Battery-Free Implantable Neural Sensor

Image from Brian Otis, University of Washington

Low Power Neural Amplifier

“…engineers at Brown University have now developed an implantable neural sensing chip that is powered via a radio source that can be up to a meter away…”

Read the rest of the article at Technology Review here. Found via NextNature.net.

Balthazar Holz

Balthazar Holz

There is an incredible set of drawings of the decay of a stable form on Woods’s blog are purportedly by a “Balthazar Holz”… The statements and drawings are incredible and must be looked at.

Click here or on the image above.

Holz apparently believed that the act of designing is no more than the beginning of a process of formation and reformation, that is, trans-formation, that continues far beyond the architect’s domain of intention and control…

…I think Holz actually believes that architects are absolutely important as initiators of a transformative process.  Designing, in effect, sets rules by which all future transformation is perceived and handled. He is, it seems, demanding more of architects than most presently give—namely, that they factor into their designs the subtle and variable impact on architectural form of the unpredictable and the unknown.

-Lebbeus Woods

Christina McPhee

Christina McPhee

Her drawings are incredible, her process seems really unique, and she also explores specific sites using many different media.

Very cool stuff.

Modeselektor – Debouttoner

Something Solid Beneath the Surface of All Creatures Great and Small

Image from http://www.artnet.com/Magazine/news/laplaca/laplaca10-21-4.asp - used under fair use - all images and works the property of their respective owners

Something Solid Beneath the Surface of All Creatures Great and Small - Damien Hirst - 1991

I have very little tolerance for Damien Hirst. But after I saw some of his vitrine works in Los Angeles, I at least understood their value. This is of course, the most uncharacteristically coherent and artfully done of them all.

There is something loving in the reverence shown to these skeletons. And formally, the skeletons are very aesthetically beautiful objects.

But the are not just beautiful objects, caringly displayed. What makes this piece moving is that they are in dialogue with a number of other factors.

The skeletons are posed in slight tension, not so much to imply action – just some minor degree off from natural repose. Their presentation is incredibly antiseptic, with the pristine glass of the vitrine, the whiteness of the bones, and the slight mirroring of the glass.

When you look through the case at multiple skeletons, there is something (harkening back to Burke’s concept) sublime about the overlay of the remains of these lives.

Bridging the gap between a dispassionate and clinical scientific display and a tribute, the overall effect of this nuanced enough to be a bit shocking, a bit beautiful, and very affective.

The logic of the grouping is also part of the piece: they are typologically the same, yet the morphologic differences are in incredible contrast. The dialog between the skeleton of the tiniest bird and that of a bull ram or howling chimpanzee is breathtaking.

It is somehow both a cabinet of curiosities and a memento mori.

Using this “drawing together” to create a dialog of meaning is a very effective idea.

An Oak Tree

All images and works copyright of their respective owners

An Oak Tree - Michael Craig-Martin - 1973

Q. To begin with, could you describe this work?

A. Yes, of course. What I’ve done is change a glass of water into a full-grown oak tree without altering the accidents of the glass of water.

Q. The accidents?

A. Yes. The colour, feel, weight, size …

Q. Do you mean that the glass of water is a symbol of an oak tree?

A. No. It’s not a symbol. I’ve changed the physical substance of the glass of water into that of an oak tree.

Q. It looks like a glass of water.

A. Of course it does. I didn’t change its appearance. But it’s not a glass of water, it’s an oak tree.

Text by the artist continues here

[All works and images thereof belong to their respective copyright holders – shown for inspiration on, and relevance to my current work only]

Ceremonial – Live Performance