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The Aether Project / Transmutating the Real and the Ethereal
As a part of UCLA Department of Architecture and Urban Design (A.UD) advanced design studio course “Architectural Intelligence: Exploring Space as an Interactive Medium”, researchers Refik Anadol, Raman Mustafa, Julietta Gil and Farzad Mirshafiei created The Aether Project, an immersive interactive environment that seamlessly combines robotic actuation, formal transformation and real time projection mapping controlled by a sensory input device. The course lead by Guvenc Ozel, Technology Director of the new IDEAS platform of UCLA A.UD, in collaboration with Casey Reas, Professor at UCLA Design Media Arts, explored potential scenarios of architecture as a responsive, robotically actuated technology which undergoes spatial iterations triggered by sense based devices.
The evolution of technology reveals an aspiration to place mind into matter in order to create tools that are subservient yet autonomous from humans. Architecture as a form of technology does not exist outside of this cultural aspiration. Concurrently, experiments in sensing technology express this desire to transform architecture into an intelligent form of technology that can autonomously negotiate between the human body, human psyche, the environment and other physical and perceptual parameters.
Based on this premise, the Aether Project focuses on providing an immersive experience through real-time Leap Motion controlled system that synchronously aligns projection mapped visuals on a transforming surface geometry, both choreographed though robot movements. Thus, The Aether Project is designed to test the interaction between humans x robots, robot x robot, and the resulting recursive relationship between technology and human perception continuously.
CREDITS:
University of California, Los Angeles
Architecture + Urban Design
ARCH401
Raman K. Mustafa
Refik Anadol
Julieta Gil
Farzad Mirshafiei
Instructors;
Güvenç Ozel
Casey Reas
Music;
Sergey Vlasov
Aether Biomedical is a medical robotics company focused on biosignal processing and bionic limbs for upper limb amputees.
www.aetherbiomedical.com/product
Contact details:
Aether Biomedical Pvt Ltd
50/1 A Arjun Nagar, New Delhi
India 110029
info@aetherbiomedical.com
In AD 991 Aetheric, Lord of the Manor of Bocking, was amongst those who led men to fight the Vikings at the Battle of Maldon. The East Saxon army was defeated; but Aetheric survived until 995 and willed his lands at Bocking to Christ Church Canterbury, this became effective following his wife Leofwine's death in 1006. A consequence of this is that Bocking Church, built on these lands, has enjoyed a long and interesting relationship with Lambeth Palace and successive Archbishops of Canterbury and is know as one the Archbishops 'Peculiar' parishesThe Church has been rebuilt many times since Aetherics day. It is a late Gothic or perpendicular building, dating mainly from the 15th and 16th Centuries, though much restored in the 19th Century.
It is a fine large Church of flint rubble with limestone dressings to openings and quoins. The oldest part is perhaps the South Door which has exceptional and elaborate wrought iron work and is though to have been made in the late 13th Century. A little 11th Century work survives in the form of Windows retained in the later rebuilding.
The East window with its flowering tracery is a fine example of the 14th Century decorated style, although its stonework is modern. The Dorward family were early benefactors as was William Courtenay, Archbishop of Canterbury at the end of the 14th Century. Courtenays Arms were incorporated into the Deanery Seal a cross rouge between four dolphins and granted in 1596. Carving on the original oak roofs have bosses depicting other benefactors such as the knot of Boucher the mullet of De Vere and the leopards head of the Fitch family
Aether Spirit Containment Apparatus
Materials: wood mantel clock case, lamp parts, vintage towel rack holders w/ binocular eyepieces inserted, vintage ice box hinges, base- hamburg patty press, back cover- sterling sea shell candy dish, wood phonograph needle holder from old victrola, vintage cloth covered electrical wire, large lens - outside.
inside-lens from slide viewer and paperweight lens, bone, female figure, glass crystal, small male w/page boy hat, cement nails, steam, and aether
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My most recent photographic exhibition, æther, at Tigersnake men's clothing and Ryan Waugh Hairdressing. Part of the Southern Art and Craft Trail.
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Since the first moment that Eldan aircraft did darting battle among the great T'hara trees, mages have been finding ways to use their gifts for channeling the Aether to give themselves an advantage as pilots. Many of the techniques used so long ago, like kinetic shunts and simple gouts of flame, are still used today but on a much greater scale.
In the years between the first and second Accord wars, various studies conducted by Accord military planners revealed that standard fighters, even those heavily modified by the various elite mage only units, were greatly inhibiting the potential of all but the most powerful of pilots. The issue was two-fold. Primarily, advances in shielding and even some armor technology was dampening the ability of mages attempting to manifest their abilities outside of the cockpit. A secondary concern was the increasing distance of engagements and the growing size and weight of the primary fighter as advances in Imperial PDS made heavy strike vessels less and less viable. While no formal request was made to the numerous military contractors that served the Accord, both the industrial giant Siugniedrev Industrial Works and Aetherial research group Eluvan Grove were discretely made aware of the issues and the chance to develop a solution. Thanks to a growing spirit of cooperation between the different Eldan factions and no small amount of encouragement from various naval leaders, the two worked together to create a suitable design.
The greatest challenge to overcome was the dampening effect, and while using warding instead of shields would negate that, there was the even greater issue of powering the wards. Both the protection solution and remaining dampening effects were solved with a single design element, namely turning the majority of the ship into a giant Aether generator. By creating two giant wings spinning around the core of the ship, the power from the generator in each wing was able to create an excess of energy that both the wardstones in each wing and the pilot were able to take advantage of. Though this had the downside of making stealth virtually impossible with all systems active thanks to the bright green glow around the rear of the ship, the ship could still be 'glided' in using the conventional single ion engine and very minimal conventional shielding. While the pilot was expected to be the primary armament, a pair of laser cannons were mounted in the nose as a backup.
Initial testing took considerable time and one early prototype completely lost its wings thanks to a minor harmonic issue that saw further connection strengthening, but once the teething issues were resolved it was received very favorably by pilots. Though far too expensive to be produced in any great numbers, the ability to more fully bring the Accord's mage advantage into space and the massive morale victory that accompanied the eventual public reveal were considered worthwhile. With the large territory increases that the Accord saw at the end of the second Accord war, and the number of ex-Imperial citizens with Aether channeling talent that were no longer legally persecuted by the Empire forming a new crop of potential pilots, further orders have been placed for more Emerald Crescents.
With the war between the Empire and Accord over even more previously Imperial systems are independent and in need of their own defense forces. In an attempt to fill a market previously only filled by Imperial or Accord corporations, Iunda quickly developed and spun up manufacturing for the ISF-1 as a cheap and reliable alternative. Though entirely unremarkable in almost every metric compared to similar fighters from other manufacturers, the ISF-1 has the advantage of being built and sold by a neutral space company much more attentive to the needs and desires of smaller defense forces.
Manufacturer: Siugniedrev Industrial Works and Eluvan Grove
Crew: 1
Length: 22 meters
Maximum Speed: 1305 m/s
FTL Capability: 11495 AU/h
Engines: 1x SIW SilkDancer Ion Drive, Various classified EG kinetic propulsion enchantments, Pilot's Aetherial Abilities
Armament: 2x SIW BloodThorn Light Laser Cannons, Pilot's Aetherial Abilities
Made for my Graviton setting.
Aetherized calalily. I am having a lot of fun with post-processing lately. I'm trying not to go too far with it so that things become garish. It is a fine line... :-)
CD design for german artist Baja (aka Daniel Vujanic), released on Other Electricities (USA, in 2009)
The jewel case can be transformed into a sundial.
Aether is an installation by Architecture Social Club for Lumiere London 2018 at King's Cross, London.
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Aether Spirit Containment Apparatus
Materials: wood mantel clock case, lamp parts, vintage towel rack holders w/ binocular eyepieces inserted, vintage ice box hinges, base- hamburg patty press, back cover- sterling sea shell candy dish, wood phonograph needle holder from old victrola, vintage cloth covered electrical wire, large lens - outside.
inside-lens from slide viewer and paperweight lens, bone, female figure, glass crystal, small male w/page boy hat, cement nails, steam, and aether
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Unica data italiana per i Ghost: la formazione metal svedese vincitrice di Grammy, capitanata da Tobias Forge, nei panni di Papa Emeritus IV, ritorna in tour in Europa, in concerto al Mediolanum Forum giovedì 5 maggio con uno spettacolo che si annuncia imperdibile, presenta infatti “la più grande scenografia mai portata in Italia”.
L’evento è anticipato dai successi dell’ultimo album “Impera”, che domina le classifiche mondiali del genere. Aprono il concerto gli inglesi Uncle Acid and the Deadbeats e il duo americano Twin Temple.
I Ghost, precedentemente conosciuti come Ghost B.C. negli Stati Uniti, sono un gruppo musicale heavy metal svedese, formatosi a Linköping nel 2006. Il loro primo album, Opus Eponymous, pubblicato nel 2010, è stato nominato al Grammis, contribuendo ad incrementare la loro popolarità. Il secondo album Infestissumam, che è stato pubblicato nel 2013, ha vinto il Grammis Award nel 2014 per il Miglior Album Hard Rock/Metal. Il terzo album in studio, Meliora, è stato pubblicato nel 2015 ed è subito diventato l'album più venduto in Svezia. Il singolo Cirice, tratto da Meliora, ha vinto il Grammy Award nel 2016 per la Migliore interpretazione metal. Nel 2018 pubblicano il loro quarto album, Prequelle.
L'immagine della band è totalmente incentrata su un look eccentrico e di ispirazione ecclesiastica, che prevede sei musicisti dal volto coperto di cui cinque denominati Nameless Ghouls, capeggiati dal cantate denominato Papa Emeritus (vero nome Tobias Forge), che ad ogni album abdica e viene sostituito, secondo la band, da un Papa più giovane.
Nel 2017 cinque membri del gruppo si sono rivelati al pubblico e quattro di loro hanno citato in causa Tobias Forge, il Papa Emeritus, svelando anche la sua identità.
Tobias Forge – voce
- Papa Emeritus I (2008-2012)
- Papa Emeritus II (2012-2015)
- Papa Emeritus III (2015-2017)
- Cardinal Copia/Papa Emeritus IV (2018-2020)
- Papa Emeritus IV (2020-presente)
Papa Emeritus Zero/Papa Nihil - sassofono
Nameless Ghoul Aether (Chris Catalyst) – chitarra ritmica
Nameless Ghoul Alpha (Per Eriksson) – chitarra solista
Nameless Ghoul Water (Cos Sylvan) – basso
Nameless Ghoulette Air (Laura Scarborought) – tastiera, cori
Nameless Ghoulette Cirrus (Mad Gallica) – tastiera, tamburello e cori
Nameless Ghoul Earth (Hayden Scott) – batteria
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Model: Mikuo
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Model: Shiva
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