Model garden railways youtube,hornby railroad 08,miniature train set joke,train sets age 6 10 - 2016 Feature

15.11.2013
Trains chug through a rugged mountain range in the Colorado territory… all within footsteps of Dr. The Gilberts had so much fun with the first layout that they created a second 40-by-30-foot layout where a modern streamliner Santa Fe locomotive pulls a seven-car train. Once they saw an outdoor garden railroad at The Incredible Christmas Place in Pigeon Forge, Tenn., you could say they were “railroaded” into a hobby thousands of people around the globe enjoy. The rise of garden railroads can be directly traced to the infancy of the railroad, according to Garden Railways magazine, the leading authority on the subject. Even the Gilberts, who swear their two layouts are their last, say they are far from finished. Starting from scratch could have been daunting, but the Gilberts got on track by joining organizations—one of which is the Florida Garden Railway Society, which has approximately 150 members locally and 250 members statewide. The Florida Garden Railway Society–Central Division, for example, maintains a train layout for charity at Arnold Palmer Hospital for Children in Orlando. The Gilberts have two generations of electronics, as well as a track that’s battery-operated. Betty Gilbert plants around their Leesburg railroad garden with plumbago, crotons, carpet roses, Aztec Grass, juniper, blue daze, and caladium. Though garden railroading only later became associated with actual gardening, it happens to be one way the male railroaders’ wives can get involved in the hobby. The Gilberts’ plants around their Leesburg garden include plumbago, crotons, carpet roses, Aztec Grass, juniper, blue daze, caladium, and others, which Betty has mapped to help her determine the most successful varieties. They even plan corresponding trips, such as one to Nuremburg, Germany, to see the manufacturers.
Did You Know?G-scale, the scale of choice for garden railroaders, is used for its size and durability for the outdoors.
Having said that, I took the name of the event literally a€“ it’s a bit of a work-in-progress, still. There are currently 13 of us – half-technologists, half-designers, sharing a room in East London where we invent products for ourselves and for other people a€“ generally large technology and media companies. This is near-future where the things around us start to display behaviour – acquiring motive and agency as they act and react to the context around them according to the software they have inside them, and increasingly the information they get from (and publish back to) the network. Of course, I choose to illustrate this slightly-nuanced point with a video of kittens riding a Roomba that Matt Webb found, so you might not be convinced.
By bot – I guess I mean a piece of software that displays a behaviour, that has motive and agency.
But how about some other visions of what it might be like to have non-human companions in our lives?
A more fruitful stance for interaction design in this new landscape might be that offered by Actor-Network Theory? And, as we design for slightly-unpredictable, non-human-centred near-futures we need to make more of them, and share them so we can play with them, spin them round, pick them apart and talk about what we want them to be a€“ together. Text Camera is about making the inputs and inferences the phone sees around it to ask a series of friendly questions that help to make clearer what it can sense and interpret.
Through the dialog we feel the seams – the capabilities and affordances of the smartphone, and start to make a model of what it can do. Luke and Uncle Owen relate to them as all three – at the same time addressing them directly, aggressively and passive-aggressively.
The reason for this particular digression is to point out that one of the prime materials we work with as interaction designers is human perception. We’re generally faster learners than our technology, as long as we are given something that can be easily approached and mastered. Big Doga€™s movements and reactions a€“ ita€™s behaviour in response to being kicked by one of ita€™s human testers (about 36 seconds into the video above) is not expressed in a designed face, or with sad a€?Dreamworksa€™ eyebrows a€“ but in pure reaction a€“ which uncannily resembles the evasion and unsteadiness of a just-abused animal. Anyway – coming back to a€?wilya€™ tactics, herea€™s the often-referenced a€?Uncanny Valleya€™ diagram, showing the relationship between ever-more-realistic simulations of life, particularly humans and our a€?familiaritya€™ with them. Basically, as we get ever closer to trying to create lifelike-simulations of humans, they start to creep us out.
The a€?wilya€™ tactic then would be to stay far away from the valley – aim to make technology behave with empathic qualities that arena€™t human at all, and let us fill in the gaps as we do so well.
Which, brings us back to BASAAP, which as Rodney Brooks pointed out a€“ is still really tough. Some robot designers have opted to stay on the non-human side of the uncanny valley, notably perhaps Sony with AIBO. Herea€™s an interesting study from 2003 that hints a little at what the effects of designing for a€?artificial empathya€™ might be. Wea€™re good at holding conflicting models of things in our heads at the same time it seems. Some recommendations of things to look at around this area: the work of Donna Haraway, esp. Also, the work of Cynthia Brezeal, Heather Knight and Kacie Kinzer – and the ongoing LIREC research project that our friend Alexandra Deschamps-Sonsino is working with, thata€™s looking to studies of canine behaviour and companionship to influence the design of bots and robots. In our own recent work Ia€™d pick out Suwappu, a collaboration with Dentsu London as something where wea€™re looking to animate, literally, toys with an inner life through a computer-vision application that recognises each character and overlays dialogue and environments around them. I wonder how this type of technology might develop hand-in-hand with storytelling to engage and delight a€“ while leaving room for the imagination and empathy that we so easily project on things, especially when we are young.
Pot-plants have motives (stay alive, reproduce) and behaviour (grow towards the light, shrivel when not watered) but they dona€™t have much agency. Some recent projects have looked to augment domestic plants with some agency – Botanicalls by Kati London, Kate Hartman, Rebecca Bray and Rob Faludi equips a plant not only with a network connection, but a twitter account! We think this is rich territory for design as the things around us start to acquire means of context-awareness, computation and connectivity.
Namely, straight from things with predictable and legible properties and affordances, to things that try and have a peer-relationship, speaking with human voice and making great technological leaps to relate to us in that way, but perhaps with a danger of entering the uncanny valley. This in part is the inspiration behind some of the thinking in our new platform Berg Cloud, and its first product – Little Printer.
We like to think of Little Printer as something of a a€?Cloud Companion Speciesa€™ that mediates the internet and the domestic, that speaks with your smartphone, and digests the web into delightful little chunks that it dispenses when you want.
Little Printer is the beginning of our explorations into these cloud-companions, and BERG Cloud is the means wea€™re creating to explore them. Ultimately wea€™re interested in the potential for new forms of companion species that extend us.


Natalie went to communities near reclaimed-land that might still have harmful toxins present, and taught workshops where cheap (remember Argos?) robot dogs that could be bought for $30 or so where opened up and hacked to accommodate new sensors. Perhaps most important was that the communities themselves were the ones taught to open the toys up, repurpose their motives and behaviour – giving them the agency over the technology and evidence they could build themselves. In the coming world of bots – whether companions or not, we have to attempt to maintain this sort of open literacy.
I didna€™t get the chance to reference the work of James Auger & Jimmy Loizeau in the talk, but their a€?Carnivorous Robotsa€? project deserves study. James Auger is currently completing his Phd at the RCA on a€?Domestication of Roboticsa€™ and I cana€™t wait to read it. UFO On Tape (iTunes link) is a game for iOS that simulates tracking a UFO with a video-camera.
Line Block by Korean designers Junbeom So, Lee Ji Eun, Yi-Seo Hyeon, Heo-Hyeoksu and Jeong Minhui proposes an alternative to cable tangles: power cables that can be joined together through tongue-and-groove rubber. These links are a bit late because last Friday I was at The Design Of Understanding – a day-long conference at the St Bride Library. Friend-of-Berg Chris Heathcote talked about New New Media – a swift overview of ubicomp and other aspects of situated computing. There were an awful lot of photos taken for the Making Future Magic video that BERG and Dentsu London launched last week; Timo reckons he shot somewhere in the region of 5500 shots. In addition, we amassed a stack of incidental pictures of props, setups, mistakes, 3D tests and amphibious observers during the film’s creation. Clicking through these pictures, it was clear that a book collecting some of these pictures, offering little behind-the-scenes glimpses alongside the finished graded stills used in the final edit, was the way forward. We’re working with Beeker Northam at Dentsu, using their strategy to explore how the media landscape is changing. We have chosen to interpret that brief by exploring how surfaces and screens look and work in the world. We made this film with the brilliant Timo Arnall (who we’ve worked with extensively on the Touch project) and videographer extraordinaire Campbell Orme. The light appears to boil since there are small deviations in the path of the iPad between shots. About a year ago James King brought a book to my attention from a series called Analysis of the Massproduct Design by Japanese product designer Taku Sato. Analysis of the Massproduct Design is just like the Eames Powers of Ten video but for everyday products. Each book takes a manufactured product and breaks down the content, graphics, construction and packaging page by page. The firmness of a chewing gum changes gradually with the passing of the time of its being chewed. Matt’s assumptions about technology, and his expectations of technological progress over time, become very apparent in these excerpts.
But there’s a specific point I should make about technology in the context of this hobby. Last weekend saw Jack and I take a trip to the Western Modern Railway Society‘s West Of London Model Railway Exhibition in South Ruislip. I don’t know whether this was true when I last went to an exhibition, but the technology was surprisingly unreliable. This model of the Canadian Rockies was particularly impressive, as were the tricks the maker used to create good-looking trees and ground. One last point: The show was half layouts and half stands, where the stands combined tool shows, magazine sellers, and individuals making and selling trees or constructed kit locomotives. In summary, it was fascinating to go an exhibition by hobbyist model-makers, especially ones who have a small industry supporting them, taking mass produced objects (houses and trains) and completing their look for their own layout. What I got most out of the visit was an idea of the various motivations of people in the community. Though he estimates he spends about 25 hours per week in his train garden, he says it will take him almost three years—or possibly even longer—to finish the layout.
At the most recent meeting, Frank had nearly 40 participants, some coming from as far away as Palm Coast and Naples. Electronics was Vic’s assignment, and he was especially careful because of the fierce lightning Florida receives during the summer months. We have a model of what they want, and how they behave in certain contexts – as they do of us, we think. The things we think are important in the models, and designs we make for connected products. We try to design things that work to take advantage of its particular capabilities and peculiarities.
Activated by sensors it can report to you (and its followers) whether it is getting enough water. Legible motives, limited behaviours and agency can illicit response, empathy and engagement from us. A favourite project for us is Natalie Jeremijenkoa€™s a€?Feral Robotic Dogsa€? – a fantastic example of legibility, seamful-ness and BASAAP.
Once release by the communities they a€?sniffa€™ them out, waddling towards the highest concentrations – an immediate tangible and legible visualisation of problem areas.
He shared this footage of a model by Tom Draper, exploring the idea of a mechanical screen in front of a building that would cast shadows similar to a dragon curve fractal.
Your Nike+ talking shoes, using a credit card nearby, your car number plate being recognised, your phone reporting your location, or your Oyster card informing the system that youa€™ve just come out of Oxford Circus tube? Stop-frame animation is a very costly process in the first instance, but as the source we were shooting was hand held (albeit with locked-off cameras) and had only the most rudimentary of motion-control (chalk lines, black string and audio progress cues), if a frame was poorly exposed, obscure or fumbled, it left the sequence largely unusable. As well as offering a platform for some of the shots that didn’t make the final cut, the static prints want to be pored over, allowing for the finer details and shades (the animations themselves had textures and colours burnt into them in prior to shooting, so as to add a disruptive quality) to come through. We like typography in the world, we like inventing new techniques for making media, we want to explore characters and movement, we like light painting, we like photography and cinematography as methods to explore and represent the physical world of stuff.
Through long exposures we record an iPad moving through space to make three-dimensional forms in light. We render cross sections of these models, like a virtual CAT scan, making a series of outlines of slices of each form. The second half of the film includes a slow zoom into a man’s hand, right the way through cells and molecules all the way down to an atomic structure.


Near the end of the Fujifilm book, there’s a photographic one micrometer cross section of the film stock. In order to make this change of the chewing feeling close to an ideal one, the elements that should make up of the chewing gum are controlleda€¦ The figure shows the strength of the chewing exerted in the mouth measured with an analyzing device called RheoMeter.
This is for securing the stability of the carton when placed straight on a tablea€¦ The number (image c) is the filling machine’s column index.
They offer the seductive illusion that with this book the object can be completely known, all secrets unravelled. He uses the word to characterise smart objects which talk about their histories, how they were made, where they were sourced, where they’ve been, etc.
But what if the values these hobbyists associate with their craft include the beauty and nostalgia of keeping history alive?
The technology is the same as it was–the trains are controlled with a voltage knob wired to the track, and the points are controlled by switches directly connected. Trains often needed assistance to get over a rough patch in the track, especially at slow speeds, and people were often doing small amounts of maintenance.
The adverts in the background would be in character, the trees and landscape were well decorated, and the whole layout would be accompanied by a narrative of what sort of industry was assumed to be nearby, the purpose of the particular junction, the time period, and so on.
The whole layout was created in 10 weeks, but the maker generally made only one layout every 3 years. There was a small layout of Croydon Tramlink and a single layout which included diesel and electric era trains, but otherwise locomotives dominated. Some like the agency of controlling the train, some like modelling, some are selling, some have train collections they’d like to see on the tracks (but no space for a layout). The 30-by-30 foot layout features three G-scale locomotives wending and winding around Sandyflats. The name comes from the German word, “Gro?e,” meaning “big.” The most popular scales for model railroads are HO, N, O, G, TT, and Z.
They are you, but not you – able to reveal things about you and reveal things to you.
We play these back on the surface of the iPad as movies, and drag the iPad through the air to extrude shapes captured in long exposure photographs.
This is produced by the black areas of the iPad screen which aren’t entirely dark, and affected by the balance between exposure, the speed of the movies and screen angle. It’s extraordinarily engaging, beginning at a familiar human context, and visualising something desperately distant and unknowable. These graphs will tell you how different the chewing feelings are between ordinary sheet-type chewing gum and sugar coated chewing gum. They somehow imply that if all was lost, objects like these could be reconstructed with this knowledge alone.
Spimes might be a cars which announce their locations, or a packaged beef steak which shows the cow it comes from and where that cow was raised.
To aid Tristan’s presentation we drew up some slides outlining how we expect the core functionality to work when the radio manifests. The outer dial cycles through the full list of all the stations the radio has successfully scanned for.
Not only has Ben Gimpert put his culinary talk online, Theomatics of Food, he’s also offered more suggestions for what the browser-mouth could taste. I like exploring the possibilities inherent in things, it’s true, and by making and using mainly–can I be a thingphile instead? The scenery was incidental, and there a number of layouts had a large sidings to store all the locomotives, carriages and freight.
There’s a station with waiting passengers, an outhouse, a replica of Wyatt Earp’s Second Class Saloon complete with cowboys, and even a small Indian village.
Before long, however, manufacturers realized that a profit could be made in producing toy trains. They work according to their strengths and interests and their railroading has evolved into other hobbies.
G-scale is more correctly called G-gauge, since the gauge of the track is 45 mm, or about 1.75 inches.
That the product or service presents a readable, evident model of how it works to the world on it’s surface. Of course, part of ita€™s charm is that it can move around of its own volition – it has agency. Each 3D form is itself a single frame of a 3D animation, so each long exposure still is only a single image in a composite stop frame animation. When the lit button is pressed, the top screen reveals Matt is listening to Radio 6 Music, which is selected and the radio retunes to that station. The inner dial filters the list down and cycles through the top five most listened to stations. New technology went in the service of that modelling: electric points rather than manual points, lights inside trains, electric turntables. It’s in that context the absence of computers and monorails stood out for me, not one of a general drive towards progress and automation.
I did see two chaps operating trains on the same layout, communicating only through on-layout signals, just as regular train operators would. Perhaps this is simply because layouts with more points are more exciting, and futuristic, high speed trains don’t work like that. But it does make me wonder what other hobbies people would gather around, and what a model railway hobby would look like using modern technology and an internet sensibility. A mound of dirt contains a Koi pond but will one day hold a gigantic layout connected to his rail line. That there is legible feedback, and you can quickly construct a theory how it works through that feedback. The technology felt contemporary, and it felt as if it had been kept contemporary for decades. Today, however, it feels like the history being kept alive is not that of the railway, but of the state of model railways from the late 1980s.



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Comments to «Model garden railways youtube»

  1. BAKILI_QAQAS_KAYIFDA writes:
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  2. ALEX writes:
    New orleans caboose and one more train.