Between 9 P.M. and midnight on Saturday, the southern face of the Empire State Building became a giant projection screen filled with images of a snow leopard, a manta ray, and other imperilled land and sea creatures. The event, “Projecting Change: The Empire State Building,” devised by Louie Psihoyos, the executive director of Oceanic Preservation Society, and the filmmaker and photographer Travis Threlkel, was a union of art, activism, and ambitious publicity stunt, designed to call attention to the plight of endangered species.
Watch the full video, produced by Nathan Fitch, on newyorker.com.
Project from artist Robert Seidel projects ‘laser drawings’ onto the San Andreas Fault to produce long exposure photographs:
This online exhibition showcases long
exposure photographs of Robert Seidel’s “environmental laser drawings”
captured in collaboration with Epicenter Projects curator Cristopher
Cichocki. Spanning from the Coachella Valley to the edge of the Imperial
Valley’s Salton Sea, this series of time-based laser drawings was
developed alongside the mountain terrain of the San Andreas Fault. To
begin, Seidel derived each laser pattern from creating digital line
drawings: gestural markings suggestive of curve progressions seen within
the Richter Scale or tectonic deformations. These minimalist sketches
are manipulated into complex transformational sequences scribed by the
laser onto the desert’s topology.
This fleeting yet precise gesture of the laser choreography becomes a
visual spectacle at the intersection of seismology, performative drawing
and laser interferometry extending upon the historic trajectory of Land
Art in the American deserts. The inherently shifting San Andreas Fault
line becomes fragmented and redefined through the laser’s ephemeral
distortion of light and, virtually, space as well. As a true
collaboration with the geology of the desert environment, “Magnitude”
offers perceptual insights through the documentation of these
performative actions. Here, from one minute to the next, the San Andreas
Fault becomes a geomorphic intersection both reflective and refractive,
tracing a portrait of a highly unpredictable landscape.
South Korean artist Sungseok Ahn’s
series entitled “Historic Present” questions the memory of past from
the fast changing scenery of today. By overlapping a historical location
with an old image of that exact place, he questions the way we treat
our history and explores the dynamics between space and time at the same
Astral travel can be fun but I wouldn’t recommend it for people who haven’t had a lot of out of body practice first. I’ve been having OOB experiences since i was a kid and began astral projecting around eight years old. Here are some basic guidelines~
certain stones and herbs are good for protection during astral travel. Most of my adventures happen while I’m sleeping so I keep pouches in my pillow to protect me on my journey.
•Go places you’ve been before
New places can result in getting lost and not being able to return to your body NOT WHAT YOU WANT
•Be polite to anyone or thing you meet
The astral plane is pretty, and you’ll meet all sorts of creatures. Be polite. Do not be afraid.
Rocks and crystals that aid in astral travel, out of body experiences, protection during astral projecting, etc
Proof-of-concept projection project from Skullmapping presents diners an animation of food preparation at their table (before the real food is served):
For this project, we experimented with projection onto a dinner table.
By making use of a combination of 3D animation and motion capture, a
miniature chef turns your dish into a projected grill. Bon appétit!
Fantastic Interactive Installation Invites Visitors to Manipulate Cloud Pink by Everyware
Cloud Pink is an interactive installation by Seoul-based
creative Everyware (formed by Hyunwoo Bang and Yunsil Heo) that allows
the public to live out their childhood dreams of touching and
manipulating clouds. The immersive piece features a fabric screen that
invites visitors to poke and prod the material from below, thereby
causing a visual reaction in the projected simulation of wafting pink
clouds.The multimedia project promotes a sense of childlike wonder and
playfulness as visitors unabashedly touch the overhead graphics and
watch them react in spectacular, cloudy configu.
I’ve had this information stored in my computer for a while, and decided it was about time I shared it with you all. As some may know, I am very interested in astral projection and have been practicing it for a while (although I have not been able to for the past few months because I’ve been feeling out of balance). Below are some accounts about astral projection I’ve gathered from primary sources–people who have been practicing it for years. I have found their advice and knowledge to be very insightful and helpful and hope it benefits you as well.
“We are multidimensional beings, and are
living in an energetic form on many levels of existence. Astral Projection is
simply the practice of learning how to transfer consciousness into our other
“Something to think about though - It is
possible for our energy bodies to be out and about, with consciousness STILL in
the physical body. A few weeks ago, I was floating above my physical body, and
went to touch my face. My conscious awareness SNAPPED back into my body, and I
perceived something touching me. It was me.”
Installation by Kimchi & Chips uses projection and a screen made up of 483 horizontal threads which produces illusions of depth:
From World War II up until the recent end of analogue broadcasts,
decades of living imagery had been constructed using the NTSC standard.
This standard represents a moving image frame as 483 lines of modulated
light stacked from the top to the bottom of a television screen, within
each line there is an analogue continuum, like the groove on a record
player. From Nam Jun Paik to the moon landings, pictures were being
represented, archived and seen within this format, until the line made
way for the pixel and the digital video revolution.
The artwork 483 lines magnifies this analogue video picture until it
is 16 meters wide, and then folds this image several times so that it
fits vertically into the gallery space, therein adding oscillations of
depth into the image which can be activated by ‘tuning’ the projected
video to match these waves. At this scale, each line of video can be
individually inspected as its own agent beyond its contribution to the
total image. This follows a common motif within the artists work, to
create 2 scales of experience, this time the beating panoramic imagery
contrasts the delicate physicality of the fine thread elements.
You can find out more at Kimchi & Chips website here or (for more technical background information) at Creative Applications here