View allAll Photos Tagged Visualisation-----
My delicious subscriptions, plus those of my subscriptions.
Note it couldn't load a few people's subscriptions (notably blackbeltjones), but even so, it's interesting in that the tighly knit cabals are in the middle close together, and those that you may have strong ties to, but have lots of non-cabal subsciptions float out to the edges.
Click here for a zoomed view.
Subscription grapher is at hublog.hubmed.org/archives/001050.html
Visualisations by Danish cartoonist Jens Hage of some of the strategy discussions that took place at Climate-KIC's annual strategic retreat in 2013.
The "Ars Electronica Futurelab's" (AT) visualisation of Joseph Haydn's Symphony No. 94 in G major "Surprise" takes the audience on a journey through an abstract 3-D world.
credit: Ars Electronica Futurelab
‘…at a textile conference in Finland ‘Dr Andreas Bichlbauer’ … demonstrates a gold ‘Management Leisure Suit’ that has a monitor embedded in an inflatable, head high phallus, which will allow managers easy control of sweatshop workers’ (Russell 2005, np).
Read our page about the making, discussions and impacts of this prank on followthethings.com/eva.shtml
I've put together a little Shrimp microcontroller circuit (similar to Arduino Uno) to hook up the LED matrix and Bluetooth dongle. Attention data levels are visualised as red LEDs and meditation data levels as green LEDs.
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Série complète, Été et Automne 2016 à Paris : www.flickr.com/photos/sebastienduhamel/albums/72157677146...
Projets/Reportages à Paris : www.flickr.com/photos/sebastienduhamel/collections/721576...
Albums : Education, Société et Politiques : www.flickr.com/photos/sebastienduhamel/collections/721576...
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Sébastien Duhamel, professionnel de l’image : www.sebastien-duhamel.com/présentation-références/
Derniers sujets photos : www.flickr.com/photos/sebastienduhamel/collections/721576...
Classeurs photos : www.flickr.com/photos/sebastienduhamel/collections
Albums photos : www.flickr.com/photos/sebastienduhamel/sets/
Tournages : vimeo.com/137495739
www.dailymotion.com/user/Sebastien_Duhamel/1
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Termes et conditions photos : www.sebastien-duhamel.com/conditions-tarifs/
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[NB] Les photos HD sont de 5610x3741 Px-300dpi - dans la base Flickr 700x467 Px-072dpi
Pour une visualisation optimale d’un album, placez la souris sur le bouton du centre en haut à droite de la fenêtre Flickr, puis cliquez sur le bouton
Pour une visualisation pleine écran cliquez sur la photo et flèches de direction du clavier. Retour aux :
Classeurs : www.flickr.com/photos/sebastienduhamel/collections
Albums : www.flickr.com/photos/sebastienduhamel/sets/
Galerie : www.flickr.com/photos/sebastienduhamel/
In mark III I swapped the laser and morrir around so it is the mirror spinning on the motor and the laser being vibrated by the diaphragm. This is definitely the way to go - much more reliable as there is less weight being moved by the motor (less to get imbalanced).
Two days of scribing at the INFORM-INIO meeting that brought together 280 participants in Palermo, Italy. This is my graphic recording of the presentations, speeches, talks.
15-17 May 2019
Photo credit: Luca Savettiere
28 cm's wide. 11".
I included a cup for size. 16 chairs? maybe alternate chairs with something else in between.
From Isotype Revisited project (http://www.isotyperevisited.org) at the University of Reading. Reproduced with permission.
In this version brightness is mapped to the number of (digitised) items in the series. We can see that many series have zero items, more or less, and that a few clusters are highly digitised.
This piece is a final realisation of weeks of experimentation (that was finalised during lockdown).
I looked at the emotions, fear, disgust and happy and attempted to represent them. However, the representations are originally not of my own making but were derived from 9 people and their answers to a series of questions that I constructed. This set of interviews, my primary research, became the catalyst to my work.
I voluntarily acted as the instrument of representation and possessed these ideas of what fear, disgust and happy mean to the people I interviewed, thus translating something new.
Would my original interviewees be able to recognise and relate to my representations of these emotions? Would an unbiased audience member be able to connect these emotions with the visuals?
It’s really a conversation and experimentation of how connected we really are when given something universal such as emotions and asked what do you relate this to? What do you see? Is it the same as the next person or something completely different?
The conversation could then travel onto why? Why does one person see something and someone else visualises something different? Answers could be social or biological, but could we truly know?
Inspiration from Wood and Harrison.
The combination of live motion-capture, 3D stereo projection with ballet and contemporary dance transforms choreography into a spectacular 3D event. The creative team at the Deakin Motion.Lab combined the live motion-capture of performers’ movements with 3D images that extrapolated the dancers’ pathways, actions and movement. The technology behind Deakin’s Motion.Lab has many industry applications from animation to human movement, sports, and materials science but its fusion with dance provided an unforgettable audience experience.
For more information, please visit: The Deakin Motion.Lab at www.deakin.edu.au/motionlab