Kate Clark is a sculptor who lives and works in Brooklyn, NY. Her sculptures synthesize the human face and the body of wild animals, exploring the overlap that exists across our cultures, and within our histories.
Kate had her first solo exhibit at Claire Oliver Gallery in New York in 2008. Since then she has been included in solo and group museum exhibitions at the Aldrich Museum of Contemporary Art, The Islip Art Museum, and The Bellevue Arts Museum, the Mobile Museum of Art, MOFA: Florida State University, Cranbrook Art Museum, Frist Center for the Visual Arts, The Winnepeg Art Gallery, the Glenbow Museum, the Musée de la Halle Saint Pierre, Paris, The Art Gallery at Cleveland State University, and the Hudson Valley Center for Contemporary Art. She is currently working on a commissioned sculpture for the Nevada Museum of Art.
Her work is collected internationally and is in public collections such as the JP Morgan Chase Art Collection, the 21c Collection, the David Roberts Art Foundation in London, and the C-Collection in Switzerland. Clark attended Cornell University for her BFA and Cranbrook Academy of Art for her MFA and has been awarded fellowships from the Jentel Artists Residency in Wyoming, The Fine Arts Work Center Residency in Provincetown, MA., and the Marie Walsh Sharpe Studio Program in New York. Clark was nominated for a Louis Comfort Tiffany Award and an American Academy of Arts and Letters award. Clark was awarded a grant from The Virginia Groot Foundation in 2013 and a New York Foundation For the Arts (NYFA) Fellowship Award in 2014.
Clark’s sculptures have been featured in the Wall Street Journal, New York Times, New York Magazine, Art21:Blog, The Village Voice, PAPERmag, The Atlantic, NYArts, Huffington Post, Hi Fructose, the BBC World News Brazil, Hey! Magazine, Time Out, ID Paris, Cool Hunting, Wallpaper, and many other publications. Kate’s work is the cover image for art ltd. magazine, November/December 2014.
When encountering my sculptures, the viewer is faced with a lifelike fusion of human and animal that investigates which characteristics separate us within the animal kingdom, and more importantly, which unite us. The sculptures visually, emotionally and intellectually explore this overlap that exists across cultures, along histories, and within societies.
Our current lifestyle does not necessitate physical interaction with wild animals. Yet we revere the natural world and are seduced by characteristics we no longer see in ourselves, such as fierceness, instinctiveness, purity. I work with hide to create traditionally mounted animal bodies, utilizing the impetus for taxidermy: our endless curiosity to see animals, and our desire to celebrate their unique features.
The unexpectedness of the human face on these animals also evokes curiosity. They are obviously reconstructed yet they are not monstrous, they are approachable, natural, calm, innocent, dignified. The facial features are believable and the skin, which is the animal’s skin, has been shaved to reveal porous and oily features that we recognize as our own. The viewer has an intimate relationship with the face and then identifies with the animal, acknowledging the animalistic inheritance within the human condition.
View more of her work here.
From My Modern Met:
Indonesian artist Ghidaq al-Nizar (aka @coffeetopia) began as a latte artist, but has taken his craft to another level by deconstructing frothy brews and utilizing their most basic component—coffee—as his medium of choice. Al-Nizar takes the steamy, soothing drink out of the cup and artistically applies it to an equally unconventional canvas—a leaf. The result is a series of sepia-toned scenes featuring a beautiful blend of nature and the pigmented, earthy, grainy remnants of a cup of coffee.
Despite the additional effort put in to create each piece, al-Nizar explains why he opts for coffee over traditional paints: “I love intimacy. I feel it with coffee and It’s fun to have fun with something you love. So I can’t find any better medium to celebrate my feelings. Artists have to feel when they do something, and I think it applies for everyone. I have tried to paint using other media but [I didn’t have any feelings for them]. If you can’t feel it, you will leave it.” Despite his unusual materials, al-Nizar still uses a paintbrush to leave his figurative impressions on each leaf.
Spanish street artist Pejac both praises and criticizes elements of various Asian cultures in a new series of outdoor paintings making use of iconic traditional imagery and symbols. Human figures are represented as mere silhouettes, allowing reproductions of The Great Wave off Kanagawa or three-dimensional elements like bonsai trees to take center stage in each work.
The works may say just as much about how a foreign artist perceives the culture of cities like Tokyo, Seoul and Hong Kong as they do about the places themselves. Pejac makes use of some of the most common symbols that outsiders associate with Asian cultures and traditions, like a Chinese dragon beside a heart-shaped scorch mark.
A piece entitled ‘Seppuki’ in Tokyo depicts what looks like the silhouette of a samurai doubled over as if mortally wounded, impaled by a cherry tree branch instead of a sword. “I couldn’t help but make this sort of tribute as a manner of thank you to the Japanese culture for the inspiration that drove me to create in the first place.”
A three-dimensional installation of shark fins sticking out of the pavement in Tokyo is a tad harsher in its appraisal, with human bite marks taken from each one. Pejac makes use of “classic anime aesthetics” to calla attention to the environmental impact of shark fin soup, which is popular in Japan.
Shuffling through ancient paint chips, dead leaves and empty bottles in an abandoned and dilapidated building, you turn a corner and register a human figure emerging from the darkness in a haze of flesh tones and pale fabric. It might take a moment to realize that it’s not a real person, but rather a painting in the style of the old masters, rendered right there on the gritty wall like an heirloom left behind when the place was vacated.
Working under an assumed name, Belfast artist Ted Pim has spent the last ten years traveling the world, creating these eerie works inside abandoned buildings. He spends days alone completing each work armed with no more than his paints, industrial torches and a camera.
Aside from anyone who might have stumbled upon them unknowingly, no one has seen these works prior to Pim publishing the photos on his website and on Instagram in June 2015. The artist documented each painting and kept the images in a folder all these years. Private collectors in London and New York City recently purchased all of his completed works on canvas, and more are coming in winter 2015.
“I was drawn to abandoned buildings as I liked the contrast of painting detailed, Baroque-inspired pieces inside dark, neglected structures,” Pim tells WebUrbanist. “These buildings provided me with the perfect atmosphere to create my pieces, with the end result often reflecting my surroundings- haunting, dark figures.”
“The paintings usually take a few days, and I never return to the building. All my images were taken on an old analog camera and printed and scanned (the reason for fingerprints on some of the images.)”
Unlike other street artists, Buff Diss’s medium of choice for decorating crumbling walls, the sides of old buildings, and asphalt roads with eye-popping art is masking tape. Treating the city as his canvas, the Australian artist creates strikingly unique street illustrations ranging in subject matter—from mythical figures, to geometric patterns, to giant hands reaching out for passersby. Strips of tape become nearly unrecognizable as Diss shapes them into wonderfully complex lines varying in thickness and curve.
Hard to believe that a gigantic in situ installation made out of thousands of poplar sticks was built from scratch. Yet, that is the work process of Ben Butler. He started to play with the sticks and came up, as he kept going, with the abstract shape of his piece. Exploration is what guided the artist to assemble the rigid squared voids among the organic impulsive sculpture.
He compares it to hiking in the forest and to realize that nature doesn’t adapt to the human scale. There is no limitation. Through this process we, humans, discover forms and need to engage in order to interact and build meaning. The voids created within the sculpture needs to be filled to complete the work. That is the dialogue Ben Butler wants to encourage between the piece and the viewer, let him make his own discoveries and introspections.
“The art shouldn’t be about art, you bring your owns ideas to it”. Ben Butler is not concerned by fhe final result. It doesn’t matter if it has nothing to do with his starting vision, his process of creation never follows the initial impulse. However, he is comforted by repetitive patterns and rigid parameters. He plays with methodology, in one direction and once the threshold has been reached it’s where a new characteristic emerges and enters an abstract zone that has nothing to do with the original components.
Ben Butler’s “Unbounded” installation is now showing at the Rice University Gallery in Houston, Texas until August 2015. When the exhibition is over, the 10,000 sticks will be disassembled and the sculpture will no longer exist as it was set up in the gallery. (via Design Boom)
See more photos here.
Do these fleshy works of art manipulating human body parts into unnatural shapes make you uncomfortable? That’s probably just what the artist was going for. It’s difficult for us, as humans, to look upon images of our own flesh with emotional detachment, seeing it as we would the meat of other animals, or even as an organic medium for art and architecture. Don’t worry – most of these are not made of actual humans, but rather silicone, polymer clay and wax. Read on for a tent modeled on human intestines, a pillow made of human skin and the world’s grossest pair of stiletto heels.
Jonathan Payne calls these deeply repulsive sculptures ‘FLESHLETTES,’ and that name says a lot. They’re basically lumps of human viscera, teeth, eyes and hair put together into little miniature packages. You probably never wanted to see a nipple with teeth, but here one is, nonetheless.
A tent made of flesh, a giant lump of what looks like human fat serenely overlooking a cliff, and a series of disgusting handbags are among the organic works of Swiss artist Andrea Hasler, who aims to humanize objects with ‘emotional surfaces.’ The tent was modeled upon human intestines and is made of polystyrene and wax as well as leather and real blood.
Romanian artist Felix Deac creates amorphous blobs of flesh replete with veins, moles, wrinkles and hair. While some might look like deformed human body parts, most are just abstract shapes reminiscent of nightmarish tumors that have taken on a life of their own.
Patricia Piccinini’s work is so shockingly realistic, photographs of it are often passed around the internet as clickbait, with people wondering ‘what the heck am I looking at?’ The controversial Australian artist creates sculptures of fantastical creatures with extremely human-like skin and hair.
At $18,000, this has to be the most beautiful (and expensive!) music box I’ve ever seen.
MusicMachine 3 is inspired by Star Wars’ legendary imperial TIE fighters. These lattice-like vertical wings support and protect the dual music cylinders, each playing three melodies: the theme tunes from Star Wars, Mission Impossible, and James Bond on the right and The Godfather, Merry Christmas Mr. Lawrence, and The Persuaders on the left. The music is powered by two independent movements mounted on the two tail sections. The side wings play a vital role in propagating sound vibrations down from the combs to the naturally amplifying resonant base, manufactured by JMC Lutherie.
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When Ryan Palser is not working at Boss Key Productions as a senior animator, he’s usually busy building robots and replicas in his studio. Since fallout 4 will be released later this year, I thought you guys would appreciate seeing Ryan’s amazing plasma gun replica.
Here is the final product of months of work. I am beyond happy with the way it all came together in the end. I have to give major props to my painter wife Dena for really helping me take this gun to the next level with the amazing weathering job.
The post This Kickass Fallout A3-21 Plasma Gun is Perfect to Help You Survive the Wasteland! appeared first on Geeks are Sexy Technology News.
"QUANTUM SHOT" #534(rev) |
Link - article by M. Christian and A. Abrams
Metal Body Suits vs. Weapons of Medieval Destruction
Back in the good old days -- which everyone pretty much agrees were pretty damned rotten -- what you wore was a matter of life and death: simple rotting cloth was common, leather was rare, but for the gentleman of standing, it was armor or nothing.
Armet of Henry VIII known as the Horned helmet. Innsbruck, Austria, 1511–14, via
The first appearance of armor is a matter of much debate. Some say forged metal is key, in which case the toga-wearing crowd would be the first. Others insist that even wood worn as protection could count, in which case you'd have to go as far back as the sticks and stones brigade. But most everyone agrees that back in those rotten times, when men were knights and women were damsels in distress, armor was at its height.
Another weird helmet mask armor, from Augsburg, Germany, 1515, via
The variety of shapes and styles of medieval helmets is worth an article in its own right:
(images via 1, 2)
Armor or Nothing
The first armors were life-and-death simple: crudely formed metal plates designed to keep spears and swords out and the knight inside them safe. But as weapons got more sophisticated during this Middle Ages arms race, smiths had to keep up, making their suits stronger, lighter, and more flexible until they'd reached the pinnacle of defense as well as offense. (Check out William Hurt's Age of Armor site, where you can order some hand-made armor suit replicas)
One of their brilliant innovations was perfecting mail ... and, no, I'm not talking about the 'rain nor sleet' variety. Rumored to have been first created by the Celts many centuries before, it was a process that worked its way up through the ages until it reached armorers who took the basic idea to new heights. The idea is astoundingly counter-intuitive: instead of making your armor out of slabs of sturdy and very protective metal, why not make it out of thousands and thousands and thousands of carefully connected rings? It worked remarkably well: light as well as strong, it gave the wearer flexibility -- often the key factor between leaving a battle on horseback or on a stretcher. When plate armor was added to mail the result was the classic -- and devastating -- armor of the Middle Ages.
The Middle Ages Arms Race
It's hard to imagine now, but for a long time a knight on horseback was the terror weapon of the age: galloping into battle on monstrous war horses, often also well-armored, they were as terrifying as they were indestructible. Nothing could touch them but they, with sword and lance, could pretty much take on anything and anyone -- except for maybe another knight.
This is a fantasy knight (drawn by a wonderful Tolkien-illustrator John Howe), evoking heroic and victorious times:
(art courtesy John Howe)
Learn the terminology: Bevor? Cuisse? -
The Fancy Behemoths
As battle became more and more ritualized -- leading up to jousting, which we all know and love from the movies -- these metallic behemoths became less utilitarian tanks and more statements of rank and wealth. Only the rich or the nobility could afford armor, but only a really rich man or very wealthy Baron, Duke, Prince, or King could afford a fancy set.
And, Lordy, did they get fancy. After a point, armors began to look more like dinner services than battle gear: immaculate metal work, precious metals, often comically flamboyant crests and standards, useless -- though striking -- flairs and sculpted forms, and the gleaming reflections of meticulously polished metals.
Just take a look at the armor belonging to that spokesman for restraint and modesty, Henry the 8th: not only was it state-of-the-art for its day, but it was designed and built -- as was most armor of the day -- to the wearer's dimensions. In the case of Henry, though, his personal suit looked like it was more portly battleship than streamlined destroyer. And who can forget the Royal ... um, 'staff' shall we say? Looking at a set of his armor, the question becomes was it designed to protect or brag? But, to be honest, we can't fault Henry for his choice: his armor was never really designed for war -- mainly because the time of armor's suit had passed.
(images via 1, 2)
England makes a point
Absolutely, the suit of armor was the terror weapon of its day. But every day ends, and in the case of the classic suit of armor, its end was just about as bad as it can get.
1415, Northern France: on that side, the French; on the other side, the English. Although the numbers are a matter of much debate, it's commonly believed that the French outnumbered the English something like 10 to 1. For the English, under Henry (the 5th, forefather of the afore-mentioned 8th), it wasn't looking at all well. The likelihood was that they were going to be, to use a military term, 'slaughtered.' But then something happened that didn't just determine the outcome of the war but also changed Europe forever, as well as doomed the standing of the suit of armor as the ultimate weapon.
The French didn't know what hit them. Well, actually they did, which made their defeat so much more hideous: there they were, the cream of French soldiery, marching to seemingly certain victory, their mail and plate glistening in the sun, their monstrous metal weapons and protection the best of the best of the best.
Then the arrows started to fall, shot by Henry's secret weapon: the English (technically Welsh) longbow. In one horrifying volley after another, the French were cut down by an enemy they couldn't even reach, their precious armor pin-cushioned, their army pinned to the muddy ground.
Clothes make the man, yes. And for a very long time armor was the end-all, be-all, go-getter power suit of the time. But times change -- and all it took was some people with a few bows and arrows to point that out.
Body Armor During World War I
Brewster Body Armor, 1917-1918:
Experimental machine-gunner helmet, 1918:
If helmet's level of protection seemed not enough, one could get inside a mobile shield, complete with four wheels (truly a mobile coffin) -
Considering how weird some of the World War I equipment looked (check out these aircraft listening apparatus, for example), we are not at all surprised:
Some British "facial defense systems" looked downright creepy, while Belgian ones resembled "Death Star" personnel helmet shapes:
Speaking of the "Star Wars" Imperial TIE pilot outfits, the original protective pilot suit (with face armor) from 1917 looks familiar:
Other image sources: 1, 2, 3, 4, 5, 6, 7
CONTINUE TO OUR "UNIQUE MILITARY" CATEGORY! ->
My friend Samuel Lee from Prince Armory outdid himself once again with his latest creation: a full set of Asgardian Iron Man armor. As with everything Samuel does, this all leather armor (with brass hardware) is exquisitely detailed, and no, unfortunately, it is not for sale. Sadness. I doubt I could afford it anyways…
[Source: Prince Armory]
The post This Asgardian Iron Man Armor is Beyond Beautiful [Picture Gallery] appeared first on Geeks are Sexy Technology News.
In cities where greenery can be scarce, these art installations call attention to everything from wall-climbing ivy to weeds growing out of sidewalk cracks, turning bushes into luscious manes or tree hollows into canvases for oil paintings. Moss graffiti enlivens urban surfaces without damaging them, grass carpets unfurl across stone streets and mini greenhouses protect even the most modest of plants.
When French street artist OakOak saw these flowing purple flowers in his hometown of Saint-Etienne, he instantly pictured it as the untamable hair of Simpsons character Sideshow Bob. Careful placement of a paste-up on the wall just beyond the flowers creates a 3D street art effect.
Aakash Nihalani is known for perspective-shifting geometric street art , typically made of cardboard and neon tape. The graphics are placed around New York “to highlight the unexpected contours and elegant geometry of the city.” This piece, entitled ‘Where the Red Fern Flows,’ enhances some wall-clinging ivy in Brooklyn.
Scraggly weeds poking out of sidewalk cracks may not be much to look at, but sometimes their very existence in a concrete urban environment can seem miraculous. A group of art students in France developed simple ‘urban greenhouses’ that highlight the plants and protect them from being stepped on.
Hyper-realistic eyes make this illusion even more effective as German artist JustCobe puts a curving wall edged with greenery to use in the city of Freiburg.
Grass pours out of a cracked concrete planter in Toronto as part of the ‘Outside the Planter’ project, calling attention to the neglected state of these containers around the city and engaging with passersby in a playful way. Dozens of artists participated; this one is by Sean Martindale.
A green carpet weaves through the stone streets of the picturesque French city of Jaujac, traveling up and down stairs, meandering over bridges and traversing a park. Public artists Gaëlle Villedary used 3.5 tons of living turf for the 1400-foot installation, connecting the heart of the village and its inhabitants with the nearby valley.
Sad news, Hannibal fans: our cannibal won’t be getting a fourth season. Bryan Fuller thanked NBC for indulging the show’s “images that would have shredded the eyeballs of lesser Standards & Practices enforcers.” Indeed. The season two capper was epic, but look for the series finale to be a bloodbath for the ages.
Blend right into urban surfaces, from the walls of subway stations to the marble in museums and courthouses, with this line of architectural camouflage shirts, pants and accessories. A collaboration between design firm Snarkitecture and custom print company Print All Over Me, the line takes architectural patterns from public places all over New York City and translates them into fashion.
The prints not only honor iconic minimalist patterns that have been an integral part of the city’s visual identity for decades, it enables the wearer to blend into urban environments. The effect can be pretty impressive, as seen in the collection’s promotional images.
“The starting point was this idea of creating moments of architectural confusion, where you become visually lost within different material surfaces,” says Snarkitecture, a Brooklyn-based collaborative practice known for its unexpected installations, like all-white airball machines at Miami’s coolest modern parking garage.
The Architectural Camouflage collection is available now at Print All Over Me, ranging from $38-$145, including a backpack, a baseball hat, a jumpsuit and a rain coat. Got an idea of your own? Anyone can upload images to create custom garments, home accessories and other items at PAOM.
Check out more urban camouflage, from body painting and bizarre costumes to disappearing cars.
If context is critical to understanding art, then what happens to a work when you push a famous piece through time and space to a highly familiar and everyday place? Where fine artwork meets street scenes, strange and beautiful things begin to happen.
In a series called Art History in Contemporary Life, Ukrainian artist Alexey Kondakov elaborately relocates key figures from their historical canvasses into jarringly mundane settings, putting classical art in modern contexts. The results are seamless and convincing – one could almost imagine rehanging the hybrid works back up in museums.
Madonna, child and a chorus of angels are suddenly found sitting in a dirty subway car, cherubs flutter below a shanty overhang and a half-naked hand harp player spins tunes for pennies for commuting pedestrians. Famous figures share drinks at a modern dive while lovers kiss on a darkened subway car.
Is it the human element that’s crucial in calling a creation ‘art,’ or does it still count even if it was made by a robot? Adding to the age-old debate attempting to define a fairly abstract concept, robotic art mimics human movements or transcends them altogether using all sorts of computer programs, magnets, pendulums and CNC machines. One even draws blood and uses it as ink to create a portrait of the artist in his own bodily fluids.
Artist Ted Lawson’s blood was fed intravenously straight to a CNC machine to paint his own portrait for ‘Ghost in the Machine.’ The project uses a robot arm to trace a programmed illustration in squiggly red lines. For Lawson, the experience was… draining. “I want to show the connection between our existential humanity and the ever-expanding technology that we use, are addicted to and rely on, as something deeply personal and very real. I’m trying to repeal the underlying code that is present in all things.”
The Sisyphus machine by Bruce Shapiro automatically creates incredibly intricate drawings in sand using magnets, steel marbles and a computerized motion control system. It’s mesmerizing to watch, the patterns seemingly appearing out of nowhere, the steel balls moving all on their own. Shapiro is planning a tabletop consumer version. As Shapiro explains the name, “For the crime of cheating death, Sisyphus must push his boulder up the mountain only to have it roll back down each day. For all eternity.”
Watch from a hot tub as a robot plays in twelve tons of salt poured onto the entire floor of a gallery space, pushing and extruding it into abstract shapes resembling city skylines. Artist Jonathan Schipper’s installation ‘Detritus’ makes the viewers a destructive element in the scene, as their movement to and from the water destroys what the robot has created. “Objects are continuously being formed but, due to the fragility of the salt crystals used to make them, they deteriorate at nearly the same rate new ones are being built. This installation is an attempt to create a vantage point that is impossible in the real world. A vantage point that both condenses and speeds up time and provides an objective view of the things we value which, at times, we recognize as merely detritus.”
The movement of an ink-colored sphere is captured on a piece of paper, set within the guts of an old pinball machine. STYN by Sam van Doorn creates prints that get more complex depending on how good you are at the game. “In a time of digitization of the work process, you can easily forget the freedom and fun of play,” says the artist. “By creating new tools, you give yourself the opportunity to break free from standards in design.”
Not so confident in your artistic skills? While it’s not entirely autonomous, this machine will help you produce strikingly accurate drawings by screwing with your brain a little bit. ‘Vision’ splits your ocular system to create two images of your subject, so that you can trace one directly onto the curved surface before you.
The art of superimposition alters the way we see real-life environments, substituting cut-outs or figurines for 3D elements in the scene and capturing the resulting image on film. This technique can blur the lines between past and present, bring fictional characters to vivid life or otherwise mash up imagery that you wouldn’t normally see together.
We’ve seen striking war imagery juxtaposed with the same locations in the present day, monuments seemingly miniaturized, and Star Wars characters invading urban Paris. Now, Brazilian artist Lorenzo Castellini brings fine art to the streets of her home city of São Paulo by superimposing cut-outs of masterpieces onto real human figures and settings.
A Shell gas station logo becomes the shell from which Botticelli’s Venus springs. A man on the street holding a bottle of Coke turns into Albrecht Dürer. Dali’s melting clocks appear on rocks in the park, and a woman from Picasso’s ‘Les Demoiselles d’Avignon’ casually makes her way down a sidewalk.
Similar projects have brought classical paintings to modern contexts, like a fun Photoshop series by Alexey Kondakov that blends religious imagery with unexpected urban settings – putting the Virgin Mary and baby Jesus on the subway, for example, with violin-playing angels as buskers.
There are a lot of malware programs in the wild today, but luckily we have methods of detecting and removing them. Antivirus is an old standby, and if that fails you can always just reformat the hard drive and wipe it clean. That is unless the malware installs itself in your hard drive firmware. [MalwareTech] has written his own frightening proof of concept malware that does exactly this.
The core firmware rootkit needs to be very small in order to fit in the limited memory space on the hard drive’s memory chips. It’s only a few KB in size, but that doesn’t stop it from packing a punch. The rootkit can intercept any IO to and from the disk or the disk’s firmware. It uses this to its advantage by modifying data being sent back to the host computer. When the computer requests data from a sector on the disk, that data is first loaded into the disk’s cache. The firmware can modify the data sitting in the cache before notifying the host computer that the data is ready. This allows the firmware to trick the host system into executing arbitrary code.
[MalwareTech] uses this ability to load his own custom Windows XP bootkit called TinyXPB. All of this software is small enough to fit on the hard drive’s firmware. This means that traditional antivirus cannot detect its presence. If the owner of the system does get suspicious and completely reformats the hard drive, the malware will remain unharmed. The owner cannot even re-flash the firmware using traditional methods since the rootkit can detect this and save itself. The only way to properly re-flash the firmware would be to use an SPI programmer, which would be too technical for most users.
There are many more features and details to this project. If you are interested in malware, the PDF presentation is certainly worth a read. It goes much more in-depth into how the malware actually works and includes more details about how [MalwareTech] was able to actually reverse engineer the original firmware. If you’re worried about this malicious firmware getting out into the wild, [MalwareTech] assures us that he does not intend to release the actual code to the public.
“If you do know that here is one hand, we’ll grant you all the rest.”
L. Wittgenstein [On Certainty]
The original idea for this project was conceived around a decade ago after reading this philosophical statement by Wittgenstein.
From this point onwards Babak Hosseiny imagined a series of drawings of situations where hands are no longer only hands, but become the physical embodiments of the obstacles, wishes or fears of the individual.
A few years later Babak met Jeffrey with whom he shared his ambition to bring this project to life using photography to reinforce the impact of the images created.
Jeffrey was won over by the idea and brought his sensitivity and mastery of photography to the project, which lead to the creation of
a series of around ten images.
“Ô les Mains” is the first exhibition produced together by Babak Hosseiny and Jeffrey Vanhoutte.
Set to the words of Carl Sagan, Pale Blue Dot is an animation that situates human history against the tapestry of the cosmos. Using a eclectic combination of art styles woven seamlessly together through music and visuals, the animation seeks to remind us that regardless of our differences, we are one species living together on the planet we call Earth.
The post Beautiful Animation Illustrates Carl Sagan’s Iconic “Pale Blue Dot” Speech [Video] appeared first on Geeks are Sexy Technology News.
Redditor platnumcy made this fantastic and terrifyingly awesome Jack Skellington cosplay in prevision of his visit at the upcoming Denver Comic Con next weekend. Needless to say, I think he’ll be quite the star on the Con’s show floor.
The post This Jack Skellington Cosplay is Terrifyingly Awesome [Pics] appeared first on Geeks are Sexy Technology News.
Watch this and let the hate flow through you.
The post This Dancing Jar Jar Binks Toy Review Might Be the Best Toy Review Ever [Video] appeared first on Geeks are Sexy Technology News.