uncensored bollywood

discovery of octopus

The octopus is a cephalopod mollusc of the order Octopoda. Octopuses have two eyes and four pairs of arms and, like other cephalopods, they are bilaterally symmetric. An octopus has a hard beak, with its mouth at the center point of the arms. Octopuses have no internal or external skeleton (although some species have a vestigial remnant of a shell inside their mantles), allowing them to squeeze through tight places. Octopuses are among the most intelligent and behaviorally flexible of all invertebrates.

The octopus inhabits many diverse regions of the ocean, including coral reefs, pelagic waters, and the ocean floor. They have numerous strategies for defending themselves against predators, including the expulsion of ink, the use of camouflage and deimatic displays, their ability to jet quickly through the water, and their ability to hide. An octopus trails its eight arms behind it as it swims. All octopuses are venomous, but only one group, the blue-ringed octopuses, is known to be deadly to humans.

Around 300 species are recognized, which is over one-third of the total number of known cephalopod species. The term 'octopus' may also be used to refer only to those creatures in the genus Octopus.

modern art

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'Love Supreme', screen print by Sickboy, about 2004. Museum no. E.382-2005. Purchased through the Julie and Robert Breckman Print Fund. ©Sickboy and Pictures on Walls

Street Art is a diverse, constantly evolving art form, one that moves across the derelict buildings, bus shelters and hoardings of cities across the world. Graffiti galleries on the internet take the street art scene from local to global, in your face but transient. The genre is as difficult to pin down as is to define - shifting rules apply. Street art has its roots in history, echoing cave paintings and stenciled slogans and images in political campaigning. The work collected by the V&A is figurative, rather than based on writing. Urban art delivers social commentary while illustrating the subconscious of the 21st century city. Traditional genres are newly interpreted: portraiture, surrealism, pop art. Random references and symbols run through the street art story: Warhol's kids stencil film stars, arte povera students recycle free stickers, political propagandists take on the self-promoting signature taggers. Narratives emerge, visual worlds are created. Politics are less discussed, more shouted. A psychedelic sense of visual humour bounces through. Everything is a fair subject: spiky comments on the state of the world exist alongside images of forgotten celebrities of yesteryear. There is no common aesthetic, more an attitude: irreverence, democracy and freedom.

The V&A collected these works in an effort to capture an ephemeral contemporary aesthetic and a form of printmaking that have influenced mainstream graphics. Most notably recent advertising has been using the language of street stencils, plundering underground visuals in an effort to appeal to the young consumer.
There exists an energetic production of websites and magazines that archive this work, created by a network of peers. The one defining feature of the genre is its accessibility. It is unexpectedly available for view on the boarded up windows on your high street, or shared on the internet for all to see. Although street art is a genre defined by its outsider status, some galleries are now exhibiting it, bringing it in from the outside.
The V&A has traditionally collected new forms of printmaking, as well as ephemera and various forms of graphic art. Artists seen here use varying methods of image-making, ranging from simple stencilling to digitally printing multiple stickers, all of which can be grouped together under the heading 'printmaking'.