Remy Cayuela a imaginé pour illustrer le clip « I Got U » de Duke Dumont un jeune homme avide de nouvelles aventures depuis chez lui, utilisant un casque imitant la réalité et lui permettant de vivre de fausses expériences. Un clip réussi, tourné comme si nous vivions son aventure à la 1ère personne.
Day one of this year’s conference on idea execution
Today marks the first day of this year’s 99% Conference, our annual ideas-focused event we co-founded with Behance four years ago. For the 2012 conference we’re looking forward to hearing from inspirational speakers like design legend James Victore, co-founder of Warby Parker Neil Blumenthal and StumbleUpon founder Garrett Camp, to name a few, as well as events, workshops and an exciting round of Cool Hunting Video premieres.
While we’ll be on site for the next two days, those out there unable to make it can follow the inspiration as it unfolds via the CH twitter feed, the 99% Conference feed or by searching #99conf on Twitter and Instagram.
Matthew Brown a pu participer récemment au Digital Diary Contest pour le tourisme en Italie, dans la région de Basilicata. En réalisant cette vidéo très poétique et visuellement magnifique, le réalisateur a pu remporter le concours. Une vidéo splendide à découvrir dans la suite.
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Purveyors of a Portland float center turn us on to salt water meditation
Ever since seeing “Altered States” back in the day, we’ve held off on trying sensory deprivation tanks. Watching Willam Hurt’s character devolve into a primitive man through repeated psychedelic experiments seemed like a red flag for curious newcomers. A recent trip to Portland’s Float On has changed all that. The supremely chilled-out center invites visitors to come and enjoy the health benefits of a good float, which run from dopamine rushes to skin rejuvenation.
With four tanks, Float On holds the distinction of being the largest tank center on the West Coast. We opted to try one of the two “ocean” tanks, which are built with six feet of head room for anyone with claustrophobic tendencies. The team behind the center, Quinn Zepeda, Graham Talley and Christopher Messer have created a haven of calm with an inclusive ethos—cash-strapped customers may work shifts to earn float time, and artists are allowed to float free of charge.
After stripping down and showering, you enter the tank, where the water is warmed to match the ambient air at 93.5 degrees Fahrenheit. The 40% salt content makes the water extremely buoyant, keeping you afloat in a mere 14 inches of water. The environment is pitch black and silent, thanks to wax over-ear earplugs. You are encouraged to lay in whatever position feels most comfortable for the 90-minute sessions and, if the tank isn’t booked, they’ll let you stay in for as long as you please.
After a little more than an hour in suspended gravity—which they claim releases enough pressure on your spine to lengthen your body by an inch—the mind gives over to theta brainwaves, oscillating between consciousness and unconsciousness. It is in this state that practitioners report mental breakthroughs of a creative and psychedelic nature due to decreased level of cortisol, the chemical in the brain that causes stress. Once the initial “What the hell am I doing?” feeling passes, all sense of time and environment gives over to pleasant calm as the loss of sensation shuts down most survival-related brain functions. Sensory deprivation makes the body lose track of time, too, so the float seems to last just a few minutes.
The session ends when music pipes into the tank to wake you if you’ve fallen asleep (I didn’t), although you are encouraged to take your time when re-entering reality. While I didn’t have what I would call a mental breakthrough during the float, it seemed to clear the way for my creativity to take a jump in the days to follow.
Float On
4530 Hawthorne Boulevard
Portland, OR 97215
California dreaming in a group show featuring Los Angeles photographers
The American Dream is familiar enough territory, but what of the allure of the West? The group show “A Place in the Sun: Picturing California” highlights Los Angeles photographers, some native and others transplants, who explore the Caliifornia dream.
Images cast a collective portrait of the Golden State as a place where promises are alternately fulfilled, deferred and denied—a vision that’s not too far off from the reality of the U.S. What defines the work of these talents (among them Sam Comen, Emily Shur, Alex Tehrani, Katrina Dickson, J. Wesley Brown and Chad Ress) ;is a shared distinct sensibility. Their approach lies in the beauty and awkwardness of trying to feel at home in a vast region founded on prosperity— not to mention the photographers’ commercial gigs.
“Here in L.A., at the locus of the entertainment industry, crisp lighting and saturated colors elevate celebrities to icons,” Comen explains. “It’s in this context that I apply those same photographic motifs to everyday people in the environments that define them, holding them up, casting them as lead characters.”
Comen shares a fascination many artists feel about their personal stomping grounds. “Though I love making work afar in the field, I’m endlessly interested in my hometown of L.A., and feel like this city holds a lifetime of stories for me to tell through pictures.”
The show opens today and runs through 6 May 2011 at Hi-Lite Studio and Project Space.
Réalisée par Kristoffer Borgli, cette vidéo intitulée “Young Dreams” joue avec intelligence sur les attentes, occupations et peurs des enfants sans leurs parents. Une réalisation maîtrisée et une ambiance oscillant entre amusement et inquiétude. A découvrir dans la suite.
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Dossier magazine’s creative director Skye Parrott tests the limits of autobiography in her first solo photo exhibit
In today’s hyperreal visual landscape, erasing lines between fact and fiction has become a controversial trope. “First Love, Last Rites”—photographer Skye Parrott‘s new solo show at Brooklyn’s Capricious Space—does just that, revisiting a year-and-a-half of the artist’s tumultuous teen years, beginning when she was 15 and in a relationship with her first love. Casting her real-life ex-boyfriend and a model as herself, Parrott recreated and photographed the events of her youth—defined by the couple’s drug addiction. The resulting works not only shed light on this hazy period of her life, but also provide real insight into the subjectivity of memory and the possibility of ever having a “true” experience.
After comparing notes with her then-boyfriend Alex, Parrott began to realize that what she so firmly believed to be the reality of their years together was not exactly cut and dry. “I was struck by the discrepancies between his memories and mine. The more I delved into the story, the more I had the feeling that we were both, in a way, telling the truth. We had both made choices—conscious or not—about what to remember based on what narrative we needed to tell. I found that memories are something more layered than I’d thought them to be, and that truth can be a bit more fluid.” To make these disparities explicit, she even goes so far as to deliberately change a detail in a photograph from corresponding text in the accompanying book (featuring personal artifacts like letters, photographs of Parrott herself and items discovered inside old pockets) so that the two fail to tell exactly the same story.
There’s no question that the work is deeply, almost shockingly, personal. (A sensibility not unrelated to Nan Goldin, with whom Parrott used to work.) Originally, the project was for her eyes only, so there was no limit on the details she divulged in the work she assembled. But the night before the show opened at Capricious, what she was about to do finally struck her: “It seemed kind of insane. And I think it probably is a little insane, but it’s also honest. I know that’s something I really respond to in other people’s work, so I hope this work will give someone else that feeling.”
Whatever it ultimately evokes in others, it was a cathartic experience for Parrott, whose other ongoing project is the magazine Dossier that she founded. “One of my drives in working on this originally was a real feeling of disconnect between who I was then and who I am now, and I feel like examining that history helped me to bridge that gulf. The whole experience was therapeutic in the sense that I felt, in finishing the project, like I was putting that time in my life, and that relationship, to rest.”
First Love, Last Rites is on view now through 15 January 2011 at Capricious.
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