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All the world’s polygons
ŠUM – journal for contemporary art criticism
Harocki’s death predated the Cambrian explosion of simulated ecology in the late twenty-teens, realized through 3D scanned megamalls with thousands of free-to-use assets as well as powerful photogrammetry mobile apps, which allow anyone to make a 3D model of virtually anything. These platforms catered principally towards architectural designers who needed a believable, geolocationall-accurate backdrop to cinch the deal on their speculative buildings (clients include Frank Gehry and Zaha Hadid Architects). Between the amount of carbon burned to achieve this scan of such a fragile ecotone, the energy expended by future gamers in playing the ecologically accurate game levels it appears in, its position on the marketplace feels like an environmental estate sale.
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