初代「ゴジラ」俳優、中島春雄さん死去 Http://www.bbc.com/japanese/40860452

A Random PSA On The Gei of Geisha - Part 1

The questions surrounding what arts that maiko and geiko practice comes up regularly, and instead of just posting them onto one of the tabs I’d rather lay it out in a post here first.   The “Gei” (芸) in Geisha(芸者)/Geiko(芸妓)/Geigi(芸妓) means “Art” and there are many branches and types of art that one can master. For this part we’ll be looking at the direct performing arts that everyone knows the geisha are renowned for: music and dance. Dance - Mai (舞) All traditional Japanese dance styles have their roots in Shinto ceremonies that date back at least two millennia. There are two main styles to traditional dance practiced today: -Noh (能): Originally arrived in Japan from China in the 8th century and developed into the style we know today in the 13th century by Kan’ami (assisted by his son Zeami). Derived from the classical court style dances, it features small, precise movements to tell a story. It can be seen as “boring” or “obscure” if you’re not sure what to look for as you need to understand the movements to appreciate them to the fullest. This isn’t to say that it isn’t beautiful to behold without prior knowledge as it is quite enchanting! Gion Kobu’s Inoue school is part of the Noh tradition.  -Kabuki (歌舞伎): Derived directly from Shinto ceremonies, it was created in 1603 by Izumo No Okuni, a shrine priestess who created her own style of dance and performed it on the dry riverbed of the Kamo River. She became so famous that she was invited to perform in front of the emperor! After seeing how popular the style of dance had become rival dance groups sprung up around her and established the kabuki that we know today. The style is known for its dramatic and often “wild” movements that are meant to be appreciated by the common people. Pontocho’s Onoe, Miyagawa Cho’s Wakayagi, Kamishichiken’s Hanayagi, and Gion Higashi’s Fujima schools are part of the Kabuki tradition. Music - Raku (楽) What would dance be without music? Music, like dance, can be broken down into two types: voice/song and instruments. Singing - Uta (歌): Maiko and geiko learn traditional ballads that are performed alongside dance. There are two types: Kouta (小唄) which means “short songs/ballads” and Nagauta (長唄) which means “long songs/ballad.” They are learned by listening to an instructor and then repeating and/or transcribing the words and melody together. There’s no “set” way of reading or learning a song like there is for Western music, so it takes a large amount of practice to perform any uta properly (although there are a few methods that do exist). Instruments - Gakki (楽器) There are many instruments practiced in the karyukai, but I’ll only go over the most common ones that are seen and heard on a regular basis. -Shamisen (三味線): A three stringed instrument that is played with a plectrum. It is the most common instrument in the karyukai as it developed as an instrument that the common people used. Most uta were created to be played with a shamisen. It resembles a simplified guitar and is played in a similar fashion. -Tsuzumi (鼓): The all encompassing word for drums, but specifically dual sided drums that are roped together. There are three main types learned by maiko and geiko: -Kotsuzumi (小鼓): Literally “Small Drum,” or sometimes known as the “regular” tsuzumi, it is held onto one’s shoulder and played by striking the drum with the free hand.  -Ōtsuzumi (大鼓): Literally “Large Drum,” it is a larger size of the tsuzumi and features one end that is larger than the other. It produces a much deeper sound when struck. -Kakko (羯鼓): A wide headed tsuzumi that is played with the tsuzumi sitting on the floor and the musician striking it with rods known as bachi (桴). It is the closest equivalent to Western style drums. -Fue (笛): The all encompassing word for flute, which in traditional Japanese style is usually made from bamboo. There are two types of fue that include: -Shakuhachi (尺八): The most commonly seen and heard flute that accompanies traditional Japanese music. It features 5 holes (4 on top and 1 underneath). Its sound is often described as “haunting” as it gently pierces through silence to deliver melodies full of both happiness and sadness. -Shinobue (篠笛)/Yokobue (横笛): Flutes that are much closer to Western ones, but are still made from wood. It features 7 holes that allows it to play more notes than the shakuhachi. This type is often played with the end resting on the musician’s shoulder. -Koto (事): A 13 stringed instrument that’s considered a type of lute although it plays closer to that of a harp. Due to its size it lays flat on the floor and the musician plucks the strings individually to produce sound. Those who are new to the koto often wear metal guards on their fingers to keep the strings from slicing into their skin until their hands have developed enough to withstand the pressure.  -Kokyū (胡弓): Taught exclusively in Miyagawa Cho as it was once considered an instrument of the oiran, a kakyu is a smaller version of the shamisen that’s played upright with a bow instead of a plectrum. 

In slow motion, vortex rings can be truly stunning. This video shows two bubble rings underwater as they interact with one another. Upon approach, the two low-pressure vortex cores link up in what’s known as vortex reconnection. Note how the vortex rings split and reconnect in two places – not one. According to Helmholtz’s second theorem a vortex cannot end in a fluid–it must form a closed path (or end at a boundary); that’s why both sides come apart and together this way. After reconnection, waves ripple back and forth along the distorted vortex ring; these are known as Kelvin waves. Some of those perturbations bring two sides of the enlarged vortex ring too close to one another, causing a second vortex reconnection, which pinches off a smaller vortex ring. (Image source: A. Lawrence; submitted by Kam-Yung Soh)

Note: As with many viral images, locating a true source for this video is difficult. So far the closest to an original source I’ve found is the Instagram post linked above. If you know the original source, please let me know so that I can update the credit accordingly. Thanks!

Harmonograph, H. Irwine Whitty, 1893

“The facts that musical notes are due to regular air-pulses, and that the pitch of the note depends on the frequency with which these pulses succeed each other, are too well known to require any extended notice. But although these phenomena and their laws have been known for a very long time, Chladni, late in the last century, was the first who discovered that there was a connection between sound and form.”

source here

1984

George Orwell

On this day, 29th April 1770,  Captain James Cook  first landed at Botany Bay,  (Sydney, Australia).

James Cook, with Joseph Banks and Daniel Solander landed at Kurnell in the afternoon of April 29th 1770, in search of fresh water. In the next few days, excursions around the bay were undertaken and samples of native flora collected, which proved so plentiful that Cook named the area Botany Bay.

The State Library of New South Wales holds many items relating to this voyage of the Endeavour, including Joseph Banks Journal and a copy of James Cook’s Endeavour log.

Portrait of Captain James Cook / painted by Sir Nathaniel Dance. Engraved by Cosmo Armstrong. State Library of New South Wales.

A Journal of the proceedings of His Majesty’s Bark Endeavour on a voyage round the world, by Lieutenant James Cook, Commander, commencing the 25th of May 1768 - 23 Oct. 1770 - Entrance of Endeavour River and Botany Bay Maps

Too much sex causes genitals to change shape, beetle study shows

Sexual conflict between males and females can lead to changes in the shape of their genitals, according to research on burying beetles by scientists at the University of Exeter.

The study, published in the journal Evolution, provides new evidence that conflict over how often mating takes place can lead to males evolving longer penis-like organs and females larger ‘claws’ on their genitalia, within ten generations.

“Our research demonstrates the general importance of conflicts of interest between males and females in helping to generate some of the biodiversity that we see in the natural world. It’s fascinating how genital evolution can happen so fast – in ten generations – showing how rapidly evolutionary changes can occur.”

Paul E. Hopwood, Megan L. Head, Eleanor J. Jordan, Mauricio J. Carter, Emma Davey, Allen J. Moore, Nick J. Royle. Selection on an antagonistic behavioral trait can drive rapid genital coevolution in the burying beetle,Nicrophorus vespilloides. Evolution, 2016; DOI: 10.1111/evo.12938

Ernst Mach, Chuck Yeager, and supersonic flight

Today is the 70th anniversary of the first supersonic flight. On 14 October 1947, Air Force Captain Charles Yeager piloted the experimental Bell X-1 plane named Glamorous Glennis and “broke the sound barrier,” reaching what scientists call “Mach 1.”

Yeager’s historic flight came thirty-one years after the death of Ernst Mach, the Austrian physicist and philosopher whose research on sound particles remained obscure until aviation capabilities began to approach the speed of sound. Mach lends his name to Mach numbers, used to describe faster-than-sound travel, and Mach angles, which measure the angle of the shock waves caused by flight. In addition to his work with sound, Mach’s rejection of Newton’s ideas on space and time influenced Albert Einstein’s theory of relativity.

Image credits: 1) Chuck Yeager next to experimental aircraft Bell X-1 Glamorous Glennis, 1940s. US Air Force, Public Domain via Wikimedia Commons. 2) Ernest Mach from the Journal of Physical Chemistry, Volume 40, 1902. H. F. Jütte. Uploaded by Armin Kübelbeck, Public Domain via Wikimedia Commons. 3) Chuck Yeager at Nellis Air Force Base on the 65th anniversary of his flight, 14 October 2012. Master Sgt. Jason Edwards, US Air Force, Public Domain via Wikimedia Commons.

David Bowie (1947-2016) at Kyoto - Japan - 1980

Photos by Sukita Masayoshi 鋤田 正義

(Image caption: This type of electrocorticography (ECoG) grid, which is implanted in patients about to undergo epilepsy surgery, enables researchers to record and transmit electrical signals to and from the surface of the brain. Credit: Mark Stone/University of Washington)

For the first time in humans, researchers use brain surface stimulation to provide ‘touch’ feedback to direct movement

In the quest to restore movement to people with spinal cord injuries, researchers have focused on getting brain signals to disconnected nerves and muscles that no longer receive messages that would spur them to move.

But grasping a cup or brushing hair or cooking a meal requires other feedback that has been lost in amputees and individuals with paralysis — a sense of touch. The brain needs information from a fingertip or limb or external device to understand how firmly a person is gripping or how much pressure is needed to perform everyday tasks.

Now, University of Washington researchers at the National Science Foundation Center for Sensorimotor Neural Engineering (CSNE) have used direct stimulation of the human brain surface to provide basic sensory feedback through artificial electrical signals, enabling a patient to control movement while performing a simple task: opening and closing his hand.

It’s a first step towards developing “closed loop,” bi-directional brain-computer interfaces (BBCIs) that enable two-way communication between parts of the nervous system. They would also allow the brain to directly control external prosthetics or other devices that can enhance movement — or even reanimate a paralyzed limb — while getting sensory feedback.

The results of this research will be published in the Oct.-Dec. 2016 issue of IEEE Transactions on Haptics. An early-access version of the paper is available online.

“We were able to provide a baseline degree of sensory feedback by direct cortical stimulation of the brain,” said lead author and UW bioengineering doctoral student Jeneva Cronin. “To our knowledge this is the first time it’s been done in a human patient who was awake and performing a motor task that depended on that feedback.”

The team of bioengineers, computer scientists and medical researchers from the CSNE and UW’s GRIDLab used electrical signals of different current intensities, dictated by the position of the patient’s hand measured by a glove he wore, to stimulate the patient’s brain that had been implanted with electrocorticographic (ECoG) electrodes. The patient then used those artificial signals delivered to the brain to “sense” how the researchers wanted him to move his hand.

“The question is: Can humans use novel electrical sensations that they’ve never felt before, perceive them at different levels and use this to do a task? And the answer seems to be yes,” said co-author and UW bioengineering doctoral student James Wu. “Whether this type of sensation can be as diverse as the textures and feelings that we can sense tactilely is an open question.”

They would also allow the brain to directly control external prosthetics or other devices that can enhance movement — or even reanimate a paralyzed limb — while getting sensory feedback.

It’s difficult for a person to mimic natural movements — whether using a prosthetic device or a limb that has become disconnected from the brain by neurological injury — without sensation. Though there are devices to assist patients with paralysis or who have undergone amputations with basic function, being able to feel again ranks highly on their priorities, researchers said.

Restoring this sensory feedback requires developing an “artificial” language of electrical signals that the brain can interpret as sensation and incorporate as useful feedback when performing a task.

The UW CSNE team frequently works with patients about to undergo epilepsy surgery who have recently had an ECoG electrode grid implanted on the surface of their brain. For several days or weeks, doctors constantly monitor their brain activity to pinpoint the origin of their seizures before operating.

By consenting to participate in research studies during this period when their brain is “wired,” these patients enable researchers to answer basic neurological questions. They can test which parts of the brain are activated during different behaviors, what happens when a certain region of the brain’s cortex is stimulated and even how to induce brain plasticity to promote rehabilitation and healing across damaged areas.

The potential to use ECoG electrodes implanted on the surface of the brain in future prosthetic or rehabilitative applications offers several advantages — the signals are stronger and more accurate than sensors placed on the scalp, but less invasive than ones that penetrate the brain, as in a recent study by University of Pittsburgh researchers.

In the UW study, three patients wore a glove embedded with sensors that provided data about where their fingers and joints were positioned. They were asked to stay within a target position somewhere between having their hands open and closed without being able to see what that target position was. The only feedback they received about the target hand position was artificial electrical data delivered by the research team.

When their hands opened too far, they received no electrical stimulus to the brain. When their hand was too closed – similar to squeezing something too hard – the electrical stimuli was provided at a higher intensity.

One patient was able to achieve accuracies in reaching the target position well above chance when receiving the electrical feedback. Performance dropped when the patient received random signals regardless of hand position, suggesting that the subject had been using the artificial sensory feedback to control hand movement.

Providing that artificial sensory feedback in a way that the brain can understand is key to developing prosthetics, implants or other neural devices that could restore a sense of position, touch or feeling in patients where that connection has been severed.

“Right now we’re using very primitive kinds of codes where we’re changing only frequency or intensity of the stimulation, but eventually it might be more like a symphony,” said co-author Rajesh Rao, CSNE director and UW professor of computer science & engineering.

“That’s what you’d need to do to have a very natural grip for tasks such as preparing a dish in the kitchen. When you want to pick up the salt shaker and all your ingredients, you need to exert just the right amount of pressure. Any day-to-day task like opening a cupboard or lifting a plate or breaking an egg requires this complex sensory feedback.”

The Cuban Missile Crisis

At this time in 1962, the U.S. was in the thick of the Cuban Missile Crisis. Here’s a brief recap of what exactly happened during those thirteen days.

It’s not hard to imagine a world where at any given moment, you and everyone you know could be wiped out without warning at the push of a button. This was the reality for millions of people during the 45-year period after World War II, now known as the Cold War. As the United States and Soviet Union faced off across the globe, each knew that the other had nuclear weapons capable of destroying it. And destruction never loomed closer than during the 13 days of the Cuban Missile Crisis. 

In 1961, the U.S. unsuccessfully tried to overthrow Cuba’s new communist government. That failed attempt was known as the Bay of Pigs, and it convinced Cuba to seek help from the U.S.S.R. Soviet premier Nikita Khrushchev was happy to comply by secretly deploying nuclear missiles to Cuba, not only to protect the island, but to counteract the threat from U.S. missiles in Italy and Turkey. By the time U.S. intelligence discovered the plan, the materials to create the missiles were already in place. 

At an emergency meeting on October 16, 1962, military advisors urged an airstrike on missile sites and invasion of the island. But President John F. Kennedy chose a more careful approach. On October 22, he announced that the the U.S. Navy would intercept all shipments to Cuba, but a naval blockade was considered an act of war. Although the President called it a quarantine that did not block basic necessities, the Soviets didn’t appreciate the distinction.

Thus ensued the most intense six days of the Cold War. As the weapons continued to be armed, the U.S. prepared for a possible invasion. For the first time in history, the U.S. Military set itself to DEFCON 2, the defense readiness one step away from nuclear war. With hundreds of nuclear missiles ready to launch, the metaphorical Doomsday Clock stood at one minute to midnight. 

But diplomacy carried on. In Washington, D.C., Attorney General Robert Kennedy secretly met with Soviet Ambassador Anatoly Dobrynin. After intense negotiation, they reached the following proposal. The U.S. would remove their missiles from Turkey and Italy and promise to never invade Cuba in exchange for the Soviet withdrawal from Cuba under U.N. inspection. The crisis was now over. 

While criticized at the time by their respective governments for bargaining with the enemy, contemporary historical analysis shows great admiration for Kennedy’s and Khrushchev’s ability to diplomatically solve the crisis. Overall, the Cuban Missile Crisis revealed just how fragile human politics are compared to the terrifying power they can unleash.

For a deeper dive into the circumstances of the Cuban Missile Crisis, be sure to watch The history of the Cuban Missile Crisis - Matthew A. Jordan

Animation by Patrick Smith