In April 2010, the Icelandic volcano Eyjafjallajökull spewed great ash clouds into the sky and caused enormous disruptions to air travel in Europe. The eruptions are best remembered for this inconvenience, but photographer James Appleton managed to capture the event in a different way. In the weeks before the disturbances, a vulcanologist friend of his alerted him to the unfolding volcanic drama, and Appleton travelled straight to the Icelandic mountain before it was closed off. Risking his life to battle extreme cold, high winds, and seismic activity, Appleton captured a rare but gorgeous scene: the glowing lava from an Eyjafjallajökull fissure with the Northern Lights—Aurora Borealis—overhead. These are two very different light sources, so “the photograph needed parts of the scene selectively blocked for sections of the exposure to balance the contrast,” Appleton recalls. “A Mars bar wrapper came in handy for this!”
Horizons by Aaron Farley
Farley on his project:
These are not real photographs of real things. The original photographs are of water and clouds and these are photographs of those photographs, turned on their side, moved, reshot, reprinted, cut and folded, and reassembled to create a different scene which still looks familiar.
A record player that plays slices of wood. Year ring data is translated into music, 2011.
Modified turntable, computer, vvvv, camera, acrylic glass, veneer, approx. 90x50x50 cm.
A tree’s year rings are analysed for their strength, thickness and rate of growth. This data serves as basis for a generative process that outputs piano music. It is mapped to a scale which is again defined by the overall appearance of the wood (ranging from dark to light and from strong texture to light texture). The foundation for the music is certainly found in the defined ruleset of programming and hardware setup, but the data acquired from every tree interprets this ruleset very differently.