Square Dance (literally-ish): PP2

For Pressure Project #2, I created 4 different scene’s in Isadora, using various actors but the most helpful was the Ease in/out 2D to coordinate and consolidate the movements and sizes of the boxes. Enter scene triggers, values and delays were used to time the scenes and various other actors were used (dots, reflection, envelope generator++ etc.).

PP2 sg3 PP2 sg2

It was delightful in its simplicity and choreographed movement and it was automatic through the use of scene triggers to loop and repeat. Complexities came into play by varying the movement of the shapes and sizes after setting a constant with the first frame.

PP2 sg1I *believe* we watched it for about a minute, time lapse achievement: unlocked. Some of the feedback from my classmates included the video being delightful (even looked like a bowtie at time) and that the shapes all had particular pleasing places to go as they overlapped. One suggestion/criticism was to include more boxes, which I agree with if time would’ve permitted. 

PP2 sg4

All in all: https://www.youtube.com/watch?v=Uuzmub5PXNQ

 


Duck… Duck… Duck. Duck…… Duck Duck……. Duck… Goose!!!

Let’s see…

Delightful: Check

Visually Pleasing: Oh yea!

Self generating patch of shapes, lines, and color: Check, check, and check (with a goose for good measure)

 

Level 1: System is fully automatic and only requires being ‘turned on’

Fully automated??? It’s practically self aware!

Level 2: System produces multiple visual ‘looks’ or ‘feels’

You got your duck look; you got your goose look.

Level 3: Any underlying pattern in the systems movement and visual state is complex enough that a human takes more than a few seconds to ‘understand the pattern.’

Everything is randomized, even the starting and stopping of the random sequences.

Bonus Level: System produces unexpected results over time.

No one expects a goose…

Bonus Level: Maintains a watchers attention for more than 20-30 seconds. (Much harder then one might guess. How do we do this in the theatre and dance? [Can your system tell a story?])

A complex visual tale of binary, conflicting pairs. Up and down, or left and right; never together.

 

This is a compressed copy with no audio.

Proj1VideoCompressed

I will elaborate on all this after I write the paper that is due tomorrow morning.


PP 2 “Planet A”

Intro:

While the initial influence for this project was to be loosely based around a “Mondrian” piece of art, my musical influences got in the way of that and I chose to try something with a slightly different dynamic. I am a pretty big fan of metal and core music and one band in particular that I cannot seem to get enough of recently is “The Devil Wears Prada” who are a “metalcore” band from good ole Dayton, OH. This band on their recent recordings and stage shows have chosen to use this kind of provoking, slightly sadistic, triangle shape shown below.

While the basic profile of the shape has remained the same, slight modifications and evolution’s have been added to make the shape unique to that specific album or period of time. My initial idea for this project was to kind of choreograph the bands discography through the evolution of this shape using different backgrounds and effects. While I did not entirely achieve this, I am still pretty happy about how my project turned out.
Documentation:
I started this project by initially drawing out how the scene would be sequenced. Below is my rough blueprint.
Screen Shot 2015-09-23 at 2.31.12 PM
Beginning with the top section of the page you can see that I initially wanted to evolve the shape 5 times in a cohesive manner. White to red to “sharp” lines to grainy background and finally transparent. As I started to construct these 5 different stages a myriad of obstacles began to present themselves. Triggering the fades, manipulating the shape as a whole rather than individual pieces, background effects, layering, the list goes on. I initially perceived these faults as major hindrances to my final vision. However, the more I played with the actors and tried to over come these obstacles I began to uncover different effects and animations that began to mold a new animation entirely. I like to put it as “Creative process through failure”. I started to refine my design from 5 scenes to 2 scenes that showed off some pretty cool effects and that also flowed seamlessly. The result was a very “space-age” interpretation of the shape that I am honestly very proud of.
Presentation:
When I showed off my work to the rest of the class I was a little self-conscious at first. I had been living in this world for a couple of days now and I was anxious to see what my classmates thought of my work. To my delight it seemed that my classmates enjoyed my piece and responded to it with comments like “It looks like asteroids” or “It’s like a space age cultist symbol”. I also heard “mesmerizing” as a comment to describe my piece. All of these comments were what I was going for and thanks to the help of some of my classmates I was able to execute my vision with 95% percent success. I say 95% and not 100% because I kind of wish that I made the animation a little more intricate but I digress. I am very satisfied with what I came up with.
Achievements:
  • Level 1: Check, I was able to fire the whole scene with one trigger
  • Level 2: Check, the scene fades from one simple image to another, more complex piece with different movements and animations
  • Level 3: Check, my second scene takes a couple loops to figure out what is happening but is simple enough to predict the repeating action
  • Bonus 1: Blank, The scenes follow a repeated pattern with no variability after the first loop
  • Bonus 2: Maybe?, While the scene is simple, I believe that the pattern and interplay between the shape, background animation and movement creates a hypnotic feel within the piece.

Reading Responses Week 4

The Work of Art in the Age of Digital Reproduction (An Evolving Thesis: 1991-1995)

The part that stuck out to me the most in this reading is what Davis said at the very end. “Separated from each other by space and time, people find themselves able to say what often cannot be said face to face.” The way people treat the internet these days is a form of self-expression. It’s easier to show your true colors when you have the ability to block anyone who has anything negative to say about it. Being able to express a loss through some form, even if it’s the internet, is freeing. I actually just had an experience like this for myself when my grandmother passed away. Not only was it nice for me to say what I needed to say, but to see the amount of positive feedback is heartening.

An Arts, Sciences, and Engineering Education and Research Initiative for Experiential Media

I’m a fan of designing things with purpose and not trying to create something that could possibly relate. This research is specifically geared towards research problems. This seems like a great approach to help people in need, but not in a boring way. I would assume feedback from whoever is in need would be much stronger, thus a more complex evolution of the system.

The RSVP Cycles

This reading is a little all over the place for me. I don’t think I quite grasp the RSVP cycles. Mainly because I don’t understand the purpose of “S” and “V.” The line “one of the gravest dangers that we experience is the danger of becoming goal oriented” is somewhat agreeable. Designing without a purpose seems wasteful if you’re designing for others. If one is designing for themselves, and themselves alone, then I can see how that can be applicable.


Isadora Workshop Example

https://www.dropbox.com/s/hagnavycqlx5skx/LDI%20Institute%202014%20.izz?dl=0


“People will care.”

The Flag and the Robots.
What do you think?


Everything is a Remix

Image result for everything's a remix

A brilliant update to a classic video that deals with the issues of creativity.

http://digg.com/video/everything-is-a-remix-remastered

Also: Check this breaking news in the world of Fair Use:

http://motherboard.vice.com/read/fair-use-vs-algorithms-what-the-dancing-baby-did-to-copyright


Pressure Project 2 is now posted.

Please check the assignments page for the text description of PP2.

http://recluse.accad.ohio-state.edu/ems/?page_id=222


“Cheryl is a D*ck”

 

I found this interesting take on how to represent a similar situation as the one we approached in PP1.

I wonder how one might develop a system (intervention) to fix the problem identified here:

Here is the full post with the description of the problem:

PP1 in the realworld

PS (This post has a case of the potty mouth.)

 


Dialog with Machines by Peter Krieg

Machine’s and Ideas

Modern computers can’t integrate arguments from different sources into new conclusions. They are unable to create comparatives, metaphors, or analogies, because they are essentially Turing machines (a hypothetical device that manipulates symbols on a strip of tape according to a set of rules, i.e. linear logic). The storage requirement for associative memory in a hierarchical structure increases exponentially as details add up. Data contained in capsulated in hierarchical structures, like the internet, has no comparative capabilities.

Biological Systems are Knowledge Based Polylogical Learning Systems

Hierarchical deductive inference system, like a computer, has only one way to look at things, but learning systems integrate patterns from external and internal events, and compare experiences to create new knowledge. It then uses the knowledge generated to transcend logical domain and apply the map to a new system. Biological systems create an abstract conceptual map of a solution and apply it no a new context. For example, a toddler taking the experiences objects falling combined with experience with the application of force to an object to come to the conclusion that when he or she pushes their plate off the table; it will fall onto the floor creating a mess.

Humans simulate “autopoipsis” (self organization a learning system develops through survival) in conversation. We abstract structural similarities between language and the adaptive behavior of survival. Data storage in cognitive systems can be thought of as generative, in the way we create conceptual symbols, rather than transcribe every event. For example, I might be read a long article, but I will probably only remember general idea as a sequence symbolic representations of the data I find relevant… (i.g. If I wasn’t taking notes, I would probably only remember this as a long article about how people are complex, and machines are dumb.)

Deep Blue Cheated, Virtual Reality Adapts, after that Everything gets Fuzzy

When you ask a person to factor 21, we don’t have to try every number until we get it right. A computer’s approach to problem solving is to test every possible solution, and though they can do this with increasing speed, it is an inefficient approach. While current computer technology does not think like we do, there are some similarities to our symbolic memory and the way some virtual reality systems are generating dynamic maps and dialogue. New “Pile Systems,” store data as input/output patterns.

On the last two pages Kreig describes Fuzzy Logic (which I cannot differentiate from a Pile System) and predicts the rise of the machines…

What’s Bugging Me About All That

He says “high end computers can handle 14 dimensions” (p.24), which seems to conflict with his premise of the mono-logical nature of computers?

At the top of page 24 Kreig says “knowledge system must be able to analyze data and create new data from it,” but isn’t that what a computer does, compare data with a function that generates an output? It does not create a new idea, just applies an existing formula to a pre-categorized set of variables, but doesn’t it generate new data?

How does quantum computing factor in? As I understand it, the “Q-Bits” these machines are based on use quantum “paradoxes” to be 1 and a 0 at once, rather than testing every solution as in a linear logic system. Isn’t this is essentially a Polylogical system?

He lost me on “Pile Systems” and “Fuzzy Logic.”