Where do you start your process?

Greetings,

I recently started to dabble a bit in all this programmed visualisation topic (music controlled). After starting with PD and having a look around towards Processing and the interaction between both I looked for some tutorials.

I found some quite impressing things like igeo or Generative Design I was thinking how to tackle a project in general.

Do you have some sort of workflow you follow which helps you to keep you on track and get the result you wanted?

Cheers!

submitted by just_random_quesiton
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I’m in an intro java class, and need some help

So this should be pretty easy for you guys, I'm in an intro class, learning java, and the assignment is to make lines appear vertically and horizontally across the canvas, and to have them randomly change colors. Well, I have everything but the color changing, here's the code:

int endX; int endY; void setup() { size(300,300); frameRate(8); endX = 0; endY = 0; } void draw() { background(0); for (int x = 0; x < endX; x+=10) { stroke(random(1,255)); line(x,0,x,height); } for (int y = 0; y < endY; y+=10) { stroke(random(1,255)); line(0,y,width,y); } endX += 5; endY += 5; if (endX > width) { endX = 0; } if (endY > height) { endY = 0; } } 

I figure that

stroke(random)(1,255)); 

would randomize the hues of the lines, but it's actually just randomizing the value (greyscale), what am I doing wrong?

submitted by Ancient_Unknown
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Self-Portraits in Abject Time: Review of Paul Kneale at Evelyn Yard

 Paul Kneale, "4 or 5 self portraits for free-form natural language descriptions of image regions", exhibition view at Evelyn Yard

For Paul Kneale's show "4 or 5 self portraits for free-form natural language descriptions of image regions" at Evelyn Yard, the gallery windows have been blacked out and emblazoned with the artist's name. Approaching the space feels like walking up to a monogrammed stretch limousine where tinted windows conceal luxury objects. Surprisingly, once inside, the works look cheap and fragile.

The exterior treatment of the gallery is echoed by the monochrome page design and white text of Kneale's concurrent residency on the publishing platform dreamingofstreaming.com, a visual link that reinforces the work's existence on and off-line, between different types of screen. Seven hyperlinks are listed on the website beneath the title "~~~~***PAUL KNEALE__888^NEW ABJECT___2015," taking the user to pages hosted on the classified ad site Craigslist. Together, these posts constitute Kneale's written response to Julia Kristeva's 1980 text Powers of Horror: An Essay on Abjection.

For Kristeva, abjection was a state of mental and physical disgust provoked by indeterminate subject-object/self-other relations felt, for example, at the point of contact between one's lips and the skin that forms on the surface of warm milk. It was a condition, she wrote, without "a definable object." Kneale's response proposes a "new abjection”: the disgust arising from engagement with cultural products and services that have recognizably changed in the wake of Web 2.0.

Paul Kneale, Late afternoon light falling on an advertisement for a non-prescription cognitive enhancement medication (2015).

As much a humorous provocation as a serious argument, Kneale illustrates his concept of the "new abjection" anecdotally. In part four of his essay, for instance, the artist compares the music industry's former conversion of record sales into platinum discs with a contemporary measure of success: the number of YouTube video views. How does the subject relate to such insurmountable figures as the "1,111,658,442" recorded beneath Justin Bieber's video for "Baby," Kneale asks, calculating that, if multiplied by the duration of the video, the time taken to experience these views one after the other would require immortality and infinite battery supply. This, he asserts, is the "new abject time," in which the individual subject confronts its formation by a product used en masse.

Though gallery-based work does not correspond to text in a direct, illustrative way, the parallels are often clear. Pound shop purchases, alluded to in part two of Kneale's essay, are on view downstairs at Evelyn Yard. Quantum £1 shop I-V (2015) consists of an array of weightless-looking plastic clocks hovering face down, UFO-like, blinking LED light into the mirrored surfaces of five tables made from drywall frames. Meanwhile, laid on a ledge overhanging the lower space but more easily visible from the ground floor, Late afternoon rays falling on an advertisement for a non-prescription cognitive enhancement medication (2015) features photocopied marketing blurb reminiscent of Luc Besson's sci-fi film Lucy (2014). Wondering at the text's provenance, a Google search took me to cognizin.com, an operational website selling brain-boosting drugs. Another Hollywood film, Christopher Nolan's Interstellar, 2014, is evoked downstairs in the wall-mounted canvas Interstellar Crash (2015)— a digital print made from a slide capturing an open scanner's movement across glass; this is also projected onto the opposite wall as one slide in the series titled Post-post-post production (2015).

Paul Kneale, Quantum £1 shop (2015).

The most delightful reference to cinema comes in the work 3D lens flare (2015). Filling the ground floor space, three yellow circles and a crescent moon cut from perspex are suspended from the ceiling, lit and aligned in such a way as to imitate the filmic effect created when light scatters inside a lens, often heightening the "realism" of a sun-drenched scene. In Kneale's essay, he points out that the lens flare effect, which is an artefact of the medium itself, takes on a corporeal quality in 3D cinema, seeming to protrude out of the screen. Highly photogenic, this piece feels like a direct response to Brian Droitcour's criticisms of postinternet as "art made for its own installation shots." In installation shots, the three-dimensional sculpture would invite misreading as a visual artefact of the camera lens.

As if to further acknowledge Droitcour's demand that "the artist does something to make the documentation strange and emphasize the difference between the work's presence online and its presence in the gallery," Kneale has photographed his exhibition and emailed the images to researchers in the early stages of developing automatic text captioning software for Google. Through this additional process, Kneale extends his continuing enquiry into feedback loops between physical works (or images thereof) and their attendant texts, and the state of human subjectivity as constructed by contemporary demands to project and receive images.

Paul Kneale, Post-post-post production (2015).

Need guidance. Making Spherical Music Pond. Includes Minim, P3D, and complex intersection detection.

http://i.imgur.com/FDfc8Ug.jpg

In case the picture isn't clear enough: Imagine that you're maneuvering a sphere like you would in maya, holding down alt to click and drag around its center pivot. Then the mouse location would indicate a marker on the surface of a (mostly invisible sphere). It's form would be revealed by clicking and releasing a "raindrop" which would then ripple around the sphere, dissipating with each ping-pong. As you place more raindrops, and more ripples wrap around the sphere, there will be intersections.

There are three key aspects to the intersections of these ripples:

  • The initial point of contact
  • the two separate points that travel towards each other along a circumference perpendicular to the line connecting the origins of the ripples.

  • and their final point of contact exactly opposite the initial point of contact.

I want the pulse width of the ripples' sounds to be linked to the distance between the two intersection points that travel around the circumference.

I have never used Minim or P3D before. So obviously I will be doing a LOT of reading and learning. But I find the best way for me to tackle something which I know so little about is to get a framework to guide me on my way. That's what I'm looking for here.

What in your view would be the most difficult problem of this project? How can I accurately keep track of the intersections distance to one another in terms of circumference?

submitted by wiseclockcounter
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Ephimeral Data

This is a study about how, thanks to the hashtag, social media is a platform to develop all sort of discussions, that can be very relevant and make a lot of noise, but they become ephemeral, due to the speed of the conversation.
With this project, my intention is to try to represent in tangible interactions, some of the topics that are brought to the table by twitter discussions. I tried to make a transition between digital data and analog interaction.
In this case, I visualised hashtags talking about homophobia and about LGBT equal rights, and represented them with two colours dropping into a recipient of oil.
Every time there was a hashtag tweeted, a bit of coloured powder would be dropped into the oil.
The idea was that the more hashtags were named, the more coloured would be the oil, so the discussion stay active for a longer period of time.
This installation is part of a series of experiments in my research about the transit of data between different media and between the digital and analog world.
More of the project here on.be.net/19pURdF

Video: Bárbara Rebolledo
Musica: June or July "Memorial" / Pueblo Nuevo Netlabel / pueblonuevo.cl

Cast: bárbara paz

Tags: media art, installation, twitter, hashtag, digital, social media, data representation, visualization, art direction, interaction design and processing