Saturday, April 25, 2026

Australian Surfer Dies After Attack By 10-Foot Great White Shark

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A 60-year-old surfer died off the east coast of Australia Sunday after an attack by a 10-foot great white shark — despite what officials called “heroic efforts” by fellow surfers.

The Queensland victim, whose name was not released, succumbed after two surfers nearby rushed to him and “fought the shark off him,” an official on the scene told local 9 News. (Check out the video above.)

The shark circled the rescuers and rammed one’s surfboard. They pulled the victim to shore and applied first aid to his severely injured left leg. The man died at the scene, police said in a statement.

 “It was nothing short of heroic to get him to the beach,” paramedic Terry Savage told ABC. “Unfortunately, there was nothing else we could do.”

One of the surfers who braved the shark said he was a “little bit” shaken. “It was a big shark,” he told 9 News.

Officials used jet skis, a boat and a helicopter to clear the area of other surfers and swimmers, and quickly located the shark. But creature was not easily frightened, and even appeared at one point to charge a jet ski. It eventually left the vicinity. 

There were no plans to hunt the shark because officials don’t believe they could identify the right one, reported the Sydney Morning Herald.

Salt Beach near Kingscliff and other area beaches in New South Wales were closed after the attack.

It was the third fatal shark attack off Australia this year. But attacks in that area are unusual.

“It’s a bit of a shock for everyone at the moment,” James Owen, a member of the Salt Surf Life Saving Club, told the Herald. “There’s a very somber mood here. I don’t know of a previous fatal shark incident in this area. For whatever reason, this shark decided to have a bite.”



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Watch: The Drakensberg Boys Choir performs ‘Smile’ [video]

The Drakensberg Boys Choir recently recorded and shared their version of the hit-song, Smile.

After presenting their chamber choir, the Drakensberg Boys Choir from KwaZulu-Natal said on YouTube that they are delighted to share this a capella version of the classic song by Charlie Chaplin that was ultimately arranged by Ben Bram.

“This is the second song which was produced in its entirety during our national lockdown with the boys at their homes. We thought this song perfectly captures the spirit of our human response to the pandemic, full of melancholy, yet extremely hopeful and positive.”

The Drakensberg Boys Choir initially shared a message of hope with their performance of South African composer Lebo M’s Solibona (We will see the sun rise again).

Now they can be heard singing:

“Smile though your heart is aching, Smile even though it’s breaking, When there are clouds in the sky you’ll get by, If you smile through your fear and sorrow, Smile and maybe tomorrow you’ll see the sun come shining through for you…”

Watch: The Drakensberg Boys Choir performs Smile by Charlie Chaplin

Behind the song Smile

While the song Smile was written and performed by Chaplin in the 1936 movie Modern Times, it was later made (more) popular when Nat King Cole recorded it in 1954. The song was also originally written as an instrumental by Chaplin himself but two lyricists named John Turner and Geoffrey Parsons added lyrics to it.

Even Michael Jackson was reportedly a huge fan of the song and recorded a version of it on his 1995 album HIStory. Jermaine Jackson also went on to perform the song at Michael’s memorial in 2009.

Unsurprisingly, Michael is not the only fan of the song, as it has been covered by an eclectic batch of performers including Elvis Costello, Michael Bolton, Michael Bublé, Barbara Streisand, Josh Groban and of course now the Drakensberg Boys Choir.

Also read: The Ndlovu Youth Choir puts a unique spin on Dolly Parton’s hit ‘Jolene’



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New limbs could be built from scratch as scientists create 3D printed cartilage

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A DLP-printed LCE concept device of a spinal cage with a porous lattice architecture. (Credits: Professor Chris Yakacki / SWNS)

Brand new limbs and organs could be built from scratch after scientists created cartilage… on a 3D printer.

The material mimics biological tissue – mirroring the humanised machines in sci-fi film I, Robot.

Creating synthetic replacements that match its properties and behaviours was once thought impossible.

But the precision of today’s 3D printers has made it attainable – and now a US team has finally achieved the dream.

They are the first to 3D print a complex, porous lattice structure using liquid crystal elastomers (LCEs) – creating devices similar to real cartilage and other tissues.

The soft, multi-functional materials are known for their elasticity and extraordinary ability to dissipate high energy.

Professor Chris Yakacki, a mechanical engineer at Colorado University in Denver, said: ‘Everyone’s heard of liquid crystals because you stare at them in your phone display.

‘And you’ve likely heard of liquid crystal polymers because that’s exactly what Kevlar is.

‘Our challenge was to get them into soft polymers, like elastomers, to use them as shock absorbers. That’s when you go down the layers of complexity.’

LCEs are tricky to manipulate. Until now, most researchers could create either large objects with minimal detail or high detail in practically microscopic structures.

But as with phone screens, big devices with high resolutions are where the future lies. The chemicals and printing process took the difficulty down to nearly zero.

Prof Yakacki and colleagues used a 3D printing process called DLP (digital light processing).

They developed a honey-like liquid crystal resin that, when hit with ultraviolet light, forms new bonds in a succession of thin photo-polymer layers.

The final cured resin forms a soft, strong and compliant elastomer. When printed in lattice structures – levels of patterning akin to a honeycomb – it began to mimic cartilage.

Cured resin produces a material just like cartilage (Credits: Professor Chris Yakacki / SWNS)

The group printed several structures including a tiny lotus flower and a prototype of a spinal fusion cage – creating the largest LCE device with the most detail.

The combination of the resin and printing process also led to up to 27 times greater strain-energy dissipation compared to those printed from a commercially available photo-curable elastomer resin.

Going forward, the structures have several applications, like shock-absorbing football helmet foam or even small biomedical implants for toes.

Prof Yakacki whose findings are reported in Advanced Materials is most excited about its possibilities in the spine.

He said: ‘The spine is full of challenges and it’s a hard problem to solve. People have tried making synthetic spinal tissue discs and they haven’t done a good job of it.

‘With 3D printing – and the high resolution we’ve gotten from it – you can match a person’s anatomy exactly.

‘One day we may be able to grow cells to fix the spine. But for now we can take a step forward with the next generation of materials. That’s where we’d like to go.’

Modern 3D-printers are spectacularly advanced (Provider: CUBES)

Biological tissues have evolved over thousands of years to be perfectly optimised for their specific functions.

Cartilage, for instance, is compliant and elastic – making it key to running, jumping and resisting daily wear and tear.

It’s soft enough to cushion joints but strong enough to withstand compression and the substantial load bearing of our bodies.

Prof Yakacki began working with LCEs in 2012. Two years ago he received a grant to revolutionise their production as a shock absorber for football helmets.

He said even then, he knew its applications could go further. The manufacture of human organs is the Holy Grail of research. It could end donor shortages.

Replacement organs and tissue are expected to become a reality in the next two decades.

Bioprinting is an emerging science, involving building biological material in laboratories into functional tissue for implantation – just like the 3D printing of objects in plastic.

Last year Israeli scientists unveiled the first 3D-printed heart, made from human tissue. About the size of a cherry, it had blood vessels, ventricles and chambers.

At the University of Edinburgh, researchers have been working on a bioprinted liver since 2014.

Prof Yakacki was part funded by the U.S. Army Research Laboratory and U. S. Army Research Office.



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The Milky Way’s giant gas bubbles were seen in visible light for the first time

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Mysterious cosmic bubbles are being seen
in a new light.

For the first time, scientists have
observed visible light from the Fermi bubbles, enormous blobs of gas that sandwich
the plane of the Milky Way galaxy. The newly spotted glow was emitted by
hydrogen gas that was electrically charged, or ionized, within the bubbles. Astronomer Dhanesh Krishnarao of the University of
Wisconsin–Madison and colleagues described the finding June 3 in a news conference at the American Astronomical Society virtual meeting and
in
a paper
posted at arXiv.org on May 29.

Originally observed in 2010, the bubbles
spew high-energy light known as gamma rays. The towering structures, each
25,000 light-years tall, are thought to be relics of an ancient outburst of gas from the galaxy’s center (SN: 11/9/10). But scientists don’t know the source. The outflow
could have been the result of the black hole at the center of the galaxy
messily gobbling up matter, or emissions caused by bursts of stars forming.

Within the bubbles, gas is expanding
outward, its motion altering the apparent wavelength of its light. Material
closer to the solar system is traveling toward it, appearing bluer, and more
distant gas is moving away, appearing redder.  The wavelength shift allowed the researchers
to pinpoint the gas’s velocity at one location within the bubbles. Using the Wisconsin
H-Alpha Mapper telescope, or WHAM, the researchers determined that the gas
flowed outward at about 220 kilometers per second. The estimate agreed with an
earlier measurement made using ultraviolet light.

By taking measurements in other
locations, the researchers hope to more fully map out the velocity of the gas. “What
that can tell us is how, over time, the energy output from the Fermi bubbles
has changed. That’ll really be able to nail down more about the origin,” Krishnarao
said.

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The 1st stars in the universe formed earlier than thought

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The first stars in the universe formed even earlier than astronomers had thought, a new study suggests.

Researchers probing the early universe found no sign of first-generation stars in galaxies that existed just 500 million to 1 billion years after the Big Bang.



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Satellite sees ‘Black Lives Matter’ message from space (photo)

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A SkySat satellite operated by San Francisco-based company Planet captured this image of the “Black Lives Matter” message painted on 16th Street in Washington, D.C., on June 5, 2020. The White House is at right, and Lafayette Square is in the center. (Image credit: Planet Labs Inc.)

A cry for racial justice has been spotted from space.

On Friday (June 5), a satellite operated by San Francisco-based company Planet spied the “Black Lives Matter” message that city workers in Washington, D.C. painted in big yellow letters across two blocks of 16th Street earlier that day.



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How to lower your coronavirus risk while eating out: Advice from an infectious disease expert

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Editor’s Note — The views expressed in this commentary are solely those of the writer. CNN is showcasing the work of The Conversation, a collaboration between journalists and academics to provide news analysis and commentary. The content is produced solely by The Conversation.

(CNN) — As restaurants and bars reopen to the public, it’s important to realize that eating out will increase your risk of exposure to the new coronavirus.

Two of the most important public health measures for keeping illnesses to a minimum are nearly impossible in these situations: First, it’s hard to eat or drink while wearing a face mask. Second, social distancing is difficult in tight spaces normally filled with back-to-back seating and servers who weave among the busy tables all evening long.

So, what should you look out for, and how can you and the restaurant reduce the risk? Here are answers to a few common questions.

How far apart should tables and bar stools be?

There is nothing magical about six feet, the number we often hear in formal guidance from government agencies. I would consider that the minimum distance required for safe spacing.

The “six-foot” rule is based on old data about the distance droplets can spread respiratory viruses. These droplets tend to settle out of the air within six feet, but that isn’t always the case. Aerosols can spread the virus over larger distances, though there remains some uncertainty about how common this spread is. Particles generated by sneezes or someone running can travel up to 30 feet.

Talking alone has been shown to generate respiratory droplets that could be infectious.

If there is a fan or current generated in a closed space such as a restaurant, particles will also travel farther. This was shown in a paper from China: People in a restaurant downwind of an infected person became infected even though the distance was greater than six feet.

The closer the distance and the greater the time someone is exposed to a person who is infectious, the greater the risk.

If the servers wear masks, is that enough?

If servers wear masks, that will afford a layer of protection, but customers eating and talking could still spread the virus.

One way to mitigate that risk in this imperfect situation, at least from a public health point of view, would be to have tables surrounded by protective barriers, such as plexiglass or screens, or put tables in separate rooms with doors that can be closed. Some states are encouraging restaurants to limit each table to only one server who delivers everything.

Union Square Hospitality Group CEO Danny Meyer says the restaurant industry is facing a “tough road” in recovering from the pandemic. He tells CNN’s Poppy Harlow the return to safe dining “is not going to be an immediate light switch.”

Restaurants could also screen guests before they enter, either with temperature checks or questions about symptoms and their close contacts with anyone recently diagnosed with Covid-19. It’s controversial, but restaurants in California have tried it. Washington state tried to require restaurants to record visitors’ contact information in case an outbreak is discovered, but it pulled back to only recommend doing so.

It’s easier to screen employees. In fact, guidelines from the Centers for Disease Control and Prevention recommend restaurants have employee screening in place before they reopen. But while screening employees for possible infection could decrease risk, it’s important to remember that people can be infectious six days before they develop symptoms. That is why masks, eye protection, social distancing and hand hygiene are critical measures for preventing infection.

Should I ask for disposable utensils and wipe everything down?

Regular dishwashing of plates, glasses and utensils, and laundering of napkins and tablecloths, will inactivate the virus. No need for disposables here.

The table should also be cleaned and disinfected between uses and marked as sanitized.

Menus are a bit more problematic, depending on the material. Plastic menus could be disinfected. Disposable menus would be more ideal. Remember, even if someone touches a surface that has infectious virus, as long as they don’t touch their mouth, nose or eyes they should be safe. So, when in doubt, wash your hands or use hand sanitizer.

Can I get the virus from food from the kitchen?

The risk of becoming infected with the new coronavirus from food is very low.

This is a respiratory virus whose primary mode of infection is accessing the upper or lower respiratory tract through droplets or aerosols entering your mouth, nose or eyes. It needs to enter the respiratory tract to cause infection, and it cannot do this by way of the stomach or intestinal tract.

The virus also is not very stable in the environment. Studies have shown it loses half its viral concentration after less than an hour on copper, three and a half hours on cardboard and just under seven hours on plastic. If food were to be contaminated during preparation, cooking temperature would likely inactivate much if not all of the virus.

The use of masks and maintaining good hand hygiene by food preparers should significantly reduce the risk of food contamination.

Is outdoor seating or a drive-through any safer?

Vulnerable people may want to pass on dine-in options and focus on pickup or perhaps outside dining if the conditions are appropriate.

Drive-up windows or carry-out are probably the safest; transient interaction with one individual when everyone is wearing masks is a lower-risk situation.

Overall, outside dining is safer than indoor dining with everything else being equal on a nonwindy day due to the larger air volume. Maintaining eye protection via glasses and intermittent mask use between bites and sips would further decrease the risk.

Thomas A. Russo is Professor and Chief of Infectious Disease at the Department of Medicine of University at Buffalo, The State University of New York.

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Mysterious deep-space flashes repeat every 157 days

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Astronomers have discovered an activity cycle in another fast radio burst, potentially unearthing a significant clue about these mysterious deep-space phenomena.

Fast radio bursts, or FRBs, are extragalactic flashes of light that pack a serious wallop, unleashing in a few milliseconds as much energy as Earth’s sun does in a century. Scientists first spotted an FRB in 2007, and the cause of these eruptions remains elusive nearly a decade and a half later; potential explanations range from merging superdense neutron stars to advanced alien civilizations.



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Slack signs deal with Amazon, will move voice, video calling features to Amazon Web Services- Technology News, Firstpost

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Slack has entered into a partnership with Amazon to take on increased competition from Microsoft Teams. Following the deal, all Amazon employees will get access to Slack’s office tools. Slack will now also move its voice and video calling features over to Amazon Web Services (AWS).

“The future of enterprise software will be driven by the combination of cloud services and workstream collaboration tools,” reported Fox Business quoting Stewart Butterfield, CEO and co-founder of Slack.

He added that by integrating AWS services with Slack’s, they are helping teams easily manage their cloud infrastructure projects.

Slack logo.

Amazon has more than 840,000 full-time and part-time employees. As a result of the partnership, this huge number of Amazon’s employees will be using Slack for official purpose.

According to The Verge, Slack has used AWS to power parts of its chat app for a long time and post the deal, it will be making use of Amazon’s cloud services as its preferred partner for storage, computing, database, security, analytics, machine learning, and future collaboration features.

This means Slack will not take to Microsoft’s Azure cloud services or Google Cloud for its services in the foreseeable future.

“We have not used Azure. The vast majority of our service has always run on AWS,” the tech website reported quoting Brad Armstrong, vice president of business and corporate development at Slack.

The two companies are also promising better product integration and interoperability for features like AWS Chatbot.

Find latest and upcoming tech gadgets online on Tech2 Gadgets. Get technology news, gadgets reviews & ratings. Popular gadgets including laptop, tablet and mobile specifications, features, prices, comparison.



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Chanel’s First Digital Show Was a Disappointment on Many Levels

The first big digital fashion show of the pandemic era — which is to say, the first big show since real shows were canceled — was unveiled on June 8. It followed a weekend in which protests against police brutality and racism sparked by the killing of George Floyd proliferated not just in the United States, but around the world. And it came as more cities and countries gingerly tiptoed their way toward reopening.

Against this background, perhaps the Chanel cruise collection was never going to look particularly good. Originally intended as the first big traveling show of Virginie Viard’s tenure as creative director, and originally scheduled for May 7 on Capri, the cruise show “didn’t happen in the end because of lockdown,” Ms. Viard said in a statement. Instead, “we had to adapt.”

But even allowing for circumstances far beyond a brand’s control, the collection of pieces (videos, still images, clothes and collection notes) that made up the show were disappointing on a number of levels.

And not just because all weekend, as the protest marches took place, Chanel teased the event with videos on its Instagram feed that featured tweeting birds, waving bougainvillea and crashing waves (and appeared incongruously just after a trio of black squares in solidarity with #blacklivesmatter).

But because the presentation, and the clothes themselves, seemed to entirely ignore the cataclysmic context in which they would be worn. It was more like a return to some of high fashion’s escapist failings of the past rather than a meaningful step toward the future.

So there were gorgeous scene-setting landscape shots of rocky tors from some uninhabited Mediterranean island of the mind; of foaming surf and whitewashed bell towers; of sunsets, wildflowers and towering cactus.

There was a lone woman standing on what looked like a columned terrace framed by an endless blue sea or bathed in the fire opal shades of cocktail hour (behind-the-scenes footage suggested the model was actually in a studio against a backdrop). Her hair was blown gently by a wind machine, her toes scrunching among surf-smoothed pebbles. A woman wearing pastel leather Bermuda short suits, midriff tops and belly chains and faded, high-waist slouchy denim.

A woman wearing frumpy bouclé skirt suits and bouclé jackets knotted at the breastbone over hip-slung skirts unbuttoned to show a lot of leg, cropped Chanel tie-dye and LLDs (little lamé dresses). Also long lamé dresses. And wrap dresses. Bikini tops and flat sandals. Relatively understated double CC logos. All of it entirely in line with Ms. Viard’s implicit desire to take the bombast out of the brand and lighten it all up.

It’s an aim that should have made the collection feel connected to a world that has been largely in working-from-home lockdown for the last few months, with its related working-from-house dress. According to Ms. Viard’s statement, “not only did we decide to use fabrics that we already had” (thus being more sustainable), but many of the looks were actually transformative. The skirts could become strapless dresses, the jackets untied and worn long or short.

And yet it mostly just seemed irrelevant. The video and pictures could not come close to the experience that even a livestream of a show in a specific geographic location conveys; on their own they felt like an old fragrance commercial. Even the absurd, spendthrift sets of the Karl Lagerfeld era were more effective at conjuring a point. (I never thought I would be nostalgic for a fake rocket ship in the Grand Palais, or a bistro.)

Close-ups of the materials used, the tactile details of the clothes, would have been more evocative (and less clichéd) than close-ups of flowers.

Maybe it was too much to ask Chanel to reimagine the show experience for a world in turmoil. There were technical issues with even the basic pieces it did create; the video was late, just like shows IRL.

But the brand didn’t have to do it in the first place. It could have skipped the season, like many others. Or simply sent the pictures to its stores and retail partners. Instead, it chose to stick with its version of the show as a public statement of intent and aesthetic. Shouldn’t one of the benefits of a digital presentation be its flexibility, and the ability to rethink it (or at least the news release) according to public events, even up to the last minute?

If this is how a fashion house “adapts” to the changing world — if these are the clothes that are the response, if escapism is presented as an answer, if photographs and video simply attempt to mimic what once was, as opposed to reframing what could be, if a statement from a designer can’t even acknowledge the pain and complications of her consumers, even the rich ones — then, pretty as the products may be, it is not doing its job.



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