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.
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
