Antoni Gaudí i Cornet (Catalan pronunciation: [ənˈtɔni ɣəwˈði]; 25 June 1852 – 10 June 1926) was a Spanish architect. He is the best known practitioner of Catalan Modernism. Gaudí's works have a highly individualized, and one-of-a-kind style. Most are located in Barcelona, including his main work, the church of the Sagrada Família. Gaudí's work was influenced by his passions in life: architecture, nature, and religion. He considered every detail of his creations and integrated into his architecture such crafts as ceramics, stained glass, wrought ironwork forging and carpentry. He also introduced new techniques in the treatment of materials, such as trencadís which used waste ceramic pieces. Under the influence of neo-Gothic art and Oriental techniques, Gaudí became part of the Modernista movement which was reaching its peak in the late 19th and early 20th centuries. His work transcended mainstream Modernisme, culminating in an organic style inspired by natural forms. Gaudí rarely drew detailed plans of his works, instead preferring to create them as three-dimensional scale models and moulding the details as he conceived them. Gaudí's work enjoys global popularity and continuing admiration and study by architects. His masterpiece, the still-incomplete Sagrada Família, is the most-visited monument in Spain. Between 1984 and 2005, seven of his works were declared World Heritage Sites by UNESCO. Gaudí's Roman Catholic faith intensified during his life and religious images appear in many of his works. This earned him the nickname "God's Architect" and led to calls for his beatification.

Aphrodite ( ( listen) af-rə-DY-tee; Greek: Ἀφροδίτη Aphrodite) is the Greek goddess of love, beauty, pleasure, and procreation. She is identified with the planet Venus; her Roman equivalent is the goddess Venus. Myrtle, roses, doves, sparrows and swans are sacred to her. In Hesiod's Theogony, Aphrodite was created from the sea foam (aphros) produced by Uranus's genitals, which had been severed by Cronus. In Homer's Iliad, however, she is the daughter of Zeus and Dione. In Plato (Symposium, 180e), these two origins are said to be of hitherto separate entities: Aphrodite Ourania (a transcendent, "Heavenly" Aphrodite) and Aphrodite Pandemos (Aphrodite common to "all the people"). She had many other names, each emphasizing a different aspect of the same goddess, or used by a different local cult. Thus she was also known as Cytherea (Lady of Cythera) and Cypris (Lady of Cyprus), both of which claimed to be her place of birth. In Greek mythology, the other gods feared that Aphrodite's beauty might lead to conflict and war, through rivalry for her favours; so Zeus married her off to Hephaestus. Despite this, Aphrodite followed her own inclinations, and had many lovers — both gods, such as Ares, and men, such as Anchises. She played a role in the Eros and Psyche legend, and was both lover and surrogate mother of Adonis.

Art is a diverse range of human activities in creating visual, auditory or performing artifacts (artworks), expressing the author's imaginative or technical skill, intended to be appreciated for their beauty or emotional power. In their most general form these activities include the production of works of art, the criticism of art, the study of the history of art, and the aesthetic dissemination of art. The oldest documented forms of art are visual arts, which include creation of images or objects in fields including today painting, sculpture, printmaking, photography, and other visual media. Architecture is often included as one of the visual arts; however, like the decorative arts, or advertising, it involves the creation of objects where the practical considerations of use are essential—in a way that they usually are not in a painting, for example. Music, theatre, film, dance, and other performing arts, as well as literature and other media such as interactive media, are included in a broader definition of art or the arts. Until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. In modern usage after the 17th century, where aesthetic considerations are paramount, the fine arts are separated and distinguished from acquired skills in general, such as the decorative or applied arts. Art may be characterized in terms of mimesis (its representation of reality), narrative (storytelling), expression, communication of emotion, or other qualities. During the Romantic period, art came to be seen as "a special faculty of the human mind to be classified with religion and science". Though the definition of what constitutes art is disputed and has changed over time, general descriptions mention an idea of imaginative or technical skill stemming from human agency and creation. The nature of art and related concepts, such as creativity and interpretation, are explored in a branch of philosophy known as aesthetics.

Art Deco, sometimes referred to as Deco, is a style of visual arts, architecture and design that first appeared in France just before World War I. Art Deco influenced the design of buildings, furniture, jewelry, fashion, cars, movie theatres, trains, ocean liners, and everyday objects such as radios and vacuum cleaners. It took its name, short for Arts Décoratifs, from the Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exhibition of Modern Decorative and Industrial Arts) held in Paris in 1925. It combined modernist styles with fine craftsmanship and rich materials. During its heyday, Art Deco represented luxury, glamour, exuberance, and faith in social and technological progress. Art Deco was a pastiche of many different styles, sometimes contradictory, united by a desire to be modern. From its outset, Art Deco was influenced by the bold geometric forms of Cubism; the bright colors of Fauvism and of the Ballets Russes; the updated craftsmanship of the furniture of the eras of Louis Philippe and Louis XVI; and the exotic styles of China and Japan, India, Persia, ancient Egypt and Maya art. It featured rare and expensive materials, such as ebony and ivory, and exquisite craftsmanship. The Chrysler Building and other skyscrapers of New York built during the 1920s and 1930s are monuments of the Art Deco style. In the 1930s, during the Great Depression, the Art Deco style became more subdued. New materials arrived, including chrome plating, stainless steel and plastic. A sleeker form of the style, called Streamline Moderne, appeared in the 1930s; it featured curving forms and smooth, polished surfaces. Art Deco is one of the first truly international styles, but its dominance ended with the beginning of World War II and the rise of the strictly functional and unadorned styles of modernism and the International Style of architecture that followed.

In geometry, a centroidal Voronoi tessellation (CVT) is a special type of Voronoi tessellation or Voronoi diagram. A Voronoi tessellation is called centroidal when the generating point of each Voronoi cell is also its mean (center of mass). It can be viewed as an optimal partition corresponding to an optimal distribution of generators. A number of algorithms can be used to generate centroidal Voronoi tessellations, including Lloyd's algorithm for K-means clustering. Gersho's conjecture, proven for one and two dimensions, says that "asymptotically speaking, all cells of the optimal CVT, while forming a tessellation, are congruent to a basic cell which depends on the dimension." In two dimensions, the basic cell for the optimal CVT is a regular hexagon. Centroidal Voronoi tessellations are useful in data compression, optimal quadrature, optimal quantization, clustering, and optimal mesh generation. Many patterns seen in nature are closely approximated by a Centroidal Voronoi tessellation. Examples of this include the Giant's Causeway, the cells of the cornea, and the breeding pits of the male tilapia. A weighted centroidal Voronoi diagrams is a CVT in which each centroid is weighted according to a certain function. For example, a grayscale image can be used as a density function to weight the points of a CVT, as a way to create digital stippling.

A cultural icon is an artifact that is identified by members of a culture as representative of that culture. The process of identification is subjective, and "icons" are judged by the extent to which they can be seen as an authentic proxy of that culture. When individuals perceive a cultural icon, they relate it to their general perceptions of the cultural identity represented. Cultural icons can also be identified as an authentic representation of the practices of one culture by another. In the media, many items and persons of popular culture have been called "iconic" despite their lack of durability; and the term "pop icon" is often now used. Some commentators believe that the word is overused or misused.

Cyberpunk is a subgenre of science fiction in a future setting that tends to focus on "a combination of low life and high tech" featuring advanced technological and scientific achievements, such as artificial intelligence and cybernetics, juxtaposed with a degree of breakdown or radical change in the social order. Much of cyberpunk is rooted in the New Wave science fiction movement of the 1960s and 70s, when writers like Phillip K. Dick, Roger Zelazny, J.G. Ballard, Philip Jose Farmer, and Harlan Ellison examined the impact of drug culture, technology, and the sexual revolution while avoiding the utopian tendencies of earlier science fiction. Released in 1984, William Gibson’s influential debut novel Neuromancer would help solidify cyberpunk as a genre, drawing influence from punk subculture and early hacker culture. Other influential cyberpunk writers included Bruce Sterling and Rudy Rucker. Early films in the genre include Ridley Scott’s 1982 film Blade Runner, one of several of Philip K. Dick's works that have been adapted into films. The films Johnny Mnemonic and New Rose Hotel, both based upon short stories by William Gibson, flopped commercially and critically. More recent additions to this genre of filmmaking include the 2017 release of Blade Runner 2049, the sequel to the original 1982 film, and the 2013 film Snowpiercer.

David with the Head of Goliath is a painting by the Italian Baroque artist Caravaggio. It is housed in the Galleria Borghese, Rome. The painting, which was in the collection of Cardinal Scipione Borghese in 1650, has been dated as early as 1605 and as late as 1609–1610, with more recent scholars tending towards the former. Caravaggio also treated this subject in a work dated c.1607, currently in the Kunsthistorisches Museum in Vienna, and in an early work dated c. 1600 in the Prado in Madrid. The immediate inspiration for Caravaggio was a work by a follower of Giorgione, c.1510, but Caravaggio captures the drama more effectively by having the head dangling from David's hand and dripping blood, rather than resting on a ledge. The sword in David's hand carries an abbreviated inscription H-AS OS; this has been interpreted as an abbreviation of the Latin phrase humilitas occidit superbiam ("humility kills pride"). David is perturbed, "his expression mingling sadness and compassion." The decision to depict him as pensive rather than jubilant creates an unusual psychological bond between him and Goliath. This bond is further complicated by the fact that Caravaggio has depicted himself as Goliath, while the model for David is il suo Caravaggino ("his own little Caravaggio"). This most plausibly refers to Cecco del Caravaggio, the artist's studio assistant in Rome some years previously, recorded as the boy "who lay with him." No independent portraits of Cecco are known, making the identification impossible to verify, but "[a] sexual intimacy between David/model and Goliath/painter seems an inescapable conclusion, however, given that Caravaggio made David's sword appear to project upward, suggestively, between his legs and at an angle that echoes the diagonal linking of the protagonist's gaze to his victim." Alternatively, based on the portrait of Caravaggio done by Ottavio Leoni, this may be a double self-portrait. The young Caravaggio (his own little Caravaggio) wistfully holds the head of the adult Caravaggio. The wild and riotous behavior of the young Caravaggio essentially had destroyed his life as a mature adult, and he reflects with a familiar hermeticism on his own condition in a painting of a related religious subject. The biographical interest of the painting adds another layer of meaning to an already complex work, David and Goliath standing for Christ and Satan and the triumph of good over evil in orthodox Christian iconography of the period, and also as the cold-hearted beloved who "kills" and his lover according to contemporary literary conceit. An example of the genre can be seen in the contemporary Judith and Holofernes of Cristofano Allori in the Pitti Palace, where Allori depicts himself as Holofernes, although Caravaggio has depicted David not as cruel and indifferent but as deeply moved by Goliath's death. If the painting was a gift to Cardinal Borghese, the papal official with the power to grant Caravaggio a pardon for murder, it can also be interpreted as a personal plea for mercy. "David with the Head of Goliath [thus] demonstrates Caravaggio's gift for distilling his own experiences into an original sacred imagery that transcends the personal to become a searing statement of the human condition."

Dieselpunk is a genre similar to that of its more well-known cousin "steampunk" that combines the aesthetics of the diesel-based technology of the interwar period through to the 1950s with retro-futuristic technology and postmodern sensibilities. Coined in 2001 by game designer Lewis Pollak to describe his role-playing game Children of the Sun, the term has since been applied to a variety of visual art, music, motion pictures, fiction, and engineering.

Ecstasy is a relief sculpture by Eric Gill. It depicts a male figure and a female figure, standing and embracing, in the act of copulating. It was acquired by the Tate Gallery in 1982. Gill found creative links between sex and his Catholic spirituality: a drawing for this work was entitled Christ and the Church. The sculpture also draws inspiration from Indian temple sculptures. It may have been modelled on his sister Gladys and her husband Ernest Laughton. From Gill's diary, it seems that he was working on the sculpture from around August 1910 and completed by February 1911. He refers to the sculpture as "'They' group 'fucking'." Correspondence between Gill and Roger Fry connected the work with two other reliefs, A Crucifix (also in the Tate) and A Roland for an Oliver (also known as Her, held by the University of Hull). The sculpture is made from Portland stone and measures 54 × 18 × 9 inches (137 × 46 × 23 cm). It bears a monogram on the right edge, of an eye on a hand, a symbol used by Gill in his early carvings. It was acquired from the artist by collector Edward Perry Warren in 1912. Warren also owned a marble replica of Rodin's The Kiss that he had commissioned from the original artist. After Warren's death in 1928 and Gill's death in 1940, the sculpture was sold at Sotheby's in March 1949 by Warren's heir H. Asa Thomas. The work was called They by Gill; it only became known as Ecstasy from the Sotheby's sale in 1949. It was bought by the Tate Gallery from Mrs D Webber in 1982. The work was accidentally damaged before it was acquired by the Tate Gallery: the top left corner is missing, including the back of the woman’s head and the man’s left wrist.