François de L’Yvonnet : Nous retrouvons Lichtenberg, que vous aimez à citer, la liberté reste, parce qu’elle est l’idée la plus facile…
Jean Baudrillard : C’est la plus facile, la plus acceptable, à partir du moment où elle est donnée, car avant, elle ne se posait pas. Mais c’est une autre question de savoir comment surgit cette liberté. C’est un mystère… Il dit aussi : ” Au fond, soyons clairs, l’homme n’est pas un homme libre, ce décret-là, n’existe nulle part. L’homme n’est pas libre, mais il ne peut pas ou ne veut pas s’en rendre compte, car cela demande une telle ascèce intellectuelle. Donc la liberté a toutes les chances de durer indéfiniment.” Cette solution facile n’est remise en cause, aujourd’hui, que par une solution encore plus facile, qui est un désistément de la liberté d’une espèce de destination numérique, de ventilation dans des opérations de programmation, d’organigrammes… Ce nouvel opérateur fait bon marché dans sa liberté. Lichtenberg dit aussi : “Développer la liberté, la volonté, dans le sens où on l’entend le plus généralement aujourd’hui, comme une sorte d’impératif catégorique, c’est instituer un onzième commandement qui annule tous les autres.” C’est très bien pensé… Avec la liberté, la source de tous les commandements est intériorisée, c’est la source du malheur absolu, on est responsable de tout ! Il y a quelques réticences aujourd’hui devant ce mode d’emploi de la liberté, parce qu’on en entrevoit un certain nombre de conséquences. C’est encore Lichtenberg, je crois, qui dit que l’usage caractéristique de la liberté, c’est l’abus qu’on peut en faire. La preuver que quelque chose est en jeu, c’est qu’on peut l’éxcéder, et en faire le sacrifice.
Revenons à la proposition du don et du contre-don. La liberté est une sorte de don, de cadeau qui vous est fait. L’acception actuelle du terme comporte l’idée qu’on peut tout faire et tout avoir, tout consommer, se transformer en n’importe qui. Il n’y a donc plus de possibilités de contre-don. Être libéré ne va pas sans créer des problèmes. Ainsi quand on a libéré les esclaves, tous ne l’ont pas nécessairement accepté, certains se sont même révoltés contre cet affranchissement ! On ne veut plus poser ce problème-là : l’idée reçu est que la liberté est un don pur. Y compris à la naissance, comme l’a montré un procès récent, où il est apparu qu’un enfant devrait être libre de naître ou de ne pas naître. La libération est un système de dérégulation exponentielle qui aboutit nécessairement à une monstruosité, et cela parce qu’on a éliminé la possibilité du mal, d’une réversibilité, d’un duel, d’une réponse possible, et donc d’une véritable responsabilité. Si on ne peut pas répondre à la liberté, y sacrifier en quelque sorte, on finit pas être axphyxié par sa propre liberté. Coupées d’un instance duelle, toutes les choses ayant perdu leur référence sont destinées à se reproduire indéfiniment. Le clone, c’est l’être obtenu lorsqu’il est coupé de sa propre référence humaine. Il est comme “schizophrénisé”, “libéré” de son propre original, il ne peut que se répéter indéfiniment. La liberté est devenue la libération, c’est-à-dire un processus quasi obsessionnel de répétition illimitée et démesurée. La mesure, elle, est dans un rapport duel aux choses, dans un rapport d’altérité.
Le monde du virtuel est l’aboutissement du processus de liberté : la liberté ne devient même plus visible, s’étant abolie dans son accomplissement définitif. On tente, aujourd’hui, de conjurer cela, de retrouver de nouvelles contraintes, des limites morales à la possibilité de tout faire… On veut intégrer à la libération une critique humaniste de la liberté, mais c’est sans espoir.
Cela dit, demeure entier le mystère : comment se fait-il que ce phénomène soit apparu, se soit développé avec une telle intensité, au point qu’on ne peut plus procéder aujourd’hui à l’ablation, à l’amputation mentale de cette notion de liberté ?
Pourtant si on regarde du côté de l’histoire, du côté des institutions, on voit comment la liberté se corrige par une instense servitude volontaire, que l’une et l’autre fonctionnent bien de pair… La liberté a-t-elle vraiment jamais existé ? Elle a sans doute existé en tant qu’idée, en tant qu’idéal, dans une sorte d’imagination illuministe de la modernité, une sorte de parenthèse un peu folle. Il reste qu’il est très difficile de savoir comment elle a pu surgir. Au fond, la même question se pose pour le réel.
— Jean Baudrillard, D’un fragment l’autre, Entretiens avec François de L’Yvonnet
My concern is not the misery of the world. I don’t want to be cynical, but we are not going to protect art. The more cultural protectionism we enact, the more waste we have, the more false successes, false promotions there are. It puts us in the marketing realm of culture…
To put it naively, the pretension of art shocks me. And it is hard to escape, it did not happen overnight. Art was turned into something pretentious with the will to transcend the world, to give an exceptional, sublime form to things. Art has become an argument for mental prowess.
The mental racket run by art and the discourse on art is considerable. I do not want anyone to make me say that art is finished, dead. That is not true. Art does not die because there is no more art, it dies because there is too much. The excess of reality disheartens me as does the excess of art when it imposes itself as reality.— Jean Baudrillard, “The Conspiracy of Art”
But I do not put myself in a position of truth. Everyone makes his or her own choices. If what I say is worthless, just let it drop, that’s all.
The article was written a little hastily. I should not have started like that. I should have said that there is a hint of nullity in contemporary art. Is it null, or isn’t it? What is nullity? My article is perfectly contradictory. On the one hand, I use nullity as null or nothing, and on the other, I say: nullity is a tremendous singularity. That is a critique that could have been made.
My text reflects a mood, an obsession with something, something more. That we have moved from art as such to a sort of trans-aestheticization of banality… It comes from Duchamp, okay. I have nothing against Duchamp, it is a fantastic and dramatic turn.
But he did set in motion a process in which everyone is now implicated, including us. What I mean is that in daily life, we have this “readymadeness” or this trans-aestheticization of everything which means that there is no longer any illusion to speak of. This collapsing of banality into art and art into banality, or this respective game, complicit and all… Well, from complicity to conspiracy… We are all compromised. I am not denying it. I certainly have no nostalgia for old aesthetic values.— Jean Baudrillard, “The Conspiracy of Art”
The only things I said about art that excited me were on Warhol, Pop Art and Hyperrealism. I think Andy Warhol was the only artist at a time when are was caught up in a very important transitional movement, the only artist who was able to situate himself at the forefront, before all the changes. Maybe it’s also just luck or destiny… Everything that characterizes his work—the advent of banality, the mechanized gestures and images, and especially his inconolatry—he turned all of that into an event of platitude. It’s him and nobody else! Later on, other simulated it, but he was the greatest simulator, with style to match! The exhibition of his works in Venice (Summer 1990) far surpassed and outclassed everything else in the Biennial.
Andy Warhol was a big moment in the 20th century because he was the only one who had a gift for dramatization. He still managed to bring out simulation as drama, a dramaturgy: something dramatic slipped between two phases, the passage into the image and the absolute equivalence of all images. His principle was to say, “I am a machine, I am nothing.” Since then, everyone has just repeated the same mantra, only pretentiously. He, however, thought it as something radical: “I am nothing and I can function.” “I am working on every level, artistic, commercial, advertising…” “I am operationality itself!”
He affirmed the world in its total evidence, the stars, the post-figurative world (it is neither figurative nor non-figurative, but mythical). His world was glamorous and everyone in it was glamorous! Warhol’s act could be considered a revisitation of art after Duchamp. According to our own coordinates and temporality, it is less a work of art than an anthropological event. That’s what interests me about him: the object. He is someone who, with utter cynicism and agnosticism, brought about a manipulation, a transfusion of the image into reality, into the absent referent of star-making banality.
Warhol remains for me a found of modernity. It is somewhat paradoxical, since modernity is usually considered more of a destruction; yet there is a certain jubilation, not at all suicidal or melancholy, because, ultimately, that’s the way he is: cool, and even more than cool, totally insouciant. It’s mechanical snobbism and I like that kind of provocation of aesthetic morals. Warhol freed us from aesthetics and art…— Jean Baudrillard, “The Conspiracy of Art”
« The degree of intensity of the image matches the degree of its denial of the real, its invention of another scene. To make an image of an object is to strip the object of all its dimensions one by one: weight, relief, smell, depth, time, continuity and, of course, meaning. This disembodiment is the price to be paid for that power of fascination which the image acquires, the price for its becoming a medium of pure objectality, becoming transparent to a subtler form of seduction. »
[récupération d'une note de mon tumlbr]
« Je retourne sur mon lit. Le désordre règne en maître. Il y a un livre de maths, un roman de Murakami Ryu, un carnet de liaison en partie falsifié, des feuilles A4 disséminées. J’ai enfin trouvé un site valable sur Godzilla, un site doté d’une chronologie solide et d’une liste de monstres exhaustive qui présente aussi les affiches originales, un comparatif japonais/américain, des analyses de contenu, un billet d’humeur sur l’adaptation holywoodienne et des biographies des réalisateurs. Tout ça commence à m’intéresser pour de bon.
J’esssaie de classer mes papiers. Je feuillette mon agenda pour les semaines à venir. Je suis en retard sur tout.
L’impact de Godzilla sur la culture américaine.
Certes, le film de Roland Emmerich n’a pas été un succès colossal au regard des sommes investies, mais il a tout de même engrangé cent quarante millions de dollars là-bas, et si les producteurs de l’époque avaient eu la bonne idée de le confier à un vrai réalisateur, sans doute aurait-il pu en rapporter beaucoup plus.
Qu’est ce qui peut réunir deux pays aussi dissemblables que le Japon et les Etats-Unis ? Le fait que l’un ait reçu deux bombes sur la gueule et que l’autre les ait envoyées ? C’est peut-être ça, Godzilla. Et si les Américains s’obstinent bêtement à tronçonner, remanier, détourner les films japonais qui arrivent chez eux jusqu’à ôter toute signification, c’est peut être qu’ils ont peur (voila ce à quoi je réfléchis en regardant tressaillir les maronniers du square). »
— Fabrice Colin, Le Syndrome Godzilla
Parce que ce passage m’a fait sourire.
Et sinon, j’ai adoré le roman.
I’d also like to point out that large financial centers in certain cities around the planet are certainly going to kill millions of us by destroying our social safety networks in the name of their imaginary financial efficiency. You’re a thousand times more likely to die because of what some urban banker did in 2008 than from what some Afghan-based terrorist did in 2001. *Financiers live in small, panicky urban cloisters, severely detached from the rest of mankind. They are living today in rich-guy ghetto cults. They are truly dangerous to our well-being, and they are getting worse and more extremist, not better and more reasonable. You’re not gonna realize this havoc till you see your elderly Mom coughing in an emergency ward, but she’s going there for a reason.
– Bruce Sterling in an interview on BoingBoing on Cities
20110624d-2 / work in progress / aimed to be some sort of ambient music for a video game.
***
Midijunkies v2 beta (ATR cover / ripoff / thing) / some sort of ATR cover / rip off / thingie ; the base bass is from the song by Atari Teenage Riot, from there I toyed with it… #ForTheLULZ
***
20110819 / latest snippet, work in progress.
« Maybe you are a poet and a dreamer, but don’t you realize that those two species are extinct now? »
– J.G. Ballard
Untitled on Flickr.
~7am this morning. it was too cold for me to stay outside very long, only took 4 or 5 pics in the neighbourhood.
I couldn’t sleep this night. I was worrying too much this night and then now I feel really bad and I will surely feel bad about the consequence of what I haven’t done today for some days to come.
work in progress, i’ve been keeping on coming back to it lately, working again and again on it, and here it’s just a barebone version (drums+inhumane piano), i’ve again dropped things (removed the strings, etc) and just layed out another “idea”, and will take another direction with it . I’ve made serveral versions now, quite different each time, more than usual, I don’t know why this time I keep on working on a track and I haven’t abandoned it quickly, but it’s nice. And it’s just a draft again (that needs again a lot of work), for something to come…
***
tomorrow I’ll try to take some photos, even if i don’t know really where I will be - what the place will look like. thing is maybe it’s just not a good “chance” to takes photos, but I feel I need it. maybe I won’t take any and it won’t possible, but I know I’ll need to walk. today i woke up and felt extremely sad.
2012, february 22
Yesterday I crossed a girl’s path. A beautiful girl like you see only once every ten years. I just crossed her path, at a bend of the sidewalk. I could see her maybe only one second. She was arranging her hair when my eyes met hers for that one second. Just a glance.
A glance.
That one girl’s path I crossed… this girl, I will never spend a lot of time silently sitting with her for hours without almost never talking. I will never keep on crossing her path again and again, collapsing in front of her smile each time we say ‘hello’, wanting to see her more, to talk to her a little, but just running away each time in the other direction because of something like fear and difficulties to interact with other people. I will never be surprised when she change something in her fashion one day. I will never spend nights my head in my hands, wondering how I could sort out the confusion. I will never see her slowly fading away. She won’t haunt my dreams for the years to come, and the thoughts of everyday. I won’t never hope during years to be able to cross her path maybe one more time, to have a chance to fix something that I felt went wrong.
Inexpensive and great modulating reverb for shimmery walls of ambience/shoegazer/drone goodness. Somewhat of a one trick pony for me as I use other verb’s for other applications, but it does big sounds really well. I rarely promote products like this, but it’s too good not to share.
Thanks, I’m gonna test it. I was looking for reverbs only a few days ago. Since I make music on a mac I had only two free reverbs and I was looking for something more suited for ambience/etc.
2011-01-12 on Flickr.
self-portrait. I remember I wanted to make a serie when I took this photo, but I never did take the second one.
everything is an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration of an iteration (…) of something else.
Le social l’a emporté. Mais à ce point de généralisation, de saturation, où il n’est plus que le dedré zéro du politique, à ce point de référence absolue, d’omniprésence et de diffraction dans tous les interstices de l’espace physique et mental, que devient le social lui même ? C’est le signe de sa fin : l’énergie du social s’inverse, sa spécificité se perd, sa qualité historique et son idéalité s’évanouissent au profit d’une configuration où non seulement le politique s’est volatilisé, mais où le social lui-même n’a plus de nom. Anonyme. LA MASSE. LES MASSES.
— À l’ombre des majorités silencieuses ou la fin du social, Jean Baudrillard
Objection contre la science : ce monde ne mérite pas d’être connu.
(Parce que cette phrase de Cioran m’est revenue en tête hier soir alors que j’essayais de m’endormir.)
Okay, so.. I have too many tumblrs. Really. This has been bothering me for a while. (Actually it became its own Hell inside my already not quite sane brain.)
I must stop this madness before I end up with a dozen more tumblrs (and possibly nightmares about it.. no ok, I have yet to dream about tumblr, this is maybe a bit excessive).
So from now on, there will be only TWO tumblrs. (And no, I couldn’t decide myself to keep only one…).
Everything personal: my photos, my Processing sketches, my drawings (that is, if I draw some day again), my music, my 3D models/sprites/whatever, anything devlog or rambling or the occasional tiny outburst of personal nonsense, etc, will go on http://moncerveaudansmabouche.tumblr.com (in case you’re wondering what the french url/handle means, it’s “my brain in/inside my mouth”).
Everything else: quotes, pics not by me (but not too many, I’m gonna post less than before), processing stuff not by me, etc, will go on http://nodalpoint.tumblr.com
THERE. And I’ll try to keep a not too bad signal/noise ratio and add some useful tags.
Case closed! (hopefully…)
/*
PROCESSING CODE
McCabe, Jonathan. “Cyclic Symmetric Multi-Scale Turing Patterns”, 2010.
Found at-http://www.openprocessing.org/visuals/?visualID=31195
by Kyle McDonald
Aris Bezas 120107 Igoumeninja
*/
import processing.opengl.*;
int n, levels;
float[] grid;
float[] diffusionLeft, diffusionRight, blurBuffer, variation;
float[] bestVariation;
int[] bestLevel;
boolean[] direction;
float[] stepSizes;
int[] radii;
PImage buffer;
void setup() {
//size(640, 360, P2D);integral
size(640, 640, OPENGL);
//size(screenWidth, screenHeight, OPENGL);
// relates to the complexity (how many blur levels)
float base = random(1.5, 2.4); // should be between 1.3 and 3
// these values affect how fast the image changes
float stepScale = random(.006, .011);
float stepOffset = random(.007, .012);
// allocate space
n = width * height;
levels = (int) (log(width) / log(base));
radii = new int[levels];
stepSizes = new float[levels];
grid = new float[n];
diffusionLeft = new float[n];
diffusionRight = new float[n];
blurBuffer = new float[n];
variation = new float[n];
bestVariation = new float[n];
bestLevel = new int[n];
direction = new boolean[n];
buffer = createImage(width, height, RGB);
// determines the shape of the patterns
for (int i = 0; i < levels; i++) {
int radius = (int) pow(base, i);
radii[i] = radius;
stepSizes[i] = log(radius) * stepScale + stepOffset;
}
// initialize the grid with noise
for (int i = 0; i < n; i++) {
grid[i] = random(-1, +1);
}
}
void draw() {
step();
drawBuffer(grid);
}
void step() {
float[] activator = grid;
float[] inhibitor = diffusionRight;
for (int level = 0; level < levels - 1; level++) {
// blur activator into inhibitor
int radius = radii[level];
blur(activator, inhibitor, blurBuffer, width, height, radius);
// absdiff between activator and inhibitor
for (int i = 0; i < n; i++) {
variation[i] = activator[i] - inhibitor[i];
if (variation[i] < 0) {
variation[i] = -variation[i];
}
}
if (level == 0) {
// save bestLevel and bestVariation
for (int i = 0; i < n; i++) {
bestVariation[i] = variation[i];
bestLevel[i] = level;
direction[i] = activator[i] > inhibitor[i];
}
activator = diffusionRight;
inhibitor = diffusionLeft;
}
else {
// check/save bestLevel and bestVariation
for (int i = 0; i < n; i++) {
if (variation[i] < bestVariation[i]) {
bestVariation[i] = variation[i];
bestLevel[i] = level;
direction[i] = activator[i] > inhibitor[i];
}
}
float[] swap = activator;
activator = inhibitor;
inhibitor = swap;
}
}
// update grid from bestLevel
float smallest = Float.POSITIVE_INFINITY;
float largest = Float.NEGATIVE_INFINITY;
for (int i = 0; i < n; i++) {
float curStep = stepSizes[bestLevel[i]];
if (direction[i]) {
grid[i] += curStep;
}
else {
grid[i] -= curStep;
}
smallest = min(smallest, grid[i]);
largest = max(largest, grid[i]);
}
// normalize to [-1, +1]
float range = (largest - smallest) / 2;
for (int i = 0; i < n; i++) {
grid[i] = ((grid[i] - smallest) / range) - 1;
}
}
void drawBuffer(float[] grid) {
buffer.loadPixels();
color[] pixels = buffer.pixels;
for (int i = 0; i < n; i++) {
pixels[i] = color(128 + 128 * grid[i]);
}
buffer.updatePixels();
image(buffer, 0, 0);
}
void blur(float[] from, float[] to, float[] buffer, int w, int h, int radius) {
// build integral image
for (int y = 0; y < h; y++) {
for (int x = 0; x < w; x++) {
int i = y * w + x;
if (y == 0 && x == 0) {
buffer[i] = from[i];
} else if (y == 0) {
buffer[i] = buffer[i - 1] + from[i];
} else if (x == 0) {
buffer[i] = buffer[i - w] + from[i];
} else {
buffer[i] = buffer[i - 1] + buffer[i - w] - buffer[i - w - 1] + from[i];
}
}
}
// do lookups
for (int y = 0; y < h; y++) {
for (int x = 0; x < w; x++) {
int minx = max(0, x - radius);
int maxx = min(x + radius, w - 1);
int miny = max(0, y - radius);
int maxy = min(y + radius, h - 1);
int area = (maxx - minx) * (maxy - miny);
int nw = miny * w + minx;
int ne = miny * w + maxx;
int sw = maxy * w + minx;
int se = maxy * w + maxx;
int i = y * w + x;
to[i] = (buffer[se] - buffer[sw] - buffer[ne] + buffer[nw]) / area;
}
}
}
void mousePressed() {
setup();
}
// HACKPACT // Gráfica Sonora (by realitat)
define( “HACKPACT” ) =
“1. Write some code each day for one month
// 2. Document your work
// 3. Share it” ;
Showcase of 20 brief experiments (sound machines) we coded during november (MMXI).
All of them explore the sound/graphic co-relation.
Built with Processing and almost all of the audio with SuperCollider
More info/detail about our codes here: realitat.com/HACKPACT
Or, if you wanna check other coders work during the same hackpact go here: artegenerativo.laad.com.mx/artgen.html
Field is a Mac OSX [& linux] development environment application for experimental code and digital art that brings together the wonders of Processing with visual programming. While there are a great many development environments and digital art tools out there today, this one has been constructed with two key principles in mind:
Embrace and extend — rather than make a personal, private and pristine code utopia, Field tries to bridge to as many libraries, programming languages, and ways of doing things as possible. The world doesn’t necessarily need another programming language or serial port library, nor do we have to pick and choose between data-flow systems, graphical user interfaces or purely textual programming — we can have it all in the right environment and we can both leverage the work of others and take control of our own tools and methods.
Live code makes anything possible — Field tries to replace as many “features” with editable code as it can. Its programming language of choice is Python — a world class, highly respected and incredibly flexible language. As such, Field is intensely customizable, with the glue between interface objects and data modifiable inside Field itself. Field takes seriously the idea that its user — you — are a programmer / artist doing serious work and that you should be able to reconfigure your tools to suit your domain and style as closely as possible.
Field is an open-source Mac-based media authoring system, built in Java by Marc Downie of the OpenEnded Group based on ideas formulated at the MIT Media Lab, and subsequently used for a variety of hi-def video installations and choreographic projects. It’s a graphical development environment attached to a high-resolution 3D OpenGL rendering engine, and applications are built on a display canvas with object boxes reminiscent of MaxMSP. But Field is different to MaxMSP because it’s language-based: the object boxes are individual containers of Python code, and the canvas is a flexible, scriptable interaction surface: Python code can draw on it using a 2D renderer, and user interactions and timing markers call back into the code.
There is a sophisticated editing environment for the code, and the canvas contents are version-controlled in a Mercurial repository which Field itself can inspect. Fieldis sufficiently self-referential to be regarded as a meta-environment: for example, click-and-drag editing operations on graphical elements cause Python code to be generated (and, of course, version-controlled). The text of the Python code itself can even contain embedded user interface components. Because Field is written in Java, it has access to all the Java libraries out there as well as portable Python libraries. Field can bridge to the Processing environment, allowing Processing to be scripted in Python and animated using Field’s canvas timelines and user interface components.
The self-awareness of software through recursive introspection.
Code.specific(alpha); is a tautology: a software analyzing and representing itself as a synthetic architectonic structure.

ax38:
Old code for an experiment. The code generates random set of Space Invaders each time it runs. The Scratch / LOGO one is very inefficient, however I was curious if I could do it in this fashion. The Processing code has variables to change its dimensions & aspects, also see the comments.
download source code:
Processing
Scratch (LOGO)
Game Mod was a six hour long workshop with the objective of showing the participants that it is not required to understand code to experiment and play with it.
The code to be modded.
A version of the atari game ‘Breakout’ was built in Processing for the workshop. Unlike common breakout games, in this version the ball bounces on all four sides of the screen, so the game goes on forever, without pauses. This way the game can be modified to the point where its original gaming references are lost, and still maintain a continuous and endless motion. (A cool side-effect is that the player can dribble with the ball).
Although the code of the version had advanced programming features, like Java classes, it was optimized for easy reading and tweaking. Which wasn’t so hard to do: the use of classes allows a clear view, by breaking the code into various sheets, each one controlling a specific aspect of the game. Also the variables of classes are usually declared at the beginning: the easy-tweaking bit is the first visible thing on the code. One specific thing I did was to write descriptive names of variables and methods (in a human readable way), and in Spanish, the main language of the workshop.
(via game mod)
Print by Jan Vantomme
Image was generated with Processing coding, engraved with a lasercutter onto a polyester plate, printed by hand.
Marcin Ignac : Cindermedusae // Cinder libs
My experiments for writtenimages.net – a generative book. All these creatures were generated by an algorithm controlled by number of parameters that can be randomized and animated. The look was inspired by amazing works of Ernst Haeckel.


Processing has done wonders in popularizing for designers and artists the notion of using code to express visual ideas. Now, what if you didn’t have to fold the hinge of your laptop to explore ideas? What if it were as near as an iPhone or iPad? (Or, I suspect, other platforms, too?)
PR0C3551N6 isn’t the first tool to venture into these waters, but it looks like it could be the most sophisticated yet. Bring up your device’s touch keyboard (you’ll need some way to tap up that code), and start sketching. Through the power of Processing.js, you can run your creation, for creating generative artwork, interactive interfaces, and other visual ideas. To aid your coding process, the tool highlights syntax and includes integrated documentation. And you can use it even without an Internet connection – perfect for a distraction-free train ride.
Mathematical Mountains - but does it float
These images are excerpts from the bifurcation diagrams of various one-dimensional maps, including the logistic map [third from top], the hat map [second from bottom], and the cosine map [top image]. Each of these dynamical systems model various physical phenomena in the real world. For example, the logistic map is a crude model of population dynamics with reproduction and limited resources, and it is often used as an example of the period-doubling route to chaos. Typical of chaotic systems, many regions in these figures exhibit self-similarity and reflect the order that emerges out of chaos.
These images were generated numerically by iterating the discrete-time maps above as a bifurcation parameter is varied. The bifurcation parameter is plotted as the y-axis (elevation), and at each elevation, the stratified layer represents the attracting set of the dynamical system for that particular choice of bifurcation parameter. Bifurcation refers to a qualitative change in the behavior or topology of a dynamical system as a parameter is varied.
We don’t leave culture to the culture industry or sex to the sex industry. We shouldn’t leave software to the software industry.
Denarration and the Persistence of Memory
So, you want to learn the Python programming language but can't find a concise and yet full-featured tutorial. This tutorial will attempt to teach you Python in 10 minutes. It's probably not so much a tutorial as it is a cross between a tutorial and a cheatsheet, so it will just show you some basic concepts to start you off.
Languages for For Live Coding. The ones with community links are probably a good place for beginners.
Packet Forth (PF) is a scripting language for real-time video processing and graphics generation. PF is now quite stable and usable, but remains a bit of an odd duck in the land of open source video processing tools. I use it mainly as a prototyping tool for C-based signal processing. PF is a concatenative programming language which takes ideas from Forth, Joy, PostScript, Factor, and Lisp. As opposed to its memetic parents, PF is not intended as a general purpose programming language, but a scripting language that glues together black box processing primitives and relevant open source libraries. PF is also heavily inspired by and can run as an extension of Pure Data by Miller Puckette. As a language, its defining properties are a linear memory management model to improve locality for video processing (cache friendliness), and the use of dynamicly typed multiple dispatch (generic functions inspired by CLOS). The code base is a result of a long experimental evolution which started in
the Making of Prince of Persia is now available in two additional formats: in .epub format, and (drum roll…) paperback!
1. frameCount, millis(), modulo % and noise 2. math, logical and relational operator shortcuts 3. math with ints 4. frameRate 5. loading specific files from an external input directory 6. timestamp 7. fast image sequence saving 8. slow fade & simulated motion blur 9. combining 2D and 3D drawing 10. change the transparency of an image 11. mirror images vertically or horizontally 12. take full screen screenshots 13. keyboard text and number input 14. a simple menu and/or different screens 15. controlling the sketch through millis() or frameCount 16. high resolution output 17. checking if the mouse is over a circle or rect 18. change the PRESENT mode background color 19. disable the ESCAPE key 20. per-vertex color fills within a beginShape-endShape 21. breakShape 22. using arctangent to determine angle 23. constraining a point within a circle 24. renderers (choose wisely) 25. libraries + java BONUS TIP: the knowledge base
Here I am: http://nodalpoint.tumblr.com
And also there: http://moncerveaudansmabouche.tumblr.com
scr-img - Bookmarklet helps find images sources on webpages
Helpful bookmarklet for those looking for the source of the original image. When you click the bookmarklet, what you will see is an icon ‘?¿’ on top of each image (as shown in the photo above) - click on that icon and automatically a new tab will open revealing a Google Image search for that image.
It may not find everything you are looking for (a lot of reverse-imaging services don’t), but this is one of the more simplified ways of doing so.
You can get the bookmarklet from here
Spunky Zoe, Enforced Inslight, 130cm x 150cm acrylic, and pen on paper, 2011
Lady 3 by Majora, found on Deviant Art.
There, link to the artist’s deviantart:
+1 for Super Soaker.
Creature from the Black Lagoon
by Boneface
Writing code for music may still seem a remote notion to the vast majority of even geekier digital musicians, but as exemplified by the language Overtone, it looks very different than coding once did. Whereas sound code was once a type-and-render affair, new coding environments focus on live coding. They use elegant, lightweight modern languages that take up less space. And they can be surprisingly musical, coming remarkably close to just typing “play a c major chord.”
SRC: Music from Code: In Simple Text, Live Coding Steve Reich-ian Rhythms with Free Overtone
Lately i want to go out taking photos, I could just take a few.. and today the weather is super crappy so I won’t go out taking photos. Should I punch myself and try to force myself to draw? I’ve been in more or less total lack of motivation in multiple creative areas those last weeks/months… AGAIN… pff. And even posting great artworks on haikyo.fr doesn’t really motivate me. If i could draw directly with my wacom i would be more enclined to doodle more… urgh, and I’m realising I don’t even have my scanner here if I wanna try to color something from a sketch…
Had a very hard time drawing this time, as usual I draw very rarely.. so umpf. And also I think I messed with the levels of the sketch, hence the big dirty lines…
(used a photo ref again)
A quick drawing of an ugly foetus (with photo ref) - i wanted to digital speed paint a swamp or something to kinda illustrate a shot story by Poppy Z Brite.
Some experiment / drawing with photo ref where I used bits of the photos for the ground and other textures
Reactivating the sketchlog dedicated tumblr? Maybe….
So here’s an aborted Paranoia Agent tribute made too quickly and unachieved.
I’m gonna post the next sketches, doodles, etc on my main blog instead of here.
extremely quick sketch, oh.. i’m taking less and less time to draw something. good or bad ?
draft for a maybe illustration, well, at least, *I’ll try* something on the ‘puter based on this sketch.
Salliss / photo ref from a suicide girl photo set
quick and dirty line art over a quick sketch i cropped… i need to learn patience and take more time to draw…. photos don’t move.
Photo ref: “Charm” / suicide girl photo set
I was not sure about putting this drawing online, it’s not perfect.. yeah… not too bad i guess, at least considering, i havent been drawing for so many years… but as it’s a drawing of someone.. in those cases i don’t really like showing a drawing that has such flaws.. oh well. i don’t know, i kinda want to “log” / document most of my sketches here..
I quickly doodled over the zombie head for trying out Corel Sketch Pad, but as I’m on my old-old laptop today it was not really useable… switched to photoshop to add a few little things.
a quick little sketch made this afternoon, i was all speedy on the drawing, my hands were shaking, nothing great… pixelated bad quality photo ref from Return of the Living Dead 3.
one of the very few sketches I did from models from posemaniacs.com a little while ago.. this one seems not too bad next to the others on the same page. :)
some old sketches that I like, from around 2003 I guess (but I’m not really sure) before I stopped drawing, and the only ones from my old sketchbooks that Ihave scanned..
Print your Minecraft designs as 3D models using Mineways | VentureBeat
The open source Mineways program, by Eric Haines, allows you to pick a chunk of your Minecraft world and export it in a format suitable for sending directly to a 3D printer. You can also choose to edit the model using 3D modelling software, such as Blender, prior to printing.
Haines has created a video that takes you through the process of capturing your Minecraft creation and uploading it to Shapeways, a service which will print out your model and ship it to you.
There are plenty of tips to get the best from the software on Haines’ dedicated Mineways page. He also gives you an idea of how much models might cost to print and how best to minimize your financial outlay.
According to Haines, a large detailed model of his Minecraft spawn area measuring 15.0 x 3.9 x 9.8 inches,would cost $633.14 to print in color. This is about the largest color model you can create on a ZPrinter 650 printer (at least in terms of base area). By contrast, a small Minecraft Eiffel Tower model, measuring 4.8 inches high, would only cost around $25 to print, in color.
To make life easier, the Mineways program has a built-in scaling option, where you can specify a budget for your model, such as “aim for a budget of $50″.
Even if you don’t play Minecraft, you can still mess about with the Mineways program, by using maps made by other people, from a site such as Minecraft World Map, which features a nifty Google Maps preview function. You can also buy models of Haines’ own creations from his Mineways shop at Shapeways.
.flow (v0.15) longplay (by riki9999)
Sabitsuki (さびつき, “rusty”) explores the awful truth about herself and some kind of illness she has in what appears to be… A lucid dream in cyberspace?
I can only really describe it as “Shadowrun meets Videodrome” done Yume Nikki-style. (or Earthbound-style, if you prefer.)
[english version on IndieGames]
[edit: more recent version here: http://dotflow.wikidot.com/downloads ]
I haven’t gamed much lately. Tho I installed Baldur’s Gate (I’ve been wanting to play it again for years) and Neverwinter Nights 1 with Codeweaver CrossOver on OSX, and NWN 2 for Mac. Currently installing Rift (on Win) to try it, and I’m planning on installing again Vampire The Masquerade Bloodlines to start a new game, I’ve been wanting to play this one again too for a long time. And this time I’ll have the community patch. Oh and I installed Morrowind too. There’re some big mods that exist and an Overhaull big patch that makes it look like a modern game. Tried a bit Skyrim on PC also, but I got disapointed utterly by the console controls so I raquitted quickly. I’ll try it out some more later.
Currently not motivated to play Minecraft tho, and still waiting for a Bukkit Recommended Build for my server.
Bought Fallout New Vegas a little while ago on Steam at 5€, started playing it a bit, used some mods…
Jellyfish server now with NPCs!
Citizens Mod.— zproc
I think I’ll add a lot of NPCs and give them absurdsthings to say to passers by. :)
The End. Up until now, it has been a desolate floating island, home to armies of endermen and odd obsidian spikes. The only way to find The End is to go through a natrually- created portal found in a stronghold. The only way to leave the end was to die.
However, with the introduction of prerelease 6, The End features Minecraft’s first fully- functional boss fight. This fight is with Ender Dragons, which were previously unobtainable without mods or hacks. Now, The End dimension will natrually spawn one Ender Dragon.
When in the end, there will be a health meter for the dragon in the top of the screen. Currently, the title says “Boss Health”, but the name may change. Ender Dragons are fairly difficult to kill, especially because of the healing pillars which now spawn in The End.
The obsidian spikes now spawn with some sort of healing beacon on top of them. When the Ender Dragon is close to it, it will regain health. This means that for you to truly be successful in destroying the dragon, you must destroy all of these pillars. Once they have been destroyed, the dragon will no longer regain health. It can take quite a while to damage it enough to kill it, but it is possible. The dragons have critical hitboxes (Hit the neck or head to do extra damage). Once killed, the dragon will drop 20,000 experience orbs.
Directly below the dragon’s point of death, a portal back to the overworld will spawn. Above the portal is an Ender Dragon Egg, which currently has no use.
Following the portal will bring you to the “Win Game” screen, where you’ll see scrolling text. This scrolling text includes credits and a ten- minute epilogue.
Upon finishing watching the credits, you’ll spawn in your overworld spawn point. You can play the game as much as you want at this point. Contrary to common belief, “Winning the Game” does not render your worlds unplayable.
Currently, this is all of the information available about Minecraft’s End dimension. Be sure to check out the new prerelease and try the boss battle for yourself! Thanks for reading this article! If you would like to read more like this, be sure to follow Farming Melons!
Tried a few textures packs. Here’s two I liked.
The first is Summerfields. The other one, a Fallout one, VaultCraft.
Best photography advice I've read ever: "Take a shitload of pictures. Then take a shitload more. Repeat until you are dead." - @Phlearn
— Carly Piersol (@carlypiersol) January 8, 2012
Garcia: “(angrily over the phone to Morgan when he asks for information) The information superhighway is closed. Someone had the nerve to run a black hat op into my computers, Morgan. They hacked me, okay? But you can bet your sweet ass I will find them. I’ve got honeypot farms hidden behind UML kernel data packets and a first generation honeynet I personally programmed. My snort-log lists every visitor, every server request, every keystroke of this entire network. If I have to back-hack his IP all the way to the freakin’ stone age I will find this son of a bitch, okay? So, bye!”
— Criminal Minds: The Fisher King (1)
haha (random googling…)
Officiel ! Le shoegaze a été inventé en 1982. youtube.com/watch?v=4MwVv2…
— Laurent Queyssi (@marshotel) December 13, 2011
Humble Indie Bundle #4 is live! It's a really good one, I'm very proud of it. humblebundle.com
— Ryan C. Gordon (@icculus) December 13, 2011
Amy, le survival-horror de Paul Cuisset, devrait sortir sur XBLA & PSN à la mi-janvier.
— Otto Ray Gene (@barredevie) December 13, 2011
Entre deux appartements - #mess - #moarScreensPlease lockerz.com/s/164421936
— Rez N. (@zproc) December 13, 2011
good ol' #TweetDeck icrontic.com/files/TweetDec…
— Rez N. (@zproc) December 13, 2011
New game, with @docky - Pirouette - ded.increpare.com/~locus/pirouet… (flash) or itunes.apple.com/us/app/pirouet… (free app store download)
— Stephen Lavelle (@increpare) December 11, 2011
A would-be saboteur arrested today at the Large Hadron Collider in Switzerland made the bizarre claim that he was from the future. Eloi Cole, a strangely dressed young man, said that he had travelled back in time to prevent the LHC from destroying the world.
The LHC successfully collided particles at record force earlier this week, a milestone Mr Cole was attempting to disrupt by stopping supplies of Mountain Dew to the experiment's vending machines. He also claimed responsibility for the infamous baguette sabotage in November last year.
Mr Cole was seized by Swiss police after CERN security guards spotted him rooting around in bins. He explained that he was looking for fuel for his 'time machine power unit', a device that resembled a kitchen blender.
Police said Mr Cole, who was wearing a bow tie and rather too much tweed for his age, would not reveal his country of origin. "Countries do not exist where I am from. The discovery of the Higgs boson led to limitless power, the elimination of poverty and Kit-Kats for everyone. It is a communist chocolate hellhole and I'm here to stop it ever happening."
This isn't the first time time-travel has been blamed for mishaps at the LHC. Last year, the Japanese physicist Masao Ninomiya and Danish string-theory pioneer Holger Bech Nielsen put forward the hypothesis that the Higgs boson was so "abhorrent" that it somehow caused a ripple in time that prevented its own discovery.
Professor Brian Cox, a CERN physicist and full-time rock'n'roll TV scientist, was sympathetic to Mr Cole. "Bless him, he sounds harmless enough. At least he didn't mention bloody black holes."
Mr Cole was taken to a secure mental health facility in Geneva but later disappeared from his cell. Police are baffled, but not that bothered.
#lulz
Vous manquez d’idées ? Une stimulation électrique transcranienne peut vous mettre sur la piste de la trouvaille à laquelle personne n’avait pensé. Ce n’est pas de la science-fiction : des scientifiques australiens l’ont vraiment fait… Mais ils ne comprennent pas pourquoi la méthode fonctionne.
Quand je serais vieux je veux être le Docteur Emmett Brown.
J'ai toutes mes chances.
Quand j'étais petit, lorsqu'on me demandait ce que je voulais faire "quand je serais grand", je répondais toujours "Je ne sais pas". Et je ne savais pas.
Bien.
Je crois que j'ai atteint ce but, je ne sais vraiment pas ce que je peux bien faire maintenant que je suis grand.
De fait, j'ai toutes mes chances de pouvoir devenir Emmett Brown.
...je suppose.
I'm a television tuned to a dead channel.