killerbeesting:

Edouard Thayer Monroe, Harriet Hoctor, 1920

tacanderson:

MIT’s electric Cheetah robot silently bounds across campus

Sure, these robots are cute now, but MIT is going to be the end of us all. They say right in the video that they are excited about making silent powerful robots! 0_o WTF? These guys are crazy. What practical application do we have for silent, powerful robots? Oh, that’s right, just ask DARPA. 

(via emergentfutures)

mostlysignssomeportents:

image

I’m not able to figure out where, exactly, this sumi-e ink-wash-style painting of the Alien originates, but it’s something else. The garbled machine translation of this Chinese article seems like a promising lead, but I can’t make heads nor tails of it.

Read more…

(via kadrey)

iamjapanese:

Dirk Van Gelder(Dutch, 1907-1990)
Sunflower(Zonnenblem)  1925
Lithograph

warrenellis:

Android security mystery - ‘fake’ cellphone towers found in U.S.

"Seventeen mysterious cellphone towers have been found in America which look like ordinary towers, and can only be identified by a heavily customized handset built for Android security – but have a much more malicious purpose, according to Popular Science."
therednative:

Man Ray: Lingerie, 1931.
"In that largely Muslim part of the world, the U.S. left a grim record that we in this country generally tend to discount or forget when we decry the barbarism of others. We are now focused in horror on ISIS’s video of the murder of journalist James Foley, a propaganda document clearly designed to drive Washington over the edge and into more active opposition to that group. We, however, ignore the virtual library of videos and other imagery the U.S. generated, images widely viewed (or heard about and discussed) with no less horror in the Muslim world than ISIS’s imagery is in ours. As a start, there were the infamous “screen saver” images straight out of the Marquis de Sade from Abu Ghraib prison. There, Americans tortured and abused Iraqi prisoners, while creating their own iconic version of crucifixion imagery. Then there were the videos that no one (other than insiders) saw, but that everyone heard about. These, the CIA took of the repeated torture and abuse of al-Qaeda suspects in its “black sites.” In 2005, they were destroyed by an official of that agency, lest they be screened in an American court someday. There was also the Apache helicopter video released by WikiLeaks in which American pilots gunned down Iraqi civilians on the streets of Baghdad (including two Reuters correspondents), while on the sound track the crew are heard wisecracking. There was the video of U.S. troops urinating on the bodies of dead Taliban fighters in Afghanistan. There were the trophy photos of body parts brought home by U.S. soldiers. There were the snuff filmsof the victims of Washington’s drone assassination campaigns in the tribal backlands of the planet (or “bug splat,” as the drone pilots came to call the dead from those attacks) and similar footage from helicopter gunships. There was the bin Laden snuff film video from the raid on Abbottabad, Pakistan, of which President Obama reportedly watched a live feed. And that’s only to begin to account for some of the imagery produced by the U.S. since September 2001 from its various adventures in the Greater Middle East."

aleskot:

"How the US made ISIS"

"What remains of the radical left now operates largely outside of any institutional or organized oppositional channels, in the hope that small-scale actions and local activism can ultimately add up to some kind of satisfactory macro alternative. This left, which strangely echoes a libertarian and even neoliberal ethic of anti-statism, is nurtured intellectually by thinkers such as Michel Foucault and all those who have reassembled postmodern fragmentations under the banner of a largely incomprehensible post-structuralism that favors identity politics and eschews class analysis. Autonomist, anarchist and localist perspectives are everywhere in evidence. But to the degree that this left seeks to change the world without taking power, so an increasingly consolidated capitalist class remains unchallenged in its ability to dominate the world without constraint."

— David Harvey, Seventeen Contradictions and the End of Capitalism (via apoliticalnonsense)

(via mizoguchi)

» Escaping the Cities of Drowned Ghosts

warrenellis:

"Here’s what you get when you combine the two. Most ’Ghost Cities’ (growth cities), are in areas positioned to become coastal."

retrogasm:

R.I.P. Lauren Bacall
"

Many of us cannot help looking because of what Susan Sontag has called “the perennial seductiveness of war.” It is a kind of rubbernecking, staring at the bloody aftermath of something that is not an act of God but of man. The effect, as Ms. Sontag pointed out in an essay in The New Yorker in 2002, is anything but certain.

“Making suffering loom larger, by globalizing it, may spur people to feel they ought to ‘care’ more,” she wrote. “It also invites them to feel that the sufferings and misfortunes are too vast, too irrevocable, too epic to be much changed by any local, political intervention.”

So now that war comes to us in real time, do we feel helpless or empowered? Do we care more, or will the ubiquity of images and information desensitize us to the point where human suffering loses meaning when it is part of a scroll that includes a video of your niece twerking? Oh, we say as our index finger navigates to the next item, another one of those.

As war becomes a more remote, mechanized activity, posts and images from the target area have significant value. When a trigger gets pulled or bombs explode, real people are often on the wrong end of it. And bearing witness to the consequences gives meaning to what we see.

"

At Front Lines, Bearing Witness in Real Time - NYTimes.com (via new-aesthetic)

(via new-aesthetic)

aleskot:

Adam Curtis: NO FUTURE

trigonometry-is-my-bitch:

Scientists from MIT Developed a Trillion frames per second slow motion camera that can show light moving through a bottle. Ramesh Raskar presents femto-photography - For comparison, the imaging of a bullet captured at this many frames per second would last a year as explained in thepresentation by Professor Ramesh Raskar of MIT.
[video]
^ what you have witnessed above is light travelling in slow motion.
criminalwisdom:

ShotAttention Span News- Tom Tomorrow