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Product visualization
Email : info@vubao.com.vn
Contact : 0909122883
Rainstorm Film is a Creative & Architectural Visualization Studios located at Ho Chi Minh City, Vietnam. 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 : info@vubao.com.vn Website : www.rainstormfilm.com | www.vubao.com.vn
Created by this applet: www.aharef.info/static/htmlgraph/
what the colors mean:
blue: for links (the A tag)
red: for tables (TABLE, TR and TD tags)
green: for the DIV tag
violet: for images (the IMG tag)
yellow: for forms (FORM, INPUT, TEXTAREA, SELECT and OPTION tags)
orange: for linebreaks and blockquotes (BR, P, and BLOCKQUOTE tags)
black: the HTML tag, the root node
gray: all other tags
It isn't *rad* or anything, but the results are pretty.
Visualization of Flickr geotagged photos, uploaded between 2007 to 2015 and geotagged with the highest accuracy (street-level). I generated a number of different visualizations.
Created as part of a research project (maps.alexanderdunkel.com).
Product visualization
Email : info@vubao.com.vn
Contact : 0909122883
Rainstorm Film is a Creative & Architectural Visualization Studios located at Ho Chi Minh City, Vietnam. 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 : info@vubao.com.vn Website : www.rainstormfilm.com | www.vubao.com.vn
A visualization of 1 million Manga images on 287 megapixel HIPerSpace supervisualization system at Calit2, San Diego.
This photo: Lev Manovich, director of Software Studies Initiative.
Lee dutifully recorded the path of every bike ride he took for over a year. This is a map of those traces.
This started as a sound visualizer with a pretty simple algorithm.
Maybe it's just a starting point for something more complex that will emerge later.
"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.
Worldwide Visualization for a Breakthrough -
Please Join Us!
visualizedaily.com/action1-en.html
Transformation transformacja transformation transformace Transformation transzformáció преобразование transformación trasformazione 2012
www.flickr.com/photos/arjuna/sets/72157628371178639/with/...
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahí González, Philip Gurrey, Dong-Kyoon Nam, Sasha Opeiko
Studio PhD candidates from the Department of Visual Arts present Sometimes in the night, the fox slips by, a group exhibition of recent work by Anahí González, Philip Gurrey, Dong-Kyoon Nam and Sasha Opeiko. The show gathers a broad spectrum of investigations sharing a common interest in the relationship between poetic and theoretical potential in making. Some orient themselves toward the political, looking at labour issues both in Canada and abroad. Others probe the language of modernism with strategies centered on improvisation and decay. Others still, use a posthumanist perspective to deconstruct notions of the readymade or to renegotiate representations of melancholy. In concert they are the fox of John Burnside’s poem, deftly weaving a path through fence and thicket.
Anahí González
Bueno, Bonito y Barato, is deeply involved in exploring the Mexican cues portrayed in visual culture, evoking quiet tensions of nationalism and labour representation. By bringing this approach of Mexican labour visual representation on a mobile wood billboard together and allowing them to interact within the gallery, the work engages with concepts of temporality, mobility, the USMCA and institutionalism.
Dong-Kyoon Nam
Praxis of New Assemblage
My work focuses on reconstructing ordinary objects encountered in daily life into ‘animate things’: things understood as dynamic, temporal, yet precarious assemblages animated in a relational field that encompasses humans/nonhumans and organic/inorganic matter.
The method of assemblage I use is not based on the sculptural representation of an assumed and pre-existing whole, rather it refers to a process wherein a visualization of the potential movement of things, and the relationships between their parts, rhythms, affects, and intensities are privileged.
My studio process is semi-impromptu, a horizontal attunement with things, entangled in chance and necessity. My bodily sensibility starts from meticulous attention to fleeting, small occurrences that would otherwise remain unacknowledged.
re | cycling
On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity. On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity.
Sasha Opeiko
In Something like Fan Object Objects the banal object of study is a used domestic desk fan with a missing safety grill. It was found as a discarded, unwanted item sold in a thrift store. Damaged and disentangled from its previous function, the object is melancholically symptomatic and its image is mediated into multiple manifestations of loss and disintegration. The fan was visualized through faulty 3D scanning, rendered into a rotating 360° animation, and exported as 1400 individual frames, which were fed into a machine learning algorithm that produces new images based on the data it received. The fan itself is rendered useless, its melancholic image diffracted into 10,000 iterations of manufactured glitch. They are presented in video not so much as an animation, but a kind of factual flickering of machine-produced visual data. The nonhuman gaze of image data processing unravels a gapped 3-D representation into a myriad of fractured views, flatly glitching in a dark melancholic refusal to be coherent.
#melancholy began with a collection of screenshots of Instagram posts that were coming up under #melancholy. The screenshots are samples of the prevalence of sublime, mostly Nordic landscapes that the general population locates as representative of melancholy, branding it into named images for dissemination. Working with 460 screenshots, an AI algorithm on Runway ML was used to produce new images based on what it learned from the collection of screenshots. The AI model generates "#melancholy" Instagram landscape images and has the capacity to produce a video of these generated images morphing into one another. The images are disintegrated but new reintegrated versions of what a nonhuman gaze recognizes to be a #melancholy landscape image.
In Forged Afterimage Compression six rotating 3D scans are presented as a result of a remediation process that started with 3D scans of provisiona, transitory physical constructions of found objects and images. This first set of 3D scans, already full of gaps and distorted by the nature of the scanning app Trnio, was made into rotating animations that were then 3D scanned again off of a laptop screen. The outcome is a kind of forged afterimage, compressed into a digital skin or something like a distorted geological compound, resulting from the app’s inability to fully comprehend a 3D representation on a flat screen. These are remnants forged from remnants.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
This is a network diagram of my LinkedIn Connections. LinkedIn has launched InMaps, an experimental project that creates a stunning visualization of the connections within your business network. InMaps sifts through all of your connections, detects the relationships between them, and groups them into different network clusters. For example, LinkedIn separated my contacts into 6 groups including my connections from Army, Bridgeborn, and college.
Visualization of www.generatorx.no as a graph.
See www.aharef.info/2006/05/websites_as_graphs.htm for explanation. See also the websiteasgraphs tag.
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.
I looked at this movie called The Holy Mountain, the director uses lots of symmetrical compositions, also these scenes are the most impressive ones out from this movie.
Exterior Architectural Animation
Some of the completed project of 3D Exterior Architectural Design and Animation by 3D Walkthrough.
3d-walkthrough-rendering.outsourcing-services-india.com/3...
transitability heatmap with respect to noon on a weekday; the area just east of Greenlake. Interesting how you get these discrete regions, probably as a result of the missing-the-bus phenomenon.
One picture for construction company ALLI. This visualization imagination cut of the assembly plasterboard in the houses. He is useing on company car in 2x1m large.
portfolio on: www.cg-graphic.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.
I mainly uploaded these to submit to the 'Backgrounds App' group for use for cell phone backgrounds on android devices.
if they aren't accepted, I'll be deleting them.
xox
The picture of the "purple" window in the front is taken by Damiel
The picture of the windows in the back, are taken by markbarkaway, it´s one picture that I have copied to the walls, floor and the roof, and cut out the original view.
The pictures of the blue sky, is taken by me :-) A really hard job... :-)