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Jenmann
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Harvard scientists ran a simple test. They put adults under blue light for 6 hours one night, then under green light at the same brightness the next. Blue light pushed their bedtimes back by 3 hours. Green pushed them back by 1.5. And in kids, the same lights hit about twice as hard.
The reason comes down to a tiny patch of cells at the back of every human eye. These cells have one job. They tell your brain whether it is day or night. They wake up most when light hits a very specific shade of blue, the same shade phone screens and modern bulbs are loaded with. When those cells fire after dark, the brain stops making melatonin, the chemical that pulls you toward sleep.
Red light barely sets off those cells at all. A 2025 study from the University of Zaragoza put people under red lamps and blue lamps for three hours at night. Under blue, their melatonin stayed scraped to the floor. Under red, it climbed back up to more than three times higher. Same brightness. The color did all the work.
Children get this worse than adults. Two reasons. Their pupils are bigger, so more light gets in. And the lens inside a kid's eye is still glass-clear, where adult lenses slowly yellow with age and filter blue out naturally. A 10-year-old's body clock is roughly twice as sensitive to evening light as a 45-year-old's. A bedside lamp that feels harmless to a parent can be wrecking a kid's sleep clock at the same time.
Then there is the lag. Once the brain catches a dose of blue light, the wake-up signal it sends out keeps echoing for 3 to 4 hours after the lights go off. So a kid on an iPad at 9pm can still be wired at midnight even if you took the iPad away at 9:01.
Modern LED bulbs and screens are tuned to roughly 6500 Kelvin. That is sunlight at noon. Old incandescent bulbs sit around 2700, mostly red and yellow with almost nothing in the blue range. To a human eye, a red-lit room is just about as close to no light at all as you can get. The brain reads it as nighttime.
The fix is boring. Use warm bulbs at 2700 Kelvin or lower in any room a kid spends evenings in, switch off phones and tablets two hours before bed, and if a night light is needed for bathroom trips, make it red or amber. The science was pinned down to the exact color of light back in 2001.
Kiera 🌱@kieralwellness
Nephew apparently “never wants to go to sleep.” Apparently he’s in bed by 8 when there’s no blue light around.
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According to psychology, we rarely lose our temper with the people who deserve it. We snap at the ones who love us enough to forgive us.
quote@itsmubashi
Hit me with the harshest reality truth.
English
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Jenmann retweetledi

Everyone felt sad for the penguin walking alone and the monkey rejected by his mother. But this video is far more heartbreaking, yet it didn’t receive the same attention.
HatsOff@HatsOffff
This is what childhood looks like in Gaza.
English
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Israel will be prosecuting 2 members of the Gaza Flotilla has 'Hamas terrorists'.
This carries the death penalty.
Their crime? Bringing food to starving children.
Israel Now@neveragainlive1
These 2 Hamas /Flotilla leaders will be prosecuted in Israel.
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The bear Synochok lived in a small metal cage of only 4m² for nearly 9 years, forced to perform circus tricks, constantly moved in a vehicle, and was denied freedom 💔
After being rescued and moved to a new home, Synochok completely transformed into a joyful and happy bear, the life it truly deserves 💗
📹whiterock.savewildfund
English
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Jenmann retweetledi

Wkwk lucu juga. Padahal aslinya begini:
İstanbul London


Boşuna Tıklama@bosunatiklama
İngiliz yapımı 'Fuze' filminin İstanbul çekimlerinde sarı filtre kullanıldı.
Indonesia
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The media will call you antisemitic for protesting against this
Tuğberk@tugberk37
Gazzeli 15 yaşındaki çocuk şehit düştü. Nice gülen yüzleri soldurdular, Allah belalarını versin
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🎬 Gelin size Hollywood filmlerinde kamera ne zaman Meksika’ya, 'Ortadoğu’ya', Güney Asya’ya ya da Afrika’ya dönse ekranın neden aniden tozlu bir sarı tona büründüğünü anlatayım:
Sinema literatüründe "Yellow Filter" (Sarı Filtre) olarak bilinen bu uygulama, aslında sadece sanatsal bir tercih değil, modern bir oryantalizm ve sömürgeci bakış açısıdır. Breaking Bad ve Traffic’te Meksika’yı, Extraction ve Slumdog Millionaire’de Hindistan’ı, Black Hawk Down’da Afrika’yı ya da pek çok ajan filminde İstanbul’u ve “Ortadoğu’yu” sanki üzerine sarı bir sis çökmüş gibi görmemiz tesadüf değildir.
Bu görsel manipülasyon, Edward Said’in bahsettiği "Öteki"ni inşa etme sürecinin en kestirme yoludur: Batı dünyası parlak ve "soğuk mavi" tonlarla rasyonelliğin, ilerlemenin ve medeniyetin merkezi olarak sunulurken; "Küresel Güney" olarak adlandırılan ve tarih boyunca sömürgeciliğe maruz kalmış coğrafyalar sarı filtreyle boğularak "kaotik, tehlikeli ve durağan" birer suç mahalline indirgenir.
Bu durum, kolonyalizmin kurduğu o üstenci görsel hiyerarşiyi her karede yeniden üretir. Sarı ton; kuraklığı, fakirliği ve "eskiyi" sembolize ederek izleyiciye bu bölgelerin modern zamana ait olmadığı ve "ıslah edilmesi gereken, kirli bir geçmişte takılı kaldığı" mesajını bilinçaltından fısıldar.
Hikaye anlatma biçimi olarak bu filtreyi seçmek, o coğrafyanın gerçek renklerini ve modern dokusunu yok edip Batılı izleyicinin zihnindeki stereotipleri beslemektir. Sonuçta sinematografi, burada bir sanat dalı olmaktan çıkıp dünyayı "medeni merkez" ve "egzotik/vahşi çevre" olarak ikiye bölen politik bir araca, yani sömürgeci zihniyetin görsel bir mührüne dönüşür.
Boşuna Tıklama@bosunatiklama
İngiliz yapımı 'Fuze' filminin İstanbul çekimlerinde sarı filtre kullanıldı.
Türkçe
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