Lost in Light, a short film on how light pollution affects the view of the night skies. Shot mostly in California, the movie shows how the view gets progressively better as you move away from the lights. Finding locations to shoot at every level of light pollution was a challenge and getting to the darkest skies with no light pollution was a journey in itself. Here’s why I think we should care more.

The night skies remind us of our place in the Universe. Imagine if we lived under skies full of stars. That reminder we are a tiny part of this cosmos, the awe and a special connection with this remarkable world would make us much better beings - more thoughtful, inquisitive, empathetic, kind and caring. Imagine kids growing up passionate about astronomy looking for answers and how advanced humankind would be, how connected and caring we’d feel with one another, how noble and adventurous we’d be. How compassionate with fellow species on Earth and how one with Nature we’d feel. Imagine a world where happiness of the soul is more beautiful. Ah, I feel so close to inner peace. I can only wonder how my and millions of other lives would have changed.

But in reality, most of us live under heavily light polluted skies and some have never even seen the Milky Way. We take the skies for granted and are rather lost in our busy lives without much care for the view of the stars.

How does light pollution affect the night skies and quite possibly our lives?

For licensing inquiries - [email protected]
Website - savingthedark.com
Instagram - instagram.com/sriram_murali
Music - A Thousand Years by David A. Molina(musicbed.com)

Copyright © All Rights Reserved

sfst.com

Check out this video about Light Pollution using different Light Painting techniques, timelapses and hologram.

Credit
Production - SFST
Executive producers - Michael Gaston & Blaine Ludy
Directors - Jason Hakala & Joanny Causse
Painters - Nancy Taing / Rosie Heffernan / Stephanie Kwiatt
Post-production - Jason Hakala / Nancy Taing / Joanny Causse
Script & Voice over - Michael Gaston
Music - The Octopus Project

Want to know how to do Light Painting in video? follow us on vimeo and click here: vimeo.com/63833120

British designer Tom Price talks about his Meltdown series of furniture while melting a big ball of nylon rope into a chair in this movie from the Tales of the Hunt series of interviews made by Brussels gallerist Victor Hunt.

See all our movies on dezeenscreen.com

Breaking Wave is an anamorphic kinetic sculpture created for Biogen-Idec’s new headquarters in Cambridge, MA by Plebian Design and Hypersonic.

Breaking Wave tells the story of the search for patterns, and the surprising results that come by changing our point of view. 804 suspended spheres move in a wave-like formation. When the wave crests and breaks, the balls hover momentarily in a cloud. From almost anywhere in the room, this cloud is purely chaotic, but step into one of two hidden spots, and this apparent chaos shows a hidden pattern. From the first, a labyrinth hints at the search for knowledge, and from the second, a Fibonacci spiral inspired flower reminds us of the natural order and patterns found in nature.

Scientists search through billions of experimental data points in order to find patterns to develop new drugs, to treat Multiple Sclerosis, Cancer, and other diseases. Without a particular framework or perspective, these are just 0’s and 1’s, with no form or information. But with the perspective of an understanding of molecular dynamics, these data points create a clear picture about the hidden dynamics within the body, and allow scientists to craft drugs to successfully treat these diseases.

Above the sculpture lies the mechanism that drives its motion. A motor drives a large rotating stainless steel cam. 36 rollers follow the contour of the cam, which traces out the overall waveform. Each roller slides on a linear track, pulling a cable that spins one of the 36 output shafts. Distributed along each shaft are different sized drums from which the wooden sphere (coated in zinc and steel, and then rusted chemically) are hung. As the shafts rotate, the drums pull the balls up and down – larger drums pull balls higher. In this way, the size of the 804 drums mechanically programs the images hidden in the cloud of balls.

This concept was designed with pencil, paper, and Processing. The structure was designed in Solidworks. The piece was built with many hands, and several miles of wire rope.

If you’d like to visit in person, Breaking Wave runs Monday through Friday, 8am to 8pm at 255 Binney St. in Cambridge, MA. The sculpture is viewable from the street, or from inside the lobby. Feel free to ask the guards where the hidden images are, if you don’t find them.

Please check out "Order from Chaos" vimeo.com/102339558 for a making-of video by Alberta Chu's ASKlabs!

Credits:
Breaking Wave
by Plebian Design and Hypersonic

Project Management Small Design Firm
Lighting Design David Weiner Design
Material Development Lightfast D B
Concept Rendering Carl Albrecht

Special thanks to:
Ed Dondero, Melissa Kendis, and Dan McIntyre at Biogen-Idec, Jenna Fizel, Nathan Lachenmyer, David Small, Heather Blind, Alberta Chu, Kasumi Hinouchi, Neal Mayer, Lauren McCarthy, Kyle McDonald, JB Michel, Dan Paluska, Chris Parlato, Plus Fabrication, Scott Taylor, Sosolimited, Chris Danemayer.

Music by knolls

Film by Eric Minh Swenson. Produced by AC Projects.

ERIC ZAMMITT : What you’ll see in this video is the making of one of my larger scale acrylic plastic artworks. I consider the flat panels I make to be paintings, and the acrylic plastic material of which they’re made, simply paint in hardened form. My “brushes” are the bandsaw, tablesaw, glue, and a polishing machine.

Acrylic plastic, known under trade names such as Plexiglas and Lucite, is purchased in sheet form, usually 4’x8’, and I buy it in thicknesses from 1/8” up to 1/2”. It is a very challenging material to work with. Yet its luminosity, intensity, and variety of translucency are unparalleled in any other solid material.

For these reasons I find acrylic plastic very satisfying as a medium with which to explore the possibilities of color and pattern. Combined with the processes I employ, objects of deep intricacy and luminosity are possible. I also enjoy the physicality of the “paintings” as constructed objects.

Interspersed throughout the video you also will also see me working on various sculptural pieces I was making at the time. They are wall-mounted sculptures in which I was exploring the properties of thick layers of translucent milky-clear colorless acrylic in combination with thin layers of opaque colored acrylic. In these pieces, the color that you see between the thin distinctly colored layers is all reflected light only.

The making of this video took commitment on the part of film maker Eric Mihn Swenson. Eric made over a dozen visits to the studio to shoot the process over a three month period. This commitment went beyond just showing up and shooting. Eric was ever patient, and always put quality above speed. He was respectful of my space and timing, and never flagged from his dedication to high production values. It was a pleasure to work with him.

Eric Zammitt 9/14

Eric Zammitt lives and works in Los Angeles, California. His work
is shown and collected nationally and internationally. More of his work
and gallery representation may be found at ericzammitt.com.

For more info on Eric Minh Swenson or project inquiries visit his website: thuvanarts.com. You can also visit the art film series page at thuvanarts.com/take1