All the most amazing supernovas ever photographed

This is not a Hubble photo of a supernova—it's food

THE SPACE WITHIN in Vimeo Staff Picks

I’m elated to see Dark Rye’s film about me on Vimeo’s Staff Picks. The team is a visual equivalent to the 85 Bears.


'Kill the Messenger' Trailer

"some stories are just too true to tell."

“When you die, that does not mean that you lose to cancer. You beat cancer by how you live, why you live, and in the manner in which you live.”


space is the place


Uranium Disposal Cells of the American Southwest

Uranium disposal cells are unusual constructions because they are built to last far beyond the lives of most engineered structures, to isolate their radioactive contents from the environment for hundreds of years. They are generally low geometric mounds, sometimes as high as a hundred feet tall, covering a few acres or as much as a half mile, and composed of layers of engineered soil and gravels designed to shed rainwater and limit erosion, in order to take their contents, intact, away from the present and as far into the future as possible. Indeed, most of the radiation comes from uranium 238, which has a half life of 4.47 billion years, nearly the age of the earth itself. Many of the piles were made by contractors for the Department of Energy in the late 1980s and early 1990s, when the government took over handling the wastes left by companies, in some cases bankrupted by the process, or otherwise no longer existing or accountable. The government was the reason these sites existed in the first place, since in the early years of the industry they were the only customer for uranium–using it to build atomic bombs.

(Source:, via activator-inhibitor)

The notion that work is an irreversible process ending in a static icon-object no longer has much relevance. This reclamation of process refocuses art as an energy driving to change perception… What is revealed is that art itself is an activity of change, of disorientation and shift, of violent discontinuity and mutability, of the willingness for confusion even in the service of discovering new perceptual modes.

Robert Morris, Notes on Sculpture, Part 4 (via heathwest)

Bleach+White Lithium Grease Paintings, 2011.

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