View allAll Photos Tagged computation
I'm now subtracting 5 in the 5th position from the left. This is done in 3 steps: subtract 50, add 40, add 5. In this step I subtract 50 by subtracting 5 in the 4th position from the left.
I'm now subtracting 6 in the 6th position from the left. This is done in 3 steps: subtract 10, add 5, subtract 1. In this step I subtract 10 by subtracting 1 in the 5th position from the left.
I'm now subtracting 5 in the 5th position from the left. This is done in 3 steps: subtract 50, add 40, add 5. In this step I add 40 by adding 4 in the 4th position from the left.
The project Cyber Physical Macro Material, which was developed at the Institute for Computational Design and Construction (ICD) as an ITECH M.Sc. thesis project by ITECH students Miguel Aflalo, Behrooz Tahanzadeh and Jingcheng Chen, demonstrates a tangible vision of a new dynamic (and intelligent) architecture for public spaces.
Credit: Ars Electronica / Martin Hieslmair
Computational domes. The design is generated with shape grammars and the construction is adapted with a catenary-simulation. Scripted in Processing.
Soon more on www.benjamin-dillenburger.com
In this exercise I'm showing how to add the number 123456789 to itself on the giant Soda Hall abacus. I add in right-to-left order, first adding 9 in the ones column, then 8 in the tens column, etc. This first step shows 123456789 entered on the abacus.
Original cartoon character that makes "Animal" motif.
It draws with Photoshop. It is a very lovely mascot character.
LINE Sticker
「T-KONI`s Art Gallery」（Imagekind.com）
「T-KONI`s Unique Products 」（Zazzle.com）
I'm now adding 8 in the 8th position from the left. This is done in 3 steps: add 50, subtract 40, subtract 2. In this step I subtract 2.
In this exercise I'm showing how to compute 246913578 minus 123456789 = 123456789 on the giant Soda Hall abacus. I subtract in left-to-right order, first subtracting 1 in the leftmost column, then 2 in the next column to the right, etc.
In this series, I am not present - this makes it less obvious what was changed, but does not occlude the abacus.
I'm now adding 7 in the 7th position from the left. This is done in 3 steps: add 10, subtract 5, add 2. In this step I add 2.
I'm now adding 4 in the 4th position from the left. This is done in 2 steps: add 5, subtract 1. In this step I add 5.
Computational chemistry efforts such as those by Felice Lightstone’s team at Lawrence Livermore may help streamline the drug discovery process, thereby enabling researchers to bring new therapies to clinical trials and the marketplace more rapidly and with a higher rate of success.
...by the College of Engineering at Swansea University
1,000mph
BLOODHOUND SSC is a car that hopes to reach
1,000 mph (Mach 1.3 or 1.3 times the speed of
sound) and set a new World Land Speed Record.
I'm now adding 5 in the 5th position from the left. This is done in 2 steps: add 10, subtract 5. In this step I add 10 by adding 1 in the 4th position from the left.
I'm now adding 8 in the 8th position from the left. This is done in 3 steps: add 50, subtract 40, subtract 2. In this step I add 50 by adding 5 in the 7th position from the left.
I'm now adding 7 in the 7th position from the left. This is done in 3 steps: add 10, subtract 5, add 2. In this step I subtract 5.
ASCENSION: An Interactive Installation
----------------
The Project
Willpower (William Ismael) + Carrie Mae Rose collaborate in the duo FLUID THUNDER for the interactive projection mapping of the tetrahedron winged computational fashion installation at Eyebeam (Art + Technology Center in New York City).
----------------
The Process
Carrie Mae creates hand-built wing structures out of wire tetrahedrons and fabric. Willpower codes 2 animations in Processing, which is an open-source programming language, development environment, and online community. He uses Leap Motion, which is a sensory technology, detecting human hands and fingers. He uses a Processing Library by onformative (a studio for generative design based in Berlin) called LeapMotionForProcessing to use Processing seemlessly with Leap Motion. Willpower attaches his interactive human generated animations to the Leap Motion sensor. They follow a person's hand movements in real-time and on key with accurate precision. The public interacts with the installation by activating the wings through their physical movements.
----------------
The Story
The animation displays beams of light representing solar neutrinos and the love we have access to at all times. Wings symbolize aspiration and ascension. The light is symbolic of angelic light coming from realms above, shining down to inspire and remind us that we are pure love in our hearts. The bubble eruptions represent both the thunderous fire energy residing inside our human forms and the Big Bang Theory that we are all becoming lighter and lighter each moment in time throughout our expansion into infinite space.
----------------
The Experience
Human beings generate the art on the angel wings by moving their hands. They become part of the art. They create the art. An ongoing 3D generative animation is mapped behind the wings. An interactive animation generated by people is mapped onto the wings. Without human movements, no animation is created on the tetrahedron angel wings. We include you to be part of the art because it is about us. It is about the interaction between the artists and the visitors. We communicate and transcend messages which are experienced beyond just looking at a piece by making you a co-creator of the piece. It is about us coming together and interacting in the space with 'others' we may have not engaged in a conversations with otherwise. It becomes an unique shared experience.
----------------
Credits
Installed at Eyebeam.
Sculpture by Carrie Mae Rose.
Interactive Projection Mapping by WILLPOWER STUDIOS (William Ismael).
Video Shot + Edited + Music by WILLPOWER STUDIOS (William Ismael).
Watch Video: vimeo.com/78205976
Download Press Package: fluidthunder.com/ASCENSION-Press.zip
To know more about project, visit FluidThunder.com
I'm now adding 7 in the 7th position from the left. This is done in 3 steps: add 10, subtract 5, add 2. In this step I add 10 by adding 1 in the 6th position from the left.
I'm now adding 3 in the 3rd position from the left. This is done in 2 steps: add 5, subtract 2. In this step I add 5.
I'm now adding 6 in the 6th position from the left. This is done in 3 steps: add 10, subtract 5, add 1. In this step I subtract 5.
PI: George Schatz, Northwestern University
Image of the nucleosome 1KX5 from the Protein Data Bank (from X. Zhu, TACC). This DNA/protein complex will serve as the primary target of simulation studies to be performed by the Schatz group as part of the INCITE program.
This research used resources of the Argonne Leadership Computing Facility at Argonne National Laboratory.
I'm now adding 8 in the 8th position from the left. This is done in 3 steps: add 50, subtract 40, subtract 2. In this step I subtract 40 by subtracting 4 in the 7th position from the left.
I'm now adding 5 in the 5th position from the left. This is done in 2 steps: add 10, subtract 5. In this step I subtract 5.
This is UGA's only significant building of the 1990s - the Chemistry Annex or Computational Chemistry building, by Lord, Aeck & Sargent (with Joe Greco as project lead). I've always been fond of it. It's a Miesian box, encased in a structural cage and hoisted not only above ground but away from it; the primary entry is by a short but still exciting catwalk. The show-offy structure of the entrance canopy, and the old-school sans-serif font, combine with the dark mullions and reflective glass to make the building seem considerably older than it is; I wouldn't be surprised if it's on somebody's itinerary of mid-century gems in Georgia.
I'm now adding 6 in the 6th position from the left. This is done in 3 steps: add 10, subtract 5, add 1. In this step I add 10 by adding 1 in the 5th position from the left.
Deborah Lawler-Dormer Artistic experimental testing using computational modeling of the human brain.
How are integrated cognitive responses triggered in multisensate environments?
As a new media curator, I work with artistic practices that engage particular perceptual dynamics to create unique environments. Given the increase in mutlisensate environments, and the resultant complex demands made of audiences, the need to better understand these practices is required by artists, their viewers, critics and gallery professionals. I have consequently embarked on a creative practice PhD at both University of Auckland and University of New South Wales examining cognitive perceptual integration in multisensate environments.
In the Laboratory for Animate Technologies at the Auckland Bioengineering Institute, Dr Mark Sagar and his team are building a computational model of the brain and face. Working with research teams at the Centre for Brain Research, these computational models contain current neuroscientific understandings. Dr Mark Sagar is a double academy award winner for his animation in Avatar and King Kong. Sagar states: “We are building a collaborative modular model of the face and brain, a brain and face Lego with swappable and re-shapable parts. Both scientists and artists who want an interactive context to test and visualise their work can design, combine, integrate, inspect, react, be reacted to, and redesign.” This collaborative research initiative involves staff and students from computer science, architecture, neuroscience, engineering and the arts.
This paper looks at this computational brain model and the transdisciplinary collaborative processes that have helped develop it. How is this model useful to transdisciplinary practitioners who want to understand the neural responses to specific types of sensory input? My own personal PhD research will be briefly described and the methodology for testing. In addition, the paper will begin to look at the problematic of using a computational virtual model for artistic testing.
I'm now adding 4 in the 4th position from the left. This is done in 2 steps: add 5, subtract 1. In this step I subtract 1.
Pacific Place - Hong Kong, China
HDA : Consultant Design & Enginneer
Client : Swire Properties Inc.
Architect: Heatherwick Studio
Date : 2005 - 2012
See more at : www.hda-paris.com/
The Cray XT5 Jaguar features more than 224,000 processing cores, each with 2 gigabytes of local memory.
I'm now adding 3 in the 3rd position from the left. This is done in 2 steps: add 5, subtract 2. In this step I subtract 2.
ASCENSION: An Interactive Installation
----------------
The Project
Willpower (William Ismael) + Carrie Mae Rose collaborate in the duo FLUID THUNDER for the interactive projection mapping of the tetrahedron winged computational fashion installation at Eyebeam (Art + Technology Center in New York City).
----------------
The Process
Carrie Mae creates hand-built wing structures out of wire tetrahedrons and fabric. Willpower codes 2 animations in Processing, which is an open-source programming language, development environment, and online community. He uses Leap Motion, which is a sensory technology, detecting human hands and fingers. He uses a Processing Library by onformative (a studio for generative design based in Berlin) called LeapMotionForProcessing to use Processing seemlessly with Leap Motion. Willpower attaches his interactive human generated animations to the Leap Motion sensor. They follow a person's hand movements in real-time and on key with accurate precision. The public interacts with the installation by activating the wings through their physical movements.
----------------
The Story
The animation displays beams of light representing solar neutrinos and the love we have access to at all times. Wings symbolize aspiration and ascension. The light is symbolic of angelic light coming from realms above, shining down to inspire and remind us that we are pure love in our hearts. The bubble eruptions represent both the thunderous fire energy residing inside our human forms and the Big Bang Theory that we are all becoming lighter and lighter each moment in time throughout our expansion into infinite space.
----------------
The Experience
Human beings generate the art on the angel wings by moving their hands. They become part of the art. They create the art. An ongoing 3D generative animation is mapped behind the wings. An interactive animation generated by people is mapped onto the wings. Without human movements, no animation is created on the tetrahedron angel wings. We include you to be part of the art because it is about us. It is about the interaction between the artists and the visitors. We communicate and transcend messages which are experienced beyond just looking at a piece by making you a co-creator of the piece. It is about us coming together and interacting in the space with 'others' we may have not engaged in a conversations with otherwise. It becomes an unique shared experience.
----------------
Credits
Installed at Eyebeam.
Sculpture by Carrie Mae Rose.
Interactive Projection Mapping by WILLPOWER STUDIOS (William Ismael).
Video Shot + Edited + Music by WILLPOWER STUDIOS (William Ismael).
Watch Video: vimeo.com/78205976
Download Press Package: fluidthunder.com/ASCENSION-Press.zip
To know more about project, visit FluidThunder.com
The final result of the computation can be read off as 246913578, which is indeed 123456789 + 123456789.
I'm now adding 9 in the 9th position from the left (the rightmost position, the ones position). This is done in 2 steps: add 10, subtract 1. In this step I subtract 1.
This completes the computation. The final result of the computation can be read off as 246913578, which is indeed 123456789 + 123456789.
The Phantôm Restaurant,Opera Garnier
HDA : technical design & engineering
Client : Gumery
Architect : ODBC
Date : 2009 - 2011