San francisco bay area — Google's vision for wearable technology took another ambitious leap forward Thursday if your world's largest Google search company announced it truly is creating a smart contact.

 

The lens measures glucose in tears employing a wireless chip and miniaturized glucose sensor. While in a very early stage, Google hopes the technology may help people manage diabetes better.

 

The project would be the latest invention to emerge in the company's Google X unit, which works on long-term, risky new technology which will never become commercially successful but contains the possible ways to customize the way people are now living in drastic ways. The unit has recently produced self-driving cars and connected eyewear called Google Glass.

 

Google said it went public with the contact project at a beginning stage because it is seeking expert partners who could bring the technology to promote down the road.

 

Diabetes sufferers sometimes usually do not check their blood sugar levels regardly when they should because those checks tend to be disruptive or painful, such as pricking a finger to complete a blood test. Researchers have been in search of less intrusive methods to check glucose, through sweat, saliva, urine or tears.

 

It is extremely hard to measure glucose levels within the body with tears, partly due to there being almost no on the liquid available in fact it is hard to collect.

 

"We wondered if miniaturized electronics — think chips and sensors so small they appear like bits of glitter, and an antenna thinner over a real hair — could possibly be ways to crack the mystery of tear glucose and measure it with greater accuracy," Google said.

 

To create the contact, Google must design its own tiny chips and mount them on very thin, flexible, plastic-like film. The chip along with a sensor are embedded between two layers of soft lens material. A smaller pinhole inside the lens lets tear fluid on the top of the eye to seep in the glucose sensor. The prototypes may take a glucose level reading once every second, Google said.

 

The project's co-founders, Brian Otis and Babak Parviz, worked together in the University of Washington. Parviz joined Google X to function on the search engines Glass and Otis followed immediately after and started seeking to build a lens on your own.

 

Google said it has done "multiple studies" to find out the comfort and functionality from the lens and explore how tear glucose correlates with blood sugar, particularly in those that have diabetes. It is additionally dealing with the technology using the Food & Drug Administration.

If, as has been said, the movie customers are just like a giant tanker ship that can't jib using a dime, this year's Oscar nominations show an institution among making that sort of adjustment in direction, moving slowly but steadily on the past towards the future.

Imagine a world where celebrities from the pedigree of Robert Redford and Tom Hanks give two of the best performances with their careers but are rarely getting Oscar nominations. In contrast, imagine some sort of the spot that the stunning "Stories We Tell," Sarah Polley's ground-breaking documentary that mixes re-creations with reality, is snubbed. Or where Spike Jonze, director from the subversive "Her," can't obtain a nomination either.

You won't need to imagine those worlds. We're coping with each of them.

PHOTOS: Oscars 2014 snubs and surprises

The acting category is usually an example of that doesn't-quite changing in the guard. Four of the five nominees — Christian Bale ("American Hustle"), Leonardo DiCaprio ("Wolf of Wall Street"), Matthew McConaughey ("Dallas Buyers Club") and Chiwetel Ejiofor ("12 Years a Slave") — certainly are a generation younger than Hanks ("Captain Phillips") and Redford ("All Is Lost.)

But, as if to show that the past just isn't quite gone, the acting branch found room for the next member of that older generation, nominating Bruce Dern for his outstanding are employed in "Nebraska."                Toronto Asian Escort

Looking at Oscar nominations category by category, however, might be deceptive. Different branches have different memberships, leading to situations like Wong Kar Wai's stunning "The Grandmaster" being good enough to acquire nominations in cinematography and costume design but not being agreeable enough to obtain a best foreign language nomination. Go figure.

The obvious way to start to see the Academy's tendencies, however, is to look across all categories and examine a few films that got one of the most nominations. Everybody succeeded, maybe it's argued, simply because perfectly captured the present zeitgeist by being partially down the road and partially previously.

PHOTOS: Oscars 2014 nominee reactions                         Toronto Asian Escorts

David O. Russell's "American Hustle" topped the list with 10 nominations. Also, the film's outrageous situations and characterizations (and brilliantly off-the-cuff dialogue) are definitely not business as usual, but the film seems to bring everything at home for the satisfying and happily conventional conclusion.

Close behind with nine nominations each are "Gravity" and "12 Years a Slave," because both versions does that same balanced exercise a way.

With "Gravity," the split between future and past is biggest. The film's astonishing visuals will be the most forward-looking element in any one of this year's films, but "Gravity's" lost-in-space, desperate-for-home plot is, in broad outline, nothing if not recognizable.

Seeing this dynamic in "12 Years a Slave" is a bit more difficult, however it is there. On the other hand, provided that "Roots" changed the face area of television in the memory of people still living and "Django Unchained" won an Oscar a year ago, it is fair to mention that slavery can be a familiar topic. Nevertheless the unblinking, unsentimental way director Steve McQueen has chosen to present it on screen is unprecedented and also completely modern.

TIMELINE: The Academy Awards in recent times

Though this type of argument could possibly be made about virtually every film about the best picture list, the dynamic is a bit more visible in a few films than others. One example is:

"Dallas Buyers Club." The niche a few AIDS kept this feature in development hell for what have to have appeared like forever, but once it got made, "Dallas's" tendency heading to its points harder than necessary input it squarely in the old Hollywood camp.

"Wolf of Wall Street." Though he got going in the independent world and lives in Ny, we're not an even more old-school traditional studio filmmaker currently than Martin Scorsese, an issue that he shrewdly camouflages because of the increasingly sensationalistic nature of his work: Entertainment Weekly reported that film "breaks the record for almost all F-bombs within a movie with 506." My sympathies to the one who did the counting.

"Philomena." Judi Dench's wrenching performance like a woman needing to reconnect while using son she quit for adoption would have warmed one's heart of Louis B. Mayer. But having that son be gay and casting the Catholic Church within a villanous light would've given the earlier mogul fits.

It's interesting to remember that same split between then and after this can also be visible, albeit in different ways, from the language and documentary categories.

While two in the language nominees — "The Great Beauty" from Italy and "The Missing Picture" from Cambodia — are indisputably, even brilliantly, modern, the three — Belgium's "Broken Circle Breakdown," Denmark's "The Hunt" and Palestine's "Omar" — are traditional stories carried out an updated way.

In terms of the documentary nominations go, this year's picks underscore the tradition that films with political agendas have a very gain. Three from the five nominees — "The Act of Killing," "Dirty Wars" and "The Square" — fit that bill.

Given how resistant this branch is always to nonpolitical subject theme, possibly the wonder is not that "Stories We Tell" and Alan Berliner's exceptional "Cousin-german Once Removed" didn't increase the risk for cut but that "Cutie along with the Boxer" and "Twenty Feet From Stardom" did.

It goes without saying that films which can be too available are rarely getting Oscar nominations, but this year's nominations also established that you will be too conventional as well. "Saving Mr. Banks" got merely one nomination (for score), "The Butler" didn't get any, and the exceptional but under-publicized "The Invisible Woman" needed to accept one for costume design.

That has been one less than the nominations (for makeup and hair style and visual effects) any particular one of the year's biggest bombs, "The Lone Ranger," were pip. The Academy insists on-going its very own way, and you have to enjoy it with the.