The Colour Of Solitude: The ‘‘Lucid Stead’’ Light Installation By Phillip K. Smith III In The Middle Of A Desert
Phillip K. Smith III, an American artist based in Indio, California, has recently completed a stunning light installation in the middle of the California High Desert, near the small town of Joshua Tree. Titled ”Lucid Stead,” the work is actually an artistic intervention on a 70-year-old abandoned homesteader shack that plays with the concepts of light and shadow, reflection, projection and change. During the day, the structure reflects its surroundings through mirrors placed in both the shack’s openings and some of the boards on the walls. This acts to create an optical illusion of transparency, while at the same time transforming the desert into a material in its own right.(…)
This image shows the centre of the Milky Way towards the constellation of Sagittarius. Many objects, that usually are hidden at optical wavelengths, are visible here in these infrared observations from Hubble Space Telescope.
However, the most famous cosmic object in this image still remains invisible — in the centre of this image lies the monster of our galaxy’s heart called Sagittarius A*. It’s a supermassive black hole, which consumes clouds of dust as it affects its environment with its enormous gravitational pull.
(Credit: ESA, NASA, Gabriel Brammer)
The sediment of sand and silt create a breath-taking optical illusion of an underwater waterfall. It’s located on the southwestern shore of a remote island Mauritius in the Indian Ocean.
I reblogged this before, but I don’t think I had this version with an explanation
This scene in Inglourious Bastards, this particular part, was so brilliantly written. The characters are playing a game where you sit in a circle and write a famous person’s name on a card, flip it over, pass the card to the person next to you and stick it to your head without looking. Then you ask everyone questions to figure out who it is. This man- a Nazi commander- asked “Am I American?” (no but..) “Have I visited America?” (yes) “Was my visit fruitious?” (no) “Did I go against my will?” (yes) “Am I from a place you’d call exotic?” (yes) “Am I from the jungle?” (yes) “Did I go by boat?” (yes) “And when I got there was I bound with chains and presented in front of a crowd?” (yes!) “Well then. I know who I am. An African slave. No? Oh then I’m King Kong.” — and in one instance the viewer realizes the metaphor which King Kong was to the African slave trade (a truly Tarantino way of inserting social awareness through dialogue spoken by social oppressors) as well as takes a moment of almost comic relief to a very strange middle ground since we see just how intelligent and foolproof this man is. This is good filmmaking.