A dead red-tailed monkey hangs by its tail above the ground, in order to keep it away from ants, in the forest near the city of Mbandaka, Democratic Republic of the Congo, April 5, 2019. Bushmeat hunters are emptying Central Africa's forests at a high rate, researchers say. A growing appetite for wild meat in cities has ramped up the scale of hunting. Research shows around 6 million tonnes of bushmeat are sourced annually from the Congo Basin, whose forest spans across six countries and is second in size only to the Amazon. (Photo by Thomas Nicolon/Reuters)

Looking for love by Tony Wu, USA. Highly commended, Animal Portraits. “Accentuating his mature appearance with pastel colours, protruding lips and an outstanding pink forehead, this Asian sheepshead wrasse sets out to impress females and see off rivals, which he will head-butt and bite, near Japan’s remote Sado Island. Individuals start out as females, and when they reach a certain age and size – up to a metre (more than 3 feet) long – can transform into males. Long-lived and slow-growing, the species is intrinsically vulnerable to overfishing”. (Photo by Tony Wu/2018 Wildlife Photographer of the Year)

Lisandra Perez, 7, practices in his house before his flute lesson at the Integral System of Artistic Education for Social Inclusion (SIFAIS) center in the poor neighborhood of La Carpio, Costa Rica October 8, 2015. SIFAIS center is developing a social program with the help of 156 volunteers who teach art, music, sports and education, for children and youth living in La Carpio, known for being the home to gangs, violence, drugs and social vulnerability, according to the centre. (Photo by Juan Carlos Ulate/Reuters)

An aspiring Catholic priest Jose Luis Guerra, a member of Raza Nueva in Christ, a project of the archdiocese of Monterrey, and other missionaries hand out a Bible to Angel Castillo, who wants to become a missionary with Raza Nueva, in the municipality of Garcia, outskirts of Monterrey, Mexico, July 12, 2016. In the troubled fringes of the northern Mexican city of Monterrey, an aspiring priest is using his faith to reach out to young gang members and at-risk youth, and bring them into his “Gang of Christ”. (Photo by Daniel Becerril/Reuters)

“Life-size humanoid robot BERTI (Bristol EluMotion Robotic Torso number 1 or RT-1) is a self contained, fully automated Robotic Torso, designed and built by Elumotion to provide a robotic platform based on human anatomy. RT-1 is a highly articulated manipulating platform and includes novel dexterous hands that allow emulation of human gesturing”. – Elumotion.com

Photo: BERTI the robot interacts with a Sony AIBO robot dog at The Science Museum's Antenna Gallery on February 17, 2009 in London. (Photo by Peter Macdiarmid/Getty Images)

The Mano de Desierto is a large-scale sculpture of a hand located in the Atacama Desert in Chile, 75 km to the south of the city of Antofagasta, on the Panamerican Highway. The nearest point of reference is the “Ciudad Empresarial La Negra” (La Negra Business City). The sculpture was constructed by the Chilean sculptor Mario Irarrázabal at an altitude of 1,100 meters above sea level. Irarrázabal used the human figure to express emotions like injustice, loneliness, sorrow and torture. Its exaggerated size is said to emphasize human vulnerability and helplessness. The work has a base of iron and cement, and stands 11 metres (36 ft) tall. Funded by Corporación Pro Antofagasta, a local booster organization, the sculpture was inaugurated on March 28, 1992.

A general view of dried-up rivers in the Pilbara region of Western Australia December 2, 2013. Western Australia's Pilbara region, which is the size of Spain, has the world's largest known deposits of iron ore and supplies nearly 45 percent of global trade in the mineral. (Photo by David Gray/Reuters)

Moroccan photographer and filmmaker Achraf Baznani carries on the traditions of Surrealism with his wild, imaginative, and wholly impractical imagery. Among his inventive scenarios, small human figures—often the artist himself—appear trapped within glass jars or the size of a camera lens; in other works, Baznani more or less dissects his body, as for example, in one, he cleanly removes his brain from his cranium, or in another, twists off his hand, much as if it were a light bulb. Imparted throughout such works are strong senses of humor and wonder, and as such, Baznani’s art offers a Surrealistic take on life experience in the digital age.