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Computational domes. The design is generated with shape grammars and the construction is adapted with a catenary-simulation. Scripted in Processing.
About
We went to the design museum in Munich and changed upon this OLED display where walking in front of it would cause it to light up. This is the front of the circuit board, and the security guard was really nervous when I got really close to the display to take this photograph.
toomanytribbles, she of the bokehlicious shots and one of my favourite flickrites, took a similar shot here. I had that in back of my mind when I spotted this.
This is part II of this
I'm now adding 9 in the 9th position from the left (the rightmost position, the ones position). This is done in 2 steps: add 10, subtract 1. In this step I subtract 1.
This completes the computation. The result can be read off as 246913578.
Sitting in the doctor’s office, Catherine Rosenberg, of Little Egg Harbor Township, noticed something on a medical report that most patients wouldn’t—the mathematical formula used to calculate the volume of fluid in her swollen leg.
Rosenberg, who was diagnosed with synovial sarcoma at 8 years old, conquered cancer, but the radiation treatments led to her developing lymphedema, a condition that causes severe swelling in the limbs.
Immediately after seeing the formula, her knowledge of numerical analysis told her that there are much more accurate ways to calculate the volume of fluid buildup. Two Stockton degrees, an undergraduate degree in Mathematics and a master’s in Computational Science, and a dedication to advance the field of medicine led her to develop a patent-pending method of measuring fluid in lymphedema patients with help from a number of professors at Stockton and her doctor, Eric Chang.
Photo: Susan Allen/ Stockton University
Computational Fluid Dynamics simulation of the airflow in and around data centre equipment installed with a real data centre.
meta_creation lab: inter-actors, attractors and the aesthetics of complexity
marlon barrios solano
www.dance-tech.net/page/meta-creation
A collaborative workshop interfacing movement art practices, digital creativity, portable computation and networked systems.
This workshop is a collaborative lab to creatively explore the contemporary approaches, practices and aesthetics of self organization and of complex systems within the dynamic couplings of mind, body and information/data flows.
This workshop is an open space for experimentation and inquiry within a well defined theoretical/aesthetic frame and open space format: the participants self-organize in different node projects (collaborative and flexible groups) in order to investigate and deploy bottom-up architectures as compositional prototyping strategies and processes. It explores interactivity plus generativity.
An embodied/distributed cognition approach is used to generate physical activities and games, guided discussions/conversations about relevant artists works and concepts exploring the aesthetic of complex systems and emergence.
Open source technologies and methodologies will be explored in combination with composition in real-time.
Inter and trans-disciplinary explorations are encouraged and diversity is the main asset.
Several nodes of research projects are suggested:
Sampling, recombinations and mashups
New Internet technologies (web 2.0) and collaborative creation
Post-pc technologies apps, tablets and mobile technologies
Life logging and creative process
Media Capturing and Real time processing
Bottom-up architectures of generative systems
Hybrid realities and alternative sites
Portable cameras and video production
Online video and video straming
Cloud/social computing
Locative media/Mobile
Performance, rule systems and algorithms.
Computer aided choreography
Portable hardware as interfaces/interactive media control
Social media for distributed creativity and knowledge production
Networked documentaries/storytelling.
Photos from workshops in Beirut, Lebanon.
October 2011
ASCENSION: An Interactive Installation
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The Project
Willpower (William Ismael) + Carrie Mae Rose collaborate in the duo FLUID THUNDER for the interactive projection mapping of the tetrahedron winged computational fashion installation at Eyebeam (Art + Technology Center in New York City).
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The Process
Carrie Mae creates hand-built wing structures out of wire tetrahedrons and fabric. Willpower codes 2 animations in Processing, which is an open-source programming language, development environment, and online community. He uses Leap Motion, which is a sensory technology, detecting human hands and fingers. He uses a Processing Library by onformative (a studio for generative design based in Berlin) called LeapMotionForProcessing to use Processing seemlessly with Leap Motion. Willpower attaches his interactive human generated animations to the Leap Motion sensor. They follow a person's hand movements in real-time and on key with accurate precision. The public interacts with the installation by activating the wings through their physical movements.
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The Story
The animation displays beams of light representing solar neutrinos and the love we have access to at all times. Wings symbolize aspiration and ascension. The light is symbolic of angelic light coming from realms above, shining down to inspire and remind us that we are pure love in our hearts. The bubble eruptions represent both the thunderous fire energy residing inside our human forms and the Big Bang Theory that we are all becoming lighter and lighter each moment in time throughout our expansion into infinite space.
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The Experience
Human beings generate the art on the angel wings by moving their hands. They become part of the art. They create the art. An ongoing 3D generative animation is mapped behind the wings. An interactive animation generated by people is mapped onto the wings. Without human movements, no animation is created on the tetrahedron angel wings. We include you to be part of the art because it is about us. It is about the interaction between the artists and the visitors. We communicate and transcend messages which are experienced beyond just looking at a piece by making you a co-creator of the piece. It is about us coming together and interacting in the space with 'others' we may have not engaged in a conversations with otherwise. It becomes an unique shared experience.
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Credits
Installed at Eyebeam.
Sculpture by Carrie Mae Rose.
Interactive Projection Mapping by WILLPOWER STUDIOS (William Ismael).
Video Shot + Edited + Music by WILLPOWER STUDIOS (William Ismael).
Watch Video: vimeo.com/78205976
Download Press Package: fluidthunder.com/ASCENSION-Press.zip
To know more about project, visit FluidThunder.com
BLOODHOUND SSC is a car that hopes to reach 1,000 mph (Mach 1.3 or 1.3 times the speed of sound) and set a new World Land Speed Record.
Swansea University researchers have been closely involved with the project.
Watch a 2 minute BBC report on Bloodhound and Swansea University's involvement
www.bbc.co.uk/news/uk-wales-27689733
Details of Dr Ben Evans' lectures on Bloodhound:
Alright, students, if our speed is 235 kt, our altitude is 7680', our distance to Rwy 24 is 32.8 nm, and our arrival is in 8 min/22sec, what is our descent rate in fpm? Ha.
meta_creation lab: inter-actors, atractors and the aesthetics of complexity
www.dance-tech.net/page/meta-creation
A collaborative workshop interfacing movement art practices, digital creativity, portable computation and networked systems.
This workshop is a collaborative lab to creatively explore the contemporary approaches, practices and aesthetics of self organization and of complex systems within the dynamic couplings of mind, body and information/data flows.
This workshop is an open space for experimentation and inquiry within a well defined theoretical/aesthetic frame and open space format: the participants self-organize in different node projects (collaborative and flexible groups) in order to investigate and deploy bottom-up architectures as compositional prototyping strategies and processes. It explores interactivity plus generativity.
An embodied/distributed cognition approach is used to generate physical activities and games, guided discussions/conversations about relevant artists works and concepts exploring the aesthetic of complex systems and emergence.
Open source technologies and methodologies will be explored in combination with composition in real-time.
Inter and trans-disciplinary explorations are encouraged and diversity is the main asset.
Several nodes of research projects are suggested:
Sampling, recombinations and mashups
New Internet technologies (web 2.0) and collaborative creation
Post-pc technologies apps, tablets and mobile technologies
Life logging and creative process
Media Capturing and Real time processing
Bottom-up architectures of generative systems
Hybrid realities and alternative sites
Portable cameras and video production
Online video and video straming
Cloud/social computing
Locative media/Mobile
Performance, rule systems and algorithms.
Computer aided choreography
Portable hardware as interfaces/interactive media control
Social media for distributed creativity and knowledge production
Networked documentaries/storytelling.
Photos from workshops in Beirut.
I'm now subtracting 5 in the 5th position from the left. This is done in 3 steps: subtract 50, add 40, add 5. In this step I subtract 50 by subtracting 5 in the 4th position from the left.
University of Graz — Artificial Life Lab (Project coordination) (AT), Universite Paris Diderot — LIED (FR), Ecole Polytechnique Federale de Lausanne — LSRO (CH), University of Zagreb — LARICS (HR), FCiencias.ID — Associacao para a Investigacao e Desen, Cybertronica Research (DE)
Bees, fish and robots solve difficult network problems together
Networks are ubiquitous in our world today and are growing and complexifying at a global scale, from traffic and logistics to social networks and the “Internet of Things.” Optimal design of such networks is a difficult task, exploding in complexity with network size and connectivity. Thus, smart heuristics are a key technology – using randomized guessing as a form of provoked error is central to their functionality.
In ASSISIbf we aim for a radically different approach towards network optimization of this kind: We use “fuzzy” swarms of honeybees and fish, in association with autonomous robot swarms. These novel bio-hybrid “computational symbioses” efficiently search for optimal, or near-optimal, network configurations.
Credit: tom mesic
I'm now subtracting 6 in the 6th position from the left. This is done in 3 steps: subtract 10, add 5, subtract 1. In this step I subtract 10 by subtracting 1 in the 5th position from the left.
I'm now subtracting 5 in the 5th position from the left. This is done in 3 steps: subtract 50, add 40, add 5. In this step I add 40 by adding 4 in the 4th position from the left.
The project Cyber Physical Macro Material, which was developed at the Institute for Computational Design and Construction (ICD) as an ITECH M.Sc. thesis project by ITECH students Miguel Aflalo, Behrooz Tahanzadeh and Jingcheng Chen, demonstrates a tangible vision of a new dynamic (and intelligent) architecture for public spaces.
Credit: Ars Electronica / Martin Hieslmair
In this exercise I'm showing how to add the number 123456789 to itself on the giant Soda Hall abacus. I add in left-to-right order, first adding 1 in the leftmost column, then 2 in the next column to the right, etc. For this particular computation, this order is slightly easier. This first step shows 123456789 entered on the abacus.
In this series, I am not present - this makes it less obvious what was changed, but does not occlude the abacus.
SmartTruck completed, for the first time, a detailed unsteady analysis of its TopKit Aero product—which reduces drag on the sides and back of a trailer—using modeling and simulation on the OLCF’s resources. SmartTruck engineers compared a computational baseline vehicle to the same model with the SmartTruck TopKit Aero product attached using new modeling techniques that more accurately represent real life conditions. Using computational fluid dynamics calculations, the team successfully solved across five different physics equations with additional turbulence equations and found that the overall drag on the vehicle was reduced by approximately 6.6 percent.
The complex physics SmartTruck captured in its simulations successfully met the EPA’s rigorous Phase 2 regulations, which aim to reduce carbon emissions and improve the fuel efficiency of heavy-duty vehicles. The drag reduction shown by the team’s simulations meets the Phase 2 regulations and also translates to a roughly 4–5 percent increase in fuel efficiency. SmartTruck is the first company to request certification from the EPA through computational analysis instead of physical testing, and using numerical simulation, the team reduced the time to complete the certification process by 25 percent and reduced the cost by 75 percent. Eventually, the SmartTruck team plans to release the details of its methods and process to accelerate the adoption of simulation for certification of aerodynamic components.
Image credit: SmartTruck
+ Read the full story:
www.olcf.ornl.gov/2018/08/29/smarttruck-steps-up-simulati...
Joy Buolamwini, Researcher; Founder, Algorithmic Justice League, Massachusetts Institute of Technology (MIT) Media Laboratory, USA speaking during the Session "Compassion through Computation: Fighting Algorithmic Bias" at the Annual Meeting 2019 of the World Economic Forum in Davos, January 23, 2019. Congress Centre - Betazone
Copyright by World Economic Forum / Jakob Polacsek
Computational domes. The design is generated with shape grammars and the construction is adapted with a catenary-simulation. Scripted in Processing.
Soon more on www.benjamin-dillenburger.com
In this exercise I'm showing how to add the number 123456789 to itself on the giant Soda Hall abacus. I add in right-to-left order, first adding 9 in the ones column, then 8 in the tens column, etc. This first step shows 123456789 entered on the abacus.
In this exercise I'm showing how to add the number 123456789 to itself on the giant Soda Hall abacus. I add in left-to-right order, first adding 1 in the leftmost column, then 2 in the next column to the right, etc. For this particular computation, this order is slightly easier. This first step shows 123456789 entered on the abacus.
I'm now adding 8 in the 8th position from the left. This is done in 3 steps: add 50, subtract 40, subtract 2. In this step I subtract 2.
In this exercise I'm showing how to compute 246913578 minus 123456789 = 123456789 on the giant Soda Hall abacus. I subtract in left-to-right order, first subtracting 1 in the leftmost column, then 2 in the next column to the right, etc.
In this series, I am not present - this makes it less obvious what was changed, but does not occlude the abacus.
I'm now adding 7 in the 7th position from the left. This is done in 3 steps: add 10, subtract 5, add 2. In this step I add 2.
...by the College of Engineering at Swansea University
1,000mph
BLOODHOUND SSC is a car that hopes to reach
1,000 mph (Mach 1.3 or 1.3 times the speed of
sound) and set a new World Land Speed Record.
I'm now adding 8 in the 8th position from the left. This is done in 3 steps: add 50, subtract 40, subtract 2. In this step I add 50 by adding 5 in the 7th position from the left.
I'm now adding 7 in the 7th position from the left. This is done in 3 steps: add 10, subtract 5, add 2. In this step I subtract 5.
Computational chemistry efforts such as those by Felice Lightstone’s team at Lawrence Livermore may help streamline the drug discovery process, thereby enabling researchers to bring new therapies to clinical trials and the marketplace more rapidly and with a higher rate of success.
I'm now adding 7 in the 7th position from the left. This is done in 3 steps: add 10, subtract 5, add 2. In this step I add 10 by adding 1 in the 6th position from the left.
I'm now adding 3 in the 3rd position from the left. This is done in 2 steps: add 5, subtract 2. In this step I add 5.
I'm now adding 6 in the 6th position from the left. This is done in 3 steps: add 10, subtract 5, add 1. In this step I add 1.