Computer simulations have confirmed that unusual deformation and rift parallel seismic anisotropy detected beneath the East African Rift system are the result of an African superplume of magma. Geophysicist D. Sarah Stamps explains that continental splitting is a combination of stretching and breaking deep within the Earth. This process is related to the elongation of the lithosphere, the rigid outer layer of the Earth. As the lithosphere becomes more tight, brittle changes occur in the upper part of the lithosphere, leading to rock fractures and earthquakes.

Research led by D. Sarah Stamps used three-dimensional thermodynamic modeling to find that the African superuplift - a huge upwelling of the mantle - caused the unusual parallel rift deformation observed in the East African Great Rift system. This adds to the complexity of the debate surrounding the primary forces driving the fracture, suggesting a combination of lithospheric buoyancy and mantle traction.

Stamps, who studies these processes by using computer modeling and global positioning systems to map ground motions with millimeter-level accuracy, likens the different ways continental rifts deform to playing with "silicone mud."

"If you hit the silicone mud with a hammer, it will actually crack," said Stamps, an associate professor in the Department of Earth Sciences at Virginia Tech's College of Science. But if you pull it away slowly, the silicone will stretch. So the Earth's lithosphere behaves differently on different time scales."

Whether stretching or breaking, the deformation produced by continental fissures usually follows a predictable directional pattern associated with the fissures: the deformation tends to be perpendicular to the rift. The East African Rift system, the largest continental rift system on Earth, has this kind of deformation perpendicular to the rift. But after more than 12 years of measuring the rift system using global Positioning System instruments, Stamps also observed deformation in the opposite direction, parallel to the rift system. Her team at the Laboratory of Geodesy and Tectonophysics has been trying to find out why.

Assistant Professor D. Sarah Stamps. Source: Virginia Tech University

In a recent study published in the Journal of Geophysical Research, the team used three-dimensional thermodynamic models to explore the processes behind the East African Rift Valley system, The model was developed by Tahiry Rajaonarison, the study's first author. His models show that the unusual, rift-parallel deformations of the rift system are driven by northward mantle flows associated with the African superuplift, a huge mantle upwelling that rises from deep within the Earth beneath southwest Africa, moves northeastward across the continent, and becomes shallower as it extends northward.

Their findings, combined with insights from a study the researchers published in 2021 using Rajaonarison's modeling techniques, help clarify the scientific debate about which plate drivers dominate the East African Rift system, explaining its deformations perpendicular to and parallel to the rift: Lithospheric buoyancy, mantle traction, or both.

As a postdoctoral researcher, Stamps began observing unusual, parallel deformations in the East African Rift Valley system using data from Global Positioning System stations that measured signals from more than 30 satellites orbiting the Earth from about 25,000 kilometers away. Her observations add a layer of complexity to the debate over the drivers of rift systems.

Some scientists have suggested that the East African fault is primarily driven by lithospheric buoyancy, which is relatively shallow and largely attributable to the high topography of the fault system (i.e., the African supergulf) and density variations in the lithosphere. It has also been suggested that horizontal mantle traction, a deeper force that interacts with the horizontally flowing mantle beneath East Africa, is the main driving force.

The team's 2021 study found through three-dimensional computational simulations that the rift and its deformation may be driven by both of these forces. Their model showed that lithospheric buoyancy was responsible for the more predictable deformation perpendicular to the rift, but these forces could not explain the anomalous deformation parallel to the rift identified by Stamps' GPS measurements.

In their newly published study, Rajaonarison once again used a three-dimensional thermodynamic model, this time focusing on the source of the rift's parallel deformation. His model confirmed that the anomalous deformation and rift parallel seismic anisotropy observed under the East African Rift system were caused by the African super convolution.

Seismic anisotropy is the orientation, or alignment, of rocks in a particular direction, in response to mantle flows, frits, or pre-existing structural formations in the lithosphere, Stamps said. In this case, the rocks are arranged in the same direction as mantle flow northward from the African supercrater, suggesting that mantle flow is the source of the rocks.

Rajaonarison said, "What we mean is that mantle flow is not driving some of the east-west, vertical direction of the rift, but it may be causing anomalous northward deformation parallel to the rift." "Our study confirms the previous idea that lithospheric buoyancy is the driving force behind the rift, but we also bring new insights that abnormal deformation may have occurred in East Africa."

Learning more about the process of continental fragmentation, including these anomalous processes, will help scientists decipher the complexities behind continental fragmentation, which they have been trying to crack for decades. "We are excited by Dr. Rajaonarison's numerical modeling results because it provides new information about the complex processes that shape the Earth's surface through continental fragmentation," said Stamps.

When it comes to women, what image comes to your mind?

In what scenes do you have women in mind? What are you doing?

If you are a woman, what were you taught from a young age about the qualities and norms of being a woman?

What do you think you are good enough to be? Did you do it? Why?

If you were to evaluate yourself on three keywords, what would be the first three words that come to mind?

Do you have a high opinion of yourself? Do you think you have gained as much as men?

Okay, now open your eyes, open the door to the screening room, and let's go into the world of Barbie.

You were born in the real human world, and Barbie was born in Barbieland.

In Barbieland, women control everything, from the most respectable jobs to the highest salaries, all belong to women, every mansion, every sports car, every object here is written with a woman's name, women have freedom, power, respect, and control everything from the abstract to the concrete resources, while men, although they have names, But they can only exist in society in the role of "Barbie boyfriend", becoming an ornament, a decoration among many things of women, they are not allowed to work, are not allowed to own assets, they are taught that their mission is to take care of women, to serve women, to speculate on women, to obey women, to make women happy. Women do not have to undertake unpaid labor, do not have to take children, as long as they go out to socialize, work, and can open sister parties every night, sisters are like brothers and sisters, men are like clothes.

Sounds ridiculous, doesn't it? But if you flip the gender of the above paragraph, everything becomes very reasonable, as Ginsburg said: "When I became a justice, I was sometimes asked: How many women on the Supreme Court is fair?" When I answered "nine" (that's nine for a full Supreme Court), people were shocked. But in the past, the nine justices have always been all men, and no one questioned it."

Men have owned the world for thousands of years, and if it is really fair, then the power of the world should also be handed to women for thousands of years before it is fair, but women have not asked for it, and it has never come true. Ginsburg just said this assumption that "nine justices should be women before it is fair", which is enough to shock people. Get a sense of what's behind this shock, and it's called misogyny.

So, what is misogyny? Simply put, there are certain things, especially those good things, that people have a voice inside that says, men can do, women can't do. Leadership is a good thing, so most of the leaders are men, and the occasional "female leader" always has a tacit derogatory meaning, "I have a female leader" this sentence is often said, others will look at you with a little sympathy, he has never even known the leader, but only because she is "female", she has been tacitly regarded as annoying. As Sasha says in the movie, "In this world, men hate women, and women hate women." The sense of misogyny is deeply implanted in our subconscious, so women are always unconsciously with a strong sense of unworthiness, you may think you are who? What would you believe? What faith will you act on? To shape your life? You think you decided all this on your own? In fact, it's not.

In psychological counseling, will often emphasize a thing "awareness of your pattern", what is your pattern, that is, you encounter a certain thing, natural thoughts and feelings, natural behavior and reaction way, you think that it is just an abstract idea? No, it actually changes your body, it changes the way the neural pathways in your brain are connected, which means that certain neurons in your brain are activated over and over again, and the brain learns that activation pattern and it reappears in the future.

In The Body Never Forgets, van der Cock talks about how experience and education change our brains, and thus determine how we courage, think, and react. A person who from a young age has often been deprived, degraded, frightened, and felt unrecognized and unwanted, has a brain that is particularly good at perceiving fear and abandonment. And a person who was encouraged, loved, and felt safe from an early age has a brain that is particularly good at exploring and cooperating.

Therefore, women are not born "female", our brains are chaotic at birth, the key lies in the acquired training, how a baby knows that he is a woman, and what it should be like as a woman, in fact, others in every word, every look, every behavior, imperceptibly taught us, engraved in our brains, So when we are repeatedly denied from childhood, as inferior to men, we also learn self-censorship, self-doubt, self-limitation, misogynistic brain circuit also naturally formed, so men hate women, women also hate women. Only awareness can change, as Chizuko Ueno once wrote in his book Misogyny: "A feminist is someone who is aware of their own misogyny and is determined to fight against it."

Another important manifestation of misogyny is female competition, female competition is actually very abnormal, if we look at animals in nature, there is no such thing as female competition, it is always the male who needs to compete, only the male needs to try to make himself more beautiful, let himself show beauty and strength, to figure out how to attract the opposite sex, what material can provide the opposite sex, How to beat the other sex for the female's mating rights... For example, wolves are monogamous mammals, much like humans. Have you ever seen a female Wolf dress up or fight for a male? Would any female Wolf try to figure out what a male Wolf likes about herself, and then do anything to please him? Never, she just needs to be herself and live leisurely, because the female has its own reproductive resources, which should be the object of competition.

But in the male-dominated world, men project the anxiety of competition to women, so that women think that if you can't be loved it is because you are not good enough, you are not obedient enough, you are not beautiful enough, you are not thoughtful enough, as Zhang Ailing said: "men look good is the egg, and women are the duty." So women become anxious, constantly measuring themselves against these standards, and when they fail to meet them, they will doubt and attack themselves, but in the end, these abnormal female competition is just a game designed by men to raise the standards, so that they can get better partners at a lower cost, and men themselves never have to worry about this.

So men can focus on how to make themselves stronger, while the way of female competition is endless thinking about how to make men like, how to transform themselves, so that they can become more than other women to meet the standards of men. Gloria's speech in the play puncts the contradiction and pain of women in these strict standards of female competition: you have to be beautiful, but not beautiful enough to be hated by the same sex; You have to have money, but you can't ask for it; You have to be a good mother, but you can't always talk about the child; You have to be successful in your career while taking care of everyone around you... Can't fail, can't be afraid, can't be old or ugly, everything is contradictory and depressing, but also maintain positive energy.

Barbie has not always appeared as a feminist image, once she was almost a silly white sweet spokesperson, she lives in a bright pink plastic world, the body and appearance will never be perfect, not old and not ugly, so when she first met Sasha in the human world, Sasha made a mockery of her, Sasha's argument pretty much explains why Barbie has been on the decline in recent years, but Sasha's attack is mainly about stereotypes. But this movie, its setting is clever, it reverses people's stereotype of Barbie in one stroke, from her inside let us know Barbie again.

Barbie is actually born pure feminist, her pure reflected in her thoughts never tainted with any patriarchal world teachings, so she has a natural high self-esteem, absolute high confidence, she knows what it is really respected, so any gender discrimination in human society, in her view is extremely uncomfortable and disturbing, just like a fish, if it has been living in sewage, It will not feel that it is sewage, nor will it understand how the sewage has corroded itself, but if a fish is thrown into the sewage from a clear lake, it will be very uncomfortable, from the body to the mind will be triggered by a strong alarm.

So Barbie with the mother and daughter quickly fled back to the Barbie park, but she did not think that here is also polluted, Ken brought back the brainwashing package of the male power world, the Barbie park from the spirit to the material are stirred upside down, but as an audience, the most poke is, Barbie's pain I can not feel! When I look at men enjoying the care and worship of women, men taking the title of the house as their own, I only inexplicable sense of familiarity, isn't this the world I have been living in? We have long been accustomed to all this and feel natural, do not feel anything abnormal, what about pain and resistance?

But Barbie can't get used to, for her, this is aggression is robbery, she has no inherent misogyny and servility, she knows this is a crime, must fight, but she sadly found that, in contrast to the unity of men, working together to fight for the interests of the male group, women are not united at all, they have been brainwashed to have forgotten who they should be, or can be. They are willing to surround the men to flatter, think Barbie is unaware of the situation.

It was enough to cause despair and depression that Barbie fell face down on the lawn and never recovered. How to recover the lost paradise? The road is slow and long.

So the Barbies planned a war to take back the world that should have belonged to them, and when I watched this, I thought of a question: Will men really support women's rights? I'm sure there are a lot of men who genuinely support women's rights, but most men just support women's rights out of a misunderstanding that they want women to work for themselves, pay for themselves, carry their own gas cans, no longer take money from men, no longer make men pay bills, no longer need men to fix light bulbs, Their imagination of women's rights is that "women will bear more and pay more" superwomen, women will still have children, will still do housework, will still take care of good men's everything, but in addition to this, feminists will give them more freedom, do more work, pay more money, but will not ask for more.

These men are naive, because the so-called power, has always been the occupiers hurt the non-occupiers of the game, women want not only to bear more, but to get more, when men understand that women really want power, they will find that they do not support women's rights, so it is regarded as a war of death. Because power has always been a scarce resource, and when it goes away, it goes away, just like when the Barbies take back the mansions and the reigns, the Kenses are destined to lose it. Perhaps, this is the reason why "feminists" were born to be stigmatized, and the voice behind this is actually from the deep-rooted collective subconscious misogynist voice in the patriarchal culture: "You don't deserve it!" "You're not worth it!" Let's shout back together like Barbie in the movie! "I deserve it!" "I deserve it!

The film was nominated for Best Animated Feature and Best Musical at the British Film and Television Guild Awards and for Best Animated Feature at the Golden Globe Awards, and won Best Animated Feature Awards at the Las Vegas, Los Angeles, New York and Toronto Film Critics Associations, and Best Adapted Screenplay Awards at the San Francisco and San Diego Film Critics Associations.

For Wes Anderson, decoratism is a judgment that sounds reasonable at first glance, but is very subtle upon reflection. For example, we could easily accuse a live-action film such as The Grand Budapest Hotel of being a decorationist film, a sugar-water film, an upholstery film, but could the same be said about Mr. Fox? At this point, we find that the "decoration" that seems excessive to the former - such as symmetrical composition, color, set details, etc. - seems to be a natural and simple native language in the stop-motion dimension of the latter.

I think the key is not whether the form of a film is colorful or not, but whether the form infuses the film with life, or whether it merely serves as a layer of film, an excuse for "style", and even in turn restricts the film to its own self-created cage of inactivity. In other words, decorationism does not depend on the complexity of formal rhetoric, but on the fact that a film merely decorates (in other words, disguising) its own actual impoverishment in its form - not only in its garish and complex form, but also in the feigned "cold" form of Bela Tal or Haneke. A good example of decorationism is Kaurismaki's many films, which are lazy and homogenized as if they were the product of an assembly line. But "Mr. Fox" is not one of them; Wes Anderson strikes us as a witty and energetic author, the form here not as a systematic, formulaic "style", but as a subtle tone, sometimes with child-animated pomp, sometimes with touching seriousness, but always with a touch of odd sadness in the humour; All of what we now call the "Wes Anderson style," including symmetrical compositions, mechanical figures, and moving mirrors, is an integral part of this tone, an organic voice that is creatively combined in each scene rather than simply stacked.

In August, we bring the feminist precursors of 20th-century Iranian literature, the sharp rebel voice of modern Persian poetry - Frog Farrohzad's greatest hits, Let Us Believe in the Dawn of This Cold Season.

Reading Farrokhzad, it is hard to believe that such frank language and rich emotions, so full of women's life experience, were born in Iranian society in the 1960s. There is darkness in her poems, and glimmers of hope; Personal experience is also a social aspect. Although she died young, leaving only five books of poetry, she had an extremely important impact on 20th century Iranian literature.

What was Farrokhzad's life, and how can we read her lines of longing and joy? This article is taken from the introduction of this book, and let us step into the world of Farrokhzad, believing that at the dawn of this cold season, we are still standing on the threshold of love.

Her wonderful life came to an abrupt end

Frog Farrohzad was born in Tehran in 1935, the fourth child of a career army officer. Frog's early life was not much different from that of many other upper-middle-class Iranian women.

She attended school until ninth grade, then enrolled in a girls' craft school to study painting and embroidery, both considered fashionable arts for young women. At the age of 16, she fell in love with her neighbor and distant relative, Parviz Shapur, a satirist and cartoonist 15 years her senior. Despite her parents' objections, Flog married him and the two moved to Ahvaz, where Shapur got a job in the Treasury. A year later, Flog gave birth to her son, Kamiar, her only child. Three years later, Frog decided to leave her husband. In those days, it was taboo for a woman to ask for a divorce in Iran, and full custody of children almost always went to the father. Frog was even denied occasional visits to Kamiar, which left an indelible mark on her life and poetry. Perhaps it was this that led to her having a nervous breakdown in September 1955 and checking herself into a Tehran psychiatric clinic. After recovering, Frog published her first collection of poems, Prisoners, in 1955. He then published a second volume of poetry, The Wall (1956). Soon after, she became interested in cinematography, acting and production.

In the male-dominated Iranian literary and art world, she created a sensation with her willingness to express her honest and sensual feminine feelings and her liberal lifestyle, so much so that she felt she had to leave Iran before the publication of her third collection of poems, Rebellion (1958). In 1956, she went to Italy to study cinematography and art (or to escape the stigma). Her trip to Italy lasted nine months, after which she visited her brother, who was studying medicine in Munich. There she also learned some German and, with the help of her brother, translated an anthology of 29 German poets from the first half of the 20th century. The anthology, published posthumously in 1980, is titled "My Death Will Come One Day," from a poem by the German poet Ossip Kalenter that inspired her to write "The Hereafter," her epitaph.

After returning to Iran, Frog became an assistant to the talented filmmaker and writer

Ibrahim Golestan. Although Golestan is married and 13 years older than her, Frog falls in love with him and lives with him, which is another "scandal" for her in the Iranian literary and art world. In 1960, Flog, depressed by family and financial problems and the separation from her son, unsuccessfully attempted suicide by taking sleeping pills. With Golestan's help, Frog made several documentaries, the best of which was The House Is Black, based on life in a leper colony in Tabriz. During filming, she lived in the colony for 12 days, mingling freely with lepers and adopting a leper boy named Hassan Mansouri. The film won the award for Best documentary at the Oberhausen Film Festival in Germany in 1963.

The wanton destruction of knowledge is often systematic, an attack by one group on another. In ancient China, there was the "burning of books"; in England, there was the Reformation's attack on the collection of books in monasteries; in Germany, there was the burning of Jewish books by the Nazis. On the other hand, there are still countless people of good will who will risk their lives for knowledge and archives that are on the brink of extinction... In addition to the political disasters facing the storage of knowledge, the book also addresses the tragedy caused by the neglect of library management, the irreparable damage caused by the will of authors and their relatives, the lack of information preservation and regulation in the digital age, and the threat of monopolies by giant technology companies. As the book says: "The repeated attacks on libraries and archives over the centuries is a worrying trend in human history that deserves our study, and the amazing efforts made to protect the knowledge held by these institutions deserve our praise."

Richard Ovenden, who since 2014 has been director of the Bodleian Library, the second largest library in the UK and the main library of the University of Oxford, gives a vivid account and reconstruction of the crisis of knowledge preservation in Book Burning: A History of Knowledge Suffering, which is not only authoritative, but also conveys the insights and concerns of a knowledge conservator. For ordinary readers, the value of this "book of books" is not only to bring us back to the historical context of the suffering of books, but also to arouse our conscious awareness of the storage and protection of knowledge, especially the crisis facing individuals and society in the era of "Internet without memory".

"Content Introduction"

The preservation of knowledge has always been an uphill struggle: the ancient Library of Alexandria was in decline due to mismanagement; The new library at Oxford was built at Sir Bodley's expense; The Nazi regime set fire to thousands of Jewish books; Kafka's manuscript may have been lost to posterity because of his will. In this book, Richard Ovenden, director of the Bodleian Library, spans 3,000 years of historical records and materials, introduces the history of knowledge suffering from the age of clay tablets to cloud data storage, and explores the current state of knowledge preservation and its impact on society. The efforts and sacrifices of many knowledgeable people, such as librarians and archivists, are also well represented in the book.

This is a fascinating history of preservation and a shocking history of human civilization. Through this book, we should understand that libraries and archives are not only places to store documents, but also closely interact with current politics, education and culture, and provide important support for the healthy functioning of society. Richard Ovenden also has an initiative for society as a whole: to build consensus for public policy and to secure the resources needed for these important knowledge-preserving institutions.

By the end of 2021, the total assets of financial institutions reached 381.95 trillion yuan, an increase of 8.1% year on year; Personal financial assets exceeded 230 trillion yuan, up about 12 percent year on year.

From the data of the financial industry, in the past ten years, the average annual growth rate of bank loans and bond investment was 13.1% and 14.7% respectively, and the average annual growth rate of inclusive small and micro enterprise loans and inclusive agricultion-related loans reached 25.5% and 14.9% respectively, much higher than the average growth rate of loans. The A-share market grew by 238.9% and the bond market by 444.3%, both ranking second in the world. More than 200 million stock market investors; The total assets of securities and futures operating institutions have grown 5.5 times in the past ten years, and the scale of publicly offered funds under management now stands at 26 trillion yuan, an increase of eight times in the past ten years, greatly enhancing the strength of the industry.

Blockchain is just a component, it can't work alone, and Cong Ben put the blockchain as a component, set up a set of incentive system after the invention of Bitcoin, it showed the greatest charm.

The charm is not bitcoin as a bet to make early entrants rich, but Bitcoin as a time-stamped public account, an epochal invention with the power to reclaim data property for all of us, much like reinventing the Internet.

That means more innovation and more opportunity, which is exciting to hear.