View allAll Photos Tagged ectoplasm
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| 1:51am |
I wish I could sleep.
I get home after tough days and I'm so ready to hit the sack. But when I wash up and get ready...all I can do is sit down at the computer and spend the next 4 hours coming up with ideas.
Photos I want to take. Songs I want to sing. Business plans. A huge jumble of thought.
"What the hell is the cat doing?" "I need to find a new gym." "What the christ is aperture and shutter speed?" "Did I leave the coffee pot on?" "Do I even like coffee?" "What the fuck is coffee anyway?" "If that bum really needed change how did he buy that Saxophone?" "I wish I could see Ben Folds in concert." "Wow, the Raconteurs are amazing." "I should've charged my iPod." "Mental note: charge your iPod." "You should pack a lunch tomorrow." "Taco Bell would be good though." "No, pack a lunch tomorrow." "What the Hell is the cat doing!??.......
*sigh*
Sometimes I wish I could just erase my eyes, seal off my ears and just fall deep asleep on cue.
Good night.
Média Médiums : Visite 30 avril 2014
Suzanne Treister, HEXEN 2.0 Historical Diagrams, 2009-2011
Historical Diagrams, 29.7 x 42cm, Cybernetic Séance, 21 x 29.7cm. Archival giclée prints on Hahnemuhle Bamboo paper. All works courtesy the artist and Annely Juda Fine Art, London
The works Historical Diagrams and Cybernetic Séance are part of the larger project HEXEN 2.0, which looks into histories of scientific research behind government programmes of mass control, investigating parallel histories of countercultural and grass roots movements. HEXEN 2.0 charts, within a framework of post-WWII U.S. governmental and military imperatives, the coming together of scientific and social sciences through the development of cybernetics, the history of the internet, the rise of Web 2.0 and increased intelligence gathering, and implications for the future of new systems of societal manipulation towards a control society. HEXEN 2.0 specifically investigates the participants of the seminal Macy Conferences (1946-1953), whose primary goal was to set the foundations for a general science of the workings of the human mind. The project simultaneously looks at diverse philosophical, literary and political responses to advances in technology including the claims of Anarcho-Primitivism and Post Leftism, Theodore Kaczynski/The Unabomber, Technogaianism and Transhumanism, and traces precursory ideas such as those of Thoreau, Warren, Heidegger and Adorno in relation to visions of utopic and dystopic futures from science-fiction literature and film.
Les pièces Historical Diagrams et Cybernetic Séance sont issues du projet HEXEN 2.0 qui traite des histoires relatives à la recherche scientifique dissimulée dans les programmes gouvernementaux de contrôle de masse. Ce projet enquête les histoires parallèles liées aux mouvements de contre culture populaires. Dans le contexte de l'histoire américaine d'après guerre, HEXEN 2.0 dresse une cartographie de l'avènement des sciences sociales et scientifiques à travers le développement de la cybernétique, l'histoire de l'Internet, la montée de Web 2.0, des services de renseignements et les implications liées aux futur des nouveaux systèmes de manipulation et de contrôle de la société. HEXEN 2.0 enquête spécifiquement sur les participants des Conférences Macy (1946-1953) dont le but premier était de mettre en place les fondations des sciences générales pour le fonctionnement de l'esprit humain. Ce projet examine simultanément diverses pensées précurseurs telles que Thoreau, Warren, Heidegger et Adorno en relation aux visions utopiques et dystopiques du futur, issues de cinema et de littérature de science-fiction.
Crédits : Guillaume Onimus
Class IV full torso human entities.
Makeup by: Ceci Jurado
Styling by: Ceci Jurado & Dani Ck
Frida: Ceci Jurado
La Doña: Nab Guerra
Ghostbusters: Jinzo Stantz & Oskar Nifex
Made possible by: Kari Chavez, Ruth Delgado, Ernesto Islas, Jorge Espinosa, Gerardo Urquiza & Rodrigo A. Fischer
Leftovers from the cart-racing track.
That ectoplasmic apparition at the top is the Pin-o-rama's one final light leak, that I never quite managed to fix. Might just be light spilling in when I uncover the film-counter hole.
Arthur Conan Doyle, creator of the highly rational detective Sherlock Holmes, fell for the mumbo-jumbo of spiritualism and was one of its leading proponents in the early twentieth century.
“After holding séances with his wife Jean to get in touch with members of their family killed in the First World War, Conan Doyle came out as a spiritualist. He claimed to converse with the spirits of the dead. Virtually abandoning Sherlock Holmes, Conan Doyle churned out books on spiritualism and addressed vast audiences around the world on the subject. He proudly adopted the sobriquet "the St Paul of the New Dispensation", ruffling some feathers along the way. In North America he clashed with Harry Houdini, an illusionist, who argued that all spiritualists’ "tricks" could be replicated by a competent magician.” [Source: moreintelligentlife.com/story/conan-doyle-spiritualism]
The bloody death toll of WWI had left so many bereaved that people who had never been able to say goodbye to loved ones flocked to mediums in hopes of re-establishing contact. Conan Doyle was one of the key figures stirring the revival in Spiritualism and he had himself lost a son, a brother and nine other relatives in the war. He became a proselytizer for Spiritualism, writing books about it, including two in 1918 alone, and became one of the public leaders of the movement.
Contemptuous of frauds and fakes, Harry Houdini desperately wanted to believe in things undreamt of in his philosophy, but he was continually disappointed. His time at the carnivals had made him aware of many of the tricks used by unscrupulous mediums, and his experience as an illusionist made it easy for him to disprove them. He began to resent how he and bereaved people in general had been bamboozled by scam-artists who preyed on vulnerability, and he grew active in exposing them. He stepped up his exposure of dishonest mediums in 1924 with his book “A Magician Among the Spirits,” which revealed the secrets behind floating handkerchiefs, “spirit hands,” and messages from the beyond. Following the deaths of Houdini and Doyle, Spiritualism fell into disrepute, once again the province of carnival fortune tellers and con men. [Source: www.biography.com/news/houdini-arthur-conan-doyle]
Sean Caulfield
FEU NOIR
8 janvier au 20 février 2011 - Galerie d'Engramme
Vernissage le 7 janvier 2011 à 17h
Le projet d’exposition Feu Noir de Sean Caulfield exprime le résultat de la collaboration de trois artistes œuvrant dans trois disciplines respectives. Sous la direction artistique de Caulfield, texte, estampe et livre d’artiste (J.Hart, S. Caulfield, S. Colberg) font une habile tentative d’approche du poétique texte l'Enfer de Dante.
Les créateurs de cette proposition visuelle partagent un vif intérêt pour la Divine Comédie, ainsi que pour riche héritage illustratif associée à ces œuvres. Ces dernières servent d’inspiration première à partir de laquelle ils trouvent un terrain d'inspiration formel et conceptuel.
Caulfield met en espace des dessins effectués à la pointe sèche ainsi qu’à la mezzotinte sur chine collé. Ces images fascinantes - scènes d’action figées d’ectoplasmes bio-mécaniques - composent une imagerie inspirée par la connotation médiévale et mythologique. Cette relecture du livre de Dante offre un pouvoir d’évocation qui perdure dans une société contemporaine aux changements culturels, sociaux et environnementaux drastiques.
Sean Caulfield siège à la chaire de recherche du Canada en gravure et est professeur au département d'Art et Design de l'Université de l'Alberta. L’artiste américain a exposé ses estampes, dessins et livres à travers le Canada, les États-Unis, en Europe et au Japon.
Sean Caulfield a reçu de nombreuses bourses marquant l’excellence de son travail, entre autres la bourse du CRSH Beaux-Arts, ainsi qu’une bourse des arts visuels, de l'Illinois Arts Concil (USA). Le travail de Sean Caulfield figure également au sein de diverses collections publiques et privées.
Copyright © Sean Caulfield - ENGRAMME 2011
...or Ghost Snot to you.
Who ya gonna call? Ghostbusters!
"Ectoplasm, also referred to as Ghost Slime and Ectoplasmic Residue, is a substance that comes from a ghosts and outworldly beings. It usually appears in a form of a slimy, greenish substance, but sometimes is visually completely absent, leaving only energetic traces Egon usually finds with his gear."
These slides were taken exactly a year ago today. They were on a roll shot for a studio assignment. After getting my grade, I put the assignment folder in my locker and forgot about it until I found it today.
'kind of a spooky coincidence.
Nikon F2
Nikon Nikkor Ai 20mm f/2.8 lens
Kodak Ektachrome E100G 35mm film
setup shot for:
www.flickr.com/photos/mattbell/2829373408
i took this picture in my house in march/09. it is not smoke. look close and see the cigarette has not been lit. this was taken after weeks of feeling like someone was looking over my shoulder. Then oddly enough the house burned down a couple weeks later.
Few people realize that Liza Minnelli was the original source of all of the Pac-Man and Ms. Pac-Man ghosts during the '80s. This photo is a rare, behind-the-scenes capture of her spewing forth the needed ectoplasmic miasma that...well you get the idea...
This photo was one of three I did as part of a new feature on the Pixels of an Exhibition--Pixels: The Art of the iPhone, The Remix, where images from one artist are made available to others for post-processing on the iPhone. The original photo was by Christian Peacock.
More info as well as interpretations by others can be found here: pixelsatanexhibition.com/people/nudes/the-sarah-remix-pro...
I used the same photo for each image. Since Flickr doesn't have a flexible download restriction system, I'm unable to show the image, but it was your classic tasteful nude in repose shot. You can get the idea by visiting the link above.
Now with repaired sword arm, which I broke during assembly. I tried a butt join but it was no good so this now has a long-ish 0.4mm metal pin in.
I gave the base some extra bits of ectoplasm trimmed from some of the Chainrasp models.
by Doug Kline
If you're interested in higher resolution versions of my images for journalistic or commercial purposes, contact me via my profile page.
"Method earlier introduced by spiritualists, in which paraffin was used to obtain a wax mould from the materialized ectoplasmic forms."
The hutch is filled with all kinds of curious, enchanted, and spooky (eek!) eye candy, such as: a skull wrapped in what seems to be ectoplasm; skeleton’s bones being cooked; fairy portals, which may indeed lead to the Fairy Rhelm; bottles of Wizard supplies; a crystal ball; a scrying ball; books; a metal plate with more possible “Wizard secret symbols”; and what looks like a funerary urn. Gosh, I wonder whose ashes are in there!
I make my hutches one at a time… from start to finish. There is no assembly line in my workshop. No elves either. For this reason, this is truly one-of a-kind. I keep no written “recipes” for the color or instructions for the items I create to put into/on my hutches. Pieces on this hutch are from nature or created at the time I was working on it from materials at hand at that time.
En Biodiversidad virtual y también en Instagram como @proyectoagua.
En el corazón de las tinieblas espesas, late el germen de Carpocanium desde su nuez perforada de ópalo, y desde allí, escondido en nubes de gelatina teje sus líquidas redes de araña y las salpica tímidamente de espinas de cuarzo, navegando con las olas…
Los radiolarios como Carpocanium son protistas ameboides que construyen complejos y hermosos esqueletos de sílice.
El cuerpo de estos seres se reparte en dos áreas, una interna dentro de ese caparazón de sílice y otra externa -endoplasma y ectoplasma, respectivamente- hacia afuera, separadas por una membrana de naturaleza orgánica: la cápsula central.
Dos estructuras caracterizan a este variado y extenso grupo de organismos planctónicos, por un lado el esqueleto opalino, extraordinariamente complejo y bello y por otro las numerosas proyecciones radiales o ramificadas que salen del centro de la célula -axopodios- y que sirven a los radiolarios para desplazarse y capturar pequeñas presas.
Los radiolarios son organismos marinos que suelen vivir alejados de las costas y constituyen una porción importante del plancton. Se encuentran repartidos por todos los océanos, incluyendo las latitudes templadas, tropicales y árticas.
La mayoría de los radiolarios vive en los primeros centenares de metros de la superficie en mar abierto, pero se hallan a cualquier profundidad , incluso en la zona abisal.
Los radiolarios son heterótrofos, normalmente depredadores de protistas y otros pequeños organismos a los que capturan con sus seudópodos. Entre sus presas se incluye tanto zooplancton (copépodos, larvas de crustáceos, ciliados y flagelados) como fitoplancton (diatomeas, cocolitóforos y dinoflagelados), además de bacterias y detritos orgánicos. Las especies más grandes pueden capturar copépodos y larvas de crustáceos.
El endoplasma de los radiolarios es más denso que su ectoplasma y en su interior se localiza el núcleo celular -o los numerosos núcleos- y la mayoría de los demás orgánulos Por tanto, en el endoplasma se realizan las funciones de respiración, síntesis proteica y reproducción.
El ectoplasma de aspecto mucilaginoso y denominado “calima" contiene numerosas vacuolas. Entre ellas se encuentran grandes vacuolas digestivas y glóbulos o alvéolos que contienen lípidos o gases para ayudar a la flotabilidad. Al estar tan vacuolado tiene una apariencia espumosa, lo que supuestamente les ayuda a mantener el equilibrio hidrostático y con ello controlar su flotabilidad.
La digestión y la generación de residuos se realizan en el ectoplasma. También se encuentran aquí mitocondrias y las algas simbióticas.
El ectoplasma se suele extender hacia la periferia creando una red de finos pseudópodos. Esta red rodea a toda la célula, incluyendo los elementos del esqueleto que sobresalen, impidiendo así que se disuelvan en el agua del mar.
Del ectoplasma salen numerosas proyecciones granulares radiales, finas, muy rectas, puntiagudas y no ramificadas (de donde se deriva el nombre de radiolario). Las proyecciones pueden ser de dos tipos, filopodios que no presentan eje central, o más a menudo axopodios, que están soportados por microtúbulos.
El esqueleto de los radiolarios es la estructura más conocida de estos seres que rara vez se fotografían en vivo.
En las imágenes de Carpocanium que mostramos aquí el ectoplasma enmascara su porción interna, pero permite apreciar la intrincada red de filamentos y orgánulos y la gran complejidad de estos seres minúsculos y fascinantes.
El radiolario que nos acompaña hoy , pertenece probablemente al género Carpocanium, un amplio género, que habita en todos los mares de nuestro Planeta y que se ha fotografiado en vivo a 400 aumentos con las técnicas de campo oscuro, contraste de interferencia y campo claro en unas muestras de plancton recogidas en la Playa Mayor de Tossa de Mar el 27 de septiembre de 2024.
Crackitus Potts of the League of S.T.E.A.M.
Co-Founder
Ghoul Containment Specialist
"Specializing in non-lethal weapons and equipment, Crackitus Potts utilizes his advanced steam-powered apparition apprehension apparatus to eradicate ectoplasmic entities. Recently discovering the wonders of electrical power, Mr. Potts is harnessing nature’s power to detain other dark forces of the supernatural realm."