Evil and spikey.
Hand drawn element sketch no. 3 (click to enlarge)
Archive for July, 2007
davebollinger
Aztec Cube Interior
a geometry study (compression is harsh, sample still here: http://www.flickr.com/photos/davebollinger/878259402/ )
Author: davebollinger
Keywords: geometry 3d processing.org povray
Added: July 23, 2007
eskimoblood
Aztec Cube Interior
a geometry study (compression is harsh, sample still here: http://www.flickr.com/photos/davebollinger/878259402/ )
Author: davebollinger
Keywords:
Added: July 23, 2007
Hand-drawn elements
First attempt at using hand-drawn elements. Took a little more care with the etching and transparency settings. (Click to enlarge)
Vimeo / Videos tagged processing
Ink Trails
Made with Processing. Read about the process here…
http://www.flight404.com/blog/?p=86
Cast: flight404
Maxime Marion
coimbr~A~ix-en-provence
The “Coimbra - Aix-en-Provence” exhibition with the Gallery Santa Clara aims at the development of the relations between the two twin cities.
It is an occasion of more than support the mobility of the artists and their works. It wants to contribute to the development of networks between the Portuguese and French artistic communities, causing the contact of the individuals and the ideas in a context of co-operation, partnership and equality.
Carlos Casteleira asked me to show my algorithmic cinema project, Paramnesis 1.0. I just spent a weak there, but when I left, my software launched more than 8.000 different movies 
It will probably launch more than 25.000.
A number as big as the number of cod recipes findable in Portugal ! Besides, it was funky. I lived in a squat with really nice young artists, eager to know some more on new medias, and tired of the ambient Academism. A too short but really (inte)resting experience
Maniax Memori
coimbr~A~ix-en-provence
The Coimbra - Aix-en-Provence exhibition with the Gallery Santa Clara aims at the development of the relations between the two twin cities.
It is an occasion of more than support the mobility of the artists and their works. It wants to contribute to the development of networks between the Portuguese and French artistic communities, causing the contact of the individuals and the ideas in a context of co-operation, partnership and equality.
Carlos Casteleira asked me to show my algorithmic cinema project, Paramnesis 1.0. I just spent a weak there, but when I left, my software launched more than 8.000 different movies It will probably launch more than 25.000.
A number as big as the number of cod recipes findable in Portugal ! Besides, it was funky. I lived in a squat with really nice young artists, eager to know some more on new medias, and tired of the ambient Academism. A too short but really (inte)resting experience
Processing Stuff
I’ve just been porting my Flash physics work into Processing. A demo with big chunks of source here.
Friends of Ed were nice enough to send me a copy of Ira’s book to review. It’s taken me some time to think of stuff to say because I’m busy working in Flash these days so it’s hard to find some Processing time. To be fair - I’ve looked through it, but I haven’t used it. I want to sit down and read the collision section of course because of the physics stuff I’m doing but I also have a day job, and I’ve just managed to hack around irregular surface collisions with a rather crazy implementation of the bresenham algorithm (yup - bounce it off a surface by detecting the level of penetration into a pixel map - with one particle it’s unrealistic - with a spring box it’s like the real deal).
The book is aimed fairly well at where I was when I started using Processing a few years ago. I had no idea how to program, some pretty concrete illusions about how everything was done and no knowledge of math. If I could have sent Ira’s book down a wormhole back to me when I started to pick up this Processing lark I’d have had a much easier time of it (although the differences between Processing 68 and 120+ would have been a pain).
The book pretty much covers the basics of everything. Which is a very Processing way of going about stuff. You don’t get into the complications of heavy Java which most advanced users get into. On the whole I find I pretty much understand everything explained to me in the book - which is a miracle for a book on programming. A lot of the examples look quite pretty and inviting and I can see myself thumbing through it if I hit a creative block.
If I had a criticism of it it would be the shotgun approach to learning that goes on in it. It’s a great book for getting someone into Processing and I would recommend it to a student but I tried using it for reference purposes a few times and it cut me off before I could find the specialist information I needed. So either I’m a little above the target audience’s level or I’m just too picky about what I want to find out. There’s points where I’m looking through it thinking, “ayuh, there’s a faster way of doing that,” but you can’t really confuse beginners with the speed stuff straight away I guess. Basically, it’s a teaching book, not a reference manual - it won’t revolutionise the way you code, just expand your horizons.
So if you’ve got an artist friend who wants to get into using Processing, I would recommend this book to them, it should help a lot. More advanced users might find it a strange book in terms of use for programming. I’m used to “get to the point” manuals, harrassing people on the web (sorry forum) and online tutorials. As programming books go, it is incredibly wordy, but artists (and I am the exception to the rule) are also wordy creatures, so this may go down well with the new breed of art-geek that has hit the world this century. In summary - if I was teaching Processing I would find this useful for shoving under my students noses, and I think they would find it useful too.
Colour of Munny exhibit
CAPTCHA being defeated by image analysis - PWNtcha
Dollar origami
Echodrome trailer - optical illusion game for PS3
RobotAcid
Processing Stuff
I’ve just been porting my Flash physics work into Processing. A demo with big chunks of source here.
Friends of Ed were nice enough to send me a copy of Ira’s book to review. It’s taken me some time to think of stuff to say because I’m busy working in Flash these days so it’s hard to find some Processing time. To be fair - I’ve looked through it, but I haven’t used it. I want to sit down and read the collision section of course because of the physics stuff I’m doing but I also have a day job, and I’ve just managed to hack around irregular surface collisions with a rather crazy implementation of the bresenham algorithm (yup - bounce it off a surface by detecting the level of penetration into a pixel map - with one particle it’s unrealistic - with a spring box it’s like the real deal).
The book is aimed fairly well at where I was when I started using Processing a few years ago. I had no idea how to program, some pretty concrete illusions about how everything was done and no knowledge of math. If I could have sent Ira’s book down a wormhole back to me when I started to pick up this Processing lark I’d have had a much easier time of it (although the differences between Processing 68 and 120+ would have been a pain).
The book pretty much covers the basics of everything. Which is a very Processing way of going about stuff. You don’t get into the complications of heavy Java which most advanced users get into. On the whole I find I pretty much understand everything explained to me in the book - which is a miracle for a book on programming. A lot of the examples look quite pretty and inviting and I can see myself thumbing through it if I hit a creative block.
If I had a criticism of it it would be the shotgun approach to learning that goes on in it. It’s a great book for getting someone into Processing and I would recommend it to a student but I tried using it for reference purposes a few times and it cut me off before I could find the specialist information I needed. So either I’m a little above the target audience’s level or I’m just too picky about what I want to find out. There’s points where I’m looking through it thinking, “ayuh, there’s a faster way of doing that,” but you can’t really confuse beginners with the speed stuff straight away I guess. Basically, it’s a teaching book, not a reference manual - it won’t revolutionise the way you code, just expand your horizons.
So if you’ve got an artist friend who wants to get into using Processing, I would recommend this book to them, it should help a lot. More advanced users might find it a strange book in terms of use for programming. I’m used to “get to the point” manuals, harrassing people on the web (sorry forum) and online tutorials. As programming books go, it is incredibly wordy, but artists (and I am the exception to the rule) are also wordy creatures, so this may go down well with the new breed of art-geek that has hit the world this century. In summary - if I was teaching Processing I would find this useful for shoving under my students noses, and I think they would find it useful too.
Colour of Munny exhibit
CAPTCHA being defeated by image analysis - PWNtcha
Dollar origami
Echodrome trailer - optical illusion game for PS3
Maxime Marion
coimbrAix adventure
I wanted to post about this collective exhibition before, but I couldn’t because I went to Paris, for an exam in the Ecole Nationale Supérieure des Arts Décoratifs for the creation of a new research laboratory in interactivity - and I was received 
Carlos Casteleira asked me to participate, he wanted me to show Paramnesis. There were portugese and french artists from Aix-en-Provence - the cities are twinned - and I spent a weak there, with nice people like Pascal Chirol, François Lejault or Guillaume Stagnaro. Very nice experience
nice view from Bruno’s house where I lived this weak
during the inauguration, a impassionned speech of Carlos.
works of Pascal Chirol, Marie Mouysset, and a strange portugese grasshopper
works of M2F creations, Guillaume Stagnaro and Loïs Roussillon.
one more cod dinner with François Lejault, Guillaume Stagnaro and Pascal Chirol.
marius watz
Live soldering performance: Loud Objects
Last week I went to Monkeytown, a restaurant / performance venue in Williamsburg, New York. One of the acts was Loud Objects, a performance project that features live soldering of pre-programmed sound generating chips. Working on an overhead so that the audience could enjoy the action, the performers soldered connections between the various chips, creating a semi-controlled soundscape of scrapes and glitches.
I just uploaded a short video to YouTube, not all that informative but it gives an idea. Supposedly this kind of thing is more common in Japan, but I've never seen it before. Definitely an interesting twist on physical computing…