“After Snell finished creating the 3D model, he disassembled the computer he made it on and ground it to dust using a specially-designed sealed box. This included the computer’s enclosure, its hard drive, its RAM and its graphics processing unit. He then 3D-printed a mold of Dio and cast the sculpture into this mold using resin and the ground remains of the computer.”
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How do artists capture movement? What happens when our actions become codified – or exploited? A fascinating video-essay by Alan Warburton
by Kim Laughton
Sometimes to Deal With the Difficulty of Being Alive I Need to Believe There is a Possibility that Life Isn’t Real
Simulation/Game by Jeremy Couillard coming to Steam and itch.io in May 2019
What if reactions left bruises?
Emotigun, by Tadas Maksimovas
– GO TO HELL WITH YOUR MONEY BASTARD –
(Asger Jorn refuses the Guggenheim Prize with a telegram in 1964)
Mindblowing fashion design by Stefan Kartchev
“We define ourselves as photographers even when we’re working with 3D materials,” say Paris-based duo Benjamin Roulet and François Bellabas. “Everything comes from photography.”
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“You cannot touch the exposed pieces, but nobody told me not to use them as emitters.”
Particle rendering a portrait from the Bode-Museum using Redshift by Simone Vezzani.
This short film by American director Ramin Bahrani traces the epic, existential journey of a plastic bag, voiced by Werner Herzog…