"As a scientific illustrator, one must be able to convey a detailed, clear and accurate depiction of a specimen. Scientific illustrations are an important part of the documentation that makes a specimen museum-quality - along with field and research notes, accession records, photographs, and correspondence about the specimen. A scientific illustration captures information about a plant or animal, information that is often missing from the museum specimen. Scientific illustrations depict the scientifically important features of the organism being studied. They often also describe that organism's natural environment."
(National Museum of American History)
Fig.1 George Venable (1992). Drawing of a Carabid beetle from South America, created for the research of Dr. Terry L. Erwin of the Department of Entomology, courtesy of the Entomology Illustration Archive, NMNH
"With a technology called MotionScan, an actor's complete performance--their facial expressions, how they talk, when they blink--are captured for use in a video game. We spoke to Brendan McNamara, the head of the team behind the detective game using this tech, 'L.A. Noire.' ...
Made by Team Bondi and Rockstar--the AAA developer behind the violent and cinematic Grand Theft Auto series--L.A. Noire is set in post-WWII Los Angeles, giving the player the role of Cole Phelps (Mad Men's Aaron Staton), a war-hero turned police detective."
(Kevin Ohannessian, Fast Company, 4 February 2011)
"One of the first designs of the information theory is the model of communication by Shannon and Weaver. Claude Shannon, an engineer at Bell Telephone Laboratories, worked with Warren Weaver on the classic book ‘The mathematical theory of communication’. In this work Shannon and Weaver sought to identify the quickest and most efficient way to get a message from one point to another. Their goal was to discover how communication messages could be converted into electronic signals most efficiently, and how those signals could be transmitted with a minimum of error. In studying this, Shannon and Weaver developed a mechanical and mathematical model of communication, known as the 'Shannon and Weaver model of communication'. ...
Shannon and Weaver broadly defined communication as 'all of the procedures by which one mind may affect another'. Their communication model consisted of an information source: the source’s message, a transmitter, a signal, and a receiver: the receiver’s message, and a destination. Eventually, the standard communication model featured the source or encoder, who encodes a message by translating an idea into a code in terms of bits. A code is a language or other set of symbols or signs that can be used to transmit a thought through one or more channels to elicit a response in a receiver or decoder. Shannon and Weaver also included the factor noise into the model. The study conducted by Shannon and Weaver was motivated by the desire to increase the efficiency and accuracy or fidelity of transmission and reception. Efficiency refers to the bits of information per second that can be sent and received. Accuracy is the extent to which signals of information can be understood. In this sense, accuracy refers more to clear reception than to the meaning of message. This engineering model asks quite different questions than do other approaches to human communication research."
(Communication Studies, University of Twente)
Shannon, C.E., & Weaver, W. (1949). The mathematical theory of communication. Urbana: University of Illinois Press.
Hawes, L.C. (1975). Pragmatics of analoguing: Theory and model construction in communication. Reading, MA: Addison-Wesley.
Fig.1 Mathematical (information) model of communication.
Drew "Berry's animations function as a tool for representing activities occurring within our bodies that could otherwise only be seen at a magnification of 100 million times. What distinguishes these works in the context of the moving image art form is the creation of a visual landscape that is extraordinary, strange and other-worldly, even though viewers are armed with the knowledge that they are scientifically exact. To follow the virtual camera through this strange world reminds them of the constant energetic presence of their own seething, pulsing, cellular functions. Watching these works, viewers become strangers in their own skin, inhabitants of a foreign landscape. Berry uses this synthesis of scientific and digital technology to create a holistic sense of the world beneath people's skin, sending a ripple across the viewers' bodies as they interact with the work, enlivened with the knowledge of their organic relation to the alien world on screen."
(Australian Centre for the Moving Image, Australia)
Fig.1 Drew Berry (2003). 'Body Code' 3D computer animation displayed as single-channel DVD projection; stereo audio. 8:34 mins; colour. Sound design: Franc Tétaz. Collection: Australian Centre for the Moving Image. Courtesy: Walter and Eliza Hall Institute of Medical Research (WEHI) and the artist.
[These animations demonstrate the potential of design practice for revealing insight that might not otherwise be revealed. In this way preoccupations with visual fidelity and scientific accuracy must recognised as being only peripherally important.]
"The observation tower of János-hegy [the Elizabeth Lookout on János Hill is], the highest vantage point of Budapest with a 360 degree panorama, was an obvious location. It also allowed us to take on previous world records in both the 'highest definition image' and the 'largest spherical panorama' category. When contacted, the Council of District XII informed us on the upcoming anniversary of the tower. We agreed to cooperate in commemorating the September 2010 event by setting up new world records-give them our best shot if you please. ."
(360systems Ltd., 360world.eu)