prosthetic knowledge

3D Printed Photographs Instructables walkthrough from...

Thu, 23 May 2013 23:07:00 +0100

3D Printed Photographs

Instructables walkthrough from amandaghassaei on converting black and white photographs into 3D printed images complete with relief texture:

The 3d printer in our office (an Objet Connex500) prints with a rigid, semitransparent white material that can be used to create these unique black and white photographic prints. These prints may be indecipherable when viewed from the side, but when backlit with a diffuse light, they recreate images with surprisingly high precision and even add some subtle dimensionality and texture to the scene.

By varying the thickness of a region of this semitransparent print you can control the amount of light that is able to pass through, thereby controlling the brightness (thinner regions of material will appear brighter and thicker regions darker). In this project, I’ve mapped each individual greyscale pixel value of an image to thickness, allowing me to precisely reproduce any greyscale image. The photos I’ve printed include an adorable picture my mom took of our cat Teddy (fig 4), Saturn and its moon Titan taken by the Cassini space probe (fig 5 and 6), and a huge print (19x16”) of Mt. Williamson by Ansel Adams (fig 1, 2, and 3).

Read how they were put together here

Shake Your Money_Glitch Maker Fun Facebook Glitch project...

Thu, 23 May 2013 22:53:00 +0100

Shake Your Money_Glitch Maker

Fun Facebook Glitch project looking for your glitch art around the theme of money:

$$ THE MONEY $$
—————————————————-

GIF ANIMATED, JPG, VIDEO, T3XT &

You can enter your works here

Below is a quick piece I put together for it - have fun :)

RUN COMPUTER RUN Art and Tech festival held at RUA RED gallery,...

Wed, 22 May 2013 23:22:12 +0100

RUN COMPUTER RUN

Art and Tech festival held at RUA RED gallery, Dublin, opens this Friday 24th to July 13th.

RUN COMPUTER RUN @ GLITCH 2013 is an arts festival focused on examining artistic responses to cultural, economic and social factors that currently affect the evolution of the Internet. The festival features four exhibitions, eight workshops, a symposium featuring leading thinkers and curators in the field of New Media Art, and a showcase of short films.

One show, ‘Examining Aesthetics’ features creatives and groups in the top of the field: FIELD, Pixel Noizz, Casey Reas and Marius Watz.

Another show, ‘Economics + The Immaterial’, is an augmented reality exhibit by design to explore the value of immaterial goods:

How do we give value to immaterial goods? How do we buy and sell digital images? What is the relationship between economics and digital aesthetics? How can curators and artists create new platforms and models for the creation of economic exchange? These are some of the questions that this show attempts to answer. We are currently accepting artwork (video, jpg, gifs, 3d models or HTML content) that will feature in a unique gallery-based exhibition. The exhibition is composed of two parts – a gallery-sited virtual show, and the online production and distribution of materially-realised limited-edition goods.

A collection of great creatives have contributed here: Francoise Gamma, Yoshi Sodeoka, Lorna Mills, Benjamin Gaulon, Rollin Leonard, A Bill Miller, Emilio Gomariz, Andreas Nicolas Fischer, Emilio Vavarella, Debbie Guinnane + J. M. Bowers, Pinar & Viola, Chiara Passa, Reed + Rader, Daniel Rourke + Alex Myers, Alain Vonck, Jonas Lund, Emilie Gervais, Raquel Meyers, Benjamin Berg, Eutechnik, Andrew Healy, Linda Kostowski and Sascha Pohflepp, Geraldine Juárez, and … err … me …

If you have a smartphone with the Layar app, you will be able to see the submissions when the corresponding AR markers for each artist will be available from the website.

The third show, ‘Beyond The White Cube’, looks at art outside the gallery space and on the internet:

The goal of Beyond The White Cube is to explore and question how artworks made for Internet and mobile platforms can be transformed and reconceived for the gallery. Taking work that was originally conceived for other platforms of viewing and interaction and placing within a gallery context raises questions about the relationship between the digital and the physical.

It features works from Constant Dullaart and Evan Roth.

The fourth show, ‘Remaining Anonymous’, looks at artist works looks at the connection between online + offline life:

As the Internet increasingly embeds itself within our everyday lives, our online identities have begun to connect to our offline lives, making public information and our activities. The Internet is a space where data is archived, indexed, and often made publicly available. With the rise of identity-centric social networks like Facebook, it is increasingly difficult to remain anonymous online. The inherent sociality and default to public nature of these platforms leave our digital traces freely available to be collected and manipulated beyond our control. As our online data fuels commercial concerns how much of our digital identities do we really own, and what is the true price of giving away our access or control? How can we circumvent the policies these platforms put in place to regain the rights to our privacy? Are our rights to anonymity slowing fading? As part of our online exhibition, the curator has selected work by Paolo Cirio, Benjamin Gaulon and Martial Geoffre-Rouland. These works serve to highlight how traces of digital data left online can be commodified and re-appropriated questioning privacy online.

You can find out more about the exhibitions, artists and events at the official website here

Knightmare Pioneering UK kids game show from 1987 utilizing...

Wed, 22 May 2013 01:00:57 +0100

Knightmare

Pioneering UK kids game show from 1987 utilizing green screen and CGI, a rare television programme inspired by computer games.

A team would go on a dungeon quest, with one member blinded by a helmet that would be guided by the others. Obviously the player could not see the CGI, but part of the tension from watching was how the team guided the player through the levels and puzzles.

I saw a repeat of this the other day, and felt it would be worth informing others outside the UK about it.

Some background, courtesy of the Knightmare website:

Spring 1985, and Tim Child, a journalist, reporter and occasional development producer for Anglia TV in Norwich, had a silly idea.

As a journalist, he’d taken to producing a regular weekly review of the fledgling UK 8-bit home computer games industry. The justification for Anglia was that much of this industry seemed to be originating from within its regional boundaries. Sinclair and Acorn were both in Cambridge; Commodore had its UK HQ in Northamptonshire.

Everywhere, people seemed to be coding computer games and spotty boys were becoming adolescent millionaires.

At the time, Tim’s elder sister was working as a middle manager for Clive Sinclair on the Spectrum computer range, and this contact gave him his first brush with home computers.

First, Ultimate’s Attic Attack, and then Hewson’s 48k interactive movie, Dragontorc, convinced the Anglia producer that if adventure gaming was possible in a machine as limited as a Spectrum, then the graphic power of modern television could capitalise on the idea and revolutionise the genre.

The idea for Knightmare was born.

Next, a number of key problems had to be solved. How to create a complex artificial world? How to populate it? How to experience it? How to explore it? How to make it work as television?

From the outset Tim Child wanted to use computer graphics to create his first dungeon, but the trouble was that in 1985, computer graphic imaging (CGI) was in its infancy. The Quantel paintbox had only just been developed (Anglia was yet to purchase one), and most computerised images were sadly disappointing compared to the real thing.

Tim knew what was needed, and it wasn’t the gaudy, crude 4-8 colour illustrations which current computer games were offering. What he actually needed, were the fabulous, atmospheric fantasy illustrations that decorated the outside packaging of said crude computer games. He found some examples, and called the publishers in a bid to identify the artist. The answer was soon forthcoming.

Here is an abridged complete version of a winning teams efforts (44 minutes long):

… but not everyone was so lucky … here is a compilation of many “deaths” in the game (and there were not game lives …):

More about the history of the show can be found here, and many more videos can be found at YouTube

SIGGRAPH 2013 : Technical Papers Preview Trailer For anyone...

Tue, 21 May 2013 22:10:04 +0100

SIGGRAPH 2013 : Technical Papers Preview Trailer

For anyone with any interest in the technical art of 3D and graphics, this needs no introduction.

Some fascinating projects here.

The SIGGRAPH Technical Papers program is the premier international forum for disseminating new scholarly work in computer graphics and interactive techniques. SIGGRAPH 2013 brings together thousands of computer graphics professionals, 21-25 July 2013, Anaheim, California, USA. Learn more at www.siggraph.org/s2013.

Evolució by Onionlab / Mapping Festival 2013 From the mailbox,...

Tue, 21 May 2013 21:43:43 +0100

Evolució by Onionlab / Mapping Festival 2013

From the mailbox, a projection-mapping project:

Hello!
I am contacting you to present Onionlab’s most recent piece, Evolució

You will also find some high-resolution pictures here:

http://www.flickr.com/photos/67507166@N07/sets/72157633486998073

And here is a brief description of the project:

Evolució

Onionlab presents Evolució, a piece that revolves around the graphic and sound abstraction of the concept it is named after: evolution. It is construed as transformation, construction and alteration of reality through time; evolution as a discontinuous creation process as well.

Created with 3D projection mapping techniques, this time, Evolució was projected onto the façade of the Musées d’art et d’histoire de Genève, though the piece takes the evolution concept even further: It was conceived as an open transformation process so that it can also be adapted to different façades and projection surfaces, and so that Evolució can continue its transformation process.

Drawing With Computers The Artist’s Guide To Computer...

Mon, 20 May 2013 23:30:00 +0100

Drawing With Computers

The Artist’s Guide To Computer Graphics

1985 book by Mark Wilson scanned + PDF freely available from the author, with interesting examples of computer graphic history.

You can download it here

Rhizome: Prosthetic Knowledge Picks - Turntables and Records A...

Mon, 20 May 2013 19:38:52 +0100

Rhizome: Prosthetic Knowledge Picks - Turntables and Records

A collection of items from the Prosthetic Knowledge Tumblr archive and around the Web, taking a brief look at creative and sometimes poetic plays with the familiar audio technology of vinyl records.

Read the whole submission at Rhizome here

Orchestra Da Camera Musical installation featuring several...

Sun, 19 May 2013 23:28:49 +0100

Orchestra Da Camera

Musical installation featuring several carillons connected to mouse wheels, where several mice randomly play the music - video embedded below:

Orchestra Da Camera is a musical installation in wich the 40 elements of the chamber are mais running on their wheels.
Each wheel its connected to a carillon and when it turns the carillon starts playing its musical note.
The great number of carillons and the random actions of the living creatures makes unrecognizable the melodies (lullabies by Brahms, Schubert and Mozart ) creating an unexpected musical carpet determined by the mice.

Link

Doodal Simple online drawing tool with a focus on creative...

Sun, 19 May 2013 22:31:39 +0100

Doodal

Simple online drawing tool with a focus on creative fractals

More information about it can be found here

Try it out for yourself here

Anish Kapoor in Berlin: ‘in short, Britain’s...

Sun, 19 May 2013 18:51:33 +0100

Anish Kapoor in Berlin: ‘in short, Britain’s fucked’

Sad but true statement comparing Britain to Berlin on the arts - via The Guardian:

The British-based artist says the exhibition, entitled Kapoor in Berlin, is the best show he has yet put on, which may have much to do with the fact that he feels Germany demonstrates a huge degree of respect for the arts – in stark contrast to Britain.

“Germans have a rather healthy respect for the arts and artists,” he said, in an exclusive interview with the Guardian, adding that that attitude could “not be more different” from the British perspective.

“In Germany, it seems that the intellectual and aesthetic life are to be celebrated and are seen as part of a real and good education, whereas in Britain, traditionally – certainly since the Enlightenment – we’ve been afraid of anything intellectual, aesthetic, visual.”

These perspectives were reflected in the two countries’ drastically differing policies on financial support of the arts, he said.

“In the UK, while the arts are the second biggest sector after banking, they probably form less than one tenth of 1% of government spending. It’s completely scuzzy. The UK has two things, the arts and education, and both of them it pushes into the corner. It’s the hugest, hugest mistake. Why do British ministers meet anyone from the arts other than to cut them? Compared to Germany, Britain has got quite a long way to go there, frankly

“In short, Britain’s fucked.”

More Here

Litterae Finis Textmode demoscene winner of TDMC 2012 put...

Sun, 19 May 2013 14:29:57 +0100

Litterae Finis

Textmode demoscene winner of TDMC 2012 put together by Trauma - very impressive stylistically rendering 3D objects in ASCII.

Video embedded below:

Alternatively, you can download the demo yourself at Pouet here (it is much much better than the video above, sharper and cleaner, Windows only).

GIF-TY Design concept for a camera that can print out a series...

Sat, 18 May 2013 23:15:53 +0100

GIF-TY

Design concept for a camera that can print out a series of small prints to create a flipbook - video embedded below:

Via Yanko Design:

This unique camera allows you to print out short flipbook animations, so that you can physically keep the memories of precious moments alive in a fun way. GIF-TY’s Animations can be physically edited, and clipped on a separately designed module. Nametags can be attached to those clips just like old videotapes.

Technologically: GIF-TY is a combination of a burst-shot camera, and a ‘Zero-Ink’ Printer.

More Here

Laser Cut Record Instructables project from Amanda Ghassaei that...

Sat, 18 May 2013 21:59:43 +0100

Laser Cut Record

Instructables project from Amanda Ghassaei that can allow you to create playable records with a laser cutter (sure the sound isn’t that great, but still …) - video embedded below:

A few months back, I wrote about how I used a 3D printer to transform any mp3 into a physical record. Though all the documentation for that project is available here, and the 3D models could potentially be printed through an online fabrication service, I knew that the barrier to entry for normal people interested in trying out the process themselves was prohibitively high. With this project I wanted to try to extend the idea of digitally fabricated records to use relatively common and affordable machines and materials so that (hopefully) more people can participate, experiment, and actually use all this documentation I’ve been writing.

More Here

Animated International Internet Usage Heatmap

Sat, 18 May 2013 20:36:00 +0100

From the Internet Census 2012:

World map of 24 hour relative average utilization of IPv4 addresses observed using ICMP ping requests.

Better resolution image and more info here

Nicolas Boillot Video artist creates looping visual collages in...

Sat, 18 May 2013 17:51:24 +0100

Nicolas Boillot

Video artist creates looping visual collages in a variety of ways, including sourcing from television and computer game feeds.

More more good things can be found here and here

(GIFs above originally made by the artist - thanks to James Vincent for the heads up!)

PS - the artist also has a Tumblr blog here

The Birth of the Pixel Look The New Yorker article on early...

Sat, 18 May 2013 17:00:00 +0100

The Birth of the Pixel Look

The New Yorker article on early special effects in films which adopt the ‘computer’ look:

The rise of the pixel in cinema may feel like a recent development, but this year actually marks its fortieth anniversary. It began in 1973, with the release of a low-budget science-fiction film, Michael Crichton’s “Westworld.” The movie’s use of a digital effect for a total of two minutes—a now-routine process called pixelization, commonly deployed on Gordon Ramsay cooking shows to obscure a contestant’s cursing mouth—was the unlikely launching point of this revolution.

More films are discussed, and connects people who eventually worked for Pixar.

More Here

ShapeItUp Proof of concept tech for 3D modelling using a...

Fri, 17 May 2013 18:42:22 +0100

ShapeItUp

Proof of concept tech for 3D modelling using a gestural interface:

We present a novel interaction system, “Shape-It-Up”, for creative expression of 3D shapes through the naturalistic integration of human hand gestures with a modeling scheme dubbed intelligent generalized cylinders (IGC). To achieve this naturalistic integration, we propose a novel paradigm of shape-gesture-context interplay (SGCI) wherein the interpretation of gestures in the spatial context of a 3D shape directly deduces the designers’ intent and the subsequent modeling operations.

More Here

1bir (1 Block Interactive Raycaster) A 3D engine developed by...

Wed, 15 May 2013 23:24:02 +0100

1bir (1 Block Interactive Raycaster)

A 3D engine developed by demogroup Crescent for the Commodore 64, which has a kind of minimalist beauty in itself - video embedded below:

This is a simple raycaster for our beloved C64 featuring the following:

- Size of one C64 disk block (254 bytes)
- Joystick controlled (port 2)
- Simple collision detection
- 256 step rotation in 2 PI
- Open (wrapped) and closed map areas

Download links can be found at Pouet here

manwitha.mov My submission for the ‘Run Computer...

Wed, 15 May 2013 00:03:49 +0100

manwitha.mov

My submission for the ‘Run Computer Run’ AR show exhibition ‘Economics + The Immaterial’: avant-guard film classic ‘Man With A Movie Camera’ meets 8-Bit aesthetics of computers which had an impact in Russia.

Apologies for gratuitous self-promotion - video and synopsis below:

manwitha.mov from Rich Oglesby on Vimeo.

Created for the ‘Economics + The Immaterial’ exhibition, part of the ‘Run Computer Run’ show at the Rua Red Gallery from May 25 to 13 July.
runcomputerrun.com/?page_id=8313

A visual experiment of curiosity and theoretical connections, of culture and technology (in particular, Russia), information transference and reproduction through media, analogue and digital.

The project aims to be a combination of two Russian cultural artifacts, a visualization of the results. First, “Man With A Movie Camera”, an avant-guard film directed by Dziga Vertov, demonstrated the creative use of filming, employing techniques developed and practiced for years by the director. In the context of this piece, the original film could be considered a “demoscene production”, exploring and pushing the creative possibilities of a technology. Second, the growth of ZX Spectrum clones in Russia during the 1980′s, in which colour and cheap digital computing grew from reverse-engineering and redevelopment. The availability of these various computer clones evolved a homebrew creative scene around the former Soviet bloc. There is still a strong creative demoscene around these machines in Russia today.

The whole of the ‘Man With A Movie Camera’ film has been converted into a representational format within the ZX Spectrum graphics protocol, reduced to 256 by 192 pixels, with each 8 by 8 pixel area represented by just two colours available from the system. The original file was downloaded from the internet (in .mov format) – it is worth bearing in mind that this file of information itself has travelled to and from various technological formats itself: without even taking into consideration the editing and filming or the original film, the information has been transferred to video tape, then a digital video file, and then on a video hosting site, each stage which has it’s own technical protocols which would effect the fidelity of visual representation.
The film has been converted to ZX Spectrum visual protocol manually on a shot by shot basis to produce the best representation of the film as much as possible.