〰️ Wave function of beauty | Collapsing possibilities into exhibitions | Cat dad to Pixel & Vector 🐱🐱 | Tea snob 🍵 | #DigitalArt explorer 🇬🇧
London
Joined December 2024
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QuantumAesthetician retweeted
The world is changing right before my eyes.
QuantumAesthetician retweeted
The Manhattan Opera House couldn't accommodate all the New Yorkers wanting to see Anna Pavlova on 20 October 1920. A new ballet was 'Autumn Leaves', in which she portrayed a chrysanthemum buffeted by the breeze, rescued and then cast away by a poet's hand.
QuantumAesthetician retweeted
GOOGLE STREET VIEW IN 1900
From our friends at Iconauta and their YT Channel @iconaus here is the Santa Lucia harbour in Naples Italy filmed for the Photorama by the Lumières in 1901.
The projected Panoramic image was 19 feet 8 inches in height and gives us a great idea of what viewers saw. A precursor element to what was coming less than a hundred years later:
1900
THE PHOTORAMA
LUMIÈRE AND SONS
At the Paris International Exhibition of 1900, the Lumière's present their Photorama, a 360º Panoramic projector using 70mm film and an anaglyphic Stereoscopic Motion Picture system.
The Lumière Photorama was a process for wide screen static projection. The screen was between 68 feet in circumference and almost 20 feet high. The system used revolving lenses to project that of landscapes, riverscapes, cityscapes and harbours. Images Institut Lumière.
QuantumAesthetician retweeted
Schubert's Baritone: A celebration of Johann Michael Vogl - James Newby & Joseph Middleton in an imaginatively curated Schubert recital at Wigmore Hall. My concert review:
planethugill.com/2026/10/sch…
QuantumAesthetician retweeted
I have to agree it is the movie of the year, at least for me. I also agree that Nathan and Elizabeth are the perfect pair for this film and I wonder if it was so perfect that it'll be hard to match this film for the rest of Nathan's career.
There will only be a short period of time where you can see Nathan and Lance's film "You Can See Everything" without knowing anything and any of the spoilers (it maybe impossible even now). I'd take advantage of that and see it knowing nothing if you can.
It may not seem like there should be anything more to say about Elizabeth Holmes at this point, after the Theranos founder’s well-documented downfall spawned a whole mini-industry of content, from books to podcasts to Sundance movies to the scripted Hulu miniseries ‘The Dropout.’ But there were times in ‘You Can See Everything,’ when she turns her unblinking, too-wide gaze on Nathan Fielder, during which critic Alison Willmore was tempted to think she’s “one of the greatest doc subjects of all time.”
Holmes insists, with a dazed naivete whose authenticity is impossible to judge, that not only does she not understand how she got into trouble, but that she’s never told a lie in her life. Fielder, meanwhile, brings his signature awkwardness and his well-established tendency to blur the lines between the performed and the genuine. “It’s like they were made for one another,” writes Willmore.
Read the full review: nymag.visitlink.me/24lCCz
QuantumAesthetician retweeted
AI-generated 3D is moving beyond the screen.
At @Tripoai's Tripothon SF Demo Day, creators put AI-generated 3D to work in playable games, VR experiences, interactive worlds, and 3D-printed objects.
The projects show how creators are making 3D generation part of their workflow, with results people can interact with and use.
Great work, Tripo and all the creators involved!
🤝 Paid partnership · 🤖 Made with AI
Massive thanks to our amazing partners @HeyGears3D, @Kling_ai, @reactorworld, and @pika_labs. Sharing what we are all building with creative AI and pushing the boundaries of 3D generation together made this an unforgettable experience.
QuantumAesthetician retweeted
//#つぶやきProcessing #p5js
t=0
draw=_=>{
t||createCanvas(W=(w=200)*2,W)+colorMode(HSB)
for(b=0;b<6;b+=.3)
for(T=0;T<TAU;T+=.05)
stroke(b*90,R=(cos(T)+b)*90,w),
point(R*sin(U=T+t/71)+w,w-R*cos(U))
++t}
QuantumAesthetician retweeted
Ep 1 of Artist to Artist is scheduled to air on Roku and Amazon as follows, listed in ET:
- Today, 10/15 at 11:09PM ET
- 10/16 at 10:55 PM ET
- 10/17 at 1:57 PM ET & 10:40 PM ET
Check out the full interview with @mikejmitch
How does Mike J Mitch of Phantom X create AI series as compelling as The Sage?
Since launching Fairground AI TV, we’ve experienced the same challenge facing every AI filmmaker: most audiences don’t yet understand and appreciate how this work is made.
To turn the AI-curious into fans who realize the long hours and creativity behind every film we distribute, we’re launching Artist to Artist, a new interview series hosted by @BLVCKLIGHTai and featuring filmmakers defining this genre.
Streaming on Fairground AI TV and across our socials, Artist to Artist is built for education, transparency, and honest conversations about where this industry is headed.
Here’s a sneak peek of Episode 1, which breaks down why story matters in AI filmmaking through Phantom X’s The Sage and Red Rainbow by Aze Alter.
With more episodes on the way, which AI filmmaker should we sit down with next?👇
#aicinema #aifilmmaking #aifilms
QuantumAesthetician retweeted
🧵
#OTD Henry Jay Lewis (Oct 16, 1932 - Jan 26, 1996). Double-bassist, orchestral conductor whose career extended over 4 decades. A child prodigy, he joined the Los Angeles Philharmonic at age 16, becoming the 1st Black instrumentalist in a major symphony orchestra. At age 36 he made history by becoming the first African American to lead a major U.S. symphony orchestra when he was appointed music director of the New Jersey Symphony Orchestra(NJSO). While serving in the U.S. Armed Forces overseas in the mid-1950s, he became the musical director and conductor of the 7th Army Symphony Orchestra, where he supported America's cultural diplomacy initiatives in Europe after WWII.
#History #MusicIsLife
laphil.com/posts/the-legacy-…
QuantumAesthetician retweeted
good morning,
@Meysvm introduced me to the @6529Collections ecosystem, and it's been a wonderful discovery.
We thought it would be nice to bring a little of that world to Suburbs Gallery.
Read more about Meysvm's curation below ↓
QuantumAesthetician retweeted
On @BBCFrontRow: A joy talking to Christine Baranski and Richard E Grant about Noel Coward, stage v screen comedy, & the art of playing artists with big egos. Plus Booker nominee Douglas Stuart, the Caine Prize win row over alleged AI. 715pm r4 or link bbc.co.uk/programmes/m0032qp…
QuantumAesthetician retweeted
//I'm getting bored...#つぶやきProcessing #p5js
t=0
draw=_=>{
createCanvas(W=(w=200)*2,W)
x=y=.1,A=2.1,B=.52,C=-2.+sin(t/17),D=-.4
strokeWeight(2)
for(i=0;i<1e4;i++)
K=A*((X=x*x)+(Y=y*y))+B*x*(X-3*Y)+C,
[x,y]=[K*x+D*(X-Y),K*y-2*D*x*y],
stroke(K*w,X*w,Y*w),
point(x*w+w,y*w+w)
++t}
QuantumAesthetician retweeted
The effects animated on an app called Story Z, when you wanna animate but not wanna spend credits or money. 😋
QuantumAesthetician retweeted
UE blockout -> SD 2.5 -> Opus 5.5 + Davinci
I had Opus use Claude Motion to make transparent FX that it then composited in Davinci.
Interesting.... very nice.
QuantumAesthetician retweeted
Iya Ibejí (Mother Of Twins)
This work confronts a painful chapter in African history Rather than depict violence in my work , i choose tenderness as resistance.
1/1 available for 700tez🔗
QuantumAesthetician retweeted
Finally had time to build some gameplay around it. It's crazy how easy it has gotten to prototype something like this.
Next step is to refine the character more, add parry mechanic and bringing it into Unreal Engine 5 for those juicy graphics.
QuantumAesthetician retweeted
We're live 🔴 "We’re in a Relationship with the Machine" ft @theHUGart @postanika @FARRAHCARBONELL @madebyoona @malpractice_net @Art_Domains xitter.cf/i/broadcasts/1yJAPwgBn…
QuantumAesthetician retweeted
Since the 1990s, artist Teresa Margolles has recovered traces of crimes, disappearances, and displacements. Experience her powerful, poignant works across two museums.
At @momaps1, "Teresa Margolles: En el lugar de los hechos (At the Scene)" marks the artist's largest presentation in the US, with room-sized installations of the artist's bold minimalist forms. Check out "La promesa" (2012), a sculpture that consists of thirteen tons of rubble from an abandoned home in Ciudad Juárez, dismantled by hand over the course of the exhibition.
At @themuseumofmodernart, "Aproximación al lugar de los hechos (Approaching the Scene)" is a new installation of heated steel plates and water infused with residue collected from recent sites of violence in Minnesota, California, and Texas.
Both exhibitions are now on view, co-organized by MoMA PS1 and The Museum of Modern Art.
—
[1-3: Photo: @marissaalper]
[4: Teresa Margolles. Aproximación al lugar de los hechos (Approaching the Scene). 2026. Seven steel plates; water used to signalize sites of violent incidents in Minnesota, California, and Texas; and heating elements. Installation view, Teresa Margolles: Aproximación al lugar de los hechos (Approaching the Scene), The Museum of Modern Art, September 2026. Courtesy of the artist and NORR COHAN, New York. © 2026 Teresa Margolles. Photo: Martin Parsekian.]
ALT A person stands in a gallery, attentively observing a contemporary art piece with light patterns on a large wall. The setting includes a few other people in the background.
ALT Three individuals are standing in front of a brick wall. The person on the left is wearing a dark sparkly outfit, the person in the middle is in a black jacket and green pants, and the person on the right is dressed in black leather with a cap covering the eyes. The setting appears casual.
ALT A person kneels and touches the edge of a large, rectangular concrete slab with scattered debris around it. Another person stands in the background observing the scene. The setting appears to be an indoor exhibition space with dim lighting.
ALT A modern art gallery room with a minimalist design features a long, rust-colored metal artwork on the floor. There are three simple, wooden benches facing the artwork. The walls are plain, with a small passage leading to another space. The lighting is soft and focused on the artwork.
QuantumAesthetician retweeted
It was constructed with two lenses mounted at opposite ends of a circular ball or sphere made out of wood. Schwenter’s device was part of what later became known as the scioptic ball:
🤳A wooden sphere with a single or double convex lens mounted in it
🤳Inserted into a wall or Camera Obscura
🤳Able to rotate freely, giving a wide range of viewing directions
🤳Used mainly for drawing, Panoramic observation, and Camera Obscura projection
It was called an ox‑eye because it resembled the bulging eye of an ox — not because it produced a hemispherical image.
Pictured is the frontispiece of ‘Deliciae physico‑mathematicae.’
1636
OX EYE LENS
DANIEL SCHWENTER (1585-1636)
Schwenter constructed what was called a scioptric ball or what we call a fish-eye lens. Illustration of his scioptric ball, or as he called it, an "ox-eye lens."
Schwenter’s ox‑eye lens was an early wide‑angle optical device, but it did not function like a modern fisheye lens. It produced a Panoramic, swiveling field of view, but with a much narrower angle than today’s ultra‑wide fisheye designs.
Schwenter’s 1636 device—described in ‘Deliciae physico‑mathematicae’ was a wooden sphere with a lens at each end, mounted in an opening so it could swivel freely.
This ox‑eye lens allowed artists to rotate the lens to capture Panoramic scenes. It was essentially a universal joint for optical instruments offering a brighter, more detailed image into a Camera Obscura.
QuantumAesthetician retweeted
despite the agentic/AI era coming for our code, it feels like there's still room for a tool like 'canvas-sketch' for creative development. I've been making and testing a new tool in the last months, some notes:
- git SHA on export is still extremely useful; every output is tagged and correctly archived
- a single consistent template/format for every sketch, regardless of output medium and design considerations, keeps things very clean
- important that it works in both web (UI + realtime etc) and CLI (batch & server rendering)
- ability to run locally (eg: immediate access to GBs of models, data, images) feels crucial for R&D and creative experimentation
curious to hear what others think
github.com/mattdesl/canvas-s…
