View allAll Photos Tagged technologically
Technology never sleeps. Always collecting data. Always watching...
Build for the Redemption Round 2 of Bio-cup 2019. The theme being technological disasters. Or in this case, technology consuming man itself.
Richard Henry Harding founded the Harding Studio of Photography in 1911, and the studio remained in operation for the next six decades. Working in this building starting in 1916, Harding recorded and preserved the entire scope of human experience in the Upper Cumberland area, documenting the growth and development of a geographically isolated region since the early twentieth-century.
Harding was born in Logansport, Indiana on January 13, 1883 to Richard Alexander Harding and Charlotte Harding. After spending his early years working as a postal clerk for the railroad, he attended the Southern School of Photography in McMinnville, Tennessee around 1911. It was then that he traveled through Cookeville and became so taken with the area that he decided to move his family here and open his photography studio. He studied under the close supervision of the acclaimed W.S. Lively, a photographer & teacher recognized nationally for his contributions to the technological development of photography. After designing and building a camera with the largest glass negative in history, Lively used the camera to produce 30" by 60" prints, one which has been on display at the Smithsonian Institute in Washington, D.C. since 1920. Harding graduated from the Southern School of Photography, one of only two such schools in the country, on July 26, 1914. The school burned in 1928, but remains an integral part of the history of photography.
Harding spent the next three decades of his life applying his skills gained from the school recording for prosperity weddings, funerals, reunions, sons leaving for war, anniversaries, business openings, entertainment events, engagements baby photos, and school photos. By far, his works include the majority of photographs displayed throughout the Upper Cumberland region. Extensive collections are at the Cookeville Citizen's Bank, the Depot Museum (Cookeville Railroad Depot, NR 11/17/85), thousands of homes throughout the region, and photos featured in the Pictorial History of Putnam County are Harding originals or copies. It is difficult to imagine the absence of pictorial documentation of the region in the early 1900's had the Harding Studio not been in existence to photograph thousands of events and families in the mountainous region between Nashville and Knoxville. Richard Henry Harding's creative work is truly an invaluable and irreplaceable contribution to the people and the history of the Upper Cumberland community.
In 1988, in recognition of Harding's importance to the region, most of the contents of the studio including studio props, studio cameras and lights, and developing equipment and supplies were transferred to the Tennessee State Museum. The Harding Studio items are considered to be one of the Museum's more valued twentieth-century collections, and plans have been made to use the collection to recreate a truly representative, period shop in the Museum's permanent Twentieth-Century Tennessee display. The remaining articles of the studio including photographs, negatives, and slides dating back as early as 1915 were donated to the Tennessee Technological University Archives. A collection of photographs documenting the technological development of photography including methods ranging from Tintypes and glass negatives to Kodachrome was among the donated articles. The Harding Studio is truly representative of a professional businessman and his lifetime of recording people and events in the region during the early twentieth-century. Therefore, the studio building was placed on the National Register of Historic Places (NRHP) on April 21, 1992 for its association with Mr. Harding and his wonderful photographic accomplishments. The building the studio occupied stands as evidence and inspiration for younger generations of the paths forged and accomplishments made by pioneers of an earlier era.
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
The Trilería - the technological look- La mirada tecnológica .
Doble Exposición MIX-B/W. ITPTV-MOD. Selecc. DGV
EDX -DSCF4225.HS-BN-2
La sofisticada mirada de la Trilería.
El despiste y el engaño junto con la sofisticación de las nuevas tecnologías, las telecomunicaciones, las redes sociales, la triangularización de datos y movimientos, son utilizados por las nuevas "Trilerias." para crear nuevas ficciones argumentáles y vacíos económicos virtuales que nos conducen a la mayoría irresponsablemente a laberintos existenciales de supervivencia indigna.....
Es necesario supervisar constantemente los cambios que afectan a la sociedad y neutralizar los posibles excesos por el bien de todos...
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Gracias por compartir. Agradezco a todos su seguimiento atención, favoritas y amables comentarios….
Muchas gracias por vuestra visita .
Thank you very much for your visit and comments.
Molt agraït per la vostra visita, atencions i comentaris.
Très reconnaissant pour votre visite, l'attention et les commentaires.
As you walk around the Tennessee Tech campus in Cookeville, Tennessee, look up and you will see a landmark perched up on top of Derryberry Hall, the clock tower. The clock tower features a clock on each of its four sides, a carillon sound system, and the Golden Eagle. Designed to be aesthetically pleasing, but primarily functional, the tower’s purpose was to house the clock and carillon sound system, keeping time for campus and students. The Golden Eagle was nested atop the Jere Whitson Memorial Library (Jere Whitson Hall) but was moved to Derryberry after the building’s 1960s “renovation”. The original eagle statue came to Tech in 1952, after being lifted from the Monteagle Hotel in a heist by three students. The current eagle atop of the hall is one of two replicas made by the Appalachian Center for Craft. Tech gave the second replica to the town of Monteagle to replace the one lifted in the student heist.
At the time of this photo in 2013, the clock tower was still in relatively good condition but over the years it weathered and peeled and began to exhibit sign of structural issues. As I am uploading this photo in January of 2022, a completely new clock tower is currently being installed on Derryberry Hall where the infamous Golden Eagle will be reinstalled. This is something that has been needed for a long time after many other buildings on campus received renovations and this iconic centerpiece was sitting in major disrepair. As an alumni, this makes me happy to see this upgrade take place.
This photo was taken in 2013 during my previous Project 365…please visit my album for this “REMASTERED” Project 365 as I revisit each day of 2013 for additional photos to share!!
Technical Information (or Nerdy Stuff):
Camera - Nikon D5000 (tripod mounted)
Lens – Nikkor 18-300mm Zoom
ISO – 320
Aperture – f/29
Exposure – 25 seconds
Focal Length – 100mm
The original RAW file was processed with Adobe Camera Raw and final adjustments were made with Photoshop CS6.
"For I know the plans I have for you,” declares the LORD, “plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
"Technological society has succeeded in multiplying the occasions of pleasure, but finds great difficulty in giving birth to happiness. For happiness has its origin elsewhere: it is a spiritual thing. "
-Pope Paul VI, Exhortation, Gaudere in Domino, 1. 9 April 1975.
For Lent, 40 Days in the Wilderness: Slowing down, taking more time to reflect, has been very frutiful for me this Lent. Quieting myself, as it turns out, is a great occasion to bring about happiness, closeness, and peace.
This is the view out our front door. On March 5, there was a quite beautiful sunset which I was fortunate to see, and photograph.
[No photoshopping or editing.]
IMG_4535
Tennessee Technological University
Cookeville, TN
Many years ago Jere Whitson Hall was the library at Tennessee Tech. I am not sure of the building's current function. It has not been the library for approximately thirty-five years.
Technologic is all about technology, cyber, futuristic, industrial, and punk all brought together for you by some of the top people on the grid! It's bound to be a good time! We open on the 15th!
"Technological progress is like an axe in the hands of a pathological criminal."
- Albert Einstein
Purposely kept this composition 'busy' to reflect the complexity of modern life, as seen by the young (overwhelming for adults, imagine what the world seems like to them).
And no, I'm not a Luddite.
Cookeville, TN
Each flag represents a veteran that is enrolled at Tennessee Technological University.
The Wishing Tree
2019
“We hope, despite the technological complexity, that the piece invokes a simple and beautiful feeling: the wonder of nature and humans working in harmony, the possibilities we can achieve together when we share knowledge and wisdom, and the awe of life itself.” Symmetry Labs
The Wishing Tree, created by the San Francisco-based collective Symmetry Labs, is a unique site-specific installation that pushes the boundaries of art and technology. Here, the highly sophisticated man/computer-made design intricately meshes with the lushified natural environment and reflects the ‘urban oasis’ curatorial theme within Rosemary Square. By day The Wishing Tree offers shade and resembles an ancient 26-foot-tall banyan, and by night, the monumental light sculpture reveals a spectacular visual experience. A total of 100,000 individually programmable, full-color-spectrum LEDs create the light embedded in 10,000 leaves. The lighting algorithm is inspired by the fluid behavior of South Florida’s inherent weather systems. Community of all ages and backgrounds will be captivated by the myriad of swirling and undulating patterns formed by the refined palettes. All are invited to gather around The Wishing Tree rooted in the very heart of Downtown West Palm Beach.
Credit for the data above is given to the following website:
www.rosemarysquarewpb.com/art/wishing-tree
© All Rights Reserved - you may not use this image in any form without my prior permission.
natural elemental art in a 2 ft long bonsai metallic "tree"
these dendritic native metal specimens are gathered by miners in underground mines around the world
wall-mounted Keweenaw Peninsula beauty is in the geology building, Michigan Technological University, Houghton, USA.
Using technological breakthroughs of "Electric Cherry" M&B Engineers created a new lightweight DMR.
chambered with .013 "Stunner bolt" round and powered nano-magnetic battery this thing is perfect for electrifying your enemies.
_______________________
Credit to Walrus for charging handle
And to Kormet for the concept which i took as a base
52 in 2022 Challenge - 43 Technological
Out with Pauls Pix 53 for a wander around the gardens at Nymans. We had originally planned to do macros, but it was so windy, we soon gave up that idea.
This old telly was in the house ... so glad we have bigger screens today, but it must have been a wonder back when they were first invented.
natural elemental art in a 3 ft long bonsai "branch"
with lustrous calcite crystal over in the dark domain of tarnished wire silver plus minor native copper opposite to the bright (acid-etched?) domain of native silver, view large for details
these kinds of native metal specimens are gathered by miners at
a number of places around the world
pine-framed Keweenaw Peninsula beauty on display in Geology Building, Michigan Technological University, Houghton, USA
WHAT GAUDI INSPIRED THIS LIPSTICK?
he Torre Agbar (Catalan pronunciation: [ˈtorə əɡˈbar]) is a 38-story skyscraper / tower located between Avinguda Diagonal and Carrer Badajoz, near Plaça de les Glòries Catalanes, which marks the gateway to the new technological district of Barcelona, Catalonia, Spain. It was designed by French architect Jean Nouvel in association with the Spanish firm b720 Fermin Vazquez Arquitectos and built by Dragados. The Torre Agbar is located in the Poblenou neighbourhood of Barcelona and is named after its owners, the Agbar Group, a holding company whose interests include the Barcelona water company Aigües de Barcelona.[4]
The tower measures a total of 50,693 square metres, of which 30,000 are offices, 3,210 technical facilities, 8,132 services, including an auditorium, and 9,132 square metres for parking. It cost 130 million Euros to build.
It opened in June 2005 and was officially opened by King Juan Carlos I on 16 September 2005. It is one in a collection of High-tech architecture examples in Barcelona.
The building is owned by the multinational group Agbar which has its corporate headquarters in the building and that takes up most of the floors, renting the remainder. The Agbar Tower was acquired in March 2010 for 165 million euro, after reaching an agreement with its former owner, the investment group Azurelau.[5] Azurelau previously had bought the property in mid-2007. The purchase price was not disclosed.
According to Jean Nouvel, Torre Agbar is intended to recall the shape of a geyser rising into the air. It was inspired by Montserrat, a mountain near Barcelona. In an interview, he described the tower as having a phallic character.[6][7] As a result of its unusual shape, the building is known by several nicknames, such as "el supositori" (the suppository), "l'obús" (the shell) and some more scatological ones.[6] It is also somewhat similar in shape to Sir Norman Foster's 30 St. Mary Axe in London, often called "the Gherkin". It has 30,000 m² (323,000 ft²) of above-ground office space, 3,210 m² (34,500 ft²) of technical service floors with installations and 8,351 m² (90,000 ft²) of services, including an auditorium. The Agbar Tower measures 144.4 m (473.75 ft) in height[8] and consists of 38 storeys, including four underground levels.
Its design combines a number of different architectural concepts, resulting in a striking structure built with reinforced concrete, covered with a facade of glass, and over 4,500 window openings cut out of the structural concrete. The building stands out in Barcelona; it is the third tallest building in the city, after the Arts Hotel and the Mapfre Tower, which both stand 154 m (505.25 ft) tall.
A defining feature of the building is its nocturnal illumination. It has 4,500 LED devices that allow generation of luminous images on its façade. In addition, the outside of the tower has temperature sensors that regulate the opening and closing of the window blinds of the façade, reducing the consumption of energy for air conditioning. It houses the head office of the Aigües de Barcelona Group, the water supply company of Barcelona.
As explained by Nouvel himself, the construction was strongly influenced by one of the most representative symbols of Catalan culture. One side references the bell towers of the Sagrada Familia by the Catalan architect Antoni Gaudí. (These bell towers were based in turn on the idea of the Hotel Attraction, a course project by the teacher Reus in 1908 for some New York hoteliers which was redesigned in 1956 by his disciple Joan Matamala. These designs were included in Rem Koolhaas' book Delirious New York,[9] a reference for many architects.) An additional tribute to the Sagrada Família lies in the north side of the tower, which was designed with the intention of obtaining an optimal view of the cathedral.
Additionally, Nouvel was inspired by the distinctive pinnacles of the Montserrat mountain range, which are of great significance for the people of Catalonia, as Montserrat houses their patron saint, Our Lady of Montserrat.
In designing the Agbar Tower, Nouvel said he rejected the prevailing North American opinion of what a skyscraper should look like. It was the architect's intention to give the impression of land that is emerging out of the ground in a particular fashion. The use of the tower by a water utility company led him to the design of a metaphor of a geyser sprouting from the deep sea.
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La Torre Agbar (acrónimo de Aguas de Barcelona) es un rascacielos de Barcelona (España) ubicado en la confluencia de la avenida Diagonal y la calle Badajoz junto a la plaza de las Glorias y que marca la puerta de entrada al distrito tecnológico de Barcelona conocido como 22@. Tiene 34 plantas sobre la superficie además de cuatro plantas subterráneas para un total de 145 metros de altura, convirtiéndose, en el momento de su apertura (junio de 2005) en el tercer edificio más alto de la capital catalana, sólo superado por el Hotel Arts y la Torre Mapfre (ambos con 154 metros de altura).
a torre fue diseñada por el arquitecto Jean Nouvel en colaboración con la firma b720 Fermín Vázquez Arquitectos.5 6 La construcción, según explicó el propio Nouvel se vio fuertemente influenciada por alguno de los símbolos más representativos de la cultura catalana. Por un lado se inspiró en la obra del arquitecto catalán Antoni Gaudí tomando como referencia los campanarios de la Sagrada Familia y basándose a su vez en la idea del Hotel Attraction, un supuesto proyecto realizado por el maestro reusense en 1908 para unos empresarios hoteleros de Nueva York que fue rediseñado en 1956 por su discípulo Joan Matamala y que en 1978 se incluyó en el libro Delirious New York de Rem Koolhaas, de referencia para muchos arquitectos.7 Además, como homenaje a la Sagrada Familia, la parte orientada al norte de la torre fue diseñada con la intención de obtener una vista panorámica óptima del templo.8 A su vez, Nouvel se inspiró en los característicos pináculos de la montaña de Montserrat, de gran significado para Cataluña al ser el lugar donde se encuentra el templo que aloja a su patrona.9
Nouvel explicó que la torre Agbar huía de la concepción predominante en norteamérica de lo que debía ser un rascacielos con formas paralelepípedas. La intención del arquitecto fue hacer que ésta emergiera del suelo de una forma especial por lo que, al ser una torre dedicada a sede de una compañía de servicios relacionados con el agua, se apoyó en la metáfora de un geiser brotando desde las profundidades marinas.9
On the banks of the River Scheldt, in Antwerp, you’ll find 12 museum cranes. It is largest museum collection of port cranes in the world. These tall cranes not only determine a part of the cityscape - if you’re standing on the left embankment - but also refer to the modern harbour that nowadays starts a bit further down the river.
More than 750 years ago, in 1263, there was the first mention of a crane in the port of Antwerp. Those cranes were driven with manpower for centuries. Since the end of the nineteenth century they have been rapidly evolving with the technological developments: steam, water pressure, electricity ... The oldest crane in the collection is from 1907, the youngest of 1963. The cranes were built by 15 different famous manufacturers from the Netherlands and abroad and show the rapid technological evolution in the port of the last century. Most cranes are protected as a monument.
Technical Stuff
This panorama consists of 7 individual photo handheld photos. The initial pano covered a wider angle. I did this to compensate stitching and curvature problems that some arise with small angle panorama; they result in a butterfly image.
The initial stitching resulted in a structurally almost perfect image. I used the Warp tool in Photoshop to resolve those issues.
Post-production was done with Aurora HDR 2018. In several layers I utilized a couple of amended pre-sets that came with Aurora. Although Aurora gives you great control by means of the layer-based approach, I still feel the need to finish the image with the help of PS CC. And as always I added copyright watermarks. Alas, they’re there to stay due to the frequent copying of my photos. So, don't bother commenting on that.
Due to a technological advances photography nowadays cannot be considered the unconditional documentation tool and photographer isn‘t anymore a necessity for it to happen. Thanks to such tools like satellites, drones, street view, etc., it‘s not even necessary to get on location to capture it. As a consequence, every landscape photograph can be considered just a senseless digital record made by someone.
Despite being a visual mark, artificial lightning in landscape photography becomes a sensual link between the viewer and photographer.
I wanted to visit the spookiest places in my city and convey the atmosphere of explorations through the totally different approach.
Project ‘Been there’ explores the industrial periphery of Vilnius at night. A series of photos depict the intersection of time and space, which is very intriguing yet so scary for a random person to explore. The red light, creating the surreal, cinematographic plot is used to hyperbolize the senses that are triggered by those places. Vibrant light becomes a visual expression of the mental state that I was accompanied by while wandering around totally alone.
work in progress / 2016 - 2017 / www.simaslin.com
The Mercedes-Benz 770 K on exhibit in the Technik Museum Sinsheim was delivered to the Reichskanzlei in 1938 to serve for representation purposes. Technologically, the massive automobile that was employed in many parades of the time, was absolutely state-of-the-art. So did the design of the chassis e.g. employ various developments derived from the construction of racing cars.
To protect the passengers from assassination attempts the car had a mine-proof armor clad floor. In addition, it was equipped with windowpanes composed of several centimeters of bullet-proof glass armored doors as well as a retractable armor plate behind the rear seats. Where as the cabrio sott top, in the nature of things does not have any possibilities to be armor clad.
This predicament as well as the fact that Hitler used to ride in parades with the top down, and in addition to that liked to stand in an upright position seem to render these precautions more than dubious considering that they would have offered any protection below the waistline only. The car was propelled by a colossal 8-cylinder supercharged in-line engine with a displacement of 7.6 liters which produced an output of 230 hp already at a mere 3200 rpm. In spite of the enormous weight caused by the massive armoring this enabled the car to reach a maximum speed of 140 km/h, no less.
The Winged Strangers by Daniel Arrhakis (2023)
With the music : At the gates of the unknown
The star Sirius and the story I'm going to tell you, begins on a distant planet that surrounds it - Askhant and on it develops a mystical-technological alien civilization that governs this mysterious world - The Athon Empire.
But according to the legend and the inscriptions found in the caves of Tangher, the ancients described that in the beginning flying beings descended from the skies with their strange and enormous wings, frightening the populations and the herds of Thorqs (*).
The first words they noticed were Akhon, which over time became Athon, the term that today designates the empire they formed.
If at the beginning there was a mixture of fear and wonder for these new beings from another planet, it quickly became a harsh reality, as these technologically more advanced ones submitted the people of Askhant to their full will and government.
(*) A herbivorous animal morphologically similar to the Oryx but with longer legs and a more elongated neck all white as snow.
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Askhant - The Athon Empire - A creative futuristic mystic mystery series and stories with an Futuristic Egyptian mood created by Daniel Arrhakis using Artificial Intelligence Art, stock images and images of mine.
Art Collage, digital painting processes and textured layered techniques.
Somewhere between technological singularity and ecological singularity
francois-quevillon.com/w/?p=5242
Quelque part entre la singularité technologique et la singularité écologique
Aside from being perhaps the most technologically advanced flyswatter to date, the Integrated Laser Interceptor and Area Denial System (ILIADS; sometimes ILIAD system) developed by Boeing is also on the cutting edge of NATO's quest to harness the versatility of direct energy weapons. With conceptual R&D beginning in the mid-90s, the ILIADS is the product of decades of interest in making an affordable, reliable chemical-laser defense system capable of creating a not-so-fictional forcefield around allied forces deployed in heavily contested areas. Indeed, this nerdy fantasy has proven to be a tenacious fuel for the labs at Boeing as years of waxing and waning attraction from the US Department of Defense (DOD) has at times left the program with barebones funding during critical benchmark tests. Ultimately, however, the persistence and dedication from Boeing's crews have created one of the most compact, economical high-energy lasers known to the world.
Deployed to the conflict-ridden region of Al Dabir in the early 2020s, the ILIADS has proven itself as a vigilant guardian time and time again. Incoming rockets, artillery shells, UAVs, ballistic missiles, VBIEDs, and other such devices intended to harm coalition forces in Al Dabir have all been successfully intercepted by the ILIAD system at one point or another. Indeed, despite being an experimental technology still under evaluation by the DOD, the ILIADS is often considered by theater forces to be a fully-adopted, mainstay defense system due to its unmatched range and accuracy. Able to outpace and out-shoot its Phalanx-based C-RAM counterpart, as well as forward-deployed Medium Extended Air Defense Systems, the ILIADS' potent efficiency is the pinnacle of American defense research.
That being said, the ILIADS in its current iteration suffers from two detracting factors: A perceived underdeveloped economy of scale and few technical redundancies. The former detractor concerns not only the overall cost-per-unit, but also the cost-per-shot. Currently, a single round in a C-RAM costs approximately $3.22 USD; per contra, the ILIADS-equivalent is between $11 and $15 USD (depending on where supplementary chemicals are delivered from). This is a bit of a red herring, however, as it costs the C-RAM $241.50 to sustain fire for one second. The ILIADS per-second cost is still between $11 and $15. Hammering this into the minds of the bean counters in the Department of Defense is currently the biggest undertaking by Boeing. A resilient mindset surrounding kinetic weapons and their economies of scale has hindered early adoption of direct energy weapons. What's more, the ILIADS unequivocally suffers from growing pains and the longevity of individual laser modules has yet to be proven. Hence, there are few manufacturing, support, and operational redundancies built into the system writ large, leading to a great degree of skepticism by the old heads in the DOD. Nevertheless, Boeing--and other defense contractors working on energy weapons--are banking on the flashiness of the ILIADS to engender a positive attitude with the public, ergo policymakers that pull the purse strings. Perhaps someday soon bullets will be as outmoded as stones in a slingshot.
Thanks to Evan for the decals and HEMTT!
The Nuva archer is a skilled warrior and technological wonder. The concept was brought about by General Taka's imagination and executed by the hands of the most skilled matoran. This archer differs from traditional archer units in that he does not need to carry his ammunition on his body during battle. His "arrows" or bolts are stored, generated, and replinished within his technologically advanced left arm which coordinates with the "crossbow" or bolt thrower that he wields. The bolt thrower is one of a kind and is viewed as a breakthrough in modern weaponry. Though quite bulky, the bolt thrower allows the archer to fire single highly charged energy bolts, which have the power to penetrate light/medium armor, at a rate of 1.5 seconds. After firing 10 bolts the archer's arm requires a cool down period which lasts approximately 8 to 10 seconds. Once completed, the archer may continue raining destruction down upon the enemy. The archer's built-in optical system allows the archer to target enemy's from a greater distance than the typical archer. The Nuva archer's advanced weaponry and overal engineering give the Nuva army a great advantage on the battlefied when facing overwhelming numbers.
I hope you guys enjoy this one! Building him really inspired me to go back and revamp General Taka and the Nuva Infantry, so stay tuned for those guys in the future! Thanks for all of your support this past year! Looking forward to the next year!
Humanity is gone. They went far with technological advancements and they reached their peak. With humans gone, their inventions were littered across the globe. Among those left behind was EX-S33D. EX-S33D was left to roam the forests and harsh terrains of Earth with no purpose, it’s time having passed… until one day, reflected in a pool of water, it saw a flower growing within its slowly rusting body. Over time, with EX-S33D’s help, the flower started to grow. Its roots & other shoots wrapped around its cold limbs & tangled wiring, until it grew so large that it burst through EX-S33D’s chest plates, exposing its artificial ribcage. Against all odds, this old and abandoned robot was able to sustain new life, and nature adapted and thrived, within & all around it. Together, this robot and nature were able to surpass what humanity was able to achieve.
EX-S33D was made for the Preliminary Round of Bio Cup 2020.
I wanted to take the theme of ‘Future’ in a slightly different direction. What if it is so far in the future that Nature has returned to its original state after humanity has run its course. I wanted this build to convey a story of hope, rather than despair.
More photos from different angles, including close ups, can be found here: flic.kr/s/aHsmNrr9sM
Quelque part entre la singularité technologique et la singularité écologique
francois-quevillon.com/w/?p=5231
Somewhere between technological singularity and ecological singularity