Speaking of cinematic future-scapes, Tasha Robinson wrote a thorough piece for The Dissolve about how — despite Tomorrowland‘s claim that the future has only recently become the locus of anxiety and cynicism — it was always used to unsettle film audiences. Relatedly, another movie that may make you — only very superficially — think “science” is The Rock’s San Andreas; one very serious seismologist, however, gave its “science” much more than a surface analysis, getting down to the core of all its faults.
While movies can easily (albeit expensively) envision destruction, Naziha Mestaoui is attempting to help slow and fight the inevitably destructive issue of climate change: this year, while Paris hosts the United Nations Climate Change Conference, she’ll be projecting green, digitized forests onto the city’s landmarks. The projections will be linked, through an app, to the heartbeats of people who use it (with a suggested donation of 9 dollars to fund the planting of trees), which will feed the plants in the projection (it basically sounds like a massive, environmentalist Gigapet). Meanwhile, on a much smaller scale, a new exhibit at the Ogden Museum of Southern Art in New Orleans, self-explanatorily called Tennessee Williams: The Playwright and the Painter, showcases just that. According to Hyperallergic, the playwright “expressed his loneliness, sexuality, and loathing for Truman Capote” through painting, and, indeed, the images are melancholic and exquisite.