View allAll Photos Tagged computergraphics
A rerender of the ETOPO1 Global Relief Model raster dataset (ice surface) provided by the NOAA. Generated using jDem846.
Rendered using Mental Ray's physical sun and sky and some cloud templates in Maya.
Rendered using Autodesk Maya and Adobe Photoshop. HiRISE data processed using HiView and 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
Rendered using Autodesk Maya and Adobe Lightroom. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
Kepler struggled for many years with his model of the solar system. Since there were six planets orbiting the sun, and five platonic polyhedra, should their distances not be related? He attempted inscribing the polyhedra in spheres marking the circular orbits, placing the solar system in perfect mathematical harmony. It made wonderful hermetic sense - and it never worked.
When Kepler finally discarded his cherished model and looked at what the data had been truly saying, he discovered something else entirely. Three simple laws:
The orbits of the planets are ellipses, with the Sun at one focus of the ellipse.
The line joining the planet to the Sun sweeps out equal areas in equal times as the planet travels around the ellipse.
The ratio of the squares of the revolutionary periods for two planets is equal to the ratio of the cubes of their semimajor axes.
Suddenly the data made sense. The solar system did contain harmonies, but new harmonies never expected by any Greek philosophers. The way towards gravitation, central forces and space was open.
Will our descendants make Kepler's dream true? Most of the solar system is a waste of matter, just lying there and dissipating the sacred rays of sunlight into the void. But what if that matter was rearranged to collect the light, to make it available for life, work, thought and growth?
Freeman Dyson's idea (based on a similar concept in Stapledon's Starmaker) was to englobe the sun in a shell of orbiting habitats and solar collectors: a Dyson sphere. It would have 600 million times the surface area of the Earth. He suggested it as the logical result of current exponential growth in energy and resource use.
Robert Bradbury went further in suggesting the Matrioshka Brain: making use of all available matter to process information - thinking, feeling, being - in a nested structure where each kind of material available would be used for energy collection and dissipation, information processing and storage. Planets would be disassembled by self-replicating machines in the matter of years, the stellar atmosphere tamed and the entire system turned into something not unlike the Kepler vision of interlocking spheres and polyhedra. Optimisation and forethought would shape this structure, by necessity introducing mathematical and physical harmonies.
We recoil at the idea of disassembling planets (especially the Earth). But maybe we should burn our cradle to light the library of mind.
Abandoning outmoded ways of thinking. Central forces. Energy. The birth of something new through creative destruction. Maximum productiveness. Perfect unity aesthetics and efficiency.
Rendered using Autodesk Maya and Adobe Photoshop. HiRISE data processed using HiView and 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
Rendered using HiRISE DTM data in Autodesk Maya and Adobe Photoshop.
Data Credit: NASA/JPL/University of Arizona/USGS
Data Source: www.uahirise.org/dtm/dtm.php?ID=PSP_002118_1510
Simulated long exposure from low Earth orbit.
Kinda hard to tell, but that's North America whizzing by down there.
Using night lights imagery from Miguel Román, NASA GSFC.
Rendered using Autodesk Maya and Adobe Photoshop. HiRISE data processed using HiView and 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
A comparison in size between Earth, Pluto and their moons. Saturn is in the background as a further example of size.
Image: Kevin M. Gill
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
Rendered using Autodesk Maya with Viking global imagery and MOLA altimetry as displacement mapping.
Data Credit: NASA/JPL-Caltech
Living beings are by their nature actively self-preserving agents. But their ability to make choices includes the ability to make the choice not to be.
Sometimes you feel like you want to reach in with a taloned hand and rip out your own guts. To rend and desecrate your body, to destroy yourself. Not as any form of release but just as violence against onself, the one enemy one can never escape.
The greatest threat is to not recognise this impulse and be surprised by it. The more you deny the forces inside you, the more they control you. Knowing about them might not be enough to control them, but it is a start to rebuild oneself, to make defences, to ensure consistency.
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 Photoshop. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
Rendered using Autodesk Maya and Adobe Photoshop. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
3d computer graphic images series "in the crack".
"Flesh separated from its meaning and function thus becomes an unknown territory, a limitless area. A substance that can be moulded at will. Virtual flesh become abstract."
more info :
hugoarcier.com/en/dans-la-fente/
© All Rights Reserved
The transhumanist stands ready to ascend with his tools: information technology, nanotechnology, biotechnology and cognitive science.
Is he the harbinger of the posthuman era, or a self-deluded fool who listens to pseudoscience and science fiction all too credulously? Only time will tell – but it is also up to the transhumanist to prove himself. Can he harness his will to gain the necessary skills, resources and plans to achieve his ambitions?
The scientist/technologist is descended from the magician and still shares his niche in public consciousness. They both seek to understand and influence the world through knowledge and skill. Still, there is a chasm between the outlooks: one seeks to gain control and understanding by experiment and theory that is open to outside scrutiny and testing, the other seeks the same things but fears the sceptics and their demands of knowing how the trick was done. As the scientist clouds himself in jargon and assumptions he becomes a magician. As the magician refines his theories and dares to subject them to testing and publication, he becomes a scientist.
Will. Ambition. Intellectual creativity
Details
With his right hand he points towards the blessed future. With his left hand he presses control-D to break with the past.
Behind him are the stores of past human knowledge and history. Around him are the documents of current knowledge. He needs to make new tools to gain the new knowledge he seeks.
The plant is Ginko Biloba - a living fossil whose family appeared in the Carboniferous era and survived both the ends of the cretaceous age and the latest ice ages. It would likely have died out if not Chinese monks had decided it was sacred and cultured it. It is rich in antioxidants and appears to improve short-term memory by increasing blood throughput in the brain.
The tools are the calculator (dagger), the pill bottle (cup), the DNA model (the wand) and the credit card (the pentacle) surrounding the fullerene molecule. They represent the analytic skills, the health and energy, the sense of destiny and the practical/material preconditions needed to get anywhere.
The infinity sign signifies his lack of limitations. At worst his imagination is unbounded from ordinary assumptions. At best his destiny infinite - far beyond human limitations. But it is a Möbius strip. One has to be careful not to follow it round and round in self-referential loops to get anywhere.
He is standing barefoot - he is still very much connected to his human past and plans to remain so even when he has become something transcendent. But his head is in the air.
And yes, that is a butterfly of transformation and a cryotag. Cannot leave them out.
Global digital elevation model rendered using the GEBCO_08 bathymetric dataset. Landmasses use the Blue Marble satellite imagery. Hillshading has been exaggerated and simulates the solar position at 12:00 PM, February 28, 2012 GMT. 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
Sunset over Olympus Mons and the West Coast of the Tharsis Region on Mars. Rendered using Autodesk Maya and Adobe Photoshop.
"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.
This model was created in Autodesk Maya 2008 and rendered with Mental Ray. The video was then created using Autodesk Combustion.
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 Lightroom. HiRISE data processed using gdal.
Data:
NASA/JPL/University of Arizona/USGS
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
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