abstractmachine

17 January, 2006

pushpop

Filed under: atelier hypermedia, code — Douglas Edric Stanley @ 02:40 am

Pushpop

Ugh. That was painful… After lots of procrastination, I finally took the time out to write the online tutorial for drawing in 3-dimensions in Processing. Drawing 3d in Processing is basically the same as drawing in 3d in OpenGL, so it takes a little bit of theory to get up to speed. I’m still not sure I got it down to its essential elements — and so far I haven’t added anything about drawing vertex-based figures — but at least it’s a start I can work off of.

A lot of my students are interested in 3d, but don’t have any experience programing it vertex-by-vertex. Some have done some brilliant work with various 3d engines, for example this artificial life installation for Arborescence ‘05 by Vincent Cogne and Yannick Aïvayan built using the Doom3 engine (we had a lot of fun fiddling with that one). But unfortunately over the years the Atelier Hypermedia has been pegged as a 2d shop for a really stupid reason: that’s what people used to call it before I arrived. So Processing has been a nice way to correct that misconception as ultimately drawing 3d in Processing is the same as drawing 2d, you just rotate the drawing space.

As with all the other tutorials in my Processing Programming class, everything is in French, but you might be able to get by with a robot translator and the many screenshots and code samples sprinkled throughout.

16 January, 2006

DOGMeNIAROF

Filed under: atelier hypermedia, rant, code, play — Douglas Edric Stanley @ 17:22 pm

Antonin Fourneau has just published the DOGMeNIAROF over at the ENIAROF blog. It is of course inspired by Lars von Trier & Thomas Vinterberg’s Domge95 Vow of Chastity (that said, our vow is more a vow of lasciviousness). The idea is to create an associative movement countering various unfortunate tendencies in digital art, and more importantly digital art festivals. And as an affront to the big daddy of all digital arts festival, we’re sending it into the Prix Ars Electronica’s Digital Communities category to see what they’ll do with it (we don’t expect much on that front, but who knows).

ENIAROF

What does this have to do with code, you ask? Everything. Although ENIAROF is an inclusive project (mud wrestling anyone?), it emerged from artists working principly with code. A lot of us were inspired as youths from video games and 8-bit computers. While we might have since moved on to more elegant expressions, we found the need to create a messier, playful arena, with equally playful methodologies of production. What if CODE|ART had its own punk movement? ENIAROF tries to participate in that effort.

And it goes without saying that ENIAROF 0.2 will have a lot of Processing-based installations.

As rule 10 states that participating artists have to translate DOGMeNIAROF into their native toungue (if not yet already translated) and publish it online, here goes:

DOGMeNIAROF

[1] Although ENARIOF takes as its point of departure the term ‘Carnival’ (§), in no means must it take place within a carnival (especially contemporary carnivals!). To the contrary, it can in fact be seen as its re-appropriation (détournement).

[2] Installations must be built on-site, although materials may be prepared in advance. If a work has not been created for Eniarof, it must blend in with the rest. In the same vein, an Eniarof artist can introduce works of another artist, but he or she must then take charge of its integration.

[3] Each Eniarof participant must contribute to at least one of the aspects of preparation: communication, management, installation, dismantling, etc.

[4] Each participant can seek private financing/partnership for his or her attraction. A blank space will be reserved on all Eniarof communications for partners’ logos. (Artist-as-athlete?)

[5] Each participant will help in at least one other project, both to keep the atmosphere convivial, but also to take pride in another installation functioning if by chance one’s own installation is not working.

[6] All participants must avoid superfluous expenses. Do not attempt to hide traces of the work’s production within an encasement for which you do not have the means.

[7] Eniarof organizers can only be paid percentages of fees that in the end are destined to artists. All other assistants in the production of Eniarof cannot be paid any more than the participating artists are themselves paid. In the same sense, the barman, the guardian, the ticket-taker, … are not paid any better than the artists themselves.

[8] Each participant must take care that people within their entourage know about ENIAROF.

[9] The authors of attractions cannot be labeled during the event itself, however attribution can be communicated in the press releases.

[10] Every artist participating in Eniarof, and for which the Dogme has not yet been translated into his or her native language, must translate said Dogme (or have it translated) and publish this document (for example: on-line).

[11] Each participant must identify the principal idea and material needs of his or her attraction approximately three months in advance of the event.

[12] Each participant must possess an Eniarof t-shirt to promote ’da crew in swank cosmopolitan parties. The artist can make his or her own t-shirt, or obtain one of the printed t-shirts during the event.

[13] An Eniarof must be produced within at least an hour of an Emmaüs (†) center, or its equivalent (for raw materials).

[14] All materials borrowed from Emmaüs or its equivalent must be returned after the event, except in special pre-negotiated cases (for example, in case the object has to be dismantled or transformed).

[15] In order to reinforce the idea of a network of participants, former Eniarof participants are invited to participate in at least one new Eniarof. In this way, artists enact the links of the network.

[16] An Eniarof project must be an attempt at making an attraction. The attractiveness of the work will thus be its judge.

[17] The attractions should ‘spill-over’ into each other. Do not get obsessed with some pre-defined form. The overall spilling-over of one work into each other will create a backdrop for Eniarof (its social cohesion), the esthetics of an Eniarof (not necessarily the same for each iteration). If a neighboring artist spills over too much into your space you have several solutions: reroute his or her spill-over, steal their work from them (risking being robbed from in turn), build on top it, …

Translator’s notes:

  • § ‘ENIAROF’ is ‘Foraine’ spelled backwards. An english equivalent might be ‘LAVINRAC’

  • † Emmaüs is a non-profit network of centers redistributing goods to the poor. Similar institutions exist in many countries, for example the Goodwill network in the United States.

15 January, 2006

Hypertable friends

Filed under: hypertable, algorithmic cinema — Douglas Edric Stanley @ 23:29 pm

8=8=rehearsal

I’ve often pointed out to people that credit me for my Hypertable that in fact there have been many other attempts at interactive tabletops. Although I’m particularly happy with my configuration (very collective, intuitive, no need for gadgets, etc) there have been many others. My little list of influences went as follows:

Over at Pasta and Vinegar they came up with a different list of Interactive tables. Their list is a lot larger, but far from complete. There are even industrial interfaces of this sort for sale, such as the system by Hitatchi that was exhibited at the ZKM exhibit on democracy. Hypertables (interactive or not) are a common fantasme. I’m sure that we’ll be seeing more from them.

One of the stranger things I noticed talking to people using my installation back at the Pompidou Center last year, was that they did not in fact think of the image as projected from above: they often described it as a table lumineuse, in other words the image was emanating from the table itself. Obviously the image was still for them an image, that it acted like objects without being objects was part of the charm. But the familiar nature of the Hypertable surface (perhaps its Unheimlich nature if I got lucky) and its horizontal configuration evoked centuries of table-top culture and just couldn’t be shaken. People like to touch things in front of them, as opposed to the cinematic apparatus which is a pretty frightening apparatus when you get down to it. A lot of my algorithmic cinema work has actually tried to deal with these issues, and I’ve even just finished an article (a few days ago) that will explain some of my positions on these issues. I’ll post more when it is published.

14 January, 2006

Processing PDF

Filed under: code — Douglas Edric Stanley @ 23:55 pm

Processing to PDF icon

Just a quick post to mention that Processing Beta 101 is out and it includes PDF support. There are still some issues, but it’s good news. I whipped up a few test sketches (nothing worth sharing) and the system works great. It’s really nice to be able to switch between screen & print in the same tool. Here’s Ben Fry’s post giving some details on how to build a simple PDF illustration.

For a current project I’ve been looking at Scriptographer (which is also a cool website design, by the way). I’ve also been thinking of ressurecting some old Objective-C code and building a soup-to-nuts PDF constructor for this project. That obviously would be a lot of work. I also have some AppleScript code hanging around somewhere that would let me populate an InDesign layout with vectors and images generated from within Objective-C. But if I could somehow figure out how to get my project working with one of the Processing libraries or this new PDF support I would definitely prefer going the Processing route.

Whatever the case, Processing just keeps getting better and better.

12 January, 2006

“New Media…” Book Opening

Filed under: live — Douglas Edric Stanley @ 02:57 am

ZINC/ECM/Friche Bel de Mai ZINC/ECM/Friche Bel de Mai

  • Presentation: “Nouveaux medias, nouveaux langages, nouvelles écritures”
  • Participants: Jean Cristofol, Colette Tron, Douglas Edric Stanley, Emmanuel Verges, Editions L’entretemps
  • Time + Place: 18:30, 11 January 2006 @ Cabaret Aléatoire, Friche bel de mai

So we did our book opening this evening. I wasn’t really feeling so hot, so I rambled a bit. I also was taught that when you don’t have anything to say…

Jean Cristofol was brilliant as usual. Unfortunately, just as I actually found a topic I could sink my teeth into, and finally was able to eek out some sort of constructive debate, we broke off without any questions from the audience. Huh?

Now I remember why I hate round-table discussions. They’re designed to avoid any deep exploration of an idea, and people are basically asked to give their “opinion” on some arbitrary subject, which is just about one of the most useless things we have to offer one another. I’ll have to avoid these in the future.

One of the more interesting points Jean made this evening revolved around what he called a “dispositif matriciel”. He was arguing that the territory of digital art is in fact a shifting one (clearly), and cannot be lifted out of the contemporary social field, or delimited as some isolated event within that field. The transformations brought about by “New Media” cut across all fields, not just artistic ones. In fact, that we cannot even describe this field, and tend to call it names such as “New Media” attests to the fact that the dispositif, the apparatus, has yet to coalesce into a specific technical form such as cinema did, or photography before it. In fact he suggests that no such apparatus will arrive. It is precisely because we have not yet invented (and will not invent) the “dispositif matriciel”, the apparatus that opens up an entirely new field of artistic endeavour, that we profit from a speculative mode, all the more interesting as each apparatus is designed as a specific diagram of social, political, and technological relations. It’s the open nature of this field that gives it its force — and gives us such trouble with those that require a delimited category in order to be accepted as artistically valid (traditional/contemporary, same difference). For each apparatus offers its own reading of the power stuctures that organise us and our world.

There are of course, within the field of so-called “New Media” (as you can tell Jean and I dissed pretty heavily this term), certain apparatuses which seems to be opening up new fields, for example I suggested we look at Video Games as one such field. But none of these apparatuses represents the “dispositif matriciel” for the entirety of “New Media” as a whole. Hence the approximate nature of the term which ultimately will have to replaced with something else, something equally aproximative.

9 January, 2006

g.image

Filed under: atelier hypermedia, code — Douglas Edric Stanley @ 21:58 pm

Simple Happy New Year Program, Stéphane Cousot

Stéphane Cousot has been working the past few weeks for the Atelier Hypermedia on external Processing libraries. For the moment, his job has simply been to dig into the source code and report back on how the thing works. From there, he’ll start building additional libraries not yet available within the Processing community. My first request was for a true video export library, allowing us to directly build Quicktime movies within Processing, rather than exporting images one-by-one and then reassembling them in an external application. As reported elsewhere, I ultimately want to use Processing as a creative glue to hook up the various ateliers in the school, as our school project mandates: i.e. Video <> 3d <> Robotics <> Electronics <> Sound <> Printmaking, in no particular order.

From there we plan to expand into other neglected areas. Perhaps PDFs next (in fact Stéphane already built a prototype for such a library in a few minutes). Or perhaps something for building InDesign or xPress projects (anyone know a good open source alternative?). Our idea being that our needs in Aix-en-Provence pretty quickly exhaust the eternal spindly lines that often passes for cutting-edge Processing work. Of course we too so far have for the most part been generating nothing but eternal spindly lines in class, with the exception of some brilliant second year students a few weeks back (more on that later when their documentation is finished). Ultimately we want to move beyond that (next semester, for example), and we’re going to need more polyvalent tools to get some of that work done. Processing is for me the perfect base (simple, light, spare), but a base that only takes on it’s true potential when its fleshed out through libraries.

Anwyay, Stéphane has just posted a little snippet showing how to pull your image out of Processing. It’s pretty compact and obvious, and all the comments are in English. Check it out : SaveAsPNG. It makes it a lot clearer how Casey and Ben added access to the Java Graphics Context, and to the image generated inside of that context.

Yet Another Book on “New Media”

Filed under: live, publication — Douglas Edric Stanley @ 00:10 am

Book: Nouveaux medias, nouveaux langages, nouvelles écritures

  • Publication: Nouveaux medias, nouveaux langages, nouvelles écritures
  • Authors: Jean Cristofol, Colette Tron, Douglas Edric Stanley, Michel Simonot, Alain Giffard, Emmanuel Verges
  • Editor: Colette Tron
  • Publisher: L’Entretemps éditions
  • Public presentation: 18:30, 11 January 2006 @ Cabaret Aléatoire, Friche bel de mai

I’ve just been included in another collective publication. It’s called Nouveaux médias, nouveaux langages, nouvelles écritures, and was edited by Colette Tron from the ECM/Alphabetville projet at the Friche bel de mai in Marseille.

Alain Giffard is one of the contributors, as well as my friend and collaborator Jean Cristofol. My article is pretty wonky. The deal was this: we got together for two days of private presentations of each other’s work. We debated several subjets and basically opinionated on this and that. And while Jean and I pretty much rejected the whole “New Media” moniker — proposing instead a number of concepts we’ve been working on — we ended up with a book entitled “New Media, blah blah blah”. Ho hum. I could tell things were going in this direction, so I just slapped together a quick and dirty little article. Colette Tron didn’t like it, but Jean did, so I went with it. Apparently the publisher took to it as well, so there it is. Another little contribution.

Ludovic Burel was also part of the discussion, but decided to drop out for some reason when it came to writing an article. Too bad. We met back at the Villa Arson years ago, where we were both fish out of water : I as lepered-artist-in-residence-in-limbo, while he was working as an intern. He does cool in-your-face icon “selections” for Multitudes. By the way, he was the only one with decent shoes — figures, as he came from Paris.

We’ll be giving a presentation of the book at 18h30 on the 11th of January at the Cabaret Aléatoire, Friche bel de mai. Jean and I will be there.

If you can read French, there is more information on Alain Giffard’s blog.

8 January, 2006

Internet2 & the accident

Filed under: rant, abstractmachine, internet — Douglas Edric Stanley @ 17:28 pm

Route Barrée, groupe de punk rock

I’ve been offline from the Abstract Machine project for over two weeks, thanks to my Internet connection which is constantly on the brink. Often not enough to even get an email off. It’s been spotty for the past three months, but never enough to keep me from working. Until the Christmas period, that is, where it out-and-out died. Suddenly it’s back up, without explanation, leading me to a quick post before it dies again. It’s enough to drive you insane. My provider has changed hands an infinite number of times (five and counting) and has currently caught me up in the middle of a year-long contract with Alice who is incapable of staffing their hotline adequately. Imagine two weeks of automatic speed dialing only to be cut-off once you’ve finally played the n(0-9) multiple-choice game we all know and love.

It’s brought back an old debate for me, one I hadn’t followed in years : the question of the accident. Here’s a snippet, for example, from a recent interview with Paul Virilio, the latest inventor of this definition of technology as accident-producer:

On me reproche souvent de ne m’intéresser qu’aux accidents. Non, je ne m’intéresse qu’à la vitesse. Inventer le train, c’est inventer le déraillement. Inventer l’avion, c’est inventer le crash. Inventer l’arme atomique, c’est inventer la prolifération nucléaire. Autrement dit, la vitesse est un progrès. Mais également un progrès de la catastrophe. — Paul Virilio, in Libération 17-18 December 2005, p.47.

We’ve been hearing for the past few years, that Internet2 is on its way. O’Reilly has called it Web 2.0, but it’s more or less the same thing: the web as middleware, as application, as desktop — but more importantly as aggregator, as modular platform. It’s been something I’ve believed in ever since Netscape tried to do it back in the late 1990’s. I even tried to turn this Abstract Machine project into a sort of artistic .NET-competitor back in 2001, before the Villa Arson who was housing the project got cold feet and bailed out (or whimpered out the French way, by refusing all meetings and calls until you get the message). I never found anyone else to take over the project, so I moved on to other concerns. But I’ve totally gotten the middleware revolution for years, and have been trying to push into it, as can be seen through some of my students’ projects, for example the Webwaste project from 2001/2, or some workshops I organised at the Villa Arson or at ARI/ENSAD. My whole current argument about the definition of the word “Platform”, as can be found in the Jouable lectures and workshops, revolves around this belief. Even the latest Web class is a prelude to building aggregateable content.

But there’s obviously a flipside to this Web 2.0 euphoria, and that brings me a little closer to something Paul Virilio has been saying about the Internet for years. And although Virilio is ultimately a Luddite, he is a very prescient one, and maybe should be read a little more closely. While the Web 2.0 will open up spaces, as Virilio reminds us, it will invent a new form of accident, a new form of catastrophe, just as all technologies before. While my current pain is minor, it does give pause as to what the new form of accidents the Web might invent for us. We might also ask, from a creative point of view, what kind of Achilles Heel (cf. “Talon d’achille”) it might open up for us to exploit artistically.

Virilio is of course full of it when he claims that the Internet is collapsing collective urban space — that new technologies are allowing us to access remote spaces to the detriment of the local, of the “viare” — the rail, the road, the good-old-fashioned slow and continuous path :

Aujourd’hui, on vit la fin de la trame “viaire”, c’est-à-dire du contact avec le sol, la route, la rue, au profit d’une perception survolée et lointaine : celle des hélicoptères qui survolent la ville, ou des voitures qui passent à toute vitesse, sur une autoroute. On ne perçoit plus qu’à distance, c’est-à-dire de haut ou de loin. Les pouvoirs jouent la dissuasion pour que les gens restent chez eux. — Paul Virilio in “Liberation”, 17-18 December 2005, p.46

He is right in only the most superficial and obvious way. Sure, the continuity of localities are disrupted by the near-teleportation speeds of the new forms of displacement. But when I lived in Paris — perhaps the ultimate hypercity of the late 20th century — I was always amazed at the degree to which the RER, the Metro, the BUS, and the rue combined into one another, and more importantly opened up new forms of locality, and especially new communities, even forms of resistance. I did not find myself, contrary to what Virilio claims, to use these various forms of speed to jump over undesireable communities, in fact it was quite the contrary : they allowed me to develop new ones and integrate those with the most heterogeneous classes of the Parisian polis. I.e. while these forms might be designed to distance us, they in fact accelerate at the same time new forms of resistance to such a design. I remember in one of his seminars at the Collège Internationale de Philosophie he claimed that faster technologies always supplant slower ones: for example the escalator always supplants the stairs. Why do we still have so many stairs then, and often accompanying escalators? I asked him, to only receive a muddled reply. The obvious response should have been the constant breakdowns of the escalator, which he seems to suggest in other contexts, for example his discussions of train wrecks giving way to new railway safety systems. But even here I think there is something more complex at work.

The Web 2.0 people are good people, and join the positions of the geeky-types to those of more art-geek-types, such as Geert Lovink in After the Dot Com Crash or more recently via Pixelache and their Dot Org Boom conference. The later are of course critical looks at the evolution of the Web, but perhaps we haven’t been critical enough in our heterotopist euphoria to the still looming dark underbelly of the Internet, i.e. as a form of control.

Anyway, my local crash has led me to pull back on my latest architecture which was designed to allow me to work entirely off the web, in a totally transparent fashion. Basically I’ve spent the past four months working on a web-platform architecture for the Abstract Machine that, perhaps with the exception of the blog, becomes totally unoperational without 24/7 immediate and high-speed access. I’m definitely going to have to rethink my whole architecture.