"In response to growing international awareness of Nazi atrocities, the Nazis decided to allow a Red Cross investigation committee to visit the Theresienstadt ghetto in Czechoslovakia [in August-September 1944]. Elaborate measures were taken to disguise conditions in the ghetto and to portray an atmosphere of normalcy."
(United States Holocaust Memorial Museum, Washington, DC)
20 February – 26 May 2014, Folio Society Gallery; admission free, London.
"Turning numbers into pictures that tell important stories and reveal the meaning held within is an essential part of what it means to be a scientist. This is as true in today's era of genome sequencing and climate models as it was in the 19th century.
Beautiful Science explores how our understanding of ourselves and our planet has evolved alongside our ability to represent, graph and map the mass data of the time.
From John Snow's plotting of the 1854 London cholera infections on a map to colourful depictions of the tree of life, discover how picturing scientific data provides new insight into our lives."
(The British Library)
"Brands are about meaning. In this case, Leo Burnett was able to transform a mild woman's cigarette into a rugged masculine product virtually overnight by using iconic imagery. The brand was literally re–imagined and thrust into the number 1 position as a result. The state of California realized that they needed to disempower this same iconic imagery and bluntly point out that even rugged cowboys can suffer serious diseases like lung cancer, emphysema, and heart disease caused by smoking."
(Kurian M. Tharakan)
"He is an acclaimed commercial director who has pushed through his work to step out of the shadow of his father, Ridley Scott. And now Luke Scott is transcending boundaries in video technology with a visually–arresting 20–minute short film, Loom. Shot in coordination with RED Camera, the sci–fi short features Giovanni Ribisi and Jellybean Howie, although cinematographer Dariusz Wolski just might be its star.
The film follows Ribisi's character Tommy – a lab tech who genetically modifies meat and begins a dangerous at–home experiment he struggles to perfect. It ends with a monologue taken from the conclusion of Darwin's Origin of Species, leaving many of the story's questions left unanswered. 'There is grandeur in this view of life, with its several powers, having been originally breathed into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved,' says Howie's character.
Visually, Scott – who directs for his father's production company RSA – gives nod to the filmmaker's 1982 classic Blade Runner, shooting the piece in the tone and style of the dystopian thriller. Constructed for 3D, the piece was crafted to test the limits of the colour range and exposure, allowing viewers to see fine details often lost in dark scenes.
RED initially presented Loom at the 2012 National Association of Broadcasters [NAB] Show this past April. The company has since continued to screen the film, and on Wednesday President Jarred Land released it online via REDUSER, with a disclaimer for cinephiles."
(Jennifer Madison, 31 August 2012, Mail Online)
Fig. 1 published on 28 Aug 2012 by ENTV, YouTube
"The hospital is a sequence of pavilions, each devoted to a particular disease. They are connected by a medical boulevard –a slow–moving belt that displays the sick in a continuous procession, with a group of dancing nurses in transparent uniforms, medical equipment disguised as totem poles, and rich perfumes that suppress the familiar stench of healing, in an almost festive atmosphere of operatic melodies.
Doctors select their patients from this belt, invite them to their individual pavilions, test their vitality, and almost playfully administer their (medical) knowledge. If they fail, the patient is returned to the conveyer; perhaps another doctor tries the patient, but it soon becomes apparent that the belt leads beyond the pavilions, through the cruciform building, and straight into the cemetery."
(Koolhaas, R., M. Vreisendorp, et al.)
Fig.1 – 9 Rem Koolhaas, Madelon Vreisendorp, Elia Zenghelis, and Zoe Zenghelis (1972). 'Exodus, or the voluntary prisoners of architecture'