Imagined Plan of King Minos’s Labyrinth, Knossos, Crete, 1997 (via field)
"In Greek mythology, the Labyrinth (Greek λαβύρινθος labyrinthos) was an elaborate structure designed and built by the legendary artificer Daedalus for King Minos of Crete at the palace Knossos. Its function was to hold Minos’s son, Minotaur, a mythical creature that was half man and half bull. Daedalus had so cunningly made the Labyrinth that he could barely escape it after he built it. Every nine years, Minos made King Aegeus pick seven young boys and seven young girls to be sent to Daedalus’s creation, the Labyrinth, to be eaten by the Minotaur. After his death, Minos became a judge of the dead in the underworld. The Minoan civilization of Crete has been named after him by the archaeologist Arthur Evans. In colloquial English, labyrinth is generally synonymous with maze, but many contemporary scholars observe a distinction between the two: maze refers to a complex branching (multicursal) puzzle with choices of path and direction; while a single-path (unicursal) labyrinth has only a single, non-branching path, which leads to the center. A labyrinth in this sense has an unambiguous route to the center and back and is not designed to be difficult to navigate.”
"Street art continually reveals that no urban space is neutral: walls and street topography are boundaries for socially constructed zones and territories, and vertical space is regulated by regimes of visibility. Leaving a visual mark in public urban space is usually technically illegal and often performed as an act of non-violent civil disobedience. The artists understand that publically viewable space, normally regulated by property and commercial regimes for controlling visibility, can be appropriated for unconstrained, uncontainable, antagonist acts."
Os Gemeos are bringing their “Giants” project to Canada where they are currently transforming six giant industrial silos with their signature characters for the Vancouver Biennale 2014 on Granville Island in Vancouver.
Orange-jacket-guy looks like he has a truck-penis.
Two-Thirds of Men Prefer Giving Themselves Painful Electric Shocks to Thinking →
They report on 11 experiments. In most, they asked participants to put away any distractions and entertain themselves with their own thoughts for 6 to 15 minutes. Over the first six studies, 58 percent of participants rated the difficulty at or above the midpoint on a scale (“somewhat”), and 42 percent rated their enjoyment below the midpoint. In the seventh study, participants completed the task at home, and 32 percent admitted to cheating by using their phones, listening to music, or doing anything but just sitting there. (In the lab studies, one participant’s data was tossed because an experimenter had accidentally left a pen behind and the subject used it to write a to-do list. Another’s was tossed because an instruction sheet had been left behind and he used it to practice origami.)
Participants rated the task of entertaining themselves with their own thoughts as far less enjoyable and more conducive to mind-wandering than other mellow activities such as reading magazines or doing crossword puzzles.
In the most, ahem, shocking study, subjects were wired up and given the chance to shock themselves during the thinking period if they desired. They’d all had a chance to try out the device to see how painful it was. And yet, even among those who said they would pay money not to feel the shock again, a quarter of the women and two thirds of the men gave themselves a zap when left with their own thoughts. (One outlier pressed the button 190 times in the 15 minutes.) Commenting on the sudden appeal of electricity coursing through one’s body, Wilson said, “I’m still just puzzled by that.”
(Source: antoine-roquentin, via socio-logic)
I discovered gelpens. After many years of arduously dipping quils into jars of ink and working at brushstroke speed I have finally found a medium that swiftly and meticulously renders DMT-cartoons into existence…
new works by Michaelangelo
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Peter Gentenaar’s Ethereal Paper Sculptures Float in the Air Like Jellyfish
Peter Gentenaar‘s art was born out of the limitations of what he could (or couldn’t) create with store-bought paper. So with the help of the Royal Dutch Paper Factory, he built his own paper factory and devised a custom beater that processes and mills long-fiber paper pulp into the material you see in his artwork. He saw the potential that wet paper had when reinforced with very fine bambooribs, and he learned to form the material into anything his imagination would allow.
Gentenaar describes the process: “By beating my pulp very long, an extraordinary play of forces occurs during the drying processes of my paper sculpture. The paper will shrink considerably, up to 40%, and the forces associated with this put the non-shrinking bamboo framework under stress. The tension between the two materials transforms itself into a form reminiscent of a slowly curling autumn leaf.”
Social Seating: 14 Public Benches Foster Urban Interactions
Breaking, bending, twisting and warping wood, this ongoing series of installations fosters new forms of interaction within cities, challenging that most iconic piece civic furniture: the public bench.Award-winning artist Jeppe Hein from Copenhagen (currently working in Berlin) has installed his Modified Social Benches at indoor galleries and outside in cities around the world.To their creator, these are about more than just sculptural expression – on their origins: “Out of investigating architecture, communication, and social behavior in the urban space, a series of bench designs was born.”
Surya Kund, a large stepped tank and geometric marvel, at the Modhera Sun Temple, Gujarat, India.
Photos taken by Bernard Gagnon.