Monday, January 25, 2010

Series Review: "Caprica"

**Spoilers Included**

Human emotions are double edged swords at the best of times. Love can drive a man beyond his normal limits to provide for and protect his family; but it can also be twisted into a possessiveness that can lead to unreasoning violence.

And then there's grief.

Grief is an emotion that most of us would forgo because it's what we feel after a loss. It might be the loss of a relationship or the death of a loved one. It's an emotion so often suffered alone and mad with grief is an expression just about everyone can understand because we all know there are certain losses we're not sure we could survive.

Trust the creators of "Battlestar Galactica" to choose such a heavy emotion on which to base their new series.

Caprica is the prequel to "Battlestar Galactica and like its predecessor it's complicated and absorbing. Taking place 58 years before the original series "Caprica" follows the story of two families torn apart by a terrorist bombing. Daniel Graystone (Eric Stolz) is the owner of a large corporation and a technological genius. Still reeling over the death of his daughter he discovers that his daughter had managed, before her death, to create an avatar that exists in a holographic world that is more than just bits of data. The avatar has her memories, personality and a desire to exist beyond the world she lives in. But Daniel only has part of the technology he would need to download his daughter's avatar into a cybernetic body. So Graystone turns to the only other man who knows his grief, Joseph Adama (Esai Morales)--who lost his daughter and wife in the same attack-- and asks him to steal the technology needed to complete his newest obsession.

Adama is tempted by the dream of being reunited with his family and agrees to help Graystone. But once the deed is done and he is confronted by the avatar of his own daughter, he turns away from the experiment convinced that the results will be an abomination. But Graystone is now in the grip of his overriding grief and the conviction that he can bring his daughter back to life; even as her own avatar begins to voice doubts about the plan.

"Caprica" has many of the same themes that ran through "Battlestar Galactica" and questions about God and religion jump to the forefront right away. This may turn some viewers off as some have complained that the topic was dealt with in too heavy-handed a fashion in the original series. But given the Cylon fixation on a monotheistic God versus the pantheon of gods the Capricans worship it would be a glaring omission if "Caprica" didn't at least try to address a plot device that was so integral to the personalities of the Cylons. The way they work this in is by showing Graystone's daughter growing increasingly involved with a cult-like religion that sows the seeds of her own death and that dogma has been included in the personality of her avatar.

The casting of "Caprica" is top tier, much like "Battlestar Galactica," and Eric Stoltz is very believable as a father teetering on the edge of sanity as he chases the dream of resurrecting his daughter. He's clearly a man who isn't thinking about moral considerations in the face of his grief. Esai Morales, as the father of a young William Adama, is a man torn between two worlds and often crosses ethical lines he'd rather avoid but is drawn to time and again by his familial ties.

"Caprica" doesn't explode on the screen the way "BSG" did. It's no less intense, but it has a quieter vibe. Rather than the bleak world of need presented in "BSG," "Caprica" is a world riding high on prosperity and the excesses that brings. It's a perfect breeding ground for extremist religions as overly-pampered kids look for meaning in a world that has never required much of them. And it promises to explore these themes in depth.

The good thing about the premier episode of "Caprica" is that you'll likely know right away whether or not you'll like the new series based on the religious themes included in the plot. If you were turned off by that aspect of "BSG" then "Caprica" may not be your thing. But if you don't mind following that thread and seeing where it goes, you might really enjoy "Caprica." It's not as flashy as "BSG," at least so far, but it has some decidedly eerie moments and promises to have the same dark genius as its sister series. There's also something really satisfying about seeing the inception of the Cylon race. For me, the show worked. And I'm very interested to see how the series, and the Cylons, evolve.

Two Mistakes

#1: An odd quirk

My floorplate geometry is set up such that the centers of each arc lie on the same circle, and each arc is tangent to the same circle (so all the arcs are the same size). Also, the centers of the arcs are equadistant from each other, so the straight lines connecting the endpoints are all the same length. That's all well and good, but it's not the point.

I have a parameter to set the length of the straight line segments, and the radii/positioning of the arcs adjusts to the line segment constraints. Since there is no upper limit to where I can set the line segment parameter, I can push the line segments until they cross eachother, which creates a bit of a crisis for the arcs that are supposed to be in between the segments. I pushed the parameter beyond this limit and Mickey Mouse popped out.

The trick is, once Mickey appears, he won't go away, even if I decrease the line segment length parameter back to within appropriate bounds. It's like DP has created new geometry to adjust for the segments when they are too long, and then that new geometry stays put even after the line segments go back to their original length. I wonder if there's a way to get around this....


an animation of pushing the parameter limits


#2: Sticking parameters in power copies

I'm still getting used to what it means to include parameters and relations in power copies, both on the input and copy creation side of the bar. My floorplate geometry is supposed to respond to 3 parameters: the length of the straight line connecting the arcs, a factor that adjusts the amount of rotation, and the distance between floors. In this example I had spent so long worrying about the adjustments I made in plan, that I completely forgot that I had set parameters for adjustment in elevation. Note the missing 'floor_to_floor' parameter:



The worst part is that I forgot to test the floor_to_floor parameter until after I had painstakingly added 18 power copies that lacked that height adjustment ability. The planes that made up the supports for each copy could be readily adjusted, but the extrusion height of each copy was supposed to follow suit. Ahh, I can't wait until we learn how to script...


On the plus side, the straight line segment adjustment and the rotation adjustment worked just fine.

Two Mistakes

#1: An odd quirk

My floorplate geometry is set up such that the centers of each arc lie on the same circle, and each arc is tangent to the same circle (so all the arcs are the same size). Also, the centers of the arcs are equadistant from each other, so the straight lines connecting the endpoints are all the same length. That's all well and good, but it's not the point.

I have a parameter to set the length of the straight line segments, and the radii/positioning of the arcs adjusts to the line segment constraints. Since there is no upper limit to where I can set the line segment parameter, I can push the line segments until they cross eachother, which creates a bit of a crisis for the arcs that are supposed to be in between the segments. I pushed the parameter beyond this limit and Mickey Mouse popped out.

The trick is, once Mickey appears, he won't go away, even if I decrease the line segment length parameter back to within appropriate bounds. It's like DP has created new geometry to adjust for the segments when they are too long, and then that new geometry stays put even after the line segments go back to their original length. I wonder if there's a way to get around this....


an animation of pushing the parameter limits


#2: Sticking parameters in power copies

I'm still getting used to what it means to include parameters and relations in power copies, both on the input and copy creation side of the bar. My floorplate geometry is supposed to respond to 3 parameters: the length of the straight line connecting the arcs, a factor that adjusts the amount of rotation, and the distance between floors. In this example I had spent so long worrying about the adjustments I made in plan, that I completely forgot that I had set parameters for adjustment in elevation. Note the missing 'floor_to_floor' parameter:



The worst part is that I forgot to test the floor_to_floor parameter until after I had painstakingly added 18 power copies that lacked that height adjustment ability. The planes that made up the supports for each copy could be readily adjusted, but the extrusion height of each copy was supposed to follow suit. Ahh, I can't wait until we learn how to script...


On the plus side, the straight line segment adjustment and the rotation adjustment worked just fine.

Benv 2723 Project X CHINA YangShuo





Benv 2723 Project X CHINA YangShuo





“Green Noise” converts the sound energy to electricity


The requirement that a human will seek the energy for come to pay back the current energy that day by day have the amount will limit and disappear soon. The sound is energy at has can to modify become other energy. Then have the designer, get design a device changes sound energy becomes the electric energy. It is known call that Green Noise

The Green Noise is a device that a device that traps & converts the sound energy to electricity for the runway lights. It features a conical speaker-form placed on a tripod base that easily absorbs sound and prevents rainwater from collecting on the bottom. It also has a screen which gives the personnel the information required.

The Green Noise can function on all types of weather and will help the airports, for example, to save a huge amount of electricity.

Designer: Hung-Uei Jou


If you liked this product design, you would also be interested in:
www.yankodesign.com


Sunday, January 24, 2010

Puffin, A One-Man Stealth Plane from NASA


NASA scientists will officially unveil their design for a hover-capable, electric-powered aircraft, nicknamed the Puffin can fly up-down the vertical (VTOL: Vertical Take Off and Landing). Work with electricity system and can fly very silent, it sees smart but, see be excited many

NASA, design an aircraft "Puffin" by will have beginning officially for indicate that, personal vehicle has developed with electricity aircraft will to change the way of life in our travel
Puffin is couple propeller aircraft at can go up and down to the ground in the vertical. But, instead of use turning direction of a propeller in the focusing soars to go to straight. It, to adjust the tail below for take the wind power for can lift go up in the horizon before to soar go up in the horizon on the sky, person enforce Puffin aircraft will see dial and the scenery around through the sheet glass covers clear glass. For step flying down, will opposite with start up

The Puffin stands 12 feet high (3.6-meter) and has a wingspan of 13.5 feet (4.12-meter). In theory it can cruise at 150 miles per hour (241.4 kilometer per hrs.) and sprint at more like 300 miles per hour (482.8 kilometer per hrs).The craft is electrically propelled and runs on rechargeable lithium phosphate batteries, which would theoretically allow it to soar as high as 30,000 feet (9,000 meter) before its batteries would begin to run low and it would be forced to descend. But scientists are confident that the Puffin’s range could be increased as batteries improve over the coming years.
Designers: NASA



If you liked this aircraft, you would also be interested in:
www.scientificamerican.com