The graceful movements of a professional dancer are rendered as a cloud of flickering metallic dots using inexpensive Xbox Kinect sensors and 3D tools. Constantly shifting and changing even as the dancer stands still, the data points create a ghostly impression against a black backdrop, seeming to embody motion itself.

Asphyxia is a collaborative experimental film project by Maria Takeuchi and Federico Phillips, performed by Shiho Tanaka, combining various technologies to stress “the desire to be expressive without limits.” The sensors scanned data points on Tanaka’s body, which were then combined and used as the basis for the creative development of the film.

The filmmakers rendered the data into this hauntingly abstract form, placing it in a photorealistic environment to add to the eerie quality of the finished product. Check out the behind-the-scenes process above to learn more about how it was made.

Busy shipyards, city streets, rain-streaked skyscrapers and other iconic staples of cities come alive in this portfolio of shadowy oil paintings.

Valerio D’Ospina captures movement in the strokes of his brush, but the blurred results also take on that uncanny real-yet-indistinct character of a dream or memory, a little like the work of Alexandra Pacura.

Born in Italy, Valerio studied in Florence, painted in Paris and eventually moved to Pennsylvania – his range of industrial subjects reflects studies of historic Europe as well as the infrastructure of the United States.

He was trained to teach, but has since turned toward full-time creation. From his bio: “After this teaching experience he decided to focus exclusively on painting, receiving positive feedback from private collectors and galleries from around the world.”

In a bold bid to change urban landscapes, a series of tiny home builders and enthusiasts has come together to turn empty space into a microcosmic example of what small-space living can mean for dense and high-cost cities like Washington D.C.

Starting with a small, awkward and triangular alley lot the Boneyard Studios group proceeded to clear the debris build a series of four small homes. “The lot originally had overgrown grass, broken concrete, pooling water, garbage, illegal parking, and occasional criminal activity (e.g. a dumped stolen vehicle).” 

Brian’s Minim House is clean, refined and modern featuring minimalist details, wood siding with black metal trim and a metal roof with solar panels. It also has interior features like in-seat storage and a pull-down screen for a space-saving projector television and video player.

Elaine’s Tumbleweed Lusby is framed and filled with warm wood, feeling as much like a cabin in the woods as it does a cottage in the city. It comes complete with a bamboo ladder leading up to a cozy lofted sleeping space.

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A game-changing invention for the art of long-exposure illumination, Pixelstick takes light art to new levels, enabling beginner animators to participate and advanced artists to evolve their craft in amazing ways.

Having already raised four times its $100,000 crowfunding goal on Kickstarter, the popularity of this incredible gadget speaks for itself – but no worries: you still have one month to back the project. Their short promotional video is a must-see illustration of the vast possibilities.

The breadth of possibilities is breath-taking, from graffiti tags to animated rainbows (above), mesmerizing patterns to abstract compositions (below).

The gadget’s creators point out that light painting dates back nearly 125 years yet the tools used to create it have evolved only on the side of cameras and not in terms of the actual methods of illumination.

The founders of Bitbanger Labs saw this market void as a worthy challenge and began experimenting with drafts and prototypes, slowly developing a handheld wonder with powerful features even they did not anticipate at the beginning.

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Motion pictures aside, the nature of photographic representation implies freezing space in time – a moment captured and preserved, independent of what comes before or after.

Yet, as photographer Fong Qi Wei points out, “we do know that time is also a dimension, like length, breadth and width. In fact, physicists have a model called space-time: suggesting that time is part of a continuum with the 3 dimensions that we are familiar with. But the print is still an instance. Most paintings and photographs are an instance of time. That’s not the way the world works. We experience a sequence of time.”

His solution is this photo series, Time is a Dimension, in composed mostly of “landscapes, seascapes and cityscapes,” which “are a single composite made from sequences that span 2-4 hours, mostly of sunrises and sunsets. The basic structure of a landscape is present in every piece[, but] each panel or concentric layer shows a different slice of time, which is related to the adjacent panel/layer. The transition from daytime to night is gradual and noticeable in every piece, but would not be something you expect to see in a still image.”

There is a playful and experimental quality to the variety of approaches found within this set of images. Sometimes a series of casually-drawn circles spread out from a focal point. In other cases, rays like a child’s drawing of sunshine span from some implied but out-of-frame source. Each has at least one surprise upon inspection, like the changing reflections in glass over the course of a day, or the differences in artificial illumination going into the night. Overall, the results are rich in colors and shades but also do tell a story of time elapsing, quite by design.