.jpg)
An aqueduct on the periphery of Rome
The Queen Mary, Long Beach, California
New York-New York Hotel and Casino, Las VegasIt’s often hard to convince people that Olivo Barbieri’s aerial photographs are real. They look uncannily like hyperdetailed models, absent the imperfections of reality. Streets are strangely clean, trees look plastic, and odd distortions of scale create the opposite effect of what we expect from aerial photography—a complete overview, like military surveillance. “I was a little bit tired of the idea of photography allowing you to see everything,” Barbieri says. “After 9/11 the world had become a little bit blurred because things that seemed impossible happened. My desire was to look at the city again.”
He began the Site Specific project in Rome, before moving on to Amman, Jordan; Las Vegas; Los Angeles; and Shanghai, China. He achieves the distinctive look by photographing from a helicopter using a tilt-shift lens—a method, he says, that “allows me to choose what I really like in focus: like in a written page, we don’t read [it as an] image but one line at a time.” Along with the still photographs, which are exhibited as enormous prints, Barbieri has been making short 35mm films. New York—not surprisingly—is next on his list of cities to tackle.
TRUCOLD is a video work shot at night on the streets of London and - during a heavy fog - in Karlsruhe in Germany. The work comes out of Blast Theory's interest in physical displacement, amnesia and time travel and ties directly into other urban projects Can You See Me Now? and Uncle Roy All Around You, focusing in on the city at night and the gaps between what is real and what is fictional. The group are interested in the power of the viewer or participant to fictionalise their surroundings and to experience things which are not really there. Lengthy shots with a fixed camera unveil the passage of time on the landscape. By partially erasing the ephemeral passage of traffic and people, the video presents the urban fabric as monolithic, expansive and subject to minute shifts that might otherwise pass unmarked. While superficially absent people are in fact constantly present on the margins: a running man appears as blur, another is briefly reflected in a marble column.
The work also plays with the limits and effects of technology: while reminiscent of time lapse techniques, the footage is in fact unfolding in real time. Shot on mini DV the shutter speed has been slowed to one third of a second in order to be able film in such low light. The video is filled with digital artefacts as the camera struggles with the conditions: pixellation, streaks of anomalous colour and lens flare. Some images seem computer generated. The act of image capture itself is bordering on entropy.
The city appears empty, open, receptive to meaning and yet there is attendant threat caused by that very absence. Both the quotidian and the mythic exists alongside one another.
TRUCOLD was made for the Biennale of Sydney in 2002 and was presented at the Museum of Contemporary Art. It has since been featured in a number of exhibitions and film and video festivals in Europe, Asia and the United States.
http://news.nationalgeographic.com/news/2010/03/100310-new-frog-changes-color/Oreophryne ezra was discovered in 2004 in a tiny, mountaintop cloud forest in southeastern Papua New Guinea. The forest has been long avoided by locals, who believe the misty jungle to be taboo, and perhaps guarded by spirits.
Though a few other frogs are known to switch colors as they mature, "I don't think the difference in color pattern is as startling as what's seen in this species," said Fred Kraus, a vertebrate zoologist at the Bishop Museum in Honolulu, Hawaii.
But why the amphibian undergoes such a drastic transition is far from black and white, added Kraus, leader of a new study on the frog in the December 2009 issue of the journal Copeia."
Thought this was interesting, because of my images changing, this is more of a REAL-LIFE change, ..... NATURE, just like Autumn, Winter, Spring, Summer.
PixCell - Paper Plane mixedmedia
h: 8, w: 22, d: 14 cm
2002
PixCell - Sheep mixedmedia
h: 80, w: 37, d: 124 cm
2002
PixCell-Deer#14 mixedmedia
h:101.4 w:65.5 d:48.5 cm
2009
When the Sun Rises and the Shadows Flee 2005this work of Reuben Patersons' reminds me of glittery pixels
http://trendland.net/2009/10/26/mark-khaisman-tapeworks-art/
"A thaumatrope is a toy that was popular in Victorian times. A disk or card with a picture on each side is attached to two pieces of string. When the strings are twirled quickly between the fingers the two pictures appear to combine into a single image due to persistence of vision.
The invention of the thaumatrope is usually credited to either John Ayrton Paris or Peter Mark Roget. Paris used one to demonstrate persistence of vision to the Royal College of Physicians in London in 1824. He based his invention on ideas of the astronomer John Herschel and the geologist William Henry Fitton, and some sources attribute the actual invention to Fitton rather than Paris. Others claim that Charles Babbage was the inventor.
Examples of common thaumatrope pictures include a bare tree on one side of the disk, and its leaves on the other, or a bird on one side and a cage on the other. They often also included riddles or short poems, with one line on each side.
Thaumatropes were one of a number of simple, mechanical optical toys that used persistence of vision. They are recognised as important antecedents of cinematography and in particular of animation.
The coined name translates roughly as "wonder turner", from Ancient Greek: θαῦμα "wonder" and τρόπος "turn"."
http://en.wikipedia.org/wiki/Thaumatrope"Two-way and Three-way Pictures
A form of vertical montage.
Two-way pictures date back to the seventeenth century.
Initially they were made from spars with a triangular cross-section; later, accordion-pleated card was used. Both methods produced a background of vertical angled planes facing in opposite directions. Alternating picture ‘strips’ with different scenes or images were painted or glued onto the spars. Viewed from the front they make no sense. The two images only resolve when they are viewed from one side or the other. Whether one looks from the right or the left, only one of the two images will be visible as a complete picture. This technique enjoyed its widest popularity in the nineteenth century. The preferred motifs were predominantly religious, with combinations such as Crucifixion/Resurrection or Jesus Christ/The Holy Virgin. The same tradition also includes three-way pictures known as trisceneoramas. The three pictures are again painted as strips: a recessed ‘central picture’ with the other two pictures on the strips forward and to either side of the back strips. Seen from the front, the main motif is visible; seen from the sides the other two paintings are revealed, their themes generally connected with that of the main motif. "
Thomas McIntosh with Emmanuel Madan and Mikko Hyninnen, Ondulation, 2002. Photo: Lepkowski Studios
"Ondulation, by Thomas McIntosh in collaboration with Mikko Hynninen and Emmanuel Madan is a truly hypnotizing composition for water, sound and light. A two-ton pool of water is set in motion by powerful loudspeakers. Waves travel across the basin, rising or falling in response to the sounds. Lights, bouncing off the moving surface, send reflected ripples over the walls of the gallery. The surface of this “liquid mirror�? is slowly shaped by the sound into a kind of 3D expressions of the music which in turn become reflections on the wall. The simultaneity is such between the sound and light waves that we are left with a sense of seeing the sound and hearing the image."
http://we-make-money-not-art.com/archives/2007/12/i-finally-got-t.php
"Sky TV is one of the earliest examples of video sculpture and Yoko Ono's only video work. A camera placed on the outside wall or roof of the gallery, trained on the sky, transmits live images of the sky to a television monitor in the gallery, projecting the exterior world into an interior space.
Sky TV reflects Ono's conceptual approach to video, in which the idea becomes the subject of the work. Sky TV was made shortly after the Sony Portapak was introduced on the market and before the advent of videotape; a time when all images on television were generated and controlled by a few commercial television companies and cable TV was still a dream. Further, the ubiquity of surveillance camera technology in contemporary society was largely unknown in 1966, indicating how precocious Ono's vision was. Significantly, the camera is aimed not at the viewer but at the sky, implying the necessity of considering an infinite world beyond the ego and the hypnotic pull of commercial television. Into the Light."
TEXT AND IMAGE http://www.orbit.zkm.de/?q=node/24
This work by Yoko Ono is REAL TIME, capturing the Sky from outside and displaying it inside a gallery.
THE FIRST DOG TO ORBIT IN SPACE http://www.theage.com.au/news/arts/skys-the-limit-for-typecast-animals/2008/04/17/1208025384678.html
"U.S. Air Force Maj. Richard Benson (left) examines Ham the chimpanzee on January 31, 1961, after the ape attained suborbital spaceflight aboard a Mercury-Redstone rocket. The animal was found to be fatigued and dehydrated but otherwise healthy.
"No, rhesus monkey Sam isn't shilling for Oscar Mayer. Wearing a hot dog-shaped "contour couch," Sam launched aboard a Mercury spacecraft in December 1959, following in the paw steps of monkeys Baker and Able, who made their historic mission 50 years ago this week. 
"May 29, 2009--A squirrel monkey named Baker peers out from a 1950s NASA biocapsule as she's readied for her first space mission. Baker and a rhesus monkey named Able launched aboard a Jupiter AM-18 rocket on May 28, 1959—50 years ago this week.
Mapping the Studio I (Fat Chance John Cage) (2001)The results are mesmerizing. The infra-red photography is a murky grey-green, but its painterly surface pulses and shimmers. In stationary, low-angle shots moths skid through the air, tracing ethereal trajectories; a lizard hangs on the screen door; a black cat without a tail wanders through, peers out into the night-time landscape, and then attempts to stalk the mice. At certain thrilling moments glowing feline or rodent eyes pierce the pea-soup gloom like car headlights. Nauman himself makes brief, somewhat smeary appearances.
Of the installation’s myriad and mysterious effects one of the strangest is that it makes the viewer - who is dwarfed by the projected images - feel like a stand-in for the artist and for the other creatures that make use of the space. This underlines the fertile uncertainty of Nauman’s investigative brand of art-making; it also highlights the palpable sense of exhilaration and unease in which cat, mice, objects and artist all seem to share."
photo: rat, from 'markives' 2009
