As part of an exhibition last December at the Maison Des Jonglages (House of Juggling) in La Courneuve, France, magician and juggler Antoine Terrieux created this series of kinetic artworks using different arrangements of hair dryers. The dryers were positioned in such a way as to create an updraft for a paper airplane to fly around, a spinning vortex of water vapor, and other unexpected configurations. Terrieux also incorporates hair dryers into his performances. (via La boite verte)
This exceedingly clever animation by artist Alan Warburton transforms two compositions from J.S. Bach’s The Well Tempered Clavier (Prelude and Fugue in C Major) into a visual interpretation of music. Warburton used a form of graphical notation manifested as thousands of fluorescent light bulbs mounted around a gallery space and parking garage. As each light pops on in sync with the music, the bulb shape correlates with with length and pitch of each note.
In a 21st century take on the traditional Zen sand garden, artist Bruce Shapiro invented the Sisyphus Machine, an elaborate kinetic drawing machine that uses magnets to drag rolling steel marbles through a thin layer of sand to create complicated mandala-like patterns. Shapiro, who was once a practicing physician, has spent the better part of 25 years experimenting with computerized motion control and many of his Sisyphus Machines have been installed in locations around the world including a large device in Switzerland back in 2003 and at Questacon in Canberra, Australia in 2013. It appears the artist is currently working on a tabletop consumer version and if you’re interested you can sign up for his mailing list here. (via Core77, Fast Company)
We have been dreaming of robots since Homer. In Book 18 of the Iliad, Achilles’ mother, the nymph Thetis, wants to order a new suit of armor for her son, and so she pays a visit to the Olympian atelier of the blacksmith-god Hephaestus, whom she finds hard at work on a series of automata:Mendelsohn goes on to discuss "the fantasy of mindless, self-propelled helpers that relieve their masters of toil," and it seems incredibly interesting to read it in the context of DARPA's now even more aptly named POSYDON program and the permanent undersea hubs of the Office of Naval Research. Click over to The New York Review of Books for the whole thing....He was crafting twenty tripodsThese are not the only animate household objects to appear in the Homeric epics. In Book 5 of the Iliad we hear that the gates of Olympus swivel on their hinges of their own accord, automatai, to let gods in their chariots in or out, thus anticipating by nearly thirty centuries the automatic garage door. In Book 7 of the Odyssey, Odysseus finds himself the guest of a fabulously wealthy king whose palace includes such conveniences as gold and silver watchdogs, ever alert, never aging. To this class of lifelike but intellectually inert household helpers we might ascribe other automata in the classical tradition. In the Argonautica of Apollonius of Rhodes, a third-century-BC epic about Jason and the Argonauts, a bronze giant called Talos runs three times around the island of Crete each day, protecting Zeus’s beloved Europa: a primitive home alarm system.
to stand along the walls of his well-built manse,
affixing golden wheels to the bottom of each one
so they might wheel down on their own [automatoi] to the gods’ assembly
and then return to his house anon: an amazing sight to see.
Korean artist Do Ho Suh (previously here and here) is interested in how we interact with public space. Directed, shot, and edited by Nils Clauss, “Perfect Home” brings together several exhibitions from 2002-2012 to examine the breadth of Do Ho Suh’s immersive works. Due to the thin nature of the fabric Do Ho Suh often uses to construct his installations, the pieces are extremely difficult to capture without standing directly next to, or within. Perfect Home manages to look at the artist’s work as one might if physically in the space, producing angles that imitate a natural way of absorbing the work.
Clauss allows the audience to at first be alone with Do Ho Suh’s work, examining both minuscule details and the works from afar. At the very end of the film scenes that include others interacting with the work are introduced. These shots give the viewer a sense of how others interact with the space, and force us to share these now public works.
Do Ho Suh was born in 1962 in Seoul, and studied painting at the Rhode Island School of Design and sculpture at Yale University. Do Ho Suh’s work examines the malleability of space, both physically and how it is perceived metaphorically. The artist’s large scale and site-specific instillations often compare the individual to the collective. Do Ho Suh’s work is included in a number of museum collections internationally, and in 2013 was named WSJ Magazine’s Innovator of the Year in Art. Do Ho Suh now splits his work and residence between New York, London, and Seoul.
Votive mask of the god of stoves (Kamadomen), Japan, Tohoku region, wood, 60 x 39 x 19 cm, Edo period, 18th to early 19th century, Japan
Formation flight Sunday. Lightning IIs
"Destination Docklands" seeks to reconnect the remnant memory of the submerged industrial landscape. A Gimbal—a mechanism, typically consisting of rings pivoted at right angles, for keeping an instrument such as a compass or chronometer horizontal in a moving vessel or aircraft—holds the Dock’s spatiality in fragmented balance. Previously a device used for ship navigation, the Gimbal realigns glimpses of the area’s connected history, and its axes pivot perpendicularly, bringing their own relationship and meaning to the Dock. The Gimbal becomes a capsule for the connected "players" of this industrial world."As the rings turn," she adds, "the spatial relationships between the industrial worlds are juxtaposed against each other. As these tangible connections teeter on the edge of the Dock’s hemisphere, their world is refocused in moments of realisation, before falling away."
Top: David Stanfield, Al Boardman, Brent Clouse; Middle: Skip Hursh, Erica Gorochow, John Flores; Bottom: Austin Saylor, Adam Plouff, Bran Dougherty-Johnson
Top: David Stanfield, Allen Laseter, Jimmy Simpson; Middle: Skip Hursh, Al Boardman, Jeff Briant; Bottom: Marcus Chaloner, Erik Blad, Fede Cook
Top: Sara Bennett, Bran Dougherty-Johnson, Brandon Wall; Middle: Zac Dixon, Oliver Sin, David Stanfield; Bottom: Al Boardman, Skip Hursh, Jeroen Krielaars
Top: Skip Hursh, Damien Correll, Cindy Suen; Middle: Justin Cassano, David Stanfield, Joshua Hollars; Bottom: Al Boardman, Jorge R. Canedo Estrada, Estelle Caswell
9 Squares is a collaborative motion graphics project where 9 designers are given a 350-pixel square, four colors, and three seconds to create any kind of animation they like. The results are gathered together to create a single GIF. 9 Squares is organized by Skip Dolphin Hursh, David Stanfield, and Al Boardman and they hope to post a new collaboration every two week or so. (via Quipsologies)
As part of a promotional campaign for Wonderlijk Wild (Miraculously Wild), an effort to encourage home gardening in Belgium, filmmaking duo Emma De Swaef and Marc James Roels of Marc & Emma were hired to create this wonderful short about a felted green ape exploring the outdoors. You might remember their work from this other woolen animation featuring two doughy wrestlers for the National Animation Festival last year. (via Vimeo)
Update: An earlier version of this post referred to the film as “stop-motion” when in fact it’s actually live-action puppeteering.
A Washington state lawmaker looking to ease traffic congestion for several Puget Sound-area communities near Seattle has proposed building an eye-catching new toll bridge made from retired Navy aircraft carriers.It would involve at least two—although possibly many more—aircraft carriers laid "end to end" to cross a local stretch of water known as the Sinclair Inlet.
All images © Jessica Fulford-Dobson
Australian skateboarder Oliver Percovich created the non-profit Skateistan in 2007, a grassroots project that connects youth and education through skateboarding in Afghanistan. The organization, which has since grown to an award-winning international NGO, caught the attention of London-based photographer Jessica Fulford-Dobson and inspired her to visit the program in Kabul in 2012—especially after learning 45% of the students were female.
In Afghanistan skateboarding has spread to become the number one sport for women, as they are forbidden to ride bicycles. Soon after arriving and entering the girl’s world, Fulford-Dobson was accepted by the young Afghan skateboarders. She photographed the girls with natural light, helping to expose their personalities through simple portraits. Within the images you can see the girls’ natural confidence, images that capture the subjects both posed and candidly skating through the indoor facility.
“I met so many impressive women and girls in Afghanistan: a teacher as tough and determined as any man; young Afghans in their early twenties who were volunteering at an orphanage and were passionate about being seen as strong and willing to fight for themselves, rather than as victims of circumstance; and girls who were being educated to be leaders in their communities and who were already thinking carefully about their own and their country’s future,” said Fulford-Dobson.
Fulford-Dobson won 2nd prize in the 2014 Taylor Wessing Photographic Portrait Prize with Skate Girl, 2014 (one of the photographs taken while on location in Kabul) and her exhibition Jessica Fulford-Dobson: Skate Girls of Kabul opens at Saatchi Gallery in London on April 15 and runs until April 28, 2015. You can donate to Skateistan’s program in Kabul as well as other cities here. (via feature shoot)
For his ongoing series Flying Cars, French designer Sylvain Viau digitally edits photographs of cars into sleek, wheel-less hover cars that appear to float just above the ground. Viau not only uses his own photography to create these sci-fi cars, but is fortunate to claim many of the actual cars among his own collection. He originally worked only with 80s Citroën vehicles because of their classic space-age design, but has continued to branch out over the last few months to include cars from Peugeot, Toyota, and Renault. You can see many more here. (via Designboom)
Update: Photographer Renaud Marion created a similar series of works in 2013.
Hey, Happy Earth Day! What better way to celebrate than watching remarkable footage of wildly random creepy crawly things in slow motion set to Hello Tomorrow by Karen O. You definitely need sound for this so turn up the volume for full effect. After a week of asking around I’ve learned only that the clip was edited together by Roen Horn using footage from somewhere I can’t identify.
In her latest series of paintings, Barcelona-based artist and illustrator Cinta Vidal Agulló defies gravity and architectural conventions to create encapsulated scenes of intersecting perspectives. Painted with acrylic on wood panels, Vidal refers to the paintings as “un-gravity constructions” and says that each piece examines how a person’s internal perspective of life may not match up with the reality around them. The intersecting planes on many of her paintings are somewhat reminiscent of drawings by M.C. Escher, where every angle and available surface is inhabited by colorful characters going about their daily lives. She shares in a new interview with Hi-Fructose:
With these un-gravity constructions, I want to show that we live in one world, but we live in it in very different ways – playing with everyday objects and spaces, placed in impossible ways to express that many times, the inner dimension of each one of us does not match the mental structures of those around us. The architectural spaces and day-to-day objects are part of a metaphor of how difficult it is to fit everything that shapes our daily space: our relationships, work, ambitions, and dreams.