Club Jade
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A sensational breakthrough: the first bionic hand that can feel
“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.”
(via bonniegrrl)
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I’m your father by Robert Farkas.
Not a brand-new concept, but by far the best execution of it I’ve seen so far.
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![theatlantic:
At the Summer Box Office, a Battle Between Two Ways of Filming
This summer, Hollywood’s blockbusters are engaging in a high-stakes format war between cutting-edge digital technology and old-fashioned, photochemical film. Digitally photographed thrillers like The Avengers, Prometheus, and The Amazing Spider-Man will be battling it out with equally epic movies shot on film such as The Dark Knight Rises, Men in Black 3, and Battleship. Indeed, no summer in recent memory boasts so much variety in terms of how films are photographed and exhibited.
Yet with studios looking to trim costs on increasingly expensive “tentpole” movies, traditional celluloid film—easily the more expensive of the two formats—may be on its way out as the cinema’s medium of choice. Still, advocates of film continue to make compelling arguments about why theirs is the more enduring medium, even as both sides pull out their biggest guns this summer in an effort to prove definitively the commercial value of their respective formats.
Read more. [Images: Marvel, WB]](http://25.media.tumblr.com/tumblr_m40xcguSyJ1qcokc4o1_1280.jpg)
At the Summer Box Office, a Battle Between Two Ways of Filming
This summer, Hollywood’s blockbusters are engaging in a high-stakes format war between cutting-edge digital technology and old-fashioned, photochemical film. Digitally photographed thrillers like The Avengers, Prometheus, and The Amazing Spider-Man will be battling it out with equally epic movies shot on film such as The Dark Knight Rises, Men in Black 3, and Battleship. Indeed, no summer in recent memory boasts so much variety in terms of how films are photographed and exhibited.
Yet with studios looking to trim costs on increasingly expensive “tentpole” movies, traditional celluloid film—easily the more expensive of the two formats—may be on its way out as the cinema’s medium of choice. Still, advocates of film continue to make compelling arguments about why theirs is the more enduring medium, even as both sides pull out their biggest guns this summer in an effort to prove definitively the commercial value of their respective formats.
Read more. [Images: Marvel, WB]
