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Built in 1997, this Modern building was designed by Frank Lloyd Wright between 1938 and 1959, but had its construction overseen by Anthony Puttnam of Taliesin Associated Architects, whom had worked under Wright. It serves as the convention center for the city of Madison, and features a public plaza on the roof, as well as a liner park connecting the building to the nearby intersection of Martin Luther King, Jr. Drive and Wilson Street, providing a clear line of sight of the Wisconsin State Capitol a few blocks to the northwest. The design underwent many iterations during Wright’s later career, though it was heavily influenced by his focus on organic geometric forms that defined his work in the latter portion of his career, departing from the ornamentation of the earlier Prairie style and being more organic than his geometric designs for the Usonian houses built during the same time period. The building’s overall form is very true to Wright’s original concept, though it was made taller and the interior layout and programming are distinctly postmodern or contemporary, making some overtures to Wright’s later work, but featuring materials, details, and elements that make the building very clearly one from 1997, rather than from Wright’s lifetime. Nevertheless, the building is a graceful and spectacular addition to Downtown Madison and the shore of Lake Monona. The convention center came at a high cost in terms of finances, but also in terms of historical relics, with several ancient Ho-Chunk nation burial mounds on the site of the building being disturbed by the construction of its foundation, and the original view from Capitol Square to Lake Monona being forever blocked by the building’s height and rooftop fountain. Nevertheless, the addition of a large public terrace on the roof, a modern convention center, low-profile parking garage, and public restrooms have been a benefit to Downtown Madison and the public.
The building’s exterior facade is relatively simple on the side facing Downtown Madison, with a long linear park and walkway featuring distinctive sculptural lamps designed by Wright, which also are present at the entrance to Martin Luther King, Jr. Drive from Capitol Square, draw visitors to the building. The walkway expands into circular and semi-circular sections and contracts into narrower sections, crossing a bridge over the parking garage and a railroad line below before arriving at the building’s entrance. The entrance features modern storefronts, with a curved concrete parapet and soffit above, which supports a stylish modern fountain above, and is ringed by a semi-circular terrace that wraps around the semi-circular facade, which continues to ramps on either side that provide access to the rooftop terrace above and the parking garage below via elevator and stair towers, which sit at either end of the building and are clad in glass curtain walls. On the rooftop terrace, there are planters with trees, bushes, grasses, and flowers, two food service counters with outdoor seating and their kitchens in circular pavilions, circular pavilions housing restrooms, as well as stairs and elevators to the convention center below, and more sculptural lampposts. The building overall is a large half-cylinder massing with two cylindrical massings partially embedded into the sides, which have two smaller cylindrical massings at the point where the cylinders intersect with the half-cylinder facing the lake, with long wings on the flat side of the building that narrow before terminating at semi-circular ends. The side of the building facing Lake Monona features seven arched curtain walls separated by slender columns, which are recessed from the face of the facade above, and feature a planter at the base of the windows, a long curved storefront at the base that is recessed below the planter with the two circular massings embedded into the sides of the building’s semi-circular main massing being largely blank with cutaway arches at the base that expose the building’s structural columns. Part of the building sits over Lake Monona, and rests on concrete piers that are embedded into the lake bed below, which also support the Capital City Trail, a multi-use path that passes on the lake side of the building. The parking garage sits above John Nolen Drive and a railroad line, and is made of concrete, featuring arched openings and two spiral ramps, which harmonize with the design of the rest of the building. Inside, the building features multiple floors of convention and meeting space, with windows featuring curved bulkheads and soffits, large open atriums between various floors that are semi-circular in shape, which have staircases cascading down to lower levels and feature planters and half-height walls with gracefully curved tops, vaulted ceilings in some areas, red carpeting, decorative cove light fixtures, and large spaces with modern systems and amenities, which manage to embody the spirit of Wright’s design philosophy.
The building is a significant landmark in Madison, dominating the shore of Lake Monona and being a significant feature of the Downtown Madison skyline and cityscape when viewed from almost any angle from the lakeshore. It is the most unique public convention center in the United States, also offering one of the best views and most distinctive interiors of any convention center in the country. The building provided the city with a modern convention center while realizing the design of Frank Lloyd Wright, one of the most notable architects of all time, whom spent much of his life in the vicinity of the city, and symbolizing Wright’s deep connections to the area. The public terrace on the roof of the building added a breathtaking new outdoor space to the city, making the shores of Lake Mendota far more accessible than they had been for generations, creatively bridging the barrier of a large roadway and railroad line that had previously separated Downtown from the lake, and allowing pedestrians to nearly seamlessly walk from the State Capitol to the edge of the lake.
Finally, I decided to try overlaying Iteration 2 on top of Iteration 3.
Pros:
* Since I used two different types of paper, the two designs are still distinctly separate. (That was not planned on my part.)
* I adds some of the complexity of 3 to 2; likewise, it adds the readability of 2 to 3.
Cons:
* Still no loops.
* I really should glue it down if I decide to keep this design.
This image is 640x960 -- insane for a mobile device! Iteration 3.5+ now has PREFERENCES for toggling the nifty intro animations and controlling the ratio between screen resolution and drawing canvas resolution.
I originally pushed an update with an unreasonable "400%" scale factor (which means 16x as many pixels) without testing it first. Trying it on my phone caused the app to crash. I suppose there isn't enough memory for the original image, a copy or two of it in various layers of frameworks, and the compressed version all at the same time. Even the bad boy shown here is over half a megabyte compressed (png).
If you look at the softer bits on the left lob at full resolution you can see lots of regular texture and banding; that's my integer math at work. I didn't expect anyone to see it actually show up in the images.
Nike, Air Jordan 1 Retro High OG Court Purple Men’s Size 12 White 555088-500, UPC 00193658125611, 2019, Jordan 1 Retro High OG Court Purple 2.0, Court Purple iteration, Court Purple White and Black color scheme, Air Jordan 1 Retro OG, Men’s High-top shoe, Purple leather upper, white and black accents, Lace up closure, Nike Swoosh details sides, Air Jordan Wings logo on the lateral side, Encapsulated Air-Sole unit, Rubber outsole, Padded tongue with Nike Air logo, rubber outsole, Cushioned inner sole, Traction rubber outsole, Air-Sole cushioning, original Nike Air branding on the tongue, no logo on the back,
Using the iterative chord enumeration/gray code/shuffle combination, now visualized in realtime via OF with a ported BigInteger class. Next: sort the columns to find out how much disorder there "really" is -- or if the bit ordering is just cleverly obfuscating things.
These sketches are part of my masters thesis, and all the source is available on Google Code: code.google.com/p/oelf/
The next iteration of my pirate cosplay. This time I played with scar make up. The pirate cosplay is one of my favorite's to do because she's an OC and I get to wear all of my favorite things at once.
Among other things this iteration features my hand-made chainmaille, necklaces from Hawaii, jewelry from both of my grandmothers, my Once Upon a Time book necklace and the perfect hat I got from Dragon Wings at the Maryland RenFest!
Discovery! - Iteration II (2017) acrylic and charcoal on paper 1730x915mm
In collaboration with Tony DeVarco
Tony Devarco www.flickr.com/photos/tonydevarco/
CoLab with Mayako Nakamura
www.flickr.com/photos/tonydevarco/sets/72157649519692395/...
ReGenerations
www.flickr.com/photos/tonydevarco/albums/72157666448906835
☆Sold☆
The tetrahedron and its iterations — the octahedron and the icosahedron and the Sierpinski Pyramid — as three-d physical forms developed from paper plates... Or, in other words, vescia piscis mathematics rotated into three dimensions (and yes, a fourth dimension too, because it takes time to build these things...).
Iterative prototyping for the wearable light logger for Light Catchers www.michaelang.com/project/lightcatchers
A variety of failures, mistakes, bugs, and early visions. I like them all though. Thought I would add them to the Fuji portfolio for nostalgia's sake.
Latest iteration of the Hauptwerk Organ setup with AMT-173 Touchscreens mounted in portrait orientation. Note the monitors are rotated such that nominal top of each touchscreen when in landscape mode are at the outer edges of the picture. This overcomes problems with viewing angles.
This is about 7 iterations into laying out the keys. I wanted it to make some kind of visual, and ergonomically logical sense. I considered putting the stop/power buttons at the top, but I want them near the E-STOP, because I must toggle machine power on when I first start things up, and then toggle E-STOP off. It makes more sense not to reach all over for those, and of course, E-STOP needs to be the most accessible, as it's the panic button, so it's centered at the bottom, where it's closest to me, and easiest to hit. I have since changed my mind about Stop Program, and Machine Power, however, and swapped them. It makes more sense to power up, and E-STOP off in left-to-right order, and then the more common program stop is the closest key to me while operating the mill. I use that often instead of E-STOP to kill a program if I notice it running afoul of my preconceived notions.
The 4 axes of my mill (A being rotary for the rotary table I sometimes mount on the mill) are the center row, and the most important things (to me) that affect jogging those axes are the row right above them. Jogging itself, and homing to where I've jogged are on the row just below them, and as I'll be reaching left with my left hand, I've put -/+ under my index, and middle fingers. Clearing the plot is often useful, so it's just a bit farther, in my pinky area on that row. I switch between manual and MDI modes constantly, so they're right up at the top left, in their usual (keyboard) order. Finally, reloading, and running a program are often enough needs that they boxed the rest of the hotkeys out of the keypad.
I have to say at this point that I do not much care for the methods of P.I. Engineering, makers of the X-Keys keypads. They've been out for at least half a decade, and they still won't support Linux at all. These are exactly the kinds of toys/tools the geeky Linux crowd might enjoy, and making them a lot more open would gain more customers from that camp.
As it stands, I'm driven away. I won't consider another of their products, and not just because they're unsupported on Linux, but because they don't even provide simple (easy to provide) tools to let Linux people enable themselves. They just put up a wall, and say "Sorry, you're S.O.L." I'd be thrilled with nothing more than a simple command line utility that lets one program the keys with text strings. Once programmed, the buttons just send standard keyboard commands to any PC, Linux or not. but there was no way (even through wine) to program this through Linux.
I brought it to work to program the above hotkeys in on my Windows box there, but found that though there were installers and things on the P.I. Engineering/X-Keys website, none were an actual install. You need the physical disc in order to install it properly, or XP can't find the drivers. I ran home for the disc at lunch, and after now a 5th full, agonizing reboot (very tedious on my complicated work machine), had the program installed. I'm glad I still have the disc, 5 years later, because I'd be out of luck otherwise. P.I. don't answer any emails (I've sent a few over the years), and there's no help anywhere online for these things. Searching for some of my trouble spots sometimes yielded less than 5 results on Google. Pitiful.
Fourth iteration of this. The first was built mostly studs-up to withstand some preschooler attention; version 2 was rebuilt with a studs-down lower fuselage; version 3 was rewinged and re-engined (and spawned a black LDD cousin). The current version picks up the engine nacelles from an otherwise failed recent project.
Recursion examples for my iterations workshops in Amiens, France.
This is a series of workshops that looks in detail at four fundamental concepts in programming ; variables, functions, control structures and iteration. In each workshop I tackle one of these concepts, discussing their use and applications within artistic practices.
The above image was produced using a simple recursion program that highlights the particularity of functions calling themselves in a program. Written in Processing after reading a wonderful article by the great Robert Sedgewick :
introcs.cs.princeton.edu/java/23recursion/
WORKSHOPS ITERATIONS
The next iteration in the design of a representation of the Ps Framework. This one tries to move away from the nice, neat circles in order to capture the true messy and overlapping nature of the concepts and their relationships.
If I had the skill each of the scribbles would be pulsing, moving and changing.
To be discussed in a blog post - davidtjones.wordpress.com/2009/02/16/frameworks-and-repre...
Using the iterative chord enumeration/gray code/shuffle combination, now visualized in realtime via OF with a ported BigInteger class. Next: sort the columns to find out how much disorder there "really" is -- or if the bit ordering is just cleverly obfuscating things.
These sketches are part of my masters thesis, and all the source is available on Google Code: code.google.com/p/oelf/
Last night, one of my first calculus students had his senior photography exhibit at Bradley University. As I left the exhibit, I noticed this building and was inspired to get out my camera. As I started to edit the photo this morning, I began to experiment and came up with ten iterations of the same photo that I hope each evoke a different response.
The lesson that I have learned from this...don't let the way that you look at something get in the way of seeing it.
Please take a moment to look at all ten variations.
Robin Michals
1916: Mr. Peanut
(from the series A History of the 20th Century)
Archival inkjet print
2007
Robin Michals
1930: Hostess Twinkies
(from the series A History of the 20th Century)
Archival inkjet print
2007
Robin Michals
1964: Fruit Loops
(from the series A History of the 20th Century)
Archival inkjet print
2007
July 31, 1964
Six days earlier Andy Warhol filmed Empire from the 41st floor of the Time-Life building.
Ranger 7 sent back analog photos from the moon to NASA that would become the first digitally enhanced images.
I was in Bound Brook, New Jersey, celebrating my grandfather’s 59th birthday, eating devil’s food cake made from a Betty Crocker mix.
As a child, I ate pop tarts for breakfast, fluffernutters for lunch and TV dinners at night. I spent hours describing the ads I had seen on TV to my mother who worked in consumer marketing. Because we are what we eat, I have transformed images of each era’s convenience foods into the icons of their times.
The next iteration of the Kaiser Permanente Center for Total Health in Washington, DC will bring our members and patients to life in 3 dimensional form, so that their stories can be told better. Follow the #CTHNext hashtag or the @KPTotalHealth handle to follow our progress
For my 4D iteration of my project, I chose to analyze hair braiding as it relates to third wave feminism and its relations to strength and organization. The narration over the video is a recitation of the Dewey Decimal system as it pertains to forces which impact one’s hair and identity. The Dewey Decimal system is also highly categorical, much like the way hair must be broken down into smaller sections in order to be organized into a braid. The video depicts several different styles of braiding, meant for different purposes and based in different cultural backgrounds. For example, the tension is far higher in the braiding of textured (black) hair than straight (white) hair. This increase in tension between the braiding styles for different hair can be seen as a stand-in for the overwhelming tension simply involved with being a minority. The Dewey Decimal system overlay acts to deconstruct the pointing model which the clips of hair braiding depicts by forcing the viewer to analyze the greater contexts surrounding braiding styles.
Fractal type:mandelbrot
Plot size (w,h):2000,2000
Maximum iterations:51000
Center Point (real, imaginary):-0.7499092020491,0.01374769835022 i
Plot Width (real):6E-11
Color scheme name:Polished
Just because the idea is 'in the air', as a gentle reminder that everything comes to a type of fruition in its own time. It's just a question of sitting with it or on it, even.
Fyre is a tool for producing computational artwork based on histograms of iterated chaotic functions. At the moment, it implements the Peter de Jong map in a fixed-function pipeline with an interactive GTK+ frontend and a command line interface for easy and efficient rendering of high-resolution, high quality images.
This program was previously known as 'de Jong Explorer', but has been renamed to make way for supporting other chaotic functions.
All the images you can create with this program are based on the simple Peter de Jong map equations:
x' = sin(a * y) - cos(b * x)
y' = sin(c * x) - cos(d * y)
For most values of a,b,c and d the point (x,y) moves chaotically. The resulting image is a map of the probability that the point lies within the area represented by each pixel. As you let Fyre render longer it collects more samples and this probability map and the image becomes more accurate.
The resulting probability map is treated as a High Dynamic Range image. This software includes some image manipulation features that let you apply linear interpolation and gamma correction at the full internal precision, producing a much higher quality image than if you tried to create the same effects using standard image processing tools. Additionally, Gaussian blurs can be applied to the image using a stochastic process that produces much more natural-looking images than most programs, again without losing any of the image's original precision.
Test album done with a camera and a technology that inspired people over the past one or two years. The Fuji X100s is said to be the newest iteration of Fuji X technology (resolved AF, resolved operation speed, etc…), sporting the newest X-Trans sensor. Prior to shooting I have read Zach Arias’ article on the camera and my friend Charles Lanteigne’s article as well.
After thorough shooting, I have concluded that this camera and the fujifilm brand caters to people who love shooting with fujifilm film rolls and hate retouching their images.
The Fuji X100s does a few of things right. Experiencing such pleasures is quite motivating to keep using that camera. Makes me wish other cameras had them.
- Images out of camera: They are gorgeous, film-like and very pleasing as opposed to the standard AWB digital look of other cameras. The reason why I believe a lot of people shoot film is that the colors of film don’t require must retouching to be beautiful. So does the images from the X100s. As such, you spend less time in front of the computer and more time shooting.
- Style: The camera is gorgeously retro and operates “kinda” well.
- Provides film-style controls where shutter and aperture are assigned to dial and lens.
- Dat ND filter makes shooting in sunlight enjoyable
- Digital publishing: The images are gorgeous on any digital screen.
From there, it falls apart…
- Images are unusable in conventional ways of digital processing (Lightroom in particular handles badly the files). Files stand up horrible when seen up close. While many of my fujifilm owner friends are trying to convince me to play around with alternative ways of processing, I am not ready to give up my workflow for a more complicated and time consuming one. This just break the camera for me.
- AF is reliable 1/3 of the time, often missing its target
- Hybrid viewfinder mechanism gets stuck in the middle of switching
- The EVF is disgustingly slow and hard to use (coming from the OMD and the NEX-6), so I end up using just the optical which is nice
- Navigating the laggy Fujifilm UI is a frustrating mess
- The system needs to drop out of shooting mode to reboot into preview mode
- In preview mode, you need to enter a “burst” folder in order to view all the burst shots you’ve shot.
- It’s really hard to check to see if your image is in focus or is sharp
- The list goes on and on…
In the end, using the camera is an exercice in patience and frustration for a digital camera user providing files that aren’t optimal for post-processing and an unreliable operation that frustrates more than rewards. Yet with a film approach, the process could turn into a happy ending thx to controls that make the camera operate on a similar path as film. The fact that the camera produces gorgeous out of camera images saves a whole lot of computer time for the people who don’t know much about digital post-processing.
My final iteration of the red and green dresses was to try the green dress on a Nu Face doll. And who better than Alejandra Luna Billion Dollar Beauty with her red hair and beautiful jade green eyes. Alejandra gives me a distinct aristocratic bad girl vibe so that's what I was aiming to express in this photoshoot - like she's just got home from a party in the early hours and has taken her shoes off to sneak in via the library and maybe she will have a sneaky shot of whisky on the way...
_DSC2489
Fractal type:julia
Plot size (w,h):2210,2210
Maximum iterations:33000
Center Point (real, imaginary):-1.58443e-07,1.58443e-07 i
Plot Width (real):0.0007
Julia origin (real, imaginary):-0.7503712855904184,0.01551018198435584 i
Source mandelbrot width:3.75E-09
Color scheme name:CandyNecklace
Fractal type:mandelbrot
Plot size (w,h):2210,2210
Maximum iterations:33000
Center Point (real, imaginary):-0.75037128553,0.015510181986 i
Plot Width (real):3.75E-09
Color scheme name:CandyNecklace