Pinch Of Psychedelic

Visual Artist // Creative Programmer

Guildford // Canterbury

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#cinema4D #3D


#cinema4D #3D

(via computers-are-art)



Manfred Mohr
Cubic Limit, 1973-74
digital transfer of 16mm film 
4 minutes, silent
edition of 6

During Manfred Mohr’s legendary 1971 exhibit at the Museum of Modern Art in Paris, he met the CEO of C.G.M (La Companie Generale de Micromatique), a data storage and preservation company, which specialized in microfilm. Mohr was invited to experiment on their brand new machine DATAGRAPHIX 4460 to make computer animations. He gladly accepted and during the next 4 years made several short computer films.

According to Mohr, “It was a very painful experience since the process was very slow and the turnover dragged out over many months.” For the film, each frame was drawn in high resolution with a light beam directly from the computer onto 16mm film to create the animations.


Looking forward to this show.

(via basilarfuse)


various shifts from Justin Lincoln on Vimeo.

More video time shifting with MaxMSP/Jitter.


Eric Yevak

Ink, Graphite, Spray Paint, Inkjet on Paper


Eric Yevak



Ink, Graphite, Spray Paint, Inkjet on Paper

(via notational)


The Flood - Patrick Watson

Republic of Maldives


Landscapes, 2014 | by Anthony Samaniego

(via titounettes)

Today, I cycled to Guildford Chantries to eat my lunch with a view and also give my shiny new camera a whirl.

(I don’t know how to selfie)

PLYGN-003 sculpture
Music by Bodhi Glitch

(via basilarfuse)


Documentation for Ecdysis is now launched on Dazed and Confused: Visionaries
ECDYSIS is an immersive audio-visual installation depicting biological and architectural adaptation. In Ecdysis, kinetic light, scored by ambient sound, is cast on 36 interwoven planes, suspended in space by their tensional integrity.  

Ecdysis is a culmination of contrasts, tracing across gradients of the geometric and organic, the digital and the physical, the melodic and the dissonant. Viewers of the piece are invited to walk within the installation to experience the piece from multiple perspectives, rejecting the notion of audience as passive spectator as they themselves become enveloped forms within the world of Ecdysis.
Wood, 3 10K Lumen Projectors, loud speakers 

Variable (suggested: w10m x h10m x d15m)
Sougwen Chung: concept, composition

in collaboration with
Praveen Sharma: Score

Michelle Higa Fox: Technical Direction
Chris Lunney: Technical Direction
Square Fabrication: Fabrication
Slanted Studios: Production
Amber Schaefer: Production
I firmly believe in small gestures: pay for their coffee, hold the door for strangers, over tip, smile or try to be kind even when you don’t feel like it, pay compliments, chase the kid’s runaway ball down the sidewalk and throw it back to him, try to be larger than you are— particularly when it’s difficult. People do notice, people appreciate. I appreciate it when it’s done to (for) me. Small gestures can be an effort, or actually go against our grain (“I’m not a big one for paying compliments…”), but the irony is that almost every time you make them, you feel better about yourself. For a moment life suddenly feels lighter, a bit more Gene Kelly dancing in the rain.

Jonathan Carroll (via onlinecounsellingcollege)

(via titounettes)