360Photography

Check out these visual art images:

AVRA

Image by N0 Photoshop

NATURAL ABSTRACTION

Image by ojoadicto
Abstract

Check out these visual art images:

AVRA

Image by N0 Photoshop

Check out these visual art images:

Antim Monastery, Bucharest, Romania

Image by cod_gabriel

Circuit Bending Orchestra: Lara Grant at Diana Eng’s Fairytale Fashion Show, Eyebeam NYC / 20100224.7D.03621.P1.L1.SQ.BW / SML

Image by See-ming Lee ??? SML
Lara Grant, part of the circuit bending orchestra for Diana Eng’s Fairytale Fashion Show held at Eyebeam NYC. Through various hacks and circuit bending techniques, Lara’s sewing machine trigger signals that is then fed onto laptops running MAX/MSP to produce the final soundtrack for the runway. Other team members of the orchestra are Peter Kirn and Matt Ganucheau.

Lara and Sarah are a sisterly team with interests in physical computing, electronic textiles, controller design and signal processing.

Lara has a background in fashion and textile design and is currently studying at NYU’s Interactive Telecommunications Program. Sarah has a background in visual arts, programming and sound design. She is also an alumni of NYU ITP.

fsp.fm
laras-home.com
chootka.blogspot.com

facebook.com/lara.cat
flickr.com/8528527@N02

+++

Fairytale Fashion Show
2010-02-24
7pm – 9pm
Eyebeam

Diana Eng presented the Fairytale Fashion Collection in a technology fashion show on Wed., February 24, 7PM, at Eyebeam. Models hit the runway while an orchestra of circuit bending DJ’s create music from hacked video game consoles.

The Fairytale Fashion Collection uses technology to create magical clothing in real life. Electronics, mechanical engineering, and mathematics are used to create clothing with blooming flowers, changing colors and transforming shapes. Research and development for the Fairytale Fashion collection are shared online at FairytaleFashion.org as an educational tool that teaches about science, math, and technology through fashion. Fairytale Fashion was created with the support of Eyebeam Art and Technology Center, the leading not-for-profit art and technology center in the United States.

Diana Eng is a fashion designer who specializes in technology, math, and science. Her designs range from inflatable clothing to fashions inspired by mechanical engineering. She is a designer from Bravo’s Emmy nominated TV show, Project Runway season 2 and author of Fashion Geek: Clothes, Accessories, Tech. Diana is cofounder of NYC Resistor hacker group. Diana is currently a resident artist at Eyebeam.

eyebeam.org/events/fairytale-fashion-show
fairytalefashion.org

Check out these visual art images:

IMG_3817

Image by emily geoff

IMG_5592

Image by emily geoff

Check out these visual art images:

repurposed art: sun catcher

Image by jessica wilson {jek in the box}
blogged

MIT+150: FAST (Festival of Art + Science + Technology): FAST LIGHT — String Tunnel

Image by Chris Devers
Quoting from the official pamphlet:

FAST LIGHT • May 7 + 8, 2011, 7 pm – 10 pm

Contemporary pioneers in art, science, and technology have come together at MIT to create one of the most exhilarating and inventive spectacles metro Boston has ever seen. On May 7 and 8, 2011, visitors can interact with 20+ art and architectural installations illuminating the campus and the Charles River along Memorial Drive at MIT.

arts.mit.edu / fast

Installations scattered around campus (we didn’t quite see all of them), again pasting from the official flyer:

• aFloat
MIT Chapel • Saturday, May 7th ONLY
Inspired by water in the Saarinen Chapel’s moat, a touch releases flickers of light before serenity returns as a calm ripple.
By Otto Ng, Ben Regnier, Dena Molnar, and Arseni Zaitsev.

• Inflatables
Lobby 7, Infinite Corridor
A dodecahedron sculpture made of silver nylon resonates with gusts of air, heat from light bulbs, and the motions of passersby.
By Kyle Barker, Juan Jofre, Nick Polansky, Jorge Amaya.

• (now(now(now)))
Building 7, 4th Floor
This installation nests layers of the past into an image of the present, recursively intertwining slices of time.
By Eric Rosenbaum and Charles DeTar.

• Dis(Course)4
Building 3 Stair, Infinite Corridor
A stairwell transformed by a shummering aluminum conduit inspired by the discourse between floors and academic disciplines.
By Craig Boney, Jams Coleman and Andrew Manto.

• Maxwell’s Dream
Building 10 Community Lounge, Infinite Corridor
An interactive mural created by magnetic fields that drive patterns of light, Maxwell’s Dream is a visually expressive cybernetic loop.
By Kaustuv De Biswas and Daniel Rosenberg.

• Mood Meter
Student Center & Building 8, Infinite Corridor
Is the smile a barometer of happiness? Mood Meter playfully assesses and displays the mood of the MIT community onsite and at moodmeter.media.mit.edu
By Javier Hernandez and Ehsan Hoque.

• SOFT Rockers
Killian Court
Repose and charge your electronic devices using green solar powered technology
By Shiela Kennedy, P. Seaton, S. Rockcastle, W. Inam, A. Aolij, J. Nam, K. Bogenshutz, J. Bayless, M. Trimble.

• LightBridge
The Mass. Ave Bridge
A dynamic interactive LED array responds to pedestrians on the bridge, illustrating MIT’s ties to both sides of the river. Thanks to Philips ColorKinetics, CISCO, SparkFun Electronics.
By Sysanne Seitinger.

• Sky Event
Killian Court, Saturday, May 7th ONLY
Immense inflatable stars soar over MIT in celebration of the distinctive symbiosis among artists, scientists and engineers.
By Otto Piene.

• Liquid Archive
Charles River
A floating inflatable screen provides a backdrop for projections that highlight MIT’s history in science, technology, and art.
By Nader Tehrani and Gediminas Urbonas.

• Light Drift
Charles River
Ninety brightly glowing orbs in the river change color as they react to the presence of people along the shore.
By Meejin Yoon.

• Unflat Pavilion
Building 14 Lawn
This freestanding pavilion illuminated with LEDs flexes two dimensions into three. Flat sheets are bent and unfurl into skylights, columns, and windows.
By Nick Gelpi

• Gradated Field
Walker Memorial Lawn
A field of enticing mounts create a landscape that encourages passersby to meander through, or lounge upon the smooth plaster shapes.
By Kyle Coburn, Karina Silvester and Yihyun Lim.

• Bibliodoptera
Building 14, Hayden Library Corridor
Newly emerged from the chrysalis of MIT’s diverse library pages, a cloud of butterflies flutters above, reacting to the movement of passersby.
By Elena Jessop and Peter Torpey.

• Wind Screen
Green Building Facade, Bldg 54
A shimmering curtain of light created by micro-turbines displays a visual register of the replenishable source of wind energy.
By Meejin Yoon.

• String Tunnel
Building 18 Bridge
A diaphonous tunnel creates a sense of entry to and from the Infinite Corridor and frames the surrounding landscape.
By Yuna Kim, Kelly Shaw, and Travis Williams.

• voltaDom
Building 56-66 Connector
A vaulted passageway utilizes an innovative fabrication technique that creates complex double curved vaults through the simple rolling of a sheet of material.
By Skylar Tibbits.

• Night of Numbers
Building 66 Facade & E15 Walkway
A lighting installation enlivens MIT architectre with numbers that hold special or historical significance to the Institute. Can you decode them all?
By Praveen Subramani and Anna Kotova.

• Overliner
Building E-25 Stairwell
Taking cues from a stairwell’s spiraling geometry, Overliner transforms a familiar and busy passageway into a moment of surprise and repose.
By Joel Lamere and Cynthia Gunadi.

• Chroma District
Corner of Ames and Main Streets.
Lanterns react to visitors by passing sound and color from one to another, increasing in intensity along the way and illuminating the path to MIT’s campus.
By Eyal Shahar, Akito van Troyer, and Seung Jin Ham.

The Gates of Hell

Image by kern.justin
The portal to The Inferno.
Through me the way is to the city dolent;Through me the way is to eternal dole;Through me the way among the people lost.
Justice incited my sublime Creator;Created me divine Omnipotence,The highest Wisdom and the primal Love.
Before me there were no created things,Only eterne, and I eternal last.All hope abandon, ye who enter in!.
– Canto III, The Inferno, Dante Alighieri
Part one of Dante Alighieri’s The Divine Comedy, known more affectionately by those who have read it as "The Inferno," was something close to required reading for college students at The University of Chicago. Dogeared copies of the most recent verse translations were a staple of tables throughout the library. As far as I could tell, every humanities course (a requirement for all students) included at least part of this master work. Much discussion as to its literary merits and political references surely followed, but I think what connected with students was Dante’s vision of the deepest, darkest levels of hell as miserably cold rather than blazingly hot. To an undergraduate facing finals in the depths of January’s arctic grip, this vision of a cold hell continually resonates. So much so that, during my ten years on campus, I could always spot a college student sporting a homemade t-shirt with the slogan "University of Chicago – The level of hell Dante forgot," or "Hell does freeze over." Beyond the delightfully geeky literary reference to Alighieri, these shirts were also remarkable for displaying a table of temperature lows for the dates of the winter quarter.
Such a table for the temperatures on Stanford’s campus through the corresponding period of time would paint a far sunnier picture. Imagine my surprise then, when I discovered that the Gates of Hell are actually on the Stanford Campus. The Gates of Hell is a massive sculpture by Auguste Rodin inspired by the famous poem; it, and many other of Rodin’s works, is a fixture of the B. Gerald Cantor Rodin Sculpture Garden. The illustrious sculptor worked to create this masterpiece over the course of nearly four decades, until his death. The word massive fails here to convey the size of the gate – it stands at nearly twenty feet tall and over thirteen feet wide. It is imposing without being utterly frightening. Rodin included some of his most famous sculptures within The Gates of Hell – notice the thinker jutting out at you far overhead at the center of the doors. He also included some unexpected things, like The Kiss within the doors and perhaps that little bit of romance and sweetness is the reason that we are not terrified of this massive vision of Hell’s Door.
112 megapixels of The Gates of Hell.

I created this image as a massive panorama for two primary reasons. One, because the sculpture defies the small-format photographer to capture its essence and requires a high-resolution approach. Two, because I have been working diligently to produce a workflow of image capture and processing that I will call "Large Format DSLR Photography." You will notice that the above image isn’t just properly exposed and very high-resolution, but it is also perfectly corrected for perspective. Look at the gates, follow the vertical and horizontal lines – you will notice they are all perfectly parallel to the edges of the frame. The door doesn’t shrink at the top where the subject is further from the camera, and it doesn’t expand at the bottom. All this is possible thanks to a very special tripod head (more details on that later) and some careful computation. You’ll be seeing more high resolution images like this and learn more about how to make "large format" digital images like this in the coming weeks and months – stay tuned. I’ve also included a smaller version of the image below so those of you who like to see the whole image all at once can do so. And if you were looking for another indication of scale here – that placard on the right of the frame is about four to five feet from the ground.

Some cool visual art images:

AVRA

Image by N0 Photoshop

Check out these visual art images:

Risen Again

Image by Original Bliss
Soul Journal Entry
October 24, 2009

For more about this page visit:

Original Bliss – Introducing Personal Art Journal Coaching

Art in Embassies – Jonathan Anderson, Construction (no. 6), 2009

Image by US Embassy New Zealand
Jonathan Anderson (born 1977)
Construction (no. 6), 2009
Oil on oak panel
48 x 72 in. (121,9 x 182,9 cm)

******************************************

Embodying a painting of home in a different fashion, Jonathan Anderson’s Construction series reveals a place by what appears to be its withdrawal. His images of framed-in homes are delineated by their absence through his selective rendering of a background. By allowing the natural wood of the support panel to represent the foundation and studs of constructed homes, he seductively renders the landscape surrounding the construction site with paint. This change in the physical surface of his works, coupled with his beautifully painted illusion, challenges viewers to question the location as well as the representation of the location.

“I think about painting in construction terms. Paintings are buildings; they are structures designed to provide containment for ways of seeing and thinking, ways of positioning and orienting oneself in relation to the world. And I undertake art-making in these terms: as a structure-maker, transforming oily mud and fibers into visual spaces for the housing of stories, the posing of questions, and the visual organizing of concepts. It’s not only that these paintings are often images of buildings; they are themselves ‘buildings.’

“Yet, there is an impasse that occurs in these (and, ultimately, all) representations. The curious thing about a painted image is that it offers visual space upon a flat surface—it simultaneously opens out onto things-in-the-world other than itself, while at the same time persistently remaining its own distinct thing-in-the-world (a flat painted surface hanging on this wall)…
“I have been working through this idea in an ongoing series entitled Constructions…

“This series includes paintings of homes under construction, in which I’m thinking about the painting itself as a domestic construction site, conflating the construction of an image with that of a home.

“What appears to be the wooden structural framing of a house under construction is, in fact, the bare wooden panel that the painting is constructed on: the image is ‘negatively’ painted such that the wooden panel (the object) is conflated with the wooden studs and beams of the half-built home (the image).
“I’m interested in asserting both sides of this dynamic as clearly as possible in an attempt to understand the profound mystery of what George Steiner calls the “covenant between word and object, the presumption that being is, to a workable degree, ‘sayable.’” – Jonathan Anderson.

Biography:
Jonathan Anderson is an Assistant Professor of Art at Biola University. He has a Master of Fine Arts Degree from California State University, Long Beach, where he received the Distinguished Achievement Award in Drawing & Painting. He currently lives and works in Long Beach, California.

www.jonathanandersonpaintings.com

newzealand.usembassy.gov

art-2010-4 – view in light box

Image by dietmut
Experimental-ART

Some cool visual art images:

Self-portrait in the kitchen with a cannibal in the foreground

Image by Roberto Giannotti

Self-portrait in the kitchen with a cannibal in the foreground

Image by Roberto Giannotti