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This is a Social network anlysis from www.linkedinlabs.com/inmaps of my LinkedIn contacts. The color coding corresponds to different groups that I know, and how the tool classifies them. (I will say that it is remarkably correct)
LinkedIN20120610a
I'd like to say hola! to my most frequent visitors, friends, family and not so friends but I really appreciate your kind support. I'm including the ones I know they silently come time to time. Also hello to my 4 well known spies who decided to choose the dark side of the force. I guess you're planning your holidays. I'll go to Mallorca and Ibiza soon. Well, this is not completely true yet but I need to visualize it to make it real! ;-D
This song always cheer me up. I don't know what it says... It sounds like Disney into me and I don't know why. I hope you're having a good time!
Listening...
www.goear.com/listen/f083f46/LDN-Lily-Allen
<3
For a nice comparison, this is a graph originally done when Etsy was 2 months old. It shows all registered Etsy users with avatars on August 11, 2005. Ordered from top left to bottom right by date of registration.
See the same visualization for the month of October 2007.
Okay, so, I know this image is totally weird but I couldn't get the idea out of my head! I was trying to visualize my new concept for Naberia.
I'm sure this happens to a lot of people, but often my dolly ideas are inspired by movies I had seen recently, or games I played, etc. (The perfect example is Saturn, who was conceptualized when I was watching Cosmos.) Well, I recently watched the game SOMA (since I can't play it T_T) and fell in love with it. (Spoilers ahead!) The plot centers around the idea that a perfect digital copy of your brain can be made, which is basically just your consciousness in a digital form that can be placed in different bodies or in a digital world. The game really pushes the idea that these "copies" are not inferior to the original in any way, they really are the same consciousness just in separate instances, if that makes sense. Anyway I really love this idea, and it reminds me of branched timelines in time travel stories.
(End SOMA spoilers!)
A lot of my demons have powers that are not about controlling something physical or having any kind of "super power", but rather that they can perceive something others can't (Gremory can see the past and future, but not interact with it, for example). So I started thinking it would be interesting if there was a demon who could see through the eyes of themselves in an alternate timeline. But THEN I thought... what if it's not that they CAN see it, but that they ALWAYS see it, and it's overlayed with their own life? Constantly aware at all times of what their other selves are seeing, hearing, doing, thinking, remembering. It would be like a horrible cacophany of your own voice in your head, thinking just slight variations of what you are thinking, and you know all their memories that are slightly different from your own, so you might get confused about which memories happened to you versus your other selves. Not to mention seeing and hearing and feeling all the things that all the alternate selves see and hear and feel. It would be such an extreme sensory overload. How horrible and strange. May as well give this terrible power to Naberia since her concept was pretty vague so far!
I have this really clear vision of it in my mind, but it's kind of hard to put in words, so I hope it makes sense. I know, it's pretty bizarre. XD But I really like it. Most demons inherit their name/power during a time of great stress in their lives (how original!), but for Naberia it was the opposite. She was just minding her business when the power slowly started to manifest. At first she thought she was hearing voices. Then she couldn't remember exactly how certain events in her life had played out, because she had a distinct memory of doing something different from what she thought she had done. When it finally kicked in at full force, she fell into a catatonic state and was pretty much trapped in her mind, the memories of her other selves acting like a hall of mirrors in her brain and she couldn't think of anything but all the infinite variations of her own life.
Luckily she managed to overcome it (probably with some help), and now she's fine... more or less. I think she probably has trouble focusing sometimes, and will do odd things like respond to something that wasn't said. I am still sticking with the idea that she helped Ronove become a demon, but that's pretty complicated now and I'm done babbling!
Ah... my demons are so silly. ;3;
Maps of racial and ethnic divisions in US cities, inspired by Bill Rankin's map of Chicago, updated for Census 2010.
Red is White, Blue is Black, Green is Asian, Orange is Hispanic, Yellow is Other, and each dot is 25 residents.
Data from Census 2010. Base map © OpenStreetMap, CC-BY-SA
Snapshot data-visualization on antibiotic resistance.
Taken from the forthcoming infographic mega-tome, Knowledge is Beautiful (HarperCollins, Mar 2014) Pre-order Amazon US & UK.
Download a poster from our PDF store.
See original image @ Information Is Beautiful.
Ideum is proud to announce our new Tangible Engine, a visualizer, configurator, and software development kit that allows developers to easily connect applications to real-world objects on Ideum multitouch tables. The Tangible Engine opens up possibilities for creating memorable, mixed-reality experiences. To learn more and see the video, visit tangibleengine.com
Good grief...!!! This reminds me of the walls of my room growing up. We weren't allowed to put posters up, but I won a B&W poster of Tarzan at the State Fair and it was all over from there. By the time I moved out, my room was one giant Vision Board with the walls and ceiling completely covered!
I did my first Vision Board when I was 10. You know me, I still have it somewhere. It is all about women's fashion a la 1970 and is on purple construction paper. This was before I knew I would have a purple room and spend many years of my career in women's and men's fashion. So there must be something to the concept of a Vision Board and the achievement of one's future dreams.
Now, my Vision Board isn't so much about having material things. That's ok and I already have enough things. It's more about how I aspire to be and the time I would like to have to do it all.
In the instructions, they say to not worry about being artistic. How do you tell an artistic person to not be artistic...lol? And they say to put it in a place where you can see it often. So there you have it!
Now, I've got to go clean my room. Or NOT!!!
Thank you, Joe for letting me use the pic of me. One reason I love this pic is because it was taken in front of the statue of Columbus. Someone who had a definite vision of where he wanted to go. . .
Please!! NO Awards or Large Graphics...Group Buddy Icons are OK. Thank You!
© CPMcGann. All rights reserved. If you are interested in using my images, please contact me first.
Installation interactive Visualizing Water Worlds
présentée dans l'exposition "Venise et sa lagune", patronnée par l'Expo Milan 2015
2017 DownUnder Championships
Australia + New Zealand + USA
Griffith University Athletics Track
Gold Coast
Australia
Maps of racial and ethnic divisions in US cities, inspired by Bill Rankin's map of Chicago, updated for Census 2010.
Red is White, Blue is Black, Green is Asian, Orange is Hispanic, Yellow is Other, and each dot is 25 residents.
Data from Census 2010. Base map © OpenStreetMap, CC-BY-SA
After seeing Cooper Smith's visualizations of data from runners in New York City, I wanted to see what similar data sets would look like for other cities. Nike+ doesn't have public GPS logs, but MapMyRun does, if you are willing to spend several hours clicking through search results to hit the "Download" buttons, so that's what I did to get the tracks for these 771 runs (from June 13 through August 9) in San Francisco.
As Open Source Planning has pointed out, uploaded runs come from a fairly small, self-selected group of people, the most obvious result of which is the total absence of the southeastern corner of the city from this map. It is also a very self-conscious process, so it is biased toward intentional, and often intentionally difficult, trips made for their own sake, and away from the repetitive patterns of everyday life.
Unfortunately the MapMyRun tracklogs do not have date and time stamps, so it is not possible to do the time of day, pace, and interruption analyses that Cooper Smith did. I should have done direction of travel, though.
I was astounded by Bill Rankin's map of Chicago's racial and ethnic divides and wanted to see what other cities looked like mapped the same way. To match his map, Red is White, Blue is Black, Green is Asian, Orange is Hispanic, Gray is Other, and each dot is 25 people. Data from Census 2000. Base map © OpenStreetMap, CC-BY-SA
8-9 hours of sleep is recommended to feel comfortable. However, 3 hours are enough in emergency. Most important is to awake in time.
This is a visualization of the frequency of occurrence of the words 'internet' , 'web', and 'twitter' in the New York Times, from 1990 - 2008.
Built with Processing (http://www.processing.org)
Prints from this and other NYTimes visualizations are available on my Etsy store: blprnt.etsy.com
I've been having some issues with our MoMA-bound Cabspotting visualization lately, and, as is often the case, ended up having to create another visualization just to figure out what the problem was.
Each of the white dots represents a discreet data sample–the location of a specific cab at a particular time. Here, samples for each cab are placed on a separate row and arranged temporally from left to right. More "active" cabs (i.e., the ones with more available samples) are placed at the top.
The green and red marks at the top represent the start and end times of the displayed period. For each cab, an algorithm seeks through the list of segments between each sample that fall within them. The hue corresponds to the position in the line between the start and end of the period: Green lines are closer to the start time, red ones to the end time.
So, what does it show? Primarily, that there is quite a bit of "bad" data in our set. Those long lines at the bottom indicate extended periods of time during which those cabs weren't transmitting their locations. Most cabs tend to ping the depot every 30-60 seconds, but some do it less than once per hour. For the most part, though, the consistency of that green-to-red column seems to indicate that we've got a pretty good idea of where most of the cabs were in that time period, and with a reasonable degree of resolution.
God, I'm such a geek.
You can see what remains of a ledge where the Freemont people likely stood a 1,000 years ago to carve the figures in the stone. Sadly, the ledge has lasted to current times so it enables people to vandalize the ancient symbols.
I had a goal to walk 5000 km (3107 miles) in 2015. I ended up exceeding my goal as I covered 5016 km (3117 miles) in 2015. This meant I needed to average 13.7 km (8.52 miles) a day. I would track my mileage every day.
Fitness2015histo
This is a visualization of the frequency of occurrence of the words 'internet' , 'web', and 'twitter' in the New York Times, from 1990 - 2009.
Interesting here is the very steep rise in mentions of Twitter so far in 2009. Compare the leading edge of the Twitter curve to both web and internet - it is clearly on a steeper climb.
Compare this image to one made in February, to see the very clear 'Twitter explosion' -
www.flickr.com/photos/blprnt/3256480403/in/set-7215761338...
Built with Processing (http://www.processing.org)
I was astounded by Bill Rankin's map of Chicago's racial and ethnic divides and wanted to see what other cities looked like mapped the same way. To match his map, Red is White, Blue is Black, Green is Asian, Orange is Hispanic, Gray is Other, and each dot is 25 people. Data from Census 2000. Base map © OpenStreetMap, CC-BY-SA
Inspired from Whole Foods CEO John Mackey's excellent speech about Spiral Dynamics entitled “The Upper Flow of Human Development.”
I really like how Mackey describes each value system meme with bulleted lists describing the unique Characterstics, How they Make Decisions, Education, Family, Community & Life Space.
The only problem with the layout of all of this information in a linear fashion is that it has been really hard to compare and contrast the different vMemes with each other. That was why I created a Cheat Sheet Graphic with all of the six categories and characteristics in one big massive table.
More details here
Archived at web.archive.org/web/20060910031642/http://www.wholefoods....
Marc Chagall, 1887-1985, Mutterschaft/Motherhood, 1914
Albertina - Sammlung Batliner
In spring of 2007, the Albertina also received the previously based in Salzburg "Batliner Collection" as unrestricted permanent loan. The collection of Rita and Herbert Batliner includes important works by modern masters, from French impressionism to German expressionism of the "Blue Rider" and the "bridge" to works of the Fauvist or the Russian avant-garde from Chagall to Malevich.
de.wikipedia.org / wiki / Albertina_ (Vienna)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
This is the A3 version (300 dpi) of the final uberinfographic. The uberinfograhic is an overview of over 365 beautiful infographics and visualizations. The core of this overview is an infographic in itself, a schematic that structures all infographics and visualizations.
interactive version of my former work. it's build with actionscript. you can play with it at blob.creanode.com/blob/eu2009/ if you want.
The visualization explores historically, geographically and demographically twenty-one great empires born over the last 2.500 years.
Empires are visualized according to the period and reason of their demise.
Further information concerning size, population, government and geography are presented visually for each imperium.
Functional notation is only available for a subset of functions. Here is an alternative syntax for factoring and expanding polynomials.