Today's culture is biased towards business. I discuss culture without paying any attention to what sells. I am interested in great artists, musicians, writers, etc, regardless of how the business and the establishment perceives them. I also try to apply a historical perspective: history is my main interest.
The book explores the technical as well as cultural imaginaries of programming from its insides. It follows the principle that the growing importance of software requires a new kind of cultural thinking — and curriculum — that can account for, and with which to better understand the politics and aesthetics of algorithmic procedures, data processing and abstraction. It takes a particular interest in power relations that are relatively under-acknowledged in technical subjects, concerning class and capitalism, gender and sexuality, as well as race and the legacies of colonialism. This is not only related to the politics of representation but also nonrepresentation: how power differentials are implicit in code in terms of binary logic, hierarchies, naming of the attributes, and how particular worldviews are reinforced and perpetuated through computation. Using p5.js, it introduces and demonstrates the reflexive practice of aesthetic programming, engaging with learning to program as a way to understand and question existing technological objects and paradigms, and to explore the potential for reprogramming wider eco-socio-technical systems. The book itself follows this approach, and is offered as a computational object open to modification and reversioning.
Visions of Chaos is a professional high end software application for Windows. It is simple enough for people who do not understand the mathematics behind it, but advanced enough for enthusiasts to tweak and customise to their needs. It is the most complete all in one application dealing with Chaos Theory and Machine Learning available. Every mode is written to give the best possible quality output. There are thousands of sample files included to give you an idea of what Visions of Chaos is capable of.
Ofelia is a Pd external which allows you to use openFrameworks and Lua within a real-time visual programming environment for creating audiovisual artwork or multimedia applications such as games.
openFrameworks is an open source C++ toolkit for creative coding.
Lua is a powerful, efficient, lightweight, easy-to-learn scripting language.
Pure Data(Pd) is a real-time visual programming language for multimedia.
Thanks to Lua scripting feature, you can do text coding directly on a Pd patch or through a text editor which makes it easier to solve problems that are complicated to express in visual programming languages like Pd. And unlike compiled languages like C/C++, you can see the result immediately as you change code which enables faster workflow. Moreover, you can use openFrameworks functions and classes within a Lua script.
Using Ofelia, you can flexibly choose between patching and coding style based on your preference.
The external is available to be used under macOS, Windows, Linux and Raspberry Pi.
A free educational site that progressively introduces you to the world of computer graphics.
Our application programming approach guides you through small, easy-to-compile programs.
We’ve dispensed with unnecessary technical jargon in favor of everyday language.
Tooll 3 is an open source software to create realtime motion graphics. We are targeting the sweet spot between real-time rendering, graph-based procedural content generation and linear keyframe animation and editing. This combination allows…
artists to build audio reactive vj content
use advanced interfaces for exploring parameters
or to combine keyframe animation with automation
Technical artists can also dive deeper and use tool for advanced development of fragment or compute shaders or to add input from midi controllers and sensors or sources like OSC or Spout.
We strongly believe in usability and intuitive and beautiful interface design. That's why we experiment with different approaches before striking the right balance between usability and powerful flexibility. Currently tool version 3 is an ongoing development. It's stable enough to produce high-end visuals create motion graphics use many industry standard features like color correction, scopes and tone mapping, and export small standalone executables.
Excentro is a simple but advanced tool that can create guilloche designs like backgrounds, borders or rosettes.
The guilloches are vintage design elements that were frequently used for anti-counterfeiting security purposes on banknotes, passports, checks and certificates during the past two hundred years. As the times changed and digital copy and printing technologies perfected, guilloches no longer presented sufficient security measures that could prevent forging and counterfeiting of valuable papers. Today the main part of security technology lies in the special paper or tricky inks the designs are printed upon or with.
Still, it is too early to say that the days of guilloche designs are over. They can still be used to prevent the counterfeiting of products that do not require the highest level of security (i.e. theater tickets, diplomas or gift certificates). Or, they can just be used to decorate and add some aesthetic value to a product giving the ‘money-like’ look and value.
For informational purposes only
This is a fluid document, compiled from different notes/docs, originally started in ~2008, having grown slowly from my more general manifesto of that period and frequently been revised to help steer my own practice (the artistic parts) ever since.
All of the things listed here are "soft" guidelines & considerations, not an exhaustive set of hard rules! Various omissions and exceptions do exist, and the latter are explicitly encouraged! Yet, I do not imagine there'll be even minor agreement about these highly subjective, personal stances — in fact I'm very much expecting the opposite... So I'm also not publishing these bullet points to start any form of debate, but, after all these years, it's important for me to openly document how I myself have been approaching generative art projects, the topics & goals I've been trying to research & learn about, also including some of the hard lessons learned, in the hope some of these considerations might be useful for others too.
Since that list already has become rather long, there're also a bunch of other considerations & clarifications I've had to omit for now. Please keep that in mind when reading, and if some sections are maybe a little too brief/unclear...
Our wiki is a comprehensive encyclopedia of online and offline aesthetics! We are a community dedicated to the identification, observation, and documentation of visual schemata.
What is an aesthetic? Why does everyone always argue about what aesthetics should be on this wiki?
The short answer: A collection of visual schema that creates a "mood."
Some types of aesthetics include:
Aesthetics originated from Internet communities (Ex: Cottagecore, Dark Academia)
National cultures (Americana, Traditional Polish) Note: Most articles that try to describe a national culture will be deleted. These articles should have a higher quality and risk stereotyping a nation.
Genres of fiction with established visual tropes (Ex: Cyberpunk, Gothic)
Holidays with iconic imagery and colors (Ex: Christmas, Halloween)
Locations that have expected activities, components, and types of people (Ex: Fanfare, Urbancore)
Music genres with consistent visual motifs present in cover art, music videos, etc (Ex: City Pop, Emo)
This does not mean all music genres should be present. For example, Pop and Alternative bands' do not have shared visual traits.
Periods of history with distinct visuals (Ex: Victorian, Y2K)
Stereotypes (Ex: Brocore, VSCO)
Subcultures that share music genres and fashion styles (Ex: Raver, Skinheads)
The long answer:
The word "aesthetic" originated as the philosophical discussion about what beauty is, how we should approach it, and why it exists. However, Millennials and Generation Z started using that term as an adjective that describes what they personally consider beautiful. For example: "After Denise finished watching The Virgin Suicides, she said, 'Wow. That was so aesthetic.'"
Aesthetics have now come to mean a collection of images, colors, objects, music, and writings that creates a specific emotion, purpose, and community. It is largely dependent on personal taste, cultural background, and exposure to different pieces of media. This definition is not official and can be debated. There is currently no dictionary definition that captures the complexity of this phenomenon, which arose in the Internet youth. Rather, people who participate in the community "know it when they see it." These elements are constantly debated, as the opinion on whether or not some aesthetics exist or are valid is constantly debated. This is especially true since everyone's own personal life factors into their opinions.
Here is an example of a debate that is going on within the community. Whether or not Lolita is an aesthetic varies on what counts as visual elements. On one hand, lace, petticoats, and bows are valid elements of visual schema. Those elements combine to spark feelings of kawaii, de-sexualization, rebellion, and appreciation of antique. On the other hand, aesthetics are made up of elements other than fashion, such as home decor or music. Fashion is the visual element, rather than the components making up the coord/outfit. That element is part of broader schemas such as Goth and Victorian. What counts as an element and what qualifies as sparking an emotion is a complicated subject.
So right now, the subject is trying to be defined by the community. What either fits into a larger schema or is distinct enough to warrant its own aesthetic is difficult to say and would depend on who you are asking.
Clip retrieval works by converting the text query to a CLIP embedding , then using that embedding to query a knn index of clip image embedddings
The road to wisdom?
-- Well, it's plain
and simple to express:
Err
and err
and err again
but less
and less
and less.
Hence the name LessWrong. We might never attain perfect understanding of the world, but we can at least strive to become less and less wrong each day.
We are a community dedicated to improving our reasoning and decision-making. We seek to hold true beliefs and to be effective at accomplishing our goals. More generally, we work to develop and practice the art of human rationality.[1]
To that end, LessWrong is a place to 1) develop and train rationality, and 2) apply one’s rationality to real-world problems.
“Although our study doesn’t present ways to mitigate negative hunger-induced emotions, research suggests that being able to label an emotion can help people to regulate it, such as by recognising that we feel angry simply because we are hungry. Therefore, greater awareness of being ‘hangry’ could reduce the likelihood that hunger results in negative emotions and behaviours in individuals.”
Tinkersynth is an experimental art project. It lets you create unique generative art
by making serendipitous discoveries through experimentation.
More concretely, Tinkersynth is a design tool where you build art by poking at sliders and buttons. The goal isn't to provide a linear path to a specific piece of art, but rather to encourage experimentation. Tinkersynth prioritizes being delighted by unexpected effects rather than creating an intuitive, predictable tool.
In a former life, Tinkersynth was also a store which sold the rights to digital products, as well as physical fine-art prints.
Tinkersynth was created by me, Josh Comeau.
Mass Files is an archive of auditory urban landscapes captured around the globe. Professional sound recordists and artists were invited to capture a selection of their surroundings in sound of around 30 minutes in duration.
Sound constructs political narratives – it highlights the invisible, the unheard, the wandering and the weak. Mass Files is a sensory exercise, a pause of unspecified length.
Pour VIDERPARIS, j’ai travaillé sur photoshop de manière très rationnelle, comme si j’étais une entreprise de travaux publics. J’ai ôté toute trace de vie, j’ai démonté le mobilier urbain et gardé l’architecture. J’ai aussi conservé au sol les passages piétons, les lignes continues et les bandes blanches : pour les effacer, il aurait fallu poser une couche de bitume. Ça n’entrait pas dans la logique de l’opération. Quand on veut vider une ville, on ne perd pas de temps à ça… C’est une fiction sans narration. Je ne raconte pas une histoire, je présente juste les faits. Ces images permettent d’ouvrir la fiction, de créer un puissant espace de projection.
What BirdNET-Pi Does
24/7 recording from any USB sound card/microphone
24/7 local BirdNET-Lite analysis
Automatically extracts the detected songs, chirps, and peeps from recordings
Creates spectrograms of each recorded bird sound
Enters each detection into a local SQlite database for storage and data visualization
Hosts its own Caddy web server so that the data can be accessed from any web browser or device (can be configured to be local only or can easily be made public to share with the world — check out the public installations below!)
Offers local Streamlit database analysis to visualize daily and long-term presence data
Live audio stream
BirdWeather.com integration
Based on the novel "Roadside Picnic" by Arkady and Boris Strugatsky. The Zone that arose on Earth for unknown reasons attracts attention with inexplicable phenomena that occur there. A rumor has spread that in the center of the Zone there is something that gives a person everything he wants. But staying in the Zone is deadly, and therefore it is strictly guarded. There, each for their own reasons, the Writer and the Professor go, the Stalker leads them to the mysterious center, feeling and understanding the Zone...
Directed by: Andrey Tarkovsky
Writted by: Strugatsky Boris, Strugatsky Arkady
Music: Artemyev Eduard
Operator: Knyazhinsky Alexander
Production Designer: Andrey Tarkovsky
Started: Nikolay Grinko, Anatoly Solonitsyn, Alisa Freindlich, Alexander Kaidanovsky
Have you ever wanted to ...
– export 10,000 mass-customized copies of your InDesign document?
– use spatial-tiling algorithms to create your layouts?
– pass real-time data from any source directly into your InDesign project?
– create color palettes based on algorithms?
– or simply reconsider what print can be?
basil.js is ...
– making scripting in InDesign available to designers and artists.
– in the spirit of Processing and easy to learn.
– based on JavaScript and extends the existing API of InDesign.
– a project by The Basel School of Design in Switzerland.
– has been released as open source in February 2013!
A book of 1000 paintings and illustrations of robots created by artificial intelligence. The author generated all of the images in this book by writing original prompts for DALL·E 2, OpenAI’s AI system that can create realistic images and art from a description in natural language. Upon generating the images, the author curated and arranged the images to their own liking and takes ultimate responsibility for the content of this publication.
https://openai.com/dall-e-2/
https://github.com/CompVis/latent-diffusion
https://huggingface.co/spaces/multimodalart/latentdiffusion
https://mirror.xyz/0x0f6712c6ac4f02f47cA8b5cf200B224aE6fD8B69/AYLAsdtM090nHWpvWQ13exkaJoNyllkhxa9ffEUPOrg
The Digital Curator application allows you to explore the art collections of Central European museums and search for artworks based on specific motifs.
Users of the application can build their combination of objects and reveal how often the subject has occurred across the centuries, view graphics, drawings, or paintings that represent it in different epochs, and compare data with other themes.
The Digital Curator offers a quantitative view of cultural history based on the frequency of symbols and iconographic themes in many artifacts, not on a detailed observation of individual items. This distant viewing can be especially useful if our interest is aimed at exploring a genre, rather than a specific work, to understand the overall social conditions, rather than the life of a particular artist, or to interpret the overall political situation, rather than the views of the selected author. Exploring big cultural-historical data may bring new insights into abstract social phenomena such as cultural and economic influence, canon issues, the relationship between the center and the periphery, or the functioning of the art market. It can also help us better observe the migration of motifs and their takeover across centuries and distant regions.
The Digital Curator database now contains 196 116 works from the collections of 91 museums from Austria, Bavaria, the Czech Republic, and Slovakia. 71 410 of these works are available under an open license, so it is possible to view them online. Other works are used only as a basis for statistics, presenting the frequency of occurrence of motifs. The AI library for machine learning TensorFlow and the computer service Google Cloud including the tool Google Cloud Vision were used for the automatic detection of the depicted motifs. Data search and storage is performed using the ElasticSearch database and the operation of the application is provided by the Google App Engine service.
Implementation was carried out with the kind support of the UMPRUM, Academy of Arts, Architecture and Design in Prague , the Ministry of Education of the Czech Republic the Slovak National Gallery, and the BlueGhost digital agency. Thanks also go to many museums that made it possible to use their digitized collections, and to Richard Prajer, Radim Hašek, and Eva Škvárová who helped with the development of the application and the preparation of the database.
The project was designed by Lukas Pilka in 2019-22.