The TX Modular System is open source audio-visual software for modular synthesis and video generation, built with SuperCollider (https://supercollider.github.io) and openFrameworks (https://openFrameworks.cc).
It can be used to build interactive audio-visual systems such as: digital musical instruments, interactive generative compositions with real-time visuals, sound design tools, & live audio-visual processing tools.
This version has been tested on MacOS (0.10.11) and Windows (10). The audio engine should also work on Linux.
The visual engine, TXV, has only been built so far for MacOS and Windows - it is untested on Linux.
The current TXV MacOS build will only work with Mojave (10.14) or earlier (10.11, 10.12 & 10.13) - but NOT Catalina (10.15) or later.
You don't need to know how to program to use this system. But if you can program in SuperCollider, some modules allow you to edit the SuperCollider code inside - to generate or process audio, add modulation, create animations, or run SuperCollider Patterns.
Comprehensive overview of existing tools, strategies and thoughts on interacting with your data
TLDR: when I read I try to read actively, which for me mainly involves using various tools to annotate content: highlight and leave notes as I read. I've programmed data providers that parse them and provide nice interface to interact with this data from other tools. My automated scripts use them to render these annotations in human readable and searchable plaintext and generate TODOs/spaced repetition items.
In this post I'm gonna elaborate on all of that and give some motivation, review of these tools (mainly with the focus on open source thus extendable software) and my vision on how they could work in an ideal world. I won't try to convince you that my method of reading and interacting with information is superior for you: it doesn't have to be, and there are people out there more eloquent than me who do that. I assume you want this too and wondering about the practical details.
This database* is an ongoing project to aggregate tools and resources for artists, engineers, curators & researchers interested in incorporating machine learning (ML) and other forms of artificial intelligence (AI) into their practice. Resources in the database come from our partners and network; tools cover a broad spectrum of possibilities presented by the current advances in ML like enabling users to generate images from their own data, create interactive artworks, draft texts or recognise objects. Most of the tools require some coding skills, however, we’ve noted ones that don’t. Beginners are encouraged to turn to RunwayML or entries tagged as courses.
*This database isn’t comprehensive—it's a growing collection of research commissioned & collected by the Creative AI Lab. The latest tools were selected by Luba Elliott. Check back for new entries.
Via : https://docs.google.com/document/d/1TkusCE5mS4tuTYoBwaTV4aJKdSVsf9jFKsGJCx8M05c/edit
Blackout poetry is made by colouring over parts of an existing text, so that only selected words remain visible, creating a poem.
To use this tool, you can select a text from the samples, or paste your own text source into the custom text field. Your chosen text will appear in the large box to the right.
With your mouse or touchscreen, select the words from the text you want to keep, and, when you are ready, press the black out button.
If you want to save the result as an image, maybe to post to your social network of choice, scroll down and hit Render as image. You can then save the image directly to your device.
This is a list of smaller tools that might be useful in building your game/website/interactive project. Although I’ve mostly also included ‘standards’, this list has a focus on artful tools & toys that are as fun to use as they are functional.
The goal of this list is to enable making entirely outside of closed production ecosystems or walled software gardens.
Paint and Animate Live!
Tagtool transforms your iPad into a visual live instrument. Paint with light, create animated graffiti or tell improvised stories.
https://www.tagtool.org/
https://bibliogram.art/u/tagtoolcrew
3d collages composed in Unity with scans collected in botanic gardens, backyards, beaches, natural parks…
Explore the inventions, technology and ideas of science fiction writers
Date Device Name (Novel Author)
1634 Weightlessness (Kepler) (from Somnium (The Dream) by Johannes Kepler)
1638 Weightlessness in Space (from The Man in the Moone by Francis Godwin)
1638 Gansas (from The Man in the Moone by Francis Godwin)
1657 Moon Machine - very early description (from A Voyage to the Moon by Cyrano de Bergerac)
1705 Cogitator (The Chair of Reflection) (from The Consolidator by Daniel Defoe)
1726 Knowledge Engine - machine-made expertise (from Gulliver's Travels by Jonathan Swift)
1726 Geometric Modeling - eighteenth century NURBS (from Gulliver's Travels by Jonathan Swift)
1726 Bio-Energy - produce electricity from organic material (from Gulliver's Travels by Jonathan Swift)
1726 Laputa - a floating island (from Gulliver's Travels by Jonathan Swift)
1727 Androide - the original (from Cyclopaedia by Ephraim Chambers)
The shutdown of public life is accompanied by a new understanding of limitation. National borders have been closed, environments have shrunk to the nearest surroundings, and a lack of information and events makes it more difficult for new ideas to emerge. At the same time, the question arises as to whether creative potential is also hidden behind personal limitation. One of the first answers to this question is celebrating its opening this week.
SHUTDOWN.gallery is the latest project of Patrik Hübner. The German designer has set himself the goal of adding a new dimension to cultural life in times of social distancing.
Since 2018 Hübner has been pushing the idea of digital space and the concept of the online gallery. In those days a little ahead of its time, the project is now coming to life in the current events. "I had to watch as museums and galleries in my area closed their doors and the experience of art came to a standstill. It felt as if the gallery had to exist right now."
SHUTDOWN.gallery is a first step towards understanding the analogue and digital world together. It is intended to add a new level to the construct of what a gallery is and to blur the boundaries between analog and digital experience.
A logical next step in developing a narrative for digital spaces that can be experienced. References to real objects and the associated spatial limitations are important to facilitate the transition into this digital space and to prepare metaphors for future reinterpretations of the gallery concept.
The digital gallery adapts to the physical situation of the viewer and is freely accessible: On mobile devices such as telephones or tablets, the visitor can view the room directly and from all perspectives by tilting the device or moving it freely in the room - the boundaries between the physical and the digital disappear suddenly and intuitively.
As a web-based project, the gallery is publicly accessible worldwide. Every week there will be a new exhibition with works that move the world of art and design, thus maintaining the fertile environment of constant change. A growing list of world-renowned designers and artists has already confirmed their participation in what is the start of a new chapter for galleries.
The gallery’s dynamic and flexible visual identity reflects this constant change and desire for collaboration and new perspectives by putting every week’s exhibition at the center of the visual campaign. The result is highly unique mix of the gallery’s space and the artist’s work which can be used across social- and physical spaces to promote and visually explore this collaboration.
Manifest
Shutdown Gallery overwrites the walls of your private space and keeps your mind in motion even though the physical world is standing still.
Growth is a fundamental aspect of human nature. We are used to increasing the space around us, to crossing borders, to thinking of and discovering unexpected grounds.
In this fertile environment of constant change, shutdown confronts us with new levels of restriction and limitation. Country borders are closed, private life reduced to a minimum and cultural life locked in silence. The question "What's new?" is increasingly left unanswered and so are the contents that used to stimulate our thoughts and conversations.
In absence of new impressions, SHUTDOWN.gallery appears as a contemporary place of visual experience that intends to reawaken cultural life beyond social distancing and to literally overwrite the walls of our private space.
Based on the idea to use limitation as a creative tool instead of declaring it as constraint, SHUTDOWN.gallery aims to rethink existing concepts and reestablish focus in a world of distraction.
Every week, there will be a new exhibition with an artist whose work moves the world of art and design and thus maintains the fertile environment of constant change.
Strike is a web-based, 1-bit paint tool, primarily for quick sketching or line-drawing.
Features
brush / eraser / fill tools with different brush shapes and sizes
16-'color' palette via dither patterns. Each pattern is treated as a separate color for fill tool
~50 step undo / redo (it's fragile, so don't rely on it too much)
import PNG and JPG files, which will be converted to 1 bit form
zoom via mouse scroll or two-finger pinch
basic image transform tools (flip / mirror / resize canvas)
save images as a 16-color greyscale (which will import back into Strike with all patterns intact), or as 1-bit black and white image
autosave (see notes)Animation playground
We’d like to show you a new way to create hand-drawn animation. So playful you’ll think it’s a toy, but it's secretly a robust app with a reimagined UI for animators and creators.
Wonderfully musical
Taking inspiration from music creation tools, using Looom feels more like playing an instrument than operating software - exploring lines, shapes and colors through loopable time and rhythm.
Everyone in the loop
Looom is all about looping animation with a smile. It was designed for professionals and beginners of any age, and is already being used by some influential indie animators.
The new Collection online
From Dürer to the Rosetta Stone, explore 4.5 million objects.
The database is based on the British Museum's collection management tool, where we record what we know about our collection. It was created for the Museum to store information for its own use, and is therefore full of specialised terms, abbreviations and shorthand.
The Museum has been working on the database for more than 40 years and, even with more than two million records, we've only catalogued about half of the collection. We're adding and improving records every day but, even so, an object record may not have been checked. In many cases, the most recent research has not yet been added. There will be mistakes and omissions, but the Museum chooses to publish the data, rather than hold it until it is 'finished', as there will always be new information about an object. Only personal and sensitive information has been withheld.
Stream HD : http://stream.p-node.org/dab.mp3
∏-node is an experimental platform for the development of an hybrid web/FM/DAB+ radio format. Through the interlinking of different approaches, tools, technologies and networks a decentralised broadcast structure is established where each of the network’s nodes serves to both receive and transmit information. Such a structure seeks to break with the classic one-way communication scheme, substituting it with a horizontal peer-to-peer model.
∏-node wants to explore the many dimensions of radio – its physicality (ether, radio waves and the electromagnetic spectrum), its spatiality (bandwidth, frequencies), its infrastructure (network of radio receivers/emitters), its methods of production and editorial content management (programming boards/teams, recording studios), its methods of metadata reception (RDS/SDR), its history (free radio and pirate radio movements), and its legislation. Most importantly, π-node also wants to examine the future role and potential of radio in a time when everything is going digital.
Aleatoricism ( /ˌeɪ̯liəˈtɔrəsɪzm̩, -ˈtɒr-, ˌæli-/ ey-lee-uh-TAWR-uh-siz-uhm, -TOR-, al-ee), the noun associated with the adjectival aleatory is a term popularised by the musical composer Pierre Boulez, but also Witold Lutoslawski and Franco Evangelisti, for compositions resulting from "actions made by chance", with its etymology deriving from alea, Latin word for "dice" It now applies more broadly to art created as a result of such a chance-determined process. The term was first used "in the context of electro-acoustics and information theory" to describe "a course of sound events that is determined in its framework and flexible in detail", by Belgian-German physicist, acoustician, and information theorist Werner Meyer-Eppler.In practical application, in compositions by Mozart and Kirnberger, for instance, the order of the measures of a musical piece were left to be determined by throwing dice, and in performances of music by Pousseur (e.g., Répons pour sept musiciens, 1960), musicians threw dice "for sheets of music and cues". However, more generally in musical contexts, the term has had varying meanings as it was applied by various composers, and so a single, clear definition for aleatory music is defied. Aleatory should not be confused with either indeterminacy, or improvisation.
This is an interactive editor for making face filters with WebGL.
The language below is called GLSL, you can edit it to change the effect.
New rules for old games! The Board Game Remix Kit is a collection of tips, tweaks, reimaginings and completely new games that you can play with the board and pieces from games you might already own: Monopoly, Cluedo, Scrabble and Trivial Pursuit.
The 26 rule tweaks and new games include:
Full Houses: poker, but played with Monopoly properties
Citygrid: a single-player city-building game
Use Your Words: Scrabble with storytelling
Them's Fightin' Words: a game of making anagrams, and arguing about which one would win in a fight
Hunt the Lead Piping: hiding and searching for the Cluedo pieces in your actual house
Guess Who Done It: A series of yes/no questions to identify the murderer (contributed by Meg Pickard)
Zombie Mansion: use the lead piping to defend the Cluedo mansion
Judy Garland on the Moon with a Bassoon: a drawing game that uses the answers to trivia questions as prompts The Board Game Remix Kit was originally released in 2010 by the company Hide&Seek (which closed in 2014). We are releasing it here as a pdf (for phones/computers) and an epub (for ereaders) under a CC-BY-SA license.
Libre and modular OSC / MIDI controller :
https://github.com/jean-emmanuel/open-stage-control/releases
a project to excavate shut down, abandoned web ruins and restore them to surfable, accessible, searchable, remixable condition
somewhere between a library and a living museum, we're working on experimental new ways to close the gap between archival and visibility of the web that was lost
launched
geocities
myspace musicon deck
aol hometown
netscape web sites
geocities japan
FortuneCity
tbaRaymond Queneau (1903-1976) was a French writer, closely associatd with the surrealists.
Cent mille milliards de poèmes is a book of ten poems. From them you can create 100,000,000,000,000 properly-formed sonnets.
Queneau was a founder of OULIPO, a group devoted to exploring and playing with language.
The book's exraordinary. Treat yourself. It's published by Gallimard and still in print.
This site is an English translation
You can see the basic poems or random poems, assemble your own poem or run a slide show.
New poems can be formed by replacing lines with any line that rhymes
Background material throws light on Queneau, the book and the translation. The poems are annotated.
https://github.com/msieg/deep-music-visualizer
https://www.instagram.com/deep_music_visualizer/
https://www.youtube.com/watch?v=L7R-yBZ5QYc
Want to make a deep music video? Wrap your mind around BigGAN. Developed at Google by Brock et al. (2018)¹, BigGAN is a recent chapter in a brief history of generative adversarial networks (GANs). GANs are AI models trained by two competing neural networks: a generator creates new images based on statistical patterns learned from a set of example images, and a discriminator tries to classify the images as real or fake. By training the generator to fool the discriminator, GANs learn to create realistic images.
The visualization shows the most used colors of 50 artists. Each artist has their individual color footprint. The shown colors are aggregated and size doesn't represent the actual usage of the particular color by the artist to reduce the complexity inside the application.
You can select each color to find related colors – ones that the artist often used together with that color or other artists frequently used together with that color. If you like a color, you can copy the tone or add it to a collection and export it later.
Pataphysics is perhaps best (mis)understood by looking at some of its recurring themes, such as exceptions, syzygies, anomalies, clinamen, antinomies, contradictions, equivalents and imaginaries.
Clinamen
The term clinamen was first coined by Lucretius when he needed to name the aleatory swerve of atoms in their descent described by Epicurus. Approximately two millennia later, Alfred Jarry resurrected this obscured concept as a key principle of pataphysics. Its influences can be found in the Situationists’ détournement, the Dadaists’ ready-mades and Oulipo’s verbal games, and so on. Lucretius had already linked the indeterministic property of the clinamen to free will and the Oulipo interprets it as a chance to escape certain restrictions given that any initial constraint are still followed (just as the atoms don’t randomly start to ascend but they swerve). Experimental poet Christian Bök has called the clinamen the smallest possible aberration that can make the greatest possible difference.
One good example of a clinamen in action is Jarry’s merdre (the very first word in his Ubu play). He squeezed an extra ‘r’ into the French word ‘merde’ (meaning shit) and translates into something like ‘pshit’. By rendering a useful (if rude) word useless in this way, he introduced a pataphysical sense of creativity that persists: the word still exerts a fascination today.
Syzygy
A syzygy both surprises and confuses. The concept originally comes from the field of astronomy where it denotes the alignment of three celestial bodies. In a pataphysical context it usually describes a conjunction of things, something unexpected and surprising. Unlike serendipity, a simple chance encounter, the syzygy has a more scientific purpose. A typical instance is the pun, which Jarry called the syzygy of words. Next to being intentionally funny, puns demonstrate a clever use (or abuse) of grammar, syntax, pronunciation and/or semantics, often taken to a quite scientific level, such that without understanding of what is said and what the intended meaning is, the humour of the pun might be lost.
Antinomy
The antinomy, in a pataphysical sense, is the mutually incompatible or paradox. Mutually contradictory opposites can and do co-exist in the pataphysical universe.
Alfred Jarry
Alfred Jarry (1873-1907) is without doubt the prime exponent of pataphysics. The word pataphysics was invented by him and some of his schoolmates in France in the 1880s and Jarry elaborated on that initial idea, both in his celebrated Ubu plays and in his novels and speculative writings. He has been described as a poet, dramatist, novelist, journalist, artist, eccentric, alcoholic and sometimes even a lunatic.
Technical details
In short, the tool reads in a library of plaintext files, and creates an index (a dictionary type data structure storing the vocabulary of the whole corpus together with a list that contains all documents and positions of the term within the document in the vocabulary). There are two collections of texts to choose from, either the Faustroll corpus or the Shakespeare corpus at this point.
Index:
{word1: [[fileA, posa], [fileB, posb], ...], word2: [[fileC, posc], [fileK, posk], ...], ... }
All texts in the corpus are read into memory and processed, for example any stopwords of the source language are removed.
Once a user submits a query, various important functions are triggered. First, the three patalgorithms are run to populate a list of results to be rendered.
Results:
[(title, (pre, word, post), algorithm), ...]
Each algorithm pataphysicalises the original query term in its own way and looks for matches in the index.
Results are presented in one of three ways. The default is the poetry view. It displays 14 lines of text, each of which can be changed to another iff more results are available. This is heavily inspried by Raymond Queneau's 'Cent mille milliards de poèmes'. The other two options show the results either sorted by their source or by the algorithm by which they were generated.
These 16,000 BBC Sound Effects are made available by the BBC in WAV format to download for use under the terms of the RemArc Licence. The Sound Effects are BBC copyright, but they may be used for personal, educational or research purposes, as detailed in the license.
Extreme Mercator projection with Marseille (France) as reference point (on the right side).
The map you see is the Mercator projection.
But unlike a standard Mercator projection, you can substitute any point on earth as the "pole". (The initial view shows Boston as the pole point)
Furthermore, this map cuts off much, much closer to the poles than normal, allowing you to see many more orders of magnitude of distortion.
Because this yields a map several times taller than it is wide, it is shown sideways from its usual orientation.
Backstory
The Mercator projection is infamous for its distortion at high latitudes. This distortion gets exponentially worse as you approach the poles. It is in fact impossible to show the poles on a Mercator map — they are infinitely far away.
Any Mercator map you've ever seen must cut off the top/bottom edges at some arbitrary point. The map usually stops hundreds, if not thousands of miles short of the poles.
But I've often wondered what lies beyond those cut-offs... to make a map that didn't cut off but simply kept going. As the distortion progresses towards infinity, you would eventually reach the scale of cities, houses, insects, atoms...
But of course that'd all be on a featureless expanse of ice.
To make things actually interesting, we must artifically shift the pole of the projection to a more interesting place. Imagine the earth encased by a rigid cage of latitude and longitude lines. We rotate the earth while leaving the cage fixed until a new point of interest has taken the place of the North Pole.
This is called an oblique Mercator, and is normally used to shift an area of interest onto the equator of the map to avoid distortion. But whereas others avoid the distortion, we embrace it.
Note how strange the oblique Mercator looks even without the increased cutoffs. The standard Mercator is so ingrained in the public consciousness that we perceive it as 'normal'. But once you shift the pole its pervasive distortion is shockingly apparent.
Writing Machines is a resource dedicated to various projects related to electronic literature/books/writing/art curated by Julia Garcia
Flux Æterna is a musical composition for Internet. It comes in the form of an endless audio stream. Listening conditions of Flux Æterna are similar to those of a web radio. But here, the user can influence the contents of this work by providing his own sound files.
This work can be adapted to multi-channel installation or concert.
Technical setup
The composition of Flux Æterna is a technical set including:
1 : The website to connect to the stream, to upload sound files to the sftp server and to find information about the work.
2 : The score, written in the form of a software made in MaxMSP. Therefore, a software that reads and converts the sounds arriving at the server, following differents features deterministics, randoms or stochastics. A transcription, as musical notation, is attached to this program.
3: The audio stream, is published on the Internet through a server broadcasting in format mp3 stereo 320 kbps. It can be read by many softwares : VLC Quicktime iTunes Flash... running on any platform (PC, smartphone or tablet).
Listen to the flux here : http://srv-aeterna.univ-st-etienne.fr:8000/fluxaeterna
And 5,000 years ago, in what is now southeast Turkey, a group of Bronze Age humans created an elaborate set of sculpted stones hailed as the world’s oldest gaming pieces upon their discovery in 2013. From Go to backgammon, Nine Men’s Morris and mancala, these were the cutthroat, quirky and surprisingly spiritual board games of the ancient world.
/https://public-media.si-cdn.com/filer/38/e6/38e69780-ce0d-4069-9a49-18dc636ee04e/dp310299.jpg)
/https://public-media.si-cdn.com/filer/a5/15/a515217b-5b82-49c5-8ca6-ebda65f92116/mancala.jpg)
The Organization for Transformative Works (OTW) is a nonprofit organization, established by fans in 2007, to serve the interests of fans by providing access to and preserving the history of fanworks and fan culture in its myriad forms. We believe that fanworks are transformative and that transformative works are legitimate.
We are proactive and innovative in protecting and defending our work from commercial exploitation and legal challenge. We preserve our fannish economy, values, and creative expression by protecting and nurturing our fellow fans, our work, our commentary, our history, and our identity while providing the broadest possible access to fannish activity for all fans.
The Open Book is an open-hardware device for reading books in all the languages of the world. It includes a large screen and buttons for navigation, as well as audio options for accessibility and ports to extend its functionality. Its detailed silkscreen, with the all the manic energy and quixotic ambition of a Dr. Bronner's bottle, aims to demystify the Open Book's own design, breaking down for the curious reader both how the book works, and how they can build one for themselves.
At the core of the Open Book is a SAMD51J19A microcontroller, a powerful ARM Cortex M4 with 512 KB of Flash and 192 KB of RAM. It has 51 pins of GPIO, and the Open Book uses all of them for peripherals and possibilities:
A 400x300 black and white e-paper screen enables the core experience of, y'know, reading.
A MicroSD slot allows for plenty of external storage for files. An offline copy of Wikipedia fits in 64 gigs — Hitchhiker's Guide, anyone?
User input comes from seven buttons on a shift register, plus an eighth button tied directly to one of the SAMD51's interrupt pins.
A dedicated flash chip for languages gives the book room to store glyphs and Unicode data for every language in the Basic Multilingual Plane (which is most of the languages in use today).
A 3.5mm audio jack:
Dual DACs allow for stereo audio output, and the SAMD51 is powerful enough to decode MP3 files on the fly (hello audiobooks)!
Raw input from a headset's in-line mic button lets the book detect up to four inline buttons, depending on the design of the headset...
...and amplified mic input from the inline mic works with TensorFlow Lite to allow recognition of voice commands! Also, like, recording stuff. Rev 4 also adds the ability to shut down the mic, for power saving and privacy purposes.
A QSPI Flash chip and status Neopixel enable CircuitPython use cases.
STEMMA ports allow for the addition of I²C sensors and external analog or digital inputs. You can even run a Neopixel strip off of them, which makes for a decent reading light.
And of course it's a Feather, which means it's battery operated with built-in LiPo charging. It also has a full Feather header, which means you can add wings for everything from sensors to GPS to WiFi to LoRa.
This is a directory of 249 links in 73 categories.
This directory is somewhat inspired by the old, failed link collections like the original Yahoo! and DMOZ. They were terrible—you couldn’t find anything, but what you did find was often unexpected. My ‘archivist’/‘forager’ tendencies want to do this.
Linking has kind of died in the wild. Google views a site like this as a link farm—so, directories have died off. Yeah, well, I find many of the ‘link farms’ in my Web/Directory list to be immensely ‘great’ and ‘satisfying’. More than anything, I hope mine intrigues you to build your own. This directory forms my connection to the rest of society.
I reserve the right to link to dipshits and crazies. I link to what piques my curiosity, what amazes me or what horrifies me. This includes you. (You know you want to participate.)
You might also look at it like: maybe I’ve friended these links. But instead of putting them in a big number that represents my friends—my 249 friends, you see—I list my friends out neatly and try to coax you to meet them.
Perhaps there is no need for friending. For likes. For upvotes. For hashtags. For boosts. For trending. For rank. For followers. For an algorithm.
Perhaps plain ole linking—and spending time telling you why I linked—is good enough, was always good enough. Perhaps it’s superior!
The following is a "photographic" gallery of fractal patterns found while exploring the planet with Google Earth. Each is provided with a KMZ file so the reader can explore the region for themselves. Readers are encouraged to submit their own discoveries for inclusion, credits will be included. Besides being examples of self similar fractals, they are often very beautiful structures ... not an uncommon characteristic of fractal geometry.
Self Similarity
Fractals are usually associated with self similarity across scales. For pure/idealised mathematical fractals the self similarity may be across an infinite range of scales, such as the Sierpinski Gasket. In real life and in nature the self similarity is only across a range of scales. Branching structures, such as most of the examples shown here, are classic examples of self similarity across 2, 3 or 4 scales. As with many plants, a thick branch (trunk) branches into one or more smaller branches, which in turn split into one or more smaller branches, and so on. The structure is similar at each scale, from the twigs to the main tree trunk.
An example of this for a river system is illustrated below, clicking on an image will give the high resolution version of the image without the markings. For the image on the right the pixel size is 30cm, the image on the right has a pixel size of 7.5cm. At each scale the branching structures are similar in appearance.
"MindCandy Volume 1: PC Demos." The movie explores the definition and roots of an artistic computer sub-culture known as the demoscene, a community that's given me endless inspiration since the 1980s.
No Home Like Place Airbnb is a global hotel filled with the same recurring items. Bed, chair, potted plant, all catered to our cosmopolitan sensibilities. We end up in a place that's completely interchangeable; a room is a room is a room. An algorithm finds these recurring items and replaces them with the same items from other listings.
A visualization of global weather conditions
forecast by supercomputers
updated every three hours
ocean surface current estimates
updated every five days
ocean surface temperatures and
anomaly from daily average (1981-2011)
updated daily
ocean waves
updated every three hours
aurora
updated every thirty minutes
WATCHOUT multi-display software is your fast track to creating spectacular shows. Use WATCHOUT to compose and manage all the different media elements in your show – video, still images, animations, graphics, live feeds, sound – and then play it back on multiple displays. Perfectly synchronized, high resolution and right-on-cue.
WATCHOUT is easily integrated and controls external units or devices. It has no limitations on displays, channels or resolutions. With over 15 years of unrivalled performance and reliability, WATCHOUT is the choice of professional show creators worldwide.
WATCHOUT is used in live events, 3D mapping, broadcast, digital signage, museums, planetariums, show rooms, visitor attractions and experience centers. In other words – virtually any market or application where you want multiple display devices and maximum impact.
Uncompressed playback
We understand that image quality is all-important. WATCHOUT supports playback of uncompressed video or images at full resolution and framerate!
Unlimited Display Devices
There are no limits on the number of display devices you can add to your WATCHOUT show. That means no limits on your creativity!
UNLIMITED RESOLUTION
With WATCHOUT you can create any kind of resolution in any kind of aspect ratio. If you want to move beyond 4K, 8K or 16K – no problem.
Virtual Displays
The virtual display feature is a flexible way to map pixels on 3D geometry or your LED walls through a wall processor. It can contain any kind of media, such as video, stills, tweens and dynamic content.
Unlimited timelines
WATCHOUT is a user-friendly, timeline-based show creation tool. Drag and drop media onto an infinite number of timelines, auxiliary timelines or layers.
3D Mapping / Facade projection
With WATCHOUT you can create projection mapping shows on any shape, structure or building. Import your 3D model and use the 3D projection feature to visualize your show!
Capture content
With WATCHOUT you can capture multiple content streams through low latency capture cards, USB cards, network streams, VNC or live IP workflow using NDI® (Network Device Interface).
NDI / Live IP production workflow
WATCHOUT supports NDI® which allows multiple video streams on a shared connection, enabling high quality, low latency, frame-accurate video over local area networks and reducing costs plus deployment time.
