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Have you ever felt like you're racing against the clock, constantly chasing appointments and deadlines? This relentless pursuit of time is a universal experience, but what is time, really? Is it a physical phenomenon or just a tool we use to coordinate our lives? Time is often seen as an independent, physical entity that ticks by relentlessly, but emerging scientific evidence suggests that this isn't the case. Time is more like a mathematical tool, useful for coordinating our interactions, but it doesn't have an independent existence of its own. Just like money, we've become dependent on it, but it's not a physical reality. The pressure to be 'on time' is instilled in us from a young age, and we're constantly surrounded by clocks and digital alerts that divide our day into smaller pieces. This has led to a phenomenon known as 'time famine,' where the more efficient and productive we try to be, the less time we feel we have. Studies have shown that people experiencing time famine are less likely to engage in activities they enjoy, eat healthily, or seek medical attention when needed. Our brains don't have dedicated areas for tracking time, and our experience of it can vary greatly. Time can seem to drag or fly by, depending on our circumstances. For example, people with certain conditions, like akinetopsia, experience time in sudden jumps or frozen moments. The psychedelic drug mescaline can also distort time perception, making it seem like hours or even centuries have passed. Quantum physicists have found that time is not a fixed, physical flow. The famous double-slit experiment shows that a physicist's choice of measurement can influence the behavior of a particle. In a lesser-known variant of this experiment, the physicist's choice at the point of measurement can even influence the particle's past behavior. This suggests that time is not a fixed, linear concept, but rather a flexible and subjective experience. Some indigenous cultures, like the Aymara people of Chile, experience time differently. They see the future as hidden behind them, unseeable and unknowable. The Amondawa people of the Amazon have no clocks or concept of time. Instead, they live in the present, experiencing 'lived time,' which is a personal, malleable experience of change. Lived time is different from clock time, as it's not defined by numerical counters or seconds. Each moment is like a tapestry, woven from changes on multiple timescales. When we focus on lived time, it expands and becomes richer, rather than narrowing or contracting. It's a flow that carries us and connects us with others, rather than something we chase and never catch. To combat time famine, we need to remind ourselves that the clock is a tool, not a master. We should beware of digital alerts and alarms that divide our day into smaller pieces and instead focus on the rich pattern of changing connections that wire us into each moment. By doing so, we can tap into the creative process of lived time and experience a more fulfilling and connected life.

Transitioning from the bright lights of the Stade de France to the familiar surroundings of the Crumbie Stand presents a unique mental challenge for international rugby players. For England's Ollie Chessum, however, the return to domestic competition proved fruitful as he delivered another tireless performance in Leicester's 33-19 victory over Bristol.The result not only elevates the Tigers to third place in the Premiership standings but also secured what could prove to be a crucial bonus point when playoff calculations are finalized. Bristol, who had been seeking bonus points of their own, ultimately left empty-handed and remain in fifth place following a match that maintained intensity from start to finish.The significance of this fixture was evident as Chessum and Joe Heyes were asked to immediately return to action following their Six Nations commitments, with Jack van Poortvliet also coming off the bench. This selection strategy proved effective, bolstered by another influential display from fly-half Billy Searle. The final try exemplified the Tigers' growing confidence under pressure.Even head coach Geoff Parling was urging his players to take calculated risks, shouting at Freddie Steward to kick the ball from deep rather than risk turnovers. When his players backed themselves from their own half, the decision paid dividends."I've been trying for a long time to get them to play what they see and that's what they did," Parling stated afterward, while also praising Chessum's contribution. "The Six Nations is physical but there's also an emotional toll. It's always a challenge for those guys when they come back after being away for eight weeks. Ollie was outstanding. He's a big emotional leader for us."Two decisive tries within a three-minute spell midway through the first half proved pivotal. When Leicester enters the "killing zone," they appear increasingly dangerous, as demonstrated by the close-range power of Joaquín Moro and Hanro Liebenberg, which left the Bears, missing rested Ellis Genge and dealing with injuries, with no answer.Bristol, however, proved difficult to contain for extended periods. Their industrious captain Fitz Harding, the league's top tackler this season, rewarded sustained pressure with a try, while Kalaveti Ravouvou continued his habit of scoring against the Tigers, escaping past Steward and Chessum to touch down down the right wing.The Bears' other first-half highlight came from hooker Gabriel Oghre, whose cultured left boot produced a magnificent 45-metre touchfinder from a defensive lineout. Oghre's versatility raises questions about why he isn't discussed more frequently among England's hooker options.While romantic backstories don't typically secure tight victories, the return of Scotland international flanker Hamish Watson on loan from Edinburgh added emotional significance. After 14 years north of the border, the 34-year-old relished the opportunity to run out to the traditional strains of Smoke on the Water at his boyhood club.Bristol continued to press, with Harding burrowing over for his second try, bringing Jimmy Williams' conversion to make it 20-19. Leicester needed to respond, and almost did when Searle launched an attack that might have yielded a spectacular try had Moro held the final pass.Though Izaia Perese soon crossed for Leicester's third try, the Tigers couldn't fully relax until the final moments. Steward's cross-kick initiated a daring raid up the right touchline, culminating in Hamer-Webb's exuberant dive over the line to seal the victory."We wanted to take Leicester out of their comfort zone and we did that at times," lamented Bristol's director of rugby Pat Lam. "We just need to finish more of our opportunities. You have to be at your best to win here and we weren't at our best."With seven regular-season rounds remaining, the stakes continue to rise. Bristol will host Harlequins at the Principality Stadium in Cardiff, while Leicester faces Gloucester at Villa Park in the latest edition of the Slater Cup.

When Resident Evil emerged in the mid-1990s, it stood in stark contrast to the prevailing gaming landscape. The PlayStation and Saturn consoles were dominated by bright, arcade-style games like Daytona and Tekken, while Japanese publisher Capcom was primarily known for Street Fighter and Mega Man sequels. Scary games were rare at the time and mostly confined to the PC, making Capcom's horror title Biohazard (the Japanese name for the series) a radical departure that caught the attention of games journalists.Three decades later, the series has not only survived but flourished, becoming one of gaming's most successful franchises. Resident Evil has sold more than 180 million copies worldwide, with 11 core titles, numerous spinoffs and remakes, plus extensive film, television, and anime tie-ins. Its characters and monsters have become cultural icons, with its design tropes now embedded in gaming practice.The origins of Resident Evil can be traced back to 1989's Sweet Home, a Capcom role-playing game for the Famicom (Japanese NES). The game featured a group of filmmakers searching a haunted mansion for valuable artifacts, and while it was a modest domestic success, it never received an international release. However, senior producer Tokuro Fujiwara couldn't let go of his vision for horror as a distinct game genre."We have Tokuro Fujiwara to thank for the existence of Resident Evil," says Alex Aniel, author of acclaimed Resident Evil history book Itchy, Tasty. "He directed Sweet Home having believed that horror could become its own game genre, but wasn't satisfied with its rudimentary portrayal. He wanted to give horror another try once the technology was there to allow it – that opportunity finally arrived with the release of the original PlayStation."In 1993, young producer Shinji Mikami was brought in to oversee a horror game project inspired by Sweet Home. He expanded the haunted mansion concept, drawing influence from George A Romero's Dead trilogy and Alone in the Dark, creating a world haunted not by ghouls but by zombies, mutants, and monsters. The heroes were an experienced SWAT team investigating disappearances at a rural mansion owned by the sinister scientific organization: Umbrella Corp.The original vision for full real-time 3D visuals proved too ambitious for PlayStation hardware, leading Mikami and programmer Yasuhiro Anpo to develop a compromise: 3D characters combined with prerendered 2D backgrounds viewed from fixed camera angles. This restricted, expressionistic style emphasized the intense claustrophobia of the environment, with information always kept from the player by blind corners and shadowy doorways.This combination of tension, omission, and restriction is fundamental to Resident Evil's success as a horror franchise. Even as the camera evolved to over-the-shoulder views and first-person perspectives, characters remained vulnerable. Ammo, save points, and health items are jealously rationed, with extremely restricted inventories. This approach makes Resident Evil operate more like classic horror literature than a typical power fantasy video game.The series has also expertly referenced horror conventions while paying homage to its inspirations. "Kamiya's biggest source of inspiration came from Alien and especially its sequel, Aliens," says Aniel of Hideki Kamiya, who directed Resident Evil 2 and Resident Evil Zero. "For example, in Resident Evil 2, humans infected with the G-virus grow a parasite that eventually ruptures their host and emerges from within, growing into deadly creatures."Resident Evil has also demonstrated remarkable versatility in exploring different horror genres – gothic horror in its mansions and monstrous enemies, sci-fi horror in its biological experiments, and folk horror in its sinister villages and religious cults. This comprehensive approach allows it to mirror societal fears, a point underscored by the COVID-19 pandemic."The Covid pandemic reminded us just how real our fear of viruses should be," says Bernard Perron, professor of cinema and video games at the University of Montreal. "In that sense, the fear of a corrupt corporation like Umbrella, along with mad scientists who do not necessarily have humanity's best interests at heart, continues to resonate. These anxieties remain deeply embedded in our posthumanist societies."Throughout its evolution, Resident Evil has maintained a balance between familiarity and innovation. Characters like Jill Valentine, Claire Redfield, and Leon Kennedy provide continuity – relatable but cool figures who spout wry jokes like Hollywood heroes. Meanwhile, charismatic antagonists such as Albert Wesker, Lord Osmund Saddler, and Lady Dimitrescu ensure consistent engagement.The series also excels in pacing and structure, carefully delineating between exploration, puzzle-solving, and combat sections. Locations are filled with beautiful details – lavish furniture, eerie oil paintings, ornate gardens – making exploration pleasurable. After intense battles, players can retreat to safe spaces like Save Rooms, creating a rhythm that prevents fatigue."The series offers deep and entertaining gameplay experiences, but with a very low barrier to entry, even for newcomers," says Aniel. "The Resident Evil games are more accessible than ever: since they are often on sale, they are affordable even for customers in emerging global markets, available on every major game platform."Ultimately, Resident Evil's longevity stems from its ability to create uncertainty while maintaining familiarity. "You know what you will get, but you also don't know," the article concludes. "Around every corner there could be a shock or there could be nothing – it's the uncertainty that gets you. It allows us to write in our own fears and anxieties, or to discover new ones we hadn't considered or acknowledged. Like all great horror fiction, Resident Evil has survived because it looks us right in the eye and says, I know what scares you. Come and see."

NASA has initiated the process of returning its massive Space Launch System (SLS) rocket and Orion spacecraft to the launch pad at Kennedy Space Center in Florida. This move comes after completing necessary repairs, setting the stage for a potential launch on April 1.The operation, which can take up to 12 hours, began at 8pm local time. The rocket and spacecraft will be moved 4 miles (6.5km) to launch pad 39B. If all tests are satisfactory, the mission will proceed with a crew of three US astronauts and one Canadian set to fly around the moon.This mission, expected to last about 10 days, marks a significant step towards achieving the goal of returning humans to the lunar surface. The Artemis 2 mission had faced several delays, including issues with helium flow and a liquid hydrogen leak during a previous wet dress rehearsal.The Artemis 2 astronaut crew entered quarantine in Houston as they prepare for liftoff. With the April 1 launch window approaching, NASA remains hopeful that this mission will successfully launch in early April, paving the way for future lunar exploration.

CrossSense, an innovative AI software, has been awarded a £1m prize for its groundbreaking technology designed to assist individuals with dementia. This cutting-edge system is integrated into smart glasses and features a user-friendly assistant named Wispy. The smart glasses, equipped with a camera, microphone, and speakers, provide wearers with real-time guidance and support through everyday tasks.Wispy offers verbal cues and text prompts that float in front of the wearer's eyes, enhancing their ability to navigate daily life. The AI assistant can also engage in light conversation, ask questions, and aid reminiscences, significantly improving the wearer's independence and quality of life.The Longitude Prize on Dementia, funded by Alzheimer's Society and Innovate UK, aims to encourage the development of technology that helps people with dementia stay independent for longer. About 150 million people are expected to be living with dementia by 2050, making such innovations crucial.The CrossSense technology is expected to cost around £50 a month per subscription, with the smart glasses potentially costing up to £1,000. However, the developers plan to make the technology more affordable over time. The team behind CrossSense plans to conduct a pilot study with smart glasses in people's homes later this year.Prof Julia Simner, who led the study, noted that participants with dementia could correctly identify 46% of household items without the glasses, increasing to 82% with the glasses. An hour after removing the glasses, the identification rate remained high at 78%.While experts praise the innovation, they also highlight the need for larger, more controlled studies to test the device's effectiveness and address ethical considerations regarding data collection and user consent.

Apple's Strategic Acquisition of MotionVFXApple has acquired MotionVFX, a Warsaw-based company that develops plug-ins, templates, and advanced capabilities for Apple's Final Cut Pro video editing software. The financial terms of the deal remain undisclosed, but this acquisition represents Apple's continued investment in its creative software ecosystem and services business.Enhancing Final Cut Pro's Creative CapabilitiesMotionVFX, founded in 2009, has built a reputation for creating world-class, visually inspiring content and effects for video editors. The company offers subscription packages starting at $29 per month for access to its professional-grade video editing tools, graphics, and templates. In their announcement, MotionVFX emphasized their alignment with Apple's values: "For over 15 years, we've been on a mission to create world-class, visually inspiring content and effects for video editors. From the very beginning, we've been all about quality, ease of use, and great design. These are also the values that we admire most in Apple's products."Boosting Apple's Services Revenue GrowthApple's services business has become one of its largest growth drivers in recent years. In the last fiscal year, the segment accounted for more than 26% of revenue, a notable increase from the 8.5% reported in 2015. The acquisition of MotionVFX is expected to further strengthen this segment by enhancing the value proposition of Apple's Creator Studio bundle, which was launched in January at $12.99 per month or $129 per year.Intensifying Competition with Adobe's Creative CloudThis strategic move positions Apple to better compete with Adobe Premiere Pro and the entire Adobe Creative Cloud suite. By integrating MotionVFX's tools and templates directly into its ecosystem, Apple can offer a more comprehensive creative solution to video editors and content creators. The acquisition also demonstrates Apple's commitment to expanding its presence in the professional creative software market, where it has traditionally faced strong competition from Adobe.Future Outlook for Apple's Creative Software StrategyLooking ahead, Apple is likely to continue acquiring specialized creative software companies to bolster its offerings. The MotionVFX acquisition follows the launch of Creator Studio, which bundles six creative apps with premium content. As Apple seeks to grow its services revenue, we can expect more strategic acquisitions that complement its existing software portfolio and enhance the value of its subscription offerings. This move also signals Apple's recognition of the importance of specialized tools in attracting and retaining professional creators in its ecosystem.

The iFixit Teardown BreakthroughApple's latest offering, the MacBook Neo, is generating significant buzz not for its raw power, but for its design philosophy. According to a comprehensive teardown by the repair advocacy website iFixit, the Neo is the most repairable MacBook in approximately fourteen years. This marks a pivotal shift from the company's previous strategy of using adhesives to secure internal components.Battery Innovation: The most significant technical breakthrough is the battery installation method. Unlike previous models where batteries were glued into place, the Neo's battery is held by a tray secured with 18 screws.Community Reaction: iFixit noted that this 'screws still beat adhesive' approach 'sent cheers across the iFixit office,' highlighting the repair community's enthusiasm for user autonomy.Component Accessibility: The device features a flat disassembly tree, making it easier to replace the display and keyboard compared to previous iterations.The 6/10 Score and Technical ImplicationsDespite these improvements, the MacBook Neo received a repairability score of 6 out of 10. While iFixit described this as a 'strong score' for a MacBook, it confirms that the device is not fully repairable.Remaining Limitations: The device still utilizes soldered RAM and storage, preventing users from upgrading these components after purchase.Strategic Layout: iFixit praised the internal layout as 'unusually sensible,' noting that parts that typically fail first—such as the battery and ports—are now modular and easier to reach.Repair Assistant: The system's Repair Assistant appears to be more accepting of replacement parts, reducing friction for authorized repairs.Reversing the 2012 Glue StrategyThe Neo's design represents a stark reversal of Apple's 2012 strategy. When Apple introduced the Retina Display MacBook Pro, it moved aggressively toward centralized repair, removing DIY accessibility and gluing down critical components like memory and batteries. That model received a 1 out of 10 score from iFixit.This new approach suggests Apple is responding to the 'Right to Repair' movement and state legislation, such as laws in Oregon, which have pressured the company to lift restrictions on repairing devices using older parts.The Future of Right to RepairThe MacBook Neo serves as a proof-of-concept that repairability can be integrated into high-end consumer hardware without sacrificing build quality. As the electronics industry faces increasing scrutiny over e-waste and planned obsolescence, this design pivot could signal a broader industry trend toward modular and serviceable devices.

The typical car has grown significantly in size over the years, with SUVs now accounting for 46% of global new car sales. While they offer more space and a higher vantage point for occupants, they pose significant risks to pedestrians, particularly children, who are 77% more likely to die if struck by an SUV compared to other cars.London Mayor Sadiq Khan is taking steps to address these concerns, including a review of SUVs' environmental impact and potential policy proposals such as higher charges for SUV owners. This move is in line with public sentiment in other cities, where residents have shown support for measures like tripling parking fees for SUVs in Paris and higher parking charges in Cardiff.The UK government can learn from cities like Helsinki and Oslo, which have achieved significant reductions in road deaths and serious injuries. London's ultra-low emission zone (Ulez) has also led to significant air quality improvements since its rollout in 2023. However, the government needs to address the issue of SUVs' large carbon footprints, including their manufacture, which consume about 20% more oil than medium-sized cars.The conversation about the UK's growing number of giant cars needs to accelerate, and Ministers should re-examine the tax system for new SUVs, which are currently taxed far less heavily than in many European countries. By taking bold action, the government can make the city cleaner and safer for its residents.