View allAll Photos Tagged computergraphics
"Designing Programmes", classic book on form as programme by the Swiss designer Karl Gerstner.
Page 21: Programme as computer graphics
The illustrations below show pictures from the series 201. They came into being in 1966 and are the work of Frieder Nake, who is per se a programmer at the computing centre of the Stuttgart Institute of Technonlogy.
He writes: Visual objects generated by computers and by automatic drawing machines are solutions of aesthetic programmes which are written by human beings and implemented by machines.
1. In a (more or less subjective) selection process, a person decides on a certain class of visual objects. In concrete terms this means: the elements are fixed which are to appear in the picture or pictures. In the examples below: horizontal or vertical lines of equal length.
2. He or others then formalize the problem radically so that it is suitable for the programming of an automatic production process in which man is involved simply in an ancillary and not a decisive capacity. This means that all the concepts arising (colour, form, completion, selection, proximity, relation, tension, frequency, etc...)
must be translated into mathematical language. When the problem has been formulated in mathematical terms, it is translated into a text which the computer can understand. This translation is the "Programming of a computer". For this purpose a "programming language" is used e.g. ALGOL 60. In this language we find sentences like:
«for» i:=1 «step» 1 «until» n «do»
«begin» x:=choose(mx,x1,x2); y:=choose(my, y1, y2)
z: =choose(mz, z1, z2); zeichne (x, y, z).
3. The programme is delivered and passed onto modern computers which, working in conjunction with drawing machines, ensure that the process is carried out automatically and deliver the finished visual object.
The use of chance generators plays an important part in this process since they simulate imagination, variations and series formation. A programme can be repeated virtually as often as desired without the same result ever
occurring twice. F. N.
Rendered using Autodesk Maya and Adobe Lightroom. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
This model was created in Autodesk Maya 2008 and rendered with Mental Ray. The video was then created using Autodesk Combustion.
Rendered using Autodesk Maya and Adobe Lightroom. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
Rendered using Autodesk Maya and Adobe Lightroom. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
Weight matrix for a neural network with neurons located on a sphere, distributed according to a octahedral geodesic network and with weights depending on distance as a a Mexican hat function (local excitation, long-range inhibition).
Rendered using Autodesk Maya and Adobe Photoshop. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
Weight matrix for a neural network with neurons located on a sphere, distributed according to a octahedral geodesic network and with weights depending on distance as a a Mexican hat function (local excitation, long-range inhibition).
“The pure, the beautiful, the bright,
That stirred our hearts in youth,
The impulse to a wordless prayer,
The dreams of love and truth,
The longings after something lost,
The spirit's yearning cry,
The strivings after better hopes —
These things can never die.”
- Sarah Doudney quotes
Many many thanks to the the following for allowing me to use their stock for my graphic.
Model
www.deviantart.com/deviation/30521441/
Lanscape
Tree stump with rocks by the sea
Sunset over Olympus Mons and the West Coast of the Tharsis Region on Mars. Rendered using Autodesk Maya and Adobe Photoshop.
Rendered using Autodesk Maya and Adobe Lightroom. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
A view of the proposed Clipper spacecraft making a pass over Jupiter's moon Europa.
Rendered using Autodesk Maya 2015
Rendered using Autodesk Maya and Adobe Lightroom. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
An act of using data not quite as intended. Millions of dollars and thousands of man-hours spent gathering terrain elevation data and I slap a Metallica logo onto it. Digital elevation model using LRO LOLA 64 pix/deg dataset, exaggerated by several times, of the Moon and rendered with jDem846.
Rendered using Autodesk Maya and Adobe Lightroom. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
A reimagining of my model depicting the Europa Clipper Mission spacecraft.
Rendered using Autodesk Maya and layer compositing done in Adobe Photoshop. Planet textures sourced from the Celestia Motherload.
Solar Collector power plant simulation set to heliostats on solar concentrator and located in Nashua, NH, 12/08/2010. Red lines indicate solar path and sunrise/sunset azimuths on simulation date. Red shading indicates solar elevation angle and azimuth at time of screenshot.
Ocean surface temperatures from April 6th, 2015. Derived from the blended SST from the NOAA Polar Operational Environmental Satellites. More info on the source data products: coastwatch.noaa.gov/cwn/cw_products_sst.html
Data: NOAA, Land Imagery: NASA Earth Observatory, Rendering: Kevin M. Gill
Tried something new with this one. Rather than using the height map as displacement on a NURBS plane, I used Photoshop to create a 3d mesh and brought that into Maya.
Rendered using Autodesk Maya and Adobe Photoshop. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
Rendered using Autodesk Maya and Adobe Lightroom. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
Buckytubes are held together as much by symmetry as forces. Their regular structure gives them their unique properties.
Place an asteroid in geosynchronous orbit. It will hang over the same spot on the equator since it orbits at the same speed as the Earth is moving below. Lower a filament from it, while extending a counterweight outward. The centre of mass will remain in place. Continue until the lower end reaches the ground. Add an elevator. Now the road to space is open: without any need for costly reaction mass, without the cruel rocket equation forcing most of the vehicle to be fuel just to lift all that fuel, without the poisonous and risky chemicals that can blow us into orbit. Just a solar-powered elevator bringing us to orbit and launchers on the asteroid. A bifrost bridging Midgård with Valhalla.
All it takes is a material strong enough. It has to carry 35,000 kilometres of itself on Earth. Kevlar would be enough to do it on Mars. Earth needs something stronger, like buckytubes.
Buckminster Fuller envisioned tensegrity structures held up by the tensile strength of cables. A beanstalk would be the ultimate tensegrity, held up simply by the Earth’s rotation. With a minimum of waste space would open and spaceship Earth would have a landing pad.
Engineering ambitions. Transcending the limits of material and energy. Power. Matter as force.
There are many, many arches and tunnels under the railways, both sides of the Tyne, but this one in Gateshead is lit up both randomly but also quite attractively.
The wide angle and textures on the stone make it look almost like a screen grab from a computer game.
Rendered using Autodesk Maya and Adobe Photoshop. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
Modeled and rendered in Autodesk Maya, post processing in Adobe Photoshop.
Pluto & Charon texture credit: NASA/JHUAPL/SwRI
"Weapons don’t kill people, people do… unless it is a Trillicom Autonomous Self-Replicating Interceptor!"
The inventors and designers of Trillicom don’t work primarily for profit. They are driven by idealism, curiosity and pride in their creativity. They invent new ways of projecting force, using advanced means and brilliant intelligence to make them as deadly or dramatic as possible.
"Wherever you go, whatever you want to blow up, we will be there to sell you what you need".
Writing computer viruses is fun. Let's admit it. It is an act of godlike creation to make something that can live and reproduce on its own. It is an intellectual challenge to fold it all into a small package and find good ways of circumventing antivirus software. It is a way of releasing something of oneself into the world to grow into something great. It is also a bad idea. The virus will disrupt communications and files quite easily even if it was intended as safe. It is easy to get an infection from one's own virus. People could backtrack the virus to you, leaving you open to legal or software attack. But the challenge... this time I will not make any mistakes, leave any traces or get caught!
8 of information is when the ideas and possibilities floating around spear into reality, heedless of the disruption they cause. It is also when reality strikes back against the inventor, forcing one to confront the consequences of one's ideas and actions.
Intelligence used for the wrong or amoral reasons. Technological chaos. Unexpected consequences. Military intelligence. The SNAFU principle. "Because I could!"
Rendered using Autodesk Maya and Adobe Lightroom. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
Digital elevation model rendered using the GEBCO_08 bathymetric dataset in a Winkel-Tripel projection. Landmasses use the Blue Marble satellite imagery. Sources: GEBCO_8 bathymetric raster data provided by the General Bathymetric Chart of the Oceans. Satellite imagery provided by the NASA's Earth Observatory Blue Marble project. Rendered using jDem846.
Rendered using Autodesk Maya and Adobe Lightroom. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
Uploaded in the hope that it will spur me on to model a 2005 Christmas card design - before its too late again..
Earth with bedrock level bathymetric data from GEBCO using the Winkel-Tripel projection. Hillshading has been applied over the Blue Marble image to provide an exaggerated texture easier to see. Sources: GEBCO_8 bathymetric raster data provided by the General Bathymetric Chart of the Oceans. Satellite imagery provided by the NASA's Earth Observatory Blue Marble project. Rendered using jDem846.
Rendered in Blender using a digital terrain model and hand-map projected RGB swath from HiRISE.
Source Data Credit: NASA/JPL/University of Arizona
Data source: www.uahirise.org/dtm/dtm.php?ID=ESP_020267_1490
Rendered using Autodesk Maya and Adobe Lightroom. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
Earth with bedrock level elevation from ETOPO1. Hillshading has been applied over the Blue Marble image to provide an exaggerated texture easier to see. Sources: ETOPO1 Global Relief 1 arc-minute elevation raster data provided by the NOAA National Geophysical Data Center. Satellite imagery provided by the NASA's Earth Observatory Blue Marble project. Rendered using jDem846.