View allAll Photos Tagged Visualization
FISH, FLAMENCO, FOREST GUARD, FIRE - sent to my group www.flickr.com/groups/abc-visualized - supporting a big project 1. the offering, 2. Ortega y Gasset, 3. Italians, 4. b3053_3_1_2: Winter Comfort
Itâs no secret that we live in a data driven world: a world where technology has allowed us to get to the point where, according to IBM, more than 90% of the worldâs data was created in the last two years alone. It is a phenomenon that has led to the emergence of data science and data scientists, the increased need for statisticians, and experts in informational design such as Edward Tufte, fellow of the American Statistical Organization.
The problem is that the massive amount of data that we generate is difficult to keep up with, access, comprehend, and thus effectively use to our benefit.
The Purpose of Data Visualization:
Emerging heavily as a result within the last few years are data visualization tools, designed to help us work more effectively with data.
Most of us interpret and understand information best visually and thus information visualization is often key to true comprehension. Data visualization is, as its name suggests, a visual representation of data, its main benefits being in making complex data more accessible, interpretable, and presentable. It is closely related to the fields of information visualization, information graphics, scientific visualization, and statistical graphics.
David McCandless, London based author, data journalist, information designer, and founder of the website Information is Beautiful acknowledges that, in an age where we are often plagued by âinformation overload,â in addition to looking really cool, visualizing information allows us to see patterns and connections that matter and thus design information to make more sense, to focus only on the information thatâs important, and to tell stories.
Challenges and Limitations of Data Visualization Tools:
The challenge in not only recognizing the value in big data, but in actually making use of it, lies in the ability to effectively understand it. There are some obvious limitations when it comes to using data visualization tools to decode your data and actually benefit from the results.
The original ZoomCharts team recognized these limitations. There was no data visualization library available where data could be explored interactively on all modern devices. What was out there was either data visualization tools where data could be displayed on modern devices in static visualizations, or where it could be displayed interactively, but not on all modern devices.
How ZoomCharts Aimed to Solve These Issues:
The story of how ZoomCharts got started began with recognizing the limitations of simply working with current technology, and not anticipating the needs and desires arising with the advancement of newer and future technologies. The teamâs focus thus became creating charts and graphs that would be supported by the technology of tomorrow. The resulting software:
⢠Is 100% interactive and responsive, allowing users to see only the information they need, and drill down further into the data when necessary
⢠Is able to support massive data sets
⢠Works with any modern device, including tablets, phones, and other mobile devices that use touch screens, giving users the ability to tap, swipe, and pinch their way to exploring the intricacies of their data
⢠Performs at incredibly fast speeds, with no lag or waiting time involved when making changes to data presentation, even with big data sets
Check out ZoomCharts products:
Network Chart
Big network exploration
Explore linked data sets. Highlight relevant data with dynamic filters and visual styles. Incremental data loading. Exploration with focus nodes.
Time Chart
Time navigation and exploration tool
Browse activity logs, select time ranges. Multiple data series and value axes. Switch between time units.
Pie Chart
Amazingly intuitive hierarchical data exploration
Get quick overview of your data and drill down when necessary. All in a single easy to use chart.
Facet Chart
Scrollable bar chart with drill-down
Compare values side by side and provide easy access to the long tail.
ZoomCharts
The worldâs most interactive data visualization software
#zoomcharts #interactive #data #visualization #charts #graphs #bigdata #dataviz #datadriven #EdwardTufte #London #DavidMcCandless #InformationisBeautiful #responsive #touchscreen #fast #speed #datajournalists #information #informationdesigners #informationdesign #statisticians #datascience #datascientists
3d max , vray, ps
architectural visualization,3d rendering, architectural rendering, architectural animation
Reason why there is a word called "Dream."
Those of you who are wondering about the picture. That's my reflection on a laptop screen where Tommy Emmanuel (my favorite guitarist) was playing his unimaginable guitar. Tommy has always been the number 1 for me. Yes, he is the reason why I started playing in the first place.
Wanted to take a break from all the rules & regulations and take a picture of whatever I want to. Here's the outcome!!
© 2010 Sarah Brooks. All Rights Reserved.
The Third Eye, or Ajna Chakra, is really quite interesting to do some research on. Thank you, My Face is My Canvas!
Random Fact: Charlie is kicking butt at Wii Baseball right now!
Bayer Company product and R&D booth exhibition , 3D visualization job.
Rainstorm Film is a Creative & Architectural Visualization Studios located at Ho Chi Minh City, Vietnam and Melbourne, Australia. We produce architectural animation, architectural visualization in 2D rendering and animation for real estate marketing and television, commercials and online integrated media.
Contact us at : wakemeup@rainstormfilm.com
Website : www.rainstormfilm.com | www.vubao.com.vn
3D Visualization, 3D animation, Architectural visualization, Perspective Rendering, Digital Design, Web Design, Web Development, Ecommerce Development, Hoạt hình 3D, Diễn họa kiến trúc, Phối cảnh 3D, 3D kiến trúc, Thiết kế web, Phát triển web, phim 3D kiến trúc, phim 3D bất động sản, quảng cáo truyền hình, logo
Phát triển web, phim 3D bất động sản, phim 3D kiến trúc, TVC, phim 3D qui hoạch
visualization includes all pages from these titles
(the titles are rendered in order so the pages from the titles at the bottom of this list appear on top)
title / author
One Piece / Eiichiro Oda
Bleach / Tite Kubo
Naruto / Masashi Kishimoto
D.Gray-Man/ Katsura Hoshino
Eyeshield21/ Riichiro Inagaki
O-Parts Hunter /Seishi Kishimoto
Nana / Ai Yazawa
Prince of Tennis /Takeshi Konomi
From: www.connectedaction.net
Connections among the Twitter users who recently tweeted the word gannett when queried on August 11, 2011, scaled by numbers of followers (with outliers thresholded). Connections created when users reply, mention or follow one another.
See: en.wikipedia.org/wiki/Gannett_Company
And: www.gannett.com/
Layout using the "Group Layout" composed of tiled bounded regions. Clusters calculated by the Clauset-Newman-Moore algorithm are also encoded by color.
A larger version of the image is here: www.flickr.com/photos/marc_smith/6039180208/sizes/m/in/ph...
Betweenness Centrality is defined here: en.wikipedia.org/wiki/Centrality#Betweenness_centrality
Top most between users:
@gannett
@poynter
@romenesko
@socialmediaclub
@marisacorser
@jodiontheweb
@yourmilitary
@spousecentrals
@govloop
@anonymous1mill
Graph Metric: Value
Graph Type: Directed
Vertices: 452
Unique Edges: 1372
Edges With Duplicates: 430
Total Edges: 1802
Self-Loops: 489
Connected Components: 165
Single-Vertex Connected Components: 156
Maximum Vertices in a Connected Component: 278
Maximum Edges in a Connected Component: 1535
Maximum Geodesic Distance (Diameter): 10
Average Geodesic Distance: 3.545185
Graph Density: 0.00580323
NodeXL Version: 1.0.1.174
More NodeXL network visualizations are here: www.flickr.com/photos/marc_smith/sets/72157622437066929/
NodeXL is free and open and available from www.codeplex.com/nodexl
NodeXL is developed by the Social Media Research Foundation (www.smrfoundation.org) - which is dedicated to open tools, open data, and open scholarship.
The book, Analyzing social media networks with NodeXL: Insights from a connected world, is available from Morgan Kaufmann and from Amazon.
Marc Smith on Twitter.
Example of new twitter visualization tool that shows connections between twitter messages, twitterers and key words.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
by datamining.typepad, graph of the social network of typepad blogs. Go poke at it, each dot links to the blog. You can see some clear clusers, such as law bloggers just to the right bottom of the center.
via worchester.typepad who I apparently overshadow (sorry 'bout that)
Back in 2002, we did some of the first blogmaps
Hairstyle, Horse Taxi, Havana, Hand - sent to my group www.flickr.com/groups/abc-visualized - H-thread: 1. "The Girl with the Most Amazing Hair in NYC", 2. Door paard getrokken taxi, 3. CARRO DESCOMPUESTO, 4. Lunule
+
PROJECT:Jinhui Park
DESIGNED BY SCDRI
RENDERED BY FRONTOP
Frontop creates 3d rendering, architectural rendering, architectural visualization and architectural animation for architects, designers, real estate developers and much more.
3D Visualization Team Lead
Artist / Company: James Clarke / HNTB
Description: 266,333,251 points. The initial point colors were driven by the GPS Time property for this image, which were manipulated further after rendering to offer a wider variety of colors in the final image. The point positions were manipulated in 3-D in two ways: first a ripple effect was applied that decays as it approaches the outer boundaries of the set, and second a 360° bend brought the outer extremities of each end of the X axis to meet in the center of the image. The viewpoint was positioned underneath the data looking up straight up.
Software used: Autodesk 3dsMax, Thinkbox Krakatoa, Adobe Photoshop
Visualización de packaging de productos. Diseño: Guillermo Sacchetto
product visualization. Design: Guillermo Sacchetto
2017 6A State Championship Preliminaries
2017 6A State Championship
www.flickr.com/photos/aringo/albums/72157685625403302
Austin, Texas
February 17, 2017
Photograph: Jonathan Nguyen
Westlake Chaparrals
www.flickr.com/photos/aringo/collections/72157686634649340/
Aringo
The Ars Electronica Futurelab made a high-profile guest appearance in Los Angeles. As part of the Walt Disney Concert Hall’s IN/SIGHT series, Esa Pekka Salonen conducted the L.A. Philharmonic Orchestra in a performance of Ravel’s “Mother Goose” that featured impressive visualizations designed by the Linz-based media art lab.
Credit: Ars Electronica Futurelab
Compass sells the laser cut plastic Hahn Rossman. Brilliant idea, but you need a dummy axle to use it. Since I do a lot of 650b conversions, often on frames that are sent to me, I made up some wooden dummy axles that don't weight much and will ship easier. Axles made in 4 sizes, you can squeeze in the 135 dummy axle on a 130mm frame. The 100mm bit is used to see clearance on the fork.
Available for shipment with deposit (refundable)
Information Visualization MOOC
Homework #1
15th Century Florentine family ties - wealth and power distribution.
This is (the worst) attempt at visualizing what I see at 0:17-0:19 seconds of the song "In the City."
The big green thing is is guitar and makes me think of an old friend named Tyler;
The boxes are the snare drum;
The ovals are the wacky keyboard which makes me think of a girl;
the crossed lines are the hi-hat;
The horizontal lines mark the height and drop of the tones of the bass guitar (there are vertical lines marking the start/stop of when each note is played, but they don't show up;
The horizontal rectangles make up the piano.
There is much more that is completely missing or completely inacurate. I am useless at this function of Photoshop at the moment, as it's only the guitar that's green and that's the most acurate (but not entirely).
I think I'd be 100% better off drawing/coloring myself instead of trying to use software, really.
Visualize your photo-taking habits and
share your love for iPhoneography with friends.New update 2.0
Visualizing the various features of the SwiftRiver distributed reputation and veracity functionality. The trust the local community has for Users 1 and 2 is displayed. The trust the global RiverID system has for Users 1 and 2 is also displayed. Thus, the trust Users 1 and 2 should have for each other is inferred.
rendered by Frontop
-----------------
-----------------
3d rendering, architectural rendering, architectural visualization ,architectural animation