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Look inside the 3D-printed Mars home that NASA awarded $500,000

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Look inside the 3D-printed Mars home that NASA awarded $500,000

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AI SpaceFactory's "Marsha" Mars home won NASA's 3-D Printed Habitat Challenge.

Compared to other designs, Marsha looks downright luxurious. It has multiple floors, spacious living quarters, and plenty of windows to gaze upon the Martian horizon.

Designers used key materials in the structure that are also found on the Martian surface, such as basalt.

Visit Business Insider's homepage for more stories.

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Narrator: When you think of future Martian habitats, what do they look like? A squat, half buried, windowless dome? A glorified fallout shelter? Or ... how about ... this? This is Marsha. Designed by AI SpaceFactory. It has windows, multiple floors, private rooms, and even a skylight. But best of all? NASA loves it.

The rocket scientists and engineers at NASA are pros when it comes to landing robots on Mars. And they're figuring out how to get humans there next. But when it comes to living on Mars? Well, they decided to ask the public for help. In the 2010s, NASA launched its 3-D Printed Habitat Challenge. Over the years, its held multiple stages of the phases of the challenge that started with virtual designs and has since progressed to full-fledged 3-D printed models.

Challengers compete not only for bragging rights but for also ... well ... money. And in 2019, first prize was half a million dollars. Challengers were judged on multiple criteria including: The material they used, the structure's durability, and how airtight it was.

After 4 days of building, testing, and judging, NASA announced the winner. So, let's take a closer look at Marsha. For starters, the construction material is made of a basalt composite, something no other competitors used and the team says, could easily be made on Mars.

That's because Mars has basalt speckled all across its surface thanks to volcanoes that erupted hundreds of millions to billions of years ago. And once you have a good source of basalt, it's mixed with some plant-based polymers - which, if you were on Mars, you'd have to grow there first. After that, all you need is a robot to 3-D print the house, other stuff like windows that can't be printed on site, and time.

This prototype is only a third of the size that the team envisions for Mars. And it, alone, took 30 hours to complete from start to finish. The team had to step in and help the machine a few times. But in the future they plan to make the entire process fully autonomous. Because in the real world, there won't be many people on Mars to help. So you need a design that can, basically, build itself. Plus the team says this basalt composite is an effective shield against the high-energy radiation at Mars' surface.

And that's important. Because a person living on Mars, unprotected, would receive about 5,000 times more radiation in their lifetime than if they had lived on Earth. That's more than enough to cause cancer. And would almost surely result in premature death from radiation poisoning. Now, some experts argue that any freestanding building on Mars is a bad idea, specifically because of the high radiation problem.

Jeffrey Montes, Extra-planetary Habitats and Systems Lead: "Because of the hostile environment people associate bunkers with good ideas but I think one thing Marsha does, is to ask the question: isn't psychological health also mission-critical?"

Jeffrey isn't the only one worried about psychological health. For years, NASA has been testing how humans withstand long periods of isolation. For example, it requires astronauts in space to complete regular psychological tests that monitor their mood. They also conduct experiments on the ground, like the HI-SEAS study, short for Hawaii Space Exploration Analog and Simulation. Where a small crew lives in Mars-like homes for usually eight months at a time and faces many of the same physical and psychological challenges of living on Mars.

But compared to the HI-SEAS living quarters, Marsha looks ... different. For one, it has multiple floors, each with a distinct purpose. The first, contains a wet lab and space for EVA prep. One floor up: the kitchen and dry lab. On the third floor, a hydroponic garden, bathroom, and sleeping quarters. And above that, a gym and recreation center.

Not to mention, there are multiple windows throughout the home.

Jeffrey Montes: "Windows are key relationship with the environment, the landscape changes on a daily basis and it really would help to mitigate monotony which is known as a major psychological threat."

"Wow" you're probably saying, "that place is really nice! I'd stay there even if it were on earth!" Well, buddy, you're in luck. AI SpaceFactory is taking their concept and building it here.

David Riedel, Co-Founder and Managing Director: What we've developed so far, printing at scale and taking that application and bringing it to an hour north of new york, where people can go and experience this new type of habitat.

It's called TERA. Not only does it look like MARSHA, but it will also be made out of MARSHA. After the NASA competition, AI SpaceFactory broke their model down. And will reuse it to build TERA. It hopes to finish by Fall 2019 and soon after, you might be able to book your stay. But TERA is more than just a futuristic cabin.

David Riedel: In order to get to the next step of building on the moon or mars we need more practice, so this is an opportunity for us to refine our technology and refine some of the problems we found in our NASA print and push it to the next step.

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Look inside the 3D-printed Mars home that NASA awarded $500,000

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Narrator: When you think of future Martian habitats, what do they look like? A squat, half buried, windowless dome? A glorified fallout shelter? Or ... how about ... this? This is Marsha. Designed by AI SpaceFactory. It has windows, multiple floors, private rooms, and even a skylight. But best of all?

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Scientists detect something really unexpected beneath Saturn's 'Death Star' moon

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Scientists detect something really unexpected beneath Saturn's 'Death Star' moon

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Mimas, Saturn's cryptic-looking moon, is awfully deceptive.

The small moon is dominated by an 80-mile-wide crater, giving it the appearance of the grim Star Wars Death Star — a space station equipped with a planet-destroying weapon. But otherwise, Mimas appears as a frozen chunk of ice.

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Scientists detect something really unexpected beneath Saturn’s ‘Death Star’ moon

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Mimas couldn’t possibly harbor an ocean. Or could it?

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Lunar Museum. Other stories - Orbital Space / BEATLEAP EXP IV

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Lunar Museum. Other stories - Orbital Space / BEATLEAP EXP IV

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Creativity - Experimental Media Lab: The Thing from Inner Space

date: 17-21 January 2022 at PJATK, Warsaw

workshop leaders: Anna Eichler + Sebastian Trzoska - PJATK Warsaw Markus Wintersberger - Austria / new media artist Rafal Ryterski - Poland / Electronic music production and DJ Marcin Cecko + Zbyszek Bzymek - Poland / New York

Lunar Museum. Other stories - Orbital Space - Online

Students:
Group 1: Zuzanna Płachta, Elizaveta Anapreyenka, Julia Staszczyszyn, Elina Sergieva
Group 2: Karolina Kwiek, Kinga Ostapkowicz, Natalia Przybysz
Group 3: Lilia Kravchenko, Vitalina Taran
Nana Azizowa
Olga Borzęcka Anastasiya
Razhkova
Group 4: Zuzanna Dulniak, Oleksandra Drabovska
Sergei Prutnikov
Alicja Pałka
Group 5: Nuria Ros Codina, Constanca Van Zeller

Sound: "WATER – THE BIG UNKNOWN", Karolina Kwiek, Kinga Ostapkowicz and Natalia Przybysz: https://www.youtube.com/watch?v=MM_Z1EP6uUc&t=0s

Made with with the aid of Beatleap von Lightricks: https://apps.apple.com/at/app/beatleap-von-lightricks/id1516149480

Polish–Japanese Academy of Information Technology in Warsaw CREATIVITY WORKSHOP // 17-21.01.2022

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Lunar Museum. Other stories - Orbital Space / BEATLEAP EXP IV

# data[].attributes.headline
Lunar Museum. Other stories - Orbital Space / BEATLEAP EXP III

# data[].attributes.subject
Lunar Museum. Other stories - Orbital Space / BEATLEAP EXP III

# data[].attributes.body
Creativity - Experimental Media Lab: The Thing from Inner Space

date: 17-21 January 2022 at PJATK, Warsaw

workshop leaders: Anna Eichler + Sebastian Trzoska - PJATK Warsaw Markus Wintersberger - Austria / new media artist Rafal Ryterski - Poland / Electronic music production and DJ Marcin Cecko + Zbyszek Bzymek - Poland / New York

Lunar Museum. Other stories - Orbital Space - Online

Students:
Group 1: Zuzanna Płachta, Elizaveta Anapreyenka, Julia Staszczyszyn, Elina Sergieva
Group 2: Karolina Kwiek, Kinga Ostapkowicz, Natalia Przybysz
Group 3: Lilia Kravchenko, Vitalina Taran
Nana Azizowa
Olga Borzęcka Anastasiya
Razhkova
Group 4: Zuzanna Dulniak, Oleksandra Drabovska
Sergei Prutnikov
Alicja Pałka
Group 5: Nuria Ros Codina, Constanca Van Zeller

Sound Collage: Sounds of Mars from Perseverance Rover - Credit: NASA/JPL-Caltech/SwRI/Univ of Iowa: https://www.nasa.gov/connect/sounds/index.html & "WATER – THE BIG UNKNOWN", Karolina Kwiek, Kinga Ostapkowicz and Natalia Przybysz: https://www.youtube.com/watch?v=MM_Z1EP6uUc&t=0s

Made with with the aid of Beatleap von Lightricks: https://apps.apple.com/at/app/beatleap-von-lightricks/id1516149480

Polish–Japanese Academy of Information Technology in Warsaw CREATIVITY WORKSHOP // 17-21.01.2022

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Lunar Museum. Other stories - Orbital Space / BEATLEAP EXP III

# data[].attributes.headline
Lunar Museum. Other stories - Orbital Space / BEATLEAP EXP II

# data[].attributes.subject
Lunar Museum. Other stories - Orbital Space / BEATLEAP EXP II

# data[].attributes.body
Creativity - Experimental Media Lab: The Thing from Inner Space

date: 17-21 January 2022 at PJATK, Warsaw

workshop leaders: Anna Eichler + Sebastian Trzoska - PJATK Warsaw Markus Wintersberger - Austria / new media artist Rafal Ryterski - Poland / Electronic music production and DJ Marcin Cecko + Zbyszek Bzymek - Poland / New York

Lunar Museum. Other stories - Orbital Space - Online

Students:
Group 1: Zuzanna Płachta, Elizaveta Anapreyenka, Julia Staszczyszyn, Elina Sergieva
Group 2: Karolina Kwiek, Kinga Ostapkowicz, Natalia Przybysz
Group 3: Lilia Kravchenko, Vitalina Taran
Nana Azizowa
Olga Borzęcka Anastasiya
Razhkova
Group 4: Zuzanna Dulniak, Oleksandra Drabovska
Sergei Prutnikov
Alicja Pałka
Group 5: Nuria Ros Codina, Constanca Van Zeller

Sound: Sounds of Mars from Perseverance Rover - Credit: NASA/JPL-Caltech/SwRI/Univ of Iowa: https://www.nasa.gov/connect/sounds/index.html

Made with with the aid of Beatleap von Lightricks: https://apps.apple.com/at/app/beatleap-von-lightricks/id1516149480

Polish–Japanese Academy of Information Technology in Warsaw CREATIVITY WORKSHOP // 17-21.01.2022

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Lunar Museum. Other stories - Orbital Space / BEATLEAP EXP II

# data[].attributes.headline
Lunar Museum. Other stories - Orbital Space / BEATLEAP EXP I

# data[].attributes.subject
Lunar Museum. Other stories - Orbital Space / BEATLEAP EXP I

# data[].attributes.body
Creativity - Experimental Media Lab: The Thing from Inner Space

date: 17-21 January 2022 at PJATK, Warsaw

workshop leaders: Anna Eichler + Sebastian Trzoska - PJATK Warsaw Markus Wintersberger - Austria / new media artist Rafal Ryterski - Poland / Electronic music production and DJ Marcin Cecko + Zbyszek Bzymek - Poland / New York

Lunar Museum. Other stories - Orbital Space - Online

Students:
Group 1: Zuzanna Płachta, Elizaveta Anapreyenka, Julia Staszczyszyn, Elina Sergieva
Group 2: Karolina Kwiek, Kinga Ostapkowicz, Natalia Przybysz
Group 3: Lilia Kravchenko, Vitalina Taran
Nana Azizowa
Olga Borzęcka Anastasiya
Razhkova
Group 4: Zuzanna Dulniak, Oleksandra Drabovska
Sergei Prutnikov
Alicja Pałka
Group 5: Nuria Ros Codina, Constanca Van Zeller

Sound: Sounds of Mars from Perseverance Rover - Credit: NASA/JPL-Caltech/SwRI/Univ of Iowa: https://www.nasa.gov/connect/sounds/index.html

Made with with the aid of Beatleap von Lightricks: https://apps.apple.com/at/app/beatleap-von-lightricks/id1516149480

Polish–Japanese Academy of Information Technology in Warsaw CREATIVITY WORKSHOP // 17-21.01.2022

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Lunar Museum. Other stories - Orbital Space / BEATLEAP EXP I

# data[].attributes.headline
Lunar Museum. Other stories - Orbital Space

# data[].attributes.subject
Lunar Museum. Other stories - Orbital Space

# data[].attributes.body
Creativity - Experimental Media Lab: The Thing from Inner Space

date: 17-21 January 2022 at PJATK, Warsaw

workshop leaders:
Anna Eichler + Sebastian Trzoska - PJATK Warsaw
Markus Wintersberger - Austria / new media artist
Rafal Ryterski - Poland / Electronic music production and DJ
Marcin Cecko + Zbyszek Bzymek - Poland / New York

Students:
Group 1: Zuzanna Płachta, Elizaveta Anapreyenka, Julia Staszczyszyn, Elina Sergieva
Group 2: Karolina Kwiek, Kinga Ostapkowicz, Natalia Przybysz
Group 3: Lilia Kravchenko, Vitalina Taran
Nana Azizowa
Olga Borzęcka Anastasiya
Razhkova
Group 4: Zuzanna Dulniak, Oleksandra Drabovska
Sergei Prutnikov
Alicja Pałka
Group 5: Nuria Ros Codina, Constanca Van Zeller

Polish–Japanese Academy of Information Technology in Warsaw CREATIVITY WORKSHOP // 17-21.01.2022

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Lunar Museum. Other stories - Orbital Space

# data[].attributes.body
Zuzanna Dulniak

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.body
Zuzanna Dulniak

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.body
Sergei Prutnikov

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.body
Sergei Prutnikov

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.body
Olga Borzęcka

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.body
Olga Borzęcka

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.body
Nana Azizova

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.body
Nana Azizova

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.body
Nuria Ros and Constanca van Zeller

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.body
Nuria Ros and Constanca van Zeller

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

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History of humanity’s belligerent nature - visualization

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History of humanity’s belligerent nature - visualization

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History of humanity’s belligerent nature - visualization

# data[].attributes.body
Kravchenko Lilia and Vitalina Taran

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

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History of humanity’s belligerent nature - presentation

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History of humanity’s belligerent nature - presentation

# data[].attributes.subject
History of humanity’s belligerent nature - presentation

# data[].attributes.body
Kravchenko Lilia and Vitalina Taran

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.body
Karolina Kwiek, Kinga Ostapkowicz and Natalia Przybysz

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.body
Karolina Kwiek, Kinga Ostapkowicz and Natalia Przybysz

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.body
Elizaveta Anapreyenka, Elina Sergieieva, Zuzanna Plachta and Julia Staszczyszyn

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

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The New Museum on the Moon - presentation

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The New Museum on the Moon - presentation

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The New Museum on the Moon - presentation

# data[].attributes.body
Elizaveta Anapreyenka, Elina Sergieieva, Zuzanna Plachta and Julia Staszczyszyn

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.body
Anastasiya Razhkova

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.body
Anastasiya Razhkova

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.body
Alicja Palka

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.body
Alicja Palka

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.headline
Alien Octopus Hypothesis (YouTube Video)

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Alien Octopus Hypothesis (YouTube Video)

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Could one of Earth’s most intelligent species be an alien, ‘seeded’ on the planet by an interstellar genetic code? Scientists speculate that the clue might be found in the ancient precursor to life: RNA.

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Could one of Earth's most intelligent species be an alien, 'seeded' on the planet by an interstellar genetic code? Scientists speculate that the clue might be found in the ancient precursor to life: RNA.

Image top of page: Shutterstock License
Related Articles
Octopus & the Origin of Consciousness (Planet Earth Report)

Unfathomable Abodes of Life? -Water Worlds of the Milky Way

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Alien Octopus Hypothesis (YouTube Video)

# data[].attributes.attachment_link.description
Could one of Earth's most intelligent species be an alien, 'seeded' on the planet by an interstellar genetic code? Scientists speculate that the clue might be found in the ancient precursor to life: RNA. Image top of page: Shutterstock License Related Articles Octopus & the Origin of Consciousness (Planet Earth Report) Unfathomable [...]

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Machine to melt Moon rocks and derive metals may launch in 2024

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Machine to melt Moon rocks and derive metals may launch in 2024

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In recent years, much has been said about mining water ice in shadowed craters at the Moon's South Pole for use as rocket propellant. Enthusiasm for this idea has led NASA to begin planning the first human missions of its Artemis Program to land near the South Pole instead of the mid-latitudes.

However, a Houston-based company says there is value in the gray, dusty regolith spread across the entire lunar surface. The firm, Lunar Resources, is developing technology to extract iron, aluminum, magnesium, and silicon from the Moon's regolith. These materials, in turn, would be used to manufacture goods on the Moon.

"There are all of these valuable metals on the Moon, just there for the taking," said Elliot Carol, chief executive officer of Lunar Resources.

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In recent years, much has been said about mining water ice in shadowed craters at the Moon's South Pole for use as rocket propellant. Enthusiasm for this idea has led NASA to begin planning the first human missions of its Artemis Program to land near the South Pole instead of the mid-latitudes.

However, a Houston-based company says there is value in the gray, dusty regolith spread across the entire lunar surface. The firm, Lunar Resources, is developing technology to extract iron, aluminum, magnesium, and silicon from the Moon's regolith. These materials, in turn, would be used to manufacture goods on the Moon.

"There are all of these valuable metals on the Moon, just there for the taking," said Elliot Carol, chief executive officer of Lunar Resources.

Carol is not your typical space company CEO. He has a background as a hedge fund manager and has only become involved in the space industry during the last five years. The opportunity to industrialize the surface of the Moon was too tempting to bypass, he said.

This may all sound fanciful, but there is money and valid technology behind the idea. In addition to the private capital raised to date, the National Science Foundation and NASA have provided the company with about $3 million in funding to develop a prototype reactor that could be sent to the Moon for a demonstration test. Carol said this demonstration reactor will be ready to fly "before" 2024.

The technology to extract metals has its roots at NASA. It is called Molten Regolith Electrolysis, by which lunar regolith is heated to a temperature of 1,600 degrees Centigrade, melted, and then electrolyzed to produce oxygen and metals, such as iron and silicon. Although the composition varies by location, lunar soil is composed of about 40 to 45 percent oxygen, 20 percent silicon, and 10 percent aluminum, with smaller amounts of iron and titanium.

Longterm, the company's plan is to produce metals and use them to manufacture power systems on the Moon, Carol said. All the materials are there to produce silicon solar cells, transmission cables, power storage, and more to provide power to lunar settlements during the 14-day lunar night.

"These are the kinds of things that America needs to do to remain a leader in space," Carol said. "Resource extraction is necessary for the United States to create a permanent presence on the Moon."

The company's initial reactor will measure about 1-meter in diameter and height and process scoops of lunar regolith delivered by a small rover. The goal is to process as much as 100 kilograms of lunar regolith during a 24-hour period. Lunar Resources is negotiating with NASA for a ride to the Moon on one of the agency's Commercial Lunar Payload Services missions, Carol said. This demonstrator would be a fairly large payload for such a mission, about one-half of a metric ton. "The challenge with demonstrating industrial technologies is that they're heavier than science payloads," Carol said.

In reality, proving out a technology like Molten Regolith Electrolysis in a laboratory is a very far cry from doing so in a vacuum on the harsh, dusty lunar surface, which has extreme fluctuations in temperatures. But no one said space is easy. And this is precisely the kind of experimental work that NASA's lunar payloads program should be supporting if the space agency is ever to find a pathway to sustainable deep space exploration.

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Machine to melt Moon rocks and derive metals may launch in 2024

# data[].attributes.attachment_link.description
In recent years, much has been said about mining water ice in shadowed craters at the Moon's South Pole for use as rocket propellant. Enthusiasm for this idea has led NASA to begin planning the first human missions of its Artemis Program to land near the South Pole instead of the mid-latitudes.

# data[].attributes.body
Karolina Kwiek, Kinga Ostapkowicz and Natalia Przybysz

Polish–Japanese Academy of Information Technology in Warsaw

CREATIVITY WORKSHOP // 17-21.01.2022

Lunar Museum. Other stories – Orbital Space

# data[].attributes.headline
Make a Transparent Object in 9 Minutes, Blender 2.8 for Beginners!

# data[].attributes.subject
Make a Transparent Object in 9 Minutes, Blender 2.8 for Beginners!

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Make a Transparent Object in 9 Minutes, Blender 2.8 for Beginners!

# data[].attributes.headline
All 54 Modifiers in Blender Explained in 10 Minutes

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All 54 Modifiers in Blender Explained in 10 Minutes

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In this video, I'll show you every single modifier available in Blender 2.93. This took a long time so a like or sub is very much appreciated.

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All 54 Modifiers in Blender Explained in 10 Minutes

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Downlaodable Architecture 3D Models

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Architecture - A 3D model collection by Nirnamay (@Nirnamay)

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Architecture - A 3D model collection by Nirnamay (@Nirnamay)

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We designed 3DF Zephyr to be a user friendly and easy to use powerful tool. You can get up & running in few minutes and create your first 3D reconstruction with few clicks.

We have an extensive documentation that can answer almost all questions as well as a forum where you can ask the developers directly for assistance or to give us feedback.

As we keep developing 3DF Zephyr, we are also publishing tutorials with tips & tricks of the trade. Feel free to give us feedback on which tutorial you would like to see next!

We encourage questions and dicussions: feel free to ask anything on our forums or on our 3Dflow Academy Facebook Group

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We designed 3DF Zephyr to be a user friendly and easy to use powerful tool. You can get up & running in few minutes and create your first 3D reconstruction with few clicks.

We have an extensive documentation that can answer almost all questions as well as a forum where you can ask the developers directly for assistance or to give us feedback.

As we keep developing 3DF Zephyr, we are also publishing tutorials with tips & tricks of the trade. Feel free to give us feedback on which tutorial you would like to see next!

We encourage questions and dicussions: feel free to ask anything on our forums or on our 3Dflow Academy Facebook Group

# data[].attributes.attachment_link.description
We designed 3DF Zephyr to be a user friendly and easy to use powerful tool. You can get up & running in few minutes and create your first 3D reconstruction with few clicks. We have an extensive documentation that can answer almost all questions as well as a forum where you can ask the developers directly for assistance or to give us feedback.

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How to Add a Texture to an Object in Blender 2.8 Eevee

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How to Add a Texture to an Object in Blender 2.8 Eevee

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Today, I share the simple way you can add an image texture to your object in Blender 2.8 Eevee !

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How to Add a Texture to an Object in Blender 2.8 Eevee

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Mixamo is a 3D animation solution that can animate 3D characters for film and video games. Mixamo provides a vast collection of high-quality 3D characters as well as hundreds of character animations, Mixamo ensures that characters are ready-to-use with automatic human skeleton implementation. Characters and animations can be exported in multiple formats to Unity, Unreal Engine, and Blender.

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Improvised old tv.

If you like my free models, subscribe, comment. It’s not difficult for you, but it’s nice for me.

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Improvised old tv. If you like my free models, subscribe, comment. It's not difficult for you, but it's nice for me. - TV - Download Free 3D model by shedmon (@shedmon) [ee802ee]

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rare sighting of psychedelic jellyfish in the midnight zone

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rare sighting of psychedelic jellyfish in the midnight zone

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drifting steadily across the deep pacific waters, the ever-elusive psychedelic jellyfish was finally caught on video by the monterey bay aquarium research institute (MBARI) during one of its ROV dives into the midnight zone of the monterey canyon. this incredibly rare footage caught by MBARI’s robotic submersibles gives us a detailed look at the jelly’s mesmerizing anatomy: thread-like and glowing tentacles float around a multi-colored body, displaying a generous palette of fluorescent hues.

its scientific name, crossota millsae, was coined in honor of ocean conservationist claudia mills, who dedicated her career to studying similar ocean creatures.

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designboom | architecture & design magazine

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rare sighting of psychedelic jellyfish in the midnight zone

drifting steadily across the deep pacific waters , the ever-elusive psychedelic jellyfish was finally caught on video by the monterey bay aquarium research institute (MBARI) during one of its ROV dives into the midnight zone of the monterey canyon. this incredibly rare footage caught by MBARI's robotic submersibles gives us a detailed look at the jelly's mesmerizing anatomy: thread-like and glowing tentacles float around a multi-colored body, displaying a generous palette of fluorescent hues.

its scientific name, crossota millsae , was coined in honor of ocean conservationist claudia mills, who dedicated her career to studying similar ocean creatures.

all images © MBARI

mapping out the ocean drifter's peculiar biology

MBARI first discovered the species back in 2018, but this latest sighting was ' one of the most striking. [it was] a wild sight in the midnight zone. the remarkable coloration of this jelly tipped off scientists that they had found a previously unknown species,' states the research team. that being said, here's what MBARI knows so far about the psychedelic jellyfish: it has a maximum diameter of 2.8 centimeters and a depth range of 1,000 to 4,000+ meters. in addition, scientists were able to successfully map out the biological differences between the male and female species.

the crossota millsae has thread-like and luminous tentacles

'unlike many jellies, we can see obvious differences between the males and females. the eggs in the female are large and globular, while the male gonads are shaped like sausages.the baby medusae stay attached under the mother's bell until they are ready to launch,' shares MBARI.

a multi-colored body that glows in the deep sea

MBARI was able to map out the main differences between the male and female species
project info:
common name: psychedelic jellyfish

scientific name: crossota millsae

sighting location: midnight zone, monterey canyon, pacific ocean

equipment: MBARI robotic submersibles

video by: MBARI

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watch a rare footage of the psychedelic jellyfish floating across the pacific ocean

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drifting steadily across the deep pacific waters , the ever-elusive psychedelic jellyfish was finally caught on video by the monterey bay aquarium research institute (MBARI) during one of its ROV dives into the midnight zone of the monterey canyon.

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How NASA’s 2022 lunar mission paves the way for humans’ return to the Moon

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How NASA’s 2022 lunar mission paves the way for humans’ return to the Moon

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On December 19 1972, astronauts Eugene Cernan, Harrison Schmitt, and Ronald Evans splashed down safely in the Pacific Ocean, ending the Apollo 17 lunar mission. They were the last people to travel beyond low-Earth orbit – typically defined as less than 1,000km above the Earth’s surface.

Some 49 years later, we are approaching the launch of NASA’s Artemis 1 lunar mission. Artemis is the latest in a long series of projects over many decades to attempt a human return to the Moon. It’s by far the closest one to being realized, with the earliest launch attempts currently scheduled for March 2022.

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On December 19 1972, astronauts Eugene Cernan, Harrison Schmitt, and Ronald Evans splashed down safely in the Pacific Ocean, ending the Apollo 17 lunar mission. They were the last people to travel beyond low-Earth orbit - typically defined as less than 1,000km above the Earth's surface.

Some 49 years later, we are approaching the launch of NASA's Artemis 1 lunar mission. Artemis is the latest in a long series of projects over many decades to attempt a human return to the Moon. It's by far the closest one to being realized, with the earliest launch attempts currently scheduled for March 2022.

Artemis 1 will not carry astronauts, but it will launch the first spacecraft capable of doing so on a return journey to lunar orbit in nearly 50 years. With the ultimate aim to establish a long-term human presence on and around the Moon, Artemis is the first in a series of increasingly complex deep space crewed missions slated for the coming years.

Artemis 1 consists of an Orion spacecraft which will be launched by the new space launch system - currently the world's most powerful operational rocket. Orion comprises the crew module, a conical capsule which can accommodate up to six astronauts for 21 days in deep space, and the European Service Module, containing Orion's main rocket engine.

The European Service Module generates electrical power with distinctive "x-wing" solar panels and carries stores of water, breathable air and fuel. It also controls the thermal environment inside the crew module, keeping astronauts, and electrical systems within safe temperature limits.

Two critical challenges

The two most difficult parts of any space mission are launch and landing. Let's look first at how Artemis 1 will launch.

The space launch system consists of an enormous liquid-fuelled core stage, powered by engines from the Space Shuttle era, and two powerful side-mounted solid-fuelled booster rockets, which together produce nearly nine million pounds of thrust at launch.

Atop the core stage is the interim cryogenic propulsion stage, a smaller liquid-fuelled engine which will push Orion out of Earth orbit and towards the Moon.

The Orion spacecraft is now attached to the space launch system at the Kennedy Space Centre in Florida for a series of pre-launch tests and rehearsals. This includes fuelling the space launch system and practicing rolling all the elements of the rocket out to the launch pad.

Orion can accommodate up to six astronauts for three weeks in deep space. European Space Agency

Although the space launch system has never been flown before, the Orion spacecraft has been tested in space once. This was also without astronauts, back in 2014. While this test flight traveled beyond low-Earth orbit successfully, it didn't go all the way to the Moon.

Objects returning to Earth from the Moon are traveling considerably faster when they encounter our atmosphere than objects falling from low-Earth orbit. This generates very hot temperatures. So one key objective for Artemis 1 is to ensure that the thermal protection on Orion can withstand this ferocious heat of reentry into the Earth's atmosphere.

On returning home, Orion will be traveling at 25,000 mph when it reaches the top of Earth's atmosphere and must withstand temperatures of 2,760℃. For comparison, a spacecraft returning to Earth from the International Space Station in low-Earth orbit is typically traveling at speeds of 17,000 mph and encounters temperatures of roughly 1,900℃.

What happens after takeoff?

Artemis 1 will launch from the Kennedy Space Centre into Earth orbit, whereupon the core stage of the space launch system will detach, and the interim cryogenic propulsion stage will ignite, sending Orion on its way to the Moon.

After a voyage lasting several days, Artemis 1 will swoop down to just 100km above the lunar surface, fire its onboard engines and enter a distant retrograde orbit around the Moon, which will carry it out to a maximum distance from Earth of some 430,000km. From such a distance the Earth would appear to an astronaut to be about the same size as the nail of your little finger held at arm's length.

This will be the greatest distance from Earth ever reached by a human-capable spacecraft. The current record holder is the 1970 Apollo 13 mission, which was forced to abort a Moon landing after an explosion in one of the spacecraft's oxygen tanks.

This image shows Artemis 1's distant retrograde lunar orbit to scale. Ian Whittaker, Author provided

During this period, engineers will test Orion's systems - such as its ability to retain air pressure and radiation levels inside the crew capsule. While Artemis 1 is primarily about ascertaining Orion's viability for future crewed missions, cameras at the ends of the European Service Module solar panels should provide breathtaking images of Orion in space, with the Earth and Moon as a backdrop.

After six days in lunar orbit, Orion will perform several more engine firings and another close lunar flyby, before beginning its voyage home. Exact timings of the flight will depend on when Artemis 1 is launched.

Numerous considerations for launch windows have to be made, such as ensuring that the Earth doesn't block sunlight from reaching the European Service Module's solar panels during the flights to and from the Moon and that reentry and splashdown occurs in daylight to aid in recovery of the spacecraft.

It's anticipated that some 26 days after launch, Orion will detach the European Service Module and then point the flat base of the conical crew compartment, clad in thermal protection, towards Earth for what will hopefully be a safe atmospheric reentry and parachute-assisted splashdown in the Pacific.

Much rides on the success of this mission. All being well, we can hope to see Artemis 2 - with astronauts - take off in the coming years.
Article by Gareth Dorrian, Post Doctoral Research Fellow in Space Science, University of Birmingham and Ian Whittaker, Senior Lecturer in Physics, Nottingham Trent University This article is republished from The Conversation under a Creative Commons license. Read the original article.

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How NASA's 2022 lunar mission paves the way for humans' return to the Moon

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On December 19 1972, astronauts Eugene Cernan, Harrison Schmitt, and Ronald Evans splashed down safely in the Pacific Ocean, ending the Apollo 17 lunar mission. They were the last people to travel beyond low-Earth orbit - typically defined as less than 1,000km above the Earth's surface.

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Beginners Blender 3D: Tutorial 9 - Working with 3D Text

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Beginners Blender 3D: Tutorial 9 - Working with 3D Text

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How to create simple 3D text and colour it using Blender 2.82.

1. In this tutorial, we’re going to look at how to create 3D text in Blender.
2. First off, open a new Blender project and delete the default cube by pressing ‘x’.
3. Add text to your project by pressing ‘Shift+A’ or using the ‘Add’ drop-down menu in the info panel at the top of the interface.
4. New text is always added as a flat 2 dimensional object at first.
5. Press ‘7’ and then ‘5’ on the number pad to view the text from top view orthographic.
6. Press Tab to enter edit mode on the text (ensuring that it is selected first.)
7. Use the delete or backspace key to remove the word ‘text’ and then type ‘3D Typography’ or any other words you would like to try out for your first test of Blender’s 3D type tools.
8. Press Tab again to get back to Object mode
9. The text is currently 2D. To make it 3D, we need to make some changes in the properties tab
10. The properties panel  always changes, depending on what object you have selected.
11. If you have a camera selected, the properties panel will show options specifically related to the camera. If you have a lamp selected, it will show options to change the lamp properties.
12. Likewise, when you have text selected, the properties panel gives you text property options.
13. Click on the ‘Text’ tab in the properties panel to start making changes
14. Under the ‘Geometry’ heading, increase the extrude slider to about 0.15 to create 3D text.
15. Increase the amount of ‘bevel’ or ‘offset’ to blend the edges of the text more smoothly.
16. Increase the ‘resolution’ to increase the quality and smoothness of the blending even more
17. Experiment with the ‘Depth’ slider to make the text look chunkier but be careful of letters overlapping on top of one another if you increase the depth too much.
18. Under the ‘font’ heading, click the folder icon and navigate to the font you wish to use on your computer’s hardrive. On a Mac, your fonts will usually be located under ‘System-Library-Fonts’. On a PC, they will usually be on your ‘C’ Drive under ‘Windows-Fonts’. You can download and use countless high quality fonts for free from www.dafont.com.
19. You can add and manipulate in Blender any font that you have installed on your computer.
20. Materials and colours can be added to text in the same way as other objects. For example, select your text and open the Materials tab. Change the colour to blue and the text is blue.
21. Under the ‘Paragraph’ heading, you have complete control over the typographic elements of your 3D text, such as adjusting the character spacing, the word spacing and the line spacing.
22. This has been a brief introduction to getting started with 3D typography in Blender.

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Beginners Blender 3D: Tutorial 9 - Working with 3D Text in Blender 2.82

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The plaque shows the origin of NASA's Pioneer spacecraft, several of which embarked for the outer solar system. Should it reach a distant solar system in a few 10,000 years, extraterrestrial life forms would get a glimpse of the probe's builders.

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When mysterious spacecrafts touch down across the globe, an elite team - lead by expert linguist Louise Banks (Amy Adams) - is brought together to investigate. As mankind teeters on the verge of global war, Banks and the team race against time for answers – and to find them, she will take a chance that could threaten her life, and quite possibly humanity.

Starring: Amy Adams, Jeremy Renner, Forest Whitaker

Director: Denis Villeneuve

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Arrival (2016) - Final Trailer - Paramount Pictures

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The Intersection of AI, Art, and Science.

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Discover More AI Inspiration

I Am AI

Dive into the world's greatest achievements in AI and discover what fuels the people behind them.

Higher Education and Research

Supercharge your research with the latest higher-education discounts on NVIDIA's state-of-the-art GPUs.

AI Podcast

Few things are more interesting than good conversation. And, right now, few things are more worthy of a good conversation than AI.

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Interact with AI research demos in real-time, be inspired by the AI Art Gallery, and learn more about AI extensions in Omniverse.

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Tonga Volcano Eruption One of the Biggest Ever Captured From Space

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Tonga Volcano Eruption One of the Biggest Ever Captured From Space

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An undersea volcano near the Pacific island nation of Tonga has erupted, sending an explosive shockwave by air and a tsunami by sea ripping across the Pacific Ocean. The eruption was captured in satellite images and is one of the most violent ever seen from space.

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An undersea volcano near the Pacific island nation of Tonga has erupted, sending an explosive shockwave by air and a tsunami by sea ripping across the Pacific Ocean. The eruption was captured in satellite images and is one of the most violent ever seen from space.

The Hunga Tonga-Hunga Haʻapai volcanic island is located about 19 miles (30km) south-southeast of Tonga, the Polynesian country of about 100,000 people in the southern Pacific Ocean and an archipelago of 169 islands, of which 36 are inhabited.

A recent eruption of the volcano on December 20th, 2021, sent a large plume into the atmosphere and caused explosions to be heard from up to 106 miles (170km) away.

The volcano violently erupted again on Saturday, January 15th, 2022, in an explosion roughly seven times more powerful than the one last month. Ash, steam, and gas were sent high into the atmosphere in a mushroom cloud, and tsunami warnings were issued by nations in the path of the propagating wave. The United States issued warnings for Hawaii, Alaska, and the Pacific coast.

One of the Biggest Eruptions Ever Captured From Space

The 2022 eruption of Hunga Tonga is one of the biggest volcanic eruptions ever captured from space by satellite cameras.

Two satellites that photographed the explosion were the GOES-West, a US environmental satellite run by the National Oceanic and Atmospheric Administration (NOAA), and Himawari 8, a Japanese weather satellite operated by the Japan Meteorological Agency.

A full-planet view of the eruption shows the size of the event with Australia for scale.

Videos from the Ground of the Eruption and Aftermath

In addition to satellite images, videos captured from the ground show both the intense shockwave that rippled through surrounding areas as well as the tsunami that followed shortly afterward.

The blast could be heard from Fiji, which is located over 474 miles (760km) away from Tonga:

Tonga Volcano eruption heard from Lakeba, Fiji 😢🇹🇴 #TongaVolcano pic.twitter.com/qc9ISL25QX

- Portia Dugu (@portiajessene) January 15, 2022

The tsunami sent people running for higher ground in Tonga, including in the capital city of Nuku'alofa, and surrounding islands.

Dr. Faka'iloatonga Taumoefolau, Project Coordinator for the Tonga Parliament Buildings Project, Tweeted a video of a tsunami sweeping onto the island:

Stay safe everyone 🇹🇴 pic.twitter.com/OhrrxJmXAW

- Dr Faka'iloatonga Taumoefolau (@sakakimoana) January 15, 2022

"Can literally hear the volcano eruption, sounds pretty violent," Taumoefolau writes. "Raining ash and tiny pebbles, darkness blanketing the sky."

Tsunami videos out of Tonga 🇹🇴 this afternoon following the Volcano Eruption. pic.twitter.com/JTIcEdbpGe

- Jese Tuisinu (@JTuisinu) January 15, 2022

The History of the Hunga Tonga-Hunga Ha'apai Volcano

The Hunga Tonga-Hunga Ha'apai in Tonga had been known to be active over the past century, occasionally spewing ash, smoke, steam, and pumice into the sky.

"Very little is known about the evolution of this volcano," writes the Smithsonian Institute's Global Volcanism Program (GVP). "The earliest recorded observation of an eruption was in 1912, followed by 1937, and then 1988, 2009, and 2014-15. Those eruptions have all been small, but with so few events there's no good understanding of activity style."

Over the years, the smaller eruptions have served to enlarge and alter the shapes of the islands.

"The eruption that began on 17 March 2009 had one vent on Hunga Ha'apai and another under water about 100m offshore," GVP writes. "Ejection of tephra filled the gap within a couple days, expanding the size of the island. After only 4 days the 2009 eruption was over, but had extended the island by 1 km, leaving steaming crater lakes. Pumice rafts were noted near the volcano, and discolored water as the loose material began eroding away.

"The next eruption was during 19 Dec 2014-28 Jan 2015. This longer period of activity was centered between the islands of Hunga Tonga and Hunga Ha-apai, and built a new island. Eventually there was so much material that the islands were all connected."

It remains to be seen how this latest massive eruption of the volcano changes its island.

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Tonga Volcano Eruption One of the Biggest Ever Captured From Space

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An undersea volcano near the Pacific island nation of Tonga has erupted, sending an explosive shockwave by air and a tsunami by sea ripping across the Pacific Ocean. The eruption was captured in satellite images and is one of the most violent ever seen from space.

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Art,fashion,design,technology etc from the atomic space age

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Art,fashion,design,technology etc from the atomic space age

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"The mystery of life isn't a problem to solve, but a reality to experience."

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Oscar nominee Denis Villeneuve (“Arrival,” “Blade Runner 2049”) directs Warner Bros. Pictures and Legendary Pictures’ “Dune,” the big-screen adaptation of Frank Herbert’s seminal bestseller of the same name.

A mythic and emotionally charged hero’s journey, “Dune” tells the story of Paul Atreides, a brilliant and gifted young man born into a great destiny beyond his understanding, who must travel to the most dangerous planet in the universe to ensure the future of his family and his people. As malevolent forces explode into conflict over the planet’s exclusive supply of the most precious resource in existence—a commodity capable of unlocking humanity’s greatest potential—only those who can conquer their fear will survive.

https://www.youtube.com/watch?v=8g18jFHCLXk

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How to Change the Color of an Object in Blender

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How to Change the Color of an Object in Blender

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Learn how to precisely, or visually, change the color of an object in Blender. Also learn why object color is not visible by default.

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How to Change the Color of an Object in Blender

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Moon – Free Font

Introducing to you a sans serif typeface. Introducing Moon Typeface! Moon designed by Jack Harvatt. Minimalistic and classy urban sans serif typeface with more than 240 characters. Perfect for gorgeous logos & titles, Moon Typeface will pair beautifully with many fonts and work well with whatever project you’re working on.

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Moon - Free Font

Introducing to you a sans serif typeface. Introducing Moon Typeface! Moon designed by Jack Harvatt. Minimalistic and classy urban sans serif typeface with more than 240 characters. Perfect for gorgeous logos & titles, Moon Typeface will pair beautifully with many fonts and work well with whatever project you're working on.

Thanks to Jack Harvatt. All free! for personal use, affordable commercial licenses available. EMAIL: [email protected] if you have any questions.

Leah Peker

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Introducing to you a sans serif typeface. Introducing Moon Typeface! Moon designed by Jack Harvatt. Minimalistic and classy urban sans serif typeface with more than 240 characters. Perfect for gorgeous logos & titles, Moon Typeface will pair beautifully with many fonts and work well with whatever project you're working on.

# data[].attributes.body
Introducing to you a sans serif typeface. Introducing Moon Typeface! Moon designed by Jack Harvatt. Minimalistic and classy urban sans serif typeface with more than 240 characters. Perfect for gorgeous logos & titles, Moon Typeface will pair beautifully with many fonts and work well with whatever project you’re working on.

# data[].attributes.attachment_link.readable_text
Introducing to you a sans serif typeface. Introducing Moon Typeface! Moon designed by Jack Harvatt. Minimalistic and classy urban sans serif typeface with more than 240 characters. Perfect for gorgeous logos & titles, Moon Typeface will pair beautifully with many fonts and work well with whatever project you're working on.

Moon Typeface

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Introducing to you a sans serif typeface. Introducing Moon Typeface! Moon designed by Jack Harvatt. Minimalistic and classy urban sans serif typeface with more than 240 characters. Perfect for gorgeous logos & titles, Moon Typeface will pair beautifully with many fonts and work well with whatever project you're working on.

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xplore HTML5 games tagged moon on itch.io

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xplore HTML5 games tagged moon on itch.io

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Find HTML5 games tagged moon like The Sun And Moon, Bug on the moon 🌘🐛, Lunar Phases Simulator, Moonwitch Garden, Lunar Terror on itch.io, the indie game hosting marketplace.

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Part of the Lunar Trails art project.

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Interstellar - Trailer - Official Warner Bros. UK

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Interstellar - Trailer - Official Warner Bros. UK

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nterstellar Medley - The Best Of The Interstellar Soundtrack / Hans Zimmer: https://www.youtube.com/watch?v=iBfk37Fa3H0

Interstellar Official Soundtrack | Full Album – Hans Zimmer | WaterTower: https://www.youtube.com/watch?v=YF1eYbfbH5k

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Interstellar - Trailer - Official Warner Bros. UK

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AT2Travel To The Moon in 360° (with David Bowie)

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AT2Travel To The Moon in 360° (with David Bowie)

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Explore the view of a moon-bound hiker by clicking and dragging, or by moving around your mobile device.

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Travel To The Moon in 360° (with David Bowie)

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David Bowie – Space Oddity (Official Video)

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David Bowie – Space Oddity (Official Video)

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Official video for Space Oddity by David Bowie.

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David Bowie - Space Oddity (Official Video)

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AT2Moon Farming Demo - Steam Next Fest Trailer

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AT2Moon Farming Demo - Steam Next Fest Trailer

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https://store.steampowered.com/app/13... - Play Moon Farming Demo during Steam Next Fest! Developed by SimulaM

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Moon Farming Demo - Steam Next Fest Trailer

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The moon has many advantages over Mars when it comes to hosting humans.

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Despite the popular sentiment that Mars is the right world to terraform within our solar system, there may be an even better option closer to home: the Moon.

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No matter how advanced our civilization here on Earth becomes, there's a sobering fact we have no choice but to reckon with: Earth's resources are finite. That not only includes the resources we typically think of, like minerals, clean water, and breathable air, but also something even more fundamental and restrictive: land area. No matter how thoroughly we develop, there's only a finite amount of continental land area to inhabit on our planet.

While "floating cities" on the seas and oceans may someday become a possibility, the finite surface area of planet Earth ensures that, beyond a certain point, we'll need to leave our home planet if we want our civilization to continue to grow. Although many of us have dreamed of living on another world, we have yet to find even a hint of life on a world beyond Earth, much less a fully inhabited planet or one habitable by humans. If we want a world to be suitable for us to live on, it looks like our only option will be to transform a presently uninhabitable planet into one that humans can survive on - a process called terraforming. Despite the popular sentiment that Mars is the right world to terraform within our solar system, there may be an even better option closer to home: the Moon. Here's the science of why.

Challenges on Mars

At first glance, it might appear that Mars is much better suited for terraforming than the Moon. After all, Mars already has large quantities of water on it: in both the solid and gaseous phases. Mars had a past where liquid water was rife on the surface, and probably spent more than the first billion years of its existence with oceans and rivers throughout its surface. Mars is larger and more massive than the Moon; it has a higher gravitational acceleration than the Moon does at its surface; and its atmosphere, while thin, is rich in carbon dioxide.

Despite the popular sentiment that Mars is the right world to terraform within our solar system, there may be an even better option closer to home: the Moon.

But Mars also faces issues that the Moon doesn't. For one, Mars is farther from the Sun, meaning that we receive less energy from the Sun on every square meter of area. For another, Mars's atmosphere is a tremendous hazard, with high winds, routine sandstorms, and terrain that changes as readily as sand dunes do on Earth. Mars, having no protective magnetic field like Earth does, is also subjected to bombardment by solar wind particles. If anyone living on the surface didn't want to be given a lethal dose of radiation on timescales far, far less than a human lifetime, they would have to move underground: a possibility afforded only by the copious existence of enormous lava tubes on Mars.

None of these are insurmountable obstacles, of course; with a large enough investment of resources, practically anything is possible. But the more resources you have to bring with you - both to survive and thrive in the new environment and also to protect you from the harmful effects of all that surrounds you - the more difficult this task becomes. On Mars, we have to consider many factors that work against us.

The Martian soil is very different from Earth's, with silicon dioxide joined by highly oxidized metals: ferric oxide, aluminum oxide, calcium oxide, and sulfur oxide.

The Martian atmosphere presents a major obstacle to safely and precisely landing on the surface, and also hinders any attempts to return contents (or people) back to Earth.

Mars is a very great distance away from Earth; at the speed of light, one-way communications take anywhere from 7 to 22 minutes.

Mars is very remote as far as the delivery of resources goes; it can take months to over a year to deliver a payload from Earth to Mars, depending on the configuration of the planets at any particular moment in time.

Advantages on the Moon

By contrast, the Moon is a much more favorable environment by many metrics. A one-way journey to the Moon takes mere days, the same as it did in the Apollo era. Messages get exchanged very quickly between the Earth and the Moon, with a one-way light-travel-time of only about 1.25 seconds. An observer on the near side of the Moon - the side that always faces us - would be in constant contact with Earth's infrastructure, whereas any other world, including Mars, would need an orbital array to enable communications when Earth is invisible from that world's surface.

An observer on the near side of the Moon would be in constant contact with Earth's infrastructure, whereas any other world, including Mars, would need an orbital array to enable communications.

The Moon offers many benefits that Mars simply doesn't have, even considering that:

There are comparably large temperature swings on both worlds.

The surface gravity on both worlds is very low (with Mars's gravity about a third and the Moon's gravity about a sixth of Earth's).

Someone living on the Moon would have to contend with days and nights that are ~2 weeks long apiece

An observer on the Moon's near side would always observe a "full Earth" in their sky, day or night.

In many ways, these conveniences make the Moon our top candidate for our first terraforming location. In terms of radiation, the Moon has Mars beat. Sure, the Moon and Mars both have dead cores, and surface magnetic fields that vary incoherently over the surface of those worlds. Offering negligible protection compared to Earth's magnetosphere, these worlds themselves do little to shield any surface dwellers from the particles and radiation emitted by the Sun.

You might think that being closer to the Sun, the Moon would have it worse than Mars. You might realize that the Moon lies outside of the Van Allen Belts that surround Earth, meaning that our planet provides negligible protection from that effect. All of that is true.

But in 2007, a detailed analysis demonstrated that Earth's magnetic field does a remarkable job of shielding the Moon from the solar wind, significantly reducing the effects of radiation that a surface-dweller would receive. Additionally, the Moon picks up a positive charge during the day, slowing down and reducing the harmful effects of protons and other positively charged ions. In terms of radiation safety, the Moon has Mars beat.

On the Moon, solar power is a tremendous asset, as there's no atmosphere, no cloud cover, and no absorption of radiation that occurs on the way down.

In terms of infrastructure and accessibility, it's really no contest. The Moon is closer, always has a view of Earth, can exchange signals and deliverables hundreds of times more quickly than can be exchanged between Earth and Mars, and is easier to land on and take off from. Certain infrastructure could be easily shared between the Earth and the Moon, such as the internet, whereas Mars would likely, due to its remote nature, need its own standalone infrastructure.

But perhaps the biggest benefit, as anyone well-versed in real estate will tell you, is location. On the Moon, solar power is a tremendous asset, as there's no atmosphere, no cloud cover, and no absorption of radiation that occurs on the way down. You can set up a solar panel on the surface and receive the same amount of incident radiation you'd receive from an orbiter, and would only need to clean dust-like particles off of the panels every few decades. (Remember, dusty solar panels are what eventually killed both NASA's Spirit and Opportunity rovers!) Meanwhile, the incident flux on Mars is just 43% of what it is on the Moon, and that's at the top of the Martian atmosphere. In terms of the "bang for your buck" that you get from the Sun, the Moon is more than twice as efficient.

The lunar regolith

But by far the best asset on the Moon is something you might not think of as an asset at all: the lunar regolith, or the dusty outer layer of soil found on the Moon. Mars has terrain that's varied in terms of composition, elevation, and dustiness versus compactness; many have likened it to the fresh volcanic, basaltic soils found in Hawaii. However, the material found on the Moon isn't just similar to Earth; it is the Earth.

Part of the reason that we know the Moon and Earth formed from the same ancient event - an early collision that kicked up debris, not a circumplanetary disk around the Earth - is because we've brought back samples from the Moon and analyzed them in laboratories here on Earth. In terms of the elements that both worlds are made out of, the chemical compositions of the compounds we find, and the isotope ratios of the materials present, the Moon and the Earth have a common history. With the exception of the biological components found in Earth's topsoil, the composition of the Moon's regolith is identical to the composition of Earth's crust.

If the material that's present on the Moon is not just similar, but identical to the material we have on Earth, that makes the prospect of terraforming the Moon a much easier task than we might have considered otherwise. Yes, there's no air, no atmosphere, and no easy source of liquid water on the surface. But if we bring:

a self-enclosed structure

the air necessary to fill it

the bacteria needed to properly enrich the soil

Simply crushing lunar rocks to make soil will be sufficient to begin the process of lunar agriculture. There's even a chance that we wouldn't have to bring our own water, as the permanently shadowed craters on the Moon are known to contain large amounts of frozen water: like a dirty, slushy snow-cone. In 2008, researchers went to test out the suitability of using lunar soil to grow terrestrial plants by testing out marigolds. When bacteria were added, the resulting plants were entirely healthy.

Then, in 2019, China's Chang'e-4 spacecraft, which landed on the far side of the Moon, ran an experiment involving a small, 2.6 kilogram biosphere. Inside a series of seeds, eggs, and dormant, single-celled organisms were aboard. During the lunar day, which lasts 14 Earth days, a cotton plant grew from seed: the first time ever that a seed sprouted on the Moon. Two leaves sprouted, and it's suspected that the plant only died when lunar night fell: when temperatures can drop to as low as -190 °C.

If we ever hope to become a multi-planet species, there will be many lessons to learn, many obstacles to encounter and overcome, and many small steps to take before we're truly ready for the big prize: of becoming an interstellar civilization.

The successes of these experiments, combined with the known composition, location, and other properties of the Moon, make a strong case for it to be the first world beyond Earth that we attempt to build an extraterrestrial civilization on. If we ever hope to become a multi-planet species, there will be many lessons to learn, many obstacles to encounter and overcome, and many small steps to take before we're truly ready for the big prize: of becoming an interstellar civilization. Even though the space age only began in 1957 - less than a single human lifetime ago - the largest obstacle to terraforming is the investment of resources. On the Moon, with no deleterious environmental factors, we have the luxury of going "one dome at a time."

Step-by-step instructions

If our goal is to terraform the Moon, then, we now have a blueprint for how to do it:

build an airtight dome

fill it with breathable air

recover the water we need from a lunar crater

bring the biota necessary to sustain life with us

By following these steps, we could create our first long-term home for humanity beyond the confines of planet Earth. It could be built on the Moon's near side, in constant communication with Earth.

As long as we have sufficient battery power to sustain, heat, and possibly illuminate the environment during the long lunar nights, the first human extraterrestrial civilization is well within the realm of reality. Rather than attempt to terraform an entire planet, going to the Moon would give us the luxury of terraforming only the area of interest, a little bit at a time, while we learn valuable lessons that could potentially be applied worldwide. For each world that's out there, we only get one chance to do things properly. When it comes to the question of terraforming, we'd be mighty fools not to go after the low-hanging fruit first.

This piece was originally published on our sister site, Big Think. Read the original article here.

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No matter how advanced our civilization here on Earth becomes, there's a sobering fact we have no choice but to reckon with: Earth's resources are finite. That not only includes the resources we typically think of, like minerals, clean water, and breathable air, but also something even more fundamental and restrictive: land area.

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Listen to Audio From Perseverance

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You've heard recordings from the rover - now try this interactive and listen to how sounds from Earth would change on Mars. You can even record your own greeting and hear how you'd sound on Mars.

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You've heard recordings from the rover - now try this interactive and listen to how sounds from Earth would change on Mars. You can even record your own greeting and hear how you'd sound on Mars.

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Provided to YouTube by Ingrooves
Welcome to Lunar Industries · Clint Mansell
Moon
℗ 2009 Black Records
Released on: 2009-07-20
Composer, Writer: Clint Mansell

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Everyone Can Make 3D Animations Easily Now! [Monster Mash]

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Everyone Can Make 3D Animations Easily Now! [Monster Mash]

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This way of 3D model animation may be the start of a new 3D animation study. I was thinking something like studying character motions without requiring the knowledge of modeling or rigging can be really beneficial for people to learn fluent motions in art, and can be developed into a really helpful tool.

Monster Mash: A Single-View Approach to Casual 3D Modeling and Animation

[Project Page] https://dcgi.fel.cvut.cz/home/sykorad/monster_mash
[Web Demo] https://monstermash.zone
[Paper] https://dcgi.fel.cvut.cz/home/sykorad/Dvoroznak20-SA.pdf

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Everyone Can Make 3D Animations Easily Now! [Monster Mash]

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The Usborne Book of the Future - [PDF Document] - 1979

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A trip in time to the year 2000 and beyond. See the robots, machines and cities of the future, and then travel to the stars.

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Oct 27, 2014

Description:

A trip in time to the year 2000 and beyond. See the robots, machines and cities of the future, and then travel to the stars.

Transcript:

The Usborne Book of the Future

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The Usborne Book of the Future - [PDF Document]

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Oct 27, 2014 Description: A trip in time to the year 2000 and beyond. See the robots, machines and cities of the future, and then travel to the stars. Transcript: The Usborne Book of the Future

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Phases of moon explained using an orrery

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Phases of moon explained using an orrery

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As the moon rotates around the earth it travels through phases. The alignment of the sun, earth, and moon create the phases. I use an orrery to explain the moon's alignment during, new moon, waxing crescent, ist quarter, waxing gibbous, full moon, waning gibbous, last quarter, waning crescent, and back to new moon. The sidereal period is 27.3 and the moon is measured against stars. The synodic period is 29.5 days and the moon is measured against the sun. You may also enjoy Rotation and Revolution of the Earth with an Orrery https://youtu.be/-iztiJz7SJQ

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Phases of moon explained using an orrery

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Create ANY PLANET in After Effects With Space Scene Animation

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Create ANY PLANET in After Effects With Space Scene Animation

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Timecode:
0:00 Intro – Let's get 1000 Likes on this video!
0:39 Step 1 - Create a 3D Planet
3:21 Step 2 - Space Background
4:41 Become a Professional
5:35 Step 3 - Add Moons
8:03 Step 4 - Add Compositing
Effects
10:06 Step 5 - Optional Elements
11:00 Outro - Subscribe because... flat Earth?

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Create ANY PLANET in After Effects With Space Scene Animation

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These textures represent real planetary maps in equirectangular projection. You can use them in 3D rendering, or just open them in any image viewer and explore the surface of planets :)

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Textures in this pack are based on NASA elevation and imagery data. Colors and shades of the textures are tuned accordng to true-color photos made by Messenger, Viking and Cassini spacecrafts, and, of course, the Hubble Space Telescope.

NOTES:

Some parts of the planets remain to be mapped. These "gaps" are filled with fictional terrain that corresponds with the rest of the landscape.

The colors are slightly more saturated in order to highlite a unique nature for each object.

Earth textures are the most precise part of the pack: They are a result of merging and adjusting large amount of geo-data, space photos and images from NASA's Blue Marble (which might well be the 2nd best collection of Earth's textures available, so check it out)

True Earth colors (as seen from space) may vary depending on the camera used, duration of exposure, lightning conditions and atmospheric conditions. Textures in our pack are sharp, bright and colorful.

Seasonal variations affect Earth's flora and snow coverage. Earth in our textures has a lot of vegetation and less snow.

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Online 3D simulation of the Solar System and night sky in real time - the Sun, planets, dwarf planets, comets, stars and constellations

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An ultraviolet study of chemical theatrics under the microscope

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Kid Koala: Collapser (featuring Emilíana Torrini)

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Kid Koala: Collapser (featuring Emilíana Torrini)

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For his latest release, Kid Koala, aka Canadian DJ and musician Eric San, enlisted artist and chemical puppeteer Karina Bleau to orchestrate a neon-hued display to the sound of his track Collapser—which features vocals from Icelandic songstress Emilíana Torrini. Here, Bleau talks about the process behind the collaboration:

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{{ ($root.post && $root.post.id) ? $root.post.translations[$root.lang].socialTitle : $root.seo.pageTitle | translate | stripHtml }}

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China has built an artificial moon that simulates low-gravity conditions on Earth 

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China has built an artificial moon that simulates low-gravity conditions on Earth 

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It is said to be the first of its kind and could play a key role in the country’s future lunar missions

Landscape is supported by a magnetic field and was inspired by experiments to levitate a frog

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china university of mining and technology

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China has built an artificial moon that simulates low-gravity conditions

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Inspired by experiments to levitate a frog, it is said to be the first of its kind and could play a key role in the country's future lunar missions.

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Thomas Wright's An Original Theory or New Hypothesis of the Universe (1750) 

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Thomas Wright's An Original Theory or New Hypothesis of the Universe (1750) 

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An original theory or new hypothesis of the universe : founded upon the laws of nature, and solving by mathematical principles the general phaenomena of the visible creation, and particularly the Via Lactea : compris'd in nine familiar letters from the author to his friend, and illustrated with upwards of thirty graven and mezzotinto plates, by the best masters

“I own I can never look upon the Stars without wondering why the whole World does not become Astronomers”. So admits Thomas Wright in An Original Theory or New Hypothesis of the Universe (1750). Written in the form of nine letters to a nameless friend, the book puts forwards “my Theory of the Universe, and the Ideas I have form’d of the known Creation.”

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This insight into the Via Lactea pre-dated Sir William Herschel and Caroline Herschel's work in astronomy by two decades, and was an acknowledged influence on Immanuel Kant's 1755 Universal natural history and theory of the heavens. It took Edwin Hubble's photographs in the 1920s to offer proof of the nature of the Milky Way, and the telescope named after him continues to expand our fields of knowledge by use of images.

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Thomas Wright's An Original Theory or New Hypothesis of the Universe (1750)

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This insight into the Via Lactea pre-dated Sir William Herschel and Caroline Herschel's work in astronomy by two decades, and was an acknowledged influence on Immanuel Kant's 1755 Universal natural history and theory of the heavens.

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Exo One is an exploration game that takes you outside of our solar system. Use a gravity based movement system to pilot an alien aircraft across alien landscapes. Lose yourself in the sounds and sights of other worlds.

https://store.steampowered.com/app/773370/Exo_One

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Exo One - Official Trailer | gamescom 2020

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What is the hidden meaning in the 2009 movie 'Moon'? Moon is an interesting little movie and when I read a theory on reddit I decided to rewatch it with this in mind. Hope y'all enjoy.

Moon 2009
Dir. Duncan Jones
Starring. Sam Rockwell, Kevin Spacey

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Astronaut Sam Bell has a quintessentially personal encounter toward the end of his three-year stint on the Moon, where he, working alongside his computer, GERTY, sends back to Earth parcels of a resource that has helped diminish our planet's power problems.
Director: Duncan Jones
Writers: Duncan Jones (story), Nathan Parker
Stars: Sam Rockwell, Kevin Spacey, Dominique McElligott

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🎥 MOON (2009) | Movie Trailer | Full HD | 1080p

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Our mission is to create, procure, research, distribute, and preserve art in public space.

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There are more artworks by dead men stored in museums than can be exhibited. What remains is the virtual, imaginary area, with it's almost infinite amount of room.

Instead of continuing the current trend of art as "temporary intervention", we use the space between the worlds as a self-determined, permanent and experimental playground, with the goal to reawaken imagination and collaboration in public space.

We challenge the status quo and redefine the concept of the museum, rethinking the questions:

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There are more artworks by dead men stored in museums than can be exhibited. What remains is the virtual, imaginary area, with it's almost infinite amount of room. Instead of continuing the current trend of art as "temporary intervention", we use the space between the worlds as a self-determined, permanent and experimental playground, with the goal to reawaken imagination and collaboration in public space.

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Tutorial: Convert A Mesh to a Point Cloud in CloudCompare | 3D Forensics CSI

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Tutorial: Convert A Mesh to a Point Cloud in CloudCompare | 3D Forensics CSI

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There are a couple of good reasons to convert a mesh to a point cloud. The first is performance. When you have a massive mesh made up of a lot of small patches and you wish to don't wish to reduce density of the mesh, you will find a lot of 3D programs will choke on meshes with several million faces. However, many programs nowadays are better suited to working with point clouds with millions of points and this is a way of visualizing large projects.

A second benefit is that the original point cloud may not be very crisp in terms of colors (especially when created from photogrammetry). Thus, creating a dense mesh first and then creating textures allows you get crisp colors that were better than the original point cloud.

CloudCompare

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Tutorial: Convert A Mesh to a Point Cloud in CloudCompare | 3D Forensics CSI

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In this video I show you how to use the incredible Point Cloud Visualizer: https://github.com/uhlik/bpy#point-cloud-visualizer-for-blender-280

You can find the example pointcloud here: https://skfb.ly/6PMSX

The pointcloud is made using Reality Capture, but heads up there is a new version of Meshroom available which will also make you a nice pointcloud and it's free and open source: https://alicevision.org/#meshroom

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Gravity - Official Main Trailer [2K HD]

ABOUT
Academy Award® winners Sandra Bullock (The Blind Side) and George Clooney (Up in the Air, Syriana) star in this heart-pounding thriller written, directed and produced by Oscar® nominee Alfonso Cuarón (Children of Men) and set in the infinite and unforgiving realm of deep space. Bullock plays a brilliant medical engineer on her first shuttle mission, with Clooney as a veteran astronaut in command of his last flight before retiring. But on a seemingly routine spacewalk, disaster strikes. The shuttle is destroyed, leaving the two completely alone -- tethered to nothing but each other and spiraling out into the blackness. The deafening silence tells them they have lost any link to Earth...and any chance for rescue. As fear turns to panic, every gulp of air eats away at what little oxygen is left. But the only way home may be to go further out into the terrifying expanse of space.​

https://www.warnerbros.com/movies/gravity

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The Dark Knight (2008) Official Trailer #1 - Christopher Nolan Movie HD

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Welcome to Hubs

Hubs is a virtual collaboration platform that runs in your browser. With Hubs you can create your own 3D spaces with a single click. Invite others to join using a URL. No installation or app store required.

Spoke by Mozilla
Create 3D social scenes for Hubs

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Whimsical Better Dominion | Hubs by Mozilla

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Join others in VR at Whimsical Better Dominion, right in your browser.

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Man with a Movie Camera 1929 Dziga Vertov

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Man with a Movie Camera 1929 Dziga Vertov

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MAN WITH A MOVIE CAMERA (Masters of Cinema) Clip

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Man with a Movie Camera 1929 Dziga Vertov

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“Zero is silence. Zero is the beginning.  Zero is round. Zero spins. Zero is the moon. The sun is Zero. Zero is white. The desert Zero. The sky above Zero. The night”.

Excerpt from a 1963 poem by Heinz Mack, Otto Piene, and Günther Uecker

Key artists: Heinz Mack, Otto Piene, Günther Uecker, Yves Klein, Piero Manzoni, Lucio Fontana, Yayoi Kusama, Jean Tinguely

https://zerofoundation.de

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By Shira Wolfe

"Zero is silence. Zero is the beginning. Zero is round. Zero spins. Zero is the moon. The sun is Zero. Zero is white. The desert Zero. The sky above Zero. The night".
Excerpt from a 1963 poem by Heinz Mack, Otto Piene, and Günther Uecker

"Immediate experience comes only when we ourselves participate. To obtain widest participation, the production of art must cease to be limited to the individual, as it has been until now."
Günther Uecker

The Zero Group's Exhibitions

Since there was no gallery system in postwar Germany to support avant-garde artists, the artists had to create many exhibitions themselves. Mack and Piene therefore developed their own means to promote and display their art. They would host one-evening pop-up exhibitions. The first one was held at Piene's studio in Düsseldorf on April 11 1957. After the fourth pop-up exhibition, a meeting was held and the name Zero was chosen for the group.

Piene explained the choice of name as follows: "From the beginning, we looked upon the term not as an expression of nihilism-or a Dada-like gag, but as a word indicating a zone of silence and of pure possibilities for a new beginning as at the count-down when rockets take off-zero if the incommensurable zone in which the old state turns into the new."

Exhibitions were often held at Galerie Schmela in Düsseldorf, one of the three new galleries at the time, and three ZERO magazine catalogues were published. ZERO 1 (April 1958) contained artists' writings on colour, colour as light articulation, and monochrome painting. ZERO 2 (October 1958) was published on the occasion of the eighth evening exhibition and focused on the relationship between nature, man and technology. ZERO 3 (July 5, 1961) was published on the occasion of the exhibition "Edition, Exposition, Demonstration" at Galerie Schemla.

Institutional Attention

Zero began to receive institutional attention towards the end of the '50s. In 1959, the important exhibition "Vision in Motion - Motion in Vision" was held in Antwerp. In 1962, the Stedelijk Museum in Amsterdam staged the first museum presentation of Zero, and in 1965, the more comprehensive survey Nul followed. In 1964, Mack, Piene and Uecker created an installation for dOCUMENTA 3 entitled Lichtraum (Hommage à Fontana). Various automated sculptural objects were equipped with timers to turn on, move and light up in a choreographed display, and at one point a projection of a Fontana painting appeared on the wall.

Yves Klein, IKB 79, 1959. Courtesy Tate

Key areas of artistic exploration

For the artists of the Zero Group, key areas of exploration were colour (mostly monochrome), light, motion, space and seriality. The artists favoured monochrome colours for various reasons: for one thing, it was a departure from the expressionistic and abstract works by postwar movements like Art Informel. Secondly, they used colour to explore light, emphasising the surfaces, highlights and shadows of works. Light was explored through, for example, Mack's 1950's Licht-Reliefs (light reliefs), Lichtkuben (light cubes), and Lichtstelen (light pillars). The Zero artists used seriality as a way of organising space and suggesting limitlessness, and the movement took the forefront in the works of artists like Tinguely.

The end of Zero

In 1966, the group separated and the artists continued on separate ways. They ended their collaboration with one final joint exhibition at the Städtische Kunstsammlungen in Bonn, alongside an evening Zero festival. At this event, a wagon was set on fire and rolled from the train station into the river Rhine, where it sank to the bottom of the river. Mack described this event as "an ending that I found just as liberating as the beginning of Zero".

Relevant sources to learn more

Tate
Stedelijk Museum
Read more about Art Movements and Styles Throughout History here
In Praise Of The Ellipse: A Tribute to Turi Simeti

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Art Movement: Zero Group - Artland Magazine

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By Shira Wolfe "Zero is silence. Zero is the beginning. Zero is round. Zero spins. Zero is the moon. The sun is Zero. Zero is white. The desert Zero. The sky above Zero. The night". Excerpt from a 1963 poem by Heinz Mack, Otto Piene, and Günther Uecker "Immediate experience comes only when we ourselves participate.

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Downloadable 3D objects on Sketchfab

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Use Sketchfab to publish, share and embed interactive 3D files. Discover and download thousands of 3D models from games, cultural heritage, architecture, design and more.

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Blade Runner (1982), 2001: A Space Odyssey (1968), Blade Runner 2049 (2017), Dune (1984), Minority Report (2002), Sunshine (2007), The Fifth Element (1997), Beyond the Black Rainbow (2010), Alien: Covenant (2017), Æon Flux (2005), Under the Skin (2013), I Origins (2014)

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20 songs about the moon: the soundtrack to 50 years of the moon landing

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20 songs about the moon: the soundtrack to 50 years of the moon landing

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20 songs about the moon: the soundtrack to 50 years of the moon landing

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“A small step for a person, but a giant leap for mankind!”: When Neil Armstrong and Buzz Aldrin were the first people to set foot on the moon on July 21, 1969, they knew that they would go down in history - and not just in science, but also in pop culture. For the anniversary of the moon landing, we have selected 20 suitable songs.

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„Ein kleiner Schritt für einen Menschen, aber ein riesiger Sprung für die Menschheit!": Als Neil Armstrong und Buzz Aldrin am 21. Juli 1969 als erste Menschen den Mond betreten, wissen sie, dass sie damit in die Geschichte eingehen - nicht nur in der Wissenschaft, sondern auch in der Popkultur. Zum Jubiläum der Mondlandung haben wir 20 passende Songs ausgesucht.

Als das Ereignis im Juli 1969 stattfindet, sendet ABC eine Sondersendung von stolzen 30 Stunden Laufzeit. Dafür gibt der US-Fernsehsender unter anderem einen Song bei der Jazzlegende Duke Ellington in Auftrag. Der schreibt daraufhin ein Stück für Piano, Bass und Schlagzeug - und singt zum ersten Mal selbst.

Auch in Großbritannien wird die Mondlandung übertragen, und zwar von der BBC. Den Soundtrack liefern: Pink Floyd. In einem Studio jammen sie live zur Landung, wobei der Song Moonhead entsteht. „Es war fantastisch, sich vorzustellen, dass wir dieses Stück Musik erschaffen, während die Astronauten auf dem Mond stehen", schreibt David Gilmour in einem Artikel für The Guardian . Moonhead erscheint nie offiziell, dafür auf zahlreichen Bootlegs.

David Bowie - Space Oddity

Nur wenige Monate nach dem Ereignis veröffentlicht David Bowie sein gleichnamiges Album - das zweite in seiner Diskografie. Mit Space Oddity enthält die Scheibe einen der wohl bekanntesten Weltraumsongs überhaupt. Die Inspiration für das Stück liefert der Film 2001: A Space Odyssey (1968) von Stanley Kubrick; 2013 erklingt Space Oddity zum ersten Mal im Weltraum .

Buchstäblich bis zu ihrem Tod arbeitet Janis Joplin an ihrem letzten Album Pearl . Mercedes Benz singt sie am 1. Oktober 1970 ein, drei Tage später stirbt sie im Alter von nur 27 Jahren. Mit Half Moon enthält die Platte einen ihrer gesanglich stärksten Songs.

Das legendäre Pink-Floyd-Album The Dark Side Of The Moon handelt zwar nicht tatsächlich vom Mond, sondern von Themen wie Habgier, Zeit, Tod und Geisteskrankheit; dennoch schaffen die britischen Psychedelic-Rocker auf ihrer achten Studioplatte akustische Sphären, die dem Titel der Scheibe ohne Weiteres gerecht werden. Das zweiminütige, von Roger Waters gesungene Stück Eclipse (übersetzt: Verfinsterung) schließt das Meisterwerk ab.

Okay, genau genommen geht es hier nur indirekt um den Mond und vielmehr um Werwölfe. Schwer zu entscheiden, was cooler ist. Auf die Liste der passenden Songs zum 50-jährigen Jubiläum gehört Bark At The Moon aber ohne Frage, denn seien wir mal ehrlich: Ozzy kommt auch irgendwie vom Mond .

Billie Jean an sich hat mit dem Mond zwar so gar nichts zu tun, wohl aber der Tanz dazu: Am 16. Mai 1983 führt „King Of Pop" Michael Jackson zum ersten Mal den legendären „Moonwalk" auf , wenn auch zunächst in Form eines leicht abgewandelten „Backslide". Der Unterschied: Der „Moonwalk" verläuft im Kreis, der „Backslide" auf einer gerade Linie. In den Jahren danach entwickeln sich beide Schritte zu Spezialitäten von Jackson.

„Maybe you'll be president, but know right from wrong. Or in the flood you'll build an ark and sail us to the moon" singt Thom Yorke hier - eine Botschaft an seinen damals recht frisch geborenen Sohn Noah, dass er alles erreichen kann, was er nur möchte.

Ob Bowie, Pink Floyd oder die Beastie Boys: Der Weltraum und die Mondlandung haben auch 50 Jahre später nichts von ihrer Faszination eingebüßt. Wir sprechen uns in einigen Jahrzehnten noch einmal - dann mit 20 Songs zur Marslandung.

Zeitsprung: Ab 8.7.1947 inspiriert der UFO-Absturz von Roswell unzählige Songwriter.

Anekdoten, Jubiläen und wilde Geschichten: Was an diesem Tag in der Welt der Musik passiert ist, lest ihr täglich in unserem Zeitsprung. Heute: 12.1.1959.

Zu Beginn seiner Karriere arbeitet Berry Gordy als Songschreiber. Als er realisiert, dass es auf der veröffentlichenden Seite des Musikgeschäfts deutlich mehr zu verdienen gibt, schmiedet er einen Plan. Im Januar 1959 leiht er sich 800 US-Dollar von seiner Familie und gründet Tamla Records - den direkten Vorgänger der Motown Record Corporation.

Hört hier in die größten Motown-Hits rein:

Klickt auf „Listen" für das volle Programm.

Wer Soul hört, kennt auch Motown. So einfach ist das. Ob Diana Ross, Jackie Wilson, Stevie Wonder, die Jackson Five , Marvin Gaye, die Temptations, die Four Tops, Lionel Richie, Al Green oder Martha Reeves: Die Liste der Künstler, die das Label während der vergangenen Dekaden prägten, ist lang. Doch die Motown-Erfolgsgeschichte spielt sich nicht nur im Musikgeschäft ab, sondern auch in der Politik. So trägt die Plattenfirma während der Sechziger und Siebziger maßgeblich dazu bei, dass afroamerikanische Musiker in den USA stärker akzeptiert werden. Doch beginnen wir vorne...

Der Name des Labels spielt auf dessen Herkunft an. So kennt man Detroit vor allem als Dreh- und Angelpunkt der US-amerikanischen Autoindustrie. General Motors, Ford, Chrysler: Was in der Branche Rang und Namen hat, siedelt sich in der „motor town" oder zumindest in der direkten Umgebung an. Auch Volkswagen betreibt eine Niederlassung in Auburn Hills, einem Vorort der nordamerikanischen Metropole.

1959 erscheint mit Come To Me von Marv Johnson die erste Single des Labels. Der erste Hit gelingt kurz danach mit Money (That's What I Want) von Barrett Strong. Den ersten Motown-Plattenvertrag unterzeichnet die Gruppe The Matadors, die sich wenig später in The Miracles umbenennt. Vom R&B-Nummer-Eins-Hit Shop Around (1961) der Gruppe verkaufen Motown zum ersten Mal über eine Million Einheiten.

Die Plattenschmiede entwickelt sich zu einem waschechten Familienunternehmen. So beschäftigt Gordy seinen Vater, seine Brüder Robert und George sowie seine Schwester Esther. Auch seine spätere Frau Raynoma Liles arbeitet für das Label. William „Smokey" Robinson, seines Zeichens Sänger der Miracles, ernennt er zum stellvertretenden Geschäftsführer, was der ihm unter anderem damit dankt, dass er seine Kinder auf die Namen Tamla und Berry tauft.

Ebenfalls unter den Angestellten, zumindest von 1962 bis 1967: das Songwriting-Trio Brian Holland, Lamont Dozier und Eddie Holland. Die drei Autoren schreiben Hits wie Heat Wave (Martha And The Vandellas), Baby Love (The Supremes) und Stop! In The Name Of Love (The Supremes) und prägen Motown maßgeblich mit. Ab 1967 übernimmt Norman Whitfield den Job und produziert 1968 zum Beispiel den Marvin Gaye-Klassiker I Heard It Through The Grapewine . Von 1961 bis 1971 erscheinen ganze 110 Top Ten-Hits über die Labels der Motown Record Corporation, zu denen Motown, Tamla, Gordy, V.I.P., Soul, Workshop Jazz, Mel-o-dy und Rare Earth zählen.

1972 zieht die Plattenschmiede mit Sack und Pack nach Los Angeles um. Eine Niederlassung betreibt Motown dort schon vorher. Die Umsiedelung in eines der Medienzentren der USA bringt gewichtige Veränderungen mit sich. So gründet Gordy eine Filmfirma, die TV-Specials mit den Motown-Künstlern produziert. Wenig später lockert er die strengen Regeln des Labels und gewährt seinen Musikern mehr Freiheiten. So dürfen langjährige Schützlinge wie Marvin Gaye und Stevie Wonder erstmals eigenes Material schreiben.

Eine besondere Verantwortung übernimmt das Label bezüglich der Akzeptanz afroamerikanischer Musiker in den USA. „Mir war bis in die Sechziger hinein nicht klar, dass wir nicht nur Musik veröffentlichen, sondern Geschichte schreiben", erinnert sich Smokey Robinson. Erst später sei ihm bewusst geworden, dass Motown Brücken baue und rassistische Barrieren einreiße. Dafür geht das Label einen eigenwilligen Weg. So legt das Artist Development der Plattenschmiede großen Wert darauf, dass die Motown-Künstler ordentlich angezogen und frisiert sind. Stehen Fernsehauftritte an, entwickelt das Label Choreographien für die Musiker.

Afroamerikanische Interpreten gelten zu jener Zeit als verpönt, zumindest bei der weißen, nicht selten rassistischen Bevölkerung; die Unruhen gegen Ende der Sechziger stehen erst bevor. Motown sensibilisiert die Musiker dafür, dass sie eine Vorbildfunktion einnehmen. Um der schlechten Außenwahrnehmung schwarzer Künstler entgegenzuwirken, sollen sie sich bestenfalls verhalten wie Angehörige des britischen Königshauses. Viele der Musiker wachsen in Sozialbauten auf und stehen vor einer entsprechend großen Herausforderung, also hilft das Label mit Etikette- und Bekleidungstipps nach.

Ab Mitte der Achtziger läuft es für Motown nicht mehr so rund. Die Firma verliert Geld, also verkauft Gordy sein Baby für 61 Millionen US-Dollar an MCA Records. Später veräußert er auch die TV-Produktionsfirma Motown Productions. Es folgen unruhige Jahre unter fremder Führung, die zwar Künstler wie Boyz II Men und Johnny Gill hervorbringen, allerdings unter schwierigen Umständen. Immer wieder wird das Label verkauft und umstrukturiert. In manchen Jahren erscheint bloß ein einziges Album. Seit 2014 gehört Motown zu Capitol Records.

Über Jahre hinweg produziert Berry Gordy Hit um Hit, prägt die öffentliche Wahrnehmung afroamerikanischer Musik und stellt sukzessive eine der größten Plattenfirmen aller Zeiten auf die Beine. Bis heute bleiben Motown und Soul eng miteinander verbunden. Immer wieder hört man die Songs aus der legendären Plattenschmiede im Radio, in Filmen und natürlich auf Tonträgern. Am 12. Januar 1959 beginnt die Erfolgsgeschichte - mit gerade einmal 800 US-Dollar Startkapital.

Titelfoto: Kingkongphoto/Wiki Commons

Das könnte euch auch gefallen:

Zwei sind besser als Einer - Die größten Motown Duetts

Die musikalische DNA von James Brown

5 Wahrheiten über Diana Ross

Anekdoten, Jubiläen und wilde Geschichten: Was an diesem Tag in der Welt der Musik passiert ist, lest ihr täglich in unserem Zeitsprung. Heute: 10.1.1948.
von Christof Leim
Freunde geschmackvollen Jazzrocks kennen den Mann natürlich, und wer in den Siebzigern aufgepasst hat, sowieso. Heute wird Donald Fagen, Sänger und Keyboarder von Steely Dan, 70 Jahre alt.

Hört euch hier die besten Steely Dan-Songs an und lest weiter:

Ob wir uns dessen bewusst sind oder nicht: Songs von Steely Dan haben wir alle schon gehört. Nummern wie Reelin' In The Years , Do It Again , Bodhisattva , Rikki Don't Lose That Number und Bad Sneakers gehören alle seit Dekaden zum Standard im Erwachsenenradio. Es steckt eine Menge an musikalischer Kompetenz in den Stücken, trotzdem taugen sie als Soundtrack zu Cocktails und Entspannung erstaunlich gut. Softrock könnte man das Ganze nennen, oder eine intellektuelle Mischung aus Jazz, Rock und Pop mit ironischen und schrägen Texten. Auf jeden Fall haben Steely Dan einen Stil geprägt, mit ihrem Perfektionismus Dutzende von Mitmusikern in den Wahnsinn getrieben und dabei 40 Millionen Alben verkauft.

Wir wünschen Donald Fagen alles Gute zum Geburtstag und entspannen uns mit The Nightfly . Empfehlenswert! Krachmusik gibt's dann morgen wieder.

Zeitsprung: Am 12.4.1940 wird Jazz-Magier Herbie Hancock geboren.

Anekdoten, Jubiläen und wilde Geschichten: Was an diesem Tag in der Welt der Musik passiert ist, lest ihr täglich in unserem Zeitsprung. Heute: 9.1.1944.

Jimmy Page zählt zu den Ikonen des Classic Rock. Als Sessionmusiker erspielt er sich einen Namen, mit den Yardbirds und Led Zeppelin schreibt er Musikgeschichte. Am 9. Januar feiert der Rockstar seinen Geburtstag. Werfen wir einen Blick auf sein bewegtes Leben.

Hört hier in die bekanntesten Stücke von Led Zeppelin rein:

Klickt auf „Listen" für die vollständigen Songs.

Die Kindheit

Zur Welt kommt James Patrick Page am 9. Januar 1944 im Londoner Vorort Heston. Sein Vater arbeitet als Personalmanager, seine Mutter als Sekretärin. 1952 zieht die Familie zuerst nach Feltham um, anschließend nach Epsom, wo Page seiner ersten Gitarre über den Weg läuft - und zwar im neuen Haus seiner Eltern. Ob das Instrument dort bloß vergessen wurde, weiß der Brite bis heute nicht.

Angefixt von der Musik Elvis Presleys bringt Page sich das Gitarrenspiel selbst bei. Er hört vor allem Blues, aber auch Skiffle - ein Mix-Genre aus Jazz, Blues, Folk und Americana. „Im Grunde war das der Anfang", verrät er in einem Interview mit Musikjournalist Steven Rosen . „Eine Mischung aus Rock und Blues."

Im Jugendalter treten Page und sein eigenes Skiffle-Quartett in einer britischen Talent-Show auf. Als Moderator Huw Wheldon den jungen Jimmy nach dem Auftritt fragt, was er nach der Schule beruflich machen möchte, antwortet der Nachwuchsgitarrist, er wolle in die biologische Forschung, um ein Heilmittel für Krebs zu finden. Dass er sich später anders entscheidet, wissen wir.

Der Sessionmusiker

Zu Beginn der Sechziger Jahre entwickelt sich Page zu einem gefragten Sessiongitarristen, nicht zuletzt aufgrund seiner regelmäßigen Auftritte im Londoner Marquee Club. So spielt er nicht nur mit Neil Christian und Alexis Korners Blues Incorporated, sondern auch mit den Kinks, Tom Jones, den Rolling Stones, Jeff Beck und Eric Clapton. Für The Who übernimmt er die Rhythmusgitarre auf deren erster Single I Can't Explain. 1965 bringt er sogar eine Single unter eigenem Namen raus: She Just Satisfies . Darüber hinaus verewigt er sich auf Hitveröffentlichungen wie Tobacco Road von den Nashville Teens, As Tears Go By von Marianne Faithfull und Downtown von Petula Clark.

Immer wieder dabei: sein späterer Led Zep-Kollege John Paul Jones: „Jimmy hatte durch seine Arbeit mit Neil Christian und The Crusaders schon einen guten Ruf, als ich noch weniger professionell unterwegs war", erzählt der 2008 in einem Interview mit dem Uncut Magazine . „Mir wurde immer gesagt, dass ich mir diesen Typen unbedingt anhören muss. Das ist aber erst passiert, als wir zusammen gearbeitet haben." Mitte der Sechziger tritt Page den Yardbirds bei, aus denen 1968 Led Zeppelin hervorgehen. Der Sessionmusik bleibt er trotz eigener Karriere treu und spielt zum Beispiel das Intro für Joe Cockers Beatles-Cover With A Little Help From My Friends ein.

The Yardbirds/New Yardbirds

Bereits 1964 erhält Page das Angebot, seinen Freund Eric Clapton bei den Yardbirds zu ersetzen, lehnt aber aus Loyalität ab. Selbst als Clapton die Gruppe 1965 auf eigenen Wunsch verlässt, reißt sich Page nicht um das Engagement. Stattdessen bringt er seinen Kollegen Jeff Beck ins Gespräch. Am 16. Mai 1966 nehmen Schlagzeuger Keith Moon, Bassist John Paul Jones, Keyboarder Nicky Hopkins, Jeff Beck und Jimmy Page gemeinsam den Song Beck's Bolero auf. Die Erfahrung inspiriert Page dazu, eine Supergroup mit Beck, Moon und The-Who-Bassist John Entwistle zu gründen. Zu jener Zeit werfen Moon und Entwistle erstmals den Namen „Lead Zeppelin" in den Raum, weil sie befürchten, dass die Band abstürzen werde wie ein „Ballon aus Blei".

Einige Wochen später besucht Page ein Konzert der Yardbirds. Vor Ort erfährt er, dass Bassist Paul Samwell-Smith die Band verlässt. Der junge Gitarrist bietet an, die Rhythmusabteilung wieder zu vervollständigen, und die restlichen Musiker empfangen ihn mit offenen Armen. Als Chris Dreja der Gruppe beitritt, wechselt Page vom Bass zurück zu seinem Hauptinstrument. 1968 jedoch brechen die Yardbirds auseinander, doch Page möchte weitermachen. Er benennt die Gruppe in New Yardbirds um und rekrutiert drei neue Musiker : Robert Plant , John Bonham und John Paul Jones. Schnell erinnert sich Page an den Namensvorschlag von Moon und Entwistle, doch Led Zeppelin-Manager Peter Grant befürchtet, „Lead Zeppelin" könne missverstanden werden, weil das Wort „Lead" zwei Bedeutungen und vor allem Aussprachen hat. Stattdessen schlägt er vor, die Band schlicht Led Zeppelin zu nennen .

Led Zeppelin

In den folgenden Jahren gelingt Page, Plant, Bonham und Jones nichts anderes als die Definition des Classic Rock. Led Zeppelin begeistern Massen, füllen Stadien und verkaufen mehr als 300 Millionen Platten. Zu ihren Shows reisen die Briten im eigens gecharterten Luxusflugzeug. Die Gruppe legt den Grundstein für Hard Rock und Heavy Metal, nicht zuletzt wegen Pages Kompositionen und seines herausragenden Gitarrenspiels. Als Archetyp des Rockgitarristen gibt er mit seinen Riffs und Leads den Ton an; brillant und scheinbar mühelos orchestriert er Gitarrenstimmen und testet die Grenzen seines Instruments aus, sogar mit Hilfe eines Violinbogens.

Bei Kritikern kommen Led Zeppelin zunächst nicht gut an, doch die Band veröffentlicht über zehn Jahre hinweg acht bahnbrechende und wahnwitzig erfolgreiche Alben - angefangen mit Led Zeppelin (1969) und aufgehört mit In Through The Out Door (1979). Vor allem Led Zeppelin VI (1971) geht in die Rockgeschichte ein und gehört bis heute zu den unangefochtenen Klassikern des Genres. Die Rock And Roll Hall Of Fame attestiert der Gruppe einen genauso großen Einfluss auf die Siebziger, wie die Beatles Einfluss auf die Sechziger genommen haben. 1980 allerdings stirbt Schlagzeuger John Bonham - und die Musiker lösen die Gruppe auf.

Der Solokünstler

Nach der Schließung des Kapitels Led Zeppelin widmet sich Page anderen Projekten, kann sich aber nicht so recht von seinem Baby trennen. Er startet zwar die Bands The Firm und The Honeydrippers, veröffentlicht Soloalben mit Bandkollege Robert Plant, etwa Walking Into Clarksdale von 1988 und nimmt mit Whitesnake-Legende David Coverdale 1993 eine gemeinsame Platte auf. Vor allem aber kümmert er sich um die Nachlassverwaltung von Led Zeppelin, zum Beispiel indem er sämtliche Werke der Gruppe neu abmischt und remastert. Für eine Tour nach der gemeinsamen Reunion-Show im Jahr 2007 wäre Page durchaus zu haben gewesen, doch Sänger Plant zieht es zu jeder Zeit vor, neue Wege einzuschlagen.

Sein Einfluss

Credit Header-Foto: Robert Knight Archive/Redferns

Zeitsprung: Am 28.2.1970 müssen Led Zeppelin sich The Nobs nennen.

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20 Songs über den Mond: Der Soundtrack zu 50 Jahren Mondlandung!

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„Ein kleiner Schritt für einen Menschen, aber ein riesiger Sprung für die Menschheit!": Als Neil Armstrong und Buzz Aldrin am 21. Juli 1969 als erste Menschen den Mond betreten, wissen sie, dass sie damit in die Geschichte eingehen - nicht nur in der Wissenschaft, sondern auch in der Popkultur.

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Sculpture "Fallen Astronaut" - The dead man on the moon

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Sculpture "Fallen Astronaut" - The dead man on the moon

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Since 1971 there has been a work of art in the moondust that honors deceased astronauts. The Belgian artist was to remain unknown. Paul Van Hoeydonck refused to remain silent - and got into a lot of trouble with the man on the moon.

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Skulptur "Fallen Astronaut" Der Tote auf dem Mond

Im Mondstaub liegt seit 1971 ein Kunstwerk, das verstorbene Raumfahrer ehrt. Der belgische Künstler sollte unbekannt bleiben. Paul Van Hoeydonck weigerte sich aber zu schweigen - und bekam mit dem Männchen auf dem Mond viel Ärger.

Paul Van Hoeydonck schaut gern zum Mond, auch noch mit 93 Jahren. Er fühlt sich dann unbedeutend. "Sehr, sehr klein", betont er. "Und der Mond ist so groß."

In solchen Momenten denkt er an sie. An diese winzige Statuette auf diesem riesigen Mond, etwa 400.000 Kilometer entfernt. Seine Statuette. 8,5 Zentimeter aus Aluminium, ein stilisierter Raumfahrer. Verloren liegt die Skulptur im Mondstaub, seit Apollo-15-Astronaut David Scott sie dort am 2. August 1971 feierlich niedergelegt hat, um verstorbene Raumfahrer zu ehren.

"Manchmal frage ich mich dann: Wie geht's dir dort oben?", erzählt Van Hoeydonck und klingt besorgt wie ein junger Vater. "Ich bin stolz darauf, der einzige Mensch zu sein, der Kunst auf einen anderen Planeten gebracht hat."

Derzeit wird viel über den Mond geredet, Armstrongs historische Schritte liegen 50 Jahre zurück. Van Hoeydonck ist deshalb aus seinem belgischen Heimatstädtchen Villers-la-Ville nach Berlin geflogen, auch wenn sein Bein schmerzt und er am Stock geht. In der belgischen Botschaft will er eine Ausstellung mit seinen Kunstwerken eröffnen, darunter eine vergrößerte Kopie seiner Mond-Skulptur. Journalisten rufen an, die Aufregung wundert ihn.

"Ich bin nicht religiös", sagt er. "Aber so langsam beginne ich zu glauben, dass ich nur mit diesem einen Ziel auf die Welt gekommen bin - eine kleine Skulptur auf einen anderen Planeten zu bringen."

Diese Statuette ist Fluch und Segen zugleich, ist nicht sein bestes Kunstwerk, wie er selbst meint. Van Hoeydonck liebt metergroße, komplexe Skulpturen. Jahrzehnte hat er sich mit Weltraum-Kunst beschäftigt - aber viele reduzieren ihn auf sein kleinstes Werk, das ihm zudem Ärger mit Astronauten und Nasa eingebracht bracht.

Von einem "Skandal" schrieb die Presse damals, Van Hoeydonck nannte es eine "Hexenjagd" gegen ihn. Gern redet er nicht darüber - wenn man ihn heute dazu drängt, weicht sein freundlicher Ton empörter Resignation: "Warum wollen alle nur darüber sprechen? Seit Jahrzehnten! Das ist verrückt. Ich bin es leid."

Verstörende, visionäre Weltraum-Kunst

Versöhnlicher sagt er später: "Es ist immer dasselbe. Wenn ein Kunstwerk berühmt wird, beginnt der Ärger."

Dabei beginnt seine Geschichte eher wie im Märchen. Van Hoeydonck war schon als Kind vom Weltraum fasziniert. "Die Zukunft der Menschheit liegt in den Sternen", sagte er als junger Künstler, und davon ist er bis heute überzeugt.

Diese Vision drückte er nach einem Studium der Kunstgeschichte in Antwerpen ab den Fünfzigern in Gemälden, Collagen und Skulpturen aus. Aus Technikschrott - Spiralen, Schrauben, Rädern - schuf er Weltraumstationen, Roboter, Mutanten. Raumfahrer wurden bei ihm zu "Astros" in mittelalterlichen Ritterrüstungen. Schon früh sah er voraus, dass die Erkundung des Weltraums Opfer fordern würde. Manche seiner Werke sind verstörend: kopflose Raumfahrer, in der Unendlichkeit schwebende, versinkende Astronauten. "Space Accident" heißt eine Collage aus blutrot übermalten Raumfahrerköpfen von 1963.

Diese Kunst passte zum Wettlauf ins All und zum Lebensgefühl der Menschen zwischen Technikbegeisterung und Untergangsängsten. Was konnte einem All-Enthusiasten, der sich Erfinder der Space Art nennt, Besseres passieren, als ein Kunstwerk für den Mond zu entwerfen?

Die Idee kam von Louise Deutschman, Leiterin der New Yorker Galerie Waddell, in der Van Hoeydonck ab 1965 ausstellte. Als sie dem Künstler im Frühjahr 1969 vorschlug, man müsse eines seiner Werke auf den Mond bringen, sagte er nur fassungslos: "Bist du wahnsinnig? Wie soll das je gelingen?" Doch schnell war er Feuer und Flamme, während Deutschmann rastlos versuchte, zu den gut abgeschirmten Astronauten durchzudringen.

Über einen Mittelsmann gelang der Kontakt zur Besatzung von Apollo 15: David Scott, Alfred Worden und James Irwing. Der Belgier traf die Crew Anfang Juni 1971 in Cape Kennedy beim Dinner; mit Worden ist er bis heute befreundet, mit Scott bis heute zerstritten. Die Astronauten wollten den bei Unfällen gestorbenen Raumfahrern ein Denkmal setzen - auch den Russen, ein starkes Symbol, mitten im Kalten Krieg. Dieser Wunsch verstärkte sich, als Ende Juni 1971 drei Sojus-Kosmonauten beim Landeanflug zur Erde verunglückten.

Der Raumfahrer, der plötzlich fällt

Es gab aber technische Vorgaben: Aus Sicherheitsgründen durfte nur ein kleines, leichtes Kunstwerk ohne scharfe Kanten ins Raumschiff. Das Material musste die extremen Temperaturunterschiede auf dem Mond aushalten. Und das Wichtigste: "Die Figur sollte weder männlich noch weiblich sein, weder schwarz noch weiß", erinnert sich Van Hoeydonck. Also entwarf er eine silberne Statuette im Raumanzug. Sie stand aufrecht in einem Ständer aus Plexiglas und blickte triumphierend in die Ferne, die gesamte Menschheit repräsentierend.

Damit begann der Streit. Das Plexiglas durfte aus Brandschutzgründen nicht an Bord, die Figur konnte daher nicht mehr stehen. David Scott legte sie nach 167 Stunden und 41 Minuten der Mission während einer Zeremonie in den Mondstaub und platzierte daneben eine Plakette mit den 14 Namen gefallener Astronauten und Kosmonauten, die nicht Van Hoeydonck hergestellt hatte. Bald hieß die Skulptur nur noch "Fallen Astronaut".

Diesen Namen hätte er nie gewählt, sagt Van Hoeydonck - die optimistische Grundaussage seines Werkes war ins Gegenteil gekehrt worden. Damit nicht genug: Nach der Rückkehr von Apollo 15 erwähnte Scott in einer Pressekonferenz zwar kurz die Skulptur, aber nicht den Namen des Künstlers. Er forderte den Belgier auf zu schweigen. Am besten für immer, mindestens ein Jahr.

Der Handwerker und der Postbote

"Das habe ich nie verstanden. Warum sollte ich schweigen? Ich hatte doch kein Verbrechen begangen", sagt Van Hoeydonck. Scott unterstellt er, dass "er in die Geschichte eingehen wollte als derjenige, der das einzige Kunstwerk auf den Mond gebracht hat". Scott wiederum betonte 2013 im US-Magazin "Slate", wie wichtig ihm "Anonymität" gewesen sei: "Wir wollten keinen Firlefanz oder Fanfaren oder eine Kommerzialisierung. Wir wollten nur unsere Kollegen würdigen in einem ruhigen, friedlichen Umfeld auf dem Mond."

Der Streit eskalierte, als Van Hoeydonck für das National Air and Space Museum eine Replik seiner Skulptur herstellen sollte. Scott stellte den Kontakt her; ungelenk titulierte das Museum den Künstler als "workman", Handwerker. Wenn er ein Handwerker sei, dann sei Scott als Überbringer der Skulptur nur der "Postbote", polterte der Belgier.

Verärgert brach er das Schweigen am 16. April 1972, zum Start von Apollo 16 in einem Interview mit CBS-Starmoderator Walter Cronkite. Seine Galerie Waddell ging danach selbst in die Offensive und plante den Verkauf von 950 Repliken für je 750 US-Dollar.

Umstrittene Post vom Mond

Das war keine kluge Idee. Die Presse reagierte empört. "Wäre mein ursprüngliches Konzept der Skulptur umgesetzt worden, wäre das kein Problem gewesen", glaubt Van Hoeydonck. "Aber nun hieß es, es sei eine Schande, Geld mit einer Skulptur für Tote zu verdienen." Die Galerie stoppte die Replikenherstellung. Van Hoeydonck beteuert, er habe an der Aktion "keinen Cent" verdient.

Und doch war die Debatte nicht mehr zu stoppen. Denn zugleich stand auch Astronaut Scott massiv in der Kritik: Er hatte Hunderte Briefumschläge, am Weltraumbahnhof gestempelt, zum Mond genommen, die meisten ohne Nasa-Genehmigung. Hundert dieser Umschläge verkaufte ein deutscher Briefmarkenhändler für durchschnittlich 1500 Dollar. Denn Post vom Mond, zudem handsigniert von den Astronauten Scott und Irwing, ließ sich blendend absetzen.

Die Nasa untersuchte intern diese "Vorfälle der Kommerzialisierung" und beklagte im September 1972 "Verletzungen von Regularien". Scott habe 398 Umschläge "unautorisiert" an Bord genommen. Als Konsequenz erließ die Weltraumbehörde eine neue Richtlinie: Fortan durfte kein Astronaut mehr als zwölf persönliche Gegenstände mitnehmen; jegliche kommerzielle Ausbeutung wurde verboten. In diesem Zusammenhang rügte der Nasa-Bericht auch die 950 geplanten Repliken der Mond-Skulptur.

Der gefallene Astronaut steht auf

Van Hoeydonck spürte den Gegenwind. Der "Fallen Astronaut" brachte ihm kein Glück. Aufträge blieben weg, ein Teil der Kunstwelt mied ihn offenbar, die Galerie Waddell ging bald pleite. "Eine schlechte Periode" nennt er das heute. Er kehrte nach Belgien zurück und machte unbeirrt weiter Weltraumkunst - bald wieder erfolgreich.

50 Jahre nach der Mondlandung scheint auch der Fluch seiner Mond-Skulptur gebannt. Anfang 2019 hat Van Hoeydonck eine silberne Statuette in einem blauen Plexiglas-Kubus präsentiert: "Man in Space" heißt diese verspätete Umsetzung seiner Ursprungsidee von 1971. Symbolisch verkauft die Düsseldorfer Galerie Breckner 1971 Exemplare für 590 Euro. Auch sechs menschengroße Modelle des "Fallen Astronaut" sind zu erwerben.

Van Hoeydoncks Kunstwerke sind seit Jahrzehnten um die Welt gereist. Ist der Mond also das größte Museum, in dem er je ausgestellt hat?

Van Hoeydonck lacht. "Eine seltsame Frage", sagt er dann. Aber sie scheint ihm zu gefallen.

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Skulptur "Fallen Astronaut": Wie die Kunst auf den Mond kam

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Im Mondstaub liegt seit 1971 ein Kunstwerk, das verstorbene Raumfahrer ehrt. Der belgische Künstler sollte unbekannt bleiben. Paul Van Hoeydonck weigerte sich aber zu schweigen - und bekam mit dem Männchen auf dem Mond viel Ärger.

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An interview with Peter Tepe | Area: interviews

Overview: The artist Detlev van Ravenswaay defines the terms Space Art and Astronomical Art. His motto: Creative, artistic ideas on complex scientific contexts encourage motivation to explore the universe. In two cases of cultural history he shows the influence of celestial phenomena, as a result the Nebra Sky Disc and Turner's Impressionism. The second half traces the artist's professional life: as a child of the space age, as a meticulous documentarist in his youth, as a creative visionary at work and as a likeable contemporary, valued on earth and in space.

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Long before Neil Armstrong was the first person to walk on the moon, artists were concerned with traveling to the stars. Today painters process cosmic material and space artists plan performances in space.

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Kultur

Lange bevor Neil Armstrong als erster Mensch den Mond betrat, haben sich Künstler mit Reisen zu den Sternen beschäftigt. Heute verarbeiten Maler kosmisches Material und Weltraumkünstler planen Performances im All.

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Wie Künstler vom Weltraum träumen | DW | 16.08.2013

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Kultur Lange bevor Neil Armstrong als erster Mensch den Mond betrat, haben sich Künstler mit Reisen zu den Sternen beschäftigt. Heute verarbeiten Maler kosmisches Material und Weltraumkünstler planen Performances im All.

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It all started in the 1960s when the "Moon Museum", a small plaque with works by six major artists, including Andy Warhol, was sent to the moon.

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Heute gibt es mehr als 20 Kunstwerke, die sich außerhalb der Erdumlaufbahn befinden, u. a. auf dem Mond und dem Mars. Nachdem der Fortschritt der Technik es möglich gemacht hatte, Menschen und Satelliten ins All zu schießen, begann man in den späten 1960er Jahren darüber nachzudenken, mit Kunstwerken dasselbe zu tun.

Im Folgenden haben wir einmal acht dieser Kunstwerke für Sie herausgepickt.

1. Moon Museum, 1969

Forrest Myers, Moon Museum, 1969 | Foto: © MOMA

Das erste Werk, dass den großen Sprung für die Kunstgeschichte wagte, war das Moon Museum, eine kleine Keramikplatte von 1,9 x 1,3 cm, auf der sich kleine Kunstwerke von sechs wichtigen Künstlern der 1960er Jahre befinden: Robert Rauschenberg, David Novos, John Chamberlain, Claes Oldenburg, Forrest Myers und Andy Warhol.

"Meine Idee dahinter war, sechs großartige Künstler zusammenzubringen und so ein winziges Museum auf dem Mond zu erschaffen", sagte der Initiator des Projekts, der Künstler Forrest Myers, der versuchte, die NASA für seine Idee zu begeistern, jedoch nie konkrete Unterstützung erhielt.

Daher war es inoffiziell, als Myers sein Projekt mit Hilfe des Wissenschaftlers Fred Waldhauer ins Leben rief, der sich bereit erklärte, die Skizzen der sechs beteiligten Künstler auf die Tafel zu gravieren. Ein Freund Freund Waldhauers, der als Ingenieur am Apollo 12-Projekt arbeitete, stellte sicher, das das Kunstwerk am 12. November 1969 auf dem Mond platziert wurde. Ob dies auch tatsächlich geschah, kann leider nicht überprüft werden. John Chamberlain und Claes Oldenburg bestätigten jedenfalls ihre Teilnahme am Moon Museum.

2. Fallen Astronaut, 1971

Paul van Hoeydonck, Fallen Astronaut, 1971 | Foto: NASA via Wikipedia

Fallen Astronaut ist die 8,5 cm hohe Aluminiumskulptur eines Astronauten im Raumanzug, die von der Crew von Apollo 15 1971 auf dem Mond platziert wurde.

Geschaffen wurde das Kunstwerk vom belgischen Künstler Paul van Hoeydonck, der damit jene Astronauten ehren wollte, die ihr Leben bei der Erforschung des Weltalls verloren hatten.

Als Standort wurde am 2. August 1971 die Ebene am Fuße des Mount Hadley gewählt, gleich neben einer Gedenktafel mit den Namen von acht amerikanischen Astronauten und sechs sowjetischen Kosmonauten, die während ihrer Dienstzeit verstorben waren. Da es die NASA verboten hatte, offizielle Raumfahrzeuge für kommerzielle Zwecke zu nutzen, trägt die Skulptur nicht den Namen ihres Schöpfers. Van Hoeydonck bedauerte später, dass seine Skulptur nicht wie vorgesehen aufrecht stehend platziert worden war.

3. The paintings of Ellery Kurtz, 1986

Eines der Gemälde von Ellery Kurtz, die 1986 ins All geschickt wurden | Foto: Haolin Fang

1986 hoben vier Gemälde des Künstlers Ellery Kurtz mit dem Spaceshuttle Columbia als Teil des "Get Away Special"-Programms ab. Mit dem von der NASA beaufsichtigte Projekt sollten die Auswirkungen der extremen Umwelteinflüsse im Weltall (Schwerelosigkeit, Temperaturen etc.) auf Farbpigmente und Leinwände untersucht werden, um damit über die Möglichkeit, Kunst direkt im Weltall zu schaffen, erörtern zu können.

Ellery Kurtz' Neugier war geweckt und er schickte vier halb-abstrakte Kompositionen, für die er sich von mit Werbeplakaten beklebte Wände hatte inspirieren lassen, an die NASA.

"Wo der Mensch hingeht, muss auch Kunst hingehen", befand er.

4. Inter-Galactic Sculpture, 1987-92

Links: Buchcover von "Ezra Orion, Intergalactic sculpture" Rechts: Skulptur von Ezra Orion, 2011 | Foto via Artslack

Der israelitische Künstler Ezra Orion ging bei dem Konzept der Weltraumkunst schon einen Schritt weiter und erdachte eine Skulptur, die erst im All zusammengefügt werden sollte.

Unter der Aufsicht der Israel Space Agency und des Israel Museum, kreierte Orion eine leuchtende skulpturale Installation, indem er Laserstrahlen in die Mitte der Milchstraße schickte. Das Projekt hieß Inter-Galactic Sculpture. Orion beschrieb es als eine von Lichtstrahlen konstruierte "Super-Kathedrale". Seine Skulptur war das erste Kunstwerk, das sich tatsächlich erst im Weltall selbst zusammenfügte.

5. Cosmic Dancer, 1993

Kosmonaut Alexander Polischuk in der Schwerelosigkeit mit "Cosmic Dancer" | Foto via Cosmicdancer.com

Die Skulptur Cosmic Dancer des Künstlers Arthur Woods wurde am 22. Mai 1993 an Bord einer Progress-Rakete zur russischen Station Mir geschickt.

Das Kunstwerk, eine geometrische Struktur aus lackiertem Aluminium, etwa 35 x 35 x 40 cm groß und genau 1 Kilogramm schwer, war das erste dreidimensionale Werk, das speziell für seine Erforschung im Weltraum entwickelt worden war. Der Zweck des Projekts bestand darin, die Eigenschaften einer schwerelosen Skulptur zu erforschen und die Integration eines Kunstwerk in ein Raumfahrtprogramm zu untersuchen, das normalerweise nur Menschen umfasst.

Nach seiner Ankunft auf der Mir konnte Cosmic Dancer frei in der Schwerelosigkeit herumschweben, ohne von der Erdanziehungskraft beeinflusst zu werden, die jeden Künstler dazu zwingt, seine Arbeit auf eine bestimmte Art und Weise zu positionieren. Stattdessen konnte die Skulptur aus jedem nur erdenklichen Blickwinkel bewundert werden.

6. Ars ad Astra, 1995

Elizabeth Carol Smith, When Dreams Are Born | Foto via Arsadastra.com

Ars ad Astra ("Kunst in den Sternen") war die erste komplette Ausstellung, die in der Erdumlaufbahn stattfand, genauer gesagt 1995 an Bord der Mir. Das Projekt der OURS Foundation und European Space Agency (ESA) begann mit einem internationalen Wettbewerb. Eine Jury, die sich aus Experten für Kunst und Raumfahrt zusammensetzte, wählte dafür 20 Künstler aus.

Die Ausstellung, organisiert als Teil der EUROMIR 95-Mission, richtete ihren Fokus auf das All und die Menschheit. Jeder der teilnehmenden Künstler schuf dafür ein Kunstwerk, dass sowohl leicht als auch frei von jeder Art von giftiger Substanz sein musste.

An Bord der Mir gab es eine weitere Jury: Die Crew, die unter den 20 Kunstwerken das beste auswählen sollte und das anschließend in der Raumstation verbleiben sollte. Die Wahl fiel auf das Aquarell When Dreams are Born der Künstlerin Elizabeth Carol Smith.

7. Beagle 2, 2003

Replik der Beagle 2-Kalibrierungsvorrichtung mit den Punkten von Damien Hirst | Foto: © David Johnson

Der erste Künstler, der den Mars eroberte, war Damien Hirst mit Beagle 2, einer kleinen Landeeinheit, die von der ESA entwickelt worden war und die die ikonischen Punkte Hirsts aufwies. Auf Anregung des Designers von Beagle 2, Professor Colin Philinger, wurden die Farbpunkte als Kalibrierungsprogramm an Bord des Raumfahrzeugs verwendet.

Ziel der Mission war es, herauszufinden, ob es irgendeine Art von Leben auf dem Mars gibt. Kurz nach der Trennung von Beagle 2 von ihrem Trägerschiff ging der Kontakt verloren und die Mission wurde für gescheitert erklärt. Erst 2015 konnte anhand von Fotos bewiesen werden, dass die Beagle 2 tatsächlich auf dem Mars gelandet war. Somit sind Damien Hirsts bunte Punkte das erste von der Erde aus gesendete Kunstwerk, das den "roten Planeten" erreicht hat.

8. Space2, 2015

Invader, Space2 | Foto via Telerama

Im Jahr der Wiederentdeckung von Beagle 2 erhielt der französische Urban Artist Invader den Auftrag, ein Kunstwerk für die International Space Station (ISS) zu schaffen. Das Ergebnis war Space2, ein kleines Mosaik von 15 x 10 cm, das ein rotes Alien darstellt - eine der charakteristischen Figuren der Graffiti des Künstlers, die man häufig in den Straßen von Paris sieht.

Im Juli 2015 dockte der europäische Weltraumfrachter ATV-5 mit Space2 an Bord an der ISS an.Das Mosaik wurde sofort zum Maskottchen der Astronauten und schwebte monatelang in der Weltraumstation umher, darauf wartend, dass ein Crewmitglied ihm endlich einen permanenten Standort zuweisen würde.

Schließlich war es die italienische Astronautin Samantha Cristoforetti, die den rettenden Tropfen Kleber auf der Rückseite des Mosaiks auftrug.
Mehr zum Thema "Space" finden Sie hier.

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8 Kunstwerke im Weltall | Barnebys Magazin

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Heute gibt es mehr als 20 Kunstwerke, die sich außerhalb der Erdumlaufbahn befinden, u. a. auf dem Mond und dem Mars. Nachdem der Fortschritt der Technik es möglich gemacht hatte, Menschen und Satelliten ins All zu schießen, begann man in den späten 1960er Jahren darüber nachzudenken, mit Kunstwerken dasselbe zu tun.

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Beeple: An Inside Look Into His Art, Career and Life | NVIDIA Studio Spotlight

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Beeple: An Inside Look Into His Art, Career and Life | NVIDIA Studio Spotlight

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Filmed originally in 2019, take a deep dive into the mind, creative process, and career of the incredible, Mike Winkelmann; better known as Beeple. Our NVIDIA Studio Spotlight series takes a look behind the curtain at some of the most incredible artists in the world.

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Beeple: An Inside Look Into His Art, Career and Life | NVIDIA Studio Spotlight

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Using Artificial Intelligence To Make Art: Wombo and Deep Dream Generator

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Using Artificial Intelligence To Make Art: Wombo and Deep Dream Generator

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Deep Dream Generator is a free web based app which lets you make works of art with the help of artificial intelligence. After messing around with quite a few AI art makers, this is one of the few to return truly impressive results.

You may have already seen people making AI art and posting it through their feeds.

WOMBO.ART

A popular app right now is Wombo, which I have on my iPhone. It crashes a lot, but still works.

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Deep Dream Generator is a free web based app which lets you make works of art with the help of artificial intelligence. After messing around with quite a few AI art makers, this is one of the few to return truly impressive results.

You may have already seen people making AI art and posting it through their feeds.

WOMBO.ART

A popular app right now is Wombo, which I have on my iPhone. It crashes a lot, but still works.

All I did to make the artwork below was type 'ghost house' into the field. Then I chose a filter and voila. I got this. Pretty impressive, eh?

But after a while, you realise Wombo has its limits. (Only about half of their filter options look good in my opinion.) This app is especially good for creating supernatural, kinda freaky looking pictures which look like a still from last night's nightmare (which is why they called it 'Dream'.) It turns humans into dark hooded creatures, and text into cool, otherwordly symbolism.

Wombo does an especially good job of cities at night. Here's what Wombo generated after I typed 'city at night'. (I've cropped it in Affinity Photo to remove the border and Wombo logo which, for some reason, you can't just pay to have removed.)

It looks to me kind of like a Syd Mead underpainting. (Here's Syd Mead, fyi):

I hadn't asked for those hooded creatures, but the AI decided I needed them.

Here's the thing about AI generators as of 2021: They're great at patterns, but useless at composition. They can make a great job of a city at night because of all those bright squares and signs. They do not care if your human eye has a place to settle.

Anyway, those hooded creatures clearly needed to be turned into monsters, and those lines in front were clearly steps into hell, so I spent about an hour fiddling with it in Artrage and ended up with this:

It's still pretty janky, sure, but I was just playing. And honestly? It felt great to be mucking around on some low stakes piece. This layer addict even kept it all on one layer. Wombo can be excellent as an actual, legitimate art software for making actual proper art if you use it for inspiration.

The downside to Wombo is: synonyms. This app only works with words, so if you want a dystopian look to your work and type 'subway', it's gonna think you talking about sandwiches. Which is how I got this, I think:

I mean, that's still pretty cool. The signage even looks like marbled meat. I could turn that into a fantasy night market at some point. But it's not what I was going for. If you have no idea where to start on a project, or can't quite visualise something, Wombo can be good. It's also great for leading you where you never thought you'd go.

I have used it quite a bit to make abstract collages. I might generate 3-5 images in Wombo, cut out the pieces I like and put them together in a new way. That's what I did for my post on the short story "Miracle Polish".

There are a few tricks to Wombo. If one of your keywords refers to some type of container, it tends to use the container as a border for the rest of the art. For an example, check out the art I generated for "Rosamund and the Purple Jar".

However, there's a sameness to Wombo generated images. Anyone who's created a few AI artworks using Wombo will instantly recognise when other people do the same. I quickly craved more control over the output.

So I went looking for other AI options. Turns out Wombo was my gateway drug into AI generated art.

DEEP DREAM GENERATOR

We are just a small team of enthusiasts who are trying to build something cool.
Our goal is to make latest developments in AI widely and easily accessible.
Bulgarian developers

Deep Dream Generator works differently from Wombo. You'll need to do a bit more work, but you'll have more control over the art you get. (I only use the 'Deep Style' part of the Deep Dream Generator website.)

This generator doesn't start with keywords, it starts with images, which you'll be providing. If you plan to make art to sell, you need to have the rights to both.

Here's what you'll need:

1. A high res 'base image'.

2. A high res 'style image'.

You can probably guess what that means. If you want to end up with a picture of a horse, the base image will be of a horse. If you want this horse to look like a cartoon from the 1950s, your 'style image' will be a cartoon from the 1950s. Ideally, this style image will have the same basic tonality to the base image of the horse. (The same sort of lights and darks. The style image doesn't have to be a cartoon composition of a horse which happens to be very similar to your horse, but that seems to help.)

If possible, both base and style images should be the same dimension. If they're different dimensions, you'll get more artifacts around the edges of the generated image, which you may or may not want. Both images should be high resolution. If there are unwanted words, artifacts and borders in either image, get rid of those before you upload them. I use Affinity Photo a lot for this. I make heavy use of the inpainting tool, works really well for getting rid of things in a picture you don't want.

Deep Dream Generator does well with base images which cover the entire canvas in detail. It can do great painterly landscapes, but it'll put artifacts in the sky if the sky is clear. It also does a really good job of landscapes/long shots if you're using Tonalist painters as your style image. (Whistler, Clarice Marjoribanks Beckett et al.)

Apartment Block At Night (via Archillect - an AI created to discover and share stimulating visual content)

Tonalist painter James Abbott McNeill Whistler (1834-1903) (American) Nocturne in Black and Gold 1875

The images I've far less success with interiors. Interiors generally contain large areas of blankness (tables, walls, floors).

It does its very best work (in my opinion) when the close up has a clean background. That means black or white. If you upload a .png base image with transparency as background, the generator doesn't touch the transparency, and you'll get a nice, crisp white background. I made a bunch of portraits for authors Janet Frame and John Cheever using this method. I'm especially pleased with this header of Katherine Mansfield at the beach.

I made a few manual modifications to those pictures. I removed the colour from John Cheever's and Katherine Mansfield's face. This gives the viewer's eyes somewhere to settle. Teeth also need to be whitened.

That said, your art skills will still be required. AI art generators still have their limits.

For instance. Humans care about eyes. Artificial intelligence does not prioritise eyes over other roundy-shaped things. And, as you'll know if you've ever made art, ever, get one small thing wrong about an eye and the portrait looks rubbish, or creepy, or nothing like the subject.

So it's highly likely that when your AI has done its work, you'll be opening the image in your digital art software and doing a bit of freehand painting. But not much! I can do 10 of these portraits in a day using Deep Dream Generator. But creating all of those beautiful wrinkles would take me an entire day for a single one.

The generator doesn't do well at all with base images which don't have much of a tonal gradation. You'll end up with an absolute fizzer: It'll be all base image (if it's dark and tonally flat) or all style image (if it's light and tonally flat).

But the image below is great because it contains the entire tonal range from white to black.

GETTING STARTED WITH DEEP DREAM GENERATOR

When you first sign up for Deep Dream Generator, they call you a 'Newbie' and give you fifteen energy points to play with. They say that once you've made five artworks ('dreams') and you've had your account for longer than a day they'll up your allowance to 20 energy points per hour. But for me it took more like a week and a lot more than five dreams.

What does this energy point thing mean?

In effect, it means you don't overload their server by making AI art all day and neglecting to eat and shower.

It means you can make two good or four pretty rubbish dreams at once, then wait until the points get back up to a maximum of fifteen (or twenty or whatever).

You can become a subscriber and do a lot more right away, but if you're on a computer all day anyway, you can still make around 6-8 dreams per day by spreading your AI art sessions across the day.

WHICH SETTINGS SHOULD I CHOOSE?

Here's a screenshot of the default settings. Note that if you leave the settings like this, you'll be using five energy points. (Hence the minus five at the bottom.)

An abstract piece from Unsplash by Steve Johnson. Some of those brush strokes remind me a little of the pines, so this might work.

If you're happy with the colours of the base image and don't want the generator to take colours from the style image, turn on the 'Preserve Colors' button.

But even if you're not happy with how the colours come out (I'm rarely entirely happy) you can put it into Photoshop or Affinity Photo or another art software, create a layer above, set the Blend Mode to 'Color' and recolour it (or parts of it) very easily. This process is akin to colouring in, with the same Zen to it.

You might want to leave the settings as is and try a few dreams to see if they're going to work. If you get absolute rubbish, you've only wasted five points. But as you get more of a sense of what's probably going to work, you'll want to use more points on one dream to create a better work of art.

Iterations boost is now 2.0. An iterations boost of 1.5 is also good, but 2.0 may return slightly brighter colours and clearer lines.

The style scale is now at 80% and I've picked that only because many of the artworks in the 'Best' feed make use of this setting. Results will vary.

This costs twice as many energy points. Note how I've only changed two things.

You might also choose Extra Smooth from the AI Enhance dropdown menu. The following two images were processed with very similar photographs and the exact same style image. The first is set to 'auto', the second to 'extra smooth'. Hopefully this clarifies the difference.

Here is the style image, a travel poster from the Golden Age. I've chopped the writing off because the writing will only mess things up.

AUTO AI ENHANCE

EXTRA SMOOTH AI ENHANCE

There's not much difference at all but it looks a little less pencil sketched, perhaps. The Extra Smooth option uses a few extra energy points.

STYLE WEIGHT

Just so you know, you can go into anyone's public images and check which settings they've used. Most people keep the style weight at fifty percent. If you go under that, you're not likely to get an interesting image; the result will look too much like your base image and not enough like your style image.

But if you keep it at fifty percent, the generator basically keeps the large shapes the same as your base image, and you don't always want that.

Here's an example of what I'm talking about. Here's my base image. A pretty unremarkable photo of a pond.

Here's my style image, a completely different sort of art, being Symbolist post-Impressionism, which is pretty far removed from Realism.

If I keep the style weight at 50%, the generator will borrow some of the brush stroke-y look and, if I didn't keep the colours, it would try to map the colours onto my base image. Like so:

But what if I want the shapes of that pond to morph a bit? Then I'd bump the style weight up to maybe 60%, like I did here. Now the generator takes the shapes and morphs them into each other a bit.

Now here's the exact same images with the same settings except for the style weight, which I've upped to 70%. The difference is very subtle.

Now you can probably see why most people don't mess around much with style weight. There isn't much in it. In fact, I can really only see a difference if I compare the 50% style weight to the 90%.

ITERATIONS BOOST

Here are two images which I tried to blend. I haven't come up with anything especially interesting but you might like to see how changing the iterations boost changes the result. I used this stock image of some surgeons as a base:

And this image of fish as a style:

Here's what the generator came up with when I used an iterations boost of x1:

Now here it is again but the only thing I changed on the second go-around was the iterations boost, which I upped to x2. This costs more energy points. It is a slightly different image but do you get a 'better' result? Not necessarily.

IMAGE SIZES

Note that I don't have a paid subscription and am unable to create a resolution larger than 0.6MP.

That's not a problem for me because I have an excellent piece of software called Topaz Gigapixel AI, in which I use another kind of artificial intelligence to enlarge small images at low resolutions and turn them into something very nice to look at. Alternatively, you can have a go at using a noise reduction filter in art software. (That said, Topaz works far better than any noise reduction in my art software.)

You may have noticed another few options for making art with this website. One of them is Thin Style. To me it looks like a commonly used and pretty ugly Photoshop filter, though others may get better results from it.

The other option is Deep Dream. This is just weird. I put in an owl and it turned some of its feathers into dogs for no reason at all. Its eyeball is... a fish?

COMBINING AI GENERATORS

There's nothing stopping you combining different AI art generators. This Reddit thread is currently challenging users to change Wombo art into something that looks more like a painting.

HOW DOES IT DO WITH LINE DRAWINGS?

I decided to combine two images of stairs.

Here's the base image (from Archillect)

Now for the style image. Although both are of stairs, they're not actually that similar. However, I'm going to try it anyway.

The result was ugly as hell.

But because I'm still learning how this works, I wondered if the Deep Dream Generator might have more luck with photos if I use Affinity Photo to detect edges first. Here's what that looks like. Filters > Detect > Detect Edges > Inverse (Control I) > Duplicate Layer (Control J) > Blend Mode > Multiply (try that last step a few times until you get nice, clear, thick edges in a variety of thicknesses. At some point I also put on a Brightness/Contrast filter and upped the brightness until those mid-tones were gone.

Let's stick this baby through the dream generator instead of the original photo. Okay, now we're cooking with gas. This looks a little more interesting. We're no longer left with that distinctively 'I detected my edges' look which anyone who's ever used photo editing software will recognise immediately.

If you put this image back into Affinity Photo, Filters > Colors > Erase White Paper now you can put a layer below and start painting some colours into it. Again, I'm just mucking around. I only spent five minutes on these colours, but now I can see how the Deep Dream Generator can be useful in the process of creating digital line drawings, which look mighty ugly at first.

USING DREAM GENERATOR TO COLORIZE OLD BLACK AND WHITE PHOTOS

I didn't think this was going to work well at all, but here's my first attempt at pasting a painterly style onto a 1910s photo of Wellington's Old Wharf. (First I made the photo as high-res as I could get it in Topaz Gigapixel.)

I used a painting by Walter Farndon because that also has boats in it, and the basic colours I want. But the shapes in this are much bigger than the shapes in the photo so I decreased the style style scale to 60%. This has an iterations boost of 1.2. Everything else is left on the default settings.

And here's what I got.

If you want, tidy up the painting in Affinity Photo or Photoshop using the original photo as your reference. It might look great with a bit of white linework. But this looks good enough to me. We get the general idea of 1910s Wellington.

Now I'll try a portrait. This is a portrait of Polish painter Tamara de Lempicka (1898-1980), circa 1929. (I've removed the grey background and touched the photo up a little.)

Even if you don't recognise the artist herself, you'll know her artwork. It's very distinctive.

Tamara looks quite a lot like her subjects. What happens if I apply de Lempicka style to the artist herself using Dream Generator? Combining the two images above using 1.2 iterations and a 60% style weight, the generator comes up with this. (If you give it a png, it'll give you back a png, by the way.)

This still doesn't quite look like the artist's style and it's also messed up the hand. So I put it back into Affinity Photo and made it look darker and smoother. I also fixed the hand manually, and took the yellow out of her skin tone etc.

USING ONLY PART OF AN AI GENERATED IMAGE

If you keep the base image, put it through the generator, place it on top of the base image in Photoshop (or similar), then you can create a mask and erase the parts of the AI generated image you don't want.

I don't really like either of the results, generated from a couple of the 'popular styles' I was trying out. But if I only apply that pattern to the glass, I might get a kind of stained-glass window effect.

Here's another one. First the base image (again from Unsplash).

I used this etching for the style image but kept the colours of the base.

The result:

But for me the sky is a bit busy so I got rid of the sky texture in Affinity Photo.

I used that same style image on a photo of a lighthouse:

I didn't turn on the 'preserve colour' option so the generator gave me a black and white image. Inside Affinity Photo I removed the white paper: Filters > Colours > Erase White Paper. Then I put my own colour layer behind the black strokes. The generator did a fantastic job of rendering those stones. Something like this only takes about ten minutes.

On the topic of lighthouses, typing 'lighthouse monster' into Wombo returned this when using the Etching filter. I don't imagine Dream Generator will come up with anything amazing with if we next run it through there, because the light and dark isn't sufficiently distinct.

But I tried anyway, using a highly detailed Harry Clarke illustration for style, and because the detail is so very small, I set the style size to 120%, when normally you'd bump styles down a bit to 80%.

The Dream generator gave me this:

I think the 'monster' looks like an owl, so I turned into a giant owl's lighthouse. I may keep going with this later, if I find a use for it, but I want to demonstrate how even the pretty rubbish images might have something of use in them.

USING DREAM GENERATOR TO UNIFY A STYLE

I'm especially fond of this 1974 illustration of La Vucciria Palermos Market by Renato Guttuso. When I say I'm fond of it, I love the colours and the busy-ness of it. I'm going to try and apply this palette to linework to another busy photo of a market.

Here are various photographs of markets from Unsplash, which are by different photographers and are therefore different styles.

And here are the same images with the Renato Guttuso painting applied at 1.2 iterations and 60% style weight. Now they could all be different scenes of the same market.

The trick to using the Dream Generator when applying busy styles like these: The base image must also be busy. If you're trying to apply a busy illustration to, say, a photo with blank walls and a mostly blank table top, the generator will try to apply the busy-ness to every blank surface and you'll end up with a mess.

The following photo will show you what I'm talking about. Another photo of a market. This is a nice, busy, highly detailed image, but there's a smooth surface at the top. (Well, it's the sky.) Because the style image doesn't have any smooth surfaces, the generator will try to turn it into something.

Here's what it does. Look what it did to the sky. It ends up looking like gridded shrink wrap, with washed out versions of the desired colour palette. (Where the base image is dark, you'll get the brightest, most true colours from the style image.)

To avoid this, you can first remove the sky in Affinity Photo/Photoshop using the selection tool, then export as a png. That way, the generator knows not to touch that part. Alternatively, you can fix it after it's done its thing.

Remember also: Upload images which are the same dimensions if possible, especially the same width. All of the images above are 1200 pixels wide but they're all different heights. (This is sometimes inevitable.) as you can see, where the detail covered the entire image, the process still worked.

IS THIS 'REAL' ART?

Art produced by artificial intelligence is frequently described as 'Surreal', but Surreal means the opposite to how many people use it, and isn't just a spaghetti-at-the-wall admixture of imagery. So when AI makes art, it's not yet Surreal. The human must make it Surreal (if that's what you're going for.)

I'm excited to see where AI will be taking us next. At the moment, plenty of human input is still required, but there's no need to feel like a cheat for making use of AI. It can speed up some very mundane drawing tasks.

On that note, I'll leave you with something Edward Gorey once said. Apparently he absolutely hated drawing wallpaper and he'd cast works aside for months because he couldn't stand the sight of them. He'd finish them off once he was forced to. That's pretty unfortunate given as how Gorey had a very intensive style, full of handdrawn hatching. (You'd think he'd have changed his style, wouldn't you?)

Perhaps in the near future, artists will upload 30-50 images to an AI generator and speed up subsequent projects.

SOMETHING BIZARRE

Using Deep Dream Generator, I tried to combine a photo of a snowy fence with an image from my computer, which just so happens to be by Vincent Van Gogh. I doubted this would work as there aren't enough tonal ranges in the base photo, but I was experimenting.

Here's the photo:

And here's the painting I was trying to use as the style image. Note that the file name is: Vincent-van-Gogh-Dutch-1853-1890-The-parsonage-garden-in-the-snow-January-1885-Nuenen

However, Deep Dream Generator gave me this.
READ AT MY OTHER BLO G
You'll recognise immediately that the engine has tried to use a Van Gogh painting all right, just not the right one! So what does this mean for users? Does this mean Deep Dream Generator is taking notice of how we name our uploaded files? Every art generator software out there seems to use Van Gogh as the exemplar style image, so maybe this is a glitch specific to having Van Gogh in the file name. Whichever way you slice it, the engine purports to be looking at your pictures when making its decisions, not your file names, so this is bizarre behaviour.

All this to say: I don't know how this engine works at all. But it's sure fun trying it out.

FOR FURTHER INVESTIGATION

I also checked out Hotpot.ai. Like Wombo, the free version uses keywords. Compared to Deep Dream Generator it takes forever to process, but there's a paid version which lets you skip the queue and download better resolution images. I didn't do much with it before giving up but as an example, I typed in 'teapot monster', checked Photorealistic style and got this (which I have enlarged at my end using Gigapixel).

Below is an image generated from 'skateboarder inside a snow globe'.

As you can see, it's quite different from how Deep Dream Generator works, and the art is different again from Wombo. You may find it useful.

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Using Artificial Intelligence To Make Art: Wombo and Deep Dream Generator

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Deep Dream Generator is a free web based app which lets you make works of art with the help of artificial intelligence. After messing around with quite a few AI art makers, this is one of the few to return truly impressive results.

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The Moon Landing Was a Disaster...Almost

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The Moon Landing Was a Disaster...Almost

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When the lunar module starts guiding Apollo 11 in the wrong direction, experienced astronaut Neil Armstrong has to take manual control and fly the module down to the surface of the Moon.

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The Moon Landing Was a Disaster...Almost

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Visualizations by Ernie Wright Released on September 6, 2019

These color and elevation maps are designed for use in 3D rendering software. They are created from data assembled by the Lunar Reconnaissance Orbiter camera and laser altimeter instrument teams.

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These color and elevation maps are designed for use in 3D rendering software. They are created from data assembled by the Lunar Reconnaissance Orbiter camera and laser altimeter instrument teams.

Color

The color map was adapted from the Hapke Normalized WAC Mosaic, a composite built by the camera team from over 100,000 WAC (Wide Angle Camera) images. The readme file provides a technical summary of how the mosaic was constructed along with references to more detailed publications. A less formal introduction to the process is in this LROC blog post and in this one.

For the color map here, the visualizer modified and combined three of the seven wavelength bands of the LROC color data to more closely match what the human eye sees. The red channel contains the 643 nm band, while green and blue were created from different linear combinations of the 566 and 415 nm bands to more nearly center them on 532 nm (green) and 472 nm (blue). A gamma of 2.8 was applied (the LROC data is linear), and the channels were multiplied by (0.935, 1.005, 1.04) to balance the color. The intensity range (0.16, 0.4) was mapped into the full (0, 255) 8-bit range per channel. Small data dropouts near the top and bottom were inpainted using Photoshop's content-aware spot healing brush.

The source data covers the lunar globe from 70°N to 70°S. Because the Moon's axial and orbital tilts are both small, many areas outside these latitudes remain shrouded in shadow, even after thousands of passes by LRO's camera, so they are left out of the LROC mosaic. For this color map, the missing latitudes were filled in with a combination of monochromatic LROC data and an albedo map ( LDAM) from LRO's laser altimeter. When rendered with realistic shadows, these parts of the map aren't particularly visible, and while they comprise more than 20% of the map's pixels, they represent only 6% of the Moon's surface.

This image is optimized for aesthetics, not science. Scientific applications should use the source data.

Displacement

The displacement map (also known as a height map or elevation map) was taken directly from the latest (as of spring 2019) gridded data products of the Lunar Orbiter Laser Altimeter instrument team. LOLA data is archived on the Geosciences Node of the Planetary Data System. A small subset of the LOLA data stored there, the global cylindrical projections at 4, 16, and 64 pixels per degree, has been reformatted here as uncompressed TIFF files, in vertical units of either floating-point kilometers or 16-bit unsigned integer half-meters.

The reference surface for all LRO data is a sphere of radius 1737.4 km. LOLA's gridded elevation data is published as signed 16-bit integers in units of half-meters relative to this radius. For the floating-point TIFFs, the source data was divided by 2000. For the unsigned 16-bit TIFFs, the source data was offset by +20,000 (10 km) so that all of the values are positive. This latter format is provided for software that doesn't work well with either floating-point or signed integer files.

How These Maps Are Used

Within 3D animation software, an object like the Moon begins as a simple geometric shape, in this case a sphere. Texture maps like the ones on this page are used to add detail to the model. The color map tells the software how to paint the surface, and the displacement map tells it how to add the shape details that define the lunar terrain. Without them, the Moon model is just a smooth, monochrome ball. Although these maps are flat rectangles, the software understands them as maps of a spherical surface and knows how to warp them onto spherical geometry.

Each pixel in these texture maps corresponds to a point on the lunar surface defined by a longitude-latitude pair. Pixels in the color map contain the base color of the surface, before applying the effects of varying light and camera angles (called incidence angle i and emission angle e in the technical description). Pixels in the displacement map contain the height of the surface at the corresponding locations.

More Data
These maps are a tiny subset of the data publicly archived by the LRO instrument teams. All of the data is in standard and fairly simple PDS file formats (files with .IMG filename extensions). Although not typically supported by general-purpose computer graphics software, these formats are directly readable by some GIS programs. The data formats are documented in PDS labels, which are either separate text files with a .LBL filename extension or embedded as fixed-length headers. Other than the possible header, most .IMG files are uncompressed 2D binary arrays of numbers. Some data is also available in TIFF or JPEG2000 formats.

As of this writing, the best global-scale elevation data for equatorial and mid-latitude regions of the Moon, at resolutions up to 512 pixels per degree, is SLDEM2015. For regions near the poles, where the density of laser shots is much higher, the GDR data in polar stereo projection reaches resolutions of five meters per pixel.

The LROC narrow-angle camera (NAC) has imaged most of the Moon's surface at a resolution of one meter per pixel or better. LROC imagery can be explored graphically using its Quickmap interface and searched on its RDR Product Select page. Of particular interest are the Topographic Products (menu option in the upper left of the page), which are matched with high-resolution DEMs derived from stereo image pairs. This dataset includes all of the Apollo landing sites and dozens of other locations of interest.
Visualization Credits

Please give credit for this item to:
NASA's Scientific Visualization Studio

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These color and elevation maps are designed for use in 3D rendering software. They are created from data assembled by the Lunar Reconnaissance Orbiter camera and laser altimeter instrument teams. Color The color map was adapted from the Hapke Normalized WAC Mosaic , a composite built by the camera team from over 100,000 WAC (Wide Angle Camera) images.

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How to Make a Realistic Moon in Blender 2.83 (Beginner Tutorial)

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How to Make a Realistic Moon in Blender 2.83 (Beginner Tutorial)

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In this blender tutorial we will create a realistic moon in Blender 2.83. This method works with both Eevee and Cycles. This is a beginner tutorial.

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How to Make a Realistic Moon in Blender 2.83 (Beginner Tutorial)

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Ikarie XB 1 (1963), 2001: A Space Odyssey (1968), Snowpiercer (2013), Solaris (1972), Moon (2009), The Midnight Sky (2020), Sunshine (2007), The Martian (2015)

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TUNNEL_PERSPEKTIVE Ikarie XB 1_A Space Odyssey___

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Archigram was an avant-garde architectural group formed in the 1960s ⁠that was neofuturistic, anti-heroic and pro-consumerist, drawing inspiration from technology in order to create a new reality that was solely expressed through hypothetical projects.

Based at the Architectural Association in London, the main members of the group were Peter Cook, Warren Chalk, Ron Herron, Dennis Crompton, Michael Webb and David Greene. Designer Theo Crosby was the "hidden hand" behind the group. He gave them coverage in Architectural Design magazine (where he was an editor from 1953–62), brought them to the attention of the Institute of Contemporary Arts (ICA) in London, where, in 1963, they mounted an exhibition called Living City, and in 1964 brought them into the Taylor Woodrow Design Group, which he headed, to take on experimental projects. The pamphlet Archigram I was printed in 1961 to proclaim their ideas. Committed to a 'high tech', light weight, infra-structural approach that was focused towards survival technology, the group experimented with modular technology, mobility through the environment, space capsules and mass-consumer imagery. Their works offered a seductive vision of a glamorous future machine age; however, social and environmental issues were left unaddressed.
https://en.wikipedia.org/wiki/Archigram

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Archigram Archives

item reference: 186-001-DC01

Original work and print 1000 x 700 mm

This collage was commissioned by the Victoria and Albert Museum, London, in 1974 and is the first in a set of sixteen describing the work of Archigram and in particular three projects in Monte Carlo. It was produced in the Archigram office using photographic prints of various well-known projects and a short descriptive text. The collage was then coloured using felt-tipped pens.

Authors:-

Partner/s: Peter Cook, Dennis Crompton, David Greene, Ron Herron

Collaborators: Colin Fournier, Ken Allinson, Tony Rickaby

Plug-In_City, Overhead View, Axonometric

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Archigram Archives item reference: 186-001-DC01 Original work and print 1000 x 700 mm This collage was commissioned by the Victoria and Albert Museum, London, in 1974 and is the first in a set of sixteen describing the work of Archigram and in particular three projects in Monte Carlo.

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Apollo 11: One Small Step on the Moon for All Mankind

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Apollo 11: One Small Step on the Moon for All Mankind

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On July 20, 1969, humans walked on another world for the first time in history, achieving the goal that President John F. Kennedy had set in 1961, before Americans had even orbited the Earth. After a landing that included dodging a lunar crater and boulder field just before touchdown, Apollo 11 astronauts Neil Armstrong and Buzz Aldrin explored the area around their lunar landing site for more than two hours.
https://www.nasa.gov/specials/apollo50th

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Apollo 11: One Small Step on the Moon for All Mankind

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Metropolis 1927 Fritz Lang / Blade Runner 1982 Ridley Scott

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Metropolis 1927 Fritz Lang / Blade Runner 1982 Ridley Scott

"Creativity - Experimental Media Lab Workshop" , PJAIT NEMA, MO 17 - FR 21.1.22

MON 17.1.2022 FOCUS - Objectives & Concept

10.00 a.m. - 11.30 a.m. Official Opening / Lecture by Zbigniew Bzymek

Trans-peering or Creating Discernment through Transubjective Performative Exercise

11.30 a.m. - 12.00 p.m. START - INPUT by Markus Wintersberger

12.00 p.m. - 13.00 p.m. Lunch break

13.00 p.m. - 14.00 p.m. INPUT

14.00 p.m. - 16.00 p.m. Open Lab - work in progress

16:00 p.m. - 17:00 p.m. Summary: Presentation of the concepts and goals by the students

TUE 18.1.2022

10.00 a.m. - 11.00 a.m. INPUT by Markus Wintersberger

11.00 a.m. - 12.00 p.m. Open Lab - work in progress

12.00 p.m. - 13.00 p.m. Lunch break

13.00 p.m. - 14.00 p.m. INPUT

14.00 p.m. - 16.00 p.m. Open Lab - work in progress

16:00 p.m. - 17:00 p.m. Summary: Presentation and insights into the project work by the students

Lunar Museum - Google Drive

WED 19.1.2022
10.00 a.m. - 11.00 a.m. INPUT by Markus Wintersberger
11.00 a.m. - 16.00 p.m.

Individual work on the projects
The MS Teams Meeting Space is open and I am available - so please contact me and join the MS Teams Space for further consultations!

16:00p.m. - meeting all together

DO 20.1.2022

10.00 a.m. - 16.00 p.m.
Individual work on the projects
The MS Teams Meeting Space is open and I am available - so please contact me and join the MS Teams Space for further consultations!
Please try to "finalize" your project till 16.00 p.m. - there is still time to finalize everything till Friday 11.00 a.m.

16:00 p.m. - 17:00 p.m.
We ALL meet together at 16.00 p.m. in the meeting space and every group has to share their results - still "work in progress".
Please also use the Google drive for collecting and uploading your "project-stuff".
Lunar Museum - Google Drive
17.30 p.m.                       Lecture by Rafał Ryterski On Electronic Music Composition

FRI 21.1.2022 PRESENTATION

10.00 a.m. - 10.30 a.m. Come together

10.30 a.m. - 12.00 p.m. Open Lab - work in progress

12.00 p.m. - 13.00 p.m. Lunch break

13.00 p.m. - 14.00 p.m. Get together

14.00 p.m.                       END - Start of presentation

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Metropolis 1927 Fritz Lang_Blade Runner 1982 Ridley Scott

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Studio Point Cloud - XARS Hyperobjekt 231220

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Studio Point Cloud - XARS Hyperobjekt 231220 - Studio Point Cloud - XARS Hyperobjekt 231220 - Download Free 3D model by MWintersberger (@mwintersberger) [1e42578]

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No special prior knowledge. Interest in experimentation, in the combination of art and technology and in independent practical project implementation.

Helpful tools:
Graphic & Motion Design - Adobe Photoshop, Adobe Illustrator, Adobe Premiere, Adobe After Effects
3D Animation - Blender, 3D Zephyr, Meshlab, Instant meshes, Cloud Compare, 3D Photos Pro
Remote Work - OBS Studio, Firefox Mozilla Hubs

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Art history shows that artists have always sought new art forms and unconventional mediums to express their artistic principles. Various avant-garde movements that started mushrooming in the early20th century fundamentally challenged the traditional perception of art. Artists emerging from these progressive movements introduced new non-artistic materials, like books, magazines, cloths, household items, and many other everyday objects as perfect art mediums, stating that true artists can make artworks out of anything. This is how mixed media art was born, marking an exciting new era in the evolution of art.

The development of technology has continued walking hand-in-hand with progressive artistic concepts and has changed the way art is created and shared, enabling groundbreaking artists and their innovative expressions to gain expanded access to whole new audience groups beyond the conventional boundaries of the art world. We could only ask ourselves whether Andy Warhol's vast oeuvre would have developed in the same direction if it had not been for silk-screen printing technology and readily available cameras?

Nowadays, artists don't use technological innovations only as assistants in their creative process. Many artists and art professionals are transforming the art world by leveraging these powerful technology and tools as an art and design medium, allowing them to create striking, immersive, and highly engaging art pieces that are new and multi-disciplinary mixed media art and installations.

This article will show how the rapid development of advanced digital technology changed the world of art forever, pushing the boundaries of people's perception and understanding of art.

Andy Warhol and Debbie Harry using ProPaint on the Amiga 1000. Via the Computer History Museum. | Source: news.artnet.com

A Short History of Digital Art

People started tackling the idea of blending visual art and technology since the '60s. The first attempt to bring together technology and art in the creative process takes us to 1967. Back then, a group of New York artists including John Cage, Robert Rauschenberg, Robert Whitman, and Yvonne Rainer and more, worked with engineers and scientists from the world-renowned Bell Laboratories to create groundbreaking performances incorporating new technology. These first installations and performances promoting the use of technology in creating art set a cornerstone for further digital art development.

We have already mentioned Andy Warhol as one of the most influential artists who used modern technology, such as, video, film and screen printing to make his art more visible and accessible. However, it is a little-known fact that Warhol was also one of the pioneers of digital art. Namely, he created digital drawings on an Amiga computer to advertise the computer system and their software program as a brand ambassador for the computer company, Commodore International. All of this happened in 1985, but AndyWarhol's digital art pieces were lost and forgotten until 2014 when they were discovered and recovered by artist Cory Arcangel, a NYC based multimedia artist and a fanatic Andy Warhol fan, in the attempt to find and restore the images by staff and student-members of Carnegie Mellon University's computer club. From July 2017 to November2019, the Warhol Museum exhibited these historic pieces of Warhol's groundbreaking digital art using the original medium, a vintage Amiga.

The nineties brought the internet and started the technology revolution. People soon recognized the vast possibilities of this virtual global network, and the digital art scene started booming. The internet helped numerous artists make their artwork more visible, increasing accessibility to worldwide audiences. Advanced technology also enabled the artist to transform and manipulate their artwork, thus becoming a significant art medium.

The new millennium introduced numerous significant digital artists that use advanced technology to make memorable installations and performances. We will mention some of the most significant artists and artistic events to promote technology as an art medium.

Image from the 2014 Digital Revolution exhibition at Barbican Centre, London UK | Source: barbican.org.uk

1. Digital Revolution

This digital art exhibition, described in the Times UK as the "landmark show," has incorporated diverse digital art forms and gathered all of these groundbreaking art projects within an art gallery, exposing intricate connections among them. Visitors were able to experience profound feelings during this highly-engaging and immersive digital art environment. They used digital images and technological tools to create memorable interactions with the exhibited art and installation programs. The purpose of this artistic event was to celebrate "the transformation of art through technology" by gathering the most significant authors in various digital art genres. Visitors were able to see and enjoy the works and installations of Bjork, Chris Milk, Aaron Koblin, or Rafael Lozano-Hemmer and more.

2. Chris Milk

He was one of the most prominent digital artists who participated in the Digital Revolution exhibition with his interactive and highly popular project Treachery of the Sanctuary. Here, the artist used the interaction between spectators and digital birds on panels to explore the agony and ecstasy of a creative process.

The installation is based on three screens that rise above a black, reflective pool. Visitors stand in front of the first screen and watch as their shadow disintegrates into a flock of flying birds. Then they move to the next screen where they can observe the same birds pecking the remnants of their shadow. The final screen shows how the birds form into wings that visitors can move by waving their arms.

Apart from this magnificent, highly-interactive, engaging digital art project, Milk started an ongoing art project as an homage to legendary Johnny Cash. The idea is that everyone interested creates a portrait of the "man in black," and their piece of art will be incorporated into a massive portrait with other people's artwork.

Aaron Koblin and Ben Tricklebank - Light Echoes - by Cooper Hewitt on YouTube

3. Light Echoes

This is the name of a fascinating digital art project that came as a result of a joint, creative effort of Aaron Koblin and Ben Tricklebank. They used a giant laser beam projector that they placed on the roof of a train moving through California. Then they projected various materials, including pieces of poetry, onto the starry night sky and the scenery. These projections left visible "echoes" on the trails, and they were captured by a long exposure. This resulted in an extraordinary multimedia experience that inspires sincere reactions in audiences.

4. Eric Standley

Eric Standley, an artist and professor of studio art at Virginia Tech uses advanced technology to create stained glass windows out of laser-cut paper. He discovered that multiple layers of laser-cut paper provide a certain depth and three-dimensional effect to his artwork, which mesmerizes him and challenges him to create more intricate designs. The entire creative process starts with complex drawings that Eric then prints out and cuts with a laser. He then layers up the sheets of paper to create the envisioned work of art.

As opposed to many, Standley does not use technology to be more efficient or to alleviate the process of creating art. He stated that he enjoys using this art medium because technology is helping him widen his artistic vision and create more complex pieces.

Yayoi Kusama in her 2013 solo exhibition "I Who Have Arrived in Heaven" at David Zwirner, New York. Courtesy David Zwirner and Yayoi Kusama Studio Inc. Photo by Will Ragozzino. | Source: designboom.com

5. Yayoi Kusama

We decided to finish this list of outstanding digital artists and projects with an homage to a woman who impacted many fields of art during a long and versatile artistic career spanning well over half a century. Yayoi Kusama experienced severe traumas as a child that incited hallucinations like flashes of colorful light or an array of dots before her eyes. Because of her traumatic childhood and early life, she started experiencing obsessive-compulsive episodes she could not control. She creates art that painfully reflects the troubles she has gone through, and her work has made her audience sympathize with her.

One of her most poignant art installations are the "Infinity Mirror" rooms. These cube-shaped rooms covered in mirrors with water on the floors and only faint flickering light presented a contrast between life and death. Visitors are then transferred to another space of quiet and pulsating light where she could control their perception of light and darkness. Some experts stated that this was the artist's way of coping with the fact that she couldn't control many things in her life.

An immersive laser experience "Assemblance" at the Digital Revolution exhibition in the Barbican Centre's Curve gallery space created by Universal Everything, one of the UK's leading media art studios, artists Umbrellium, and a collaboration between musician Will.i.am and designer Yuri Suzuki. | Source: voltcafe.com

Not all art performances that use the technology have to evoke painful personal feelings to represent a dramatic and immersive art experience. For example, created by artists collective Umbrellium, Assemblance is a digital art performance that substitutes paintbrushes with laser beams. These lights leave colored marks on the ground and the people who are moving through them. The essential idea was to show people that they have to work together to create a lasting shape. The author's point was also in that building something valuable required serious effort that could be easily destroyed by one aggressive action.

Conclusion

All these fascinating artists and their artwork prove how advancing technology is transforming the art world and the perception of art. Technology has also given more people access to the arts, giving art enthusiasts and collectors platforms to build their art collection and share with others. Technologies and social media have also revolutionized the traditional art scene by allowing people to express their deepest emotions and beliefs through interactive and highly-engaging digital art pieces and projects.

From AI (Artificial Intelligence), VR (virtual reality) and AR (augmented reality) to digital designs and 3D printers, technologies and social media have disrupted the contemporary art and art market in so many different ways, changing how art is created, consumed and shared in our connected world. Besides being a versatile and expressive art medium, technology helps artists gain much-needed visibility and exposure for their works of art. Numerous online art platforms help them promote their work and stay connected with the artistic community.

Virtual technology brings masterpieces closer to the audience, helping us understand the artistic vision and its history to a broader public. Many world-famous art museums organize online tours to open their doors to global audiences for those who are otherwise inaccessible. Some museums are using technological novelties to develop mobile apps that answer visitors' questions right at their fingertips. We are excited to see where the application of advanced technology in art is going to take us next. Whatever the future holds, we are sure that it will continue to transform how artists express and share their creative force to inspire and influence the best of humanity.

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How Technology is Changing the Art World

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Art history shows that artists have always sought new art forms and unconventional mediums to express their artistic principles. Various avant-garde movements that started mushrooming in the early20th century fundamentally challenged the traditional perception of art.

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Lunar Museum. Other stories - Orbital Space

Creativity - Experimental Media Lab Workshop, PJAIT NEMA, MO 17. - FR 21.1.22  - Online

The age of an augmented reality requires a different perspective on space. The earth as our habitat is threatened in its existence. The effects of climate change are becoming increasingly noticeable. Man has always been fascinated by the surrounding cosmos, an all-encompassing infinity. Since time immemorial, art has been a participant and co-creator of this infinity. In an experimental open lab setting we try to take the leap out to the moon and create art works for the future moon inhabitants.
Digital Unified Global Geologic Map of the Moon - https://www.youtube.com/watch?v=uoOfOoJOSpM
Unified Geologic Map of the Moon, 1:5M, 2020 - https://astrogeology.usgs.gov/search/map/Moon/Geology/Unified_Geologic_Map_of_the_Moon_GIS_v2

Lunar Museum - Google Drive

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Digital Unified Global Geologic Map of the Moon

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Lunar Museum. Other stories - Orbital Space

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Lunar Museum. Other stories - Orbital Space

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Creativity - Experimental Media Lab: The Thing from Inner Space

date: 17-21 January 2022 at PJATK, Warsaw

workshop leaders:

Anna Eichler + Sebastian Trzoska  - PJATK Warsaw

Markus Wintersberger - Austria / new media artist

Rafal Ryterski -  Poland / Electronic music production and DJ

Marcin Cecko + Zbyszek Bzymek - Poland / New York

Markus Wintersberger
Media artist and founder of medienwerkstatt006. Deputy Head of Digital Design (MA) / Master Class Experimental Media, Department of Media and Digital Technologies at the University of Applied Sciences St. Pölten.

www.medienwerkstatt006.at
www.instagram.com/mwintersberger
www.mwintersberger.tumblr.com
www.sketchfab.com/mwintersberger
www.flickr.com/photos/markuswintersberger/sets
www.500px.com/MarkusWintersberger
www.pinterest.com/mwintersberger

IMTA - https://www.instagram.com/intermedia_motiontracking
Wearable Theatre - https://www.instagram.com/wearabletheatre
eXperimentalmuseum - https://www.instagram.com/experimentalmuseum
Nagl ~ Wintersberger - https://www.instagram.com/naglwellewintersberger
IC\M/T - https://icmt.fhstp.ac.at/team/markus-wintersberger

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FH-Prof. Mag. Markus Wintersberger wurde 1968 in Krems an der Donau geboren und studierte an der Universität für angewandte Kunst Wien bei Prof. Bernhard Leitner. Seit 1995 ist er als freischaffender...