Brain-controlled prosthetics could be widely available in three years time. Iceland-based orthopaedics company Ossur made the announcement after publicly demonstrating the working technology, currently being trialled by two volunteers.
However, given WIRED's May issue featured the story of a tetraplegic woman who could control a robotic arm using only her thoughts -- thanks to a series of electrodes linked to her brain -- you'd be forgiven for thinking brain-controlled prostheses were already par for the course.
And yes the tech, known as myoelectric prostheses, has been in development for years. They work by implanting tiny sensors into the muscle adjacent to the site of amputation, using salvaged nerves to send signals from the brain, via the sensor, to the prosthetic, where a receiver translates that message into movement. Ordinary electronic prostheses, including Ossur's original Proprio Foot, use algorithms to process data from sensors to predict a wearer's next movement. The company, which made Oscar Pistorius' Flex-Foot Cheetah blades, only delivered the upgraded version to two patients 14 months ago.
A bio-inspired prototype “soft robot” material with greater dexterity and mobility than conventional hard robots has been created by researchers at the University of Pittsburgh’s Swanson School of Engineering.
“In biology, directed movement involves some form of shape changes, such as the expansion and contraction of muscles,” said Anna C. Balazs, PhD, the Swanson School’s Distinguished Professor of Chemical and Petroleum Engineering. “So we asked whether we could mimic these basic interconnected functions in a synthetic system so that it could simultaneously change its shape and move.”
Thinking through Digital Media offers a means of conceptualizing digital media by looking at projects that think through digital media, migrating between documentary, experimental, narrative, animation, video game, and live performance. Hudson and Zimmermann analyze projects at the intersections of imbedded technologies, transitory micropublics, human-machine interface, and critical cartographies to forward a set of speculations about how things work together rather than what they represent. The book frames debates on participation/surveillance, outsourcing, global warming, migrations, GMOs, and war across some of the most dynamic, innovative sites for digital media, including Brazil, Canada, China, Germany, India, Indonesia, Italy, Kenya, Nigeria, Palestine, Saudi Arabia, Singapore, and the United States.
Special thanks to Thomas Shevory, Sharon Tay, and Claudia Pederson at FLEFF and to Gina Marchetti, Tim Murray, and Jan-Christopher Horak for the wonderful endorsements. Our book would not have been possible without the inspiring projects by artists/intellectuals/advocates and collectives, including Dena Al-Adeeb, Rico Loco Aditjondro, Nicole Əntēbī, Craig Baldwin, Mez Breeze, Rebecca Baron, Ursula Biemann, Eduardo Cachucho, Helen De Michiel, Leonard Retel Helmrich, Babak Fakhamzadeh, Jonny Farrow, Renate Ferro, Doug Goodwin, Ben Grosser, Invisible-Borders Trans-African, Art Jones, Shambhavi Kaul, Laura Kissel, Nick Knouf, Brenda Longfellow, Jennifer McCoy, Christina McPhee, Evan Meaney, Torry Mendoza, Minoo Moallem, Carlos Alejandro Motta, Leila Christine Nadir, Raqs Media Collective, Alex Rivera, Stephanie Rothenberg, Ruang Rupa, Eddo Stern, Simon Tarr, Ushahidi, Uturn Entertainment, Miyö Van Stenis, Visualizing Palestine, Anders Weberg, Kenneth White, and many others
Noise Mapping is a peer-reviewed (single-blind peer-review), electronic-only journal that will promote and spread knowledge on noise mapping through the publication of high quality peer-reviewed papers focusing on the following aspects:
noise mapping and noise action plans: case studies;
models and algorithms for source characterization and outdoor sound propagation: proposals,
applications, comparisons, round robin tests;
local, national and international policies and good practices for noise mapping, planning,
management and control;
evaluation of noise mitigation actions;
evaluation of environmental noise exposure;
actions and communications to increase public awareness of environmental noise issues;
outdoor soundscape studies and mapping;
classification, evaluation and preservation of quiet areas.
The goal of the journal is to be the first and the main publishing option for authors writing on noise mapping and related topics, and a hub integrating the relevant research community in the field of environmental noise and soundscape studies. The journal is addressed to scientists, practitioners and public bodies representatives (for example environmental protection agencies) carrying out research and/or interested in environmental noise mapping, planning and control issues.
Papers concerning noise mapping of emissions by the following sources are welcome for publication:
roads; railways; airports and aircrafts; harbours and ships; industrial plants; leisure and night-life activities;
Following on from three highly successful years of partnership with Ars Electronica, Arts@CERN launches today the open call for Collide@CERN Ars Electronica, the award in which artists from any country are invited to apply for a residency of two months at CERN. This call is open for digital artists, innovative concepts and ideas in the field of art, science and technology.
"Genspace is a nonprofit organization dedicated to promoting education in molecular biology for both children and adults. We work inside and outside of traditional settings, providing a safe, supportive environment for training and mentoring in biotechnology."
Future timeline, a timeline of humanity's future, based on current trends, long-term environmental changes, advances in technology such as Moore's Law, the latest medical advances, and the evolving geopolitical landscape.
10TB solid state drives may soon be possibleConsumer virtual reality will grow exponentially 200GB microSD card announced by SanDisk"The Vive" – new VR headset being developed by HTC and ValveTesco becomes first UK retailer to launch a Google Glass-enabled serviceLaying the foundations for 5G mobileClothes that can monitor and transmit biomedical info3-D haptic shapes can be seen and felt in mid-airAI software can identify objects in photos and videos at near-human levelsDARPA circuit achieves speed of 1 terahertz (THz)3D printer which is 10 times faster than current modelsCreating DNA-based electrical circuitsWi-Fi up to five times faster coming in 2015Long-distance virtual telepathy is demonstratedThe Internet of Things: A Trillion Dollar MarketBrain-like supercomputer the size of a postage stampProject Adam: a new deep-learning system
Via Dr. Stefan Gruenwald
Venice Biennale is as provocative as ever, with statues inspired by expletives from the Exorcist, Simon Denny’s scathing study of the NSA and the disembodied arm of a minutely-monitored Amazon worker by Jeremy Deller
Qu’est-ce qui fait l’humain en l’homme ? La question, qui a longtemps reçu une réponse philosophique fondée sur la mise à l’écart du corps comme racine de l’humain, est posée à nouveaux frais dans un contexte où les technologies, dont les biotechnologies, donnent les moyens à l’humanité de provoquer des changements fondamentaux non seulement dans nos modes de vie, mais aussi dans le corps même des femmes et des hommes. Tout se passe comme si l’on voulait que les machines fussent humaines, et les
A new drone camera has been released that allows users to simply throw it in the air and have it follow them around.
The drone is designed to allow people to be filmed without having someone do it for them. It looks to be positioned towards the same people who use Go Pros, mounting them to their head to film snowboarding and other extreme sports, but allows for them to feature in the video themselves.
To use the drone, users simply turn it on and throw it up into the air. From there, it will follow a special transmitter or go in pre-programmed routes.
The drone is waterproof and small, only weighing 2.8 lbs. ...
Something in the human mind, or heart, seems to need a word of praise for all that humanity hasn’t contaminated, and for us that word now is “natural.” Such an ideal can be put to all sorts of rhetorical uses. Among the antivaccination crowd, for example, it’s not uncommon to read about the superiority of something called “natural immunity,” brought about by exposure to the pathogen in question rather than to the deactivated (and therefore harmless) version of it made by humans in laboratories. “When you inject a vaccine into the body,” reads a post on an antivaxxer website, Campaign for Truth in Medicine, “you’re actually performing an unnatural act.” This, of course, is the very same term once used to decry homosexuality and, more recently, same-sex marriage, which the Family Research Council has taken to comparing unfavorably to what it calls “natural marriage.”
With Virginia Barratt, Francesca da Rimini, Cory Doctorow, Shu Lea Cheang, Jennifer Lyn Morone™ Inc, Andrew McKenzie, Angela Oguntala, Dr. Richard Stallman, Stelarc, Jacob Wamberg, Lu Yang
Inspired by the Phillip K Dick short story “The Electric Ant” this year's CLICK seminar curated with Furtherfield explores how identity and perceptions of reality have changed in a world where humans, society and technology have merged in unexpected ways. Who are we, what's real, where can we expect to go from here, and how can we get there together? From future shock to FOMO (fear of missing out), accelerating technological change has disrupted our perception of ourselves and the world around us. Pervasive computing, genetic engineering, artificial intelligence, drones and robotics, neural interfaces and implants, 3D printing, nanotechnology, big data and ever more technologies are redrawing the boundaries of what it means to be human and what it means to be you. At the same time the design and unintended consequences of technology are creating new mass behaviours. And the productive forces of social media, peer production, hacker culture and maker culture are creating new possibilities for creation and expression. All of this changes how we relate to one another within society as part of the public. This years CLICK festival, co-curated by Furtherfield sets out to explore questions related to identity and perceptions of reality in a world where humans and technology have merged in unexpected ways.
Les biotechnologies promettent pour très bientôt des découvertes fondamentales et des développements majeurs au niveau des traitements médicaux, de l'accroissement de la production agricole, de la cartographie complète du génome de plusieurs espèces, de la reconfiguration de l'humain sur mesure. Leur puissance annoncée fascine et inquiète.
Ces technologies soulèvent de nombreux doutes et posent des questions qui ne connaissent pas de réponses simples. Des théoriciens et des artistes internationaux abordent ces questions en présentant des recherches et des réalisations artistiques situées au croisement de l'art, de la science et des systèmes artificiels.
Conçu et réalisé par Jason Martin, un DVD accompagne le livre et compile près de mille œuvres produites par plus d'une centaine d'artistes.
Le dévédérom inclus avec ce livre peut être lu avec Windows® 2000 et XP. Configuration minimale : Pentium III, 128 Mo de RAM. Macintosh OS X : Power Mac G3, 128 Mo de RAM.
Human Harp is an instrument that clips to suspension cables, enabling us to hear and play a bridge’s song. Founded by artist Di Mainstone in partnership with Queen Mary University of London, Human Harp is also supported by Arts Council England, Arup, Roundhouse and Sennheiser. Now a global collaboration, Human Harp connects engineers, dancers, designers, musicians and bridge lovers from around the world…
“The Human Harp performances at the Roundhouse were both beautiful and engaging, inspiring our visitors young and old” Rachel Nelken, Senior Producer, Roundhouse
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