"This video shows a rabbit heart that has been kept beating outside of the body in a nutrient and oxygen-rich solution. The new cardiac device — a thin, stretchable membrane imprinted with a spider-web-like network of sensors and electrodes — is custom-designed to fit over the heart and contract and expand with it as it beats."
I can’t remember where I heard this, but someone once said that defending a position by citing free speech is sort of the ultimate concession; you’re saying that the most compelling thing you can say for your position is that it’s not literally illegal to express. - Randall Munroe, XKCD
Via Small Calibrations
I might feel exceptionally shallow* for crushing on Captain America if it weren’t concurrent with crushing on Skinny!Steve and basically realizing that integrity, a big heart, and an ability to deal with their own shit while also paying attention to other people and having compassion are traits it’s healthy to be attracted to.**
Goodness is apparently hot.***
*shallow is fine, obv.
**adulting +100 for internalizing this, if I do.
***Yes, I am still a sucker for a pretty set of peepers.
This is an ancient Roman amulet for luck. Yes those are flying penises.
Also of note, the Roman god of marriage, Mutunus Tutunus, whose name is derived from two Latin slang words for penis. His name is essentially Dick Wiener. If you have ever wondered just how much like us the Romans were, read the etymology section.
It’s a flying fuck.
It used to be given, and now look, it’s no more.
LITERALLY. A FLYING FUCK.
Contemporary Art Week!
Series: Self-Evident Truths
These paintings represent a modern study in dichotomy and perception from a historical context using portraiture as the interpretive engine.
I often use the image of the black woman in unaccustomed/atypical context; derived to create a visual tension between historical fact, misinformation and myth. The viewer is lured into the possible narrative of the depicted figure by her beauty, strength and grace; however immediately enters an intellectual menagerie where they are confounded by the disconnected visual clues. Is she slave or slaveholder? Is she captive or free, is she servant or served? Is she factual or fictional in a historical context? All of these questions and more provide basis for the individual viewers journey of allegorical interpretation.
The images are imbued with cultural and ethnic symbolism that provides insight into the historical context of the painting. Yet, the icons, combined with my personal visual vocabulary, may remain unseen or misread by the “unknowing” eye; the eye that never learned the historic bases for all the possibilities in the lives of these women. In a society that often make instant cultural judgements based on visual cues that are often stereotypical, but not always, I feel offering ethnic imagery that defies common visual library of the modern citizen may challenge each individuals biases and foregone conclusions of their own notions of what race represents in history and therefore in humanity.
The images beg the question: Is “Truth” self-evident? Who’s “Truth”? How does knowledge, experience and perception of one’s “self” determine what is evident? If the view of oneself is skewed is it possible to see another clearly?
Via Occupation: Girl
sailawaykid asked: I just wanted to say thank you. I only discovered your work a few years ago. But in that short time, interacting with you through your comics and outside of them, you've given me the confidence to use my natural voice in my writing -- because YOU aren't afraid to use your own unique voice. And the result is so lovely. As a queer, black writer, I used to feel that if I didn't blend in, I would never be heard. But what I found was that when I tried to blend in, I simply wasn't saying anything.
Well, first, wow, thank you for that lovely sentiment, but it sounds like you were already on that path to speaking with your true self. The first step in learning what to do right is acknowledging that feeling when you are doing it wrong. Your gut will let you know when you are doing something that doesn’t feel right, doesn’t feel honest.
I have had many, many friends tell me they have tried to write to the ‘house style’ of major companies and that that meant suppressing their own voices and creativity. But I really believe the only answer for us as creators and the industry as a whole is to fight that impulse and write with what souls we have been given as best we can.
There will always be resistance. But think of all the people out there who want and NEED to read of other voices and experiences. I know you can do this. I will be rooting for you!
Keep us informed of your progress, okay? There are a lot of people who want to see you succeed and I am one of them!
I’m happy crying.
People don’t like her because it’s the making of her, right now. When she, sometime soon in the future, becomes this person that she’s been kind of building up to, for the past three seasons, now four, then people will really begin to root for her. I think even the audience doesn’t realize she’s such a dark horse. If she acted badass and tried to kill everyone there, she would be dead by now! She’s so intelligent, and I can’t stress that enough. Courtesy is a lady’s armor. She’s using her courtesy to deceive people, and she’s using her former self as a facade, and it works so much to her advantage, because people still think she’s this naive, vulnerable, little girl, and she’s really not. She knows exactly what she’s doing. She knows what game she’s playing! And no one else does. And she’s learned from the best — Cersei, Margaery, Tyrion, Littlefinger, even Joffrey. She’s learned so much from these people, and they don’t even realize it. They’re unwittingly feeding her to become this great kind of manipulator. King’s Landing can either make or break a person, and in Sansa’s case, it’s making her.–
Sophie Turner, in response to Sansa hate (x)
The farther I got into the books, the more I liked her. And then seeing Sophie Turner bring her to life through the show…Sansa has a place in my heart.(via beingruth)
Sansa is the kind of badass who eventually topples empires because they outlive everyone who’s visibly brave and outmaneuver the overconfident.
STFU about Sansa not being awesome, you philistines and go read Machiavelli.
(Source: beyonslays)Via Random Acts of Ruthness
I am tired of token women being strong in a man’s world by taking on male attributes: strutting around in black leather, spike heels and wraparound shades, killing people; or riding a horse, swearing a lot, carrying a big sword, and killing people; or piloting a ship through hyperspace, drinking whatever pours, slapping boys on the back, and killing people. I am equally tired of women-only worlds where all the characters are wise, kind, beautiful, stern seven-foot-tall vegetarian amazons who could never dream of killing anyone. I am tired of reading about aliens who are really women, or women who are really aliens.
Women are not aliens. Take away men, and we do not automatically lose our fire and intelligence and sex drive; we do not form hierarchical, static, insectlike societies that are dreadfully inefficient. We do not turn into a homogenous Thought Police culture where meat-eating is banned and men are burned in effigy every full moon. Women are not inherently passive or dominant, maternal, or vicious. We are all different. We are people.
A women-only world, it seems to me, would shine with the entire spectrum of human behavior: there would be capitalists and collectivists, hermits and clan members, sailors and cooks, idealists and tyrants; they would be generous and mean, smart and stupid, strong and weak; they would approach life bravely, fearfully and thoughtlessly. Some might still engage in fights, wars, and territorial squabbles; individuals and cultures would still display insanity and greed and indifference. And they would change and grow, just like anyone else. Because women are anyone else. We are more than half of humanity. We are not imitation people, or chameleons taking on protective male coloration, longing for the day when men go away and we can return to being our true, insectlike, static, vacuous selves. We are here, now. We are just like you.
(Source: dont-deconstruct)Via I'm Not Really Here
Whereas with a character like Hannibal, he’s probably the happiest man I’ve ever played, even though he’s doing horrendous things. He’s a happy duckling and life is beautiful.–
Mads Mikkelsen on playing Hannibal. (Source)
Fannibals: our Cannibal is a Happy Duckling.
(Source: sherloaf-and-wheatson221b)Via Occupation: Girl