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Friday, June 3, 2011

Artist Gives Nature the 8-Bit Treatment

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Artist Gives Nature the 8-Bit Treatment

Texas sculptor Shawn Smith uses hundreds of tiny wooden blocks to transform images of vultures and other creatures into real-life versions of the 8-bit artwork more commonly seen in games such as Space Invaders and Tetris.

Thursday, June 2, 2011

iPhone: "You can't make phone calls, but you can't get cancer."

iPhone: "You can't make phone calls, but you can't get cancer.": "

FunnyOrDie takes on the widely mis-reported WHO study on cellphones and cancer. Video Link, via Tim Shey.


3D model for reproducing house-keys

3D model for reproducing house-keys: "

Nirav Patel has produced an OpenSCAD 3D model that can produce working Kwikset and Schlage door-keys from the lock-code of the keys. Practically speaking, it means that if you know something about the lock (which you can derive from an image of the key), he can produce a 3D-printable model of a key that will open it. It's also a good way to check the calibration accuracy of your 3D printer.

Designing the key model was actually pretty straightforward. I measured a key with a ruler and calipers and created an approximate model of it that is reasonably easy to print. I then got pin depth specifications and parametrically differenced them out of the model. To generate new keys, you can just edit the last line of the file and enter in the key code for your key. If the code isn't written on the key, you can measure the height of each bit and compare to the numbers in the Root Depth column on the aforementioned pin depth site. Perhaps more nefariously, you could implement something like SNEAKEY to generate key codes without physically measuring the key.

Physical Keygen: Duplicating House Keys on a 3D Printer


Sunday, May 29, 2011





I was intrigued with expanding the possibilities of still photography through a different approach to motion, so I developed my own method of multiple exposures. Then I set up a nurturing atmosphere, where my participants felt safe to tune into their emotions and express them physically.

I soon realized that I was photographing spirit more than surface. My subjects were not only moving, but they were also relating to nature in a manner that often revealed their inner selves.

I seemed to be photographing the psyche, a place far removed from what people present to the public. I learned to scout out special places in nature that promoted a cosmic relationship. In addition, I learned to encourage my subjects to produce spontaneous movement by drawing upon a place beyond conscious thought.

The work has evolved into deeply felt personal, emotional and psychological states that elicit universal themes in the viewer. This is an essence of successful portraiture, yet I wasn't interested in the literal representation of individuals. I preferred an abstract way of going deeper. I trusted the intuition of my participants to bring out the human condition. And I learned to trust my own intuition, as well.

After earlier experimentation and prior projects, I turned my attention to a major dance company. I began 'The Energy of Dance' with the Limon Dance Company in 1998. I started by being in control, asking the dancers to repeat specific passages of movement that I had observed on stage and in rehearsals. They quickly caught on to the technique I was developing, and appropriately began improvising. I reacted instinctively and reflexively, adding many images to each frame of film, without time to deliberate. Giving up control meant welcoming a multitude of surprises. Over time, photographs appeared that ranged from amazing juxtapositions, to intricate meshings with nature, to complex depths of expression. Sometimes a rare and refreshing beauty developed that itself transcended the literal and reflected an inner radiance.

It became my signature style. A gallery director named this approach 'Rhythm from Within', which became the new name for the project.

One reviewer came to call this 'risky photography,' because there was no way to predict the final outcome. The images form immediately upon the film. There's no later manipulation. And there's no premeditation, just meditation that powers my exploration of the 'Rhythm from Within'.

Nine years later, I have a large and still evolving body of work. I've assembled 36 images (28 in the Special Exhibit and the others on the website) that show the evolution of this body of work. More importantly, these are choice images from a series that delves into the roots of dance, from motion brought forth by emotion. This intuitive approach includes images of many famous dancers and dance companies, including the Limon Dance Company, Parsons Dance Company, Edisa Weeks, Robert Moses' Kin, and many others, including students at the annual Bates Dance Festival.

I'm now developing themes under the umbrella of 'Rhythm from Within'. The first segment is being shown in this current Special Exhibit. There will be many more that I will assemble over the years--both from the files and from new sessions.



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(title unknown): "

[video link]

The Lennon Sisters perform Dry Bones on The Lawrence Welk Show, October 30, 1965. (via PCL LinkDump)