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This Medical Augmented Reality Application Video created by Zed Interactive Top Indian Company is a 3D visualization Specialists Develop in 3D Real Time Immersive Solutions in augmented reality & virtual reality
Another project I am working on. (I know I have way too many going) I am looking to release an art series meant to display the continuous evolution happening in plain sight of Organic Life and Intelligence transcending to Inorganic Life. I am going to be calling the series of releases Augmented™
To mark the 10th anniversary of the NEXTCOMIC Festival, everything at the Ars Electronica Center will revolve around interactive comics, or more precisely Augmented Reality Comics from the Meisterschule für Kommunikationsdesign Linz. With the help of a special app, visitors can use their mobile phones not only to view the real environment, but also to see added new elements.
Fotocredit: Ars Electronica / Robert Bauernhansl
An Epiphany Eyewear moment, now on wikipedia; buttons on the stem control the polarized lenses.
Woo-ee-oo I look just like Buddy Holly
Oh-oh, and you're Mary Tyler Moore
I don't care what they say about us anyway
I don't care 'bout that — Weezer
This is my first attempt at using more of a video medium for art. My goal was to display a puzzle covered in Binary code becoming clear to show life. This is meant to express a parallel between computer code and organic code (DNA). I don't have much experience with video but I gave it a go.
Augmenting portion of a printed photo of a Ferrari of the Krohn Racing Team with their real car at the Mini Grand Prix of San Jose, California. This is straight out of the camera, and not from Photoshop.
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The AMD Mystère S represents one of the many evolutionary steps in French 2nd generation jet fighter aircraft design, which began with the straight-wing Dassault Ouragan and progressed through the Mystère II/III and Mystère IV to the supersonic Super Mystère SM2B. Internally designated AMD 461 and originally called the Mystère X (Roman numeral “10”, not the letter “X”), the new aircraft was the attempt to improve the successful Mystère IV from 1953 in many respects, following Marcel Dassaults strategy to take small, evolutionary steps instead of radical quantum leaps. While the overall outlines were similar and followed the proven layout of the former Dassault jet fighters, the AMD 461 was a completely new design, though.
First of all, the machine was from the start designed around the indigenous axial-flow Atar 101 jet engine, since it had become obvious that the former radial-flow engines used in Dassault’s fighters, like the Rolls-Royce Tay and its French-built version, the Hispano-Suiza Verdon 350, did not offer the potential for sustained supersonic performance in level flight. As a result, the fuselage became thinner and the aircraft had a less tubby look. Furthermore, in order to achieve the ambitious performance goals, a new wing was devised, and it incorporated leading edges made from novel composite materials. The wing shape was more complex than previous AMD designs: unlike the simple trapezoid Mystère II and IV wing designs, the AMD 461’s wings had kinked wing leading edges at about half span, so that the wing root sections were extended forward and had a slightly stronger sweep than the outer wing sections (47° vs. 45°), resulting in a crescent planform with rounded tips. Dogteeth at the kinks’ position increased the wings’ critical Mach number, augmented by small boundary layer fences. A novelty were power-operated ailerons. The tail surfaces were swept, too, and featured a variable-incidence tail plane.
The Mystère IV’s circular nose air intake arrangement was retained, but the intake received a sharper lip for better aerodynamic efficiency at high speed. The intake ducts were split deeper down inside of the fuselage, flanking the cockpit and the weapon bay behind it (see below) on both sides. The small ranging radar, originally developed for the upgraded Mystère IVB (which never made it into series production due to a fatal prototype crash and the progress of AMD’s other supersonic projects), was relocated and now mounted on top of the intake section, reminiscent of the F-86’s arrangement. A gun camera was placed outside of the intake in a small fairing on the starboard side. Two pitots under the air intake (one main and a secondary sensor) replaced the Mystère IV’s single wing-mounted sensor boom.
Being a classic “gunfighter”, the AMD 461’s main armament comprised a pair of 30mm DEFA cannon in the lower front fuselage, taken over from the Mystère IV, and a retractable Type 103 pannier for 45 unguided MATRA missiles against air or ground targets behind the front wheel well. Four underwing hardpoints could carry a total payload of 1.500 kg (3.300 lb), including a pair of supersonic 625 l drop tanks on the inner pair of pylons. A typical fighter weapon were lightweight Matra Type 116M launchers, each with 19 unguided SNEB-68 air-to-air rockets. Up to four could be carried under the wings. In a secondary attack/fighter bomber role, bombs of various caliber (up to 500 kg/1.100 lb on the inner and 250 kg/550 lb on the outer hardpoints) and other unguided missiles/pods were possible, too.
The first Mystère X prototype was powered by the Atar 101D with 29,420 N (6,610 lbf) of thrust, and it flew successfully in June 1953. However, due to the lack of an afterburner at this stage, the machine could only become supersonic in a dive, just like the former Mystère fighters, and it offered in this guise only minimal performance improvements – even though the handling near Mach 1 was already noticeably better. The initial flight test program was successful, though, and the Armée de l’Air immediately placed an order for 100 Mystère X aircraft, intended to improve the Armée de l’Air’s interception capabilities as soon as possible. Serial production started instantaneously, even while the flight tests were still ongoing, and the production machines were powered by the newly developed Atar 101F, which had just been cleared for production and operation on the Mystère X prototype. The Atar 101F was basically a D model with an afterburner added to it, to produce a temporary thrust of 37,300 N (8,400 lbf) and ensure the desired top speed in level flight of more than Mach 1. As a result, the Mystère X’s tail section had to be modified to accommodate the new engine’s longer tailpipe, which did not feature an adjustable nozzle yet – it was simply extended beyond the fin’s trailing edge, and even then the longer jet pipe protruded from the hull. However, this modification was successful and incorporated into the serial aircraft. With the Atar 101F, the serial production Mystère X’s performance was appreciably improved: beyond supersonic top speed, initial rate of climb was almost doubled in comparison with the Mystère IV, but the thirsty afterburner engine almost nullified any gain in range from the new type’s higher internal fuel capacity. Drop tanks had to be carried almost all the time.
The quick (if not hastened) order for the Mystère X also served as an insurance policy in the event of the AMD effort failing to produce an even more capable supersonic aircraft with the Mystère XX, a project that had been under development as a private venture in parallel, but with a time lag of about two years and benefitting from the research that had been done for the AMD 461. However, both designs turned out to be successful and both were adopted for service. They became known to the public as the Mystère S (for ‘supersonique’) and the Super Mystère, respectively. The first Super Mystère prototype, powered by a Rolls-Royce Avon RA.7R, took to the air on 2 March 1955, and the promising aircraft already broke the sound barrier in level flight the following day. The Super Mystère turned out to be the more capable and modern aircraft thanks to its new, more powerful Atar 109G-2 engine.
The more capable Super Mystère was immediately favored and, as a consequence, the running Mystère S order was cancelled in May 1955 and its initial production run limited to a mere 54 airframes - the number that had been completed until that point. The Super Mystère became the Armée de l’Air’s standard fighter for the late Fifties and production was quickly switched to the new type, 180 specimen were eventually built. Since a mix of types in the operational fighter squadrons was not economical, the Armée de l’Air decided to separate them and find a different role for the young but relatively small Mystère S fleet. Since the aircraft had a rugged airframe and had shown very good handling characteristics at medium to low altitude, and because the Armée de l’Air was lacking a fast, tactical and indigenous reconnaissance aircraft at that time (the standard type was the RF-84F), the Armée de l’Air decided in 1956 to convert the Mystère S fighters accordingly.
This modification was a relatively easy task: The retractable missile pannier (which was hardly ever used) was removed and its well behind the cockpit offered sufficient internal space for optical reconnaissance equipment in a conditioned compartment. This comprised four OMERA cameras (less than the RF-84F’s six cameras), covered by a ventral canoe fairing. One camera was facing forward, two were set on mounts that allowed vertical photography or camera orientation to either port or starboard, and the fourth camera had a panoramic field of view. After these modifications, the machines were re-designated Mystère SR to reflect their new role and capabilities.
Initially, the converted machines retained the twin DEFA cannon armament and full external stores capability. Typical load in the new photo-recce role was the standard pair of drop tanks, plus optional flares for night photography. In this guise the Mystère SR fleet was distributed among two reconnaissance units, ER 2/33 “Savoie” and ER 3/33 “Moselle” in Eastern France, close to the German border, starting service in April 1957.
Later in their career, the Mystère SR’s guns and also the ranging radar equipment (even though the empty small radome was retained) were often removed. This was initially a weight-saving measure for better performance, but due to their short legs many Mystère SRs had extra fuel tanks added to the former gun and ammunition bays. In some cases the space was used to house additional mission equipment, the aircrafts’ designation did not change, though. The integration of the new Matra R.550 Magic AAM was considered briefly in 1970, but not deemed relevant for the Mystère SR’s mission profile. However, eight late-production Mystère SRs received a new, bigger panoramic OMERA camera, which necessitated a larger ventral fairing and some other internal changes. These machines were re-designated Mystère SRP (‘panoramique’). Another early Mystère SR was used for the development of indigenous infra-red linescan and side looking airborne radar systems, which were both later incorporated in an under-fuselage pod for the Mirage IIIR.
Having become quickly obsolete through the introduction of 3rd generation jet fighters in the early Sixties – namely the Mirage III – the Mystère SR’s active career only lasted a mere 10 years, and the Mirage III’s fighter variants quickly replaced the Super Mystère, too. Due to its many limitations, the Mystère SR was soon replaced by the Mirage IIIR reconnaissance version, by 1974 all aircraft had been retired. Another reason for this early operational end were durability problems with the composite elements on the aircraft’s wings – there had been no long-term experience with the new material, but the elements tended to become brittle and collapse under stress or upon bird strikes. AMD conceived a plan to replace the affected panels with light metal sheets, but this update, which would have prolonged service life for 10 more years, was not carried out. After spending 5 years in mothballed storage, all surviving Mystère SR airframes were scrapped between 1980 and 1981.
General characteristics:
Crew: 1
Length: 42 ft 3 in (12.88 m) overall
42 ft 3 in (12.88 m) w/o pitots
Wingspan: 32 ft 4 in (9.86 m)
Height: 3.75 m (12 ft 4 in)
Wing area: 345.5 sq ft (32.2 m²)
Empty weight: 13,435 lb (6,094 kg)
Gross weight: 21,673 lb (9,831 kg)
Fuel capacity: 3,540 l (778 imp gal; 934 US gal) internally
plus 2x 625 l (72 imp gal; 165 US gal) drop tanks
Powerplant:
1× Atar 101F turbojet, rated at 29.42 kN (6,610 lbf) dry thrust
and with 37.3 kN (8,400 lbf) with afterburner
Performance:
Maximum speed: 1,110 km/h (600 kn, 690 mph) at sea level
1,180 km/h (637 kn 732 mph,) at 11,000 m (36,089 ft)
Combat range: 915 km (494 nmi, 570 mi) with internal fuel only
Maximum range: 1,175 km (730 mi, 634 nmi)
Service ceiling: 45,800 ft (14,000 m)
Rate of climb: 14,660 ft/min (74.5 m/s)
Time to altitude: 40,000 ft (12,000 m) in 4 minutes 41 seconds
Armament:
2x 30mm (1.18 in) DEFA 552 cannon with 150 rounds per gun (later frequently deleted)
Four underwing hardpoints for 1.500 kg (3.300 lb) of ordnance,
including a pair of 625 liter drop tanks, flares and various unguided missiles and iron bombs
The kit and its assembly:
A project I had on my idea list for a long time – there were so many AMD jet fighter designs (both that entered service but also many paper projects and prototypes) during the Fifties and Sixties that I wondered if I could smuggle a what-if type somewhere into the lineage. A potential basis appeared when I recognized that the British Supermarine Swift had a fuselage shape quite similar to the contemporary French fighters, and from this impression the idea was born to “Frenchize” a Swift.
This called for a kitbash, and I used a Matchbox Mystère IV (Revell re-boxing) for the French donor elements that would be grafted onto an Xtrakit FR.5 model, which looks good in the box but has serious fit issues, e.g. between the rear fuselage halves or when the wings have to be mated with the completed fuselage.
The transplantations from the rather primitive/blunt Matchbox Mystère included the whole cockpit section except for the interior, which was taken from the in this respect much better Swift, the glazing, the spine and the whole tail with fin and stabilizers. The Swift provided most of the fuselage, the wings and the landing gear, even though I used the Mystère’s main wheels because of their characteristic hub caps/brake arrangement.
Mating the fuselage sections from the two models became a major stunt, though, because the diameters and shapes were rather different. Three-dimensional gaps and steps behihd the cockpit had to be bridged, initially with 2C putty for the rough overall shape and then with NC putty for a smooth finish. A gap in the spine in front of the fin had to be improvised/filled, too, and the Mystère’s fin had to be tailored to the different Swift rear fuselage shape, too.
The result looks a little odd, though, the Swift’s original air intake ducts now look from certain angles like hamster cheeks – but after all, the ducts have to pass the central cockpit section on both sides somehow, so that the arrangement makes nonetheless sense. And the small dorsal spine taken over from the Mystère changes the Swift’s profile considerably, as well as the shorter Dassault-style canopy.
The small ranging radar radome is just a piece of sprue from the Mystère kit, blended into the rest of the fuselage with putty. The interior of the air intake was heavily modified – the original splitter, positioned directly inside of the intake, was deleted and the walls trimmed down for a much thinner/sharper lip. Inside of the intake a bulkhead was added as a sight blocker, and a new splitter was mounted to the new bulkhead in a much deeper position. The gun camera fairing is a piece of styrene profile, the new twin pitots (reminiscent of the SM2B’s arrangement) were made from heated sprue material.
The camera fairing is the lower half from a P-47 drop tank, left over from a Hobby Boss kit, IIRC, and in order to fit the Swift’s cockpit tub into the Mystère’s fuselage the rear bulkhead had to be re-created with the help of paper tissue drenched with white glue.
The drop tanks come from a KP MiG-19, which had the benefit of integral, thin pylons at a suitable position for the Mystère SR. For a different look I just canted their fins downwards.
Painting and markings:
For a subtle impression I settled for an authentic livery: the French rendition of the USAF SEA scheme for the F-100 with local CELOMER tones, which was not only applied to the Armée de l’Air’s F-100s (these were originally delivered in NMF and camouflaged later in the Sixties), but also to the Super Mystères - the SM2Bs actually carried a quite faithful adaptation of the USAF’s F-100 pattern! However, the indigenous CELOMER paints differed from the original U.S. Federal Standard tones (FS 30219, 34102, 34079 and 36622, respectively), esp. the reddish light tan was more of an earth tone, and the dark green had a more bluish hue.
This offered some freedom – even more so because real life pictures of French reference aircraft show a wide range of shades of these basic tones and frequent serious weathering. Instead of the U.S. tan I went for RAF Dark Earth (Humbrol 29), the dark Forest Green was replaced with Humbrol 75 (Bronze Green). The light green became a 2:1 mix of Humbrol 117 (the original FS 34102) with Humbrol 78 (RAF Cockpit Green), for more contrast and less yellow in the tone. The undersides were painted with Humbrol 166 (RAF Light Aircraft Grey).
After a black ink wash I gave the model a thorough panel post-shading and recreated some lost panel lines with the help of silver paint, too. I also added some paint patches and touch-ups, for a rather worn look of the aircraft.
The black areas around the gun muzzles were created with the help of decal material, generic black decal sheet material was also used to create the camera windows. Grey (Revell 75) dielectric panels were added to the fin tip and behind the cockpit. The cockpit interior became very dark grey (Revell 09, Anthracite, with some dry-painted medium grey on top), while the landing gear and the respective wells were left in aluminum (Humbrol 56).
The decals are a mix from various sources. The ER 2/33 markings came from a Heller Mirage III sheet, which offers an optional IIIR from 1984. I also settled for relatively small roundels (from a Mirage F.1C) – a trend which started in the Armée de l’Air in the early Seventies and also comprised the deletion of the fin flash. Contemporary real world SM2Bs with the French SEA cammo frequently carried a similar type of subdued markings instead of earlier, bigger roundels found on the machines in NMF finish or on the aircraft from EC 1/12 "Cambresis" with their unique and different camouflage in two shades of green and a rather sandy tan, almost like a desert paint scheme. The white tactical code “33-PS” was improvised with single 4mm letters from TL Modellbau. The stencils were puzzled together from various Mirage III/V/F.1C sheets and also from an IAI Kfir.
The kit received some additional dry-painting with silver to simulate more wear, and was finally sealed with a coat of matt acrylic varnish.
Another “missing link” build, but I think that my Mystère S fits stylistically well into the (non-existent, though) gap between the Mystère IV and the Super Mystère, sporting vintage details like the round air intake but coupled with highly swept wings and the Swift’s elegant lines. The “traditional” French paint scheme adds to the realism - and, when put in the right background/landscape context, turns out to be very effective. Not a spectacular model, despite serious body work around the cockpit, but a convincing result.
Située sur le Royal Mile, la cathédrale Saint-Gilles a été construite en 1120 et est considérée comme l'église-mère du presbytérianisme. Ayant subi un incendie en 1385, elle reconstruite au cours du XVe siècle, d'où son style gothique actuel, avec l'ajout au fil des ans de diverses chapelles augmentant ainsi la taille de l'édifice. Elle devint en 1466 une église collégiale, la tour-lanterne étant ajoutée vers 1490.
Le 7 juillet 1559, à l'apogée de la Réforme écossaise, le conseil d'Édimbourg installa le réformant John Knox comme prêtre de Saint-Gilles. De ce fait, la cathédrale devient un symbole du presbytérianisme en 1560 et acquiert son statut de cathédrale en 1630, bien qu’elle abrita un évêché pour 31 ans seulement.
C'est dans cet édifice qu'eut lieu, le 23 juillet 1637, une émeute contre le culte anglican que voulait imposer Charles 1er, ce qui déclencha les Guerres des évêques et au-delà la Révolution anglaise (cf. wikipédia, merci Geysirius pour la photo.
Photo André Knoerr, Genève. Reproduction autorisée avec mention de la source.
Utilisation commerciale soumise à autorisation spéciale préalable.
Avec l'augmentation de la cadence aux 15 minutes entre Lausanne Flon et Cheseaux et les directs supplémentaires, ce sont 10 trains par heure qui transitent aux heures de pointe à l'avenue d'Echallens!
La RBe 4/8 assure une course Cheseaux - Lausanne Flon.
Getting close to finishing the mural.....
I recently dropped by the “Trail Blazer” mural being worked on by artist Wendy Popko. She was quite busy, since the deadline is coming to finish. We had chatted earlier about the mural, that was commissioned by the city of Sterling Heights. It will be a very unique mural using AR - Augmented Reality, that will allow you to use an app on your cellphone to watch the mural come alive with movement. It is on the Ventimiglia Italian Market wall - near 15 mile and Dodge Park Roads @wendypopko @cityofsterlingheights #muralart #wallart #ventimigliaitalianmarket @ventimigliaitalianfoodsco #olympuspenepl7 #documentyourdays #macombcounty
Sterling Heights, Michigan
"To rend one's enemies is to see them not as equals, but objects - hollow of spirit and meaning."
- 13th Understanding, 7th Book of Sorrow
Augmented through dark practices, Thorn was once a hero's weapon. Its jagged frame hints at a sinister truth: a powerful connection to the unutterable sorceries of the Hive.
The legend of Thorn is bound to the rise and fall of Dredgen Yor, a Guardian whose name is remembered with disgust and shame. The weapon was thought destroyed...but rumors of its existence still haunt the wilds.
--------------------------------
In-game you can acquire this weapon after completing the Exotic Bounty "A Light In The Dark", which can be obtained randomly by turning bounties in to the various bounty vendors in the tower. (Xander 99-40, Eris Morn, Lord Saladin, etc.)
---------------------------------
Onto the MOC!
I started working on this after seeing other Lego Thorn MOCs online, all of which had something I didn't quite think right (It seemed they made their MOC their own instead of 100% modeling it after the in-game firearm), so that was the base inspiration for this MOC. There is a comparison picture here which I primarily based my MOC on, you can see the slight differences and similarities. C&C appreciated, I know there are some things not perfect about it (the front-end of the barrel in-specific), so let me know!
I hope you enjoi'd!
~ Bumblebee
You can actually hold it, without it falling apart!! =D Watch the video! www.flickr.com/photos/59395264@N03/6903437765/in/photostr...
Brucewaynelego-Toyshansolo's Lego AR card. www.flickr.com/photos/brucewaynelego/5613927249/
Happy new year to all of you... :D
This being my first pic for the year.. :)
I think the title would be enough to make you think about the world that we live in... where everything is materialistic...
the values and morals... just seen in the book...
the toughts.. controlled by other individuals.. mostly by those who are above us...
Being in control and used by others...
Seeing what the others want us to see, rather than what you want to see...
The world has turned into an augmented reality by that few people and we are living on their signal feeds...
we need to break free..
UNTITLED DIGITAL ART (AUGMENTED HAND SERIES)
By Golan Levin, Chris Sugrue, and Kyle McDonald
Repository: github.com/CreativeInquiry/digital_art_2014
Contact: @golan or golan@flong.com
Photo © by Gerlinde de Geus, courtesy Cinekid Festival.
Commissioned by the Cinekid Festival, Amsterdam, October 2014, with support from the Mondriaan Fund for visual art. Developed at the Frank-Ratchye STUDIO for Creative Inquiry at Carnegie Mellon University with additional support from the Pennsylvania Council on the Arts and the Frank-Ratchye Fund for Art @ the Frontier. Concept and software development: Golan Levin, Chris Sugrue, Kyle McDonald. Software assistance: Dan Wilcox, Bryce Summers, Erica Lazrus. Conceived 2004; developed 2013-2014.
Special thanks to Paulien Dresscher, Theo Watson and Eyeo Festival for encouragement, and to Dan Wilcox, Bryce Summers, and Erica Lazrus for their help making this project possible. Thanks to Elliot Woods and Simon Sarginson for assistance with Leap/camera calibration, and to Adam Carlucci for his helpful tutorial on using the Accelerate Framework in openFrameworks. Additional thanks to Rick Barraza and Ben Lower of Microsoft; Christian Schaller and Hannes Hofmann of Metrilus GmbH; Dr. Roland Goecke of University of Canberra; and Doug Carmean and Chris Rojas of Intel.
Developed in openFrameworks (OF), a free, open-source toolkit for arts engineering. This project also uses a number of open-source addons for openFrameworks contributed by others: ofxPuppet by Zach Lieberman, based on Ryan Schmidt's implementation of As-Rigid-As-Possible Shape Manipulation by Igarashi, Moscovich & Hughes; ofxLeapMotion by Theo Watson, with assistance from Dan Wilcox; ofxCv, ofxLibdc, and ofxTiming by Kyle McDonald; ofxCvMin and ofxRay by Elliot Woods; and the ofxButterfly mesh subdivision addon by Bryce Summers.
Shoutouts from @golan @chrissugrue & @kcimc: @admsyn @bla_fasel @bwycz @cinekid @CMUSchoolofArt @creativeinquiry @danomatika @elliotwoods @eyeofestival @laurmccarthy @openframeworks @PESfilm @rickbarraza @SimonsMine @theowatson @zachlieberman
Wherever we go, we stare at the screens of our smartphones. We're immersed in our personalised universes, which are invisible to people nearby. Being the driver of a car full of passengers, the feeling of being excluded from the world that really matters, is even more sad, because there's no escape, no screen to dive into. You need to keep watching the road. If you're the lucky owner of a pair of Google Glass (and not having the Google self driving car yet) then the "Autocue" app is what you, and your fellow passengers, need. It solves a practical problem, but it also disrupts the social situation in the car. No more smartphone staring in isolation, but lively dialogues instead. The multi-user autocue instructs each passenger to speak out lines from classic movie scenes staged inside cars. Instructions appear in sync across the smartphones and the Google Glass. A centralised system plays the scenes as an infinite loop, so you can enter any car in the world and join the conversation. If there's two people in the front seat of the car already, choose the back seat and click to contribute a matching soundtrack.
Sander Veenhof & Victor de Vries
Ce lycée a été construit suite à l'augmentation de la demande due au baby-boom. Le bâtiment de 180m de longueur est doté de vastes baies vitrées s'ouvrant sur une cour rectangulaire.
On peut distinguer la trame constructive qui est de 1,75m.
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Meurthe-et-Moselle (54)
Ville : Nancy (54000)
Quartier : Nancy Sud
Adresse : 39, rue du Sergent Blandan
Fonction : Éducation
Construction : 1955 → 1956
► Architecte : Jean Bourgon
Niveaux : R+4
Hauteur : ≈15.00 m
Shot from Bøllingsø of our Augmented Reality Android App "Digitale Tråde". The App is being developed for Museum Midtjylland in Herning, Denmark.
The App will be available from June 2012 and provides on-location discovery and augmentation of historic excavations. (www.digitaletraade.dk/getapp/)
Augmented reality explorations by Sander Veenhof: www.pinterest.com/sanderveenhof/augmented-reality-explora...
the library of the dutch city deventer asked fabrique to create a game for kids and teenagers. we used the augmented reality engine "layar" to create an exciting and fast game for the city and the library. these are the first impressions...
Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.
The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of Industrial Revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.
The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums.[citation needed] It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.
In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.
Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.
In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.
In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.
The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.
In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.
With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.
At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993. Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage,Beamish Museum 2014 followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.
In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.
Into the 2010s, further buildings were added - the fish and chip shop (opened 2011) band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.
Concept art for an application I've got my development team working on. How can Augmented reality be used to serve NGOs, nonprofits and the developmental aid community.
In the image above, you see a mobile phone with a bunch of message windows covering an image. In augmented reality applications, there are two views: the real world video image, and an ‘overlay’ of data related to the things seen. This data is entered in the form of geo-cached notes. So, if you have a meeting with someone near a building and leave a geo-cached note, that note is tagged based on your exact latitude, longitude, elevation and orientation. Holding up an AR device while looking at that same spot a year later, I’d see a popup window wherever you dropped the note, time stamped for when you were there, along with whatever notes or files you uploaded to that spot. To make it even simpler, it’s like dropping pins on Google Maps, only in the real world, on real objects. This is why AR has been dubbed, ‘the web of things’ or ‘web squared’, because real-world objects are tracked, tagged and marked-up like a webpages.
Already people are recording audio, video, and blogging to keep donors abreast of their work in the field. Imagine making appointments for them to check in for realtime conversations to make sure everything is progressing as planned. Your phone would be a video/chatting device that would allow them to even participate in discussions on the ground in real time. In the image below you can see the AR view more clearly. The top left window has the coordinates of where you are along with the history of that location, and when your organization last visited the spot — all data that could be recorded without the field team ever even knowing it. In the top right you also have photo and video that was recorded by your team at that location at some point in the past, along with notes and files uploaded from that spot.
In the top left you have a ‘chat’ pane with images of people that represent donors, contacts at relevant organizations or other team members. The icons indicate that you can call, email or instant massage them while green dots indicate “presence”, if they happen to be online. You can see that one of that chat icons is glowing, indicating that someone has initiated communication. In the bottom right you can see the message they’ve sent and what needs to happen next. The person wants to send the user a file.
Below the chat pane, there is an area with numbers. These numbers indicate spending trends, what cash the organization or project as on hand, how much is being spent, and where it’s coming from. In some cases donors might add additional funding based on what they see, read or come to expect. Of course, this area could also show any type of data: tracking the shipment of resources, status updates from team members, emergency info.
In the center, a popup bubble has used facial recognition technology to pull up data bout a girl. We can see her bio (the notes someone has left about her and her family) along with her age, history of illness and life expectancy.
In the bottom left, we have a map showing our location with a bright red beacon pulsating to show our orientation and location in the country. The orange popup icon displays the name of the specific sub-region we’re located in, in this case the Kucikiro District of Rwanda.
Read more - appfrica.net/blog/2009/08/12/the-future-of-giving/
Poster print available at appfrica.net/blog/shop/