…if Americans took away one easy lesson from the pamphlet, she hoped it would be P(H|E) = (P(E|H) *P(H))/P(E).
New Mannahatta na prvý pohľad vyzerá, akoby tiež bol z The Onion, ale nie je
nie so všetkým súhlasím, ale stojí za zamyslenie: why we should lower the voting age for children (h/t Zuzine za linku)
What, then, explains the widening political divide that lies behind our growing social conformity? The answer is a combination of demography and geography. Ours are now rapidly ageing societies in which older voters have come to outnumber the young. This is the case across Europe, in the US and increasingly in Asia, too. The traditional dynamic of intergenerational conflict was that even if the older generations had the wealth and the power, the young had the numbers. In all democratic societies, from ancient Athens to 1970s Britain, there were many more voters under 40 than over 60. That is no longer the case.
deťom sa veľmi páčilo, ako japonskí stredoškoláci súťažia v stavaní veží, ktoré odolávajú zemetraseniam:
Two sisters are gamboling like puppies all over their young mother. Their bodies are soft and tender, their beauty feral and babyish as their mother detangles their hair in the bath. In most films, a child’s bath time symbolizes tender innocence and womblike safety. But this film, Maggie Gyllenhaal’s The Lost Daughter, captures the essence of bath time’s reality. You are on your knees, back bent at a weird angle, counting the minutes until the slog is over. But if you turn away at the wrong moment, your babies could slip under the water. This is motherhood: interminable stretches of boredom spiked with bursts of existential horror. It’s enough to drive anyone off the deep end.
Movies often deploy mothers and children less as characters than as shorthand: Moms represent all-encompassing love, kids stand in for vulnerability. In The Lost Daughter and two other new films with mothers at their core, symbolism and sentimentality are put aside in favor of nuance and realism. Instead of reassuring audiences that mommy is always a bastion of safety, these filmmakers have created mother heroines who are unpredictable, erratic, and even a little bit frightening.
Číňanov nechcú na ISS, tak si stavajú vlastnú China’s Tiangong space station