coolerthanspaceships:

By Derek Stenning

coolerthanspaceships:

By Derek Stenning

science-junkie:

'Invisibility cloak' uses lenses to bend light
A device called the Rochester Cloak uses an array of lenses to bend light, effectively rendering what is on the other side invisible to the eye. One of the problems with the cloaking devices developed to date — and it’s a big one — is that they really only work if both the viewer and whatever is being cloaked remain still. This, of course, is not entirely practical, but a difficult problem to solve. For the first time, researchers have made a cloaking device that works multidirectionally in three dimensions — using no specialised equipment, but four standard lenses.
Read more @CNET

science-junkie:

'Invisibility cloak' uses lenses to bend light

A device called the Rochester Cloak uses an array of lenses to bend light, effectively rendering what is on the other side invisible to the eye.
One of the problems with the cloaking devices developed to date — and it’s a big one — is that they really only work if both the viewer and whatever is being cloaked remain still. This, of course, is not entirely practical, but a difficult problem to solve. For the first time, researchers have made a cloaking device that works multidirectionally in three dimensions — using no specialised equipment, but four standard lenses.

Read more @CNET

popsurrealism:

Margaret Keane is a painter of a big eyed girls who influenced many pop surrealists of today. Her interesting true life story is waiting for us in cinema in new Tim Burton´s movie, see the trailer:http://www.youtube.com/watch?v=qABZe2xUx6s

popsurrealism:

Margaret Keane is a painter of a big eyed girls who influenced many pop surrealists of today. Her interesting true life story is waiting for us in cinema in new Tim Burton´s movie, see the trailer:
http://www.youtube.com/watch?v=qABZe2xUx6s

pixography:

Salvador Dali ~ “Singularities”, 1936

pixography:

Salvador Dali ~ “Singularities”, 1936


Lunacy (Jan Švankmajer, 2005)


Lunacy
(Jan Švankmajer, 2005)

wrk-kevintownsend:

NEXT MONTH I’LL BE BACK IN NYC 
as one of the artists participating in
ART in ODD PLACES  »  2014: FREE
NYC—OCTOBER 9-12th / along 14th street

my project is called—stria: lost time, misplaced moments
Updates, documentation images/videos, times and locations for daily performance drawings will all be posted here and on the project’s tumblr: losttime-aiop2014. You can also check out the official festival website to see all of the participants

project description:
In urban environments the present is often overlooked or ignored. As we transition from place to place our minds are occupied— revisiting our past or anticipating our future. The present only exists as a fine point along the continuum of becoming. It is the threshold where future is transformed into past, where successive events form a perceptual unity that can be accessed without needing to call upon our memory. The ephemeral, performative drawings of this series are created and confronted in thresholds, empty storefronts and interstitial spaces along 14th street, rendering passing moments as a topography through the accumulation of line. Each fragile, impermanent line is a record; a tendril of time holding sensation, attention and intention. Each drawing is a vessel containing these moments, a metaphor for the way a series of cognitions, sensations, minutes and seconds coalesce in our minds— transitioning from the perceptual present to the substance of memory.

The process, materials and form of this series evolved as a means of evoking binary oppositions— issues of temporality and permanence, strength and fragility, fullness and emptiness, presence and absence that resonate with our conception of and relationship to our memory. Once completed each drawing will last for a finite period of time in its location. While the locations will be pre-determined each drawing is made extemporaneously— no compositional decisions are made in advance, each line is made in reaction only to the line that precedes it. Lines are repeated and accumulated resulting in the emergence of form, with the resulting structures often resembling topographic landscapes or flowing fabric. Each drawing ends when the available space is filled or if a prolonged hesitation is experienced.

These works liberate the act of making from the confines of the studio. The resulting works are simultaneously public and private. They are exposed, temporal, fragile, vulnerable, malleable— free. Free to be engaged, free to be destroyed by intention or accident. Free from the sterility of the overly white walls of a gallery, their driving concept or rationale will not be readily known to a viewer. These works are free to be experienced and considered without the support of an aesthetically elevated context. In this way the works are free to be judged, considered, reacted to or disregarded solely on their own merits—

The drawings that make up this series will be both created and confronted in transitional spaces along 14th street Between Fifth Avenue and Tenth Avenue. Accumulated line drawings will be rendered in and briefly occupy vacant storefront windows, thresholds, near subway entrances and other overlooked liminal spaces. Both the act of making and the resulting work is unexpected, temporal, exposed and vulnerable. In the heavily trafficked areas pedestrians and commuters will brush against the unfixed, malleable drawings, changing them uncontrollably. While brief, this contact affects both the work and the passerby, marking each in the process. The drawing is marred, lines are eroded or broken and transferred to those who walk past. These people unknowingly carry that brief moment with them across the city and throughout their day until they look down and see the few scant stripes of white on their leg and brush it off.

official festival website

magictransistor:

Ivan Štubňa, Chrobák, 1967.

magictransistor:

Ivan Štubňa, Chrobák, 1967.