spot mountain lion

Spot the mountain lion in seconds

It first glance this may look like an ordinary picture of a forest.  But there is actually a mountain lion hiding somewhere in the scene.

The picture appears to have been taken in a US national park. A deer can be seen standing in the area with its back facing the camera.  What makes the scene interesting is that the deer has no idea that a mountain lion is hiding very close to it. If you are having trouble finding the mountain lion imagine how difficult it would be for the deer to notice its hidden predator.

Only a few people can quickly spot the animal in this picture. Finding it requires careful observation and good eyesight.

Take a close look at every part of the image and see if you can find the hidden lion.

Did you find it?

If not here is the answer. Look carefully toward the right side of the picture.  You can see the mountain lion’s face hiding among the bushes.

The animal is so well hidden that it almost blends into its surroundings making this picture a great test of your observation skills.

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    Subjective aesthetics versus literary brilliance

    Litigation over artistic quality reveals more about the critic’s personal taste and ideological leanings than it does about the intrinsic value of the literature itself. A prominent Bangladeshi academic initiated a debate across literary circles when a short video clip went viral online. In this brief excerpt from a presentation delivered at a university literary festival, the scholar dismissed the acclaimed author Shahidul Zahir. He claimed that Zahir does not even qualify as a third-rate artist. He  labeled him instead as a third-class writer whose language is thoroughly uninteresting. He similarly critiqued another modern Bengali prose writer, Akhteruzzaman Elias. For this case, he dismissed his writing style as endlessly monotonous. This judgment raises critical questions about literary aesthetics and the metrics used to evaluate global literature. Does a critic’s subjective boredom justify reducing a writer’s work to a low rating? Analytically, the fiction of Shahidul Zahir demonstrates the exact qualities that define world-class literature. Shahidul Zahir was never a conventional storyteller who somehow aimed to comfort his audience. Rather than offering comfortable narratives, his work exposes uncomfortable truths beneath established historical accounts. His portrayal of wartime violence, political opportunism, and societal compromise during and after the 1971 Liberation War forces readers to confront disturbing realities. Zahir connects the grim details of local life with magical and surreal elements. He utilizes oral storytelling traditions. He also combined surreal metaphors with layered depictions of the human condition. His narratives have bizarre occurrences such as animals acting as caretakers or war collaborators feeding human flesh to animals appear surprisingly believable against the background of ordinary towns like Sirajganj or Old Dhaka. His surrealism reflects real-world atrocities that were often equally unimaginable far from being mere fantasy. The academic’s critique centered primarily on two claims. Firstly, Zahir’s writing is dull. Secondly, his portrayal of the 1971 war is historically inaccurate. However, a closer look at these claims exposes significant flaws in the critic’s premise. The critic in question strongly favors traditional, highly formal, Sanskritized prose (sadhu bhasha) and rejects everyday spoken dialect (cholito bhasha) for serious discourse. In contrast, Zahir’s prose relies on the living, informal, and at times raw language spoken by everyday people. Therefore, rejecting an author because their prose reflects the authentic cadence of public speech reveals an elitist preference rather than an objective literary standard. The scholar accused Zahir’s acclaimed novella Jibon O Rajnoitik Bastobota (Life and Political Reality) of presenting stereotypical representations. He further pointed the supposed depiction of war collaborators wearing skull caps. Yet, nowhere in the actual text does such a detail exist. The critic appeared to project his own assumptions onto the text rather than reading what was actually written. Zahir’s novella accurately captures the painful political reality of post-liberation Bangladesh, where former wartime collaborators were gradually integrated back into mainstream power structures. Literary scholars often define world literature as creative work that responds to the global dynamics of modern capitalism and political change. Zahir’s novels illustrate how global economic forces interact unevenly with local feudal structures. In his masterpiece Shei Raate Purnima Chhilo (It Was Full Moon That Night), Zahir explores the rise of a powerful rural leader under state-sponsored political reform. The narrative illustrates how modern capitalist development mixes with lingering feudal mentalities. This mentality then creates a system where local elites hold unchecked power. Zahir constructs a portrait of a society caught between tradition and modern governance. Furthermore, Zahir’s treatment of the 1971 war connects local experiences with international geopolitics. In his stories, wartime memories constantly surface like fresh grass breaking through soil. His words speak about how national liberation was simultaneously a local struggle for survival and an event influenced by global Cold War tensions. The argument that a nation must produce literature directly accessible or marketed to Western readers in order to be considered world-class relies on a flawed premise. Global literary status should not depend solely on English translation or commercial visibility. Countless profound authors around the globe write within their local contexts. Such marvelous authors produce works that match the thematic depth of international figures like Franz Kafka or Gabriel García Márquez. As a matter of fact, dismissing Shahidul Zahir as third-class overlooks the artistic, historical, and linguistic power of his work. His fiction stands as an extraordinary accomplishment in modern literature. He is the one that challenges, provokes, and immortalizes the complex human experience far beyond the boundaries of narrow critique.  

  • Parents stress linked to giving children smartphones

    Many parents give smartphones to their children and a major reason behind this behaviour has now been identified. Parents who experience stress tend to give their children devices to keep them occupied or calm while also being less likely to enforce limits on screen time. A study conducted by the Center for Children and Families at Florida International University included 822 parents raising children between the ages of 4 and 8. The participants provided information through online surveys about their children’s behavior, parental stress and screen-time habits. The findings showed that parents tend to allow their children to use smartphones for longer periods when their children’s behaviour becomes difficult to manage. Researchers said parents should not hesitate to seek support for managing their own stress. They also advised parents to set limits on children’s screen time and provide them with purposeful, age-appropriate content. They emphasized that parents should establish appropriate boundaries and spend quality time with their children to promote a healthy environment. A considerable amount of research has been conducted on children’s excessive smartphone use. A study published in January 2026 explored links between online content and problems related to children’s development. Similarly, research published in BMC Public Health in October 2024 found that spending excessive time in front of screens can have negative effects on mental health. The risk of depression, anxiety, irritability and other problems was particularly higher among children aged 9 and 10. The research found that the more time children spent in front of screens, the more severe their symptoms of depression tended to be. According to the study, activities such as video chatting, watching videos and playing video games were associated with a greater increase in this risk.

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    The art of the open ending

    For centuries, traditional storytelling operated under a strict covenant of closure. Fables, romantic comedies, and classic mysteries were built upon a reassuring promise. And by the final chapter, every thread would be neatly tied, justice served, lovers united, and monsters vanquished. This desire for definitive resolutizon is deeply human. Our brains naturally crave order and certainty. Yet, as modern literature evolved alongside an increasingly complex world, a different artistic philosophy took the spot. The open ending is not a failure of craft; it is a sophisticated act of storytelling that treats the reader as an active partner. When an author refuses to deliver a resolution, they fundamentally alter the dynamic between text and reader. In a traditional closed narrative, the reader is a passive recipient, sitting back while the writer decides the fate of every character. An open ending, by contrast, throws open the door to collaboration. As the final sentence lingers without a definitive resolution, the narrative burden shifts. The reader must step into the silence. They must analyse character motivations, thematic clues, and emotional trajectories to construct their own sense of meaning. The story stops being merely something you consumed; it becomes an intellectual puzzle you participated in completing. Psychologically, ambiguous endings linger in the memory far longer than wrapped-up conclusions. Behavioral scientists refer to this as the Zeigarnik effect: the cognitive tendency for human minds to remember uncompleted or interrupted tasks better than completed ones. A novel that ends with a smooth resolution is easily categorized and set aside. But a book that closes on a question mark or a character standing at a metaphorical crossroads, uncertain of their next step continues to resonate in the subconscious. Long after the book is closed, you find yourself pondering what happened next while doing dishes, walking to work, or staring out a window. Furthermore, the open ending reflects a deeper fidelity to real life. Human existence rarely delivers clean, cinematic resolutions. Our relationships, griefs, ambitions, and self-discoveries are ongoing processes rather than neatly closed chapters. By leaving a story partially unresolved, an author honors the messy reality of human experience. It acknowledges that living with unanswered questions is often far more authentic than forcing an artificial sense of certainty. When executed with skill, an open ending is never lazy or evasive. It is not an abrupt cutoff, but a carefully calibrated launching pad. The author leaves behind enough emotional breadcrumbs and thematic architecture for the conclusion to feel earned, even if the explicit plot points remain unwritten. It transforms the final page inviting us to look beyond the boundaries of the page and recognize that the best stories are the ones that keep living inside us.  

  • Ecolinguistics and the Role of Media

    The role of media should not be confined to disseminating news and information but must also highlight public awareness regarding climate change. The media, in its reporting, is required to use appropriate terminology and diction to raise awareness, highlight the causes, and provide a way forward. The media, in its reporting, is expected to project the environment not as a resource to be used by humans but as a living environmental and ecological process that must not be disturbed by humans. For example, while writing such reports, if the media says that natural resources are diminishing or facing extinction, it must similarly highlight that the environmental system is being affected or impacted negatively . Recent studies have also reinforced this perspective. Penz and Fill (2022) observe that ecolinguistics promotes and fosters environmental awareness while supporting and strengthening the connection between humans and nature for sustainable development. In this context, Alexander and Stibbe (2014) argue that ecolinguistics plays a key role in highlighting the relationship between humans and the environment, as well as its impact on addressing environmental challenges and shaping a sustainable future. It is pertinent to highlight that while reporting any incident about environmental degradation or natural disasters, the media, apart from reporting, is also expected to provide solutions and a way forward to help face such incidents in the future. In reports about floods, wildfires, and rising temperatures, the media is also required to provide guidance and suggestions on how to combat or lessen the impacts of such environmental changes. The reporting must not be based only on presenting news and subsequently creating fear or chaos but must also give a sense of hope among people that through various techniques and the use of technology, such natural disasters can be managed effectively. The media must not consider floods, droughts, fires, or other environmental disasters merely as natural disasters but should link such impacts with environmental changes, industrial pollution, deforestation, human intervention with nature, and so on. Fairclough (1995), in his study, states that media should cover and highlight the areas that , on the other hand, are ignored and not given consideration by the masses. Therefore, the media is expected to sensitize the masses regarding such disasters and create a way forward to combat or tackle such environmental change disasters and their impacts on people and society as a whole. On the other hand, equally important is environmental equity or justice in society. It has been widely observed and noted that in floods, droughts, disasters, and environmental changes, the major impacts are faced by the underprivileged in society. It is the role and responsibility of the media to highlight and become a voice for such voiceless people, representing them and creating a sense of ownership among the poor and marginalized sections of society. The media is also required to highlight and create awareness among people about science and technology related to the environment and provide them with knowledge that through the use of such technology, they can tackle the horrors of disasters. The study of ecolinguistics reminds the media that humans are, in no way, different from society and can never be detached from society and vice versa. Hence, media reports are also expected to discuss humans, rivers, oceans, flora, fauna, biodiversity, and the ecosystem as a whole to give them significance and bring them into the limelight of the coverage. Media reporting is also required to use environment related terminology and diction, such as environmental war, ecological emergency, and other relevant terms, in its reports to highlight environment related information. Recent studies highlight that similes and metaphors have a significant impact on human thinking. Hence, the media is encouraged to resort to this method to mould public opinion towards environmental conservation and protection. Moreover, media personnel are required to engage in investigative journalism and cover incidents and events from different angles , examining their pros and cons deeply. If there are frequent flash floods in any area, the media is expected to discuss the causes and the role of concerned authorities in handling the incidents . Media houses, along with environmental protection organizations and other stakeholders, are required to impart knowledge and training to journalists. There is also a significant role for environmental funding organizations in sensitizing media personnel. In training sessions, they are expected to invite environmental experts, scientists, and scholars who have made significant contributions in this area. Media reports and the diction used therein have great significance. They must highlight a green and stable future through sustainable development initiatives and become partners in facing the challenges and effects of environmental degradation. They must give hope to people that the media stands with them and will continue contributing its responsible and positive role. This is the major objective of ecolinguistics. Societies such as ours widely need the use of ecolinguistics in the media.

  • Gustav Klimt’s “Lakeshore with Birches” (1901)

    Gustav Klimt’s Lakeshore with Birches (Seeufer mit Birken, 1901) presents a contemplative immersion into nature. This piece was painted during a crucial transitional moment in Klimt’s artistic development. It was completed when Klimt spent his summers away from the urban noise of Vienna at Lake Attersee. This work captures the quiet rhythm of the natural world, distilled through a distinctly modern visual sensitivity. What immediately distinguishes Lakeshore with Birches is its unorthodox composition. Rather than offering a traditional panorama with a distant horizon line, Klimt deliberately truncates the viewer’s field of vision. The composition is anchored by a singular birch trunk rising vertically near the center-right of the canvas. Klimt creates a radical sense of spatial compression by eliminating the sky. The landscape is flattened into a decorative field, where depth is suggested through subtle layering. A lush, wild embankment dotted with small yellow and purple wildflowers. The stark pale birch trunk with its rhythmic dark lenticels, acting as a structural mast. In the background, still water reflecting the dark foliage of the far shore. This croppings draws inspiration from both Japanese ukiyo-e woodblock prints and contemporary square-format photography. The canvas forces the viewer to engage with the textures and moods of the immediate environment. The atmosphere of the painting is dictated by a restrained palette. Dominated by muted moss greens, deep olive tones, and dark murky browns, the water acts as a mirror absorbing the weight of the forest shadows. Against this dark, reflective pool, the small specks of yellow buttercups and delicate purples along the grass introduce a subtle optical vibration. Klimt’s brushwork here bridges French Impressionist techniques and the emerging principles of Art Nouveau. The bank is rendered using tiny, stippled dabs of paint, creating a tapestry-like surface pattern. Up close, the reflections on the water resolve into abstract patches of blue, gray, and dark brown. The slender birch tree provides a crisp, pale contrast. Its bark painted with precise horizontal dashes that echo the linear motifs Klimt would later deploy in his famous Golden Phase. Beyond its formal qualities, Lakeshore with Birches radiates profound stillness. Free from human figures or dramatic narrative.  Turns nature into a psychological sanctuary. The solitary birch trunk stands almost like a quiet observer at the edge of the water. It seems like a subtle proxy for the solitary painter himself. During his summer retreats at the Attersee, Klimt used landscape painting as a palette cleanser, freeing himself from the contentious public commissions and psychological weight of his Viennese portraiture. In Lakeshore with Birches, he captures the fleeting light and quiet isolation of late summer. He converted a humble patch of lakeside grass and water into an intricate sanctuary of pattern and color. It remains a testament to Klimt’s unique ability to merge acute observation with abstract harmony.  

  • Digital depression and human interactions

    By Asma Qayyum Digital depression refers to the negative impact of excessive screen time, information overload, and unhealthy social media use on mental health. In today’s digital age, smartphones, social media platforms, and the internet have become an essential part of everyday life. While these technologies help people communicate, learn, and work more efficiently, their excessive use can have serious consequences for mental well-being. Digital depression is a condition in which prolonged use of digital devices and online platforms contributes to feelings of sadness, anxiety, loneliness, emotional exhaustion, and low self-esteem. It is becoming increasingly common, particularly among teenagers and young adults, who spend a significant portion of their day online. According to the World Health Organization (WHO), depression affects approximately 280 million people worldwide, making it one of the leading causes of disability. Although digital technology is not the sole cause of depression, research shows that excessive screen time and unhealthy social media habits can significantly increase the risk of mental health problems. A 2023 advisory by the U.S. Surgeon General reported that adolescents who spend more than three hours a day on social media are at a greater risk of developing anxiety, depression, and other mental health issues. Similarly, DataReportal’s 2024 Global Digital Report found that the average internet user spends approximately 6 hours and 38 minutes online each day, highlighting how deeply digital technology has become integrated into modern life. Several factors contribute to digital depression, including excessive use of social media, constantly comparing one’s life with idealized online images, cyberbullying, online harassment, poor sleep caused by late-night screen use, smartphone and internet addiction, and reduced face-to-face interaction with family and friends. The effects of digital depression can be both psychological and physical. People may experience persistent sadness, anxiety, loneliness, low self-esteem, difficulty concentrating, sleep disturbances, headaches, eye strain, fatigue, and reduced productivity. If left unaddressed, these problems can negatively affect academic performance, professional life, and personal relationships. Fortunately, digital depression can be prevented by adopting healthy digital habits. People should limit their daily screen time, avoid using electronic devices before bedtime, take regular breaks from social media, engage in physical exercise, spend more quality time with family and friends, and seek professional help if symptoms persist. Schools and parents should also educate young people about responsible technology use and the importance of maintaining a healthy balance between online and offline life. In conclusion, digital technology has transformed modern life by creating countless opportunities for education, communication, business, and innovation. However, when used excessively or without balance, it can seriously affect mental health. By promoting digital awareness, developing healthier online habits, and supporting those experiencing emotional difficulties, society can reduce the impact of digital depression and encourage a healthier relationship with technology.

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