Jonathan Yeo:Try Bonding With Baby After A Facelift

                                                                   

                                                                      

PLASTIC surgery is homogenising the way people look and has led to mothers having problems bonding with their babies, according to Britain's best-known portrait artist. 

Jonathan Yeo, who has produced a series of studies on cosmetic surgery, said it was a fashion that was having drastic consequences.

The creator of some of the most famous portraits of our time, including of Tony Blair and David Cameron, said that the desire to go under the knife for cosmetic reasons was "crazy".
He cited research from the United States indicating that mothers who had undergone treatment, including Botox injections, were having trouble bonding with their babies.

"It is homogenising the way we look," he told the Hay Festival. "Which is a strange thing in itself, this fashion in beauty. There is research showing that babies are not bonding with their mums because babies only have facial reactions to go on and because their faces were not moving in the right direction, or moving at all.

"What are the unintended long-term consequences of these things that we are doing casually for our own gratification? Aside from the fact it is risky, it is painful, it is expensive, it is often quite obvious you have had it done."

He said that in certain parts of the world people "don't mind bad plastic surgery because it is a fashion thing: they want people to know they have had it done".

Studies in the US have found that while Botox may limit a mother's forms of communication with a newborn baby, it could also hinder the patient's ability to understand the emotions of others. The theory is that humans naturally imitate other's expressions when conversing, which sends a signal to the brain allowing us to interpret the meaning.

                                                                   

 
Yeo, who had a major exhibition at the National Portrait Gallery,(clip above), said he believed that in the future we would look back on the fad for cosmetic surgery in the same way as we think of medicine in the Middle Ages.

He said that he had first become interested in plastic surgery when he had been in California and a "tall pretty blonde walked past, then again and then for a third time and I realised it was different people going to the same doctor".

He added: "It is a funny time. I think we will look back on this time like we do on people using leeches and wonder why we did it. I think it is quite crazy. I want to document it. It is the big story of our era."

The artist said that while plastic surgery was influencing the human face, the rise of the selfie was affecting portrait painting.

The proliferation of selfies and the rise of social media had "made us much more aware of what constitutes an image of ourselves — and what other people are communicating about themselves in the choice of these little passport photos means we become much more sophisticated portrait readers". He said that because "everybody is so used to the selfie and simple head shot image" there was now "more fun" to be had with backgrounds to his portraits than there had been in the past.

Yeo questioned whether the famous self-portrait of Sir Anthony Van Dyck, which was recently saved for the nation after a fundraising appeal and is now hanging in the National Portrait Gallery, would have the same impact if painted today.

Describing the painting as having something "magical", he said: "If that was painted by someone now, would it have the same effect? Or would it be like a ridiculous Facebook photo that probably bears no relation to what you actually look like?"

He said it was now the job of portraitists, in the day of "image manipulation", to be "truthful and meaningful".

By David Sanderson

                                                                 

Pictures and Story with thanks to The Australian

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Here’s How People 100 Years Ago Thought We’d Be Living Today

                                                                     

In 100 years, there will be flying taxis and people will travel to the moon routinely. Knowledge will be instilled into students through wires attached to their heads. These may sound like the predictions of modern-day futurists, but they’re how people a century ago saw the future–otherwise known to you and me as the present.

These vintage European postcards illustrate a view of the 21st century that is remarkably prescient in some ways and hilariously wrong in others, says Ed Fries, who selected them from his private collection.

In the 10 years since he left Microsoft, where he was co-founder of the Xbox project, Fries has worked on what he calls “a random collection of futuristic projects.” He’s advised or served on the board of companies working on 3-D printing, depth-sensing cameras (like those used in Kinect), and headsets for reading brain waves. Earlier this month, he presented some of his favorite postcards at a neurogaming conference in San Francisco, using them to illustrate pitfalls in predicting the future that remain relevant today.

One thing you see in the cards is a tendency to assume some things won’t change, even though they undoubtedly will. In one image, a couple flags down an aerotaxi. That’s futuristic enough, but the man is wearing spats and carrying a cane, while she has a parasol and an enormous hat with a feather. Did they really think transportation would undergo a revolution while fashion stayed frozen in time? “In every one of these you see a mix of a futuristic concept with stuff that looks to us to be very old fashioned,” Fries said.

                                                                       

At the same time, there’s virtually no hint in the postcards of the truly transformative technologies of the last century–namely personal computers and the internet. Sure, there are video phones, but the image is projected on a screen or a wall. Moving pictures were just coming into existence, Fries says, so that wasn’t a huge leap. But the idea of a screen illuminated from within seems to have been beyond their imagination.

All in all, people at the turn of the 20th century did a pretty good job of extrapolating the technology of their time, Fries says. But their imagination was limited by the world they lived in. The same is true today–at least for those of us who aren’t the visionaries of tomorrow.

Fries thinks what sets those farsighted people apart has something to do with ignoring conventional wisdom. “The future is changed by people who have a crazy idea and follow it wherever it may lead,” he said. “That’s why I like hanging out with wacky people like at that neurogaming conference. One of them is probably going to change the world.”

View the cards in fullscreen mode for the best view. We had to omit a few of his favorites (including the classroom brain stimulator, alas) for copyright reasons. They’re in a book by Isaac Asimov called Future Days: A Nineteenth-Century Vision of the Year 2000, but you can also see them in this YouTube video of his talk.(above)

By Greg Miller

Pictures and story with thanks to Wired

                                                              

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John von Neumann: This Hungarian-American Mathematician May Have Been Smarter Than Einstein

                                                                   

Some would claim that smartest person of the twentieth century worked down the hall from Albert Einstein at Princeton’s Institute for Advanced Study.

John von Neumann, who was born in Budapest in 1903 and emigrated to the United States in 1930, was a seminal thinker in mathematics (foundations of mathematics, functional analysis, ergodic theory, geometry, topology, and numerical analysis), physics (quantum mechanics, hydrodynamics, and fluid dynamics), economics (game theory), computing (Von Neumann architecture, linear programming, self-replicating machines, stochastic computing), and statistics.

Von Neumann’s prodigiousness was apparent from a young age. By eight he could divide two eight-digit numbers in his head. By 19 he had published two major mathematical papers, and by 22 he had a Ph.D. in mathematics with minors in experimental physics and chemistry.

The Hungarian-American joined Princeton University in 1930 and was a professor there until his death in 1957. A loud and sociable character, he sometimes annoyed colleagues including Einstein with his habit of blasting German marching music on his office gramophone.


During World War II, Von Neumann would join Einstein and other leading scientists in developing the atomic bomb in the Manhattan project.

Von Neumann was so bright that Nobel Prize-winning physicist Eugene Wigner would say, “only he was fully awake.” He had “the fastest mind” that economist Paul Samuelson had ever encountered and was “the cleverest man in the world” according to head of Britain’s National Physical Laboratory, as noted by Daniel Yergin in “The Quest.”

One of von Neumann’s major accomplishments was his leadership in developing a way to make the enormous amount of calculations that went into making the atomic bomb. 

 The earliest computers had to be “programmed” physically, with different components connected in different ways to solve a given problem. Von Neumann figured out instead how to store programs as software in computer memory, which would become the basic architecture for how modern computers work.

He was also pioneer of game theory, or the formal mathematical analysis of certain types of games, which has numerous applications to economics and other social sciences. 

Indeed, von Neumann’s development of the theory of zero-sum games later led to his coming up with the Cold War strategy of Mutually Assured Destruction.

Von Neumann also made numerous contributions to pure mathematics and physics. A big part of von Neumann’s work in these areas was in developing the formal mathematical tools that describe quantum mechanics. Many of the strange aspects of quantum mechanics are implied by the mathematical structures used to describe the behaviour of the universe on the smallest scales.

But how did von Neumann compare to Einstein, the German-American theoretical physicist who developed the theory of relativity and some of the earliest ideas in quantum mechanics? 

The answer, which as been hotly debated on economics forums, favours von Neumann in some areas and Einstein in others. Certainly, Einstein obtained greater fame, however, and perhaps this is justified.

Wigner may have said it best: “Einstein’s understanding was deeper even than von Neumann’s. His mind was both more penetrating and more original than von Neumann’s. And that is a very remarkable statement.”
                                                             
                                                                   

      
 By Gus Lubin, Andy Kiersz

With thanks to Business Insider

Top picture credit: The Guardian

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International Group Working On Creating Yeast From Scratch

                                                                 

                                     

IN 1776, philosopher Adam Smith described how the Industrial Revolution’s factories had turned the manufacture of pins into 18 distinct jobs.

Now Sydney’s Macquarie University has marked the advent of another industrial age by being appointed to make one-sixteenth of an artificial organism. 

Macquarie will today be named as part of an international consortium aiming to synthesise yeast from scratch. The project could generate new strains of a vital ingredient in goods from vaccines to vegemite.

Macquarie research chief Sakkie Pretorius,above, who will oversee the university’s part in the project, said yeast was an “industrial workhorse”. It has been used for centuries in baking, brewing and winemaking and now in producing biofuels and pharmaceuticals.

The project is being spearheaded by New York University geneticist Jef Boeke. 

In March Professor Boeke’s team reported that it had created a completely synthetic version of one of yeast’s 16 chromosomes, sparking an international mission to recreate the other 15 and generate the world’s first fully synthetic yeast.

Professor Boeke likened the yeast genome to a deck of thousands of cards — one for each of yeast’s 5000-plus genes. Synthesising all 16 chromosomes allowed for “evolution on hyperspeed”, with scientists able to remove and duplicate cards and change their order.
“In one fell swoop one can make millions and millions of different decks, shuffled in different ways,” he said. “Each could represent a winning hand in biofuels, medicines, vaccines or even better beer.”

He said the project was like creating a 16-volume encyclopedia. The already completed volume, chromosome three, is 316,000 characters long.

Macquarie has been given the task of synthesising chromosome 14, which was “up for grabs” when Professor Pretorius emailed to ask about the project. The deadline is 2017.

The project is the latest instalment in the fast-moving field of synthetic biology. In 2010 scientists claimed to have created artificial life after synthesising the genetic code of a bacterium.

But yeast has a far more complex genome, and the project has industrial implications far beyond scientific interest. “It’s a technology with a promise to heal us, feed us and fuel us,” Professor Pretorius said.

By John Ross

With thanks to The Australian





                                                                           

Photoshopping Real Women Into Cover Girl Models

                                                                 

                                                                    

 It's best to be yourself as these women luckily found out.

We asked four women to participate in a Photoshop experiment. Their reactions to the results will surprise you.
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Huge thanks to Andronica Marquis, Sierra Santana, Kate Reynolds, and Ella Mielniczenko.

With thanks to BuzzFeed
                                         
                                                                   

Related: Boosting Your Self esteem...Especially For Women

4D Printing: The Next Dimension In Object Design

                                                                       

Imagine buying a piece of flatpack furniture that can assemble itself. Or purchasing a dress online that takes shape in front of your eyes in your living room. 
 
The 3D printer already allows users to print simple objects at home, but scientists are now working on 4D printing, using "smart" materials that can change shape by themselves.

Currently, 3D printers use a nozzle to deposit material in layers to build up a small inanimate object, usually made from a single material such as plastic.

However, researchers are now combining different types of plastics and fibres to create "smart" materials that change shape when they come into contact with stimuli such as heat or water.
Objects designed in this way can expand, fold or unfurl into pre-designed forms after being printed, in a process dubbed 4D printing.

Skylar Tibbits, from the Massachusetts Institute of Technology, is pioneering the research with Stratasys, the digital manufacturing company.

He said: "We asked if we could print things that change shape and change properties to behave in precise programmed ways. We call it 4D because it adds time, rather than printing static objects. Smart materials are materials where you subject them to some kind of energy and they change shape or appearance."

Brigitte Nerlich, a science professor at the University of Nottingham, said that current methods of 3D printing were already becoming "old-hat, commonplace and perfectible".
Now, by weaving in water-sensitive materials at key points, a straight plastic strand could be 4D-printed to fold into a cube when wet.

Car tyres could be printed to improve their grip in the rain, while flat sheets of metal or plastic could be printed to fold themselves into pre-designed shapes when unpacked, which could be used to print self-assembling furniture.

Jesse Louis-Rosenberg, from Nervous System design studio, said he hoped to use 4D printing to create a dress that could be printed in compact form then unfolded. Using a scan of the customer's body, the dress could be designed to fit perfectly and would be created with a series of tessellating segments.

A computer model would then compress the design into the smallest possible space to fit inside a normal 3D printer. The customer would simply download the design, print it and unfurl it.

"I would describe 4D printing as printing something in one configuration that self-assembles into another," Mr Louis-Rosenberg explained.

"The way we're doing it is to design a shape as a foldable fabric and digitally fold it into a smaller size for printing which can then unfold," he said.

Since first sharing his research last year, Mr Tibbits has been approached by a range of companies, including sportswear firms who want to print shoes that can adjust their own support or ventilation depending on conditions.

He said that other uses could include water pipes being printed to expand or contract with flow and even a device to mimic the human intestine.

The US Army has given a grant of $855,000 to fund research at the Universities of Harvard, Illinois and Pittsburgh.

By Kaya Burgess

With thanks to The Australian 

The Australian Production Of "Hair" Changed The Theatre And The Nation

                                                                       

                                                                      

I was there, but not in Sydney. I really enjoyed it! I never owned the Australian cast LP, but I listened to the one above many, many times. I rescued it from my sister's collection which was about to be throw out so I still have it, and still listen to it.

YOU had to be there. And if you didn’t have a ticket, you had to hang about outside the Metro Theatre looking as if you did. And if you couldn’t get up to Kings Cross in that winter of 1969, you had to at least know someone who had seen Hair, the rock musical that defined a generation. 

Almost half a century later, it is difficult to overstate the excitement with which Australians embraced this anti-Vietnam, anti-establishment, pro-love, pro-peace show.

It opened in Sydney on June 5, its much-touted, full-frontal ­nudity competing with a bomb scare that temporarily cleared the theatre of an A-list crowd that included entertainer Graham Kennedy — who did the right thing by leaping on stage for the finale.

Leaping on and off the stage was central to the Hair experience in those hippie, dippie days.
“I used to run along the back of the seats barefoot,” says Reg Livermore, who played the role of Berger. “I perfected the art. Or I would sit in someone’s lap. They probably remembered it all their life.”
                                                                 

What Livermore, now 75, remembers is the exhilaration of the show that transformed him from a traditional music-theatre performer to one of our most original players. He was 30 and somewhat sceptical about the brouhaha when he went along to a preview of Hair, to support his sister Helen, who was in the show.

“I was dumbfounded, knocked back on my heels,” he says. “I just knew that I had to be there, I had to be on that stage. I wasn’t particularly political but as a theatre animal, Hair represented change.”

Within months he was in the show and spent a total of more than two years performing across the country and in New Zealand.

In Melbourne this week, Livermore took time off from his gig in Wicked to visit the Palace Theatre — which, sadly, is set for demolition. In 1971, known as the Metro, it was the venue for Hair. 

His success in the show catapulted Livermore into Jesus Christ Superstar, The Rocky Horror Show and his one-man shows Betty Blokk Buster and Wonder Woman.

“Hair was the right show at the right time,” he says. “It was talking to people and showing things to them that they didn’t have the courage to vocalise. They would go to the theatre (in those days) and see dining room comedies — all rather predictable.”

Hair was radically different and reviewers at the time suggested the Jim Sharman-directed Sydney version was far superior to the original New York production. It had been brought here by impresario Harry M. Miller but it was Sharman’s flair — using experimental filmmaker Albie Thoms and lighting by the collective Ubu — that set it apart.

In his 2012 memoir, Thoms wrote that he had been knocked back by the War Memorial in Canberra when he asked for some Vietnam War footage because it “might degrade the memory of those who fought”. But his 35mm handmade film of a simulated battle, along with other elements of the show, made a big impact on The Australian’s theatre critic, Ray Taylor: “I defy the most atrophied of conscience to get through the anti-war manifestation of Act Two without being shocked,” he wrote. ”How sick and confused our society: the censor wheezes over the innocent and sculptured beauty of the nude scene, while here true ­obscenity goes begging.”

The censor had been anxious, too, about the use of four-letter words but everyone calmed down when NSW chief secretary Eric Willis went along to a preview and said that while it was not his kind of show, it didn’t break any laws.

But Hair broke old ways of thinking.

“I think it changed my attitude to life,” says Marcia Hines. The Boston-born singer was only 16 when she crossed the globe, so young that Harry M was appointed her guardian. It was her big break but even more memorable because a few months later she announced she was pregnant. Her daughter, Deni, was born in September 1970, Hines leaving the theatre after the performance to go to hospital for the induced birth. Nine days later she was back on stage as part of the ensemble, known as “the tribe”.

                                                               

“It wasn’t unusual. I was 17. Other girls (in the show) were doing it too, having babies. Harry M was so mad at us. Several of us became pregnant.”

Hines felt the anti-war message strongly —“We felt we were doing something really poignant, really important” — but says the musical is less relevant today.

“When I hear about people putting on Hair, now, I think, why?”

By Helen Trinca
Below: a picture of the Australian Cast Recording.

                                                                  

With thanks to The Australian

More information at Milesago

Reg Livermore also co - wrote "Ned Kelly" with Patrick Flynn.

Some of the performers on "Ned Kelly" were also in "Jesus Christ Superstar, for example Jon English, Trevor White, John Paul Young and Reg Livermore himself.
                                                                    

I believe Harry M. Miller and Jim Sharman,below, were involved with the "Jesus Christ Superstar" and "Hair" productions.
                                                                    

After "Hair" both Reg Livermore and Marcia Hines went on to perform in "Jesus Christ Superstar".


Related: 
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Deborah Jones: 10 highlights From The Australian Stage

Marcia Hines and Russsell Crowe - a Brand New Single.Posted here. 



♥♥Remembering Jon English♥♥

The "Rainbow Mountains" Of The China Danxia Landscape

                                                                       

From You Tube:

China Danxia is the name given in China to landscapes developed on continental red terrigenous sedimentary beds influenced by endogenous forces (including uplift) and exogenous forces (including weathering and erosion). The inscribed site comprises six areas found in the sub-tropical zone of south-west China.

They are characterized by spectacular red cliffs and a range of erosional landforms, including dramatic natural pillars, towers, ravines, valleys and waterfalls. These rugged landscapes have helped to conserve sub-tropical broad-leaved evergreen forests, and host many species of flora and fauna, about 400 of which are considered rare or threatened.

It must be explained that Danxia is not a place, but the name of a type of landscape found in China, characterized by prominent boulders and steep cliffs. It is similar to karst rocks, but formed by layers of conglomerate instead of compact blocks of rock. (please see my slide show, Guilin).
                                                                  

China Danxia is a serial property comprising six component parts (Chishui, Taining, Langshan, Danxiashan, Longhushan, and Jianglangshan) found in the sub-tropical zone of south-eastern China within approximately 1700 km crescent shaped arc from Guizhou Province in the west to Zhejiang Province in the east.

China Danxia is an impressive and unique landscape of great natural beauty. The reddish conglomerate and sandstone that form this landscape of exceptional natural beauty have been shaped into spectacular peaks, pillars, cliffs and imposing gorges. Together with the contrasting forests, winding rivers and majestic waterfalls, China Danxia presents a significant natural phenomenon.

These incredible landscapes look as if they have been painted in the sweeping pastel brush strokes of an impressionistic artwork.

                                                              

The landform is a unique type of petrographic geomorphology which is found only in China which consists of red-colored sandstones and conglomerates of largely Cretaceous age.

Formed of layers of reddish sandstone, the terrain has over time been eroded into a series of mountains surrounded by curvaceous cliffs and unusual rock formations.

The scenic area is popular among tourists, who come to enjoy scenic walks and boat rides through the area, which is also home to a number of temples.

The World Heritage Committee decided to include China Danxia Landform in the World Heritage List at its 34th meeting held in Brasilia, capital of Brazil, on August 1, 2010.

In typically Chinese style, the signage local to the rock formations pictured now boast of it as a 'world famous UNESCO geopark of China'.

The China Danxia world heritage site in fact covers a range of landscapes in Southern China, of which Mount Daxia in Guangdong is only the most famous.

The other five are: Mount Langshan and Mount Wanfoshan, Hunan Province; Taining and Guanzhoushan, Fujian Province; Mount Longhu and Guifeng, Jiangxi Province; Mount Chishui, Guizhou Province; and Fangyan and Mount Jianglang, Zhejiang Province.

These remarkable pictures show the actual scenery of Danxia Landform at Nantaizi village of Nijiaying town, in Linzhe county of Zhangye, Gansu province of China.

While the photos are certainly incredible, there could be some slight photo manipulation going on to make the colors pop a bit more than they would naturally. Still, the mountains are amazing.
[...]

                                                                         

Many thanks to Lizzie for sending me this!

                                                                    

Wild Scotland: Stunning Drone Footage

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