Hey if you’re into fractals, these fractals are the real deal. We hate fake fractals.
From the clean rooms where satellites are built to the Rubik’s cube a European astronaut carried into space, Edgar Martins’s photo series Rehearsal of Space is a vast photographic chronicling of the facilities, programs, and technology used by the European Space Agency and its affiliates.
Martins has taken great pains to make the photos more than just documentary. They’re meant to ignite the imagination, like a good sci-fi movie. His task was to imbue inanimate objects with meaning in a larger statement about humanity’s interest in space. He also wanted to convey the dazzling complexity and breadth of a space agency’s operations.
“My focus from the very beginning was to try to bring an audience that wouldn’t normally have access to the ESA facilities or ESA culture or their programs,” he says, “and because of that I needed to find an approach that really went beyond the traditional documentary approach.”
Filippo Minelli, Contradictions (Ongoing)
The aim of the project is to point out the gap between the reality we live in and the ephemeral world of technologies.
Writing the names of anything connected with 2.0 experiences in the slums of the third world as to show the idealization connected with these experiences, underlining the difference between what we decide to show about us and our reality and how the world actually is, how we actually are and live.
2.0 technologies and the marketing behind them are characterized by a religious veneration, as also said by Leander Kaheny in his “Cult of Mac” book. Users are pushed to live with increasing abstraction from reality, living technologies only as an ideal reality.
Project realized (until now) between Cambodia, Vietnam, Mali, China, Italy.
It’s smaller, faster, easier, and higher quality. What’s not to love about the GFY?
"I am a materialist; however, that doesn’t mean I deny the imagination, fantasy, or even that certain unexplainable things can exist. Rationally, I don’t believe a handless man can grow new hands, but I can act as though I believed it, because I’m interested in what comes afterwards. Besides, I am working in cinema, which is a machine that manufactures miracles. […] As inexplicable as the accidents that set it off, our imagination is a crucial privilege. I’ve tried my whole life simply to accept the images that present themselves to me without trying to analyze them… Some analysts—in despair, I suppose—have declared me ‘unanalyzable,’ as if I belonged to some other species or had come from another planet (which is always possible, of course). At my age, I let them say whatever they want. I still have my imagination, and in its impregnable innocence it will keep me going until the end of my days. All this compulsion to ‘understand’ everything fills me with horror. I love the unexpected more and more the older I get…"
February 22, 1900 — July 29, 1983