Rawsilk

mountainish: Morocco (by Stephen Walford Photography)

Thu, 16 May 2013 18:30:40 -0400

mountainish:

Morocco (by Stephen Walford Photography)

xaoss: The Other Shore - manifest 4, by J.D Doria, 2013

Mon, 13 May 2013 08:12:51 -0400

xaoss:

The Other Shore - manifest 4, by J.D Doria, 2013

"A thought, even a possibility, can shatter and transform us."

Mon, 06 May 2013 11:19:18 -0400

““A thought, even a possibility, can shatter and transform us.””

- Friedrich Nietzsche (via stxxz)

Photo

Mon, 22 Apr 2013 18:53:02 -0400

mondaysprojects: Isamu Noguchi

Mon, 22 Apr 2013 18:52:02 -0400

mondaysprojects:

Isamu Noguchi

wildcat2030: Preface: In 1957 Borges published the book –...

Sat, 20 Apr 2013 11:42:18 -0400

wildcat2030:

Preface:
In 1957 Borges published the book – “Handbook of Fantastic Zoology” which later came to be known as: The Book of Imaginary Beings. It contains descriptions of 120 mythical beasts from literature and mythologies of many origins; creatures, conceived through time by the human imagination.

While going over this work, a question hunted me: how to read this book? Should one read it as a window into human imagination? Is it a rare porthole into the stuff of creation, past and future? Or else, is the book just demonstrating the limitats of human imagination when confronted with the richness of nature?

It was this line of hard distinction between imagination, nature and time that caught my attention. What would happen by looking at nature and imagination as expressions of the same ‘stuff’, a continuum where the one endlessly spills into the other?

Nature may be impersonating a richness, generated by the over-abundance of time, while imagination reverberates richness by the generative power of minds, punctuating time with condensed, embodied singularities, transiting a trace of reality. Yet both thread the same canopy of vital matter.

The dissolution of difference between reality and representation, imagination and nature, is not dissolution into flatness, but rather, it brings into presence soft and active matter. It is the doing of the conscious space where the continuum of nature and imagination emerge, always in a process of interpenetrations, always demanding iteration. To trace the real means uncovering realities previously unseen and unimagined, carving bridges between the realms and reformulating that which already exists.

Conversation with Impossible Creatures is born out of the exploration that interprets such a continuum of imagination and nature, and attempts to achieve it by the attentive usage of ‘bridges’, those bridges I refer to as technologies.

The first bridge is between the ‘product’ of imagination, (i.e. a painting) traditionally perceived as single and stationary across time, and the generative richness of the creative process, a dynamic, and continuously opening progress. In this case it is digital, photographic and generative technologies that allow the opening of the image into a multitude, and disclose its otherwise invisible image-cells, now free to continue mutating in interaction.

The second bridge is between image and language; those two separate categories which when tuned a-synchronously and are re-integrated into a dynamic process, provoke the penetration of reflectivity into the fascinating ‘absurd’ of every ‘terra incognita’.

The third and most important bridge is between minds, in birthing an extended reality, a reality that comes to life only by virtue of such a unique bridge. The process of iterative approximations between mind sights becoming an event, a new world being disclosed and discovered.

Technology (of bridging) exposes the ‘middle’, the constant leaking of medium into medium, and mind into mind, unfolding its ‘everywhereness’, opening by that a corridor into a new transitory ‘home’ for perception.

A world full of amazing creatures, that came into existence only through collaboration, between processes, between moments and sights, bridged by the technologies we created, I found this line as significant in light of our future.

(Disclosure: Proud to be part of this collaboration)

Source: Conversations With Impossible Creatures

ianbrooks: Strange Attractors by Chaotic Atmospheres The...

Sat, 20 Apr 2013 11:39:58 -0400

Strange Attractors by Chaotic Atmospheres posted by ianbrooks.me

Strange Attractors by Chaotic Atmospheres posted by ianbrooks.me

Strange Attractors by Chaotic Atmospheres posted by ianbrooks.me

Strange Attractors by Chaotic Atmospheres posted by ianbrooks.me

Strange Attractors by Chaotic Atmospheres posted by ianbrooks.me

Strange Attractors by Chaotic Atmospheres posted by ianbrooks.me

Strange Attractors by Chaotic Atmospheres posted by ianbrooks.me

Strange Attractors by Chaotic Atmospheres posted by ianbrooks.me

Strange Attractors by Chaotic Atmospheres posted by ianbrooks.me

Strange Attractors by Chaotic Atmospheres posted by ianbrooks.me

ianbrooks:

Strange Attractors by Chaotic Atmospheres

The darkest art known as Chaos Theory is perfectly embodied in the form of its strange attractors: vast looping trajectories of variables that, when plotted, conjure gorgeous yet insidiously disruptive patterns. Chaotic Atmosphere’s Math: Rules series pays tribute to the beautiful form of chaos and its inevitable collapse of all our efforts to predict it.

Artist: Behance / DeviantArt / Twitter

Best Science and Engineering Visualizations of 2012 | Wired Science | Wired.com

Thu, 31 Jan 2013 15:57:38 -0500

Best Science and Engineering Visualizations of 2012 | Wired Science | Wired.com

theworstmathematician: What can happen (approximately) when you...

Wed, 30 Jan 2013 23:48:37 -0500

theworstmathematician:

What can happen (approximately) when you repeatedly do randomly either x ↦ z(x-1)³ or x ↦ z(x+1)³, for z=0.2*eⁱᵗ, starting with 0. I suspect that it doesn’t really matter where you start, in the sense that the set of things such a method converges to is always going to be a subset of what this one would be ideally. Maybe. Actually, that’s probably wrong. Perhaps. I don’t know. I can’t really tell. Somebody help me.

Photo

Thu, 24 Jan 2013 12:24:43 -0500

rhamphotheca: Southern Right Whale Dolphin, Coolest Looking...

Tue, 22 Jan 2013 12:01:02 -0500

rhamphotheca:

Southern Right Whale Dolphin, Coolest Looking Dolphin in the World

by Alexis C. Madrigal

I’ve seen hundreds and hundreds of dolphins, mostly on two lucky trips out into the Monterey Bay. They were primarily common and bottlenose dolphins, the standard representatives of Delphic civilization in my mind. While beautiful, those animals look nothing like the southern right whale dolphin (Lissodelphis peronii), which looks like an orca whale mixed with an Infinity and a yinyang. The Blue Planet Society tweeted this photograph of one taken by Pablo Caceres off the coast of Valparaiso, Chile. This is one glorious-looking animal.

(via: TheAtlantic)

swansamelting: olena: via { SEEDMAGAZINE.COM | Two...

Wed, 16 Jan 2013 17:03:08 -0500

swansamelting:

olena:

via { SEEDMAGAZINE.COM | Two Cultures | Janna Levin }

In ~5 minutes, Janna Levin talks about the divide between the Sciences and the Humanities, and the benefit of a “3rd Culture” between.

That space between has always been most interesting for me, although I’m still in the process of figuring out how to turn that into a life’s work.

As a comparative literature graduate and future science student, this has bothered me a lot. I get so flustered and embarassed when having to explain the value of literature and other arts to (usually) scientific types who consider them worthless, and conflate superior intelligence solely with scientific pursuits and achievements.

I usually end by telling them to read more. The Age of Wonder by Richard Holmes is a great book about the mutually supportive relationship between the sciences and arts in the 18th century, or as he calls it, “Romantic science”. It’s light on actual science, heavy on historical and cultural context, and I’d recommend it to anyone with an interest in understanding and bridging the divide between the “two cultures”:

To the natural philosopher there is no natural object unimportant or trifling…A mind that has once imbibed a taste for scientific enquiry has within itself an inexhaustible source of pure and exciting contemplations. One would think that Shakespeare had such a mind in view when he describes a contemplative man finding:

Tongues in trees - books in the running brooks
Sermons in stones - and good in everything

Where the uninformed and unenquiring eye perceives neither novelty nor beauty, he walks in the midst of wonders.

bombing: Guy Sargent

Tue, 08 Jan 2013 21:22:08 -0500

bombing:

Guy Sargent

xaoss: Enter the Flow - manifest 1, by JD Doria, 2013

Tue, 08 Jan 2013 11:45:10 -0500

xaoss:

Enter the Flow - manifest 1, by JD Doria, 2013

Photo

Tue, 01 Jan 2013 18:35:03 -0500

(via The Recycled Orchestra: Paraguayan Youth Play Mozart with...

Sat, 29 Dec 2012 21:51:38 -0500

(via The Recycled Orchestra: Paraguayan Youth Play Mozart with Instruments Cleverly Made Out of Trash | Open Culture)

"To gain what is worth having, it may be necessary to lose everything else."

Wed, 26 Dec 2012 17:57:14 -0500

“To gain what is worth having, it may be necessary to lose everything else.”

- Bernadette Devlin (via underpaidgenius)

Wildcat: ReBeComing Human 2012 an Optimistic Perspective

Mon, 17 Dec 2012 21:08:44 -0500

fast-t-feasts:

See on Scoop.it - cognition

FastTFriend’s insight:

My best quote so far from this post is:

We need a different poet and a different poem, a different view of nature and our place in it.
We need a different language and a different vision that does not imply upon our perception of reality.

See on spacecollective.org

likeafieldmouse: Tim Knowles - Tree Drawings (2006) Artist’s...

Sat, 15 Dec 2012 22:54:35 -0500

likeafieldmouse:

Tim Knowles - Tree Drawings (2006)

Artist’s statement:

“A series of drawings produced using drawing implements attached to the tips of tree branches, the wind’s effects on the tree, recorded on paper.

Like signatures each drawing reveals the different qualities and characteristics of each tree.”

"For a man to achieve all that is demanded of him he must regard himself as greater than he is."

Fri, 14 Dec 2012 10:58:14 -0500

“For a man to achieve all that is demanded of him he must regard himself as greater than he is.”

- Johann Wolfgang von Goethe, poet, dramatist, novelist, and philosopher (1749-1832) (via fast-t-feasts)