Command Center

January 30th, 2012 | Space

In the summer of 2005, a group of artists going by the name of OAR gained access to an abandoned electrical substation in Belfast, NI.  The building had once powered the city but had lay dormant for almost 25 years before the artists were allowed entry.
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  Inside the complex, they found a time capsule.
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The style of this place reminds of Wes Anderson’s kind of aesthetic.  I’m a big fan of the retro controls and pale colors.
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  Please check out LookAtBuilding for more photos and some of the work the artists created during their time there.  They basically moved in over the next few months and created an impressive on-site installation exhibit.

-RSB

Experience Human Flight

January 29th, 2012 | Space

Experience Human Flight

In February of last year, five-time world champion skydivers, Fred Fugen and Vince Reffett, were invited to Melbourne to provide advanced coaching to some of Australia’s leading Skydive talent.  The video above was intended to increase interest in the sport, and it certainly worked for me.  The soundtrack by Alex Khaskin and the slow-motion shots really work together to create a graceful feel for the sport.  I’m not exactly sure how high they jumped from, but those shots showing the curvature of the Earth were amazing.

The video above is the second installment in the series, and it’s equally impressive.  Most of these shots are from the cliffs of Norway, Switzerland, and France.

Check out InfinityList for more cinematic adventure sports videos.

-RSB

In Space Without Restraint – The Paintings of Jeremy Geddes

January 26th, 2012 | Space

The Red Cosmonaut

The Red Cosmonaut – Oil on Board – 2009

Redemption – Oil on Board – 2010

Jeremy Geddes is a hyper-realist/surrealist painter from Melbourne, Australia.  He has experience in the comic book and video game industries but now focuses all of his time on creating epic paintings of Astronauts & Cosmonauts floating precariously through space.  Geddes uses photographs taken from around Melbourne for inspiration, but he quickly leaves the concrete world behind with his work.  His paintings hold a certain level of abstraction that leaves the viewers pondering how the scenes came to be.

Cosmonaut 3 – Oil on Board – 2009

Cosmonaut 4 – Oil on Board – 2009

Alley – Oil on Linen – 2007

The Street – Oil on Board – 2010/2011

Heat Death – Oil on Board – 2009

There is Glory in our Failure – Oil on Linen – 2007

Freeway – Oil on Board – 2007

These post-apocalyptic cityscapes with faceless astronauts floating quietly through are really quite extraordinary to me.  I think Geddes has created a perfect balance of realism and conceptual abstraction.  It’s honestly the kind of art that I wish I had made.  These mysterious space people from a world unknown operate in a quiet melancholic space that operates by its own set of cosmic rules.  It would be spectacular to stand in front of one of these paintings in person and be absorbed into the abandoned scene.

If you happen to be in New York in late 2012 (Oct 20 — Nov 17), enjoy Jeremy’s work at the Jonathan Levine Gallery.

Find more of Jeremy Geddes’ paintings here.

And you can also take a look to his blog to see some details on his works and sketches.

-RSB

 

How To Stop Robots From Killing Us (Don’t Worry!)

January 25th, 2012 | Robot

 

Below, you will find Michio Kaku discussing the singularity and the eventual takeover of artificial intelligence.  If you are not familiar with the singularity, it simply refers to the moment in the future when a computer equipped with “artificial intelligence” finally reaches the intellectual capabilities of a human.  And soon thereafter, it is expected that greater-than-human intelligence will develop and biological humans will ultimately be left in the dust.

I fully respect Michio Kaku for his scientific insight, but I believe that his idea of simply placing a kill switch into future robots is a bit short-sighted.

While I do believe we will make tremendous technological progress this century in robotics and artificial intelligence, I expect that we will also make even greater strides in in the field of biotechnology.
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  As computer technology gets better and better every year, so will humans.  We will use learn how to use cybernetic and chemical enhancements to improve our bodies and minds, essentially evolving ourselves as we age (potentially moving toward eternal life).
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We are already connecting to computers throughout the day with smartphones and mobile computing, and I presume that we will only continue to become more and more connected with computer technology and artificial intelligence in the years to come.  So what I’m trying to say, is basically that we don’t really need to worry about computers wanting to kill us…
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because we will BE the computers.

If you’re interested in learning more about why we don’t need to worry about computers killing us, check out this article from io9.com.

-RSB

Turn the Page – Rube Goldberg Machine

January 23rd, 2012 | Robot

I hope you are familiar with Rube Goldberg machines, but if you aren’t, they are machines that achieve simple tasks through complex means.  And as far as Rube Goldberg machines are concerned, the more outlandish and complex the better…

Above, you will find a particularly impressive example from Joseph Herscher, a computer programmer from Brooklyn, who created his machine implementing 19 steps to turn the page of his newspaper.
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  I think what I find particularly impressive about his creation is his use of an interesting array of materials like laptops and hamsters and also difficult to use heat sources like fireworks and burners.
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I look forward to his next project in which he hopes to turn off the lights when he leaves the room.
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-RSB

[via Huffingtonpost]

Are We Not Drawn Onward, We Few, Drawn Onward to New Era

January 21st, 2012 | Brain

Yo Banana Boy – 2007 Oil on stainless steel, 66 x 50 cm

Valerio Carrubba is an Italian artist, born Sicily in 1975, and now living and working in Milan.  His work is defined by vibrant colors and hyper-realistic imagery that has a way of jumping off the canvas at you.  To create this effect, he uses high quality oil paints and ultra thin synthetic brushes on stainless steel canvases that are prepared by spraying two layers of a transparent primer for metals and two layers of white acrylic pigment before painting.
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Degas Is Aged – 2008 Oil on stainless steel, 60 x 52.6 cm

Delia Failed – 2006 Oil on stainless steel, 60 x 52.6 cm

Nina Ricci Ran In – 2006 Oil on stainless steel, 60 x 52.6 cm

Bird Rib – 2007 Oil on stainless steel, 52 x 70 cm

From his gallery’s website:

What is unusual about Valerio Carrubba’s process is his choice to paint the same picture twice, so that the superimposition of the same figure creates a slight mismatch in lines and forms. This repeated action transforms the painting into an automatic gesture, that at one and the same time, emphasizes and repudiates the subject.
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If you have a keen eye, you may have noticed that all of the titles are actually palindromes (as is the title of this post!), words or phrases that can be read forwards or backwards without a change in meaning.  Carrubba’s painting technique could be described as palindromic as well – he implements a doubling of each brushstroke to take away any hint of texture, which I think gives his paintings a certain stoicism.

And while I have always been a big fan of anatomical drawings (likely the reason I was drawn to his work), Carrubba was not actually very interested in the anatomy itself.  As noted in one interview with Carrubba:

My approach to painting is totally conceptual. My work is to continually develop the realisation of processes from which pictures are derived. Putting the idea of form, subject and content in crisis, they arrive at the loss of the image and its meaning… …I am not interested in anatomy itself, it is just a means. I try to emphasise this ambiguity.
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Needless to say, Carrubba must have studied his anatomy quite closely to produce such accurate portrayals of the human body.

Find more of Carrubba’s work here.

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