The Diet Zone: A Dangerous Place

    Diet Coke ,diet Pepsi, diet pills, no-fat diet, vegetable diet…We are surrounded by the word “diet” everywhere we look and listen. We have so easily been attracted by the promise and potential of diet products that we have stopped thinking about what diet products are doing to us. We are paying for products that harm us psychologically and physically.

    Diet products significantly weaken us psychologically. On one level, we are not allowing our brain to admit that our weight problems lie not in actually losing the weight, but in controlling the consumption of fatty, high-calorie, unhealthy foods. Diet products allow us to jump over the thinking stage and go straight for the scale instead. All we have to do is to swallow or recognize the word “diet” in food labels.

    On another level, diet products have greater psychological effects. Every time we have a zero-calorie drink,we are telling ourselves without our awareness that we don't have to work to get results. Diet products make people believe that gain comes without pain, and that life can be without resistance and struggle.

    The danger of diet products lees not only in the psychological effects they have on us, but also in the physical harm that they cause. Diet foods can indirectly harm our bodies because consuming them instead of healthy foods means we are preventing our bodies from having basic nutrients. Diet foods and diet pills contain zero calorie only because the diet industry has created chemicals to produce these wonder products. Diet products my not be nutritional,and the chemicals that go into diet products are potentially dangerous.

    Now that we are aware of the effects that diet products have on us, it is time to seriously think about buying them. Losing weight lies in the power of minds, not in the power of chemicals. Once we realize this, we will be much better able to resist diet products, and therefore prevent the psychological harm that comes from using them.

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    A team of engineers at Harvard University has been inspired by Nature to create the first robotic fly. The mechanical fly has become a platform for a series of new high-tech integrated systems. Designed to do what a fly does naturally, the tiny machine is the size of a fat housefly. Its mini wings allow it to stay in the air and perform controlled flight tasks.

    “It's extremely important for us to think about this as a whole system and not just the sum of a bunch of individual components (元件),” said Robert Wood, the Harvard engineering professor who has been working on the robotic fly project for over a decade. A few years ago, his team got the go-ahead to start piecing together the components. “The added difficulty with a project like this is that actually none of those components are off the shelf and so we have to develop them all on our own,” he said.

    They engineered a series of systems to start and drive the robotic fly. “The seemingly simple system which just moves the wings has a number of interdependencies on the individual components, each of which individually has to perform well, but then has to be matched well to everything it's connected to,” said Wood. The flight device was built into a set of power, computation, sensing and control systems. Wood says the success of the project proves that the flying robot with these tiny components can be built and manufactured.

    While this first robotic flyer is linked to a small, off-board power source, the goal is eventually to equip it with a built-in power source, so that it might someday perform data-gathering work at rescue sites, in farmers' fields or on the battlefield. “Basically it should be able to take off, land and fly around,” he said.

    Wood says the design offers a new way to study flight mechanics and control at insect-scale. Yet, the power, sensing and computation technologies on board could have much broader applications. “You can start thinking about using them to answer open scientific questions, you know, to study biology in ways that would be difficult with the animals, but using these robots instead,” he said. “So there are a lot of technologies and open interesting scientific questions that are really what drives us on a day to day basis.”

    Here at the Allianz Arena, we receive dozens of questions and requests for information every day. In response to the enormous public interest, we've updated our Frequently Asked Questions (FAQ) section. You will also find comprehensive information about the Allianz Arena in the Facts & Figures section of the site, and souvenir and marketing information in Shop section.

    When is the Allianz Arena open?

    Arena Tours: 10:00-18:00 daily

    Arena bistro: 10:00-18:00 daily

    Arena shop: 10:00-18:00 daily

    Matchdays: The stadium opens 2 hours before Bayern home games or TSV 1860 home games and the guided tours do not operate.

    How do I buy match tickets for the Allianz Arena?

    Please consult the Bayern Munich and TSV 1860 Munich home pages. FAQ section is not responsible for match ticket sales.

    Can I take a guided tour of the Allianz Arena?

    Tours lasting approximately 75 minutes for groups or individual visitors take place daily, and start with a film on the development of the Allianz Arena. After that there is a guided tour taking place in the changing rooms, the tunnel, the interior rooms, the press club, and the upper tier. Please refer to the Arena Tours section of this site, and address booking enquiries to besucher@arena-one.com.

    How many car, bus and coach parking spaces are available?

    The four four-storey car parks under the Esplanada provide parking for 9,800 cars (max. height 2,0meters). There are 350 bus and coach parking spaces, 240 to the north of the Arena and 110 to the south of the Esplanada.

    How do fans reach the stadium from the car parks and the underground station?

    All visitors reach the stadium itself from the car parks, the bus parking and via a short transition route from the Frottamaning underground station.

    USAW and USAPL Super Total Weekend

Murder of Crows Barbell and Crow Hill CrossFit are proud to present a Super Total Weekend on Saturday, December 1st and Sunday, 2nd at Crow Hill CrossFit! Athletes can sign up for one or for both competitions. BUT you must be a member of USAW to compete in both competitions.

    Registration will be limited to the first 60 entries. Athletes must be present USAW members and must compete in an event shirt.

    Medals will be awarded to First, Second and Third best totals in each open weight class for both men and women. We will also be awarding a prize cup for Best Male and Best Female Lifting in the Open Division and in the Masters Division. Youth lifters are welcome and we will be giving away medals for the top three finisher in each weight class and age group(11 & Under, 13 & Under, 14—15, 16—17).

    Entry fee will be $60 for the USAW competition. Event shirts can be preordered only for $20 before November 1st. $5 for spectators. Two coaches per athlete will get in free for the day.

    Tentative Schedule：

    Session 1: WOMEN YOUTHS & WOMEN 45, 49, 55, 59

    7：00 am Weigh In

    9：00 am Lift

    Session 2: MEN YOUTHS & MEN 55, 61, 67, 73

    9：30 am Weigh In

    11：30 am Lift

    Session 3: WOMEN 64, 71, 76, 81, ＋87

    12：00 pm Weigh In

    2：00 pm Lift

    Session 4: MEN 81, 89, 96, 102, 109, ＋109

    2：30 pm Weigh In

    4：30 pm Lift

    REFUND(退款) POLICY: Athletes may receive a 50% refund up to November 1. No transfers. NO REFUNDS OR TRANSFERS OF REGISTRATION AFTER 11/1.

    Thanks to exchange programmes an increasing number of young students are following educational courses in foreign countries. The Erasmus Programme, which started in 1987, is a European Union student exchange programme. It provides opportunities for young people from Europe to study in a foreign country for shot An intercontinental version of the programme, known as Erasmus Mundus, has existed since 2003, providing non-Europeans the opportunity to study in Europe.

    Have you ever fallen for a novel and been amazed not to find it on lists of great books? Or walked around a sculpture known as a classic, struggling to see why it is famous? If so, you've probably thought about the question a psychologist, James Cutting, asked himself: How does a work of art come to be considered great?

    The direct answer is that some works of art are just great: of inner superior quality. The paintings that win prime spots in galleries, get taught in classes are the ones that have proved their artistic value over time. If you can't see they're superior, that's your problem. But some social scientists have been asking questions of it, raising the possibility that artistic canons(名作目录)are little more than old historical accidents.

    Cutting, a professor at Cornell University, wondered if a psychological pattern known as the "mere­exposure effect" played a role in deciding which paintings rise to the top of the cultural league. Cutting designed an experiment to test his hunch(直觉). Over a lecture course he regularly showed undergraduates works of impressionism for two seconds at a time. Some of the paintings canonical, included in art­history books. Others were lesser known but of comparable quality were exposed four times as often. Afterwards, the students preferred them to the canonical works, while a control group liked the canonical ones best. Cuttings students had grown to like those paintings more simply because they had seen them more.

    Cutting believes his experiment casts light on how canons are formed. He reproduced works of impressionism today bought by five or six wealthy and influential collectors in the late 19th century. Their preferences given to certain works made them more likely to be hung in galleries and printed in collections. And the fame passed down the years. The more people were exposed to, the more they liked it, and the more they liked it, the more it appeared in books, on posters and in big exhibitions. Meanwhile, academics and critics added to their popularity. After all, it's not just the masses who tend to rate what they see more often more highly. Critics' praise is deeply mixed with publicity. "Scholars", Cutting argues, "are no different from the public in the effects of mere exposure."

    The process described by Cutting show a principle that the sociologist Duncan Watts calls "cumulative advantage": once a thing becomes popular, it will tend to become more popular still. A few years ago, Watts had a similar experience to Cutting's in another Paris museum. After queuing to see the "Mona Lisa" at the Louvre, he came away puzzled: why was it considered so superior to the three other Leonardos, to which nobody seemed to be paying the slightest attention?

    When Watts looked into the history of "the greatest painting of all time", he discovered that, for most of its life, the "Mona Lisa" remained in relative obscurity. In the 1850s, Leonardo da Vinci was considered no match for giants of Renaissance art like Titian and Raphael, whose works were worth almost ten times as much as the "Mona Lisa" It was only in the 20th century that "Mona Lisa rocketed to the number­one spot. What brought it there wasn't a scholarly re­evaluation, but a theft. In 1911 a worker at the Louvre walked out of the museum with the "Mona Lisa" hidden under his coat. Parisians were shocked at the theft of a painting to which, until then, they had paid little attention. When the museum reopened, people queued to see it. From then on, the "Mona Lisa "came to represent Western culture itself.

    The intrinsic (本质的) quality of a work of art is starting to seem like its least important attribute. But perhaps it's more significant than our social scientists admit. Firstly, a work needs a certain quality to reach the top of the pile. The "Mona Lisa" may not be a worthy world champion but it was in the Louvre in the first place, and not by accident. Secondly, some objects are simply better than others. Read "Hamlet" after reading even the greatest of Shakespeare's contemporaries, and the difference may strike you as unarguable.

    A study suggests that the exposure effect doesn't work the same way on everything, and points to a different conclusion about how canons are formed. Great art and mediocrity (平庸)can get confused, even by experts. But that's why we need to see, and read, as much as we can. The more were exposed to the good and the bad, the better we are at telling the difference.