2 years ago
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Semester 2
see link:
http://sambjbrown-progress.tumblr.com/post/404222280/tele-presence-documentation
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2 years ago
2 years ago
An Essay the Revealing of Secrets
2 years ago
Gallery Visit Assignment.
Stefanie Foire, Ryerson University Graduate
MPM 35 Visualizations and Generative Processes
Week1
Interesting Links:
House of Cards, Radiohead music video
Hans Rosling (2006 TED Talk)
Chris Jordan, statistical portraits (TED talk)
Forever by Universal Everything at the V&A Museum
Week2: Foundations Data Models, Visual Encoding, Design Principles
Topic Links :
NameVoyager
Ayca Akin - Dear Diary
Edward Tufte
Jacques Bertin
Colin Ware
A good series of articles on Gestalt theory
Bobby McFerrin demonstrates the closure law
JunkCharts
They Rule by Josh On
Recommended Reading
Read Chapter 1 of Ben Fry’s Visualizing Data. (http://proquest.safaribooksonline.com/9780596514556)
Assigned Assignment: Many Eyes
Week3: Processing review - Basic concepts
* Drawing
* Color
* Variables
* Animation
* Loops
* Arrays
* Interactivity
In Class Examples:
- how to draw with basic interaction using mouse events
-array: moving sphere(s) that wraps around the edge of the window 
- draw image, draw image every other pixel & interactivity (change using mouse position)
-drawing many objects using a loop (interactivity using the mouse)
-the draw() function is also a loop
Recommended Reading
First few chapters of the Processing Handbook (http://www.learningprocessing.com/)
Week4: Processing Review - Advanced Concepts
* Functions
* Text and Strings
* Motion
* Objects, Classes
In Class Examples:
-functions, creating custom “commands” that can be reused
-graph
-class can represent more abstract things
Putting it all together: start with moving bars, add color, add interactivity: mouseOver, rect boundary check function, explain multiple conditions, add text
-is there a way to do this differently? - each bar has a position, a width, etc.., model each “bar” as an Object, for instance.
-letter: map the mouse position to an ASCII character, between 65 and 90 (A..Z), & color the vowels yellow 
Related Links :
Personas
Lexigraphs
Assignment: Interactive Self-Portrait
Week5
Links:
Mark Hansen & Ben Rubin:
*Listening Post (videos part 1, part 2 and part 4)
*Moveable Type
Golan Levin & Al:
*The Secret Lives of Numbers
*The Dumpster
Jonathan Harris & Sep Kamvar:
*We Feel Fine (TED talk)
*I Want You To Want Me (video)
Jonathan Harris - Universe
Lev Manovich - Cultural Analytics
Getting Data From the Web
Basic tools:
loadStrings(), loadImage()
Basic terminology (URL, HTTP, REST, CSV, XML)
List of Web APIs
Processing demos: accessing the Technorati and Last.fm APIs.
In Class Examples:
-an data acquisition example, this time using Last.fm’s REST API. Last.fm’s 20 top artists for Canada are retrieved and displays their pictures. Overall popularity affects the width of the picture.
Assignment: Final Project Proposal
Week6: Social Networks
Visualizing conversations, crowds, and networks of people
Visualizing historiesFernanda Viegas (Chat Circles, Mountains, Themail, etc…)
Space memories
Artifacts of the Present Era
Last Clock
Social dynamics
Vizster
Boundary Functions
Mark Lombardi (this and that)
Linkology
Wisdom of crowds
TagMaps
Reading for next week: Artistic Data Visualization
Related Links:
XKCD - Map of Online Communities
Google’s Social Graph API
Twitter visualization: more REST API, some mathematics and bezier curves.
In Class Examples:
-show the control lines, show the points, establishing random connections in a set of 20 nodes, using bezier curves
- map the connections between a Twitter user’s, friends
- the “api” has some functions that wrap some of the twitter API functionality
- basically, Twitter only lets you do 150 requests per hour. If you abuse it they will start blocking your IP. The code in the cache tab is store requests as XML files on the computer, so that if we’ve already asked for some information, we can get the cached answer instead of making a Twitter request.. Otherwise everytime we run the sketch, we’d be making dozens and dozens of requests, and we’d run into the 150 limit very very quickly. 
Assignment: Final Project Proposal Due Oct 28th
Week7: Information Aesthetics
Related Links:
Ben Fry (video of a talk at See#3 conference)
Martin Wattenberg - Thinking Machine
George Legrady - Seatle Central Library
Imaginary Forces - MoMA Screens
Digg Labs
Aaron Koblin - Flight Patterns, NYTE
W. Bradford Paley - Code Profiles, Map of Science
Boris Muller - Visual Poetry
Assignment: Research Blog
VisualComplexity.com
Infosthetics.com
Week 8: Algorithmic Art
Related Links:
Brian Eno and Will Right talk about generative systems (full talk, 1h38m)
Generative drawings
Desmond Paul Henry
Jared Tarbell
Casey Reas
Joshua Davis (Process video for BMW Z4 prints)
Genetic algorithms
Karl Sims
Theo Jansen
Reading: Exploring Emergence
In Class:
Traer physics, Twitter graph redux
Week9: Emergence, Complex Systems, Noise
Related Links:
Cellular Automata
Bill Vorn - Evil/Live 3
Fractals & Recursion
Mandlebrot, L-Systems
Driessens & Verstappen - IMA Traveller
Jackson Pollock - Fractal Expressionism
Scott Draves - Electric Sheep
Emergent Behavior / Complex Systems
Boids
Braitenberg vehicles (simulator)
Hybrid Spaces
Adam Brown & Andrew Fagg - Bion
Ken Rinaldo - Autotelematic Spiders
Simon Penny - Petit Mal
Robert Hodgin
In Class Example:
-Drawing Perlin noise in 1 dimension, with a second dimension used to represent time.
Controls: mouseX controls the resolution of the noise; mouseY controls the animation speed (step)
-2D dimensional perlin texture; mouseX / mouseY control the “drift”, an offset that moves us in the perlin noise space - dragging the mouse up/down controls the animation speed; dragging the mouse left/right controls the noise resolution
2 years ago
First street walk I’ve been able to have in a long while.
Taking a closer look into the city where you live can only end with the knowledge for something different.
Inspiration:
Barry McGee
2 years ago
Documentation
The following is the copy/pasted text that explains documentation guidelines from - http://imagearts.ryerson.ca/sdaniels/physcomp/documentation.html.
I am posting this as reminder to fellow classmates but to myself that these are the expectations we should set for ourselves with regards to our projects.
With finals sneaking up fast - I feel this is a heavy reminder for myself because once the rush sets in, minor details can be lost and the difference between an A or B with explaining a work.
__________________________________________________________________________
Documentation
A piece that is not documented DOES NOT exist.
Documentation is the primary link between your work and the rest of the world. It is possible that more people will see your documentation than will ever see your work first hand.
Therefore, documentation that is done well, as apposed to poorly or not at all, will mean the difference between getting awards / scholarships / grants / shows / job interviews and being IGNORED.
Keep in mind that documentation is also a form of self-evaluation and reflection.
Good Documentation Practices:
Identify Audience:
- as with everything, know to whom you are directing this document: curators, other artists, the public, prospective employers
- what does the audience need to know
- to what extent do you want / need to show inner workings?
- do the images you shoot require text based support? or voice over?
Identify Stage:
Are you Producing Outreach Material? Or Production Documents? Or a Finished Project?
- large projects may require you to document prototypes to aid in gathering additional funds – these documents will be sent out with grant applications and occasionally to curators
- smaller projects may only require deliverables after completion
- ALL PROJECTS should be documented during production – you shoot keep records of ideas, sketches, drawings, virtual and physical models, interface tests – every step of the way.
Identify Media and forms of distribution:
- as you are all aware different media provide different opportunities for producing records.
- Decide if you will shoot stills and video (stills alone are OK for static works, but anything dynamic requires both)
- Web page requirements
- DVD, mail, carrier pigeon?
What to Include:
Summary:
- Project Name
- Project Synopsis
- Keywords
- Description of User Experience
- Artist Statement – this is not a description – it is a personal reflection
- references to related works (your own first, then others)
Technical Summary:
- explanation and overview – can include imagery – you may wish this to be separate, or included in the main document
- this is often useful when doing artist talks — depending on audience
- list peripherals and special equipment required
- OS specs and hardware requirements
- Clear description of space requirements
- KEEP copies of your CODE – don’t need to distrubute this but ARCHIVE IT with everything else.
Contact Info:
- Bio (all producers)
- Contact person (identify one if a group)
- Contributers contact info – (for reference)
- Credits
Images
(Low (72 dpi) and High Resolution (300dpi)):
- 5 -10 images that illustrate overall piece, user experience, technical details
- on web sites, you may wish to identify media images – these must be 300DPI and should be your best shots – these will be included in press kits etc.
Video:
- keep this to 4-5min tops – most juries will look at your documents and all submissions for no more than 15min – a 20 min doc will be partially viewed or ignored
- WEB: compress and optimize for at least 2 connection speeds (dialup and high speed) – test them – on dial up. File size for each minute should be about 2.5MB at 320x240 for high bandwidth, and around 100K at 160x120 for dial-up.
- DVD: Prep a high resolution copy for DVD.
- SOURCE: ARCHIVE YOUR SOURCE FOOTAGE and your EDL (edit descition list)
Video Documentation Should INCLUDE:
- explanation of project
- user experience
- project credits
- funder acknowledgement
Treat documentation as a video/film shoot. Light properly, think about sound, use external mic’s, storyboard or write out an outline.
Get an establishing shot, then show experience then show details. Show, don’t tell. Use voice only when needed. Text panels at the beginning of video may be better than voice – use your judgment.
If you go in thinking you will just wing it – you will end up with lousy docs.
Design: Examples
Kuler is a web-hosted application for generating color themes
A film about printing:
Video 1:
Video 2:
Evan Roth and His Typography Works
Mocoloco.com
