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"T O P O L O G Y" is a meditation of the word visualized in three dimensions in a tangible form. The form is constructed with a Z-Corp CNC prototyping machine and isosurf. "T O P O L O G Y" is the first in a series of 3-D forms created from the orientation of the letters.
3d
Test rendering using Microstation V8i & Luxology Render
Motherboard model is downloaded (not made by me)
Only one material (based on a photo) is used in this scene, and draped over the 3d model
"Story is a sacred visualization, a way of echoing experience."
Terry Tempest Williams, Pieces of a White Shell (1984)
On Saturday, musicologist Daniel Callahan, spoke about how dancers such as Ted Shawn would visualize music to create dances.
-Cherylynn Tsushima
Photo Cherylynn Tsushima; Property Jacob's Pillow Dance
Photo of a Man on Sunset Drive: 1914, 2008
by: Richard Blanco
And so it began: the earth torn, split open
by a dirt road cutting through palmettos
and wild tamarind trees defending the land
against the sun. Beside the road, a shack
leaning into the wind, on the wooden porch,
crates of avocados and limes, white chickens
pecking at the floor boards, and a man
under the shadow of his straw hat, staring
into the camera in 1914. He doesn't know
within a lifetime the unclaimed land behind
him will be cleared of scrub and sawgrass,
the soil will be turned, made to give back
what the farmers wish, their lonely houses
will stand acres apart from one another,
jailed behind the boughs of their orchards.
He'll never buy sugar at the general store,
mail love letters at the post office, or take
a train at the depot of the town that will rise
out of hundred-million years of coral rock
on promises of paradise. He'll never ride
a Model-T puttering down the dirt road
that will be paved over, stretch farther and
farther west into the horizon, reaching for
the setting sun after which it will be named.
He can't even begin to imagine the shadows
of buildings rising taller than the palm trees,
the street lights glowing like counterfeit stars
dotting the sky above the road, the thousands
who will take the road everyday, who'll also
call this place home less than a hundred years
after the photograph of him hanging today
in City Hall as testament. He'll never meet
me, the engineer hired to transform the road
again, bring back tree shadows and birdsongs,
build another promise of another paradise
meant to last another forever. He'll never see
me, the poet standing before him, trying
to read his mind across time, wondering if
he was thinking what I'm today, both of us
looking down the road that will stretch on
for years after I too disappear into a photo.
Tweetfreq visualization showing the layer tennis and layer tennis voting behavior for the Season 3 quarterfinal matches between Mark Weaver vs. Emory Allen (#mark vs. #emory), and Armin Vit vs. Mig Reyes (#armin vs. #mig)
Note that both #lyt and #mark tweet counts are capped at 100 (the limit search API returns)
This SVG visualization is created with the mktfs command -- a Go program that uses the SVGo library. (http://github.com/ajstarks/svgo). The command line is:
mktfs -t "Layer Tennis Activity" -c 100 -b 2010-11-19 -e 2010-11-20 -q /users/\#lyt,\#mig,\#armin,\#mark,\#emory
Created by Martin Wattenberg (who licenses it under this CC license), Shape of Song visualizes repeated sections of music--or of any sequence--with translucent arcs.
Each arch connects two repeated, identical passages of a composition. By using repeated passages as signposts, the diagram illustrates the deep structure of the composition.
Dr. Andreas Pflitsch deploys a smoke flare in the recesses of Mothera cave as a visual component to his teams climatological studies of Mt. St. Helens glacier cave system. In addition to using these visual aids his team uses data loggers (left in situ to monitor air temp throughout the year) and Sonics (highly sensitive instruments that calculate wind speed and direction) with the hopes of establishing baseline data for how fumerol formed glacier caves compare to other environments like subway systems.
Yantram Architectural photorealistic renders creates high-quality 3D facades in a virtual studio environment. Our team of architects and industrial designers build 3d models from CAD files, sketches, or photographs
007.365
Tara ..he is visualizer at my office...nice job.always fun.
thanks tara to be my model although its only your hand hehehhe.
Satellite: Sentinel-2.
Visualization RGB: bands 4 (red), 3 (green), 2 (blue). True color.
La imagen tiene 56 km de ancho (aprox.)
Egmont National Park (Māori: Te Papakura o Taranaki) is located south of New Plymouth, close to the west coast of the North Island of New Zealand. The park covers three volcanic cones: Mount Taranaki and its slopes, Pouakai and Kaitake. The park was first created in 1881 as a forest reserve and went on to become New Zealand’s second national park, preceded by Tongariro National Park, in 1900.
The park receives massive annual rainfall. Moist westerlies from the Tasman Sea form Orographic precipitation when they reach Mount Taranaki and the adjacent Pouakai and Kaitake ranges. Since the area has high annual rainfall and a mild coastal climate there is a lush rainforest covering the foothills, a forest that is nationally significant for the total absence of beech trees (genus Nothofagus). (en.wikipedia.org/wiki/Egmont_National_Park)
El Parque Nacional Egmont está situado al Sur de Nueva Plymouth, cerca de la costa oeste de la Isla Norte de Nueva Zelanda. Tiene este nombre por la montaña que domina sus alrededores, que a su vez fue nombrada por el Capitán Cook en honor a John Perceval, 2º Conde de Egmont, el Primer Lord del Almirantazgo que organizó el primer viaje de Cook. El nombre maorí de esta montaña ha sido Taranaki durante muchos siglos, y actualmente se la conoce de manera oficial como "Monte Taranaki o Monte Egmont".
El parque, establecido en 1900, está dominado por el volcán inactivo del Monte Taranaki. El parque recibe una masiva precipitación anual que es esencialmente de origen orográfico, ya que los vientos húmedos del oeste que se mueven hacia el interior desde el Mar de Tasmania golpean el Monte Taranaki y las sierras adyacentes de Pouakai y Kaitake y por eso están forzadas a crecer. Como el área tiene una alta pluviosidad anual y un clima costero suave hay una exuberante selva cubriendo la falda de la montaña -esta selva es importante a escala nacional por la ausencia total de hayas (género Nothofagus)-. (es.wikipedia.org/wiki/Parque_nacional_Egmont)
The forest reserve was created within a 6-mile (9.6-kilometre) radius around the cone of the dormant Mount Taranaki volcano. Areas encompassing the older volcanic remnants of Pouakai and Kaitake were later added to the reserve at the northwest side. The forest is surrounded on all sides by pasture, giving it a distinctly circular shape.
Data visualization of the websites I have visited and the third party websites that are tracking me, via the Mozilla Lightbeam Firefox plugin.
My music visualizer running in 64 bits in iTunes Cocoa, downloading pictures from Flickr and sending the video stream from iTunes to another application through Syphon...
Network visualisations of Ars Electronica, done by the Ludwig Boltzmann Institute for Media.Art.Research.
My music visualizer running in 64 bits in iTunes Cocoa, downloading pictures from Flickr and sending the video stream from iTunes to another application through Syphon...
Visualizations of the urban mobility created by applying the Metaball technique to colorize the vertices of the map (global view)
How to check RPM package dependencies on Fedora, CentOS or RHEL
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
Photo of a Man on Sunset Drive: 1914, 2008
by: Richard Blanco
And so it began: the earth torn, split open
by a dirt road cutting through palmettos
and wild tamarind trees defending the land
against the sun. Beside the road, a shack
leaning into the wind, on the wooden porch,
crates of avocados and limes, white chickens
pecking at the floor boards, and a man
under the shadow of his straw hat, staring
into the camera in 1914. He doesn't know
within a lifetime the unclaimed land behind
him will be cleared of scrub and sawgrass,
the soil will be turned, made to give back
what the farmers wish, their lonely houses
will stand acres apart from one another,
jailed behind the boughs of their orchards.
He'll never buy sugar at the general store,
mail love letters at the post office, or take
a train at the depot of the town that will rise
out of hundred-million years of coral rock
on promises of paradise. He'll never ride
a Model-T puttering down the dirt road
that will be paved over, stretch farther and
farther west into the horizon, reaching for
the setting sun after which it will be named.
He can't even begin to imagine the shadows
of buildings rising taller than the palm trees,
the street lights glowing like counterfeit stars
dotting the sky above the road, the thousands
who will take the road everyday, who'll also
call this place home less than a hundred years
after the photograph of him hanging today
in City Hall as testament. He'll never meet
me, the engineer hired to transform the road
again, bring back tree shadows and birdsongs,
build another promise of another paradise
meant to last another forever. He'll never see
me, the poet standing before him, trying
to read his mind across time, wondering if
he was thinking what I'm today, both of us
looking down the road that will stretch on
for years after I too disappear into a photo.