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*VISUALISATION OF UNIVERSAL SOUND, Meta_Signal Sonar System*
RECEPTILIUM is a Hi-Tech audio-visual interactive project and performance act in which the human body and emotions are used as a communication medium, or a musical instrument that produces audio content – music when performing an analogue visual artwork, drawing visualisation of universal sound. Visitors have the opportunity to experience and attend to the creation of a visual artwork while listening to audio content as a result of the creation process. During the production of an analogue visual artwork, brain waves followed by EEG and physical motion data from hands are transmitted and converted into sounds that together form an ambient audio record connected to real-time generative visual projected on the wall. The purpose of this act is, to present the oldest language of our existence – the blueprint of the stardust; to seduce the audience with meditative movements and sounds that poetically reflects the surface of the Moon.
First demo version of the performance RECEPTILIUM lasted 4 hours at Sounded Bodies Festival on 12th October 2018. The presentation concept is in development and will be setup differently for upcoming events.
Project concept: MOON Martina Zelenika
Music and sound concept: MOON Martina Zelenika
Technology lead and development: Ivan Vican
Technology advisor: Slavko Radman
Music consultant: Lovro Livajić
Sound designer: Mihael Vrbanić
Generative visual: MOON Martina Zelenika
Production and funding: MOON Studio, 2018
Co-production: Sounded Bodies Festival / Domino Project
Supports: NAGON interdiscipliary laboratory of arts & Zagreb Dance Center
3D Product Visualisation
Rainstorm Film is a Creative & Architectural Visualization Studios located at Ho Chi Minh City, Vietnam and Melbourne, Australia. We produce architectural animation, architectural visualization in 2D rendering and animation for real estate marketing and television, commercials and online integrated media.
Contact us at : wakemeup@rainstormfilm.com
Website : www.rainstormfilm.com | www.vubao.com.vn
3D Visualization, 3D animation, Architectural visualization, Perspective Rendering, Digital Design, Web Design, Web Development, Ecommerce Development, Hoạt hình 3D, Diễn họa kiến trúc, Phối cảnh 3D, 3D kiến trúc, Thiết kế web, Phát triển web, phim 3D kiến trúc, phim 3D bất động sản, quảng cáo truyền hình, logo
Phát triển web, phim 3D bất động sản, phim 3D kiến trúc, TVC, phim 3D qui hoạch
The "Ars Electronica Futurelab's" (AT) visualisation of Joseph Haydn's Symphony No. 94 in G major "Surprise" takes the audience on a journey through an abstract 3-D world.
credit: Ars Electronica Futurelab
Notations 21 by Theresa Sauer, from Mark Batty Publisher. I was really excited to get this in the mail, I'd seen a few blog posts and it looked great. I'm lucky enough to have a couple of issues of Source Magazine (pics here bit.ly/pREha6 and here bit.ly/p9O1l1 ) which first sparked an ...... Read more From: PaperPosts
Photoshop visualisation of a series of Dulux colour schemes proposed for a Kelburn, Wellington New Zealand residential townhouse complex exterior repaint project by Programmed Property Services. The imagery was post processed with Adobe Photoshop CS6.
Pamm Hong, track: God Bless Mary
"Living LP is inspired by the strength of Little Simz in character and performance, the Living LP is a projection-mapped artwork that translates the ethos of growth and transformation using plants, patterns and lines. Ink, paint and foam filled with a macroscopic lens form the visual passage in which Little Simz recites lyrical homage to her forbearing neighbor 'Mary'. The effects in color, shape and pattern morph together in rhythm, as if staring into a rabbit hole. Living LP is a transformative piece exhibiting the portraiture of growth, celebrating sonic visual love."
This illustration theorises how a barbed and tanged flint arrowhead may have been attached to an arrow, using sinew.
Illustration by Sara Nylund, 2008
05.2010
Entire masterplan
All materials and resource for visualisation belong to Phu Dien Media and copyrighted by its owner.
Visualisation of words appearing in the biographies of my Twitter followers. Created using Twittersheep.
Another packed-square visualisation; this one is coloured according to the first listed controlling Agency. The overall rainbow progression seems to be because the Agency ID numbers tend to increase over time (as new agencies are created).
Client: Surbana International Consultants
3D Visualization Artist: 8 YOLK DESIGN STUDIO
Scope: 3D Modelling, Realistic Rendering, Photoshop-enhancing,
visit us: www.8yolkstudio.com
This is part of the network of TV productions made in the region. Nodes are scaled based on the number of connections to them, and the weight of connections (in this case the number of episodes someone was involved in). This is a primitive proxy for the significance of each production for the region's TV industry.
Caveats - the data is still being cleaned (hence the BBC appearing twice) and there is lots missing because some productions aren't tagged with a location in the IMDB.
Client: Surbana International Consultants
3D Visualization Artist: 8 YOLK DESIGN STUDIO
Scope: 3D Modelling, Realistic Rendering, Photoshop-enhancing,
visit us: www.8yolkstudio.com
Notations 21 by Theresa Sauer, from Mark Batty Publisher. I was really excited to get this in the mail, I'd seen a few blog posts and it looked great. I'm lucky enough to have a couple of issues of Source Magazine (pics here bit.ly/pREha6 and here bit.ly/p9O1l1 ) which first sparked an ...... Read more From: PaperPosts
In 2007 a group of people identified the position of Michael Jackson's white glove during a performance of Billie Jean.
The data was made available at whiteglovetracking.com/
This visualisation of Michael Jackson's glove was created by Flink Labs, a data visualisation studio in Australia, using processing and opengl.
The full length video can be seen at http://vimeo.com/5533228
Pencil and white bodycolour on unengraved boxwood block, c1863
Arthur Boyd Houghton
Like Simeon Solomon, Houghton's work for Dalziels' Bible Gallery (1880) is striking in seeking to bring an authenticity to the Middle-Eastern figures represented. Houghton was born in India and his early background and international interests can be seen in many of his designs for illustrations. Generally, comparing Houghton's preparatory drawings with the Dalziel prints made after them reveals the firm's different approach; Dalziel engravers sometimes exaggerate orientalising elements to make these more legible to their readers.
Houghton himself noticed this and was frustrated by it; in the upper margin of this proof for Dalziels' Bible Gallery, he tersely comments: 'no turban on this Head in Drawing'. Dalziel valued Houghton's original drawing on the woodblock; it survives because it was photographically transferred onto another block in order to be engraved.
[British Museum]
Taken during from the exhibition
The Woodpecking Factory Victorian Illustrations by the Brothers Dalziel
(May to September 2022)
From Pre-Raphaelite fantasies of Arthurian legends to Alice boldly adventuring in Wonderland, the Victorian visual imagination has left an enduring legacy.
But the craftspeople (affectionately known as 'woodpeckers') who engraved such illustrations after designs by John Tenniel and Dante Gabriel Rossetti, to illustrate iconic writings by Lewis Carroll, Christina Rossetti, Charles Dickens and others, are too frequently forgotten.
This intriguing display highlighted over 50 works engraved on wood by the Brothers Dalziel firm, illustrating literary and commercial work published throughout the Victorian period.
In 1913 the British Museum acquired the firm's entire company archive of 54,000 proof wood engravings, now catalogued as part of the Dalziel Project (Opens in new window) in partnership with the University of Sussex. It investigates the vast body of visual art produced by the Brothers Dalziel for everything from popular novels to commercial adverts, global exhibitions and journalism.
Wood engraving revolutionised the mass production of images in the Victorian era. Established in 1839, the Brothers Dalziel (one of whom was a sister – Margaret – a talented senior engraver) became the most successful wood-engraving company in Britain, employing dozens of engravers.
The Brothers Dalziel had enormous cultural power in Victorian Britain, shaping the way people visualised art, goods and ideas. Mostly the engravers made images after designs by draughtspeople, including major artists such as Frederic Leighton and John Everett Millais, and it's these artists who were widely credited and remembered. However, the process was collaborative and the skill of the 'peckers' was considerable.
[British Museum]