Anti-aging products are undergoing exceptional growth in the cosmetics industry far beyond that of general cosmetics. This book is the only available text that assembles the key pieces developers need to produce new breakthroughs for a growing market that demands quicker and more effective results. It also focuses much needed attention on the biochemical and clinical differences between Caucasian and other skin types.
Beginning with detailed descriptions of the forces driving the anti-aging market, this unique book provides readers with all the tools necessary to further research, develop, market, and sell novel products. Recent discoveries on the molecular level and novel methods of skin aging assessment are detailed as well as the state of the rapidly changing global regulatory environment. The formulation approaches of major cosmetics companies are presented as are their techniques for measuring skin aging in vitro and in vivo, both on the molecular and clinical levels.
Provides philosophical perspective on the growth of the anti-aging market
Covers skin types beyond Caucasian
Provides key pieces for developing and selling new breakthrough products
Includes technology from major cosmetic companies such as Chanel, Avon, Estee lauder and others"

Aos amantes da leitura que adoram viajar em um Mundo fantastico que e o mundo de um livro. Ao meu primeiro amor pois sem ele nao haveria Poesias e aos sentimentos contidos no coracao de um Poeta. E a minha esperanca de acreditar que tudo e possivel E que sonhos se tornam realidade, esse era o meu sonho e Qual sera o teu?

100 years after the Dada soirees rocked the art world, the author investigates the role that music played in the movement. Dada is generally thought of as noisy and unmusical, but The Music of Dada shows that music was at the core of Dada theory and practice. Music (by Schoenberg, Satie and many others) performed on the piano played a central role in the soirees, from the beginnings in Zurich, in 1916, to the end in Paris and Holland, seven years later. The Music of Dada provides a historical analysis of music at Dada events, and asks why accounts of Dada have so consistently ignored music's vital presence. The answer to that question turns out to explain how music has related to the other arts ever since the days of Dada. The music of Dada is the key to understanding intermediality in our time.

With impending and burgeoning societal issues affecting both developed and emerging nations, the global engineering community has a responsibility and an opportunity to truly make a difference and contribute. The papers in this collection address what materials and resources are integral to meeting basic societal sustainability needs in critical areas of energy, transportation, housing, and recycling. Contributions focus on the engineering answers for cost-effective, sustainable pathways; the strategies for effective use of engineering solutions; and the role of the global engineering community. Authors share perspectives on the major engineering challenges that face our world today; identify, discuss, and prioritize engineering solution needs; and establish how these fit into developing global-demand pressures for materials and human resources.

Double carbon targets have been one of the most motivations and targets for China's social and economic development. Building is one of the most important sectors to achieve energy savings and emission reductions. This book focuses on China's building energy usage and CO2 emissions, discusses the status quo of China's building energy of four categories, their characteristics and technologies to improve energy efficiency and achieve zero-carbon emissions. Specifically, this book in 2021 discussed the pathways to achieve carbon neutrality targets for China's building sector. This book also analyzed the energy mix, energy intensity, and technology perspectives to implement energy and carbon targets in urban residential building areas. This book consists of large-scale survey data, monitoring data and case studies. The discussion on technologies and policies is supported by a variety of evidence and continuous research for more than ten years. The information, data and policy suggestions will interest readers all around the world who work in energy, climate change, engineering and building science areas.

This book offers an interdisciplinary perspective on femicide, using Israel as an illuminating case study, given its diverse communities and common-law-based legal system. Utilizing analytical alongside practical perspectives, the book offers a novel crimino-legal approach to femicide. In addition to its interdisciplinary novelty, the book presents originality in going beyond the more usual focus on the central victims and the common legal tools. Here, the authors extend the analysis to secondary victims of femicide and examine the applicability of second-tiered relevant legal tools, mostly tort law, as a means for gaining justice for the victims. This explorative journey culminates with the authors' definition of femicide as a quintessential "crime of distinct nature". In the context of current international pledges to better understand and consequently better fight femicide, this work allows readers to comprehend the phenomenon and the ways to abolish it. The book will be an invaluable resource for academics, researchers and policy makers working in the areas of criminal law, tort law, family law, criminology and gender studies, as well as for legal theorists and criminologists seeking integration of both disciplines.

This book explores the ways in which the political and social power structures between filmmaker and protagonist are manifested in the aesthetics of documentary film. Using a synthesis of filmmaking practice and critical theories from the fields of cultural studies and political philosophy, the research devises methodological approaches to the analysis of documentaries in light of the political and material conditions of their emergence. By exploring filmmaking practice and placing it in the context of wider theories pertaining to issues of power structures and representation, it sheds light on the different aspects which must be considered when approaching the analysis of a documentary film for its ideological and political content.

This book explores femicide, and scrutinizes the three key American criminal doctrines usually applied in its cases: provocation; the felony murder rule; self-defence. The book also explores the influence of the American Model Penal Code, and proposes, connected to the various criminal doctrines applicable to femicide, a focused and detailed amendment to the Code containing unique features and a formula providing a socio-legal response to issues that the author believes have not yet been adequately addressed. Though primarily focused on femicide in America, the issues discussed are of global relevance due to the tragically widespread nature of femicide, and the book also makes significant contributions to the legal discourse of many other countries with similar legal structures.

Why does poetry appeal to music? Can music be said to communicate, as language does? What, between music and poetry, is it possible to translate? These fundamental questions have remained obstinately difficult, despite the recent burgeoning of word and music studies. Peter Dayan contends that the reasons for this difficulty were worked out with extraordinary rigour and consistency in a French literary tradition, echoed by composers such as Berlioz and Debussy, which stretches from Sand to Derrida. Their writing shows how it is both necessary and futile to look for music in poetry, or for poetry in music: necessary, because each art defines itself by reference to what it is not, and cannot be, in order to point to an idealized totality outside itself; futile, because the musicality of poetry, like the poetic meaning of music, must remain as elusive as that idealized totality; its distance is the very condition of the art. Thus is generated a subtle but unmistakable general definition of the nature of art which has proved uniquely able to survive all the probings of poststructuralism. That definition of art is inseparable from a disturbingly effective scepticism towards all forms of explication and explanation in critical discourse, so it is doubtless not surprising that critics in general have done their best to ignore it. But by bringing out what Sand, Baudelaire, Mallarme, Proust, Debussy, Berlioz, Barthes, and Derrida all do in the same way as they work on the limits of the analogy between music and literature, this book shows how it is possible, productive, illuminating, and fascinating to work on those limits; though to do so, as we find repeatedly, in Chopin's dreams as in Derrida's 'tombeaux', requires us to have the courage to face, in music, our literal death, and the limits of our intelligence.

In 1877, Ruskin accused Whistler of 'flinging a pot of paint in the public's face'. Was he right? After all, Whistler always denied that the true function of art was to represent anything. If a painting does not represent, what is it, other than mere paint, flung in the public's face? Whistler's answer was simple: painting is music - or it is poetry. Georges Braque, half a century later, echoed Whistler's answer. So did Braque's friends Apollinaire and Ponge. They presented their poetry as music too - and as painting. But meanwhile, composers such as Satie and Stravinsky were presenting their own art - music - as if it transposed the values of painting or of poetry. The fundamental principle of this intermedial aesthetic, which bound together an extraordinary fraternity of artists in all media in Paris, from 1885 to 1945, was this: we must always think about the value of a work of art, not within the logic of its own medium, but as if it transposed the value of art in another medium. Peter Dayan traces the history of this principle: how it created our very notion of 'great art', why it declined as a vision from the 1960s and how, in the 21st century, it is fighting back.

The book provides a comprehensive detailed summary of current status on skin microbiome research in health and disease as well as key regulatory and legal aspects. In the past decade, interest and technology have greatly advanced to unravel the nature and effect of skin microbiome on our health. Diseases such as atopic dermatitis and acne are at the forefront of this research, but also other conditions such as skin cancer are under investigation. In addition, mapping of the skin microbiome has gone from basic to more detailed with attempts to correlate it to various ages, ethnicities and genders. In parallel to mapping it, a great deal of research is dedicated to understanding its functionality and communication (and hence effect) on human cells. The Skin Microbiome Handbook is a summary of current status of knowledge, research tools and approaches in skin microbiome, in health and disease. It contains the following categories: healthy skin microbiome and oral-skin interaction; skin microbiome observational research; skin microbiome in disequilibrium and disease; skin's innate immunity; testing and study design; regulatory and legal aspects for skin microbiome related products. The 18 chapters of the book are written by carefully selected leaders in the academia and industry exhibiting extensive experience and understanding in the areas of interest.

The Minipig in Biomedical Research is a comprehensive resource for research scientists on the potential and use of the minipig in basic and applied biomedical research, and the development of drugs and chemicals. Written by acknowledged experts in the field, and drawing on the authors global contacts and experience with regulatory authorities and the pharmaceutical and other industries, this accessible manual ranges widely over the biological, scientific, and practical uses of the minipig in the laboratory. Its coverage extends from the minipig s origins, anatomy, genetics, immunology, and physiology to its welfare, health, and husbandry; practical dosing and examination procedures; surgical techniques; and all areas of toxicity testing and the uses of the minipig as a disease model. Regulatory aspects of its use are considered.

The reader will find an extensive amount of theoretical and practical information in the pharmacology; ADME and toxicology chapters which will help scientists and managers when deciding which species to use in basic research; drug discovery and pharmacology; and toxicology studies of chemicals, biotechnology products and devices. The book discusses regulatory uses of minipigs in the evaluation of human and veterinary pharmaceuticals, medical devices, and other classes of xenobiotics. It describes features of normal health, normal laboratory values, and common diseases. It also carefully elucidates ethical and legal considerations in their supply, housing, and transport. The result is an all-inclusive and up to date manual about the experimental uses of the minipig that describes How to and Why and What to expect in the normal, combining enthusiasm and experience with critical assessment of its values and potential problems."

100 years after the Dada soirees rocked the art world, the author investigates the role that music played in the movement. Dada is generally thought of as noisy and unmusical, but The Music of Dada shows that music was at the core of Dada theory and practice. Music (by Schoenberg, Satie and many others) performed on the piano played a central role in the soirees, from the beginnings in Zurich, in 1916, to the end in Paris and Holland, seven years later. The Music of Dada provides a historical analysis of music at Dada events, and asks why accounts of Dada have so consistently ignored music's vital presence. The answer to that question turns out to explain how music has related to the other arts ever since the days of Dada. The music of Dada is the key to understanding intermediality in our time.

Why does poetry appeal to music? Can music be said to communicate, as language does? What, between music and poetry, is it possible to translate? These fundamental questions have remained obstinately difficult, despite the recent burgeoning of word and music studies. Peter Dayan contends that the reasons for this difficulty were worked out with extraordinary rigour and consistency in a French literary tradition, echoed by composers such as Berlioz and Debussy, which stretches from Sand to Derrida. Their writing shows how it is both necessary and futile to look for music in poetry, or for poetry in music: necessary, because each art defines itself by reference to what it is not, and cannot be, in order to point to an idealized totality outside itself; futile, because the musicality of poetry, like the poetic meaning of music, must remain as elusive as that idealized totality; its distance is the very condition of the art. Thus is generated a subtle but unmistakable general definition of the nature of art which has proved uniquely able to survive all the probings of poststructuralism. That definition of art is inseparable from a disturbingly effective scepticism towards all forms of explication and explanation in critical discourse, so it is doubtless not surprising that critics in general have done their best to ignore it. But by bringing out what Sand, Baudelaire, Mallarme, Proust, Debussy, Berlioz, Barthes, and Derrida all do in the same way as they work on the limits of the analogy between music and literature, this book shows how it is possible, productive, illuminating, and fascinating to work on those limits; though to do so, as we find repeatedly, in Chopin's dreams as in Derrida's 'tombeaux', requires us to have the courage to face, in music, our literal death, and the limits of our intelligence.

The Behavior of Broadus is the incredible sort-of-true story of John Broadus Watson, father of behaviorism and modern advertising. He has the power to control your brain. Indeed, we suspect he's making you read this right now. This Mad Men-esque dark comedy puts the origins of our pop culture consumerist society under a satirical magnifying glass.

A distinguished list of contributors explores a variety of perspectives on the artistic culture of France and surrounding countries during the period 1870 to 1914. Aspects of dance, cinema, theater, poetry, prose, painting, social and political science, history, and medicine are covered in interdisciplinary essays that are both useful to researchers and accessible to students.

The first part of the book, which concentrates on France, assembles essays on the prose, poetry, and painting of Symbolism and Decadence, in particular Mallarme and Moreau; on avant-garde dance and performance; on women's writing; and on early cinema from Lumiere, Villiers, and Verne.

The second part explores the relations between France and several cultures. These cross-cultural investigations range from studies of the Anglo-Celtic "Rhymers' Club" to the Italian Crepusculari and include discussions of Belgian Symbolism and the Franco-Anglo-American Axis. The essays consistently point beyond the late nineteenth century and into the twentieth as they explore the multiple beginnings -- as well as the false starts -- that characterize the period.

In 1877, Ruskin accused Whistler of 'flinging a pot of paint in the public's face'. Was he right? After all, Whistler always denied that the true function of art was to represent anything. If a painting does not represent, what is it, other than mere paint, flung in the public's face? Whistler's answer was simple: painting is music - or it is poetry. Georges Braque, half a century later, echoed Whistler's answer. So did Braque's friends Apollinaire and Ponge. They presented their poetry as music too - and as painting. But meanwhile, composers such as Satie and Stravinsky were presenting their own art - music - as if it transposed the values of painting or of poetry. The fundamental principle of this intermedial aesthetic, which bound together an extraordinary fraternity of artists in all media in Paris, from 1885 to 1945, was this: we must always think about the value of a work of art, not within the logic of its own medium, but as if it transposed the value of art in another medium. Peter Dayan traces the history of this principle: how it created our very notion of 'great art', why it declined as a vision from the 1960s and how, in the 21st century, it is fighting back.

"A major contribution to the study of global events in times of global media. "Owning the Olympics" tests the possibilities and limits of the concept of 'media events' by analyzing the mega-event of the information age: the Beijing Olympics. . . . A good read from cover to cover."
--Guobin Yang, Associate Professor, Asian/Middle Eastern Cultures & Sociology, Barnard College, Columbia University

From the moment they were announced, the Beijing Games were a major media event and the focus of intense scrutiny and speculation. In contrast to earlier such events, however, the Beijing Games are also unfolding in a newly volatile global media environment that is no longer monopolized by broadcast media. The dramatic expansion of media outlets and the growth of mobile communications technology have changed the nature of media events, making it significantly more difficult to regulate them or control their meaning. This volatility is reflected in the multiple, well-publicized controversies characterizing the run-up to Beijing 2008. According to many Western commentators, the People's Republic of China seized the Olympics as an opportunity to reinvent itself as the "New China"---a global leader in economics, technology, and environmental issues, with an improving human-rights record. But China's maneuverings have also been hotly contested by diverse global voices, including prominent human-rights advocates, all seeking to displace the official story of the Games.

Bringing together a distinguished group of scholars from Chinese studies, human rights, media studies, law, and other fields, "Owning the Olympics" reveals how multiple entities---including the Chinese Communist Partyitself---seek to influence and control the narratives through which the Beijing Games will be understood.

digitalculturebooks is an imprint of the University of Michigan Press and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and its impact on society, culture, and scholarly communication. Visit the website at www.digitalculture.org.