http://i.imgur.com/0ayI6MZ.gif

New York-based German artist Markus Linnenbrink has created an enchanting installation which envelops visitors in a disorienting colorful pattern. Although not exactly in a ROYGBIV formation, this rainbow room, made of bold hues of acrylic paint covered in epoxy on resin, creates a unique experience for viewers. The piece above is named “WASSERSCHEIDE(DESIREALLPUTTOGETHER)” and is currently up in Germany at the art center Kunsthalle Nuernberg until October 12th.

Linnenbrink has worked within this use of line work and colors for much of his artistic career. While some of his shows have featured conventional paint on canvas work, he often utilizes the space to its maximum effect. Linnenbrink composes a piece of art one walks into, is a part of, and can see from all vantage points. One really intriguing work of his, shown below, features colored line paintings hung on walls that are doused in lines of grey and black.

The artist toys with color and boundaries of separation. The colors bleed into one another, drip lines form from gravity, and each layer is pulled into subsequent layers. Despite the rigidity of the lined patterns, there is always this aspect of chaos and an unwillingness to be contained. Boundary breaking, inside of the canvas and outside of it, stretching his vision across whatever parameters may be set architecturally. The dramatized effect of this work becomes atmospheric; how one relates to the space then changes, as the lines and contours of walls are abstracted, nearly dissolved, through the blanket of pattern. The piece is primarily dictated by the space it is shown in, but ultimately the space is taken over by the artwork, creating an interested and entirely unique interaction between the two within each and every installation.

 

The post Get Lost In Markus Linnenbrink’s Hypnotic Rainbow Installations appeared first on Beautiful/Decay Artist & Design.

Artist Lia Melia grew up a few minutes walk away from the sea, and today it is still her main source of inspiration. And, you can definitely tell – her colorful, swirling paintings are reminiscent of the large body of water. Mythology has also been a life-long love of hers, and she depicts elemental forces that are represented by the gods.

Melia uses a variety of methods to create these highly-textured works, and she’s developed her practice over the course of many years. Powered pigments and solvents are baked into aluminium, or occasionally, onto glass. She uses fluid mixes which require high levels of control, so they are often thickened to make the medium easier to use. Different elements are layered to give them a rich, visual depth.

Looking closely at these paintings, we see that her skill in creating textures give the illusion of crashing waves, stormy skies, and ocean foam. Melia’s tightly-cropped compositions freeze a split second in time, and anyone who has stood in the water can imagine what happens beyond this scene. (Via Saatchi Art Tumblr)

The post Lia Melia’s Swirling And Turbulent Paintings Of The Forceful Ocean appeared first on Beautiful/Decay Artist & Design.

Springfield, Tim Doyle

Tokyo-based artist Satoshi Araki is a man whose eye for the detail is immediately evident when you look at his dioramas… if you can even tell they’re dioramas, that is.

For each miniature, Araki painstakingly plans out the layout of his trashed and scattered street scenes and photographs in such a way that, often, you’d be hard-pressed to identify them as dioramas at all..

The 45-year-old artist makes a living by crafting many of the items seen in the scenes he photographs, but in his free time, he enjoys putting his skills to use creating photographs of urban decay and war-torn streets.

Araki uses a variety of materials to create the lifelike scenes — from styrofoam to die-cast cars — sculpting and painting them to perfection. When he needs ideas, he says a simple Google image search gets the job done, providing him with enough visual inspiration to bring the pieces of plastic and styrofoam to life.

From miniature newspapers to Coke cans with Arabic branding, the meticulous nature of his work is truly impressive. Here are a set of images of his dioramas, as well as some behind the scenes images for scale:

To keep up with Araki and his work, visit his website or follow him on Facebook.

(via Laughing Squid)

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Image credits: Photographs by Satoshi Araki and used with permission

Into the Sun

When I was about 8 years old, shoveling snow on a freezing day in Colorado, I wished that I could be instantly transported to the surface of the Sun, just for a nanosecond, then instantly transported back. I figured this would be long enough to warm me up but not long enough to harm me. What would actually happen?

AJ, Kansas City

Believe it or not, this wouldn't even warm you.

The temperature of the surface of the Sun is about 5,800 K,[1]Or °C. When temperatures start having many digits in them, it doesn't really matter. give or take. If you stayed there for a while, you'd be cooked to a cinder, but a nanosecond is not very long—it's enough time for light to travel almost exactly a foot.[2]A light-nanosecond is 11.8 inches (0.29981 meters), which is annoyingly close to a foot. I think it would be nice to redefine the foot as exactly 1 light nanosecond. Because we don't have enough unit confusion in the world already.

This raises some obvious questions, like "Do we redefine the mile to keep it at 5,280 feet?" and "Do we redefine the inch?" and "Wait, why are we doing this?" But I figure other people can sort that out. I'm just the idea guy here.

I'm going to assume you're facing toward the Sun. In general, you should avoid looking directly at the Sun, but it's hard to avoid when it takes up a full 180 degrees of your view.

In that nanosecond, about a microjoule of energy would enter your eye.

A microjoule of light is not a lot. If you stare at a computer monitor with your eyes closed, then open them and shut them quickly, your eye will take in about as much light from the screen during your reverse blink[3]Is there a word for that? There should be a word for that. as it would during a nanosecond on the Sun's surface.

During the nanosecond on the Sun, photons from the Sun would flood into your eye and strike your retinal cells. Then, at the end of the nanosecond, you'd jump back home. At this point, the retinal cells wouldn't even have begun responding. Over the next few million nanoseconds (milliseconds) the retinal cells—having absorbed a bunch of light energy—would get into gear and start signaling your brain that something had happened.

You would spend one nanosecond on the Sun, but it would take 30,000,000 nanoseconds for your brain to notice. From your point of view, all you would see was a flash. The flash would seem to last much longer than your time on the Sun, only fading as your retinal cells quieted down.

The energy absorbed by your skin would be minor—about 10^-5 joules per cm² of exposed skin. For comparison, according to the IEEE P1584 standard (as quoted on ArcAdvisor.com), holding your finger in the blue flame of a butane lighter for one second delivers about 5 joules per cm² to the skin, which is roughly the threshold for receiving a second-degree burn. The heat during your Sun visit would be five orders of magnitude weaker. Other than the dim flash in your eyes, you wouldn't even notice.

But what if you got the coordinates wrong?

The Sun's surface is relatively cool. It's hotter than, like, Phoenix,^{[citation needed]} but compared to the interior, it's downright chilly. The surface is a few thousand degrees, but the interior is a few million degrees.[4]The corona, the thin gas high above the surface, is also several million degrees, and no one knows why. What if you spent a nanosecond there?

The Stefan-Boltzmann law lets us calculate how much heat you'd be exposed to while inside the Sun.[5]There's also direct pressure from the heavy particles, protons and stuff, bouncing around, but the radiation turns out to be the dominant component.

I'm going to hijack this note to ask another question: How does this transporter work, anyway?

When you teleport somewhere, presumably it does gets rid of the matter that was in the way, so you don't end up combining yourself with whatever was there. A simple solution is to have the teleporters swap matter between the two locations. Kirk gets teleported down to the planet, a Kirk-sized chunk of air gets teleported up to the Enterprise.

So what would happen if an AJ-shaped chunk of Sun-interior gets teleported to snowy Colorado, then we just left it there?

The protons inside the Sun bounce around at speeds of about 350 km/s (about half of the Sun's escape velocity at that depth, for weird and deep reasons.) Freed from their crushingly hot neighborhood, the whole collection of protons would burst outward, pouring light and heat energy into their surroundings. The energy released would be somewhere between a large bomb and a small nuclear weapon. It's not good. You would exceed the IEEE P1584B standard for second-degree burns after one femtosecond in the Sun.[6]Although it wouldn't be a second-degree burn until many picoseconds later, since the definition of a second-degree burn is one which damages some of the underlying layers of tissue—and in the first few femtoseconds, light wouldn't have time to reach the underlying tissue. A nanosecond—the time you're spending there—is 1,000,000 femtoseconds. This does not end well for you.

There's some good news: Deep in the Sun, the photons carrying energy around have very short wavelengths—they're mostly a mix of what we'd consider hard and soft X-rays.[7]<what_if_book_reference>I wonder if there are more soft or hard x-ray photons in the universe.</what_if_book_reference> This means they penetrate your body to various depths, heating your internal organs and also ionizing your DNA, causing irreversible damage before they even start burning you. Looking back, I notice that I started this paragraph with "there's some good news." I don't know why I did that.

In Greek legend, Icarus flew too close to the Sun, and the heat melted his wings and he fell to his death. But "melting" is a phase change which is a function of temperature, a measure of internal energy, which is the integral of incident power flux over time. His wings didn't melt because he flew too close to the Sun, they melted because he spent too much time there.

Visit briefly, in little hops, and you can go anywhere.

toucanparty:

see us next time for another episode of The X-files

By Diigii [tumblr | twitter]

another eposide of The X-files = reblog

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Norway's new banknotes are, as expected, awesome. The result of a contest, one side (pixelated) is by Snohetta and the other (photographic) is by The Metric System, both in Oslo.

And they say I can’t land my first job unless I have any experience… #9gag

Axel Taferner

Shawn Hoke

Gigi Altarejos

Gigi Altarejos

Gigi Altarejos

DUMBO Arts Festival

DUMBO Arts Festival

DUMBO Arts Festival

As part of this year’s DUMBO Arts Festival, sculptor Tom Fruin installed his famous plexiglass house, Kolonihavehus, in Brooklyn Bridge Park. The multi-colored house was lit from inside and temporarily inhabited by performance duo CoreAct who engaged in a collaborative physical performance that is described here by DUMBO:

The colorful glass house is inhabited by two performers, who portray everyday dilemmas and lifestyle paradoxes in a subtle manner. They have lost the ability to meaningfully discriminate, and are trapped in a long chain of procrastination, mirroring our current social patterns.

You might also recognize Fruin’s other renowned sculpture in DUMBO, Watertower. (via My Modern Met)

Piled Higher & Deeper by Jorge Cham		www.phdcomics.com
title: "The Netflix Effect" - originally published 10/8/2014 For the latest news in PHD Comics, CLICK HERE!

Yearbook

samaelcarver:

The Meme of our Years.

chapmangamo:

Translated TV Shows

Sir Ken Robinson is a leading authority on education and creativity. A former professor of education, he now advises governments and businesses around the world and is one of the most sought-after speakers on education. The quotes used in the comic are taken from Robinson’s now-famous 2006 TED talk How schools kill creativity. It is the most viewed TED talk ever, and also one of the funniest in my opinion (gotta love that dry British humour). If you haven’t seen it, then stop what you’re doing and go watch it.

Robinson explains that the school system was invented in the 19th century to meet the needs of rapid industrialisation and is extremely outdated, focusing way too much on left-brain academic learning. “If you think of it, the whole system of public education around the world is a protracted process of university entrance. And the consequence is that many highly talented, brilliant, creative people think they’re not, because the thing they were good at at school wasn’t valued, or was actually stigmatised.” He gives the example of Gillian Lynne, a world-renowned dancer and choreographer, who as a student was terrible at school and most likely would have been diagnosed with ADHD today. Luckily, a specialist noticed that Lynne wouldn’t sit still and was naturally dancing to the music playing in the office and suggested to Lynne’s mother that she send the child to dance school. (Robinson explains it a lot better than I just typed it).

In his best-selling book The Element, Robinson gives many more examples of how famous artists found their life’s calling (or ‘element’ as Robinson calls it). For instance, he interviews Matt Groening, creator of The Simpsons, who tells Robinson that he was always drawing crude cartoons as a student and knew he wanted to do it for the rest of his life, even if it meant working a crappy job forever. “My vision was that I’d be working in a tire warehouse. I have no idea why I thought it was a tire warehouse. I thought I’d be rolling tires around and then on my break, I’d be drawing cartoons.” Everyone tried to convince Groening to give up the cartooning dream (even his father, who was a cartoonist), but he persisted and only remembers one teacher fondly that encouraged him (he later named the character of Ms. Hoover after her). It’s a fascinating book and Robinson interviews big names like Paul McCartney, Ridley Scott, Aaron Sorkin, Meg Ryan and Richard Branson about how they embraced their creativity. This year, Robinson released the follow-up book Finding Your Element: How to Discover Your Talents and Passions and Transform Your Life.

RELATED COMICS: Alan Watts What if money was no object? Taylor Mali What teachers make. Erica Goldson Graduation speech. Amy Poehler Great people do things before they’re ready.

- Follow Sir Ken on Twitter.
– Big news, I announced the Zen Pencils book this week! All the details and pre-order info here.

Read 3 remaining paragraphs | Comments

king-emare:

rickyhitler:

All hail the brick-phone

shit

greenthepress:

Happy birthday to Neil deGrasse Tyson!