Make it Extra™ Number 1

Mammal in a Sunday Dress explores the uneasy relationship between femininity, civilisation, and the animal body. At first glance, the figure appears modest and withdrawn. Her posture is composed, her gaze seemingly lowered towards her bare feet, recalling the conventions of nineteenth-century portraiture where women were often depicted as passive objects of observation. Yet as the viewer moves closer, the illusion collapses. Her eyes are not lowered at all. She is looking directly back. The delayed eye contact transforms the encounter. The viewer approaches believing they are safely observing a woman; instead, they realise they have been observed themselves. The work refuses the traditional power dynamic of portraiture, denying the comfort of anonymous spectatorship. Looking becomes a reciprocal act. For Cox, the painting considers humanity's persistent desire to separate itself from the rest of the animal kingdom. The title quietly undermines this distinction. A "mammal" is not another creature—it is us. The Sunday dress, rich with cultural associations of femininity, morality, and respectability, becomes an attempt to distinguish ourselves from nature. Yet clothing cannot alter biology. Beneath lace and ritual remains the same vulnerable animal body. The work also reflects on the historical relationship between women and nature. Across art, religion, and philosophy, women have repeatedly been positioned as closer to instinct, emotion, reproduction, and the body itself, while men have been aligned with reason, culture, and civilisation. Mammal in a Sunday Dress does not reject this comparison. Instead, it questions why proximity to nature has so often been treated as something lesser. Chiaroscuro isolates the figure within darkness, allowing the luminous dress to symbolise the performance of civilisation while the bare feet quietly return the body to the earth. Neither is presented as more truthful than the other. The painting exists in the tension between performance and instinct, refinement and biology. Mammal in a Sunday Dress ultimately asks a simple but unsettling question: if every layer of culture were stripped away, what would remain? Not a king. Not a saint. Not a gentleman or a lady. Only another mammal, looking back.

The core tenet of Stupidism is that everyone is really hecking stupid.

It’s recently been found that even hive insects rest. Bees will play with colorful toys. Ants sleep for about 1 minute but they do it so frequently it amounts to a few hours per day. Even trees take breaks.

robots require very frequent breaks! welding machines generally have it programmed in that they can’t run so long they melt themselves. ive overseen two different manufacturing robots now and each of them were fragile, finicky idiots that require constant maintenance and repair. they pause in between moves, in between jobs. you’re always keeping an eye on programming errors, on coolant levels, on heat. you’re always pulling bits of scrap out of joints, sweeping up debris, washing off nozzles and untangling hoses. and even then it snaps a chain and takes a whole morning’s vacation.

Human Is is a 1955 Philip K. Dick sci-fi short story where a guy goes to another planet for work and when he comes back to Earth his personality has flipped from an asshole to a sweet, kind, considerate man. Everyone's immediately convinced that an alien has taken over his body, this goes all the way to court, and in court his wife testifies that she's noticed no changes at all and so the charges are dropped.