Canadian photographer Edward Burtynsky classifies the predominant theme of his work as “nature transformed through industry.” And his fantastic series of aquatic aerial photographs, dubbed Water, perfectly exemplifies that.

At its core, the series is about humanity’s ever-growing thirst (both literal and metaphorical), and how it is impacting our planet.

From beautiful shots of the massive BP oil spill in the Gulf of Mexico, to photographs of once-lush landscapes forever deprived of water, to images of “aquaculture” — places where the land is being reshaped to suit our need to grow crops like rice and seaweed — every photo in the series falls into its own section.

“Water is intermittently introduced as a victim, a partner, a protagonist, a lure, a source, an end, a threat and a pleasure,” describes Russell Lord, Curator of Photographs at NOMA. “Water is also often completely absent from the pictures. Burtynsky instead focusses on the visual and physical effects of the lack of water, giving its absence an even more powerful presence.”

The project — the single biggest collection Burtynsky has ever produced — took the photographer to 10 countries over the course of 5 years. Here’s what he came back with:

The aerial view gives Burtynsky a unique vantage point on “how we shape our landscapes based on water’s availability and what we do to [it] once we redirect it.” And the oil spill photos in particular juxtapose a newsworthy event with an artistic style that lends an entirely new perspective on the man-made disaster many of us heard so much about.

To browse through the entire series or find out more about one of Canada’s most celebrated photographers, head over to Burtysnky’s website by clicking here.

(via ExposureGuide)

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Image credits: Photos © Edward Burtynsky, courtesy Nicholas Metiver Gallery, Toronto / Howard Greenberg, Gallery and Bryce Wolkowitz Gallery, New York

Happy Bartolomé Day.

View

via http://www.dethjunkie.com/

Photographs by Reuben Wu Title: Sigizmund Krzhizhanovsky via This Isn't Happiness Will 50 Watts

This fantastic bit of filmmaking blends music video and documentary in a new clip for British rock group Django Django’s 2010 track WOR. The subjects of the video are Allahabad’s Well of Death riders who risk life and limb daily to earn money at local melas (fairs) by driving cars and motorcycles inside a temporary cylindrical structure about 25 feet high and 30 feet across. The cars are held in the air by centripetal force and needless to say there’s very little room for error. The Well of Death is extremely risky for both performers and audience members, but regardless, it frequently draws a huge crowd as evidenced in this video. Directed by Jim Demuth, based on an original concept by Vincent Neff. More music video documentaries, please. (via Vimeo)

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October 9th, 2013: Here are two awesome things for you to enjoy! Save The Date: a dating sim where your date keeps dying and you have Groundhog Day powers Our Toyota was Fantastic: Boulet's wonderful comic about being in a car at night I hope you enjoyed these two awesome things! One year ago today: nude dude tudes – Ryan

Mister Beaudry.

Illustrations perfect for the month of October by Mister Beaudry:

Mister Beaudry: Tumblr

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via http://www.cjwho.com/post/61225084095/nuance-by-marco-antoine-locatelli-gifs-of-an

[Image: From Fabergé Fractals by Tom Beddard].

One of the perils of spending most of the summer away from blogging, I suppose, is that it's so easy to miss interesting projects. Something that made the rounds several weeks ago, and that seemed worth re-posting here anyway is this incredible series of images exploring "Fabergé fractals" by digital artist Tom Beddard.

[Image: From Fabergé Fractals by Tom Beddard].

It's not the sci-fi stoner appeal of the fractals themselves that is so interesting about the images, however, but rather the notion of a 3D object so dense and so complicated with internal surfaces, rings of growth, and convolutedly compressed whorls that you could cut an endless array of millimeter-thin slices from it and each one would always reveal something different. A different texture, a different marbling of colors, a different and effectively unpredictable internal geometry.

[Images: From Fabergé Fractals by Tom Beddard].

You could slice new gems from this thing forever—carving down from every side, milling from every possible angle—and always find some strange new object there before you, one that changes through reduction, always offering, no matter how small the object eventually gets, all but infinite surface area to explore.

Architecturally speaking, it would be internally infinite in plan, internally infinite in section.

[Image: From Fabergé Fractals by Tom Beddard].

It's like a truffle—

[Images: Sliced truffles, randomly found via Google].

—a space truffle that could be whittled and shaved down, shaped, sanded, and cut, eternally different from what it used to be at every stage of this spatial surgery.

[Image: From Fabergé Fractals by Tom Beddard].

(Via but does it float).

Crazy Monster is trying to sing a love song.

via http://nonclickable.tumblr.com/

via http://reform.lt/

scottpatrick:

we always suspected….

​Incidentally, if you go to a bar with your buddies and tell the bartender you’re the designated drinker, you get free whiskey sours all night, just for having to put up with all your sober friends.

 

via http://johnnychallenge.tumblr.com/post/18240001209