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This visualization shows the wave functions of hydrogen when the principal quantum number, N, is between 1 and 2. The wave function is the solution of the Schrödinger equation and describes the electron in its wave form. Yellow and red colors show positive, while blue and purple denote negative values. Its complex square is the probability density, which actually shows where the electron might be found in the atom when measured.
That visualization can be found here: www.flickr.com/photos/188522613@N05/49924325132/in/datepo...
Update: 2020/06/22: A 16k version is now available.
Created by Martin Wattenberg with Marek Walczak (who licenses it under this CC license), Thinking Machine 4 explores the invisible, elusive nature of thought. Play chess against a transparent intelligence, its evolving thought process visible on the board before you.
The artwork is an artificial intelligence program, ready to play chess with the viewer. If the viewer confronts the program, the computer's thought process is sketched on screen as it plays. A map is created from the traces of literally thousands of possible futures as the program tries to decide its best move. Those traces become a key to the invisible lines of force in the game as well as a window into the spirit of a thinking machine.
Visual Storytelling - Inspiring a New Visual Language
Visual storytelling uses graphic design, info graphics, illustration, and photography to convey information in the most elegant, entertaining, and informative way. Today, a new generation of designers, illustrators, data journalists, and graphic editors is spending the creative scope of existing visual storytelling techniques -- meeting the formidable challenge of extracting valuable new, surprising findings, and relevant stories from a daily flood of data head on.
Visual Storytelling is the first book to focus solely on contemporary and experimental manifestations of visual forms that can be classified as such. The rich selection of cutting-edge examples featured here if put into context with an introduction and text features by magazine expert Andrew Losowsky as well as interviews with the New York Times, Francesco Franchi, DensityDesign, Carl Kleiner, Antoine Corbineau, Golden Section Graphics, Les Graphiquants, and Peter Grundy.
The average San Francisco prices go beyond the $700k limit. But even so, housing is way cheaper in Baltimore.
Sources:
sent to my group www.flickr.com/groups/abc-visualized for the letter A:
1. Port Lockroy and the Europa., 2. A, 3. Looking Back..., 4. Landing
Mike Moradi, Founder and Chief Executive Officer, Sensulin, USA; Young Global Leader capture during the Session: "Visualizing Disease" at the World Economic Forum - Annual Meeting of the New Champions in Dalian, People's Republic of China 2017. Copyright by World Economic Forum / Sikarin Fon Thanachaiary
From: www.connectedaction.net
Link: www.flickr.com/photos/marc_smith/6903608625/sizes/l/
Data set: nodexlgraphgallery.org/Pages/Graph.aspx?graphID=415
These are the connections among the Twitter users who recently tweeted the word obama AND SOTU when queried on January 25, 2012, scaled by numbers of followers (with outliers thresholded). Connections created when users reply, mention or follow one another. The data set starts on 1/25/2012 13:41 and ends on 1/25/2012 14:07 UTC. Green lines are "follows" relationships, blue lines are "reply" or "mentions" relationships.
Layout created with the "Group Layout" feature of NodeXL which tiles bounded regions for each cluster. The Harel-Koren layout algorithm positioned each vertex: en.wikipedia.org/wiki/Force-based_algorithms_(graph_drawing).
Clusters calculated by the Clauset-Newman-Moore algorithm are also encoded by color. Clauset-Newman-Moore algorithm is defined here: pre.aps.org/abstract/PRE/v70/i6/e066111
A larger version of the image is here: www.flickr.com/photos/marc_smith/6903608625/sizes/l/
Betweenness Centrality is defined here: en.Wikipedia.org/wiki/Centrality#Betweenness_centrality
Top most between users:
@time
@ronpaul
@dougbenson
@borowitzreport
@theatlantic
@thinkprogress
@cbsnews
@yahoonews
@markknoller
@foxnation
Top word pairs by frequency of mention
last, night, 117
president, obama, 108
union, address, 63
union, speech, 53
ron, paul, 51
paul, responds, 48
#sotu, #gop, 45
#tcot, #ronpaul, 45
#sotu, speech, 39
obama, made, 36
second, term, 34
#sotu, address, 34
great, speaker, 31
obama, plagiarized, 30
million, people, 28
unemployed, #sotu, 28
#sotu, #jobs, 28
full, text, 26
barack, obama, 25
Graph Metric, Value
Graph Type, Directed
Vertices, 1000
Unique Edges, 2653
Edges With Duplicates, 690
Total Edges, 3343
Self-Loops, 718
Connected Components, 264
Single-Vertex Connected Components, 256
Maximum Vertices in a Connected Component, 728
Maximum Edges in a Connected Component, 3038
Maximum Geodesic Distance (Diameter), 8
Average Geodesic Distance, 3.285081
Graph Density, 0.002319319
Modularity, 0.440592
NodeXL Version, 1.0.1.199
More NodeXL network visualizations are here: www.flickr.com/photos/marc_smith/sets/72157622437066929/ and here:
www.nodexlgraphgallery.org/Pages/Default.aspx
A gallery of NodeXL network data sets is available here: nodexlgraphgallery.org/Pages/Default.aspx?search=twitter
NodeXL is free and open and available from www.codeplex.com/nodexl
NodeXL is developed by the Social Media Research Foundation (www.smrfoundation.org) - which is dedicated to open tools, open data, and open scholarship.
Donations to support NodeXL are welcome through PayPal: www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_bu...
The book, Analyzing social media networks with NodeXL: Insights from a connected world, is available from Morgan Kaufmann and from Amazon.
Marc Smith on Twitter.
I am attempting to construct a 1950s "B" movie style miniature rocketship out of plastic soda bottles and fast food take-out cups.
Admittedly, a heapin' helpin' of optimistic imagination is required to visualize the final result at this stage.
"Stage" - get it? Like, in rocket stages?
I'm hoping the quality of the jokes are not indicative of the quality of the final product. A vain hope, no doubt.
Historically, my success rate with projects like this is low. The "rough outline" goes together pretty well, but the finishing details usually fail to bring the appearance to anything other than that of plastic bottles haphazardly glued together.
Here's a website on which to lose an hour or several: www.spaceagemuseum.com/exhibits#/the-rocket/
Makes me wish I knew how to weld and work with metal and do "real man" types of projects - like build roadside attraction rocket ships.
Everybody who remembers the TV space shows "pre-Star Trek" is either too old to care or dead now. Most of the web articles about full-size TV rockets date between 2007 and 2015, but there's some amazing stuff out there:
www.smithsonianmag.com/air-space-magazine/supermarket-spa...
I was watching some old episodes of the "American Pickers" TV series earlier. That show usually leaves me feeling sad. Sad for all the mistakes I made in life. The guy, Mike, on the show got his start restoring old bicycles and hitting up farm and auction sales for bike parts. Now he's rich from his antiques show. I used to have an antiques show on TV. Seriously - "Focus on Collectibles." It was on local cable access TV in Eugene, Oregon, back when cable access was a thing. It was fun, some friends and I did it for laughs. I think we broadcast five or six episodes. Had I been clever, or business oriented, or ambitious... oh well, water under the bridge.
What really depresses me about "American Pickers" is the places the guys visit - where old guys... it's usually guys... accumulated cool old stuff by the barn full. Back in the '50s and '60s it must have been possible to load up by the truck load for pennies. And to have barns and acreage on which to accumulate old cars and motorcycles and even airplanes... and rockets. And mechanical wind-up toys and advertising signs and neon signs and movie posters and... and now they're dead and their kids, who are old themselves, are trying to sell all the crap dad and grand-dad accumulated so they can turn the family farm over to developers who want to build condos.
My grandparents had 40 acres, with a barn that my grandpa filled up with junk - mostly old appliances and half-rotted lumber. After my grandfather passed away, my grandma held on to the property for several years, but finally had to let it go. My brother tells me the area is not even recognizable anymore - all the farms out there have been build up with houses.
Anyway, I'm glueing together soda bottles and plastic cups to try to make a rocketship. A project doomed to failure, as noted in a previous message.
22 January 2022
Ascent Penthouse
Client: Mr Dung - IAM Architecture
---
@ Long Nguyen & Thu Nguyen
Architecture - Interior Design & 3D Visualization
0979 962 864, Ho Chi Minh City
advlongnguyen@gmail.com
Although originally designed to measure atmospheric water vapor and temperature profiles for weather forecasting, data from the Atmospheric Infrared Sounder (AIRS) instrument on NASA's Aqua spacecraft are now also being used by scientists to observe atmospheric carbon dioxide.
This visualization shows Aqua/AIRS mid-tropospheric carbon dioxide from July 2003. Low concentrations, 360 ppm, are shown in blue and high concentrations, 385 ppm, are shown in red. Notice that despite carbon dioxide's high degree of mixing, the regional patterns of atmospheric sources and sinks are still apparent in mid-troposphere carbon dioxide concentrations.
In the southern hemisphere the jet stream flow is more directly West to East, and during the period from July to October the carbon dioxide concentration is enhanced in a belt delineated by the jet stream and lofting of carbon dioxide into the free troposphere by the high Andes is visible in this period. The zonal flow of carbon dioxide around the globe at the latitude of South Africa, southern Australia and southern South America is readily apparent.
______________________________________________________________________
About AIRS
The Atmospheric Infrared Sounder, AIRS, in conjunction with the Advanced Microwave Sounding Unit, AMSU, sense emitted infrared and microwave radiation from the Earth to provide a three-dimensional look at Earth's weather and climate. Working in tandem, the two instruments make simultaneous observations all the way down to the Earth's surface, even in the presence of heavy clouds. With more than 2,000 channels sensing different regions of the atmosphere, the system creates a global, 3-dimensional map of atmospheric temperature and humidity, cloud amounts and heights, greenhouse gas concentrations, and many other atmospheric phenomena. The AIRS and AMSU fly onboard NASA's Aqua spacecraft and are managed by the Jet Propulsion Laboratory, Pasadena, California, under contract to NASA. JPL is a division of the California Institute of Technology in Pasadena.
Credit
NASA/JPL AIRS Project
NASA/Goddard Space Flight Center Scientific Visualization Studio
Download the image
Various sizes of the image are available, and there are two ways to download:
1) Right-click on the image. Click on a size next to "View all sizes".
2) Click on the "Actions" menu located above the image. Select "View all sizes".
Resources
Additional formats and stills ›
Atmospheric Infrared Sounder web site ›
How to get AIRS data
Here's a quick and dirty attempt to automatically determine arterial streets without any prior knowledge about the arterial status of a street. The idea is: a shortest path tree is taken for a bunch of random points, and the trunkyness of each branch was determined. The trunkynesses of the roads are summed, and this is the resulting map. It sort of works.
I'm playing with a new theme for my blog, and wanted a better way to let people quickly scan for how many posts I had. So I used a background image of black, offset with background-position in css to let a graph "show through" to show the count.
I've also posted the PHP and CSS code for WordPress to make this work: http://gist.github.com/304290
It looks better larger: http://www.flickr.com/photos/artlung/4356884087/sizes/o/
The Taj Mahal located in the white spot of a heatmap of compass data taken from public Flickr photos.
See the related Flickr Blog post.
visualization in-progress - this is a dataset of twitter messages taken from the #140conf that jeff pulver organized in Tel Aviv last December.
In its 2006 Gallery, the journal Nature chose an image that spatially lays out different areas of science in a plane. It is a reduction of a large-format (42" x 43") paper print.
The map was constructed by sorting roughly 800,000 scientific papers (shown as white dots) into 776 different scientific paradigms (red circular nodes) based on how often the papers were cited together by authors of other papers. Links (curved lines) were made between the paradigms that shared common members, then treated as rubber bands, holding similar paradigms nearer one another when a physical simulation had every paradigm repel every other: thus the layout derives directly from the data. Larger paradigms have more papers. Labels list common words unique to each paradigm.
This work was commissioned and partially supported by Katy Borner and the Places and Spaces: Mapping Science exhibition.
www.visualcomplexity.com/vc/project_details.cfm?id=421&am...
Creative Commons licensed image via R-chie: a web server and R package for visualizing RNA secondary structures by: Daniel Lai, Jeff R. Proctor, Jing Yun, Irmtraud M. Meyer
Nucleic Acids Research, Vol. 40, No. 12. (01 July 2012), pp. e95-e95, dx.doi.org/10.1093/nar/gks241
COVER
An arc diagram created using the R-chie web-server showing RNA base pair predictions by two programs for an alignment of Cripavirus IRES homologs (Rfam family RF00458). Each horizontal line represents a sequence of the alignment, and each arc represents a predicted base pair between two positions of the sequence. The same alignment comprising seven sequences is drawn for each prediction (top and bottom), highlighting the degree of evolutionary conservation for each predicted base pair: conserved base pairs (green), co-varying base pairs (dark and light blue), and invalid base pairs (red). Unpaired bases are in black and gaps in grey. The top arcs represent base pairs predicted by the program Transat, coloured by increasing statistical significance from dark to light blue, with mutually exclusive predictions in grey. The bottom arcs correspond to base pairs corresponding the RNA secondary structure predicted by Mfold for the first sequence of the alignment. Base pairs are coloured by increasing amount of covariation, from dark to light orange. The R-chie web server and the underlying R package R4RNA are freely available at www.e-rna.org/r-chie/.
ASBSTRACT
Visually examining RNA structures can greatly aid in understanding their potential functional roles and in evaluating the performance of structure prediction algorithms. As many functional roles of RNA structures can already be studied given the secondary structure of the RNA, various methods have been devised for visualizing RNA secondary structures. Most of these methods depict a given RNA secondary structure as a planar graph consisting of base-paired stems interconnected by roundish loops. In this article, we present an alternative method of depicting RNA secondary structure as arc diagrams. This is well suited for structures that are difficult or impossible to represent as planar stem-loop diagrams. Arc diagrams can intuitively display pseudo-knotted structures, as well as transient and alternative structural features. In addition, they facilitate the comparison of known and predicted RNA secondary structures. An added benefit is that structure information can be displayed in conjunction with a corresponding multiple sequence alignments, thereby highlighting structure and primary sequence conservation and variation. We have implemented the visualization algorithm as a web server R-CHIE as well as a corresponding R package called R4RNA, which allows users to run the software locally and across a range of common operating systems.
Mike Moradi, Founder and Chief Executive Officer, Sensulin, USA; Young Global Leader capture during the Session: "Visualizing Disease" at the World Economic Forum - Annual Meeting of the New Champions in Dalian, People's Republic of China 2017. Copyright by World Economic Forum / Sikarin Fon Thanachaiary
I made myself a goal to walk 3000 miles (4828 km) in 2014 (and my stretch goal is to cover 5000 km = 3106 miles). Getting behind happens one day at a time, as you can see in this graph, which plots how far behind (or ahead) I am each day.
As you can see, I was 161 miles behind on 6 June, which is day 157, so I the slope is about -1 mile per day. As summer has appeared in Seattle, I am catching up by averaging about 9 miles per day. I am hoping to boost that again when summer school is over and I can get in some long days of hiking.
I find this graph a pretty good motivator to get me to cover miles each day, I think it might be possible to get to 3000 miles (on other words, delta = 0 on 31 December.
Fit20140808Delta
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Santa Marta 2014
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
A "mind map" with relevant topics for UbiScribe, the research trajectory about online publishing that I'm participating in. This graph was created for our first joint print-on-demand (POD) publication, UbiScribe 0.9.0.
This map has no scientific pretentions whatsoever -- I created it as an intuitive outline of topics related to online publishing. The "ant trails" offer possible interconnections between topics, but of course other relationships can be drawn as well.
More info: http://www.ubiscribe.net
Fresh House | Visualization Project
Project : L.A Apartment
Co-op with the company in Norway
Visualized by Fresh House
The same query as in the previous image, only 16 hours later...
More info here: postspectacular.com/work/socialcollider/start
Part of the official Google Chrome collection of original experiments demonstrating the superior JavaScript performance of Google's browser, the Social Collider reveals cross-connections between conversations on Twitter.
With the Internet's promise of instant and absolute connectedness, two things appear to be curiously underrepresented: both temporal and lateral perspective of our data-trails. Yet, the amount of data we are constantly producing provides a whole world of contexts, many of which can reveal astonishing relationships if only looked at through time.
This experiment explores these possibilities by starting with messages on the microblogging-platform Twitter. One can search for usernames or topics, which are tracked through time and visualized much like the way a particle collider draws pictures of subatomic matter. Posts that didn't resonate with anyone just connect to the next item in the stream. The ones that did, however, spin off and horizontally link to users or topics who relate to them, either directly or in terms of their content.
The Social Collider acts as a metaphorical instrument which can be used to make visible how memes get created and how they propagate. Ideally, it might catch the Zeitgeist at work.
Credits
Karsten Schmidt - concept, design & programming
Sascha Pohflepp - concept, design
Follow us on Twitter for updates:
PROJECT:Jinhui Park
DESIGNED BY SCDRI
RENDERED BY FRONTOP
Frontop creates 3d rendering, architectural rendering, architectural visualization and architectural animation for architects, designers, real estate developers and much more.
This is a visualization of Moscow 2009 Eurovision Final votes. Each color represents a country and each link represents a vote. Color of the vote represents the awarded country and the weight of the link represents vote’s value.
This is another shot from Tonan's senior picture shoot. He was so fun to work with and just a natural. He plays on the football team so we tried to take something that wasn't so traditional. Hope you enjoy!
made by frontop
the lines in the right side just showing that there is a building there, but to show the target building in better effects, we just show the outline of that building, pls kindly note.
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Superimposed visualization of cumulated activity on Google search engine, by 19 users of french group "The Web Explorers". Realized by Luc Legay ru3.com for a study case lead by The Web Explorers. Built with individual data collected on Google History page : www.google.com/history/trends - july 2008 - Creative Commons Attribution-Share Alike 2.0 Generic