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“I could have read omens in your extricated liver.” There were pale red marks beneath his eyes, a five-o’clock shadow on his jaw. “And I could have been your haruspex, sexy,” he said at one point, snarling. The man spoke in a tone that shifted worryingly between aggressive and confessional, punctuating his lines with two disembodied hands. On a very warm afternoon in April, the image of a bald young white man’s head floated on a gray screen at the Kitchen, in Chelsea. La mise en commun de ses échecs permet de comprendre le processus qui se produit lors de ces aberrations visuelles se rapprochant du «glitch art».Ĭet événement est une invitation ouverte à la communauté artistique, aux curieux, aux professionnels et aux amateurs de la visualisation de données. Pour la communauté de la visualisation de données D3.js, les échecs visuels sont partagés sur le Web via #d3brokeandmadeart. Bien qu’esthétiques, ces erreurs dans les graphiques mènent à des aberrations inattendues pouvant se tra nsformer en données non lisibles et peut-être même imaginaires. Pour l’exposition et la présentation VISQuébec, les accidents dans la visualisation de données seront le sujet d’étude. Ce dernier s’implique activement à la communauté open source en partageant ses recherches. Pour le Meetup, nous aurons le plaisir d’accueillir un spécialiste de Silicon Valley en visualisation de données : Micah Stubbs.
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Le Meetup et le vernissage de l’exposition auront lieu le 1er mai à partir de 17h. LA CHAMBRE BLANCHE est heureuse d’accueillir l’exposition «Graphiques dégénérés» se déroulant dans le cadre de VISQuébec.
TROIKATRONIX ISADORA FOR EDUCATION PRO
Supported by ETH Zurich, ETH Zurich Foundation Grant, MIT’s Department of Architecture, the MIT International Design Center, MIT (MISTI) Grant, Pro Helvetia Swiss Arts Council, swissnex, MISAPOR Beton AG Selected consultants: Walt + Galmarini AG
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Heinrich Jaeger and Kieran Murphy (Chicago University) Wittel (Institute for Building Materials, ETH Zurich), Prof. Volker Helm, Sara Falcone, Jared Laucks, Lina Kara’in, Michael Lyrenmann, Carrie McKnelly, George Varnavides, Stephane de Weck, Dr. Skylar Tibbits, Andreas Thoma (project lead installation), Petrus Aejmelaeus-Lindström (project lead research), Dr. To reverse the construction, the string is pulled, leading to a chain reaction restoring the gravel and the string to their initial state.Ĭollaborators: Prof. A robotic arm enables the precise placement of string according to a digital blueprint and as such informs the shape and performance of a specific architectural artefact. This can be achieved by introducing tensile reinforcement, such as string, to confine the gravel. To be able to control where and how gravel jams, the density between the aggregates has to be decreased to a level that forces it to behave like a solid. The construction system works as follows. Rock Print exploits this characteristic with a congruent construction system that: 1) is informed by a computational design and realised with robotic fabrication machinery, 2) can be constructed into highly differentiated and load-bearing structures at an architectural scale using low-grade bulk material, such as gravel, and 3) is fully reversible. Rock Print is an investigation into the constructive principle of the physical phenomena of jamming, in which granular matter can change from liquid to solid and back again.