April 2005 Archives

How Picking Works In Minara

An image is a series of drawing instructions, in other words it is a program. In Minara it is a program written in Scheme, the same Lisp dialect that Minara itself is (mostly) written in.

Minara allows us to change the drawing protocol, that is it allows us to change the functions that the names of the drawing instructions actually refer to.

Normally, these are functions that just draw the image to the screen.

But when picking (selecting objects), the drawing protocol is swapped for the picking protocol. The picking "drawing" functions no longer draw to the screen, they calculate the position in the program that is executing when the drawing surrounds the picking point.

This is incredibly inefficient. We can make it more efficient by cached the bounding boxes and other useful information for pickable shapes in a buffer variable on the document buffer. This can be given a timestamp and refreshed when the buffer changes and picking is initiated like the drawing cache for the buffer when drawing is initiated.

It is also incomplete. Code that calls across the network or generates different drawing instructions each time it runs may be difficult or impossible to pick. Even code that defines functions or uses loops or iteration to draw will require redefining to pick properly. But this will just require defun and other macros to be wrapped when picking. Fortunately this is something we can do thanks to the way Minara extends Guile, the Scheme implementation that it uses.

These considerations are secondary to what I believe is the elegance of the underlying picking model.

Dr. Who: Dalek (Spoilers!)

That was terrible.

It couldn't have been worse if they'd given the Dalek a baseball cap.

Yes, it tied into lots of old stuff and was a good basic idea. Production was good (apart from the usual crap music). Doctor slipped a bit, Rose good as ever.

But a single Dalek, a floaty Dalek, and a melancholy Dalek, doesn't work. And a cute litle dalek enjoying a moment of sunshine really doesn't work. Dredd doesn't remove his helmet, a Dalek doesn't pop its top off...

Not so much an opportunity missed as one surrounded by glowing craters.

Oh, The Horror!

The guitar on "Dominion" by The Sisters of Mercy is the same as the first notes of "The Big Sky" by Kate Bush.
Oh, the horror!

OooOOoOooOh!

CC Star Charts

Via Boing Boing :

http://www.cloudynights.com/item.php?item_id=1052

BY-NC-SA. NC, grumble, grumble.

Star charts are probably at the limit of what you can copyright, being mere collections of facts, but this is a selective chart (cutting off at magnitude 7).

Whatever Happened To AI?

Asks Newscientist, via Mindhacks:

http://www.mindhacks.com/blog/2005/04/new_scientist_on_the.html

Anyone who thinks AI is dead hasn't played a computer game, watched news reports form warzones, or used a credit card recently. And they're certainly not a chess player.

Inkscape Scripting

Page on scripting Inkscape in Python:

http://www.ekips.org/comp/inkscape/

Art & Language

Show on now, another in May:

Now They Are Surrounded

Stay Free

Article on Free Software for digital artists:

Stay Free.

Canto

Canto, at Remix Reading :

Canto (For Evie)

Canto (For Gabrielle)

Canto (For Liam)

Canto (For Liam, Version)

Canto (For Me)

Canto (For Tom)

I'll upload the images to Ourmedia and to this site later. The source image comes from Remix Reading, so I'm uploading there first.

MTAA Software Art

http://www.mteww.com/mtaaRR/news/twhid/aiotd_art_by_computers_for_computers.html

"Two software programs are created. Program A creates ?art data? which is transmitted to program B. Program B is programed in such a way that it has aesthetic criteria with which it evaluates Program A?s art data transmissions. The human witness doesn?t view the art data, but Program B responds to the art data in a way that is discernible by the human witness. "

Kinda like a negative Turing test. A guy at Middlesex did unseen computer art before I was there, but this is a step beyond that. The producer/consumer pair reminds me of ae from rob-art, which was based on ideas from Algorithmic Aesthetics.

Lessig & Tweedy Talk

The Force Is Strong With This One

Greg London, author of the excellent "Drafting The Gift Domain " has a new essay out, this time an exploration and allegory of Intellectual Property law:

Bounty Hunters

The GPL would fit into the metaphor as a neighbourhood watch, or the right of the individual to bear arms...

Both essays are highly recommended, "Gift Domain" was pivotal for me in gaining an understanding of how and why a Free Culture should work.

The bounty hunter metaphor is excellent for copyrights, but I don't think it works for patents. Patents are more of a protection racket, or a way of declaring certain criminals untouchable. This is possibly an example of Stallman's complaint that the idea of IP law leads us to make misleading generalisations, or possibly it's just an example of me reading something too fast because I'm enjoying it too much. :-)

More Cognitive Aesthetics

Joy Garnett &&“Open Source Art”

Garnett on Garnett:

http://www.nyfa.org/level3.asp?id=349&fid=6&sid=17

Wikipedia article linked to in the article:

http://en.wikipedia.org/wiki/Open_source_culture

Two things about the idea of an "Open Source Culture".

Firstly, it does make sense to provide the source material for your work. Be it preparatory sketches, midi files and sample banks, character and plot notes or earlier drafts of stage notes. The principle and advantages are the same as for software: others can learn from, remake and build on your work. As a visual artist I have encountered works that I couldn't understand without the preparatory sketches and that were wonderful when I got the hang of them, and I've seen reproductions of lost works that are the only surviving record of them. I've made versions of works from preparatory sketches, and used unrealised ideas to make completed works.
I wish there was a Creative Commons "Provide Source" module, a "CC-PS".

Secondly, "Open Source" is a weasel term designed not to scare encumbant corporates. It has no moral or ideological power to describe or to direct, it merely describes a decontextualised, dehistoricised way of working that is cheaper for businesses to use. "Free Software", the term that Open Source was designed to disempower, is a much better term, more descriptive and with a clearer sense of purpose, as is the cultural equivalent "Free Culture". The economic advantages of Free Software are a side-effect of its moral basis. Open Source obscures this, and without a firm moral basis it can neither defend nor maintain its social and economic advantages. It cannot answer questions of direction or purpose, only of monetary value. A merely Open Source culture will share these problems, a Free Culture will not.

Stallman is clear on the failings of Open Source:

http://www.gnu.org/philosophy/free-software-for-freedom.html

Article I'm sure I've posted before but found again whilst writing this:

http://www.nothing.org/osc/WhyArtShouldBeFree.htm

Article that would be a lot less confused with the idea of Free Culture to guide it rather than the idea of Open Source Culture to mislead it:

http://rejon.org/writings/openSourceArt/openSourceArt-phillips.pdf

The mighty Saul Albert on Open Source Art:

http://chinabone.lth.bclub.org.uk/~saul/docs/mirrors/saul/os.htm

“Futurist” Runners


Frames from an animation from 1991 (they were progressively overlaid).

“We're not Goths, we're Industrialists”

NIN release a remixable track. Not exactly Progen but radical for a mainstream American band, via BoingBoing :

http://www.boingboing.net/2005/04/15/nins_trent_reznor_re.html

Macintosh "Garage Band" archive of the track.

Are NIN fans called Ninnies? ;-P

Good Slashdot Comment

Slashdot comment on open source and art:

http://slashdot.org/comments.pl?sid=146567&cid=12279170

Canto For Gabrielle (in progress)


You wouldn't believe how hard it is getting the balance of blobby shapes right...
CC-BY-SA, contains elements from "Remix Broad Street" by Tom Chance.

w00f!

w00f!
or, possibly:
w00F!
depends on how you like your wide hex dogs. :-)

Open Source For Designers

Good Introduction to some of the applications you can use:

http://www.underconsideration.com/speakup/archives/002282.html

I use Inkscape when I can. I use Illustrator for envelopes, perspective, and boolen operations.
I should use minara, but it smells of mothballs.

Creative Archive Launches

Canto For Tom (In Progress)


CC-BY-SA, contains elements from "Remix Broad Street" by Tom Chance.

What Is A Hole?

What is a hole? More specifically, what should draw-something do to draw a hole in an existing shape?

A quick look at Canto or Blobs shows how I think of holes. They're, well, holes, usually related to the exterior form rather than an unrelated shape that just so happens to be inside the other shape.

The current drawing algorithm generates an outline at a set distance from the closest line in a set of lines. This gives draw-something two possible forms to draw inside, the "skeleton" (the set of lines) and the drawn outline. If the lines were a convex hull (as they sometimes are), there are a set of points inside the shape that could be used to generate holes skeletons. But sometimes the lines are random, complete with concavities, so this might not always work. So generating a skeleton for a hole to be drawn relative to isn't simple.

And then there's the question of how to draw holes relative to the skeleton. I'd imagine that the outline of a hole is drawn inside its skeleton. This would require a different drawing algorithm, one that can handle gaps being too small to draw through, and that is happy crossing skeleton lines. Drawing outside a hole skeleton has its own problems. It seems counter-intuitive, and might result in the hole being drawn outside the exterior outline.

I don't think AARON is much help here. 1970s AARON draws holes the same way it draws forms, one section at a time without a skeleton. Later AARONs don't draw holes that I can see, interior forms such as eyes and mouths are positive features.

So I'm drawing holes by hand, trying to understand this.

I Heart Rhizome

Poem For The Day

If you really love me,
choose a younger wife;

for I, being older,
could not bear to live
[with a younger man...]

- Sappho, c.600BC.
(Translation: Josephine Balmer, buy her book published by Bloodaxe).

I'm on Artocracy

You can now buy some of my images at Artocracy.

http://www.artocracy.org/buy/?artist=64

These have been specially formatted to print well from your printer.
There's also an artist's statement and photo. I must do better ones of both. In real life I have two ears. :-)

Canto (For Liam) - In Progress



I'm not sure "Two Worlds And Inbetween" is going to work. So I'm finishing my series of works based on a single image from "Remix Reading". This is for Liam, whose birthday it is this week. :-) :-) :-)

Update: Erk! why is the background black? It doesn't come up like that in the preview! Must fix...
Update: Fixed it.
Update: CC-BY-SA, contains elements from "Remix Broad Street" by Tom Chance.

Creative Archive Site Launch

Bear

Bear

I laughed until my stomach hurt. Then I laughed until my face hurt. Then I had to stop.

"Bear" is a comic book by Jamie Smart, published by Slave Labor Graphics. Jamie seems to be from Norwich, just along the line from here. I'm told Slave Labor usually cater for the Goth market, but Bear is just generally funny, if dark.

Bear is a teddy bear, Looshkin is a psychotic housecat and Karl works in a record shop. Looshkin tries to kill bear. That's usually it, and what more do you need? Issue 7, the first I read, features Bear finding love, a 1960s gangster movie spoof, too many embalmed brains bought over the internet, a minor TV personality moving in next door, and Looshkin finding a flamethrower.

Wonderful, wonderful, wonderful. Read and enjoy.

Hackers and Painters Backlash

Dabblers and Blowhards

Good to see someone taking Graham to task over the art historical details of the essay. I do get the same feeling lost in making art as lost in making code, but possibly a chef feels the same way about making a recipe.

Graham's comments on wealth and popularity are just wrong. It's good to see someone recognising that ESR ain't all that as a theorist ("The Cathedral and the Bazaar" is a throroughly broken metaphor if you understand how cathedrals were built and the place bazaars occupy in society). I'm not a big fan of "Godel Escher Bach", though. I find it tedious and chummy. If you are told you should read it, just read the last actual chapter for the useful content of the book and laugh hilariously whenever anyone mentions Achilles and the Tortoise. "Fluid Analogies" is much better.

Lemon Harangue

You can't say what we think, by Jingo!

To paraphrase: how dare a foreigner complain about "Art Since 1900", criticising pseuds is anti-intellectualism, never mind the ridiculousness feel the earnestness, think of the children, etc.

Update: It's not just me, then:

http://www.artblog.net/?name=2005-04-11-11-34-iconoduel

How To Write Net Poetry

string of contentious vaguely poetic fragmentary every day another
markov chain me to a desk a substitute for a machine one in fact
orphan drift tedious by hand atrixo and rhythm but never read whole
democracy inverted a negative space better by association better buy
sleevehearted ribbon on your breast alone the wind dragged sand
pounding rhythmic three days blue-black bars over retinal lag
anyone can but only those who do are anyone to be anyone good
patti smith's corpse between magnets drives the city lights to your words
destroy rock and earth colours everything you seep from intermittently
spinning bottle decades commodifying ignorance commodifying
hi-hat flurries salivated for all tomorrow's arty faux fire at will you be

Holes

Evie suggests that draw-something's shapes need holes. I agree, my drawings are riddles with holes, and it's something I've put off far too long. So holes it is.

The underlying design principle of draw-something is to start with code that does nothing and extend that. :-) So I need a do-nothing hole maker. Then I can build on that. I think I'll start with convex-hull outer shapes, as I won't have to worry about how to draw inside the "tendrils" that the unsorted shapes have.

Should holes be drawn around or inside by the drawing algorithm? I think inside, to match how I draw holes, but this will require an inside/outside switch on the drawing algorithm. Shouldn't be too hard.

draw-something can now outline a 1000 line scribble in two to three minutes:



Not bad. I'll optimise it more another time.

draw-something CVS

The latest draw-something code is debugged and checked in to the rob-art CVS at sourceforge.

It seems a little faster. And it's certainly easier to work with.

How Postmodernists “Think”

There is no such thing as toxicity. A toxic substance is only toxic to a given system. Therefore we are mistaken if we identify the system-given property of "toxicity" with a particular substance, or example of such a substance.

If we are to accept that the property of toxicity can therefore be culturally conferred on particular substances (or examples of such substances), then obviously the property of toxicity can be conferred on any substance. Therefore any substance can be regarded as toxic.

This being the case it is perfectly OK to drink poison, as everything is toxic anyway and most things we drink have no harmful effects, thus disproving the entire idea of toxicity.

Of course even if we accepted the ridiculous idea of toxicity, we'd have to work out what the word "poison" refers to in order to actually find some to drink, assuming that words can actually refer to anything, which obviously they can't, except in essays by postmodern "thinkers".

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