tech arts


Ground Truth: Corona Landmarks

In the words of the artists Julie Anand and Damon Sauer:

Ground Truth: Corona Landmarks, in its broadest sense, investigates an individual’s position on earth in the contemporary context of vast networks of information. We explore this situation by visualizing the expanding pervasiveness of satellite technology in relation to an historically significant set of satellite calibration targets. This system of approximately two hundred fifty-six calibration targets within the Sonoran Desert were created as part of a secret surveillance program in the mid-1960’s. The joint CIA/Air Force classified project known as Corona was a photo-reconnaissance program based on the recovery of physical capsules of ejected film and produced the world’s first maps of earth from space. The sixty-foot diameter concrete forms we photograph are located one per mile within a sixteen square-mile grid, designed as an array of ground truth markers. We are intrigued by the way that these markers of space have become markers of time, representing a poignant moment in geopolitical and technologic social history.

We privilege the skies in each of our compositions to give visual weight to the density of what is imperceptible miles above us. To further engage this idea, we map the specific satellites present in the sky at each site at the moment of photographing, using a satellite tracking application. We enjoy the way that these myriad points and orbital arcs emphasize the ubiquity of this contemporary technology encircling the globe. We explore the remains of Corona architecture as demarking a rich anthropologic moment evidencing the human desire to see from above.


Al-Anbiya 48. We granted Moses and Aaron the Criterion (the Book distinguishing between truth and falsehood), and made it a (guiding) light and reminder for the God-revering, pious.

Al-Anbiya 49. They stand in great awe of their Lord though unseen (and beyond their perception), and tremble with the thought of the Last Hour.


PewDiePie’s “apology” for Nazi jokes shows that he still doesn’t get it

  • Felix “PewDiePie” Kjellberg, the most popular and well-paid vlogger on YouTube, has finally responded being canned by Disney and YouTube Red were  over his use of Nazi imagery in several videos.
  • His statement leaves a lot to be desired.
  • In the video, titled “My Response,” Kjellberg apologizes for the offensive material — in particular, for a video in which he paid a service $5 so that two men would dance around holding a sign that read “Death to All Jews” — saying that he will use the criticism as a “learning experience.”
  • Though Kjellberg apologizes for crossing a line, he frames the severing of his contracts as an unfair “attack” from the Wall Street Journal — an issue he thinks is rooted in the media world’s fundamental misunderstanding of the YouTube community. Read more (Opinion)

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okay so I may have been listening to multiple snail house music in a row,,,

Haha Palette belongs to @angexci


I painted some clouds this week~

the first one is just brushwork, wet blending, a little dry brushing to fuzz edges. the second one is kitty litter masking, which is why I included the process pictures. sprinkle kitty litter to mask off the very lightest parts of the clouds, lightly spray a thin color, wait for it to dry, then mask the next lightest parts and repeat until your whole cloud is masked and you can spray the sky color. (or brush in the sky, doesn’t much matter if it isn’t a translucent drop.) making a gradient test flat was helpful, because it told me how many spray passes it would take to reach a certain darkness.

kitty litter makes a really nice gradient and works well on translucencies - spray is your friend when you need light to filter through the fabric. it’s just hard to match a rendering because you can’t tell what your painting looks like under all that litter. you just have to trust it. usually, matching a rendering exactly is not necessary when it comes to clouds - it’s more important for the clouds to look organic and fluffy.

I worked with a French designer once. Nice guy, but during focus he told me to “get hard and come on my face”. I mean, I knew what he meant, but any other combination of words to get me to focus that light wouldn’t have resulted in me doubled over laughing in the catwalks.
—  Fun times with foreign designers.