Interactive 3D cellular automata / Game Of Life visualizer:
Cellular automataare systems consisting of a lattice (grid) of cells and a rule governing the cells’ evolution. As the system steps forward (evolves), the rule governing each cells’ on-off state is applied to determine the new configuration of cells.
This tool explores what are called three dimensional (3D) “totalistic” cellular automata.
The state of a cell going forward depends on its present state and that of its six neighbor cells: north, south, east, west, above, and below. The set of “rules of evolution” specify which configurations turn a cell on and which turn it off.
Theinitial stateof the lattice greatly impacts its future evolution. Experiment with starting with a hollow cube or a solid sphere to see how a rule of evolution reacts.
This app can simulate over atrillion trilliontrilliondifferent rulesets across tens of thousands of cubic cells. There has never been a systematic study of these systems in 3D. If you find something interesting, be sure to tell us. Take a snapshot, or tweet your discoveries!
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.
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
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.
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.
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.
Simple net art project using Amazon data to create an ongoing portfolio of product association, sometimes with interesting connections (and soothing shopping muzak).
Put together by Jonas Lund and Sebastian Schmieg:
Starting with adding the first product ever sold on Amazon, Douglas Hofstadter’s Fluid Concepts & Creative Analogies: Computer Models of the Fundamental Mechanisms of Thought, to our shopping cart, we created a script that automatically adds the next recommended item through Amazon’s “Other People Also Bought” algorithm to the same cart. The script starts as soon as someone is watching otherpeoplealsobought.com
Sound art project from Art of Failure places geophysical-scale grooves onto a vinyl record:
FLAT EARTH SOCIETY proposes a transposition of the earth elevation at the scale of a microgroove record. This engraving of elevation’s data on the surface of the disk generates in consequence a subtle image of the earth. When played on a turntable, the chain of elevation data crossed by the needle can be heard.
Using projection and gestures to create interactive relationship with information - video embedded below:
Fujitsu Laboratories has developed a next generation user interface which can accurately detect the users finger and what it is touching, creating an interactive touchscreen-like system, using objects in the real word.
“We think paper and many other objects could be manipulated by touching them, as with a touchscreen. This system doesn’t use any special hardware; it consists of just a device like an ordinary webcam, plus a commercial projector. Its capabilities are achieved by image processing technology.”
Using this technology, information can be imported from a document as data, by selecting the necessary parts with your finger.
A low cost open-Source DIY 3D motion sensor to become another alternative to the Kinect:
The DUO is the world’s first and only DIY 3D sensing solution.
The DUO comes in many forms: with open hardware plans, molded cases, kits and fully assembled devices. All paired with an open source Driver, SDK and examples. Resulting in a professional grade solution for 3D sensing using stereo vision.
The best part is it’s extremely easy to use, just plug it in, download the software and you can start playing within minutes. If you can wave in the air you can use a DUO.