CYMATICS: Science Vs. Music - Nigel Stanford

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CYMATICS: Science Vs. Music - Nigel Stanford
O3.RUPTURE
Matthew Duncan, In search of the Organic, 2015, 18" x 18"
Gauthier Durey, ‘Landscape urbanism interpretive mapping’, 2015, Digital collage.
Peter Ravnborg, 1 of 3 1:10000 plans of Risø, Roskilde Fjord.
http://cargocollective.com/bartlebooth/Lo-natural-Lo-artificial
12/10/15 | SPRK
10/10/15 | ISE
11/10/15 | Base 2387
TRYIMIAD
Andrea Hansen, Tokyo Bay Marine Fields, 2009.
http://pr2013.aaschool.ac.uk/DIP-06/ling-leng
(via https://www.youtube.com/watch?v=S3CFR2-ntCc)
© Skye Ruozzi and Gabriela Fiorentino It is no longer safe to be on the land. Toxic wastes have been absorbed by the soil. Plants and terrestrial animals have mutated and evolved, some of them into fearsome killers. They are now on the top of the chain, and only they can survive what is left of the toxic lands. Humans can’t last more than two hours on land and therefore utilize this limited time to refuel and gather resources. The deadly mutated species live on the center of the islands, where it is richest in resources. The inner layer of the islands is covered in toxic fog, making us vulnerable to attacks. To get pass the toxic fog we use masks with night vision. For water we are able to process ocean water into clean water.
Light Appears to Drip from Trees in these Long-Exposure Photos by Vitor Schiettiby Christopher Jobson
Kim Keever’s Quasi-Temporary Aquascapes & Joanna Newsom’s Long View
Kim Keever, whose meticulously staged diorama photographs capture scored landscapes that exist as documentation, provided cover art for Joanna Newsom’s 2015 album Divers. In a New York Times interview, she talks about Keever’s work, and the interviewer interpolates notes on the photo artist’s practice:
“I like the fact that it’s not clear whether they represent a period of time before humans, or a period of time after humans, the post-apocalyptic thing, or whether they represent just a part of the world where there are no humans, or whether they represent an iteration of Earth within the multiverse where humans never evolved to exist,” Ms. Newsom said. “And I like that the landscapes are viewed from a great distance in most cases, which is an image that comes up for me a lot in these songs, viewing things from above, speeding over landscapes.”
Actually, Mr. Keever’s photographs document vanishingly brief events. He builds the miniature landscape and immerses it in a 200-gallon aquarium that is filled with water and dramatically lit. From a platform above the aquarium he pushes dyes into the water as the camera catches the swirling, evanescent shapes and colors. There are only a few moments before the water becomes a muddled brown.
“His work is about time in a lot of ways,” Ms. Newsom observed. “He’s depicting these concrete landscapes, scenes we associate with permanence. They’re rock-solid and massive and much bigger than us. But they’re also these works that start disintegrating instantly — they’re so time-sensitive and time-dependent.”
And here’s a video for a song from Newsom’s 2015 album, which embeds a classical take on Manhattan development (via references to Shelley’s blasted landscape poem “Ozymandias”). Directed by Paul Thomas Anderson.
Metadise by Sunny Qin