Unsmooth shapes in default mode but not in P3D

Shapes using beginShape() look unsmooth in default mode compared to P3D. Comparison pictures with 1000 vertices in the shape : http://imgur.com/a/7nELc Is there any way to fix this? I'm using Processing 3.2.4

Code :

int n = 1000; void setup() { size(500, 500); stroke(255); noFill(); strokeWeight(5); } void draw() { background(0); beginShape(); for (int i=0; i<n; i++) { float x = map(i, 0, n, 0, width); float y = map(sin(x*0.01), -1, 1, 0, height); vertex(x, y); } endShape(); if (frameCount==1) { saveFrame("pic2.png"); } } 
submitted by /u/bleuje
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Scope issue with Hex Color declaration

Below is a code snippet to explain. When the RGB declared global green color is used, all functions and objects have access to it. When the color green is declared as a HEX, the functions and objects draw a black circle. Is there a special manner with which I should declare my global colors in HEX format?

I've been converting them to RGB when I absolutely need a global color. However, HEX is a little easier to copy and paste from other applications, and I'm just hoping for a little convenience. Thank you for your input!

// color green = color(#339966); color green = color(51,153,102); Circle a = new Circle(150); Circle b; void setup() { size(400, 100); noLoop(); b = new Circle(250); } void draw() { background(255); fill(0); fill(green); ellipse(50, 50, 50, 50); a.render(); b.render(); makeCircle(350); } void makeCircle(int x){ fill(0); fill(green); ellipse(x, 50, 50, 50); } class Circle { int x; Circle(int x) { this.x = x; } void render(){ fill(0); fill(green); ellipse(x, 50, 50, 50); } } 
submitted by /u/johnbentcope
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Issues with playing a SoundFile on windows

For some reason I'm getting a runtime error when trying to import SoundFile to play a song/mp3. I've updated to the newest version of processing (3.3.5), uninstalled and reinstalled the sound library and Java. When I play the sketch I get a window but everything freezes, "This application has requested the Runtime to terminate in an unusual way." And then I get a pop up saying "Java(TM) Platform SE binary has stopped working. Anyone know a solution to this? I'm just trying to play a song..

Edit: the song is an mp3 file in a "data" folder in the folder with the sketch

Also, basically copy/pasted the code straight from processing's website:

import processing.sound.*; SoundFile file; void setup(){ size(640,360); background(0); file = new SoundFile(this,"GlassAnimals.mp3"); file.play(); } void draw(){ } 
submitted by /u/fordystr
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Book review: We Can’t Stop Thinking About The Future

We Can’t Stop Thinking About The Future, by Aleksandra Mir.

Available on amazon USA and UK.

Publisher MIT Press writes: Over the past three years, Mir has maintained dialogues with professionals in the space industry and academia who have informed and inspired her. The work draws on themes relating to current debates, recorded events, scientific discoveries, technological innovations and predictions of imagined futures that currently affect all our lives.

This book contains both reproductions of the finished work and images from its collaborative creation with twenty-five young artists. It also contains sixteen in-depth new interviews with a wide range of professionals working in the space industries today, providing an intimate and informative insight into the present and future of space exploration.


Aleksandr Mir, Space Tapestry: Faraway Missions at Tate Liverpool, 2017


Aleksandr Mir, First Woman on the Moon, 1999

If ever Aleksandr Mir gets tired of being a fabulous artist, she’ll make an equally great career as an interviewer. I got this book in the hope i’d discover more of her work (which i did) but i ended up being hooked by her conversations with scientists involved in space research.

Some of the people she talks to bring radically new (at least to me) perspectives on space research, some of them even have titles and jobs i had no idea even existed. I particularly enjoyed the discussions with Clara Sousa-Silva, a Quantum Astrochemist hired by the MIT to find alien life; Jill Stuart whose research focuses on the politics and governance of outer space; Stuart Eves who works on Space Traffic Control (a mission which seems to involve outdated space stations in need of ‘de-orbiting’ and space junk threatening to smash into satellites); Alice Gorman, a pioneer in Space archaeology and a believer in the importance of preserving lunar heritage; Thais Russomano, a medical doctor who specializes in space physiology and tele-health; Jayanne English, observational astronomer and expert in how to visually communicate space research findings… I guess i could go on till i’ve listed each of the 16 interviews.


Aleksandr Mir, Gravity, London, 2006

Mir knows a lot about space: in 1999, she was the ‘first woman on the moon‘ and has been exploring the challenges of space exploration ever since. She doesn’t just bring knowledge to these discussions but also wit and a much-needed critical, feminist and artistic point of view on space research. While she talks with the scientists about topics as diverse as baryonic matter, reproducing in zero gravity or the privatization of the spacerace, Mir is also investigating the many ways art and the humanities can play a role in space research.

As the conversations with the researchers demonstrate, scientists and artists have far more in common than we might suspect: they feel the loneliness of lab/workshop life, the need to come up with original ideas while questioning the concept of the authorship, and their work sometimes touches on similar issues, in particular how technology can lock us into specific ways of seeing or how humans feels the need to locate themselves within the universe.


Aleksandr Mir, Space Tapestry: Faraway Missions at Tate Liverpool, 2017


Aleksandr Mir, Space Tapestry: Faraway Missions at Tate Liverpool, 2017


Aleksandr Mir, The Space Age Collages, 2009

I’m not someone who likes to think about the future (way too scary these days!) and nothing is less appealing to me than an intergalactic trip but this book has taught me the influence that space research has on our everyday life. As Matthew Stuttard, Head of Advanced Space Projects at Airbus, told Mir:

“People use Space all the time, but they don’t realise it, because it is an invisible technology, up there, out the way, woven into our lives.”

We Can’t Stop Thinking About The Future is easily one of my favourite books of 2017.


Aleksandr Mir, Space Tapestry: Faraway Missions at Tate Liverpool, 2017


Aleksandr Mir, Satellite Porto Alegre, 2013


Aleksandr Mir, First Woman on the Moon, 1999


Aleksandr Mir, First Woman on the Moon, 1999


Aleksandr Mir, Machines, 2009

The scars left by electronic culture on indigenous lands


Linda Persson, It was like experiencing a fold in time, she said, 2017. Photo by Istvan Virag for Momentum9


Lightning Ridge mine. Photo courtesy of Linda Persson

The latest edition of the MOMENTUM, the Nordic Biennial of Contemporary Art explores the increasing unease and sense of alienation we feel when confronted with a world increasingly governed by technological, ecological and social shifts. I’ve already reviewed the event in previous stories but today i’d like to take a closer look at Linda Persson‘s contribution to the biennial because it uses several lenses and strategies to investigate aspects of our electronic culture that often remain under-scrutinized.

Informed by several years of research in the Australian outback desert, It Was Like Experiencing a Fold in Time, She Said bridges the gap between, on the one hand, the landscapes, mythologies and life of outback and aboriginal communities and on the other hand, the brutal origins of our technological ‘progress.’ The work highlights how alienated we are from the geological physicality of our so-called immaterial digital technology. Many of us might not realize it but there would be no IT, no ‘green’ energy without rare earths, iron ore, cobalt and other minerals that are dug out of the ground at huge costs for the environment and local communities.


Linda working in Queenstown, Tasmania. Photo : Liam Sprod, courtesy of Linda Persson


Helicopter mine survey, Goldfields, Western Australia. Photo courtesy of Linda Persson

Over the course of her research across ghost towns, open mining sites and discussions with local communities, Persson has been uncovering the toxic traces left by the mining industry on indigenous lands and human lives. Some of these traces are palpable and highly visible. Others are far more insidious and concealed.


Linda Persson, It was like experiencing a fold in time, she said, 2017. Photo by Istvan Virag for Momentum9


Linda Persson, It was like experiencing a fold in time, she said, 2017. Photo by Istvan Virag for Momentum9

Burkholderia pseudomallei is of the insidious kind. When in contact with humans and animal through air or skin wounds, this microscopic bacterium can cause a deadly disease called Melioidosis that eats into the brain and spinal cord in a matter of days. The bacterium normally lives into the soil and its emergence is one of the unintended consequences of the increase in mining, oil and gas extraction in Australia.

Over the past few years, the country has seen a surge in the number of Melioidosis cases and the disease is expected to spread south with climate change.

Persson managed to render visible the presence of the microscopic bacteria in the most poetical and visually seducing way. She magnified them as beautiful organic patterns fossilized inside hand-blown glass sculptures.


Linda Persson, It was like experiencing a fold in time, she said, 2017. Photo by Istvan Virag for Momentum9

Another chapter in Persson’s exhibition at Momentum 9 is And Then We Ran Away, a video work that weaves together interviews with Aboriginal women talking about their many languages and culture, images of fauna and flora as well as helicopter rides over the scars that mining activities leave on the landscape. The film quietly conveys how indigenous land is heavily exploited for the raw materials that power the technology we use on a daily basis. Aboriginal peoples, hit by the industry while being often excluded from it, have a deep connection to their ancestral land. The loss, profiteering and poisoning of the territory has thus a devastating social and physical impact on them.


Opalised fossil. Photo courtesy of the artist


Linda Persson, It was like experiencing a fold in time, she said, 2017. Photo : Liam Sprod, courtesy of Linda Persson<


Linda Persson, It was like experiencing a fold in time, she said, 2017. Photo by Istvan Virag for Momentum9

The final work in the show is SiO2.nH2O, a video installation that unfolds the various time frames of our mineral-mediated culture. SiO2.nH2O is the chemical formula of opal, the national gemstone of Australia. And the .n stands for the water molecules enclosed into tiny voids within the silicon structure, suggesting a dormant life inside the mineraloid.

SiO2.nH2O takes advantage of the internal structure of opal which is able to diffract light: Found 23-40 metres underground, surrounded by thousands of years in sandstone and clay, the opal acts as a time machine producing a light show that makes deep time visible here in the present. It portrays the potential of life, encapsulated dormant inside, ready to awaken in a future that the human species might never get to experience.

The ability of opal to act as a time travel agent doesn’t end there. It turns out that opal miners in Lightning Ridge, one of the towns in New South Wales where Persson worked on her research, have been digging up dinosaur fossils for years. Even more interestingly, the remains of the prehistoric reptiles are preserved as opal.

It Was Like Experiencing a Fold in Time, She Said is framed by an artificial landscape. The red sand used in the exhibition doesn’t come from the Australian outbacks, it simply imitates its colour of the burnt out desert area. As for the kaleidoscopic collages printed on the panels, they give a vertiginous top-down overview of the landscape around the mines, wounded by extraction processes.


Dead snake in Goldfields. Photo courtesy of Linda Persson


Old mining community, Goldfields. Photo courtesy of Linda Persson


Linda Person exploring the landscape. Photo courtesy of Linda Persson


Photo courtesy of Linda Persson


Linda Persson, It was like experiencing a fold in time, she said, 2017. Photo by Istvan Virag for Momentum9

Momentum 9, The Nordic Biennial of Contemporary Art curated by Ulrika Flink, Ilari Laamanen, Jacob Lillemose, Gunhild Moe and Jón B.K Ransu remains open in various location in Moss, Norway, until 11 October 2017.

Previously: MOMENTUM9 – “Alienation is our contemporary condition”, MOMENTUM9. Maybe none of this is science fiction, The Museum of NonHumanity and MOMENTUM 9: A case for user-alienating design.

Programming for Artists