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  • August 1, 2017 - Buenos Aires, Argentina - On August 1st. 2017 in Malvinas Argentinas, Buenos Aires, Argentina. The Former president of Argentina and current pre-candidate for national senator by Union Ciudadana, Cristina Fernandez de Kirchner, during a meeting with scientists in the auditorium of Universidad Nacional de General Sarmiento. (Credit Image: © Matias Jovet/NurPhoto via ZUMA Press)
    20170801_zaa_n230_391.jpg
  • June 22, 2017 - Tokyo, Tokyo, Japan - A humanoid robot called Alter, designed by scientists in Japan is exhibited at the National Museum of Emerging Science and Innovation in Tokyo, Japan. That CPG has a neutral network that replicates neurons, allowing the robot to create movement patterns of its own, influenced by sensors that detect proximity, temperature and, for some reason, humidity. The setup doesn't make for human-like movement, but it gives the viewer the very strange sensation that this particular robot is somehow alive. (Credit Image: © Alessandro Di Ciommo via ZUMA Wire)
    20170622_zap_c166_003.jpg
  • June 22, 2017 - Tokyo, Japan - A humanoid robot called Alter, designed by scientists in Japan is exhibited at the National Museum of Emerging Science and Innovation. The CPG has a neutral network that replicates neurons, allowing the robot to create movement patterns of its own, influenced by sensors that detect proximity, temperature and, for some reason, humidity. (Credit Image: © Alessandro Di Ciommo via ZUMA Wire)
    20170622_zap_c166_005.jpg
  • June 22, 2017 - Tokyo, Tokyo, Japan - A humanoid robot called Alter, designed by scientists in Japan is exhibited at the National Museum of Emerging Science and Innovation in Tokyo, Japan. That CPG has a neutral network that replicates neurons, allowing the robot to create movement patterns of its own, influenced by sensors that detect proximity, temperature and, for some reason, humidity. The setup doesn't make for human-like movement, but it gives the viewer the very strange sensation that this particular robot is somehow alive. (Credit Image: © Alessandro Di Ciommo via ZUMA Wire)
    20170622_zap_c166_001.jpg
  • EXCLUSIVE: Great white sharks have mysteriously vanished from one of their most popular hunting grounds in South Africa leaving tourism bosses baffled as to what has driven away one of their biggest money spinners. Theories include a fear of Orca's who have been targeting the apex predators tearing them open to eat their fatty livers as well as pollution, climate change and over fishing of much of the great whites natural prey. Between 2010 and 2016 shark spotters recorded an average of 205 great white sightings a year in False Bay which is a 600 square mile section of the Atlantic Ocean near tourist hot spot Cape Town. In 2018 they were only 50 sightings of the deadly predators made famous by the Hollywood blockbuster Jaws and so far this year not a single one of the much-feared great white shark has been spotted. And it has been two years since the Shark Spotters Applied Research Programme has picked up a signal from any of the great white’s that had been tagged by scientists and were resident in False Bay. This comes after 5 great white sharks were washed up along the South African coastline in 2017 with gaping wounds on their side with their livers having been bitten out by two killer whales in the area. The killer whales bite a large slit in the side of the great whites after attacking as a pair and then suck out the fatty liver which is 600lb meat delicacy in a phenomenon that has only recently been discovered. The two Orca’s responsible – known as Port and Starboard as their dorsal fins hang to the left on one and to the right on the other – spurned their natural prey like seals having developed a taste for shark. The great whites population in False Bay sea to be taking no chances and have moved to new hunting grounds away from Seal Island but it is hoped that they will in time return to their usual hunting ground. The City of Cape Town said: ”Great white sharks have been noticeably absent from False Bay during 2019 prompting questions as to when t
    MEGA491637_005.jpg
  • EXCLUSIVE: Great white sharks have mysteriously vanished from one of their most popular hunting grounds in South Africa leaving tourism bosses baffled as to what has driven away one of their biggest money spinners. Theories include a fear of Orca's who have been targeting the apex predators tearing them open to eat their fatty livers as well as pollution, climate change and over fishing of much of the great whites natural prey. Between 2010 and 2016 shark spotters recorded an average of 205 great white sightings a year in False Bay which is a 600 square mile section of the Atlantic Ocean near tourist hot spot Cape Town. In 2018 they were only 50 sightings of the deadly predators made famous by the Hollywood blockbuster Jaws and so far this year not a single one of the much-feared great white shark has been spotted. And it has been two years since the Shark Spotters Applied Research Programme has picked up a signal from any of the great white’s that had been tagged by scientists and were resident in False Bay. This comes after 5 great white sharks were washed up along the South African coastline in 2017 with gaping wounds on their side with their livers having been bitten out by two killer whales in the area. The killer whales bite a large slit in the side of the great whites after attacking as a pair and then suck out the fatty liver which is 600lb meat delicacy in a phenomenon that has only recently been discovered. The two Orca’s responsible – known as Port and Starboard as their dorsal fins hang to the left on one and to the right on the other – spurned their natural prey like seals having developed a taste for shark. The great whites population in False Bay sea to be taking no chances and have moved to new hunting grounds away from Seal Island but it is hoped that they will in time return to their usual hunting ground. The City of Cape Town said: ”Great white sharks have been noticeably absent from False Bay during 2019 prompting questions as to when t
    MEGA491637_002.jpg
  • EXCLUSIVE: Great white sharks have mysteriously vanished from one of their most popular hunting grounds in South Africa leaving tourism bosses baffled as to what has driven away one of their biggest money spinners. Theories include a fear of Orca's who have been targeting the apex predators tearing them open to eat their fatty livers as well as pollution, climate change and over fishing of much of the great whites natural prey. Between 2010 and 2016 shark spotters recorded an average of 205 great white sightings a year in False Bay which is a 600 square mile section of the Atlantic Ocean near tourist hot spot Cape Town. In 2018 they were only 50 sightings of the deadly predators made famous by the Hollywood blockbuster Jaws and so far this year not a single one of the much-feared great white shark has been spotted. And it has been two years since the Shark Spotters Applied Research Programme has picked up a signal from any of the great white’s that had been tagged by scientists and were resident in False Bay. This comes after 5 great white sharks were washed up along the South African coastline in 2017 with gaping wounds on their side with their livers having been bitten out by two killer whales in the area. The killer whales bite a large slit in the side of the great whites after attacking as a pair and then suck out the fatty liver which is 600lb meat delicacy in a phenomenon that has only recently been discovered. The two Orca’s responsible – known as Port and Starboard as their dorsal fins hang to the left on one and to the right on the other – spurned their natural prey like seals having developed a taste for shark. The great whites population in False Bay sea to be taking no chances and have moved to new hunting grounds away from Seal Island but it is hoped that they will in time return to their usual hunting ground. The City of Cape Town said: ”Great white sharks have been noticeably absent from False Bay during 2019 prompting questions as to when t
    MEGA491637_009.jpg
  • EXCLUSIVE: Great white sharks have mysteriously vanished from one of their most popular hunting grounds in South Africa leaving tourism bosses baffled as to what has driven away one of their biggest money spinners. Theories include a fear of Orca's who have been targeting the apex predators tearing them open to eat their fatty livers as well as pollution, climate change and over fishing of much of the great whites natural prey. Between 2010 and 2016 shark spotters recorded an average of 205 great white sightings a year in False Bay which is a 600 square mile section of the Atlantic Ocean near tourist hot spot Cape Town. In 2018 they were only 50 sightings of the deadly predators made famous by the Hollywood blockbuster Jaws and so far this year not a single one of the much-feared great white shark has been spotted. And it has been two years since the Shark Spotters Applied Research Programme has picked up a signal from any of the great white’s that had been tagged by scientists and were resident in False Bay. This comes after 5 great white sharks were washed up along the South African coastline in 2017 with gaping wounds on their side with their livers having been bitten out by two killer whales in the area. The killer whales bite a large slit in the side of the great whites after attacking as a pair and then suck out the fatty liver which is 600lb meat delicacy in a phenomenon that has only recently been discovered. The two Orca’s responsible – known as Port and Starboard as their dorsal fins hang to the left on one and to the right on the other – spurned their natural prey like seals having developed a taste for shark. The great whites population in False Bay sea to be taking no chances and have moved to new hunting grounds away from Seal Island but it is hoped that they will in time return to their usual hunting ground. The City of Cape Town said: ”Great white sharks have been noticeably absent from False Bay during 2019 prompting questions as to when t
    MEGA491637_004.jpg
  • EXCLUSIVE: Great white sharks have mysteriously vanished from one of their most popular hunting grounds in South Africa leaving tourism bosses baffled as to what has driven away one of their biggest money spinners. Theories include a fear of Orca's who have been targeting the apex predators tearing them open to eat their fatty livers as well as pollution, climate change and over fishing of much of the great whites natural prey. Between 2010 and 2016 shark spotters recorded an average of 205 great white sightings a year in False Bay which is a 600 square mile section of the Atlantic Ocean near tourist hot spot Cape Town. In 2018 they were only 50 sightings of the deadly predators made famous by the Hollywood blockbuster Jaws and so far this year not a single one of the much-feared great white shark has been spotted. And it has been two years since the Shark Spotters Applied Research Programme has picked up a signal from any of the great white’s that had been tagged by scientists and were resident in False Bay. This comes after 5 great white sharks were washed up along the South African coastline in 2017 with gaping wounds on their side with their livers having been bitten out by two killer whales in the area. The killer whales bite a large slit in the side of the great whites after attacking as a pair and then suck out the fatty liver which is 600lb meat delicacy in a phenomenon that has only recently been discovered. The two Orca’s responsible – known as Port and Starboard as their dorsal fins hang to the left on one and to the right on the other – spurned their natural prey like seals having developed a taste for shark. The great whites population in False Bay sea to be taking no chances and have moved to new hunting grounds away from Seal Island but it is hoped that they will in time return to their usual hunting ground. The City of Cape Town said: ”Great white sharks have been noticeably absent from False Bay during 2019 prompting questions as to when t
    MEGA491637_008.jpg
  • EXCLUSIVE: Great white sharks have mysteriously vanished from one of their most popular hunting grounds in South Africa leaving tourism bosses baffled as to what has driven away one of their biggest money spinners. Theories include a fear of Orca's who have been targeting the apex predators tearing them open to eat their fatty livers as well as pollution, climate change and over fishing of much of the great whites natural prey. Between 2010 and 2016 shark spotters recorded an average of 205 great white sightings a year in False Bay which is a 600 square mile section of the Atlantic Ocean near tourist hot spot Cape Town. In 2018 they were only 50 sightings of the deadly predators made famous by the Hollywood blockbuster Jaws and so far this year not a single one of the much-feared great white shark has been spotted. And it has been two years since the Shark Spotters Applied Research Programme has picked up a signal from any of the great white’s that had been tagged by scientists and were resident in False Bay. This comes after 5 great white sharks were washed up along the South African coastline in 2017 with gaping wounds on their side with their livers having been bitten out by two killer whales in the area. The killer whales bite a large slit in the side of the great whites after attacking as a pair and then suck out the fatty liver which is 600lb meat delicacy in a phenomenon that has only recently been discovered. The two Orca’s responsible – known as Port and Starboard as their dorsal fins hang to the left on one and to the right on the other – spurned their natural prey like seals having developed a taste for shark. The great whites population in False Bay sea to be taking no chances and have moved to new hunting grounds away from Seal Island but it is hoped that they will in time return to their usual hunting ground. The City of Cape Town said: ”Great white sharks have been noticeably absent from False Bay during 2019 prompting questions as to when t
    MEGA491637_003.jpg
  • EXCLUSIVE: Great white sharks have mysteriously vanished from one of their most popular hunting grounds in South Africa leaving tourism bosses baffled as to what has driven away one of their biggest money spinners. Theories include a fear of Orca's who have been targeting the apex predators tearing them open to eat their fatty livers as well as pollution, climate change and over fishing of much of the great whites natural prey. Between 2010 and 2016 shark spotters recorded an average of 205 great white sightings a year in False Bay which is a 600 square mile section of the Atlantic Ocean near tourist hot spot Cape Town. In 2018 they were only 50 sightings of the deadly predators made famous by the Hollywood blockbuster Jaws and so far this year not a single one of the much-feared great white shark has been spotted. And it has been two years since the Shark Spotters Applied Research Programme has picked up a signal from any of the great white’s that had been tagged by scientists and were resident in False Bay. This comes after 5 great white sharks were washed up along the South African coastline in 2017 with gaping wounds on their side with their livers having been bitten out by two killer whales in the area. The killer whales bite a large slit in the side of the great whites after attacking as a pair and then suck out the fatty liver which is 600lb meat delicacy in a phenomenon that has only recently been discovered. The two Orca’s responsible – known as Port and Starboard as their dorsal fins hang to the left on one and to the right on the other – spurned their natural prey like seals having developed a taste for shark. The great whites population in False Bay sea to be taking no chances and have moved to new hunting grounds away from Seal Island but it is hoped that they will in time return to their usual hunting ground. The City of Cape Town said: ”Great white sharks have been noticeably absent from False Bay during 2019 prompting questions as to when t
    MEGA491637_007.jpg
  • EXCLUSIVE: Great white sharks have mysteriously vanished from one of their most popular hunting grounds in South Africa leaving tourism bosses baffled as to what has driven away one of their biggest money spinners. Theories include a fear of Orca's who have been targeting the apex predators tearing them open to eat their fatty livers as well as pollution, climate change and over fishing of much of the great whites natural prey. Between 2010 and 2016 shark spotters recorded an average of 205 great white sightings a year in False Bay which is a 600 square mile section of the Atlantic Ocean near tourist hot spot Cape Town. In 2018 they were only 50 sightings of the deadly predators made famous by the Hollywood blockbuster Jaws and so far this year not a single one of the much-feared great white shark has been spotted. And it has been two years since the Shark Spotters Applied Research Programme has picked up a signal from any of the great white’s that had been tagged by scientists and were resident in False Bay. This comes after 5 great white sharks were washed up along the South African coastline in 2017 with gaping wounds on their side with their livers having been bitten out by two killer whales in the area. The killer whales bite a large slit in the side of the great whites after attacking as a pair and then suck out the fatty liver which is 600lb meat delicacy in a phenomenon that has only recently been discovered. The two Orca’s responsible – known as Port and Starboard as their dorsal fins hang to the left on one and to the right on the other – spurned their natural prey like seals having developed a taste for shark. The great whites population in False Bay sea to be taking no chances and have moved to new hunting grounds away from Seal Island but it is hoped that they will in time return to their usual hunting ground. The City of Cape Town said: ”Great white sharks have been noticeably absent from False Bay during 2019 prompting questions as to when t
    MEGA491637_001.jpg
  • EXCLUSIVE: Great white sharks have mysteriously vanished from one of their most popular hunting grounds in South Africa leaving tourism bosses baffled as to what has driven away one of their biggest money spinners. Theories include a fear of Orca's who have been targeting the apex predators tearing them open to eat their fatty livers as well as pollution, climate change and over fishing of much of the great whites natural prey. Between 2010 and 2016 shark spotters recorded an average of 205 great white sightings a year in False Bay which is a 600 square mile section of the Atlantic Ocean near tourist hot spot Cape Town. In 2018 they were only 50 sightings of the deadly predators made famous by the Hollywood blockbuster Jaws and so far this year not a single one of the much-feared great white shark has been spotted. And it has been two years since the Shark Spotters Applied Research Programme has picked up a signal from any of the great white’s that had been tagged by scientists and were resident in False Bay. This comes after 5 great white sharks were washed up along the South African coastline in 2017 with gaping wounds on their side with their livers having been bitten out by two killer whales in the area. The killer whales bite a large slit in the side of the great whites after attacking as a pair and then suck out the fatty liver which is 600lb meat delicacy in a phenomenon that has only recently been discovered. The two Orca’s responsible – known as Port and Starboard as their dorsal fins hang to the left on one and to the right on the other – spurned their natural prey like seals having developed a taste for shark. The great whites population in False Bay sea to be taking no chances and have moved to new hunting grounds away from Seal Island but it is hoped that they will in time return to their usual hunting ground. The City of Cape Town said: ”Great white sharks have been noticeably absent from False Bay during 2019 prompting questions as to when t
    MEGA491637_010.jpg
  • EXCLUSIVE: Great white sharks have mysteriously vanished from one of their most popular hunting grounds in South Africa leaving tourism bosses baffled as to what has driven away one of their biggest money spinners. Theories include a fear of Orca's who have been targeting the apex predators tearing them open to eat their fatty livers as well as pollution, climate change and over fishing of much of the great whites natural prey. Between 2010 and 2016 shark spotters recorded an average of 205 great white sightings a year in False Bay which is a 600 square mile section of the Atlantic Ocean near tourist hot spot Cape Town. In 2018 they were only 50 sightings of the deadly predators made famous by the Hollywood blockbuster Jaws and so far this year not a single one of the much-feared great white shark has been spotted. And it has been two years since the Shark Spotters Applied Research Programme has picked up a signal from any of the great white’s that had been tagged by scientists and were resident in False Bay. This comes after 5 great white sharks were washed up along the South African coastline in 2017 with gaping wounds on their side with their livers having been bitten out by two killer whales in the area. The killer whales bite a large slit in the side of the great whites after attacking as a pair and then suck out the fatty liver which is 600lb meat delicacy in a phenomenon that has only recently been discovered. The two Orca’s responsible – known as Port and Starboard as their dorsal fins hang to the left on one and to the right on the other – spurned their natural prey like seals having developed a taste for shark. The great whites population in False Bay sea to be taking no chances and have moved to new hunting grounds away from Seal Island but it is hoped that they will in time return to their usual hunting ground. The City of Cape Town said: ”Great white sharks have been noticeably absent from False Bay during 2019 prompting questions as to when t
    MEGA491637_006.jpg
  • May 3, 2019 - Munich, Bavaria, Germany - Students take part in the 'Friday For Future' demonstration in Munich, Germany, on May 3, 2019. (Credit Image: © Alexander Pohl/NurPhoto via ZUMA Press)
    20190503_zaa_n230_766.jpg
  • April 14, 2018 - Washington, DC, United States - Protestors walk with signs and banners along Constitution Avenue durnig the March For Science, a rally sponsored by the nonprofit Nature Conservancy. (Credit Image: © Michael Candelori/Pacific Press via ZUMA Wire)
    20180414_zaa_p133_253.jpg
  • May 3, 2017 - Greenbelt, MD, United States of America - His Majesty The King of Sweden King Carl XVI Gustaf, center, tries his hand at operating a remote robotic arm under the watchful eye of Benjamin Reed, Deputy Division Director of the Satellite Servicing Projects Division during a visit by a Swedish Delegation to the Goddard Space Flight Center May 3, 2017 in Greenbelt, Maryland. (Credit Image: © Bill Hrybyk/Planet Pix via ZUMA Wire)
    RTI20170503_zaa_p138_023.jpg
  • April 26, 2018 - Gaza, Palestinian Territories, Palestine - Palestinian mourners carry a coffin containing the body of Palestinian scientist Fadi al-Batsh, assassinated in Malaysia, after his body was returned to his native Gaza Strip on April 26, 2018 for his funeral in the city of Jabalia, in the north of the Palestinian enclave. Batsh, a member of the Islamist Hamas movement, was shot dead in a hail of bullets by motorbike-riding attackers as he walked to a Kuala Lumpur mosque for dawn prayers on April 21, 2018  (Credit Image: © Majdi Fathi/NurPhoto via ZUMA Press)
    20180426_zaa_n230_924.jpg
  • May 27, 2019 - Tambov, Tambov region, Russia - Monument to scientist Vladimir Vernadsky in Tambov  (Credit Image: © Demian Stringer/ZUMA Wire)
    20190527_zap_s171_006.jpg
  • EXCLUSIVE: A UK TEAM OF SATELLITE HISTORIANS CLAIM TO HAVE MADE HISTORY-CHANGING DISCOVERY OF THE LOST CITY OF ATLANTIS WITH PIX AND VIDEO – LINK TO VIDEO TRAILER OF FILM MADE OF DISCOVERY http://ingeniofilms.com/elements/atlantica/ DOWNLOAD LINK TO IMAGES: https://we.tl/t-9t8GLOOvz7 By Magnus News Agency A UK team of satellite historians claim to have discovered the true location of the lost city of ATLANTIS. Ground-breaking antiquity specialists Merlin Burrows believe the ruins of the legendary civilization can be found in modern-day southern Spain. The exact location is somewhere north of the city of Cadiz, Andalucía, centred around the Doñana National Park, which the UK historians believe was once a vast inland sea. And they claim from the park south and north there is further evidence of the ancient civilisation, with 15 other settlements dotted along the coastline. Atlantis was recorded in the writings of Greek philosopher Plato who lived around 400BC. He described an advanced island civilization that ruled a vast maritime empire, some 9,000 years before his own era. The city of Atlantis at the centre of this empire was described as having, among other features, an enormous harbour wall, huge entrance pillars, a temple to the god Poseidon and massive circular pieces of land carved out by the Atlanteans to live on. It is thought a cataclysmic natural disaster, such as a tsunami or volcanic event, eventually wiped out the Atlanteans, consigning their legacy to legend. But now using unique satellite investigation techniques, aerial photography and ground observations of the site, British experts believe they have found all the features of Atlantis Plato described and evidence of how they were destroyed. Although some scholars believe Atlantis to be a myth, Merlin Burrows claim their discoveries will once and for all prove the lost civilization existed. Maritime historian Tim Akers, head of research at Merlin Burrows, said not only had they discovered Atlantis
    MEGA308562_006.jpg
  • July 21, 2019 - Ice Berg, Nunavut, Canada (Credit Image: © Richard Wear/Design Pics via ZUMA Wire)
    20190721_zza_rf01_189.jpg
  • July 21, 2019 - Boats By Ice Berg Off Coast Of Nunavut, Canada (Credit Image: © Richard Wear/Design Pics via ZUMA Wire)
    20190721_zza_rf01_188.jpg
  • August 7, 2017 - inconnu - Ice cream that does not melt has been created by scientists in Japan.The ice cream retains its original shape in 28°C (82.4 F) weather and is said to still taste cool.A strawberry extract stops the oil and water from separating quickly which means the ice-cream stays frozen.The desert was first created by mistake by a pastry chef looking to make use of odd-shaped strawberries which could not be sold. The initiative was part of efforts by the company to help strawberry farmers affected by the 2011 Great East Japan Earthquake and tsunami. The chef trued to create a new confectionary using the strawberries.The cream would solidify when put in contact with the strawberry extract polyphenol.At first this was thought to be a problem .But then the scientists at Japan’s C realised it could be used to stop ice creams melting. Tomihisa Ota, a professor at Kanazawa University who helped develop the lollies said: “ Polyphenol liquid has properties to make it difficult for water and oil to separate.“So a popsicle containing it will be able to retain the original shape of the cream for a longer time than usual, and be hard to melt'. The ice creams, which are only for sale in parts of Japan, first hit stores in Kanazawa in April before rolling out in Osaka and Tokyo.According to Takeshi Toyoda, president of the Biotherapy Development Research Centre, the ice cream remains 'almost the same even if exposed to the hot air from a dryer'.There is no word when the ice cream popsicles , called Kanazawa Ice , will be available outside Japan. # DES GLACES QUI NE FONDENT PAS (Credit Image: © Visual via ZUMA Press)
    20170807_zaf_v01_001.jpg
  • February 6, 2018  - China - Photo provided by the Nanjing Institute of Geology and Paleontology under the Chinese Academy of Sciences shows the specimen of the Chimerarachne..Two teams of Chinese scientists have begun study of a species of spider with a long tail, which is found in amber at least 100 million years old. The Chimerarachne found in Myanmar fills a gap in the evolution of the spiders. (Credit Image: © Xinhua via ZUMA Wire)
    20180206_zaf_x99_076.jpg
  • July 23, 2018 - Amsterdam, Netherlands - Hundreds of scientists and activists walk this Monday, July 23rd in Amsterdam during the AIDS March to demand access to HIV treatments. Access to healthcare and HIV treatment medication is still an ongoing issue affecting people everywhere, especially LGB, trans and intersex people, sex workers, indigenous people, young women, people who use drugs and many more vulnerable populations worldwide. Four activists from Australia, South Africa, and the UK embarked on an HIV awareness walk from Brussels Grand Place Sunday morning. They will spend 9 days walking to Amsterdam, which is 225 km away. They arrived in time for the 22nd International AIDS conference and also to walk the AIDS March. (Credit Image: © Romy Arroyo Fernandez/NurPhoto via ZUMA Press)
    20180723_zaa_n230_162.jpg
  • August 21, 2019, Amazon Rainforest: From 22,300 miles in space, NOAA's GOES16 captured this image of fires burning in the  Amazon Rainforest today, August 21, 2019. Fires are raging at a record rate in Brazil's Amazon rainforest, and scientists warn that it could strike a devastating blow to the fight against climate change. There have been 72,843 fires in Brazil this year, with more than half in the Amazon region, INPE said. That's more than an 80 percent increase compared with the same period last year. (Credit Image: © NOAA/ZUMA Wire/ZUMAPRESS.com)
    20190821_sha_z03_001.jpg
  • May 24, 2019 - Brussels, North Brabant, Belgium - A man is seen holding a placard during the demonstration..Tens of thousands of kids in more of 60 countries went on strike to demand climate change action. #FridaysForFuture is a movement that began in August 2018, after 15 years old Greta Thunberg sat in front of the Swedish parliament every school day for three weeks, to protest against the lack of action on the climate crisis. In Brussels, not just students, but teachers, scientists, and several syndicates took the streets of the Belgian capital for the second time, to protest for better climate policy. According to the Belgian police around 7500 people took the streets of Brussels, in the last climate demonstration before the EU elections. (Credit Image: © Ana Fernandez/SOPA Images via ZUMA Wire)
    20190524_zaa_s197_077.jpg
  • September 9, 2047 - Piraeus, Greece - The Trireme Olympias At Marina Zeas, Piraeus, Greece, on 4 May 2019. Initially, the trireme was used as part of an experimental archeological project, in order for scientists to determine the sailing characteristics, battle tactics and living conditions inside the vessel  (Credit Image: © Grigoris Siamidis/NurPhoto via ZUMA Press)
    20470909_zaa_n230_001.jpg
  • March 1, 2016 - Earth: RISE AND SHINE! NASA astronaut Scott Kelly, photograph of his last sunrise of his year long mission in Space, as he prepares to depart the International Space Station and return to Earth aboard a Soyuz TMA-18M spacecraft. Kelly wrote, 'Rise and shine! My last sunrise from space then I gotta go.' Kelly has participated in a variety of research that will help scientists better understand how the human body reacts and adapts to long-duration spaceflight.(Credit Image: © Scott Kelly/NASA via ZUMA Wire)
    20160301_sha_z03_860.jpg
  • Sep 20, 2018 - CHRISTINE BLASEY FORD, the Palo Alto professor accusing Kavanaugh of sexual misconduct is pictured in an undated image on ResearghGate.net. ResearchGate is described as a professional network for scientists and researchers. (Credit Image: © ResearchGate.net via ZUMA Wire)
    20180920_jlr_z03_001.jpg
  • March 7, 2017 - Boston, Massachusetts, U.S. - Dragonflies are being turned into radio controlled drones by scientists.The Dragonfleye project sees the insects fitted with a tiny backpack of electronic components that allow the researchers to communicate with the insects. The study could help honeybees one day pollinate plants.The dragonflies have had their neurons genetically modified so that they are more sensitive to light, allowing them to be controlled using measured light pulses.The project is a collaboration between the Charles Stark Draper Laboratory research centre in Boston, Massachusetts and the Howard Hughes Medical Institute in Maryland. (Credit Image: © Ferrari/Visual via ZUMA Press)
    20170307_zaf_v01_064.jpg
  • Aug.15, 2017 - Newburgh, New York, U.S. -  Scientists warn that global climate change is bringing an increase in harmful blue-green algae blooms to freshwater ponds, lakes and streams.(Credit Image: © Brian Cahn via ZUMA Wire)
    20170815_zaf_ce6_003.jpg
  • Aug.15, 2017 - Newburgh, New York, U.S. -  Scientists warn that global climate change is bringing an increase in harmful blue-green algae blooms to freshwater ponds, lakes and streams.(Credit Image: © Brian Cahn via ZUMA Wire)
    20170815_zaf_ce6_008.jpg
  • June 16, 2017 - New York City, New York, United States - The Jacob K Javits Convention Center in Manhattan hosted the 4th Annual World Cannabis World Congress & Business Exposition, bringing together entrepreneurs, manufacturers, inventors, scientists, political & social leaders to explore the world of legalized cannabis & hemp-related businesses. (Credit Image: © Andy Katz/Pacific Press via ZUMA Wire)
    20170616_zaa_p133_442.jpg
  • May 24, 2019 - Brussels, North Brabant, Belgium - May 24, Brussels. This Friday, tens of thousands of kids in more of 60 countries went on strike to demand climate change action. #FridaysForFuture is a movement that began in August 2018, after 15 years old Greta Thunberg sat in front of the Swedish parliament every schoolday for three weeks, to protest against the lack of action on the climate crisis. In Brussels, not just students, but teachers, scientists, and several syndicates took the streets of the Belgian capital for the second time, to protest for better climate policy. According to the Belgian police around 7500 people took the streets of Brussels, in the last climate demonstration before the EU elections. (Credit Image: © Romy Arroyo Fernandez/NurPhoto via ZUMA Press)
    20190524_zaa_n230_386.jpg
  • May 1, 2019 - USA - Farmer Chris Gamer is pushing a plan to get the Midwest off of its reliance on corn and soybeans by introducing hearty hazelnuts as a cash crop. (Credit Image: © TNS via ZUMA Wire)
    20190501_zaf_m67_001.jpg
  • April 14, 2018 - Munich, Bavaria, Germany - Front banner of the March for Science. Some hundreds of people joined the March for Science in Munich, Germany, on 14 April 2018. Among them there was the Pirate party, the democrats abroud, some scientists and other people. (Credit Image: © Alexander Pohl/NurPhoto via ZUMA Press)
    20180414_zaa_n230_612.jpg
  • February 5, 2018 - Space - NASA's former chief exploration scientist, Michael Wargo, has been posthumously honored with the distinction of having a lunar crater named after him. Wargo Crater is an 8.6-mile (13.8 km) diameter impact crater sitting on the northwest edge of Joule T crater, on the far side of the Moon. Wargo worked at NASA from 1991 until his death in 2013. The International Astronomical Union is the naming authority for celestial bodies, and reserves the naming of Moon craters for deceased astronauts and cosmonauts, as well as deceased scientists and polar explorers who have made outstanding or fundamental contributions to their field. Wargo had many remarkable contributions to exploration science throughout his 20-year career at NASA. He was known as a science ambassador to the public, and for his ability to decipher complex science for students and nontechnical audiences. He was passionate about scientific discoveries that would enable human exploration in deep space, and worked with planetary researchers around the world to develop robotic discovery missions. (Credit Image: © NASA/ZUMA Wire/ZUMAPRESS.com)
    20180205_sha_z03_212.jpg
  • View Image Comparison<br />
View Both Images<br />
For nearly 15 years, Moderate Resolution Imaging Spectroradiometer (MODIS) sensors on NASA's Terra and Aqua satellites have scanned Earth's surface daily for fires. When the Visible Infrared Imaging Radiometer Suite (VIIRS) on Suomi NPP began operating in 2012, the view got a whole lot clearer.<br />
While MODIS and VIIRS have similar orbits, the spatial resolution of the "thermal bands" on each sensor differs. The MODIS thermal band detects hot spots with a resolution of 1,000 meters per pixel; VIIRS detects hot spots at a resolution of 375 meters per pixel. In other words, VIIRS makes fire observations that are about three times more detailed than MODIS. As a result, VIIRS can detect many small and low-temperature fires that MODIS misses.<br />
The images above illustrate the difference in the fire detection capabilities of the sensors. Both images show agricultural fires burning in northeast China around the same time on November 6, 2015. MODIS captured the upper image while the lower image was acquired by VIIRS. Turn on the image comparison tool to see the differences. Though VIIRS has more detailed fire observations, the background of the MODIS image seems crisper. This is because MODIS has better resolution than VIIRS when looking at land surfaces that are not on fire. (250 meters per pixel for MODIS versus 375 meters per pixel for VIIRS).<br />
The improved resolution of the VIIRS fire observations means scientists - as well as firefighters - have a more capable tool for monitoring fire activity. As explained in the video below, the improved resolution means experts should be able to use data collected by VIIRS to more accurately model and predict shifts in a fire's direction or behavior.<br />
"We hope that by infusing the higher-resolution fire detection data and fire behavior modeling outputs into tactical fire situations, we can lessen the pressure on those working in wildfire management," said Wilfrid Schroeder, a scientist at the Universi
    rtisipausa_20553501.jpg
  • Researchers at NASA are constantly browsing new satellite data and imagery delivered by the agency's fleet of Earth-observing satellites for new data that may help answer questions about topics that are poorly understood or hotly debated within the scientific community.<br />
While he was browsing new imagery captured by the Moderate Resolution Imaging Spectroradiometer (MODIS) on the Aqua satellite on May 9, 2016, NASA Goddard Space Flight Center atmospheric scientist Richard Kleidman found his attention immediately drawn toward the image above - a curling plume of smoke above a deck of clouds over Canada's Northwest Territories. The smoke was likely lofted up by the destructive fire that burned in Alberta near Fort McMurray, though other fires in Saskatchewan and Manitoba may have contributed as well. "That is a fascinating image," said Kleidman. "It is an excellent example of aerosol being transported above clouds - a topic currently of great interest to the aerosol research community."<br />
Aerosols are small airborne particles found in plumes of smoke, air pollution, dust, and volcanic ash. Scientists know that aerosols can affect the climate in critical ways, but some details about precisely how they do so remain up for debate. One of the key uncertainties relates to how aerosols interact with and affect clouds. And one of the drivers of that uncertainty stems from situations when aerosols end up above clouds.<br />
A growing body of research suggests that the climate effects of dark-colored "absorbing" aerosols, which are common in smoke, differ markedly depending on whether the particles are found above clouds or in clear skies. When skies are clear, smoke generally leads to a cooling of the Earth-atmosphere system. When they are cloudy and smoke ends up above a cloud layer, the effect reverses; the same particles that would have had a cooling effect have a warming effect. The brighter the underlying cloud layer, the greater the warming effect, explained Hongbin Yu, an atmos
    rtisipausa_17601860.jpg
  • Scientists and technicians involved in the research, development and manufacture of Corona Virus Testing Kits in a laboratory facility near Cape Town, Western Cape, South Africa, RSA
    JMMsonya7r3-05732020.jpg
  • Scientists and technicians involved in the research, development and manufacture of Corona Virus Testing Kits in a laboratory facility near Cape Town, Western Cape, South Africa, RSA
    JMMsonya7r3-04892020.jpg
  • IN PHOTO: Bluetongue<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Gl
    40395903.jpg
  • IN PHOTO: Avian Flu<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Gla
    40395901.jpg
  • IN PHOTO: COVID-19 coronavirus<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Mu
    40395896.jpg
  • IN PHOTO: HIV<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glass, Sh
    40395909.jpg
  • IN PHOTO: Ebola<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glass,
    40395924.jpg
  • Soldiers from the 3d U.S. Infantry Regiment (The Old Guard) helps conduct military funeral honors with funeral escort for U.S. Army Air Forces Capt. Lawrence Dickson in Section 60 of Arlington National Cemetery, Arlington, Virginia, March 22, 2019.<br />
<br />
<br />
<br />
Dickson was a Tuskegee Airman (a member of the 100th Fighter Squadron, 332nd Fighter Group) and went missing in December 1944 when he plane crashed during his return from an aerial reconnaissance mission. His P-51D aircraft suffered engine failure and was seen crashing along the borders of Italy and Austria.<br />
<br />
<br />
<br />
From the Defense POW/MIA Accounting Agency (DPAA):<br />
<br />
<br />
<br />
In January 2012 researchers with the Defense POW/Missing Personnel Office (DPMO - a predecessor to DPAA) contacted Mr. Roland Domanig, an Austrian researcher who had recently reported the discovery of a separate crash site in northern Italy.<br />
<br />
<br />
<br />
In April 2012, historians and analysts from DPMO and Joint Personnel Accounting Command (JPAC, also a predecessor to DPAA) met with Mr. Domanig and additional witnesses who had seen the crash and been to the crash site. The team subsequently visited the crash site, finding wreckage matching Dickson’s aircraft type in Austria.<br />
<br />
<br />
<br />
From July 11 through Aug. 8, 2017, partnered with DPAA, the University of New Orleans and University of Innsbruck conducted an excavation of the crash site. Recovered remains were sent to the DPAA laboratory at Offutt Air Force Base, Nebraska.<br />
<br />
<br />
<br />
To identify Dickson’s remains, scientists from DPAA and the Armed Forces Medical Examiner System used mitochondrial (mtDNA), Y-chromosome (Y-STR) and autosomal (auSTR) DNA analysis, as well as anthropological analysis, and circumstantial and material evidence. His remains were officially accounted for on July 26, 2018.<br />
<br />
Dickson’s daughter, Marla Andrews, received the flag from her father’s casket during the service. <br />
<br />
<br />
<br />
(U.S. Army photo by Elizabeth Fraser / Arlington National Cemetery / released)
    20190322_sha_z03_715.jpg
  • Scientists and technicians involved in the research, development and manufacture of Corona Virus Testing Kits in a laboratory facility near Cape Town, Western Cape, South Africa, RSA
    JMMsonya7r3-06982020.jpg
  • Scientists and technicians involved in the research, development and manufacture of Corona Virus Testing Kits in a laboratory facility near Cape Town, Western Cape, South Africa, RSA
    JMMsonya7r3-06682020.jpg
  • Scientists and technicians involved in the research, development and manufacture of Corona Virus Testing Kits in a laboratory facility near Cape Town, Western Cape, South Africa, RSA
    JMMsonya7r3-06482020.jpg
  • Scientists and technicians involved in the research, development and manufacture of Corona Virus Testing Kits in a laboratory facility near Cape Town, Western Cape, South Africa, RSA
    JMMsonya7r3-06362020.jpg
  • Scientists and technicians involved in the research, development and manufacture of Corona Virus Testing Kits in a laboratory facility near Cape Town, Western Cape, South Africa, RSA
    JMMsonya7r3-05162020.jpg
  • Scientists and technicians involved in the research, development and manufacture of Corona Virus Testing Kits in a laboratory facility near Cape Town, Western Cape, South Africa, RSA
    JMMsonya7r3-05612020.jpg
  • Scientists and technicians involved in the research, development and manufacture of Corona Virus Testing Kits in a laboratory facility near Cape Town, Western Cape, South Africa, RSA
    JMMsonya7r3-04472020.jpg
  • IN PHOTO: Hand foot and mouth<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Mus
    40395907.jpg
  • IN PHOTO: E. coli<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glass
    40395906.jpg
  • IN PHOTO: E. coli<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glass
    40395905.jpg
  • IN PHOTO: Ameoba<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glass,
    40395900.jpg
  • IN PHOTO: Adeno<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glass,
    40395898.jpg
  • IN PHOTO: COVID-19 coronavirus<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Mu
    40395895.jpg
  • IN PHOTO: Ecoli<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glass,
    40395908.jpg
  • IN PHOTO: Giardia<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glass
    40395925.jpg
  • IN PHOTO: Ebola<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glass,
    40395921.jpg
  • IN PHOTO: A composite of images<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the M
    40395920.jpg
  • IN PHOTO: Zika<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glass, S
    40395919.jpg
  • IN PHOTO: T Bacteriophage<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum
    40395918.jpg
  • IN PHOTO: Smallpox<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glas
    40395915.jpg
  • IN PHOTO: SARS<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glass, S
    40395913.jpg
  • IN PHOTO: Malaria<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glass
    40395912.jpg
  • IN PHOTO: Malaria<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glass
    40395911.jpg
  • IN PHOTO: Malaria<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glass
    40395910.jpg
  • IN PHOTO: COVID-19 Coronavirus<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Mu
    40395891.jpg
  • Aboard USS Hornet - (FILE) -- United States President Richard M. Nixon and Dr. Thomas O. Paine, NASA Administrator, watch Apollo 11 astronauts Neil A. Armstrong, Michael Collins and Buzz Aldrin Jr., walk from the recovery helicopter to the Mobile Quarantine Facility aboard the U.S.S. Hornet on July 24, 1969. The President later congratulated the astronauts by microphone, speaking through a window of the quarantine trailer. During the eight-day space mission, Armstrong and Aldrin explored the Moon's surface and brought back rock samples for scientists to study. Collins piloted the command module in the lunar orbit during their 22-hour stay on the moon. The extravehicular activity lasted more than two hours. Handout Photo by NASA via CNP/ABACAPRESS.COM
    692564_003.jpg
  • Handout photo of drone image of the fissure 8 lava channel looking toward the vent. Overflows can be seen as incandescent spots beyond the channel margins. Drone flights and resultant imagery help scientists better identify areas of channel overflows and active flow advancement. Incandescence (glowing) lava is easier to identify in the dark versus during daylight hours. Kilauea Volcano, HI, USA, July 2, 2018. Photo by USGS via ABACAPRESS.COM
    643448_003.jpg
  • Hanout photo of KÄ«lauea Volcano — Eruption at Halema`uma`u Crater. View of a rising ash plume from Halema‘uma‘u, a crater at the summit of KÄ«lauea, late yesterday (May 24, 2018), as seen from the caldera rim near Volcano House. USGS scientists are stationed at this vantage point to track the ongoing summit explosions. Photo by USGS via ABACAPRESS.COM
    638646_005.jpg
  • File photo - L'Oreal CEO Jean-Paul Agon, Liliane Bettencourt and his daughter Francoise Bettencourt-Meyers are pictured during a ceremony of 2011 L’Oréal-UNESCO For Women in Science Awards at l'Unesco headquarter in Paris France on March 3, 2011. Five exceptional women scientists, one from each continent, will receive the 2011 L’Oreal-UNESCO For Women in Science Awards. Liliane Bettencourt has died aged 94 it was announced on September 21, 2017. Bettencourt was the richest person in France and the third-richest woman in the world with a net worth of $40 billion. She was the sole heir to L'Oreal, the largest cosmetics company in the world, which was started by her father, and a large shareholder in Nestle. Nearly a decade ago a trial forced Liliane's personal business into the public light, laid bare her obsession with a flashy homosexual photographer whom she turned into a billionaire, destroyed her relationship with her daughter, turned a long time family butler against her, and, finally, turned the dowager heiress into even more of a recluse than she had been before. Photo by Thierry Orban/ABACAPRESS.COM
    265839_002.jpg
  • File photo - Liliane Bettencourt and her daughter Francoise Bettencourt-Meyers are pictured during a ceremony of 2011 L’Oréal-UNESCO For Women in Science Awards at l'Unesco headquarter in Paris France on March 3, 2011. Five exceptional women scientists, one from each continent, will receive the 2011 L’Oreal-UNESCO For Women in Science Awards. Liliane Bettencourt has died aged 94 it was announced on September 21, 2017. Bettencourt was the richest person in France and the third-richest woman in the world with a net worth of $40 billion. She was the sole heir to L'Oreal, the largest cosmetics company in the world, which was started by her father, and a large shareholder in Nestle. Nearly a decade ago a trial forced Liliane's personal business into the public light, laid bare her obsession with a flashy homosexual photographer whom she turned into a billionaire, destroyed her relationship with her daughter, turned a long time family butler against her, and, finally, turned the dowager heiress into even more of a recluse than she had been before. Photo by Mousse/ABACAPRESS.COM
    265838_017.jpg
  • File photo - Liliane Bettencourt and her daughter Francoise Bettencourt-Meyers are pictured during a ceremony of 2011 L’Oréal-UNESCO For Women in Science Awards at l'Unesco headquarter in Paris France on March 3, 2011. Five exceptional women scientists, one from each continent, will receive the 2011 L’Oreal-UNESCO For Women in Science Awards. Liliane Bettencourt has died aged 94 it was announced on September 21, 2017. Bettencourt was the richest person in France and the third-richest woman in the world with a net worth of $40 billion. She was the sole heir to L'Oreal, the largest cosmetics company in the world, which was started by her father, and a large shareholder in Nestle. Nearly a decade ago a trial forced Liliane's personal business into the public light, laid bare her obsession with a flashy homosexual photographer whom she turned into a billionaire, destroyed her relationship with her daughter, turned a long time family butler against her, and, finally, turned the dowager heiress into even more of a recluse than she had been before. Photo by Mousse/ABACAPRESS.COM
    265838_011.jpg
  • Scientists and technicians involved in the research, development and manufacture of Corona Virus Testing Kits in a laboratory facility near Cape Town, Western Cape, South Africa, RSA
    JMMsonya7r3-05532020.jpg
  • IN PHOTO: Papiloma<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glas
    40395926.jpg
  • IN PHOTO: Adeno<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Museum of Glass,
    40395897.jpg
  • IN PHOTO: COVID-19 coronavirus<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the Mu
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  • IN PHOTO: Artist Luke Jerram with a glass sculpture of the Swine Flu virus<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum,
    40395916.jpg
  • File photo - Liliane Bettencourt and her daughter Francoise Bettencourt-Meyers are pictured during a ceremony of 2011 L’Oréal-UNESCO For Women in Science Awards at l'Unesco headquarter in Paris France on March 3, 2011. Five exceptional women scientists, one from each continent, will receive the 2011 L’Oreal-UNESCO For Women in Science Awards. Liliane Bettencourt has died aged 94 it was announced on September 21, 2017. Bettencourt was the richest person in France and the third-richest woman in the world with a net worth of $40 billion. She was the sole heir to L'Oreal, the largest cosmetics company in the world, which was started by her father, and a large shareholder in Nestle. Nearly a decade ago a trial forced Liliane's personal business into the public light, laid bare her obsession with a flashy homosexual photographer whom she turned into a billionaire, destroyed her relationship with her daughter, turned a long time family butler against her, and, finally, turned the dowager heiress into even more of a recluse than she had been before. Photo by Mousse/ABACAPRESS.COM
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  • Scientists and technicians involved in the research, development and manufacture of Corona Virus Testing Kits in a laboratory facility near Cape Town, Western Cape, South Africa, RSA
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  • IN PHOTO: A collection of viruses<br />
<br />
Internationally-renowned British artist Luke Jerram has created a coronavirus glass sculpture in tribute to the huge global scientific and medical effort to combat the pandemic.<br />
<br />
Made in glass, at 23cm in diameter, it is 1 million times larger than the actual virus. <br />
<br />
It was commissioned 5 weeks ago by a university in America to reflect its current and future research and learning in health, the environment and intelligent systems, and its focus on solving global challenges.  <br />
<br />
Luke says: “Helping to communicate the form of the virus to the public, the artwork has been created as an alternative representation to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light.” <br />
<br />
“This artwork is a tribute to the scientists and medical teams who are working collaboratively across the world to try to slow the spread of the virus. It is vital we attempt to slow the spread of coronavirus by working together globally, so our health services can manage this pandemic.” <br />
<br />
Made through a process of scientific glassblowing, the coronavirus model is based on the latest scientific understanding and diagrams of the virus.  <br />
<br />
Profits from this glass model are going to Médecins Sans Frontières (MSF) who will be assisting developing countries deal with the fallout of the coronavirus epidemic. <br />
<br />
This new model is just the latest in Luke’s Glass Microbiology series of virus sculptures. Luke and his glassblowing team have, in the past, made other sculptures of viruses from swine flu and Ebola to smallpox and HIV.<br />
<br />
Respected in the scientific community, the glass sculptures have featured in The Lancet, Scientific American, British Medical Journal (BMJ) and on the front cover of Nature Magazine.  <br />
<br />
The Glass Microbiology sculptures are in museum collections around the world, including the Metropolitan Museum, NYC; Wellcome Collection, London and the
    40395904.jpg
  • September 7, 2017 - Unspecified, Nicaragua - In the Chichigalpa community, an epidemic of Chronic Kidney Disease of unknown origin (CKDu) is now living in the Nicaraguan Pacific Coast. This disease mainly affects the young men who work in the cane plantations (although children and sick women have also been found). Some scientists attribute the disease to the use of pesticides and fungicides with toxic substances (such as glyphosate) and to extreme working conditions (high temperatures, excessive physical effort, dehydration, hours under the sun, without right to somba spaces). This is a reality throughout the Central American coast, Nicaragua is the most affected country. According to the Pan American Health Organization, between 2005 and 2009, 3,442 men died. The emergency situation has led the communities to settle in organizations such as the Asociación Chichigalpa por la Vida (ASOCHIVIDA), made up of former workers and widows of former workers of Ingenio San Antonio (founded in 1890) owned by Grupo Pella, famous Ron ''Flower of Caña'' and of ethanol. (Credit Image: © Alvaro Fuente/NurPhoto via ZUMA Press)
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  • August 3, 2017 - inconnu - Patients with neurological disease or brain tumours could have a window fitted into the skull to allow utrasound surgery.Ultrasound is already utilized to treat brain disorders such as Alzheimer's and Parkinson's diseases. It can also be used to kill cancer cells and to dissolve stroke-causing blood clots. Unfortunately, the thickness and density of the skull absorbs or reflects much of the ultrasound before it reaches the brain, making treatments less effective than they would be otherwise. Ultrasound sound waves are at a higher frequency than those audible to humans.However, the human skull is between 2 mm and 8 mm thick and relatively dense, meaning that most sound waves are reflected or absorbed before they make it into the brain.Now researchers have come up with a solution be creating a window on the brain. Developed by scientists at the University of California, Riverside along with colleagues from three Mexican research institutes, the window actually consists of an implant which is located beneath the scalp, replacing part of the cranium bone.It's made from a ceramic material known as Yttria Stabilized Zirconia (YSZ), which is biocompatible, extremely hard and shatter-resistant. Due to these qualities, it's already used in applications such as dental crowns and hip replacements.The material also has a very low porosity, which allows targeted ultrasound waves to easily pass through during repeated treatment sessions. .The window would overcome this proiblems.A previous version of the technology has already been developed to let therapeutic laser light pulses get through to the brain, which is currently in pre-clinical trials.Study co-leader Prof. Guillermo Aguilar said: ''Developing an optically and radio-frequency transparent cranial implant was already an exciting accomplishment.“We continue to work to make this implant a reality.”''Proving that ultrasound could be transmitted through the implant could expand its thera
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  • June 8, 2017 - Buenos Aires, Buenos Aires, Argentina - German Chancellor Angela Merkel visited the Technological Pole to hold a meeting with scientists and students. The police took strong security measures. (Credit Image: © Claudio Santisteban via ZUMA Wire)
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  • March 21, 2019 - London, London, United Kingdom - Princess Anne visits UK Dementia Research Institute at UCL. Her Royal Highness The Princess Royal visit's  the UK Dementia Research Institute's hub at UCL to learn about the institute's ground-breaking neuroscience research During the visit, The Princess met with senior academics to hear about their vision for the UK Dementia Research Institute (UK DRI), toured one of  the new laboratories and learned about some of the cutting-edge research at the institute. .During the visit, The Princess met with senior academics to hear about their vision for the UK Dementia Research Institute (UK DRI), toured one of the new laboratories and learned about some of the cutting-edge research at the institute. .Ã’We were delighted to welcome HRH Princess Royal to the UK DRI labs at UCL to present our vision of a world where research beats dementia,Ó said Dr Adrian Ivinson, Director of Operations, UK Dementia Research Institute..Ã’We showed the Princess Royal microscopes, cells and brains, our early career scientists described their research, and some of our recent recruits discussed the importance of a free flowing international community of researchersÑall essential ingredients if we are to conquer dementia.Ó.The UK Dementia Research Institute, the UKÕs biggest ever investment in dementia research, was launched in 2017 with core funding from three founding partners: the Medical Research Council, Alzheimer's Society and Alzheimer's Research UK..With its hub at UCL, the UK DRI is made up of hundreds of world-leading academics, whose work is helping benefit the lives of millions of people living with dementia now and in the future.  .The UK DRI was set up to find scientific solutions to one of society's biggest health challenges; over 1 million people are expected to have dementia in the UK by 2025..The five other universities that make up the UK DRI are: University of Cambridge, Cardiff University, University of E
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  • Aug.15, 2017 - Newburgh, New York, U.S. -  Scientists warn that global climate change is bringing an increase in harmful blue-green algae blooms to freshwater ponds, lakes and streams.(Credit Image: © Brian Cahn via ZUMA Wire)
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  • May 4, 2017 - inconnu - Settlers on the Moon could build settlements using bricks made from surface dust baked solid by solar rays.Scientists at the European Space Agency have unveiled a 3D printing process using lunar materials mixed with a binding salt.These are then cooked into a solid brick using concentrated sunlight.To test the new process the researchers used a simulated moon dust composed of terrestrial volcanic materials and baked in a solar furnace.The furnace uses147 curved mirrors to focus sunlight into a high-temperature beam that melts the simulated moondust into a solid. Materials engineer Advenit Makaya who worked on the project, said the process was done on a 3D printer table and baked successive 0.1 mm layers of moon dust at 1,000° C / 1,832° F.He added that a single building brick measuring 20cms x 10cms x 3 cms can be made in about five hours.The tests show this method could be a feasible form of lunar construction, with the bricks reportedly being as strong as gypsum,More tests are needed to understand how transferable the process to the different conditions found on the lunar surface.A follow-up project dubbed RegoLight is set to explore the potential for these construction processes to be applied to lunar environments.Makaya added:’ ''Our demonstration took place in standard atmospheric conditions, but RegoLight will probe the printing of bricks in representative lunar conditions: a vacuum and high-temperature extremes.”The method could have uses back on Earth such as offering new ways to construct emergency housing in situations where transporting building resources may be costly or time-consuming. The ESA's materials and processes division chief Tommaso Ghidini said: ''3D printing of civil structures using solar power and in-situ resources could support rapid construction of post-disaster emergency shelters, removing long, costly and often inefficient supply chains.”Earlier this year researchers at the University of
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  • Embargoed to 1600 Tuesday November 20 File photo dated 29/08/14 of homemade chips, rich in carbohydrates being cooked in a household fat fryer. Consuming less protein and more carbohydrates could be the key to long life and healthy brain ageing, a new study suggests. Scientists at the University of Sydney in Australia came to the conclusion after conducting diet experiments on mice.
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  • Embargoed to 1600 Tuesday November 20 File photo dated 05/11/13 of a bowl of pasta containing carbohydrates. Consuming less protein and more carbohydrates could be the key to long life and healthy brain ageing, a new study suggests. Scientists at the University of Sydney in Australia came to the conclusion after conducting diet experiments on mice.
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  • JANUARY 11TH : On this day in 1945 Ameila Earhart in the first flight of its kind, flew from Wheeler Field in Honolulu, Hawaii, on a solo flight to North America. Hawaiian commercial interests offered a $10,000 award to whoever accomplished the flight first. Picture dated June 1928 of Amelia Earhart, the first woman to fly the Atlantic, arriving at Southampton.  02/12/1996: Scientists began testing a scrap of corroded aluminium that investigators believe came from the aircraft Amelia Earhart was flying when she vanished 59 years ago.
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  • If a volcano erupts and there is no one there to see it, did it really erupt? Before the advent of satellites and seismic monitoring, volcanic eruptions in distant places would mostly go unnoticed unless they were absolutely extraordinary. Today, scientists can pick up signatures of events occurring far from any human observers.<br />
That was the case in late April and early May 2016 when satellite sensors detected signs of a volcanic eruption in the far South Atlantic Ocean between South America and Antarctica. Mount Sourabaya, a stratovolcano on Bristol Island, appeared to be erupting for the first time in 60 years. There are no human residents of the island, which is almost always covered in glacial ice and snow.<br />
The Operational Land Imager (OLI) on the Landsat 8 satellite acquired these two false-color images on April 24 and May 1, 2016. The images were built from a combination of shortwave-infrared, near-infrared, and red light (Landsat bands 6-5-4) that helps detect the heat signatures of an eruption. Both images show the heat signatures (red-orange) of what is likely hot lava, while white plumes trail away from the crater. The band combination makes the ice cover of the island appear bright blue-green.<br />
With a roughly rectangular shape that is 12 kilometers by 14 kilometers (7 by 8.5 miles), Bristol Island is one of the largest in the South Sandwich Islands chain. The highest peak on the island stands 1100 meters (3,609 feet) above sea level. Due to the remote location and the lack of landing sites amidst its ice cap, the stratovolcano is one of the least studied in the world. The last known eruption on Bristol Island was reported in 1956.<br />
References<br />
Culture Volcan (2016, May 3) Possible activité éruptive sur le volcan Bristol Island. Accessed May 9, 2016.<br />
Smithsonian Global Volcanism Program (2016) Bristol Volcano. Accessed May 9, 2016.<br />
South Sandwich Islands Volcano Monitoring Blog (2016, May 2) Eruption on Bristol Island. Accessed May 9, 2016.<br />
Volcano Discover
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  • On November 5, 2015, a tailings pond dam failed at an iron mine in southeastern Brazil, sending contaminated water sediment through the nearby village of Bento Rodrigues and into tributaries of the Rio Doce (Sweet River). Tailing ponds store waste left by mining operations - usually slurries of pulverized rock rich in chemicals used to process ore.<br />
The dam failure released about 60 million cubic meters - the equivalent of 25,000 Olympic swimming pools or 187 oil tankers - of contaminated material. Floods killed at least 13 people in Bento Rodrigues and displaced several hundred people in towns and cities downstream.<br />
Contaminated water first moved northeast through the Rio do Carmo until that river meets the Rio Piranga and becomes the Rio Doce. From there, it continued flowing northeast until the city of Governador Valadares, where the Rio Doce makes a turn to the east and heads toward Linhares and the Atlantic Ocean. As heavy mud passed Governador Valadares, a city of 280,000 people, authorities shut off the municipal water supply.<br />
Seventeen days after the dam failed, orange-brown water reached the Atlantic Ocean. Contaminated water continued to flow into the Atlantic on November 30, 2015, when the Operational Land Imager (OLI) on Landsat 8 captured this natural-color image. A muddy plume of water extended several kilometers into the Atlantic Ocean.<br />
According to news reports, the contaminated water contains high levels of mercury, arsenic, chromium, and manganese. Some scientists have expressed concern that toxins - along with a reduction in oxygen available in the water caused by the influx of silt and clay - will cause widespread harm to the river's ecosystems.<br />
Samarco, the company that owns the iron mine, has deployed floating barriers along parts of the Rio Doce in an effort to limit ecosystem damage. The company has also dredged the river's mouth to encourage contaminated mud to flow swiftly into the sea rather than settling at its mouth.<br />
NASA Earth Observator
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  • An astronaut aboard the International Space Station focused near the Sun's reflection point to shoot this photograph of grid-patterned fish farms on the coast of China's northeast province of Liaoning. The aquaculture basins have been built out from the wooded coast to a distance of nearly 6 kilometers (4 miles). Fish farms have been constructed at many points along the provincial coastline, but this group of basins facing the Yellow Sea is the largest. (Liaoning Province is the sixth in China in terms of aquaculture production.)<br />
The basins are built on shallow seabeds, mudflats, and bays.<br />
Islands, such as the one at image center, often help anchor the construction of basins. Outer barriers protect the basins from winter storms. Water flow lines and a ship wake are visible near the river estuary.<br />
Most aquaculture products are marketed live in China, with less than 5 percent processed for local or overseas markets.<br />
Shellfish, a traditional marine food source, still dominates the marine species production (77 percent), with sea fish a distant second (5 percent).<br />
About 4.3 million people are involved in freshwater and marine fish production in China (as of 2007).<br />
Click here to view another high-contrast astronaut photograph of fish farms near the Nile Delta.<br />
Astronaut photograph ISS044-E-89407 was acquired on September 6, 2015, with a Nikon D4 digital camera using an 1150 millimeter lens, and is provided by the ISS Crew Earth Observations Facility and the Earth Science and Remote Sensing Unit, Johnson Space Center. The image was taken by a member of the Expedition 44 crew. The image has been cropped and enhanced to improve contrast, and lens artifacts have been removed. The International Space Station Program supports the laboratory as part of the ISS National Lab to help astronauts take pictures of Earth that will be of the greatest value to scientists and the public, and to make those images freely available on the Internet. Additional images taken by astronauts and
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In 1985, sand and coral dominated the Red Sea coast in an area about 30 kilometers (19 miles) northwest of Hurghada, Egypt. Aside from a lone road that ran along the coast, the desert landscape was largely untouched by human activity. Three decades later, development has radically reshaped the coastline.<br />
The construction of El Gouna, a resort town, began in 1989. Building proceeded in waves, with a small cluster of summer holiday homes eventually morphing into a year-round community of about 23,000 people. As of 2015, El Gouna included 16 hotels, some 2,700 villas, 3 marinas, an 18-hole golf course, and hundreds of restaurants and shops.<br />
Developers were not content to simply build on the existing landscape. To give<br />
seaside views and easy access to the water to as many El Gouna residents and guests as possible, builders dredged huge amounts of sand from coastal bays and inlets to sculpt the canals, marinas, hotels, and artificial islands of the resort.<br />
The changes to the coast are evident in this pair of natural-color images acquired by sensors on Landsat satellites. The top image was captured by the Thematic Mapper (TM) on Landsat 5 in 1985; the bottom image was captured by the Operational Land Imager (OLI) on Landsat 8 in 2014.<br />
While El Gouna has pledged to become a carbon neutral town, the resort has come with a cost for the local environment, particularly the coral reef ecosystems that make the area so appealing. Construction of coastal hotels and other infrastructure often involved the destruction of fringing reefs along the coastlines, caused by the dredging or dumping of large amounts of sediment.<br />
While it is difficult to distinguish between reefs, underwater sand, sea grass, and algae in natural-color Landsat imagery, some scientists have used other wavelengths to track changes in corals near El Gouna and neighboring Hurghada. The findings indicate the reefs may be in trouble. According to one study, corals near Hurghada
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