For this p5 project, I focused on the subject matter of drone warfare being conducted in Syria and the at best obscure procedure it follows, or selects targets. It was inspired by a quote stating that the children there have become afraid the implications of a cloudless sky.
Pixel animation. The rooftop scene shows two civilians frozen in flight, one definitely a child (ironically, it is wearing a pilot’s helmet for head cover). They stay barely shielded by two pinned up sheets, held there – we assume – by premonition or by surrounding sound. In the distance, the clouds keep on rolling languidly, every once in a while uncovering a disconcerting presence behind them, one that slowly fleshes itself out to be one of a military drone. A seconds’ timer is timing down fast over the two characters, implying that the question of civilians is only one of time.
For my project, I imagined a bleak future plagued with overpopulation and dependency of technology. I took inspiration from notable Japanese animators such as Hayao Miyazaki and Masamune Shirow, both of whom produced visuals famous for their modern yet rustic look. I created each building using Photoshop by stitching together bits and pieces of traditional Chinese and Japanese architecture with buildings found in urban environments.
The perlin noise generator produces incredibly natural-looking threads, paths, hairs,
and and ripples across the canvas. I played with the variable values, particle count,
and offset values to get so many varying results.
These are only a select few. These patterns were then laser cut onto wooden panels.
The wood grain, wood color, and specific images, produced many different results.
I intended to have people arrange the panels so that there would be a continuous
path or bolt that strings through the work. This is an interactive piece that invites
touch, play, observation, and puzzle-solving. I used wood as my medium because it
was such a versatile material created by resources taken from nature itself.
This is a photo of the laser cutter engraving a pattern. The quality is a bit iffy because the
laser cutter moves so quickly.
For this project, I scanned in 13 found slides. I then edited the file information in text and audio editing software and converted it back to an image file. This conversion and loss of information results in “glitched images”. I then printed these images as “slides” again, put them in slide holders, and projected them with an old school slide projector.
This project was largely an exploration of how information that gets lost in translation, and how the loss of information for digital and physical media isn’t exactly comparable. The context for these found images has been lost; through time, damage and change of ownership. Whatever memory or story they are able to tell is unreadable to me, much like damaged files that may be unable to be opened, whose detail and information have been lost over compressions and conversions and uploads.
For my final project I ended up making the improvements mentioned at critique for my space ship virtual pet game. I was pretty happy with my game when I presented it last, but there were a bunch of glitches and things that needed to be fixed. I fixed the control panel, and did a lot of work on the background sounds so definitely play with sound on!!!!
To play the game, you have to keep your space ship from getting towed. I was inspired by the frustration of having a car and having to keep moving it so as to avoid being ticketed or towed.
I chose to change the way that you interact with the game by creating things in the canvas to be clicked on rather than a control panel. You can transport planets by clicking on one of the three in the sky. You can also add money to the meter, or pay your ticket, by clicking the button on the meter. I also added a money counter at the bottom so you can see how much you have left to spend- if you spend it all you die 🙁
These poems are meant to suggest my personal approach to new media art, as well as a contemplation of the place that analog process has in a reality characterized by ever-increasingly technological processes of art-making.
For my final project I decided to work with a video piece I shot and edited last semester in EMS1 but evolve the project to include programming and coded visual effects. I altered the audio of the video before importing it into p5 to create more of an abstract soundscape, and also so I could make some of the pixel alterations of the video sound responsive. My final project is essentially an experiment in pixel distortion and creating visual special effects that are ephemeral and abstract and are partially sound responsive and partially dependent on mouse position.
I wanted to explore the different degrees of creating an art work. i am a very hands on person who likes to create physicals works like paintings or sculptures. After being being more comfortable with Photoshop and learning how to code, I thought it was a great opportunity to branch out and use digital tools as my materials. But the idea of how much of thought and action an artist can put in to an artwork and still call it theirs’ interested me so I decided to combine both my physical and digital materials to explore it. Can I still say that it is my work even if I did not make half of the decisions that was put in to the final product? CanI still say that it is my work when every single elements on the final image was not created by me? These were the questions I asked myself and wanted to explore while I was proceeding this project.
I’m interested in information visualizfaiotn so i decided to create a program that tracks the user’s keyboard input in real time. Although there are similar projects that tracks the frequency of the most used key on the keyboard, my project intends to visualize the relationship between each keys. The screen will continue to display a curve that connects the previous key input tothe current key input.
LF Heals is a game about being the healer in a MMORPG Dungeon Group. The player must click on each character to heal them, and right click to boost their ego. Each character is reactive, and will become very unhappy if they do not recieve the proper care – going too long without caring for them will result in their death. You must keep at least one of them alive to win the game.
LF Heals is a bite-sized experience of what it’s like to play online games, and how toxic and stupid these communities usually are. A tongue-in-cheek poke at how normalized this behavior is, and how we are enablers when we stay quiet and keep our heads down to avoid trouble. Hopefully will have players step back and think more about how we continue to allow these people to act this way.
Taking inspiration by some of the hyperlink works we looked at in class, I wanted to experiment with telling narrative though jumping around diffrent webpages. The result is a quick story about acceptance and loss.
This piece is my attempt to capture both mundanity and a sense of something overwhelming, or the slightly sinister. I screenshot footage from security cameras around the world from a database called “insecam.org.” My intent was to capture moments from a variety of settings we find ourselves in daily, ideally with people present and active, and then to curate these short sequences by similarity. For instance: malls, offices, outdoor sports venues, etc. Footage being grouped together like this allows us to see that “privacy” is not so secure, and that being “watched” is just part of the deal if we want to partake in modern life. Alternately, this video amassment is a way to save moments that would have been overlooked (as just normal life) rather than a security threat, and forgotten completely. In most circumstances, they would not be available to watch over and over by people halfway across the world.
I created this interactive lantern simulation using Processing -python version in which the user can navigate through these fields of lanterns. The lanterns are simulated with random velocities and rotation values.
I created a daily makeup generator thats shuffles separate eye, cheek, and lip looks to create random combinations. I would use the the generator to determine my make up look for 4 days and I would wear them to class. I documented the process of my looks on SnapChat. Some looks were definitely better than others…
My final project originally started as an exploration of random curves generated through noise which would transform over time and create a composition. This process was going to be installed in a dark room (the one under the Doherty stairs) but my project transformed over time. As I was working on this code, I listen to music (something that I love dearly- and has been a part of my artistic practice and evolution as an artist by constantly providing inspiration and also helping me grow in understanding different forms of art). Recently Childish Gambino came out with his new album Awaken My Love which was a completely unexpected psychedelic experimental funk album. One of the tracks, Redbone caught my attention. You know when you sometimes feel that visceral feeling when listening to music? Like when you really vibe with something and you just wanna feel it. That’s how I felt when listening to this album. I decided to change gears knowing how we did a sound visualizer and I worked with WEBGL also for a prior project I decided to tackle Redbone. I was inspired by the aesthetics of the album cover and then the code analyzes the amplitude of the song so the visuals fluctuate as well as changes with elapsed seconds. I really wanted to install this in the room under the stairs in Doherty with sheets that would make a somewhat domelike ceiling which this would then be projected straight up on. It would be meant to be experienced lying down with speakers surrounding all sides of you to really encapsulate the entirety of the song and to attempt to spark a tangible reaction from the audience of the piece. Unfortunately- I fractured my foot this weekend and that was not possible so please try and imagine my final vision!
DPS Pet Design Doc
November 28, 2016
DPS Pet Design Doc
Pitch: A Tamagotchi-style game, in which the player must keep a contrary and grumpy dungeon-delver alive.
Concept: Deliver a bite-sized experience of the toxicity and stupidity so rampant in online communities, and a reminder that this self-entitled behavior is quite child-like. A tongue-in-cheek poke at how normalized this behavior is, and how we are enablers when we stay quiet and keep our heads down to avoid trouble. Hopefully will have players step back and think more about how we continue to allow these people to act this way.
Pet: Traditional damage-dealer (DPS) in MMORPGs.
Health – must be kept alive
Ego – must be pandered to and feel important
Player acts as the party’s healer
Keeps the DPS healed
Keeps the DPS’ ego up
Player must keep the DPS alive through a range of scenarios.
DPS loses health and ego at a constant low rate, from monsters and environment
DPS has “special” scenarios that make one of those stats go down at a significantly faster rate
Fires appear on the floor, and they stand directly in the fire, taking increased damage/ Boss fight, takes more damage/ argument in chat, ego goes down
A “special” scenario functions essentially like a boss fight, but it is any hazard that causes a stat to go down at an increased rate.
Player has a set of options available to them, that will keep the DPS alive
Healing = health
Ego boost = Ego
Player progresses through a “dungeon”. Bar on the top of the screen shows them their progress in keeping this DPS alive.
Background doesn’t change, but new environmental assets added for each scenario.
If the player manages to keep the DPS alive through the whole thing, they win! Ending screen with a treasure chest, and probably some dry humor about how they’ll need to keep doing this again and again, and don’t they love their job?
Two buttons provide the main interaction with the DPS: Healing button, and Ego button.
The name of each DPS, randomized each time the game is launched
A “chat” window on the left side of the screen.
Filled with randomized phrases from other party members, and the DPS.
If their ego goes too low, the DPS will get angry in the chat and say mean things.
Pressing the ego button will send soothing messages into the chat and make the DPS feel better about themselves.
Dungeon progression bar (see above).
Setting of the game (including the character, the dungeon, and other environmental sprites)
– Heal character
– Placate character
– Praise character
– Trade them some loot
Relation with needs: If met, dungeon goes well and character survives. Player gets some sort of reward? If abused, or forgotten: character gets steadily angrier and angrier, and quits the group, replaced by another
Entertainment and exercise; Schmoodge likes riverdance a lot! However, Schmoodge can be kind of sleepy if he isn’t kept active.
Attention; Schmoodge is a very social but sensitive JellyRabbit. If ignored for too long, Schmoodge becomes visibly upset and will hold a grudge. Schmoodge shows this by flopping his ear stocks down to tongue length and closing his mouth completely. The best way to show affection to Schmoodge is to encourage him to do his best and lightly pet his ear stocks.
Nutrients; Schmoodge really loves pasta and lollipops. They remind him of the good old days. However, too many carbs/sugars and too little exercise will cause Schmoodge to gain a lot of weight. He will not be able to support himself with his legs if he gets too fat. He needs a balanced diet of fruits and vegetables (Schmoodge in particular really enjoys blueberries smoothies and sautéed broccoli).
Rest; Schmoodge will become very anxious and irritable if he does not rest enough. Schmoodge will only sleep if he trusts his company 100%, as he sleeps by tucking in his legs and ear stocks. This makes Schmoodge vulnerable to danger because his hearing is muffled and his legs are not accessible at the drop of the hat. To have Schmoodge trust you enough to fall asleep, you must build a relationship with him. Schmoodge loves lullabies and music in general. Singing Schmoodge a lullaby is a very nice way to gain his trust and encourage him to sleep.
Needs: feed(will leak and turn to stone if unfed), talk to (tell it about the outside world or just give it affection), purify (keep the body and soul clean!), keep contained (It has to be ready before it sees the outside world or it will die of shock) .
Actions: give it a bath, teach it just from unjust, feed it Go Gurt, play with it to keep stimulated and from wanting to escape (can die from escaping or from banging on the walls from trying).
4 needs: keep heated (color will change to cooler tones if it’s getting too cold), drank from (character will look angry if it’s ignored for too long), refilled before empty (character will die if empty too long), stir from time to time (character will bounce and try to stir itself until you stir with spoon)
4 actions: put on hot plate, stir with spoon, brew and refill coffee, drink from coffee
There have been many attempts to blur the boundaries of sound and visual arts. Instruments for the eyes have been conceptualized since the obscure ocular harpsicord in 1725.
In the early 20th century many artists claim to be affected by synesthesia and incorporate their affliction into their art making.
Color Organ invented by composer Alexander Scriabin in 1915 for his Prometheus: Poem of Fire.
That’s the one that got accidentally turned upside down, and Kandinsky got the epiphany of non-figuration.
Pure painting like music, an “internal necessity” – leap into abstraction.
“Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.”
He worked with other composers, making librettos and stage designs.
Experimental filmmakers embrace the idea of visual music. Music as a pathway to abstraction.
Oskar Fischinger – An Optical Poem (1938)
Norman McLaren – Dots (1940)
“Made by painting directly onto clear frames of film, as pictured in the frame enlargements below. Interestingly, the music was created in the same way, painting directly into the area on the film strip usually reserved for the soundtrack.”
Norman McLaren – Synchromy 1971
“To produce the film’s musical soundtrack, McLaren photographed rectangular cards with lines on them. He arranged these shapes in sequences on the analog optical sound track to produce notes and chords.”
John Whitney – Permutations (1968)
Early computer animation, he applied musical principles such as the harmonic progression to the generation of images.
The interest in enhancing musical experiences with visuals re-emerged in the 60s and 70s with psychedelia and the “expanded cinema”
Liquid light shows – overhead projector + live manipulation of fluids. Late 60s – today.
Exploding Plastic Inevitable events by Andy Warhol, 1966 – 1967
Atari video music, 1976. The first (analog) electronic music visualizer.