January 2005 Archives

Canto (For Evie)


"Canto (For Evie)", Copyright © 2005 Rob Myers, Tom Chance.
This image is licensed under a Creative Commons license (CC-BY-SA-2.0).
These are shapes autotraced from a posterised PNG and re-arranged. Original colours. There's so much potential even in just a single image...

Think Of The Creators!

"Intellectual Property" is of course about rewarding the creative geniuses behind cultural works, not about paying the middle-men and hangers-on. This why the record industry in the UK are so upset that songs from 50 years ago, including the beginning of Elvis's "catalogue" will enter the public domain this year. The record companies will no longer get their royalties. But, far more importantly, performers will no longer get their royalties. Think of the children!

These songs will be able to be copied freely. People will share them. Some may even see a revival of interest and get played publicly, even used in the media.

Which may be good news for the people who really were the creative geniuses behind the songs. You see, the copyright on the lyrics and the score of the song won't expire until 70 years after the author's death. And whilst it's maddeningly difficult to get an answer from any of the UK's many IP-exploitation organisations that isn't just singing from the content industry hymn sheet, it looks like that copyright may be unaffected by the expiration of the separate recording copyright, meaning the composer/lyricist should still get their royalties.

It's just the session musicians and studio executives who won't. And they are trying to stop the creative geniuses reaping the rewards of increased distribution and performance of their work.

Never mind piracy. This is wrongful imprisonment.

I could well be wrong. If anyone really knows how this works (rather than the self-serving tale of woe that the record companies are pushing) do please let me know. In either case it wouldn't prevent non-public copying and listening.

But wouldn't it be funny if the record companies, in trying to keep old work buried, are doing exactly what they claim to be fighting against: preventing the creators of work form being rewarded for their efforts.

Metaphors That Don't Hold Water

I'm a big fan of Boing Boing, and I want to be Cory Doctorow when I grow up, but I'm sorry to say that the metaphors in his interview here ring false:

Well, locomotives didn't require horseshoes. You know, the blacksmiths might not have liked the fact that locomotives didn't require horseshoes. But if you started a business to outfit locomotives with special horseshoes in order to keep the blacksmiths happy, you probably wouldn't have lasted very long.

The blacksmiths would like it even less if you stole the horseshoes from their anvil for the metal to make your trains. When you've driven all the blacksmiths out of business, how will you pay for the metal that you've previously got for free?

Likewise, if you're starting a business to outfit phones with special locks that make it hard to copy things in order to make the music industry happy, then you're probably not long for this world.

Yeah, you'll never train kids to pay for things they used to be able to do for free. Like talking to each other...

Kazushi Mukaiyama

http://www.kazushi.info/

Kazushi Mukaiyama seems to have been a student of Harold Cohen's, and is working on his own drawing program, "Shizuka". Where AARON imagines its own world, Shizuka seems to be more observational. The early source code of the random-walk turtle and the class diagrams for a later design were very influential on me when I started working on draw-something, as was seeing someone work through their ideas. (If the above link comes up in Japanese, go to the main page and click on the little US flag).

Kazushi's blog is great fun, interlacing useful algorithmic insights and links with pictures of food he's bought and is about to cook. :-)

Synthesizers in Processing and jSyn

http://www.design.kyushu-u.ac.jp/~osamu/

Looks interesting, and it's probably easier than using Flash or Director...

Via Kazushi Mukaiyama's blog.

The Social Contract Of Art Copyleft

The GPL is an attempt to formalise the code sharing social contract of hackers. It does this through the mechanism of copyleft, using a copyright license to ensure that code is made publicly available. The closest thing to a GPL for art are the Creative Commons licenses. But how well do they match the social contract of artists creatively using the work of others?

Creative Commons produce a number of licenses. Not all of them are copyleft licenses, indeed only CC-BY-SA (the attribution-sharealike) comes close to the provisions of the GPL. Creative Commons also produce licenses for sampling, file sharing and licensing work to developing nations. Altogether there are around 15 Creative Commons licenses for artists to choose from.

Many artists have licensed images online CC-BY-NC or CC-BY-NC-ND. The problem is that these are non-commercial licenses, which means that other artists cannot use that work to make work that they can sell.

CC-BY-SA allows anyone to copy or use the licensed work. Anyone can print or sell copies of it, and anyone can make new work that uses all or some of the original. This is a good match to the "Four Freedoms" of the GPL, and allows artists access to a broader culture of images. No "Joywar " under CC-BY-SA. You lose more control of your work - anyone can copy or sell it without paying you, and in return you get access to any work they derive from it and attribution for the use of your work. But however worthwhile GPL-style Freedom is, and it is, it may not be a good match to the existing social contract of art.

CC-Sampling is designed for music but can be applied to any medium. Like CC-BY-SA you can make work that uses part or all of the licensed work. Unlike CC-BY-SA, you must creatively transform the work that you use, you cannot exploit it as-is. You also cannot use use it in advertising. This requirement of creativity and opposition to corporate exploitation is intended to capture the social contract of musicians for sampling and mash-ups, but fits artists as well. This is a much better fit for artists, and protects work against simple exploitation, but may preclude some creative or beneficial uses of the work and may allow the access to less work than the main CC licenses.

To align work with the broader Free Software and Free Culture movements, CC-BY-SA is best, although it is important that artists understand what they are giving away and receiving in return under this license. To match the existing social contract of artists creatively using the work of others, CC-Sampling is best, although it may be limiting in other ways. Artists may baulk at placing work under either license. But like Willem De Kooning faced with a young Robert Raushenberg asking for a drawing to erase, they should rise to the challenge and see what happens when they let other people use at least one work to create something unexpectedly new.

(I am not a lawyer, this is not legal advice.)

Historical Remixing

Whilst searching for CC art to remix (is there any outside of Remix Reading???) I found a couple of older CC postings that I may have mentioned but are worth mentioning again:

Franz Liszt, Mixmaster, and J.S. Bach, Klepto

The Creative Remix

The next time anyone complains to you about those kids today stealing other people's art, ask them if they know what a canto is. :-)

Computer Art, High Art

Art computing before the launch of the PC was in a strange way guaranteed as high art by the simple fact that access to its means of production excluded the masses. The cost of computing machinery prior to the PC, and its location in fortresses of academia or business, guaranteed this. High art is high culture, the culture of the ruling class, not of the masses. So computer art, in a circular sort of way, must be high art, unless we create some sort of category of high folk art. :-)

Pure Computation

Art computing has settled on consumer hardware and software, the PC or iBook and Flash or Processing for the most part. Using consumer hardware and software may simply be like artists using gloss house paint to make work, the use of a convenient and referential medium. There's nothing wrong with it. But it also fails to differentiate art computing from design computing and consumer computing. I think that in addition to appropriating consumer hardware art computing should pursue the kind of access to non-consumer systems that were the hallmark of early computer art. I do not mean GPS systems, wearable computing or any other gadget fetishry. I mean technology that expands the artist's means of pure computation, of running an interesting algorithm for interesting output. Such as beowulf clusters, massively parallel systems, neural and biological systems, and even early quantum systems and their simulations.

I am not arguing for techno-snobbery or the fetishism of raw computing power. I am arguing for an art computing that continues to differentiate itself by engagement with the possibilities of advances in pure computation.

On that note:

The Transterpreter an open source Occam system (paralellism).

libquantum a library that simulates a quantum computer.

CNUK

I finally got around to updating my user page at fledgeling Free Culture nexus CNUK :

http://cnuk.org/Members/robmyers/

rob-art: Full Screen

Drawings by a fullscreen application version of draw-something (OpenMCL Lisp, MacOSX Carbon), after the AARON screensaver. It's fascinating to watch a program drawing. One image is drawn around ten points, the other is around thirty.

Wikimedia Commons

A Free Culture repository from the people who bring you Wikipedia:

Wikimedia Commons.

Not sure about the Monet postcards but there's lots of good stuff in there.

This is the project that contains the CC-BY-SA Illustrations I linked to yesterday. There's work there under various licenses and in various media.

Some Good Projects..

...that I'm not just mentioning because they link to me. :-)

Kinetoh. Gorgeous high-resolution procedural abstracts. Much finer and more engaging than that description implies.

Teleculture. Excellent digital culture and art weblog. What this blog wants to be when it grows up.

I wish I understood maths better

I wish I understood maths better:

The Algorithm For Some Engaging Images.


It's always good to see people explaining "how they do it".

TomC's Processing Sketchbook

I love the fact that Processing provides source code for work by default. Dataisnature mentioned this a while ago but it's good enough to take another look:

TomC's Processing Sketchbook.

I've finally bitten the Processing bullet and I'm working on a version of my old pieces Ghosts/Subjects with a view to taking them further.

Where Is The Art Commons?

A year ago I placed all my art under a Creative Commons license. I assumed that other people would follow suit. But they haven't. Where is all the other Creative Commons licensed art?
Ultimately, I feel like Rauschenberg knocking on DeKooning's door to ask for a drawing to erase. License just one work. You'll lose some part of it, but you'll be contributing to something more. And, unlike DeKooning, you may get more back in return.

CC-BY-SA Illustrations

CC-BY-SA Illustrations from Wikimedia, including a CC'd aardvark character for children's books:

http://commons.wikimedia.org/wiki/Category:CC-BY-SA-2.0
http://commons.wikimedia.org/wiki/ArdvarkTheAardvark

Maybe I should SA the characters from my graphic novel...

Greenberg and Lyotard

Interesting post on Greenberg and Lyotard:

The Owl of Minerva: All Flights Cancelled.

Remix Reading on Boing Boing

Remix Reading got a mention on Boing Boing:

RR on BB.

Live Coding

I first found out about the idea of Live Coding, hacking running code live onstage to generate music and visuals, from an O'Reilley article mentioned on Slashdot.

The article.

Toplap are the Live Coding masters. They've featured at a number of shows.

Toplap's web site.

Other groups are springing up, such as Openlab, who seem less hardcore about coding live?

Openlab's web site .

Can you really code live? I don't know. Can you really jam live?

Flash Formalism

Like all good names for art movements, "Flash Formalism" came about as a criticism of a perceived negative trend. That trend is the increase of work based on mathematical or algorithmic aesthetics, at first written with Flash and increasingly with Processing.

"Formalism" is a damning accusation for a critic to level at a work. Work which has only form, not content, is presumably vacuous. Certainly it has no critical potential. And yet the requirement that work have obvious, easily recovered content that critics can relate to their existing theories is a requirement of illustration, not critical content. That is, there's a difference between illustrating critical theory and making something that stretches or even breaks critical theory. If the search-engine chic and in-faux-mation graphics of vaguely political net.art is more to criticism's tastes, I'd say it's criticism that has the problem.

Refusal of illustrative content is a political position. And given how complicit would-be net.art criticism is with existing power structures it's actually a very critical position. It is a position that presents a genuine and useful challenge to and for criticism.

Like process art or the original computer art, both dating from the hardly apolitical 60s and 70s, Flash Formalism is not an art without social meaning. It is just a meaning that cannot immediately be reduced to sound-bite Poststucturalism. It is also a meaning that is not merely textual, another cardinal sin. It is mathematical.

Mathematics is not undemocratic: anyone can learn some maths. And it is not anti-individualistic: theorems and proofs are named after their discoverers. Alan Badiou claims that ontology is mathematics, and uses many mathematical concepts in his philosophy, so maths isn't unreflective. Whatever narcissistic claims theory may make for "the text", we live in a mathematically determined culture, not a textually determined one.

What the mathematics of Flash Formalism shows us is an analogue for an increasingly procedural social and aesthetic world. It shows us a simultaneous concretisation of and abstraction from it, a simultaneous engagement and an escape. No wonder it is so intractable for net.art criticism. It takes subtlety and imagination to see how this work relates to and allows a critique of where we are. You can't just write about it.

rob-art: Colour For Cheats

I've had a busy evening. Some of the better results from purely random colour choosing:


It's doubly cheating: there's no intelligent choice in the colours, and the shapes (and ground) are being filled by a PostScript fill call rather than with a painting algorithm. This is all temporary. In particular, working out why some random colour schemes are better than others will help to decide how to choose colours more intelligently.

rob-art: Probabilistic Pen

A probabilistic pen for draw-something that uncannily resembles my freehand line:


The first image is a drawing around a convex hull, the other two are drawings around polylines.

How likely the pen is to turn left or right depends on how far it is from an ideal distance from the form it is drawing around. I've seen some mis-drawing so far (not shown), so the algorithm (or its parameters) needs some fine tuning, but I'm very pleased with how this looks.

Here's how the deterministic pen draws.

rob-art

I've made the source code for draw-something more readable and modular, ready for the next round of development. So code that read like this:
(defmethod draw-around ((poly polyline) (han hand)) "Draw around a polygon using a hand." (let* ((the-hand (start-drawing poly han)) (first-point (location han)) (sketch (list first-point))) ;;Make the rest, finishing when < step from the original point (loop (let ((next-point (draw-step poly the-hand))) (setf sketch (cons next-point sketch)) ;; If the list is longer than two segments (1.2.nil) ;; And the current point is passing close to the first point (when (and (> (length sketch) 2) (< (distance next-point first-point) (speed han))) ;; Close the path... ;;REVISITME: This is too perfect... (setf sketch (cons first-point sketch)) ;; Returns from the enclosing block, not the function! (return nil)))) sketch))

now reads more like this (in part):
(defmethod ensure-next-pen-close-enough ((poly polyline) (p pen)) "If the pen would move too far next time, turn it right until it wouldn't." (while (next-pen-too-far poly p) (turn-right p (turn-step p)))) (defmethod adjust-next-pen ((poly polyline) (p pen)) "Set the pen back on the correct path around the shape." (ensure-next-pen-far-enough poly p) (ensure-next-pen-close-enough poly p)) (defmethod draw-step ((poly polyline) (p pen)) "Find the next point forward along the drawn outline of the shape." (adjust-next-pen poly p) (move-forward p (speed p)) (location p))

Which is much easier to understand and work with. Next up is a "probabilistic pen" if I can get that to work, and a simple colouring algorithm.

In A Nutshell…

"Misinformation doesn't want to be free. It wants to be deleted." -PJ, Groklaw.

CC-UK On Wednesday?

It looks like the CC-UK licenses for England & Wales (and the BBC Creative Archive?) might be released next Wednesday, the 19th.

Update: I said "might". :-) Another little bird tells me tomorrow (Thursday).

Update: Well, that's the last time I play rumour-monger. :-) Soon. Hopefully.

Cory Arcangel

Classic games console reprogramming crosses over.

Cory Arcangel Show
Source Code

Duke University Center For The Study Of The Public Domain

Duke University (home of Parapsychology) have a Center For The Study Of The Public Domain.

Home page.

Journal Issue (pdfs of articles available).

I'm not a big fan of the public domain. I think it works just about OK for text, but it's bad for images and worse for music and moving images. A decade ago I could photograph paintings in state-funded galleries in London, but now I would have to pay for reproductions that come with restrictive licenses attached. It's good to see serious thought about the limitations and future possibilities of the public domain.

Own It!

A London-based IP organisation that covers Creative Commons as well as more traditional IP value-maximisation.

Own It!

Their Guide to CC.

Upcoming conferences, including CC for Television and CC for the Arts.

"Hold the rights to it" sounds less appealing but would be more accurate. :-)

That's the way to do it

(via Boing Boing )

A copyleft record company that gives you extra stuff on DVD. Notably a commentary on the music (like you get on movie DVDs) and better than CD quality versions of the tracks. Yes, rather than the low-quality, ephemeral, part-owned downloads that you rent from iTMS for as long as the record labels will let you use them, better than CD quality versions of the tracks. Computers aren't limited by space or technology constraints like CDs were, so you can get the best audio ever from them, if only someone will sell it to you. And here's that someone:

http://www.artistshousemusic.com/

Untitled - Making a start

Screengrab from Illustrator of characters for a graphic novel that I started sketching out some five years ago. These characters (and the project) don't have a name so it's hard to refer to them, but the one on the left is the main character and we never really get to meet the one on the right.

One Hundred Percent Surface

Sound and images with no depth, only surface. Like the Mandelbrot set...

One Hundred Percent Surface.

Site Update

I've updated this weblog to register on technorati and to work with Firefox/Mozilla's Live Bookmarks (via homepage.mac.com, not robmyers.org :-/).

Seeing the links to this blog on other sites is embarrasing: iBlog generates very long URLs. Not as bad as WebObjects, but still not really human-usable. Maybe I should switch to bloxsom. Or something. I did have my own blog generating script, but it seems silly to continue reinventing the wheel by updating that.

Explor Again

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One more procedure and I've a complete mini-explor implementation. Then I just need to write a script to compile user programs, make a build/install script, and bundle it up.
Here's the semi-hemisphere example from the original article run using my implementation:

Flash Math Creativity

Another site that I missed mentioning this blog recently is the excellent dataisnature.

I didn't realise that the author of dataisnature was one of the contributors to Flash Math Creativity, now in a second edition updated to use the new Flash ActionScript syntax. I found the first edition an inspiration, the sort of thing I wish I'd had when I was learning to program art (and teaching others to program art).
Each chapter features a series of simple but engaging algorithmic art projects, beautifully illustrated, with full code and explanations. It's directed at Flash users, but if you can understand JavaScript it's easy to transfer the ideas to Processing, which is probably better for pure generative work.

Creative Communism

Pause to remember that Copyleft isn't Communism, then view the image below and laugh your backside off:

Creative Commies

via the ever reliable Boing Boing.

Alain Badiou

Badiou's philosophy and aesthetics look like a refreshing change from the narcissism of postmodernist textual fetishism:

Handbook of Inaesthetics

Theoretical Writings

Books By RSS

Via Chris Double, programmer extraordinaire:

Books By RSS

This is the kind of use of technology that overly restrictive licensing will prevent people who want to make money making money from. :-)

CC Reblogged Me :-)

I missed this. CC mentioned the Perdition remix contest when I linked to it, and they linked back to me:

http://creativecommons.org/weblog/entry/5075

Thanks guys.

The CC weblog is an amazing resource. Well worth a place in your RSS reader:

http://creativecommons.org/weblog

And if you can spare any money at all, do help support CC. They are doing an excellent job, and their t-shirts are cool :-) :

http://creativecommons.org/support/

Remix (1993)

Examples of a series of image remixes that I made in 1993. The sources were images in galleries that allowed photography at the time, paintings by friends, and photographs of party scenes. I thought I'd lost these but I managed to rescue them from some old floppy disks.


2004

2004 was good, on balance.

I completed 1968 and 1969, began rob-art and minara, got work into Rhizome 's artbase, and exchanged emails with Harold Cohen.

I listened to Meme, Auf der Maur, Interpol, Unkle and The Killers.

And on the Free Culture front I read, well Free Culture, and listened to Meme, People Like Us and "The Grey Album".

This year I want to do postcards, screen-printing and even a show. I've more to do on rob-art and minara. And there's arrows and remixes to do, as well as more old work to put online (including some remixes from 1993!).

I'm hoping to do even more good stuff in 2005.

Happy new year!

And, yes, there's no escape - please give some money to help offset the South-East Asia Earthquake/Tsunami disaster. You don't need an overarching ideology to demand that you do so; if something this bad happened to you, wouldn't you want people to help you? We recommend UNICEF.

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This page is an archive of entries from January 2005 listed from newest to oldest.

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