frankiezafe

Description
images, from me & repost


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  • adamvellaa:

Source: MADE BY M/A/T/T P/Y/K/E - http://mattpyke.com/

    adamvellaa:

    Source: MADE BY M/A/T/T P/Y/K/E - http://mattpyke.com/

    (via backfrommega)


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  • (Source: unionn, via backfrommega)


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  • iamjapanese:

    Alejandro Quincoces(Basque, b.1951)

    El incendio II

    El tornado

    Anochecer azul y rosa

    11 de la mañana

    Anocheciendo

    El puente negro

    via   More


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  • Eidos - Sensory augmentation equipment (full version) from TJB on Vimeo.

    We are used to controlling the world around us, to find the settings that suit us best. What if we had the same control over our senses? If we could adjust them in real time, what new experiences could this make possible?

    Eidos delivers two pieces of experimental equipment that let you selectively enhance your hearing and vision by activating your hidden powers of perception.

    *DISCLAIMER*

    Please be advised that stock footage and the references in this video are used for inspirational purposes and to explain our project only. They are not our own work and we do not own the rights to them.

    Tim Bouckley
    Millie Clive-Smith
    Mi Eun Kim
    Yuta Sugawara


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  • Blended Harmony from Laura Maugeri on Vimeo.

    Installation interactive réalisée par Gaël Maistriau (programmation), Laura Maugeri (graphismes et animations) et Erwan Charlie Dodson (sonorisation).

    blendedharmony.be


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  • floats from Misha Shyukin on Vimeo.

    things that float.
    music: summoning ritual by heroin party.

    stills here: behance.net/gallery/floats/15419343


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  • (Source: dkraus00, via silicongene)


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  • prostheticknowledge:

    Flock

    New Media art installation from 2011 by Bernd Oppl projects surreal gravity-defying activity in a convincing space (which is actually a rotating model) - video embedded below:

    The view is directed to an interior. There is a window, a heater, stairs, which neither lead up- nor down - stairs. You watch a door, which sometimes opens and you notice the empty corners of the room. You don’t see any people. The room seems quiet and still there is movement. There are traces of action, as if the room possessed memory, as if it could remember the ones, which have been gone for a long time with their spirits still being present. Dark shadows, composed of countless pixels, accumulate in the corners, wipe along the walls, seem to escape through the stairs. These pictures are produced by a digital camera. The model of the described room is being rotated around the lens of the camera by a motor. A projector shows the miniaturised room in the size of a real room on a screen. The changing perspective of the camera changes the mood of the projection as well. The atmosphere might remind you of Alfred Hitchcock`s cinematographic panic-rooms. The scary effects in the work of Bernd Oppl focus on movement. Taking a look at the interior reveals a simple reason, watching the screen produ - ces a scary medial effect. Both realities, the virtual and the analog one, fall apart. The weirdness does not dissolve by recognizing the cause. The artist shows the digital translation, the medial leap from the animated model to the moving image and leaves the effect of uncertainness, the observer looses touch with reality. The eye of Bernd Oppl’s camera shows how far human experience stays away from technical perception – and the other way around. (Brigitte Felderer)

    More about the work of Bernd can be found here

    (Source: vimeo.com)


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  • archatlas:

    Beyond the Train Window Takatoshi Masuda


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  • voxfour:

    Digital Natives
    2012
    z-corp powder composite and z-corp tinted binder


    Everyday items such as toys and a watering can are 3D scanned using a digital camera and subjected to algorithms that distort, abstract and taint them into new primordial vessel forms. In some cases only close inspection reveals traces inherited from their physical predecessors. These are then 3D printed on a z-corp printer.

    Vessels are arguably the lowest common denominator for man-made objects across all cultures, these objects however have no storage function other than to embody the stored digital data that describes them.


    Development credits:
    The algorithms are executed within my own made software 3D interfaces; co_former for transforming shape and #ccc (colour co-creator) for generating colour. These output files ready for 3D printing in colour. I’ve coded these with Processing, and libraries Hemesh, ControlP5, and Toxiclibs.

    The objects were first on display at the 3D Print Show, London, October 19-22.

    Matthew Plummer-Fernandez has some really amazing 3D work involving mathematical algorithms and distortion. If you want to see more, visit him here http://www.plummerfernandez.com/.

    (via fyprocessing)


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  • GIANO_036

    a3reel:

    Parallelamente si è proceduto con le sperimentazioni sui tripodi, cercando di ottenere una distribuzione su tutta la mesh che non andasse a ricreare griglie, ricercando una certa diversità tra le fasce di tripodi.

    image

    image

    Sulle mesh di dimensioni maggiori si nota come gli agents vadano a seguire…

    (via theklob)


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  • Line Segments Space - Kimchi and Chips from Mimi Son on Vimeo.

    LINE SEGMENTS SPACE
    Kimchi and Chips, 2013
    Projection, Nylon string, Code

    CONCEPT
    An architectural web of threads subtends a null space. It hangs abstract and undefined, a set of thin positive elements segmenting the dark negative space between. Dynamic imaginary forms are articulated into the physical volume by the material of this thread, and the semi-material of the light. The visual gravity of the filaments occupying the space between.

    A 2D canvas is reduced from a surface piece into a line segment, but then constructed into another dimension, a volume. Light creates contrast and order on the lines to articulate digital matter. Digital forms inhabit the interconnected boundaries of space, becoming incarnate as visual mass.

    The artists reference Picasso’s light painting, and Reticuláreas of Gego who’s work offers a contemplation of the material and immaterial, time and space, origin and encounter and art and technology.

    EXHIBITION
    Line Segments Space was presented at Seoul Art Space Gumcheon in 2013 as part of Da Vinci Idea exhibition of new works.

    Line Of Sight (a ‘live install’ edition of Line Segments Space) will be presented at Resonate 2014 in collaboration with artist Andreas Müller and composer Jan Nemeček.

    CREDITS

    ARTISTS
    Mimi Son
    Elliot Woods

    SOUND DESIGN
    Junghoon Pi (junghoonpi.com)

    PRODUCTION ASSISTANT
    Chamsae

    kimchiandchips.com


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  • wblut:

Distressed Torus on Flickr.

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