Alex Elman runs a big business—something hard to imagine after she lost her sight in her twenties. But Elman says that losing her sight helped her focus on finding success.

    Elman's father planted a hillside vineyard(葡萄园)in western Massachusetts in 1981. It's where Elman spent the darkest period of her life. When she was 27 years old, she went blind as a result of diabetes(糖尿病) 17 years ago. She recalled，“I hid in my home. I hid in the place，to me, that was the safest place in the world.”

    However, she found a new way forward.

    Elman is the founder of Alex Elman Wines, a growing competitor of organic wines from all around the world: Chianti from Italy, Torrontes from Argentina.

    Elman's isn't solitary in her work. Instead, she has a good assistant, a guide dog named Hanley. Hanley is something of a professional wine taster and travels to all of the wine factories that Elman runs, from South America to Europe.

    At first, Elman wouldn't accept a guide dog. Now it's hard to imagine her life, or her business, without him. She said, "When someone tells me something is organic and I don't really believe it because I taste something funny on it, m put it in front of his face and if he likes the wine, he'll actually go in and sniff it. If if s not right, he'll turn his head away. That's how we know whether the soil is actually organic.”

    Elman believes the loss of her sight was a gift from God. She said, “It allowed me to pay attention to what I thought was important. Therefore, adapt to a situation, and you'll be all right. Because you can't change it anyway, right?”

    Art museums are places where people can learn about various cultures. The increasingly popular “design museums” that are opening today, however, perform quite a different role. Unlike most art museums, the design museums show objects that are easily found by the general public. These museums sometimes even place things like fridges and washing machines in the centre of the hall.

    People have argued that design museums are often made use of as advertisements for new industrial technology. But their role is not simply a matter of sales—it's the honouring of excellently invented products. The difference between the window of a department store and the showcase in a design museum is that the first tries to sell you something, while the second tells you the success of a sale.

    One advantage of design museums is that they are places where people feel familiar with the exhibits. Unlike the average art museum visitors, design museum visitors seldom feel frightened or puzzled. This is partly because design museums clearly show how and why mass－produced products work and look as they do, and how design has improved the quality of our lives. Art museum exhibits, on the other hand, would most probably fill visitors with a feeling that there is something beyond their understanding.

    In recent years, several new design museums have opened their doors. Each of these museums has tried to satisfy the public's growing interest in the field with new ideas. London's Design Museum, for example, shows a collection of mass－produced objects from Zippo lighters to electric typewriters to a group of Italian fish－tins. The choices open to design museums seem far less strict than those to art museums, and visitors may also sense the humorous part of our society while walking around the exhibits.

    King's College Summer School is a training program every year for high school students at all levels who want to improve their English. Courses are given by the teachers of King's College and other colleges in New York. Trips to museums and culture centers are also organized. This year's summer school will be from July 25 to August 15.

    More information is as follows:

    Three months after Hurricane Katrina in 2005, Rebecca Sell, then 24, a photojournalist for Fredericksburg photographed a New Orleans couple worriedly examining water-spotted photo albums. As she took the photo, something within her clicked. "I told them I could take the ruined pictures, copy them and give them digitally restored (修复) photos," she recalls. Although a bit sceptical, the couple agreed. Rebecca took their photos home, restored them and took them to the couple at their temporary home. "It felt so good to be able to do that for them," says Rebecca.

    When her editor, Dave Ellis, saw the photo of the couple, he suggested they go back and restore damaged photos for even more people. So in January 2006, with paid time off from the paper, the two set up shop in Pass Christian. After posting a notice in the community newsletter, Rebecca and Dave received 500 photos in four days. For each, the pair took a new digital picture, then used high-tech software to erase water spots and restore colors. It just so happened that a popular website linked to Dave's blog about the experience, and soon Operation Photo Rescue, as it came to be known, had emails from hundreds of volunteers, including photographers and restoration experts, eager to help.

    Though digital restoration is a painstaking process, mending irreplaceable family pictures means the world to victims like Emily Lancaster, 71, who took out piles of ruined photo albums after Katrina, never thinking the mess could be saved. But she just couldn't bear to part with a few treasured pictures, including a portrait of her father, who had passed away, and a photo of her husband as a boy. Then she heard about Operation Photo Rescue. "I didn't have a whole lot of hope they could fix them, but they did," Emily says. "Almost every day I think about all the pictures I've lost. I'm so happy to have these two."

    In the five years since Katrina, Operation Photo Rescue has collected thousands of pictures ruined by floods, hurricanes and tornadoes. Volunteers make "copy runs" to disaster areas across the country to gather damaged photos from survivors; operating costs are covered by donations. "It's great to be able to give people some of their history back," says Rebecca. "One person told me that thanks to us, her grandmother got to see her photos again before she passed away. Moments like that remind me why I do this."

    University of Pennsylvania researchers say that for the first time they have linked social media use to increases in depression and loneliness. The idea that social media is anything but social when it comes to mental health has been talked about for years, but not many studies have managed to actually link the two. To do that, Penn researchers, led by psychologist Melissa Hunt, designed a study that focused on WeChat, Snapchat and Instagram.

    The study was conducted with 143 participants, who before they began, completed a mood survey and sent along photos of their battery screens, showing how often they were using their phones to access social media. "We set out to do a much more complete study which attempts to imitate real life." Hunt said.

    The study divided the participants into two groups： The first group was allowed to maintain their normal social media habits. The other, the control group, was restricted to 10 minutes per day on social media. The restrictions were put in place for three weeks and then the participants returned and were tested for outcomes such as fear of missing out, anxiety, depression and loneliness.

    The results showed a very clear link between social media use and increased levels of depression and loneliness. "Using less social media than you normally do would lead to significant decreases in both depression and loneliness," Hunt said.

    Social media invites what Hunt calls "downward social comparison." "When you're online, it can sometimes seem that everyone else is cooler and having more fun and included in more things and you're left out," Hunt said. And that's just generally discouraging. "Every minute you spend online is a minute you are not doing your work or not meeting a friend for dinner or having a deep conversation with your roommate." And these real life activities are the ones that can encourage self﹣esteem and self﹣worth, Hunt added.

    "People are on their devices, and that's not going to change," she said. But as in life, a bit of control goes a long way.

    A young woman turns around and around quickly, and jumps high. In the background, a young girl reads a rejection (拒绝) letter from a ballet school. "You have the wrong body for ballet," it says, "and at thirteen, you are too old." This was one of the most popular advertisements (广告) of 2014 and it describes American ballet Theatre's principal (主要的) dancer Misty Copeland.

    This was not a real letter. But Copeland says it is very similar to letters from her childhood. While many dancers start at the age of three. Copeland only began to study ballet in 1995 as a thirteen-year-old.

    People often told her that she was too old, or that she didn't have the perfect body type (She is only 157 cm tall). Her family moved a lot, and it was sometimes difficult for her to attend ballet classes. But Copeland loved dancing and did not want to give up. She stayed with her ballet teacher during the week and spent time with her family only at the weekend. This was a difficult life, but she worked hard and won her first national competition when she was fourteen years old. Copeland joined the American Ballet Theatre in 2000 and performed in many ballets over the next few years. In 2007, she became a solo (单独的) performer, and in 2015 she became its principal dancer.

    Copeland is now a dancer, author and Broadway performer. She also stars in the 2015 film A Ballerina's Tale. So what's next? According to Copeland, anything is possible: "My career (职业) really is just now beginning."