There are those « spot the difference » games, where players, comparing two quite similar images, must notice small variations between them. What we see here is quite the opposite : the context, the scene, are similar, the obvious difference stands in the rendering, when the first one is a cartoonesque image, and the new one « realistic ». One could be fooled, thinking it is a photograph when describing a landscape, yet quite puzzled when showing characters, in that case, animals. Augmented reality, hyper-realism, digital special effects have started to deceive us, although we know, being told so, that it is artificial. Now, what will happen when technology will be so perfect that it will be impossible to perceive the artifice ? There enters ontology which allows discerning real from reality. While robots are elaborated to be closer to life, real people of the public scene, are surgically « improved » tending to some sort of plastic perfection. All in all, mutatis mutandis for the oxbridgians, we are caught in a salsa of enhanced reality which differs from the real. With much less effort than landing on Mars, we can conflate a collusion between technologies ending up in a representation of an idealistic imaging of a supposed reality, such as robotic surgery coupled with a 3D sort of Photoshop that will produce neo-canons of supposedly perfect people, incorporated (in the Latin sense) in a perfect environment. Already, cinemas have become eateries where, secondarily, a film featuring fantasy worlds, is incidentally projected to intensify feeding, just like Beethoven is cast in stables. George Orwell forecasted a world where saturation was the mod and it becomes hard to thing he was wrong. The higher we climb...
James, a young Briton of twenty years, was diagnosed with cancer of the liver. Having only a few months to live, he contacted a charity, the Willow Foundation, which enabled him to achieve his greatest dream: meet the developers of the video game series favorite Total War.
During his visit to the studio Horsay (Sussex), last July, James was able to discover the exclusive brand new installment of the series: Rome II. "James came to see us the day after the announcement of the development of Rome II," says community manager of Creative Assembly studio on his blog. "We let him play the mission" The Siege of Carthage '. In fact, James was the first person in the world to have played in Rome II. "
Moved by the passion of the player to the saga of Total War, and his joy behind the scenes of its development, one of the creators of the game people proposed the model of James. "It took several pictures and measurements of the young man. This allowed him to create an absolutely amazing representation of James, which will appear in the final version of Rome II.
Here comes the copyright infringement question concerning 3D printed objects. As 3D printers are getting much less expensive, one can expect a soon to be time when a certain number of objects will be home made. Of course, objects can be designed with a 3D software, but a shortcut would be to scan the original piece and simply copy it.
But we can expect finding online specialised sites which will offer, free of charge or for a small amount, ready to print 3D files. This new market will probably bring up the same problems we are witnessing with music and video downloading:
As soon as some smart ass will create an equivalent to DivX/ MP3 compression standard, 3D files will be easy to get and millions of artefacts, originally designed and produced by industries, are going to be scanned, available and shared online.
While the already obsolete war on piracy is on, it seems that no one has yet anticipated the forecoming problem, as well as the complete market revolution that will occur. Cheers! Texte by Armand Dauré
The next Napster? Copyright questions as 3D printing comes of age by Peter Hanna
Erik de Bruijn, co-founder of 3D printing company Ultimaker, working on his 3D printer.
Photo by soulfish
A very interesting illustration: The Penrose triangle
The Penrose triangle, also known as the Penrose tribar, is an impossible object. It was first created by the Swedish artist Oscar Reutersvärd in 1934. The mathematician Roger Penrose independently devised and popularised it in the 1950s, describing it as "impossibility in its purest form". It is featured prominently in the works of artist M. C. Escher, whose earlier depictions of impossible objects partly inspired it.
The tribar appears to be a solid object, made of three straight beams of square cross-section which meet pairwise at right angles at the vertices of the triangle they form.
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Speaking of ethics in 3D might call for a (pre) historical review on how it started and progressed throughout time, probably as a specific quest in occidental art. But this would and will be treated elsewhere in another chapter (history).
Our concern here is, specifically, digital 3D which started as soon as the third dimension became accessible, quite a short time ago.
Since then, not only the progression went on fast and faster, but it went through the exact same pattern as analogical creation.
The aim (well, in fact one of them) was, is and will be realistic rendering up to a point where it would be impossible to distinguish a photographic image from a digital construction.
There we are!
Digital constructions became a source of inspiration and model for real (albeit totally analogic) people.
Plastic surgery (pun included) has many positive aspects and will be considered in another chapter.
It also generates monsters...
Not the freakish dismorphophobic people but actors, actresses regarded as the acme of aesthetics, beauty, et c.
One can hardly find today non-modified people.
Seeing them in a historical movie would be like watching Julius Caesar with a cell phone!
When 3D artists create characters, they are trying to have them look natural yet enhansed.
They are, of course, free to design whatever they like.
It becomes awkward when real people are remodelled to ressemble digital character.
It will become monstruous when 3D artist will take as models those who have been so deeply unnaturally modified.
MailOnline £200,000 and 51 operations turn a mother of three into Queen Nefertiti
"Dreams of Egypt: Nileen Namita is planning even more cosmetic surgery after 51 operations to make herself look like Queen Nefertiti. "Article by Alison Smith Squire Read this post! MailOnline