https://github.com/grame-cncm/faust
Faust (Functional Audio Stream) is a functional programming language for sound synthesis and audio processing with a strong focus on the design of synthesizers, musical instruments, audio effects, etc. Faust targets high-performance signal processing applications and audio plug-ins for a variety of platforms and standards. It is used on stage for concerts and artistic productions, in education and research, in open source projects as well as in commercial applications.
The core component of Faust is its compiler. It allows us to "translate" any Faust digital signal processing (DSP) specification to a wide range of non-domain specific languages such as C++, C, JAVA, JavaScript, LLVM IR, WebAssembly, etc. In this regard, Faust can be seen as an alternative to C++ but is much simpler and intuitive to learn.
Thanks to a wrapping system called "architectures," codes generated by Faust can be easily compiled into a wide variety of objects ranging from audio plug-ins to standalone applications or smartphone and web apps, etc.
Kid Pix just became pubic domain, so the remade (but pretty much exactly the same) version is now available here.
Native Land Digital strives to create and foster conversations about the history of colonialism, Indigenous ways of knowing, and settler-Indigenous relations, through educational resources such as our map and Territory Acknowledgement Guide. We strive to go beyond old ways of talking about Indigenous people and to develop a platform where Indigenous communities can represent themselves and their histories on their own terms. In doing so, Native Land Digital creates spaces where non-Indigenous people can be invited and challenged to learn more about the lands they inhabit, the history of those lands, and how to actively be part of a better future going forward together.
The Importance of Land
Land is something sacred to all of us, whether we consciously appreciate it or not — it is the space upon which we play, live, eat, find love, and experience life. The land is ever-changing and ever-shifting, giving us — and other creatures and beings on the earth — an infinite number of gifts and lessons.
For Native Land Digital, what we are mapping is more than just a flat picture. The land itself is sacred, and it is not easy to draw lines that divide it up into chunks that delineate who “owns” different parts of land. In reality, we know that the land is not something to be exploited and “owned”, but something to be honoured and treasured. However, because of the complexities of history, the kind of mapping we undetake is an important exercise, insofar as it brings an awareness of the real lived history of Indigenous peoples and nations in a long era of colonialism.
We aim to improve the relationship of people, Indigenous and non-Indigenous, with the land around them and with the real history and sacredness of that land. This involves acknowledging and righting the wrongs of history, and also involves a personal journey through the importance of connecting with the earth, its creatures, and its teachings.
Thus, while we make a strong effort to teach about colonialism and to bring forth Indigenous narratives, we also strive to integrate what is sometimes called an “Indigenous way of knowing” when it comes to the importance and sacredness of land in our daily lives. We hope to inspire people to gain a better understanding of themselves, their ancestors, and the world they live in, so that we can all move forward into a better future.
This is a chronological gallery of physical visualizations and related artifacts, maintained by Pierre Dragicevic and Yvonne Jansen.
https://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.208.6726&rep=rep1&type=pdf
Spacelapser is a tool for exploring the three-dimensional volumes created by loading an entire video into memory. Depending on the motion of the camera, this volume can resemble a lightfield, a slit-scan camera, or a special relativity simulator.
https://github.com/loganwilliams/spacelapser/releases/download/v0.1.2/spacelapser.dmg
This app allows you to simulate how any origami crease pattern will fold. It may look a little different from what you typically think of as "origami" - rather than folding paper in a set of sequential steps, this simulation attempts to fold every crease simultaneously. It does this by iteratively solving for small displacements in the geometry of an initially flat sheet due to forces exerted by creases. You can read more about it in our paper:
Fast, Interactive Origami Simulation using GPU Computation by Amanda Ghassaei, Erik Demaine, and Neil Gershenfeld (7OSME)
All simulation methods were written from scratch and are executed in parallel in several GPU fragment shaders for fast performance. The solver extends work from the following sources:
Origami Folding: A Structural Engineering Approach by Mark Schenk and Simon D. Guest
Freeform Variations of Origami by Tomohiro Tachi
This app also uses the methods described in Simple Simulation of Curved Folds Based on Ruling-aware Triangulation to import curved crease patterns and pre-process them in a way that realistically simulates the bending between the creases.
Originally built by Amanda Ghassaei as a final project for Geometric Folding Algorithms. Other contributors include Sasaki Kosuke, Erik Demaine, and others. Code available on Github. If you have interesting crease patterns that would make good demo files, please send them to me (Amanda) so I can add them to the Examples menu.
https://cuttle.xyz/@forresto/Origami-simulator-tips-W4lDXuB5m0xh
https://nitter.42l.fr/kellianderson/status/1454871569981902848
An interactive visualisation of climate model data across time and space.
Bitmap Image to 'Pixel Perfect' Vector Graphic or 3D model
The HTML5 application on this page converts your bitmap image online into a Scalable Vector Graphics or 3D model.
The result is 'pixel perfect'/lossless.
https://www.atlasofplaces.com/research/infrastructure-patterns-i/
https://www.atlasofplaces.com/research/infrastructure-patterns-vii/
Atlas of Places is a public educational collection of Academia, Architecture, Cartography, Cinema, Essays, Painting, Photography and Research. Its objective is to question the meaning of places. It is curated according to continuously evolving philosophical, social and cultural beliefs. This is merely an occasional collection. Some works date from 1230, some from the recent past, some from the present. They have this characteristic in common that they are outlooks, in the truest sense of the word. In them will be found little more than the intention of clarifying a few ideas that might really be called political if that fine word, so attractive and exciting to the mind, did not arouse today so many great scruples and great repugnance.
Atlas of Places simply wishes to make a little clearer to itself the notions that it has received from others or that, like others, it has formed for itself — notions that everyone uses for thinking about human groups, their relations and difficulties with one another. The effort to clarify such matters is assuredly not the business of those men who practice or mix in them. This collection is the work of an amateur.
Atlas of Places is dedicated to those persons who have no system and belong to no party and are therefore still free to doubt whatever is doubtful and to maintain what is not.
Atlas of Places is curated day by day, the works shared do not pretend to show any organic development: the link between them is rather one of insistence and repetition. For while one doesn’t know whether things which are repeated are pleasing, one’s belief is that they are significant. And what is sought throughout this collection are significant features.
Atlas of Places produces cartography, satellite imagery and orthoimagery for exhibitions, editorial projects and various other mediums. This continuous production appears in the Research collection. If you wish to collaborate, please scroll down to the “Collaboration” section below.
Atlas of Places originated in the Pyrénées-Orientales during the summer of 2015 and is edited by Thomas Paturet.
The Voynichese project (VP) defines a simple syntax for querying words in the Voynich Manuscript. While this syntax is only used internally, by the VP's query processor, it's important to be aware of how it operates in order to effectively query the manuscript.
Note that, unlike most query languages, Voynichese queries are evaluated at the word level. As such, word delimiters like whitespace and punctuation are not allowed.
Voynichese queries may use the following characters:
a,c,d,e,f,g,h,i,k,l,m,n,o,p,q,r,s,t,v,x,y,z,*,^,$
The characters a-z each match the corresponding EVA character.
The wildcard character "*" matches one or more EVA characters. Note that the wildcard may also be represented as a dash "-", for example when used in an URL.
The "^" character matches the start of a word.
The "$" character matches the end of a word.
For example, the query ^daiin$ will exactly match the EVA word daiin, whereas the query daiin (excluding the ^ and $ symbols) will match any EVA word containing daiin, such as chodaiindy.
Hydra is a platform for live coding visuals, in which each connected browser window can be used as a node of a modular and distributed video synthesizer.
Built using WebRTC (peer-to-peer web streaming) and WebGL, hydra allows each connected browser/device/person to output a video signal or stream, and receive and modify streams from other browsers/devices/people. The API is inspired by analog modular synthesis, in which multiple visual sources (oscillators, cameras, application windows, other connected windows) can be transformed, modulated, and composited via combining sequences of functions.
Features:
Written in javascript and compatible with other javascript libraries
Available as a platform as well as a set of standalone modules
Cross-platform and requires no installation (runs in the browser)
Also available as a package for live coding from within atom text editor
Experimental and forever evolving !!
Cables is your model kit for creating beautiful interactive content. With an easy to navigate interface and results in real time, it allows for fast prototyping and prompt adjustments.
Working with cables is just as easy as creating cable spaghetti:
You are provided with a given set of operators such as mathematical functions, shapes and materials.
Connect these to each other using virtual cables to create the scene you have in mind.
Easily export your piece of work at any time. Embed it into your website or use it for any kind of creative installation.
Welcome to Exploring Technology, a wishful remedy to the increasing knowledge gap between machine builders and machine users.
Learn about :
A-Frame
Arduino
AxiDraw
Bitsy
Cables
Cinema 4D
Circuit
GitHub
Colab
Glitch
Hubs
Hydra
Laser Cutting
Lightform
Lights
Machine Learning
Makey Makey
NFT
Node
Photogrammetry
Processing
Projectors
Raspberry Pi
Resolume
Tone
Spark
Web
Drawing Bot is a free, open source software for converting images to line drawings for Plotters / Drawing Machines / 3D printers. It also serves as an application for visual artists to create stylised line drawings from images / video.
It is available for Windows, Mac and Linux.
If you want to support the development of DrawingBotV3 you can donate here or contribute to the Drawing Bot Collection!
Features
15 Path Finding Algorithms - all highly configurable to create unique drawing styles
Automatic Path Optimisation for Faster Plots - Line Simplifying, Merging, Filtering, Sorting
Pen Settings: configurable colour / stroke width / distribution weight / blend modes - perfect for multi-layered plots.
Image Sequences: You can export image sequences animations of your creations!
Version Control: Save your favourite versions as you go and reload them.
Project Saving & Loading
60+ Image Filters for pre processing the imported image
Automated CMYK separation
Advanced User Interface with live drawing preview
User configurable Drawing Area, with Padding / Scaling Modes
Special pens for Original Colour/Grayscale Sampling
Presets: can be saved/imported/exported for sharing different styles with other users
Exports can be exported per/pen or per/drawing in multiple file types
Batch Processing: Convert entire folders of images automatically.
GCode - configurable Drawing Area, XYZ Offsets / Auto Homing.
vpype Integration
Path Finding Modules
Sketch Lines PFM
Sketch Curves PFM
Sketch Squares PFM
Sketch Quad Beziers PFM
Sketch Cubic Beziers PFM
Sketch Catmull-Roms PFM
Sketch Shapes PFM
Sketch Sobel Edges PFM
Spiral PFM
Voronoi Circles
Voronoi Triangulation
Voronoi Stippling
Voronoi Diagram
Mosaic Rectangles
Mosaic Voronoi
More info here
Supported File Types
Import Formats:
Images: [.tif, .tga, .png, .jpg, .gif, .bmp, .jpeg]
Export Formats:
Vectors: [.svg, .pdf],
Images/Image Sequences: [.tif, .tga, .png, .jpg, .jpeg]
GCode: [.gcode, .txt],
GCODE.Clay was first exhibited at Space 2214 in its inaugural exhibition investigating Pattern, Predictability, and Repetition , which explored the themes of repetition, and rote action—a defining peril of modernity. In this project, the unpredictability is the fundamental aspiration of the object making. Patterns emerge and disappear in the variations of the experiments explored.
Conceptual artist exploring our use of technology and its ethical and aesthetic implications.
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[EN] Filipe Vilas-Boas was born in Portugal in 1981. He is a self-taught conceptual artist currently living and working in Paris. Without being a naive tech utopist or a reluctant technophobe, he explores our use of technology and its ethical and aesthetic implications. His installations, performances and conceptual artworks question the global digitalization of our societies, mostly by merging our physical (IRL) and digital (URL) worlds.
His works were highlighted in the Portuguese Emerging Art Books, 2018 & 2019 Edition and have been shown internationally notably at Nuit Blanche Paris, the UNESCO, Biennale Siana, Le Cube, The French Ministry of Culture, Biennale Némo - Le 104 (FR), Athens Digital Art Festival, Monitor - Heraklion Contemporary Arts Festival (GR), Zaratan, MAAT Museum (PT) and at the Tate Modern (UK).
Luminous-Lint is used worldwide by curators, educators, photography students, photohistorians, collectors and photographers to better understand the many histories of photography.
Carefully curated list of awesome creative coding resources primarily for beginners/intermediates :
To the extent possible under law, Terkel Gjervig has waived all copyright and related or neighboring rights to this work.
https://law.duke.edu/sites/default/files/centers/cspd/musiccomic/Theft.pdf
This comic lays out 2000 years of musical history. A neglected part of musical history. Again and again there have been attempts to police music; to restrict borrowing and cultural cross-fertilization. But music builds on itself. To those who think that mash-ups and sampling started with YouTube or the DJ’s turntables, it might be shocking to find that musicians have been borrowing—extensively borrowing—from each other since music began. Then why try to stop that process? The reasons varied. Philosophy, religion, politics, race—again and again, race—and law. And because music affects us so deeply, those struggles were passionate ones. They still are.
The history in this book runs from Plato to Blurred Lines and beyond. You will read about the Holy Roman Empire’s attempts to standardize religious music with the first great musical technology (notation) and the inevitable backfire of that attempt. You will read about troubadours and church composers, swapping tunes (and remarkably profane lyrics), changing both religion and music in the process. You will see diatribes against jazz for corrupting musical culture, against rock and roll for breaching the color-line. You will learn about the lawsuits that, surprisingly, shaped rap. You will read the story of some of music’s iconoclasts—from Handel and Beethoven to Robert Johnson, Chuck Berry, Little Richard, Ray Charles, the British Invasion and Public Enemy.
To understand this history fully, one has to roam wider still—into musical technologies from notation to the sample deck, aesthetics, the incentive systems that got musicians paid, and law’s 250 year struggle to assimilate music, without destroying it in the process. Would jazz, soul or rock and roll be legal if they were reinvented today? We are not sure. Which as you will read, is profoundly worrying because today, more than ever, we need the arts.
All of this makes up our story. It is assuredly not the only history of music. But it is definitely a part—a fascinating part—of that history. We hope you like it.