Smells good enough to eat
Sunday, October 08, 2006 - By Tamara Thiessen in Paris
There are three boxes with the magic ingredients in them: I sniff and take a guess - violets, red-berries and iris. Bingo! I am the first person to have cracked the Insolence code and am still waiting for a beautiful bottle of the scent to arrive in the post.
Insolence Guerlain is one of the latest in a range of perfumes gourmands - softly sweet, sensually fruity, almost edible fragrances; they subtly blend foodie flavours with traditional floral notes such as musk, woods and spices.
In its pretty crystal-pink spinning-top flacon, Insolence, the vendeuse says, is a ‘‘floral fruity gourmand’’ - violet-mellifluous, iris-powdery but with the ting and tang of raspberry and orange blossom.
Aimed at seducing the senses of epicureans of life, Guerlain has chosen actress Hilary Swank as its muse - a symbol of the scent’s supposed flaunty, tangy style and nonchalant grace.
The next day at Printemps Beaute, there is a fairytale spectacle going on under a silvery forest of love apple trees for the release of Nina, the new fragrance from Nina Ricci. Nina is inspired by the pomme d’amour, or love apple, symbolised by its ravishing transparent red crystal flacon, wrapped in silver leaves.
Heavy with the pulp of Calabrian lemons and praline-coated flower petals, vanilla-dipped and softened by apple wood and white musk, it’s a pretty, sweet scent. ‘‘It’s a floral and fruity perfume with gourmand accents,” says Aribert Rinnert, perfume publicist.’ ‘It’s not dominated by the sweet, gourmand side, but by the freshness and fruitiness.
‘‘It’s like a woman who is epicurean but doesn’t want to totally succumb and be a glutton .. . it’s the love apple, which symbolises temptation, without going as far as sinning.” Eve may not have been won over by stomach alone. By the end of day I have been seduced by Paris and had my fill of baguettes and brioches. My tastebuds a r e al so h ig h on gourmand perfumes and my experience of them has only just begun.
Also pending is the release of divinely-bottled oranges and chocolates in the form of Herme' s’ new perfume, Elixir des Merveilles. It was created by perfumer Jean Claude Ellena and features notes of candied orange peel, vanilla biscuit, sandalwood, incense and ambergris. Culinary-infused scents are apparently aimed at increasing both the perfume’s and our appeal, and indeed Elixir des Merveilles is a sensual gourmand beckoning us to the bedroom via the kitchen.
Like many highly-appealing gourmand fragrances, Herme' s has waved the magic olfactory wand to conjure up fairytales and childhood.
‘‘I think gourmand perfumes wake something up in people’s childhood,” says Audrey Leroy of Printemps. Thierry Mugler’s fetish fragrance Angel revolutionised the senso-sphere in 1992 by fusing sweet fairy floss, praline, chocolate, caramel and vanilla, with spicy bergamot, mandarins, peaches and apricots.
Like an audacious olfactory chef, Mugler invented France’s biggest-selling perfume ever and paved the way for the popularity of oriental gourmands with their sweet bases, fruity hearts and spicy heads. Women are set to become highly edible prospects when they douse themselves in L from Lolita Lempicka.
Described mischievously as an ‘‘elixir of perdition’’ - in other words, a sweet and miraculous recipe for ruin - the new Lolita is a delicately and orientally spiced juice with bitter oranges and cinnamon on a woody base.
Delices de Cartier is another sweet treat. As edible as its gorgeous raspberry bottle, it is a sweet bodily blend of frosted Morello cherries, bergamot orange and pink pepper tempered with jasmine and amber.
Lancome perfumer Annick Menardo says the newly-released Hypnose has previously unheard of notes and ‘‘is above all an oriental woody, solar fragrance’’. H eady doses of passion flower and a vanilla heart have been added to make it fit for dessert. The sensual ‘‘love potion’’ is draped in a kimono silhouetted flacon, a slender retake of the Magie bottle of 1950.A floral feminine oriental,
Eclat by Fragonard is zesty with citrus notes, infused with freesia, frangipani and gardenia - the gourmand bit comes in at the base, with a rich slather of marshmallow. Some perfume houses are injecting a little gourmet naughtiness into classical perfumes by adding some soft sugary notes.
Such is the case with Miss Dior Cherie, a little sister to the near 60-year-old classic, Miss Dior. The sweeter offspring, in its chic metal-bowed bottle, has a heart of strawberry sorbet and caramelised popcorn, alongside a head of strawberry leaves on the traditional Cyprus wood, with a mossy wood base.
However, some of the new foodie fragrances are far from subtle. Ralph Lauren’s first gourmand fragrance for women, Ralph Hot, is a sugar overload of rich mocha cream, cinnamon and maple syrup added to fig, milk, vanilla, honeysuckle, mandarins and almond blossom.
Gourmand fragrances pour homme tend to favour spices over the sugar content. For men with exotic tastes, Armani Code has a Mediterranean heart of olive flowers, aniseed and herbs, a base of Venezuelan Tonka bean and Guadalupe gaiac wood, finished with drizzles of leather, smoke and balsamic vinegar.
Ralph Lauren Romance Men Silver is a fresh blend of cabernet grapes, tangerine, silver Cyprus and bergamot, nutmeg, violet, tobacco blossom and musk. Very Irresistible Givenchy For Men is an addictive gourmand with coffee, mocha, mint, sesame seeds and grapefruit rind, rounded off by hazelnut wood and aromatic Virginia Cedar.
Tangy in taste, Hugo Boss In Motion Edition III is all about breakfast energy - grapefruit, cumquat and bergamot with a spicy soul of ginger, red pepper, cardamom, Blue Lotus and sage, embalmed in tobacco, vanilla and myrrh. L’Eau Bleue d’Issey Eau Fraiche is the kind of fragrance you want men to have in mind when preparing you a meal. Mint, pink pepper, rosemary, star anise, ginger, nasturtium leaves, lemongrass and mandarin - it is sensually savoury but wholesome too.
With their exotic fusion-cuisine mixes of savours from all over the world, gourmand fragrances are invitations to travel as well as to taste, and some in particular are moreish beyond temptation.
‘‘As Oscar Wilde said, the best way to way to resist temptation is to give into it,” says Rinnert.
Selected perfumes are available from Brown Thomas
lunes, 29 de junio de 2009
skin capable of seeing
Humans skin capable of seeing colours and shapes
The human body, or exo-senso-sphere, and its sense organs are extremities of the nucleo-synthe-sphere- or the soul/mind, or the super receptor-projector.
"Yaroslavsky has explained that skin vision in humans is likely a natural atavistic ability involving light-sensitive cells in our skin connected to neuro-machinery in the body and in the brain."
The so-called 5 senses are adaptations to at least the 5 known variations of cosmic energies or essences which project the (holographic) world of sensible and intelligible phenomena.
"Some people have claimed that they possess the ability to see with their skin," said Yaroslavsky."
The whole soul and its body is a knower. All knowing is energetic, yet not all energies are the same or eaqual at incidence. The bio-photonic processes of the body contribute to the overall reality of vision and perception in mind. It is good that Yuroslavsky and other scientists are coming to see these truths that have always been. Beyond these few words I will have to go spiritual, for I have no scientific way of verifying an inevitable truth. The short-cut is the prayers of faith in the name of Jesus, and the blind eyes will be healed or created. All the best in your kindred labors to help others.
"Yaroslavsky has explained that skin vision in humans is likely a natural atavistic ability involving light-sensitive cells in our skin connected to neuro-machinery in the body and in the brain."
The so-called 5 senses are adaptations to at least the 5 known variations of cosmic energies or essences which project the (holographic) world of sensible and intelligible phenomena.
"Some people have claimed that they possess the ability to see with their skin," said Yaroslavsky."
The whole soul and its body is a knower. All knowing is energetic, yet not all energies are the same or eaqual at incidence. The bio-photonic processes of the body contribute to the overall reality of vision and perception in mind. It is good that Yuroslavsky and other scientists are coming to see these truths that have always been. Beyond these few words I will have to go spiritual, for I have no scientific way of verifying an inevitable truth. The short-cut is the prayers of faith in the name of Jesus, and the blind eyes will be healed or created. All the best in your kindred labors to help others.
Hace 2nte minutos
sentir la sensosfera: "diccionario 2013" en gugel
29 Jun 2009 ... Sensosphere en gugel · "dizionario 2013" en gugel · "diccionario 2013" en gugel · Sensosphere: moving images in airplanes ...
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You’ve lost that touchy, feely feeling... and now it’s gone, gone, gone
You’ve lost that touchy, feely feeling... and now it’s gone, gone, gone
Frank M. Rinderknecht, fondatorul Rinspeed, este de parere ca “pasagerul, nu costul tehnologiei ar trebui sa fie in centrul atentiei unei calatorii cu avionul”. De aceea, echipa de la Rinspeed impreuna cu Strähle & Hess GmbH, Lumitec AG si Universitatea din Zurich au creat urmatorul concept : Sensosphere
"Sensational Inclusive Design" Javeriana
S.I.D. Sensational Inclusive Design: Tool for the Good Design
Ricardo Becerra Sáenz, Maxivalid Project – Inclusive Design, Universidad Javeriana
becerrar@javeriana.edu.co, dimaxivalido@yahoo.com
Abstract
The design of friendly environments that could be enjoyed by most of the people, including persons with any disability, children and the elderly, among others, demands designer’s understanding on the sensorial potential of the human being. Therefore, this document introduces a tool called Sensational Inclusive Design that allows compiling, analyzing and diagnosing information about the sensations experimented by people when interacting with their environment, in order to propose new design options taking into account the sensorial processes of the human being, starting from the detection of stimuli an the generation of emotional and behavioral responses defining the degree of attraction of an environment to be used efficiently and inclusively.
Keywords
Inclusive design, senses, stimulus, sensation, perception, emotion, behavior, Industrial Design, Architecture.
Introduction
Becerra [1] proposes that “it is normal to be different”. Disability is a common condition and more extended that people guesses and it has been recognized that people with motor and sensory limitation develop different skills to interact with their environment and, in many cases, even better than any other people.
In the academic framework of the Maxivalid Project of the Architecture and Design School of Universidad Javeriana in Bogotá, Colombia during the last four years, an experimental dynamics has been developed called the Senses Workshop, intended to trains the student of Industrial Design and Architecture in the sensorial comprehension of the space and objects; the workshop proposes the following design question: How can the conditions of the environment be improved so that any person may enjoy it with pleasure?
The answer is: By simplifying the life for everyone, understanding and inspired by the sensorial capacity of the people, specially, of those who have been affected by disability conditions. Day after day, we face ramps that are traps, enraged doors, offensive stairs, rough pedestrian sidewalks, aggressive elevators, slippery floors, that may cause many problems to us, and these strange personalities of space and object impede us to enjoy the environment with pleasure. Is it possible to anticipate, from the design, these strange environment personalities that would cause us displeasure and discomfort?
Starting from the sensorial dynamics of the Senses Workshop, the Maxivalid Project has developed a tool called SID (Sensational Inclusive Design); it is a new design practice that offers a response to that question and is based on the sensorial experiences of each human being when interacting with space or with an object: a room smells different than a restaurant, a museum looks different than a park, a coat feels different than a shirt, an office hears different than a cemetery. And each one produces pleasant or unpleasant sensations on people, who are able to accept or reject it. Every human being, independently of his/her age, genre, condition or capacity, experiments sensations through a sensorial structure as affirmed by Ayres [4], and the SID compiles, processes and improves the perceptive capacity of the human being to design more sensitive, pleasant and friendly spaces that could be recognized and enjoyed by the most of people as possible.
The Concept
Solano [3] states that the human knowledge is acquired through the senses and from the experience generated by them, and we similarly understand the space and the objects through sensations given to us by their infinite stimuli. We permanently feel on our very skin what surrounds us. The SID considers that the real action of design starts from the enjoyment of the space by the human being, through his/her sensations and perceptions translated into welfare, producing a positive mood and behavior, Solano [3]. The action of design derives from the spatial and objectual pleasure experimented by one or more persons in the development of an activity, wherever it is.
The SID is inspired on the sensorial and motor capacities of people with disability, children and the elderly as its first reference. As expressed above, these people develop different skills that allow them interact with their environment in a particular way; a blind person develops his/her hearing, smelling and touching perceptions better than any other person; a deaf person is more sensitive to visual and tactile stimuli; a person with some deficiency in his/her legs is more skillful with his/her arms and hands. In conclusion: those things that do not work well are compensated by other skills and thus the person with a disability transforms his/her condition through different capacities. It is in the difference where we find the talent of the capacity, and the SID capitalizes this knowledge for your work.
Background
The five senses are: hearing, sight, smell, taste and touch. The sense of touch has many subdivisions, such as the sense of pressure, heat, cold and pain; the sensorial receptors that are in the muscle, tendons, and joints are called propioceptors, and inform on sensations such as weight, position of the body and the game of some joints, Ardila [5]. Within the semicircular canal of the ear is the balance organ, which informs about body stability.
A sensorial communicative process requires an emitter agent that produces the stimulus for other receptor agent, connected through a canal through which the specific information of space and/or object or product is emitted, Ardila [5].
The spaces and objects define an active environment for the human being and they are always characterized by visual, auditory, smell, touch and even taste stimuli [Figure 1]: the environment is configured through the form, environment, color, sounds, textures, fragrances, smells and flavors. All of them are physical, chemical or mechanical agents that trigger pleasant or unpleasant reactions in people.
Solano [3] identifies sensation as the reaction that the human body experiments from the detection of stimuli; it is the first impression obtained from the sensorial canals. To perceive is to appreciate the information received through a process of mind reception and preparation that causes judgment of value against the quality of stimulus, Solano [3].
The emotion is the main component of the sequence. The individual’s acceptance or rejection depends on the positive or negative reaction generated by the stimulus of the environment. Emotion is a synonymous of feeling, mood state and in psychology, as Ayres [4] states, it is used to call a reaction implying determined physiological changes, such as acceleration or reduction of pulse rate, reduction or increase of the activity of certain glands. All of it stimulates the individual, or some part of his/her organism, to increase its activity. The three primary reaction of this type are anger, love, fear, that sprout as an immediate response to an external stimulus or are the result of a subjective process, a memory, association or introspection and totally depend from the characterization of the individuals and his/her individual or collective profile.
Finally Ayres [4] affirms that the conduct, understood as the form to be of the individual and the set of actions that he/she carries out to adapt to his/her environment, is the response to a motivation in which psychological, physiological and motive components are involved. The conduct of an individual, considered in a determined space and time, are called behavior.
The sensorial experience is not exclusively selective in one or other sense. When we interact with the environment all ours sensorial canals are ready and active to receive external information; our body simultaneously perceives different stimulus even from a same emitter agent, as for example the water that falls from a fall: it is visually perceived by its bright, contexture and movement, it is heard to fall and hit the rocks, it fells when flows between the fingers of the hand or when touches the skin and has a flavor and odor that identifies it. Likewise, our mind may simultaneously process the information emitted by different agents, Regan [6] as for example the enjoyment to be in the beach: a beautiful sunset is seen in the horizon, while our body feels the texture of the sand and the movement and sound of the sea waves and at the same time breathes the sea wind and the plants smell. This is a sinestesic experience.
Additionally, the human being, when establishing sensorial relationship, defines his/her performance as for position and location of his/her body in the space, his/her orientation and his/her body balance.
The Proposal
The proposal suggested by SID is developed from the sequence initiated by an stimulus producing a sensation, a perception, an emotion and a behavior [Figure 2]:
According to the above, the SID proposes the following statement:
If a good selection of stimulus defining an space or object is made, this permit to generate good sensations that may conduct to good perception; if they in turn, produce good emotions or mood states and finally are translated into good behavior or attitudes, therefore, we obtain good sensitive, pleasant and friendly environments that permit all the persons to enjoy totally the development of their activities. This is the Good Design the Sensational Inclusive Design. Its mission is to conceive sensational and emotional environment with which people may enjoy their activities.
Well then, as the nice or pleasant sensations produce appropriate and positive attitudes, a bad or unpleasant sensation will trigger negative reactions in people. These would identify the wrong design in aggressive, unsafe, hard and unpleasant environments.
This way the SID develops its mission by promoting in the design to be aware of the sensorial potential of his/her clients and users, while permits him to discover in him/her self infinite options of design according to principles of social responsibility and ethical commitment.
The Sensosphere
The sensosphere is configured as the specific tool of the SID for the three-dimension delimitation of the human being in the space-time relationship. It is presented in any active environment where an individual or more develop any activity and are surrounded by sensorial stimulus. The sensosphere is the final result of the lifting of sensorial plans or maps where the emitters and their corresponding stimulus are located. Their applications are different:
· It may be applied to analysis and dialogisms process in a specific environment.
· For the improvement of the sensorial conditions of a space and the objects composing it.
· 
To develop new projects inspired on the skills of persons with disability permitting its inclusion and the use in the environment for a wider range of persons.
Four types of sensosphere are specified [Figure 3]:
· Body sensosphere: It embraces all the emitters and stimulus located in objects with which the use has an active contact tanks to his/her active and/or receptor organs or with objects surrounding all his/her members. The emitters are included, in general, in the clothing and accessories or in elements of temporal use as the hair comb, the toothbrush, a towel, a tissue, etc.
· Immediate sensosphere: It embraces the emitter and stimulus that are in the pressure scope (holdings) and body movement. It is equivalent to the personal space. According to the dimensional static and dynamic characteristics of the individual this sensosphere may have above 2.00 to 3.00 meters diameters. The individual may be standing, seated or lying down. It may involve objects and spaces for a work place, a desk, a car cabin, a bathroom, a kitchen, a Jacuzzi, a waiting room, bus stops, a garden, etc.
· Intermediate sensosphere: It embraces the emitters and stimulus located during a journey where the individual generates body displacement between spaces during a specific period of time. They are located in the space and objects that are beyond the radio of pressure and movement of the use and that are part of his/her circumscribed space environment. It embraces environment of circulation such as corridors, avenues, bridges, parks, streets, rivers, etc.
· General sensosphere: It embraces the emitters and stimulus located in spaces and objects that are approximately from 30 metros to the infinite, and are beyond the circumscribed space environment of the individual; they act in primary way on the receptor organ. It embraces landscapes, public urban space, the sunset, the rainbow the forest to distance, etc.
Proceeding
Taking into account an environment delimited and defined by a space and objects, the basic steps of the process are synthesized as follows:
· To detect the emitter agents and the stimulus emitted.
· To identify its position and location in the space regarding to the receptor.
· To configure layers from the distance and the values of stimulus (intensity, frequency, timbre, texture quality, etc.).
· To acknowledge and /or discover the emotions produced by the experimented sensations.
· To understand the different human behaviors as response to the felt emotions.
· To evaluate and diagnose the real disposition of the individuals in the environment.
· To propose actions of design modifying and improving the sensorial conditions of the environment.
The sensosphere may be configured in many ways according to the quantity of stimulus, the distance regarding to the receptor, the path and displacement of the individual and the space dimension. It form may change from one to another: the first one may be spherical, the other one oval or cubic; it is random according to the case of study. As well as the globe, each sensosphere has proximal or distal layers defined by the distance of the receptor.
To generate the three-dimension configuration of the sensosphere is convenient to make at least three sensorial maps: a superior view, a lateral and a frontal way.
Each view will have located all the sensorial stimuli in such a way that permit sinestesic relations and make decision of design taking into account the possible pleasant and positive sensations that the environment may offer.
With all the views made and the interaction of the stimulus it is possible the final construction of the sensosphere permitting to have a consolidated three-dimension map. [Figure 4].
Finally, the graphical information must be expressed in matrix mode in such a way that it may be understood in applicative terms for the design and that may define clear and precise determinants for the decisions making. [Figure 5]
Conclusion
Through the professional and academic experience, the SID application and its tool has generated projects of spaces and objects accepted by the most of people; it has been understood that if the design of an environment works well for the persons with disability, the children and elders, then it will work much better for all the people in the greater extension as possible. Additionally, it has been valuable for the training of professionals and students of Architecture and Industrial Design, who has created awareness about the creation of including environment that provides friendly and pleasant conditions for the efficient development of the human activities.
Taking into account the aspirations and needs of the human being, knowing them in depth and improving their sensorial skills, we may design sensational spaces and objects that permit them to be enjoyed in full by all people. This is the real enjoyment of the design, the Good Design.
Acknowledgments
Special thanks to Architect
References
[1] Becerra, R (2006). Guía del Proyecto Diseño Maxiválido FAD – PUJ. Pontificia Universidad Javeriana, Facultad de Arquitectura y Diseño, Bogotá, D.C.
[2] The Center for Universal Design,
[3] Solano, A (2006) Taller de los Sentidos. Pontificia Universidad Javeriana, Facultad de Arquitectura y Diseño, Bogotá, D.C.
[4] Ayres, J (1998) La Integración Sensorial y el Niño, México, D.F., Ed. Trillas.
[5] Ardila, A (1980) Psicología de la Percepción, México, D.F., Ed. Trillas
[6] Regan, D (2000) Human Perception of Objects: Early Visual Processing of Spatial Form Defined by Luminance, Color, Texture, Motion, and Binocular Disparity, U.S.A., Sinauer Associates, 1st Edition
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Sensosphere: moving images in airplanes
EMPIRE YOUR SENSES IN SPACE - THE SENSOSPHERE
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"The passenger and not the price and technology should be the focal point of an air journey," observes the head of Rinspeed, Frank M. Rinderknecht, summing up the fundamental idea behind his latest concept conceived together with Strähle & Hess GmbH, Lumitec AG and the University of Zurich. The "Sensosphere" is an outstanding example of unconventional ideas and applied lateral thinking. This vision being the foundation of a completely new concepted airplane interior created by the renowned partners.
Who does not know this uncomfortable and uneasy feeling? Seemingly endless intercontinental flights paired with an oppressive feeling of constriction of the uniform and appealingly cold airplane interior. The clinical and plastic orientated ceiling and side panels do not allow a homelike, let alone comfortable, feeling of well-being. A relaxing ambiance is omitted in favor of functionality. Only the fight for some centimeters of seat width and seat gap seems to count. The creative and innovative lateral thinking team wants to put an end to this. Already the first impression entering the cabin should radiate roominess and feeling of well-being. The old saying of “you never get a second chance for a good first impression” still counts.
Depending on the time of the day and desired mood, the cabin interior changes its appearance with various pattern and images. Soft-focus effect pictures and patterns which are supported by sound and aromas - if desired. It is all made possible by an innovative electroluminescent film technology developed the Swiss electronics specialist, Lumitec AG. "In the "Sensosphere", we are showing what breathtaking possibilities this new technology can open up for cabin designers. The glowing material can be made into any shape and does not need electric bulbs or LEDs. The high-tech surface is computer-controlled and, depending on the applied voltage, shines green, blue or orange”, explains Lumitec-CEO Emil Enz.
The whole project is based on an elaborate sensory system. The developers of the concept speak, not surprisingly, of "Zen-sorial" - with reference to Far Eastern meditation. On the basis of the measured data, the passengers now receive various impulses to their senses that put them in a state of relaxed attentiveness. The idea of 'communicating surfaces' stems from Andreas Fischer, a designer who developed the "zenMotion concept" at the Institute for Computer Sciences at the University of Zurich in close cooperation with the Institute for Psychology at the University of Innsbruck. The inspiration for the development came from studies by scientists dealing with the emotional effect of moving patterns on people.
The revolutionary concept is embedded in new and svelte tissues and material combinations which are due to set visionary trends in the conservative cabin interior designs. “It was always important to us that warm and charming impressions, the emotionality and the feel of the surface of the cabin interior transfers to the human being. Only this way he will feel comfortable and snug”, states the director of Strähle & Hess GmbH (Germany), Mrs. Kirsten Schönharting. “This way Strähle & Hess underlines it visionary and cutting edge role also in the airline industry”.
It is not by coincidence that the reasoning and thoughts of the „Sensosphere“ are similar to the “Senso”, the concept car introduced in the year 2005 by the Swiss automotive design and solutions specialist Rinspeed AG. The resounding success and the broad acceptance (it created more than 600 million contacts) of the integrated ideas encouraged the Rinspeed-CEO Frank M. Rinderknecht to look for new application fields. “I hope that our group conveys valuable input to the airplane industry and can establish itself as a mastermind also in high altitudes“.
The „Sensospoher“ partners :
Lumitec AG - Mr. Emil Enz : www.lumitec.ch
Strähle & Hess GmbH - Mrs. Kirsten Schönharting : www.straehle-hess.de
Universität Zürich - Mr. Andreas Fischer : www.oktopus.ch
Sensosphere te hace sentir cómodo
Post publicado en : 2 de Julio 2007
¿Alguna vez estuviste sentado en un vuelo de larga duración? La experiencia para la mayoría de nosotros (que no tenemos dinero para cambiar nuestros asientos por unos de Primera Clase) incluye entornos apretados y un sentimiento en general de claustrofobia. Rinspeed de Suiza ha diseñado una nueva cabina para avión que cuenta con pantallas de luz en las paredes, conocida como Sensosphere. Sensosphere utiliza material electroluminoso controlado por computadora que se muestra en las paredes de la cabina, brillando en diferentes colores para afectar las emociones de las personas mientras le proporciona un poco de comodidad a los pasajeros en el aeroplano. Espero que esto no sea una opción solo para usuarios de primera clase.
viernes, 19 de junio de 2009
miércoles, 10 de junio de 2009
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| 19 May 2009 by thetheorythroughsymbiodiversity The polymathic approach in this text means that, when necesary, we would pass from one discipline, or scientific field, to others, in spite of the possible difficulties that such jumps would cause for the comprehension of the text. ... symbiodiversity - http://symbiodiversity.blogspot.com/ |
| 8 May 2009 by Hugo Fuchs Okay, I'll post more on Monay AFTER everyone has seen this. But the answer is to see it. It's right up there with Star Trek IV. polymathic writings - http://polymathicwritings.blogspot.com/ [ More results from polymathic writings ] |
| 13 Apr 2009 by philosophyofscience I also gaol wondering what the most plummy choice conducive to me is to reach one’s more than half a good enough polymathic homework outstandingly. outstandingly. Authored by philosophyofscience. Hosted by Edublogs. philosophy of science - http://philosophyofscience.edublogs.org/ - References |
| 10 May 2009 by elly_leaverton I don’t know what it is but I get super distracted by learning about software. This week I have gotten pretty intimate with my art program: Paint Shop Pro 9. Not to be confused with Photoshop, this is the Corel competitive software. ... Polymathic Elly - http://polymathicelly.blogspot.com/ [ More results from Polymathic Elly ] |
| 1 Apr 2009 by The Creator Solution creators should adopt a polymathic attitude and instead of referring to just one knowledge domain, they should expand their boundaries and have an inclusive approach for all domains. OS 4 - http://www.thinkingexponentially.com/ |
| 9 Jan 2009 Polymathic Analytical Labs launches enhanced website designed to provi... ...ORANGEBURG SC Jan. 9 /- Polymathic Analytical Labs a... ...,Polymathic,Analytical,Labs,Launches,New,Website,medicine,medical news today,latest medical news ... Latest Medical News from Bio-Medicine.Org - http://www.bio-medicine.org/medicine-news-1/ |
| 4 Mar 2009 by Polymathic I love this game, but may I suggest a full screen mode? It can be difficult to see where you're sticking pins and such. Playfish - Forum - http://forum.playfish.com/showthread.php?p=1271026 |
| 13 Apr 2009 by braddart (This is related to my previous post on polymathy.)So far in university, I've taken courses in: pure and applied mathematics (22 courses), physics (9 courses), chemistry (2), biology (2), computer science (1), economics (1), ... Writings and Ramblings - http://braddart.blogspot.com/ |
| 9 Jan 2009 by atwood Polymathic Analytical Labs launches enhanced website designed to provide improved accessibility and expanded content. ORANGEBURG, SC, Jan. 9, 2009 — Polymathic Analytical Labs, a Zeus company, announces the launch of its updated website ... eReleases Press Release Headlines - http://www.ereleases.com/pr/ |
| 29 Jan 2009 by Gavin So short and brief descriptions in this blog. Yet, this post is replete with pictures to hopefully make-up for my negligence. I think this means "Welcome to Japan!" We went to a temple around New Years time and it was so crowded! ... Palpably Polymathic - http://polywho.blogspot.com/ |
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