ABOUT THE PROJECT
“My work examines the disappearance of Nazi Germany‘s concrete fortification on the Atlantic Coast remnants around Cap Ferret. Not only their physical disappearance because of corrosion, water and sand, but also the one that results from man converting those relicts by using them in many different ways.
Those different layers/stages of disappearing are, what I‘m trying to capture, photographically and with regards to content. A ‘snapshot’ of what a place like Cap Ferret is ‘now’, sixty years after the end of the Second World War. Getaway destination and historical location both at the same time.” (Markus Oberndorfer)
More info on his website.
The book will be first presented in a few days, at Galerie OstLicht, Vienna on March 22, 2013, 8pm.
PHOTOFILM: OMEGA POINT
EXCERPT from “THE IMAGE OF THE INBETWEEN” by LYDIA NSIAH
“The clouds appear to move intermittently in the sky above Cap Ferret. Several bunkers, which have almost entirely sunken in the sea and sand, are scanned by the photo-camera. Waves break on them. The viewfinder moves in the panorama, and focuses one of the objects: “NOS!”/”WE!” is written on it. […]” (read more)
Markus Obersdorfer’s digital photofilm ‘Omega Point’ (2008/2012) consists of around 1300 single photographs, which are turned from ‘still’ into ‘moving’ pictures by the filmic montage. The song, and with it the title for the film, have been contributed by the American sound artist DDay One.
The photographs move along with the rhythm of the sound. Image and sound interlink and merge. The photofilms subjets are the former fortifications of World War II in Cap Ferret, animated by stop-motion technique. Image by image, and sound by sound, the void of the Cap opens up, and with it does the temporal intermediate of the bunkers, which are swallowed by the ravages of time.
Watch Markus Oberndorfer’s 2008 photofilm ‘Omega Point’ with music written and produced by DDay One:
Find more exhibitions of his work here.
A mix of mouse stem cells that have been encouraged to develop into specialized cells. Each color is a specific cell type that developed from the previously uniform collection of cells. (via)
Waves by Daniel Palacios
A long piece of rope generates 3D waves floating in space by the physical action of its movement, and simultaneously creates sound by cutting through the air.
Conceived from her research into the numerous recorded cases of accidental drowning in London’s Thames river, Australian artist Helen Pynor has created ‘Liquid Ground’, a series of large-scale photographs which capture various water-buoyed garments expelling human organs from within its floating form.
And that’s when I fell in love.
As a new pope is being chosen, smoke billows from the Sistine Chapel in indicate whether the Roman Catholic cardinals have made a decision.
Here’s a handy guide to what each color means.
We trust science because its claims are based on experience. But experience itself is a subjective reality that seems to elude the objectivity of scientific understanding. We know that our experiences—of seeing red, feeling pain, falling in love and so forth—depend on physical systems like the brain that science can, in principle, exhaustively explain. But it’s hard to make sense of the idea that experiences themselves could be physical. No doubt experiences correlate with objective physical facts, but, as subjective phenomena, how could they be such facts? When I feel intense pain, scientists may be able to observe brain-events that cause my pain, but they cannot observe the very pain that I feel. What science can observe is public and objective; what I feel is private and subjective.