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There seem to be little aliens in the center of these orchids my wife grows in our garden. Should I be worried? ;-)
01. Wish I Woz A Dog (Last Part)
02. R.I.P
03. Wild Women
04. I Am A Product
05. Lips Can't Go
06. The Gurl At The End Of My Gun
07. New Christian Music
08. Ignore the Machine
09. 30 Second Coma
Check out a step by step process blog for this illustration on my website...
www.wanderingbert.com/news/step-by-step-process-for-alien...
This one is definitely better than my last Alien Viper. This started as a Viper for a different theme but it ended up not fitting, so I changed the cockpit. (You'll probably see the other themed one tomorrow) I'm really proud of this one too, the shape is so unique.
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Day 8/30
November 2012
Original photo edited with PhotoViva. I just had a lot of fun with my neighbor's plants. I love the way this came out, though. I did several hue changes and applied in many layers.
জাফলংয়ে খাসিয়া পুঞ্জির একটু আগে তোলা এই ছবিটা তে দুরে যে বৃষ্টি হচ্ছে সেটাও বোঝা যাচ্ছিল। আমার কাছে মেঘের ফরমেশন টা এত সুন্দর লেগেছে যে আমি না তুলে পারি নাই। আর বালির মাঝে লোকটা ্থাকায় পুরোই ষোলআনা :)
Digging behind the various threads, personalities and events that litter the Ufology landscape like a post-war zone leaves one with two things. The first – a very bitter taste in the mouth. Second – a distinct impression that if anything holds true it is that a common theme throughout Ufology scams is technology.
If you consider all of the various weird and wild claims throughout the years – Burisch and his Ganesh Particle, John Lear and exchanged alien technology, Rick Doty and the Roswell-recovered Energy Device, John Titor and Time Travel Technology, Steven Greer and his energy and propulsion technologies and last but not least, Gordon Novel and his RAM antigravity project – they all center around a common theme.
That theme is this – aliens delivered a technology that humans have yet to reverse engineer, but when we do it will have earth shattering social implications.
Is this true? How would alien technology affect society when it first surfaces and becomes either commercialized or militarized? What if the technology is so advanced that it completely changes the normal order of business and the functioning of society?
The truth is – all technological development has had that effect on society to some extent. From 1850 to 1900, the world was completely transformed by the advent of new technologies like the railroad, telegraphs and eventually in the early 1900′s – the automobile.
Numerous historians noted how the railroad “annihilated space and time” for individuals and entire regions. Early travel by horseback or wagon was not even comparable to the fraction of the time it took to travel by railroad to remote locations.
Vacations to distant cities and even remote getaway spots became highly fashionable and popular. Trade routes opened up between distant cities that were never before possible or even imaginable. In all cases – entire businesses and industries were both destroyed and born with the advent of society-changing technologies.
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Alien She
Photos and Video by Mario Gallucci
Alien She
Sep 3, 2015 – Jan 9, 2016
Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.
Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and ‘70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the ‘90s, with many new chapters forming in recent years. Riot Grrrl’s influence on contemporary global culture is increasingly evident – from the Russian collective Pussy Riot’s protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.
Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance – a reflection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.
Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.
Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.
Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more
Women’s Studies Professors Have Class Privilege / I’m With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.
Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.
Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh
Alien She is presented in two parts:
Museum of Contemporary Craft
724 NW Davis
Portland, OR 97209
511 Gallery @ PNCA
511 NW Broadway
Portland, OR 97209
Both venues are open Tuesday through Saturday from 11am to 6pm.
The second of two semi-static posed figures is complete. This version depicts the creature as it appears in the deleted "crab-walker" scene from the 1979 film as Lambert and Parker make a desperate attempt to escape the Nostromo. This deleted scene however was thought comical by many, not well executed on film and revealed too much of the creature...reducing it to nothing more than a man in a rubber suit...something Ridley Scott was avoiding by using smoke and shadow.
Hand sculpted, hand painted. 1:18 scale. I borrowed resin cast parts from the original Alien figure I created a year earlier, made modifications to the torso, neck, shoulders
and legs.
When crouched or "crab walking", the figure is approx. 3" high from highest point on head to the feet. When standing, the figure is approx. 5.25" high, still not fully erect as the leg and hip joints limit the full motion (again, this was originally meant to be a static posed figure). Fortunately I was able to add several articulation points to the figure: Ball jointed neck, shoulders, elbows, wrists, hips, knees and ankles. Vacuum formed PETG dome is removable. The tail is static but is attached using a revoltech joint and can be switched out with a longer tail option.
Original was sculpted using Aves FIXIT sculpt, a two part epoxy. Parts were cast in resin and assembled to build this version. Used Model Masters Polly Scale and Tamiya acrylics.
#ALIEN #nostromo #alien79project #avesfixit #avesstudio #20thcenturyfox #hrgiger #miniature #sculpting #art #painting #monsters #deletedscene #crabwalker #lambertandparker #inspacenoonecanhearyouscream
ALIEN
Extraterrestrial life is defined as life which does not originate from Earth. It is the subject of astrobiology and its existence remains hypothetical, because there is no credible evidence of extraterrestrial life which has been generally accepted by the mainstream scientific community. Hypotheses regarding the origin(s) of extraterrestrial life, if it indeed exists, are as follows: one proposes that it may have emerged, independently, from different places in the universe. An alternative hypothesis is panspermia, which holds that life emerges from one location, then spreads between habitable planets. These two hypotheses are not mutually exclusive. The study and theorization of extraterrestrial life is known as astrobiology, exobiology or xenobiology. Speculated forms of extraterrestrial life range from life at the scale of bacteria to sapient or sentient beings.
Suggested locations which might have once developed, or presently continue to host life similar to our own, include the planets Venus and Mars, moons of Jupiter and Saturn (e.g. Europa,Enceladus and Titan) and Gliese 581 c and d, recently discovered to be near Earth-mass extrasolar planets apparently located in their star's habitable zone, and with the potential to have liquid water.
More on Wikipedia
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This was a part of my Souzou exibit@SaliMar.
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Location:Doomed Ship
Model: Azaiya Aeon in her alien avatar
Photomanipulation: Me
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Birthday card
Alien created by H R Giger in 1978
© 20th Century Fox
(around) 11.4 x 6 ¾ inches (4.5 x 16 cm)
March 2o1o
j(ay)
Can you see them? The two legged dog facing the alien child. The adult hunter, ala The Predator, and the four legged, fish-lipped fuff monster!