In the 1990s, photographer and multimedia artist Steven Sebring dreamed of a day where space and time would be interwoven in a single continuum. The Internet, until then the prerogative of a select few large institutions, was slowly making its way into family-homes. Photographers still relied on film, but the age of the megapixel was not far. Revolution was around the corner.

But for Sebring, revolution couldn’t come fast enough. “To this day, and despite the opportunities recent innovations afford us, representations of our world remain for the most part two-dimensional. It’s so flat, and deceitful,” says the American artist who has worked tirelessly to turn his mad hatter vision into reality.

He built a 15-foot geodesic dome rigged with a hundred digital cameras arranged along a circular rail in his New York City studio. A NASA-like control room allows him to fire them remotely and then automatically stitch the captures into a 360 degrees seamless composite; all in a matter of seconds. He calls it “The Revolution Rig”.

“It’s been quite the journey,” he says. “Software developers, engineers and I have been developing the system for the past two and a half-year and experimenting with it. We haven’t even come close to exhausting our options. Every time we play with the Rig, it’s like opening Pandora’s box.”

Early experiments had Sebring elaborate on Eadweard Muybridge’s pioneering work. In the late 19th century, the British photographer dissected human and animal motions by using several cameras. Thanks to his images, debate over whether all four hooves of a galloping horse were at once off the ground, was settled: they are.

These movement studies in mind, Sebring sought to produce a seminal yet entertaining opus dedicated to the art of posing. “I wanted to document the beauty of the human form because it is a source of inspiration for so many artists working in different fields, me included,” he explains.

Canadian supermodel Coco Rocha, known for her versatility, turned out to be the perfect muse. Dressed in a skin-colored leotard, she stepped into the dome and began acting the part of Botticelli’s Venus, a prima ballerina or Grace Jones under the unforgiving gaze of a hundred objectives. Within three days, the 26 year-old struck the thousand different poses that make up “The Study of Pose”. “I guess the experience can be quite nerve-racking,” says Rocha. “But, as a model you don’t have the luxury of being overly self-conscious. That said, when I look at some of my poses from an unusual angle, I notice that they are not always the most flattering. It was about capturing form, not necessarily elegance.”

Again much like Muybridge, Sebring faced more technological challenges when the time came to share his observations. To recreate the movement he recorded, Muybridge developed the zoopraxiscope. Through this rotating device, transcriptions onto a glass disk of his images were projected quickly one after another in such a way that they became animated. That signaled the advent of cinematography.

Sebring had to wait for interactive displays to become more commonplace. “In print what you have is what a single camera captures. Thanks to touch-screen technology, which is emerging as the way we digest content in the twenty-first century, you can render the full experience,” he says. “If the book version of The Study of Pose shows a thousand poses; the app contains a hundred thousand.”

Rocha is not the only one to have tried Sebring’s futuristic cocoon. Dancers, body builders, wrestlers, and even his longtime friend Patti Smith have all had their movements scrutinized. In some, the photographer drags the shutters of the multiple cameras. In others he triggers them in sequence, split-second apart. “That’s where the fourth dimension comes in. We’re recording time and then blurring it by condensing it into one frame”, he remarks.

Lately, Sebring has been trying to break the next frontier, which he calls the “fifth dimension”: record and incorporate the sounds of what goes on inside the dome. “The possibilities for experimentation and application are endless. People have yet to understand just how far we can take this technology. But once they do and once they embrace it – which is inevitable – there’s no going back.”

Steven Sebring‘s Study of Pose, published by Harper Design, is available now, while an exhibition runs at Milk Gallery in New York until Dec. 21. An iPad app will be available later this year.

Laurence Butet-Roch is a freelance writer, photo editor and photographer based in Toronto, Canada. She is a member of the Boreal Collective.

You may have noticed a lower number on your gas station receipts. The average price of gas in the U.S. is now $2.55 per gallon, the lowest it’s been since 2009. We’re told to never question a good thing, but why are these prices falling?

Watch The Brief to find out why you’re spending less than usual at the pump.

Maroon 5 frontman Adam Levine is just like the rest of us — in the sense that he would totally prefer singing R. Kelly’s “Ignition (Remix)” instead of literally any song by Maroon 5. (Seriously, when you’re at karaoke faced with the choice between R. Kelly and Maroon 5, you know you’re going with R. Kelly. Every time.)

And so, at a recent The Voice coaches concert, Levine performed one of his band’s songs, “Sunday Morning,” before launching into the real performance, the part that actually mattered. The R. Kelly part.

You probably think you’re going to hate this, but give it a chance, because it’s surprisingly good and kind of makes us want to go to karaoke with Adam Levine.

A 5-second teaser clip from Game of Thrones, Season 5, was leaked on YouTube Monday, despite HBO’s spirited attempt to keep the content securely within the show’s official webpage.

HBO invited fans to visit the show’s official webpage and sign up for access to the clip by entering their personal phone numbers. A link to the clip was then sent to the fan’s mobile phone, at which point the clip could be played just once, only on that mobile device, before it vanished into the ether. That is, until one crafty Redditor, spotted by Vulture, finagled a way to record the clip and share it over YouTube.

When I speak at law schools, I am always asked about the Colbert Super PAC “Americans for a Better Tomorrow, Tomorrow” and its sibling 501(c)(4), “Colbert Super PAC Shhh.” Almost every time, someone asks, “How did you and Stephen Colbert plan the story line of his coverage of money in politics?”

The assumption at law schools, where law professors create a course by designing a complete blueprint for each subject, is that Stephen’s two years of on-air legal conversations on money and politics issues were planned and scripted in advance. Stephen certainly offered the American public a course in modern campaign finance law, but there never was a master plan for the discovery of the American campaign finance system’s peculiarities. Instead, our serial discussion evolved in wonderful spontaneity, appropriate to Stephen’s belief in the power of improvisation. One conversation simply led logically to another—unless Stephen got that wild look in his eyes and said “What if I did…?” (like “run for President of South Carolina”), and then the dialogue took an unexpected turn.

The 2012 presidential election cycle was a remarkable time in the campaign finance field. Campaigns evolved in real time as they experimented with the new political vehicles known as Super PACs and explored the gray areas of election law. Along the way, Stephen effectively demonstrated the absurdities and workarounds in our campaign finance system through the creation of several legal entities: a non-connected PAC to raise money to influence elections, a Super PAC to raise unlimited contributions from corporations and labor unions, and a 501(c)(4) social welfare organization used to launder contributions to keep donors anonymous.

Finally, he was able to show America the loopholes (or “loop-chasms” as he called them) in the laws designed to regulate coordination between candidates and supposedly “independent” groups. By having his own Super PAC and 501(c)(4), Stephen could evolve right alongside the campaigns—or often be a step ahead of them. His understanding of the possibilities inherent in the legal confusion was keen enough to discover and exploit absurd legalities before it became clear that actual candidates and political activists were doing the same thing.

Working with Stephen, I quickly came to respect his quick and sharp intellect, including that skill so highly prized by lawyers: the ability to ingest and intellectually digest a large amount of information on an unfamiliar subject, distilling it into key questions and insights. The fact that he could do this with unfamiliar campaign finance legal concepts always amazed me; that he could then boil it all down to a 4 ½ minute on-air discussion and make it funny was pure genius. I told him at one point that if he ever wanted a different career, he would make the world’s best Supreme Court advocate. After all, the highest paid lawyers master the factual record of their case, apply a nuanced area of law, and present the breadth of this material to the justices in a digestible and persuasive manner. The only difference is that Supreme Court advocates have 30 minutes and Colbert had 4 ½.

Stephen, if you ever decide to move on from the entertainment industry, I would be happy to refer potential Supreme Court clients.

Trevor Potter, Stephen Colbert’s “personal lawyer” for his SuperPac, is a former FEC Chairman and currently a member of the Caplin & Drysdale law firm and President of the Campaign Legal Center, a public interest law firm.

For Glee‘s sixth and final season, Rachel and Kurt are returning to McKinley High to reinstate the Glee Club. And from the looks of the trailer, that involves butting heads with Ms. Sylvester, running into The Dalton Academy Warblers and, of course, singing “Let It Go.”

But where’s Idina Menzel?

Glee‘s sixth season kicks off with a two-hour premiere on Friday, Jan. 9 on Fox.

This article originally appeared on EW.com

The Parks and Recreation crew just wrapped its final season, which will begin airing Jan. 13, and we’re starting to get a little misty-eyed thinking about saying our goodbyes to the great people of Pawnee, Ind.

The show’s cast and crew, of course, have also been getting pretty nostalgic about wrapping up the beloved comedy. On the last day of filming, they were tweeting photos and memories and all sorts of sentimentality. And then at the show’s wrap party, it seems the nostalgia continued.

We don’t know much about the festivities — though we imagine everyone was getting drunk on Snake Juice and Amy Poehler sang “Poker Face” — but we do know Chris Pratt took the stage (possibly in character as lovable idiot Andy Dwyer?) to sing “5,000 Candles In the Wind.” As you probably recall, that’s the song Andy’s band Mouserat performed as a tribute to Li’l Sebastian, the miniature horse who was basically the Beyoncé of Pawnee.

Oh man, all this nostalgia, but I’M NOT CRYING, OKAY?

Read next: Watch Nick Offerman Sing a Beautiful Tribute to His One True Love, Whiskey

A mother of two political operatives–one Democrat, the other Republican–called into a live debate between the brothers on C-SPAN on Tuesday to tell her sons to lay off the partisan bickering come Christmas.

Joy Woodhouse called into the show using the regular phone line. Within seconds, her right-leaning son, Dallas Woodhouse, recognized the voice.

“Oh god, it’s Mom,” he says, as the left-leaning brother, Brad Woodhouse, drops his head into his hands.

“I don’t know many families that are fighting at Thanksgiving,” the elder Woodhouse said over the air. “I was hoping you’ll have some of this out of your system when you come here for Christmas. I would really like a peaceful Christmas.”

The two brothers work for rival political advocacy groups, at one point broadcasting rival campaign ads in North Carolina, the News & Observer reports.

“Thanks mom,” one of the brothers can be heard saying at the close of the call, though neither one committed to holding a quiet, bipartisan Christmas celebration.