View allAll Photos Tagged Visualisation-----
This I hope gives you a feel of what it feels like in an earthquake.
When you spend your whole life thinking that you and your home are built on solid ground, it can be quite a shock when you find it is not. You can feel the house shaking like a dog with a toy, rising up violently underneath you or the most gentle form which is when the ground moves gently like a wave moving under a rowing boat.
It is not just the movement, you often get a rumbling sound which can precede a violent shake or can result in no movement at all. This means that some vehicles can sound like the rumbling initially and in the early days would get your heart racing. Another form of stress is when big excavators as heavy as a tank move as you can feel the ground shake from streets away, but you do not always hear the engine.
For most of us the problem when the shaking starts, is wondering if this is the start of an extremely violent earthquake or will it peter out.
Simple visualisation of the Game of Life, where living cells are placed as spheres in a spacetime diagram. The color depends on the time the cell has been alive and the number of neighbours.
Rendered in PovRay.
Clouds captured by ESA astronaut Luca Parmitano during his Beyond mission on the International Space Station. Luca captioned this image: Vortexes like a braid over the sea, visualising a beautiful aerodynamic effect.
ID: 550A0274-1
Credit: ESA-L.Parmitano
This visualisation of the three-dimensional structure of the Pillars of Creation within the star formation region Messier 16 (also called the Eagle Nebula) is based on new observations of the object using the MUSE instrument on ESO’s Very Large Telescope in Chile. The pillars actually consist of several distinct pieces on either side of the star cluster NGC 6611. In this illustration, the relative distance between the pillars along the line of sight is not to scale.
More information: www.eso.org/public/images/eso1518a/
Credit:
ESO/M. Kornmesser
This Blue Tit was afraid of being left out as this Robin ate a few seeds from my head during recent cold spell.
Really interesting visualisation by Nexus: view interactive version
I've added some notes explaining the clusters. They're remarkably distinct.
* The left cluster is personal, the right cluster is work.
* There are 3 sub-clusters in Personal, and 4 sub-clusters in Work
* Jared connects both personal and work clusters. He connects with both Wheel/LBi (where he and I used to work) and Isotoma (where I currently work), and he and his wife became good friends of ours.
* Besides my wife and my brother, there are virtually no family members in the graph. They're not very wired.
* I've lost touch with nearly all people I knew in school, and most of those I knew in uni
* I tend to add only people I know fairly well in real life, and very rarely clients
Nexus also shows you what you have in common with people in your network (Interests and Groups), ordered by the number of similarities. In my cases mostly Interests since I don't tend to join Groups. (Interests are fuzzy and unreliable.) Interestingly, the person at the top of my similarity scale is one of the outliers, Mary, whom I only know through Flickr.
Would love to see something like this for Twitter. TwitterAnalyzer is similar, but does not do the same kind of clustering. Also want this for Linkedin and Flickr
The drum beneath the main body of the guitar is spinning, which aids the sine-wave of each string clearly visible. At Copernicus Science Museum (Centrum Nauki Kopernik), Warsaw, Poland.
Exciting discoveries during our excavations at Sherford, Plymouth have provided the wonderful opportunity to bring to life the evidence through photogrammetry and 3D reconstructions.
Reconstruction by Will Foster.
See our blog for more information.
To find out more about reconstructions and visualisations click here.
These are screenshots taken from a 3D data visualization i realized at the Copenhagen Institute of Interaction Design for the Quantified-Self workshop (ciid.dk/education/summer-school/ciid-summer-school-2013/quantified-self/) with Marius Watz.
The project is called 'Cycles' and is a visualisation of my sleep cycles data (deep phase, light phase, awake phase, heart rate, efficiency...) recorded via an iPhone application.
The way the towers are built (step-by-step) is a metaphor of the data collection process.
Towers collapse because we are traveling through time (time flies so nothing remains permanently).
Colors are selected from a colour pool.
The longest a sleep cycles is, the more the related color will be selected in the color pool.
Those pics were captured while i was simultaneously drawing the path of the particles (the trails) and moving the camera around.
Visualise a modular 'Jungle of Fun' activity area for 'Coco Pops' featuring the characters from the pack.
Client: Kellogg’s • Agency: Wolf Brand Experience
Visualisation created by DensityDesign students (Team: Serena Del Nero, Marco Mezzadra, Claudia Pazzaglia, Alessandro Riva, Alessandro Zotta) published on "Corriere della Sera - La Lettura" #266.
English version available here:
www.flickr.com/photos/densitydesign/31527995451/in/datepo...
Interaktives Gestalten/Konzeptuelles Gestalten
WS 2007/2008
Im Garten der Information
Gestalten mit „processing“
Florian Jenett (processing)
Prof. Philipp Pape
Prof. Anna-Lisa Schönecker
Informationen aus Datenquellen werden mit Hilfe von processing in lebendige Visualisierung umgesetzt, die dem Betrachter einen erlebbaren Zugang zu diesen Daten bietet bzw. neue Verknüpfungen erkennbar macht.
Studienarbeiten von:
Gernot Baars
Alex Balzien
Daniel Becker
Helena Fischer
Marcel Fleischmann
Nils Holland-Cunz
Stefanie Jellen
Susanne Kehrer
Sabrina Koehler
Nora Korn
Martha Richter
Kristina Klinkmüller
Christopher Adjei
Interaktives Gestalten/Konzeptuelles Gestalten
WS 2007/2008
Im Garten der Information
Gestalten mit „processing“
Florian Jenett (processing)
Prof. Philipp Pape
Prof. Anna-Lisa Schönecker
Informationen aus Datenquellen werden mit Hilfe von processing in lebendige Visualisierung umgesetzt, die dem Betrachter einen erlebbaren Zugang zu diesen Daten bietet bzw. neue Verknüpfungen erkennbar macht.
Studienarbeiten von:
Gernot Baars
Alex Balzien
Daniel Becker
Helena Fischer
Marcel Fleischmann
Nils Holland-Cunz
Stefanie Jellen
Susanne Kehrer
Sabrina Koehler
Nora Korn
Martha Richter
Kristina Klinkmüller
Christopher Adjei
QGIS 2.18.3, Time Manager Plugin, ffmpeg.
Python code to create geodesic buffers around New York using the pyproj library. Used the "accumulate features" option in Time Manager. Used stand-alone ffmpeg as i'm used to it, although i see TM now supports it (and animated gifs with imagemagick)
also used the ogr2ogr -wrapdateline option to avoid the "fall off the end of the world" antimeridian artifacts.
Each black ring represents the ~300 km light travels in 1 millisecond, red rings at 5 ms intervals. Speed is 5 frames/sec, so slowed down 200x from real-time. Takes just under 67 ms to get to antipodean point.
In reality, of thinking about things like ping times to servers, refraction inside the fibre optics slows things somewhat (up to 30-odd percent). And the cables don't necessarily follow great circles (shortest paths).
Aim of this was more to bring the scale down to something I could visualize (as a coder, ms seem a natural unit)
"When confronted with a situation that appears fragmented or impossible, step back, close your eyes, and envision perfection where you saw brokenness. Go to the inner place where there is no problem, and abide in the consciousness of well-being."
- Alan Cohen
submitted to 100 words
98/100 words: visualisation
These are screenshots taken from a 3D data visualization i realized at the Copenhagen Institute of Interaction Design for the Quantified-Self workshop (ciid.dk/education/summer-school/ciid-summer-school-2013/quantified-self/) with Marius Watz.
The project is called 'Cycles' and is a visualisation of my sleep cycles data (deep phase, light phase, awake phase, heart rate, efficiency...) recorded via an iPhone application.
The way the towers are built (step-by-step) is a metaphor of the data collection process.
Towers collapse because we are traveling through time (time flies so nothing remains permanently).
Colors are selected from a colour pool.
The longest a sleep cycles is, the more the related color will be selected in the color pool.
Those pics were captured while i was simultaneously drawing the path of the particles (the trails) and moving the camera around.
I wanted to compile a nice square thumbnailing of the different creative and innovative techniques to visualisation info/data.
each square is hyperlinked.
will probably keep adding when i get time.
visualisationmagazine.com/100datavis.htm
blogged with more compilation/gallery links here: visualthinkmap.blogspot.com/2009/10/100-of-best-data-visu...
We collaborated with the RNLI and produce a number of data visualisations to show just what the RNLI deal with every day and how location helps.
Find out more at www.ordnancesurvey.co.uk/blog/2018/11/tutorial-visualisin...
Photographing carpet mock up installations can be an expensive exercise. By utilising design visualisation technologies (Adobe Photoshop and Sketchup) in combination with small inexpensive samples of carpet, cost savings can be made and photo realistic in situ product imagery can be generated for product design and promotional purposes. This is a stock photograph (not my photography) which I have utilised to insert a different carpet designs. The inserted textures, which were smaller than a square metre, were post processed with Adobe Photoshop to make them a seamless repeat pattern. Photoshop's off-set and high pass filters combined with content aware fill and the clone tool are essentials for this type of post processing. I then used Google Sketchup (now Trimble) to locate the perspective vanishing points in the interior image and to generate a floor plane of the carpet texture repeating into perspective. I also used the existing interior image carpet's shadow and highlight data to make the new carpet textures more photo realistic. I then combined the Sketchup generated imagery and interior photograph in Adobe Photoshop.
Artemisia Gentileschi, Rom 1593 - Neapel 1653
Selbstporträt als Allegory der Malerei / Self-Portrait as Allegory of Painting / La Pittura (ca. 1630)
The Royal Collection, Buckingham Palace,
Artemisia Gentileschi was invited to London in 1638 by Charles I, and probably produced this sophisticated and accomplished self-portrait in England. She holds a brush in one hand and a palette in the other, cleverly identifying herself as the female personification of painting - something her male contemporaries could never do.
It was probably during her brief English sojourn (1638-c.1641) that Artemisia Gentileschi produced this painting. She was invited in 1638 by Charles I to come to London to join her father, Orazio Gentilieschi, who had been working in England since 1626. On one level the work depicts an allegorical figure of Painting, and was described as such in Charles I’s inventory. Artemisia follows the standard emblematic handbook of the period, the Iconologia of Cesare Ripa, where Painting is described as ‘a beautiful woman, with full black hair, dishevelled, and twisted in various ways, with arched eyebrows that show imaginative thought, the mouth covered with a cloth tied behind her ears, with a chain of gold at her throat from which hangs a mask, and has written in front ‘imitation’’. Artemisia captures the essentials of this description, leaving out the inscription on the mask and the gagged mouth, intended to symbolise that Painting is dumb. With clothes of evanescently coloured drapery, she holds a brush in one hand and a palette in the other. The work is also, however, a self-portrait: as a woman artist, Artemisia identifies herself as the female personification of Painting. There are precedents for this conflation of identities in representations of female artists. The portrait medal struck by Felice Antonio Casoni, celebrating the Cremonese painter Lavinia Fontana, depicts on the obverse a profile portrait of the artist, while on the reverse appears an allegory of Painting. Artemisia here fuses two established visual traditions within a single image.
Few of Artemisia’s self-portraits survive and the references to them in the artist’s correspondence only hint at what others might have looked like. An engraving after a painted self-portrait of Artemisia by Jerome David, a bronze medal of 1625-8, and the portrait of her by Simon Vouet (private collection, Bergamo) are additional visual sources which may hint at her likeness. Her self-portrait has been identified in many other of her paintings, such as her Woman with Lute (Curtis Galleries, Minneapolis) and the recently attributed Self-portrait as a Female Martyr (private collection), and in many of her other religious paintings, which give some indication of how she represented herself.
It is clear that Artemisia’s image was very much in demand among seventeenth-century collectors, who were attracted by her outstanding artistic abilities and her unusual status as a female artist. The Roman collector and antiquarian Cassiano dal Pozzo was one of her strongest supporters. Writing to him in 1630, she notes: ‘I have painted my portrait with the utmost care’; in a later letter, she promises that she is sending ‘my portrait, which you once requested’. Some scholars have suggested that these two letters refer to the Royal Collection painting, which for some reason Artemisia never sent to Dal Pozzo, but instead brought with her to England. In 1630 she would have been in her mid-thirties, which corresponds with the apparent age in the present picture. However, it would have been be odd for Artemisia to break her promise to send the self-portrait mentioned in her letter to Cassiano dal Pozzo, one of her most prestigious patrons. Certain scholars have inclined to the view that the Cassiano self-portrait has been lost and that this is another, completed after Artemisia’s arrival in London in 1638 (when she was 46 years old).
Artemisia wears a brown apron over her green dress and seems to be leaning on a stone slab used for grinding pigments in which the reflection of her left arm is visible. Underdrawing along her left arm may indicate where she marked out a position for her arm: quick, expert brushwork can be seen in the way in which she has depicted this arm as barely suggested. The area of brown behind her has been interpreted as background, or as a blank canvas on which she is about to paint. It looks like prepared canvas and was always thinly painted, but it is worn and may bear a closer resemblance than was the artist’s intention. She used the ground left exposed to suggest areas of shadow: particularly striking is the rolled up sleeve of her right arm, where fluid strokes of white delineating the edge of her sleeve meet the brown shadow of exposed ground. The position of the fingers of her right hand are different in infra-red reflectography and x-radiography, suggesting that the artist was resolving this area as she worked, eventually lengthening the index finger.
As a self-portrait the painting is particularly sophisticated and accomplished. The position in which Artemisia has portrayed herself would have been extremely difficult for the artist to capture, yet the work is economically painted, with very few pentiments. In order to view her own image she may have arranged two mirrors on either side of herself, facing each other. Depicting herself in the act of painting in this challenging pose, the angle and position of her head would have been the hardest to accurately render, requiring skilful visualisation.
With this fascinating work Artemisia Gentileschi contributed to seventeenth-century visual arguments concerning the elevated status of the artist.
Source: The Royal Collection, Buckingham Palace, London
3D heatmap of AirBnB properties in Edinburgh, using data from InsideAirBnB. Data processed in QGIS (Heatmap render, exported to PNG) and used Blender 2.79 to render.
In reality almost all of Edinburgh has some AirBnB. To increase clarity and make it easier to identify areas on the map I raised the map vertically to obscure the 'low density' areas.
Note, this is a 3d representation of a heatmap. It is a "probability surface" - not an absolute count of the number of properties. The higher the 'terrain', the more likely you are to find an AirBnB property there (or rather, within 20 meters, which is the kernel radius)
Blender notes: heightmap is a mixture of transparent and toon shaders, using input layer fresnel to mix the two, and color ramp on z axis. Adaptive micro-displacements, 0.1 px dicing scale.
It shows the major areas appear to be around the Old Town/Royal Mile, Leith Walk, Tolcross and Easter Road.
Using map tiles from OpenStreetMap, CC-BY-SA.
Visualisations of how the Bone Smocking, Box Pleat trim manipulation and Pin Tuck sampling, carried out to contextualise how my concept research translated into three dimensional fashion structures, could be combined and worn when placed on the body.
workshop with a handful of startups on story development, storytelling and strategy. find more information via www.valentinheyde.de - workshop tools, workshop locations and thoughts about my work you find on our new blog: bit.ly/kmfrtznn (German only)
For her 80th birthday, media artist Waltraut Cooper made a visualisation for the media facade of the Ars Electronica Center with the coded word peace.
Fotocredit: Ars Electronica / Robert Bauernhansl
A best of Ars Electronica photos can be found here.
Ars Electronica Center Linz
Ars-Electronica-Straße 1
4040 Linz
Austria
Visualisation of x-ray data from the center of our galaxy.
Cropped and scaled to be used as a wallpaper.
Since it's not originally mine, I don't want any credit for it. I just like to bring it to attention because I think it looks absolutely stunning and at least on my screen it feels as if it had some kind of 3D effect due to the partial blur.
2560px wallpaper:
img864.imageshack.us/i/opo0928d2560.jpg/
Source:
www.spacetelescope.org/images/opo0928d/
Credit:
NASA, CXC, D. Wang (University of Massachusetts, Amherst, USA) and STScI
Copyright shouldn't be a problem (CC-by):
Viva apartments visualizations created for Adele Bates' interior design project in Brighton.
Software used: 3ds Max, Corona and Photoshop
Red means a drug is the most harmful in that category, green that it is the least. Data from Nutt et al, 2007.
Visualisation by Dr Andy Pryke, The Data Mine Ltd
*Background*
In March 2007, a paper on the dangers of different drugs hit the news headlines. The paper was "Development of a rational scale to assess the harm of drugs of potential misuse" by David Nutt, Leslie A King, William Saulsbury, and Colin Blakemore.
The paper measured the harmfulness of 20 substances on 9 different measures.
I transformed the data into a simpler to understand form. In the visualisation below, Red means most "danger", yellow indicated less of a problem and green the least harm. The grey square for "intravenous use of alcohol" indicates that no score was given for this. I also re-arranged the rows and columns so that similar drugs appeared next to each other. You can trace these similarities in the tree on the left.
For example, the red and dark orange rows across the centre of the diagram clearly show how heroin and cocaine are ranked as particularly dangerous across the board. However, at the bottom of the diagram, tobacco is particularly bad in terms of long term (chronic) effects and healthcare costs but much less harmful in terms of it's social and intoxicant effects.
I plan to visualise data from the 2010 paper once I get hold of it - if you can help, please let me know.
El problema de la tecnología en Latinoamérica.
Diagrama basado en Oficio de Cartógrafo, Tecnología: innovaciones culturales y usos culturales, Jesús Martín Barbero.
We spent yesterday at the BBC RAD hackday and decided to visualise the radio listening data from Radio Pop - 1800 users with 24000 listen "events" from the start of September to now.
This shows everyone's listening. Each row represents a user, with time on the y-axis. Each pixel represents one hour of a day and it is coloured in if the user listened during that hour, the colour represents the radio network.
The curved line is because the users/rows are in order of registration, so those at the bottom joined Radio Pop later, and hence started listening later.
Download the full-res version and zoom in to see more detail. There are some interesting patterns of recurring listening and combinations of networks.
More info in this blog post