Architectural Model Making Quotes

When I walk into [the studio] I am alone, but I am alone with my body, ambition, ideas, passions, needs, memories, goals, prejudices, distractions, fears. These ten items are at the heart of who I am. Whatever I am going to create will be a reflection of how these have shaped my life, and how I've learned to channel my experiences into them. The last two -- distractions and fears -- are the dangerous ones. They're the habitual demons that invade the launch of any project. No one starts a creative endeavor without a certain amount of fear; the key is to learn how to keep free-floating fears from paralyzing you before you've begun. When I feel that sense of dread, I try to make it as specific as possible. Let me tell you my five big fears: 1. People will laugh at me. 2. Someone has done it before. 3. I have nothing to say. 4. I will upset someone I love. 5. Once executed, the idea will never be as good as it is in my mind. "There are mighty demons, but they're hardly unique to me. You probably share some. If I let them, they'll shut down my impulses ('No, you can't do that') and perhaps turn off the spigots of creativity altogether. So I combat my fears with a staring-down ritual, like a boxer looking his opponent right in the eye before a bout. 1. People will laugh at me? Not the people I respect; they haven't yet, and they're not going to start now.... 2. Someone has done it before? Honey, it's all been done before. Nothing's original. Not Homer or Shakespeare and certainly not you. Get over yourself. 3. I have nothing to say? An irrelevant fear. We all have something to say. 4. I will upset someone I love? A serious worry that is not easily exorcised or stared down because you never know how loved ones will respond to your creation. The best you can do is remind yourself that you're a good person with good intentions. You're trying to create unity, not discord. 5. Once executed, the idea will never be as good as it is in my mind? Toughen up. Leon Battista Alberti, the 15th century architectural theorist, said, 'Errors accumulate in the sketch and compound in the model.' But better an imperfect dome in Florence than cathedrals in the clouds.

People with chronic illness, pain, and fatigue have been among the most critical of this aspect of the social model, rightly noting that social and structural changes will do little to make one's joints stop aching or to alleviate back pain. Nor will changes in architecture and attitude heal diabetes or cancer or fatigue. Focusing exclusively on disabling barriers, as a strict social model seems to do, renders pain and fatigue irrelevant to the project of disability politics.

We leave to monsieur Le Corbusier his style that suits factories as well as it does hospitals. And the prisons of the future: is he not already building churches? I do not know what this individual -- ugly of countenance and hideous in his conceptions of the world -- is repressing to make him want thus to crush humanity under ignoble heaps of reinforced concrete, a noble material that ought to permit an aerial articulation of space superior to Flamboyant Gothic. His power of cretinization is vast. A model by Corbusier is the only image that brings to my mind the idea of immediate suicide. With him moreover any remaining job will fade. And love -- passion -- liberty. Gilles Ivain (aka Ivan Chtcheglov)

The age of centralized, command-and-control, extraction-resource-based energy sources (oil, gas, coal and nuclear) will not end because we run out of petroleum, natural gas, coal, or uranium. It will end because these energy sources, the business models they employ, and the products that sustain them will be disrupted by superior technologies, product architectures, and business models. Compelling new technologies such as solar, wind, electric vehicles, and autonomous (self-driving) cars will disrupt and sweep away the energy industry as we know it.

Many researchers, who have been conditioned to using cognitive models, might not initially see the difference between “levels” and “layers.” With levels, processes are sequential (or, as electrical engineers would say, “in series”), while with a layered architecture, processing goes on simultaneously (“in parallel”). When processing through levels, all the steps are performed one after another, like a baton relay. You need one level to finish before the next one up can start. Processing in layers, on the other hand, can have all the runners leave at the same time and go different places. This change in architecture makes for big differences.

With so much knowledge written down and disseminated and so many ardent workers and eager patrons conspiring to produce the new, it was inevitable that technique and style should gradually turn from successful trial and error to foolproof recipe. The close study of antique remains, especially in architecture, turned these sources of inspiration into models to copy. The result was frigidity—or at best cool elegance. It is a cultural generality that going back to the past is most fruitful at the beginning, when the Idea and not the technique is the point of interest. As knowledge grows more exact, originality grows less; perfection increases as inspiration decreases. In painting, this downward curve of artistic intensity is called by the sug- gestive name of Mannerism. It is applicable at more than one moment in the history of the arts. The Mannerist is not to be despised, even though his high competence is secondhand, learned from others instead of worked out for himself. His art need not lack individual character, and to some connoisseurs it gives the pleasure of virtuosity, the exercise of power on demand, but for the critic it poses an enigma: why should the pleasure be greater when the power is in the making rather than on tap? There may be no answer, but a useful corollary is that perfection is not a necessary characteristic of the greatest art.

Modeling the evolution of modularity became significantly easier after a kind of genetic variation was discovered by quantitative trait locus (QTL) mapping in the lab of James Cheverud at Washington University called 'relationship QTL' or r-QTL for short. An r-QTL is a genetic locus that affects the correlations between two quantitative traits (i.e. their variational relationship, and therefore, 'relationship' loci). Surprisingly, a large fraction of these so-mapped loci are also neutral with respect to the character mean. This means one can select on these 'neutral' r-QTLs without simultaneously changing the character mean in a certain way. It was easy to show that differential directional selection on a character could easily lead a decrease in genetic correlation between characters. Of course, it is not guaranteed that each and every population has the right kind of r-QTL polymorphisms, nor is it yet clear what kind of genetic architecture allows for the existence of an r-QTL. Nevertheless, these findings make it plausible that differential directional selection can enhance the genetic/variational individuality of traits and, thus, may play a role in the origin of evolutionary novelties by selecting for variational individuality. It must be added, though, that there has been relatively little research in this area and that we will need to see more to determine whether we understand what is going on here, if anything. In particular, one difficulty is the mathematical modeling of gene interaction (epistasis), because the details of an epistasis model determine the outcome of the evolution by natural selection. One result shows that natural selection increases or decreases mutational variance, depending on whether the average epistatic effects are positive or negative. This means that the genetic architecture is more determined by the genetic architecture that we start with than by the nature of the selection forces that act upon it. In other words, the evolution of a genetic architecture could be arbitrary with respect to selection.

A broader view of platform governance uses insights borrowed from the practices of nation-states as modeled by constitutional law scholar Lawrence Lessig. In Lessig’s formulation, systems of control involve four main sets of tools: laws, norms, architecture, and markets.20 A familiar example can be used to clarify these four kinds of tools. Suppose leaders of a particular ecosystem want to reduce the harmful effects of smoking. Laws could be passed to ban cigarette sales to minors or forbid smoking in public spaces. Norms—informal codes of behavior shaped by culture—could be applied by using social pressure or advertising to stigmatize smoking and make it appear “uncool.” Architecture could be used to develop physical designs that reduce the impact of smoking—for example, air filters that clean the air, or smokeless devices that substitute for cigarettes. And market mechanisms could be used by taxing tobacco products or subsidizing “quit smoking” programs. Historically, those who want to control social behavior—including platform managers—have employed all four of these tools.

When you are vertically separating use cases from one another, you will run into this issue, and your temptation will be to couple the use cases because they have similar screen structures, or similar algorithms, or similar database queries and/or schemas. Be careful. Resist the temptation to commit the sin of knee-jerk elimination of duplication. Make sure the duplication is real. By the same token, when you are separating layers horizontally, you might notice that the data structure of a particular database record is very similar to the data structure of a particular screen view. You may be tempted to simply pass the database record up to the UI, rather than to create a view model that looks the same and copy the elements across. Be careful: This duplication is almost certainly accidental. Creating the separate view model is not a lot of effort, and it will help you keep the layers properly decoupled.

Develop spatial skills by modeling your school, house, or neighborhood. Learn engineering and design skills by making structural models of Buckminster Fuller’s tetrahedron-based geodesic domes, Snelson’s tensegrity sculptures, and other architectural forms. Teacher Brenda Jackson particularly recommends the modeling of bridges for its multidisciplinary aspects: “In [a] bridge design project,” she says, “a variety of disciplines is involved. Drawing the proposed design, coping with the practical problem of tension, and using calculations and manual skill in making the model, are all parts of the problem. Testing the bridge to destruction, although somewhat noisy, involves learning in a practical way, and the results are often so spectacular that they are unlikely to be quickly forgotten.

One of the most critical design and architecture decisions adopters of advanced analytics must make is whether to store analytic data in a data warehouse or in a standalone analytic database. Where does the data go? Where is it managed? Where are we going to do our analytical processes? Philip Russom, Senior Manager, TDWI Research

Andy’s Message Around the time I received Arius’ email, Andy’s message arrived. He wrote: Young, I do remember Rick Samuels. I was at the seminar in the Bahriji when he came to lecture. Like you I was at once mesmerized by his style and beauty, which of course was a false image manufactured by the advertising agencies and sales promoters. I was surprised to hear your backroom story of him being gangbanged in the dungeon. We are not ones to judge since both of us had been down that negative road of self-loathing. This seems to be a common thread with people whom others considered good-looking or beautiful. In my opinion, it’s a fake image that handsome people know they cannot live up to. Instead of exterior beauty being an asset, it often becomes a psychological burden. During the years when I was with Toby, I delved in some fashion modeling work in New Zealand. I ventured into this business because it was my subconscious way of reminding me of the days we posed for Mario and Aziz. It was also my twisted way of hoping to meet another person like me, with the hope of building a loving long-term relationship. It was also a desperate attempt to break loose from Toby’s psychosomatic grip on my person. Ian was his name and he was a very attractive 24 year old architecture student. He modeled to earn some extra spending money. We became fast friends, but he had this foreboding nature which often came on unexpectedly. A sentence or a word could trigger his depression, sending the otherwise cheerful man into bouts of non-verbal communication. It was like a brightly lit light bulb suddenly being switched off in mid-sentence. We did have an affair while I was trying to patch things up with Toby. As delightful as our sexual liaisons were there was a hidden missing element, YOU! Much like my liaisons with Oscar, without your presence, our sexual communications took on a different dynamic which only you as the missing link could resolve. There were times during or after sex when Ian would abuse himself with negative thoughts and self-denigration. I tried to console him, yet I was deeply sorrowed about my own unresolved issues with Toby. It was like the blind leading the blind. I was gravely saddened when Ian took his own life. Heavily drugged on prescriptive anti-depressant and a stomach full of extensive alcohol consumption, he fell off his ten story apartment building. He died instantly. This was the straw that threw me into a nervous breakdown. Thank God I climbed out of my despondencies with the help of Ari and Aria. My dearest Young, I have a confession to make; you are the only person I have truly loved and will continue to love. All these years I’ve tried to forget you but I cannot. That said I am not trying to pry you away from Walter and have you return to me. We are just getting to know each other yet I feel your spirit has never left. Please make sure that Walter understands that I’m not jeopardizing your wonderful relationship. I am happy for the both of you. You had asked jokingly if I was interested in a triplet relationship. Maybe when the time and opportunity arises it may happen, but now I’m enjoying my own company after Albert’s passing. In a way it is nice to have my freedom after 8 years of building a life with Albert. I love you my darling boy and always will. As always, I await your cheerful emails. Andy. Xoxoxo

The DDD concept of subdomains and bounded contexts maps nicely to services within a microservice architecture. Also, the microservice architecture’s concept of autonomous teams owning services is completely aligned with the DDD’s concept of each domain model being owned and developed by a single team. Even better, as I describe later in this section, the concept of a subdomain with its own domain model is a great way to eliminate god classes and thereby make decomposition easier.

The use case class accepts simple request data structures for its input, and returns simple response data structures as its output. These data structures are not dependent on anything. They do not derive from standard framework interfaces such as HttpRequest and HttpResponse. They know nothing of the web, nor do they share any of the trappings of whatever user interface might be in place. This lack of dependencies is critical. If the request and response models are not independent, then the use cases that depend on them will be indirectly bound to whatever dependencies the models carry with them. You might be tempted to have these data structures contain references to Entity objects. You might think this makes sense because the Entities and the request/response models share so much data. Avoid this temptation! The purpose of these two objects is very different. Over time they will change for very different reasons, so tying them together in any way violates the Common Closure and Single Responsibility Principles. The result would be lots of tramp data, and lots of conditionals in your code.

The Scaled Architecture you will discover in this book comes with a large set of data management principles. It requires you, for example, to identify and classify genuine and unique data, fix data quality at the source, administer metadata precisely, and draw boundaries carefully. When enterprises follow these principles, they empower their teams to distribute and use data quickly while staying decoupled. This architecture also comes with a governance model: engineers need to learn how to make good abstractions and data pipelines, while business data owners need to take accountability for their data and its quality, ensuring that the context is clear to everyone.

When you discuss a specific subject, you subconsciously reference part of a large internal map of what you know. Other people can't see this map. It only exists in your head, and it's called your mental model.

One thing I think this is showing us is that focusing on the brain as the source of inspiration for machine learning is derived from a very specialized architecture. I’ve been suggesting that a true general purpose intelligence is much more likely to arise not from mimicking the structure of the core of the human cortex, or anything like that, but from actually taking seriously the computational principles that life has been applying since the very beginning. CHRISTINA: Paramecia? MICHAEL: Even before that. Bacteria biofilms. All that stuff has been solving problems in ways that we have yet to figure out. They’re able to generalize, they’re able to learn from experience with a small number of examples. They make self-models. It’s amazing what they can do. That should be the inspiration. I think the future of machine learning and AI technologies will not be based on brains, but on this much more ancient, general ability of life to solve problems in novel domains.

With the microservices-based architecture, each service is designed with its own autonomy and highly decoupled from each other. The team behind each microservice can follow their own standards, tools, and protocols. This makes a decentralized governance model more meaningful for microservices architecture.

Nakamoto’s invention has given birth to a new kind of platform—one with open architecture and a governance model but no central authority. Having no need for gatekeepers, it will put serious pressure on existing platforms that rely on costly gatekeepers. Financial services that claim 2–4 percent of transactions simply for passing them may in the future be hard pressed to justify their rake.

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5 Thumb Rules to Follow for Outsourcing 3D Character. Outsourcing has become one of the basic requirements of the digital industry. Be it software, websites, architecture rendering or 3D character modelling, companies look forward to outsource these tasks to reliable names. Reason is simple. When it comes to value for money, 3D Art Outsourcing Service stands to be the most viable option as setting up in-house production often isn’t considered a wise ROI choice. But, this necessity has also given rise to possible frauds. There are countless companies waiting to gulp your money in the blink of an eye. There are many more who are ready to lure you with lucrative offers when it comes to 3D character modelling concept. Since not everyone is familiar with the technicalities of this field, companies can easily get trapped with fake promises of giving top notch services well within their reach, only to find out that the whole thing was neither worth their time nor money. However, all the sham can be avoided if companies follow the six thumb rules while Game outsourcing character modelling tasks to animation studios as these will lead them to the right names. 1) Take a Tour of the Website Although you will find expert comments on not to judge a company by its cover, there is no denying the fact that website plays a decisive role in company’s credibility, especially when it comes to art and animation studios. A studio that claims to offer you state-of-art results must first focus on its own. A clean, crisp website with appropriate content can actually say a lot about the studio’s work. A poor design and inappropriate content often indicate the following things: - Outdated and poorly maintained - Negligence towards its virtual presentation - Unprofessionalism - Poor marketing A sincere design and animation studio will indeed feature a vibrant website with all its details properly included. 2) Location Matters Location has a huge impact on hiring charges as it largely decides the price range one can expect. If you are looking forward to countries like India, you expect the range to be well within your budget chiefly because such countries have immense talent, but because of the increasing demand and competition in the field of outsourcing, hiring charges are relatively cheaper than countries like UK or USA. This means that once can get desired expertise without spending a fortune. 3) Know Your Team Inside Out Since you will be spending your hard earned money, you have every right to know the ins and outs of your team. Getting to know the team can assist you in your decision. Do your part of homework and be ready with your queries. Starting from their names to their works, check everything you can, and if need be, go for one-to-one conversation. This will not only help you to know them better, but will also give you an idea of their communication, their knowledge about their work and their sincerity. A dedicated one will always answer you up to the point while a confused one with fidget with words or beat around the bush. 4) Don’t Miss Out on the Portfolio While the website of a studio is its virtual representative, it’s the portfolio which speaks about its execution. Reputed names of 3D modelling and design companies house excellent projects ranging from simple to complex ones. A solid portfolio indicates: - commitment of the studio towards its projects - competency of its team - execution and precision - status of its expertise Apart from the portfolio, some animation studios even feature case studies and white papers in their websites which indicate their level of transparency. Make sure to go through all of them.