This past Saturday, Trump supporters and counter-protesters from the left clashed violently in liberal Berkeley, all while one intrepid street painter captured the scene live on canvas. As reporters filmed and photographed the chaos, John Paul Marcelo biked his mobile painting station into place.

At Least 15 Arrested Amid Violence At Alt-Right Rally And Counter Protest In #Berkeley https://t.co/AC1uxsV9HT pic.twitter.com/TpPFilrz3l

— SFist (@SFist) April 15, 2017

https://twitter.com/shane_bauer/status/826980737446391808

The alt-right rally organizers and their opponents arrived ready for a brawl, variously equipped with shields, helmets, wooden poles, pepper spray and other weapons. “By mid-afternoon,” reports Blake Montgomery, “the dueling protesters were screaming insults at each other over a flaming pile of trash and using a dumpster as a battering ram.” In the end, dozens were arrested on both sides.

https://twitter.com/shane_bauer/status/853370341246226432

But in the midst of the mayhem (or at least: slightly off to one side) was perhaps the most unexpected sight of all — Bay Area street artist John Paul Marcelo standing his ground and calmly painting the chaotic scene as it unfolded before him.

My favorite Berkeley riot moment: the street artist who strives to capture the conflict between alt-right and black bloc, pepper bombs & all pic.twitter.com/Lqam1Ccasi

— Paige St. John (@paigestjohn) April 15, 2017

Marcelo is a fixtures of the San Francisco community, a fifteen-year resident who can be found painting ordinary street scenes as well as timely and tragic still lifes, like: a building just after a fire, burnt out and abandoned.

His artistic gear collapses on demand, folding neatly for transportation by bike to events unfolding in around the Bay or calmer, more everyday still-life subjects (below: Morning on Broadway and Telegraph in Oakland as seen in Cafe 817).

John Paul Marcelo studied graphic design and advertising, then started painting the urban decay of Chicago streets and decided to “reject modern technological mediums” and “paint exclusively en plein air, and migrate to the majestic California coastline.” And although he reports being “very content with painting existing idyllic scenes like Big Sur and Marin, past expeditions have brought him to places like post Katrina New Orleans and Cabrini Green housing projects.” His influences “include Claude Monet, James Nachtwey, and Ai Wei Wei.” (Images via AP, SfGate & KQED)

Comprised of hair-raising scenes designed to keep you on the edge of your seat, this series of photos leads your mind to jump forward in time, picturing the catastrophes about to unfold.

Photographer Aaron Tilley worked with art director Kyle Bean to create the sequence for Kinfolk Magazine’s “adrenaline” issue. Their collaboration, titled In Anxious Anticipation, evokes a sense of expectant dread, all through still shots that simply lead the brain to fill in the blanks.

In one, an ink pen is poised to drip on a clean white shirt below. In another, a rock looks ready to light a fire, prepped to swing across a set of strike-anywhere matches.

Each picture cues to viewer to complete the sequence, imagining the sight and sound, for instance, of a bowling ball running along and popping an unrolled sheet of plastic bubble wrapping.

From the magazine: “The connection between what the mind perceives and how the body reacts is a curious relationship. Adrenaline flows into our autonomic nervous system when it anticipates that something bad is about to happen—not because something bad is already happening. This hormonal offensive was an essential survival tool for our earliest ancestors that came with our fight-or-flight response, which defends us against immediate threats.”

Leaving those stand-up paddleboarders in the proverbial dust, these new battery-powered boards will let you cruise lakes, rivers, cannals and other bodies of water all without that formerly-critical ingredient: waves.

The Spanish surf company Onean has unveiled two models, the Carver and Manta, respectively designed for serious surfers to slalom across calm water and to let more casual surfers to smoothly explore still surfaces in remote places.

Each version has speed controls tied to a handheld remote and optional foot slots for greater traction. A third model, the Blade, is also in production but details about the board have yet to be released.

The Carver owes its look to the classic longboard and its speed (around 5 miles per hour) to an interchangeable onboard battery powering an axial water pump. The wider Manta has is slightly slower and wider, made for cruising.

The battery life on the faster variant is only 20 minutes, at which point it can be swapped with a spare, but the latter has more energy storage, allowing for up to 2 hours of travel and enabling more ambitious explorations.

Aside from obvious coastal uses (like providing a backup board on calm days at the beach), electric boards can bring an entirely new sport to landlocked but water-covered places like Minnesota, the Land of 10,000 Lakes.

For the past three years, this bold and big-thinking photographer has located and explored some of the world’s most vast abandoned spaces, from power stations and cooling towers to gigantic castles and expansive mines.

For Matt Emmett, “these places are far more interesting than the ‘official’ world heritage locations or tourist attractions.” He focuses on ruins that inspire awe and eschews dilapidated cities and derelict neighborhoods for a purer experience of forgotten places that show no trace of recent human occupation.

Silence is part of the key. “From the point of view of a photographer there is a total lack of distraction in the stillness of a derelict building; the sound and movement associated with people or workers has been removed, for me this makes them far more sensory than when they are occupied. Your mind can easily focus on what is around you and takes in so much more.”

His recent destinations include large-scale industrial and military complexes with huge interiors and giant-sized artifacts that engender awe through sheer scale. Signs advising no entry, prohibited access or trespasser prosecution only make these building infiltrations more intriguing.

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Forgotten Heritage Exploring Europes Largest Deserted Places

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.