Human cross-sectional slices, International Museum of Surgical Science, Chicago.
Please tell me I’m not the only one who thought this looked like a really weird strudel???
We always called him salami guy. And a kid on a field trip stole a piece…
Everly Dark from Bristol has always been fascinated with birds and their ability to defy gravity. From a young age Everly envied this magic and constantly found herself staring up to the unattainable sky. In her painting included in this exhibition she has been influenced by her fascination and frustration by our earthly restrictions, incapable of experiencing that freedom that only birds can know. This is a metamorphosis of that inner longing escaping its confinement of the human shell.
Everly Dark is one of the artists showing in our CONTEMPORARY PAINTING exhibition opening tonight at The Brick Lane Gallery. The CONTEMPORARY PAINTING exhibition programme is open to all artists from all over the world. To take part in any future exhibitions please contact email@example.com
(via darksilenceinsuburbia)Source: everlydark.com
A quick look at some of the wondrous work in robotics done by Festo.
German engineering firm Festo is creating a robot army. Sounds scary, right? But there’s no need to fear a “Skynet”-type apocalypse quite yet, because these robots want to do good by making laborious tasks easier in the factories of the future. And they’re using nature as their inspiration.
Festo summarizes the motivation behind their research on their website: “Gripping, moving, controlling and measuring – nature performs all of these tasks instinctively, easily and efficiently. What could be more logical than to examine these natural phenomena and learn from them?”
*Always re-blog indescribable Festo inflatables
“Every city is simultaneously a seedbed of novelty and a hothouse of nostalgia, and modern New York presents a daily dialectic of progress and loss. As Colson Whitehead notes in “The Colossus of New York,” you become a New Yorker — or perhaps a true resident of any place, whether you were born there or not — when you register the disappearance of a familiar spot. “You swallow hard when you discover that the old coffee shop is now a chain pharmacy, that the place where you first kissed so-and-so is now a discount electronics retailer, that where you bought this very jacket is now rubble behind a blue plywood fence and a future office building. Damage has been done to your city.” But this subjective landscape of memory and desire is built on an infrastructure of social and economic reality, on the concrete facts of race and class that Mr. Lee insisted on pointing out.
New Yorkers, like most Americans — white, upper-middle-class Americans in particular — prefer to address such matters through an elaborate lexicon of euphemism and code, speaking of “good schools,” “sketchy” blocks and “improvements” in the retail and culinary amenities. National politics has a tendency to revert, in the age of Obama, to the shadow language of white supremacy, with its rhetoric of laziness, dependency and cultural pathology. The word “class” is uttered sanctimoniously when preceded by “middle” and scoldingly when followed by “war” but is more often swallowed up in numbers and abstractions. We’d much rather talk about the 1 percent or the 47 percent, inequality or envy, diversity or opportunity than about labor, wealth and power. But maybe Brooklyn is a place to start, and perhaps culture, rather than politics, is a more fruitful area of investigation. The name of New York’s most populous borough does not signify what it used to, and embedded in that change of meaning are some clues about the current state of our old friends the cultural contradictions of capitalism.
The new Brooklyn is easily mocked — and almost as easily embraced — as a utopia of beards, tattoos, fixed-gear bikes and do-it-yourself commerce. Everyone is busy knitting, raising chickens, distilling whiskey, making art and displaying the fruits of this activity in pop-up galleries and boutiques, farm-to-table kitchens and temples of mixology. “Brooklyn” might as well be a synonym for the Portland of “Portlandia,” or for the sweet, silly, self-important, stuff-white-people-like Gestalt that television series has come to represent. Its ethic is both countercultural and entrepreneurial, offering an aesthetic of radicalism without the difficult commitment of radical politics. The tension built into the “Brooklyn” brand is that it’s both a local, artisanal, communal protest against the homogenizing forces of corporate culture and a new way of being bourgeois, and as such participating in the destruction of non-middle-class social space. Its rebellious energies are focused largely on restaurants, retail and real estate.
Not everyone in Brooklyn has a chin-strap beard or a sleeve tattoo or a home bacon-curing operation, of course, but with remarkable speed this image of a county of 2.5 million people has become a global brand. And it has almost entirely displaced an older Brooklyn, whose image was once almost as pervasive.”