-- 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.
You don't need animal protein to bulk up: just look at the gorilla, hippo, rhino, and elephant -- all herbivores!
-- 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: Environment, National Monuments, Sierra Club, Public Lands, Stonewall, Green News
-- 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.
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.
alias archie posted a photo:
Sunset over Tottenham
jason Buckley. posted a photo:
zanderwhite posted a photo:
por agustin ruiz posted a photo:
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.
europeanspaceagency posted a photo:
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.
Read more:
Slovenia signs Association Agreement
Credit: ESA
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