occupy landscapes

reflection -  meanwhile on instagram; @ethikdesign visualises particles that explode in a art-nouveau form, @beeple-crap hits 10years of rendering everyday #everydays scenes of surreal lands that worship electronic elements. @stuz0r paints dark end of tunnel spaces with social media facades towering small people. this generation is already dreaming it!
the idea of an array of pixlers seems puny to the idea of millions of pixlers. and it would be the term to properly address this phenomena. the replicators would be able to curate any form of 3D space, but really the basis of a pixelscape should be with reason.
it is important to deploy millions of pixlers in ways it would benefit users through a new kind of architectural tectonic rather than to immitate contextualised realism. 
the form and use of a pixelscapes seeks a future need. it can be anything and however small or large. through or for the lack of time. that, is its contribution to humanity. cheesy as it sounds.
thus, a language to control the millions of pixlers needs to be put in place. these are a series of organisational maps that can be stacked to from hierarchical layers of data.
Similar to the organisational underpinnings of gravity towards how we lay bricks one of top of the other, these maps are simple greyscale grids of line elements. they are drawn by the designer of the pixelscapes for the input and the deployment by the replicators.
hierarchical map layers abide to the principles of infinite subdivision where several layers of millions of pixlers would be able to stack and/or subdivide in 3D to form desired pixel imagery. 
voxels remain stacked and meshed, similar to the idea of an ‘underlying lattice’ in quantum theory. 
the result is a design language of pixelscapes that are geometrically layered with colour and touch.


An octree is a regular hierarchical data structure. The first node of the tree, the root, is a cube. Each node has either eight children or no children. The eight children form a 2x2x2 regular subdivision of the parent node.

The invention generally relates to solid modeling of three-dimensional solid objects and more particularly to a method and apparatus for the high-speed generation of a two-dimensional image of a three-dimensional solid object wherein surfaces hidden from the viewer from a selected point of view are eliminated from the image.

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particle and wave

With reference to the ideas of Quantum Theory, it can be assumed that the idea of a Pixler may be small enough to be an incremental measured difference between displaying behaviours either of a particle or wave. 

These elevational drawings are mappings of the idea between the 2 concepts where a form a ‘drape’ is revealed. 

The idea also addresses the probability of a physical entity which is proposed from the voxels and its locked paths.

colour trajectories

A colour array/map is used to directly affect the positions of a particle array in 3d space. The distance between the outer and inner limits of the locked array is a direct corresponding product of its colour information.

This is a ‘driver’ dependant control that directly affects the user of the pixel scapes.

The outcome of this is a vibrancy not only in form but its colour and light as well, creating physical landscapes of resolution.

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refractive colour sequence

Refractive characteristics are observed when planar surfaces (in the case of a Pixler, the texel planes) bend light to form alternating variations of colour while in 3D space.

This variation of imagery is visually accepted as direct of alternating (gradient) colour maps that are internal.

Just like an octree infinite subdivision technique, a series of refractive texel planes form a pixel image that is neither physical nor static while is propagates in 3D space.

A refracted sequence upon an array of pixlers allow its colour to take over the underlying form created by voxels in an exercise of deception and belief.

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hierarchical maps

A four tier hierarchical map is used to organize an array of pixlers. These maps are scalable and duplicated to suit several projections of human scale. 

Repetition, proportioning and subdivision of line elements help form these architectural grid which give several layers of pixlers its digital look.

Here, a simple facade  exercise brings back the notion of a binary distribution system to the locked array paths of the voxels.

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