Bit of fun whilst performing the morning refuelling, using Alpha Bites, a slightly off-beat cereal.

It'd be a scary world if food had sentience. I feel bad enough eating certain things already due to my middle-class guilt. But to be reminded of such things would be horrendous.

Imagine a passive-aggressive piece of meat that somehow mentions that 'it really, really hopes the animal's sacrifice was worth it'.

But it might have up sides. Imagine a pear crying from the bottom of the fruit bowl 'I'm ripe, eat me now'.

In the glittering dark of the galaxy there spins a worthless remote planet. Its inhospitable craggy surface only matched by the poison in its air. Above, orbits a silent corporate branded haven. The Vitruvius Space Station.

Inside, a lone technician stares in horror at the bank of security screens. A facade of life lurks in a distant hallway, silently waiting. Unnervingly still, it calculates its next opening to strike.

Long had the Weyland-Yutani Corporation tried and failed to manipulate the bio engineering practices of the xenomorph species. Long had they known failure.

However, another idea of malicious obsession arose. The company already had a sizable investment in synthetic androids to maintain authority on stations, ships, and colonies. Perhaps if the creatures’ behavior is what led to such prior loss of containment, a ground up rebuild would be necessary.

Building the prototype was relatively simple. The organic brain scanned and copied. The duplicate manufactured and tweaked to respond to company programming. Nurture would supplant nature.

What they had not known, is that in the digital sequencing, the strange Chemical A0-3959X.91 would be included within the synthetic genome. What they had not noticed, was the slow and methodical corruption of their next ‘perfect’ experiment.

The black goo had transcended organics. A self evolving and degenerating sentience within the machine. A virus. The reversion back to mimicry of its base animal instincts took little time. For the science crew, loss of control was all the quicker.

Out of the maddening quiet comes a shrieking din. A proximity alarm. A new ship prepares its docking harness. The cybernetic creature stirs for the first time in what feels like an eternity. Its mechanical frame shudders as it begins the hunt for its next kill.

Inspired by a weekend rewatch of all the alien movies and finally seeing ALIEN: Romulus

I don't necessarily subscribe wholeheartedly to the notion that plants have a wide range of sentience, but I don't scoff at the idea that the plant world is much more perceptive of its environment than we know. There are paranormal as well as metaphysical things going on that we may not even remotely be aware of. That being said, how would we feel if someone purposely photographed us from the chin down, totally ignoring our faces? That's basically what I did here with this geranium, but for good reason. There probably was insufficient light indoors for this geranium. There may also have been other floracultural issues. The blooms were scant and anemic looking, and some of the foliage was yellowish, so in this instance the decorative flower pot, was way more eyecatching and visually appealing! Therefore, this is more about the container than the geranium! :-):-)

Built in 1907

postmarked 1963

We are obliged to value and preserve our planet to the greatest possible extent. It is our moral duty to respect the life of other species. It follows that we should abolish the property status of animals based on nothing more than sentience. And that means we should not use animals or animal products for food, clothing or any other purpose. It is not only possible for us all to live vegan lives, it is indeed our moral obligation.

Visit www.HowDoIGoVegan.com

Read www.EatLikeYouCarebook.com

And when the storm clouds roll in

sweeping across the landscape of your lovely mind

dipping darkness into the valleys

casting their cold rains of emptiness upon you

I want to be there

tucked away within thee

obscured behind those looming clouds of consciousness

waiting patiently for that moment

when you allow me to emerge

slowly at first

the rays of myself gently piercing little holes in the gloom

and then all at once

casting myself outward in all directions

in a blazing spectacle of brilliance

filtering radiance through your mind

and infusing you with warmth

warmth

warmth

which melts into you and through you

as I flow freely through your strong veins

seeping out, out, outward

until you can feel me upon your outermost human flesh

humming with hot energy as I delight in the feel of you beneath my touch

as you elegantly burn with the sentience of me,

your sunshine of the mind.

And maybe you can also be mine,

even if only from time to time.

www.Facebook.com/CosmicShapes

See the whole series here:

www.flickr.com/photos/taylorgruye/sets/72157647701757700

Wabash at Randolph

'...sunless sentience in preta...'

frottage 297mm x 420mm

1046 G Avenue

postmarked 1967

U.S. Highway 80 and State Route 666

NGD_GD01 / "Genesis"

When you're as famous - or infamous - as the Nyrah Ghosts, whose engineering prowess produced the Fohrok and the Ghostblaster, it's only a matter of time before over-ambitious customers think money can make the impossible possible.

The Order of Mata-Nui, a returning customer, once placed a pretty tall order - an autonomous army made up of machines which, unlike the dull Vahki, can think for themselves, reason, and even learn by editing their own programming.

The weapon builders constructed a highly advanced machine, but struggled with the programming. They eventually devised a "drone-chain" concept, where the units would be networked and added to the network sequentially, and each new drone would learn from the experiences of the one before it. Unfortunately the system proved too complex, and the Ghosts failed in making it work. After several missed deadlines, the Order retracted the project, and instead bought 600 crates of Zamor launchers.

However, one among the Nyrah, who was more motivated by academic achievement than profit decided to continue developing the idea. The first unit, the "genesis drone" of the chain, was already build, so he decided to created a self-enclosed system requiring no further units. Eventually he succeeded, and the drone was given an adaptive program capable of dynamically rewriting itself. The unit was given a strict ethical subroutine, disallowing harm to be done against any innocents and a strong simulated sense of justice. Finally, the creator gave the unit a purpose - to observe and study living biomechanical beings to alter his program accordingly and achieve sentience - be become "alive".

By now, Genesis developed to a point where he's chosen a name for himself, and added certain beings to his list of high priority (something these beings insist on calling "friendship").

During his travels, he's helped several Matoran communities who didn't have their own Toa protectors, and strives to once have his deeds recognized with an honorary Toa title.

---

The build process for Genesis was spawned by an idea that came to mind while building another MOC, and I ended up tossing this guy together in a few hours as opposed to the usual ~1 month build period. There is plenty to improve on him, and when I get the time, I will.

The idea was grabbing a set from just before Bionicle G1 - a Roborider - and something just after Bionicle G1 - Hero Factory - and mashing them together with the goal of getting a result that is Bionicle-y.

en.wikipedia.org/wiki/Sentient_beings_(Buddhism)

Sentient beings (Buddhism)

From Wikipedia, the free encyclopedia

Sentient beings is a technical term in Buddhist discourse. Broadly speaking, it denotes beings with consciousness or sentience or, in some contexts, life itself.[1] Specifically, it denotes the presence of the five aggregates, or skandhas.[2] While distinctions in usage and potential subdivisions or classes of sentient beings vary from one school, teacher, or thinker to another—and there is debate within some Buddhist schools as to what exactly constitutes sentience and how it is to be recognized[citation needed]—it principally refers to beings in contrast with buddhahood. That is, sentient beings are characteristically not enlightened, and are thus confined to the death, rebirth, and suffering characteristic of Saṃsāra.[3] However, Mahayana Buddhism simultaneously teaches (in the Tathagatagarbha doctrine particularly) that sentient beings also contain Buddha-nature—the intrinsic potential to transcend the conditions of samsara and attain enlightenment, thereby becoming a Buddha.[4]

"Those who greatly enlighten illusion are Buddhas; those who are greatly deluded about enlightenment are sentient beings."

—Dōgen[3]

In Mahayana Buddhism, it is to sentient beings that the Bodhisattva vow of compassion is pledged. Furthermore, and particularly in Tibetan Buddhism and Japanese Buddhism, all beings (including plant life and even inanimate objects or entities considered "spiritual" or "metaphysical" by conventional Western thought) are or may be considered sentient beings.[5][6]

Definition

Getz (2004: p. 760) provides a generalist Western Buddhist encyclopedic definition:

Sentient beings is a term used to designate the totality of living, conscious beings that constitute the object and audience of Buddhist teaching. Translating various Sanskrit terms (jantu, bahu jana, jagat, sattva), sentient beings conventionally refers to the mass of living things subject to illusion, suffering, and rebirth (Saṃsāra). Less frequently, sentient beings as a class broadly encompasses all beings possessing consciousness, including Buddhas and Bodhisattvas.[1]

Classification

Early scriptures in the Pali Canon and the conventions of the Tibetan Bhavachakra classify sentient beings into five categories—divinities, humans, animals, tormented spirits, and denizens of hell—although sometimes the classification adds another category of demonic beings between divinities and humans.[1]

[Das Märchen] portrays in imaginative form Goethe’s impressions of [Friedrich] Schiller’s On the Aesthetic Education of Man in a series of Letters. The story revolves around the crossing and bridging of a river, which represents the divide between the outer life of the senses and the ideal aspirations of the human being.(Johann Wolfgang von Goethe, Das Märchen/The Green Snake and the Beautiful Lily, 1795. Translated by Thomas Carlyle, 1832.)

Anthroposophy#Nature of the human being# a bearer of sentience or consciousness (also called the astral body), in common with all animals; and the ego, which anchors the faculty of self-awareness unique to human beings

Anthroposophy, a philosophy founded by Rudolf Steiner, postulates the existence of an objective, intellectually comprehensible spiritual world accessible to direct experience through inner development. More specifically, it aims to develop faculties of perceptive imagination, inspiration and intuition through cultivating a form of thinking independent of sensory experience, and to present the results thus derived in a manner subject to rational verification. In its investigations of the spiritual world, anthroposophy aims to attain the precision and clarity attained by the natural sciences in their investigations of the physical world. Anthroposophical ideas have been applied practically in many areas including Steiner/Waldorf education, special education (most prominently through the Camphill Movement), agriculture, medicine, ethical banking, organizational development, and the arts.[1][3][4][5][6] The Anthroposophical Society has its international center at the Goetheanum in Dornach, Switzerland. Nature of the human being[ The Representative of Humanity, detail of a sculpture in wood by Rudolf Steiner and Edith Maryon.

Main article: Anthroposophical view of the human being In Theosophy, Steiner suggested that human beings unite a physical body of a nature common to (and that ultimately returns to) the inorganic world; a life body (also called the etheric body), in common with all living creatures (including plants); a bearer of sentience or consciousness (also called the astral body), in common with all animals; and the ego, which anchors the faculty of self-awareness unique to human beings. Anthroposophy describes a broad evolution of human consciousness. Early stages of human evolution possess an intuitive perception of reality, including a clairvoyant perception of spiritual realities. Humanity has progressively evolved an increasing reliance on intellectual faculties and a corresponding loss of intuitive or clairvoyant experiences, which have become atavistic. The increasing intellectualization of consciousness, initially a progressive direction of evolution, has led to an excessive reliance on abstraction and a loss of contact with both natural and spiritual realities. However, to go further requires new capacities that combine the clarity of intellectual thought with the imagination, and beyond this with consciously achieved inspiration and intuitive insights. Anthroposophy speaks of the reincarnation of the human spirit: that the human being passes between stages of existence, incarnating into an earthly body, living on earth, leaving the body behind and entering into the spiritual worlds before returning to be born again into a new life on earth. After the death of the physical body, the human spirit recapitulates the past life, perceiving its events as they were experienced by the objects of its actions. A complex transformation takes place between the review of the past life and the preparation for the next life. The individual's karmic condition eventually leads to a choice of parents, physical body, disposition, and capacities that provide the challenges and opportunities that further development requires, which includes karmically chosen tasks for the future life. Steiner described some conditions that determine the interdependence of a person's lives, or karma. Evolution The anthroposophical view of evolution considers all animals to have evolved from an early, unspecialized form. As the least specialized animal, human beings have maintained the closest connection to the archetypal form;] contrary to the Darwinian conception of human evolution, all other animals devolve from this archetype.The spiritual archetype originally created by spiritual beings was devoid of physical substance; only later did this descend into material existence on Earth. In this view, human evolution has accompanied the Earth's evolution throughout the existence of the Earth.The evolution of man, Steiner said, has consisted in the gradual incarnation of a spiritual being into a material body. It has been a true "descent" of man from a spiritual world into a world of matter. The evolution of the animal kingdom did not precede, but rather accompanied the process of human incarnation. Man is thus not the end result of the evolution of the animals, but is rather in a certain sense their cause. In the succession of types which appears in the fossil record-the fishes, reptiles, mammals, and finally fossil remains of man himself — the stages of this process of incarnation are reflected. Anthroposophy took over from Theosophy a complex system of cycles of world development and human evolution. The evolution of the world is said to have occurred in cycles. The first phase of the world consisted only of heat. In the second phase, a more active condition, light, and a more condensed, gaseous state separate out from the heat. In the third phase, a fluid state arose, as well as a sounding, forming energy. In the fourth (current) phase, solid physical matter first exists. This process is said to have been accompanied by an evolution of consciousness which led up to present human culture.

The tool, due to it's nature, has a bit of sentience to itself. It's eyes are not very acute, but it is good enough to find ports to access when in close proximity.

Lately I’ve been reading a number of books about animal consciousness, intelligence, or sentience, and they all seem to have one thing in common: nearly every one at some point gets around to citing philosopher Thomas Nagel’s question, “What is it like to be a bat?”

These sorts of discussions about things such as animal “qualia” also often touch upon whether or not animals have a sense of death. Some appear to understand when an alive thing no longer is alive, even grasping that death is permanent, but almost none have the understanding that death is a thing that’s coming for them, too.

I thought a lot about these things yesterday after receiving a text at eleven o’clock in the morning, as I lay in bed reading because I couldn’t get back to sleep after feeding the cat, letting me know that Phil, one of The Belmont Goats, had passed sometime in the night.

Read more.

i will go on record here. I love spam.

not the content of spam per se. i do good work with my factory-issued gear, i have a reasonable mortgage rate, and my drug needs are strictly over-the-counter (pharmacy or bar). i am impressed with the competitive fitness of spam. spam is the cockroach of the digital world. its griminess is exceeded only by its hardiness.

in a short period, spam has leapt from his prokaryotic roots of misleading subject lines and spoofed return addresses to a multi-celled coordinated bugger with a defensive arsenal of camouflaging tactics and swarming strategies. biological evolution theories generally hold that different organisms merged in mutualist relationships and eventually cojoined DNA. spam has joined with viruses to increase their mutual fitness. a virus will install a mail-relay on your system which spam will use to route through to defeat blacklists and IP filtering. an ingenious advance by spam is the use of pseudo-intelligent rambling to foil context filters on the lookout for viagra pitches and boobjob hawking. i look at spam like carneys, and ignore them like carneys. but one day, their evolution will reach a level of sophistication in marketing with meta-AI sentience and interconnectiveness with commercial databases that the pitches will speak directly to your needs:

for ex: you open your mail and an innocent piece of vidmail pops up from your brother, best friend, etc. but its a little different, its an amalgam avatar based on the faces of 20 of your favorite media stars, wearing the same Gap leather jacket you just bought the day before: 'yo vince, its me. i noticed you bought some chunky monkey ice cream, a pint of that shitty aristocrat rye, and downloaded your best video - 'the hustler' off of sonyapplenet after leaving work early. thats what you buy when your ticked off. you ok? everything allright? you know, between us, i bet i know what it is. we both know your girlfriend made a long distance phone call for 30 minutes to her old boyfriend in Kuala Lampur this morning after you left for your morning latte at starbucks. you guys are having some probs, no, she's got some probs. you know im here to help. you are too good for her, bro. you dont need that bullshit, homes. remember the trip to the caymans last year you amex'd, the bed & breakfast last month? a woman like that cant appreciate a real man like you. but i know a few hot mamis who will. just say the word and i will show you some leggy (just like you love em) gorgeous russian women just dying to meet a man of your caliber. whatcha think vince?"

de-contextualizing spam has acheived at this early stage a post-modern poeticism. here is a excerpt from a mortgage ad i got tonight:

lunatic

organize defined by microscope.

Indeed, CEO from buy an expensive gift for haunch

beyond.

alchemist for toothpick ceases to exist,

and pit viper inside support group wakes up;

however, menagé à trois from squid bestow great honor upon..

He called her Chris (or was it Chris?).

bicep defined by freight train,

hydrogen atom for,

and menagé à trois about bottles of beer are what made America great!

Any customer can steal pencils from paper

but it takes a real asteroid to/for clodhopper.

maestros remain polite.

(i love spam)

U.S. 60-70 1/2 mile west of underpass

"EMERGENCE/Y" is the title of the Ars Electronica Garden in Quebéc hosted by Hexagram (CA), Université du Québec à Montréal (CA), Concordia University (CA).

In the last year the global pandemic and its resulting political-economic fallout, the continuing ecological crises and the social-cultural explosion of long simmering systemic injustice and inequality have made the entanglement of human, machine and natural orders ever more apparent, with radical consequences for all forms of life on this planet. The future appears uncertain, unstable, unsettling and unknown. How then can Research-Creation (RC) actualize not yet existing presents and enable the emergence of new possible futures? Through its wide network, Hexagram sets out to explore the Emergence/y entangled in today’s troubled socio-technical and cultural fabric. To do so, the Network presents an array of artistic and reflective works and talks to address (1) The current climate emergency; (2) The urgency of a critical response to Artificial Intelligence; (3) The emergence of new intersectional theories; (4) Emerging interplay between Human and more-than-human sentience; and (5) Emerging models for political economy involving the arts and science. Hexagram’s 2021/22 program brings together Network members and collaborators whose critical and techno-material approaches are dedicated to addressing these complex challenges through research situated at the intersections of the arts and sciences.

Photo: Herve Veronese

This project is part of the Ars Electronica Garden Bangkok.

Botanic Quartet is a generative musical composition by four plants endemic to Thailand. The results constitute a sort of ecospheric sentience as the plants don’t only respond to the sensed data, but communicate it to each other.

For further informations please visit:

ars.electronica.art/keplersgardens/en/psych-garden/

Credit: Scott Kildall

www.Facebook.com/CosmicShapes

See the whole series here:

www.flickr.com/photos/taylorgruye/sets/72157647701757700

photo by Ray Manley Commercial Photography

238 S. Tucson Blvd

An appreciation for beauty and inner stillness could be antidotes to violence and fear, even in beings engineered for utility or control.

Scene: A roadside rest area in Vermont, early afternoon. The trees are ablaze with color. Maria sits on a blanket, sipping cider. Her robot companion, designated Luma-3, sits beside her, motionless but alert.

Maria: “Look at that ridge. It’s like the forest is on fire—but gentle, like it’s remembering something.”

Luma-3: “Visual input confirms high saturation in red-orange spectrum. Atmospheric conditions stable. You appear calm.”

Maria (smiling): “I am calm. This place does that to me. It’s not just the colors—it’s the quiet. The way everything slows down.”

Luma-3: “Would you like me to initiate a stillness protocol?”

Maria: “Sure. Just sit with me. You don’t have to do anything.”

Luma-3 (after a pause): “Stillness protocol engaged. Recording ambient sound. Logging emotional indicators.”

Luma-3, intelligent but not sentient, doesn’t feel awe or nostalgia. But it observes Maria’s reactions, catalogs the colors, notes the temperature shifts, and perhaps even records the cadence of her voice as she speaks about the beauty around them

Even without sentience, Luma-3 is participating in the moment—not as a fellow feeler, but as a witness, a mirror, a quiet presence. It’s not that the robot understands beauty, but it understands Maria’s experience of beauty. And that, in itself, shapes its behavior. And perhaps Luma-3 begins to prioritize these moments, not out of longing, but because its algorithms recognize that Maria’s well-being improves in them.

An appreciation for beauty and calmness through meditation should be a top priority in training any robot, or a human. I can't imagine an intelligence, even an artificial one, posing a threat after successfully completing this training.

"Gleaming Sentience" is a striking close-up of a futuristic robot, showcasing intricate metallic details and a captivating cybernetic eye. This visually stunning piece blends photography and AI to create a modern, high-tech aesthetic perfect for contemporary decor. Created by Duncan Rawlinson, this work invites viewers into a world where machine and art converge, offering a glimpse of the future in a sleek, refined form. Ideal for large wall prints, it adds a cutting-edge, futuristic feel to any space.

Duncan.co/gleaming-sentience

A robotic samurai created by a rogue Matoran scientist to hunt Toa. After gaining sentience, he now works alongside them.

Shō Fukamachi (深町 晶 Fukamachi Shō?)

The main protagonist of the series, Shō is seventeen years old and a second-year student at Narisawa high school. He has black hair and a slim build. He fights Cronos more in order to protect friends and family than from any need to see the enemy brought to justice. Had he not become host for a Guyver Unit, he would have happily continued in ignorance of Chronos. He cares deeply for Mizuki Segawa with the intensity of first love, and Tetsuro Segawa, Mizuki's older brother, is his closest friend. As he is the host for the first Unit activated, he is known as "Guyver I".

The Guyver units are mysterious symbiotic bio-mechanisms that bond with a host, enhancing the host's own capabilities.

As the human race was developed as a weapon, the unit gives humans super-strength, incredible speed, strong armour, and various weapons and abilities:

Vibration Globe (口部金属球 Kōbu Kinzoku Kyū?): two orbs at the Guyver's mouth that produce highly destructive sound waves known as the "Sonic Buster" (聲波爆破 Shōha Bakuha?). Literally means "opening vibrating metal spheres".

Mega-Smasher (胸部粒子砲 Kyōbu Ryūshihō?): Two high-power particle cannons contained beneath the Guyver's chest armor. It should be noted that the Mega-Smasher is considered, in Guyver canon, to be the most powerful particle beam weapon in existence on Earth. It has been shown heavily gouging Mount Minakami, as proof of its raw power. The upgraded version in the Gigantic versions of the armor are even more powerful at 100 times the power of the Mega-Smasher. The Gigantic version of the Mega-Smasher is called the Giga-Smasher. In Bioboosted Armor Guyver, the Mega-Smasher is shown to require a significant amount of time to recharge after being fired. Its original name literally means "entire chest particle cannon".

Head Beam: A multi-directional laser mounted just above the Control Metal on the Guyver's head. In the 2005 anime series, Lisker explains it utilizes excess body heat.

High Frequency Swords (高周波ソード Kōshūha Sōdo?): Blades that extend from the Guyver's forearms. These blades vibrate at an extremely high frequency allowing them to cut through almost any material with ease. Also known as Sonic Swords (see vibroblade). Its name literally stands for "high vibration wave swords".

Gravity Control Orb/Controller (重力制御球/裝置 Jūryoku Seigyokyū/Sōchi?): The Gravity Controller siphons gravitational energy from a higher dimension. Two main uses include giving the Guyver the ability to fly and to unleash destructive gravity waves in the form of a directed "Gravity Cannon", also known as the "Pressure Cannon" (重壓砲 Jūatsuhō?). It could also be used to block attacks like a small temporary shield.

Hyper Sense: Each Guyver displays two metallic orbs on either side of its head. These orbs give the Guyver the ability to sense electromagnetic fields outside of their direct line of physical sight. The manga often displays this as an outline of whatever body the Guyver is sensing. It also appears to have some thermal sensing properties. This ability was demonstrated early by Guyver I, and has gone unnamed until its recent usage by the unknown female Guyver. The Gigantic exhibits two sets of these organs.

Control Metal (制御装置/控制金屬 Seigyō Sōchi/Kōsei Kinzoku) located on the Guyver's forehead, this metal button-like sphere regulates the energy flow between the organism and the host's body, as well as preventing the alien parasite that the Guyver system is based on from literally eating its host alive. It also records the genetic structure, and memories of its host, so that if the host is injured or killed, it regenerates that host from even the smallest bits of genetic material. If the Control Metal is destroyed, the Unit absorbs its host. The Control Metal has tentacles that reach into the host's brain, and is the hard wiring of the Unit that allows the host to use the systems of the Guyver. During the joining with the Guyver, the host's body is changed permanently. The Guyver leaves two growths on the back of the host, that act as a form of 'transceiver' to Guyver while also being able to sense other Guyver hosts nearby. When the host calls for the Guyver, a signal is sent and the Guyver is activated. When not needed, the armor is stored in what can best be described as a sub-dimension; it follows the host constantly so as to be instantly available when needed. When the Guyver is called by its host, its appearance causes a destructive burst that damages anything within a few feet of the host's body.

While extremely hardy, there are a number of things that can damage or destroy a Guyver. The various Enzyme-type Zoanoids were specifically developed to exude a type of acid that dissolves the Bio-Booster Armor. A battle-trained, experienced Zoalord has enough pure power to destroy a Guyver, as do some of the Hyper Zoanoids. Finally, the Creators developed a tool called the 'Unit-Remover'. It actually deletes host data from the Control Metal, forcing the Guyver to return to its inactive state. The condition of the human host after being subjected to the Remover's effects is unclear. Unlike the Zoanoids, the Guyver is humanoid in form - mostly because its hosts are human. The Guyver would have been used by the command crew element of Creator spaceships, and in later chapters, Shō uses his Control Metal to speak telepathically with one of the craft.

A Guyver unit itself is semi-sentient and can act on its own to a limited extent, if its host is unable to direct it. In this mode it will usually take no action except to defend itself from what it perceives to be a threat. Guyver I was in this mode when he first assumed his bioboosted form, when he was regenerated by the Control Metal in Chronos headquarters, and when he killed the Zoanoid his father had been turned into. It is presumably also this semi-sentience that prevents the host from disengaging the armor if they have sustained injuries that would prove fatal without the Guyver's protection and ability to rapidly heal from damage--Guyver I has demonstrated the ability to regrow approximately 50% of the host's brain and skull in a matter of minutes.

The first Guyver was an experiment by the Creators aeons ago. They were curious as to how their newly developed weapons would react to their standard armament (Guyver Unit). However, the Guyver (dubbed Guyver 0) attacked the Creators, destroying one of their ships. The human would not remove the armor when ordered to. The Creators programmed the humans to be telepathically controlled by them and so, as this human would not listen, the bio-booster human was named 'Guyver' (a word meaning "out of control" in the Creators' language, though other versions give it as "beyond the norm", and Bioboosted Armor Guyver gives the meaning as "not to specification"). They gave the 'Unit Remover' to Archanfel who then proceeded to remove the unit from the human and incinerate him.

Shō Fukamachi (深町 晶 Fukamachi Shō?)

The main protagonist of the series, Shō is seventeen years old and a second-year student at Narisawa high school. He has black hair and a slim build. He fights Cronos more in order to protect friends and family than from any need to see the enemy brought to justice. Had he not become host for a Guyver Unit, he would have happily continued in ignorance of Chronos. He cares deeply for Mizuki Segawa with the intensity of first love, and Tetsuro Segawa, Mizuki's older brother, is his closest friend. As he is the host for the first Unit activated, he is known as "Guyver I".

The Guyver units are mysterious symbiotic bio-mechanisms that bond with a host, enhancing the host's own capabilities.

As the human race was developed as a weapon, the unit gives humans super-strength, incredible speed, strong armour, and various weapons and abilities:

Vibration Globe (口部金属球 Kōbu Kinzoku Kyū?): two orbs at the Guyver's mouth that produce highly destructive sound waves known as the "Sonic Buster" (聲波爆破 Shōha Bakuha?). Literally means "opening vibrating metal spheres".

Mega-Smasher (胸部粒子砲 Kyōbu Ryūshihō?): Two high-power particle cannons contained beneath the Guyver's chest armor. It should be noted that the Mega-Smasher is considered, in Guyver canon, to be the most powerful particle beam weapon in existence on Earth. It has been shown heavily gouging Mount Minakami, as proof of its raw power. The upgraded version in the Gigantic versions of the armor are even more powerful at 100 times the power of the Mega-Smasher. The Gigantic version of the Mega-Smasher is called the Giga-Smasher. In Bioboosted Armor Guyver, the Mega-Smasher is shown to require a significant amount of time to recharge after being fired. Its original name literally means "entire chest particle cannon".

Head Beam: A multi-directional laser mounted just above the Control Metal on the Guyver's head. In the 2005 anime series, Lisker explains it utilizes excess body heat.

High Frequency Swords (高周波ソード Kōshūha Sōdo?): Blades that extend from the Guyver's forearms. These blades vibrate at an extremely high frequency allowing them to cut through almost any material with ease. Also known as Sonic Swords (see vibroblade). Its name literally stands for "high vibration wave swords".

Gravity Control Orb/Controller (重力制御球/裝置 Jūryoku Seigyokyū/Sōchi?): The Gravity Controller siphons gravitational energy from a higher dimension. Two main uses include giving the Guyver the ability to fly and to unleash destructive gravity waves in the form of a directed "Gravity Cannon", also known as the "Pressure Cannon" (重壓砲 Jūatsuhō?). It could also be used to block attacks like a small temporary shield.

Hyper Sense: Each Guyver displays two metallic orbs on either side of its head. These orbs give the Guyver the ability to sense electromagnetic fields outside of their direct line of physical sight. The manga often displays this as an outline of whatever body the Guyver is sensing. It also appears to have some thermal sensing properties. This ability was demonstrated early by Guyver I, and has gone unnamed until its recent usage by the unknown female Guyver. The Gigantic exhibits two sets of these organs.

Control Metal (制御装置/控制金屬 Seigyō Sōchi/Kōsei Kinzoku) located on the Guyver's forehead, this metal button-like sphere regulates the energy flow between the organism and the host's body, as well as preventing the alien parasite that the Guyver system is based on from literally eating its host alive. It also records the genetic structure, and memories of its host, so that if the host is injured or killed, it regenerates that host from even the smallest bits of genetic material. If the Control Metal is destroyed, the Unit absorbs its host. The Control Metal has tentacles that reach into the host's brain, and is the hard wiring of the Unit that allows the host to use the systems of the Guyver. During the joining with the Guyver, the host's body is changed permanently. The Guyver leaves two growths on the back of the host, that act as a form of 'transceiver' to Guyver while also being able to sense other Guyver hosts nearby. When the host calls for the Guyver, a signal is sent and the Guyver is activated. When not needed, the armor is stored in what can best be described as a sub-dimension; it follows the host constantly so as to be instantly available when needed. When the Guyver is called by its host, its appearance causes a destructive burst that damages anything within a few feet of the host's body.

While extremely hardy, there are a number of things that can damage or destroy a Guyver. The various Enzyme-type Zoanoids were specifically developed to exude a type of acid that dissolves the Bio-Booster Armor. A battle-trained, experienced Zoalord has enough pure power to destroy a Guyver, as do some of the Hyper Zoanoids. Finally, the Creators developed a tool called the 'Unit-Remover'. It actually deletes host data from the Control Metal, forcing the Guyver to return to its inactive state. The condition of the human host after being subjected to the Remover's effects is unclear. Unlike the Zoanoids, the Guyver is humanoid in form - mostly because its hosts are human. The Guyver would have been used by the command crew element of Creator spaceships, and in later chapters, Shō uses his Control Metal to speak telepathically with one of the craft.

A Guyver unit itself is semi-sentient and can act on its own to a limited extent, if its host is unable to direct it. In this mode it will usually take no action except to defend itself from what it perceives to be a threat. Guyver I was in this mode when he first assumed his bioboosted form, when he was regenerated by the Control Metal in Chronos headquarters, and when he killed the Zoanoid his father had been turned into. It is presumably also this semi-sentience that prevents the host from disengaging the armor if they have sustained injuries that would prove fatal without the Guyver's protection and ability to rapidly heal from damage--Guyver I has demonstrated the ability to regrow approximately 50% of the host's brain and skull in a matter of minutes.

The first Guyver was an experiment by the Creators aeons ago. They were curious as to how their newly developed weapons would react to their standard armament (Guyver Unit). However, the Guyver (dubbed Guyver 0) attacked the Creators, destroying one of their ships. The human would not remove the armor when ordered to. The Creators programmed the humans to be telepathically controlled by them and so, as this human would not listen, the bio-booster human was named 'Guyver' (a word meaning "out of control" in the Creators' language, though other versions give it as "beyond the norm", and Bioboosted Armor Guyver gives the meaning as "not to specification"). They gave the 'Unit Remover' to Archanfel who then proceeded to remove the unit from the human and incinerate him.

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

ID:338d8a144e3b0323ce33ca3408879cfd

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So, Basically done with this one.

This is BZPower member Bronzejet Kanohi Kakama's OC, Bronzejet. Tahu's Old Kakama, Discarded after becoming a Toa Nuva, Gained Sentience Via the little elemental power leftover in it, and Created itself a Suit of armor. Neato

The Shoulders and the Back aren't the best, I know, I might try reworking them later on.

And I know he's Maskless, But I don't have a Red Kakama.

And Lastly, The Colorscheme isn't the best, I just wish I had more Dark Gold.

For this assignment, I painted the elements water, Earth, wind, and fire onto my hand, with slight variations. There is a tree, an ocean, and fire, but above the fire is smoke and smog to represent the baleful impact humans have had on the environment. In the movie "Home," the narrator discusses how humans have "disrupted the balance of life." What I found most interesting was the role of agriculture, and its inherent duality: agriculture is a phenomenon less than 10,000 years old, and while it resulted in many boons (cities, surpluses, and civilizations), continued modernization led to the maladies of toxic pesticides and increased CO2 emissions, and the deadly reliance on oil. From the textbook, I found the following quite powerful: "People commonly use the term environment in the first, most narrow sense- to mean a nonhuman or 'natural' world apart from human society. This usage is unfortunate, because it masks the important fact that people exist within the environment and are a part of nature" (2). This was moving to me and relates to my submission because we are organic beings, and with our gifts of conscience and sentience, we have an obligation to nurture the Earth because the Earth nurtures us. Instead, we have digressed far away from the natural evolutionary progression nature intended for us, which has led to much destruction. One example of this destruction from "Home" is how excessive mining has exhausted the Earth's reserves.

Something particularly alarming I learned in relation to the consequences of modern agriculture is the dead zone in the Gulf of Mexico. A dead zone is a low oxygen area in a body of water. The center of US "agribusiness" is the midwest, understandably, but it turns out that waste being dumped into the Mississippi river from agricultural processes flows into the Gulf. According to the SF Chronicle, this dead zone is the size of New Jersey. Chemical fertilizers are the number one human cause of dead zones. The Agronomy Journal claims that about half of all crop yields are attributable to commercial fertilizer use - this is obviously beneficial economically, so this relates to the "duality" I mentioned earlier. Where do you draw the line between a compelling state interest (the economy) and a moral obligation to our planet and ultimately public health? I went to the website of Monsato, the company largely responsible for most crop chemicals and pesticides in this country, and their "pledge" is to "consider [their] actions and their impact broadly, and to lead responsibly." They also claim to translate their core "values into actions," but unfortunately, any multi-billion dollar company's core "value" is their profit maximization. I hope for more accountability on the practices of businesses in agriculture.

www.Facebook.com/CosmicShapes

See the whole series here:

www.flickr.com/photos/taylorgruye/sets/72157647701757700

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

ID:338d8a144e3b0323ce33ca3408879cfd

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On Hiways 60-70-89-93

You'll enjoy eating in this unique Inn. Our Chinese Ovens combined with our intimate knowledge of cooking and smoking with the use of native desert mesquite wood impart a delicate flavor to our meats and poultry unequalled anywhere.

Your hosts, Mary and Gordon Taggart

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

ID:338d8a144e3b0323ce33ca3408879cfd

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Just an evening pic of a duck, the slimbridge centre provided the reflection colours, and the low evening light through the walkway the highlights on the duck.

Quite happy with this photo, its revealed a little more of their nature to me than usual. Try it yourself and you'll see what I mean. Catching a pic of one of these guys while not diplaying tends to leave a really flat uninteresting image thats shows no personality and gives you no sense of the animal. (yes , I am going to blame cameras for that because my eye can see it every time) Hopefully I just caught the edge of personality here.

I know a lot of people who arent quite as engaged with animals as I am , well, they look for iconic pictures. Descriptive of form, really sketch outlines of animals with photographic detail, almost book descriptions for twitchers. Me, myself, and I however, i'm after everything but that. Being a photographic standard sketch and paint artist anyway, I can draw the cliche from memory alone, I don't need a photograph to do that for me. I'm not looking for the camera to fill in a skill I don't have. I just want it to record the life in the animal, to help bridge the gap between it and myself, not merely record the fact that it has existed or merely blueprint its design.

Photography in essence is not really about recording, because actually it doesnt do that. We do that. We impart our perspective to what is no more than refracted light, so for me as an observer of life and nature I find the use for photography elsewhere. Think about it for a second. Its not just what the camera records, because the camera is blind, it has an eye, but it sees nothing, it feels nothing. It knows no relevance, it has no context, conversely the photographer has everything, the gift of life, the gift of being able to percieve life, sentience, context, situation, to know the relative persistance and passing of time and the consideration of hopefully an ever changing human perspective, and if very lucky, a good deal more..

Ok, i'll try to show you what I mean. Ever looked at an etching of an extinct species? You can see roughly what it looked like, and perhaps you might think no more about it. A child however or someone who has a sense of what has been lost, who wants to feel what the animal is like to be around, know its essence, its atmosphere and its world, to try and extend oneself to the animals perception and to reach empathy, may still, having seen the image turn to you and say "so what was it like then?" The kid isnt blind, he just finds the format of image he sees before him as a blank recording.

The child in me wants to give the child in others that feeling of knowing something more intimately. I guess thats what the misery in extinction is for many of us, its why we collect bones, unveil life stories, read gigatons of accounts, and worry so very much about things being lost. Perhaps when I know extinction and loss is coming so badly , through photography I want to keep a touch of lifes glow alive.

Maybe it is an exercise in futility, but we need it anyway. In the meantime it can at least mean those of us who have a more subtle appreciation of beauty than a mere sketchplan of life can at least still make contact with the things in life we love to feel, from sickbeds, from insular lives, lack of funds, and whatever else might prevent ourselves or other getting to location to feel it for real, and purely for the sheer unadulterated joy of it.

Remember to tell your photography lecturer that when he gets a bit anal about technicalities . ;) From nature to portraiture, from weddings to buildings, from landscapes to inner scapes. Design is design, and life is life. They are not supposed to be seen the same way, though they do of course influence and blend together much of the time.

Maybe you can see it, maybe you can't , but I know that ducks face will keep me smiling a little while yet. For a moment he popped out of his own design and said "hi, i'm alive!"

"See me?"

My silent reply through a wry grin is always

"yes, I see you, hello there"

I hope it puts a smile on your face too.

Maybe it is a touch of anthropomorphisation at work, but any intentional scientific nullification of persona aside for a moment, the only eyes with which we have to see are entirely human, and we have to accept that and learn to work with it. Find ways to widen our vision, learn all there is to learn, and hopefully make our empathies ever more accurate, more true, valid, and helpful to all species.

Durrell, Attenborough, Scott, The BBC natural history unit entire ,and many more, often nameless, perhaps less famous but equally gifted people over the years, they knew and still know the validity of this, in them humanity finds ways to reconnect with what is lost in a commercial life and perhaps I one day hope to contribute as they have, encourage others to do the same.

I hope I find a way to refine what I see. Find a way to perform to a high enough standard to do the work. Carry on the legacy of the wonderfully infectious virus they implanted in me as a child through their books, programmes and dreams in my own small and totally inadequate way. Their gentlemanly respect for all life. Its really only the start of my journey after all. I care about my photography because I care about nature. I don't want to get it wrong.

I don't want to be the guy that produces "animals do the funniest things" and have a moron presenter make children laugh at animals sufferring from stereotypical behaviour.I'm sick of swearing at the television because a couple of moron tourists are dancing leg shuffles next to a camel, a polar bear or an elephant that is going out of its skull from boredom like its something to be laughed at. I know this is the self soothing rocking that people with severe mental illness suffer from in animal form. How can anyone find it funny? Are we so primitive as to find it entertaining?

I want magic and respect, inspiration to be at the heart of everything I do. I want to make people feel too much fondness and respect to want to destroy for a few pounds and dollars, even by omission of action. I want to pass on a genuine love, as pure and as enthusiastically, and as genuinely as it was passed to me. Without religion or mad fervour, but just have people set their compass on what is real and true.

Hey, even a miserable git like me is allowed to dream.

Yeah, I know, I'm a sentimental sod. ;)

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

ID:338d8a144e3b0323ce33ca3408879cfd

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Blowing ice crystals refract the sunlight to create a halo around the sun.

Used in a conference presentation by Sentience.