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More than ever, in the corona time, bioengineering is at the center of the concerns of our time.
Au temps du coronavirus, plus que jamais, la bio-ingénierie se trouve au centre des préoccupations de notre époque.
Internal mind postcards from my journeys with two of my images…
All rights reserved. This photo is not authorized for use on your blogs, pin boards, websites or use in any other way. You may NOT download this image without written permission from iSEEthings, Jeff Fornear
La Jolla, California, USA
La Jolla is a hilly, seaside special community within San Diego, occupying 7 miles (11 km) of curving coastline along the Pacific Ocean. The population reported in the 2010 census was 46,781.
La Jolla is surrounded on three sides by ocean bluffs and beaches and is located 12 miles (19 km) north of downtown San Diego and 45 miles (72 km) south of the Orange County line.There are some 16 communities in La Jolla. The climate is mild, with an average daily temperature of 70.5 °F (21.4 °C).
La Jolla is home to many educational institutions and a variety of businesses in the areas of lodging, dining, shopping, software, finance, real estate, bioengineering, medical practice and scientific research. The University of California, San Diego (UCSD), is located in La Jolla, as are the Salk Institute, Scripps Institution of Oceanography (part of UCSD), Scripps Research Institute, and the headquarters of National University (though its academic campuses are elsewhere).
The CROWS ASH Flindersia australis tree seed pod and seed.
Have intended to photograph these interesting seeds and seedpods for quite some time.
Birds are dropping these colorful seed pods on the rainforest floor in our springtime at present in Brisbane.
The seed pods act as a remarkable bioengineering deterrence as the ground around this tree was carpeted with these seed pods and seeds.
The seeds are 34–50 mm (1.3–2.0 in) long and winged
The new seeds usually germinate in a months time when the heavy rains set in that funnily enough is quite often at Christmas time here.
This is interesting as we have had a prolonged drought in Australia and a La Nina bringing above average summer rains has been forecast by the Australian Bureau of meteorology for the summer months.
These trees may be able to pick the La Nina weather phenomenon too as there has been a really heavy seed set this year.
It seems many Australia trees do have some sort of an organic intelligence for predicting heavy rainfall events that the first Australians are more familiar with.
I recall hearing an interesting discussion on the radio with a famous Australian author who has some first Australian ancestry saying she wept when noticing certain trees flowering during the bad bushfires we had in eastern Australia last year knowing that rain would soon be on it's way.
OLYMPUS DIGITAL CAMERA
Wikipedia information
en.wikipedia.org/wiki/Flindersia_australis
The article below will give a better idea of what the seed pod looks like
www.australiangeographic.com.au/topics/science-environmen...
Interesting research into tree co operative survival
The east facade of the Terrence Donnelly Centre for Cellular and Biomolecular Research features brightly coloured glass panels, reminiscent of genetic chromatography patterns. Opened in 2005 and designed by Behnisch Architects with architectsAlliance, the CCBR Building was built for the University of Toronto to support advanced interdisciplinary research in bioengineering and disease.
another 3d object I made inspired by research in bioengineered intelligence research. printed on paper using mixed media techniques
another 3d object I made inspired by research in bioengineered intelligence research. printed on instant film.
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.
Intelligent Design My Cyborg Spoodle
Katcha, my beloved cyborg spoodle, truly is unlike any other dog I've ever encountered. His fur shimmers with this stunning iridescent blue that catches the light in the most mesmerising way—it's almost like he's glowing with energy. I love how the patches of soft fluff contrast beautifully with the gleam of his metallic joints and plates; it creates this fascinating blend of the organic and the mechanical that never fails to amaze me.
Whenever I watch him stand perfectly still, I can’t help but admire the intricate design of his gears and panels, animated by those vibrant LED lights. It’s almost as if he’s a work of art. What I cherish most is how he carries himself; despite the coldness of his metal parts, there’s so much warmth in his posture. With his head slightly tilted and those curious eyes locked onto something unseen at his feet, Katcha radiates this incredible curiosity. I genuinely believe a spark of self-awareness and high intelligence is glowing brightly within his mechanical frame. I feel lucky to share my life with such an extraordinary companion.
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www.jjfbbennett.com/2025/05/stop-and-revive-in-dreamlike-...
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'Breakthrough' stem-cell patches stabilized a woman's heart as she awaited transplant
Article from Live Science daily newsletter.
By Jess Thomson
published 18 hours ago
A woman with heart failure was kept alive long enough to receive a heart transplant, in part thanks to newly developed stem-cell-derived heart tissue grafts.
A woman with a failing heart has been kept alive with the help of a new "breakthrough" stem-cell technology, scientists report.
The 46-year-old woman experienced a heart attack in 2016 and subsequently developed severe heart failure, in which the heart cannot pump blood efficiently enough to meet the body's needs. The patient was awaiting a heart transplant when she underwent the experimental stem-cell procedure as part of a clinical trial.
During the surgery, the woman's heart was implanted with tiny patches of heart muscle cells, which had been grown from stem cells in a lab. These 10 patches, each comprised of about 400 million heart cells, kept the woman stable until she could receive a heart transplant three months later, according to a paper published Wednesday (Jan. 29) in the journal Nature.
"We now have, for the first time, a laboratory-grown biological transplant available which has the potential to stabilize and strengthen the heart muscle," study co-author Dr. Ingo Kutschka, a heart surgeon at University Medical Center Göttingen in Germany, said in a press conference, Nature News reported.
Related: In a 1st, baby's heart defect successfully treated with injected stem cells
Unlike many other cell types, such as skin cells, heart muscle cells cannot easily regrow or repair themselves if they are damaged by an insult like a heart attack. Such damage to the heart can lead to heart failure, which affects around 6.7 million adults ages 20 and older in the United States, according to the A Centers for Disease Control and Prevention (CDC). Heart failure was listed as a contributing or primary cause of death on more than 450,000 death certificates in the U.S. in 2022, the CDC reported.
Over half of people with severe heart failure die within a year unless they receive a heart transplant, but there are limited donor hearts available, Nature News reported.
To supplement these limited heart transplants, scientists have experimented with transplanting heart muscle cells instead. In the new Nature paper, the researchers describe a method of growing heart tissue from stem cells known as induced pluripotent stem cells (iPSCs). Scientists create these stem cells by gathering normal adult cells and then reprogramming them back into a "pluripotent" state, from which they can develop into almost any cell type in the body.
The scientists encouraged these iPSCs to develop into heart muscle cells and connective tissue in the lab; the researchers then mixed the resulting tissue with collagen to create tiny patches that could be implanted onto the surface of the heart.
"The graft is basically outside of the heart," Dr. Jianyi Zhang, an iPSC bioengineering expert at the University of Alabama at Birmingham who was not involved in this study, told Nature. "It's quite a breakthrough."
The scientists first tested similar patches on rhesus macaque monkeys (Macaca mulatta) with heart failure; the patches tested on monkeys were grown with monkey stem cells. Six months later, several of the monkeys grew thicker heart walls that could pump up to 10% more blood per heartbeat than a group of untreated monkeys.
During the patch procedure, the monkeys were all given immunosuppressant drugs, to prevent their immune systems from rejecting the grafts. Additionally, none of the monkeys developed tumors or irregular heartbeats, which had been a problem in similar studies conducted in the past.
The success of the monkey trial enabled the trial in human volunteers, one of whom was the 46-year-old woman. After the woman underwent her heart transplant, the researchers examined her old heart and saw that the implanted patches had grown minuscule blood vessels, indicating that they were receiving blood and oxygen from the body.
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—Scientists restore monkey's vision with a patch made from human stem cells
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—Never-before-seen cells unveiled in detailed map of developing human heart
"This is clear now, that you can add muscle to the failing heart, and that we can do that without safety concerns," study co-author Wolfram-Hubertus Zimmermann, a pharmacologist at University Medical Center Göttingen, said in the press conference.
The eventual hope is that this approach will help people stay alive for long enough to receive a donor heart; it's not intended as a complete alternative to transplants.
In an ongoing trial, the scientists have so far implanted the patches in 15 other people. They are also experimenting with more macaques to find a way to minimize the use of immunosuppressant drugs, which help prevent rejection but can leave a patient vulnerable to infection and other health problems.
Jess Thomson
Jess Thomson
Live Science Contributor
Jess Thomson is a freelance journalist. She previously worked as a science reporter for Newsweek, and has also written for publications including VICE, The Guardian, The Cut, and Inverse. Jess holds a Biological Sciences degree from the University of Oxford, where she specialised in animal behavior and ecology.
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.
A common theme of fairy tales, folklore and children’s stories is to imagine the goings-on of animals when the humans aren’t looking. The animals are a magic-realism reference to stories such as Alice in Wonderland, Harry Potter and Winnie the Pooh, as well as the human activities of cultivation and bioengineering. This project can be seen in “Flourish: The Garden at 50” at Chicago Botanic Gardens. This installation comes from Actual Size Artworks Studio and the creators are Gail Simpson and Aristotle Georgiades.
The Museum of the Future in Dubai is a landmark that explores how society could evolve in the coming decades using science and technology. It is located along Sheikh Zayed Road and offers a journey through possible futures, allowing visitors to bring hope and knowledge back to the present. The building itself is an architectural marvel, recognized by National Geographic as one of the most beautiful museums in the world. It has floors dedicated to distinct experiences, including immersive exhibitions on outer space resource development, ecosystems and bioengineering, and health, wellness, and spirituality.
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.
New for Saturday Sale
Now you too can have the highly processed food for Poor people.
Old Slop promises the unhealthy bioengineered goop so that us poor unwashed masses may always know our place. Comes with a bowl of meat for added appeal. regular or mystory, click for cans or soup bowls to share!
The Museum of the Future in Dubai is a landmark that explores how society could evolve in the coming decades using science and technology. It is located along Sheikh Zayed Road and offers a journey through possible futures, allowing visitors to bring hope and knowledge back to the present. The building itself is an architectural marvel, recognized by National Geographic as one of the most beautiful museums in the world. It has floors dedicated to distinct experiences, including immersive exhibitions on outer space resource development, ecosystems and bioengineering, and health, wellness, and spirituality.
The Museum of the Future in Dubai is a landmark that explores how society could evolve in the coming decades using science and technology. It is located along Sheikh Zayed Road and offers a journey through possible futures, allowing visitors to bring hope and knowledge back to the present. The building itself is an architectural marvel, recognized by National Geographic as one of the most beautiful museums in the world. It has floors dedicated to distinct experiences, including immersive exhibitions on outer space resource development, ecosystems and bioengineering, and health, wellness, and spirituality.
Bento Mesh Head: LeLutka Briannon Evo-X
Bento Mesh Body: Maitreya Lara BOM
Face/Body: Doll Marionette (lifelike) by BeSpoke @ The Engine Room Sept. 20th - Oct. 20th @ maps.secondlife.com/secondlife/Syndicate/194/144/502
Hair: Magnolia by Raven Bell @ The Engine Room Sept. 20th - Oct. 20th @ maps.secondlife.com/secondlife/Syndicate/194/144/502
Ensemble: Varona Ambassador Dress (with texture HUD) by Decoy now @ The Engine Room Sept. 20th - Oct. 20th @ maps.secondlife.com/secondlife/Syndicate/194/144/502
Steamvape w/hold by Antrophia @ The Engine Room Sept. 20th - Oct. 20th @ maps.secondlife.com/secondlife/Syndicate/194/144/502
Stiletto Nails: BEANZ
Antonia Earrings for LeLutka Ears: e.marie
Nell Tights: C'est la vie !
Cyber Greyhound animesh (Companion) Small: [Rezz Room]
POSE: Leaning Bento 5 by Korper Poses
Building: TARTARUS Bioengineering
SIM: InSilico South East Cyberpunk Roleplay @ maps.secondlife.com/secondlife/INSILICO%20SE/69/163/3612
THE RISE OF CYBORG CULTURE OR THE BOMB WAS A CYBORG
Bruce Sterling's science fiction novels portray the cyborg future of humanity. There, centuries from now, humans have divided themselves into competitive factions based on two opposing philosophies: "Mechanism" and "Shaping." The former have designed their own ontogenetic evolution through the cultivation of various technologies, including the prosthetic, mechanical, and especially cybernetic ones. The Shapers rely only on biology, biochemistry, and especially molecular biology (genetics) to "shape" themselves and their own futures, primarily by extending life, sexual potency, and certain biological talents. From back here in their past, we can perceive a certain irony (out of which Sterling makes some nice satiric hay): the two human factions are really twins, seeking a shared posthuman future, though through different means. Both evolve towards artificially constructed beings who rely merely on two different arrangements of cyborg techniques to distinguish themselves from each other. The Shapers may well pride themselves on their eugencially-selected intelligence and despise the artificial computer implants and enhancements of their Mechanist doppelgangers. Yet, as one of the Mechanist spokesmen notes, "[The Shapers] might properly be defined as industrial artifacts."[1] The Mechanists may well use software implants and direct linking to computers to enhance their faculties, and abhor the messy fecundity and (what they view as "corruption") of Shaper life, but there is no denying that their mechanical prostheses change biological facts.
In one particular epoch of Sterling's future history (which he plays out over several works of fiction), this galaxial civilization is in its decadence, verging on the apocalyptic, dangerously close to achieving a critical mass or catastrophic fluctuation that will force it to "leap to a new order of complexity" (in terms Sterling borrows from chaos theory).[2] This new order will be the Post/pp. 5-6/ human. The speeches of many characters refer to this yearned-for future; they chide each other with gibes like, "Oh, show a little Posthuman fluidity." Sterling's hero in "The Cicada Queen" foresees the shape of the posthuman in "The Lobsters," humans who have already gone over to the far side of this utopian vision. The Lobsters have "shucked their humanity like a caul," combining some Shaper bioengineering with Mechanist tech to encase themselves in completely cyberneticized shells, after altering their biology to ensure they can survive.
The Lobsters hooked into fluidic computers or sheltered themselves from solar storms and ring-system electrofluxes.
They never ate. They never drank. Sex involved a clever cyber-stimulation through cranial plugs. Every five years or so they `molted' and had their skins scraped clean of the stinking accumulation of mutated bacteria that scummed them over in the stagnant warmth [of their suits].
They knew no fear… They were self-contained and anarchical. Their greatest pleasure was to sit along a girder [on a space station] and open their amplified senses to the depths of space, watching stars past the limits of ultraviolet and infrared…
There was nothing evil about them, but they were not human. As distant and icy as comets, they were creatures of the vacuum, bored with the outmoded paradigms of blood and bone. I saw within them the first stirrings of the Fifth Prigoginic Leap… as far beyond intel-/pp. 6-7/ ligence as intelligence is from amoebic life or life from inert matter. ("Cicada Queen" 77)
I find this description of one of humanity's possible futures compelling, not so much because it is attractive (which it is in some zoned-out fashion) but simply because it seems plausible. This image of the cyborg and others, also more or less plausible, have now come to dominate our postmodern landscape, expressed in literature, film, and the arts, giving rise to rich expressions too broad and numerous to catalog here.
Today, from a vantage point after the Cold War is purportedly over, it is easier to see the outline of cyborg epistemology as it grows out of seeds engineered in World War II and blossoms in Cold War culture. - From this advantageous perspective in 1993, the contest among nations and ideologies that was World War II masked an even more important war between opposing cognitive faiths, with a definite victory for cybernetic fundamentalism. In short, to understand how and why the cyborg has achieved such predominance in the 1990s, such mythological force, we must re-read World War II and the Cold War. In this paper, I hope to show how the Mechanists, the Shapers, and the Lobsters of Sterling's imagination came to be thinkable -- if not inevitable -- versions of the posthuman because of the technologies and epistemologies that won World War II.
The "Atomic Age" vs. the "Cybernetic Age": The Bomb was a Cyborg
What would happen if you asked most contemporary commentators of the period of the late 1940s and the early 1950s: What is the single most important feature of your cultural and political landscape? or, What is the largest threat to civilization? They would undoubtedly reply to both questions, "The Bomb." It is a cliché to say that what determined the politics, much of the imaginative culture, some of the nihilistic philosophy, and certainly the Byzantine dance between the superpowers USSR and /pp. 7-8/ USA, was the threat of detonating the apocalyptic, doomsday device known first as the Atomic Bomb and later as the Nuclear Bomb. This was so true that it is also a cliché to call the Cold War Era the Atomic Age, sometimes striking an upbeat note, ringing within it the gleaming promise of a utopian future, but more often echoing something bleak and foreboding. Certainly, the popular culture of the 1950s and 1960s reflected darker images in hundreds of novels and movies about atomic bombs, monsters created by nuclear fallout, like Godzilla, and parables about post-Nuclear apocalyptic worlds like "On the Beach" and "FailSafe."
I would argue, however, that the politics of the atomic bomb and nuclear weaponry is really a small subset of a much more profound and important movement, one that is now beginning to express itself in its full-blooded manifestation. Furthermore, this movement was at its core an epistemological revolution. Why does the atomic bomb fade as an icon in the 1980s and 1990s, even while nuclear weapons stockpiles increase and proliferate, to be replaced by the computer, the AI, the robot, the cyborg as the most important icon of our generation? The answer, again, is epistemological: the Atomic Bomb was a very explosive technological device, but as such was merely a symptom or manifestation of the very same epistemology that is more fundamentally represented by the cyborg.
David Porush
Rensselaer Polytechnic Institute
from : pum.umontreal.ca
The Museum of the Future in Dubai is a landmark that explores how society could evolve in the coming decades using science and technology. It is located along Sheikh Zayed Road and offers a journey through possible futures, allowing visitors to bring hope and knowledge back to the present. The building itself is an architectural marvel, recognized by National Geographic as one of the most beautiful museums in the world. It has floors dedicated to distinct experiences, including immersive exhibitions on outer space resource development, ecosystems and bioengineering, and health, wellness, and spirituality.
Urban Nature - Engineering as Art
Silver City - Toronto, Canada.
Photography ©Tomitheos 2008 - 2015
Robot Arm Reaching for the Stars Series - 4 of 5
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The Museum of the Future in Dubai is a landmark that explores how society could evolve in the coming decades using science and technology. It is located along Sheikh Zayed Road and offers a journey through possible futures, allowing visitors to bring hope and knowledge back to the present. The building itself is an architectural marvel, recognized by National Geographic as one of the most beautiful museums in the world. It has floors dedicated to distinct experiences, including immersive exhibitions on outer space resource development, ecosystems and bioengineering, and health, wellness, and spirituality.
model: Izzy
Inspired by Blade Runner, Nexus 8 are a new, imagined replicant desgined as defenders and protectors of the city.
All rights reserved: Spoken in Red/ Jennifer Rhoades Photography
You may not alter, modify, change, use, or post my work without my written authorization and consent.
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The biopower and biopolitics of the biotechnocracy with its nonexistent bioethics of biotechnology. The vaccine gene therapy, altering DNA, manipulating basic biology with spike protein. We will biohack the proteins and DNA that are central to your biology. Human genetic engineering will lead to artificial intelligence and bioengineering. AI and biotechnology will be the end of the real you. Take the jab, take the biohazard, receive your biopassport. Get your biochip, become a bionerd. Don’t be biosensitive; don’t let the bioink leak from yours eyes as you cry out in joy. We wouldn’t want your embedded biosensors to send out an emergency alert, now would we? Synthetic biology and biological data. 666 and the biosurveillance system. Bio-serfdom: equality for all! Let’s eradicate poverty, let’s make y’all biodigital slaves! If you don’t believe transhumanism is right around the corner, then check out the government website below.
Here is an article on the Canadian government website called: Exploring Biodigital Convergence
horizons.gc.ca/en/2020/02/11/exploring-biodigital-converg...
Here is one for you Americans: In science we trust!
“I pledge allegiance to the Flag of the United Nations, and to the New World Order for which it stands, one post-nation under pseudoscience, divisible, without liberty and justice for all.”
Abort millions of babies…oh wait…now we don’t have enough skilled labour, and who is going to pay taxes to look after our ageing population? We have low birth rates, so let’s bring in large numbers of immigrants. Multiculturalism, let’s make you a melting pot of people. We will erode your culture and values…and who needs borders? The future is tranhumanism! Humans will evolve until there is no race or gender or reproduction…as for culture and borders, they will no longer exist…it’s all part of the plan…divide, conquer, and assimilate into the transhuman revolution. Humans will continue to evolve until they no longer resemble humans. Humans will become extinct. Survival of the fittest! Many will die in this evolution of man and AI, but some will adapt and survive. You will be owned like cattle, and once your purpose is fulfilled, we will get rid of you…like we do to those in the womb today…life isn’t sacred…especially if you aren’t even human…just some sort of parasite. Welcome to the New World Order of transhumanism!
Thankfully we have a Saviour, so things will only go so far. The Mark of the Beast is as far as transhumanism will get. When Jesus returns He will throw all the transhumans into hell. That will be the end of transhumanism. There is no eternal life in transhumanism, except for eternal life in hell.
1 Corinthians 3:18-20 “Stop deceiving yourselves. If you think you are wise by this world’s standards, you need to become a fool to be truly wise. For the wisdom of this world is foolishness to God. As the Scriptures say, ‘He traps the wise in the snare of their own cleverness.’ And again, ‘The LORD knows the thoughts of the wise; he knows they are worthless.’”
ESA astronaut Samantha Cristoforetti in the seven-windowed cupola, the International Space Station's "window to the world," with the University of Pavia emblem. She posted this image to her social media on 30 September 2022 with the following caption:
Ciao #Pavia! And a shout-out to
@unipv, one of the oldest universities in the world. Grateful for the honorary degree in bioengineering! #MissionMinerva #CiaoItaly
ID: 281F6498
Credit: ESA/NASA-S.Cristoforetti
Name: Jesse Stefano Matías Arden
Age: 23
Aliases: Jesse, J.S/JS (short for Jesse Stefano) Silverjack, Electric Man, Lightshock
Nationality: Italian-American, 1/3 Spanish and Mexican
Profile: Jesse grew up in a very poor family along with his brother Connor. His mother was an alcoholic who often abused her children, and berated her husband not being able to find a stable job, which put a lot of pressure on him. One night, Jesse’s father took the children out of the house, and quietly moved to North Dakota.
With barely enough money to raise his children, Jesse’s father met a woman, who was Mexican-American as well, introduced him to a better work and they eventually married, when Jesse was only 8. He eventually went to elementary school with Connor and met Tyrone and his friends.
Much later, Jesse took up psychology and bioengineering in university, and dropped out in his third year to join the military as a Marine. His relationship with his older brother eventually deteriorated, who eventually disappeared.
Not long after, Jesse, on his 22nd birthday, eventually got discharged and became a private detective in Atlanta, one of the youngest ever. His military, tracking and private eye skills eventually caught up with Dr Eden’s agency, who later recruited him. Jesse’s job is both balanced, so he’s everywhere tracking down people and solving mysteries.
Powers and abilities: Electricity manipulation and generation. He can generate and create EMP related weapons from his powers, and is also able to walk on wires and control anything lightning related. He is resistant to water and overflow/overload of energy absorbed does not affect him as well. Jesse is a highly skilled and fierce combatant due to his training. His previous experiences and studies of military/criminal psychology has aided him on many occasions, thus making him a good tracker and private detective. Last but not least, he is an expert at sniping, bioengineering and is fluent in English, Spanish, Italian and to a degree, in Korean.
Equipment: Jesse has a suit that helps augment his abilities. Like other agents, it comes with its own designs to fit his own powers, and is water proof and etc. He often has tech with him, and resorts to using old school methods sometimes (and when things get out of hand and fail). He carries a rifle and a pistol, which are both modified and upgraded from the police, potentially making great weapons. His carries bombs and trackers around, as well as comms and equipment that helps him track down people.
Personality: Often humorous and a joker, though he can be serious when he works. His keen sense and sharp mind makes him a good agent. He is often optimistic, brave, charming and will never give up on anything easily, even going as far to sacrifice things and to protect his friends/companions.
These bridges are not built, they are grown. And it takes almost a decade or more to become strong and sturdy.
In most places around the world, bridges are constructed using concrete and steel as the main building materials. Even in the epic Ramayana when Rama had to cross over to Lanka to save Sita, he built a bridge with mud and stone.
But in Meghalaya, (meaning Abode of Clouds) one of the seven sisters of the North Eastern states of India, bridges are grown or made to grow. The original architects of this natural bridge building technology are the forefathers of the Khasi tribe, one of the three major tribes in this hill state. The other two tribes are the Garos and Jaitias. Though this ancient technology appears to be theoretically simple, practically it is very difficult as it takes a long time to grow a root bridge.
Roots of the rubber tree — Ficus Elastica are the pavements for these natural bridges in the thick forests of Khasi Hills district. It is interesting to note that the districts in Meghalaya are named after the tribes in that area, like East Garo Hills district, West Jaitia Hills district and so on. Strong secondary roots of this rubber tree are manipulated to grow horizontally through the tunnels of hollowed betel nut trunks across the fast flowing rivers
While the construction of modern concrete bridges may take three or four yeas, these types of bridges take very long to develop into a firm bridge. Normally it takes around 10 to15 years, which is the normal construction period. These bridges grow to approximately 50 to100 feet long and have strong and deep roots providing a stable foothold. They can carry up to 50 people at a time. The life of these bioengineering wonders is estimated at 500 years, more than the life span of most of man made modern bridges.
The most famous Umshiang Double Decker root bridge in Nongriat village, south of Cherrapunjee about 70 km from the capital Shillong is estimated to be two centuries old.
This place receives a lot of rain, so wooden bridges rot and decay. But Root bridges are alive and growing and so gain strength over time.
( the-hindu )
Stem cells play important role in cell-based strategy for tissue regeneration. However, the conventional 'petri dish' based cell cultures do not truly replicate the complex 3D environments where cells naturally grow. In the Stupp laboratory, we are using photolithography to create textured surfaces that induce single stem cells to self-aggregate into microtissue. Compared to single stem cells, these aggregates are much more potent for regenerative medicine once implanted into the body. These specific cells will be used to grow new spinal bone.
In this image, microwells (light pink) of agarose gel were created using lithography, then each well was seeded with 250 stem cells (purple). These stem cells do not adhere to the microwell gel, but instead, they self-assembled together into microaggregates within 24 hours. The cells respond to this more natural environment by producing extracellular matrix (red) like collagen and proteoglycans. To our knowledge, this is the first ever SEM image of periosteal stem cells self-aggregating.
Courtesy of Dr. Mark McClendon , Northwestern University
Image Details
Instrument used: Quanta SEM
Magnification: 477X
Horizontal Field Width: 800um
Vacuum: 1 e-3Pa
Voltage: 5kV
Spot: 3
Working Distance: 6
Detector: SE
The Museum of the Future in Dubai is a landmark that explores how society could evolve in the coming decades using science and technology. It is located along Sheikh Zayed Road and offers a journey through possible futures, allowing visitors to bring hope and knowledge back to the present. The building itself is an architectural marvel, recognized by National Geographic as one of the most beautiful museums in the world. It has floors dedicated to distinct experiences, including immersive exhibitions on outer space resource development, ecosystems and bioengineering, and health, wellness, and spirituality.
Equipment Setup:
Camera: Canon 5DIII
Lens: Canon 50mm
Flash: 1 Lumopro LP160, 1 Cactus AF50 (which I don't recommend), And a Clairex
Flash trigger: Cactus v5
You can see the set-up: here
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“Cloning, genetic engineering… all in a day’s work. We used to have humans making machines; now we have machines making humans. We can use these soulless bodies for parts or transplant someone’s soul into a new body. The possibilities of factory-generated life are fascinating.”
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Created for the Toy Sunday theme, FACTORY LIFE. Action figure posed in front of an iPad display; photo cropped.
I just discovered that Meat Impossible is a Bioengineered product and is sold at my local Co+op. This is the first time I've ever seen a bioengineered product at that store! Since I didn't know it was in the product and I do now, I will never purchase it again! It can destroy your gut! The little Bioengineered symbol is so small you need a magnifying glass to read it. Monsanto got sued because they found Round-up, which is GMO, causes cancer and has in many people: www.lawsuit-information-center.com/roundup-lawsuit.html
Megan Palmer, Executive Director, Bio Policy and Leadership Initiatives; Adjunct Professor, Department of Bioengineering, Stanford University, Stanford University, USA and Rania A. Al-Mashat, Minister of International Cooperation of Egypt, Michelle Longmire, Co-Founder and Chief Executive Officer, Medable, USA in the Turning the Tide on Infectious Diseases and Cancer session at the World Economic Forum Annual Meeting 2022 in Davos-Klosters, Switzerland, 25 May. Congress Centre - Forum Room. Copyright: World Economic Forum/Sikarin Fon Thanachaiary
“What do you want?”
Shiva says, strictly.
“A simple request. A man in Gotham is threatening to poison the city with a bioengineered virus he's created.”
“Why should the league care?”
“Because I know about my son. I know that Talia never had a miscarriage, and I know you're training him without Ra’s knowledge.”
“How do you know?”
“You seem to forget, I'm the world’s greatest detective. I'll tell you the whole story another day. I can also tell Ra's my sons existence. I believe Talia named him Damian, and he's 10 years old. Am I correct?”
“What do you need Bruce.”
“Lazarus.”
Duke and I made it back to gotham with a vial of Lazarus, and brought it back to the bunker to analyze. I pour a drop on a slide, and place it under the microscope.
“I think I can concentrate this into an antidote, if I get a sample of the original strain of the virus.”
“How are we supposed to get that?”
“I guess we'll have to steal it from the man who made it.”
“Great.”
Duke and I head up the Wayne Tower elevator, and make our way to Krill's lab. I see a disheveled mess, boxes stacked upon each other. There are papers spread throughout the lab, and a shattered computer screen shows signs of intentional sabotage. He knew I'd be here.
Duke and I scavenge until he calls out.
“I think I found something, boss.”
He hands me a ruined flash drive.
“We may be able to salvage the files on this device. Let's keep looking though, to see if there's any more evidence.”
I flip his desk, to see a tiny black button hidden on the leg of the table. I press it, and a projector begins to play on the blank left wall. It displays flashes of krill injecting people, subjects, with the virus. Laughing in their pain. Duke and I give each other disgusted looks, and I begin to play the tape back.
I spot a logo in imprinted on the wall, Karlo cosmetics. Looks like I'll have to pay a certain retired actor a visit.
3:45 AM
I grapple onto the balcony of the high end apartment, and pull myself up the railing. I begin to survey the apartment. I step through the balcony doors to see Basil Karlo, fast asleep. I pick up him unconscious body, and bring it to the railing to hold over.
Karlo wakes up.
“Tell me everything you know about Abner Krill. Now!”
He begins a panicked frenzy of screaming and crying while pleading for his life.
“He he wanted money, so I gave him a loan. That's all I know!”
“I doubt it. Now tell me more. I know you have ties to the Falcones, so having you in prison would be a piece of cake.”
“Okay, okay. I supplied him with mercs, and an underground bunker, but that's all!” He cries.
“Why! Why give him all of that?”
“He said he had a machine, and a virus. All I had to do was give him those things and he'd make me powerful!”
“Look at all the ‘Power’ he's given you.”
I say sarcastically.
I throw him back onto the balcony by his ankle. I turn to him.
“Where is he hiding?”
“On, on the corner of Cutrer and Ward. That's all I know!” He says, tears still running down his face.
“Thank you.”
I leap off the balcony and begin my glide back home.
(biocup 1st round entry)
In the year 2030
A massive asteroid collided with Neptune
Melting the ice layer.
Thus we discovered more water on the planet.
Due to the 2,400 kilometres per hour winds, it's considered impossible to land and take off successfully... For a human.
N.A.S.A has been working on creating a small ship to crash land on the planet.
What will explore it? Drones? Monkeys?
Nope... Sea horses! Not just any old seahorses... bioengineered seahorses!
To deal with cold and crushing depths of Neptune.
Here we can see Harold equipt with a B.F.M.A.B (Big F*cking Mech armed backpack) this backpack is connected directly into the spinal cord and used for extra limbs as you know.. Sea horses don't have arms... Also equipped with a new
Advanced micro plasma enhanced anti depth capsule that holds the seahorse's organs and a built-in heater to warm up the water around him to keep him at his perfect temperature to survive.
So here is Harold! The 1st space seahorse to successfully land on Neptune!
(sub-note for judges thanks for this opportunity despite the outcome from here I have made amazing friends with my competitors (daniel & Kristian ) and a friendship that will last outside of biocup #Neptuneboys! thank you for making our paths cross)
Blade Runner • Main Theme
www.youtube.com/watch?v=ccJJ0uxigVA
Tears in the Rain - Blade Runner (9/10) Movie CLIP (1982) HD
www.youtube.com/watch?v=HU7Ga7qTLDU
Location :Barcelona
Note : night photo using only streetlight, no flash or tripod used.
Note:I used soft focus filter.
Nikon 50mm f/2 AI
www.kenrockwell.com/nikon/50mm-f2.htm
Note :
A replicant is a fictional bioengineered humanoid featured in the 1982 film Blade Runner and the 2017 sequel Blade Runner 2049 which is physically indistinguishable from an adult human and often possesses superhuman strength and intelligence. A replicant can be detected by means of the fictional Voight-Kampff test in which emotional responses are provoked; a replicant's nonverbal responses differ from those of a human. Failing the test leads to execution, which is euphemistically referred to as "retiring."
Several models of replicant were produced. The first seen model, the Nexus-6, has a four-year lifespan. The successor model, the Nexus-7, were limited experimental models with the ability to procreate. Nexus-8 and Nexus-9 replicants also have open-ended lifespans, but the Nexus-9 line was incapable of disobeying human orders.
Source :
Replicant
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Bioengineering bamboo tunnel