Unable to average the frames, I ended up drawing the frames on top of each other with very high transparency. Mathematically this should yield a similar result? If transparency level == number of frames.
I’ve worked with a similar technique in the past trying to replicate a pinhole camera image i.e. creating a digital pinhole(long exposure) image with a video.
There are digital artefacts that end up looking like paper texture in what is supposedly empty spaces(the background).
The article “Words, Images, Tools and Ideas” would try to fulfil the following criteria:
It would make use of the tools, processes and technologies of graphic arts media as directly as possible and the tools would be integrated with concept and product. Many of these are in the workshop. In this case, they include a heavy use of all forms of photography and our computer graphics system for both images and typography
The author would be the maker contrary to the specialisation mode which makes the author of the content the author, the author of the form the designer, and the author of the craft the typographer / printer
Visual and verbal representation of the ideas would be synthesised rather than separate
Time would remain as fluid and immediate as possible, leaving room for feedback and change
Notes and questions regarding concept:
Emphasise on process
Mix digital and analog; print room next to dark room
What does it mean now that we’re on screen? How do we emphasize on process?
How do we think in code when code isn’t visual?
Do we approach it with the abstraction? e.g. What’s an ‘if’ statement? What’s a for loop? What are the mathematical paradoxes? // Or do we draw/sketch out first?
Media is always influenced by medium? // Infinite loop between our perception and medium?
Muriel Cooper influence on David Reinfurt – Doing the work and being aware of doing the work; interrogating what it means to be doing the work — questions assumptions that exist
Notes and questions regarding technical parts:
How to get fill of each character? Calculate midpoint between all points?
For her, art was not about starting over or making a break. It was about pushing it forward into new areas of perception. Basic to this investigation was the relationship between the line and mathematics — what kind of rules could be used to make a drawing? Rules, of course, are central to three-point perspective and to Islamic geometric design. Josef Albers worked according to rules to learn how color interacted. LeWitt set up rules so that others could make his drawings.
Mystics > rationalists-
The journey she undertook is dazzling. Although there is nothing in the show to indicate Molnar’s beliefs, other than her devotion to establishing and following a strict set of rules, I was reminded of the opening statement in Sol LeWitt’s SentencesonConceptualArt (1969): “Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.” The fact that she was a pioneer in the use of the computer and, by LeWitt’s definition, can be considered a conceptual artist gives us a glimpse into the unique terrain that Molnar occupies.
This week’s homework is to recreate some of her work. I especially enjoyed the rectangle series because of their bold and minimalistic qualities. The composition (position and rotation), size, color saturation become very apparent when there is less to look at. As a result I chose to create the studies below.
For this first week I used p5.js
My personal takeout from recreating her work:
It’s not the expected parameter to change because it’s not to achieve a perfect composition or symmetry
Wonder if she starts by hand / learning to look closer at what parameters make it feels like she did this by hand?
Feelings (very different for each variation): 1 watching it fall, 2 chasing, 3 holding tight in position while the other falls, 4 falling together
Other experiments: having done a few copies I tried my own. Here I tried to visualise the feeling of a tight fit that is almost perfect. And the two squares trying to fit together.
This may have been better if the square was actually different from the hole?
Relationship between the left and right side? What if these were off slightly?
Very right. Different levels of tightness gives different feelings? Left: rigid, fitted, can’t move, perfect. Middle: calculated rightness, structural integrity. Right: breathable, crunched. (are these all just relative?)
How to create this sense of depth in 2D?
Perfect overlaps. Unexpected blend? The high contrast makes me more dramatic. I got started on this last one but realised it needed to be drawn with points for the perfect overlaps. How does blend mode work?
It may take a life-time to develop a computer program to make one new communicating pen line which is meaningful for us.
What my hand-eye draws is different from what the computer draws. A computer helps by offering new visual ideas. These ideas in turn enrich new hand work which generates additional ideas which extends my thinking about computer generated lines.
That it is possible to use mathematical formalism and pure geometry while attempting a humanistic exploration to us is one of the primary advantages of the use of the computer as a drawing medium.
“Music is the pleasure the human mind experiences from counting without being aware that it is counting.” Gottfried Leibniz
Peeling apart the layers between our sensorial experiences and our cognition.
Working with numbers I started being interested in the act of counting. It is one of the most basic forms of structure we take for granted. Did you know children have to learn to count in one to one correspondence? As if it isn’t obvious that counting is one to one.
1234 is an installation which asks people to count together. It is about deep listening.
So how does it work?
There are two groups: L and R, everybody is connected to the same sketch
The interface looks like this.
They can’t see each other’s screen. But they can hear each other. One ear Group A, the other ear Group B (optimised for maximum confusion).
Demo video (STEREO):
Last notes on fabrication (MAKE 8)
Milling to every bit of material I had on hand
Able to fit in threaded inserts with a little bit of super glue and sanding. I adjusted the holes to be closer to the middle, leaving more room for the edges.
Everything came together in the end!
I then assigned each participant a specific channel for the experience.
Delivered to people by foot (great break, great fun interacting with physical humans, even from a distance).
This week I focused on getting the slides to behave as I want on screen i.e. move smoothly, no glitches or jumpes, no delays.
The linear slides were acting like logarithmic slides (this took me almost the whole day to solve, the problem was the breadboard)
How it should behave…
How it was behaving…
Once I realized the issue, I had a funeral for the breadboard
It was so glitchy! All the values kept jumping
EXPERIMENT 1: To solve this I tried the Kalman filter. However, the side effect of the filter is a ‘lag’ as the value jumps from one to the next because the filter tries to smoothen the values.
(Change 100 to 127 to fit MIDI scale)
EXPERIMENT 2: Track the magnitude of change in the sensor value. If the change is greater than 2, count it as change, otherwise don’t. Since the steps of the digital slides were quite few (less than 127), this worked fine and the results of the movements were smooth.
EXPERIMENT 3: Although the movement transition between physical slide to digital slide is now smooth, sometimes when still, the slides are still glitching. This had to be a wiring effect so I built fitted box prototype of the slides to sit on.