Nicholas Monsour is an artist and film editor born and raised in Los Angeles.




Ghost Army

The Ghost Army was a United States Army tactical deception unit during World War II officially known as the 23rd Headquarters Special Troops. The 1,100-man unit was given a unique mission within the U.S Army: to impersonate other U.S. Army units to deceive the enemy. From a few weeks after D-Day, when they landed in France, until the end of the war, they put on a "traveling road show" utilizing inflatable tanks, sound trucks, fake radio transmissions and pretence. They staged more than 20 battlefield deceptions, often operating very close to the front lines. Their story was kept secret for more than 40 years after the war, and elements of it remain classified. [wikipedia]


33 types of moth

Angle shades
Autumnal rustic
Blotched emerald
The brick
The clay
Clouded-bordered brindle
Cocaine tussock moth
Common footman
Common marbled carpet
Common wave
Coxcomb prominent
Dark dagger
Dusky brocade
The engrailed
Feathered thorn
Figure of eighty
The flame
Flame shoulder
The Gothic
Green oak tortrix
Lunar underwing
May highflyer
Minsmere crimson underwing
Pine processionary
Poplar kitten
The satellite
Setaceous Hebrew character
The shark
The snout
Snowberry clearwing
Svensson's copper underwing
True lover's knot 

(source: wikipedia)



Olga Poláčková-Vyleťalová


A Gentle Woman, 1969

Affection, 1974Escapes Home, 1980Tristana, 1972Krehké vztahy, 1980

Born August 8th 1944 in Hradec Kralove.  Painter and graphic artist. Private studies (1963; Antonin Kybal), Art school (1968) and Academy of Art, Architecture and Design in Prague (1968-1969; Karel Svolinsky). She showed her works on collective exhibitions from 1974, on her own from 1980. She designed 76 movie posters between years 1969 and 1989. (

(See more here)




From the study Metamorphosis revealed: time-lapse three dimensional imaging inside a living chrysalis, by Tristan Lowe, Russell J. Garwood, Thomas J. Simonsen, Robert S. Bradley, Philip J. Withers, published 15 May 2013 by The Royal Society:

"Studies of model insects have greatly increased our understanding of animal development. Yet, they are limited in scope to this small pool of model species: a small number of representatives for a hyperdiverse group with highly varied developmental processes. One factor behind this narrow scope is the challenging nature of traditional methods of study, such as histology and dissection, which can preclude quantitative analysis and do not allow the development of a single individual to be followed. Here, we use high-resolution X-ray computed tomography (CT) to overcome these issues, and three-dimensionally image numerous lepidopteran pupae throughout their development. The resulting models are presented in the electronic supplementary material, as are figures and videos, documenting a single individual throughout development. [...] In the future, this form of time-lapse CT-scanning could allow faster and more detailed developmental studies on a wider range of taxa than is presently possible."


White Male Human Privilege

I just want to say something brief in regards to the use of live animals in art exhibitions, because it has recently re-re-re-emerged as an annoying trend. Most recently I encountered the dog that is living in the gallery at LACMA as part of Pierre Huyge's retrospective. While I personally believe that living beings have no place as part of human economic transactions (which art exhibits usually are in one way or another), I wont try to convince anyone that it is morally wrong, because there is endless far worse exploitation of animals occurring every second of every day all around us. Instead, I'll just say that I find it artistically pathetic. There is almost always in these cases a white male "provocateur" behind it, who clearly believes that including a non-human living being in the art work is in some way novel or edgy - congratulating themselves for provoking an emotional response from a viewer based on concern and empathy which they mock or play with from their meta-human meta-animal perspective. What's pathetic is that they think they are breaking with a tradition when instead all they are doing is cynically exploiting a tradition by breaking only its most superficial of rules. It's still objectification and commodification based on white, male, human privilege. It isn't novel, and it could hardly be a stodgier, more classical idea. Pierre Huyge could simply have rescued the dog and provided a good home for it, but that would hardly provide him and others who think like him with the false sense of provocation they depend upon to escape real ideas. And the monkey used in a video piece shatters at every moment any concept or artistic intent in the piece by clearly being a bored and confused monkey in a room. The crabs, lobsters and fish are almost certainly bred by businesses that exploit animals or captured wild - both of which are in a real and concrete way environmentally destructive, undercutting Huyge's otherwise interesting ecological constructions. The only way to enter into the meaning of the piece is to ignore these facts, and thats the same way of thinking that exists everywhere. It'd be fucking boring if it wasn't vile. Maybe it's just another banality of evil. It's unfortunate because I admire much about Huyge's work - but empathy and real politics are not in vogue in the very elite and lucrative echelons of international conceptual art exhibitions, or for those who aspire to be included in it.



Nicholas Monsour
Extinction Phone, 2014

Aluminum, thermoplastic, PVC, plywood, paper, refurbished pay phone, crystal oscillator timer circuit, Arduino control circuit, audio circuit, lead-acid batteries, recordings of extinct species, phone book containing scientific names of extinct species.

The extinction phone rings every time a unique species goes extinct on Earth, which is 73,000 times per year, or 200 times per day, or every 7.2 minutes.

This project is a site-specific, interactive art installation.  The phone is controlled by an Arduino microcontroller, and uses an AdaFruit Waveshield to playback audio.  The phone also includes custom built timer and interaction circuitry.  The recordings of extinct animals were gathered from various libraries and collections around the world.

The directory that hangs from the pay phone contains the most up to date and comprehensive list of identified species believed to be extinct.  The phone book can be purchased here.



Taken from


Arranged Exhibition Slide comprised of Diatoms, Sponge Spicules, and Plates and Anchors of Synapta; Imaged using Darkfield lighting technique.

Arranged mount of Sponge Spicula by A.C. Cole, imaged using Darkfield lighting.


Arranged slide, Watson & Sons "Eggs of Butterflies, Etc." shown in detail.

Three arranged slides on opaque backgrounds for incident lighting


Antique microscope slides

Found on Ebay.





The Voynich Manuscript

The Voynich manuscript is an illustrated codex hand-written in an unknown writing system. The book has been carbon-dated to the early 15th century (1404–1438), and may have been composed in Northern Italy during the Italian Renaissance. The manuscript is named after Wilfrid Voynich, a book dealer who purchased it in 1912.

The pages of the codex are vellum. Some of the pages are missing, but about 240 remain. The text is written from left to right, and most of the pages have illustrations or diagrams. Many people have speculated that the writing might be nonsense. However, in 2013, Marcelo Montemurro of the University of Manchester and Damian Zanette of the Bariloche Atomic Centre published a paper documenting their identification of a semantic pattern in the writing; this suggests that the Voynich manuscript is a ciphertext with a message.

The Voynich manuscript has been studied by many professional and amateur cryptographers, including American and British codebreakers from both World War I and World War II. No one has yet succeeded in deciphering the text, and it has become a famous case in the history of cryptography. The mystery of the meaning and origin of the manuscript has excited the popular imagination, making the manuscript the subject of novels and speculation. None of the many hypotheses proposed over the last hundred years has yet been independently verified.

The Voynich manuscript was donated by Hans P. Kraus to Yale University's Beinecke Rare Book and Manuscript Library in 1969, where it is catalogued under call number MS 408. A digitized high-resolution copy is also accessible freely at their website. (Wikipedia)


Cambridge Declaration on Consciousness

In 2012, a group of neuroscientists attending a conference on "Consciousness in Human and non-Human Animals" at Cambridge University in the UK, signed The Cambridge Declaration on Consciousness.  (Download a copy of the Declaration).

Cambridge Declaration on Consciousness

"The absence of a neocortex does not appear to preclude an organism from experiencing affective states. Convergent evidence indicates that non-human animals have the neuroanatomical, neurochemical, and neurophysiological substrates of conscious states along with the capacity to exhibit intentional behaviors. Consequently, the weight of evidence indicates that humans are not unique in possessing the neurological substrates that generate consciousness. Non-human animals, including all mammals and birds, and many other creatures, including octopuses, also possess these neurological substrates."