This incredible short video by Klezinski Films simply shows people jumping rope – but, from rope’s point-of-view!
Life without Lights is a photography project by Boston, MA based photographer Peter DiCampo who got the idea for this project while working as a Peace Corps volunteer in Ghana from 2006-2008.
I realized how deeply the lack of electricity affected the lives of my neighbors. It impeded their progress in the sectors of health, education, gender equality, agriculture, and virtually every aspect of development.
With a goal to publish these stories and creating a wider awareness of this issue, he recently raised funding for this project on Kickstarter.com. Besides, Peter DiCampo has been given a rare opportunity to exhibit his work at the 2012 UN International Year of Sustainable Energy for All conference and at Rio+20 to address audiences of policymakers and world leaders, sharing stories from the people he photographed.
At a time of constant debate over the future of energy, it is easy to forget that 1.4 billion people – nearly a quarter of humanity – still live without access to electricity. Through my Life Without Lights photography, I strive to reveal the economic impact of global Energy Poverty while exploring energy’s future.
I began this project while living in rural northern Ghana, where I realized how deeply the lack of electricity affected the lives of my neighbors: It impeded their progress in the sectors of health, education, gender equality, agriculture, and virtually every aspect of development. Since then, I’ve photographed people living in a state of Energy Poverty on top of the vast oil reserves of Kurdistan, and just outside of Albuquerque, the largest city in the US state of New Mexico.
A natural phenomenon occurring in the summer months north of the Arctic Circle and south of the Antarctic Circle where the sun never fully sets and remains visible 24 hours a day.
This short time lapse film was shot during the Icelandic Midnight Sun in June of 2011 by Los Angeles, California based photographer Joe Capra.
For 17 days I travelled solo around the entire island shooting almost 24 hours, sleeping in the car, and eating whenever I had the time. During my days shooting this film I shot 38,000 images, travelled some 2900 miles, and saw some of the most amazing, beautiful, and indescribable landscapes on the planet. Iceland is absolutely one of the most beautiful and unusual places you could ever imagine. Especially during the Midnight Sun when the quality of light hitting the landscape is very unusual, and very spectacular.
Iceland during the Midnight Sun is in sort of a permanent state of sunset. The sun never full sets and travels horizontally across the horizon throughout the night, as can be seen in the opening shot and at the :51 second mark in the video.
During the Arctic summer, sunset was at midnight and sunrise was at 3am. The Arctic summer sun provided 24 hours a day of light, with as much as 6 hours daily of “Golden light”. Once the sun had set it wouldn’t even get dark enough for the stars to come out, and they don’t start to reappear until August.
Andrew Byrom, a graphic and type designer, talks about the typography he sees in everyday objects. Andrew is on Faculty at Cal State Long Beach and teaches a design class at UCLA Extension.
Graphic designer Irma Boom has made over 250 books, 50 of which are in the permanent collection of the Museum of Modern Art in New York. Her ‘Think book’ for a giant coal company has become an international icon of Dutch design. She sees her books as objects, that communicate ideas and stories, and speak to all human senses.
Murat Germen, based in Istanbul, Turkey, uses photography as an expression and research tool. He works as a professor of art, photography and new media at the Sabanci University in Istanbul. His work has been featured all over the world and can be found at institutions such as Istanbul Modern, Young & Rubicam, McCann Erickson, The Designory, Norman Foster & Partners, DDB, Rafineri, Swissôtel and Boyner to name a few.
Photography is an opportunity for me to find things people ignore and bring them forward to make people reconsider their ideas. I am not interested in extraordinary things since they are always covered and receive more attention due to mankind’s unending interest in celebrities, fame, sensation… I try to concentrate more on ordinary things and catch possible latent extraordinariness in regularity. It is easy to take ordinary photos of extraordinary things but more challenging to take extraordinary photos of ordinary things. It is possible to say I tend to concentrate on extracting beauty out of ordinary. I attempt to defamiliarize ordinariness, render it ambiguous by alienating it from its familiar context and finally make people to ‘see it afresh.’
Murat has an MArch degree from Massachusetts Institute of Technology, where he went as a Fulbright scholar and received AIA Henry Adams Gold Medal for academic excellence.
Photography records the surface information, where one can only depict the exterior features of objects (color, texture, shape, etc.) and the resulting visual representation cannot incorporate the internal condition / content / soul.
The combination of digital means and artistic practice is of prime importance. The computational dimension is indispensable and allows me to visualize anything that I perceive / conceive. The technological advances in imaging and its post-processing changed the way I observe, imagine, create and share my artworks.
Designer Stefan Sagmeister sheds light into his seven rules for life and design happiness can (with some customizations) apply to everyone seeking more joy.
Renowned for album covers, posters and his recent book of life lessons, designer Stefan Sagmeister invariably has a slightly different way of looking at things.
More at TED
Ray Caesar was born in 1958 in London. At an early age, his family moved to Toronto, Canada, where he currently resides. From 1977—80 he attended Ontario College of Art, followed by 17 years from 1980—96 working in the art & photography department of the Hospital For Sick Children in Toronto, documenting disturbing cases of child abuse, surgical reconstruction, psychology, and animal research. Coupled with inspiration from surrealists Kahlo and Dali, Caesar’s experiences at the hospital continue to influence his artwork.
It can be said that there are defining moments in a dogs life that can only be described as pivotal. Mine came when I received a gift of a flesh toned 12 inch plastic movable human doll attired in cheaply made military fatigues called “GI Joseph”. I however named him “Stanley Mulver” and immediately resigned his commission from the light infantry. My Mother helped in this by sewing small business suits and leisure wear out of leftover Christmas fabric embroidered with holly and snowmen, tinfoil shoes and one tasteful Safari suit made of tight fitting powder blue rayon that proudly shone cobalt in the summer sunlight. It wasn’t long before I had begun making enlarged wigs out of gray plasticine. These wigs soon became huge pompadours for Stanley and looked even more grand when I meticulously imbedded small hairs from my daily body and face shavings. This hirsute practice along with walking upright allowed me to fit in with other children even though my father considered it a waste of time. In short, Stanley had become a visage of the Man I could never be, of that elusive self one sometimes glimpses down the tunnel of infinite reflected mirrors. Although ridiculed by my peers, I proudly wore Stanley around my neck at all times as if to say “SEE! This is the man I will be, a good man, a kind man”.
His haunting imagery is created digitally using 3D modeling software called Maya, mastered while working in digital animation for television and film industries from 1998—2001. In 1999, Caesar received a Primetime Emmy Nomination for Outstanding Special Effects in a series.
I have worked in many fields over the years, attended obedience classes and art colleges, jobs designing horrible buildings in architectural studios, medical art facilities, digital service bureaus, suspicious casino computer game companies, eventually working at computer modeling, digital animation and visual effects for television and film. Some award nominations have been attained and I have been driven in long black liquor filled limousines and walked on hind legs down red carpets in Pasadena while wearing strange smelling rented tuxedos.
Caesar works in Maya (a 3D modeling software used for digital animation effects in film and game industries), using it to create his figures as well as the virtual realms in which they exist. Through the program, he builds digital models with invisible skeletons and anatomical joints that can be bent and manipulated to assume any pose. He wraps the models in rich textures, adding hair, skin, eyelashes and fingernails. Then places them in digitally lit, impeccably detailed 3D environments built with architectural layers, windows, wallpapers, curtains and furnishings. Caesar’s meticulous process incorporates elements of drawing, painting, collage and sculpture, working countless hours to achieve every remarkably intricate tableau. Further emphasizing his sculptural technique, Caesar compares his process of 2D printmaking with imagery created in 3D as being similar to the practice of capturing stills from video and film.
With full control over dressing, posing and lighting his figures as well as every element of their surroundings, Caesar’s craft is an advanced extension of a childhood obsession—playing with dolls. Fantasy, escapism, human cruelty and disguise are reoccurring themes explored within his dramatic narratives. Betraying the seemingly child-like innocence of the figures is their piercing, knowing gaze—exposing inner strength in contrast with their fragile physical appearance. Dark details manifest from deep within the artist’s vast imagination to define simulated realities, transporting the viewer into sanctuaries created for his lost ghost-children who emerge from shadows into safe refuge, carrying macabre secrets and hidden truths.
A beautiful video postcard from Bali, Indonesia. Filmed and edited by Andrew Melikov.