The Earth ‘by night’, captured (in 2012) by the Visible Infrared Imaging Radiometer Suite on board NASA’s Suomi NPP Satellite.
A proposal by ‘computational and speculative designer’ Benedikt Groβ and San Francisco based geographer Joey Lee to ‘run a satellite image based alphabet searching algorithm’ to identify man made structures that look like letters of the alphabet when viewed from above. They say:
..we will traverse the entire planet’s worth of satellite imagery and develop the tools and methods necessary to map these features hiding in plain sight.
Well might you scoff, but the project is already fully funded on Kickstarter.
Google Earth images are compiled from different datasets of satellite imagery taken months, perhaps years apart. Sometimes the process of stiching the smaller images together includes anomalies such as differences in the appearance of the terrain during different seasons.
In his ‘Juxtapose‘ project, artist Daniel Schwartz compiles tasty examples of this split screen exotica.
(Above: the wreck of the Costa Concordia; Mount Fuji in Japan; the Burning Man Festival in Nevada; the Lady Of The North mine sculpture in Northern England, and the Space Shuttle Endeavour on top of a 747)
Now the Russians have gone one better with their geostationary Electro-L weather satellite: its 121 megapixel images (1 km per pixel) were used to create the above timelapse video of the phases of Gaia.
This requires nothing less than full screen and 1080p for the required effect.
The work of David Thomas Smith who sez:
Composited from digital files drawn from aerial views taken from internet satellite images, this work reflects upon the complex structures that make up the centres of global capitalism, transforming the aerial landscapes of sites associated with industries such as oil, precious metals, consumer culture information and excess. Thousands of seemingly insignificant coded pieces of information are sown together like knots in a rug to reveal a grander spectacle.
Questions of photographic and economic realities are further complicated through the formal use of patterns that have their origins in the ancient civilizations of Persia. This work draws upon the patterns and motifs used by Persian rug makers, especially the way Afghani weavers use the rug to record their experiences more literally with vivid images of the war torn land that surrounds them.
We’d really like to see Dublin.
Actually, forget that.