Código Creativo y Arte de Software | Unidad 1
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Código Creativo y Arte de Software | Unidad 1
- 1. PLATAFORMAS DE PROGRAMACIÓN PARA EL TRABAJO CREATIVO POR COMPUTADORA 1
- 3. Sol Lewitt. Wall drawings. (1975) Ver: https://www.e-flux.com/announcements/210739/sol-lewitt-wall-drawings-catalogue-raisonn/
- 4. Sol Lewitt. Wall drawings. (1975) Ver: https://www.e-flux.com/announcements/210739/sol-lewitt-wall-drawings-catalogue-raisonn/
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- 17. Marius Swatz. Laser drawing on plywood. 2x panels, 12” x 30”
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- 19. Trabajo de Jared Tarbell ( www.complexification.net)
- 22. 2) Pure Data (Pd) http://puredata.info/ Hans Christoph Steiner 22
- 23. Pure Data: http://puredata.info/ Hans Christoph Steiner: “ Free software generally is available for no money (for free), but the real issue of free software is the issue of freedom of use. Free software is distributed as source code so that the user is free to modify the program or even use parts of the code in other projects. Example of Pd (PureData) Sequencer: Pd (aka Pure Data) is a real-time graphical programming environment that is part of the Max family of graphical ‘patcher’ programming languages for audio, music and multimedia. 23
- 24. 24 3) MAX MSP JITTER. cycling74.com
- 25. Five-minute Romp through the IP Dan Sandin 1973(Fragment) 25
- 27. Software MAX/MSP Jitter // Imágen de la interface 27
- 29. 29 NOISEFOLD: http://noisefold.com/ Artistas Cory Metcalf y David Stout
- 30. NoiseFold (David Stout and Cory Metcalf ) at THE SCREEN, Santa FE, New Mexico 2009 30 NOISEFOLD: http://noisefold.com/
- 31. 31 TRABAJO de Luke Dubois: https://lukedubois.com/
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- 37. Artist Laetitia Sonami “Lady’s Glove” https://sonami.net/
- 38. 38 5) VVVV
- 40. www.eyewriter.org Miembros de: Free Art and Technology (FAT), OpenFrameworks and the Graffiti Resarch Lab: Tony Quan, Evan Roth, Chris Sugrue, Zach Lieberman, Theo Watson and James Powderly. 40
- 41. 41
Editor's Notes
- Software es un medio de comunicación y de expression. Cada language de software es un material en si mismo, con fortalezas y debilidades, O sea lenguajes particulares sirven mejor para ciertas cosas. Processing fue pensado específicamente para el diseño visual y multimedial y es por eso que cuenta con herramientas propias pre-programadas dentro de su plataforma que aceleran la respuesta visual. En seguida Podemos ver en nuestro sketch lo que escribimos. Software as a medium for communication and expression: Processing is a free, open source programming language and environment used by students, designers, artists, architects and researchers for learning, prototyping, and production. Processing was originally develpoed by Ben Fry and Casey Reas both artists and programmers. It was started for artists and designers as an alternative to proprietary software tools in the same domain. It is an incredibly empowering environment to program visual art. The Processing language is a text programming language specifically designed to generate and modify images. Contributors share programs, contribute code, answer questions in the discussion forum, and build libraries to extend the possibilities of the software. The Processing community has written over seventy libraries to facilitate computer vision, data visualization, music, networking, and electronics. There are also some ecellent books written that help you get started with programming. Its basic language is jaba. And espects that you rpogram in jaba. The large mayority of functions in Processing facilitate the creation and manipulation of visuals. Students at hundreds of schools around the world use Processing for classes ranging from middle school math education to undergraduate programming courses to graduate fine arts studios The Processing software runs on the Mac, Windows, and GNU/Linux platforms. With the click of a button, it exports applets for the Web or standalone applications for Mac, Windows, and GNU/Linux. Graphics from Processing programs may also be exported as PDF, DXF, or TIFF files and many other file formats. Processing was founded by Ben Fry and Casey Reas in 2001 while both were John Maeda's students at the MIT Media Lab. For their work on Processing, Fry and Reas received the 2008 Muriel Cooper Prize from the Design Management Institute. The Processing community was awarded the 2005 Prix Ars Electronica Golden Nica award and the 2005 Interactive Design Prize from the Tokyo Type Director's Club.
- Como ejemplo de trabajos visuals producidos por medio de consignas secuenciales que siguen una línea temporal de ejecución les comparto esta imagen del trabajo del artista Sol Lewitt. Wall drawings de 1975
- Acá la obra presentada en la sala de exposiciónes. Las personas a cargo de armar la exhibición en esa sala, son las ‘manos’ que dibujaron con la tiza sobre esa pared negra, siguiendo el set de instrucciones. Son de alguna manera el compilador y ejecutor del ’programa’
- Aca una imagen de pantalla de Processing 1.0.3 ejecutando un programa escrito por Daniel Shiffman. Here a shot of my screen with the Processing text editor and the resulting visual on the right.
- El trabajo de Casey Reas nos muestra ejemplos hermosos realizados desde Processing. Este es de una serie de dibujos para impression de 2001. Path 00 que documenta el movimiento de un sistema neural sintetico. Cada lína corresponde a en trajecto de uno de los subsitemas. Casey Reas vive en Los Angeles y trabaja en el departamento de media de la Universidad de California. ----- The work of Casey Reas shows great examples of processing at work. This is from a series of print drawings from 2001. Path 00 A series of six prints documenting the movement of synthetic neural systems. Each line in the image reveals the history of one system's movement as it navigates its environment. ------------------------- C.E.B. REAS (b. 1972 in Troy, OH) lives and works in Los Angeles. He focuses on defining processes and translating them into images. He is an associate professor and chair of the department of Design | Media Arts at the University of California, Los Angeles. With Ben Fry, REAS initiated Processing.org in 2001. -----------
- En mi opinion estos dibujos son realmente lindos. Yo uso processing en clases de arte digital basicas y también con estudiantes más abanzados. La platforma me a resultado empoderadora. Como artista, no habiendo sido educada en las ciencias y ni en matemática el acceder a esta platafomra me ha abierto una Ventana al mundo de la programación y al material del software que claramente ha impactado mi trabajo en todos los niveles. También ha sido como un despertar en poder entender mucho de la tecnología que nos rodea y me ha permitido crear arte con un libertad y plasticidad que podría haber venido de la arcilla, pero perdiéndo los límites que impone la materialidad. In my opinion these drawing are incredible interesting and beautiful. I am using Processing in Foundations classes as well as advance classes of multimedia. I have found the environment to be , the word is empowering. As an artist, not educated in computer science previously and with a weak level of math to bring to the table, Processing has meant a window into the medium of software that has impacted my work and how I think about work in every level. Furthermore, it has meant a light into understanding so much of the technology that surround us and that we use every day. It has also allowed me to program and create utilizing computing in a way similar to clay.
- Entonces trabajar con Código, implica el pensar logicamente. Dividiendo cada desafío u objetivo en partes pequeñas, pasos manejables. Luego se prueba, y se corrijg muchos veces. Las partes de un Código se pueden repetir luego y conectarse con otras para formar secuencias más complejas. What is it with code? It involves thinking logically. Fractioning the challenge in small and manageable parts, testing and trying, imagining, and then connecting the dots between ideas, even programs to make even more complex ones. It has gotten me facinated with the fact that I can describe a visual ideas with math
- Process Compendium Process 10: 2005. Software. Process 10 is a text that defines a process and a software interpretation of the text. Updated 24 February 2008 Casey Reas escribe: La parte más importante de element fo Process # es el texto. El texto es el proceso descripto en inglés, escrito con la intención de traducer sus contenidos al software. La interpretación del texto es secundaria. El texto deja varias deciciones a cargo del programador. Esas deciciones deben ser tomadas con un juicio propio. El hardware que corre el programa es inconsecuente. Está destinado a caducir y eventualmente fallar. La tecnología está permanentemente cambiando y es claro que el que la plataforma dejará de funcionar en soportes nuevos. writes about this piece: The most important element of Process [#] is the text. The text is the Process described in English, written with the intention of translating its content into software. The software interpretation is secondary to the text. The text leaves many decisions open to be determined by a programmer. The decisions must be made using personal judgment, thus the text is interpreted through the act of translating the Process from English into a machine language. The hardware running this software Process is inconsequential. In time, the hardware will inevitably fail. The current hardware was selected to be as robust as is possible with current technology, but contemporary electronics are fragile. If an element of the hardware fails, it can be replaced without diminishing the work. Eventually, compatible components will no longer be available because computing technologies are continually changing. When this event inevitably occurs, a new hardware system will need to be acquired and the software should be rewritten for the new hardware to take advantage of the technical advancements since the original interpretation.
- Otro trabajo de Casey Reas de 2006. La visualización es de Ben Fry. O sea el Código que hace que la actividad del programa se lea es sus trajectos. Deprocess: (2006) The text of code is shown in gray, while blue lines that connect the code as it is run over time. The image shows an instant in time, with the darker lines representing code that has been run more recently. Immediate patterns can be seen: a series of loops (at the middle) that are run in succession as the piece is created. The second row of code has more minimal connections, which show how it "orchestrates" what's happening in the program. The original image is 11 inches wide and 36 inches tall (seen at left, detail at right). It is a fine art print done in an edition of five. Ben Fry: Ben Fry received his doctoral degree from the Aesthetics + Computation Group at the MIT Media Laboratory, where his research focused on combining fields such as computer science, statistics, graphic design, and data visualization as a means for understanding information.
- Download, documentation and community.
- Hans Christoph Steiner: “ Free software generally is available for no money (for free), but the real issue of free software is the issue of freedom of use. Free software is distributed as source code so that the user is free to modify the program or even use parts of the code in other projects. Example of Pd (PureData) Sequencer Pd (aka Pure Data) is a real-time graphical programming environment that is part of the Max family of graphical patcher programming languages for audio, music and multimedia.
- Five-minute Romp through the IP Dan Sandin This introduces the idea of patching. 00:06:34 1973 In 1973, Dan Sandin designed and built a comprehensive video instrument for artists, the Image Processor (IP), a modular, patch programmable, analog computer optimized for the manipulation of gray level information of multiple video inputs. Sandin decided that the best distribution strategy for his instrument "was to give away the plans for the IP and encourage artists to build their own copies. This gave rise to a community of artists with their own advanced video production capabilities and many shared goals and experiences." In this segment, Sandin demonstrates the routing of the camera signal through several basic modules of the IP, producing a "primitive" vocabulary of the effects specific to video.
- Max MSP is a graphical development environment for music and multimedia developed and maintained by a San Francisco based company Cycling 74. It is used by composers, performance artists, researchers and software designers to create stand alone applications to be used in live performance or as part of a larger system. Max can use many different libraries. Max has a large community of artists who enhance the software with comercial and non commercial extentions. Like Pd and VVVV, Max uses a graphical programming interface. Pure Data was developed originally by Miller Puckette at IRACM. Pure Data and Max/MSP share a lot of core concepts. Both belong to the same software family and explore data to be explored and treated in a more open ended way, opening up to applications outside of audio and MIDI such as graphics and video.
- NoiseFold (David Stout and Cory Metcalf ) at THE SCREEN, Santa FE, New Mexico 2009 An except from the final movement of "Alchimia" - NoiseFold use a networked feedback system to slowly infuse their 3D forms with increasingly unstable and volatile coordinates. Composed and Performed by David Stout and Cory Metcalf NoiseFold is an interactive visual-music-noise performance that draws equally from mathematics, science and the visual and sonic arts. This networked performance duet explores the use of infrared and electromagnetic sensors to manipulate and fold virtual 3-D objects that emit their own sounds. The work integrates multiple techniques including; real-time 3-D animation, mathematic visualization, recombinant non-linear data-base, A-life simulation, image to sound transcoding, complex data feedback structures and a variety of algorithmic processes used to generate both sonic and visual skins.
- Luke Dubois: HINDSIGHT IS ALWAYS 20/20 HINDSIGHT IS ALWAYS 20/20 takes the State of the Union addresses from each presidency and sorts them according to word frequency, generating a Snellen eye chart for each president, with the more frequent words in larger typeface at the top of the chart and the less frequent words towards the bottom. The 66-member word lists for each presidency are designed to draw out the most unique and contemporary vocabulary used by the president in his speeches; words that appear in the majority of speeches (e.g. "united", "states", "the", "his", "her", "am") are cancelled out; words that appear in a few Presidents' speeches are given to the President who uses the word the most. As a result, the list contains words that are not only important in a given presidency but also au courant in terms of lexicon and contemporary context. The forty-one presidencies to have State of the Union addresses (William Henry Harrison and James Garfield, alas, died before they could submit a single message to Congress) each have their own eye chart. Additional eyechart information appears in the margins concerning the use of the chart as a testing device. The aim of the piece is to make a statement about the perennial political metaphor of vision, without which much of the rhetoric of presidential politics quickly deflates. The choice of words employed by a given presidential administration to articulate its message is in many ways its signature. Looking back, we can use this vocabulary to test the metaphorical eyesight of the nation throughout its history. Enjoy.
- The lightbox version is designed for large-scale public display, indoors or outdoors. Each lightbox stands six-and-a-half feet tall. The boxes are roughly five feet wide and a foot deep. Each box is free-standing and requires a 110V AC power line to power the flourescent tubes. In addition to the 41 "eyechart" lightboxes, there is a title lightbox and a box with a short artist statement. The boxes are fabricated from brushed aluminum with lexan frontpieces and are designed to be sturdy, all-weather, and visible at some distance. Edition of 1. The box prints are 29" x 22" letterpress prints on archival paper, encased in a custom-designed felt box. They can be floated or conventionally framed. Edition of 10, plus 2 AP. The editioned book is 20" x 15", 43 pages. Edition of 25, plus 1 AP.
- Open Hardware: Same phylosphy as open software but with a physical manifestation: David Cuatielles: “We were trying to a new way to prototype and a new way to think about prototyping things. To me the important thing was to create an educational tool that it would be so cheap people could afford giving it away inside their pieces. With the Arduino we had kind of a higher mission: We want to help people make their own pieces and that requires extra effort in documentation and community building.
- Laetitia Sonami: Some of the most interesting glove and hand controllers have come from STEIM, the Dutch center for electronic performance research in Amsterdam. One of the most advanced is Laetitia Sonami's (now at CNMAT, U.C. Berkeley) "Lady's Glove", an extremely dexterous system, with bend sensors to measure the inclination of both finger joints for the middle 3 fingers, microswitches at the end of the fingers for tactile control, Hall sensors to measure distance of the fingers from a magnet in the thumb, pressure sensing between index finger and thumb, and sonar ranging to emitters in the belt, shoe, or opposite arm. This video clip (11.1 MEG MPEG) shows excerpts of Laetitia Sonami performing with this system
- Another extreemely exciting environment: Open Frameworks: Open Frameworks (oF) is a ‘framework,’ which is a collection of code created to help you do something particular. (Some frameworks are design to work with databases, and others are designed to work with internet traffic.) Frameworks don’t provide you with a pre-built tool in the way that Processing and Arduino do, but they provide you with code that you can use to build your own programs. It is especially interesting for artists working with interactive design and media art. oF is written in C++, and expects that you write programs in C++. C++ is a big, old and powerful language. You can build things in OpenFrameworks that would not be eassy on Processing because the underlying language (C++) is a lot more flexible and lower level. Use it for: Project with 3D graphics, and to make a project that utilizes computer vision…. OpenFrameworks is developed by Zach Lieberman, Theo Watson, Chris O’Shea and Arturo Castro and with collaborators from Parsons School of Design, the Media Lab Madrid and Hangar Center for the Arts, as well as a network of developers/artists. Open Frameworks has a lively and growing community of artists that also contribute code, share knowledge in the forums, and collaborates. It is interesting to obesrve that the first nucleous of collaboration happens among a small group of artists, maybe three or so, that are each unsatisfied with what is available and driven to begin, step by step to develop a tool that may do what their imagination has dictated. Given the awesome communication tool that it is the internet, these collaborators don’t need to be near or in the same city. As a matter of fact most of the tools and open source software I will be pointing at today are being created always in collaboration and fluent communication among people each in its own city. These are global yet tiny operations in scope, with incredible reach, and resources. The fact that the source code is offered for free it is important. Because it allows for a fluid dynamic. Most or all collaborators developing tools and adding to the software do so unpaid and ussually trying to solve a problem of their own in one of their pieces. But it is more important to emphasize that the openess of the code, the sharing, the allowing for copying, pasting, changing and re-owning of it is what is pushing the technology further. Zach Lieberman is mostly based in NYC, The Watson in Amsterdam and Arturo in Madrid. These are the three core people. But the openFrameworks community is quickly gaining more brains, and breath. ----- Here more from Hans,…………….
- Just to give an example of an inspiring project in openFrameworks by Zach Lieberman and Theo Watson. The core development teams consists of members of Free Art and Technology (FAT), OpenFrameworks and the Graffiti Resarch Lab: Tony Quan, Evan Roth, Chris Sugrue, Zach Lieberman,Theo Watson and James Powderly. With founding support from The Ebeling Group and the Not Impossible Foundation, and addition support from Parsons Communication Design & Technology. Eye Writer: http://www.eyewriter.org/ The EyeWriter project is an ongoing collaborative research effort to empower people who are suffering from ALS with creative technologies. It is a low-cost eye-tracking apparatus & custom software that allows graffiti writers and artists with paralysis resulting from Amyotrophic lateral sclerosis to draw using only their eyes.
- This video is 4 minutes