This phenomena suggests that the universe be "open." Cosmologists continue to debate this question, just as they are also trying to figure out the nature of the missing mass, or "dark matter."
It is believed that this dark matter dictates the structure of the Universe on the grandest of scales. Dark matter gravitationally attracts normal matter, and it is this normal matter that astronomers see forming long thin walls of super-galactic clusters.
Recent measurements with telescopes and space probes of the distribution of mass in M31 -the largest galaxy in the neighborhood of the Milky Way- and other galaxies led to the recognition that galaxies are filled with dark matter and have shown that a mysterious force—a dark energy—fills the vacuum of empty space, accelerating the universe's expansion.
Astronomers now recognize that the eventual fate of the universe is inextricably tied to the presence of dark energy and dark matter.The current standard model for cosmology describes a universe that is 70 percent dark energy, 25 percent dark matter, and only 5 percent normal matter.
We don't know what dark energy is, or why it exists. On the other hand, particle theory tells us that, at the microscopic level, even a perfect vacuum bubbles with quantum particles that are a natural source of dark energy. But a naïve calculation of the dark energy generated from the vacuum yields a value 10120 times larger than the amount we observe. Some unknown physical process is required to eliminate most, but not all, of the vacuum energy, leaving enough left to drive the accelerating expansion of the universe.
A new theory of particle physics is required to explain this physical process. The new "dark attractor" theories skirt the so-called Copernican principle that posits that there is nothing special about us as observers of the universe suggesting that the universe is not homogeneous. These alternative theories explain the observed accelerated expansion of the universe without invoking dark energy, and instead assume we are near the center of a void, beyond which a denser "dark" attractor pulls outwards.
In a paper in Physical Review Letters, Pengjie Zhang at the Shanghai Astronomical Observatory and Albert Stebbins at Fermilab show that a popular void model, and many others aiming to replace dark energy, don't stand up against telescope observation.
Galaxy surveys show the universe is homogeneous, at least on length scales up to a gigaparsec. Zhang and Stebbins argue that if larger scale inhomogeneities exist, they should be detectable as a temperature shift in the cosmic microwave background—relic photons from about 400,000 years after the big bang—that occurs because of electron-photon (inverse Compton) scattering.
Focusing on the “Hubble bubble” void model, they show that in such a scenario, some regions of the universe would expand faster than others, causing this temperature shift to be greater than what is expected. But telescopes that study the microwave background, such as the Atacama telescope in Chile or the South Pole telescope, don't see such a large shift.
Though they can't rule out more subtle violations of the Copernican principle, Zhang and Stebbins' test reinforces Carl Sagan's dictum that "extraordinary claims require extraordinary evidence."
Superclusters are among the largest structures in the known Universe. They are made up of groups, like our own Local Group, that contain dozens of galaxies, and massive clusters that contain hundreds of galaxies, all interconnected in a web of filaments. Though these structures are interconnected, they have poorly defined boundaries.
"We have finally established the contours that define the supercluster of galaxies we can call home," said R. Brent Tully, an astronomer at the University of Hawaii at Manoa. "This is not unlike finding out for the first time that your hometown is actually part of much larger country that borders other nations."
To better refine cosmic mapmaking, the researchers are proposing a new way to evaluate these large-scale galaxy structures by examining their impact on the motions of galaxies. A galaxy between structures will be caught in a gravitational tug-of-war in which the balance of the gravitational forces from the surrounding large-scale structures determines the galaxy's motion.
By using the GBT and other radio telescopes to map the velocities of galaxies throughout our local Universe, the team was able to define the region of space where each supercluster dominates. "Green Bank Telescope observations have played a significant role in the research leading to this new understanding of the limits and relationships among a number of superclusters," said Tully.
The name Laniakea was suggested by Nawa'a Napoleon, an associate professor of Hawaiian Language and chair of the Department of Languages, Linguistics, and Literature at Kapiolani Community College, a part of the University of Hawaii system. The name honors Polynesian navigators who used knowledge of the heavens to voyage across the immensity of the Pacific Ocean.
The GBT is the world's largest fully steerable radio telescope. Its location in the National Radio Quiet Zone and the West Virginia Radio Astronomy Zone protects the incredibly sensitive telescope from unwanted radio interference.
The new CSIRO research identified several new structures that could help to explain the movement of the Milky Way, including three galaxy concentrations (named NW1, NW2 and NW3) and two new clusters (named CW1 and CW2). The study involved researchers from Australia, South Africa, the U.S. and the Netherlands, and was published in the Astronomical Journal.
University of Cape Town astronomer Renée Kraan-Korteweg said astronomers have been trying to map the galaxy distribution hidden behind the Milky Way for decades. "We've used a range of techniques but only radio observations have really succeeded in allowing us to see through the thickest foreground layer of dust and stars," she said. "An average galaxy contains 100 billion stars, so finding hundreds of new galaxies hidden behind the Milky Way points to a lot of mass we didn't know about until now."
The Daily Galaxy via PhysRevLett.107.041301, International Center for Radio Astronomy Research and NRAO
Image credit: Top of page with thanks to artist Adam Dalton
Syrphid fly (Parasyrphus nigritarsis) collected in Jasper National Park, Alberta, Canada, and photographed at the Centre for Biodiversity Genomics (sample ID: BIOUG07948-D02; specimen record: http://www.boldsystems.org/index.php/Public_RecordView?processid=SSJAE1806-13; BIN: http://www.boldsystems.org/index.php/Public_BarcodeCluster?clusteruri=BOLD:AAL3230)
The illustrator behind the vegan cookbooks “Defensive Eating with Morrissey” and “Comfort Eating with Nick Cave” shares some tasty morsels…
We asked Don what he feels about the way people are using terms like “UX” and “user experience” these days.
marco18678 posted a photo:
Cinema's paradoxical fascination with sightlessness has spawned movies as diverse as Terence Young's 1967 thriller Wait Until Dark, Takeshi Kitano's 2003 martial-arts actioner Zatôichi and Eskil Vogt's prurient 2014 psychodrama Blind. Yet few films have portrayed the absence of vision with any degree of insight. Honourable exceptions include British film-maker Gary Tarn's 2005 documentary Black Sun, an electrifying, expressionist portrait of painter and photographer Hugues de Montalembert, who found new ways of seeing after being blinded by a violent attack in 1978.
The film highlights the growing tactility of Hull's world, closing in on the sources of sound
Related: John Hull obituary
Continue reading...Katharina Grosse creates a seafront installation at NY's Fort Tilden
Hey guys!
We've made rebranding couple weeks ago and currently we're working on other assets of our identity.
Here is our new animated logo and I'm really excited to share it with you.
You can find some design processes here: https://www.behance.net/gallery/38748657/Untime-Rebranding
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-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.
Read more: Energy, Environment, Coal, Sierra Club, International Energy Policy, Europe, Green News
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Read more: Albatross, Holy Moli, P-22, Mountain Lions, When Mountain Lions Are Neighbors, Hob Osterlund, Beth Pratt-Bergstrom, Beaver, Ringtail, Bear, Endangered Species, Extinction, Loss, E.O. Wilson, Beverly Hills, Paul Ehrlich, Green News
Sir Ian Wilmut said building an ‘ark' that preserves material from at-risk species could save them from extinction
A modern-day “ark” that holds tissues from endangered animals should be built as an insurance policy to save species from extinction, Sir Ian Wilmut, the creator of Dolly the Sheep, has said.
A biobank that preserves sperm, eggs and other material from at-risk animals would ensure that scientists had the biological tissues at hand to resurrect extinct creatures once the means to do so exists, the Edinburgh researcher said.
Male and female mountain chicken frogs that were sole survivors of deadly disease are hoped to begin breeding on Montserrat for the first time since 2009
The last two remaining wild mountain chicken frogs living on Montserrat have been reunited, and are hoped to begin breeding on the Caribbean island for the first time since 2009.
Last month, a project took the last female and relocated her into the territory of the remaining male as part of a 20-year recovery plan for the species, one of the world's largest and rarest frogs that exists on just two Caribbean islands, Montserrat and Dominica.
Related: Montserrat's last two mountain chicken frogs to be reunited to save species
Related: Montserrat: Rare mountain chicken frogs airlifted from path of deadly fungus
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Trying to calm down during a bout of anxiety is likely futile. Instead, try saying: “I am excited.” Because anxiety and excitement are both arousal emotions and have similar symptoms, it's easier to get from one to the other than to completely shift gears into calmness. In this short video, staff writer Olga Khazan explores this theory with Alison Wood Brooks, a professor at Harvard Business School who has researched this phenomenon, and tests it out for herself at karaoke.
After five years of travel to Jupiter, NASA's Juno spacecraft entered into the massive planet's orbit late last night. For a sense of scale, the Great Red Spot you can see here at bottom left is far larger than all of planet Earth! Jupiter was most likely the first planet formed after our sun and the technology aboard Juno could lead us to have a better understanding of the origins of our solar system. This Overview was created from a composite of imagery fro the Hubble Telescope that shows the entire surface of the planet at once. /// The focus of Daily Overview is usually on Earth, but this exciting event inspired us to look outwards for a moment, rather than back at ourselves. Beyond changing the way we see our planet, we believe an inquisitive gaze into the greater universe that surrounds us can do wonders for our yearning to explore and to help us find the perspective that we need. /// Image courtesy of @NASA
This bijou coastal retreat on stilts owes a debt to wartime sea forts
Dotted about the coastal waters of Britain, in the approaches to major ports, are some of the most astounding and least visited works of 20th-century architecture. These are the Maunsell sea forts, platforms for anti-aircraft guns built in the second world war, posses of four-legged pods that stand in the sea like HG Wells aliens gone for a paddle. They have been influential, especially on the 1960s visionaries Archigram, who in turn inspired the hi-tech architecture of Richard Rogers and others.
The sea forts lie behind Archigram's most potent single idea, for “Walking Cities”, which fantasised about buildings wandering the Earth. Which never happened, but now another Maunsell-flavoured future has arrived, if rather small, in the form of a seaside retreat on stilts for an artist couple, designed by the architect Lisa Shell. One aspect undreamt by futurists of the past is that an artefact of the 21st century should come covered (as it is) in such a venerable material as cork.
The cork permits the fantasy that, if the floods got really bad, the building could float away
It is an arresting fusion of nature and technology, of shelter and exposure
Continue reading...Free colour-coded menu is changed daily according to air pollution levels at pop-up scheme that aims to raise awareness of problem
“I see the air is good today,” says the security guard, as he sips his cup of bright green pea soup. “I can tell by the flavour.”
Staff and visitors here at the central London headquarters of the Royal Institute of British Architects (Riba) have been treated to daily free soup from the Pea Soup House, a pop-up installation in the lobby that serves colour-coded soup which matches the government's Daily Air Quality Index (DAQI).
Continue reading...It was launched to great fanfare. But now the 20-hectare temple to culture stands vacant, its shelves built for 2 million books empty, its gates locked. Can this wildly ambitious civic gesture succeed?
A wafer-thin canopy floats at the top of a hill in Athens, hovering like a sheet of paper caught in the coastal breeze. Held in place by a gossamer grid of columns and wires, and crowned with a central mast, the structure has more in common with the world of sails and rigging in the nearby harbour than the weighty domain of buildings on land a feeling that might be explained by the preoccupation of its designer, Renzo Piano.
“What I really do in life is sailing,” says the 78-year-old Genoese architect, standing on the roof of his latest €600m cultural complex, which combines a new national library and opera house in one gargantuan artificial hillside, topped with the thinnest concrete roof the world has ever seen. “The ingredients are the same in architecture: light and air and breeze.”
Making a good building is an important civic gesture. It makes you believe in a better world
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Computer technology has become integral to the learning process. According to the National Center for Education Statistics, at the end of the last decade, some 97 percent of U.S. teachers had one or more computers located in the classroom every day, and the ratio of students to computers in the classroom every day was a little over 5 to 1. With the advent of tablet and hand-held computing devices, this ratio is fast approaching 1 to 1. Up until very recently, mainstream educational software for computing devices in the classroom has been designed based upon a style of interaction utilizing the traditional WIMP (window, icon, menu, pointing device) paradigm. Student engagement is then an isolated one-on-one experience, individual student to individual machine. To better engage students with their environment through educational technologies, researchers have begun exploring a variety of solutions that provide more embodied and tangible interactions -- ranging from collaborative activities surrounding an interactive tabletop to interactive robots that teach language learning.
Image credit: Pete Zrioka, Ira A. Fulton Schools of Engineering, Arizona State University
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A microscopic image of plankton. Plankton (singular plankter) are a diverse group of organisms that live in the water column of large bodies of water and can't swim against a current. They provide a crucial source of food to many large aquatic organisms, such as fish and whales. These organisms include drifting or floating bacteria, archaea, algae, protozoa and animals that inhabit, for example, the pelagic zone of oceans, seas, or bodies of fresh water. Essentially, plankton are defined by their ecological niche rather than any phylogenetic or taxonomic classification. Though many planktonic species are microscopic in size, plankton include organisms covering a wide range of sizes, including large organisms such as jellyfish.
Image credit: NSF Collection
Read more: Gif, Heavy Metal, Wham, Wake Me Up Before You Go Go, Leap Frog Records, Weird News News
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Regno Unito, Londra, Primrose Hill, Inverno 2016
Primrose Hill è una collina di 78,1 metri situata sul lato nord di Regent Park a Londra. Anche il quartiere circostante ha lo stesso nome. Il vertice collina ha una delle migliori viste di Londra. E' una delle zone residenziali più esclusive e costose a Londra e molte celebrità hanno la loro residenza qua vicino. Primrose Hill è stata soggetto diispirazione per film, tv e musica. Gli Oasis hanno scattato qui la foto in bianco e nero per la copertina del singolo "Wonderwall" quella dove una ragazza viene mostrata attraverso una cornice.
Primrose Hill is a hill of 78.1 metres located on the northern side of Regent's Park in London, and also the name given to the surrounding district. The hill summit has one of the best views of London. As one of the most exclusive and expensive residential areas in London and it's home to many celebs. Primrose Hill has been immortalized in movies, tv and music. Oasis took the black and white photo for the cover of the single “Wonderwall” here where a girl is shown through a frame.
A project called TransActive Grid is testing a new way to trade solar power among neighbors. For now only credits are being traded — not actual energy — using the technology that underpins bitcoin.
Accomplishments in artificial intelligence often suffer from the problem of moving goalposts: As soon as a machine or algorithm can accomplish something that has traditionally been the province of humans, we generally dismiss it. To replicate something with a machine is to show that it has always been mechanical, we just had the wrong machines. One aspect of human behavior that has reliably eluded mechanical reproduction is the creation of art. In the wonderful Spike Jonze movie Her, we are presented with a future in which A.I. is so advanced that it can produce an operating system that its hero falls in love with, but even that level of technological achievement is not enough to mechanize his job as a writer of romantic correspondence. Or as summarized more or less by many a person: “Sure, a computer can win at Go. But it could never write a poem or compose music that would make you weep!”
Well, we have some potentially disturbing news for those of you hanging your hats on those kinds of declarations. Google recently announced that their Magenta project, which makes use of new hot advances in machine learning called “deep neural nets,” has created a 90-second melody based on the input of four notes. (No word on whether it has made anyone cry, though.) A small competition we ran several weeks ago at Dartmouth College, the Turing Tests in Creative Arts, shows just how close we are to making robots who can make art. Our goal was to challenge the A.I.interested world to come up with software that could create either sonnets, short stories, or dance music that would be indistinguishable to a human audience from the same kinds of artistic output generated by humans. While we didn't get many submissions, those that did come in were very thoughtful, especially in the case of sonnets and dance music.
The dance music portion compared algorithmic DJ-ing to human DJ-ing. The human DJs were hidden from sight as students listened and danced. After each set, the dancers were asked to guess human or machine; two entries were statistically indistinguishable from the human DJs. This is interesting but perhaps not surprising. All of us, especially those who are college-age, have been listening (perhaps primarily) to computationally inflected and composed music for a long time. This artistic form is one that has already blended into computer-based production; our perception of the nature, and production, and attribution of art and culture evolves with acculturation.
In the case of the literary challenges, a panel of judges each reviewed a collection of sonnets or short stories and were asked to pick out those that were generated by a machine. While there were no winners for sonnets or stories (i.e., the judges were able to distinguish the machine-generated sonnets), in the case of the former, the programs were so smart and sophisticated that we couldn't help but wonder if in a future running of the competition we would have a winner.
The sheer number of sonnets an A.I. bot can generate is astounding (countably infinite if you want to get technical!). The winning entry, from a team at the University of Southern California's Information Sciences Institute was fantastic, and the runner-up from University of California at Berkeley also produced interesting work.
Here is an example of what Berkeley's generator came up with:
Kindred pens my path lies where a flock of
feast in natures mysteries an adept
you are my songs my soft skies shine above
love after my restless eyes I have kept.
A sacrament soft hands that arch embowed
stealing from nature her calm thoughts which throng
their little loves the birds know when that cloud
anticipation is the throat of song.
I love you for in his glorious rise
on desert hills at eve are musical
the ancients knew a way to paradise
pulses of the mystic tale no fable.
With sudden fear when immortality
might be like joy the petty billows try.
And another (for more, see here):
Of reckless ones haggard and spent withdraws
like clouds that gather and look another
know that neer again the fierce tigers jaws
the universe which was either neither.
Bed the peasant throws him down with fetters
who could have guessed thine immortality
not alone that thou no form of natures
you for love hath stained if to have served by.
Random from the orient view unveils
I would I bind thee by its hostile threat
I sit beneath thy looks resigned that smiles
and many maiden gardens yet unset.
This shade of crimson hue rushed on the thin
alpine flood above the dune stood the grin.
So what if an art-producing machine could pass as human? Or more accurately, so what if the output of a program, created by humans, could produce art that an average person would accept as human-generated? This more detailed description is important, for cast in that manner, it reveals the artistic output for what it is—not the thoughtless and mechanistic production of an emotionless entity, but rather a natural next step in the already-rich collaboration between machine and human when it comes to producing art.
Yes, that's right: Machines and humans have been working together to make art for some time. The presence of machine has already been particularly influential in the realm of literary products. When the technology of writing came to be (requiring the invention or discovery of mark-making tools and surfaces to record and store meaningful signs), new possibilities in narrative form arose—narratives where perhaps memorization need not influence the product. Movable type and the printing press was another great influence, then the typewriter, democratizing forces in the creation of literature, bringing new voices and forms to the written medium. Most recently, consider the effects of word processing or “authoring” software on literary production. Who among us doesn't feel compelled to change things so that we will satisfy Microsoft Word and produce a document clean of its automatically determined infelicitous word choices! Don't kid yourself, for many of the documents we turn out are already collaborations with machines and, arguably, always have been.
Of course, some literary products lend themselves more readily to machine collaboration than others. Short narratives about the outcome of a baseball game can be readily created from a reasonably detailed box score. The same is true of certain financial reports. These kinds of products are in essence formulaic, but the same is true of some forms of poetry like the sonnet. A Shakespearean sonnet is basically a high-level algorithm: three four-line stanzas in iambic pentameter, each with rhyme scheme ABAB, ending with a rhyming couplet. It's just that for centuries, humans have been the ones executing the pattern. Now, with a good deal of thought and some creative applications of natural language processing principles, a smart team of information scientists can engage a machine as a collaborator. Part of the winning entry sifts through opening words as well as a database of near-rhymes, the latter a tacit acknowledgment that a signature of the human implementation is the ability to not always follow the rules. It's cleverer than the Microsoft Word Assistant, but is hardly a solitary poetry-creating automation. The human might not be in the loop after the input is given, but the human is surely deeply represented in the design. And that is why it is successful.
So what still remains for machines to conquer? One of the judges remarked that the sonnets he picked out as machine-made didn't seem to be about anything—even if the words all went together well and there were coherent phrases or even fully formed lines around a given subject. In short, what was lacking was a narrative. Narrative is difficult to articulate in an algorithm (but we'll continue to aim for it in next year's competition). In fact, as the essence of storytelling, it is arguably one of the most human of activities. Thus, while these experiments surely celebrate successes in the context of human creativity on the computer, in their failings, they ultimately may help us recognize and celebrate what it means to be human.
This article is part of Future Tense, a collaboration among Arizona State University, New America, and Slate. Future Tense explores the ways emerging technologies affect society, policy, and culture. To read more, follow us on Twitter and sign up for our weekly newsletter.