View allAll Photos Tagged Complexity
Your brain is considerably more complex wiring than you may think. The main interconnection between your left and right brain hemispheres has 200 million connections. Thus, each wire pair in this cable would represent on the order of 1 million nerves.
"The corpus callosum is the main transverse tract of fibers that connects the two cerebral hemispheres. It is made of more than 200 million nerve fibers."
Source www.emotion.caltech.edu/agcc/info.html
011
Teucrium fruticans, aka Bush Germander, has a fascinatingly complex structure, and can grow to almost overwhelming proportions for many gardens, but its myriad small flowers are quite simply lovely and worth finding space for.
All the scaled dragons I've ever folded displayed on my desk.
Left to right:
Zoanoid dragon, 24" square designed by me
Scaled Wyvern, 19" square designed by Chad Killeen
Ryu Zin 2.1 and 3.5, 19 and 38" squares designed by Satoshi Kamiya
" How is one to live a moral and compassionate existence when one is fully aware of the blood, the horror inherent in life, when one finds darkness not only in one's culture but within oneself? If there is a stage at which an individual life becomes truly adult, it must be when one grasps the irony in its unfolding and accepts responsibility for a life lived in the midst of such paradox. One must live in the middle of contradiction, because if all contradiction were eliminated at once life would collapse. There are simply no answers to some of the great pressing questions. You continue to live them out, making your life a worthy expression of leaning into the light."
- Barry Lopes in Arctic Dreams -
[ Explore #381, May 28, 2009 ] - of course, this couldn't have been possible without all my great and supportive friends, so thank you all!
Image designed. for viewing with ChromaDepth 3D glasses. Greater depth levels than either of the two images to each side of it in my Photostream
In the 1950s, jet fighters were ballooning in size and complexity and declining in maneuverability and affordability. Northrop saw the need for a new jet that would be small, simple, inexpensive to buy, and inexpensive to maintain—yet would still bring supersonic performance and world-class agility.
Today, we label such elegant aircraft light fighters. (In the USAF inventory, the F-16 is the classic example.) In the 1950s, an era in which fighters were brutishly large, fast and heavy, the idea was radical. To develop and demonstrate its vision, Northrop built and flew two prototypes. The first was the N-156F prototype for a supersonic light fighter. The second was the N-156T prototype for a supersonic trainer. These soon evolved into the F-5A/B Freedom Fighter (like the one seen in the photograph above) and the T-38 Talon supersonic trainer. Eventually, the basic design gave rise to the unsuccessful YF-17 and F-20 Tigershark and then to the very successful F-5E/F Tiger II and F/A-18.
The secret to the N-156 designs was a very special engine, the GE J85. This engine was designed to power Quail decoys that would fly in formation with B-52 to draw SA-8 missiles away from the mother ship. This engine was very small — only 45 to 50 inches long & 18 inches in diameter. Amazingly, it weighed only 300 to 500 pounds, yet thrust was a remarkable 2,950 lbs of force (lbf). At Northrop’s urging, GE added an afterburner to the engine, boosting thrust to 5,000 lbf in later models. The N-156 designs and the T-38 and F-5 that followed used a pair of these small high-power engines.
-- Technical Specifications --
Crew: one
- Sizes -
Length: 47 feet
Wingspan: 25 feet
Wing area: 170 square feet
- Weights -
Empty weight: 8,084 lbs
Loaded weight: 11,470 lbs
Maximum weight: 20,687 lbs
Maximum external stores: 4,400 lbs
- Power -
Engine: GE J85 model (x2)
Dry thrust: 2,720 lbf (x2)
Afterburner thrust: 4,082 lbf (x2)
- Performance -
Maximum speed: 924 mph
Maximum Mach number: 1.4
Rate of climb: 28,700 ft/min
Range: 558 miles
This particular F-5A Freedom Fighter was originally sold to Iran. Iran later gave the aircraft to Jordan. Today, it resides at the Pearl Harbor Aviation Museum on Ford Island in Honolulu, Hawaii.
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
The photo illustrates the complexity of Lausanne's overhead trolleybus lines. It was taken at the entrance to Chauderon station, one of the city's main public transport hubs. Lausanne's first trolleybus lines date back to the 1930s.
La photo donne une idée de la complexité des lignes aériennes des trolleybus de Lausanne. Elle a été prise à l'entrée de la station de Chauderon qui constitue l'un des principaux noeuds de transports publics de la ville. Les premières lignes de trolleybus de Lausanne remontent aux années 1930,
An abstract photography experiment using Photoshop, manipulating the original portrait photograph into something more intriguing - a primary focus on shape and colour.
Two trains pass through the jumbled maze of steel and wire at Harrison, NJ.
Unknown AMTK/NJT @ Harrison Station, Harrison, NJ
AMTK AEM7 936
complexity of human relations in respect to their environment! a visible spectacle for those who experience!
This HYBYCOZO sculpture is titled Insight and is on the Plants & People of the Sonoran Desert Trail by the Saguaro Harvesting Ramada. This is the portal in and out of the sculpture.
Insight 2018
Stainless Steel, Powder Coat Pigment, LED
This geometric sculpture is inspired by the non-repeating patterns found on rare minerals, such as meteorites. Step inside this immersive artwork, featuring 60 sides covered in intricate patterns, to experience the beauty and complexity of science, mathematics, and nature.
dbg.org/events/light-bloom/2024-10-12/
www.youtube.com/watch?v=FFelgzzzQqg
LIGHT BLOOM by HYBYCOZO is a limited-time exhibit where nature and light converge. This mesmerizing display invites you to explore the Garden transformed by stunning geometric light installations that illuminate the beauty of the desert landscape in a new way. As the sun sets, LIGHT BLOOM comes to life, casting intricate shadows and vibrant hues across the Garden. Wander the trails and let the enchanting installations transport you to a magical realm where the natural world meets the abstract.
HYBYCOZO is the collaborative studio of artists Serge Beaulieu and Yelena Filipchuk. Based in Los Angeles, their work consists of larger than life geometric sculptures, often with pattern and texture that draw on inspirations from mathematics, science, and natural phenomena. Typically illuminated, the work celebrates the inherent beauty of form and pattern and represents their ongoing journey in exploring the myriad dimensions of geometry. HYBYCOZO is short for the Hyperspace Bypass Construction Zone, a nod to their favorite novel (The Hitchhikers Guide to the Galaxy) and was the title of their first installation in 2014. They continue to create under this name. In the novel earth was being destroyed to make way for a bypass. It lead Serge and Yelena to ask what it means to make art at a time where the earth’s hospitable time in the universe may be limited.
dbg.org/meet-the-artists-behind-light-bloom/
Q: Walk us through your creative process?
A: The focus of our creative process is to explore the intricate interplay between geometry, light, space and to inspire contemplation, wonder and a sense of place among our audiences. Geometry and pattern-making serve as the backbone of our creative expression. It is the framework through which we navigate the complexities of form, proportion and spatial relationships. Patterns, both simple and complex, have a profound impact on our perception and understanding of the world. They possess the ability to evoke a sense of order, balance and aesthetic pleasure. Pattern making and geometry offer us a means of storytelling and communication. These patterns serve as conduits for deeper exploration, provoking introspection and contemplation to uncover the underlying symbols embedded within the human psyche.
Q: What inspired the concept of LIGHT BLOOM?
A: Just as many cactus and desert plants have evolved to produce night-blooming flowers, adapting to their environment and thriving in darkness, our sculptures come alive after sunset, blossoming with light and transforming the night into a glowing landscape of art and geometry.
Desert Botanical Garden has an incredible collection of plants and cacti arranged in a beautiful park setting.
"Think the desert is all dirt and tumbleweeds? Think again. Desert Botanical Garden is home to thousands of species of cactus, trees and flowers from all around the world spread across 55 acres in Phoenix, Arizona."
Desert Botanical Garden
DBG HYBYCOZO Light Bloom
I'm increasingly blown away by the beauty, symmetry and complexity of these things. If someone could create one of these out of glass, big enough to fill your hand, they would be considered a master glassblower or artist... Yet nature dumps a million tons of these in an afternoon for us to slide our cars on, plow out of roads, slide down mountains in....
A nice rendition of a demon I have lately designed. The paper is 50x50 cm tissue paper, the nature of the paper, thinness and colour really worked well for a demon.
Crease Pattern:
www.flickr.com/photos/133041586@N06/25213457075/in/shares...
|| Please don't use this image without my explicit permission. || FreiRaum - My Blog || View On Black
_____________________________________________________________________________
❏ "If you can't explain it to a six year old, you don't understand it yourself." - Albert Einstein
❏ Simplicity is the ultimate sophistication." - Leonardo Da Vinci
❏ It is true intelligence for a man to take a subject that is mysterious and great in itself and to
unfold and simplify it so that a child can understand it." - John H. Taylor
❏ “The greatest ideas are the simplest.” - William Golding_____________________________________________________________________________
Parámetros :: Parameters :: Paramètres: Canon EOS 1100D; ISO 100; 0 ev; f 6.3; 1/50 s; 31 mm Sigma 18-250mm f/3.5-6.3 DC OS HSM
Título :: Title :: Titre ::: Fecha (Date): Complejidad de Kolmogórov :: Kolmogórov's complexity :: Complexité de Kolmogórov ::: 2015/02/01 19:50
(Es). Historia: Fresnellino. León. España. Primero de Febrero en espacios abiertos de viñedos de León, ese lugar único en el mundo donde crece la variedad de uva tinta "Prieto Picudo". Allí donde años antes había un "Prieto Picudo" casi desdeñado por el mercado, ahora hay excelentes vinos en esa zona de Valdevimbre. Viñedos de racimos muy apretados (Prieto) y con uvas en forma de piñones (Picudo). Un paseo con otro fotógrafo y Fray por estos campos en esos días encharcados, cuando el sol ya no alarga las sombras, regala estos atardeceres. En la visión real el paisaje es de extraordinaria sencillez. y ahí entra la relación con la Complejidad de Kolmogórov.
Un programa de ordenador genera el número n si es capaz de imprimir la secuencia exactamente de n dígitos de 1 continuos y luego se detiene. Por ejemplo: un programa diremos que genera el número 3 si emite 111 y se detiene. La Complejidad de Kolmogorov-Chaitin, relativa a un determinado lenguaje de computación como puede ser C++ o Pascal, de un número natural n viene dada por el número de símbolos que contiene el programa más pequeño posible que genere esa cantidad de n unos. K(n) es la complejidad de Kolmogórov y K(n) = m sí y solo sí la Complejidad de Kolmogórov de n es m. Ello indicaría que el programa más pequeño que emite n dígitos 1 tiene m símbolos en su construcción. ¿Y todo ello qué tiene que ver con esta imagen?.
Muchos autores relacionan la Complejidad de Kolmogórov con la sensación de belleza. K(n) se resuelve con el programa más pequeño posible. Pues bien, entre dos escenas similares, encontramos más bella aquella que es más sencilla, cuando su complejidad de composición es menor. Esta escena quizá no cumple la Complejidad de Kolmogórov, pero aseguro que he intentado acercarme; ¿Le sobraría el único árbol que muestra?. En cualquier caso, siempre intento aplicar una adaptación de la K(n) a las escenas de horizontes, con o sin siluetas, porque casi siempre me resulta más bella esa imagen con menor complejidad. Hago mis soliloquios al ver la escena por el visor, recordándome en que debo obtener esa derivada, la K(e) verdadera. K(e) en lugar de K(n) porque no pretendo buscar la sencillez sobre un número "n", sino la de una escena "e".
Toma: Sin trípode, buscando K(e) de la composición en el visor. Encuentro ésta y no lo pienso mucho. K(e) puede llegar a obsesionare y terminar por no hacer la foto. En ocasiones en que he mirado durante más tiempo del debido por el visor, he acabado bajando la cámara y seguir caminando. Esta vez no, lo que tampoco garantiza que la foto tenga algo de interés.
Tratamiento: Con Aperture. Original en RAW. No modifico el encuadre, lo dejé tal como se capturó. Subo ligeramente la densidad de las luces bajas. Elevo la definición, saturación y vibración. Las luces altas las reduzco sustancialmente y recorto los extremos del histograma. Finalmente una viñeta.
¡Eso es todo amigos!
(En). The History: Fresnellino. León. Spain. On The First of February in spaces opened of León's vineyards, this only place in the world where there grows the variety of stained grape "Prieto Picudo" (Blackish Pointed). There where years before it had "Blackish Pointed" almost disdained by the market, now there are excellent wines in this Valdevimbre's zone. Vineyards of very tight clusters (Blackish) and with grapes in the shape of pine kernels (Pointed). A walk with another photographer and Fray for these fields in these flooded days, when the Sun already does not lengthen the shades, gives these late afternoons. In the royal vision the landscape is of extraordinary simplicity. And there it enters the relation with Kolmogórov's Complexity.
A program of computer generates the number n if it is capable of stamping the sequence exactly of n digits of 1 constant and then it stops. For example: a program we will say that it generates the number 3 if it issues 111 and is stopped. Kolmogorov-Chaitin's, relative Complexity to a certain language of computation since he can be C ++ or Pascal, from a natural number n comes given by the number of symbols that there contains the as small as possible computer program that generates this quantity of n digits 1. K(n) is Kolmogórov's complexity and K(n) = m yes and only yes Kolmogórov's Complexity of n is m. It would indicate that the smallest program that issues n digits 1 has m symbols in his construction. And all this what has it to see with this image?.
Many authors relate Kolmogórov's Complexity to the sensation of beauty. K(n) it is solved by the as small as possible program. Well then, between two similar scenes, we think more beautiful that one that it is simpler, when his complexity of composition is minor. This scene probably does not fulfill Kolmogórov's Complexity, but I assure have tried to approach; would it exceed him the only tree that shows?. In any case, always I try to apply an adjustment of the K(n) to the scenes of horizons, with or without silhouettes, because almost always me this image turns out to be more beautiful with minor complexity. I do my soliloquies on having seen the scene for the visor, remembering me in that I must obtain this derivative, the K(e) real. K(e) instead of K(n) because I do not try to look for the simplicity on a number "n", but that of a scene "e".
Taking up: Without tripod, searching K (e) of the composition in the visor. I find this one and do not think it very much. K (e) can come to will obsess and finally don't doing the photo. In occasions in which I have looked for longer due to the viewfinder, I have finished lowering the chamber and to continue walking. This time not, which does not guarantee either that the photo has anything of interest.
Treatment: With Aperture. Original RAW. I do not modify the setting, I made it like it was captured. I raise lightly the density of the low lights. I raise the definition, saturation and vibration. I reduce the high lights substantially and cut the ends of the histogram away. Finally an vignette.
That's all folks !!
(Fr). Histoire: Fresnellino. León. D'abord du Février dans des espaces ouverts de vignobles du Léon, ce lieu unique dans le monde où la variété de raisin teint croît "Prieto Picudo" (Ferme Pointu). Là où des années d'avance il y avait "Ferme Pointu" presque dédaigné par le marché, maintenant il y a des vins excellents dans cette zone de Valdevimbre. Des vignobles de régimes très serrés (Ferme) et avec raisins en forme des pignons (Pointu). Une promenade avec un autre photographe et un Frère par ces champs dans ces jours inondés, quand le soleil n'allonge pas déjà les ombres, offre ces soirs. Dans la vision réelle le paysage est d'une simplicité extraordinaire. et là il entre la relation avec la Complexité de Kolmogórov.
Un programme d'ordinateur génère le nombre n s'il est capable d'imprimer la séquence exactement de n des nombres simples continus de 1 et tout de suite il s'arrête. Par exemple : un programme nous dirons qu'il génère le nombre 3 s'il émet 111 et il s'arrête. La Complexité de Kolmogorov-Chaitin, relative à un langage déterminé de calcul comme ce peut être C ++ ou Pascal, d'un nombre naturel n vient donnée par le nombre de symboles que contient le plus petit possible programme qui génère cette quantité n de 1. K(n) c'est la complexité de Kolmogórov et K(n) = m oui et seulement oui la Complexité de Kolmogórov de n est m. Cela indiquerait que le plus petit programme qui émet n des nombres simples 1 a un m des symboles dans sa construction. Et tout cela qu'est-ce qu'il a à voir de cette image ?.
Beaucoup d'auteurs rattachent la Complexité de Kolmogórov à la sensation de beauté. K(n) il est résolu par le plus petit possible programme. Eh bien, entre deux scènes similaires, nous trouvons plus belle celle qui est plus simple, quand sa complexité de composition est moindre. Cette scène n'accomplit pas peut-être la Complexité de Kolmogórov, mais j'assure que j'ai essayé de m'approcher; lui resterait-il, l'arbre unique qu'il montre ?. Dans n'importe quel cas, j'essaie d'appliquer toujours une adaptation de la K(n) aux scènes d'horizons, avec ou sans des silhouettes, parce que presque toujours cette image me semble plus belle avec une moindre complexité. Je fais mes soliloques après avoir vu la scène par le viseur, en m'éveillant dans que je dois obtenir cette dérivée, la K(e) vraie. K(e) au lieu de K(n) parce que je n'essaie pas de chercher la simplicité sur un nombre "n", mais celle-là d'une scène "e".
Prendre: Sans trépied, en cherchant K (e) de la composition dans le viseur. Je trouve celle-ci et je ne le pense pas beaucoup. K (e) peut arriver à j'obséderai et terminer par ne pas faire la photo. Parfois dans que j'ai regardé durant plus de temps de dû par le viseur, j'ai fini par descendre la chambre et continuer de marcher. Cette fois non ce qu'il ne garantit pas non plus que la photo a quelque chose d'un intérêt.
Traitement: Avec Aperture. Origine RAW. Je ne modifie pas le cadre, je l'ai laissé comme il a été capturé. Je monte légèrement la densité des basses lumières. J'élève la définition, la saturation et la vibration. Je réduis substantiellement les hautes lumières et découpe les extrémités de l'histogramme. Finalement une vignette.
Voilà, c'est tout!
Words, I leaned from experience, can be weapons, words can be healing. Words can unite in friendship or sever in enmity. Words can unlock who I am or mask me from others. Two words, “Sieg Heil,” bloodied the face of Europe; three words “Here I Stand,” divided the body of Christendom. Words have made slaves and freed slaves, have declared war and imposed peace. Words sentence to death (“You shall be hanged by the neck”) and words to restore life (“Your sins are forgiven you”). Words declare marriage dead, and words covenant a life together in love. Words charm and repel, amuse and anger, reveal and conceal, chill and warm. Words clarify and words obscure. A word from Washington rained down atomic hell on Hiroshima; words from an altar change bread and wine into the body and blood of Christ.
-Preaching, The art and the craft, by Walter J. Burghardt, S. J.
My journey into mirrorless started a little over 2 years ago with the purchase of the Sony NEX 6 - intended to allow me to use some inherited Leica M-mount glass on a digital camera (for a variety of reasons is a Leica rangefinder not an option for me). Worked out reasonably well - but the crop factor impacted the usefulness of the lenses somewhat (which led to the purchase of a Voigtlander Color Skopar 21/4 lens for some wider FOV).
Those FOV issues were resolved with the purchase of the full-frame Sony A7 a year or so later - albeit now the thick cover glass of the sensor became an issue because it affected corner performance (corner smearing) and/or caused a color cast that needed post-processing work to remove (sometimes not possible). Nonetheless, I ended up with a compact little system consisting of a Voigtlander Ultron 21/1.8 (the 21/4 shows uncorrectable amounts of color cast), Voigtlander Nokton 40/1.4 (replacing the Leica Summicron 35/2 ASPH (corner smearing)), and Leica Summicron 90/2. There's also a Leica Apo-Telyt 180/3.4 that had its mount changed from Leica-R to Nikon F; due to its size and the need for another adapter, it's not a lens I carry with the A7 system all the time.
Debated for a some time to drop most of my Nikon system (i.e. the full-frame D700) in favor of a Sony E-mount system. Sparsity in lens selection from Sony/Zeiss as well as third parties (will change over time but I don't want to wait years to assemble a system), the fact that often Sony/Zeiss lenses cost more than those from/for Nikon, no or little size advantage of the native E-mount lenses over those from Nikon (resulting in more disproportionate size difference between lens and camera body and hence handling issues), and the short battery life that forces one to carry at least four spare batteries for a day of shooting finally tilted the scale for me - and I purchased the Nikon D810. Traded the Nikon 70-200/2.8 VR for the 70-200/4 VR (the bulk and weight of the f/2.8 zoom caused me to leave it home more often than not).
A set consisting of the A7, Zeiss 16-35/4 and Sony 70-200/4 saves only about a pound of weight compared to the D810, AF-S 16-35/4 VR and 70-200/4 VR - almost entirely due to the smaller and lighter A7 body. And since the lenses are almost the same size as their Nikon counterparts not much space saving is accomplished either. And either the A7 is quite loud for a mirrorless, or the D810 rather quiet for a DSLR - there isn't really much of an audible difference.
I also didn't want to give up the Sigma 35/1.4, the Nikon 85/1.8G (with the Batis 85/1.8 there's finally an alternative available for the A7 - even though it costs twice as much as the Nikkor) or the Sigma 150/2.8 Macro (no equivalent available from Sony/Zeiss). Very recently, I added the just released Sigma 24/1.4 to my bag (faster and cheaper than the just released Batis 25/2) - like the 35/1.4 a bargain for what it delivers (the just released Zeiss Distagon 35/1.4 costs twice as much). A 80-400 rounds out my system - again with no alternative with a native E-mount.
The decision to go mirrorless is a personal one and everyone needs to draw their own conclusions. I made mine - I keep the A7 for use with a small set of compact manual focus lenses but my main system for some time to come will be DSLR-based. If one compares the A7II and the Nikon D750, then one will realize that a DSLR can be shrunk to almost the level of a full frame mirrorless body and that the weight differential becomes negligible. For lenses, some weight saving can be realized, but in terms of size, there's precious little difference between mirrorless and DSLR lenses. Mirrorless definitely needs more powerful batteries and the way I see it, one of their advantages over DSLRs is the omission of the mirror and the concomitant reduction in complexity and production costs. AF performance (especially continuous AF) will eventually reach DSLR level and EVF lag is already reduced to a level that makes it negligible. I think we will eventually see some hybrid finders in DSLRs - allowing to see, for example, a histogram, a magnifier, and a two-axis level superimposed on the focusing screen.
Edit November 2015: Something I had not even considered in my decision because I only used the Sony with manual focus lenses - the AF performance is nowhere near that of a high-end DSLR. There are a sufficient number of reports that demonstrate inconsistencies, slow performance in low light, poor tracking, and the inability to quickly select a focus point yourself. Also, in continuous mode shooting, EVF blackout is an issue - it's actually substantially longer than that in a DSLR caused by the mirror movement. Where is the advantage of mirrorless in that aspect? By now we have the A7RII and also a A7SII - those issues still remain. Pretty soon, the MkIII version will appear - let's see if they have reached the AF performance level of a Nikon DSLR yet.
And if it isn't blackout - then it is the inability of the EVF to update quickly enough - try tracking something that moves and you most certainly can't rely on the viewfinder - the subject is never where the viewfinder shows you it is - much unlike the OVF in a DSLR. An A7RII in Hi speed drive mode has virtually no blackout (much unlike the Lo speed mode) - but the EVF can't follow and at least from my testing I have to conclude that AF can't follow and track either under these conditions.
A lot of reports want to put the newly released A7RII on the same level as the D810. And I suppose for some applications that is true (or the Sony may actually be more suitable). As I understand it most certainly for video - which is of no interest to me at all. And with the overheating issue of the A7RII you would be limited to shooting less than 1/2 hour anyway ;-(.
The resolution difference will be barely noticeable - and your image IQ will be influenced more by your lens choices.
The main differences are EVF vs OVF and the AF performance - for the former there are advantages on either side; for the latter, there's even at the MkII stage of the Sony A7 Series nothing to be gained over the Nikon.
It is very hard to come by unbiased reviews; when making your own decision, keep an eye out for the things that matter to you - don't fall for the hype. At this point, the choice between DSLR and mirrorless is still one between a mature system and one that has a ways to go to get there.
More here: www.flickr.com/photos/beachwalker2007/32159772370
A hyperbolic tiling created using the Fractal Science Kit fractal generator. See www.fractalsciencekit.com/ for details.
A Hyperbolic Tiling replicates a polygon over the hyperbolic plane represented by the Poincare disk in such a way as to form a hyperbolic tiling pattern. The Poincare disk is a model for hyperbolic geometry that maps the hyperbolic plane onto the unit disk.