Erik Natzke’s generative paintings are made using Flash, sometimes from sampled photos and video and other times from scratch. He controls very specifically the environment in which his creations thrive, leaving the artwork’s specificities to the whim of the code. Generations of pixels live out their lives in quiet service of the master.
“Air_ray, modelled on the manta ray, is a remote-controlled hybrid construction consisting of a helium-filled ballonet and a beating wing drive. Its light design makes it possible for it to “swim” in the sea of air, boosted by helium, in a similar way to the manta ray in water.”
The stadium’s dome opens and closes like the iris diaphragm of a camera lens to control natural light and protect against rainy weather.
“Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction.”
Figured out by hand no less, I’d love to see this reproduced with a computer.
(images)
FFFFOUND! is a new-ish image bookmarking site, kind of like del.icio.us for whatever badass photography/art/design/etc. you find around the internet. Not only that though, the website itself is an aggregate cornucopia of beautiful, stimulating, cortex-crunching imagery taken from everyone else’s submissions.
Nevermind that the fork and spoon are balanced perfectly so as to be their own counterbalance. Watch how the flame extinguishes at the fulcrum, and how the ash curls away from the center of gravity.
(video)
His explanation traces the seemingly erratic nature of fundamental particles to the symmetries of E8, a simplified representation of an even more complex 248-dimensional object. “My brain exploded with the implications and the beauty of the thing,” he told New Scientist, recalling when he first made the connection between his theories and the shape of E8. “I thought: ‘Holy crap, that’s it!’” Thus far all the particle interactions predicted by his model correspond with observations in the real world. (…)
(video)
Microphones record an ongoing conversation, graphing the audio in concentric rings, differentiating voices by color. The further inward the rings, the further back in the conversation. Patterns reveal themselves such as individual people not speaking, interrupting, dominating, etc. Arguments and group silences become immediately tangible. (…)
I’m really enjoying this album — I think it’s the best one from Alison Krauss since the live recording with Union Station. Robert Plant, as famous as he may be, has never been someone I’ve listened to, but he and Alison have made something significant. Their voices blend effortlessly, and the style they create is truly unique, simultaneously rustic and modern.