Latest US space program videos at PopScreen

Neil Armstrong (1930-2012), You Live Forever in Our Hearts

Vimeo 5:50

Video in Memorium to Neil Armstrong (1930-2102), First Human to Walk on the Moon, You Live Forever in Our Hearts; This video commenorates no...

Extra Butter x Saucony "Moon Walker" Shadow 6000 video

Vimeo 1:59

When we came across the connection between Saucony's origin and the early development of the NASA Space Program, we not only wanted to highl...

When we came across the connection between Saucony's origin and the early development of the NASA Space Program, we not only wanted to highlight that special piece of history, but the idea. The first American Spacewalk is a feat in itself, but it was part of a much larger field of progression; to innovate, explore, and expand man's reach.nnnThe ACES preparation and hard work sent humans into the unknown territory of space. The Space Snack, in typical EB wit, gave a lighthearted, nostalgic, gesture to sustenance needed to continue in flight. But all good- no, great journeys empirically begin with a common value. A purpose. A goal. A destination.nnNo greater cause could have compelled mankind to consider space exploration during the 1950's more than the desire to ascend from Earth, into the unknown, and to the Moon. Though extensive research had already confirmed it was a desolate and compromising environment, the mere thought of setting foot on its surface gave way to endless possibilities. And so, as a grand homage to the first generation of astronauts and one of the greatest milestones in human history, Extra Butter and Saucony presents the "Moonwalker" Shadow 6000.nnWe start with a sport micro-mesh base, as fitted on all classic Saucony runner during the same era. The overlay dons a light grey 210 Denier, durable nylon oxford, reminiscent of NASA's original silvery space suits. A topographic lunar landscape pattern graces the mudguard and heel wrap of the silhouette, while the midsole dons a starry black and white speckle. The sheen reflective properties of the tongue label and heel tab evoke the mirror-like visors astronauts sport to protect themselves from the harsh UV rays of the sun. The overall subtle grayscale palette is given accent with a reflective Saucony river logo panel and an optional set of reflective laces. And finally, a translucent ice sole provides a see-through into more of the lunar pattern, reminding us wherever we go, our potential is far greater. Less

Major Malfunction: Revisiting Challenger

Vimeo 20:04

On Jan. 28, 1986, seven astronauts “slipped the surly bonds of earth to touch the face of God.” America’s space program was never the ...

YIKÁÍSDÁHÁ

Vimeo 4:01

(Try to watch in HD with headphones on and volume cranked if you can, for maximum immersion!)nnYIKÁÍSDÁHÁ (Navajo for Milky Way or "That...

(Try to watch in HD with headphones on and volume cranked if you can, for maximum immersion!)nnYIKÁÍSDÁHÁ (Navajo for Milky Way or "That Which Awaits the Dawn"nnIn April I had the privilege of being invited to Northern Arizona University as an "artist in residence" to speak with their Photography students about my timelapse experiences. While there, we also took shooting field trips to some of the magnificent locations a few hours away, most notably Grand Canyon National Park and Monument Valley Navajo Tribal Park (spotted in many epic John Ford Westerns and countless other classics like EASY RIDER and BACK TO THE FUTURE III http://bit.ly/1lngv3x!) The weather was very intense at times, with high winds, frigid temperatures, and stormfronts passing over us, but the locations were absolutely stunning and the clouds parted for long enough to reveal some incredible starscapes, meteors, and the clearest Milky Way I've ever seen!nnThis was also my first opportunity to collaborate with old friend and former American Film Institute classmate Harun Mehmedinović (www.bloodhoney.com), an incredibly accomplished photographer and now one of the professors at NAU. His passion and artists' eye really elevated the quality of the material in a big way. Thanks again to Harun and the whole class for their awesome enthusiasm. nnFor Stills and Behind the Scenes shots of YIKÁÍSDÁHÁ visit FLICKR page here: nhttps://www.flickr.com/photos/50014474@N05/sets/72157644225383707/nnMost night shots were captured at 25 second exposures on our Canon EOS 6D's and Canon 5D mk3's with a variety of wide, fast lenses. Because the nights we picked had almost zero moon, the stars and Milky Way were exceptionally clear (once the storm clouds parted), which also made a perfect galactic palette for some star trails experiments, including a new mirroring/distortion effect at 2:56 that revealed a cool native pattern. For those not familiar with past vids, the star trails effect is created by tracing the rotation of the Earth's axis, using a long exposure timelapse pictures and an awesome rendering program called STARSTAX.nnKeep an eye out at 2:10 (top center) as a meteor seems to BURST through the atmosphere and leave a smoke trail in its wake. Maybe you scientists or astronomers out there can help explain in better language :) Also, for those who were asking, the crazy burnt out forest seen in the Milky Way shots is all in Grand Canyon National Park, a much more diverse location than I imagined!nnShot and Produced by: Gavin Heffernan and Harun MehmedinovićnMusic: A Seated Night (Ambient) by Moby. Courtesy www.MobyGratis.com / Unknown Native ChantnThanks: Northern Arizona University, Grand Canyon National Park, Monument Valley Tribal Park.nnSee other Sunchaser Timelapses on Vimeo here: https://vimeo.com/album/189653nLIKE Sunchaser Pictures on Facebook! facebook.com/SunchaserPicturesPagenLIKE Bloodhoney on Facebook! www.facebook.com/blood.honey.by.harun.mehmedinovicnnFor more from the artists:nwww.BloodHoney.comnwww.SunchaserPictures.com Less

KINGS

Vimeo 3:24

Shot and Edited by Gavin Heffernan (www.SunchaserPictures.com) Twitter: https://twitter.com/GavinHeffernan nLike our Facebook Page www.faceb...

Shot and Edited by Gavin Heffernan (www.SunchaserPictures.com) Twitter: https://twitter.com/GavinHeffernan nLike our Facebook Page www.facebook.com/SunchaserPicturesPage for updates, photos, tips, and more. nnAnd check out this awesome "Making of" Video by Producer John C. Brookins here: https://vimeo.com/102038182nnWhen I first started researching King's Canyon (and Sequoia National Park), a location John Muir called "A rival to Yosemite," I found numerous daytime landscape photos of its stunning vistas, but very little night astrophotography. With the Giant Sequoia Trees and the impossibly steep cliffs of King's Canyon serving as beautiful-yet-formidable "obstacles" to an unobstructed sky, it seemed a worthy challenge to seek out some night skyscapes in the parks, while capturing the verdant beauty of the landscapes by day. This meant a lot of serious driving across much of the combined 1,353 square miles of the two parks (with a principal focus on the Mineral King and Zumwalt Meadows areas) but it paid off with some really amazing night skies, including the biggest meteor strike I've captured on camera (1:41 & 2:26), some epic summertime milky way passes, and more wild star trails experimentations.nnFor Stills and Behind the Scenes shots visit FLICKR page here:nhttps://www.flickr.com/photos/50014474@N05/sets/72157646103976826/nnWe arrived on the summer solstice of June 21st, 2014 and shot for 3 days and two nights. Most night shots were captured with 25 second exposures on two Canon EOS 6D's with a variety of wide, fast lenses, including a 24mm f1/4 and 28mm f1/8. The star trails effect is created by tracing rotations of the Earth's axis, using long exposures and a freeware rendering program called STARSTAX.nnUnlike the desolate deserts of shoots past, these locations were teeming with wildlife - from native trout running in the streams, to deer so tame they'd walk right up to you. Our most exciting nature encounter to date came when a big brown bear stumbled upon us as we were setting up a timelapse! (see the entire encounter in behind the scenes doc here: vimeo.com/102038182 at 2:29). This doc also includes other amazing parts of the parks we saw (Giant Sequoias etc) but couldn't quite fit into this one timelapse.nnThe music is titled "Rain is Coming", a piece by amazing composer and friend Tim Phillips (@catheadmusic) from his epic DRAGON album for the National Theatre of Scotland. You can hear more & purchase it here: http://www.cdbaby.com/cd/timphillips1nReproduced by kind permission of Manners McDade Music Publishing Limited, London www.mannersmcdade.co.uknnShot and Edited by: Gavin Heffernan (www.SunchaserPictures.com)nTimelapse Produced by: Gavin Heffernan and John C. BrookinsnBehind the Scenes Shot, Produced, Edited by John C. BrookinsnnSee other Sunchaser Timelapses on Vimeo here: vimeo.com/album/189653nLIKE Sunchaser Pictures on Facebook! facebook.com/SunchaserPicturesPage Less

The Astronomer

Vimeo 4:48

"The Astronomer" - This experimental documentary features excerpts from an interview with Professor Tom Burns of Ohio Wesleyan University an...

"The Astronomer" - This experimental documentary features excerpts from an interview with Professor Tom Burns of Ohio Wesleyan University and Director of Perkins Observatory. "The Astronomer" is part of a larger project, "All Things Shining" - the video album can be found here: vimeo.com/album/2194206nn**January 2015 Update: “The Astronomer” screened at 28th Stuttgart Filmwinter Expanded Media Festival on 17 January, 2015 in the Patenfilme (Godmother/Godfather) program. The film was selected and championed by Thi Bui, https://vimeo.com/ducthibui. The festival focuses on interdisciplinary approaches to multimedia installations, video art, and new media, and screenings of feature, documentary and short films. n// Suttgart Filmwinter Mission: “The Stuttgarter Filmwinters is an international prestigious festival of short and experimental film as well as of new media. The festival is a lab for new forms of perception and conveyance. With it's strongly multimedia and border-crossing focus, Filmwinter attempts the cinema of tomorrow.”nnScreenings & Exhibitionsn// Pre-show entertainment, December 2014 - January 2015, Gateway Film Center, all screenings of INTERSTELLAR. www.gatewayfilmcenter.comn// Opening Film, 2014, COSMOS Premiere, Gateway Film Center, www.gatewayfilmcenter.com.n -- Panel discussion with Professor Tom Burns of Ohio Wesleyan University, Director of the Perkins Observatory and Dr. Michael Stamatikos, Visiting Assistant Professor of Physics at The Ohio State University at Newark and a NASA-affiliated Astrophysicist, and Phil Garrett.n// Official Selection, Lunacon 2014, www.lunacon.org, New York Science Fiction Societyn// Official Selection, 2013 Philip K. Dick Science Fiction Film Festival www.thephilipkdickfilmfestival.comn// Official Selection, 2013 ISFFA, International Science Film Festival of Athens (Athens, Greece) http://caid.gr/?page_id=549n// Official Selection, 2013 Film Festival of Columbus www.filmfestivalofcolumbus.comn// Opened for GRAVITY, Gateway Film Center, October 7th, 2013 + talkback with Professor Tom Burns, Professor and NASA Astrophysicist, Dr. Michael Stamatikos, and Phil Garrett.n// Curated Exhibition: "Ad Interim: Process Oriented Works From The School Of Design Arts At CCAD" September 19th through October, Shot Tower Gallery at Fort Hayes. www.fthayes.com/fthayes.com/Gallery.html n// Columbus Moving Image Art Review, Fall 2012 www.movingimageart.wordpress.com/cmiar-artists/nnOnlinen// Astronomical Society of East Texas (ASET) www.asetexas.comn// Candlelight Stories, the blog of photographer/filmmaker Alessandro Cima www.candlelightstories.comn// Magnolia’s Atlas http://malagolasatlas.blogspot.com/2013/07/the-astronomer-film-by-phil-garrett.htmln// Sorekara 2.0 http://sorekara20.blogspot.com/2012/12/phil-garrett-astronomer.htmln// Ain't It Cool's Saturday Shorts, February 16th, 2013: aintitcool.com/node/61020nnVideo Backgroundn// Interview conducted at Perkins Observatory, Delaware, Ohio, Friday, 11 May 2012.n// Directed/edited by Phil Garrett, shot by Alan Weisenberger.n// Special Thanks to Prof. Tom Burns.n// Project creative inspirations include the works of Caral Sagan, Terrence Malick, Neil deGrasse Tyson, Harlan Ellison, Jason Silva, Eliot Rausch, my fellow MFAs, Ridley Scott, Biosphere, Damon Lindeloff/Carlton Cuse, and many others.nn*This is a non-commercial mashup/teaser/experimental film incorporating or inspired by:n/ Keiji Iwai Photography keijiiwai.com vimeo.com/keijiiwain/ Sander van den Berg vimeo.com/user5612068n/ Michael König vimeo.com/michaelkoenign/ NASA jpl.nasa.govn**Under Creative Commons:n/ The Luminous Landscape vimeo.com/lumlandn/ TSO Photography vimeo.com/terjesn/ Music - Hans Zimmer's "Time" from the Inception Soundtrack. Buy it on iTunes!nitunes.apple.com/us/album/inception-music-from-motion/nn"The surface of the Earth is the shore of the cosmic ocean...nSome part of our being knows this is where we came from.nWe long to return… And we can.nBecause the cosmos is also within us. nWe're made of star stuff.nWe are a way for the cosmos to know itself."n - Carl Sagan Less

Stellar

Vimeo 2:19

An interactive installation which aims to create a sonic representation of stars and constellations through a dedicated interface.nnSince th...

An interactive installation which aims to create a sonic representation of stars and constellations through a dedicated interface.nnSince there’s no sound in space, I wanted to to conceptualize a link between electromagnetic and sound waves. The goal was to create a minimalistic, interactive device which would allow visitors to learn about specific stars through sound information.nnThe base of the system is a cylindrical structure, on top of which are displayed the most important constellations of the northern sky. Above this representation are two robotic arms. When the tip of one of the arms aligns with a star, information on the selected star is transformed into simple sine waves, changing the colour the star emanates.nnTwo players can use the system at the same time, by moving their right hands over the two black, circular sensors. This allows them to move the robotic arm both horizontally and vertically.nnThe data analyzed for each star are: temperature (color index: red star = old and cold, blue star = hot and young), brightness (as seen from Earth), distance (from Earth) respectively transformed into: frequency (Hz), amplitude (dB), duration (ms).nnThe colder the star, the lower the pitch; the brighter it appears to us from Earth, the louder the sound; the further from Earth, the longer the duration.nnFor example, a bright, red star thousands light years from the Earth would generate a low frequency, loud and long sound. A blue star which is closer to the Earth would generate a high frequency, weaker and shorter sound.nnThe background drone-sound is white noise (which is a combination of all frequencies, the opposite of space-silence). When a constellation is triggered, the number representing its area (squared degrees), becomes the cutoff frequency of a low-pass filter for the noise signal. In this way, larger constellations will gradually increase their frequency.nnThe project has been developed using Arduino and Max7 software. Data of more than 300 stars and 44 constellations have been stored from the open-source software Stellarium.org, and coded to interact with the robotic arms.nnTEAM:nnFrancesco Fabris: concept, direction, programmingnPatrycja Maksylewicz: 2D designnPrzemysław Koleszka: manufacturingnEloy Diez Polo: 3D designnnwww.francescofabris.com Less

Border Crosser

Vimeo 1:40

Borders can appear hard and fixed on maps, in language, and in space. But these borders are constructed and ultimately malleable. Border Cro...

Borders can appear hard and fixed on maps, in language, and in space. But these borders are constructed and ultimately malleable. Border Crossers comprise a series of lightweight robotic sculptures that poetically explore and question the notion of borders and boundary conditions. The inflatable sculptures, working in tandem, rise up to several stories high and extend across a given threshold. Their choreographed performance, originating on both sides of the border, would stage a symbolic connection. nnEach physical deployment would also take the form of a mediatized event, recorded and broadcast over the web using satellite and video feeds. nBorder Crossers provoke investigation of borders as constructed entities. At one level its actions embody a simple curiosity to see what lies on the other side of a border (national, architectural, environmental, etc.). On another level the work expresses a utopian desire to live in a world without borders. The project treats the border as a physical condition that can be temporarily transcended by technological proxies. It offers a critique of militarized geopolitical borders, and a metaphorical suspension of those borders in the form of temporary arches or partial arches equipped with sensing and surveillance technology. nnThe specific choreography of the inflatable machines would vary from one situation to the next. In one imagined scenario along the U.S.---Mexico border fence, up to six inflatable units would be installed on opposite sides of the border (either public or private property in towns or the desert). At dusk, the reflective white, ethereal forms are activated by compressed air, and begin to grow gradually, gracefully upwards into towers, standing out against their surroundings. The robots use their “muscles” to move and undulate into a variety of forms as they rise. Once they reach above the barrier fence, they begin to arch toward the other side of the border. Those machines anchored on the Mexican side cross over and touch down on the U.S side. Reciprocally, the U.S.---based machines touch down on Mexican soil at the same moment. Together the machines, illuminated from inside or outside, form six unifying archways, simultaneously inhabiting and puncturing the artificial border imposed upon the citizens of these countries. nnBorder Crossers invites the public to rethink the notion of borders in a globalized world. Technology currently helps to overcome cultural and economic borders, but is also frequently used to maintain and reinforce physical borders. This project envisions technology as a positive tool to establish dialogues beyond borders, to question borders, and to create a symbolic suspension and transcendence of borders.nnThe Border Crossers remind us that we are connected, that borders can be temporary (as temporary as the “crossing” performance). Their actions allude to the equality of humanity against a backdrop of tensions and conflicts over national and cultural identity. Technology comes to the fore in this questioning of the boundaries placed upon trans--- border cultures and ecologies.nnThe first Border Crosser was presented by ZERO1 in San Jose, CA in February 2016 and was supported, in part, by a Cultural Affairs grant from the City of San José, Arizona State University Art Museum and Herberger Institute School of Art, the Montalvo Arts Center, and Dyneema®. Less

Allgood Sesame steps Video

Vimeo 2:00

Since the introduction of the DDA and subsequently the Equality Act, many buildings have struggled to provide a means of access to their pro...

Visions of America: Amériques / LA Phil / Video Artist Cut

Vimeo 3:40

Visions of America: Amériques nLed by conductor laureate Esa-pekka Salonen, performed by Los Angeles PhilharmonicnDuration: 25 MinutesnRehe...

Visions of America: Amériques nLed by conductor laureate Esa-pekka Salonen, performed by Los Angeles PhilharmonicnDuration: 25 MinutesnRehearsal documentation from 6th of November, 2014 nWalt Disney Concert Hall, Los Angelesn_n'The Los Angeles Philharmonic’s multimedia presentation of Edgard Varèse’s Amériques launched the new in/SIGHT series at Walt Disney Concert Hall. The presentation of Amériques was led by conductor laureate Esa-pekka Salonen and accompanied by Refik Anadol's site-specific architectural video installation, which was developed to illuminate and enhance the Varèse's composition and to activate the architecture of Walt Disney Concert Hall. The dynamic visual program created by Anadol uses custom-built algorithmic sound analysis to listen and respond to the music in real time, using architecture as a canvas and light as a material. Additionally, the movements of Salonen, as he conducts, will be captured by next generation Microsoft Kinect hardware and 3-D depth camera analysis to inform the visuals displayed. The result was a powerful and immersive experience for the audience that engaged their visual and auditory senses.' nnLaunching in/SIGHT – the LA Phil's groundbreaking series of concerts with video – this program embodies the vision of the New World as a place of unlimited artistic freedom. Amériques was the first musical piece that Varèse composed upon coming to New York and this project is fittingly the first site-specific audio-visual performance that I produce in the U.S. I approached this collaboration from the standpoint of a non-linear and ephemeral interaction between Salonen, Varèse, and me, and hope that I will be able to transform Varèse’s timeless musical fiction into an immersive visual medium through which a new kind of storytelling will occur. Rather than approaching this medium as a means of escape into some disembodied techno-utopian fantasy, this project sees itself as a means of return. It aims to facilitate a temporary release from our habitual perceptions and culturally biased assumptions about being in the world, and to enable us, however momentarily, to perceive our own stories and the stories around us freshly.nnIn a recent interview with the Huffington Post, Anadol stated regarding this work, “ By highly inspiring from visual music and expanded cinema research, instead of creating a media screen, there will be a story inside the space. What happens if you add a video layer that speaks to the audience in a whole new experience? We're exploring the boundaries of what is real, what is physical, what is virtual…” nnFinally, I would like to sincerely thank everyone who made this project possible. This project would never have been possible without the tremendous and generous support of Los Angeles Philharmonic, President and CEO Deborah Borda; Vice President of Artistic Planning Chad Smith; Artistic Administrator Meghan Martineau and Concert Operations Manager Taylor Saleeby. I would also like to thank for their open-handed support the University California, Los Angeles, Department of Media Arts’ faculty members, Microsoft Research, and Lili Cheng, Finally and specially I would like to thank Frank Gehry for his dreamful canvas and Esa-Pekka Salonen for his open-minded collaboration with me to discover “New Worlds”.nnFor more information;nhttp://www.refikanadol.com/works/visions-of-america-ameriques/nhttp://www.laphil.com/insightnnnCREDITSnVideo Artist: Refik AnadolnArtistic Management: Dave HuntnExecutive Producer: Efsun ErkilicnSenior Generative Designers: Sebastian Neitsch & Woeishi LeannSenior 3D Designer: Raman K. MustafanSenior Animator: Simon RussellnJunior Animators: Bahadir Dagdelen, Michael Hsiu, Kian Khiaban, Toby Heinemann, Laurence Menor.nResearch Assistant: Jarad SolomonnVideo Documentation: Walter Diaz Less

Joost Grootens—On Creative Mapping and Editorial Design

Vimeo 2:48

Dutch graphic designer Joost Grootens is an expert at filtering and translating complex data into visually compelling atlases with a narrati...

Beijing-Connection/Anne-Sophie Bazard – Eat Me

Vimeo 3:33

"Eat me is a project made with traditional Chinese sticks and a GoPro camera that allowed us to film each plate we have been served. It was ...

Captains of Spaceship Earth

Vimeo 2:02

Media is a tool that can program and reprogram the human bio-computer. Stories pattern the imagination. Language helps us think about our th...

Animation Breakdown 2015: ABD Roundup! 3 Trailer

Vimeo 1:18

ANIMATION BREAKDOWN 2015 OPENING NIGHT!nnHey kids! It’s baaa-aaack! Animation Breakdown’s Alex McDonald and Kevin Sukho Lee (Yo Gabba Ga...

Please Touch the Art

Vimeo 5:18

http://www.cantorfineart.com/story/please-touch-the-art/nnOne day a blind man discovered a screw painting by Andrew Myers with his hands. Th...

http://www.cantorfineart.com/story/please-touch-the-art/nnOne day a blind man discovered a screw painting by Andrew Myers with his hands. The blind man found as much enjoyment out of the tactile elements of the work as any sighted person ever has by just looking at them. Andrew considers this moment as one of the most inspiring of his career. Which led us to a question: Why is touching artwork so taboo?nPrior to the mid-1800s, tactile interaction was commonplace for visitors experiencing collections of art, but as museums of art evolved, rules forbidding touch became the norm. In some cases, these were to protect artwork that truly was not meant to be touched, but in large part these norms had nothing do with preservation and everything to do with nineteenth century politics of gender, race and class control.nnnIn light of all this, we decided to create a documentary that elevates the level of tactile arts, and gives back to the visually impaired community. It was at that point that we met George Wurtzel.nnGeorge is a blind artisan and teacher working at Enchanted Hills Camp in Napa Ca. This is a 300 acre camp nestled in the red wood forest above Napa Valley. Enchanted Hills is a summer camp for the visually impaired. Here George teaches blind folks, through example, how to use all the equipment necessary to become blind artisans.nnCurrently, George is converting an old grape crushing barn into a Tactile Art Center. The top floor of the building is his 1900 sq. ft. wood working shop. The bottom floor will be his Tactile Art gallery space where blind people can feel and sell their artwork.nnWe fell in love with George and his mission and wanted to support his new tactile art gallery. So we worked with Andrew Myers to surprise George with a tactile portrait of himself. The first portrait he will be able to feel and recognize.nnLearn more about Enchanted hills here: lighthouse-sf.org/programs/enchanted-hills/nnThe Academy of Music for the Blind (AMB) were kind enough to create a song for our soundtrack. AMB specifically addresses the educational, social, and physical needs of talented blind music students so that they can fully develop their unique talents and be prepared for integration into the workplace or other educational settings.nnTo learn more about the AMB visit:http://ouramb.org/nnTo learn more about this project, visit http://www.cantorfineart.com/story/please-touch-the-art/ Less

OneBeat Istanbul

Vimeo 5:27

I work as the filmmaker for Found Sound Nation, a Brooklyn based collective of musicians and artists who use music as a tool to help build s...

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