Saturday, 11 May 2013

The Return of Oola's Intergalactic Tuneship, Eerie

(Glad to announce the return of Oola and her tuneship, The Eerie. She will be guest reviewing movies here for the summer, starting with Star Trek : Into Darkness. For those who like sci-fi and spaceship design below is a brief description of her ship. Trisha xx )




The Eerie ~ Engines : Running the length of the ship are the two ion propulsion chambers, now customised to use the popular ramjet inlet technology where the upgraded ‘maglev’ technology meld-all* skin allows thrust acceleration at the same time when skin polarity is rapidly reversed within the inlets.
(*Meld-all works through the relationship of its ions and the ions on the surface of the hull it is in contact with. Normally they would either attract or repel or be inert but meld-all assumes the identity of the ions it comes into contact with, mimicking its properties. It melds with whatever it comes into contact with, albeit in a very limited way. This also gives it a unique profile in terms of fluid mechanics. Meld-all is designed to conquer deep space flight by providing a protective self-healing membrane around the external hard structure of the ship, skin over the skeleton if you like. But, an unlikely bonus to this is its magnetic properties, the ship’s speed is also benefited by the unique friction properties Meld-all affords us, It reacts with space itself and creates a layer that acts as a lubricant, reducing wear and allowing the solar winds to flow smoothly over it. But its magnetic properties also give greater grip to the ship in relation to its speed, helping to pull us through the fabric of space quicker. Thus, the meld-all also provides an effective solar radiation shielding and impact protection from pebble meteoroids, gravel/dust clouds and space junk.)
Note the two trailing coil antennae, added to turn Eerie into a deep-space transmitter and receiver. They are designed to avoid the localised interference from the ion propulsion system. These can be fully retracted for flight. This allows an ergonomic hull profile for solar-wind surfing and smooth worm-hole passage and the now outlawed practice of planet-planing.
Interior: Clearly prominent at the front of the ship is the space flight deck, the Eerie was originally capable of providing safe space travel for a crew of up to two hundred, having a full deck for hydroponic food cultivation and water filtration/reclamation. There are three further living decks, a medical and engineering deck and the aforementioned flight deck. The modified flight deck contains state of the art multi-synthesis sound emulators, four-dimensional hologramatic digi-sound amplification throughout the vessel, multi-interplanetary communication decoders, universal positioning system and an extensive, continuous-update music and media library collected from throughout the universe.



 
Oola ( Non-carbon based life form, both a wave and a particle )



Tuesday, 7 May 2013

A Day at the British Museum ~ Ice Age Art Exhibition Review

Exhibition Review ~ Ice Age Art: arrival of the modern mind

This exhibition pulls together objects from the last Ice Age, works dating from 40000 to 10000 years ago. There is an absolute immediacy in these small, portable works of art that give us a vivid glimpse into the life of these long lost ancestors. There has been an attempt to marry these extraordinary works of art with modern pieces but this jars against the storytelling potency the small objects have and the modern greats seem diminished by their proximity to them.
It is this storytelling that highlights the modern mind of the exhibition title, fragments of bone carved with details of their day-to-day environment. Horses, birds, reindeer, lions, fighting, swimming, hunting... all the urgency and vibrant energy of the time encapsulated in the skilled line of the artist, the direct connection of eye to hand in a distillation of experience.
The first part of the exhibition deals with the many versions of  the female form that have been found. These figurines, variously interpreted in the past as goddesses or fertility symbols are beguiling in their inability to offer up any clue to their symbolism. Rites of passage, fertility talismans, a visual guide to the life of women by women, portraits of a queen, eternal mother figures? There is no right or wrong answer, just a guess, at best.
Towards the end of the exhibition we find more practical items appearing, weapons, combs, spoons and beads emerging among the carved bones.Objects we still use today. Two pieces caught my eye.
One, a huge carved knuckle of a bone, perhaps the remains of a big and very welcome feast on which someone had carved a beautiful and instantly recognisable ptarmigan. A gorgeous, plump, arctic winter surviving, game bird. I can imagine sitting there in the winter sun, picking off the last flesh from the bone I've carried as my next meal, watching the birds wander across the tundra like hillsides, watching and waiting to go hunting for their eggs and drawing their lovely, plump, funny shape on the bone as I wait.
The second object is a comb, made from a bit of ivory or bone shaped like a foot with five teeth for toes. Funny and practical but mainly funny. A modern sense of humour? Of course a sense of humour, one of life's greatest survival tools and as valid today as during the ice-age.

The exhibition runs at the British Museum until the June 2nd 2013, for details click here.



While wandering around the British Museum

Museum cats keep
An eye open, just in case
For museum rats