Do you ever wonder why trees begin to bud (发芽) earlier in some cities? Scientists finally found the answer but it's not very pleasant. New science suggests a relationship between light pollution and the timing when trees produce buds, which signals the arrival of the spring season.

    Light pollution is defined by the Lighting Research Center as the unwanted consequence of outdoor lighting such as street lights. Excessive (过多的) man-made light at night results in disturbed natural cycles, and also prevents the observation of stars and planets at night. But its effect on the environment goes beyond that.

    By studying some trees, researchers found out that trees that are more exposed to artificial lighting at night bud up to 7.5 days earlier than those at the natural nighttime setting. And they found out that light had a more significant effect than temperature when the buds came out. The early budding may cause problems for insects, which feed on leaves, and the birds which then feed on them in turn. Professor Richard Ffrench-Constant, who helped lead the research, explained that more than the budding of trees, the study implies the danger to the balance of the ecosystem. “At the moment, caterpillars (毛毛虫) are timed to hatch to make the most of the opportunities to feed on freshly budded leaves, and birds hatch in time to feed on the young caterpillar,” he said.

    Migratory (迁徙的) birds are also negatively affected by light pollution. The glare might confuse them and make them lose their flying sense. The phenomenon might explain why some birds accidentally knock into buildings.

    Such results stress the need to pursue studies that aim to measure the effect of light pollution. If the issue were left to continue, it is estimated that by 2100, spring would begin almost a full month earlier than it does today.

                                                                                         The University of Sheffield

    Back to its origin

    The University of Sheffield is a research university in the city of Sheffield in South Yorkshire, England. It is one of the original “red brick” universities, which are a group of top and famous old universities. The University of Sheffield was originally formed by the combination of three colleges. The Sheffield School of Medicine was founded in 1828, followed in 1879 by the opening of Firth College by Mark Firth, a steel manufacturer (制造商), to teach arts and science subjects. Firth College then helped to provide money for the opening of the Sheffield Technical School in 1884 to teach applied science. In 1897 the three institutions were joined together to form the University College of Sheffield, which in turn became the University of Sheffield by Royal Charter (特许) in 1905. This university is famous for its good education and boasts a number of Nobel Prize winners among its former students.

    More information

    System: The University has five departments: Arts and Humanities; Engineering; Pure Science; Social Sciences; Medicine, Dentistry and Health. Sheffield also has many research programs in fields including aerospace, environmental science, psychology, and biology.

    City show: Sheffield is a lively city in the north of England. Sheffield is known as the greenest city in Europe because of its 2 million trees. As a result, there are many parks and woods throughout the city and beyond. Sheffield is the greenest city in England with 150 woodlands and 50 public parks within the city. Once, in Sheffield, the folk hero—Robin Hood lived in Sherwood Forest with 150 of his loyal friends. And Charlotte Bronte, the English writer noted for her novel Jane Eyre was born in Sheffield.

    The ocean is filled with eight million tons of rubbish—enough to fill five carrier bags for every foot of coastline on the planet. But a new invention could deal with this problem, one port at a time.

    A pair of surfers from Perth, Australia, has invented a "floating bin" that automatically draws rubbish floating on the water into it like a vacuum (真空) cleaner. While the invention may do little to battle against five giant "garbage islands" that flow around the world's  major ocean gyres (环流), it could stop waste from leaving harbours and marinas, for example. Peter Ceglinski and Andrew Turton said their device could spell the end of polluted seas.

    The concept is simple: A bucket connects to a water pump, drawing in any floating trash inside a removable net bag. There is also an optional oil-water separator system inside the pump. It can remove oil from the seawater before spitting it back into the ocean — pollution-free — through the other side of the pump.

    The water filtration (过滤) system is much like what you'd find in a fish tank, but it has the potential to clean up an entire ocean. The seabin can run 24/7, according to its website. And, amazingly, Peter and Andrew say they have never caught a fish or sea animal in their pumps in four years of testing.

    The Seabin Project aims to improve on the traditional and sometimes expensive — harbor cleaning methods of having a person physically remove trash from the water or sending boats equipped with nets to collect it. While it's not as extensive as 21-year-old Boyan Slat's plan to clean the entire Pacific Ocean in 10 years, starting in 2020, the seabin's creators said their device is something that harbors can start using to clean our oceans now.

    They're starting "close to the source of the problem in a controlled environment," Seabin's website states. "It's a big mission, but it can be done. In fact, we're doing it right now."

    BA0059 to Cape Town

    BRITISH AIRWAYS

    27^th AUGUST

    Dear customer,

    I am sorry for the disruption(扰乱) to your journey today. When flying Morocco, your aircraft changed its course and flew to Barcelona due to a medical emergency. As a result, the cabin crew are legally out of flying hours to continue on to Cape Town. The service has therefore returned to Heathrow Airport, London to allow for a change of crew.

    Your new departure time will be 18:00 on 28^th August, arriving in Cape Town at 06:40 on 29^th August.

    We have arranged rooms for you to stay at the Renaissance Hotel. Breakfast, lunch and a three-minute telephone call will also be provided for you.

    We suggest that you take your hold luggage with you when you go to the hotel. For your transport to the hotel, you will need to make your way to bus stop 15. This is located outside the main Terminal (航站楼) building.

    Transport back to Heathrow Terminal 4 has been arranged at 14:15 on 28^th August. Check-in will be available at Zone A from 15:00. Passengers travelling in First or Club World may check in at Zone D.

    I again apologize for the inconvenience and frustration you have been caused. I can assure you we are doing our best to make your wait as comfortable and brief as possible. Thank you very much for your understanding.

    Yours faithfully,

    Reg Harper

    Customer Service Duty Manager

    PO Box 10 Heathrow Airport

    Hounslow Middlesex TW6 2JA

    At least 12 other murders since 1997 have been linked to an addiction to violent video games. This year, the parents of a 14-year-old murder victim in the UK blamed the killer's addiction to the game Manhunt, causing a government review of legislation (立法) to protect children.

    But is there any scientific evidence that mere games can make children and young adults more aggressive, or possibly have the desire to murder? There is no doubt children are being exposed to more games violence than ever: around a quarter of all games released in the US contain some violence. And the violence is becoming more obvious as increases in computing power make the games look ever more realistic.

    Psychologists think there may be many reasons why violent games are more harmful to children than violent movies. Firstly, players are actively involved in violence, and may begin to use weapons as second nature. Secondly, violent games provide repetitive aggressive experiences that are rewarded by more killing.

    Many studies have shown that people who play violent games regularly are more likely to show high levels of aggression. For instance, in 2000, Craig Anderson of Iowa State University in Ames and his colleague Karen Dill found that people who played violent games were more likely to admit to aggressive behaviour, including attacks or robberies.

    Earlier this year, Krahe and her colleague Ingrid Miller reported a study of 13 to 14-year-old children. More than half had played games recommended only for over-18s. The more violent the games they played, the more they considered physical aggression to be acceptable. Other authors in the same edition report that children who play violent games more likely to argue with teachers and fight with others.

    Experimental studies have also pointed out a possible link. In one, Anderson and Dill asked a group of students to play a violent game, Wolfenstein 3D, while another group played the non-violent Myst. Those who played the violent game were faster to react to aggressive words flashed on screen and appeared more aggressive.

    The issue is controversial, however. Jeffrey Goldstein, a psychologist at the University of Utrecht in the Netherlands and a consultant to some video games publishers, agrees that there is good evidence that children, who are exposed to violent media, including video games, are more aggressive. But he warns it might not be a simple case of cause and effect: aggressive kids might be most attracted to violent games.

According to a 2018 report, people aged between 16 and 24 make up about 15 percent of the population but only 10 percent of museum-goers. Similarly, people aged over 35 go half as much as you would expect from their population size. We have reached the point of recognising the disconnection between art and the audience but haven't yet determined how to bridge the gap. Two answers to tackling this challenge lie in telling a greater diversity of art histories and communicating these stories in more accessible ways.

In 2018, a radio program called Art Matters was started with the aim of discussing art from a pop-culture viewpoint with topics that would engage younger and more diverse audience. It offers an accessible pathway to art history with conversations on different topics. Art history is about storytelling; art content shines when there is an effort to bring audience along for the discussion.

More traditional institutions are paying attention. Recently the Getty Museum issued a social-media challenge for people to recreate paintings using items they had at home. Users displayed incredible creativity, and the museum was flooded with submissions. This reaction proves that there is a potential desire for the audience to engage with art topics if the format is appealing. Since many people feel intimidated and think that there's a base level of understanding required to join the conversation, the Getty initiative serves as a reminder that there are many pathways to engaging with it.

Another result of the Getty challenge was the exposure given to a diversity of artworks. The famous opera singer Peter Brathwaite, for example, made scores of attractive recreations highlighting centuries of black paintings. His efforts opposed the idea that there were not many historical paintings of black figures. It is extremely important that we do a better job of showing the complex and diverse stories that are represented in art. 

Social media have offered a platform for people who have not traditionally had a seat at the table. Anyone can recognise a gap in the field and address it. Accounts have gathered tens of thousands of followers. They are the proof that there is hunger to hear these art histories, and these themes work brilliantly for museum programming.

But there is only so much that can be done without the museums and galleries changing meaningfully from within. We need to see a better balance of these stories represented in permanent collections. We also need a much wider diversity of people and interests represented on board. Ensuring that art—and writing and talking about art—is able to continue on the rising generation of storytellers, inside and outside of institutions, getting the funding and support they need to paint a brighter picture for the part.