Gustave Doré was a world famous 19th century illustrator. Although he illustrated over 200 books, some with more than 400 plates, he is primarily known for his illustrations to The Divine Comedy, particularly The Inferno, his illustrations to Don Quixote, and Edgar Allan Poe’s The Raven.
With Chemistry as Art, Safren uses chemical reactions on metal surfaces to create dynamic images. With these works, Safren brings to the fore the chemical materiality of painting and the intimacy of individual artist with their materials. Safren’s ‘paintings’ interact with their viewers through the refractive and reflective nature of the chemicals applied to their surfaces.
This image looks remarkably like groves of trees growing among Martian dunes. But, the trees are an optical illusion. They are actually dark streaks of sediment on the downwind side of the dunes. They were created by escaping gas from the evaporating carbon dioxide ice below. The bottom of the ice melts into vapor and moves toward holes in the ice, carrying dark sediment along with it that is then deposited when the gas escapes.
aDiatomea is an artificial life system that uses various methods and notions of a-life research. The basic principle of aDiatomea is that every aspect of it is entirely mathematically generated and thus it is not created purposefully as an art piece but as a complex system that takes a life of its own. These artificial organisms are based on actual unicellular organisms known as Diatoms. These beautiful microscopic creatures are constructed using the superformula, an equation that can reproduce organic forms. Granular sound is injected in these organisms, acting as their life-force, while they interact with each other and their environment. This film shows a recording of 36 seconds of evolution, pushing the boundaries of complex computer calculations.
What do you think is the true nature of this world and how can a person get closer to it?
We are naked beings and nothing has any meaning. We only fabricate things to help us be more removed from nature. Humans are like the prodigal sons of Earth – moving away from their mother to spend her fortunes, only to return in death as the stripped down and barbaric beings we once were. So to get closer to true nature? Burn your clothes and belongings and money, have a sharp chiseled stone to catch food and a grass hut to keep shelter! Or realize we live a world that is consumed by false beliefs and agreements and try to live your life without taking it all too seriously.
20 paintings, and the history of the Futurist movement
Marinetti wanted Futurism to become the official artistic style of Italian fascism, but Mussolini resisted and encouraged a wide range of styles to keep artists of all types on the side of the regime. While Futurism would ultimately be linked to fascism, there were many socialist and anarchist Futurists, linked by an interest in political violence. Towards the end of the 1930s, Italian fascists were adopting the stance of their German counterparts, considering modern art to be degenerate and rejecting the Futurist movement.
For an ambitious landscape design project, Magnus Larsson, a student at the Architectural Association in London, has proposed a 6,000km-long wall of artificially solidified sandstone architecture that would span the Sahara Desert, east to west, offering a combination of refugee housing and a “green wall” against the future spread of the desert.
Van Wedeen, a Harvard radiology professor, is awestruck: “We’ve never really seen the brain – it’s been hiding in plain sight.” Conventional scanning has offered us a crude glimpse, but scientists such as Wedeen aim to produce the first ever three-dimensional map of all its neurons. They call this circuit diagram the “connectome”, and it could help us better understand everything from imagination and language to the miswirings that cause mental illness. But with 100 billion neurons hooked together by more connections than there are stars in the MilkyWay, the brain is a challenge that represents petabyte-level data.
“I was studying mosaics in school” recalls Cliff. “I just remember sort of making this connection in my head between the tiles and roach papers. It’s when one sees the level of detail in Cliff’s work that the true amazement begins. Little bits of paper– otherwise thrown away– cut into delicate shapes and arranged together in such a way as to form a true work of art.
Recent Comments