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A million older people suffering from famine
By Henry Neondo
Nearly a million elderly people from around the Eastern Africa are estimated to be at risk of starvation.
According to HelpAge International, HAI, "the region is experiencing one of the worst droughts in this decade, exacerbated by repeated failure of the rains since 19842".
A press release from the HAI says that although there is rain now over parts of the region, this does not mean the food crisis is over.
Pastoralists have lost up to 80 per cent of their cattle and farmers have seen successive crops whither and die over the last six seasons, leaving them no source of food or income.
HAI says that older people are among the poorest and most vulnerable, and are often overlooked in disaster relief. "Their families are forced to move away in search of water and food, grandparents are often too frail to travel and are left behind to look after the grandchildren. Many are left with nothing and struggle to cope".
HelpAge International, with support from its partner Help the Aged, is ensuring that older people are included in relief efforts. It is restocking cattle and goats, strengthening breeding stock and improving access to water for the older communities.
Working through local partners, the Charity is distributing fodder to the cattle.
It is using water tankers to reach villages, and using camels to carry water to remoter areas where there are older people who cannot walk to distribution points.
Last week, during a Help the Aged visit to the drought stricken parts of southern Ethiopia and Kitui in Kenya, older people explained: "The animals we have left are so weak that we cannot rely on them for milk. We are totally reliant on relief food. I have sent someone to get us relief food. If they do not return I think we will all die."
Lizzie Nkosi, HelpAge International Programme Director, Ethiopia, confirms: "The rain may have arrived but older herdsmen will lose more animals. The cows are weak and can barely walk. They lie down and refuse to get up. Some cattle will drink too much water and collapse. They need fodder and veterinary care. The grass growth will take time so the cattle will not get fat overnight or produce more milk. It is not going to change the lack of food security. Restocking is essential.
"In the culture of these pastoralists, older people look after the youngest children. They need to be targeted as a priority for relief."
Hey Fellow, you have a top-notch blog here!
If you have a moment, please have a look at my africa aids crisis site.


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» Concrete rose
Thomas, Angie,
Thomas, Angie. Hate U Give.
New York, N.Y. : Balzer + Bray, an imprint of HarperCollinsPublishers, [2021].
Main Library - Young Adult New Books Fiction Thomas, A Checked Out February 16, 2022
African Americans -- Fiction.
Bildungsromans.
Gangs -- Fiction.
Novels.
Teenage fathers -- Fiction.
Urban fiction.
9780062846716, 006284671X
Series information from www.goodreads.com.
Maverick feels strongly about family ties, making choices he feels necessary to help support his mom while his King father serves time, and leave him literally holding his son in a doctor's waiting room after he gets paternity test results back and his babymomma ghosts. Now the child he's raising is impacting the lives of his family and his girlfriend, and the gang life he led to support them all financially could leave them all bearing his responsibilities since it endangers his life. It looks like he may have been offered a chance to go straight, but leaving the King Lords won't be easy, and a "real" job has high demand for low return.
Thomas, A., & Thomas, A. (2021). Concrete rose (First edition.). Balzer + Bray, an imprint of HarperCollinsPublishers.
Thomas, Angie and Angie. Thomas. 2021. Concrete Rose. New York, N.Y.: Balzer + Bray, an imprint of HarperCollinsPublishers.
Thomas, Angie and Angie. Thomas. Concrete Rose New York, N.Y.: Balzer + Bray, an imprint of HarperCollinsPublishers, 2021.
Thomas, Angie,, and Angie Thomas. Concrete Rose First edition., Balzer + Bray, an imprint of HarperCollinsPublishers, 2021.

redpajama_set_name: RedPajamaCommonCrawl


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Law firm that began on a gamble on globalization
Law Beyond Borders: Part 8 From Sept. 22 to 27, 6,000 to 8,000 lawyers from 130 different countries will descend on Coex in Gangnam District, southern Seoul, to attend the annual conference of the International Bar Association. It will be S…
Going global on a 'virtual platform' of networks
Helping raise tomorrow's generation of lawyers
Yulchon aims for a very thorough globalization
Firm puts democratic spin on decision making
From Sept. 22 to 27, 6,000 to 8,000 lawyers from 130 different countries will descend on Coex in Gangnam District, southern Seoul, to attend the annual conference of the International Bar Association. It will be Seoul's first time hosting the most pr…
Shin & Kim sets sights on being 'semi-global' firm
Going where no lawyer has gone before
Provisional gov't was active on global stage
Recalling Provisional Gov't Last in a three-part series This year marks the 100th anniversary of the establishment of Korea's provisional government in Shanghai on April 11, 1919, following the March 1 Independence Movement, peaceful, na…
Struggles of provisional government were many
Recalling Provisional Gov't Second in a three-part series This year marks the 100th anniversary of the establishment of Korea's provisional government in Shanghai on April 11, 1919, following the March 1 Independence Movement, pea…
Korea's Shanghai gov't was born 100 years ago
Recalling provisional gov't First in a three-part series This year marks the centennial anniversary of the establishment of Korea's provisional government in Shanghai on April 11, 1919, following the March 1 Independence Movement,…


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Home Science ? General News Bedside test finds awareness in vegetative brains
Science ? General News
Bedside test finds awareness in vegetative brains
NEW YORK (AP) ? In recent years, scientists have learned that some patients believed to be in a vegetative state actually have some awareness and that they might be able to communicate. Now, a new study suggests a portable brain monitor can detect signs of this, perhaps making it possible someday for doctors to easily double-check the diagnosis at the bedside.
Researchers used an EEG machine to examine brain waves and found that three of 16 vegetative patients could understand what they heard and follow instructions.
EEG machines are far more common and less expensive than the large functional MRI scanners that have shown awareness in some vegetative patients in previous studies. So they could be set up in a patient's room, avoiding logistical problems that can make it dangerous or impossible to have a vegetative patient scanned at an fMRI facility, researchers said.
"We can take this assessment out into the community, to the patients. … We can go to that bedside and find out what level of awareness they still have," said Damian Cruse, of the University of Western Ontario in Canada, an author of the report.
The technique might also provide a way for some vegetative patients to communicate. That could enable them to participate in their treatment planning, express whether they're in pain, and allow researchers to explore what other mental abilities they have, Cruse and colleague Adrian Owen said in a telephone interview.
But Owen stressed the technique needs further development before it can be used routinely.
The research was published online Wednesday by the journal Lancet.
In a vegetative state, patients are unconscious and unaware of themselves and others, although their eyes are open and they may react reflexively when startled. Nobody knows how many vegetative patients live in hospitals and centers for rehabilitation or long-term care.
The diagnosis is made with tests of patients' behavior, such as whether they can follow a moving object with their eyes, follow commands or show even a rudimentary ability to communicate.
The EEG test involved attaching a tight-fitting cap to each patient's skull with electrodes to monitor brain waves. Patients were told to imagine squeezing their right hand into a fist or wiggling their toes on both feet whenever they heard a tone. Those mental activities were chosen to create a detectable brain wave signal.
Soon after the instructions were given, tones started sounding several seconds apart, and the EEG machine looked for a response to each one. Each patient was asked to imagine both kinds of movement at different times during the assessment.
The researchers noted that three of 12 healthy volunteers failed to produce a detectable brain wave signal in response to the commands. It's not clear why, but that shows that if a vegetative patient doesn't produce such a signal, it doesn't necessarily indicate a lack of awareness, the researchers said.
The positive EEG results with the three patients do show some degree of self-awareness that indicate they weren't truly vegetative, Dr. James Bernat wrote in an email. He's a neurology professor at Dartmouth Medical School and a spokesman for the American Academy of Neurology.
Dr. Joseph Giacino, director of rehabilitation neuropsychology for the Spaulding Rehabilitation Hospital in Boston, who didn't participate in the research, called the results "a really important first step." But he said the EEG technique must prove itself in further research before it can be used routinely.
He also said he saw it as a potential addition to current diagnostic tests rather than a replacement.
A positive result could indicate a need to try rehabilitation, or a longer stay at a rehabilitation hospital than the patient might otherwise get, Giacino said. And it could spur doctors to try to find a way to let the patient communicate, he said.
Dr. Paul Matthews, a professor of clinical neurosciences at Imperial College in London, said in a statement that the study leaves some questions unanswered. It's not clear whether patients who give a positive signal in one testing session will continue to do so later on, he said, nor do scientists know what a positive signal means for likelihood of a substantial recovery.
Lancet: http://www.thelancet.com
SpaceX Success: Falcon Heavy Lifts Florida?s Space Coast
SpaceX Launches Satellite into Space, Recovers Rocket Again
In Space Capsules, Little Room But Big Improvement
Unique Roman gladiator school unveiled in Austria
Old NASA satellite tumbling to Earth on Friday


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Teofilo Stevenson
Puerto Padre, Cuba
The Cuban heavyweight who won three Olympic gold medals
Teófilo Stevenson was just 20 years old when he became a Cuban national hero by winning heavyweight boxing gold at the 1972 Olympics in Munich. He was born in Puerto Padre, on Cuba's northeastern shore, and was 7 years old when Fidel Castro took power in the Communist revolution of 1959. He began boxing seriously as a teen, and rose rapidly to the Cuban national team. Tall, muscular and cat-quick, he won three Olympic gold medals in all: in 1972, 1976 and 1980 while compiling a reported overall career record of 302 wins against just 16 losses. He remained an amateur all his life, turning down offers of millions from American promoters to turn pro and fight Muhammad Ali. His comment, "What is a million dollars worth compared to the love of eight million Cubans?" cemented his place in the hearts of his countrymen. Teófilo Stevenson retired in 1986 and died in 2012, but remains one of Cuba's most famous athletes.
Teófilo Stevenson was 6'3" tall, according to Encyclopedia Britannica… His nickname was "Pirolo"… Teófilo Stevenson was married four times and had two children, according to his 2012 obituary in The Independent; for the last two decades of his life he was married to the former Fraymaris Arias Melendez.
Felix Savon


Marble in itself is one of the most elegant natural stones and when used in interior or exterior architecture, it beautifully boosts the décor of any space. Marble stones are generally used for flooring and is a great option to adorn the ground surface in the most graceful manner.
Indian marble stones are globally acclaimed for their rich quality as well as captivating shades and veining patterns. In case you are looking for Indian marble, Regatta Universal Exports, a leading manufacturer and supplier of marble in India, can be a wise choice as it offers high-quality marble products at very competitive prices, and known for its dedicated customer service and timely deliveries.
Marble is comparatively a porous and soft natural stone, and requires to be cleaned with care. In case of flooring, marble observes more traffic and needs to be handled in a different way when it comes to maintenance. However, they are a couple of ways by which one can safely clean the marble floors. Using prescribed cleaning stuffs and avoiding materials that might damage marble, one can ensure safe cleaning of this stunning natural stone.
Make Use of Hot Water: Weather it is simple water or a water-based solution, it is always better to use the water, which is hot. This will be effective in removing grimes. Using hot water will also reduce chances of damaging the marble floors with harsh solvents.
Try Using Distilled Water: This is almost the purest form of water with nearly zero impurities and mineral content. Hence, using distilled water prevents possibilities of staining and discoloration of marble surface that might occur with impure water.
Addition of Detergent in the Water: Add some detergent to the distilled, hot water in a bucket. As per the directions, dilute the solution and mix completely.
Use only pH neutral soap for preparing the solution.
Commercially available marble cleaner can also be used as per the directions given in the user manual.
Using a Soft Mop: Always use a mop with soft head like the one with microfibers. Dip the mop into the solution and wring out to remove excessive water. Now, mop the floor with short and overlapping stokes.
Note: After mopping an area of around 1-2 square meters, one should rinse the mop. However, this also depends on the amount of dirt on the marble floor.
Repeat the Mopping: Once done with the detergent solution, mop the floor, but this time using clean water with normal temperature. This helps in the removal of left debris and dirt particles as well as suds on the floor.
Frequently Changing the Water or Solution: Keep changing the detergent solution and even water at short intervals while mopping. Else, the dust particles in the mop can cause scratches or streaks on the floor.
Dry the Floor: For this, use a soft, dry and clean towel or cloth. Water or detergent solution should be wiped off completely from the surface until it becomes dry. Any soap traces if left, can possibly seep inside the stone through its porous surface and cause discoloration.
Immediate Washing of Floors after a Spill: Ay spill on the marble surface should be removed as soon as possible, so as to prevent the porous surface to absorb the spill deep inside the stone. This might cause staining or discoloration of the marble.
Note: A moist cloth with microfibers is the best stuff to blot up the entire fluid from the marble surface.
Using a pH Neutral Solution: Cleaners that are pH neutral doesn't cause any harm to marble floors. Avoid using acidic substances, such as vinegar, ammonia, ceramic cleaners and citrus that might otherwise create scratches on the surface or dull the shine of the marble.
Don't Let the Floor Air Dry: If the floor is left to air dry, water or any solution may get soaked into the marble, which may cause discoloration.
Removal of Scuff Marks: If you are unable to remove scuff marks or any other marks on the floor with a normal wash, then a felt pad can do the job. Soak the pad in water-based detergent solution and rub it along the grain on the floor.
Note: Avoid rubbing in circular motions, which would otherwise damage the marble floor.
Sweeping the Floor with a Mop: A soft dust mop or broom with delicate bristles is required for sweeping the floor. Remove as much debris as possible with special focus on areas near the walls and doors.
Using a Vacuum Cleaner: While employing a vacuum cleaner for debris removal, special care should be taken to prevent floor damage. The plastic on the nozzle of the vacuum cleaner or on its wheel may scratch or etch the floor.
Note: In case there is the facility of central vacuum system at your home, you can make use of a soft attachment on the nozzle. It is suggested that you should initially test the attachment in inconspicuous areas like behind the doors.
Using Mats and Rugs at Home Wherever Possible: Rugs and mats can easily accumulate debris, which makes the task of sweeping or vacuum cleaning hassle free. Moreover, mats and rugs protect the marble floors observing high-traffic from scratches.
Following the above discussed suggestions, you can easily maintain your marble floors and keep them shining like a new for decades after installation.


NEW DELHI: Following Vodafone's hourly voice and data packs, Idea Cellular, India's third largest telco will be launching similar schemes offering unlimited data to users for a fixed price, Telecomtalk reported.
According to the report, Idea has pushed an SMS to its users regarding hourly data pack for Rs 22 per hour. The pack will offer unlimited 3G/4G data which is similar to Vodafone's offerings.
A Twitter user recently posted a screenshot of Idea's website displaying offers which shows the pack priced at Rs 14 for 3G/4G data for an hour. The image shows the roll out date of the pack to be Janaury 19. However, the USSD code mentioned in the picture does not seem to work as of now.
Airtel might follow the footsteps of Vodafone and Idea to roll out similar packs. The top three telcos of India are leaving no stone unturned to combat Reliance Jio's free offerings.
The year is set to witness more such new trends in terms of mobile offers and data services.


Left - Sweetheart cracker jar.
Right - Sweetheart jar as shown in NEARCUT Cambridge catalog.
when the pattern is seen on Green and Marigold Cracker Jars.
Doug Siska has discovered this latest example.
This pattern was used extensively in crystal but very few items were carried over into Carnival.
Cracker Jar: Only 2 or 3 of these are known in green and one in marigold. An amethyst has been reported. This jar is of generous size, measuring 8 ½" tall, 6 ½" at the widest point and 4" at the base. Considering the scarcity of these pieces, the report which came from Margaret and John McGrath of Australia, that they had discovered a green cracker jar sitting on the shelf of a second hand shop in 1999, was a real revelation! They did say it was no real "bargain". The only one we (D & D) have been privileged to see, was the lovely marigold example brought to Air Capitol Convention in Wichita some years ago by the Lacock's.
Tumbler: Only some half dozen of these are known and documented in marigold. One of these was sold in a Burns Auction in Ohio in 1989 for $500. It was the first public sale of an item in this pattern for ten years. A pitcher has never been found.
Vase, and or Lamp Base: sometimes called a giant rose bowl When fact is lacking, conjecture becomes pertinent. There is no question about use as a vase. An old Cambridge catalog indicates its use as a lamp base.
During our first 20 years of Carnival Glass pursuits at full tilt, this piece was attributed to Cambridge with no questions asked. Along in the early '90's, the late Bob Gallo spoke with a person who had found a shard of this piece at the Millersburg site. We will all agree that the foot and the stem have all the characteristics of the Millersburg Hobstar and Feather Giant Rosebowl. This altered former beliefs somewhat, although since Cambridge Glass was in the glass-making business prior to Millersburg's entry in about 1910, we hasten to add that since Imperial, Sowerby, US Glass, and perhaps others "borrowed" ideas and designs from one another, that practice MAY have taken place with the Venetian, as well? Another possibility is: Iridization took place at the Millersburg factory. What difference does it make? We further venture that there are many fewer of the Venetian than Hobstar and Feather Rosebowls today. Only a dozen or so are known in green and only 2-3 in marigold. This piece stands 9" in height. They are unsigned. It is a heavy, impressive piece of glass, to say the least!
CREAMER AND SUGAR: One rare set in marigold is known.
COVERED BUTTER DISH: Known in marigold.
Venetion Lamp as seen in the NEARCUT Cambridge Catalog.
Please see chart of Cambridge pieces taken from a Cambridge catalog, along with an article written by Mary L. Adams in this site segment called: Cambridge Carnival Glass where the complete oil lamp is shown.
Green Cologne Bottle in Wheat Sheatf pattern as displayed in Museum-4-15-04.
WHEAT SHEAF Cologne Ad from the Cambridge catalog.
In writings by Don Moore in the '80's, no attribution was given to this piece. David Doty comments in his book that despite the cologne or barber bottle reference, this piece is part of the Cambridge Wheat Sheath family. Seen mostly in green carnival, it stands 8 ½" high with a base measuring 3 ¼". At least one has been confirmed in marigold. Should you find one without a stopper or one having a clear stopper, the price drops about one-third in value. A couple of these sold without stoppers at the Seeck auction conducted for Jack and Mary Adams on Nov. 22, 2003~~for $80. choice. The photo used in this article is of the complete Cologne Bottle, as seen in the Cambridge Museum.
The design features are more clearly defined in this ad than in the photo of one which sold a year or so ago at auction.
This novelty item is known in both blue and marigold in the vintage variety. It has been reproduced. Only 2-3 of the old type are confirmed. During the early 1980s, when the late Don Moore was actively collecting/researching, his estimate of value for one of these in blue was $1350.
Our understanding is that Mr. Degenhart purchased this mold from the Cambridge Co. and took it with him when he retired. He had worked for Cambridge for many years. This Tomahawk has been reproduced in purple carnival, and in vaseline, amberina and aqua colors - not iridized. Its departure from the "norm" lends a "show stopper" impression. It is 7¼" long x 2" wide. The old, as well as the newer versions carry the Nearcut trademark.
(Please see comments about this piece in the account written by Mary Adams for the Cambridge Soc. Newsletter~~to be found in the Cambridge Carnival Glass segment of this site.
From all appearances, the designation may be quite correct. All of the Cambridge designs are not listed in this Nearcut catalog we use for reference. If anyone can shed more light on this pattern, we would be most happy to hear from you.
In discussing this piece with Debbie Remmen, while attending the 2004 ACGA Convention, she said this "vase" came from the home of a non-carnival glass collector, and sold for $550. in her recent St. Louis auction. That price is in line with prices of other scarce to rare iridized Cambridge Glass.
Had we not seen evidence of marketing as such, probably none of us would ever have arrived at such conclusion. "Proof is in the print." Actually, many of the punch bases make very effective "candle holders" when decorated with a floral wreath for accent , so with imagination, many of them could become vases, as well.


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Electric Mannerism: Hande Şekerciler, featuring works by ha:ar
https://jdmalat.com/exhibitions/hande-sekerciler-electric-mannerism/
JD Malat Gallery
W1K 4NB
Hande Sekerciler
JD Malat Gallery presents Electric Mannerism, a solo exhibition by renowned Turkish sculptor Hande Şekerciler, featuring the work of ha:ar, her collaborative project with new media artist, Arda Yalkin.
Opening on 13th January, Electric Mannerism presents a dynamic start to the year by bringing together a series of sculptures, light boxes and NFTs to explore the theme of the human 'self' as well as the intersection between the plastic arts and new media technology.
Born in 1982 in Bursa, Turkey, Şekerciler attended Marmara University, studying in the Department of Arts and Crafts Education from 1998 to 2002. Following exhibitions in leading institutions in Ankara, Venice, and Milan, Şekerciler is internationally recognised for her bronze and marble figures inspired by the art of the Hellenistic and Renaissance periods. The artworks from these periods act as a stimulus for her exploration of the notion of the 'ideal' and the multifaceted nature of the human 'self'.
This exhibition will showcase Şekerciler's most multidisciplinary body of work to date. In addition to her patinated bronze sculptures, the exhibition will display a series of lightboxes, video art and NFTs – available via NFT platform SuperRare – made in collaboration with the innovative new media artist Arda Yalkin.
Working between Istanbul and New York, Şekerciler and Yalkın established ha:ar with the desire to combine a classical approach to art with new technologies. In Electric Mannerism, the artist duo reinterpret the compositions of Mannerist paintings of the Late Renaissance (1520 – 1600) to offer a new view on the contemporary 'self'. The celestial bodies within enigmatic compositions, as seen in paintings by Leonardo Da Vinci and Michelangelo, for example, provide the template for the digitally crafted figures in the glowing lightboxes and NFT videos by ha:ar. Every element of their work is characterised by Mannerist dramatic bodily tension, yet contrastingly the figures are stripped of clothing, lack identifiable features and are intrinsically linked to new media technology. This so-called "purification" is an attempt to free the figures from gendered or societal labels, offering an important axis for self-reflection.
Engaging the viewer through bronze sculptures, new media art and NFTs, Electric Mannerism not only offers the public a multisensory experience, but also explores the mirroring of digital and tangible realities, raising critical questions surrounding the shifting landscape of fine art and the expressive possibilities of new media technology.
Hande Şekerciler has exhibited internationally in notable collections, which include Elgiz Museum, Istanbul, Turkey, and the Artist Causa Gallery, Thessaloniki, Greece. She was also awarded artist residencies including Artist Alliance International, New York, Unlimited, New York and 18th Street, Los Angeles. Her sculpture ecstasy self-portrait no:1 was featured in the Mayfair Sculpture Trail in 2020 at Grosvenor Square.
Electric Mannerism is a travelling exhibition. It started its journey in Cer Modern, Ankara and later expanded out to different places such as, GAD, Venice and Scalo Lambreta, Milan.
About ha:ar
Hande Şekerciler and new media artist Arda Yalkın established ha:ar with the desire to combine a classical approach to art with new technologies. Their passion for mastering production and exploring new possibilities of expression has led the duo to work in a wide range of fields including video, animation, music, generative art, and even artificial intelligence, as well as conventional methods such as painting and sculpture. Seeking new and original forms of expression by blending their individual practices, the main subject of ha:ar's works can be summarised as "conflict with the civilisation created by humanity, the technology it produces and the way of existence."
ha:ar has completed programmes at Residency Unlimited (NYC), Artist Alliance International (NYC) and 18th Street Art Center (LA). They opened their first exhibition in New York in 2018 and have gone on to participate in CADAF 2019 as part of Art Miami and Contemporary Istanbul in 2018, 2019, and 2020. In 2021, they opened solo exhibitions in Ankara, Venice and Milan. The duo's works have been exhibited in museums, art fairs and galleries in Turkey, USA, Spain, Italy, France, United Kingdom, Hungary, Greece and Russia.
ha:ar is also the co-founder of the Piksel New Media Residency Program, a non-governmental organisation that seeks to teach young artists about new media art.
The artists and JD Malat Gallery would like to thank the following people and institutions for their collaboration in the making of the exhibition and the publication Electric Mannerism.
Contemporary Istanbul
Diagonal Creative Studio
Evolog Logistics
T-Art Log
Serena Tabbachi
Chiara Braidotti
Filippo Lorenzin
Burçin Gündüz
Zihni Tümer
For images or further comment, please contact:
30 Davies St, Mayfair, London, W1K 4NB
Monday – Friday, 10am – 6pm, Saturday, 12pm – 6pm
Log in or register to edit this exhibition


That the only kind of television I've been watching lately is complete trash.
It's even more okay that I want to dedicate an entire blog post to ranting about it.
Maci should not, I repeat, should not be wearing glasses.
She must be blind as a bat because her eyes about as big as Amber's court bills whenever she has them on.
Stick to contacts little lady.
If I didn't want to punch Farrah in the face before then I definitely do now.
You see, I've been dreaming for YEARS about getting a French Bulldog and naming him Stitch.
Then the betch goes and does the same damn thing.
And now if I actually still decide to do it everyone will think I copied a Teen Mom.
It really just is okay that I watch this one.
It's actually good and Miss Abby Lee makes it good.
I'm just confused as to why she's so large and in charge.
No, I get the in charge part and she has that one covered but why oh why is it acceptable to be the size of a baby elephant if you're a DANCE choreographer.
Don't even get me started on the actual dance moms.
I would drop kick Kelly if I could.
P.S. Mackenzie is the cutest little thing on the planet.
Okay I don't watch this one religiously so that's okay.
But if I'm bored and there isn't any other "better" trash on then I will, so that's not okay.
But I come to the same conclusion every time I watch this show.
It's filled with fugly a$$ mothers who were probably the last to get picked in gym class and definitely the last at school dances, so they try to live vicariously through their daughters.
Who, by the way, are also usually not the prettiest platters in the china cabinet either.
The other insightful piece of this puzzle as that 90% of these families are also ridiculously poor.
And I mean "Let's have family coupon cutting night to save $300 so we can go to the pageant this weekend" poor.
Ohh it bursts my bubble more than anything.
Save that damn $300 and put it in the bank so little miss honey boo boo child can actually go to college and have a diploma instead of a "Most prettiest smile at the age of 4 even though it was a flipper so it doesn't actually count" plack on her wall.
I just can't with these people.
This is worse than humans being drawn into watching a car crash.
I seriously cannot for the life of me change the channel once this show accidentally comes on.
I am floored by their culture.
Look like a slorestitute every darn day but if you so much as lay your lips on a boysthen the entire family will be shunned forever by all the other slorestitutes.
Oh and then once you do lay your lips on one (at the prime age of 16) you better kiss an education goodbye.
Hellooo, you are only good for scrubbing the floor and making your king a sammy.
I'm in love with Scott Disick and that is 100% perfectly definitely without a doubt okay.
My man needs his own show.
It doesn't even need to be on E! he can put it on the health channel because my abs for real get a solid workout after laughing at him.
Oh and Kim's KW (Kanye West) earrings?
BARF on a stick and then shove it down my throat.
Could she be any more annoying.
It's okay that I just blogged about all of those things.


Beyonce even donned denim peep toes heels, proving that anything is jean is truly one of the hottest trend this spring. How To Get Beyonce's Spring Style: how to calculate vertical jump using vertec How to Get Beautiful Skin Like Beyonce May 02, 2012 3524 Views 2 Comments Beyonce has been named the"World's Most Beautiful Woman 2012" by People Magazine and marks the ninth time this natural beauty has been nominated.
29/10/2017 · Jay Z S Legs Get Slandered Jay-Z's legs get slandered: Rapper's skinny calves become brunt of jokes. The photo was taken while the couple were on vacation with daughter Blue Ivy, and shows the rapper's legs looking smaller in comparison to the rest of his body.The internet roasts jay z's dainty flamingo legs to.
We can all have legs as gorgeous as Beyonce's. Beyonce can do it all and we already knew that but we did not expect her new body to be this amazing even after giving birth to twins.
One of Beyonce's favorites is doing bench jumps, which build up muscle tissue in the legs and behind really fast. Before you go out to the park and start jumping on benches, consult with your trainer or a fitness professional, since plyometric exercises should be carefully selected for each individual for maximum effect.


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May The Force be with your son this year in one of our 2018 boys Star Wars Halloween costumes! Whoever his favorite character is, your son can dress up in his image in our officially licensed costumes. These include our Darth Vader costume, featuring a jumpsuit with armor and 3D boot tops along with a mask, cape and molded belt. For extra authenticity, he can also get a lightsaber to complete the look of this feared villain. We also offer several Luke Skywalker costumes so he can join the Rebel Alliance in his tan tunic, belt, pants and boot covers.
Jump up ^ The Paulist Liturgy Planning Guide. Paulist Press. 2006. Archived from the original on 31 October 2017. Retrieved 31 October 2011. Rather than compete, liturgy planners would do well to consider ways of including children in the celebration of these vigil Masses. For example, children might be encouraged to wear Halloween costumes representing their patron saint or their favorite saint, clearly adding a new level of meaning to the Halloween celebrations and the celebration of All Saints' Day.
"Peter" emerged from one of the Jackal's pods. Believing himself to be the genuine Parker, he confronted Spider-Man, Ben Reilly, and Kaine. He became obsessed with proving to Mary Jane Watson that he was the real Peter and once Peter, Ben, Kaine and MJ were all near him at once the Jackal's programming kicked in and his shape shifting powers activated and he turned into a monster who was killed when Kaine threw a propane truck at him. Scrier would later resurrect him.
Spider-Man And His Amazing Friends series debuted on NBC on September 12, 1981 and lasted through September 10, 1983.This would be the third animated adventure for Spidey which would end up being more popular than its previous series Spider-Man, which ended the same year this new show would start. After Spider-Man in 1981, NBC wanted to take Spider-Man on a different route which would appeal to more audiences. In this series, Marvel adds X-Men's Iceman and adds a new superhero named Firestar. She gave Peter Parker a room that turned into a secret superhero hi-tech headquarters. This would change the title of the show to Spider-Man And His Amazing Friends. This series would added new villains only for this show and also have superhero team-ups throughout the series. They would fight some old enemies such as: Doctor Octopus, Scorpion, Green Goblin, Kraven the Hunter, Swarm, Chameleon, Electro, Mysterio, the Kingpin of Crime, Shocker, Sandman, Beetle, and other Marvel enemies such as: Doctor Doom, Magneto, Loki, Mordred, the Red Skull, and the Juggernaut. The Spider-Friends would also team-up with superheroes such as: Sunfire, Captain America, Shanna the She-Devil, Namor the Submariner, Doctor Strange, The Hulk, Thor, the third Black Knight, and the X-Men. For the second season of this show the title would be changed to "The Incredible Hulk And The Amazing Spider-Man." This second would be for an hour show that would feature 30 minutes of Spidey and friends and 30 minutes of Hulk. The third season of this show would then be reversed to "The Amazing Spider-Man and The Incredible Hulk." This would be the last season and would also still revolve around Spider-Man and his friends. Spider-Man was voiced by Dan Gilvezan.
Jump up ^ Books & Culture: A Christian Review. Christianity Today. 1999. p. 12. Archived from the original on 23 April 2016. Sometimes enacted as at village pageants, the danse macabre was also performed as court masques, the courtiers dressing up as corpses from various strata of society...both the name and the observance began liturgically as All Hallows' Eve.
When the Captain Universe power next appeared, it possessed Spider-Man in order to stop the Tri-Sentinel (although the power was initially weaker than usual, causing Spider-Man to assume that his own powers had merely increased). The latently cosmic-powered Spider-Man battled the Trapster, Titania, Magneto, Brothers Grimm, Goliath, Hulk, TESS-One, Dragon Man, and the Tri-Sentinel itself.[11] It next possessed a toddler called Eddie Price to battle Gart and Rath.[12]
^ Jump up to: a b Cowsill, Alan; Gilbert, Laura, ed. (2012). "1990s". Spider-Man Chronicle Celebrating 50 Years of Web-Slinging. Dorling Kindersley. p. 197. ISBN 978-0756692360. Artist Mark Bagley's era of The Amazing Spider-Man hit its stride as Carnage revealed the true face of his evil. Carnage was a symbiotic offspring produced when Venom bonded to psychopath Cletus Kasady."
When Peter joined The Future Foundation he was given a new costume by Sue Storm. The suit is made of third generation unstable molecules. It has basic default settings however, by concentrating Peter can change the suit's designs and color. Spidey, Ben, Sue, and Reed will work along with other members of The Future Foundation to protect the Marvel Universe from its greatest future threats.
Unlike well known rivalries in comics book depictions where heroes always still have more than one enemy but usually one archenemy (e.g., Joker, to Batman in DC Comics, Red Skull to Captain America, Doctor Doom to the Fantastic Four and the Brotherhood of Mutants to the X-Men in Marvel Comics etc.), Spider-Man is known to have three archenemies and it can be debated or disputed as to which one is worse:[123]
Steeds meer consumenten gebruiken social media als contactkanaal met organisaties. Ook HTM, de openbaar vervoerder uit regio Den Haag, ziet al jaren een gestage groei van klantcontact over kanalen als Facebook, Twitter en WhatsApp. Een groot deel hiervan werd al afgehandeld door klantcontactspecialist PCS, maar een chatbot biedt inmiddels de helpende hand. De door PCS en OBI4wan ontwikkelde tool heeft tot...
Whoo! The Nature Boy knows a thing or two about the ladies, and he's been Whoo-ing and strutting his stuff for close to 40 years now. And his sexy swagger hasn't diminished at all over the years, like a fine wine, The Nature Boy just keeps on walking down the aisle stylin' and profilin'. With this exclusive, you can suit up just like Ric Flair for some timeless sex appeal. As Ric says, "Because all the women want to be with me, all the men want to be like me."
Popular choices for boys costumes include classic horror icons such as vampires and zombies. Maybe your son loves video games and wants to portray Freddy Fazbear or the Super Mario Bros.! Some hilarious options can turn them into food, drinks, and animals. Whatever and whoever they wish to become, there are so many great options for boy's Halloween costumes. Look through all of our costumes to find the perfect outfit for Halloween nights, celebrations and parties!
Billy Braddock alias Spider-UK, a British-based Spider-Man and a member of the Captain Britain Corps.[62] He became a sole survivor from Earth-833 after his home reality was destroyed during Time Runs Out and chose to remain in the reality of the defeated Inheritors along with Anya Corazon.[63] During the second volume of Spider-Verse set during the Secret Wars event, Spider-UK and Anya Corazon found themselves in the domain of the Battleworld called Arachnia with no memories of how they got there.[64] and eventually teamed up with Spider-Gwen, Spider-Ham, Spider-Man Noir, and Spider-Man: India, neither of them remembering their previous encounter during the original Spider-Verse.[65] Following the conclusion of Secret Wars the team of six Spiders will rename itself and feature in a new ongoing series called Web Warriors, a name that was coined by Peter Parker from the Ultimate Spider-Man TV series during the original Spider-Verse.[66]
This series debuted on Fox October 2, 1999 and lasted through March 31, 2001. Spider-Man, in this series, was voiced by Rino Romano (making him the only voice actor to play both Spider-Man and Batman, the most-recognized characters from both DC and Marvel). This animated series was supposed to be the continuation of Spider-Man: The Animated Series show from 1994. This series would also take part in the future. The series starts off at the Polaris One site where JJJ's son, John Jameson is talking to the public. About 6 months ago, through an advanced space warp drive engine, the man made probe called Alita projected itself to the far side of the sun where Alita recorded an exact duplicate of Earth. An Earth-like planet in the same orbit on the other side of the sun. John continues to talk about the probe being destroyed. Since then, people question should there be a man-made mission to go to " Counter Earth". He goes on to say that there should be one to find out what was responsible for this and there should be an investigation. Peter then leaves to change into costume because his spider-sense is tingling. He sees Venom and Carnage and confronts them. The spaceship is readying for take off and Spidey battles Venom and Carnage while wondering what they are doing and why were they trying to stow away on the spaceship. Venom restrains Spidey and Carnage tells him that nothing will get in the way of them going to "Counter Earth" and joining the Synoptic. Spider-Man gets kicked off the flight and gets blamed for what happens to John during his mission. Six months later, they launch the Solaris II rescue mission to go to "Counter Earth". The Webslinger appears with his new suit featuring nano technology "borrowed" from the lab of Reed Richards. Microscopic robots cover his entire body with anti-symbiote devices. He is stopped by Nick Fury who gives Spidey a chance to redeem himself by taking the space shuttle to "Counter Earth", so he can go rescue John Jameson. Once on "Counter Earth", after almost being burned up on entry, Peter is under arrest and is sought out by Lord Tyger and the High Evolutionary. Spidey meets the people who are chasing him, known as the Knights of Wondergore. Lord Tyger introduces himself and the rest of the Knights of Wondergore; Ursula, Lady Vermin, and Sir Ram. While being chased throughout the city, he realizes that there is a high tech society where humanoid animals have taken over and the normal people live in the overpopulated slums. He was captured and told of what happened by the High Evolutionary who came from another planet to seek a place where petty humans squabbles; greed, selfishness, violence, and hatred was no more. He built his paradise with many experiments, using animals that he now calls Beastials. They are under the leadership of the High Evolutionary, are stronger, faster, and free of the primitive human mind. Spider-Man was rescued by the resistance who had been told that the war lasted for 50 years. Spidey finds John in the resistance deciding to stay until the humans are free of the High Evolutionary's oppression. Peter blends in with the humans to see what the "Counter Earth" world was like. After saving Shane Yamada-Jones from the robots, Naoko, Shane's mother, a doctor, helps Peter. He takes him into their home, providing Peter pays rent, giving him two weeks rent free for saving Shane's life. This series doesn't last long. Only thirteen episodes were broadcast ending with a cliffhanger. Six more episodes were made for the second season but were never aired.
A month later, Robbie is receiving care by his parents at home, but seeing him like this makes Peter feel guilty and upset. Mary Jane Watson tries to comfort him outside, but he still feels he is losing everybody he cares for. Octavius is deported to Germany, where the Nazis think that his disability renders him useless, and Felicia has recovered but wears a cat mask to cover all the scars on her face.[8]
Be wary of the weather when Halloween arrives; it may be cold and rainy, so dress appropriately. Picking out a costume for Halloween is fun, but think about whether that same item may be useful for future events so it can be worn again. Our website also offers a large selection of props and decorations if you are planning to host a Halloween party in your home. This holiday is one of the most fun times of the year, but can also be pretty stressful. Take some time to go over safety tips so your children are able to enjoy themselves while you don't need worry. Have fun and happy Halloween!
While you're browsing our selection of Halloween costumes for kids or baby costumes, don't forget to treat yourself to a little Halloween fun. We have a large selection of adult costumes, sexy costumes, and even pet costumes. If you are feeling brave and want to hit the Halloween events with your beau in tow, might we suggest you take a look at our couples costume ideas or our group Halloween costumes for a larger crew. Many of our styles are exclusive to us and we are confident that you will find something you like in our costume store. Even though we carry cheap Halloween costumes, that doesn't mean that our quality suffers. We pride ourselves on superiority and believe our customers deserve the best costume experience at a reasonable price.
Jump up ^ Marvel Characters, Inc.; DC Comics; United States Patent and Trademark Office (November 16, 2004). "Trademark Status & Document Retrieval". United States Patent and Trademark Office. Retrieved October 30, 2013. US Serial Number: 78356610 [...] Standard Character Claim: Yes. The mark consists of standard characters without claim to any particular font style, size, or color.
Superman soon had lots of company, and lots of competition! What do they have in common? All superheroes have some type of extraordinary power or ability. Their "super power" can be something they're born with: Superman, Wonder Woman, Thor. It can be the result of an accident or mutation: Spider-Man, The Incredible Hulk, Wolverine. Or, it can be simply a skill they have learned, honed and perfected beyond the average: Batman, Hawkeye. They all have a strong moral code and a motivation to rid the world of some menace.
Following the disappointing response to The Amazing Spider-Man 2, it was announced that Sony would be partnering with Marvel studios to incorporate the Spider-Man franchise into the Marvel Cinematic Universe. The rebooted Spider-Man debuted in Captain America: Civil War, before being spun off into his own movie in 2017, with Peter portrayed by Tom Holland.
Jump up ^ Nicholas Rogers (2002). Halloween: From Pagan Ritual to Party Night. Oxford University Press. Archived from the original on 31 December 2014. Retrieved 31 October 2011. Halloween and the Day of the Dead share a common origin in the Christian commemoration of the dead on All Saints' and All Souls' Day. But both are thought to embody strong pre-Christian beliefs. In the case of Halloween, the Celtic celebration of Samhain is critical to its pagan legacy, a claim that has been foregrounded in recent years by both new-age enthusiasts and the evangelical Right.
Here's an example: If I'm your laundry object, you can give me your dirty clothes and send me a message that says, "Can you get my clothes laundered, please." I happen to know where the best laundry place in San Francisco is. And I speak English, and I have dollars in my pockets. So I go out and hail a taxicab and tell the driver to take me to this place in San Francisco. I go get your clothes laundered, I jump back in the cab, I get back here. I give you your clean clothes and say, "Here are your clean clothes."
Those who purport to speak for marginalized students at elite colleges sometimes expose serious shortcomings in the way that their black, brown, or Asian classmates are treated, and would expose flaws in the way that religious students and ideological conservatives are treated too if they cared to speak up for those groups. I've known many Californians who found it hard to adjust to life in the Ivy League, where a faction of highly privileged kids acculturated at elite prep schools still set the tone of a decidedly East Coast culture. All else being equal, outsiders who also feel like racial or ethnic "others" typically walk the roughest road of all.
Urich encounters Peter Parker during an oration by Peter's Aunt May Parker in Central Park. The socialist slant of Aunt May's words does not sit well with the Enforcers, and Urich is forced to intervene in order to prevent serious injury to either Peter or May. Urich subsequently takes Peter under his wing,[1] and after Peter mistakenly receives a tip-off meant for the Spider, the young man ventures to a warehouse where the Goblin's men are unloading a shipment of stolen antiques. A particular antique — a spider statue — breaks open and releases a horde of spiders. One of the spiders bites Peter, causing him to pass out and dream of a spider god. When he awakes, he is upside-down in a black web.[2]
The wierdly dressed Zur En Arrh Batman Skin comes from the alternate version of Batman seen in several comics. Batman of Zur-En-Arrh is in fact a backup personality of Bruce Wayne's - to be used in cases of extreme psychological trauma. This version of Batman is a lot more psychotic, and sees visions of a creature called Bat-Mite, among other apparations.
The New Kid is you, after all, so customizing your character remains a crucial part of the game. After selecting your character's sex and selecting from a variety of hairstyles and a default outfit, everything else plays out ingame. Costume pieces are no longer attached to stats, so now you can create your own unique and customization superhero costume. (Try to be a little more creative than Super Craig.)
During the Big Time storyline, in an attempt to defeat the new and improved Hobgoblin, Peter creates a stealth suit. He is able to do this through his new job at Horizon Labs. The Stealth Suit warps light and sound to become invisible and totally silent, it is also impervious to sonic attacks. He also created special lenses so that he can be seen by people if needs be. The lighting on the suit can change between green, orange and blue. Orange is for the secondary mode which disrupts sonic frequencies from infrasonic to ultrasonic but is visible. Blue is it in normal mode which can be seen and heard. However, a side effect of this costume is that while he can be impervious to sonic attacks, it also prevents him from hearing others. For example, while fighting the Hobgoblin and the Kingpin, Spider-Man was unable to hear the Cat's cries for help.
I suppose we could agree that there is a difference between fantasizing about an individual character vs. appropriating a culture, wholesale, the latter of which could be seen as (tacky)(offensive)(jejeune)(hurtful), take your pick. But, then, I wonder what is the statute of limitations on dreaming of dressing as Tiana the Frog Princess if you aren't a black girl from New Orleans? Is it okay if you are eight, but not 18? I don't know the answer to these questions; they seem unanswerable. Or at the least, they put us on slippery terrain that I, for one, prefer not to cross.
Halloween costumes in the contemporary Western world sometimes depict people and things from present times and are sometimes read in terms of their political and cultural significance. Halloween costumes are sometimes denounced for cultural appropriation when they uncritically use stereotypical representations of other groups of people.[38][39] Immigration and Customs Enforcement Secretary Julie Myers was involved in a scandal when she awarded "Best Costume" at the ICE Halloween party to an 'escaped Jamaican prisoner' dressed in dreadlocks and blackface.[40]


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text:
Thoughts and representations of war through visual archives: the role, position and responsibility of the artist-researcher
Hélène Mutter
PhD in arts and science of art
Hélène Mutter presents an artistic project investigating the relationship that exists between human conflicts and their pictoral representation. Through this archival work, she also theorises the role of the artist in manipulating such documents.
This article aims to revisit my PhD research work, which examines the war image as a tool for the construction of History. Stemming from my personal history as well as various types of visual representations of war, this body of work began in 2009 when I came across visual archives of the Gulf War belonging to my father, a military veteran. Through these photographs, news clippings, videos, and other documents, I became interested in how war can today be seen as a vast field of perception, one that is transforming our visual environment. These images became my basis for studying the different regimes of visibility within contemporary representations of military conflict, in order to determine how much of itself war actually reveals through the images it produces and broadcasts, and to question both the artist's position and process when handling and working with such documents.
The issue of warfare images is more topical than ever. Considering the simple fact that we have an obvious need to document the world through images, we can assert that warfare images rely on a variety of visibility trajectories that force us to invent new ways of seeing and thinking about History. As new means of production and broadcasting permeate our daily lives, it has become increasingly necessary that we offer an alternative perspective on these types of documents. This alternate perspective, which I describe as off-centered and un-subjectified, questions what the author's intention and position are in the process of producing and broadcasting such documents. How does this affect the conveyed meaning? Where does the truth lie? By documenting the world, we create images and archives that redirect the meaning and origin of these documents. The discrepancy between an image which was, on one hand, made with no particular intention, and on the other, used as an archival document, creates a gap with its author, who completely disappears as soon as the image ceases to be considered for the reason it was initially made. Surely, the aforementioned concept of un-subjectification raises crucial moral issues as well as the issue of responsibility—the responsibility of members of the military, politicians, and journalists, but also the responsibility of artists who choose to work with this documentary material.
1990 – digital print, laminated onto dibon, 200 x 100 cm, 2010
Documenting the world
Since the beginning of the history of conflicts and their representations, war and imagery or war and representation have been intertwined, with no such thing as one existing without the other, and History seems to have been shaped by the different conflicts that have traversed it. In fact, according to Pliny and the myth of Butades, it was a young man's departure for war which led to the first-ever work of representation. Most studies on the myth place the main focus on its relevance in terms of the origins of painting, drawing, sculpture and photography, but rarely do we find any mention of the relation between the act of creation and war. And yet, it is only after his daughter's lover leaves for war that the potter Butades creates his sculpture.
Above all, documenting the world means bearing witness to events in order to inform and educate, and is ultimately an act of memory. Visual archives, be it the work of the historian or of the artist, call upon and invent new ways of seeing and thinking about History. In order to make History, however, the document-of-proof questions the visual testimony in order to recount the facts, and assumes the position of an image that, in principle, cannot be called into question. Nevertheless, the arrival of new broadcasting technologies has begun to rattle the image's presumed authenticity. As a result, we must rethink our ways of seeing by deconstructing the usual trajectories of our gaze.
Bringing our gaze to the edge of the image means moving it out of the traditional framework of representation, because visual works are a vessel for fostering memory, be it personal or collective, within another timeframe. In this sense, this new vantage point on the archival document recalibrates our gaze, allowing it to approach visual images differently. The reason we archive is to preserve, to keep a trace, a memory, a testimony of what was. The archive necessarily raises the question of the document's source—where it comes from, who produced it, and how it managed to reach present times. But what about the document's authority? The image appears to surrender its authority to the person making use of it. But what becomes of this authority when the archival document is no longer put to the use for which it was initially intended, for which it was produced? For "We can make an archive mean anything and everything we want."1
Transposing an archival document into a different field and, in particular, re-employing it in the field of art, can offer a way to understand and question the document's origins, as well as the knowledge enclosed within it. Through art, a new narrative emerges, thereby raising the question of the archive's status. The artist becomes a spectator, a viewer/reader of a storyline which offers these documents a new kind of visibility. By re-establishing the archive—specifically the visual archive—within a new form of representation, it is the power and the authority of the document that are called into question. An artist's practice can easily position itself in the dissolution of the document as a new way of existing in the world, of inhabiting it. The archive is a focal point, surrounded by an entire network of knowledge and information that participates in recomposing History and its events. It is the point where the confrontation between meaning and accuracy takes place, where History is not a succession of facts but rather the theatre for the disparity between the truth and the task of identifying events—which in fact may be where the artist's work comes into play.
Art and the reality of the archive
Both the artist and the historian share the task of establishing a link between the present and the past which is to be re-opened, but they differ in their attitude toward the document's source. The historian's approach will be to build a narrative of the archive based on the historical events to which it testifies. The artist, too, will work on the access the document gives us to the past, but will, in addition to that, introduce from time to time a fictional or even fictionalized dimension to their work. As such, what the artist offers and brings into the flow of information, deals with the coexistence of truth and fiction, the latter being a useful tool for questioning the former. In this case, what is constantly called into question is the material's authenticity, the access it grants us to the past, and the accuracy of the established narrative surrounding the document.
Etat (State) – Series of 26 photographes on spectroscopic glass plates, gelatin, photographic emulsion, 30 x 30 cm, 2018/19.
In this way, the archive's role could be described as a "dialogue with History," a bridge connecting past, present, and future that continually reinvents and redefines the frameworks of memory as well as the relationship between the private sphere, the collective sphere, and History. Memory, when considered and defined through the use of archives, is perhaps the invisible place in which a presence is formed, a place leading to the permanent search for a territory in which areas of oblivion manifest—places of absence, spaces which are void and empty, inviting us to rethink History differently by offering new kinds of visibility in the face of History's tragedies. The issue of the representation of warfare and extreme violence has raised a number of questions, starting with the trivialization of the viewer's gaze in the face of such events. We find ourselves, in fact, positioned in an ongoing back-and-forth between sight and sight deprivation—in other words, blindness and even a refusal to see. Proposing to re-present History also means to risk distorting, reinterpreting, and perhaps even betraying memory. It also means taking on the risk and responsibility of taking a position, all the while questioning the event's veracity.
To make believe: visuals of warfare in contemporary art
Warfare must therefore be examined in relation to our gaze. Since the Gulf War, a conflict which marked a turning point in the way we think about and represent war, the world has become one giant screen onto which images appear, one after the other, in a constant and increasingly rapid flow and flux. From that point on, images of warfare, as they had been considered, shown, and imagined up until then, would never be the same. The 1990 Gulf conflict showed us nothing. "No one saw anything" are the words most used to describe this conflict, whose representation was non-existent. The control of information transformed the relationship between the representation of warfare and the news media forever. The Gulf War, a late 20th-century conflict, offers a new way of reflecting upon the world, in light of the triangular relationship between image, propaganda, and democracy, to which it served as a magnifying glass. In between propaganda and the supremacy of image over information, the Gulf War embodied a true crisis of representation. Where, then, does the visual image stand in this conflict, tied as it is to the news and to the degree of accuracy of information? "The news you see in times of war are, to a large extent, contradictory, and, to an even larger extent, false."2 Today, as excessive media coverage and power tactics have brought about absolute control over wartime news and information, Clausewitz's prophetic claim remains as relevant as ever.
The constant flow of information that was masterfully conducted during the months the conflict lasted managed to fool the vast majority of television viewers, caught in the deceptive yet convincing illusion of watching "History Being Made Live." In fact, the visual rendition of the Gulf War contributed to the grand restructuring of the world that began with the collapse of the Eastern Bloc, and in that same process justified the West's intervention in the countries of the South. The supremacy of audiovisual media in the race to power could now exert its boundless influence, slowly allowing for reality to exit the screen which had now taken the place of the real Vera Icona. In 1991, the film critic and journalist Serge Daney inquired: "What does it mean to be responsible for what we transmit?" At the time, the war was constantly televised, it was ever-present. Today, visual representations of war, or at least our attempts to offer an alternative approach to these representations, lead us to consider warfare violence as a key factor contributing to the total dissolution of the gaze—of what it means to see—and this dissolution goes hand in hand with the near-total dehumanization of that which constitutes contemporary war. In the paradoxical words of Paul Virilio: "The first victim in any war is the concept of reality."3 Rendering the invisible visible and attempting to decipher images indefinitely, would therefore be this space's artistic and military ambition: the never-ending conquest of the image.
The various projects I have worked on in relation to Gulf War archives were created over the years 2009 and 2019, after gathering information on these documents. Long discussions with my father later brought in decisive elements regarding the understanding of these military photographs. At the intersection of various disciplines such as art, social studies, astronomy, and even geopolitics, the project has unfolded as one long interview compiling several elements—a written statement by my father, an audio clip of comments made by pilots during air raids, images of bombsites taken from Google Earth, and visual archives transferred onto glass plates initially intended for mapping the night sky, thus forming new images which call into question the visual representations of our time and society on a broader level.
The use of these photographic archives in my artistic work starts with dissociating them from their private and emotional origin in order to create a public proposal in which the viewer is asked to question what they are being shown and where it comes from. The act of documenting implies a pre-existing intention to preserve something that has been formed as a testimony—as an archive of the world, so to speak. These images and their status thus find themselves thrown into an alternative orbit of circulation, in which the object is to question their informative value, as much as its disappearance.
By relocating these documents into the field of artistic creation, my intention was to shed a light on the random quality of warfare images, on the confusion they can generate, and on the illusion they give us of better understanding world events. Understanding the image and understanding what we see of and in an image requires educating our gaze. This aspect in particular is what caught my attention with the photographs of the Gulf War. In front of abstract, gray, seemingly sanitized aerial-view images, I found myself incapable of deciphering them and understanding their meaning, namely because the use and proliferation of aerial-view images seems to bard us from ever actually seeing the reality of warfare. I found myself in front of documents which were meant for expert eyes only—they had been produced within a military context, with military technology, for military soldiers. Through this kind of imagery, I became aware that the world, deprived of a horizon line, dissolves, and that vision, deprived of a vanishing point, loses all chances at identifying anything. The military member will focus on analyzing the document. To them, the document is a reference of a specific reality that must be examined as precisely as possible. The media, on the other hand, will transform the document into an image. Finally, the artist, in displacing the document, holds up a mirror to us our own deprivation and the deprivation of the world as it stands before a surface in total confiscation.
Exhibition views Reconnaissance at the galerie Eté78, Bruxelles, 2020
Display of personal archives.
View of the exhibition Reconnaissance (Recognition), Eté78 gallery, Bruxelles, 2020.
Before & After (Avant & Après) – Images harvested on GoogleEarth, series of 88 photographs, digital prints, 269 X 195,5 cm, 2016/17.
1 Arlette Farge, Le goût de l'archive, Seuil, Paris, 1989, p. 118 (see English translation, The Allure of the Archives, by Thomas Scott-Railton)
2 Carl von Clausewitz, De la guerre, Minuit, Paris, 1955, p. 107 (see English translation On War, by Otto Jolles)
3 Paul Virilio builds on Rudyard Kipling's quote, "The first victim in a war is always truth," in War and cinema I. Logistics of perception, Les cahiers du cinema, éditions de l'Etoile, Besançon 1984, p. 44
Hélène Mutter is a visual artist, a PhD holder in Art and Art Sciences, and a researcher. In 2020, she will defend her doctoral thesis entitled "La guerre à l'épreuve de l'image – Art et dispositifs visuels". She is also a member of the executive committee of the CIREC, the Centre de Recherche-Création sur les mondes sociaux, which aims to strengthen the links between creation and research. Her work is situated at the crossroads of artistic work and theoretical reflection that questions the architectural, urbanistic and technological dimensions of war, through the images it produces and conveys.


It is well under the radar, but another important open government case may be making its way to the U.S. Supreme Court.
If the justices of the Court decide to take it, the case will center on whether records that were indisputably public during court proceedings can be withheld under a tortured interpretation of an investigative and privacy exemption once the court matters are over.
As ridiculous as that sounds when framed that way, that is precisely the stance the U.S. attorney's office in Colorado and the Justice Department took. And, surprisingly, the Tenth Circuit Court of Appeals sided with them and upheld their withholding of videos and photos used and shown in open court during two trials stemming from a 1999 federal prison murder.
The video, which the government made no attempt to seal or shroud from view during the trials, showed a brutal slaying at the U.S. penitentiary in Florence, Colorado in which two inmates murdered and mutilated a cellmate.
Prison Legal News (PLN), a scrappy monthly legal journal and news Web site that reports on prisoner rights, overcrowding and safety issues, was denied in its request for copies of the video and autopsy photos. The two inmates who were convicted of the murder were tried separately, and one of the two trials even took place after the magazine had submitted its request for the video under the Freedom of Information Act (FOIA).
Still, the Tenth Circuit Court of Appeals ruled in January, and affirmed on rehearing in March, that the Justice Department was entitled to withhold the gruesome video on grounds that its release amounted to an unwarranted invasion of privacy.
But PLN's attorneys and their media and open government allies contend that, under the "public domain doctrine," records that were public in two trials cannot summarily become non-public once the trial is over. That would mirror, they say, what the federal appeals court in the District of Columbia said in a similar case in 1999 and what the Second Circuit said 2006. In fact, they say, it is well-established law that dates back at least 36 years, when the Supreme Court said in Cox Broadcasting v. Cohn, "What transpires in a public courtroom is public property."
It is anyone's guess whether the Supreme Court will decide to take this case. But since two other federal judicial circuits have echoed the Cox principle, seeing similar cases differently than the Tenth Circuit did, there is at least a decent chance that they will.
So far, those involved in the case do not include heavy hitters like the New York Times, the Associated Press, CNN, Hearst, ABC or other media or industry giants who are almost always among appellants or amici when important open government cases make their way to the High Court. For reasons that probably have more to do with strategy than ego, those print and broadcast giants, and the industry associations and advocacy groups who often ally with them, like to pick the cases that go up for review.
But PLN, which is no stranger to open government legal battles, could well be on its way to a Supreme Court hearing on this. Should the Supreme Court decide to take the case, it is a good bet PLN will find support from big media companies, industry associations and open government groups on the principle involved, even if they wish it was a less emotional, less controversial set of facts bringing the matter up for review.


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Review: Switzerland, The Ambassadors Theatre
Sebastian Calver November 20, 2018 ReviewsTheatreWest End128 views
Photo: Alastair Muir
There's something particularly funny about putting a successful yet grouchy old realist in a room with an optimistic, naive try-hard. Besides the fun digs at the younger generation enjoyed by the middle-class old wigs, Switzerland's fast-paced dialogue is intricate and generates lots of laughs. However, there are times I am all too easily distracted by the gentleman next to me's watch – which tells me it's either ticking unnaturally loudly, or that Switzerland has a few dull moments. I don't blame them – keeping an audience engaged for 95 minutes without the help of an interval, or the development of plot via the introduction of a new character, is no easy feat!
Nevertheless, Phyllis Logan (playing Patricia Highman) and Calum Finlay (who plays Edward) do a stunning job of telling the story, and immerse us in a world of treachery, mystery and an odd sort of charm. They create moments of great tension and often have the intimate audience chuckling out loud. Finlay's ability to transform himself from the innocent, nervous boy who arrives at Highman's desolate house in Switzerland is incredible, as by the end he has the authority of a successful writer. Similarly, Logan's portrayal of Highman's loss of control is highly believable and greatly executed.
William Dudley's set is confusing. It attempts to be intricately detailed, using ornaments and decor reflecting Highsmith's spontaneous character; yet the entire world of the play is undermined by crude, slapstick-style images of the Alps displayed in the windows of the house. Unless they're a joke or a historical necessity, it feels like Dudley has patronised us by limiting the use of our imagination in this way.
Joanna Murray-Smith's text, while not a huge slap in the face when relating it to my own life, accesses some thought-provoking challenges and touches on some important current topics. Specifically, the idea of loneliness and isolation, while the issue of gender inequality in the literary industry is also heavily touched upon.
Director Lucy Bailey's work is highly effective when in the full swing of things, however, at times it feels too easy – such as the use of sound to influence a feeling that the actors are more than capable of creating themselves within the action; silence is often more uncomfortable. Equally, during the transitioning of scenes, while challenging seeing as there are only two characters, it feels as though the ball is dropped. Casting by Ginny Schiller perfectly captures the relationship of the successful older generation and struggling fresh talent.
Switzerland is an excellent display of a unique relationship with honest acting and a few interesting challenges. However, the thrill is predictable, and at times the action isn't quite as intriguing as it perhaps could be.
Switzerland is playing The Ambassadors Theatre until January 5. For more information and tickets, click here.
Ambassadors TheatreCalum FinlayGinny SchillerJoanna Murray SmithLucy BaileyPhyllis LoganSwitzerlandWilliam Dudley
Previous ArticleProducing the Maiden Speech Festival: Making Space For Change
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Sebastian Calver
Sebastian is in his third year studying acting at East 15. He has recently returned from the Edinburgh Fringe with theatre company Willis & Vere in A Serious Play About World War 2. Aside from acting, Sebastian is passionate about Judo, musical theatre and clowning. His favourite film is Inglorious Basterds, favourite actor Idris Elba and favourite musical In The Heights. You can find out more about Sebastian here: https://www.sebastiancalver.co.uk
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Q: Sort multidimensional array of objects with a variable depth in Javascript So I've recently come across a problem I can't seem to wrap my head around.
Let's say I've defined an array of objects in javascript, and want the user to be able to choose what value to sort that array by.
I have no problem sorting the array when I know the depth, as it would be something along the lines of
array = array.sort(function (a, b) {
    return b["foo"]["bar"] - a["foo"]["bar"];
});

but I don't exactly know how to go about doing this when the depth is unknown.  I've attempted putting the keys in a string and using eval(), but that does not seem to work.
I've set up a quick example on JSFiddle to better demonstrate what I mean
http://jsfiddle.net/DakotaSv/c35bj02w/2/
If anyone could think of a solution, I'd be grateful!
(Thanks to PatrickD, here is the working JSFiddle for anyone who may find it useful!)

A: Here is a working solution. It uses ES6-Syntax, but this should not be a problem:
'use strict'

var users = [
  {'Name' : 'John', 'Attributes' : {'Age' : 5, 'Height' : 1.5, 'Clothes' : {'Shirts' : 5, 'Pants' : 8}}},
  {'Name' : 'Andrew', 'Attributes' : {'Age' : 9, 'Height' : 1.8, 'Clothes' : {'Shirts' : 2, 'Pants' : 5}}},
  {'Name' : 'Lucifer', 'Attributes' : {'Age' : 11, 'Height' : 1.3, 'Clothes' : {'Shirts' : 9, 'Pants' : 4}}}
];

function sort(valuePath, array){
  let path = valuePath.split('.')

  return array.sort((a, b) => {
     return getValue(b,path) -  getValue(a,path)
  });

  function getValue(obj, path){
    path.forEach(path => obj = obj[path])
    return obj;
  }
}

console.log(sort('Attributes.Height', users))
console.log(sort('Attributes.Clothes.Shirts', users))

The output is correct.

A: Maybe this is a solution for variable sorting scheme. The sort attribute is just given, like ['Attributes', 'Height']. This uses the properties Attributes and Height.
It features a temporary storage for faster sorting.

function sort(a, by) {
    return a.map(function (el, i) {
        return {
            index: i,
            value: by.reduce(function (obj, property) { return obj[property]; }, el)
        };
    }).sort(function (a, b) {
        return a.value - b.value;
    }).map(function (el) {
        return a[el.index];
    });
}
var users = [{ 'Name': 'John', 'Attributes': { 'Age': 5, 'Height': 1.5, 'Clothes': { 'Shirts': 5, 'Pants': 8 } } }, { 'Name': 'Andrew', 'Attributes': { 'Age': 9, 'Height': 1.8, 'Clothes': { 'Shirts': 2, 'Pants': 5 } } }, { 'Name': 'Lucifer', 'Attributes': { 'Age': 11, 'Height': 1.3, 'Clothes': { 'Shirts': 9, 'Pants': 4 } } }];
document.write('
' + JSON.stringify(sort(users, ['Attributes', 'Height']), 0, 4) + '
');
document.write('
' + JSON.stringify(sort(users, ['Attributes', 'Clothes', 'Shirts']), 0, 4) + '
');

A: You would need:

*

*a way to represent how to access the sort key given an object

*a function that, given a sort key representation and an object, queries the object and produces the key

The manner of representation can be arbitrarily selected, so let's say we decide to encode the access someObject.foo.bar as the string "foo.bar". Then the key producing function would be (adapted from my answer here):
function produceKey(target, path) {
    var parts = path.split('.');

    while(parts.length) {
        var branch = parts.shift();
        if (typeof target[branch] === 'undefined') {
            return undefined;
        }

        target = target[branch];
    }

    return target;
}

which you could then use as:

function produceKey(target, path) {
  var parts = path.split('.');

  while(parts.length) {
    var branch = parts.shift();
    if (typeof target[branch] === 'undefined') {
      return undefined;
    }

    target = target[branch];
  }

  return target;
}

var obj = { foo: { bar: 1, baz: 2 }, arr: [1, 2, 3] };

$(function() {
  $("#trigger").click(function() {
    $(".result").text(JSON.stringify(produceKey(obj, $("input").val())));
  });
});

Targe object:

{ foo: { bar: 1, baz: 2 }, arr: [1, 2, 3] }

Property path: <input name="path" />
<button id="trigger">Produce value</button>

A: If I understand your question correctly, you want the user to chose which attribute to sort the array by.
Looking at your fiddle I think that what you need is accessing an attribute specified by the user, fortunately it's possible to specify a variable inside the brackets. Something like:
var obj = {name: 'john'}
var attr = "name";
console.log(obj[attr]); // prints 'john'

Here's your modified fiddle: https://jsfiddle.net/9s5bnfh5/1/

A: The cleanest way of doing this is passing a callback function to your sort algorithm that is executed to retrieve the value to compare on from the object:
function cbSort(toSort, callback)
{
    return toSort.sort(function(a, b)
    {
        return callback(a) - callback(b);
    }
}

// usage
var data = [ { x: 1, y: 2 }, {x: 3, y: 1}];
var sorted = cbSort(data, function(item) {
    return item.x; // make this as complex as you like
});

redpajama_set_name: RedPajamaStackExchange


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Shopify announced this week that the 100,000+ merchants using the e-commerce platform can now accept Bitcoin payments thanks to an integration with Coinbase's merchant services.
Interested merchants can create a Coinbase account and adjust their Shopify settings to make Bitcoin a payment option.
Shopify merchants Boosted Boards, iOgrapher, Leap Motion, and Soylent were the launch partners for this announcement, meaning they have all integrated Coinbase following a recent private beta testing period.
Since last November, Shopify has accepted Bitcoin through a BitPay integration. With the new Coinbase integration, Shopify merchants have a choice as to which Bitcoin payment processors to use.
While both BitPay and Coinbase allow merchants to instantly transfer out of Bitcoin and into fiat currency to avoid volatility risk, Coinbase, which has always offered both merchant processing and consumer wallet services, has been able to deliver a more user-friendly checkout experience, such as two-click checkout and Bitcoin refunds – options that BitPay could not match, reports Pando.
Louis Kearns, director of payments at Shopify, told Gigaom that when it came to integrating Coinbase, it was technically easier for the e-commerce platform to add the alternative payment options.


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TV Awards
Scoop: Coming Up on the Season Premiere of The Masked Singer on FOX - Wednesday, September 22, 2021
Nick Cannon hosts the season premiere.
by TV Scoop Sep. 14, 2021
TV's #1 entertainment show returns with a special two-night premiere event and a total of three jaw-dropping unmaskings. On Wednesday night, the stage is set with debut performances from the characters in Group A, ending with a shocking double elimination. The Season Six contestants boast a combined 85 Grammy Nominations and 27 wins, three Academy Award nominations, 12 Emmy Nominations, 12 Razzie Award Nominations, two SUPER BOWL appearances and two Lifetime Achievement Awards. Play along with America's favorite guessing game with host Nick Cannon and celebrity panelists Ken Jeong, Jenny McCarthy Wahlberg, Nicole Scherzinger and Robin Thicke. Five all-new celebrities perform in Part One of the all-new "2 Night Season Premiere, Part 1: Group A Premiere" Season Six premiere episode of THE MASKED SINGER airing Wednesday, Sept. 22 (8:00-9:00 PM ET/PT) on FOX. (MS-601) (TV-PG L, V)
TV's #1 entertainment show, THE MASKED SINGER, returns for a game-changing fifth season, which, for the first time ever, features "wildcard" celebrity contestants CRASHING into the competition and upending the battle for the Golden Mask trophy!
The Emmy Award-nominated singing competition series kicks off with guest host Niecy Nash, alongside clue-driven panelists Jenny McCarthy, Nicole Scherzinger, Ken Jeong and Robin Thicke. Host Nick Cannon returns later in the season.
THE MASKED SINGER features celebrities facing off against one another with one major twist: each singer is shrouded from head-to-toe in an elaborate costume, complete with full face mask to conceal his or her identity. Celebrities who have performed on the show include T-Pain, LeAnn Rimes, Gladys Knight, Donny Osmond, Seal, Patti LaBelle, Drew Carey, Lil Wayne, Mickey Rourke, Rob Gronkowski, Lonzo Ball, Wayne Brady, Wendy Williams, Tori Spelling, Dionne Warwick and many, many more!
With each performance, the host, panelists, audience, viewers and even the other contestants are left guessing who is singing behind the mask. Ranging from Grammy Award winners to LEGENDARY athletes, and everything in between, the singers may attempt to throw the crowd off their scent, while keen observers might pick up on tiny clues buried throughout the show. One singer will be eliminated each week, ultimately revealing his or her true identity. The season five contestants boast a combined 26 Grammy nominations, nine multi-platinum singles, four Academy Award nominations, three SUPER BOWL appearances, six gold medals and two world records!
Season Four of THE MASKED SINGER averaged a 2.3 Most Current rating (tied with "This Is Us" and "Grey's Anatomy"), and 11.5 million multi-platform viewers last season. This past Thanksgiving, THE MASKED SINGER delivered a 4.2/24 Live + 7 Day rating and 13.6 million viewers, marking TV's #1 entertainment telecast this season and driving FOX to win its first Thanksgiving night in 10 years. In February 2020, its Season Three post-Super Bowl LIV premiere drew a massive audience of more than 27 million viewers.
THE MASKED SINGER is produced by FOX Alternative Entertainment. James Breen, Craig Plestis, Rosie Seitchik and Nick Cannon serve as executive producers. James Breen serves as showrunner. The series is based on the South Korean format created by Mun Hwa Broadcasting Corp.
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Netflix Renews SOMEBODY FEED PHIL For Season Seven
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04/07/2018 – Science & Technology / Human Augmentation Science / AI / Sensors / Robotics
Our next evolutionary leap
Fast Future executives explore the potential for 'human augmentation' in the next decade
Though much attention related to disruptive technology has highlighted the threats of AI, the inventions being pioneered today in human augmentation science mean that humanity may now be positioned for an evolutionary leap. While undoubtedly highly controversial on social, moral, ethical and religious grounds alike, the potential for human augmentation nonetheless opens up possibilities that society must carefully consider. Fast Future's Rohit Talwar, Steve Wells, Alexandra Whittington, April Koury and Maria Romero highlight 13 ways that humans may be transformed by 2030.
1. Online reputation
One's online reputation may become a valuable form of currency in the future, and be considered in job-seeking or credit applications, for example. Tattoos or embedded objects could change, grow, morph and otherwise shape-shift depending on one's fluctuating online reputation score. A score might be comprised of the number of social media contacts, shares, likes or uploads.
2. Global immunity
Subcutaneous implants would detect pathogens in the immediate environment and provide antibodies to protect us from specific contagious diseases. This would make most public health measures irrelevant as coughing, sneezing and touching may no longer pose a risk. Handwashing could become a redundant activity and vaccines unnecessary, while a global antibiotic crisis could also be averted.
3. Heightened sensitivity
Through deep brain stimulation, humans may eventually have total control of how much physical sensations affect them. We could turn a dial to increase touch sensitivity during intimate moments, or while playing a car chase computer game – and, conversely, dial down our sensitivity in anticipation of a physical altercation.
4. Reality-check implant
This personal detection system would allow us to control our experience of mixed reality, VR and AR sensory stimulation environments. The system would block out photoshopping, virtual, augmented, digital or holographic imagery, and other sensory inputs whenever the wearer wants to 'keep it real'.
5. Content upgrades
In the next 10-15 years we could be able to perform instant content updates to the human brain – for example, uploading a new language, a map, knowledge about a client or project, and key information prior to a romantic date or a business meeting. This would be achieved either through direct downloads to our web-connected brains or via plug-in memory devices for more confidential information.
6. Brain-computer interface
Wireless communication between our brains and an array of connected devices could become a reality. From computers and phones to domestic appliances and in-car entertainment systems – we would be able to operate gadgets with our thoughts. These wearable or implanted sensors and transmission devices would allow us to communicate as we do with Siri and Alexa today, but without saying a word.
7. Smart contact lenses
Who needs screens when you have eyes that can be turned into visual interfaces? Every device could easily connect with your smart contact lenses and present the information you desire – such as augmented reality overlays of a city as you sightsee. Your requests would be communicated using eye movement, gestures, words or telepathic commands.
8. Cosmetic gene editing
The gene modification technology known as CRISPR introduced in 2012 has already made it 'cheap and easy' to edit genomes inside the body. The CRISPR system's ease of use means it could be utilised for almost any gene-editing technique. While doctors could apply the technology as a targeted cancer treatment, we could also see the same approach used for cosmetic augmentation. For example, high street centres could provide services to change clients' hair thickness, eye colour, and skin pigmentation, making CRISPR treatments as common as other beauty and lifestyle options.
9. 3D cloner
This device would allow a product to be identified and 3D printed in real time and 'on sight', with special optical lens implants that trigger the cloning of the item being viewed by the wearer – like taking a snapshot. Clothing, food and even medical products like prosthetic arms or legs could be created instantaneously on the spot, 'cloning' whatever item the user glances at, and transmitting them to be produced on 3D printing machines.
10. Empathy machine
Conflict resolution would be simplified with VR empathy films, which would allow friends, family members, teachers, students, bosses, workers, and even litigators in court to literally see the world through each other's eyes. Benefits would include greater interpersonal intimacy and understanding, elimination of sibling rivalries, and dealing swiftly with difficult people. Such augmentation would require pre-installation of a memory recording device.
11. Memory
Imagine never forgetting anything ever again. Elephants are believed to have the longest memory of any living creature. With the help of neural implants, people would be able to remember forever too. Such implants, possibly in the form of a 'neural lace' lattice of tiny sensors under or just above the skull, could improve memory and may ultimately also prevent Alzheimer's disease. This could make a perfect gift for the radical age-extender in your life, or elderly relatives who have not yet started showing signs of dementia.
Dwellers of the world's high-tech smart cities could opt to take a pill that lets them have their lives monitored and managed remotely with 24/7 data capture and surveillance – day in, day out. Imagine each and every behaviour monitored, and, if necessary, modified, by the city's central nervous system based on a smart city artificial intelligence (AI) programme.
13. Printed skin
4D printed materials are essentially 'shape shifting' in the sense that they can change their form and properties based on external stimuli – for example, wetness prompts drying or absorption, heat promotes cooling, and so forth. In the future, a skinsuit, active skin covering, or even surgical skin implant could give humans the ability to adapt to their environment seamlessly. Clothing may become unnecessary with this form-fitting shape-shifting material, which could look like clothes, skin, or whatever the wearer selects. An essential adaptation in extreme climates, 4D printed skin would also be ideal for the fashionista in your life.
Rohit Talwar, Steve Wells, Alexandra Whittington, Maria Romero, and April Koury are from Fast Future which publishes books from future thinkers around the world exploring how developments such as AI, robotics and disruptive thinking could impact individuals, society and business and create new trillion-dollar sectors. Two new books from Fast Future are: 'Beyond Genuine Stupidity - Ensuring AI Serves Humanity', and 'The Future - Reinvented: Reimagining Life, Society, and Business'. See: www.fastfuture.com