Before photographer Travis Magee devoted himself to his camera, he toured the world as a modern dancer. He hasn't been able to shake his fascination with dancers' physiques -- particularly those that have been inked up -- since. 

"The dancers' bodies are their canvas and very often they must perform with minimal clothing," Magee explained to The Huffington Post. "I’ve always been fascinated with the dancer who chooses to tattoo his or her body. It is unique, daring, and the first thing that the audience will notice when they first step out onstage." 

Magee's obsession soon became an inspiration, as the artist set out to combine his interests in body ink, movement and photography in one epic photo series. The resulting images feature partially nude bodies entwined beyond recognition, with colorful tattoos seeming to pass from one body to another. 

Magee had not met any of his subjects prior to shooting, nor had they met each other, and trust was a crucial factor in the images' success.

"It was important to me that the tattoos appeared to flow seamlessly together," Magee added. "I wanted the images of their flowers and vines to connect with one another. This way the dancers were not only connected through their partnering and movement, but also through the designs on their bodies."

Of course, many dancers choose not to have tattoos, particularly those who practice classical ballet. "In classical ballet it is all about the line," Rafael Bonachela, director of the Sydney Dance Company, explained to The Australian. "You probably can't even have a suntan, and if you're supposed to be a swan you can't have a great tattoo across your chest."

However, as tattoos become less and less taboo outside of the dance world, more and more dancers, from the Bangarra Dance Theatre to ballet icons like Sergei Polunin, are choosing to adorn their body with art that is as expressive as choreography. 

If you'd like to see Polunin's tattoos in action, check out his performance for Hozier's video "Take Me to Church," and prepare to be floored. For more on Magee, check out his portfolio.

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

A neatly manicured hand rests behind a woman’s back. She’s got long, lovely hair and her bright, tight underwear lends the photo an air of intimacy -- but as far as fulfilling an idealized fantasy of prettily displayed womanhood, the scene stops there. Between her filed fingernails, she grips an unwrapped tampon.

The girl who took the picture, Ashley Armitage, hopes it's a step toward changing our unrealistic expectations for how women should look, on camera and otherwise.

A scroll through her Instagram feed reveals more of the same: stylized, ethereal shots of girls that would look at home in an Urban Outfitters catalogue, if it weren’t for her refreshing choice to turn the lens towards, rather than away from, things like body hair, stretch marks, shaving bumps and goopy beauty products.

“At first it might be shocking, but then through exposure it becomes normal,” Armitage said in an email describing her work, which currently lives only on social media, although she plans to put together an “IRL” show in the future. Last year, she took her project a step further by kicking off a collaboration with another young woman photographer, Ophelie Rondeau. The two met on Instagram, and decided to start a collective where only photos of girls, taken by girls, could live.

“We were speaking the same language in terms of aesthetics and wanted to join forces,” Rondeau said. “That’s what’s amazing about the Internet, there are no borders, everybody is one email away from you.”

The resulting collective, Girls by Girls, is a mashup of the pair’s own photos displayed alongside submissions, which they aim to keep as diverse as possible in terms of expertise, orientation and race.

“As an upcoming artist myself, I know for a fact that many publications won’t be interested in you unless you are already ‘somebody,'” Rondeau said. “Despite wanting to include women of all shapes and origins in my work, I’ve only mostly attracted the ‘classic white girl’ and that’s something I definitely want to change this year.”

Armitage echoed, “I’m trying to show that being ‘beautiful’ does not mean being white, thin and cis-gendered.”

With grainy, diffused images, both artists’ work is overlaid with a delicate, otherworldly sheen, granting less conventional representations of femininity a distinctly feminine look. A girl poses boldly while sitting on a messy kitchen counter in a setting that juxtaposes her obvious beauty; two swimmers lean over a sink, examining their faces in a mirror, unconcerned with their un-Photoshopped butts.

Armitage remembers an Instagram commenter who told her that she thought the realness of the shots was “gross” at first, but after constant exposure to images of real women's bodies, her perception shifted to seeing them as “normal,” and “beautiful.”

“My photos embrace imperfections,” Armitage said, crediting the “democracy of the Internet” for her ability to subvert beauty standards on Girls by Girls.

Rondeau agreed that social media provides a space for women and other oppressed groups to present uncensored representations of themselves, but added that censorship can still be a problem online.

“Censorship rules are becoming seriously ridiculous and are damaging our society more than we think,” she said.

The censored work of expressive women artists Rupi Kaur and Petra Collins springs to mind, serving as a reminder that there’s still work to be done in terms of how we expect and allow women to be represented in photos.

In the meantime, Girls by Girls is a safe, open and grittily lovely shelter where glitter, short skirts and stretch marks are all welcome.

More photos from Girls by Girls below, and on the collective's site.

Also on HuffPost:

Meet The Young Feminist Photographer Who Uses Selfies As Her Weapon

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Whit Stillman is a Sundance success story. His debut movie, "Metropolitan," soared out of the 1990 festival toward critical glory, an Oscar nomination for its screenplay and a 25th anniversary re-release. Stillman's fifth film, "Love & Friendship," took him back to Sundance this week, where it earned glowing reviews. 

Based on the lesser-known epistolatory Jane Austen novella Lady Susan,  published 54 years after Austen's death, "Love & Friendship" makes an antihero of the conniving title character (Kate Beckinsale). During a time when women had little agency, Susan is a widow willing to manipulate her way into suitable marriages for herself and her daughter, Frederica (Morfydd Clark), to whom she's never displayed proper affection. With biting humor, Stillman makes "Love & Friendship" an accessible battle of the aristocratic sexes and a delight for Austen acolytes who've awaited a Lady Susan adaptation. The Huffington Post sat down with Stillman at Sundance to talk about his Austen adoration, what his Austen-debating "Metropolitan" characters would think and the one mistake he made with "The Last Days of Disco."

How do you feel about people saying, “Finally, the Jane Austen movie we knew Whit Stillman would make one day”? 

I agree with them. That’s how I feel.

Audrey and the other characters in “Metropolitan” debated Austen’s work. Have you had your eyes on a literal adaptation of her stories ever since?

A really good producer approached me in 1994, when I was finishing “Barcelona,” to direct a Jane Austen piece. It was a particular idea, but I can’t talk about it precisely. I had just finished “Barcelona” and I was about to start on the script for “The Last Days of Disco,” and I thought maybe I should write original stories. I felt that a lot of directors could turn a great Jane Austen novel into a good film. And then, over the years, I found that’s not necessarily the case.

I also found in Lady Susan that here’s a piece that’s Jane Austen and it’s really great and really funny, but it needs some additional things. So instead of taking something big and important and reducing it to a 90- or 100-minute visual version, I could take something that was brilliant but small and unworkable. It’s almost hard to read because of the letters back and forth and the repetition and all that, so to take this wonderful Jane Austen material and put it in a form people could appreciate, as a writer as well as director, was a real positive challenge. I know what it’s like to adapt a great book that everybody loves, and all these producers love it too, and you write a draft of an adaptation and it turns out the part of the book you loved and cared about is not what interested them, and you have all these discussions about why you have to put in this and you have to put in that. And this is just a better dynamic. 

Because it’s a lesser-known work of hers? 

Well, the fact that it's something that’s both great and totally inaccessible. It’s great, but how do you get at it? It has funny material, cheek by jowl -- one funny line after another, but it’s kind of wasted in the format it’s written in. That was her decision, too. She stopped writing in this epistolary format, with the letters between each other. It just didn’t work for her. It was just a great opportunity, really. It didn’t have the downside, as far as I can see, and it had tons of upside.

Given how difficult it is, how much of the dialogue is culled from the novel? 

Tons. Tons. It’s difficult to read that way because you kind of need space. Even if it’s incredibly funny -- if it’s one funny, manipulative thing after another -- it’s a lot. And this has more setting and it’s spaced out with other stuff.

Did you find it easy to write a period piece, specifically an aristocratic British one?

Yes, I’m totally immersed in that period. That’s what I read all the time. That’s my favorite era. It’s my whole life. I discovered it in university. There was a charismatic teacher, Dr. Walter Jackson Bate, who’s the expert in Samuel Johnson, and it was the Age of Johnson, a literature course, and I fell in love with it. And Jane Austen adored Dr. Johnson and is kind of the expression of his point of view in fiction. It’s totally consonant with my lifelong interest, and recently I’ve been reading tons about the politics of the era, which includes the American War of Independence and the exiles being sent back to England and what happened to them and how important that was. That became the Chloë Sevigny character in “Love & Friendship.”

When you think of a Sundance movie, "Love & Friendship" isn't what comes to mind. How do you ensure the subtle sight gags and more ironic banter play for an audience that's not as attuned to this sort of film? I think British humor can be lost on certain American audiences, in general.

I just try to make something that seems funny and accessible to me. What frustrates me a lot about some aspects of filmmaking is people thinking everyone is really dumb and that we have to make everything really obvious. I think so far people seem to be getting all of that, so it hasn’t been a problem, really. Maybe there’s an audience that won’t get it, but I think the audience that won’t get it won’t come anyway. Maybe someone who just likes “Underworld” and wants to see Kate in black latex will struggle, but I hope we’ll win them over.

The movie has parallels to discussions we've had about gender for as long as Austen was writing. One character says male infidelity is biology while female infidelity is unimaginable. Did you intend any postmodern parallels to today's culture?

No, not at all. I just don’t think there’s that much separation. You can go back and read that stuff in the 18^th century and there are all kinds of insights going on. People have either forgotten or are not that aware that all this stuff was being discussed and debated.

It’s also a reminder that some things haven't changed. We still talk about women that way. 

Well, I think that’s changed. He’d be given a very rough time if he said that now.

You’re right, someone would be gutted for saying that in public now, but it’s still an underlying mentality. The double standard in gender and marriage is very much alive. Would you agree?

Yeah. But I don’t like to violate periods, so I don’t like to update. I think some Jane Austen adaptations make a huge mistake updating something that wasn’t true to her spirit. I really would be surprised if anyone wants an exact, exact adaptation of Lady Susan, but I love her and I love her point of view. I felt that if changes were needed I could add things or make changes without violating her spirit at all. I’m purely hopeful that the Jane Austen enthusiasts will really like this because it’s really made with Jane Austen in my heart. I think a lot of them actually recognize that “Metropolitan” is made that way too. So a lot of the Jane Austen fans embraced “Metropolitan” as another quasi Jane Austen-associated film. I hope they’ll like this very sincere attempt to make this novella come to life. 

What do you think Audrey from "Metropolitan" would think of “Love & Friendship”? Or Lady Susan?

I think, in Frederica, she would find an identification. Depending on Audrey’s age, I think with either Catherine Vernon or Frederica, she’d find an identification character, and she’d be pretty fearful of Lady Susan and her charms.

There’s both an ironizing and a romanticizing of …

Oh, I’m glad you get that. 

… the privileged upper-class.

Oh, that. 

Where did you think I was going?

I just thought of the love dynamic because I think there is romanticization as well as comedy. It’s not just the comedy.

Your films are often about the upper class, or the upper-class adjacent. They tend to both poke fun at and, in a way, idealize that culture.  

I disagree with that. I think that’s being seen through the prism of “Metropolitan.” "Metropolitan" is about a certain class, but I don’t see it as romanticizing it. I mean, I romanticize everything because I like to have a romantic view of life. But I don’t want to romanticize one thing more than another because I think that, existing within that world a little bit, I can see a lot of real problems. I think we discuss some of those problems. But the problems I see aren’t the problems you usually see in other movies that are made by other people being very exterior and knocking people from a distance.

I remember going to one party of this preppy, bourgeois crowd and there was some obnoxious character there, really bad news, and saying, “Oh my God, so the caricature you always see in films actually exists." I think in most films you always have those people portrayed in that terrible way, so I thought, “Oh, it’s just all made up by Hollywood.” I said, “Oh no, this guy actually is that way."

What is the caricature you’re thinking of? 

Well, it’s sort of the pretty murderer character. That guy.

The American Psycho type?

I don’t think it was American Psycho. It was before your time. There was this preppy murder case in Central Park, and he was kind of really, really bad news. But I think very often they just do this short-hand dismissal and maligning of a world. I really like treating people as individuals, and anything that’s not treating them as individuals isn’t right. So there are bad preppies and bad priests and bad humanitarians. Any group can have its bad apple.

You’re also working on a novel tie-in. In a way, you're rewriting Lady Susan. Where did that inspiration come from?

I love writing novels, but I’m very fearful about writing something from absolute scratch. I kind of don’t have the time to write something from scratch. I think when my knees completely give out and I can’t make films anymore, I would try to write novels from scratch. But you get these literary projects because before a movie is a film it’s a literary endeavor. And you think, well, this literary endeavor could become another literary endeavor. It could be in the form of a novel. So I did that with “Last Days of Disco,” and it turned out, in a way, satisfactory to me. I made one big mistake in that, and I don’t want to repeat that one mistake I made.

What is that mistake?

For some reason, I had the idea that every bit of dialogue that was in the movie had to be in the novel. It was a crazy idea and it really handcuffed me in a certain part. I saw in the novel, about two-fifths of the way through, there was a dip of interest. And then I saw the movie again, and I saw that three-fifths of the way through there’s a dip in drama and interest. I was following too closely. So this one is very different, in that way. It’s called Love and Friendship: In Which Lady Susan Vernon Is Entirely Vindicated. It’s her nephew revisiting all the events from her point of view and justifying her. It really is a departure.

Why can you start a screenplay from scratch but not a novel?

I can. The thing is, for me to start a screenplay from scratch is just so much time. Before I can do a screenplay, I have to have the characters and scenes and material, and it just takes me so much time. If I can get a situation where I already have the characters and I already have the world and all that, then I can be much more productive. If I have to invent a whole new world each time, that’s what takes me forever. Because the first ideas are terrible. They’re all terrible. You have this horrible year or more of terrible ideas, so if you already have some good ideas for characters, why not just go with your good ideas and assume you have more good ideas?

In adapting an Austen novel, for example, do you still experience that year of agony? 

Yes, until it was a script that I liked, it was the whole agony process.

How many drafts do you go through? 

Unlimited. The little kilobytes are cheaper these days.

How different would “Love & Friendship” look if your first crack at these characters had been what we see today? 

It would have just been solid dialogue between Lady Susan and [Alicia, the Chloë Sevigny character]. It was just tons and tons of dialogue between the main characters. People liked reading the script long before I was ready to consider filming it, so my daughter, who’s very critical and a very good reader, really enjoyed reading it and she channeled Lady Susan a little bit. But that was words on a page and it wouldn’t have made a movie. It had to go through the transformation it took to be a movie script.

"Love & Friendship" will bow on Amazon later this year, with a theatrical release via Roadside Attractions also planned.

More Sundance stories: 

Natasha Lyonne And Chloë Sevigny Have Devoted Their Lives To Each Other

How David Bowie Helped Michael C. Hall Through His 'Dexter'-cism

'The Birth Of A Nation' Is The Year's Powerful Sundance Breakout

'Manchester By The Sea' Becomes Oscar Hopeful After Sundance Showing

With 'Goat,' Nick Jonas Has Found A New Way To View Masculinity

Viggo Mortensen Goes Off The Grid In Triumphant 'Captain Fantastic'

Sundance Review: 'Wiener-Dog' Isn't Charming, But Craig Robinson Is

A Stunning Norman Lear Doc And A Lukewarm Cancer Dramedy Opened Sundance

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Step aside, magical talking animals and dedicated superheroes. There's a new children's book character to read about, and he wants to "make America great again."

In a children's book (that's not actually intended for kids) titled "Donald Trump and the Wig of Evil" from filmmaker and artist Guy Larsen, the spotlight is put on -- you guessed it -- Trump and his hair. For full disclosure, the book is slightly NSFW and probably more enjoyable for parents as it offers a funny take on what's really responsible for Trump's actions and commentary.

"Can Donald Trump really believe in the scandalous soundbites he keeps saying?" Larsen wrote on Bored Panda. "The only conclusion I could come to -- there’s something evil, and much more sinister, calling the shots."

Check out a selection of Trump's wig's quest for "world domination" below. For Larsen's original video about the book, head to YouTube. For more of his work, head to Instagram.

H/T Bored Panda

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

"Even the snowman's heart has melted with grief after seeing the situation we’re in,” said Abd Allah, 15, describing a piece he created during an art therapy workshop at the Bader Medical Center in Amman, Jordan. 

Abd, a Syrian refugee who has suffered physical and psychological trauma from the ongoing war in his home country, is just one of millions of Syrian children rendered homeless and forced to live in refugee camps scattered across Europe and the Middle East. Studies have demonstrated the serious psychological repercussions that refugee status has on children. Memories of war are painful, and adapting to new environments presents additional stress.

Following five years of war and conflict in Syria, UNICEF estimates that 2.6 million Syrian children are no longer going to school, and that of the 4 million Syrian refugees worldwide, about half are children. There are 2.5 million Syrian refugees in Turkey, 1 million in Lebanon and 635,000 in Jordan, according to the latest data provided by the United Nations High Commissioner for Refugees. The influx of displaced people has put "tremendous pressure" on Jordan's local resources, schools and hospitals, Queen Rania Al Abdullah acknowledged last week. 

The Spanish nongovernmental organization Global Humanitaria recently held an art therapy workshop for Syrian refugees residing at the Bader Medical Center in Amman. The workshop was meant to give refugee children an opportunity for self-expression, and a way to deal with the trauma they’ve endured these past five years.

The resulting paintings now make up a traveling exhibition titled "Little Hopes," which will be on display at College of Physicians in Madrid until Jan. 30. After the Madrid show, the paintings will be exhibited in Barcelona.

The paintings are accompanied by captions written by the children. Some of them capture the horror they've lived through. Others exude hope and optimism. The paintings are also on sale on the NGO's website.

"The goal is to sell them all in order to give a better future to these young people, who are full of resilience and hope," said Marta Garcia, a representative of Global Humanitaria.

Many of the young refugees currently living at the Bader Center have endured major injuries -- both physical and psychological.

"A child who came to the center was only able to speak a year after he arrived, due to the trauma he had endured," said Garcia.

This story originally appeared on HuffPost Spain. It has been translated into English and edited for clarity.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Pumping is a great option for moms who want to stick to their breastfeeding goals but also need the flexibility to work outside the home or simply be on the go.

However, as many parents have learned, pumping can also be stressful -- from finding the time and place to express milk, to keeping track of pumps to figuring out what the f**k to do when you have a long flight.

Here are seven comics that capture the emotional roller coaster that is pumping.

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Have you ever noticed that part of town that "used to be cool but is now full of shit bars and drunks," or the "amazing park that's just a bit too far away?"

So has Chaz Hutton. When the writer-illustrator doodled the definitive city map on a Post-It note, describing in 18 valid points how all of our cities are exactly the same damn place, and and put it on Twitter, it got more than 4,500 retweets.

Clearly, it struck a nerve.

(Here's a much bigger version.)

If you recognize that some of this might sit a little too close to home, don't worry -- Hutton writes that it's not modeled after any specific city, nor is this meant to be taken as a literal map.

"The map isn’t a map of a city in the literal sense," nor is it "actually a map of a city," he says. "Rather it’s a map of people’s experience of living in cities: the changing circumstances of people as they get older and have children, the way ‘cool’ areas emerge from formerly ‘rough’ areas and are then invariably compared to the less-cool, traditionally wealthy areas, the kind of areas that an Ikea needs to be built for it to be profitable. All these things are endemic to most large cities, with most of them the outcomes of events situated at some point along the gentrification arc."

Also, it's just funny cuz it's true.

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

From a distance, an eye looks like nothing more than a little black marble. The closer you get, however, the more peculiarities begin to bubble up to the surface -- the specks of gold and green, a reflection of light, hints of moisture that build up around the edges.

Look closer and you'll begin to notice a single eyeball has more detail than you could possibly digest. But, of course, a camera can capture it all. Easily. 

This week the people at EyeEm Photo Blog challenged photographers professional and amateur to have a go at macro photography, the art of capturing the world's most diminutive visual treasures. The resulting images depict the pillowy texture of flower petals, the opalesque glow of water droplets, the furry exterior of a string of thread. The following image proves the immense richness of the world around us, if we take the time to look closer. 

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

This year marks the 10th anniversary of the death of Octavia E. Butler, the Hugo-award winning science fiction writer best known for the novels "Kindred" and "Parable of the Talents." As an African-American female author in the predominantly white, predominantly male sci-fi landscape, Butler achieved extraordinary success over her decades-spanning career, even winning the MacArthur Fellowship "Genius Grant".

And now, the release of personal journals from the late novelist has revealed one more extraordinary thing about her success: She wrote it down before it happened. 

On Wednesday, the Huntington Library in California published a collection of notes and journal entries written by Butler throughout her lifetime. On one notebook from 1988, pictured below, Butler writes: "I shall be a bestselling writer... each of my books will be on the bestseller lists of LAT, NYT, PW, WP, etc. My novels will go onto above lists whether publishers push them hard or not." 

In addition to writing down affirmations of success, Butler also wrote her plans to "help poor black youngsters go to college" and "help poor black youngsters broaden their horizons."

Amazingly, Butler would soon find the kind of success she wrote about not long after writing down these affirmations. Many of her novels, including "Clay's Clark" and "Kindred," were at the tops of bestseller lists around the world, and earned her honors and accolades including an induction into the Science Fiction Hall of Fame. In 2006, in memory of her death, the Octavia E. Butler Memorial Scholarship was founded, providing Clarion Writers' Workshop scholarships for young writers of color. This year, Butler will be honored in a year-long series of events and exhibitions in Los Angeles celebrating her life and her work. Talk about inspiring. 

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

The children of Villa La Cárcova are all too familiar with the sound of gunshots reverberating throughout their town.

One of the most dangerous neighborhoods in Argentina, Villa La Cárcova is home to two violent gangs, both of which are made up of large portions of the community. The area is also home to Uniendo Caminos, a social project hosted by a local chapel through which photographer Sebastian Gil Miranda met the children featured in his award-winning photo project “Shoot Ball, Not Gun.”

A documentary photographer and volunteer educator at Uniendo Caminos, Miranda tells The Huffington Post he was inspired to shoot the series after his plan for another photo project fell apart. His original idea was to have the children take photos of their neighborhoods. “When we try to do it," he explains. "Three guys on motorbikes, armed and in menacing tones, came to us saying that it would not be possible." And so he had to pivot.

The concept for “Shoot Ball, Not Gun” came to Miranda as he watched the children play soccer in the chapel's courtyard. "I found out that I worked with the children of enemy gangs, the sons of enemies sharing the activity and playing football together,” Miranda shares. “It was very mobilizing and very powerful for me because, if nothing changes, these guys, in a few years, will be killing each other, [fighting] the same war [as] their relatives." 

Miranda's images are candid. He photographed the children as they played among themselves, capturing their innocence, friendly interactions and teamwork. The resulting photos stand in stark contrast to the realities described by the children during their chats with Miranda. 

During his time at Uniendos Caminos, Miranda says he spoke with the children, who ranged in age from 6 to 11 years old, about their experiences.“They said that they often hear shots at night in the neighborhood,” recalls Miranda. “Some mentioned that armed groups meet daily in their homes, joking about it, saying that they have a personal guard 24 hours.” One boy even pretended to hold a gun and smoke a local drug called “paco” when Miranda asked him to pose for a photo. 

It’s Uniendo Caminos goal to expose children to role models, career paths, and skill sets, including photography. 

The children learned how to use a camera to tell their own stories with Miranda’s tutelage. “The experience is always mobilizing in many ways,” he shares of his experience. “I arrived there like a teacher but the truth is that I learn a lot too.”

When asked what he hopes people get from his project, Miranda simply answered: [My] message is simple and complex, like the name of the series: ‘Shoot ball, not gun.’”

See more of the images below and visit Sebastian Gil Miranda's website to see more of his work. 

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

The ladies of Twitter never fail to brighten our days with their brilliant -- but succinct -- wisdom. Each week, HuffPost Women rounds up hilarious 140-character musings. For this week's great tweets from women, scroll through the list below. Then visit our Funniest Tweets From Women page for our past collections.     

Also on HuffPost: 

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

All it took was a tweet involving Pooh and Christopher Robin for someone’s imagination to take flight.

On Jan. 25, Twitter user @dilsexia, posted this:

The funny observation soon went viral and 10,000 retweets later, Dawid Adamek, a movie blogger from Warsaw, Poland, spotted it, got inspired and decided to pull the Tigger.

Adamek made a series reimagining Winnie the Pooh to the 2016 Oscar-nominated films and the mashup is straight up magic:

Adamek has been writing for sfilmowani.tv since 2014 and seems to have a penchant for James Bond movies. But none of his posts have ever shaken and stirred the Internet quite like this post, which has caught the attention of viral media sites like BoredPanda and UPROXX.

This is not the first time Pooh Bear has gotten the mashup treatment. Florida artist James Hance, combined Pooh with "Star Wars" earlier this month. The iconic bear has also been reimagined as "The Avengers." It’s definitely a cool trend and call us Piglets, but we hope to see more.

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

College a capella groups around the country can now compete for the chance to get advice from big-name musicians -- and raise awareness about campus sexual assault at the same time. All the groups have to do is record themselves covering Lady Gaga's "Til It Happens To You."

The White House's It's On Us campaign, run in conjunction with the Center for American Progress, is helping lead the contest, which is part of a series of celebrity-backed efforts to bring attention to sexual assault on college campuses. 

"Til It Happens To You," composed by Diane Warren, is the theme song for the campus rape documentary "The Hunting Ground." The film has been screened at hundreds of colleges, and the song has been nominated for a Grammy and an Oscar. 

Before singing "Til It Happens To You" at a recent performance, Lady Gaga told the crowd that her aunt had suffered extensively after being sexually assaulted in college. The artist has also spoken about her own experience as a sexual assault survivor.

Catherine Hardwicke, who directed the music video for the song, told The Huffington Post she hopes the contest will help raise awareness about sexual assault, adding that student-created videos have the potential to inspire emotional reactions from viewers.  

"A very visual performance by an actress can rip your heart out," she said.

[Watch the "Til It Happens To You" music video here.]

"The video can feature the choir or feature other images too -- doesn't just have to be the singers," explained Hardwicke, who is also the director of "Twilight," "Lords of Dogtown" and "Thirteen." "If somebody wants to work with the dance troupe in their school, or drama group in their school, they can do that."

Last year, even before It's On Us decided to launch the contest, some college a cappella groups uploaded videos to YouTube of themselves singings "Til It Happens To You." 

"It's kind of a cool, exciting idea," Hardwicke said. "It encourages people to take this beautiful song, this powerful song, and make it their own."

The contest will award the winning team with a Skype session with Pentatonix; a class with Warren and 16-time Grammy-winner David Foster; and a video chat with music supervisor Bonnie Greenberg and Trudy Green, who manages musical groups and artists.

Hardwicke, Warren, Pentatonix, Green and Greenberg will judge the contest, as will LL Cool J and Lady Gaga's mother, Cynthia Germanotta.

The contest was launched this week and is organized by the It's On Us campaign, ROK Mobile and "The Hunting Ground." It's only open to college a cappella groups that are registered on campus and are made up of current full-time registered students. They must create their own rendition of "Til It Happens To You" and post it to YouTube, then submit to the contest online. Videos for the contest are due on or before Feb. 26. 

Related Coverage:

• We Know One Way To Stop Sexual Assault, But Students Aren't Doing It


• There's No More Denying Campus Rape Is A Problem. This Study Proves It.


• How A Stanford Student Accused Of Assaulting Multiple Women Graduated

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

"Newtown" doesn't focus on the Sandy Hook shooter. The film doesn't even mention his name. So, I won't either. 

Kim A. Snyder's documentary about the events that occurred on and after Dec. 14, 2012, is eye-opening, gut-wrenching and tough to watch, but the end product brings into focus why gun laws must be changed. Twenty children, between the ages of 6 and 7, as well as six educators, lost their lives on that fateful day in an elementary school, all because a troubled young man was given access to an array of firearms. He had no motive. He had no reason to target the school. But he did, and a community's lives were shattered forever. 

"It's hard to believe you can go from being somebody's baby, to being that, and how that journey can happen without anyone recognizing it," a library clerk explains in the film, which premiered at the ongoing Sundance Film Festival.

"Newtown" primarily follows three parents who lost their children in the mass shooting: Mark Barden, the father of Daniel, David Wheeler, the father of Ben, and Nicole Hockley, the mother of Dylan. Over the course of nearly three years, these families discuss life after the tragedy, sharing home videos and photos of their children, as well as stories about their experiences alongside others including a surviving teacher, the school's custodian, the school's nurse, a local ER doctor, a priest and a mother of a surviving first-grader. All of the interviews featured in the documentary are heartbreaking, with tears and pained looks of bewilderment falling upon the subjects' faces. At one point, a first responder, who clearly relives the crime scene in his mind day in and day out, tells the director that he would rather not get into detail about what he witnessed inside the school that day. 

“I don’t think that any of us that were in there feel that anybody needs to know, graphically, what occurred in there,” he expresses.

The film illuminates the issue that after a horrible event such as this, the country rallies around the media circus only to move on and possibly forget about the families whose lives were tragically altered. Mark, David and Nicole, as well as their spouses, surviving children and community, have to find some way to wake up and relive the pain of that dreadful day in December over and over again, while gun-control laws are debated and proposals for making the background-check system universal are shut down. 

"There are dreams when I’m in the classroom and I’m able to stop him," Nicole says on camera, while Mark tearfully admits, “I still dread that every day I live, I’m one day farther away from my life with Daniel."

What struck me about "Newtown" was the way Snyder handled the story. Like I mentioned earlier, she never puts any focus on the gunman, aside from a brief scene in which Nicole visits the land where his house used to stand. (The home was demolished after neighbors insisted it was a constant reminder of the horror that took place.) That missing storyline is what makes the project successful.

From the news footage and visuals to the interviews and music, the film grabs your attention as it reveals what happens after the camera crews leave and the survivors, parents, siblings and townspeople go back to life as usual. Except their lives will never really feel "normal" again, will they?

The narrative shows Nicole and Mark bonding through their grieving processes, and marching on Washington alongside President Obama in support of gun-control laws. They also start Sandy Hook Promise, which aims to "prevent gun-related deaths due to crime, suicide and accidental discharge so that no other parent experiences the senseless, horrific loss of their child."

While at Sundance, I saw Nicole and Mark leave a party. I went up to Mark, expressed my condolences and told him that it was important to see a documentary like "Newtown" screened at this film festival. He thanked me and went on his way, but it's a moment I won't soon forget. My hope is that he at least enjoyed the Sundance experience and realized that there are others out there supporting his community and looking to find justice for the 26 innocent people who unfairly lost their lives. 

"You can't move past it. You can't sweep it under the rug," a surviving teacher says in the film. "We have to honor the horror by paying tribute to what happened, what people went through and what it was like for everyone." 

More Sundance stories: 

Sundance So Far: 'Little Men' Is One Of The Festival's Best

John Krasinski Is Looking To Push The Limits Of Hollywood

With 'Love & Friendship,' Whit Stillman Trades Jane Austen Debates For A 'Lady Susan' Adaptation

Natasha Lyonne And Chloë Sevigny Have Devoted Their Lives To Each Other

How David Bowie Helped Michael C. Hall Through His 'Dexter'-cism

'The Birth Of A Nation' Is The Year's Powerful Sundance Breakout

'Manchester By The Sea' Becomes Oscar Hopeful After Sundance Showing

With 'Goat,' Nick Jonas Has Found A New Way To View Masculinity

Viggo Mortensen Goes Off The Grid In Triumphant 'Captain Fantastic'

Sundance Review: 'Wiener-Dog' Isn't Charming, But Craig Robinson Is

A Stunning Norman Lear Doc And A Lukewarm Cancer Dramedy Opened Sundance

Also on HuffPost: 

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

The Sundance Film Festival winds down this weekend, which puts a cap on the early indie buzz drifting from the Utah mountains. A few days ago, the biggest distribution deal in Sundance history went to "The Birth of a Nation," while "Manchester by the Sea" brought audiences to their emotional knees. Two more -- "Christine" and "Little Men" -- found ample fans among Sundance's crowds. Here are a few words on those, plus Werner Herzog's latest documentary.  

"Little Men"
Directed by Ira Sachs • Written by Ira Sachs and Mauricio Zacharias
Starring Greg Kinnear, Theo Taplitz, Michael Barbieri, Jennifer Ehle, Paulina García and Talia Balsam 

Ira Sachs' films fade to black with such little pomp that the scope of their meaning becomes a cascade. As the minutes and hours and days pass, scenes adopt new layers and characters become rich examples of the complexities inherent in the simplest exchanges. With "Keep the Lights On," Sachs nursed the lulls of a complicated romance. In "Love is Strange," he found beautiful longing in the silence of a elderly couple unaccustomed to spending nights apart. Sachs' latest, "Little Men," locates the comfort of a new friendship -- and the vacuum left when its serenity is jeopardized.

The little men of the film are introverted Jake (Theo Taplitz) and affable Tony (Michael Barbieri). After Jake's grandfather dies, his parents (Greg Kinnear and Jennifer Ehle) move into the building he owned. Downstairs, Jake meets Tony, whose Chilean mother (Paulina García) runs a dress boutique that was rent-controlled courtesy of Jake's grandfather. The 13-year-old boys become instant companions: Jake helps Tony rehearse his theater lines, Tony encourages Jake's art ambitions, and together they reflect on messy family dynamics, the hostilities of middle school and their burgeoning interest in girls. But gentrification has swept New York, and when Tony's mother tells Jake's father that she cannot afford the rent hike he demands, the adults' dispute threatens to thrust Tony's family from the building. 

"Little Men" is about many things: youthful solidarity, metropolitan hardships and parents' strained desire to grasp their kids' happiness. In between each, Sachs and his co-writer, Mauricio Zacharias, stress the delicate pull between joy and despair. Jake and Tony aren't your average movie teenagers -- they are young boys unafraid to tousle each other's hair, plan for each other's future and extol each other's fellowship. Almost never is male friendship of any age dramatized as delicately as it is in "Little Men," with performances as winning as the ones Taplitz and Barbieri submit. And while Sachs doesn't condemn their parents as the battle becomes more bitter, he places the story squarely in Jake and Tony's corner, where it belongs. It's there that Sachs highlights the malleability of adolescence -- the impact of gentle camaraderie and small decisions, the tenderness of finding a platonic soulmate and the retreat that occurs when one's vulnerability is shaken. Ira Sachs is a master. -- Matthew Jacobs

"Christine"
Directed by Antonio Campos • Written by Craig Shilowich
Starring Rebecca Hall, Michael C. Hall, Tracy Letts, J. Smith-Cameron, Timothy Simons and Maria Dizzia

Based on the true story of Florida field reporter Christine Chubbuck, who committed suicide on live TV in 1974, "Christine" was one of the most hyped-up films heading into Sundance. But although director Antonio Campos beautifully emulates the '70s vibe of the movie while capturing a stellar performance by Rebecca Hall, who plays the titular character, the plot drags a bit as viewers anticipate what's to come. 

Still, "Christine" is a thoughtful analysis into how Chubbuck's personality and driven nature affected her career and mental state. Hall delivers some of her best work, truly morphing into the reporter and grasping her every move. And not to fret, the film isn't all deep, dark and moody. Michael C. Hall is much-needed comedy relief as he plays an anchorman who doubles as a moral compass for Rebecca's character. And Maria Dizzia has a great supporting role, bringing light to the film's depressing undertones as a fellow reporter.

All in all, the movie is a solid character study building up to the heartbreaking moment that sadly made Chubbuck a household name. -- Leigh Blickley

"Lo and Behold: Reveries of the Connected World"
Directed by Werner Herzog

Werner Herzog is a rare filmmaker who has become a personality until himself, thanks to his arty, often nihilistic contributions to German cinema and such documentaries as “Grizzly Man” and “Into the Abyss.” His films are intimate, complicated character studies peppered with ample behind-the-scenes challenges. For his latest, “Lo and Behold: Reveries of the Connected World,” Herzog turns his curiosity to an inescapable behemoth that has sized much of the globe: the Internet. In other words, the opposite of intimacy.

But in Herzog’s hands, “Lo and Behold” manages to make the World Wide Web feel far more personal than it has any right to. Split into 10 brief sections that each explore a different aspect of online culture, the movie first charts the Internet’s 1960s roots before becoming a tug-of-war between what Herzog presents as glorious contributions to society (Self-driving cars! Soccer-playing robots! Life on Mars!) and dangerous impediments (addictions, radiation sensitivities, anonymous harassment).

In exploring the Philip K. Dick-inspired question “Does the Internet dream of itself?," Herzog's pensive back-and-forth both shines and suffers. By offering so many vantage points, Herzog, who narrates the film with his signature drollness, avoids seeming like too much of a crusty Luddite. But he also fails to make many overarching points. By one stroke, the Internet seems like the biggest boon mankind has ever known, and by the next, it threatens to upend civilization as we know it.

That mixed-bag objectivity is distinctly Herzogian, as most of his work spotlights glimmers of pragmatic hope within a destructive world. But here, the lack of thesis results in a documentary that boasts numerous insights but little to take home. Of course, there are no definitive answers about the future of the Internet, despite the fact that Herzog titles the movie’s final section The Future. At first glance, the endeavor seems futile, no matter how many intriguing tidbits we collect along the way. But Herzog humanizes the Internet's impact on his subjects, and from there we behold his meditations.  -- Matthew Jacobs

More Sundance stories: 

Sundance Documentary 'Newtown' Follows Families Who Lost Loved Ones

John Krasinski Is Looking To Push The Limits Of Hollywood

With 'Love & Friendship,' Whit Stillman Trades Jane Austen Debates For A 'Lady Susan' Adaptation

Natasha Lyonne And Chloë Sevigny Have Devoted Their Lives To Each Other

How David Bowie Helped Michael C. Hall Through His 'Dexter'-cism

'The Birth Of A Nation' Is The Year's Powerful Sundance Breakout

'Manchester By The Sea' Becomes Oscar Hopeful After Sundance Showing

With 'Goat,' Nick Jonas Has Found A New Way To View Masculinity

Viggo Mortensen Goes Off The Grid In Triumphant 'Captain Fantastic'

Sundance Review: 'Wiener-Dog' Isn't Charming, But Craig Robinson Is

A Stunning Norman Lear Doc And A Lukewarm Cancer Dramedy Opened Sundance

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Vegetarianism or, as the diet of the central character in Han Kang’s The Vegetarian could more specifically be described, veganism, has lost the power to shock -- at least among American coastal metropolitan populations. It’s gone from a niche preference to a fairly common one, and cities like New York have sprouted vegan-only eateries all over.

But The Vegetarian, a novel of three linked novellas, was first published in South Korea in 2007, though it took almost a decade for an English translation to hit American bookshelves. In South Korea, meat and animal products have traditionally been staples of the societal diet -- bulgogi, bibimbap with a steaming egg on top, grilled pork belly, seafood pancakes -- and when character Yeong-hye suddenly gives up all meat and animal products, it rends her entire social fabric.

In three parts, none of which are narrated by Yeong-hye herself, Kang probes the range of reactions and consequences of the character’s defiant decision, which throws her family into a state of upheaval.

The first novella, also called “The Vegetarian,” is told by Yeong-hye’s callous, success-oriented husband, who has viewed his wife as more of an efficient domestic servant than an object of desire or affection. With his wife suddenly refusing to prepare him meat dishes and embarrassing him at company dinners by refusing to eat anything made even with beef broth, she’s become a liability rather than a convenience. What’s more, Yeong-hye has become averse even to sex, telling her husband he smells of meat.

Repeatedly, he asks his wife why she’s given up foods she once loved, and she replies only “I had a dream.” In interstitial nightmare sequences, however, we glimpse the horrorscapes of bloody slaughterhouses that leave her disgusted by meat -- the only passages Yeong-hye narrates throughout the novel.

Her family, equally horrified, tries to save the marriage by urging her to eat meat again -- her father, a stern and patriarchal man, even seems deeply ashamed of her dietary choice -- but to no avail. Her resolve only deepens.

In the second novella, “Mongolian Mark,” it’s Yeong-hye’s brother-in-law who takes over the story. After hearing that his wife’s sister still has her Mongolian mark, he finds himself sexually obsessed with her. (A Mongolian mark is a bluish birthmark, very common among infants of color though uncommon among Caucasian infants, that typically disappears by the time a child is around five.) A video artist, he becomes consumed by the idea of painting flowers all over her naked body, and his own, and making love to her on film.

In the third and final novella, “Flaming Trees,” In-hye, Yeong-hye’s sister, speaks. Yeong-hye’s repulsion toward meat has progressed toward what a doctor describes as anorexia nervosa; she refuses food, but seems to crave light and water as a plant does. In-hye, visiting her sister at an inpatient mental facility, is desperate for nothing more than for her sister to cling to life, and as she sits at her bedside, she casts her mind back over their abusive childhood, Yeong-hye’s slow change, and her own unwitting complicity in her sister’s suffering.

Kang’s realist horror story -- though it may seem over-the-top to American readers by now comfortable with gluten-free, sugar-free, lactose-free cupcakes -- convincingly pulls out quotidian issues of vegetarianism, such as the fear of judgment behind omnivores’ mocking of vegetarians, and the binding power of food and sharing meals. "Imagine you were snatching up a wriggling baby octopus with your chopsticks and chomping it to death -- and the woman across from you glared like you were some kind of animal," exclaims one of the husband's coworkers during a dinner. "That must be how it feels to sit down and eat with a vegetarian."

The novel's real concerns, however, are stickier, like abnegation’s relationship to self-destruction, and the necessity of violence for survival. Yeong-hye’s extreme craving for a non-violent way of being leads her to choose a plant’s life, existing without consuming other living creatures. Meanwhile, the human world around her grows more and more aggressive and destructive in comparison to her self-contained passivity. Human appetites, even the natural ones, can appear savage and require selfishness to fulfill. 

In a mostly elegant translation by Deborah Smith, Kang paints Yeong-hye’s devolution in precise, clear prose. The matter-of-factness heightens the eerie effect of Yeong-hye's sudden self-denial, and the brutality of the more human behavior of her family.

The treatment of her harmful behavior as idealistic can be somewhat troubling, even as it slowly becomes clear there's far more behind her slow gravitation toward vegetal life; the nuance is literary, but slightly romanticized. And yet, by the end of the book, it's clear that we're wrong to romanticize, as The Vegetarian paints a confounding portrait of not one woman, but two damaged sisters seeking desperately to deal with the violence of living in their world.  

The Bottom Line:

An elegant tale, in three parts, of a woman whose sudden turn to veganism disrupts her family and exposes the worst human appetites and impulses.

What other reviewers think:

The Guardian: "This is Han Kang’s first novel to appear in English, and it’s a bracing, visceral, system-shocking addition to the Anglophone reader’s diet. It is sensual, provocative and violent, ripe with potent images, startling colors and disturbing questions."

The Independent: "This is an odd and enthralling novel; its story filled with nihilism but lyricism too, its writing understated even in its most fevered, violent moments."

Who wrote it?

Han Kang is a South Korean poet and novelist. She studied at the Iowa Writers’ Workshop and currently teaches creative writing at the Seoul Institute of the Arts. She has published numerous books and won several literary awards; The Vegetarian was published in 2007 and is now coming to English readers via this translation by Deborah Smith. 

Who will read it?

Readers who enjoy stripped-down, thoughtful narratives about human psychology and physiology. Readers who like their realism with a twist of the horrific.

Opening lines:

“Before my wife turned vegetarian, I’d always thought of her as completely unremarkable in every way. To be frank, the first time I met her I wasn’t even attracted to her. Middling height; bobbed hair neither long nor short; jaundiced, sickly-looking skin; somewhat prominent cheekbones; her timid, sallow aspect told me all I needed to know.”

Notable passage:

“She was crouching, still wearing her nightclothes, her disheveled, tangled hair a shapeless mass around her face. Around her, the kitchen floor was covered with plastic bags and airtight containers, scattered all over so that there was nowhere I could put my feet without treading on them. Beef for shabu-shabu, belly pork, two sides of black beef shin, some squid in a vacuum-packed bag, sliced eel that my mother-in-law had sent us from the country-side ages ago, dried croaker tied with yellow string, unopened packs of frozen dumplings and endless bundles of unidentified stuff dragged from the depths of the fridge. There was a rustling sound; my wife was busy putting the things around her one by one into black rubbish bags.”

The Vegetarian
by Han Kang, trans. by Deborah Smith
Hogarth, $21.00
Publishes February 2, 2016

The Bottom Line is a weekly review combining plot description and analysis with fun tidbits about the book.

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

For years, photographer Sephi Bergerson had this crazy idea: to shoot an entire wedding with just an iPhone. 

When the iPhone 6s Plus came out, the technology was finally advanced enough to go ahead with it. The hard part? Finding a couple willing to go along with his plan. The India-based photographer finally found that couple in bride Ayushi and groom Abhishek.

"They were a bit apprehensive to begin with," Bergerson told The Huffington Post. "After all, this was to be a huge wedding. However, when I talked to the couple, Ayushi said to me, 'I’ve seen your work, and I trust you!'"

The wedding was an elaborate three-day affair that took place in Udaipur, India in November 2015. The photos, while unlike your traditional wedding pictures, are stunning and have a painting-like quality.  

Bergerson told The Huffington Post that although he loves shooting on the iPhone, it has its limitations, especially when dealing with dim lighting.

"I used a handheld LED light on the dance floor to add enough light for exposure," he said. "The iPhone low-light performance, although great with non-moving objects, is very bad for motion as the ‘film’ sensitivity (or ISO) is very low."

"One should not expect the same kind of pictures from the iPhone as you get with the DSLR," Bergerson told HuffPost. "It is a whole new experience."

Bergerson enjoys the connection with the subject that shooting on an iPhone provides. 

"When I started working with 35mm DSLRs, the camera comes between the photographer and the subject," he said in a video explaining his process. He continued, "I don't put the iPhone to the eye, so I don't block the eye contact with the subject."

In addition to the iPhone itself, Bergerson also used a hand-held LED light and apps such as Snapseed, Mextures and FaceTune to achieve the finished product. 

Of course, none of this could have been possible if it hadn't been for Ayushi and Abhishek. 

"It is rare to find a couple that could be so trusting to allow the photographer such creative freedom on the most important day of their life," he told HuffPost. "They were cooperative, fun and chilled out. Their confidence in my work allowed me the peace of mind to do what I thought was best, and produce this work without tension."

Below, some more of the stunning shots: 

H/T Bored Panda

Also on HuffPost: 

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Virtual reality now lets you feel what it's like to be trapped inside a Salvador Dali painting.

Parachute yourself into the Spanish surrealist's haunting dreamscapes with this new "Dreams of Dali" VR video posted to YouTube:

It's part of the "Disney and Dali: Architects of the Imagination" show at The Dali Museum in St. Petersburg, Florida.

Visitors can don Oculus Rift headsets and be dropped into his 1935 painting "Archeological Reminiscence of Millet's 'Angelus'" before floating towards several of his other masterpieces.

The museum posted the above sample clip to YouTube for people unable to attend.

If you've got an Android smartphone, you can play the clip while wearing a Google Cardboard headset to get the fully immersive experience. iPhone and iPad owners can maneuver their devices to look around. YouTube doesn't yet support virtual reality on iOS.

Jeff Goodby, whose firm Goodby Silverstein & Partners created the VR film, said "you actually have a three-dimensional feeling that you're inside a painting."

"It's not just like you're inside a sphere with things being projected. It's actually like there are objects closer and further away and you're walking amidst them."

"It's a vulnerable feeling you give yourself up to. It's not like anything you've ever felt before," he told the Associated Press.

The exhibit explores Dali's "unlikely friendship and creative partnership with Walt Disney," according to the Smithsonian Mag. Featuring sketches, paintings and correspondence between the duo, it runs until Jun. 12.

The museum's executive director Hank Hine said on its website that the show would herald "a new era in art exhibitions."

"Visitors can expect a multi-sensory environment of moving image, soundscapes, and the transformative aura of exquisite individual paintings," he said. "Disney and Dali broke new ground as artists -- the Walt Disney Family Museum and The Dali will deliver a brave new world of experience."

Disney and Dali met in the 1940s in Hollywood and collaborated on this short animated movie "Destino."

Clips and the full short will be shown around the gallery.

Previous shows at the museum looked at Dali's relationships with Andy Warhol and fellow Spaniard Pablo Picasso. Dali died in 1989, aged 84.

Also on HuffPost:

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Who knew the microbes in our mouths could look so magnificent?

A team of researchers in Massachusetts used a novel fluorescence imaging technique and DNA sequencing to build colorful maps of bacteria found in our teeth.

The images are not only stunning to look at, but also shed light on how various kinds of bacteria organize as colonies, Dr. Jessica Mark Welch, a co-author of the study and an associate research scientist at the Marine Biological Laboratory in Woods Hole, said in a statement.

"Microbes behave very differently depending on where they are and who they are next to," she said. "They will secrete entirely different sets of chemicals and metabolites depending on who their microbial neighbors are. So, if we want to accurately describe what these microbes are doing -- really, what they are -- we need to know where they are."

The researchers collected the bacteria from the dental plaque of 22 healthy men and women, National Geographic reported. They published their findings in the Proceedings of the National Academy of Sciences on Jan. 25.

The researchers concluded that the fluorescent imaging technology they used could be used again to map the microbes lurking in our guts and skin.

"Our research provides the map, which will allow us to answer important questions about the relationship between the bacteria and the body -- and ultimately help us to understand the effect on our overall health," said Dr. Gary Borisy, a co-author of the study and senior research investigator in the Forsyth Institute's department of microbiology.

Scroll down to see the complexity and beauty of mouth-dwelling microbes.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Adele's "Hello" has been reworked countless times since its release last October.

But this eerie cello mash-up with Mozart's Requiem "Lacrimosa" is undoubtedly one of the most haunting interpretations yet.

Musical group The Piano Guys posted its stunning rendition of the English singer's global smash hit to YouTube Thursday, and it's now going viral:

The group, from Saint George, Utah, said its take on the track was "a musical experiment bridging 18th century spiritualism and 21st century secularism."

Despite their name, The Piano Guys only uses electric and acoustic cellos in this song.

"Imagine Mozart and Adele in the same room in an intense co-write session, quill and pen in hand, respectively," the group wrote in the video's description. 

"Picturing this hypothetical hangout helped to spark the creative combination of the two."

Here's Adele's original version:

The group selected the two tunes because, despite being admittedly different, they shared the same fundamental feeling. Mozart's song bemoans spiritual death while Adele's is about relationship regrets.

"Different centuries. Different realms. Same emotion. Perhaps we aren't as far from our predecessors as we think we are," the group added.

Listen to Mozart's Requiem "Lacrimosa" here:

Adele's song has already been parodied by Miss Piggy and Kermit, stressed-out moms and in a broadcast news style. It's also been transformed into an ode to junk food cravings and covered by dozens of other artists across the world. The "Hello" music video smashed the 1 billion mark on YouTube in just 87 days.

The Piano Guys have a history of mashing up pop songs, including this beautiful Scottish reworking of Rachel Platten's "Fight Song".

Also on HuffPost: 

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.