Jenna Dewan Actress Jenna Dewan earned a fan following from starring in the romantic dance movie “Step Up.” She also earned the love of her on-screen co-star, Channing Tatum. The couple made the movie in 2005 and married in 2009.
Written and Directed by Robert Cullen.
Produced by Boulder Media.
Synopsis: A little dog visits the big city in search of his sister.
Accolades include: Best Animation at the Galway Film Fleadh 2014, Winner of the Audience Choice Award at the Dublin Animation Film Festival, Best Animation at UKFF 2014, Best Animation at the Delhi Shorts International Film Festival. Selected for screening at many festivals worldwide, including
Our third and best year yet. Thanks to everyone who helps make this silly idea an amazing reality.
Created by Daniel Savage
Site by Wondersauce
Music by Friendship Park
0:06 - Eran Hilleli
0:11 - Ross Phillips
0:15 - Patrick Clarke
0:19 - Joshua Catalano
0:21 - Markus Magnusson
0:23 - Impactist
0:25 - Erica Gorochow, Seth Eckert
0:27 - James Wignall
0:29 - Yussef Cole
0:31 - Salih Abdul-Karim, Chris Lohouse
0:32 - Slanted Studios
0:34 - HouseSpecial
0:37 - Daniel Savage
0:39 - Sam Ballardini
0:40 - Daniel Oeffinger
0:43 - Ariel Costa
0:44 - Josh Parker, Mercy Lomelin
0:46 - Parallel Teeth
0:48 - Marcin Zeglinski
0:50 - Nick Forshee, Ian Sigmon, Marcus Bakke
0:51 - Jorge R. Canedo Estrada
0:52 - Robin Davey
0:54 - Jay Quercia
0:56 - James Curran
0:58 - Evan Anthony, Jeremy Abel
1:00 - Conrad McLeod
1:05 - Ege Soyuer, Nick Petley
1:10 - Oddfellows
1:17 - Justin Cassano, Matt Delbridge, Seth Hulewat, Jen Lu, Tim Nolan, Christina Lu, Andrew Herzog, Pedro Sanches, Julian Glander, Brian Gossett, Black Math, Austin Robert, Bran Dougherty-Johnson, Drew Tyndell, Keetra Dean Dixon, Pierce Gibson, Cole Clark, Patrick Macomber, Patrick Finn, Ben Hill, Wesley Ebelhar, Angie Son, Shawn Kim, Ryan Cox, Skip Hursh, Adam Grabowski, Jerry Liu, Ryan Gillis, Justin Lawes, Emory Allen, Alicia Reece.
Written and Directed by SALAZAR
Production Company - Workhouse Creative
Cinematographer- Liam Mitchell
Editor - Jason C. Myers
Casting - Kris Woznesensky & Kara Eide Casting
Original Score - Edo Van Breemen
1st AC - Mikael Bidard
Production Sound, Mix, and Design - Eugenio Battaglia
have long known that adults can flexibly find new ways to communicate,
for example, using smoke signals or Morse code to communicate at a
distance, but a new Northwestern University study is the first to show
that this same communicative flexibility is evident even in
To do so, they had infants watch a short video in which two people
had a conversation – one speaking in English and the other responding
in beep sounds. Infants were then tested on whether these novel beep
sounds would facilitate their learning about a novel object category, a
fundamental cognitive process known to be influenced by speech. Could
the beeps, once communicative, have the same effect? Indeed, the
researchers found that after seeing the beeps used to communicate, the
infants linked beep sounds to categorization just as if they were
“We reasoned that if infants were able to learn about a new
communicative signal, they might now succeed in object categorizing
while listening to tones, despite having failed in prior studies while
listening to tones without any prior exposure to them,” said Brock
Ferguson, lead author of the study and a doctoral candidate in cognitive
psychology in the Weinberg College of Arts and Sciences at Northwestern. “That is, they might treat this new ‘communicative’ sound as if it were speech.”
In contrast, Ferguson said, if infants couldn’t interpret this new
signal as communicative, or if their categorization in the subsequent
task could only be ‘boosted’ by speech, then infants should fail to
categorize objects while listening to tones as they had in all prior
“We knew that speech could promote infants’ learning of object
categories. Now we know that for infants, this link to learning is broad
enough to encompass many communicative signals – including ones to
which infants had just been introduced,” Ferguson said.
Sandra Waxman, senior author of the study, director of the Project on Child Development, faculty fellow in Northwestern’s Institute for Policy Research
and the Louis W. Menk Chair in Psychology at Northwestern, highlighted
the powerful implications of this work for the understanding of infants’
intricate coordination of social, language and cognitive development.
“Infants’ success in accepting this entirely novel signal as communicative is astounding,” Waxman said.
“This shows that infants have the social capacity to recognize an
entirely new social communicative signal in their environment. And once
recognized, they can use it to support cognition. Babies, like adults,
are already on the lookout for new ways that the people around them
communicate with one another,” Waxman said.
Fantastic online music video for Kamra lets you put your own face into the surreal visuals, via webcam or photo:
Instead of relying on music-related theories or reasons, KAMRA creates his very own world based on his sensations and intuition. His sense of melody was nourished by growing up during the gaming systems craze, and his rhythm was greatly influenced by electronica music. These two factors form the base of KAMRA’s music. In 2001, KAMRA was asked to be a part of a music creation team called “invisible designs lab.” He has since taken part in the creation of music and countless melodies for commercials, games and company sound logos. Through all these experiences, KAMRA continues to gain new sensations and information also incorporates these into his music.
The sight of a face offers the brain something special. More than a
set of features, it conveys the emotions, intent, and identity of the
whole individual. The same is not true for the body; cues such as
posture convey some social information, but the image of a body does not
substitute for a face.
(Image caption: Friend or foe?: The brain patches activated by the sight of a
face (red) or a body (blue) appear above in the flattened representation
of the area around one macaque’s superior temporal sulcus (dark gray))
A brain imaging study at the Rockefeller University offers some
insight into how faces achieve this special status. The scientists found
that certain spots dedicated to processing faces in the primate brain
prefer faces with bodies—evidence they are combining both facial and
body information to represent an individual.
The study, published on October 13 in the Proceedings of the National Academy of Sciences,
was conducted in rhesus macaque monkeys. Humans have a similar system
that responds to faces, suggesting the findings have relevance for
understanding our own social processing as well.
“The body, arguably, is the most important contextual clue a viewer has to help make sense of a face,” says senior author Winrich Freiwald,
an assistant professor and head of the Laboratory of Neural Systems.
“Work by Clark Fisher, a graduate student in my lab, is remarkable in
that it shows how the face-processing network places information about a
face into its natural context as part of the body, and so begins to
generate a sense of agency associated with the whole individual.”
How the brain processes faces and bodies
In work published in 2008, Freiwald and his colleague Doris Tsao showed
that a network of patches along a deep groove in the sides of the
macaque brain act as a specialized system for processing faces. A
similar system has been found in the human brain, although it is not yet
clear how the respective networks align. Both macaque and human brains
also have separate patches that respond to bodies.
The conventional anatomical wisdom is that both species’ brains
process faces and bodies independently. However, some studies of human
perception suggest a more complex situation. For instance, one study
found people’s perception of the emotion shown by a face can be altered
by body posture, even when the viewers were told to disregard the body.
More than the sum of the parts
In the study, Fisher began by showing macaques still images that either
displayed the face of a fellow macaque alone, the body without a face,
or the entire animal.
Using high-resolution brain activity scans, captured with a method
known as functional magnetic resonance imaging, he recorded how each of
the six macaque facial patches, located in a part of the brain called
the superior temporal sulcus (STS), responded. This approach was
intended to reveal if a patch reacted strictly to faces or to some
degree to bodies as well—or if a patch preferred a face and body
together more than the sum of both presented separately.
“The only known way to get what we call a superadditive response,
which exceeds those prompted by an individual face and body combined, is
if there is some kind of interaction between the facial and body
information in the patch,” Fisher says. This interaction is important
because it suggests the brain is no longer just receiving information
from the eyes, but beginning to make sense of it.
Two of the four face patches, one in particular, showed evidence of a
superadditive response. When Fisher replaced the macaque bodies with
images of other objects—a metronome, a spray bottle, a power
tool—superadditivity disappeared from these patches. This result
suggested the two patches were responding specifically to bodies, not
just any object.
He also performed the same experiments while looking at two
neighboring body patches, but these patches appeared largely
uninterested in faces. This finding appears to match the asymmetry found
in human social perception—the fact that bodies influence our
perception of faces, while faces do not really add to our reading of
A critical node
Aside from body context, another crucial clue to the state of mind and
intent of another individual comes from the motion of his or her face.
Previously, Fisher and Freiwald found face patches respond to facial motion.
As it turns out, face patches’ preference for bodies and for facial
motion intersect at one particular patch. Located within a region at the
front of the STS, this patch responds strongly to both.
“We now think this particular face patch might be a critical node in
social cognition, the process by which the brain infers a sense of
agency for another individual and so determines how to interact
appropriately,” Freiwald says.
Scientists have discovered a protein that helps map the edge of
brain tumours more clearly so they show up on magnetic resonance
imaging (MRI) scans, according to new research presented at the National Cancer Research Institute (NCRI) Cancer Conference in Liverpool.
The laboratory research, carried out in rats, could lead to
clinical trials aimed at improving the accuracy of brain tumour
For the first time, scientists have identified a protein inside
blood vessels found at the invasive edge of brain tumours –
highlighting the area from where cancer is most likely to spread.
This protein is produced as part of an inflammatory response
caused by the brain tumour. Mapping this inflammation gives scientists a
more complete picture of the cancer.
The scientists have developed a special dye that recognises and
sticks to the protein – VCAM-1 – on the brain blood vessels and this
can be seen on MRI scans. Importantly, the protein is on the inside of
the vessels, providing an accessible target from the bloodstream.
This new research gives scientists the most complete picture of
brain tumours yet, and for the first time the edge of a growing tumour
has been mapped. These cells are the most important to catch as they are
the most likely to spread.
Clinical MRI techniques can show images of leaky blood vessels
in patients, often a sign of brain tumours. Unfortunately, blood vessels
near the edge of brain tumours are often intact, so the MRI fails to
reveal the whole tumour.
Each year around 9,700 people in the UK are diagnosed with a
tumour in their brain or in other parts of their central nervous system: that’s 27 people every day.
Professor Nicola Sibson, study author and Cancer Research UK
scientist at The University of Oxford, said: “If we can’t map the edge
of the tumour, surgery and radiotherapy often fail to remove aggressive
tumour cells – and the brain tumour can grow back.
“This research shows that we can improve imaging of brain
tumours, which could help both surgeons and radiotherapists with more
Professor Charlie Swanton, chair of the 2015 NCRI Cancer
Conference, said: “Brain tumours are very difficult to treat and take
the lives of too many patients each year. This important research
identifying the edge of tumours – the area most likely to grow and
spread - has potential to really help doctors treat patients and help
save more lives.”
Harpal Kumar, Cancer Research UK’s chief executive, said:
“Brain cancers continue to have very poor survival rates, which is why
research into how to treat them is a top priority for Cancer Research
UK. Being able to delineate the edges of brain tumours is an exciting
step towards better surgery and radiotherapy for patients. The holy
grail would be to be able to completely remove brain tumours with the
help of this new imaging technique – reducing recurrence of the disease
and saving more lives.”
The chemical chameleon reaction is a two step reaction in which you can visualise various oxidation states of manganese starting with potassium permanganate (+7) and ending with manganese dioxide (+4). The reaction is performed in alkaline conditions using caster sugar as a reduction agent. In the first step of this reaction, the purple potassium permanganate is being reduced down to the green manganate ion. A mixture of these two compounds gives the solution a blue colour.
MnO4- + e- → MnO4-2
Next, the manganate ion is further reduced to manganese dioxide which is an orange colour.
MnO4-2 + 2H2O + 2e- → MnO2 + 4OH-
Potassium permaganate is a strong oxidiser and may cause fire when in contact with other materials. May be harmful if swallowed, and may cause severe respiratory tract irritation with possible burns. Causes severe eye and skin irritation. Causes severe burns and gives out heat when added to water. Always wear gloves when handling these two chemicals.Materials and Equipment
Untitled (I shop therefore I am) — Barbara Kruger, 1987.
This is a classic piece by UCLA professor Barbara Kruger.
studied design and worked for the magazine empire of Condé Nast, which
publishes “Mademoiselle,” “Vogue,” “Vanity Fair” and “Glamour.”
This fantasy-fueled imagery of class, consumerism, beauty and status became an inviting target for Kruger’s artwork.