Mountaineers take a selfie during a stop on a climb in South Korea.  Jeon Heon-Kyun / EPA
Mountaineers take a selfie during a stop on a climb in South Korea. Jeon Heon-Kyun / EPA

Are you suffering from selfie-itis?



From its interior to its exterior, from its function to its form, Louvre Abu Dhabi is awesome. I use that word in its most traditional sense: the museum inspires the emotion of awe, an intoxicating blend of wonder and amazement with a strong base note of reverence. I have known Louvre Abu Dhabi since it was an embryonic architect's model on display at Emirates Palace hotel. It was magical and medicinal to finally wander its labyrinthine halls, imbibing the hallowed heritage of humanity.

My only gripe – I feel it necessary to have at least one – was the incessant click of smartphones, snap, snap snapping away, greedily gobbling up everything on display. A picture might paint a thousand words, but the mindless mechanics of much smartphone photography robs the end product of any poetry. With so much beauty, fame and wonder on display the cameras were in paparazzi mode.

The growth in photography has risen exponentially in the past few years, in line with smartphone ownership. It is estimated that since 2010 the number of photos taken each year has tripled, and it is expected to reach the 1.3 trillion mark in 2017. Because of the way we now share our pictures on social media, it has become possible to quantify, with a fair degree of accuracy, which are the most photographed attractions in the world.

In 2016, based on data from a Google-powered photo-sharing app, the number one spot went to the Guggenheim museum in New York, followed by Trinita Dei Monti, a Renaissance-era church in Rome, while number three was Parc Guell in Barcelona. Judging by the snap-fest taking place at the iconic Louvre Abu Dhabi, it won't be long before it or one of its exhibits makes the most photographed list too.

Our obsession with photography and sharing our photos is not without consequence. The selfie, for example, is beginning to be discussed in psychiatric circles. For instance, psychiatrists at Thailand’s department of mental health issued a warning that those not getting enough positive feedback for their selfies often feel compelled to take and post more images, perhaps even increasingly risqué or shocking images. This cycle of seeking self-esteem boosts by posting selfies is ultimately viewed as having negative consequences for mental health, primarily when the expected level of positive feedback is not achieved.

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It is also worth considering that the selfie is not always a decontextualised headshot. Very often it is an attempt to capture a special moment and generate evidence of one's involvement – "this is me in front of Salvator Mundi at Louvre Abu Dhabi". Ironically, however, there is emerging evidence that this snap-happy attitude may be degrading our memories of magic moments.

"Photo-taking impairment effect" is a condition described by Dr Linda Henkel, a cognitive psychologist at Fairfield University, Connecticut. In an article published in the journal Psychological Science, Dr Henkel describes an experiment where one group of students were asked to photograph exhibits at the Bellarmine Museum of Art, while another group browsed the displays, eyes-only. When tested the following day, the eyes-only students were far better at recognising items from the museum's exhibit. Dr Henkel suggests that when we photograph objects it is often a somewhat mindless activity, and consequently the memory doesn't hold.

In our attempts to capture magic moments, we may be losing them. But who needs memory, when you can just review the images? Of the estimated 1.3 trillion pictures taken this year, how many of them will ever be seriously looked at again? Furthermore, the poor organisation and sheer volume of the digital images some of us amass makes reviewing them a daunting task, especially when we are preoccupied capturing new images.

Would it be too much of a progressive or radical step to ban selfies and photography in certain public spaces? I don't think so.

Greatest of All Time
Starring: Vijay, Sneha, Prashanth, Prabhu Deva, Mohan
Director: Venkat Prabhu
Rating: 2/5
Start-up hopes to end Japan's love affair with cash

Across most of Asia, people pay for taxi rides, restaurant meals and merchandise with smartphone-readable barcodes — except in Japan, where cash still rules. Now, as the country’s biggest web companies race to dominate the payments market, one Tokyo-based startup says it has a fighting chance to win with its QR app.

Origami had a head start when it introduced a QR-code payment service in late 2015 and has since signed up fast-food chain KFC, Tokyo’s largest cab company Nihon Kotsu and convenience store operator Lawson. The company raised $66 million in September to expand nationwide and plans to more than double its staff of about 100 employees, says founder Yoshiki Yasui.

Origami is betting that stores, which until now relied on direct mail and email newsletters, will pay for the ability to reach customers on their smartphones. For example, a hair salon using Origami’s payment app would be able to send a message to past customers with a coupon for their next haircut.

Quick Response codes, the dotted squares that can be read by smartphone cameras, were invented in the 1990s by a unit of Toyota Motor to track automotive parts. But when the Japanese pioneered digital payments almost two decades ago with contactless cards for train fares, they chose the so-called near-field communications technology. The high cost of rolling out NFC payments, convenient ATMs and a culture where lost wallets are often returned have all been cited as reasons why cash remains king in the archipelago. In China, however, QR codes dominate.

Cashless payments, which includes credit cards, accounted for just 20 per cent of total consumer spending in Japan during 2016, compared with 60 per cent in China and 89 per cent in South Korea, according to a report by the Bank of Japan.

Arrogate's winning run

1. Maiden Special Weight, Santa Anita Park, June 5, 2016

2. Allowance Optional Claiming, Santa Anita Park, June 24, 2016

3. Allowance Optional Claiming, Del Mar, August 4, 2016

4. Travers Stakes, Saratoga, August 27, 2016

5. Breeders' Cup Classic, Santa Anita Park, November 5, 2016

6. Pegasus World Cup, Gulfstream Park, January 28, 2017

7. Dubai World Cup, Meydan Racecourse, March 25, 2017

How to protect yourself when air quality drops

Install an air filter in your home.

Close your windows and turn on the AC.

Shower or bath after being outside.

Wear a face mask.

Stay indoors when conditions are particularly poor.

If driving, turn your engine off when stationary.

The Buckingham Murders

Starring: Kareena Kapoor Khan, Ash Tandon, Prabhleen Sandhu

Director: Hansal Mehta

Rating: 4 / 5

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Why it pays to compare

A comparison of sending Dh20,000 from the UAE using two different routes at the same time - the first direct from a UAE bank to a bank in Germany, and the second from the same UAE bank via an online platform to Germany - found key differences in cost and speed. The transfers were both initiated on January 30.

Route 1: bank transfer

The UAE bank charged Dh152.25 for the Dh20,000 transfer. On top of that, their exchange rate margin added a difference of around Dh415, compared with the mid-market rate.

Total cost: Dh567.25 - around 2.9 per cent of the total amount

Total received: €4,670.30 

Route 2: online platform

The UAE bank’s charge for sending Dh20,000 to a UK dirham-denominated account was Dh2.10. The exchange rate margin cost was Dh60, plus a Dh12 fee.

Total cost: Dh74.10, around 0.4 per cent of the transaction

Total received: €4,756

The UAE bank transfer was far quicker – around two to three working days, while the online platform took around four to five days, but was considerably cheaper. In the online platform transfer, the funds were also exposed to currency risk during the period it took for them to arrive.

The Penguin

Starring: Colin Farrell, Cristin Milioti, Rhenzy Feliz

Creator: Lauren LeFranc

Rating: 4/5

BEETLEJUICE BEETLEJUICE

Starring: Winona Ryder, Michael Keaton, Jenny Ortega

Director: Tim Burton

Rating: 3/5

The specs
Engine: 77.4kW all-wheel-drive dual motor
Power: 320bhp
Torque: 605Nm
Transmission: Single-speed automatic
Price: From Dh219,000
On sale: Now
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The specs

Engine: 1.5-litre turbo

Power: 181hp

Torque: 230Nm

Transmission: 6-speed automatic

Starting price: Dh79,000

On sale: Now

Safety 'top priority' for rival hyperloop company

The chief operating officer of Hyperloop Transportation Technologies, Andres de Leon, said his company's hyperloop technology is “ready” and safe.

He said the company prioritised safety throughout its development and, last year, Munich Re, one of the world's largest reinsurance companies, announced it was ready to insure their technology.

“Our levitation, propulsion, and vacuum technology have all been developed [...] over several decades and have been deployed and tested at full scale,” he said in a statement to The National.

“Only once the system has been certified and approved will it move people,” he said.

HyperloopTT has begun designing and engineering processes for its Abu Dhabi projects and hopes to break ground soon. 

With no delivery date yet announced, Mr de Leon said timelines had to be considered carefully, as government approval, permits, and regulations could create necessary delays.

The specs
Engine: Long-range single or dual motor with 200kW or 400kW battery
Power: 268bhp / 536bhp
Torque: 343Nm / 686Nm
Transmission: Single-speed automatic
Max touring range: 620km / 590km
Price: From Dh250,000 (estimated)
On sale: Later this year
EXPATS
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The specs

Engine: 3.5-litre V6

Power: 272hp at 6,400rpm

Torque: 331Nm from 5,000rpm

Transmission: 8-speed auto

Fuel consumption: 9.7L/100km

On sale: now

Price: Dh149,000

 

COMPANY PROFILE
Name: ARDH Collective
Based: Dubai
Founders: Alhaan Ahmed, Alyina Ahmed and Maximo Tettamanzi
Sector: Sustainability
Total funding: Self funded
Number of employees: 4