BodyFitLife.com is here to help achieve our evolutionary potential in health fitness (without DNA cloning). Radically reduce the time it takes to reach peak physical condition, motivation, and mental focus for the 2010 Olympic sports by adding Body'Fit pH Fitnessâ„¢ (short form... pHxâ„¢) to your workout. The revolutionary pHx warm-up cool down is an easy simple way to return body pH to normal as fast as possible before and after sports training. The human organism is at the top of the planetary evolutionary scale. By integrating the neural system fast through specialized exercise science in 5 to 15 minutes with Body'Fit pH Fitness exercise our mind and emotions, which are a social development, can catch up to the potential of body physiology for More Out of Exerciseâ„¢ securing a sustainable future for our species without GMO DNA cloning and space exploration hazards

Author: BodyFitLife
Keywords: olympic sports sustainability human evolution bodyfit body google pH fitness exercise fast warm up cool down potential planetary health fit workout DNA neural system physiology species genome GMO genetic engineering cloning hazards society ethics macfarlane
Added: January 8, 2009

"... no operation performed by a computer can create new information." -- Douglas G. Robertson, "Algorithmic Information Theory, Free Will and the Turing Test," Complexity, Vol.3, #3 Jan/Feb 1999, pp. 25-34. The oldest sedimentary rocks on earth, known to science, originated underwater (and thus in relatively cool environs) 3.86 billion years ago. Those sediments, which are exposed at Isua in southwestern Greenland, also contain the earliest chemical evidence (fingerprint) of photosynthetic life [Nov. 7, 1996, Nature]. This evidence has been fought by naturalists, since it is totally contrary to their evolutionary theory. Yet, Danish scientists were able to bring forth another line of geological evidence to substantiate the primary line of geological evidence for photo-synthetic life in the earths earliest known sedimentary rocks (Indications of Oxygenic Photosynthesis, Earth and Planetary Science Letters 6907 (2003). Thus we have two lines of hard conclusive evidence for photo-synthetic life in the oldest known sedimentary rocks ever found by scientists on earth! The simplest photosynthetic bacterial life on earth is exceedingly complex, too complex to happen by accident even if the primeval oceans had been full of the hypothetical pre-biotic soup which evolutionists have absolutely no geological evidence of. Is the Chemical Origin of Life (Abiogenesis) a Realistic Scenario? http://www.godandscience.org/evolution/chemlife.html The RNA World: A Critique http://www.arn.org/docs/odesign/od171/rnaworld171.htm "To grasp the reality of life as it has been revealed by molecular biology, we must first magnify a cell a thousand million times until it is 20 kilometers in diameter and resembles a giant airship large enough to cover a great city like London or New York. What we would see then would be an object of unparalleled complexity,...we would find ourselves in a world of supreme technology and bewildering complexity." Geneticist Michael Denton PhD., Evolution: A Theory In Crisis, pg.328 There are approximately... One-hundred-and-fifty-three-thousand different types or classes of proteins in the human body. An individual protein is so small that we would have to magnify it a million times to be able to see it with our eyes. Each protein is made of a complex sequence of the twenty different L-amino acids which are the basic building blocks of all life forms on earth. How complex? Let us consider insulin, one of the simplest proteins. It has fifty-one possible locations for an L-amino acid to occupy. If we theoretically try every possible combination of putting the twenty different L-amino acids in the fifty-one places possible, and we filled a basket (large) with just one electron from all the combinations, the basket would weigh one-hundred billion times the weight of the earth!!

Author: bornagain7777777
Keywords: Intelligent Design Evolution Atheism Christianity Behe Minnich Dembski
Added: January 8, 2009

The aim of this study is to discuss the machine in current art as a proposition for upcoming art. The machine in the age of computers and internet is the information machine. Before, heavy and monstruous, it now comes closer to the human being and becomes an idea, an abstraction, diagrams and numbers, a problem or poetry. This way we exhibit questioning and thoughts about the machine in art and make them function. The shape technology presents is work of the internal logic of techniques, but it can also be result of the artists imagination. Technology as an issue, object or idea is, to art, more important than its products. The artist, besides reflecting in his art what exists in the world, has the capacity to act in the world. The value of technological work of art doesnt reside in technology itself, but in the creative movements of art on technology. Thus, there is no superiority of an art that uses technology, regardless of its degree, over another that doesnt use it, even considering two existing discourses in present art which are opposite to a certain degree: the discourse of the so-called contemporary art that feels the absence of poetry or content in technological artwork, and that of technological art, which is put at a superior level in comparison to traditional art. Theres no artistic progress and theres no evolution of styles according to technological progress: in art theres no progress or regress, but creation, complexity, transformation and openness. In the same way that for the avant-garde art notions such as beauty, history and origin already didnt carry so much importance, current art is made from acceleration, accumulation and oblivion of works and artists, within increasing interconnectivity, presentification, saturation and complexity. The confusion about certain productions being or not art or something else daily life, science, politics, technology leads us to an issue: is there a limit or shouldnt there be an importance in the limit between two things when they are connected? Thats the reason why the concept of object has a wider meaning, as it is machine, sign, technical object and poetic image, always in state of connection. And consistent art, or a poetical project that is in accordance with our epoch, must be research: aesthetic and scientific.

Author: mruvru
Keywords: "Avant-garde Movements" "Machine Aesthetics" "Functioning Aesthetics" "Current Art" "Technological Art" "Contemporary Art" Object
Added: January 8, 2009

The aim of this study is to discuss the machine in current art as a proposition for upcoming art. The machine in the age of computers and internet is the information machine. Before, heavy and monstruous, it now comes closer to the human being and becomes an idea, an abstraction, diagrams and numbers, a problem or poetry. This way we exhibit questioning and thoughts about the machine in art and make them function. The shape technology presents is work of the internal logic of techniques, but it can also be result of the artists imagination. Technology as an issue, object or idea is, to art, more important than its products. The artist, besides reflecting in his art what exists in the world, has the capacity to act in the world. The value of technological work of art doesnt reside in technology itself, but in the creative movements of art on technology. Thus, there is no superiority of an art that uses technology, regardless of its degree, over another that doesnt use it, even considering two existing discourses in present art which are opposite to a certain degree: the discourse of the so-called contemporary art that feels the absence of poetry or content in technological artwork, and that of technological art, which is put at a superior level in comparison to traditional art. Theres no artistic progress and theres no evolution of styles according to technological progress: in art theres no progress or regress, but creation, complexity, transformation and openness. In the same way that for the avant-garde art notions such as beauty, history and origin already didnt carry so much importance, current art is made from acceleration, accumulation and oblivion of works and artists, within increasing interconnectivity, presentification, saturation and complexity. The confusion about certain productions being or not art or something else daily life, science, politics, technology leads us to an issue: is there a limit or shouldnt there be an importance in the limit between two things when they are connected? Thats the reason why the concept of object has a wider meaning, as it is machine, sign, technical object and poetic image, always in state of connection. And consistent art, or a poetical project that is in accordance with our epoch, must be research: aesthetic and scientific.

Author: mruvru
Keywords: "Avant-garde Movements" "Machine Aesthetics" "Functioning Aesthetics" "Current Art" "Technological Art" "Contemporary Art" Object
Added: January 8, 2009

The aim of this study is to discuss the machine in current art as a proposition for upcoming art. The machine in the age of computers and internet is the information machine. Before, heavy and monstruous, it now comes closer to the human being and becomes an idea, an abstraction, diagrams and numbers, a problem or poetry. This way we exhibit questioning and thoughts about the machine in art and make them function. The shape technology presents is work of the internal logic of techniques, but it can also be result of the artists imagination. Technology as an issue, object or idea is, to art, more important than its products. The artist, besides reflecting in his art what exists in the world, has the capacity to act in the world. The value of technological work of art doesnt reside in technology itself, but in the creative movements of art on technology. Thus, there is no superiority of an art that uses technology, regardless of its degree, over another that doesnt use it, even considering two existing discourses in present art which are opposite to a certain degree: the discourse of the so-called contemporary art that feels the absence of poetry or content in technological artwork, and that of technological art, which is put at a superior level in comparison to traditional art. Theres no artistic progress and theres no evolution of styles according to technological progress: in art theres no progress or regress, but creation, complexity, transformation and openness. In the same way that for the avant-garde art notions such as beauty, history and origin already didnt carry so much importance, current art is made from acceleration, accumulation and oblivion of works and artists, within increasing interconnectivity, presentification, saturation and complexity. The confusion about certain productions being or not art or something else daily life, science, politics, technology leads us to an issue: is there a limit or shouldnt there be an importance in the limit between two things when they are connected? Thats the reason why the concept of object has a wider meaning, as it is machine, sign, technical object and poetic image, always in state of connection. And consistent art, or a poetical project that is in accordance with our epoch, must be research: aesthetic and scientific.

Author: mruvru
Keywords: "Avant-garde Movements" "Machine Aesthetics" "Functioning Aesthetics" "Current Art" "Technological Art" "Contemporary Art" Object
Added: January 8, 2009