German artist Lorenz Potthast recently developed a helmet that turns the world around you into slow motion. While we still can’t quite control reality enough to actually slow the passage of time, Potthast’s helment which lets us control our perception of it is as good as we’ve got right now. Not only does it, as the video says, make the wearer aware of the time they occupy, but it makes them interact with the image world as it relates to time, which is amazing. The christmas these begin appearing under trees will be the beginning of the future we have been waiting for. Watch a video of the helmet in action after the jump. (via)
Mark Hunter Brown is a truly dynamic individual. I have known Brown for the better part of a decade, and I am relatively positive that I will never meet another person quite like him. With each day functioning more like the next chapter in a bizarre novel, his zest for life is infectious. Luckily, Brown is also an amazing artist, and has managed to document his interests and experiences through countless drawings and paintings. Though he gains inspiration from his travels, the work is not limited to the places and people he has actually interacted with. Brown is also heavily influenced by the written historical accounts of different cultures and people, but the work is not about visually representing his source material. Instead, he chooses to focus on the importance of the moments recorded history has chosen to ignore. There is this dead zone in between the great scenes of history that also warrants consideration, and Brown is keenly aware of this. When asked why he is drawn to this type of situation Brown replied, “because life doesn’t look like a Delacroix painting – it’s just people walking around and eating sandwiches. These moments seem more real to me…they’re equally compelling.”
While these scenes are not infrequent in his work, Brown’s practice is not limited to this type of subject matter. There is far less literal material in Brown’s oeuvre, and his vivid imagination becomes readily apparent when looking at paintings of huge figurative fortresses or anthropomorphized coo-coo clocks snorting bones off of a table. When viewed in context these paintings start to function as some sort of bizarre allegory, but their meaning is never explicitly stated. There is such a rich diversity in the distinctive worlds that Brown creates, and no piece is less detailed than the last. Whether he is teaching at Columbia, backpacking through Morocco, or boar hunting with monks in the Italian countryside – the need to process the world into visually compelling images has remained consistent within Brown’s life. Lucky for us, his mind seems to function like an endless supply of Google image search results that I have no desire to stop looking at any time soon.