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.
ComboGAN: Unrestrained Scalability for Image Domain Translation Asha Anoosheh, Eirikur Augustsson, Radu Timofte, Luc van Gool In Arxiv, 2017.
https://arxiv.org/pdf/1712.06909.pdf
This year alone has seen unprecedented leaps in the area of learning-based image translation, namely CycleGAN, by Zhuet al. But experiments so far have been tailored to merely two domains at a time, and scaling them to more would re-quire an quadratic number of models to be trained. And with two-domain models taking days to train on current hardware,the number of domains quickly becomes limited by the time and resources required to process them. In this paper, we pro-pose a multi-component image translation model and training scheme which scales linearly - both in resource consumption and time required - with the number of domains. We demonstrate its capabilities on a dataset of paintings by 14different artists and on images of the four different seasons in the Alps. Note that 14 data groups would need(14choose2) =91 different CycleGAN models: a total of 182 genera-tor/discriminator pairs; whereas our model requires only 14generator/discriminator pairs
UNIT: UNsupervised Image-to-image Translation Networks : https://github.com/mingyuliutw/UNIT
Literary analysts have long noticed the hand of another author in Shakespeare’s Henry VIII. Now a neural network has identified the specific scenes in question—and who actually wrote them.
For much of his life, William Shakespeare was the house playwright for an acting company called the King’s Men that performed his plays on the banks of the River Thames in London. When Shakespeare died in 1616, the company needed a replacement and turned to one of the most prolific and famous playwrights of the time, a man named John Fletcher.
Audio stream : http://icecast.spc.org:8000/longplayer
Longplayer is a one thousand year long musical composition. It began playing at midnight on the 31st of December 1999, and will continue to play without repetition until the last moment of 2999, at which point it will complete its cycle and begin again. Conceived and composed by Jem Finer, it was originally produced as an Artangel commission, and is now in the care of the Longplayer Trust.
How does Longplayer work?
Early calculations made while trying to establish the correct increments. At the bottom is an estimation of the playing positions on the 7th of January 2000 based on these values.
The composition of Longplayer results from the application of simple and precise rules to six short pieces of music. Six sections from these pieces – one from each – are playing simultaneously at all times. Longplayer chooses and combines these sections in such a way that no combination is repeated until exactly one thousand years has passed. At this point the composition arrives back at the point at which it first started. In effect Longplayer is an infinite piece of music repeating every thousand years – a millennial loop.
The six short pieces of music are transpositions of a 20’20” score for Tibetan Singing Bowls, the ‘source music’.[1] These transpositions vary from the original not only in pitch but also, proportionally, in duration.[2]
Every two minutes a starting point in each of the six pieces is calculated, from which they then play for the next two minutes. Each starting point is calculated by adding a specific length of time to its previous starting point.[3] For each of the six pieces of music this length of time is unique and unvarying. The relationships between these six precisely calculated increments are what gives Longplayer its exact one thousand year long duration.
Rates of Change
In the diagram below, the six simultaneous transpositions are represented by the six circles, whose circumference represents the length of the transposed source music. The solid rectangles represent the two minute sections presently playing. The unique increments by which these six sections advance determine their respective rates of change. These reflect different flows of time, from a glacial crawl to the almost perceptible sweep of an hour hand. The incremental advance of the third circle, is so small that it will take the full thousand years for it to pass once through the source music. Conversely the increment for the second circle is such that it makes its way through the music every 3.7 days. The diagram updates every 2 minutes
https://eclipticalis.com/
http://teropa.info/loop
https://daily.bandcamp.com/lists/generative-music-guide
https://github.com/npisanti/ofxPDSP
Systems music is an idea that explores the following question: What if we could, instead of making music, design systems that generate music for us?
This idea has animated artists and composers for a long time and emerges in new forms whenever new technologies are adopted in music-making.
In the 1960s and 70s there was a particularly fruitful period. People like Steve Reich, Terry Riley, Pauline Oliveros, and Brian Eno designed systems that resulted in many landmark works of minimal and ambient music. They worked with the cutting edge technologies of the time: Magnetic tape recorders, loops, and delays.
Today our technological opportunities for making systems music are broader than ever. Thanks to computers and software, they're virtually endless. But to me, there is one platform that's particularly exciting from this perspective: Web Audio. Here we have a technology that combines audio synthesis and processing capabilities with a general purpose programming language: JavaScript. It is a platform that's available everywhere — or at least we're getting there. If we make a musical system for Web Audio, any computer or smartphone in the world can run it.
With Web Audio we can do something Reich, Riley, Oliveros, and Eno could not do all those decades ago: They could only share some of the output of their systems by recording them. We can share the system itself. Thanks to the unique power of the web platform, all we need to do is send a URL.
In this guide we'll explore some of the history of systems music and the possibilities of making musical systems with Web Audio and JavaScript. We'll pay homage to three seminal systems pieces by examining and attempting to recreate them: "It's Gonna Rain" by Steve Reich, "Discreet Music" by Brian Eno, and "Ambient 1: Music for Airports", also by Brian Eno.
Table of Contents
"Is This for Me?"
How to Read This Guide
The Tools You'll Need
Steve Reich - It's Gonna Rain (1965)
Setting Up itsgonnarain.js
Loading A Sound File
Playing The Sound
Looping The Sound
How Phase Music Works
Setting up The Second Loop
Adding Stereo Panning
Putting It Together: Adding Phase Shifting
Exploring Variations on It's Gonna Rain
Brian Eno - Ambient 1: Music for Airports, 2/1 (1978)
The Notes and Intervals in Music for Airports
Setting up musicforairports.js
Obtaining Samples to Play
Building a Simple Sampler
A System of Loops
Playing Extended Loops
Adding Reverb
Putting It Together: Launching the Loops
Exploring Variations on Music for Airports
Brian Eno - Discreet Music (1975)
Setting up discreetmusic.js
Synthesizing the Sound Inputs
Setting up a Monophonic Synth with a Sawtooth Wave
Filtering the Wave
Tweaking the Amplitude Envelope
Bringing in a Second Oscillator
Emulating Tape Wow with Vibrato
Understanding Timing in Tone.js
Transport Time
Musical Timing
Sequencing the Synth Loops
Adding Echo
Adding Tape Delay with Frippertronics
Controlling Timbre with a Graphic Equalizer
Setting up the Equalizer Filters
Building the Equalizer Control UI
Going Forward
Utility library to easily connect to RunwayML from Processing
Feel free to replace this paragraph with a description of the Library.
Contributed Libraries are developed, documented, and maintained by members of the Processing community. Further directions are included with each Library. For feedback and support, please post to the Discourse. We strongly encourage all Libraries to be open source, but not all of them are.
https://github.com/runwayml/processing-library
Installation
Download https://github.com/runwayml/processing-library/releases/download/latest/RunwayML.zip
Unzip into Documents > Processing > libraries
Restart Processing (if it was already running)
Welcome to Lospec, a home for digitally restrictive art. We create online tools for people creating pixel art and other restrictive digital art.
Digitally Restrictive Art
In the early days of computers, memory and storage space were a valuable commodity. Old hardware had very little space, every possible bit had to be conserved. Screen resolutions were small, and could only display a limited amount of colors. Music was stored as a sequence of notes rather than a single audio file. Games and programs had a maximum amount of space they could use, and they had to work within that restriction. Games made for the Atari 2600 could only be 32 kilobytes in total, including graphics, sounds, programming, levels.
Some people might view these restrictions as inconvenient, something that can only hinder your creative process. But there are many benefits to creating art within restrictions. Sometimes they simply help your get over art blocks by giving you a place to start, or help you use a consistent style throughout a piece. They can also force you to think in ways you might not have before and find creative ways to represent your vision. Your goal changes from "how can I best depict this subject" to "how can I best depict this subject within these limitations". You start thinking about the design, and level of detail. You are forced to simplify and prioritize, and consider the piece as a whole. It changes the whole creative process and forces you to think about your art from a new angle. The process of creating pixel art is completely different from even similar art forms like digital painting.
Some artists may impose restrictions upon themselves purposefully just to take advantage of these benefits. Some restrictions are just a result of that art form, like the canvas size of a painting or material of a sculpture. In Digitally Restrictive Art, the restrictions are brought on by the fact that they are stored digitally and is usually based on how the data is saved.
Pixel Art - The most popular digitally restrictive art form, as it was the only option for graphics on early video game systems. Though it's not required any longer, many games today still utilize pixel art due to it's aesthetic appeal, simplicity, and relative ease of creation. A large community of artists and fans still exists around the net.
Voxel Art - A more recent creation which is essentially a 3D version of pixel art. Instead of being made up of squares, it is made up of cubes. It's visuall similarity to pixel art makes it look like something out of the early computing days, but in reality only recently have computers been able to handle voxels.
Ascii Art - Similar to pixel art, but instead of being made up of pixels, everything is made up of ASCII characters, like letters and numbers. Before computers could even display pictures, artists could create images out of text. It was mostly notably adopted by the hacking community for use in text files.
Low-poly 3D - 3D models are typically made up of thousands of polygons, connected at their edges to create 3D shapes. In modern movies and games there are typically so many polygons that you can't see them and they look like a smooth surface. But in the early days of 3d, artists were limited to very few polygons. Low-poly models are still occasionally used in games today for memory restrictions as well as aesthetics. A subset of low-poly 3D includes using pixel art for the textures, adding another layer of restrictions.
Chiptune - Storing audio digitally actually takes quite a bit of space. Rather than reducing the length or quality of a song, early digital composers created a way to store songs as notes, which are then played at specified times, essentially being performed live by the computer. There are many different formats of digitally restrictive music that offer a whole array of different features and sounds. Midi files for example have a preset group of instruments you can assign to each note, and MOD/XM files let you create your own instruments out of waveforms.
Create beautiful, wild and weird images with GAN.
http://tesla1.teslafm.net:8000/tesla1 (copy-paste in VLC)
Schedule : https://tesla1.teslafm.net
A radio on-line just for culturally restless people who looks for non-commercial music, experimentation and counterculture information. From experimental electronic to electroacoustic and sound art; from improvisation to jazz and classical music; from old tunes from 19th century to current compositions; from 80s obscure artefacts to inspired sounds from this decade; cultural archives…, an eclectic journey.
The Silence Secret Society.
Other radios :
Radio tv-syd-dk : http://libretime.tv-syd.dk:8000/stream
Radio Inutile : http://51.254.203.56:8000/mp3_320
Radio Meuh : http://radiomeuh.ice.infomaniak.ch:8000/radiomeuh-128.mp3
Fip Autour du Jazz : http://chai5she.cdn.dvmr.fr/fip-webradio2.mp3
Radio Paradise : http://stream-dc1.radioparadise.com/aac-320
Zen radio : http://zen.radio.mynoise.net/
Nature radio : http://nature.radio.mynoise.net/
Space radio : http://space.radio.mynoise.net/
Le Paradoxe du Temps – Arman, 1961
This guide favors authenticity over accuracy, and it aims to entertain before it informs. It is only as accurate as it feels it needs to be. It is constantly changing and it is infinitely mutable, so the map, the music, and my self-righteous opinions are all subject to change as I discover, investigate, and incorporate new knowledge and more music. Nothing is definitive.
This is an educational resource, not a music sharing service. There are no complete songs here. All tracks are low quality sub-2 minute samples. If you want the music, do the artists a solid and buy it from them through legitimate channels.
A light Rust API for Multiresolution Stochastic Texture Synthesis [1], a non-parametric example-based algorithm for image generation.
Pixel-art scaling algorithms are graphical filters that are often used in video game emulators to enhance hand-drawn 2D pixel art graphics. The re-scaling of pixel art is a specialist sub-field of image rescaling.
As pixel-art graphics are usually in very low resolutions, they rely on careful placing of individual pixels, often with a limited palette of colors. This results in graphics that rely on a high amount of stylized visual cues to define complex shapes with very little resolution, down to individual pixels. This makes image scaling of pixel art a particularly difficult problem.
A number of specialized algorithms[1] have been developed to handle pixel-art graphics, as the traditional scaling algorithms do not take such perceptual cues into account.
Since a typical application of this technology is improving the appearance of fourth-generation and earlier video games on arcade and console emulators, many are designed to run in real time for sufficiently small input images at 60 frames per second. This places constraints on the type of programming techniques that can be used for this sort of real-time processing. Many work only on specific scale factors: 2× is the most common, with 3×, 4×, 5× and 6× also present.
Plugin for GIMP : https://github.com/bbbbbr/gimp-plugin-pixel-art-scalers
Waifu2x
https://en.wikipedia.org/wiki/Waifu2x
https://github.com/lltcggie/waifu2x-caffe/releases
https://github.com/imPRAGMA/W2XKit
https://old.reddit.com/r/WaifuUpscales/new/
https://github.com/BlueCocoa/waifu2x-ncnn-vulkan-macos/releases
https://old.reddit.com/r/Dandere2x/
https://old.reddit.com/r/waifu2x
https://github.com/AaronFeng753/Waifu2x-Extension
https://github.com/K4YT3X/video2x
https://old.reddit.com/r/AnimeResearch
Quote from a reddit comment :
A short list, ordered after output quality and setup time:
SRGAN, Super-resolution generative adversarial network : https://github.com/topics/srgan,
Other implementations: https://github.com/tensorlayer/srgan
https://github.com/brade31919/SRGAN-tensorflow
https://github.com/titu1994/Super-Resolution-using-Generative-Adversarial-Networks
Neural Enhance: https://github.com/alexjc/neural-enhance/
Photoshop: The newest PS version (19.x, since October 2017 release) also has a new upscaling method, called "Preserve Details 2.0 Upscale" but compared to SRGAN the results clearly lack sharp and fine details. You have asked for an App and PS is easy to use and can be automated.
Overview of the most popular algorithms:
https://github.com/IvoryCandy/super-resolution
(VDSR, EDSR, DCRN, SubPixelCNN, SRCNN, FSRCNN, SRGAN)
Not in the list above:
LapSRN: https://github.com/phoenix104104/LapSRN
SelfExSR: https://github.com/jbhuang0604/SelfExSR
RAISR, developed by Google:
https://github.com/MKFMIKU/RAISR
https://github.com/movehand/raisr
Despite the rise of ebooks, the interest in cover design and the look of physical books is probably stronger than ever. The rate of books being published grows ever higher, and they all need covers, even if it's just a thumbnail for a Kindle edition on Amazon.
Cover designers the world over have access, via online art databases and stock libraries, to a vast array of images that can be used to decorate and, with any luck, sell books. Unfortunately, all those designers tend to have access to the same databases and libraries, which means you sometimes end up with books which feature photographs that look strangely familiar…
Cryptovoxels is a user owned virtual world that is powered by the Ethereum blockchain. Users can buy land and build virtual stores, art galleries, music studios or anything else you can imagine. The editing tools are built into the world, and multiuser voice chat lets you spend time with friends exploring the city.
Today, you are an Astronaut. You are floating in inner space 100 miles above the surface of Earth. You peer through your window and this is what you see. You are people watching. These are fleeting moments.
These videos come from YouTube. They were uploaded in the last week and have titles like DSC 1234 and IMG 4321. They have almost zero previous views. They are unnamed, unedited, and unseen (by anyone but you).
Astronaut starts when you press GO. The video switches periodically. Click the button below the video to prevent the video from switching.
Astronaut was created by Andrew Wong and James Thompson on a sunny day in San Francisco in 2011.
Beautiful footage of our earth is provided by the Earth Science and Remote Sensing Unit, NASA Johnson Space Center.
Soundtrack provided by Claude Debussy's Claire de Lune performed by Caela Harrison (cc).
Try pressing spacebar.
NASA publishes many Earth datasets at monthly time scales, and this GIF uses one frame per month to show the fluctuating seasons. The animation focuses mainly on data about Arctic sea ice and vegetation, but it was hard to choose - NASA has many other beautiful seasonal datasets, like fire, temperature, or rainfall.
Evoboxx is a synthesizer based on the cellular automaton Game of Life, created by mathematician John Horton Conway in 1970. The game is a zero-player game, meaning that its evolution is determined by its initial state, requiring no further input. One interacts with the Game of Life by creating an initial configuration and observing how it evolves, or, for advanced players, by creating patterns with particular properties.
Demonstration tutorial of retraining OpenAI’s GPT-2-small (a text-generating Transformer neural network) on a large public domain Project Gutenberg poetry corpus to generate high-quality English verse.
https://jalammar.github.io/illustrated-gpt2/
Other tutorial : https://medium.com/@ngwaifoong92/beginners-guide-to-retrain-gpt-2-117m-to-generate-custom-text-content-8bb5363d8b7f
https://github.com/minimaxir/gpt-2-simple
Example : http://textsynth.org/
Datasets :
https://www.kaggle.com/datasets
https://github.com/awesomedata/awesome-public-datasets
Scrap webpage with python :
https://www.crummy.com/software/BeautifulSoup/
https://github.com/EugenHotaj/beatles/blob/master/scraper.py
https://github.com/shawwn/colab-tricks
A collection of specifications and tools for 360° video and spatial audio, including:
Spatial Audio metadata specification
Spherical Video metadata specification
Spherical Video V2 metadata specification
VR180 Video Format VR180 video format
Spatial Media tools for injecting spatial media metadata in media fileshttps://github.com/google/spatial-media/releases/download/v2.1/360.Video.Metadata.Tool.mac.zip
https://github.com/google/spatial-media/releases/download/v2.1/360.Video.Metadata.Tool.win.zip
This site tries to gather open-source remakes of great old games in one place. If you think that something is missing from the list - please go to our GitHub repository and create an issue or even a pull request!
Since all these projects are open-source you can help them and make this world a better place. Or at least you can play something to appreciate the effort people put in them.
A standalone timeline app that can be controlled by and sends out its values via OSC.
A Posh based timeline that can be controlled by and sends out its values via OSC.
Brought to you by vvvv.
Requires Internet Explorer >= 10 to be installed on your system.
Looking for a binary download? Get it here.
A free and open-source intermedia sequencer
Enables precise and flexible scripting of interactive scenarios.
Control and score any OSC-compliant software or hardware:
Max/MSP, PureData, openFrameworks, Processing…
Mosaic is an open source multi-platform (osx, linux, windows) live coding and visual programming application, based on openFrameworks.
This project deals with the idea of integrate/amplify human-machine communication, offering a real-time flowchart based visual interface for high level creative coding. As live-coding scripting languages offer a high level coding environment, ofxVisualProgramming and the Mosaic Project as his parent layer container, aim at a high level visual-programming environment, with embedded multi scripting languages availability (Lua, GLSL, Python and BASH(macOS & linux) ).
As this project is based on openFrameworks, one of the goals is to offer as more objects as possible, using the pre-defined OF classes for trans-media manipulation (audio, text, image, video, electronics, computer vision), plus all the gigantic ofxaddons ecosystem actually available (machine learning, protocols, web, hardware interface, among a lot more).
While the described characteristics could potentially offer an extremely high complex result (OF and OFXADDONS ecosystem is really huge, and the possibility of multiple scripting languages could lead every unexperienced user to confusion), the idea behind the interface design aim at avoiding the "high complex" situation, embodying a direct and natural drag&drop connect/disconnet interface (mouse/trackpad) on the most basic level of interaction, adding text editing (keyboard) on a intermediate level of interaction (script editing), following most advanced level of interaction for experienced users (external devices communication, automated interaction, etc...)
Built by Adam King (@AdamDanielKing) as an easier way to play with OpenAI's new machine learning model. In February, OpenAI unveiled a language model called GPT-2 that generates coherent paragraphs of text one word at a time.
