I am no expert, but my feeling is that in many cases, it’s already doing so. For example, I follow with great interest the work of Jon Kleinberg, a former professor from Cornell, who’s learned about the structure of communities by examining the Facebook graph. Likewise, my Erez Lieberman-Aiden, along with Steven Pinker and others, pioneered the use of Google Books to analyze historical trends by measuring the rise and fall in the use of particular words over time.

On the other hand, we should be clear that a lack of data is only one factor that makes the social sciences so tricky—more complicated, I’d say, than the natural sciences! The more critical factor, it seems to me, is that unlike (say) particle physics, no one ever approaches the social world anew: we only ever approach it “already knowing so much that isn’t so.”

In social sciences, there’s a massive bias in favor of publishing results that confirm the current scholarly opinion, or that veer from the consensus in ways that are seen as peculiar or interesting rather than cold or inhuman or politically tone-deaf. I have almost infinite respect and approval for the social scientists who are able to break through that and teach us something new. For example, in the work of Judith Rich Harris, which shows how a child’s “non-shared environment” (the peer group and so forth) is much more critical than any parenting practices in shaping personality, contrary to both “common sense” and a hundred years of Freudian dogma. I couldn’t do that myself.

The broad introduction of the term Big Data is associated with Clifford Lynch, the editor of Nature magazine, who published a special issue on September 3rd, 2008 titled “How technologies that open up the possibilities of working with large amounts of data can affect the future of science”. He collected the materials about the phenomenon of the volumes explosive growth and the variety of processed data and technological prospects in the paradigm of a possible leap "from quantity to quality". The term was proposed by the analogy with the metaphors such as “big oil” and “big ore” that are common in the business English-speaking environment.

In the beginning, the term was introduced in the academic environment and, at first, the problem of growth and variety of scientific data was examined. However, starting from 2009, the term has widely distributed in the business press. By 2010, the first products and solutions related exclusively and directly to the processing problem of the big data have appeared. By 2011, most of the largest suppliers of information technology for organizations started using the concept of big data in their business strategies, including IBM, Oracle, Microsoft, Hewlett-Packard, EMC.  The leading analysts of the information technology market have dedicated their research to this concept.

In 2011, Gartner described big data as the number two trend in information technology infrastructure (after virtualization and as more significant than energy saving and monitoring). At the same time, it was predicted that the introduction of big data technologies will have the most significant impact on information technology in manufacturing, healthcare, trade, government, as well as in the fields and industries where individual resource movements are recorded.

Big data: we should be clear that a lack of data is only one factor that makes the social sciences so tricky, more complicated than the natural sciences!

COULD BIG DATA HELP SOCIAL SCIENCE BECOME SCIENTIFIC?

Tramadol is a psychotropic opioid analgesic, which belongs to the group of partial opioid receptor agonists. It has strong analgesic activity, giving a quick and lasting effect. However, its activity is inferior comparing to morphine in the same doses (respectively, it is usually being used in higher doses). The analgesic effect develops in 15-30 minutes after ingestion and lasts up to six hours. It is used as a separate drug, as well as in combination with paracetamol.

It was invented in 1962 by Dr. Kurt Flick, an employee of the German pharmaceutical company Grünental GmbH. Soon, Tramadol became the most prescribed central-acting mono-analgesic in the world. Since the inception of the drug, it has been administered to more than 70 million patients worldwide.

The volunteers who received the maximum dose of Tramadol and the cancer patients treated for a long time with this drug to relieve pain were tested for drug addiction using opioid antagonist naloxone. It is known that for heroin and other drug addicts, the injection of naloxone into the body immediately causes the development of a drug withdrawal syndrome (abstinence). The consequences included severe mental and physical symptoms: sharp psychomotor agitation, fear of death, panic, acute cramping abdominal pain, vomiting, chills, trembling, tachycardia, etc. During the experiment on people, (same as on animals), compared to the background of the long-term usage of Tramadol, naloxone did not cause the indicated symptoms, or their consequences were vague. They did not reach the syndrome of cancellation. The probability of psychical addiction to Tramadol is minimal; in the case of the above studies, the drug did not reveal a euphoric or dysphoric effect. It was discovered that for patients with opiate addiction, Tramadol, as a placebo, did not eliminate the subjective discomfort associated with withdrawal symptoms. It did not have a drug-substituting effect compared to other opioids such as promedol, butorphanol, nalbuphine buprenorphine.

Unlike other opioid agonists, Tramadol has a dual mechanism of action. It was discovered that the analgesia caused by Tramadol is not completely eliminated by the opioid antagonist naloxone. According to the mechanism of analgesic action, Tramadol is not completely identical to other opioid agonists.

The most crucial safety criterion for any opioid is the severity of its central depressive effect on respiration and blood circulation. Numerous studies have not established significant respiratory depression in postoperative patients under the influence of Tramadol in the range of therapeutic doses from 0.5 to 2 mg per 1 kg of body weight, even with an intravenous bolus. In contrast, morphine in a therapeutic dose of 0.14 mg/kg is statistically significant and significantly reduces the respiratory rate and increases the CO2 pressure in exhaled air. That is, in the recommended doses, Tramadol does not cause respiratory depression, but it is not clear either it is possible to exceed these doses. Tramadol does not have an inhibitory effect on blood circulation.

The affinity of Tramadol to opioid receptors is ten times weaker than that of codeine, and 6,000 times weaker than morphine. At the same time, the severity of the analgesic effect is only 5-10 times weaker than morphine.

The history of tramadol, a psychotropic opioid analgesic invented in 1962 by Dr. Kurt Flick.

TRAMADOL: A PSYCHOTROPIC OPIOID ANALGESIC INVENTED IN 1962 BY DR. KURT FLICK

Sequestered in an atelier in Milan’s Naviglio district, Austrian designer Carol Christian Poell continues his work as an extraordinary artist, emitting his messages of boldly unconventional and uncompromising design. Carol Christian Poell was born in Linz in 1966, the third-largest city of Austria. He was trained as a tailor in Vienna, preceding his academic work at the Domus Academy. From his home in Milan, Carol Christian Poell established the production and distribution company C.C.P. Srl with his partner Sergio Simone in 1996. There is a substance of quality and high energy, all the while completely silent…He doesn’t produce his collections seasonally and only shows to the public when he feels like it. Nonetheless, It is a specificity that only those who possess the subtlety to discern it, eagerly await the arrival of each a work of true craftsmanship and avant-garde . By wearable works of art, Poell’s designs are born, past the point of pleasure and satisfaction in each piece. His works include the use of unconventional materials as human hair, bodyplast, and blood-dyed leather. Additionally, each piece is tailored with outright precision, featuring supplementally unpredicted highlights that range from advanced metal chain stitching to perfectly mismatched zipper detailing. Master tailoring braced with untested use of textiles and a multi-sensory design aesthetic, place Poell’s works to surpass the pre-conceived limits of conventional design. The approach of Poell’s work shows no regret in defying fashion industry standards. It is the approach of a true reverse, not to increase its commercial productivity. There is, however, in the world of fashion, an innately reserved segment to continue to dismiss it, accepting the risk and preparing accordingly. CCP Srl is a starting point there. It is a defined nature of producing works to put new interpretations beyond what meets the eye and showing no regret. “Everybody follows fashion, But change goes against the stream.” – Carol Christian Poell

Everyone says that nowadays niche brands is the future of the fashion industry. Critics write that due to the pursuit of trends, the appearance of "third lines" and other factors, the boundaries between luxury brands began to blur, and the legends for which they stood for so long began to disappear. There is a crisis. However, the owners of those "very niche brands” are existing happily and do not think about fashion weeks, advertisements, and seasons. They present their clothes whenever and wherever they want to. They have just a few thousands of customers and create complex garments by hand or with the help of some like-minded persons. Designers such as Carol Christian Poell or Geoffrey B. Small have certainly formed their own selected audiences around themselves.

Carol Christian Poel is a great example of an artisanal brand that is indeed unique. Today, Poel works and lives in Milan. He created artisanal garments and shoes, mainly working with leather. He humiliates it whenever he can a chance to do it, literally buries leather under the ground, cooks it, dries, paints, and oxidizes. At first glance, garments come already old, worn, and dirty out of his hands, which, upon the slightest detailed examination, is fascinating. Those are not just garments, but complete installations coming out of a fairy tale.

Carol Christian Poel's shows are real art performances. For instance, in 2003, buyers were watching floating models that looked like drowned bodies from the banks of a canal in Milan. In 2008, the designer staged a show at the morgue, and the guests walked downs between trolleys with clothes laid on them.

Carol Christian Poell created artisanal garments and shoes, mainly working with leather. He humiliates it whenever he can a chance to do it.

CAROL CHRISTIAN POELL: A PERFORMER IN FASHION INDUSTRY

The Italian fashion house Gucci, a manufacturer of clothing, perfumes, accessories, and textiles, belongs to the French conglomerate Kering, which until June 2013 was called Pinault-Printemps-Redoute. Gucci is the second-largest fashion company after LVMH in terms of sales.

The Gucci fashion house was founded by Guccio Gucci (1881-1953) in Florence in 1904. In his youth, Guccio lived for some time in London, where he worked as a waiter at the Savoy Hotel. The leather bags and suitcases of the guests made such an impression on him that, returning to Florence, he decided to engage in saddlery and opened a workshop that was involved in the manufacture of saddles, riding boots, and suitcases. In 1938, Guccio opened his brand store in Rome. 1947 is the year of birth of the bag with bamboo handles. The fabric with a pattern of interwoven ribbons and suede loafers with metal fasteners first appeared in the 1950s, which later has become one of Gucci's signature pieces.

Under Guccio Gucci, the stability of the enterprise was strong; however, after his death, his children and grandchildren got involved in lengthy and costly property disputes. The most prominent lawyers of the country profited from those disagreements. Now the family is extremely ashamed of the manifestations of anger and revenge of their ancestors who accompanied these disputes.

After the death of Guccio in 1953, his business was transferred to his sons Aldo and Rodolfo, each of whom received a 50% stake in the company. Aldo then moved from Italy to the United States, where he was able to expand his business by opening stores in New York, London, and Paris, and then, in the late 1960s, in Hong Kong, Tokyo, and Seoul.

At this time, a modern company logo had appeared: the intertwined letters GG (the initials of Guccio Gucci), the silk Flora scarf, worn by Grace Kelly, and the 'Jackie O' bag with a handle over the shoulder which Jackie Kennedy has made famous.

Aldo Gucci expanded the interests of the company by entering into an agreement with American Motors: the 1972 Hornet Sportabout wagon was one of the first American cars to be produced in a special configuration created by a designer from the fashion world. The interior was covered in beige fabric with green and red stripes on it with Gucci logos, and the body color was specially selected in accordance with the designer's solution.

In 1977, Aldo appointed his son Paolo as vice president and general manager of Gucci Shops Inc and the American perfumery unit of Gucci Parfums. Thanks to the weakened management on the part of his brother, who lived in Italy, the main control over the perfumery department passed to his family. At the same time, Rodolfo retained a package of only 20% of the shares.

In 1978, Paolo, who wanted to modernize and expand the production, was suspended from work at the Italian unit, because Rodolfo wanted to keep the exclusive production of the hand-made quality, which led to an open conflict between his uncle and his nephew.

In the late 1970s, a series of incorrect business decisions and family quarrels almost led the company to bankruptcy. In 1979, Aldo, wanting to support the Gucci Parfums perfume line, launched the Gucci Accessories Collection line, which included small accessories such as cosmetic bags, pens, and lighters, which were much cheaper than the staple accessories manufactured by the company.

The products of the Gucci Accessories Collection line was more marketable than the expensive products of the company, and this fact was one of the main reasons for the decline. The demand for exclusive products fell, while many stores were flooded with cheap stuff from Gucci; the company's reputation had been undermined.

Gucci remained one of the premier luxury goods establishments in the world until the late 1970s when a series of disastrous business decisions and family quarrels brought the company to the verge of bankruptcy. 'In the 1960s and 1970s,' wrote Vanity Fair editor Graydon Carter, 'Gucci has been at the pinnacle of chic, thanks to icons such as Audrey Hepburn. But by the 1980s, Gucci had lost its appeal, becoming a tacky airport brand.'

In the early 1980s, Paolo Gucci wanted to produce products under his name. In order to win this right, he had to go to court. In response, Aldo dismissed his son from all his posts, after which Paolo informed the US Internal Revenue Service about the financial fraud of his father. As a result, in 1986, Aldo Gucci was convicted of using offshore companies to hide profits and tax evasion in the amount of $ 7 million. Aldo was sentenced to imprisonment for one year and one day (also, in 1994, Paolo spent five weeks in jail for non-payment of alimony, worth nearly half a million dollars to his former second wife Jenny Garwood for the support of their daughter Gemma).

In 1987, Paolo, according to some reports, sold his stake in Investcorp's family business for $41 million. At the same time, he announced a debt of $90 million. Trying to avoid bankruptcy and wanting to pay off the debt, a week before his death, he signed a plan for restructuring his own debts. His unexpected death caused a battle for the estate in the form of a manor and stables with purebred Arabian horses in Rasper, West Sussex (UK), estimated at 3 million pounds, between his second wife Jenny Garwood and the last wife, Penny Armstrong.

In 1983, after the death of Rodolfo, his share in the company passed to his son Maurizio Gucci, which resulted in another conflict between the two branches of the family.

Maurizio, along with Paolo, the son of Aldo, decided to increase his influence on the Board of Directors of the company and formed a department of Gucci Licensing in the Netherlands for this purpose. After the rest of the family had left the company, for the first time in many years, only one person was at the helm of Gucci. Maurizio ended the family odds that were tearing the company apart from the inside and decided to look for other talents for the future of Gucci.

The 1972 Hornet was one of the first American cars to be produced in a special configuration created by a designer.

In May 2019, Prada Group has announced that they did not see the FUTURE in natural fur products. Referring to the new policy of “innovation and SOCIAL RESPONSIBILITY”, Miuccia Prada pledged the brands, Prada and Miu Miu, starting with the spring-summer 2020 collections, to abandon natural fur.

In recent years, a significant number of luxury brands, including Burberry, Gucci, Chanel, 3.1 Phillip Lim, Coach, Diane Von Furstenberg, DKNY, Michael Kors, VERSACE and Giorgio Armani, have published statements that they stop using mink fur, fox, chinchillas, rabbits, and other animals. Some brands even abandoned the manufacture of expensive leather products from exotic animals and Angora.

Even the Queen of Great Britain supported a change of attitude towards fur: Buckingham Palace confirmed that all new clothes for Her Highness would be made only of faux fur.

The creation of the People for the Ethical Treatment of Animals (PETA) organization in 1980 sparked an early wave of activism, PETA tactics made a lot of noise even then: those who were not indifferent were protesting loudly at the venues that penetrated the show activists threw fake blood to designers and models, stellar proponents of the movement went public naked in support of the slogan BETTER NAKED THAN IN FURS. 

The hostility of the fashion industry to fur in recent years clearly indicates changes in the world: there is consumer demand for transparency and environmental sustainability of production.

Stella McCartney, whose brand has been following vegetarian policies since its founding in 2001, recently proposed an option that could be a step forward for anyone who cares about the environmental footprint of faux fur production.

Time will tell whether natural fur will disappear from circulation in the future or not. Today, the number of brands that have expressed a desire to rethink their attitude towards fur is growing every week. And only one thing is clear: the time for the conscious choice has come.

Fur has long served as a source of clothing for humans, including Neanderthals. Historically, it was worn for its insulating quality, with aesthetics becoming a factor over time. Pelts were worn in or out, depending on their characteristics and desired use. Today fur and trim used in garments may be dyed bright colors or to mimic exotic animal patterns, or shorn close like velvet. The term “a fur” may connote a coat, wrap, or shawl.

The manufacturing of fur clothing involves obtaining animal pelts where the hair is left on the animal’s processed skin. In contrast, making leather involves removing the hair from the hide or pelt and using only the skin.

Fur is also used to make felt. A common felt is made from beaver fur and is used in high-end cowboy hats.

Common fur-bearers used include fox, rabbit, mink, beaver, ermine, otter, sable, seal, coyote, chinchilla, raccoon, and possum.

The use of fur in CLOTHING has become controversial, but fur clothing is still a large market.

The hostility of the fashion industry to fur in recent years clearly indicates changes in the world:

WHY FASHION INDUSTRY FELL OUT OF LOVE WITH NATURAL FUR

Following the debut at Paris Fashion Week back in June 2019, Champion and Rick Owens are pleased to announce the official launch of their collaborative collection dropping in March.

Celebrating Champion’s rich heritage and Rick Owens’ signature aesthetic, the collection is formed for both men and women and offers a fresh twist on modern essentials.

The collection takes on a monochrome color palette across key products such as mesh shorts, oversized togas, and bodysuits, all carefully finished with a unique Champion logo. Highlighted with layering pieces such as lightweight hooded windbreakers and unlined trench coats, alongside unisex mesh vests and updates to Champion’s signature Reverse Weave sweats.

Timeless accessories include; slick bucket hats, caps, and headbands in variations of cool mesh and Nylon with monochrome colorways of Black and Pearl.

RICK – “WHEN I STARTED MY LABEL IN THE NINETIES, I HAND DREW MY LOGO AS A CROSS BETWEEN THE CHAMPION LOGO AND A JEAN PATOU PERFUME LABEL… THEY BOTH HAD A SIMILAR VINTAGE CALLIGRAPHIC FLAIR… I WASN’T CONSCIOUS OF IT THEN, BUT I SEE NOW HOW THAT BALANCE HAS DEFINED MY ONGOING AESTHETIC – A 1930S BLACK AND WHITE MOVIE VERSION OF BOTH AMERICAN UNIFORM UTILITY AND EUROPEAN GLAM… I REMEMBER MY OLDER, COOLER COUSINS WEARING CHAMPION SWEATSHIRTS AND SHORTS IN THE SEVENTIES, CEMENTING THAT LOGO IN MY BRAIN… WITH OUR COLLABORATION I HAVE TURNED CHAMPION’S CLASSICS INTO STRIPPED DOWN TOGAS, LOINCLOTHS, AND ROBES… CHAMPION KINDLY ACCEPTED DOING THEIR LOGO IN BLACK, WHITE, AND GREY, WHICH WE HAVE SPRINKLED LIBERALLY OVER A RANGE INCLUDING T-SHIRTS, SWEATS, DISTORTED HOODIES, AND WINDBREAKERS. SERENDIPITOUSLY, CHAMPION HAS A FACTORY IN ITALY 15KM FROM MINE ALLOWING US TO PRODUCE A FULLY MADE IN ITALY COLLECTION IN THE SAME REGION UNDER INCREASINGLY ENVIRONMENTALLY RESPONSIBLE CONDITIONS.”

The collection will launch in March. The full collection will be available to purchase at Champion stores, ChampionStore.com, Rick Owens Stores, and RickOwens.eu.

Champion’s distinct brand image, which dates back to 1919, is defined by American athletic heritage and a reputation for providing innovative and durable products. This is epitomized by the classic Reverse Weave sweatshirt that since its introduction in 1934 has helped to establish Champion globally as the definitive and original Sweatshirt Brand.

Rick Owens launched his eponymous label in Los Angeles in 1994, operating out of a raw storefront off Hollywood Boulevard. In 2003, Owens moved to Paris, setting up his home and atelier inside a historic five-story building that previously served as offices for former French president Franco̧is Mitterrand. His runway collections have been mounted in Paris since then. Diffusion collections that complement the original label for women and men include RICKOWENSLILIES and DRKSHDW. In July of 2005, he introduced a furniture collection using raw plywood, marble, and moose antlers, based on art deco and brutalist shapes. The furniture collection has since been shown at galleries and museums including the Musée d’art Moderne and Musee Pompidou in Paris and the Museum of Contemporary Art, Los

Angeles. Books Owens has authored include — L’ai-je Bien Descendu?, published in 2007, Rick Owens, published in 2011, Rick Owens Furniture, published in 2017, Subhuman, Inhuman, Superhuman published in 2018, Rick Owens Photographed by Danielle Levitt and Legaspi by Rick Owens published in 2019. He is the recipient of the CFDA Emerging Talent Award in 2002, the Cooper Hewitt National Design Award in 2007, the Fashion Group International Rule Breaker Award in 2007, the CFDA Lifetime Achievement Award in 2017, the CFDA Menswear Designer of the Year Award in 2019, and the Fashion Group International Superstar Award in 2019.

March 2020 sees the official launch of Champion’s collection with fashion powerhouse, Rick Owens. 

COLLECTION LAUNCH: CHAMPION X RICK OWENS SS20

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