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June 27, 2021

Hypernatremia




Hypernatremia is a common electrolyte problem that is defined as a rise in serum sodium concentration to a value exceeding 145 mmol/L. [1, 2, 3]  It is strictly defined as a hyperosmolar condition caused by a decrease in total body water (TBW) [4]  relative to electrolyte content. Hypernatremia is a “water problem,” not a problem of sodium homeostasis.

Community-acquired hypernatremia generally occurs in elderly people who are mentally and physically impaired, often with an acute infection. Patients who develop hypernatremia during the course of hospitalization have an age distribution similar to that of the general hospital population. In both patient groups, hypernatremia is caused by impaired thirst and/or restricted access to water, often exacerbated by pathologic conditions with increased fluid loss.

The development of hyperosmolality from the water loss can lead to neuronal cell shrinkage and resultant brain injury. Loss of volume can lead to circulatory problems (eg, tachycardia, hypotension).

Acute symptomatic hypernatremia, defined as hypernatremia occurring in a documented period of less than 24 hours, should be corrected rapidly. Chronic hypernatremia (>48 h), however, should be corrected more slowly due to the risks of cerebral edema during treatment.

Pathophysiology

Hypernatremia results from a net water loss or a sodium gain, and it reflects too little water in relation to total body sodium and potassium. In a simplified view, the serum sodium concentration (Na+) can be seen as a function of the total exchangeable sodium and potassium in the body and the total body water. [5] The formula is expressed below:

Na+ = Na+ total body + K+ total body/total body water

Consequently, hypernatremia can only develop as a result of either a loss of free water or a gain of sodium or a combination of both. Hypernatremia by definition is a state of hyperosmolality, because sodium is the dominant extracellular cation and solute. [6]

The normal plasma osmolality (Posm) lies between 275 and 290 mOsm/kg and is primarily determined by the concentration of sodium salts. (Calculated plasma osmolality: 2(Na) mEq/L + serum glucose (mg/dL)/18 + BUN (mg/dL)/2.8). Regulation of the Posm and the plasma sodium concentration is mediated by changes in water intake and water excretion. This occurs via two mechanisms:

  • Urinary concentration (via pituitary secretion and renal effects of the antidiuretic hormone arginine vasopressin [AVP]) [7, 8]
  • Thirst [9]

In a healthy individual, thirst and AVP release are stimulated by an increase in body fluid osmolality above a certain osmotic threshold, which is approximately 280-290 mOsm/L and is considered to be similar if not identical for both thirst and AVP release. An increased osmolality draws water from cells into the blood, thus dehydrating specific neurons in the brain that serve as osmoreceptors or “tonicity receptors.” It is postulated that the deformation of the neuron size activates these cells (thus acting like mechanoreceptors). On stimulation, they signal to other parts of the brain to initiate thirst and AVP release, resulting in increased water ingestion and urinary concentration, rapidly correcting the hypernatremic state.

Urinary concentration - AVP and the kidney

Conservation and excretion of water by the kidney depends on the normal secretion and action of AVP and is very tightly regulated. The stimulus for AVP secretion is an activation of hypothalamic osmoreceptors, which occurs when the plasma osmolality reaches a certain threshold (approximately 280 mOsm/kg). At plasma osmolalities below this threshold level, AVP secretion is suppressed to low or undetectable levels. Other afferent stimuli, such as a decrease in effective arterial blood volume, pain, nausea, anxiety, and numerous drugs, can also cause a release of AVP. [10]

AVP is synthesized in specialized magnocellular neurons whose cell bodies are located in the supraoptic and paraventricular nuclei of the hypothalamus. The prohormone is processed and transported down the axon, which terminates in the posterior pituitary gland. From there, it is secreted as active AVP hormone into the circulation in response to an appropriate stimulus (hyperosmolality, hypovolemia).

AVP binds to the V2 receptor located on the basolateral membrane of the principal cells of the renal collection ducts. The binding to this G-protein coupled receptor initiates a signal transduction cascade, leading to phosphorylation of aquaporin-2 and its translocation and insertion into the apical (luminal) membrane, creating "water channels" that enable the absorption of free water in this otherwise water-impermeable segment of the tubular system

Thirst

Thirst is the body’s mechanism to increase water consumption in response to detected deficits in body fluid. As with AVP secretion, thirst is mediated by an increase in effective plasma osmolality of only 2-3%. Thirst is thought to be mediated by osmoreceptors located in the anteroventral hypothalamus. The osmotic thirst threshold averages approximately 288-295 mOsm/kg. This mechanism is so effective that even in pathologic states in which patients are unable to concentrate their urine (diabetes insipidus) and excrete excessive amounts of urine (10-15 L/d), hypernatremia does not develop because thirst is stimulated and body fluid osmolality is maintained at the expense of profound secondary polydipsia.

Developing hypernatremia is virtually impossible if the thirst response is intact and water available. Thus, sustained hypernatremia can occur only when the thirst mechanism is impaired and water intake does not increase in response to hyperosmolality or when water ingestion is restricted.

Significant hypovolemia stimulates AVP secretion and thirst. Blood pressure decreases of 20-30% result in AVP levels many times those required for maximal antidiuresis.

Hypernatremic states can be classified as isolated water deficits (which are generally not associated with intravascular volume changes), hypotonic fluid deficits, and hypertonic sodium gain.

Regulation of brain cell volume

Acute hypernatremia is associated with a rapid decrease in intracellular water content and brain volume caused by an osmotic shift of free water out of the cells. Within 24 hours, electrolyte uptake into the intracellular compartment results in partial restoration of brain volume. A second phase of adaptation, characterized by an increase in intracellular organic solute content (accumulation of amino acids, polyols, and methylamines), restores brain volume to normal. Some patients complete this adaptive response in less than 48 hours. The accumulation of intracellular solutes bears the risk for cerebral edema during rehydration. The brain cell response to hypernatremia is critical. See the image below.

Figure A: Normal cell. Figure B: Cell initially re Figure A: Normal cell. Figure B: Cell initially responds to extracellular hypertonicity through passive osmosis of water extracellularly, resulting in cell shrinkage. Figure C: Cell actively responds to extracellular hypertonicity and cell shrinkage in order to limit water loss through transport of organic osmolytes across the cell membrane, as well as through intracellular production of these osmolytes. Figure D: Rapid correction of extracellular hypertonicity results in passive movement of water molecules into the relatively hypertonic intracellular space, causing cellular swelling, damage, and ultimately death.

Etiology

Several risk factors exist for hypernatremia. The greatest risk factor is age older than 65 years. In addition, mental or physical disability may result in impaired thirst sensation, an impaired ability to express thirst, and/or decreased access to water. [11, 12]

Hypernatremia often is the result of several concurrent factors. The most prominent is poor fluid intake. Again, developing hypernatremia is virtually impossible if the thirst response is intact and water is available. Normally, an increase in osmolality of just 1-2% stimulates thirst, as do hypovolemia and hypotension. For clinical purposes, hypernatremia can, in a simplified view, be classified on the basis of the concurrent water loss or electrolyte gain and on corresponding changes in extracellular fluid volume, as follows:

  • Hypotonic fluid deficits (loss of water and electrolytes)
  • Nearly pure-water deficits
  • Hypertonic sodium gain (gain of electrolytes in excess of water).

Loss of hypotonic fluid (loss of water in excess of electrolytes)

Patients who lose hypotonic fluid have a deficit in free water and electrolytes (low total body sodium and potassium) and have decreased extracellular volume. In these patients, hypovolemia may be more life-threatening than hypertonicity. When physical evidence of hypovolemia is present, fluid resuscitation with normal saline is the first step in therapy.

Renal hypotonic fluid loss results from anything that will interfere with the ability of the kidney to concentrate the urine or osmotic diuresis, such as the following:

  • Diuretic drugs (loop and thiazide diuretics)
  • Osmotic diuresis (hyperglycemia, mannitol, urea [high-protein tube feeding])
  • Postobstructive diuresis
  • Diuretic phase of  acute tubular necrosis

Nonrenal hypotonic fluid loss can result from any of the following:

  • GI - Vomiting, diarrhea, lactulose, cathartics, nasogastric suction, gastrointestinal fluid drains, and fistulas
  • Cutaneous - Sweating (extreme sports, marathon runs), burn injuries

Pure-water deficits

Patients with pure-water deficits in the majority of cases have a normal extracellular volume with normal total body sodium and potassium. This condition most commonly develops when impaired intake is combined with increased insensible (eg, respiratory) or renal water losses.

Free-water loss will also result from an inability of the kidney to concentrate the urine. The cause of that can be either from failure of the hypothalamic-pituitary axis to synthesize or release adequate amounts of AVP (central diabetes insipidus) or a lack of responsiveness of the kidney to AVP (nephrogenic diabetes insipidus). Patients with diabetes insipidus and intact thirst mechanisms most often present with normal plasma osmolality and serum NA+, but with symptoms of polyuria and polydipsia.

Water intake less than insensible losses may result from any of the following:

  • Lack of access to water (through incarceration, restraints, intubation, immobilization)
  • Altered mental status (through medications, disease)
  • Neurologic disease (dementia, impaired motor function)
  • Abnormal thirst (eg, geriatric hypodipsia; osmoreceptor dysfunction (reset of the osmotic threshold); injury to the thirst centers by any lesions to the hypothalamus, including from metastasis, granulomatous diseases, vascular abnormalities, and trauma; autoantibodies to the sodium-level sensor (Na x) in the brain [13]
  • Loss of water through the respiratory tract

Vasopressin (AVP) deficiency (diabetes insipidus)

Central diabetes insipidus [14]  can be caused by any pathologic process that destroys the anatomic structures of the hypothalamic-pituitary axis involved in AVP production and secretion. Such processes include the following:

  • Pituitary injury - Posttraumatic, neurosurgical, hemorrhage, ischemia (Sheehan’s), idiopathic-autoimmune, lymphocytic hypophysitis, IgG4-related disease
  • Tumors - Craniopharyngioma, pinealoma, meningioma, germinoma, lymphoma, metastatic disease, cysts
  • Aneurysms - Particularly anterior communicating
  • Inflammatory states and granulomatous disease - Acute meningitis/encephalitis, Langerhans cell histiocytosis, neurosarcoidosis, tuberculosis
  • Drugs - Ethanol (transient), phenytoin
  • Genetic - Neurophysin II ( AVP carrier protein) gene defect

Nephrogenic diabetes insipidus (decreased responsiveness of the kidney to vasopressin)

Causes include the following:

  • Genetic - V2-receptor defects, aquaporin defects (AQP2 and AQP1); 90% by  AVPR2 mutations (X-liked recessive),  AQP2 gene mutation
  • Structural - Urinary tract obstruction, papillary necrosis, sickle-cell nephropathy
  • Tubulointerstitial disease - Medullary cystic disease, polycystic kidney disease, nephrocalcinosis, Sjögren’s syndrome, lupus, analgesic-abuse nephropathy, sarcoidosis, M-protein disease, cystinosis, nephronophthisis
  • Others - Distal renal tubular acidosis, Bartter syndrome, apparent mineralocorticoid excess [15]
  • Electrolyte disorders - Hypercalcemiahypokalemia
  • Any prolonged state of severe polyuria - By washing out the renal medullary- intramedullary concentration gradient needed for urinary concentration, and by down-regulating kidney AQP2 water channels (partial diabetes insipidus)
  • Medications

Medications that induce nephrogenic diabetes insipidus include the following:

  • Lithium (40% of patients)
  • Amphotericin B
  • Demeclocycline
  • Dopamine
  • Ofloxacin
  • Orlistat
  • Ifosfamide

Medications that possibly cause nephrogenic diabetes insipidus include the following:

  • Contrast agents
  • Cyclophosphamide
  • Cidofovir
  • Ethanol
  • Foscarnet
  • Indinavir
  • Libenzapril
  • Mesalazine
  • Methoxyflurane
  • Pimozide
  • Rifampin
  • Streptozocin
  • Tenofovir
  • Triamterene hydrochloride
  • Colchicine

Adipsic diabetes insipidus (central diabetes insipidus with deficient thirst)

This is caused by a combination of damage to the osmoreceptors regulating thirst sensation and central diabetes insipidus (see above). [16]  Etiologies include the following:

  • Congenital conditions (septo-optic dysplasia, germinoma)
  • Vascular (anterior communicating artery aneurysm clipping/rupture)
  • Others - Craniopharyngioma, pinealoma, Langerhans cell histiocytosis, neurosarcoidosis, head trauma, cytomegalovirus encephalitis

Gestational diabetes insipidus

In this form of diabetes insipidus, AVP is rapidly degraded by a high circulating level of oxytocinase/vasopressinase. It is a rare condition, because increased AVP secretion will compensate for the increased rate of degradation. Gestational diabetes insipidus occurs only in combination with impaired AVP production.

Hypertonic sodium gain

Patients with hypertonic sodium gain have a high total-body sodium and an extracellular volume overload (rare, mostly iatrogenic). When thirst and renal function are intact, this condition is transient. Causes include the following:

  • Administration of hypertonic electrolyte solutions - Eg, sodium bicarbonate solutions, hypertonic alimentation solutions, normal saline with or without potassium supplements
  • Sodium ingestion - NaCl tablets, seawater ingestion
  • Sodium modeling in hemodialysis

Water shift (transient)

Water shifts into muscle cells during extreme exercise or seizures because of increased intracellular osmoles). In clinical practice, a combination of the two may be present. For example, an intubated patient in the ICU develops hypernatremia due to hypertonic sodium gain caused by normal saline volume resuscitation and, in addition, increased free water excretion due to recovering renal failure and/or osmotic urea-diuresis caused by high-protein tube feeding.

Epidemiology

Although the incidence of hypernatremia on admission to the hospital has been estimated at 0.12-1.4%, a review by Tsipotis et al of 19,072 unselected hospitalized adults found that community-acquired hypernatremia occurred in 21%. Hospital-acquired hypernatremia developed in 25.9% of patients. [17]

A retrospective, single-center study from Austria, which included 981 patients, found that 2% of patients had hypernatremia on admission to the intensive care unit (ICU) and 7% developed hypernatremia during their stay in the ICU. [18]  Analysis of data on 8140 patients from 12 French ICUs found that 11.1% developed mild hypernatremia and 4.2% developed moderate to severe hypernatremia 24 hours or more after ICU admission. [17]

A Canadian study of 8142 adult patients identified ICU-acquired hyponatremia in 11% of them and ICU-acquired hypernatremia in 26% of these patients. [19] The report found that the mortality rate in patients with ICU-acquired hyponatremia or hypernatremia was greater than that of study patients with normal serum sodium levels, being 28% versus 16% (P <   0.001), and 34% versus 16%, p < 0.001, respectively.

The groups most commonly affected by hypernatremia are elderly people and children. [20] Breastfeeding-associated neonatal hypernatremia has been recognized in infants ≤ 21 days of age who have lost ≥10% of birth weight. [21]

Prognosis

In patients with community-acquired hpernatremia, Tsipotis et al reported an adjusted odds ratio (OR) of 1.67 (95% confidence interval [CI], 1.38-2.01) for in-hospital mortality and 1.44 (95% CI, 1.32-1.56) for discharge to a short-/long-term care facility and an adjusted 10% (95% CI, 7-13) increase in length of stay. Patients with hospital-acquired hypernatremia had an adjusted OR of 3.17 (95% CI, 2.45-4.09) for in-hospital mortality and 1.45 (95% CI, 1.32-1.59) for discharge to a facility, and an adjusted 49% (95% CI, 44-53) increase in length of stay. [17]

Mortality rates of 30-48% have been shown in patients in ICUs who have serum sodium levels exceeding 150 mmol/L. [22, 23]  A review of 256 patients presenting to a Turkish emergency department with severe hypernatremia (serum sodium >160 mmol/L) determined that the following factors were independently associated with mortality [24] :

  • Low systolic blood pressure
  • Low pH
  • Serum sodium >166 mmol/L
  • Increased plasma osmolarity
  • Mean sodium reduction rate of 0.134 mmol/L/h or less
  • Dehydration
  • Pneumonia

Comparing hospital mortality rates for the patients without hypernatremia with those for cohort members with the condition, Darmon et al determined that the subdistribution hazard ratio for mortality from ICU-acquired hypernatremia was 2.03 for mild hypernatremia and 2.67 for moderate–to-severe hypernatremia. [22]  However, whether the association of ICU-acquired hypernatremia with an increased risk for death reflects a direct effect of hypernatremia or is a marker for suboptimal quality of care is uncertain.

One study confirmed that maximum daily sodium amount is a significant risk factor for the development of acute kidney injury in patients with subarachnoid hemorrhage (SAH) who are receiving hypertonic saline therapy. Such therapy is often used to control intracranial hypertension and manage symptomatic hyponatremia. Of 736 patients in one study, 9% (64) developed acute kidney injury. For each 1 mEq/L increase in the running maximum daily serum sodium rate, the risk of developing acute kidney injury increased by 5.4 %, and the risk of death was more than twofold greater for patients who developed acute kidney injury. [25]

Early acquired hypernatremia in the ICU has been found to be a frequent complication in patients with severe sepsis and is associated with the volume of 0.9% saline received during the first 48 hours of admission in the ICU. In one study, of 95 patients with severe sepsis, 29 (31%) developed hypernatremia within 5 days. For every 50 ml/kg increase in 0.9% saline intake during the first 48 hours, the odds of hypernatremia increased by 1.61 times. Patients who developed hypernatremia had increased duration of mechanical ventilation and increased mortality. [26]

According to a study by Leung et al, preoperative hypernatremia is associated with increased perioperative 30-day morbidity and mortality. In their study, 20,029 patients with preoperative hypernatremia (>144 mmol/L) were compared with 888,840 patients with a normal baseline sodium (135-144 mmol/L). The odds of morbidity and mortality increased according to the severity of hypernatremia (P < 0.001 for pairwise comparison for mild [145-148 mmol/L] vs severe [>148 mmol/L] categories). Hypernatremia, versus normal baseline sodium, was associated with a greater odds for perioperative major coronary events (1.6% vs 0.7%), pneumonia (3.4% vs 1.5%), and venous thromboembolism (1.8% vs 0.9%). [27]

Treatment-resistant hypernatremia has been reported in patients with severe COVID-19. Zimmer et al found no correlation between plasma sodium concentrations and sodium input in these patients, along with elevations in plasma chloride concentrations and decreases in potassium—findings consistent with an abnormal increase in renal sodium reabsorption, possibly caused by increased angiotensin II activity secondary to virally induced downregulation of angiotensin-converting enzyme 2 (ACE2) receptors. [28] Hypernatremia in COVID-19 has been associated with the need for ventilator support, increased length of ICU stay, sepsis, altered mental status, and high mortality. [29, 30, 31]   

“I love you baby, I’m a Monster” Taeyang Big Bang

“I love you baby, I’m  a monster.”







That’s the line that Taeyang, of the South Korean boy band Big Bang, crooned to an undulating sea of light-stick wielding fans at the Prudential Center, in Newark, the other night.

 

To my immediate left, pressed against the gray iron bars that separated us from the V.I.P. mosh pit, a thirteen-year-old girl in a silver sequin tank and top hat voiced her devotion in squeals and screams.

Behind us, two boys in tuxedos elbowed their way up front, armed with flash-ready iPhones. “O.K., do me first,” one instructed the other, as he leaned back against the bars, fingers raised high in the shape of a V. “Get two!” he ordered, before being edged out by a new tide of photo-seekers.

 

My fellow concertgoers need not have worried about time constraints. Their idols—G-Dragon, T.O.P., Seungri, Taeyang, and Daesung—rapped,roared, stomped, and thumped onstage for two more hours, buoyed by a dizzying and ever-multiplying array of props, platforms, andvideo-screen projections.

 

G-Dragon, the most baby-faced of the group, greeted the audience from behind an impasto of smoky makeup while Taeyang strutted in braids and a bandanna, plus pants that fell well below the natural waistline.

 

Even though the quintet has been around for six years—with hiatuses in which band members pursued their own solo albums—Alive Galaxy is their first sixteen-country-wide world tour. Perhaps, in honor of this inaugural occasion, little expense has been spared in making a first impression.

 

I missed their much-touted emergence onstage (via silver spaceship-like canisters) and subsequent vehicular jaunts (via gilded Segways and low-rise bicycles)—damn my own snail-paced vehicle on the New Jersey Turnpike—but was as mesmerized as the rest of the arena as we watched Daesung ascend, affixed with life-size wings, over and above our upturned faces.

 

I the pageantry and spectacle threatened to overwhelm the music—fire-breathing dragons and a rotor-spinning helicopter were a few of the digitalized backdrops—it did so with the crowd’s blessing: they roared more enthusiastically with the arrival of ever more elaborate fantascapes.

 

From where I was standing, with the cavernous stadium opening out to its glittery theater of small, almost anime-like figures, the world momentarily felt like a giant video game. It reminded me of the first time that I heard this music: in the classroom of the Korean middle school where I was teaching eighth-grade English. My students had gruelling schedules: ten hours of school plus cram academy plus private tutorials (for those with the means) plus homework plus daily lectures from parents and teachers alike on the perils of failure if they should ever deviate from their schedule. (Unsurprisingly, the country has consistently led in high-school test scores, even among their industry-prizing neighbors.)

 

But during their recess, those fifteen glorious minutes between lunch in the communal canteen and sixth period, they would enthusiastically introduce me to two sanity-preserving graces: video games and K-pop music videos. I was hopeless in mastering the former, so my new teachers quickly began tutoring me in the latter. “You don’t know Super Junior!

 

How about SHINee?

 

my shyest thirteen-year-old tsked upon my pitiable profession of ignorance.

 

Inevitably, the boldest ones among them, boys in identical blue-and-white uniforms down to the plastic slippers they flapped on their feet, would bend their limbs in imitation of their favorite break-dance moves.

 

If the juxtaposition of their sailor-style attire and the hip-jiving dance steps seemed jarring, so was the precision of their reproduction. Somehow in the precious moments between eating, sleeping, and their all-encompassing sprint toward success, they had found time to study something else.

 

Back to Big Bang: G-Dragon, lauded for his contribution—fairly unique among packaged pop sensations—to the writing and composition of the band’s hit songs, is commonly acknowledged as the creative heart of the group. Early in the night, he performed his solo,

 

“One of a Kind”: “(Hello) My name is me and choice / (Hello) Yes sir, I’m one of a kind”
Twenty-four-year-old singer belted out. It’s not hard to imagine G-Dragon, dubbed the Lady Gaga of Asia, meaning it. His adolescent fanbase back in Seoul, however, are likely only mouthing the words.

 


  • Uncovering and explaining how our digital world is changing — and changing us.
  • Social media has drastically restructured the way we communicate in an incredibly short period of time.
  • We can discover, “Like,” click on, and share information faster than ever before, guided by algorithms most of us don’t quite understand.
  • And while some social scientists, journalists, and activists have been raising concerns about how this is affecting our democracy, mental health, and relationships, we haven’t seen biologists and ecologists weighing in as much.
  • Seventeen researchers who specialize in widely different fields, from climate science to philosophy, make the case that academics should treat the study of technology’s large-scale impact on society as a “crisis discipline.” A crisis discipline is a field in which scientists across different fields work quickly to address an urgent societal problem — like how conservation biology tries to protect endangered species or climate science research aims to stop global warming.
  • The paper argues that our lack of understanding about the collective behavioral effects of new technology is a danger to democracy and scientific progress.
  • For example, the paper says that tech companies have “fumbled their way through the ongoing coronavirus pandemic, unable to stem the ‘infodemic’ of misinformation” that has hindered widespread acceptance of masks and vaccines.
  • It’s a grave warning and call to action by an unusually diverse swath of scholars across disciplines — and their collaboration indicates how concerned they are.
  • Recode spoke with the lead author of the paper, Joe Bak-Coleman, a postdoctoral fellow at the University of Washington Center for an Informed Public , as well as co-author Carl Bergstrom, a biology professor at the University of Washington, to better understand this call for a paradigm shift in how scientists study the technology we use every day.
  • The two interviews have been combined and lightly edited for length and clarity.
  • You tweeted that this paper is one of the most important ones you’ve published yet.
  • My original background is in infectious disease epidemiology, respiratory viruses.
  • And so I was able to do some stuff that’s reasonably important during Covid.
  • What I’m doing there is really filling in the details in a well-established framework.
  • So it’s more, you know, dotting the i’s and crossing the t’s.
  • And I think what’s really important about this paper is that it’s not doing that at all.
  • It’s saying, “Here’s a massive problem, and the way to conceptualize it, that is critically important for the future.
  • And, you know, it’s suggesting an alarm going off upstairs.
  • It’s a call to arms.
  • My sense is that social media in particular — as well as a broader range of internet technologies, including algorithmically driven search and click-based advertising — have changed the way that people get information and form opinions about the world.
  • And they seem to have done so in a manner that makes people particularly vulnerable to the spread of misinformation and disinformation.
  • Just as one example: A paper — a poorly done research paper — can come out suggesting that hydroxychloroquine might be a treatment for Covid.
  • And in a matter of days, you have world leaders promoting it, and people struggling to get [this medicine], and it being no longer available to people who need it for treatment of other conditions.
  • Which is actually a serious health problem.
  • So you can have these bits of misinformation that explode at unprecedented velocity in ways that they wouldn’t have prior to this information ecosystem.
  • [Now], you can create large communities of people that hold constellations of beliefs that are not grounded in reality, such as [the conspiracy theory] QAnon.
  • You can have ideas like anti-vaccination ideas spread in new ways.
  • You can create polarization in new ways.
  • And [you can] create an information environment where misinformation seems to spread organically.
  • And also [these communities can] be extremely vulnerable to targeted disinformation.
  • We don’t even know the scope of that yet.
  • It’s kind of how we use mice models or flies to understand neuroscience.
  • Part of this came back to animal societies — namely groups — to understand what they tell us about collective behavior in general, but also complex systems more broadly.
  • So our goal is to take that perspective and then look at human society with that.
  • And one of the things about complex systems is they have a finite limit to perturbation.
  • If you disturb them too much, they change.
  • And they often tend to fail catastrophically, unexpectedly, without warning.
  • We see this in financial markets — all of a sudden, they crash out of nowhere.
  • My hope is very much that this [paper] will sort of galvanize people.
  • The issues that are in this paper are ones that people have been thinking about from many, many different fields.
  • It’s not like these are new issues entirely.
  • It’s rather that I think this paper will hopefully really highlight the magnitude of what’s happened and the urgency of fixing it.
  • Hopefully, it’ll galvanize some kind of transdisciplinary collaborations.
  • So it’s important because it says this needs to be a crisis discipline, this is something that we don’t understand.
  • We don’t have a theory for how all of these changes are affecting the way that people come to form their beliefs and opinions, and then use those to make decisions.
  • And yet, that’s all changing.
  • It’s happening.
  • There’s a misperception that we’re saying, “Exposure to ads is bad — that’s causing the harm.” That’s not what we’re saying.
  • Exposure to ads may or may not be bad.
  • What we’re concerned about is the fact that this information ecosystem has developed to optimize something orthogonal to things that we think are extremely important, like being concerned about the veracity of information or the effect of information on human well-being, on democracy, on health, on the ecosystem.
  • Those issues are just being left to sort themselves out, without a whole lot of thought or guidance around them.
  • That puts it in this crisis discipline space.
  • It’s like climate science where you don’t have time to sit down and work out everything definitively.
  • This paper is essentially saying something quite similar — that we don’t have time to wait.
  • We need to start addressing these problems now.
  • Well, with the printing press, I would push back.
  • The printing press came out and upended history.
  • We’re still recovering from the capacity that the printing press gave to Martin Luther.
  • The printing press radically changed the political landscape in Europe.
  • And, you know, depending on whose histories you go by, you had decades if not centuries of war [after it was introduced].
  • So, did we somehow recover? Sure we did.
  • Would it have been better to do it in a stewarded way? I don’t know.
  • Maybe.
  • These major transitions in information technology often cause collateral damage.
  • We tend to hope that they also bring about a tremendous amount of good as we move toward human knowledge and all of that.
  • But even the fact that you’ve survived doesn’t mean that it’s not worth thinking about how to get through it smoothly.
  • It reminds me of one of the least intelligent critiques of the [Covid-19] vaccines that we’re using now: “We didn’t have vaccines during the Black Death plague.
  • And we’re still here.” We are, but it took out a third of the population of Europe.
  • Right, so there is pain and suffering that happened with all those transformational technologies as well.
  • Yeah.
  • So I think it’s important to recognize that.
  • It’s still possible to mitigate harm as you go through a transformation, even if you know you’re going to be fine.
  • I also don’t think it’s completely obvious that we are going to be fine on the other end.
  • One of the really key messages of the paper is that there tends to be this general trust that everything will work out, that people will eventually learn to screen sources of information, that the market will take care of it.
  • And I think one of the things that the paper is saying is that we’ve got no particular reason to think that that’s right.
  • There’s no reason why good information will rise to the top of any ecosystem we’ve designed.
  • So we’re very concerned about that.
  • One important defense of social media is that Facebook and Twitter can be places where people share new ideas that are not mainstream that end up being right.
  • Sometimes media gatekeepers can get things wrong and social media can allow better information to come out.
  • For example, some people like Zeynep Tufekci were sounding the alarm on the pandemic early, largely on Twitter, back in February 2020, far ahead of the CDC and most journalists.
  • Yeah, to look at the net, you have to look at the net influence of the system, right? If somebody on social media has things right but if the net influence on social media is to promote anti-vaccination sentiment in the United States to the point that we’re not going to be able to reach herd immunity, it doesn’t let social media off the hook.
  • I was enormously optimistic about the internet in the ’90s.
  • [I thought] this really was going to remove the gatekeepers and allow people who did not have financial, social, and political capital to get their stories out there.
  • And it’s certainly possible for all that to be true and for the concerns that we express in our paper to also be correct.
  • Democratizing information has had profound effects, especially for marginalized, underrepresented communities.
  • It gives them the ability to rally online, have a platform, and have a voice.
  • And that is fantastic.
  • At the same time, we have things like genocide of Rohingya Muslims and an insurrection at the Capitol happening as well.
  • And I hope that it’s a false statement to say we have to have those growing pains to have the benefits.
  • That’s one of the real challenges that we’re facing, actually, is that we don’t have a lot of information.
  • We need to figure out how, to what degree, people have been exposed to misinformation, to what degree is that influencing subsequent online behavior.
  • All of this information is held exclusively by the tech companies that are running these platforms.
  • For me, a crisis discipline is a situation where you don’t have all of the information that you need to know exactly what to do, but you don’t have time to wait to figure it out.
  • This was the situation with Covid in February or March 2020.
  • We’re definitely in that position with global climate change.
  • We’ve got better models than we did 20 years ago, but we still don’t have a complete description of how that system works.
  • And yet, we certainly don’t have time to wait around and figure all that out.
  • And here, I think that the speed with which social media, combined with a whole number of other things, has led to very widespread disinformation — [that] here in the United States [is] causing major political upheaval — is striking.
  • So there are these super-hard problems that take radical transdisciplinary work.
  • We need to figure out how to come together and talk about all that.
  • But at the same time, we have to be taking actions.
  • How do you respond to the chicken-and-egg argument? You hear defenders of technology say, “We’re just seeing real-world polarization reflected online,” but there’s no proof that the internet is causing polarization.
  • This should be a familiar argument.
  • This is what Big Tobacco used, right? This is Merchants of Doubt stuff.
  • And now we’re hearing the same thing about misinformation: “Yeah, sure, there’s a lot of misinformation online, but it doesn’t change anyone’s behavior.” But then all of a sudden you got a guy in a loincloth with buffalo horns running around the Capitol building.
  • The paper calls for people to more urgently understand the impacts of these new rapid advancements in communication technology in the past 15 years.
  • There’s been a lot of work that’s been done here, and I don’t think we’re trying to reinvent that wheel at all.
  • But I think what we’re really trying to do is just highlight the need for urgent action and draw these parallels to climate change and to conservation biology, where they’ve been dealing with really similar problems.
  • And the way they’ve structured themselves, like climate change now involves everything from chemists to ecologists.
  • And I think social science tends to be fairly fragmented in subdisciplines, without a lot of connection between them.
  • And trying to bring that together was a major goal of this paper.
  • I’m biased to be very aware of this problem because my job is to report on social media, but it feels like there is a lot of fear and concern about social media’s impact.
  • Misinformation, phone addiction — these seem to be issues that everyday people worry about.
  • When I talk to people about social media, yes, there’s a lot of concern, there’s a lot of negativity, and then there’s bias by being a parent as well.
  • But the focus is often on the individual-level effects.
  • But there’s less talk about the entire large-scale structural changes that this is inducing.
  • So what we’re saying is, we really want people to look at the large-scale structural changes that these technologies are driving in society.
  • Millions turn to Vox to understand what’s happening in the news.
  • Our mission has never been more vital than it is in this moment: to empower through understanding.
  • Financial contributions from our readers are a critical part of supporting our resource-intensive work and help us keep our journalism free for all.
  • Please consider making a contribution to Vox today from as little as $3.
  • BuzzFeed grew up.
  • Now it’s going public.
  • BuzzFeed is smaller than it thought it was going to be but it thinks it’s big enough to sell shares to the public this fall.
  • Got the same name as a serial killer? Google might think you’re the same person.
  • It’s up to users to find out if Google is prioritizing wrong information about them in search results.
  • Many people don’t want to work unless it’s from home There are more remote jobs than ever.
  • That doesn’t mean you’ll get one.
  • Peloton’s mandatory treadmill memberships show how you never fully own your connected devices Tread+ owners must pay $39 a month to use their treadmills.
  • I’m a gay ex-NFL player.
  • Got the same name as a serial killer? Google might think you’re the same person.
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  • June 23, 2021

    To-Ddu, ddu, ddu, ddu-ddu-ddu (Bring out the boss, bitch)

     http://images.45cat.com/wayne-kettelle-look-at-you-look-at-me-avelle.jpg

    To-Do List

    1. Introduction

    “How You Like That” is BLACKPINK’s first solo release since their April 2019 comeback, Kill This Love. The song is the first of two songs to be released ahead of their first full-length album in September.

    The song is a hip-hop influenced, classic BLACKPINK song with grand and intense production featuring explosive beat drops. Through its lyrics, the girls of BLACKPINK wish to soar as high as possible even if they are flying in darkness.

    The song heavily incorporates BLACKPINK’s styling with each member working with the stylists and the costume design team to create impactful imagery through the accompanying visuals for the song.

    2. How the investigation was carried out 

    Talking about the message behind the song, member Jisoo during the press-conference said,

    This might seem large-scale, but I want to deliver a positive and hopeful message. We sang to give the message of not being daunted by dark situations and to not lose the confidence and strength to stand up again.”

    Talking about their fashion for the music video and accompanying visual for the single, member Jennie commented,

    We can’t leave out styling. When dance, vocals, and fashion merge into one, the synergy is maximized. With ideas from the members and stylists, our goal is to come out with something that didn’t exist in the world before. We’ll work hard until we’re satisfied.”

     

    BLACKPINK - How You Like That 

     

      [Intro: Lisa]
    BLACKPINK in your area


    [Verse 1: Jennie, Jisoo]
    I crumbled before your eyes
    Hit rock bottom and sunk deeper
    To grab onto the last bit of hope
    I've tried to reach out with both my hands


    [Pre-Chorus: Rosé]
    Again, in this dark place, light up the sky
    While looking into your eyes, I'll kiss you goodbye
    Laugh all you want while you still can
    Because it's about to be your turn, one, two, three

    [Chorus: Jennie, Jisoo, Lisa, Rosé]
    Ha, how you like that? (Ah)
    You gon' like that, that-that-that, that, that-that-that, that
    How you like that? (Bada bing, bada boom, boom, boom)
    How you like that, that-that-that, that, that-that-that, that

    [Post-Chorus: Lisa, Rosé, Jennie]

    Now, look at you, now look at me (Uh)
    Look at you, now look at me (Uh)
    Look at you, now look at me
    How you like that?
    Now, look at you, now look at me (Uh)
    Look at you, now look at me (Uh)
    Look at you, now look at me

    How you like that?

    [Verse 2: Lisa]
    Your girl needs it all and that's a hundred
    10 out of 10, I want what's mine
    Karma come and get some
    I feel bad, but there's nothing I can do
    What's up? I'm right back
    Trigger the cock back
    Plain Jane get hijacked, don't like me?
    Then tell me, how you like that, like that?

    [Pre-Chorus: Jennie, Jisoo]
    In this darker place, shine like the stars
    With that smile, I'll kiss you goodbye
    Laugh all you want while you still can
    Because it's about to be your turn, one, two, three


    [Chorus: Rosé, Lisa, Jennie, Jisoo]
    Ha, how you like that? (Ah)
    You gon' like that, that-that-that, that, that-that-that, that
    How you like that? (Bada bing, bada boom, boom, boom)
    How you like that, that-that-that, that, that-that-that, that

    [Post-Chorus: Lisa, Rosé, Jennie]
    Now, look at you, now look at me (Uh)
    Look at you, now look at me (Uh)
    Look at you, now look at me
    How you like that?
    Now, look at you, now look at me (Uh)
    Look at you, now look at me (Uh)
    Look at you, now look at me

    How you like that?

    [Bridge: Rosé, Jisoo]
    The day I fell without my wings
    Those dark days where I was trapped
    You should've ended me when you had the chance


    [Interlude: Rosé, Jennie, All]
    Look up in the sky
    It's a bird, it's a plane

    Yeah-eh-eh-eh
    (Bring out the boss bitch)
    Yeah-eh-eh-eh

    BLACKPINK!

    [Outro: Lisa, Rosé, Jennie]
    Ddu, ddu, ddu, ddu-ddu-ddu
    Ddu, ddu, ddu, ddu-ddu-ddu
    How you like that?
    Ddu, ddu, ddu, ddu-ddu-ddu
    Ddu, ddu, ddu, du-du-du-ddu
    You gon' like that
    Ddu, ddu, ddu, ddu-ddu-ddu
    Ddu, ddu, ddu, ddu-ddu-ddu
    How you like that?
    Ddu, ddu, ddu, ddu-ddu-ddu
    Ddu, ddu, ddu, du-du-du-ddu

    3. General points about the accounts this 

    Pre-Chorus suggests the process of getting up and fighting and lastly transforming into that boss figure which leads them to a place of security and honor, they know their worth and they are not playing. when the sky lights up it’s the end of storm, a start of a new era, in such they describe how the laughter will turn, making them their own storytellers and actually taking control. she kisses them goodbye, amplifying the new beginning and releasing the toxic past.


    4. Experiences during childhood 

     In this verse, Jennie and Jisoo remember the good old days when they were still together. Jennie remembers how he made her happy and contemplates going back to him, with the masked dancers representing that idea and the black umbrellas, the memories which cloud up her thoughts. However, she removes them from her view as shown in the MV.


    5. Experiences during teenage years 

    On the bridge of the song, Rose and Jisoo reflect on the low points in their time as BLACKPINK. Paired with the visuals in the music video it is apparent that the lyric refers to the tale of a “fallen archangel”.

    Through this lyric, Rose and Jisoo sing about how they crashed without their wings creating a parallel between the angel falling from the highest heaven to a dark abyss. BLACKPINK’s commercial and popular success can be easily compared to the highest heaven.

    The girls showcase vulnerability by addressing that these points in their careers were extremely fragile and they would have shattered with the slightest push. However, they declare that they are passed that phase and that chapter is closed for good.


    6. When music takes over
    7. Merging with the music
    8. Feeling light, floating, leaving one's body
    9. Inner music
    10. Inner images
    11. Inner images
    12. Music and existence
    13. Music and transcendence
    14. Music and religious experiences
    15. New insights, new possibilities
    16. Confirmation through music
    17. Music as therapy
    18. When performing music oneself
    19. Singing in a choir
    20. Music in love - happy and unhappy
    21. Music in connection with illness and death
    22. Music at funerals
    23. Music in Nature
    24. Music from and in other cultures
    25. Music at concerts: Classical music
    26. Music at concerts: Jazz
    27. Music at concerts: Pop and rock
    28. Metaphors and similes
    29. Survey of all reactions
    30. Music in SEM
    31. What in the music elicited the reactions?
    32. Causes, consequences and importance
    33. Overview, comparisons, questions, outlooks
    Postscript to the Swedish edition
    Appendix A: A descriptive system for Strong Experiences with Music
    Appendix B: An example of analysis of an account

    June 21, 2021

    Blackpink Lisa [Bratz™ HYLT] • cram meat (mrjyn) Video Premiered 4 Blackpinkphiles OG Kpop Oppas Meet Gen-Backwards-Z Pantone Titled Girl Idols Mint YG Condition from Willie Wonka KFactory Hyun-Suk's Outside Fired Himself CEO SEO Taiji Boy Original Korean Hip Hop with First Fandom-full Holding Lightsabres -- Plain Janes Trying Not To Blink BLACKPINK -- Maury is NOT Your Father -- D. Vader and the Hammers are Thor's with a Little Pink and a Mouthful of S'mores



    Blackpinkphiles

     Made    in     Korea       by    OG           Kpop     Oppas.     

    Meet Your     Gen-                      Backwards-Z Stylized 

    •      Pantone  Girl Idol Band-Names, also sporting  unparallelled massing of another Star Wars running theme -- Stylized, Roboticized, Elon Musk and Grimes Penchant for characters froum outside th box and the Galaxy, like Roman numerals, Latin or Greek Phonemes, Combiforms, Characters and Rosetta Stoned High or Glyphic Symbols Figures Chemic Elements What Have you?  No Sorry, Sir -- Just A-Z and a hyphen or apostrophe ... So what'll Be for you today?  

    • Nothing!  I'm going to YGEntertainment and Let them nAME OUR kID! 

    • Monikered by Hyun-Suk, no doubt -- his first band whih started all this was called SEO Taiji  Boys -- and they are incredible to watch!                 Do so now.  

    • Minted in   YG Condition at  Willie Wonka's KPop Factory --  Hyun-Suk's Outside 'Insider Trading' Scandal by firing himself as YG Founder and CEO, FOUNDER OF MULTI- Fandom ENTERTAINMENT, WHOSE Blinks Hold Star Wars'   Lightsabres -- No  Plain Janes, Trying Not To Blink at BLACKPINK.

     

    • Maury is NOT the Father --

    • It's D. Vader, the Hammer's  Thor's -- with  a   Little bit of   Pink  and  a  Mouthful     of  S'mores

    https://ssl.pstatic.net/mimgnews/image/117/2020/06/22/202006220905898298_1_20200622092206854.jpg?type=w540 


    Blackpink Lisa [Bratz™ HYLT]

    YouTube

    &

     mrjyn (@dougmeet) on Instagram

    by cram meat (mrjyn)

    Summary:

    1. Teddy chokes-up the bat to the #hylt and knocks this pig-covered orb out of Park Stadium for some 24-hour R. Tee Retweeting. Wang Chung writing, composing, producing, arranging to make any mick cry, without Danny Boy playing in the background.

       

      Made in Seoul by OG Kpop-Oppas with a Yen for Color Clash Girl Idols on the Insider Trading track that doesn't get whispered, it gets a Fandom-full of Blinks and Stans holding mini-Star Wars Sabres -- No Plain Janes -- these Femme Vader's and Thor's, with Blackpink mallets and a mouthful of Smores.

       

      A bias for any Unnie,  as long as she's BlINKIN', on the Unnie-side of K-POP Barometers of things to come, you made the records, but BLINKS BROKE EVERY ONE



  • BLACKPINK  lack white teasels pull off denim  unnie que charmperfect harmonioverall girl-crush aura.

      Hip-hop LISA Foxy fury in red boots.

    JISOO chicblack see-through leopard dress

    JENNIE jacket 1-shoulder glamcessories

     ROSÉ bohemian Rap City, Galileo!  Charmniq

    ‘How You Like That’ 

    W/B

     TEDDY, Danny Chung, composed by TEDDY, R.Tee, 24

     

    The members pulled off unbalanced denim looks which emphasized each member’s own unique charms, perfectly and harmoniously. The overall girl-crush aura and street Hip-hop look were presented through the poster.

    LISA gave a strong impression with boxy fur and red boots, while JISOO emphasized her chicness with a black see through leopard dress. JENNIE wore a denim jacket revealing one shoulder along with glamorous accessories to show off her seductive looks, while ROSÉ revealed her hot bohemian charms with unique styling.

    M/V  

     

    Seo Hyun-seung  YouTube records

     

    most-watched premiere

     

    most views within 24 hours

     

    fastest to 500 million

     





      Hyun-seung directed "Ddu-Du Ddu-Du " and " Kill This Love "

    Meet Seo Hyun Seung, one of YG's directors, responsible for many popular MVs. Which one is your favorite?

     

    Other MVs he directed are: G-Dragon - Heartbreaker 2NE1 - Fire GD - One of a Kind T.O.P - Doom DaDa iKON - Anthem iKON - Dumb & Dumber

    all tracks BLACKPINK

    ‘SQUARE ONE’ to ‘KILL THIS LOVE’.


  • Sences:
    1. #lalalalisa_m "Brillig
    2. Boomtastic

    3. Teddy chokes-up the bat to the #hylt and knocks this pig-covered orb out of Park Stadium for some 24-hour RTee retweeting Wang Chung writing, composing, producing, arranging to make any Mick cry without Danny Boy playing in the background.Made in Seoul by OG Kpop-Oppas with a Yen for Color Clash Girl Idols on the Insider Trading that doesn't get whispered, it gets a Fandom full of Blinks and Stans holding mini-Star Wars Sabres -- No Plain Janes these, Female Vader's and Thor's, with Blackpink mallets and a mouthful of Smores.A bias for any Unnie, as long as she's BlINKIN', on the Unnie-side of K-POP Barometers of things to come, you made the records, but BLINKS BROKE EVERY ONE.
    4. Chuck Berry-Simple Phrase Recycling for a Green Bank Account, this reused, reconstructed American didn't just fall off a Turnip Truck -- fermented, if the  phrase fits share it to find out the answer accepted of a not too serious question.
    5. Its question moot, redundant, rhetorical, and inverse -- from too many seasons of Mob Shows on Netflix -- Badda Bing, Badda Boom.
    6. With sartorial 18-wheeler Mack-truck horn-blasts heralding filigreed figures of dissonant futures:  Is it a Coronation or a Beheading?   Hard to tell. 
    7. Are they Liz Taylor or James Dean?
    8. Both, easy to sell.  But when they're done sellin' don't try to put it back in the toothpaste tube.
    9. Like fast jabs on a prison-yard, it's done and nobody seen nothin', and homie  barely seen steppin' dow a bloody shank into soft dirt by the water fountain.
    10. Horn hooks mean  you look.
    11. Brillig, Boomtastic Slithy Toves on short leashes, wearing mini-jupes made of Chainmail from this years collection.
    12. Your LVMH stocks go the spoils -- these skirts were definitely not On Sale.
    13. At least three have short-fuses, but they know what side of the bed their bread is buttered, and toasted for some Sunny Side of the Street eggs with legs up to their heads, watch out for the Tender Trap.A little #hiphop fermentation -- Ain't No Cultural Appropriation, or Plagiarism here, except the same Pot Chuck Berry Got from the BlueBLACK Rhythm and Words OTIS BLACKWELL GAVE Elvis, but then Leiber and Stoller heard, which Made Paler Palates and then us all be Thanking your Rock and KPop idols for the stuff they Got ... We Keep on Grabbin' "How You Like That" written by Teddy Park , Danny Chung, R.
    14. Tee , 24.
    15. produced by Teddy.most-liked videos on YouTube 20 million likes"not being daunted by darkness, not losing confidence; having strength to stand up again" View on Instagram, mrjyn, dougmeet,[마이데일리=박윤진 기자]BLACKPINK’s ‘How You Like That’ YG official blog.producing team TEDDYBLACKPINK hunching the birth of another hit song.



    A scene in the music video where Blackpink is surrounded by dancers and statues of horses in a grand domed hall.

    Synsis

      music video

     

    jungle

     

    trapezoidal hall

     

    Arctic parade fashion

     

    end

     

    grand domed hall

     

    back-up dancers


    Jennie, Lisa, Rosé and Jisoo

    Ganeshaversy

    Hindu Ganesha in solo scene with Lisa.

     

    statue prop placed next to Aladdin lamp outcry from fans

     

    placement inappropriate

     

    "disrespectful"

     

    statue's usage "cultural appropriation".

    statue edited out of video.

    Ume

    Hotel Transylvania: Transformania

     

    directors Derek Drymon and Jennifer Kluska.

    • Blackpink
    • Teddy Park
    • Danny Chung
    • R. Tee
    • 24