For your enjoyment today :-)

In between things, I have been working on this scene. Radiosity is not
optimal here, but that has to wait for later.

Two versions of the same scene are given. The difference is in the crackle
function used for the (isosurface) desert floor.

The scene has been primarily inspired by the cover of a book that has been
sitting on my shelf for almost 40 years (see:
http://www.klaus-johansen.dk/?page_id=138 ), and illustrating the short
story O moon of my delight. It was time for me to give it my own
interpretation.

The girl figure is a Poser figure of course (Kate); you will recognize of
course Zeeger's greebles in the background.

My question is about the pylons. I don't remember where I got the code, nor
who wrote. If somebody recognize them (pylon.pov; 2002) please let me know
so that I can acknowledge properly.

For those interested, here follows the crackle and isosurface code:

//Start code
//------------------------------------------------------------------Isosurface/Height_field
desert - start
//First crackle function, like broken-up slabs of stone:
#declare F_crackle_solid =
function {
  pigment {
    crackle solid
    //crackle form <-1.0, 1.0, 0.0>
    color_map {
      [ 0.00  rgb 0 ]
      [ 0.10  rgb 0 ]
      [ 0.10  rgb 1 ]
      [ 0.50  rgb 0.5 ]
      [ 0.90  rgb 1 ]
      [ 0.90  rgb 0 ]
      [ 1.00  rgb 0 ]
    }
    warp {
      turbulence <0.1, 0.1, 0.1>
      octaves 5
      omega 0.5
      lambda 2
    }
    frequency 100
    ramp_wave
    scale 0.1
  }
}

//Second crackle function, like dessication cracks:
#declare F_crackle_form =
function {
  pigment {
    //crackle solid
    crackle form <-1.0, 1.0, 0.0>
    color_map {
      [ 0.00  rgb 0 ]
      [ 0.10  rgb 0 ]
      [ 0.10  rgb 1 ]
      [ 0.50  rgb 0.9 ]
      [ 0.90  rgb 1 ]
      [ 0.90  rgb 0 ]
      [ 1.00  rgb 0 ]
    }
    warp {
      turbulence <0.1, 0.1, 0.1>
      octaves 5
      omega 0.5
      lambda 2
    }
    frequency 0.7
    poly_wave 0.5
    scale 0.1
  }
}

//~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
//Based on a Bruno Cabasson example:
#macro IsoHF2(fn_Terrain,TERRAIN_SIZE_X,TERRAIN_SIZE_Z,TERRAIN_HEIGHT,RES)
#declare ISO_Terrain =
isosurface {
    //function {y - TERRAIN_HEIGHT*fn_Terrain(x/TERRAIN_SIZE_X, 0,
z/TERRAIN_SIZE_Z)}
    function {y - TERRAIN_HEIGHT*fn_Terrain(x, 0, z)}
    max_gradient 5
    contained_by {box {<-TERRAIN_SIZE_X, -0.01, -TERRAIN_SIZE_Z>,
<TERRAIN_SIZE_X, TERRAIN_HEIGHT, TERRAIN_SIZE_Z>}}
}

#declare HF_Terrain =
height_field {
    function RES, RES {fn_Terrain ((x-0.5)*(TERRAIN_SIZE_X*2), 0,
(y-0.5)*(TERRAIN_SIZE_Z*2))}//the function is reduced proportionally to
terrain scale
    smooth
    translate <-0.5, 0, -0.5>
    scale <2*TERRAIN_SIZE_X, TERRAIN_HEIGHT, 2*TERRAIN_SIZE_Z>
}

#end //of macro
//~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

//Choose here between the two crackle functions:
//#declare fn_Terrain = function (x, y, z) {F_crackle_solid (x, 0, z).red}
#declare fn_Terrain = function (x, y, z) {F_crackle_form (x, 0, z).red}

IsoHF2(fn_Terrain, 100, 100, 0.005, 1000)

#declare CrackledSurf ace =
//as an isosurface:
object {ISO_Terrain texture {mytexture} translate -50*z}
//as a height_field:
//object {HF_Terrain texture {mytexture} translate -50*z}
//------------------------------------------------------------------Isosurface/Height_field
desert - end
// end of code

Thomas

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Attachments:
Download 'Age of Innocence_01.jpg' (382 KB)

Preview of image 'Age of Innocence_01.jpg'

This is version #2

Thomas

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Attachments:
Download 'Age of Innocence_02.jpg' (382 KB)

Preview of image 'Age of Innocence_02.jpg'

"Thomas de Groot" <t.d### [at] internlDOTnet> wrote:
> This is version #2
>
> Thomas

I like the second one better. The broken ground in the first is too even in
depth and does not look real (?).
I think that you have captured the ambience of the painting but I would like
to see the greebles thingy higher in the sky. I also think that Kate should
have a stick in her hand to roll the hoop or “gird and cleet” as we call
it.
One other thing I noticed, I did a blink comparison of the two images and
there is a difference in the shadow of Kate’s left leg.

Stephen

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"Stephen" <mcavoys_AT_aolDOT.com> schreef in bericht 
news:web.456ab90288cc0edaf1cb1e660@news.povray.org...
>
> I like the second one better. The broken ground in the first is too even 
> in
> depth and does not look real (?).

Yes, also my choice. I was interested in experimenting with different 
crackles and see what they would do.

> I think that you have captured the ambience of the painting but I would 
> like
> to see the greebles thingy higher in the sky. I also think that Kate 
> should
> have a stick in her hand to roll the hoop or "gird and cleet" as we call
> it.

In truth, I did not want to capture exactly the painting, only use it as a 
basis for my own ideas. So, there is a familiarity, but both works have 
further nothing to do with each other.
Personally, I prefer the greeble megastructures as they are. In my view, 
they are gigantic constructions on the ground but far away.
Yes the stick could be an addition. However, It would suggest to much a 
pre-planned play, while I want to suggest the girl to have come on the hoops 
by chance and starting to roll them for fun.

> One other thing I noticed, I did a blink comparison of the two images and
> there is a difference in the shadow of Kate's left leg.

Correct. That is due to some different radiosity settings. In between, I had 
started to change those.

Thanks for commenting!!

Thomas

Post a reply to this message

"Thomas de Groot" <t.d### [at] internlDOTnet> wrote:
>
> In truth, I did not want to capture exactly the painting, only use it as a
> basis for my own ideas. So, there is a familiarity, but both works have
> further nothing to do with each other.
> Personally, I prefer the greeble megastructures as they are. In my view,
> they are gigantic constructions on the ground but far away.
> Yes the stick could be an addition. However, It would suggest to much a
> pre-planned play, while I want to suggest the girl to have come on the hoops
> by chance and starting to roll them for fun.
>

Maybe it is a cultural thing but a cleet is a necessity otherwise there is
no skill involved and that is essential in play. But like the other
comments, it’s your image :-)
Going back to the density of your images using 3.7. The mega-structures look
very different when I adjust the Gamma/Brightness/Contrast. It changes the
whole atmosphere. I’ve only got M$ Photo Editor at work I particularly
liked the image after applying a “chalk and charcoal” effect.

Post a reply to this message

"Stephen" <mcavoys_AT_aolDOT.com> schreef in bericht 
news:web.456af1ad88cc0edaf1cb1e660@news.povray.org...
> "Thomas de Groot" <t.d### [at] internlDOTnet> wrote:
>>
>> In truth, I did not want to capture exactly the painting, only use it as 
>> a
>> basis for my own ideas. So, there is a familiarity, but both works have
>> further nothing to do with each other.
>> Personally, I prefer the greeble megastructures as they are. In my view,
>> they are gigantic constructions on the ground but far away.
>> Yes the stick could be an addition. However, It would suggest to much a
>> pre-planned play, while I want to suggest the girl to have come on the 
>> hoops
>> by chance and starting to roll them for fun.
>>
>

> Maybe it is a cultural thing but a cleet is a necessity otherwise there is
> no skill involved and that is essential in play. But like the other
> comments, it's your image :-)

Yes...when you want specifically to play the gird and cleet game. I remember 
however, to have often played with hoops and old (bicycle) tyres without a 
cleet, just because they were in the right place on the right time. The fun 
was not less :-)  (not much)
But the real thing was something else, although it was not played much 
anymore in the 50's. Especially in France (where I grew up) I do not 
remember having seen them, except in old images typically from the beginning 
of the 20th century (little boys in sailor costumes...)

> Going back to the density of your images using 3.7. The mega-structures 
> look
> very different when I adjust the Gamma/Brightness/Contrast. It changes the
> whole atmosphere. I've only got M$ Photo Editor at work I particularly
> liked the image after applying a "chalk and charcoal" effect.

Hold on! These images were rendered with megapov, not 3.7! Here the 
atmosphere has to remain filtered. However, playing around with 
Gamma/Brightness/Contrast, or any other effect filter, will give you 
interesting things. I tried for instance a very low gamma, high contrast and 
low brightness. Gave a sort of moonlit scene.

Thomas

Post a reply to this message

"Thomas de Groot" <t.d### [at] internlDOTnet> wrote:
> Yes...when you want specifically to play the gird and cleet game. I remember
> however, to have often played with hoops and old (bicycle) tyres without a
> cleet, just because they were in the right place on the right time. The fun
> was not less :-)  (not much)
> But the real thing was something else, although it was not played much
> anymore in the 50's. Especially in France (where I grew up) I do not
> remember having seen them, except in old images typically from the beginning
> of the 20th century (little boys in sailor costumes...)
>
In the West coast of Scotland in the 50’s we played with them. The cleet was
made of metal with an eye and connected to the hoop by a small link. This
made it harder to run with it.

>
> Hold on! These images were rendered with megapov, not 3.7! Here the
> atmosphere has to remain filtered. However, playing around with
> Gamma/Brightness/Contrast, or any other effect filter, will give you
> interesting things. I tried for instance a very low gamma, high contrast and
> low brightness. Gave a sort of moonlit scene.
>
It looked similar to "Tek's sea revisited" so I assumed …
It is fun to change the settings

BTW congratulations for your IRTC placing

Stephen

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"Stephen" <mcavoys_AT_aolDOT.com> schreef in bericht 
news:web.456b030788cc0edaf1cb1e660@news.povray.org...
>>
> In the West coast of Scotland in the 50's we played with them. The cleet 
> was
> made of metal with an eye and connected to the hoop by a small link. This
> made it harder to run with it.

Interesting how cultural features (children's games after all are also 
cultural features) develop differently in different parts of the world. I 
was just thinking also about the variation used in subsahara Africa using 
tin boxes attached to a piece of wood. This whole process mimics, as it 
were, the process of natural evolution, with independent changes following 
geographic isolation. Very Darwinian :-)
>
>>
>> Hold on! These images were rendered with megapov, not 3.7! [....]
>>
> It looked similar to "Tek's sea revisited" so I assumed .
> It is fun to change the settings

What worries me is the 'aspect' of the images on your side. Here, they look 
normally well-contrasted in the fore- and middlegrounds, in opposition to 
3.7 renders that are uniformely washed-out under certain conditions..

>
> BTW congratulations for your IRTC placing

Thank you! I was quite content with the result :-)

Thomas

Post a reply to this message

"Thomas de Groot" <t.d### [at] internlDOTnet> wrote:

> Interesting how cultural features (children's games after all are also
> cultural features)

Very much so IMO

>develop differently in different parts of the world. I
> was just thinking also about the variation used in subsahara Africa using
> tin boxes attached to a piece of wood.

Don’t know this, is it a running game?

> This whole process mimics, as it
> were, the process of natural evolution, with independent changes following
> geographic isolation. Very Darwinian :-)

Are you looking to start an argument because I thing it is an Intelligent
Design issue :-)
Seriously is it not more to do with the availability of local recourses?
Here is a link to children’s games from the 20’s and 30’s most were still
played in the 50’

http://www.fairlieburne.co.uk/99Appendix.htm


> What worries me is the 'aspect' of the images on your side. Here, they look
> normally well-contrasted in the fore- and middlegrounds, in opposition to
> 3.7 renders that are uniformely washed-out under certain conditions..
>
It is difficult to compare images remotely and I am using a Compaq S720
monitor at work (it’s so so). Fred’s 'Sphere on checked plane' looks very
dark and Skip Talbot’s in 'Penguin Paradise' looks just right. Your latest
images look quite light. But then you have a low sun and my preferences are
probably different from yours.

Post a reply to this message

"Stephen" <mcavoys_AT_aolDOT.com> schreef in bericht 
news:web.456c072588cc0edaf1cb1e660@news.povray.org...
>
>>develop differently in different parts of the world. I
>> was just thinking also about the variation used in subsahara Africa using
>> tin boxes attached to a piece of wood.
>
> Don't know this, is it a running game?
From the little I have seen, looks like both running and just pushing the 
tin around, but there may be a deeper meaning behind it. Again, this is not 
from personnal experience but from photographs and documentaries where this 
appears sometimes.

>> This whole process mimics, as it
>> were, the process of natural evolution, with independent changes 
>> following
>> geographic isolation. Very Darwinian :-)
>
> Are you looking to start an argument because I thing it is an Intelligent
> Design issue :-)
Great! No. No argument here. The comparison in any case is wrong because of 
the very controversial status of social darwinism. I like to hustle things a 
bit sometimes. Not very scientific, I admit, but fun to do nonetheless.

> Seriously is it not more to do with the availability of local recourses?
> Here is a link to children's games from the 20's and 30's most were still
> played in the 50'
>
> http://www.fairlieburne.co.uk/99Appendix.htm

You are right. It has much to do with availability of local recourses.
Nice site! Yes, some of them seem to come back regularly, like  bools in 
particular.
Chuckies!!! We called those 'osselets' (small bones) and they resembled 
indeed little finger bones, but made of plastic (no good! too light) or 
metal (excellent!), four were white, one was red.
Tic Tac: Oh yes!
I think Hurlies and Bogies resemble that example I cited from subsahara 
Africa after all.
Beds: Was not really a girls game where I lived, and was played with 8 
squares in the series: 1-1-1-2-1-2.

> It is difficult to compare images remotely and I am using a Compaq S720
> monitor at work (it's so so). Fred's 'Sphere on checked plane' looks very
> dark and Skip Talbot's in 'Penguin Paradise' looks just right. Your latest
> images look quite light. But then you have a low sun and my preferences 
> are
> probably different from yours.

Ok then. Nothing to worry about. I see them the same way. Yes, mine are 
indeed a bit lighter and that's truly a personnal taste.

Thomas

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Man, you are relentless.  This has a great feeling.  Coincidently I just 
returned from a Thanksgiving visit to my family in Canada.  I returned 
on the train from Toronto to NY, crossing the border at Niagra Falls. 
Think hydro electric.  Think lots and lots of high tension towers like 
in your scene.  Think of me thinking about what great subjects they 
would make for a tracing.

Post a reply to this message

"Jim Charter" <jrc### [at] msncom> schreef in bericht 
news:456cff83$1@news.povray.org...
> Man, you are relentless.  This has a great feeling.  Coincidently I just 
> returned from a Thanksgiving visit to my family in Canada.  I returned on 
> the train from Toronto to NY, crossing the border at Niagra Falls. Think 
> hydro electric.  Think lots and lots of high tension towers like in your 
> scene.  Think of me thinking about what great subjects they would make for 
> a tracing.

Thank you indeed Jim!
Sometimes things are there just at the right time. And my growing collection 
of macros, includes, objects, is paying off. I can very well imagine your 
thoughts at Niagara Falls indeed. I am fascinated by industrial 
architecture, probably more in an archeological sense as I have a preference 
for the abandoned sites, and am always tempted to do something around them. 
Not often that I use those elements, though. The right mood and inspiration 
have to be present too. There are a number of pieces I would like to do 
around that theme. In fact, I have one for the current IRTC, but it seems 
not to come off the ground, so we'll see. There are other temptations 
around.

I recently saw some photographic work from the site of Tchernobyl. Man! How 
that reminded me of Tarkovski's Stalker! There is a source of inspiration 
there. Beware however not to get too depressed :-)  But there is a strange 
kind of beauty in those derelict scenes. Especially seeing how nature takes 
over again, as if Man had only been a passing storm.

Thomas

Post a reply to this message

"Thomas de Groot" <t.d### [at] internlDOTnet> wrote:

> > Are you looking to start an argument because I thing it is an Intelligent
> > Design issue :-)
> Great! No. No argument here. The comparison in any case is wrong because of
> the very controversial status of social darwinism. I like to hustle things a
> bit sometimes. Not very scientific, I admit, but fun to do nonetheless.

<g>



> Nice site! Yes, some of them seem to come back regularly, like  bools in
> particular.
> Chuckies!!! We called those 'osselets' (small bones) and they resembled
> indeed little finger bones, but made of plastic (no good! too light) or
> metal (excellent!), four were white, one was red.

On the West coast we called them Knuckles and I believe the Romans played
it.

> Tic Tac: Oh yes!

Tic Tac Toe, for us, and the winner was the one that stepped on the others
toe.

> I think Hurlies and Bogies resemble that example I cited from subsahara
> Africa after all.

I’m not too sure about that. Hurlies and Bogies are forms of transport.
http://manchesterhistory.net/LONGSIGHT/GAMES/games3.html

> Beds: Was not really a girls game where I lived, and was played with 8
> squares in the series: 1-1-1-2-1-2.

We call it hopscotch and it was 1-1-1-2-1-2-1 and the last 1 was drawn as a
semi-circle. Only small boys played it.



> Ok then. Nothing to worry about. I see them the same way. Yes, mine are
> indeed a bit lighter and that's truly a personnal taste.

Good :-)

Post a reply to this message

"Thomas de Groot" <t.d### [at] internlDOTnet> wrote:

> I am fascinated by industrial
> architecture, probably more in an archeological sense as I have a preference
> for the abandoned sites, and am always tempted to do something around them.

There is something awesome about the works of man that have been abandoned.
I see 'Age of Innocence_01.jpg' with the power cables broken and Kate
dressed in ragged clothes. It reminds me of “The earth abides” by George R.
Stewart.

http://tinyurl.com/u4aws
and
http://www.ciencia-ficcion.com/imag/op00225.jpg

I’ve been fortunate on a few occasions to have breakfast overlooking the
Palace of Phaistos in Crete, indescribable.

For industrial architecture, try walking round an offshore oil platform at
night when there are about only twenty people awake. Massive, industrial
and deserted.

Stephen

Post a reply to this message

"Stephen" <mcavoys_AT_aolDOT.com> schreef in bericht 
news:web.456d561188cc0edaf1cb1e660@news.povray.org...
> "Thomas de Groot" <t.d### [at] internlDOTnet> wrote:
>
>> I think Hurlies and Bogies resemble that example I cited from subsahara
>> Africa after all.
>
> I'm not too sure about that. Hurlies and Bogies are forms of transport.
> http://manchesterhistory.net/LONGSIGHT/GAMES/games3.html
>
Correct. Is different.

>> Beds: Was not really a girls game where I lived, and was played with 8
>> squares in the series: 1-1-1-2-1-2.
>
> We call it hopscotch and it was 1-1-1-2-1-2-1 and the last 1 was drawn as 
> a
> semi-circle. Only small boys played it.
>
Yes indeed. Forgot the semi-circle. Wasn't that Heaven?

Thomas

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"Stephen" <mcavoys_AT_aolDOT.com> schreef in bericht 
news:web.456d670611c55f60f1cb1e660@news.povray.org...
>
> There is something awesome about the works of man that have been 
> abandoned.
> I see 'Age of Innocence_01.jpg' with the power cables broken and Kate
> dressed in ragged clothes. It reminds me of "The earth abides" by George 
> R.
> Stewart.  http://tinyurl.com/u4aws and 
> http://www.ciencia-ficcion.com/imag/op00225.jpg
>
Now, that would be a very different theme, and interesting to do. I 
addition, I would break up the mega-structures too. Perhaps I will... 
perhaps I will...

> I've been fortunate on a few occasions to have breakfast overlooking the
> Palace of Phaistos in Crete, indescribable.
>
I can imagine! I have been deeply impressed during my visits to Pompeii and 
Herculanum, in particular at times when there were not too many tourists 
around. You get the eery feeling that you are somehow straddling the time 
lines.

> For industrial architecture, try walking round an offshore oil platform at
> night when there are about only twenty people awake. Massive, industrial
> and deserted.
>
Yes, that must be fantastic (in the POV sense). I have not been that often 
on ships, but the few times I was, I always preferred to do the night 
shifts. For the same reasons: few people around. Great experience!

Thomas

Post a reply to this message

"Thomas de Groot" <t.d### [at] internlDOTnet> wrote:
> Now, that would be a very different theme, and interesting to do. I
> addition, I would break up the mega-structures too. Perhaps I will...
> perhaps I will...

I’ll be very interesting to see what you come up with.
Best of luck with the clothes. I been working in Poser with dynamic clothes
and it is driving me mad. For two weeks I’ve been trying to clothe an
animation, change a setting, run it for two hours, see the break through,
change a setting …

> > I've been fortunate on a few occasions to have breakfast overlooking the
> > Palace of Phaistos in Crete, indescribable.
> >
> I can imagine! I have been deeply impressed during my visits to Pompeii and
> Herculanum, in particular at times when there were not too many tourists
> around. You get the eery feeling that you are somehow straddling the time
> lines.

When I visited Pompeii about fifteen years ago it was empty but too hot to
enjoy. Like Shep Blaine in Clifford D Simak's Time Is the Simplest Thing,
an empty world.

> > For industrial architecture, try walking round an offshore oil platform at
> > night when there are about only twenty people awake. Massive, industrial
> > and deserted.
> >
> Yes, that must be fantastic (in the POV sense). I have not been that often
> on ships, but the few times I was, I always preferred to do the night
> shifts. For the same reasons: few people around. Great experience!
>
Yes but I wouldn’t try to render it. Memory has too wide a field of view.

Stephen

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Thomas de Groot wrote:

> kind of beauty in those derelict scenes. Especially seeing how nature takes 
> over again, as if Man had only been a passing storm.
> 
In New York, of course, the "subway", when it extends to the boroughs, 
becomes the "elevated".  When I ride off of Manhattan into Long Island 
City I can look down onto many flat industrial rooftops  and see, 
literally, fields of marsh grass growing out of the tar and waving in 
the wind.  (The Day of the Triffids was another great take on this theme.)

For my own part I have be working on some things sourced in the work of 
Vija Celmins, especially her "spider web" messotints.  And so your 
picture, and my train ride through the "Falls" area, brought me to this 
sort of association too:

A NOISELESS, patient spider,	
I mark’d, where, on a little promontory, it stood, isolated;	
Mark’d how, to explore the vacant, vast surrounding,	
It launch’d forth filament, filament, filament, out of itself;	
Ever unreeling them—ever tirelessly speeding them.	

And you, O my Soul, where you stand,	
Surrounded, surrounded, in measureless oceans of space,	
Ceaselessly musing, venturing, throwing,—seeking the spheres, to 
connect them;	
Till the bridge you will need, be form’d—till the ductile anchor hold;	
Till the gossamer thread you fling, catch somewhere, O my Soul.

Post a reply to this message

Thomas de Groot nous apporta ses lumieres en ce 29/11/2006 10:08:
> "Stephen" <mcavoys_AT_aolDOT.com> schreef in bericht 
> news:web.456d561188cc0edaf1cb1e660@news.povray.org...
>> "Thomas de Groot" <t.d### [at] internlDOTnet> wrote:

>>> I think Hurlies and Bogies resemble that example I cited from subsahara
>>> Africa after all.
>> I'm not too sure about that. Hurlies and Bogies are forms of transport.
>> http://manchesterhistory.net/LONGSIGHT/GAMES/games3.html

> Correct. Is different.

>>> Beds: Was not really a girls game where I lived, and was played with 8
>>> squares in the series: 1-1-1-2-1-2.
>> We call it hopscotch and it was 1-1-1-2-1-2-1 and the last 1 was drawn as 
>> a
>> semi-circle. Only small boys played it.

> Yes indeed. Forgot the semi-circle. Wasn't that Heaven?

> Thomas


Those I saw where 1-2-1-2-1-2-1 (numbered 1 to 10) or 1-1-4(X pattern)-1-2-1
We call it "marelle"

-- 
Alain
-------------------------------------------------
EVERYTHING HAS A GENDER

You may not know this but many nonliving things have a gender...

A Web Page is Female, because it's always getting hit on.

Post a reply to this message

"Jim Charter" <jrc### [at] msncom> schreef in bericht 
news:456dbc2b@news.povray.org...
>>
> In New York, of course, the "subway", when it extends to the boroughs, 
> becomes the "elevated".  When I ride off of Manhattan into Long Island 
> City I can look down onto many flat industrial rooftops  and see, 
> literally, fields of marsh grass growing out of the tar and waving in the 
> wind.  (The Day of the Triffids was another great take on this theme.)

Ah yes! I can see those roofs... It reminds us, I believe, that we are only 
passing things on this planet. Tolerated, insofar as we grew from the vast 
geosphere/biosphere. But only tolerated. We are transient beings here and 
nothing more.
>
> For my own part I have be working on some things sourced in the work of 
> Vija Celmins, especially her "spider web" messotints.  And so your 
> picture, and my train ride through the "Falls" area, brought me to this 
> sort of association too:
>
> A NOISELESS, patient spider, I mark’d, where, on a little promontory, it 
> stood, isolated; Mark’d how, to explore the vacant, vast surrounding, It 
> launch’d forth filament, filament, filament, out of itself; Ever unreeling 
> them—ever tirelessly speeding them.
> And you, O my Soul, where you stand, Surrounded, surrounded, in 
> measureless oceans of space, Ceaselessly musing, venturing, 
> throwing,—seeking the spheres, to connect them; Till the bridge you will 
> need, be form’d—till the ductile anchor hold; Till the gossamer thread you 
> fling, catch somewhere, O my Soul.


Thank you Jim. This is very appropriate and strangely familiar to my 
thoughts at the moment of conception of the image too. It was not purely 
hazard that I made it around the period of my 60th birthday. Period of 
meditation... So, your poem is going to form an integral part with the 
image, I'm afraid :-)
Vija Celmins: That's intriguing work she's making! Very subtle. I am very 
curious to see one day how this is inspiring you in your own field.

Thomas

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"Stephen" <mcavoys_AT_aolDOT.com> schreef in bericht 
news:web.456db53611c55f60f1cb1e660@news.povray.org...
>
> I'll be very interesting to see what you come up with.
> Best of luck with the clothes. I been working in Poser with dynamic 
> clothes
> and it is driving me mad. For two weeks I've been trying to clothe an
> animation, change a setting, run it for two hours, see the break through,
> change a setting .

Take patience. It will be some while. For the time being, the image is 
finished, but I may take it up again some time in the future.
I am (on and off) also working with clothing in Poser to get the feel of it 
and understand the workings. I think that animation is even harder to get 
right. There is a collision switch by the way but I have not yet really 
experimented with it. Once you start working with it, Poser is a real 
challenge, but oh boy, the potentialities!!! I am glad to have taken the 
step and started using it. It will gradually permeate my work :-)

.... Great experience!
>>
> Yes but I wouldn't try to render it. Memory has too wide a field of view.

<grin> true. Have to wear blinkers :-)

Thomas

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"Alain" <ele### [at] netscapenet> schreef in bericht 
news:456e3c3a$1@news.povray.org...
>
> Those I saw where 1-2-1-2-1-2-1 (numbered 1 to 10) or 1-1-4(X 
> pattern)-1-2-1
> We call it "marelle"
>
Marelle of course!! The name slipped me by. That's what happens when you 
constantly switch languages (Dutch outside; French at home as my wife is 
French; English in these ng...). At times I am thinking (and speaking) a 
terrible hotchpotch of languages.... :-)

I think I shall use one of these games in a scene maybe.... Hmmmmm.....

Thomas

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On Wed, 29 Nov 2006 12:00:24 -0500, Jim Charter <jrc### [at] msncom> wrote:

>
>A NOISELESS, patient spider,	
>I mark’d, where, on a little promontory, it stood, isolated;	
>Mark’d how, to explore the vacant, vast surrounding,	
>It launch’d forth filament, filament, filament, out of itself;	
>Ever unreeling them—ever tirelessly speeding them.	
>
>And you, O my Soul, where you stand,	
>Surrounded, surrounded, in measureless oceans of space,	
>Ceaselessly musing, venturing, throwing,—seeking the spheres, to 
>connect them;	
>Till the bridge you will need, be form’d—till the ductile anchor hold;	
>Till the gossamer thread you fling, catch somewhere, O my Soul.

I don't know why but this reminds me of "Invitation to Miss Marianne Moore" by
Elizabeth Bishop.
 

Regards
	Stephen

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