Ditto MOMA! Like Stinkie says, their collection is incredible- every room contains at least one work where you'll say to yourself "Oh my God, that's here?!!". When I was there (15 years ago) you could even freely photograph most of the work, not sure if their rules have changed since then.
The Rockerfeller Center is well worth a visit, from the beautiful landscaping outside to the incredible interiors it's an art deco masterpiece.
Don't think it'd make any difference with SU whatsoever other than hard drive dependant tasks like opening files, autosaving, importing textures, etc. In terms of modelling and orbiting, hard drive speed is irrelevant AFAIK.
I'm sure it's been mentioned elsewhere buried in threads or SU 7.1's release notes, but I just thought I'd post a heads-up here.
To get the very best speed improvement from SU7.1
a) Use non-sketchy styles when modelling.
b) Go to your current "Style" and under the "Edit" tab change "Transparency Quality" to "Faster". It makes a HUGE difference, even in files without any transparent materials. One test file I use for benchmarking went from 14fps to 24fps just by changing transparency quality from "Nicer" to "Faster".
Hi Susan,
Such a shame I won't be in Edinburgh until next year as I would have loved to meet up. Hope you have a fantastic time. I wrote a quick 2 day Edinburgh guide a while back for someone, a slightly edited copy of it is below.
One thing concerns me though though- having your full name and precise itinerary including hotel addresses and dates on a public forum is a hell of a security risk. Surely just having cities and dates is sufficient for any SCF members you know who earnestly want to meet up? They can PM you to exchange contact details.
If you only have 1 day in Edinburgh I'd actually advise against visiting Edinburgh Castle- the queues this time of year can be 2 hours long, it's expensive (about $22CAD each) and to be honest the sheer number of tourists packed into it can pretty much ruin the experience.
Instead I'd suggest walking up to the castle
(which is in the highest oldest part of Edinburgh universally known as the Old Town), but rather than go in just take a few photos from the outside and turn around and walk down the Royal Mile
- keep visits to the plethora of tourist shops to a bare minimum (they all sell almost exactly the same stuff anyway so if you been in one, you've been in them all) and spend your money on some good Scottish beer (or whisky) in some of the unique old pubs instead! "Deacon Brodie's" pub is excellent and on the exterior is the interesting story behind it's namesake: the real-life figure who became the inspiration behind Robert Louis Stephenson's Dr. Jekyll and Mr. Hyde.
Take a right onto George IV Bridge and walk straight ahead to the Museum of Scotland
(free)- two museums in one: a fantastic 150-yr-old building with a very impressive cast iron and timber glazed roofed atrium which is brighter than you would ever expect of the Victorians and a wonderful extension built about 10 years ago by Benson & Forsyth Architects- easily my favourite modern building in Edinburgh. The view from the roof terrace is spectacular- especially back towards the castle. Both buildings house fantastic collections of both Scottish and imported artifacts.
Walk back up George IV bridge and meander down the Royal Mile ending up at the Queen's home when she's in town: Holyrood Palace and Enric Miralles' Scottish Parliament
... the jury's out on the latter, I love parts of it and really dislike others- it's a very complex design. I've never met an Edinburgh taxi driver yet who liked any of it. All in all that should take you a long morning depending on how much time you like to spend in museums, if any.
In the afternoon I'd strongly recommend the National Gallery of Scotland (free) on the Mound (road that twists up from the grid-plan 250-yr-old New Town to the Royal Mile- aside from a good restaurant which would take care of lunch it has an excellent collection of Impressionist paintings displayed in very bright homely galleries above the more imposing blood red velvet walled main galleries on the ground floor. A free bus leaves every 15 mins between all the national galleries in Edinburgh so you could jump on that and head down to the Scottish National Gallery of Modern Art (free) and check out a few Picassos, Warhols, etc and a small, but very good surrealist collection or take a taxi down to the Botanical Gardens
(free)- which are amongst the best in the world.
For a quiet, but perfect Edinburgh night out any day of the week Kay's Bar (39 Jamaica Street) in the New Town is one of my favourite pubs in the world:, absolutely tiny, great beers and whiskies, real coal fire, no food in the evenings (lots of excellent restaurants nearby), well off the tourist trail, no music, just a genuine mix of older regulars leaning against the bar and younger Edinburghers who know where to go to get away from it all and get a good pint.
Any of the first half (the Old Town part) of my one-day guide would fit around your visit to Mary King's Close as it's under the foundations of the City Chambers (City Hall) smack bang in the middle of the Royal Mile, just a hundred yards from Deacon Brodie's pub. I didn't realise it was the seamy side of Edinburgh you were interested in; I would've posted my X-rated guide. 
I hope you have a great time, don't forget your umbrella!
Jackson
I was living right in the centre of Edinburgh during the 2005 Gleneagles G8+5 summit. I worked way out in the sticks, but on my return to the city centre after work one evening I discovered the riots were in full force a few hundred yards from my apartment. Nevertheless, as UK police don't carry guns it was possible to safely get within just a few feet of the rioters (who appeared to be a mix of mostly German and Spanish anarcho-tourists with the usual Edinburgh chavs just looking for an excuse to throw things at the police). All in all, it looked a lot worse than it was, as long as you made sure you didn't get stuck between the rioters and the police it was entertaining in a rather depressing way. Of course if the Pittburgh police are trigger happy, then it'd be best avoided altogether.
As much as I'd like to string up a great proportion of the world's bankers for their antics, the rioting of course achieves nothing. I've got about as little symapthy for injuries incurred by someone who attacks a police officer or destroys public or private property as I do for the bankers who have shafted us all.
Cool UI, but I'm also skeptical, especially in terms of workflow. As the video only shows a wireframe display it's a little hard to imagine how the leap from wireframe edges-only modelling to surface or solid modelling would be made using the same interface. Sure, a loft tool could create faces between edges, but editing the model after that would most likely require a much more complex UI... and the plethora of icons, buttons and widgets which usually accompany it. In itself, edges-only modelling isn't much use to anyone.
Never heard of No Spec until now, great to see an organization at least attempting to create some unity amongst designers on this issue.
LOL, sounds like the people behind this venture have calculated designer's fees on a similar basis to many architects' clients: "Uhhh...say what? You actually want to be paid monetarily for the hundreds of hours' work involved in designing and executing our building?....... but surely just seeing your creation built is payment enough?"
LOL, it's actually amazing how dramatically that guy changes appearance with and without the glasses.
Incredibly, that particularly horrendous style of glasses are very "fashionable" at the moment here in Sweden. There's even a 30-something newsreader on the national new who wears them.... along with a tiny bumfluff moustache to complete the "I-look-like-I-should-be-featured-in-the-news-rather-than-presenting-it" look.
Idiot!
Just to envision such a GUI is incredible, but to actually execute it in 1963 is utterly astonishing. Google, hire this man!
Wow, that was brilliant! 
The script was perfect, but the delivery and comedic timing was astonishing- they made Monty Python look like am-dram understudies (Blasphemy, I know).
Must remember that line for next client meeting:
Client: "And will this building be friendly to the environment?"
Architect: "Oh, yes..... we've designed it to that it won't even be in the environment so there's nothing to worry about in that respect!"
I've never used Canon's inkjet paper, but I can very highly recommend Ilford Photo's range of inkjet papers. They've been making professional film and photographic paper for over 100 years and their experience and technical knowledge really showed when they entered the inkjet paper market. They print beautifully, feel just like photos even after printing (unlike most "photo" inkjet paper with that awful tacky surface which apart from feeling horrible also sticks to glass frames), are extremely colour fast and ink doesn't transfer from one sheet to another (I recently found a few A4s I printed almost 10 years ago in an envelope under a pile of paperwork and there was no transfer or adhesion at all between them). Makes HP and Epson's "photo" paper look like newspaper and feel like flypaper!
In my experience you could have the chief of the technical department from Pantone and the entire development team of Adobe come round, calibrate your monitor, set up your colour space correctly, take you eyeballs out, give 'em a good clean and still, when you send the stuff to the printers they'll screw it up.... and then blame you. In terms of the reliability of printing firms to reproduce what you know to be correct I rate them only somewhere slightly above the reliability of real estate agents. Half of them don't even understand the difference between dpi and pixels.
Example- images I produced for a glossy luxury home catalogue were sent back 3 times by the printing firm saying that they were printing too dark and with a green hue. Despite my repeated protests that our monitors were calibrated correctly, they insisted that it was our problem. After 3 sets of adjustments they were finally content with the by-now weird washed out pinkish images.
A few months later I saw the catalogues.... my images looked ok (but lacked colour range IMO). Every other image in the catalogue (mostly very expensive professional photoshoots with models on location, etc, etc) was dark with a green tinge. It looked like cr*p. 
I guess the photographer had stuck to his guns, correctly insisted that his setup was 100% accurate and that it was the printers who had the problem so they just printed them as they were. Ridiculous.
Holy cr*p! 
Where have you been all this time Jesper? I assumed you were no longer an SU user and had moved onto pastures fresh! Great to see you back on the "new" "old" SU forums. 
Jackson
It's hard to imagine how a script could calculate which points would be triangulated as it would be almost impossible to infer where the "surface" ought to be. The only method I could imagine would rely on relative proximity, but as soon as a a point from one surface comes too close to a point from another surface the "proximity engine" would stupidly triangulate the two. It's a bit like astronomical constellations- it's only after someone says "It's a bear".... and then draws it out for you that you actually see where the outline is supposed to be (What were the ancient Greeks drinking?).
Cool model BTW!
@unknownuser said:
As for the scale of the final, printed thing: I fully intend on not making it huge. The actual size will be 24,34 cm x 13,52 cm. I even intend on making a few that'll be around, say, 7 cm x 4 cm. I want people to get up close.
Oh, in that case I wouldn't dream of paying to look at this low-res sh*t.
Everone gets paid one month after the work is finished... except for plumbers. It sucks, but it's just the way it is. The better you know the client the later they usually pay you- it's always easier to make excuses to a friend ("Sorry, kids' school fees are due this week, I'll get it to you next week") than to a stranger.
Most important thing is to set a precedent right as soon as the approach you with a commission. Be friendly, but don't be afraid to talk seriosuly when it comes to $$$. If payday has been and gone and you let it slide for too long the first time, the excuses will just roll out ever more frequently for every project after that. Make it very clear from the outset that if they haven't got the capital to pay you for completed work at the time that they commission you, then you are unable to do the work. It won't get you paid on time (only big guys with big fists get that), but it'll speed things along when it's billing time. Also, if you've been paid late in the past and the client approaches you again with work, don't be afraid to say you'd rather not accept if they are going to be late in paying again. Chances are they'd rather agree to pay up pronto that have to go searching for another consultant to do work for them.
As Phil says, as this agreement has been informal so far, best to keep things amiable and try to tighten it up the next time. For new clients, lay down the law straight away, in writing.
Sorry to rain on the parade, but Rebus has been around for ages, they don't support any SU render plugins and besides, their initial file setup costs are too high to be useful for anything other than rendering commercial animations.
Full list of software they support:
**Autodesk 3ds Max
Maxon Cinema 4D
Autodesk Maya
Softimage XSI
Luxology modo
Newtek Lightwave 3D
Blender 3D
Standalone Software
The first image is definitely a post-processed overlay of SU high-res export over a photorealistic rendered image, I'm guessing rendered in V-Ray for SU.
Gaieus' description in his first post describes the process of getting high-res images out of SU perfectly.