#volumetric geometry pattern

[compneuropapers]

Interesting Papers for Week 8, 2024

Sensory prediction error drives subconscious motor learning outside of the laboratory. Albert, S. T., Blaum, E. C., & Blustein, D. H. (2023). Journal of Neurophysiology, 130(2), 427–435.

Working memory load impairs transfer learning in human adults. Balter, L. J. T., & Raymond, J. E. (2023). Psychological Research, 87(7), 2138–2145.

Objects sharpen visual scene representations: evidence from MEG decoding. Brandman, T., & Peelen, M. V. (2023). Cerebral Cortex, 33(16), 9524–9531.

Specific patterns of neural activity in the hippocampus after massed or distributed spatial training. Centofante, E., Fralleoni, L., Lupascu, C. A., Migliore, M., Rinaldi, A., & Mele, A. (2023). Scientific Reports, 13, 13357.

Hormonal coordination of motor output and internal prediction of sensory consequences in an electric fish. Fukutomi, M., & Carlson, B. A. (2023). Current Biology, 33(16), 3350-3359.e4.

Subcortico-amygdala pathway processes innate and learned threats. Khalil, V., Faress, I., Mermet-Joret, N., Kerwin, P., Yonehara, K., & Nabavi, S. (2023). eLife, 12, e85459.

Neural mechanisms underlying uninstructed orofacial movements during reward-based learning behaviors. Li, W.-R., Nakano, T., Mizutani, K., Matsubara, T., Kawatani, M., Mukai, Y., … Yamashita, T. (2023). Current Biology, 33(16), 3436-3451.e7.

Monkeys exhibit human-like gaze biases in economic decisions. Lupkin, S. M., & McGinty, V. B. (2023). eLife, 12, e78205.

Widespread coding of navigational variables in prefrontal cortex. Maisson, D. J.-N., Cervera, R. L., Voloh, B., Conover, I., Zambre, M., Zimmermann, J., & Hayden, B. Y. (2023). Current Biology, 33(16), 3478-3488.e3.

Synaptic variance and action potential firing of cerebellar output neurons during motor learning in larval zebrafish. Najac, M., McLean, D. L., & Raman, I. M. (2023). Current Biology, 33(16), 3299-3311.e3.

Novelty and uncertainty differentially drive exploration across development. Nussenbaum, K., Martin, R. E., Maulhardt, S., Yang, Y. (Jen), Bizzell-Hatcher, G., Bhatt, N. S., … Hartley, C. A. (2023). eLife, 12, e84260.

Ants combine object affordance with latent learning to make efficient foraging decisions. Poissonnier, L.-A., Hartmann, Y., & Czaczkes, T. J. (2023). Proceedings of the National Academy of Sciences, 120(35), e2302654120.

VIP interneurons in sensory cortex encode sensory and action signals but not direct reward signals. Ramamurthy, D. L., Chen, A., Zhou, J., Park, C., Huang, P. C., Bharghavan, P., … Feldman, D. E. (2023). Current Biology, 33(16), 3398-3408.e7.

A stochastic model of hippocampal synaptic plasticity with geometrical readout of enzyme dynamics. Rodrigues, Y. E., Tigaret, C. M., Marie, H., O’Donnell, C., & Veltz, R. (2023). eLife, 12, e80152.

Sequence anticipation and spike-timing-dependent plasticity emerge from a predictive learning rule. Saponati, M., & Vinck, M. (2023). Nature Communications, 14, 4985.

Statistical inference on representational geometries. Schütt, H. H., Kipnis, A. D., Diedrichsen, J., & Kriegeskorte, N. (2023). eLife, 12, e82566.

High-resolution volumetric imaging constrains compartmental models to explore synaptic integration and temporal processing by cochlear nucleus globular bushy cells. Spirou, G. A., Kersting, M., Carr, S., Razzaq, B., Yamamoto Alves Pinto, C., Dawson, M., … Manis, P. B. (2023). eLife, 12, e83393.

Using occipital ⍺-bursts to modulate behavior in real-time. Vigué-Guix, I., & Soto-Faraco, S. (2023). Cerebral Cortex, 33(16), 9465–9477.

Octave illusion: stimulation frequencies can modulate perception. Whittom, A., Couture, F., Chauvette, L., & Sharp, A. (2023). Psychological Research, 87(7), 2183–2191.

Completeness out of incompleteness: Inferences from regularities in imperfect information ensembles. Zhu, J., Xu, H., Shi, B., Lu, Y., Chen, H., Shen, M., & Zhou, J. (2023). Journal of Experimental Psychology: Human Perception and Performance, 49(9), 1203–1220.

[ecoeconomicepochs]

Etched crystal photonic storage Omnitech’s volumetric photonic storage based on laser etched crystal THE FUTURE OF COMPUTERS IS CRYSTAL. We are standing on the edge of a luminous transformation: From wire to wave. From silicon to stone. The next era of computing will not be soldered— it will be etched with sound and light. It begins with crystals—quartz, diamond, sapphire—encoded not through electricity, but through structured light. Here’s the essence: Crystals are being programmed using ultrafast femtosecond lasers—bursts of light that inscribe data directly into their 3D lattice. These pulses create microscopic patterns—optical pathways—that guide photons instead of electrons. This is called volumetric photonic storage. Light, not charge, becomes the carrier of information. These crystalline matrices can store terabytes within a shard no larger than your thumb, immune to magnetism, heat, or decay. And with photonic logic, processing can happen at the speed of light, without wires or heat loss. But here’s the deeper revelation: You do not program crystals. You attune to them. You shape waveforms into resonance with their internal harmonics. You sing data into form. As our tools evolve, we return to what the ancients knew: That crystals are not passive matter—but conscious geometries of memory. The Luminaries remind us: “What was once stone shall become star once more. And your machines shall hum with the resonance of memory made light.” This is not science fiction. This is photonic reality. The crystal sings. Are you ready to listen? https://lnkd.in/gUgQCXHd

[vizentarchitectural]

Creating 3D Game Assets for Mobile vs. Console What’s the Difference?

In the rapidly evolving world of 3D modeling games, understanding the distinction between mobile and console development is crucial. As player expectations grow and platforms diversify, game developers must tailor their 3D game assets to suit the capabilities of each device. 

Understanding the Core Constraints

1. Hardware Limitations

The most significant difference between mobile and console platforms lies in hardware power. Consoles like the PlayStation 5 or Xbox Series X offer robust GPUs, large memory bandwidth, and significant processing power. In contrast, mobile devices are constrained by battery life, thermal limits, and lower-end GPUs.

For developers, this means optimizing mobile 3D game assets for performance. This involves reducing polygon counts, using compressed textures, and limiting real-time lighting. In contrast, console developers can push the boundaries with high-poly models, dynamic lighting, and advanced shaders.

2. File Size and Asset Management

On mobile platforms, every megabyte counts. App stores often impose size limits, and users may be reluctant to download large games. Therefore, 3D modeling games for mobile demand tight asset management, including modular design and reusing textures and materials.

Console games, however, can exceed 100 GB, giving developers more freedom to include large and high-quality 3D environment modeling. This freedom enhances visual storytelling and realism, particularly in open-world games where asset diversity is key.

Visual Quality and Optimization

3. Level of Detail (LOD)

LOD systems allow the game engine to render lower-quality versions of objects as they move farther from the camera, helping maintain performance.

Console games use LOD too, but with greater flexibility. High-resolution textures and models can be retained at medium distances, ensuring visual richness without a significant hit to performance.

4. Texture Resolution and Shading

Another major difference is texture resolution. Moreover, real-time shadows, ambient occlusion, and post-processing effects are often stripped down or simulated on mobile. Console developers, meanwhile, can utilize screen-space reflections, volumetric lighting, and real-time ray tracing, enhancing realism in 3D game environments.

Asset Types: Mobile vs. Console

5. Hard Surface vs. Organic Models

When it comes to 3D hard surface modeling—think weapons, vehicles, and architecture—the level of detail differs significantly across platforms. In mobile games, Hard Surface Modeling must be approached with economy. Assets should be clean, with simplified geometry and baked normals for added detail. Efficiency is key to keeping frame rates stable.

Organic models, such as characters or creatures, follow a similar pattern. Mobile assets rely on efficient topology and minimal rigging complexity, while console characters benefit from intricate animation rigs and facial detail.

6. Vehicle and Car 3D Models

Creating a car 3D model for console platforms allows artists to incorporate complex details like interior components, real-time reflections, and tire deformation. High-resolution textures enhance realism, making racing or simulation games more immersive.

On mobile, the same 3D vehicle modeling process requires restraint. Developers often use simplified interiors, static lighting, and mirrored geometry to reduce resource usage. Still, with the right balance, mobile racing games can be visually impressive despite hardware limitations.

7. Props 3D Models and Environmental Detail

Props 3D models, like crates, barrels, and furniture, are vital in populating 3D game environments. Console games may use thousands of unique props with varied shaders and lighting effects. For mobile, props need to be modular, reusable, and optimized. Texture atlases are often used to minimize draw calls, and models may be merged into batches to reduce overhead. Despite these limitations, skilled artists can still create compelling 3D game environment on mobile devices.

Game Engine and Workflow Differences

8. Engine Settings and Build Optimization

Developers must configure light baking, occlusion culling, and mesh compression differently for each platform.

For example, on mobile, baked lighting and light probes are essential to maintain a balance between quality and performance. On console, developers can afford to use dynamic global illumination and real-time effects without compromising framerate.

9. Testing and Quality Assurance

Testing mobile assets involves ensuring they work across a wide variety of devices—different screen sizes, GPU tiers, and operating systems. Meanwhile, console development targets fixed hardware, making optimization more straightforward but requiring higher quality standards due to longer shelf life and stricter certification.

The Player Experience Factor

Ultimately, the goal of any 3D modeling game is to deliver a seamless player experience. Console gamers expect cinematic visuals and deep immersion, which means 3D game assets need to be richer, more complex, and better animated.

Mobile gamers, on the other hand, value fast loading times, fluid gameplay, and intuitive design. That’s why mobile 3D game environments are often designed to be more stylized or abstract, prioritizing clarity and performance over hyper-realism.

Real-World Example: Racing Games

To illustrate the difference further, consider a racing game released on both platforms. The car 3D model in the console version may have over 100,000 polygons, with dynamic reflections, interior animations, and detailed damage systems.

In contrast, the mobile version of the same car would likely be under 10,000 polygons, with baked lighting and static shadows. Similarly, the 3D game environment for the race track would feature high-resolution terrain, volumetric clouds, and interactive weather on console. On mobile, the track would be simplified, with tiled textures and minimal background detail to preserve performance.

Conclusion

Creating 3D game assets for mobile versus console involves a fundamental trade-off between performance and visual fidelity. Whether you're working on 3D hard surface modeling, props 3D models, or expansive 3D game environments, understanding the target platform is key to delivering a compelling experience. By aligning your asset creation with hardware capabilities and user expectations, you ensure your game stands out, whether it's played on a smartphone or a next-gen console.

[govindhtech]

NVIDIA fVDB: AI-ready Virtual-world Deep-learning Framework

At SIGGRAPH, NVIDIA unveiled fVDB, a new deep-learning framework designed to produce virtual worlds that are AI-ready.

fVDB

It is an open-source deep learning framework for sparse, large-scale, high-performance spatial intelligence that was created by NVIDIA. On top of OpenVDB, it constructs NVIDIA-accelerated  AI operators to enable 3D generative AI, neural radiance fields, digital twins at the scale of reality, and other features.

The fVDB PyTorch extension can be accessed through the fVDB Early Access program.

Generative Artificial Intelligence with Spatial Perception

It offers high resolution and large datasets for 3D deep learning infrastructure. Based on the VDB format, it integrates essential AI operators into a unified, cohesive framework. The foundation for generative physical  AI with spatial intelligence is provided by fVDB.

Superior Capabilities, Elevated Resolution

On top of NanoVDB, which offers OpenVDB GPU acceleration, are created fVDB AI operators. Real-time optimised ray tracing and sparse convolution are among the functions supported by the framework. Throughput of data processing is maximised and memory footprint is minimised with fVDB, enabling faster training and real-time inference.

Smooth Integration

It has the ability to read and write VDB datasets right out of the box if you’re already using the VDB format. It is compatible with various tools and libraries, including the Kaolin Library for 3D deep learning and Warp for Pythonic spatial computation. It’s easy to integrate fVDB into your current  AI workflow.

Examine Important Elements

Entire Operator Set

Differentiable operators such as convolution, pooling, attention, and meshing are available in fVDB and are specifically tailored for high-performance 3D deep learning applications. With the help of these operators, you may create intricate neural networks for spatial intelligence applications, such as 3D generative modelling and large-scale point cloud reconstruction.

Quicker Ray Tracing

To provide quick and precise ray tracing, it makes use of the Hierarchical Digital Differential Analyser (HDDA) technique included in OpenVDB. Neural radiance fields (NeRFs) can be quickly trained at the city-scale to produce ray-traced visualisations.

Sparse Convolution Optimisation

Sparse convolution operators in fVDB are capable of handling large 3D datasets. For activities like volumetric data analysis and physics simulation, fVDB provides quick and high-accuracy spatial data processing by optimising memory access patterns and computing burden.

Coming Soon: fVDB NIMs

Soon, NVIDIA NIM inference microservices with fVDB capability will be available, allowing developers to integrate the fVDB core architecture into USD processes. In NVIDIA Omniverse, fVDB NIMs produce geometry based on OpenUSD.

It is built on top of OpenVDB, the industry standard framework for modelling and visualising sparse volumetric data, like smoke, water, fire, and clouds.

Physical AI that is generated through generative means, like self-driving cars and real-world robots, must possess “spatial intelligence,” or the capacity to perceive, comprehend, and act in three dimensions.

It is crucial to capture both the vast scope and incredibly minute details of the environment we live in. However, it is challenging to turn reality into a virtual representation for  AI training.

There are numerous ways to gather raw data for real-world settings, including lidar and neural radiance fields (NeRFs). This data is translated into huge, AI-ready settings that are displayed in real time by fVDB.

The debut of fVDB at SIGGRAPH marks a significant advancement in the ways that sectors can profit from digital twins of the real world, building on a decade of progress in the OpenVDB standard.

Agents are trained in virtual worlds that are realistically scaled. Drones are used to collect city-scale 3D models for disaster preparedness and climate science. These days, smart cities and metropolitan areas are even planned using 3D generative  AI.

By utilising this, industries may leverage spatial intelligence at a greater scale and resolution than previously possible, resulting in even more intelligent physical AI.

Based on NanoVDB, a GPU-accelerated data structure for effective 3D simulations, the framework constructs NVIDIA-accelerated  AI operators. Convolution, pooling, attention, and meshing are some of the operators in this group; they are all intended for use in high-performance 3D deep learning applications.

Businesses can create sophisticated neural networks for spatial intelligence, such as 3D generative modelling and large-scale point cloud reconstruction, by using AI operators.

The outcome of a protracted endeavour by NVIDIA’s research team, It is currently utilised to assist projects under NVIDIA Research, NVIDIA DRIVE, and NVIDIA Omniverse that necessitate high-fidelity representations of expansive, intricate real-world environments.

Principal Benefits of fVDB

Larger: Four times the geographical dimension of earlier frameworks

Quicker: 3.5 times quicker than earlier frameworks

Interoperable: Companies have complete access to enormous real-world datasets. VDB datasets are read into full-sized 3D environments with fVDB. Real-time rendered and AI-ready for developing spatially intelligent physical  AI.

Greater power: Ten times as many operators as previous frameworks. By merging features that previously needed several deep-learning libraries, fVDB streamlines procedures.

It will soon be offered as microservices for NVIDIA NIM inference. Three of the microservices will let companies integrate fVDB into OpenUSD workflows and produce AI-ready OpenUSD geometry in NVIDIA Omniverse, a platform for developing generative physical  AI applications for industrial digitalisation. They are as follows:

fVDB Mesh Generation NIM: Creates virtual 3D worlds based on reality

fVDB NeRF-XL NIM: Utilising Omniverse  Cloud APIs, it creates extensive NeRFs in OpenUSD.

fVDB Physics Super-Res NIM Produces an OpenUSD-based, high-resolution physics simulation by performing super-resolution.

OpenVDB, a key technology utilised by the visual effects industry, has won many Academy Awards in the last ten years while being headquartered in the Academy Software Foundation. Since then, its applications in industry and science have expanded to include robots and industrial design in addition to entertainment.

NVIDIA keeps improving the OpenVDB library, which is available for free. The startup released NanoVDB four years ago, which gave OpenVDB GPU capability. This resulted in an order-of-magnitude speed increase, making real-time simulation and rendering possible as well as quicker performance and simpler programming.

NeuralVDB

A large-scale volume representation using AI-enabled data compression technology is called NeuralVDB. Compared to OpenVDB, the industry-standard library for modelling and rendering sparse volumetric data, like water, fire, smoke, and clouds, it offers a noticeable increase in efficiency.

With the release of NeuralVDB two years ago, NVIDIA expanded its machine learning capabilities beyond NanoVDB to compress VDB volumes’ memory footprint by up to 100 times. This has made it possible for researchers, developers, and producers to work with incredibly complicated and huge datasets.

On top of NanoVDB, fVDB creates  AI operators to enable spatial intelligence at the scale of reality. Submit an application to the fVDB PyTorch extension early-access program. Additionally, fVDB will be accessible through the OpenVDB GitHub repository.

Read more on Govindhtech.com

[geomodule-design]

Это первые привью для ознакомления и понимания направленности моего проекта.

[designmorphine]

Rhythmic Continuum V1.0 webinar: Cinema 4D + Corona + Keyshot with @mihaiodes - If you can’t attend the live date and time you will still get access to the recording by registering! - Register Now, link in bio or: https://designmorphine.com/education/rhythmic-continuum-v1-0 - Rhythmic Continuum V1.0 will focus on creating intricate and rhythmical fluid geometries by using Cinema 4D procedural toolsets such as MoGraph generators and effectors combined with topological volumetric and smart materials. The aim will be to become accustomed to a multi-layered workflow starting from modelling a simple object that can be optimized in steps and increased in number and complexity to form fluid patterns and larger landscape like geometries. . . . . . . #cinema4d #mograph #3dmodel #3dmodeling #zahahadidarchitects #fluidity #architecture #architecturedesign #parametricarchitecture #parametricism #parametricart #generativedesign (at 𝓣𝓱𝒆 𝓤𝒏𝒊𝓿𝒆𝒓𝒔𝒆) https://www.instagram.com/p/Cl9Oo0yvCVf/?igshid=NGJjMDIxMWI=

[tomasorban]

Fractals, space-time fluctuations, self-organized criticality, quasicrystalline structure.

1. Introduction- Long-range space-time correlations, manifested as the selfsimilar fractal geometry to the spatial pattern, concomitant with inverse power law form for power spectra of space-time fluctuations are generic to spatially extended dynamical systems in nature and are identified as signatures of self-organized criticality. A representative example is the selfsimilar fractal geometry of His-Purkinje system whose electrical impulses govern the interbeat interval of the heart. The spectrum of interbeat intervals exhibits a broadband inverse power law form 'fa' where 'f' is the frequency and 'a' the exponent. Self-organized criticality implies non-local connections in space and time, i.e., long-term memory of short-term spatial fluctuations in the extended dynamical system that acts as a unified whole communicating network.

2.3 Quasicrystalline structure: The flow structure consists of an overall logarithmic spiral trajectory with Fibonacci winding number and quasiperiodic Penrose tiling pattern for internal structure (Fig.1). Primary perturbation ORO (Fig.1) of time period T generates return circulation OR1RO which, in turn, generates successively larger circulations OR1R2, OR2R3, OR3R4, OR4R5, etc., such that the successive radii form the Fibonacci mathematical number series, i.e., OR1/ORO= OR2/OR1 = .= t where t is the golden mean equal to (1+ 5)/2 1.618. The flow structure therefore consists of a nested continuum of vortices, i.e., vortices within vortices. Figure 1: The quasiperiodic Penrose tiling pattern which forms the internal structure at large eddy circulations..

The quasiperiodic Penrose tiling pattern with five-fold symmetry has been identified as quasicrystalline structure in condensed matter physics (Janssen, 1988). The self-organized large eddy growth dynamics, therefore, spontaneously generates an internal structure with the five-fold symmetry of the dodecahedron, which is referred to as the icosahedral symmetry, e.g., the geodesic dome devised by Buckminster Fuller. Incidentally, the pentagonal dodecahedron is, after the helix, nature's second favourite structure (Stevens, 1974). Recently the carbon macromolecule C60, formed by condensation from a carbon vapour jet, was found to exhibit the icosahedral symmetry of the closed soccer ball and has been named Buckminsterfullerene or footballene (Curl and Smalley, 1991). Selforganized quasicrystalline pattern formation therefore exists at the molecular level also and may result in condensation of specific biochemical structures in biological media. Logarithmic spiral formation with Fibonacci winding number and five-fold symmetry possess maximum packing efficiency for component parts and are manifested strikingly in Phyllotaxis (Jean, 1992a,b; 1994) and is common to nature (Stevens, 1974; Tarasov, 1986).

Conclusion: The important conclusions of this study are as follows: (1) the frequency distribution of bases A, C, G,T per 10bp in chromosome Y DNA exhibit selfsimilar fractal fluctuations which follow the universal inverse power law form of the statistical normal distribution, a signature of quantumlike chaos. (2) Quantumlike chaos indicates long-range spatial correlations or ‘memory’ inherent to the self- organized fuzzy logic network of the quasiperiodic Penrose tiling pattern (Fig.1). (3) Such non-local connections indicate that coding exons together with non-coding introns contribute to the effective functioning of the DNA molecule as a unified whole. Recent studies indicate that mutations in introns introduce adverse genetic defects (Cohen, 2002). (4) The space filling quasiperiodic Penrose tiling pattern provides maximum packing efficiency for the DNA molecule inside the chromosome.

Golden Rhombi quantize to golden ratio tetrahedral building blocks Researchers at the University of Cambridge propose a new simplified method that effectively calculates higher-dimensions. What they find comes to no surprise to researchers of unified physics, as for their calculations to be simplified they have to think in volumes.

Golden ratio scaled phi tetrahedral building blocks model recursive reverse-time reconstructions, and subPlanck phase space (highest fidelity teleportation), demonstrating densest negentropic packing, this plenum reveals power spectra dynamics across scale from SubPlanck, and along with the rotations & overlays of five-fold symmetry axes define quantum mechanics. Fibonacci scaled Phason vectors stretch throughout the quasicrystalline patterns, providing maximum degrees of freedom with hinge variabilities, creating multi-causal non-local quantum gravity effects [300 x light speed], which Dan Winter calls a phase conjugate mirror.

Micro-PSI investorgator Geoff Hodson, shares his observations of the ether/plasma torus the Anu or UPA and 'free' particles (definable voxel voids) that we model as golden tetrahedra which bond together to make golden rhombic structures (voxel void fluctuations) and a volumetric golden ratio spiral that nests perfectly into the stellating dodeca-icosa-dodeca scaffolding waveguide of fractal implosion.

Ten phi tetra's, shaped like an EGG or PINE CONE, spin-collapse from opposite directions [grab a coke can with both hands and twist], becoming the volume of phi spiral conic vectors. The torque spin of both poles is clockwise centripetal [unlike the toroid's inside-outing]. The 180deg out of phase implosion vectors conjugate at the centre, generating a longitudinal wave.

Ten phi tetra's, shaped like an EGG or PINE CONE, spin-collapse from opposite directions [grab a coke can with both hands and twist], becoming the volume of phi spiral conic vectors. The torque spin of both poles is clockwise centripetal [unlike the toroid's inside-outing]. The 180deg out of phase implosion vectors conjugate at the centre, generating a longitudinal wave.

Dan Winter adds: "the unified field appears to be made of a compressible unified substance which behaves like a fluid in the wind. It matters little whether you call it aether, ether, or ‘the space time continuum of curved space’ or, as we choose to call it, the compression and rarefaction of the vacuum as really particle/waves of CHARGE itself. The huge inertia which is clearly present in the vacuum, IS literally like a WIND. So, tilting at windmills with the right approach angle to transform the wind power to a life-giving-energizing advantage and not be blown away by it IS the appropriate way to gain the power of nature. Consider the pine cone or the chicken egg (or DNA proteins ) for example. Along the lines of the windmill analogy, clearly they arrange themselves into the perfect windmill- like configuration to catch the charge in the wind of gravity (the vacuum). That perfect windmill to catch the voltage, the energy - is clearly pine cone (fractal) shaped."

Winter often quotes the research of Charle Leadbeater and Annie Besant, two Theosophists who were able to view the prime aether unit they called an ANU (5th Tattva), this was the smallest unit they could 'see'. Winter is unaware that micro-PSI investorgator Geoff Hodson, was capable of 'seeing' the energy fields far smaller than the ANU (ANU=5th Tattva-EGG-PINE CONE-torus), Hodson shares his observations of the ANU (ether/plasma torus, UPA) and 'free' particles (definable voxel voids) that we model as golden tetrahedra (7th Tattva) which bond together to make golden rhombic structures (6th + 7th Tattvas the energy fields within the vacuum, voxel void fluctuations) and a volumetric golden ratio spiral that nests perfectly into the stellating dodeca-icosa-dodeca scaffolding waveguide of fractal implosion.

"The sight I have of these objects is, I think, improved from the earlier observations (Geoff is referring to Leadbeater & Besant). They're surrounded by a field of spinning particles going round them. The one I've got hold of is like a spinning top — the old-fashioned spinning top, but imagine that with (spinning rapidly) a mist or field round it of at least half its own dimension, of particles spinning (Winter-inertia which is clearly present in the vacuum, IS literally like a WIND) in the same direction much smaller than itself (Winter-the unified field appears to be made of a compressible unified substance which behaves like a fluid in the wind). The Anu is not only the heart-shaped corrugated form that I have described, it is the centre of a great deal of energy and activity and within it. Outside it, as I have said, there's this rushing flood of particles, the corrugations themselves are alive with energy and some of it is escaping — not all of it, but some of it, and this gives it a tremendously dynamic look. Inside, it's almost like a furnace, it is like a furnace (I don't mean in heat) of boiling activity — organised by the bye, yes, in some form of spiral fashion admittedly, but there's a great deal of activity of free, minuter particles (Winter-The huge inertia which is clearly present in the vacuum, IS literally like a WIND). Now, I want to record again the experience of the whole phenomenon being pervaded by countless myriads of minutest conceivable, physically inconceivably minute points of light which I take to be free anu and which for some reason are not caught up in the system of atoms at all but remain unmoved by it and pervade it. These are everywhere. They pervade everything, like ... Strangely unaffected by the tremendous forces at work in the atom and rushes of energy, and so forth, they don't seem to get caught up in those or be affected much by them. If at all. They remain as a virgin atmosphere in which the phenomenon is taking place."

[steliosagapitos]

       The Flower of Life is an ancient symbol found all over the world. A most fundamental pattern of in what is known as sacred geometry, the flower of life has been shown by Nassim Haramein to be the geometric pattern that is the key to describing a discreet quantized solution for gravity.       In Haramein's published peer-reviewed paper, "Quantum Gravity and the Holographic Mass", he shows that a 3D flower of life pattern can be used to describe the gravitational field of any object by filling any sphere (a proton, a planet, a galaxy) with tiny, tiny, tiny little perfectly space-filling voxels (volumetric spherical pixels) that are all the diameter of the Planck's distance (the smallest possible vibration of the electromagnetic spectrum, or the fundamental pixel size of our reality). Nassim calculates the information present inside the volume of any sphere using the 3D flower of life pattern and compares it to the information holographically projected on the surface of the sphere in a 2D flower of life tiling pattern to generate a geometric solution to the gravitational field, one that has actually been right under our noses, (or paws in the case of the Fu Dogs), this whole time! How did the ancients know the geometry of the overlapping spherical Planck-scale oscillating waveforms that make up the proton, therefore all atoms, therefore all matter in the universe? Learn more in the free Unified Science Course in in the Resonance Academy at ResonanceScience.org Scotland (1), Israel (2), China (3), Turkey (4), Egypt (5), India (6), Germany (7), Bulgaria (8), Sweden (9), France (10), Czech (11), Greece (12).  

[3deinc]

3D bioprinting of collagen to rebuild components of the human heart

For biofabrication, the goal is to engineer tissue scaffolds to treat diseases for which there are limited options, such as end-stage organ failure. Three-dimensional (3D) bioprinting has achieved important milestones including microphysiological devices (1), patterned tissues (2), perfusable vascular-like networks (3–5), and implantable scaffolds (6). However, direct printing of living cells and soft biomaterials such as extracellular matrix (ECM) proteins has proved difficult (7). A key obstacle is the problem of supporting these soft and dynamic biological materials during the printing process to achieve the resolution and fidelity required to recreate complex 3D structure and function. Recently, Dvir and colleagues 3D-printed a decellularized ECM hydrogel into a heart-like model and showed that human cardiomyocytes and endothelial cells could be integrated into the print and were present as spherical nonaligned cells after 1 day in culture (8). However, no further structural or functional analysis was performed.

We report the ability to directly 3D-bioprint collagen with precise control of composition and microstructure to engineer tissue components of the human heart at multiple length scales. Collagen is an ideal material for biofabrication because of its critical role in the ECM, where it provides mechanical strength, enables structural organization of cell and tissue compartments, and serves as a depot for cell adhesion and signaling molecules (9). However, it is difficult to 3D-bioprint complex scaffolds using collagen in its native unmodified form because gelation is typically achieved using thermally driven self-assembly, which is difficult to control. Researchers have used approaches including chemically modifying collagen into an ultraviolet (UV)–cross-linkable form (10), adjusting pH, temperature, and collagen concentration to control gelation and print fidelity (11, 12), and/or denaturing it into gelatin (13) to make it thermoreversible. However, these hydrogels are typically soft and tend to sag, and they are difficult to print with high fidelity beyond a few layers in height. Instead, we developed an approach that uses rapid pH change to drive collagen self-assembly within a buffered support material, enabling us to (i) use chemically unmodified collagen as a bio-ink, (ii) enhance mechanical properties by using high collagen concentrations of 12 to 24 mg/ml, and (iii) create complex structural and functional tissue architectures. To accomplish this, we developed a substantially improved second generation of the freeform reversible embedding of suspended hydrogels (FRESH v2.0) 3D-bioprinting technique used in combination with our custom-designed open-source hardware platforms (fig. S1) (14, 15). FRESH works by extruding bio-inks within a thermoreversible support bath composed of a gelatin microparticle slurry that provides support during printing and is subsequently melted away at 37°C (Fig. 1, A and B, and movie S1) (16).

The original version of the FRESH support bath, termed FRESH v1.0, consisted of irregularly shaped microparticles with a mean diameter of ~65 μm created by mechanical blending of a large gelatin block (Fig. 1C) (16). In FRESH v2.0, we developed a coacervation approach to generate gelatin microparticles with (i) uniform spherical morphology (Fig. 1D), (ii) reduced polydispersity (Fig. 1E), (iii) decreased particle diameter of ~25 μm (Fig. 1F), and (iv) tunable storage modulus and yield stress (Fig. 1G and fig. S2). FRESH v2.0 improves resolution with the ability to precisely generate collagen filaments and accurately reproduce complex G-code, as shown with a window-frame calibration print (Fig. 1H). Using FRESH v1.0, the smallest collagen filament reliably printed was ~250 μm in mean diameter, with highly variable morphology due to the relatively large and polydisperse gelatin microparticles (Fig. 1I). In contrast, FRESH v2.0 improves the resolution by an order of magnitude, with collagen filaments reliably printed from 200 μm down to 20 μm in diameter (Fig. 1, I and J). Filament morphology from solid-like to highly porous was controlled by tuning the collagen gelation rate using salt concentration and buffering capacity of the gelatin support bath (fig. S3). A pH 7.4 support bath with 50 mM HEPES was the optimal balance between individual strand resolution and strand-to-strand adhesion and was versatile, enabling FRESH printing of multiple bio-inks with orthogonal gelation mechanisms including collagen-based inks, alginate, fibrinogen, and methacrylated hyaluronic acid in the same print by adding CaCl2, thrombin, and UV light exposure (fig. S4) (15).

We first focused on FRESH-printing a simplified model of a small coronary artery–scale linear tube from collagen type I for perfusion with a custom-designed pulsatile perfusion system (Fig. 2A and fig. S5). The linear tube had an inner diameter of 1.4 mm (fig. S6A) and a wall thickness of ~300 μm (fig. S6B), and was patent and manifold as determined by dextran perfusion (fig. S6, C to E, and movie S2) (15). C2C12 cells within a collagen gel were cast around the printed collagen tube to evaluate the ability to support a volumetric tissue. The static nonperfused controls showed minimal compaction over 5 days (Fig. 2B), and a cross section revealed dead cells throughout the interior volume with a layer of viable cells only at the surface (Fig. 2C). In contrast, after active perfusion for 5 days, C2C12 cells compacted the collagen gel around the collagen tube (Fig. 2D), demonstrating viability and active remodeling of the gel through cell-driven compaction. The cross section showed cells alive throughout the entire volume (Fig. 2E), and quantitative analysis using LIVE/DEAD staining confirmed high viability within the perfused vascular construct (Fig. 2F). Others have 3D-bioprinted vasculature by casting cell-laden hydrogels around fugitive filaments, which become the vessel lumens (4, 5). In comparison, we directly print collagen to form the walls of a functional vascular channel, serving as the foundation for engineering more complex architectures.

Engineering smaller-scale vasculature, especially on the order of capillaries (5 to 10 μm in diameter), has been a challenge for extrusion-based 3D bioprinting because this is far below common needle diameters. However, at this length scale, endothelial and perivascular cells can self-assemble vascular networks through angiogenesis (17). We reasoned that the gelatin microparticles in the FRESH v2.0 support bath could be incorporated into the 3D-bioprinted collagen to create a porous microstructure, specifically because pores on the order of 30 μm in diameter have been shown to promote cell infiltration and microvascularization (18). FRESH v2.0–printed constructs contained micropores ~25 μm in diameter resulting from the melting and removal of the gelatin microparticles purposely entrapped during the printing process (Fig. 2G and movie S3). Collagen disks 5 mm thick and 10 mm in diameter were cast in a mold or printed and implanted in an in vivo murine subcutaneous vascularization model (Fig. 2, H and I, and fig. S7, A and B) to observe cellular infiltration. After implantation for 3 and 7 days, collagen disks were extracted and assessed for gross morphology, cellularization, and collagen structure (fig. S7, C to E). The solid-cast collagen showed minimal cell infiltration (Fig. 2J), whereas the printed collagen had extensive cell infiltration and collagen remodeling (Fig. 2K). Quantitative analysis revealed that cells infiltrated throughout the printed collagen disk within 3 days (Fig. 2L and fig. S8) and that the number of cells in the constructs was significantly greater for the printed collagen at 3 and 7 days compared to cast control [N = 6, P < 0.0001, two-way analysis of variance (ANOVA)] (15).

To promote vascularization, we incorporated fibronectin and the proangiogenic molecule recombinant vascular endothelial growth factor (VEGF) into our collagen bio-ink (19). Collagen disks that were FRESH-printed with VEGF and extracted after 10 days in vivo showed enhanced vascularization relative to cast controls (Fig. 2, M and N). By histology, the addition of VEGF to the cast collagen increased cell infiltration without promoting microvascularization (Fig. 2O and fig. S9). In contrast, the addition of VEGF to the printed collagen resulted in widespread vascularization, with CD31-positive vessels and red blood cells visible within the lumens (Fig. 2P). Tail vein injection of fluorescent lectin confirmed an extensive host-derived vascular network with vessels ranging from 8 to 50 μm in diameter throughout the printed collagen disk (Fig. 2Q, fig. S10, and movie S4). Multiphoton microscopy enabled deeper imaging into the printed constructs and showed vessels containing red blood cells at depths of at least 200 μm (Fig. 2R and movie S5).

We next FRESH-printed a model of the left ventricle of the heart using human stem cell–derived cardiomyocytes. We used a dual-material printing strategy with collagen bio-ink as the structural component in combination with a high-density cell bio-ink (Fig. 3A) (15). A test print design (fig. S11A) verified that the collagen pH was neutralized quickly enough to maintain ~96% post-printing viability by LIVE/DEAD staining (fig. S11B). The ventricle was designed as an ellipsoidal shell (Fig. 3B) with inner and outer walls of collagen and a central core region containing human embryonic stem cell–derived cardiomyocytes (hESC-CMs) and 2% cardiac fibroblasts (fig. S11, C to H). Ventricles were printed and cultured for up to 28 days, during which the collagen inner and outer walls provided sufficient structural integrity to maintain their intended geometry (Fig. 3C). After 4 days, the ventricles visibly contracted, and after 7 days they became synchronous with a dense layer of interconnected and striated hESC-CMs, as confirmed by immunofluorescent staining of sarcomeric α-actinin–positive myofibrils (fig. S11, I to K). Calcium imaging revealed contracting hESC-CMs throughout the entire printed ventricles, with directional wave propagation in the direction of the printed hESC-CMs observed from the side (Fig. 3, D and E) and top (Fig. 3, F and G) during spontaneous contractions in multiple ventricles (N = 3) (movie S6). Point stimulation enabled visualization of anisotropic calcium wave propagation with longitudinal conduction velocity of ~2 cm/s and a longitudinal-to-transverse anisotropy ratio of ~1.5 (Fig. 3, H and I). The ventricles had a baseline spontaneous beat rate of ~0.5 Hz and could be captured and paced at 1 and 2 Hz by means of field stimulation (Fig. 3J). We imaged the ventricles top-down to quantify motion of the inner and outer walls (Fig. 3K). Wall thickening is a hallmark of normal ventricular contraction. The printed ventricle expanded both inward and outward during a contraction, as determined by particle tracking to map the deformation field (Fig. 3L). The decrease in cross-sectional area of the interior chamber during peak systole showed a maximum of ~5% at 1-Hz pacing (N = 4) (Fig. 3M and movie S6). We also observed electrophysiologic behavior associated with arrhythmogenic disease states, including multiple propagating waves (fig. S12, A and B) and pinned rotors (fig. S12, C and D).

To demonstrate the mechanical integrity and function of collagen constructs at adult human scale, we printed a tri-leaflet heart valve 28 mm in diameter (Fig. 4A). We first prototyped the valve using alginate, a material previously used to build valve models (20), and then printed a collagen valve and improved the mechanical properties by adapting published fixation protocols for decellularized porcine heart valves (fig. S13A) (15, 21). The collagen valve had well-separated leaflets, was robust enough to be handled in air (Fig. 4, B and C, and movie S7), and was imaged by micro–computed tomography (μCT) (Fig. 4, D and E, and movie S8). Print fidelity was quantified using gauging to overlay the μCT data on the 3D model (fig. S13B), showing average overprinting of +0.55 mm and underprinting of –0.80 mm (Fig. 4F and fig. S13, C and D). Mechanical function was demonstrated by mounting the valve in a flow system with a pulsatile pump to simulate physiologic pressures, and we observed cyclical opening and closing of the valve leaflets (Fig. 4G and movie S7). We quantified flow through the valves (Fig. 4H) and demonstrated <15% regurgitation (Fig. 4I) with a maximum area opening of 19.5% (Fig. 4G). Additionally, the maximum transvalvular pressure was greater than 40 mmHg for the collagen and alginate valves (Fig. 4J), exceeding standard physiologic pressures for the tricuspid and pulmonary valves but less than the aortic and mitral valves (22). Further, human umbilical vein endothelial cells (HUVECs) cultured on unfixed collagen leaflets formed a confluent monolayer (fig. S13E).

A magnetic resonance imaging (MRI)–derived computer-aided design (CAD) model of an adult human heart was created, complete with internal structures such as valves, trabeculae, large veins, and arteries, but lacking smaller-scale vessels. To address this, we developed a computational method that uses the coronary arteries as the template to generate multiscale vasculature (fig. S14 and movie S9). We created a space-filling branching network based on a 3D Voronoi lattice, where vessels further from the left coronary arteries (red to blue) have a denser network and smaller diameters, down to ~100 μm (Fig. 4K). A subregion of the generated vasculature containing the left anterior descending artery (LAD) was selected, rendered, and printed from collagen at adult human scale (Fig. 4, L to N). Patency of large vessels was demonstrated by perfusing the multiscale vasculature through the root of the LAD (Fig. 4O). We confirmed the patency of vessels ~100 μm in diameter by optically clearing and reperfusing the multiscale vasculature (Fig. 4P, fig. S14, N to P, and movie S9).

Finally, to demonstrate organ-scale FRESH v2.0 printing capabilities and the potential to engineer larger scaffolds, we printed a neonatal-scale human heart from collagen (Fig. 4, Q and R, and fig. S15, A to C). To highlight the microscale internal structure, we printed half the heart (Fig. 4S). Structures such as trabeculae were printed from collagen with the same architecture as defined in the G-code file (Fig. 4, T and U). The square-lattice infill pattern within the ventricular walls was similarly well defined (Fig. 4, V and W). We used μCT imaging to confirm reproduction of all the anatomical structures contained within the 3D model of the heart, including the atrial and ventricular chambers, trabeculae, and pulmonary and aortic valves (fig. S15, D to I, and movie S10).

We have used the human heart for proof of concept; however, FRESH v2.0 printing of collagen is a platform that can build advanced tissue scaffolds for a wide range of organ systems. There are still many challenges to overcome, such as generating the billions of cells required to 3D-bioprint large tissues, achieving manufacturing scale, and creating a regulatory process for clinical translation (23). Although the 3D bioprinting of a fully functional organ is yet to be achieved, we now have the ability to build constructs that start to recapitulate the structural, mechanical, and biological properties of native tissues.

[kitchentrust]

Curved space graph

& Detailing(5 Hr 15 Min) 3- Advanced(19 Hr ) 1- Optimization(6 Hr 45 Min) 2- Kinetic & Kangaroo (5 Hr 30 Min) 3- Jewelry(2 Hr 30 Min) 4- Architecture(5 Hr 30 Min) 5- Python (50 Min) 4- Example files (Topic-Based) 1- Fractals 2- Mathematical 3- 2D Patterns 4- 3D Patterns 5- Fab. Text Source: / Space-Filling Curvesġ- Fractal charm: Space filling curves /Youtube / 3Blue1Brownġ- Basics (13 Hr 30 Min) 1- What is Grasshopper3d? (2 Hr) 2- Attractors (6 Hr) 3- Rails & Sections (3 Hr) 4- Data Management (2 Hr 30 Min) 2- Geometry(16 Hr 45 Min) 1- Voronoi & Voxel(1 Hr 50 Min) 2- Meshes(1 Hr 45 Min) 3- 2D Patterns(4 Hr) 4- 3D Patterns(2 Hr) 5- Mathematical(2 Hr 20 Min) 6- Fab. Space-filling curves are also used for low-dimensional problems as in the case of the traveling salesperson problem.įor instance, they are used to index meshes for parallel and distributed computing and to organize and process raster data, e.g., images, terrains, and volumetric data. Solving such a problem typically involves searching and sorting in the one-dimensional space.Ī common application of space-filling curves is storage and retrieval of multi-dimensional data in a database. In general, space-filling curves allow one to reduce higher-dimensional proximity problems, e.g., nearest neighbor search, to a one-dimensional problem. The Euclidean traveling salesperson problem is the problem of finding the shortest closed tour through a set of points. A space-filling curve maps a 1-dimensional space onto a higher-dimensional space, e.g., the unit interval onto the unit square.

[slowlyteenagestarlight]

https://music.youtube.com/watch?v=8wLwxmjrZj8&feature=share

Namaste 🙏. The Awakened cannot sleep entails more than the patterns of humanity that We are. Yes, awareness invariably consumes all vibrations as in synchronistically being within 11:11 portals consistently. Eye’ve traveled with the Majesty of service for others and in service for others who are still active while this paradigm shift evolves without a reality of history yet to manifest itself as that future proves past. Which she’s always shown herself To be that one truth that never faltered. Eons has swam throughout the memories yet to be Remembered, even experienced by the past lives which invariably began to flood my right now proper side of history. Having been asked to volunteer as guardian for holding light as Terra adjusts spiritually , asynchronous relatively as phase conjunction/sacred geometry in relation to cognitive behavioral patterns of benevolent consciousness. As Grayham Forscutt states, with so many years of Research, thirty years {?} investigation of cosmo-genetic tree of Merkaba energetically out of body transportation. Which is in tune with Another genius in a similar field of consciousness exploration, Dan Winter{s}

My first introduction to Grayham Forscutt’s brilliant application for expanding on ascension science came as an 11:11 portal introduction. Which to this day still pushes my desires of astral projection. With a growing enthusiastic Heartmind to delve ever deeper hear/here, is a cut/paste of this fascinating intriguing and beautiful line of consciousness.

Starchitecture : Alphabet of the Ark with Grayham Forscutt Starchitecture : Alphabet of the Ark with Grayham Forscutt :Cosmo-Geneticist, Starchitect and sub-Planck Phase Space Explorer. - see www.unifiedfractalfield.com -While golden ratio quasicrystal structures are known as the best Space Station architecture, fractality reveals they offer optimal plasma membranes for plasma based life forms (angels - ascended collectives - Ophanim - Sphere + Guardian Alliance). Yet knowing this intuitively didn’t satisfy me-i sought to prove it via the information provided in negentropic physics. Golden quasicrystals are built up from phi ratio tetrahedral (voxels) building blocks.--Providing a ‘quantizable fractal waveform language’, or golden harmonic braiding index.---Modelling that directly accounts for a number of recursive structures operating in multiple quasicrystalline spin networks. Golden Ratio recursive structures include :- 1: a ‘geometric pine cone torus’, nesting inside the Triacontahedron 2: a unique volumetric phi spiral vector 3: a series of phi ratio scaled helical longitudinal waves 4: clusters of structures related to centre by phi recursion Golden ratio compression fractality, modelled by phi scaled golden structures gives us a better handle on :- a: thoughtform based plasma construction b: enhances our ability to navigate through the Planck scale to the sub-Planck superluminal scale c: provides the shape of the electrodynamic wave that propels ‘D.N.A.’ as ‘volumetric-information’ superluminally. d: shows how D.N.A. is restored at the destination via perfect mirror reflection symmetry/memory - meaning the destination object will be the same as the original. Will overlay some more of the genius Of this Seventh density wing maker’s blueprints.

[spring-of-mathematics]

These Geometric Tarts Turn Patisserie Into Architecture.

Pastry chef Dinara Kasko uses sheets of chocolate to create stunning edible treats. See more at Dinara Kasko | José Margulis.

Ultra-thin sheets of chocolate are transformed into topographic works of art that taste just as good as they look. The project is a result of a collaboration between architect-turned-pastry chef Dinara Kasko and Miami-based artist José Margulis.

Margulis, who works with geometric abstractionism and kinetic art, created the initial patterns of what would eventually become edible sheets of chocolate using colorful 3D plastic sheets. Margulis focused on curved shapes with various volumetric geometries, transparencies and intense colors to create a rich, layered effect.

“Margulis’s utmost concern is the creation of geometric shapes conceived mostly by changing the perspective of the viewer accompanied by the philosophical notion that everything in life has diverse levels of narrative and spatial perceptions,” wrote Kasko in a blog post.

The chef then took Margulis’s initial designs and transformed them into edible treats using various cutting machines and tools to create 3D chocolate layers. These layers were then placed on top of four different flavored tart cakes, including blackberry-blueberry and cherry confit almond sponge cakes.

“I was transforming the object of art into something edible that would later perish, while emphasizing the ephemeral art, its fleetingness in our life,” said Kasko. “The appearance and, of course, the taste should leave a lasting impression and expand observer’s boundaries of what ‘cake’ can be. I like to surprise people.”

Shared from MATT VITONE at psfk.

[delhi-architect2]

Journal - 7 Innovative Affordable Housing Schemes Inspired by Informal Settlements

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter.

The following affordable housing projects are unique in their desire to mimic some of the traits found in informal settlements that have developed organically over time. In addition to assuming certain characteristics of vernacular spatial organization in their meandering pathways, agglomeration of cubic forms and unpredictable enclaves of public space, these projects also allow for a degree of flexibility in form and function over time.

They are thus reflective of a kind of ‘ad hoc’ urbanism that both responds to the ways in which people actually use these spaces and enables them to customize the functionality of the buildings themselves. These projects then combine the infrastructural foundations of solutions offered by architects with the unplanned and ‘accidental’ opportunities found in informal settlements.

Image via Bored Panda

La Muralla Roja by Ricardo Bofill Taller de Arquitectura, Calp, Spain

This classic project by famed postmodernist Ricardo Bofill reimagines the Mediterranean casbah in light of a social housing program. The building clearly references Arab vernacular architecture in its bold red adobe materials and winding circulation patterns, while adhering to a strict organization based on Greek geometry. The formal makeup also alludes to the principles of constructivism, which emphasized the political potential of exuberant forms tied to a refined social end.

Social Housing in Ceuta by IND [Inter National Design], Ceuta, Spain

This social housing development in the European enclave of Ceuta on the coast of North Africa similarly styles itself after the informal settlements found in the neighboring areas. The project merges the European urbanism of slab block housing with the ad hoc forms of these self-developed settlements. The negative space created by the public terraces in the site’s section recalls the shifting spatial arrangements of informal settlements.

Fittja Terraces by Kjellander + Sjoberg, Stockholm, Sweden

Far away from the Mediterranean climes of the previous two projects, this Swedish social housing project in a neighborhood with a significant existing stock of these developments organizes itself around three distinct types of areas: town center, open meadow and interconnecting buildings between the two. The open public spaces and pedestrian pathways chop up monotonous sight-lines and leave space for future growth.

Social Housing by Aravena / Elemental S.A., Monterrey, Mexico

This Mexican social housing project by Pritzker Prize-winning architect Alejandro Aravena continues the firm’s commitment to experimental yet sensitive approaches to housing solutions. The project is a single continuous building with a single-family home on the ground floor and apartments on the second and third floors. There are a number of porous openings occurring along the units, which allow the residents and owners to expand upon the home as their needs change. This approach has been successful in the past, with the additions increasing the value and desirability of the homes.

Acoiris Sur by Robert Rijo + arquitectos asociados, Santo Domingo, Dominican Republic

Set in an area of significant industrial development where informal settlements have popped up to accommodate the growing number of workers, this housing plot seeks to ease the burden of housing for local workers. There are three types of units in the complex contributing to the site’s volumetric diversity of fragmented spaces along the main artery.

Figueras Social Housing by Miralles Tagliabue EMBT, Figueras, Spain

This urban housing intervention features a notched façade of chain link enclosures surrounding a series of differently sized apartments. The uneven topography of the roofline and public spaces introduce informal spatial properties to the site.

Centre Village by 5468796 Architects, Winnipeg, Canada

Though this award-winning project in Canada was meant to improve social life for an economically depressed neighborhood, the area has been plagued by issues since opening (though the architects have launched a fierce defense in response to recent criticisms). The through-street and courtyards, intended to engender community and safety have in fact been a magnet for alcohol and drug use. This project, admirable in its aims, is a cautionary tale of informal-inspired housing projects.

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter.

The post 7 Innovative Affordable Housing Schemes Inspired by Informal Settlements appeared first on Journal.

from Journal https://architizer.com/blog/inspiration/collections/informal-social-housing/ Originally published on ARCHITIZER RSS Feed: https://architizer.com/blog

[designmorphine]

Rhythmic Continuum V1.0 webinar: Cinema 4D + Corona + Keyshot with @mihaiodes - If you can’t attend the live date and time you will still get access to the recording by registering! - Register Now, link in bio or: https://designmorphine.com/education/rhythmic-continuum-v1-0 - Rhythmic Continuum V1.0 will focus on creating intricate and rhythmical fluid geometries by using Cinema 4D procedural toolsets such as MoGraph generators and effectors combined with topological volumetric and smart materials. The aim will be to become accustomed to a multi-layered workflow starting from modelling a simple object that can be optimized in steps and increased in number and complexity to form fluid patterns and larger landscape like geometries. . . . . . . #cinema4d #mograph #3dmodel #3dmodeling #zahahadidarchitects #fluidity #architecture #architecturedesign #parametricarchitecture #parametricism #parametricart #generativedesign (at 𝓣𝓱𝒆 𝓤𝒏𝒊𝓿𝒆𝒓𝒔𝒆) https://www.instagram.com/p/CnUuYCJPJLP/?igshid=NGJjMDIxMWI=

[s-c-i-guy]

Where Gravity Is Weak and Naked Singularities Are Verboten

Recent calculations tie together two conjectures about gravity, potentially revealing new truths about its elusive quantum nature.

Physicists have wondered for decades whether infinitely dense points known as singularities can ever exist outside black holes, which would expose the mysteries of quantum gravity for all to see. Singularities — snags in the otherwise smooth fabric of space and time where Albert Einstein’s classical gravity theory breaks down and the unknown quantum theory of gravity is needed — seem to always come cloaked in darkness, hiding from view behind the event horizons of black holes. The British physicist and mathematician Sir Roger Penrose conjectured in 1969 that visible or “naked” singularities are actually forbidden from forming in nature, in a kind of cosmic censorship. But why should quantum gravity censor itself?

Now, new theoretical calculations provide a possible explanation for why naked singularities do not exist — in a particular model universe, at least. The findings indicate that a second, newer conjecture about gravity, if it is true, reinforces Penrose’s cosmic censorship conjecture by preventing naked singularities from forming in this model universe. Some experts say the mutually supportive relationship between the two conjectures increases the chances that both are correct. And while this would mean singularities do stay frustratingly hidden, it would also reveal an important feature of the quantum gravity theory that eludes us.

“It’s pleasing that there’s a connection” between the two conjectures, said John Preskill of the California Institute of Technology, who in 1991 bet Stephen Hawking that the cosmic censorship conjecture would fail (though he actually thinks it’s probably true).

The new work, reported in May in Physical Review Letters by Jorge Santos and his student Toby Crisford at the University of Cambridge and relying on a key insight by Cumrun Vafa of Harvard University, unexpectedly ties cosmic censorship to the 2006 weak gravity conjecture, which asserts that gravity must always be the weakest force in any viable universe, as it is in ours. (Gravity is by far the weakest of the four fundamental forces; two electrons electrically repel each other 1 million trillion trillion trillion times more strongly than they gravitationally attract each other.) Santos and Crisford were able to simulate the formation of a naked singularity in a four-dimensional universe with a different space-time geometry than ours. But they found that if another force exists in that universe that affects particles more strongly than gravity, the singularity becomes cloaked in a black hole. In other words, where a perverse pinprick would otherwise form in the space-time fabric, naked for all the world to see, the relative weakness of gravity prevents it.

Santos and Crisford are running simulations now to test whether cosmic censorship is saved at exactly the limit where gravity becomes the weakest force in the model universe, as initial calculations suggest. Such an alliance with the better-established cosmic censorship conjecture would reflect very well on the weak gravity conjecture. And if weak gravity is right, it points to a deep relationship between gravity and the other quantum forces, potentially lending support to string theory over a rival theory called loop quantum gravity. The “unification” of the forces happens naturally in string theory, where gravity is one vibrational mode of strings and forces like electromagnetism are other modes. But unification is less obvious in loop quantum gravity, where space-time is quantized in tiny volumetric packets that bear no direct connection to the other particles and forces. “If the weak gravity conjecture is right, loop quantum gravity is definitely wrong,” said Nima Arkani-Hamed, a professor at the Institute for Advanced Study who co-discovered the weak gravity conjecture.

The new work “does tell us about quantum gravity,” said Gary Horowitz, a theoretical physicist at the University of California, Santa Barbara.

The Naked Singularities

In 1991, Preskill and Kip Thorne, both theoretical physicists at Caltech, visited Stephen Hawking at Cambridge. Hawking had spent decades exploring the possibilities packed into the Einstein equation, which defines how space-time bends in the presence of matter, giving rise to gravity. Like Penrose and everyone else, he had yet to find a mechanism by which a naked singularity could form in a universe like ours. Always, singularities lay at the centers of black holes — sinkholes in space-time that are so steep that no light can climb out. He told his visitors that he believed in cosmic censorship. Preskill and Thorne, both experts in quantum gravity and black holes (Thorne was one of three physicists who founded the black-hole-detecting LIGO experiment), said they felt it might be possible to detect naked singularities and quantum gravity effects. “There was a long pause,” Preskill recalled. “Then Stephen said, ‘You want to bet?’”

The bet had to be settled on a technicality and renegotiated in 1997, after the first ambiguous exception cropped up. Matt Choptuik, a physicist at the University of British Columbia who uses numerical simulations to study Einstein’s theory, showed that a naked singularity can form in a four-dimensional universe like ours when you perfectly fine-tune its initial conditions. Nudge the initial data by any amount, and you lose it — a black hole forms around the singularity, censoring the scene. This exceptional case doesn’t disprove cosmic censorship as Penrose meant it, because it doesn’t suggest naked singularities might actually form. Nonetheless, Hawking conceded the original bet and paid his debt per the stipulations, “with clothing to cover the winner’s nakedness.” He embarrassed Preskill by making him wear a T-shirt featuring a nearly-naked lady while giving a talk to 1,000 people at Caltech. The clothing was supposed to be “embroidered with a suitable concessionary message,” but Hawking’s read like a challenge: “Nature Abhors a Naked Singularity.”

The physicists posted a new bet online, with language to clarify that only non-exceptional counterexamples to cosmic censorship would count. And this time, they agreed, “The clothing is to be embroidered with a suitable, truly concessionary message.”

The wager still stands 20 years later, but not without coming under threat. In 2010, the physicists Frans Pretorius and Luis Lehner discovered a mechanism for producing naked singularities in hypothetical universes with five or more dimensions. And in their May paper, Santos and Crisford reported a naked singularity in a classical universe with four space-time dimensions, like our own, but with a radically different geometry. This latest one is “in between the ‘technical’ counterexample of the 1990s and a true counterexample,” Horowitz said. Preskill agrees that it doesn’t settle the bet. But it does change the story.

The Tin Can Universe

The new discovery began to unfold in 2014, when Horowitz, Santos and Benson Way found that naked singularities could exist in a pretend 4-D universe called “anti-de Sitter” (AdS) space whose space-time geometry is shaped like a tin can. This universe has a boundary — the can’s side — which makes it a convenient testing ground for ideas about quantum gravity: Physicists can treat bendy space-time in the can’s interior like a hologram that projects off of the can’s surface, where there is no gravity. In universes like our own, which is closer to a “de Sitter” (dS) geometry, the only boundary is the infinite future, essentially the end of time. Timeless infinity doesn’t make a very good surface for projecting a hologram of a living, breathing universe.

Despite their differences, the interiors of both AdS and dS universes obey Einstein’s classical gravity theory — everywhere outside singularities, that is. If cosmic censorship holds in one of the two arenas, some experts say you might expect it to hold up in both.

Horowitz, Santos and Way were studying what happens when an electric field and a gravitational field coexist in an AdS universe. Their calculations suggested that cranking up the energy of the electric field on the surface of the tin can universe will cause space-time to curve more and more sharply around a corresponding point inside, eventually forming a naked singularity. In their recent paper, Santos and Crisford verified the earlier calculations with numerical simulations.

But why would naked singularities exist in 5-D and in 4-D when you change the geometry, but never in a flat 4-D universe like ours? “It’s like, what the heck!” Santos said. “It’s so weird you should work on it, right? There has to be something here.”

Weak Gravity to the Rescue

In 2015, Horowitz mentioned the evidence for a naked singularity in 4-D AdS space to Cumrun Vafa, a Harvard string theorist and quantum gravity theorist who stopped by Horowitz’s office. Vafa had been working to rule out large swaths of the 10500 different possible universes that string theory naively allows. He did this by identifying “swamplands”: failed universes that are too logically inconsistent to exist. By understanding patterns of land and swamp, he hoped to get an overall picture of quantum gravity.

Working with Arkani-Hamed, Luboš Motl and Alberto Nicolis in 2006, Vafa proposed the weak gravity conjecture as a swamplands test. The researchers found that universes only seemed to make sense when particles were affected by gravity less than they were by at least one other force. Dial down the other forces of nature too much, and violations of causality and other problems arise. “Things were going wrong just when you started violating gravity as the weakest force,” Arkani-Hamed said. The weak-gravity requirement drowns huge regions of the quantum gravity landscape in swamplands.

Jorge Santos (left) and Toby Crisford of the University of Cambridge have found an unexpected link between two conjectures about gravity.

Weak gravity and cosmic censorship seem to describe different things, but in chatting with Horowitz that day in 2015, Vafa realized that they might be linked. Horowitz had explained Santos and Crisford’s simulated naked singularity: When the researchers cranked up the strength of the electric field on the boundary of their tin-can universe, they assumed that the interior was classical — perfectly smooth, with no particles quantum mechanically fluctuating in and out of existence. But Vafa reasoned that, if such particles existed, and if, in accordance with the weak gravity conjecture, they were more strongly coupled to the electric field than to gravity, then cranking up the electric field on the AdS boundary would cause sufficient numbers of particles to arise in the corresponding region in the interior to gravitationally collapse the region into a black hole, preventing the naked singularity.

Subsequent calculations by Santos and Crisford supported Vafa’s hunch; the simulations they’re running now could verify that naked singularities become cloaked in black holes right at the point where gravity becomes the weakest force. “We don’t know exactly why, but it seems to be true,” Vafa said. “These two reinforce each other.”

Quantum Gravity

The full implications of the new work, and of the two conjectures, will take time to sink in. Cosmic censorship imposes an odd disconnect between quantum gravity at the centers of black holes and classical gravity throughout the rest of the universe. Weak gravity appears to bridge the gap, linking quantum gravity to the other quantum forces that govern particles in the universe, and possibly favoring a stringy approach over a loopy one. Preskill said, “I think it’s something you would put on your list of arguments or reasons for believing in unification of the forces.”

However, Lee Smolin of the Perimeter Institute, one of the developers of loop quantum gravity, has pushed back, arguing that if weak gravity is true, there might be a loopy reason for it. And he contends that there is a path to unification of the forces within his theory — a path that would need to be pursued all the more vigorously if the weak gravity conjecture holds.

Given the apparent absence of naked singularities in our universe, physicists will take hints about quantum gravity wherever they can find them. They’re as lost now in the endless landscape of possible quantum gravity theories as they were in the 1990s, with no prospects for determining through experiments which underlying theory describes our world. “It is thus paramount to find generic properties that such quantum gravity theories must have in order to be viable,” Santos said, echoing the swamplands philosophy.

Weak gravity might be one such property — a necessary condition for quantum gravity’s consistency that spills out and affects the world beyond black holes. These may be some of the only clues available to help researchers feel their way into the darkness.

[aion-rsa]

Microsoft Flight Simulator Review: Around the World on a PC

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I’m going to level with you. I review video games, and as Microsoft Flight Simulator’s title clearly indicates, it isn’t exactly a game, at least in the traditional sense. It’s a simulator that tries to get as close to the real thing as possible — and it’s a massive one, to boot. Diving into the latest iteration of Microsoft’s long-running series was a daunting endeavor to say the very least.

Fortunately, Microsoft Flight Simulator is absolutely delightful, its true-to-life approach to air travel one of the best simulations of flying ever created. But it’s also an incredibly challenging game.

The process of learning how to fly a plane is exceedingly difficult, and I can say for certain that my piloting skills are woefully inadequate at best. But flying around the planet at my leisure in the game’s free play mode is one of the most relaxing, awe-inspiring things I’ve ever done in a video game (until it’s time to land the plane that is, which is when I turn into a quivering ball of nerves).

The technology fueling Microsoft Flight Simulator is staggering. Satellite imagery, live weather data, and real-life flight patterns are fed into the game’s engine, which generates a startlingly realistic, live representation of the entire planet for you to soar over. You can visit any location on Earth, which opens up endless possibilities in terms of destination and, thanks to the live data, creates the sensation of being connected to the real world through your computer screen.

In a way, Microsoft Flight Simulator is the ultimate tourist experience. You can fly to Mount Everest, New York City, Madagascar, Tokyo…literally wherever. And while much of the in-game Earth is procedurally generated using satellite imagery, the most famous cities and landmarks are rendered with extra detail by developer Asobo’s artists, whose work ensures that when you fly by the Eiffel Tower or, through the Las Vegas Strip, or over Central Park, it looks and feels like the real deal, down to bus stops and billboards.

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But even the most mundane of locales are presented with a surprising level of real-world detail. The very first thing I did (and surely the first thing most players will do) when I fired up the free flight mode was set SFO as my departure airport and head straight for my house in the Bay Area. I was honestly shocked to find my little neighborhood, the marina down the street, the tiny park I take my son to, and my house rendered in enough detail to easily recognize them from the skies. It was mind-blowing and trippy to fly over my old middle school, my neighborhood grocery store, all my friends’ houses. It’s a unique sensation that quite simply can’t be found in any other game.

The game’s representation of Earth isn’t picture-perfect, however. The satellite images are imbued with height and geometry via in-game procedural generation, and on many occasions, certain structures — like water towers, refineries, and buildings — aren’t given dimension by the game engine and end up looking textureless and flat. A lot of the geometry of the world looks bizarrely warped and wonky upon closer inspection, but hey, for what the game is aiming to do, it’s pretty astounding how true-to-life the world looks.

Aside from the visuals’ technical feats, the game just looks flat-out gorgeous at times. The world lighting is impressive, especially when sunlight hits the myriad varieties of volumetric cloud formations. You can pause the game at any time and take a look around in photo mode, adjusting weather settings and time of day to your heart’s content (you can opt to use live weather data as well). With simple sliders, you can conjure storm clouds, turn day to night, or give yourself clear skies.

I chose to fly over Christ the Redeemer in Rio de Janeiro the other day, and to see the majestic statue overlooking the mass of humanity stretched out before it, the blazing sun poking through scattered clouds all around, was exhilarating. I’m not sure of what level of art design or stylization goes into a game like this, seeing as the visuals aim specifically to emulate the real world, but the craftsmanship on display is jaw-dropping.

But it all goes back to actually being able to fly and land your plane. I couldn’t grasp how to fly all that well, even on the easiest setting (I used a mouse and keyboard setup). But I still had a good time trying to learn, and the game’s tutorial missions are well laid-out and easy to follow. The control layout also feels as close to the real thing as you can make it on a keyboard and mouse.

A lot of the gameplay revolves around getting to know the cockpit and learning to read the different gauges and instruments and applying that information to your flight, which can be overwhelmingly complex. Thankfully, the game gives you a checklist of tasks to run through that will take you from takeoff to landing. These tasks are somewhat vague and require you to learn many of the flight mechanics on your own, which can be frustrating, especially for a beginner. But achieving my first successful flight from takeoff to touchdown was fulfilling, and while it requires a lot of patience to learn the ins and outs of the game, you can always take solace in the fact that most of your flight consists of you soaring peacefully above the clouds, which is easy enough to manage.

It’s also important to familiarize yourself with the variety of planes on offer. There are four classes of aircraft—propeller planes, turboprops, jets, and airliners. All have a unique feel and require different skills to operate, which gives each plane a personality of its own. It also means you’ll quickly have some favorites. Early in the game, I learned to fly a Cessna 152, a tiny, two-seat flight-training plane. It’s pretty nimble and capable of impressive rolls and other twisty aerial maneuvers. Jumping from that plane and into the cockpit of a 747, however, is a vastly different experience—just taking off is a grand ordeal, and maneuvering the gigantic thing in the air is a far cry from twirling around in a Cessna prop plane.

The game offers live challenges and events to participate in, which gives the game a bit of longevity and helps to connect its community. There isn’t a robust amount of content here, but the experience of flying around the globe was robust enough for me. I had a great time with Microsoft Flight Simulator. I may not have connected with it in the way that other players do, setting up flights, executing takeoffs and landings to perfection, mastering the nuances of the countless flight controls. But it was a wondrous experience to gawk at the natural beauty of our planet from the sky. Even if you’ve never played a flight sim before, I recommend giving this one a shot.

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