{#blank#}1{#/blank#} If you are growing tomatoes in your backyard for sale you are producing for the market. You might sell some to your neighbor and some to the local manager of the supermarket. But in either case, you are producing for the market. {#blank#}2{#/blank#} If people stop buying tomatoes, you will stop producing them.

    If you take care of a sick person to earn money, you are producing for the market. If your father is a steel worker or a truck driver or a doctor or a grocer, he is producing goods or service for the market.

    {#blank#}3{#/blank#} You may spend money in stores, supermarkets, gas stations and restaurants. Still you are buying from the market. When the local grocer hires you to drive the delivery truck, he is buying your labor in the labor market.

    {#blank#}4{#/blank#} But for each person or business that is making and selling something, it is very concrete(具体的). If nobody buys your tomatoes, it won't be long before you get the message. {#blank#}5{#/blank#} It is telling you that you are using energies and resources in doing something the market doesn't want you to do.

The Brown Bear

    My wife Laura and I were on the beach, with three of our children, taking pictures of shore birds near our home in Alaska when we spotted a bear. The bear was thin and small, moving aimlessly.

Just a few minutes later, I heard my daughter shouting, “Dad! The bear is right behind us!” An aggressive bear will usually rush forward to frighten away its enemy but would suddenly stop at the last minute. This one was silent and its ears pinned back— the sign (迹象) of an animal that is going in for the kill. And it was a cold April day. The bear behaved abnormally, probably because of hunger.

    I held my camera tripod (三脚架) in both hands to form a barrier as the bear rushed into me. Its huge head was level with my chest and shoulders, and the tripod stuck across its mouth. It bit down and I found myself supporting its weight. I knew I would not be able to hold it for long.

    Even so, this was a fight I had to win: I was all that stood between the bear and my family, who would stand little chance of running faster than a brown bear.

    The bear hit at the camera, cutting it off the tripod. I raised my left arm to protect my face; the beast held tightly on the tripod and pressed it into my side. My arm could not move, and I sensed that my bones were going to break.

Drawing back my free hand, I struck the bear as hard as I could for five to six times. The bear opened its mouth and I grasped its fur, trying to push it away. I was actually wrestling (扭打) with the bear at this point. Then, as suddenly as it had begun, the fight ended. The bear moved back toward the forest, before returning for another attack—- The first time I felf panic.

    Apparently satisfied that we caused no further threat, the bear moved off, destroying a fence as it went. My arm was injured, but the outcome for us could hardly have been better. I'm proud that my family reminded clear-headed when panic could have led to a very different outcome.

    Does the future of filmmaking lie in virtual reality (VR) films?

    An ambitious team led by Yale senior Celine Tien might hold the answer to that question.

    Tien produced,directed and acted in Pippa's Pan,which she says is “one of the world's first live-action VR films.”The film,which was completed in April,mixes live action with VR sections.Some of the characters were created via animation（动画）and other techniques that distinguish the film from 360° VR videos like the ones frequently seen on YouTube.

    “360° VR videos are stagnant,which means you don't move with them and see a 360° view of whatever they're filming.”Tien explained.“What we're doing is immersive（沉浸式的）VR.When you put on the goggles (a kind of special glasses) you can physic.ally walk around in the space,pick up objects and engage with the environment.It's a huge difference.”

    The immersive VR film experience is different for everyone who interacts with the medium,but that doesn't mean the film's ending will change for each viewer.

    The film stars two Chinese-speaking actors."It's a love story about a woman suffering from Alzheimer's disease who is trying to bring back memories of her husband,"Tien said.

    The film has already been recognized by the VR industry.After handing in a short demo to the AT&T Developer Summit Conference,Tien and her team were invited to Las Vegas in January,where they came in third place.

    If you're dying to see the film already,your choices area bit limited: Pippa's Pan can't be seen in movie theaters unless they happen to have VR goggles available.According to Tien,many theaters in China will soon have the ability,which makes sense considering China is the film's target market.

    Pippa's Pan will be released in three languages: Chinese,English and Korean.“It can get spread in different ways: at film festivals with VR set ups and through HTC or Oculus headset stores,”Tien says.“If you have VR goggles you can download it and experience it yourself.We will also cooperate with movie theaters that have VR set ups.”

    Google, one of the world's outstanding tech companies, was attacked. It wasn't its search engine that was attacked or its advertising platform or even its social network, Google+. Instead, it was a building.

    Two web security experts hacked (侵入) into its Wharf 7 office in Sydney, Australia, through Google's building management system (BMS). One of them, Billy Rios, says, “My colleague and I have a lot of experience in web security, but it is not something that people couldn't learn. Once you understand how the system works, it is very simple.”

    They found the system on Shodan, a search engine that lists devices connected to the Internet, and then ran it through their own software to identify who owned the building. In the case of the Google hacking, the researchers had no immoral purpose and just informed Google about what they found.

    According to Mr. Rios, Who runs security company Whitescope, there are 50,000 buildings currently connected to the Internet, including research institutes, churches and hospitals, and 2,000 of those are online with no password protection. Martyn Thomas, a professor of IT at Gresham College in the UK, says, “It is beyond doubt that attempts to attack building management systems arc happening all the time.”

    Making a building smart generally means connecting the systems that control heating, Hating and security to the Internet and the wider corporate network. There was a strong reason for doing this, said Andrew Kelly, principal security consultant at defence company Qinetiq.

    “Energy savings are the biggest factor in connecting building management systems to the corporate network,” he says. “It gives those who run the building better control and offers between 20% to 50% in energy savings,” he adds.

    But it also makes them less secure. And if any of these feels like a Hollywood film, think again.

    Shan Tianfang, died at 83 on Sept. 11, 2018 in Beijing because of multiple organ failure. His energetic oral interpretations of classical Chinese novels and historical events pushed the ancient pingshu tradition forward into the modern age for generations of Chinese.

    Mr. Shan tried for many years to avoid becoming a performer of pingshu, the Song dynasty-era storytelling tradition. Growing up in the1950s in a family of folk art performers, he had seen struggle firsthand. It was a life of constant financial troubles and low social status. So it was with great unwillingness when, out of financial necessity, he became an apprentice(徒弟) to a family friend who was a master of pingshu. He made his first public appearance in 1956.

    In the pingshu tradition, the performer wears a traditional gown and sits behind a desk equipped with a folding fan and a wooden block. The storyteller tells a legend — typically a classical Chinese epic — from memory, using different voices and exaggerated gestures as well as adding occasional background detail and commentary.

    Mr. Shan grew to love the storytelling form, which is popular across northern China. It is a demanding profession that combines acting, oration, writing, historical research and literary criticism and requires countless hours of memorization. In teahouses around the northeastern region, he became famous for his fresh takes on the classics.

    In 1976, many Chinese were hungry for some new forms of entertainment, and it was against this background that he grasped the opportunity to record a pingshu radio broadcast. He soon discovered that performing on radio was vastly different from doing so in teahouses. There were no props(道具), no reactions from the audience to guide him — just Mr. Shan and the microphone in a recording studio. So for his first radio performance, a shortened version of the historical novel. The Romance of Sui and Tang Dynasties, Mr. Shan used the studio's three recording technicians as his audience and adjusted his performance based on their reactions.

    The performance had its first appearance in 1980 on Chinese New Year, and more than 100 million Chinese were estimated to have tuned in during the 56 hours over which it was broadcast. It was the beginning of a dramatic second act both for Mr. Shan and for pingshu in the People's Republic of China. He was soon a household name across the country.

    Over six decades, Mr. Shan recorded more than 110 stories for radio and television totaling about 12,000 episodes and lasting 6,000 hours. His best-known works include his interpretations of Chinese classics like 'White-Eyebrow Hero' and 'Sanxia Wuyi' and his dramatizations of historical figures like Zhuge Liang and Lin Zexu.

    Even today, hop into a Beijing taxi and the driver may be listening to one of Mr. Shan's recordings. "For my generation, Shan Tianfang was a master," said Zhao Fuwei, 48, a Beijing taxi driver. If back then there was such thing as a viral star, then Shan Tianfang was definitely the hottest viral star.

    "Listening to his stories has made it easier to kill time in bad traffic," Mr. Zhao added. "He was so good at making complicated historical stories simple and interesting". You feel like you could empathize with the characters in his stories, even though they lived a long time ago.

    But in recent years many of the great pingshu performers have died, and the tradition is fading. By the time Mr. Shan retired in 2007, interest in pingshu among Chinese had all but been replaced by mobile phones and gaming. Nevertheless, even after retiring, Mr. Shan worked tirelessly to promote pingshu among young Chinese, instructing apprentices and starting a school dedicated to the folk arts.

    Ever willing to adapt to new technologies, he posted a message to his Sina Weibo microblog account on Sept. 6, five days before his death. It was an announcement about a new live-streamed(直播) lecture series about pingshu.

    Monty Hempel is a professor of environmental sciences at Redlands University in California. He studies ecological literacy­or eco-literacy, for short. Eco-literacy is the ability to think about and understand the natural processes that make life possible.

    Monty Hempel says eco-literacy gives people knowledge about environmental problems. But he says it does not always work on getting them to change their behavior.

    Mr. Hempel wrote part of the Worldwatch Institute's latest State of the World report. He says in his article, "Some people think that eco-literacy is just a green form of science literacy. And what I have tried to ask is whether that's enough. In other words, what an ecologically-literate person needs to know might include things like the effect of environmental pollution on ecosystem, the energy systems, and all of those kinds of things that we would call the science of ecology."

    "That doesn't seem to lead to action to protect our environment ­ to protect our life-support system to the level that we need to. Just knowing a lot about the environment doesn't mean that we actually act to save it. After all, actions speak louder than knowledge."

    He adds that people may not be very worried about environmental problems if they seem far away. "Some people call it psychological distance. A lot of climate issues are worse in the Arctic and most of us don't spend time in the Arctic. And so, there's a certain distance. But there's also a distance that's happening in the world as it urbanizes ­ people spending more time in front of screens and less time out in nature. We become, if you will, disconnected from the natural systems that used to be the key to success for a human being."

    To help children discover the wonders of nature, he adds that children should learn about nature in school. But he also points out we have a high mountain for people to climb from knowledge to action.