Marianne Dages, artist, book maker, and printer, lives in Philadelphia, PA and spent a month in Iceland at an artist residency last year. It was a transformative experience for her and left a lasting mark. When she explored the Fieldwork Map, in particular, Jökulsárlón, she couldn’t help but think of that time and remember…


“the feeling of something forgotten. a language understood in sleep”

I wrote this in my sketchbook the day after I’d arrived in Iceland, where I’d come to spend one month alone and make art in the Northern town of Siglufjordur. Everyday in the afternoon I would take a two hour walk on the paths that crisscrossed the mountain above the town. And during those walks I took photographs and collected objects I found.

Looking at the Fieldwork map, I was struck by how many similar experiences I shared with Amy and John’s travels and the bittersweet feeling those images gave me. I too filled my pockets with frayed cords and fishing hooks on long solitary walks. My shelves are lined with smooth banded stones and salt-bleached bone. 

What compelled us as artists to seek out this land? The sublime and majestic imagery of Iceland, its achingly blue glaciers and quicksilver oceanic skies, is enough to give you vertigo, to feel your toes grip the sharp edge of the world.

Yet what did we find and what did we keep? The humblest of traces. the rune-like lines of twigs on snow, animal tracks, tiny bits of plastic and thread, every shape and color a trail back to the crisp visual memory of a beloved place and time. Something we’d forgotten, something we could now read again.

The Icelanders believed that the dead could be raised from a bone, just one vertebrae or fingertip. I found a delicate arched sheep’s rib on a black volcanic beach. I painted half of it white. I made thirty white clay bones, one for each day I spent in Iceland.

We thank you, Marianne.

Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.

Watch on foodffs.tumblr.com



Lunar Surface

Interesting project from Kimchi and Chips blends the analogue with the digital - live depth rendering and projection onto a swaying sheet to produce a ghostly form captured with long exposure photography:

A vertical flag of fabric is stroked by the wind, displaced by curves of air pressure, swinging back and forth. As it sweeps, it extrudes a trail of light which draws a moon floating in space. The flag renders this moon from another reality, the silk surface acts as a boundary between 2 realities, intermediating the laws of the 2 realms.

Inspired by the 2 moons of Haruki Murakami’s 1Q84 and the flags of space travel, the artists present a portal into another existence where another moon orbits. This other place is made material by the fabric of the flag.

Long exposure photography trades the dimension of time for a dimension of space, extruding the moon into existence on a set of photographic prints, the technology capturing a painting, enacted by the details of the wind.

Lunar Surface begins a new line of enquiry for drawing into the air for studio Kimchi and Chips, forming artistic collaborations between technology and nature. The fabric is tracked by a 3D camera whilst a projector replays a response onto it according to its evolving shape.

Below is a very short video demonstrating how the form is rendered in realtime:

More at Kimchi and Chips here

Map Lab

400 Years of Beautiful, Historical, and Powerful Globes

“To look at an ancient globe is to look at the Earth as it was seen by the people of another time. It reflects their understanding of the continents and seas, and it captures political divisions that have long since shifted. Even the typography and colors of a globe are indicative of the time and place of its origin, says Sylvia Sumira, a London-based conservator of ancient globes.

Often, it’s a thing of remarkable craftsmanship and beauty. “If you go into a room and there’s a globe, your attention is immediately drawn to it,” Sumira said. In her lavishly illustrated new bookGlobes: 400 years of exploration, navigation, and power, Sumira traces the history and making of globes and showcases dozens of fine examples drawn largely from the collection of the British Library.”

See and learn more at Wired’s Map Lab

Forehead and fingertips most sensitive to pain, research shows (The Guardian)

The forehead and fingertips are the most sensitive parts to pain, according to the first map created by scientists of how the ability to feel pain varies across the human body.

It is hoped that the study, in which volunteers had pain inflicted without touching them, could help the estimated 10 million people in the UK who suffer from chronic pain by allowing physicians to use lasers to monitor nerve damage across the body. This would offer a quantitative way to monitor the progression or regression of a condition.

Lead author Dr Flavia Mancini, of the UCL Institute of Cognitive Neuroscience, said: “Acuity for touch has been known for more than a century, and tested daily in neurology to assess the state of sensory nerves on the body. It is striking that until now nobody had done the same for pain.”

These ‘Judgmental Maps’ Will Show You Which Parts Of Town To Avoid

“If you’re new to a city, and you need to know how to get anywhere, you look at a map.

But a Google Map of San Francisco, for example, doesn’t tell you where you can get “real dim sum.” Or where the “worst Trader Joe’s” is.

That’s where “Judgmental Maps” comes in.

The maps are a little bit racist, a lot a bit judgmental, but with a name like “Judgmental Maps,” that seems to be the point.”

Via Business Insider


Jonathan (Jon) Roberts, illustrator of the official maps for the Lands of Ice and Fire, Beyond the Wall, 2012. © George R.R. Martin

Jon Roberts offers fine DIY tutorials on his website Fantastic Maps. For D&D fans or map maniacs the place to be. Via wired.