Alexander Whitley is the choreographer of 8 Minutes on the main stage of Sadler’s Wells, London during the summer.
It is done in collaboration with solar scientists from the Rutherford Appleton Laboratory and the title refers to the length of time it takes for the sun’s light to reach the Earth.
Whitley has incorporated quotes about astrophysics into the soundtrack, and has managed to create something that feels concrete and ungraspable at the same time, much like the universe.
London’s Evening Standard praises the way 8 Minutes merges dance, visuals and music as equal partners. Daniel Wohl’s score pulsates with solar energy while Tal Rosner’s hypnotic digital projections feature lava-like waves, inky black views from space and a sizzling red sun.
There is a new exhibition of mobile sculpture by Alexander Calder at the Whitney Gallery in New York. Scientist can monitor the changes. The resulting patterns mean that Calder’s art can be extended to create new rhythms, shapes and relationships.
Double-click on the image below.
Scientific advances in materials science and image analysis enable the work of renovation tackle more ambitious challenges. A recent example of this is the Hudson Theatre in Manhattan.
One of Broadway’s oldest surviving theatres, first opened 114 years ago, has been renovated and reopened earlier this year –
— with Jake Gyllenhaal in the revival of “Sunday in the Park With George”. It becomes Broadway’s 41st and newest playhouse, 114 years after it became one of Broadway’s first. Then, it opened with a production of “Cousin Kate” starring Ethel Barrymore.
The theater was built by Henry B. Harris, above left, who ran it until 1912, when he perished on the Titanic. His wife, Renée, also above, survived and returned to New York to operate the theater. She became one of Broadway’s first female producers but she lost it to foreclosure in the Depression.
Located on 44th Street just east of Broadway, the ornate theater has led a life as various as Manhattan itself, with stints as a TV studio (1950s), a reborn theater and then a porn palace (’60s), a rock venue (’80s), and, for the last 20 years, an event space for Millennium Hotels.
After the renovation by the Ambassador Theatre Group of Britain the Hudson is ready to be a showplace again and one of the few new theatres on Broadway.
Jason Shulman photographs entire movies with ultra-long exposures, creating impressionist photographic images:
Alice in Wonderland 1951 –
Dr Strangelove 1964 –
Le Voyage dans la Lune 1902 –
The Texas Chainsaw Massacre 1974 –
The Wizard of Oz 1939 –
The “Plastic Show” at the Almine Rech Gallery in London is by Melissa Castro Duarte.
It brings together works by DeWain Valentine and four of his contemporaries — Mary Corse, Robert Irwin, Craig Kauffman and John McCracken — who were all experimenting with newly available materials in Venice and Santa Monica in the 1960s.
Valentine’s acrylic sculptures suggest the air is “becoming a substance”: They’re vast glossy blocks, columns, discs and lozenges that change color as you move around them and gaze in and through them. “All my work is really about the sky and the sea,” he says.
The high sheen of his sculptures comes from buffing and lacquering, techniques used in his parents’ garage. Works in the show by John McCracken, by contrast, are constructed from plywood and fiberglass with a glossy shell of polyester resin, just like a surfboard.
Polyester is a synthetic polymer made of purified terephthalic acid (PTA) or its dimethyl ester dimethyl terephthalate (DMT) and monoethylene glycol(MEG).
PTA is 1,4 benzenedicarboxylic acid: C6H4(COOH)2, mol. weight: 166.13
- DMT is 1,4 benzenedicarboxylic acid: C6H4(COOCH3)2, mol. weight: 194.19
- MEG is 1,2 ethanediol: C2H6O2 , mol. weight: 62.07
Digital Grotesque is an architecture that defies classification and reductionism. It explores unseen levels of resolution and topological complexity in architecture by developing compositional strategies based on purely geometric processes.
In the Digital Grotesque project, algorithms create a form that appears at once synthetic and organic. The design process thus strikes a delicate balance between the expected and the unexpected, between control and relinquishment. The algorithms are deterministic as they do not incorporate randomness, but the results are not necessarily entirely forseeable. Instead, they have the power to surprise.
The resulting architecture does not lend itself to a visual reductionism. Rather, the processes can devise truly surprising topographies and topologies that go far beyond what one could have traditionally conceived.
Digital Grotesque is between chaos and order, both natural and the artificial, neither foreign nor familiar. Any references to nature or existing styles are not integrated into the design process, but are evoked only as associations in the eye of the beholder.
The leading architects of this new approach are M. Hansmeyer, Zurich, and B. Dillenburger, Toronto.