PG-13 | 112 min | Drama, Romance | 24 April 2015 (USA)

Ratings: 7.3/10 from 25,520 users Metascore: 51/100 Reviews: 104 user | 153 critic | 31 from Metacritic.com

A young woman, born at the turn of the 20th century, is rendered ageless after an accident. After many solitary years, she meets a man who complicates the eternal life she has settled into.

Director: Lee Toland Krieger

Writers: J. Mills Goodloe (screenplay), Salvador Paskowitz (screenplay)

Stars: Blake Lively, Michiel Huisman, Harrison Ford


Masao Kinoshita ’s Powerful Sculptures Are Skinned To Reveal Hulking Muscles

With rippling, coiled muscles, the sculptures of Masao Kinoshita stand skinned and erect. Working with materials ranging from wood to resin to bronze, the Japanese sculptor uses an aesthetic we normally associate with natural history museums to render athletic, flexing creatures of the sea and land. Save for their multiple heads and engorged limbs, these beasts could easily be ancestors of man.

Kinoshita draws much of his inspiration from diverse mythologies, religions and folklores from around the globe. Fusing narratives across space and time, the horned maenads of ancient Greece live alongside the Yoga Asura deities of Buddhism in a visceral, animalistic universe where fitness reigns supreme. The Hindu god Ganesh poses confidently while a human baby and a small teddy bear develop muscles of similar size and strength.

Given the artist’s knowledge of folklore and spiritual histories, we might interpret his massive, hulking walrus as a nod to the beast mentioned in Alice in Wonderland, who is widely assumed to represent the Buddha. Built from wood, he would certainly seem at home in the story of “The Walrus and the Carpenter,” but his soulful eyes maintain a divine dignity that eluded Lewis Carroll’s infamous character.

Throughout Kinoshita’s impressive body of work, the physical and the metaphysical are allowed to coexist. Where modern religions condemn the pleasures of the body and exalt in those of the spirit, these sculptures present a world wherein the gods themselves are proud—even arrogant, as the case may be with those thong-wearing bodybuilders—to live within mortal anatomies. Take a look. via: HiFructose

Lo so, non sono nulla di speciale, ma voglio accanto qualcuno che mi faccia credere che due occhi marroni possano essere più belli di due occhioni azzurri, che la timidezza non sia un difetto, che certe volte un sorriso possa bastare a rendere anche la peggiore delle giornate un po’ più accettabile, che una domenica di pioggia e tuoni possa trasformarsi in una scusa per stare abbracciati tutto il dì, che basti un bel buongiorno per cominciare bene una giornata.
Non sono nulla di speciale, ma voglio qualcuno che mi ci faccia sentire.

Experimenting with Isometric renders and Ambient Occlusion using Zone 0

Ok for those who don’t know what Ambient Occlusion is, it’s basically shadows created from objects that are close together and lighting being applied to the more exposed parts of the environment, basically, that top render up there.

The second render is just the default OFF 3D thing I made last year. No changes or anything. The Third image is the default render with the Ambient Occlusion render put over it in Photoshop and blending with Multiply. It’s a very subtle difference, but if you look closely it adds those shadows in the corners that I wish I had put in originally. It makes the building look less like it’s just plastic cubes stuck together and adds just that tiny bit more realism.

The last render is the same render style I used for my animated Isometric loops back earlier this year, with the OFF Zone 0 Sea added underneath in Photoshop ^.^ 

If you’d like an Hi-Res versions of these (they’re all 1366 x 768), here they are respectively:
AO (x)
Default (x)
Default + AO (x)
FlatColoured (x)

anonymous asked:

excuse me chairs are useful

use is a discursive category which is fundamentally reactionary and meant to render bodily posture into a status of servitude