Author: DC (Page 19 of 1086)

Yukari Ehara

 

 

Sean Miller

Microscopy of Dust Sample Collected from Centre Pompidou, Paris, France.

Microscopy of Dust Sample Collected from musée du Louvre, Paris, France.

Microscopy of Dust Sample Collected from LA County Museum, California.

Microscopy of Dust Sample Collected from Palais de Tokyo (Paris, France).

Microscopy of Dust Sample Collected from Tate, London, U.K.

Microscopy of Dust Sample Collected from Hermitage Museum, St. Petersburg, Russia.

Microscopy of Dust Sample Collected from Salvador Dali Museum, St. Petersburg, Florida.

 

 

Joe Sola
Joe Sola exhibits six microscopic paintings inside gallerist’s ear.

 

 

Willard Wigan

Noddy Holder through the eye of a needle (2016)

Castle through the eye of a needle (2016)

 

 

Slinkachu

 

 

Microscopic Alcohol Art

 

 

Ben Sack

 

 

Takahiro Iwasaki

 

 

Jonty Hurwitz
Artist Jonty Hurwitz has created sculptures so tiny that they can only be seen using an electron microscope.

 

 

Donald Eigler, Crommie, and Christopher Lutz
The mirage occurs at the foci of a quantum corral, a ring of atoms arranged in an arbitrary shape on a substrate. The quantum corral was demonstrated in 1993 by Lutz, Eigler, and Crommie using an elliptical ring of iron atoms on a copper surface using the tip of a low-temperature scanning tunneling microscope to manipulate individual atoms. The ferromagnetic iron atoms reflected the surface electrons of the copper inside the ring into a wave pattern, as predicted by the theory of quantum mechanics.

 

 

Vincent Bousserez

 

 

Vik Muniz

 

 

Zebrafish Larvae

 

 

Malcolm Douglas Chaplin
Simon Fraser University’s Nano Imaging Lab has produced the world’s smallest published book. The only catch: you’ll need a scanning electron microscope to read it. At 0.07 mm X 0.10 mm, Teeny Ted from Turnip Town is a tinier read than the two smallest books currently cited by the Guinness Book of World Records: the New Testament of the King James Bible (5 X 5 mm, produced by MIT in 2001) and Chekhov’s Chameleon (0.9 X 0.9 mm, Palkovic, 2002). By way of comparison, the head of a pin is about 2 mm.

 

 

Anatoly Konenko

 

 

Adalberto Abbate

 

 

Lisa Swerling

 

 

Samuel Peralta
Semi-retired Filipino-Canadian physicist and writer Samuel Peralta’s Lunar Codex project will include a digitized collection of art, poetry, music, film, podcasts, books, and magazines from 30,000 creatives, and as the name suggests, will be permanently installed on the moon through unmanned rockets. So how exactly will Peralta transport works from thousands of artists to the moon? Well, they certainly won’t be physical. Peralta will be digitizing the various materials by transferring them to memory cards. More specifically, lightweight and nickel-based NanoFiche cards that can withstand harsh environments.

 

Kris Martin
Like much of Martins work, “Microscope” is a readymade he has cunningly tampered with; instead of magnifying objects, it makes them smaller. ‘When looking at people from a distance, they become minuscule, like ants.

 

 

Yury Deulin

 

 

Frederik De Wilde
Frederik De Wilde is a Belgian interdisciplinary artist whose artistic practice lies at the intersection of art, science, technology and design, exploring the concepts of inaudible, intangible and elusive. As an innovation consultant for the Flemish Ministry of Culture, he is also a member of the jury of Innovative Partnerships 2020. In his practice, he critically examines the radical changes that technology imposes on society and our environment, sometimes on the technological side, often in the conceptual, perceptual, sensory and human domains. Ultimately, he seeks to (re)connect our humanity – which requires a symbolic rewiring – while making us enthusiastic about the unknown and the future.

 

 

Wendy Originals

 

 

Jon Boy

 

 

Jonah Samson

 

 

Liliana Porter

 

 

IBM

 

 

Hasan Kale

 

 

Eldon Garnet
Memories of Tomorrow is both a form and a concept. The sculpture presents an idyllic past and the current collapse of nature as a synthesis. It is a sculptural representation of industrial disequilibrium. Memories of Tomorrow presents the possibility of returning the machine to nature, of constructing harmony and compatibility. This sculpture is symbolically loaded totems of possibility.

 

 

Nikolai Aldunin

 

 

Juan Miceli

 

 

Abigail Goldman

 

 

Mykola Syadristy
Mykola Syadristy is recognized as the best miniaturist in the world. The Mykola Syadristy Museum of Microminiatures is located on the territory of the Kyiv-Pechersk Lavra, Ukraine. This museum is a special place, because all the works of the master are made by hand, according to personally invented technology for each type of work.

 

 

Maurizio Cattelan

 

 

Joshua Smith

 

 

Anatoliy Konenko

 

 

Matthew Albanese

 

 

Ben Wilson
Ben Wilson, since 2004, has spent most days painting whimsical miniatures on some of the millions of flattened blobs of chewing gum that are spat out on the city’s paving stones.

 

 

Liza Lou

 

 

Zadok Ben-David
Yemen-born, London-based artist Zadok Ben-David has just realized People I Saw But Never Met. This work contains more than 3000 metal figurines. Each figure is inspired by a photograph captured in the street by the artist at a time of his life.

 

 

*

p.s. Hey. ** Dominik, Hi!!! Totally understood, the internet is like a stress machine these days. My pleasure re: PL. Haha, Sebadoh’s mistaken Death Metal first impression. Ah, Britney at long last. Rollercoaster of love (say what?), Rollercoaster yeah oohh oohh oohh, G. ** _Black_Acrylic, Yeah, but they probably would have flunked him. Vwave, ooh, I don’t know about that. Thanks, Ben. Pretty enticing, and, yeah, if a related post floats to your surface, please have at it. ** Misanthrope, I can’t really think of anything coming from the top right now that isn’t moronic. Yury goes to sleep at, like, 4 or 5 am and wakes up at, like, 2 pm, and he’s still a workaholic. I’m trying to think of the Chinese food equivalent to cheesy crust, and I can’t. I guess it would involve sesame. ** Bernard Welt, Howdy, B. I would be most interesting to talk with you after you’ve had a couple of bong hits if that’s any encouragement. I know who Patti LuPone is. I don’t if I’ve ever heard, read or seen her do anything but say or do rebellious things though. Glad you agree re: Simone’s genius, and of course you do. I didn’t know Tim was into her, did I? Actually I have no idea what Tim’s taste in music was other than church music. Huh. Hot stuff, you are and have always been. You just always needed to put your nose where you feared it didn’t belong. Or something. Nice! Intelligence survives thus far. You might have done a McCay Day, true, hm. The first years of the old blog are still a bunch of complicated data on a hard drive that I still need to upload and start restoring, but it’s so much work. Point is, it might be in there. Anyway blah, blah, always amazing, yes. ** Sypha, Wow, a rare visit from Mr. Champagne. Hello there. Based on my Facebook scrolling, you seem to be doing interestingly out there. And you were right! How’s it going, pal? I restored your ‘American Psycho Day’ not so long ago, if you didn’t see that. ** James, I presume the aliens don’t think it’s mumbo jumbo. And I could live without carnivores, so we’re even. Well, my teen actor friends might have faded into something much more important but much less viral. This is way too old school for you, but I was friends with the boy (Wayne Stam) who played an alien boy on the second season of the old TV series ‘My Favorite Martian’, and he ended up being a respected scientist although weirdly he made a brief return to acting as an adult as a dancer in the video for Carly Rae Jepsen’s ‘Call My Maybe’. The Farina book is still in print but only on Kindle. You’re forging ahead with GbV. You’re a saint. You only have, let’s see, 37 albums left to go. ** Steeqhen, Hi. American football seems like something that should’ve died out years ago like Pet Rocks or something. It’s so laborious and clunky, and even though I have no personal interest in rugby, it seems like it has all the good things about American football without the parts that make you either fall asleep or make you want to pull your hair out. ** PL, Your read on ‘Emilia Perez’ is pretty much word for word what everyone whose opinion I respect has said about it. I too think art should have no responsibility. I guess I think it should ideally just intermediate betwixt marker and receiver with a developed sense of fairness. I like ‘Purple Rain’, of course. I’m a little burnt out by it after hearing it playing somewhere or other for years. My favorite Prince album is ‘Sign ‘o’ the Times’, I think. I’ve just recently gotten into Oklou after someone here recommended her. I like her work, yeah. She’s playing here soon, and I’m wondering whether to go see her or not. I’m not interested in Lady Gaga. In fact I’m kind of anti-interested in her. I do kind of like that early single ‘Poker Face’ though. I love Gordon Matta-Clark. How great that your teacher is introducing you guys to him. He’s a very special artist. I moved from LA to NYC in 1983, so I missed most of the pre-gentrified SoHo stuff. I did have a friend who lived there in an absolutely massive loft who only paid $200 a month rent for it, which is mind-boggling to think about. I was in NYC for the brief lived East Village art/performance scene when that was still a raw, rough area. That was quite heady and fun. I can tell you more if you tell me what would be interesting to hear about. ** Tyler Ookami, Hi, T. I agree, but I guess I like the frustration. I sort of live by the ‘confusion is the truth’ motto. Thanks a lot for the links. I don’t know Terry A. Davis. I’m intrigued by my first glance at one of his videos. I’ll pursue him. As far as I know, no one has lined up Pizzagate with ‘TMS’, but what a curious comparison. Huh. I’ll think more about that. Yeah, the BJM cult has always escaped me. From what I’ve heard, his thing is pretty easy to pick apart. Well, yeah, not to mention that you could make 5 to 10 exciting experimental films with just one of those ads’ budgets. ** Steve, I keep waiting for the protest song to come back into vogue. Should be any day now. Luck with the meds. Seems like that should do it. Agreed about the Oklou. Strange that she’s French, or strange that there’s something interesting actually happening in borderline mainstream French music. ** Lucas, ‘Blacks’ is my favorite Xiu Xiu song. Thank you for the little vid. Huh, he really revamped it. Nice to see you too, of course. Your hair looks very cool. Taking school seriously … yeah, there must be a way. I was never so good at that. Optimistic! Yes! ** James Bennett, Hey, James. I’m doing alright, thanks. I’ve seen Laffoleys in person, and, actually, reproductions are really just fine in his work’s case. They’re not about brushwork or anything. His appeal … I have an inherent deep interest in artists who need to create their own unique architecture/structure in order to fully convey what they’re excited or fascinated by. And I like work that’s ultimately opaque but is aesthetically so precise that you have to trust its instincts. Something like that? Yeah, ‘Dielman’ is so great. Do you know Akerman’s other work. She’s a pretty great artist generally, I think. Your attitude towards the work you’re doing sounds absolutely right to me. Your certain limits could seem like a frontier to your readership, you know. Interesting about the recurring false sentimentality impulse. Good question about what I come up against in first drafts. I honestly don’t know. I’m always so reliant on future editing when I’m writing first drafts that I don’t pay that kind of attention until later, and, yeah, I’d have to think about that. Interesting and I will. Thanks for the itchy thought. ** HaRpEr, Hi. I hadn’t seen that Gary Hume. How strange. Is ‘Une Femme Douce’ not on Criterion Channel or something? I guess the restoration was reasonably recent. The big victim of that, ‘Four Nights of a Dreamer’, has finally been restored after years of promises to do so, so hopefully it will be able to be seen without the fading and scratches one of these coming days. Yeah, exactly, about the Jobriath doc. It’s crazy how important the sound mix part of filmmaking is. Zac and I spent 6 weeks every day finessing ‘RT”s sound in extreme detail, and the changes were often so slight that it wouldn’t seem to have mattered, but it’s amazing what a difference it makes. ** Uday, Hey. I too was delighted to see ‘gimlet-eyed’ in the headline of the Walter Robinson obit. First use of that term I’d heard in, gosh, decades. Thanks about the galerie shows. I used to curate actual art shows in the 90s and early 00s, and I miss it, and this way I don’t have to get permissions even. My position on Valentines Day? Mm, it’s nice that love has a day, and I remember it being interestingly pressured when I had a secret crush on someone and VDay presented the opportunity to subtly sneak that crush to the crushee in a formally acceptable way. I’ll write you back today, btw. Yesterday got away from me, sorry. ** Okay. Squint. See you tomorrow.

 

‘Paul Laffoley was born into an Irish Catholic family in Cambridge, Massachusetts in 1940. He spoke his first word, “Constantinople,” at six months, then remained silent until the age of four (having been diagnosed as slightly autistic), when he began to draw and paint. In his senior year at Brown University, he was given eight electric-shock treatments. He was dismissed from the Harvard Graduate School of Design, but managed to apprentice with the sculptor Mirko Baseldella, before going to New York to apprentice with the visionary architect Frederick Kiesler. In 1968 he moved into an eighteen- by thirty-foot utility room to found a one-man “think tank” and creative unit called the Boston Visionary Cell.

‘Laffoley supports himself with a job at the Boston Museum of Science, returning to the BVC not only to eat and sleep but to work on multimedia renderings of his visions of alternative futures and complex realities.

‘During a routine CAT-scan of his head in 1992, a miniature metallic implant, 3/8 of an inch long, was discovered in the occipital lobe of his brain, near the pineal gland. Local M.U.F.O.N. investigators declared it to be an alien nanotechnological laboratory. He has come to believe that the “implant” is extraterrestrial in origin and is the main motivation behind his ideas and theories.

‘As an architect, Laffoley worked for 18 months on design for the World Trade Center Tower II. As a painter, his work is usually classified as visionary art or outsider art. Most of Laffoley’s pieces are painted on large canvases and combine words and imagery to depict a spiritual architecture of explanation, tackling concepts like dimensionality, time travel through hacking relativity, connecting conceptual threads shared by philosophers through the millennia, and theories about the cosmic origins of mankind.’ — Paul Laffoley Official Website

 

Further

Paul Laffoley Official Website
Laffoley’s Odyssey: Short Films
Paul Laffoley @ myspace
Paul Laffoley posters & explanations
Paul Laffoley: Chasing Napoleon
Paul Laffoley on HP Lovecraft and the nature of evil
Paul Laffoley @ DATAISNATURE
Video: Infinity Factor: Paul Laffoley

 

Media

Lafolley’s Odyssey (6:09)

Paul Laffoley discusses ‘The Black White Hole’ (3:59)

Paul Laffoley slide show (9:57)

 

In the spotlight

The Parturient Blessed Morality of Physiological Dimensionality: Aleph-Null Number (2004)

The artist explains:

Bernard Riemann [ 1826-1866 ] student of Carl Friedrich Gauss [ 1777-1855 ] developed what we currently call dimensionality. Since dimensionality in the generic sense means the range over which, or to the degree to which any entification manifests itself, it often became further defined as a series contextual propositions. In other words it is a language which Ludwig Wittgenstein [1889-1951] considered a weltanschuung or worldview, an idea that was eventually fleshed out by Benjamin Lee Whorf. But these ideas have kept dimensionality well within the scope of practical science in which one paradigm becomes either parasitic to or subsumptive of all other paradigms.

The person who moved dimensionality away from the iron grip of traditional mathematics and back to the Ancient Greek concept of Fate, was Georg Cantor [1845-1918], who posing as a mathematician [ a scientist who abhors the concept of infinity in its abstract and concrete manifestations], sought the realm of actual Absolute Infinity – the Aleph-Null Number. This was his search for the living presence of the number of elements in the set of all integers which is the smallest transfinite cardinal number, which goes beyond or surpasses any finite number, group or magnitude.

What Cantor was doing was following the learning process of The Kabbalah, which is a search for God from a base of total materialistic skepticism. One of Cantor’s followers, Kurt Gödel [1909-1963] actually attempted to devise a mathematical proof of the existence of God.

This all leads to the idea that consciousness is embedded within the nature of dimensionality, and that consciousness can not be defined totally as we experience it in our fourth dimensional realm of Time-Solvoid by projecting our definition of consciousness, learned from experience, onto other more comprehensive and less comprehensive realms.

Consciousness presents itself, therefore, as a family of forms – an octave of in
telligence many aspects of which can not be accessed by our human intelligence. But the fact that analogy-cum-metaphor is the operation of the imagination means, even if the transfer of the mind is never complete, that aliveness and deadness are terms relative to a dimensional realm.

Beyond the human realm of Time-Solvoid, the existence and nature of consciousness is often designated as God , gods, demigods, Demons divas, Angels ,souls, heroes , etc. While accepted as part of nature, these entities are rarely understood.

Below or less comprehensive than the human realm, consciousness in the form of ghosts, apparitions , shadows or hallucinations are just as distant from human consciousness as members of the so-called divine realm. But the real difference is that most humans feel obviously and naturally superior to these entities. This feeling is often translated into propositions which state that these beings are without any kind of consciousness, and that the attribution of consciousness to them , is what gave rise to the existence of superstition prior to the rise of experimental science. A science that tried, on the one hand, to discover their true nature, and on the other hand, to dismiss their existence as flim-flam.

The pre-scientific Ancient Egyptian Civilization accepted shadows as having consciousness. Of the nine parts of the Egyptian personality, two were about the shadow. The Khaibit (the shadow of the physical body) which never leaves the carcass, and The Ka (the doppelganger) the shadow of the soul that moves freely about the Earth and the stars are interpreted as phenomena such as lucid dreaming or the out-of-the-body-experience in terms of human perception.

While both forms of the shadow are ultimately the same, the dynamic and static forms demonstrate the form of Life-Death of the Shadow.

In today’s world-view, very few people believe that shadows possess a form of consciousness, let alone believe that a human can communicate with one. To most people the shadow is simply the result of solid objects in space blocking the rays of a light source and that is it.

The association of light with consciousness has a history lost in time. But closer to our time James Clerk Maxwell [1831-1879] discovered in 1856 the relation between light and electricity which led eventually to the theory of the electromagnetic spectrum which developed in the early 1930’s. From about 1875 on, the Occult vision of dimensionality, akin to the Pythagorean musical scale of infinite extent, was introduced and supported by Maxwell’s discovery.

Degrees of consciousness, from almost blinding light to almost total darkness, provide the metaphor for Good to Evil, The Divine to The Demonic, Life to Death, all as degrees of embodiment. These are the aspects of the entire electromagnetic spectrum, which include what we call visible light –a very small portion of the spectrum. Most of the spectrum is undetectable by our unaided senses, but nevertheless, it contains octaves of energy which separate themselves into individual dimensions.

Today so-called “physical light” is a metaphor the position of human consciousness within the total dimensional system for two reasons:

(1) “Physical light” always has its origin in the Past, whether or not that origin is a star or a candle;

(2) The “brilliance” that we associate with light exists in Nature only in the minds of intelligent conscious life-forms, and is not inherent in the non-conscious aspects of Nature. The photons which deliver energy to waiting retinae do not “carry” light. If it was the case that they do, the entire Universe would be “lit up” all of the time in an isotropic and homogeneous manner, and there would be no “darkness” in the Sky.

The symbol for the velocity light has been in our contemporary world the letter “C” meaning 299,796 + or – 4 km./ sec. in a vacuum near the Earth , or in the open air. But now astrophysicists are discovering there is a type of space which can not be monitored by any aspects of the electromagnetic spectrum. This is the space where an old star goes when it explodes and dies. This space is distinct from the space of a Black Hole, only in the sense that the Black Hole space is an infinitesimal point of that , space infinite in extent, which acts as the background energy plenum of the Universe.

On Earth these same astrophysicists have discovered a way of slowing down the speed of light to 17 mph by changes of media. They expect very soon to have light to travel at 4 mph. Then everyone will be able to interact directly with light, even the blind , because the energy of the electromagnetic spectrum travels in the human brain at 700 mph.

According to Philip Gibbs in an article entitled: “The Symbol For The Speed Of Light ? “, he states : “…, it is possible that its use persisted because “C” could stand for “celeritas” and had therefore become a conventional symbol for speed. We can not tell for sure how Drude, Lorentz, Planck or Einstein thought about their notation, so there can be no definitive answer for what it stood for then. The only logical answer is that when you use the symbol “C”, it stands for whatever possibility you prefer “.

While there are many physicists who propose an identification between light and consciousness by means of formulae that rival the simplicity and power of Einstein’s famous E = Mc². I prefer, therefore, to use “C’ to stand for consciousness.

 

The Day I Met Paul Laffoley
by Jason Louv

Shortly after returning to the States, I was visiting my college girlfriend and her family in Boston. Our relationship hadn’t exactly stood the test of a year long distance—whereas I had left Santa Cruz, California as a stoner literature student into The Smiths, veganism and the occult, I had returned as some kind of Psychedelic Warlord Avatar. My eyes were hollowed out by a year of nonstop chaos ritual and months spent drifting among the Untouchables and dead bodies in the East, and I was holding a book contract, a mandate from Genesis P-Orridge to enlighten the young, and a slowly escalating case of paranoid psychosis.

In such a situation, I did the only reasonable thing: Go shopping, or, rather, follow my college girlfriend around while she did her shopping, all the while wondering what the f*** had happened to me.

It was on this fateful consumer outing that I thankfully became SOOOOOO bored waiting for the girlfriend to finish at H&M in downtown Boston that I suddenly had the impulse to leave the store and buy a $3 hotdog from a cart vendor on the other side of the street.

No sooner had I bought said hotdog and turned back towards H&M did Paul Laffoley cross the road.

My brain reeled for a moment before I leapt into action and approached.

“Excuse me, I don’t want to bother you, but are you Paul Laffoley?”

“Why, yes! Yes I am!” he said, staring up at me through round coke-bottle glasses, apparently shocked that somebody had recognized him.

He proceeded to excitedly drag my girlfriend and I to his studio, a tiny one-room flat he had dubbed the Boston Visionary Cell, which was only a block away. The area was absolutely packed with books, from floor to ceiling, covering every available bit of wall space, with his paintings leaned against them, and architectural diagrams rolled into scrolls everywhere.

Paul proceeded to download cosmic information at us for the next four hours. I wish to god that I had a tape of everything that he said, because it went by so fast that I could only process maybe one percent of what he was saying. He ranged across his architecture career, his hero Antoni Gaudi, the occult and ten thousand other topics. Laffoley showed us his plan for the new version of the World Trade Center (which he had submitted to the city, but which had been turned down!) that would be built to look like one of Gaudi’s original sketches for the first WTC. I mean literally like a sketch, too, complete with steel girders in place to represent the graph paper that Gaudi had drawn his original version on. At the top of this new WTC would be a ball with cedar trees growing out of it at all angles, like a chaostar; Cedars, Paul explained, were traditionally associated with death, and would absorb and transmute the “thanatopic” energy left over from 9/11.

He proceeded from this remarkable display to telling us how he had recently had a leg removed. While in the hospital after the amputation, he had experienced “astral mountain lions” coming to take the astral double of the severed leg, presumably to eat. In their honor, and as a wry turn-about, he had commissioned an artificial leg made from a mountain lion’s leg and foot, which he said he would use on occasion. While I was working hard to process this, he offered to read our palms (Really? I thought)—my life line, he said, was remarkably long, though my girlfriend’s was short.

“That’s OK,” he said with a goofy grin. “We can just punch that up with a razor…”

We both laughed nervously.

Paul also answered my questions about magick, in ways that I’m still trying to understand. I asked him if I could correspond with him on the subject, and he agreed—which I never followed through on, to my own great loss. He was also kind enough to provide the cover for my first book, Generation Hex, which is a detail from his 1978 painting The Metatron.

That day, I felt we had met a being from a completely different dimension, a friendly alien who had come into our reality to evolve our understanding of the universe we live in, and to simply break our false categorical distinctions between science, spirituality, architecture and literally everything else.

 

Works

‘Mind Physics: The Burning of Samsara’ (1967)

 

‘Homage to the Black Star of Perfection’ (1965)

 

GAUDEAMUS IGITUR HEAVENWARD TO OUTER SPACE: THE FUTURE (2001)

 

The Living Klein Bottle House of Time (1976)

 

Magical Man (1969)

 

Life And Death Of Elvis Presley (1988)

 

‘Geochronmechane: The Time Machine from the Earth’ (1990)

 

‘THE QUEST FOR THE VISION OF THE JUST WORLD’ (1976)