The images on Theo Prins site are arranged for cross-eye viewing to create a steroscopic experience.

While looking at the center of the stereoscopic pair, place your finger about halfway between you and the screen. If you converge your eyes to focus on your finger you will notice the images on the screen begin to overlap.

Adjust your finger’s position until the images completely overlap. Because you are still focusing on your finger, the images on the screen will be blurred.

The trick is to remove your finger and allow yourself to focus on the screen without uncrossing your eyes. Done correctly, you will see three images on the screen. The center image will have depth and the two outer images will not.

Your brain translates the disparity between the images that have overlapped into the experience of depth.

For many the term “embroidery” conjures images of tacky pillows or treacly wall-hangings that say things like “Home is where the heart is.” For Pennsylvania artist Daniel Kornrumpf, however, embroidery has become a powerful medium. For a recent series of evocative portraits, Kornrumpf took the stereotypically drab art form and made it all his own, depicting the faces of attractive young people with thousands of patiently strung threads. The works are fantastic, and they’re made all the more great by the fact that the embroidery at times looks like paintbrush strokes.

Consider this more proof that, in the hands of the right person, nothing is “boring.”

Ninety percent. That’s the amount of ocean life depletion since 1950 and a figure too dry to make most people pay attention. Presented visually, however, the statistic takes on new strength, and as a pie chart splattered in spray paint across an urban wall, the fact-as-street-art becomes unavoidable for any passerby.

With the help of a new pie chart stencil by interactive media artist Golan Levin, creating politically charged graffiti just got a bit easier. The fully customizable “Infoviz Graffiti” toolkit allows users to quickly swap out the numbers and letters and adjust the slice of the pie. 

The stencil design is available as a PDF on Levin’s blog. The raw materials—fiberboard, a wing-nut, tape to hold the letters up, and your choice of spray paint—are easy enough to find that building one yourself in a studio (or at home if you have a laser cutter) wouldn’t be hard.

Levin, the director of the STUDIO for Creative Inquiry at Carnegie Mellon University, developed this design in four hours during a “Speed Project” challenge by the Free Art and Technology Lab, a public art initiative. You can see his other work here.

Not sure if folks have seen this, but Jim Denevan (of our Changing Tides inspiration dose) is at it again with his latest vanishing sculptures… in Siberia.

“Artist Daniel Bejar had a key copied and then a new key copied from it, and so on, until the information embodied in the original key had been lost. He calls the resulting piece “The Visual Topography of a Generation Gap”: “A copy was made from my original apartment key, then a copy was made from that copy. This process was repeated until the original keys information was destroyed, resulting in the topography of a generation.”

What do we lose by choosing not to create from scratch on a daily basis?  Or, do we hope for a pleasantly unexpected outcome in our repetition?

Cyclehoop is a UK-based design firm dedicated to “[encouraging] cycling by increasing bicycle parking infrastructure and tackling bicycle theft, at the same time improving our streets by reducing street clutter through intelligent design.”

Brilliantly using what already exists to address new needs. 

(via Cyclehoop: Kitting Cities Out for Bikes)