The first bionic hand that allows an amputee to feel what they are touching will be transplanted later this year in a pioneering operation that could introduce a new generation of artificial limbs with sensory perception.
The patient is an unnamed man in his 20s living in Rome who lost the lower part of his arm following an accident, said Silvestro Micera of the Ecole Polytechnique Federale de Lausanne in Switzerland.
The wiring of his new bionic hand will be connected to the patient’s nervous system with the hope that the man will be able to control the movements of the hand as well as receiving touch signals from the hand’s skin sensors.
Dr Micera said that the hand will be attached directly to the patient’s nervous system via electrodes clipped onto two of the arm’s main nerves, the median and the ulnar nerves.
This should allow the man to control the hand by his thoughts, as well as receiving sensory signals to his brain from the hand’s sensors. It will effectively provide a fast, bidirectional flow of information between the man’s nervous system and the prosthetic hand.
“This is real progress, real hope for amputees. It will be the first prosthetic that will provide real-time sensory feedback for grasping,” Dr Micera said.
“It is clear that the more sensory feeling an amputee has, the more likely you will get full acceptance of that limb,” he told the American Association for the Advancement of Science meeting in Boston.
“We could be on the cusp of providing new and more effective clinical solutions to amputees in the next year,” he said.
DO YOU PEOPLE EVEN REALIZE HOW AWESOME THIS IS???
TO DO THIS MEANS WE CAN FINALLY STITCH AXONS (LONG PART OF NEURON OR NERVE CELL THAT TRANSPORTS SIGNALS FROM JUNCTIONS BACK TO THE BRAIN) BACK TOGETHER
DO YOU EVEN UNDERSTAND HOW IMPOSSIBLE THAT WAS? TO ALIGN THE DAMAGED AXONS BACK TOGETHER WAS IMPOSSIBLE
WITH THIS BREAK THROUGH YOU COULD EVENTUALLY WORK UP TO GIVING THE ABILITY TO WALK AND MOVE AGAIN TO THOSE WHO CUT THEIR SPINAL CORD IN AN ACCIDENT THIS IS BEAUTIFUL
THIS. IS. AMAZING.
more palette stuff, have a human lady thresh who isn’t just an anime chick with massive barely covered boobs
Chocolate Chip Cookie Cupcakes with Panna cotta
For the cookies:
- 114g butter
- 56g dark brown sugar
- 56g granulated sugar
- 1 large egg
- 1 tsp pure vanilla extract
- 8 ounces (2 cups) all-purpose flour
- ¼ tsp baking powder
- ¼ tsp salt
- ½ cup chocolate chips
For the panna cotta:
- ½ cup semi-skimmed milk
- ½ pack gelatin (scant ½ tbsp)
- 1 cup heavy whipping cream
- 3 tbsp granulated sugar
- pinch of salt
For the cupcakes:
- Cream together the butter and sugars for 5 minutes.
- Add in the egg and vanilla and beat for another 5 minutes.
- Add in the flour, baking powder, salt, and chocolate chips; mix until combined.
- Spray a muffin pan with nonstick spray.
- Press 2 to 3 tablespoons of dough into each muffing cup. It doesn’t have to be perfect, just make sure there are no holes. Put the muffin tin in the freezer.
- Preheat the oven to 180ºC. When the oven is heated, remove the muffin tin from the freezer.
- Bake the cookie cups for 10 minutes. Remove them from the oven and, using the bottom of a juice or shot glass, press down the cookie cup centres (you’re trying to form the cup shape).
- Place the cookie cups back in the oven for 2 to 5 more minutes.
- Remove the cookies from the oven and allow to cool for a few minutes in the tin before turning them out to cool further.
For the panna cotta:
- Pour the semi-skimmed milk into a small saucepan.
- Sprinkle the gelatin over the top and allow to sit for a few minutes.
- Turn the heat on medium-low and stir until the gelatin is dissolved.
- Add in the cream, sugar, and salt, and cook for 5 to 10 more minutes, stirring, until the sugar is dissolved (we don’t want to boil the mixture).
- Pour the mixture into the cooled cookie cups (that you’ll want to have on a baking sheet in case of any leakage).
Refrigerate for at least 5 hours.
—Tunak Tunak Tun
It’s time again
"Tunak Tunak Tun" (Punjabi: ਤੁਣਕ ਤੁਣਕ ਤੁਣ) or "Tunak", is a bhangra/pop love song by Indian artist Daler Mehndi released in 1998. At the time, critics complained that Mehndi’s music was only popular due to his videos that featured beautiful women dancing. Mehndi’s response was to create a video that featured only himself.
also gosh the lyrics to this are actually really sweet & great i never realised
Anonymous asked: Could you explain the difference between bump maps, normal maps, spec maps, and ao maps?
First, a little background reading. You might want to familiarize yourself with my previous post on how this sort of thing works in a general sense:
Ok, you’ve read that? Good. Let’s talk about the specifics of what the rest of these do:
Bump Map vs Normal Map
Bump Maps and Normal Maps are actually very similar - in fact, a bump map is a type of normal map. They both store height information about the surface they’re mapping, but the data they store is different. Bump maps store this data in terms of height directly - relative distance from the base of the polygon it’s on. Normal maps store the normals of the surfaces - the direction that the surface is facing. This can be used to calculate other things in addition to the sort of lighting involved, because the normal of the polygon being mapped might actually be facing in a different direction than the normal of the fake surface that the normal map is trying to simulate.
If you look closely, you can see how the shapes on the right look a little different from an angular sense, especially on the bottom two. That’s the directional data stored in the normal map coming into play.
Bump maps and Normal maps differ in that Normal maps require a lot more calculation. Bump maps can be created by hand, but you need some sort of tool to generate your normal maps for you, or else you run the risk of them not functioning properly.
Specular Maps are used to calculate something else entirely. Rather than trying to simulate height, what a specular map does is simulate reflectivity. Imagine a chunk of coal. It is dull, it is pithy, it is dirty, and it doesn’t reflect light very well. Now compare that to something made of chrome. You can see your face in it. The “texture” (as in the way it looks, rather than the image painted onto the surface) of these two materials can be simulated with a specular map applied to your polygon. Here’s an example of the same model with changes just to the specular map:
See how it looks so different in each image? Now imagine being able to use this to add other texture or detail. You could, for example, create a visual of a frosted glass with a detailed logo on it just by messing with the spec map.
Ambient Occlusion Maps
The final type of map you asked about is the Ambient Occlusion (or AO) map. Ambient Occlusion calculates how easily ambient light will reach that particular part. The inside of an opaque plastic tube, for example, will tend to be more dull and less bright than the inside of a frosted glass tube of the same dimensions, which will be different than a clear glass tube. This will tend to make things with crevices and cracks stand out more when doing lighting calculations, much moreso than a simple normal or bump map. Here’s an example of an AO map at work:
There’s an overall increased amount of darkness with the ambient occlusion on, but you can see it specifically concentrated around where the crevices and deep wrinkles are on this model’s face. Those areas are harder for ambient light to get into, since the general topography of the face is less conducive to letting light get in. Hence, we get ambient occlusion.
As you can see, there are a lot of really interesting tricks that programmers have invented in order to get more and more things that artists can tweak in order to create the specific visuals they are looking for. These sorts of techniques aren’t only necessarily useful for hyper-realistic looks either - imagine a game with sort of the stylized visuals or post-production of films like 300 or Sin City, except done on the fly. It does come with the drawback that adding all of these things also increases the amount of work that needs to be done for each thing (the ability to use an AO map means that now you need someone to create AO maps for everything), but it does empower artists to create objects of steadily increasing graphical fidelity.