2020: an isolation odyssey is a reenactment of the iconic finale of 2001: A Space Odyssey (Stanley Kubrick, 1968). Restaged in the context of home quarantine, the journey through time adapts to the mundane dramas of self-isolation–poking fun at the navel-gazing saga of life alone and indoors. May, 2020 lydiacambron.com
The story of the student who became a planet hunter. When Anne Dattilo attended a guest lecture at the University of Texas she had no idea it would be the start of a journey involving complex algorithms, a space telescope breaking down in orbit, a trip to an observatory in the Chihuahuan desert and, finally, the discovery of two new planets.
Director: Daniel Soares Exec. Producer: Anne Skopas Line Producer: Billy Mack Cinematographer: Christophe Colette Editor: Dylan Edwards Original Score: James William Blades Sound Design: Raphael Ajuelos Color: Seth Ricart / RCO Color AD: Augie Alcala PM: John Reeder 1st AC: Zachary Sprague 2nd AC: Alex Ybarra Grip: Justin Syeb Gaffer: Greg Travis Sound: Andrew Smetek PA: Carol Murrah, Raven Bosch, Ellie Enright Client: Google
A photographic journey into the contradictions of Siberia—its pristine wilderness and despoiled landscapes, its pockets of wealth and abandoned cultural centers.
Growing up near Washington DC at the end of the Cold War, New York–based photographer Michael Turek (born 1982) has always been drawn to Russia as a taboo, forbidden place. This project began in the winter of 2016 when he joined award-winning British writer Sophy Roberts as she pursued a three-year search for a historic piano in Siberia; he traveled to the region another five times, exploring the vast territory east of the Ural Mountains all the way to the Pacific.
Turek’s images record a constant tension—sometimes bizarre, often unsettling—between desecrated landscapes alongside pristine wildernesses; between the lives of indigenous people and modern Russians; between worn-out infrastructure and abandoned towns juxtaposed with gleaming new cities pumping gas and oil. The journey takes him deeper and deeper into small towns and villages, into the arsenic-green corridors of Khrushchev apartment blocks. The photographs have a slowness and a stillness to them. Each one is a fragment of a conversation, a moment of genuine intimacy between subject and photographer.
"The Flying Train" depicts a ride on a suspended railway in Germany in 1902. The footage is almost as impressive as the feat of engineering it captures. For many years our curators believed our Mutoscope rolls were slightly shrunken 70mm film, but they were actually shot on Biograph’s proprietary 68mm stock. Formats like Biograph’s 68mm and Fox’s 70mm Grandeur are of particular interest to researchers visiting the Film Study Center because the large image area affords stunning visual clarity and quality, especially compared to the more standard 35mm or 16mm stocks.
Derrick Adams is a multidisciplinary New York-based artist working in performance, video, sound and 2D and 3D realms. His practice focuses on the fragmentation and manipulation of structure and surface, exploring self image and forward projection.
A recipient of a 2009 Louis Comfort Tiffany Award, and 2014 S.J. Weiler Award, Adams received his MFA from Columbia University, BFA from Pratt Institute, and is a Skowhegan and Marie Walsh Sharpe alum.
His exhibition and performance highlights include: Greater New York '05, MoMA PS1; Open House: Working In Brooklyn '04, Brooklyn Museum of Art; PERFORMA ‘05, ‘13, ‘15; Radical Presence & The Shadows Took Shape, Studio Museum in Harlem; The Channel, Brooklyn Academy of Music; and is in the permanent collections of The Metropolitan Museum of Art, Studio Museum in Harlem, Virginia Museum of Fine Arts, and the Birmingham Museum of Art.
His work can be seen in New York at Tilton Gallery; Rhona Hoffman Gallery, Chicago; Gallerie Anne de Villepoix, Paris; and Vigo Gallery, London.
An unscripted performance "Ask The President" uses the image of the dollar as the framework to reflect the monument/mountain while the artist animates the hectic duties of our leader presented as a lesson in how to apply the 5 W's we once learned as children. This performance is set to an original soundtrack entitled, The President’s March.
“Go Stand Next to the Mountain” is a live performance with a portable 5 sided sculpture and video projections presented at The Kitchen, NYC in 2010. This selected video component was presented as projected interludes between acts and borrows from a style mostly inspired by educational television programming. The performance compares man to mountain, mountain to monument and monument to monumental figure. The 5 short interludes: “GO,” “Stand,” “Next,” “M is for...,” and “Word Play”; reinforce the theme as well as deconstruct the concept of the performance.
What makes a man? To answer this question, London-based directorial duo Kaj Jefferies and Rosie Matheson shot this raw and unfiltered Super8 portrait to provide insight into British youth and their experiences of gender identity in the modern world. Revealing what lies behind the facade, their film challenges our socially prescribed preconceptions of traditional maleness.
"The film reveals an incredibly raw and truthful image which is reflected in the very nature of [our decision to shoot] straight onto film," the directors explain. "There are imperfections, there is only one take, and there is no hiding. It creates an honest and very personal portrait of the subject. The film is a tribute and testament to the young men who have revealed themselves to us so faithfully."
The ingredient based explanation for supercell thunderstorms cites moisture, wind shear, instability and lift as the reasons for their formation. I prefer to focus on the big picture. Supercell thunderstorms are a manifestation of nature's attempt to correct an extreme imbalance. The ever ongoing effort to reach equilibrium, or viscosity, is what drives all of our weather, and the force with which the atmosphere tries to correct this imbalance is proportional to the gradient. In other words, the more extreme the imbalance, the more extreme the storm.
This collection of timelapses was gathered over the last six years. The project started out as wanting to be able to see the life-cycles of these storms, just for my own enjoyment and to increase my understanding of them. Over time, it morphed into an obsession with wanting to document as many photogenic supercells as I could, in as high a resolution as possible, as to be able to share with those who couldn't see first hand the majestic beauty that comes alive in the skies above America's Great Plains every Spring. After more than 100,000 miles on the road and tens of thousands of shutter clicks later, this is the result. I hope you enjoy watching it as much as I enjoyed creating it.
Keep an eye out for a long form version of my storm timelapses, as these are a small sample of what I've been able to gather. I'm not sure yet how the extended version will be released. If you have any ideas regarding distribution or would like to license my work for your own project, please contact me: ChadLCowan@gmail.com
I love teaching people about storms and severe weather and how to safely document them. Feel free to email me if you have any interest in joining me for a chase. June is by far the best time to go out, as the storms are more photogenic and slow moving than any other month.
Follow me on these social media channels for more storm content: instagram.com/stormtimelapse twitter.com/stormtimelapse facebook.com/stormlapse
"Big whirls have little whirls that feed on their velocity, and little whirls have lesser whirls, and so on to viscosity." - Meteorologist Lewis Fry Richardson ("Weather Prediction by Numerical Process." Cambrige University Press, 1922)
This quote sums up perfectly what I've come to realize about weather and storms over the past 10 years of studying, forecasting and chasing them, and the part that I find most fascinating. On each scale level from synoptic-scale, which covers areas the size of multiple states, all the way down to micro-scale, which could be an area as small as your backyard, the fluid which we call air abides by the same universal physical laws of nature and thus acts in a very similar manner and patterns.
A cold front, for example, is a phenomenon which is widely understood to mean a large scale line of advancing cold air, hundreds of miles long, along which supercell thunderstorms sometimes form. Within these smaller storm-scale environments, something called a rear-flank gust front forms on the southern end of the low pressure area of the mesocyclone, where the rain cooled air wraps around. This is effectively a storm's cold front. The cool air is more dense than the warm air, and because of this, advances into the region of lower density, just like the larger cold front on which the storm formed.
The stunning supercell storm structure we see is along these relatively small, storm-scale cold fronts. This is what forms the "hook" on radar. Here, just as with the larger scale weather systems, the wedge of denser cool air at the surface meets the warm, moist, buoyant air in front of a storm, forcing it aloft and through the cap where the potential energy is realized. Given the right conditions, this development can be explosive.
While Richardson's quote is more regarding turbulence than thermodynamics, his theory from nearly 100 years ago that our atmosphere behaves as a fractal has turned out to be spot on. A "top down" transfer of energy and behavior occurs, resulting in a Russian nesting doll of smaller scale systems that bear a striking resemblance to the larger.
I would like to offer a special thanks to my good friend Kevin X Barth who helped me edit this together, and found some semblance of a story arc in many disparate pieces. Kevin is an amazingly talented and creative artist in his own right, having won an Emmy as the editor of the ESPN 30 for 30 film WHEN THE GARDEN WAS EDEN. Check out his website if you're looking for an excellent editor or director for your project: kevinxbarth.com
A big thanks to Tom Lowe as well, without whom I would probably still be trying to figure out what an intervelometer is. Tom is the mastermind behind Timescapes, the revolutionary timelapse film from a few years ago. He was kind enough to share his wealth of knowledge, as well as some camera gear.
CAST & CREW staring: Timothy RENOUF and Poppy POLIVNICK music and sound design: Pierre VEDOVATO director of photography: Anthony GUIRY first assistant: Amélie GUYOT second assistant: Vincent AUPETIT sound recordist: Michael CHUBB makeup and hair: Bridget CROTTY and Rachael THOMAS runner: Tyrone PAUL VFX supervisor: Peregrine McCAFFERTY creatures artist: Dean FRATER creatures designer: Jonathan Djob NKONDO rigger: Maickel PASTA animators: Joffrey ZEITOUNI and Philippe MOINE rendering and compositing: Mario UCCI and Rick THIELE at Red Knuckles tracking: PEANUT color artist: Lewis CROSSFIELD at Electric Theatre Collective extra creatures: Andriy HRMALYUK and Ramtin AHMAD special thanks: Fabrice LE NEZET, Ardith BIRCHALL, Cressida POLIVNINCK, Marc POLIVNICK, Mary HESKEL, Elvis BAPTISTE.