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WORDS MADE FLESH Code, Culture, Imagination Florian Cramer
WORDS MADE FLESH Code, Culture, Imagination Florian Cramer Me dia De s ign Re s e arch Pie t Z w art Ins titute ins titute for pos tgraduate s tudie s and re s e arch W ille m de Kooning Acade m y H oge s ch ool Rotte rdam 3 ABSTRACT: Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and exper- imental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that en- compasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persis- tence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh. Media Design Research Piet Zwart Institute institute for postgraduate studies and research Willem de Kooning Academy Hogeschool Rotterdam http://www.pzwart.wdka.hro.nl The author wishes to thank Piet Zwart Institute Media Design Research for the fellowship on which this book was written. Editor: Matthew Fuller, additional corrections: T. Peal Typeset by Florian Cramer with LaTeX using the amsbook document class and the Bitstream Charter typeface. Front illustration: Permutation table for the pronounciation of God’s name, from Abraham Abulafia’s Or HaSeichel (The Light of the Intellect), 13th century c 2005 Florian Cramer, Piet Zwart Institute Permission is granted to copy, distribute and/or modify this document under the terms of any of the following licenses: (1) the GNU General Public License as published by the Free Software Foun- dation; either version 2 of the License, or any later version. -
The Impact of New Technologies on the Development of Architecture Julia Walker
The Impact of New Technologies on the Development of Architecture Julia Walker A view of the history of architectural technology can help us understand the stakes involved in the construction of buildings of different periods, styles, and structural systems. It can also help clarify why certain forms arose at particular moments in history, at specific sites, and under specific conditions. In all eras and geographical locations, technological innovation has influenced the development of architecture. This innovation has taken various forms—sometimes manifesting as new materials, either manmade or natural, and sometimes as new design tools or structural methods. The practical necessities of any given moment determine the technology that will arise to suit these demands, whether it relates to shelter, fortification, or religious ideas. Technology has been used to solve practical problems, but also to create symbolic orders, such as the assertion of human will over natural forces that arose in prehistoric building. Since antiquity, architects have stressed the significance of such knowledge to their field; the Roman architect and theorist Marcus Vitruvius Pollio (see box text on p. 174), for example, was trained as an engineer and frequently underscored the importance of technological understanding to the execution of architecture. In fact, we see this theme repeated in architectural theory across the globe. The Manasara-silpasastra, a seventh- century Indian building manual named for its author (see box text on p. 273), and the Chinese treatise Yingzao Fashi by Li Jie, a Song Dynasty book of architectural standards (see box text on p. 435), likewise argue that no architect can prosper without a thorough technical education. -
Software Art: Image
NYUAD - Interactive Media Syllabus Software Art: Image NYU Abu Dhabi — Interactive Media SOFTWARE ART: IMAGE IM-UH 2115 Fall 2017 COURSE SYLLABUS Instructor Pierre Depaz ([email protected]) Meeting Time Tuesday — 10:25AM - 1:05PM Thursday — 11:50AM - 1:05PM Classroom C3-153 Office C3-032 Office Hours Open-door policy Credits 2 Class website https://github.com/pierredepaz/software-art-image !1 of !12 NYUAD - Interactive Media Syllabus Software Art: Image This course counts towards the following NYUAD degree requirement: • Multidisciplinary Minors > Interactive Media • Majors > Art and Art History Course Description Although computers only appeared a few decades ago, automation, repetition and process are concepts that have been floating around artists’ minds for almost a century. As machines enabled us to operate on a different scale, they escaped the domain of the purely functional and started to be used, and understood, by artists. The result has been the emergence of code-based art, a relatively new field in the rich tradition of arts history that today acts as an accessible new medium in the practice of visual artists, sculptors, musicians and performers. Software Art: Image is an introduction to the history, theory and practice of computer-aided artistic endeavours in the field of visual arts. This class will focus on the appearance of computers as a new tool for artists to integrate in their artistic practice, how it shaped a specific aesthetic language and what it reveals about technology and art today. We will be elaborating and discussing concepts and paradigms specific to computing platforms, such as system art, generative art, image processing and motion art. -
Fractal 3D Magic Free
FREE FRACTAL 3D MAGIC PDF Clifford A. Pickover | 160 pages | 07 Sep 2014 | Sterling Publishing Co Inc | 9781454912637 | English | New York, United States Fractal 3D Magic | Banyen Books & Sound Option 1 Usually ships in business days. Option 2 - Most Popular! This groundbreaking 3D showcase offers a rare glimpse into the dazzling world of computer-generated fractal art. Prolific polymath Clifford Pickover introduces the collection, which provides background on everything from Fractal 3D Magic classic Mandelbrot set, to the infinitely porous Menger Sponge, to ethereal fractal flames. The following eye-popping gallery displays mathematical formulas transformed into stunning computer-generated 3D anaglyphs. More than intricate designs, visible in three dimensions thanks to Fractal 3D Magic enclosed 3D glasses, will engross math and optical illusions enthusiasts alike. If an item you have purchased from us is not working as expected, please visit one of our in-store Knowledge Experts for free help, where they can solve your problem or even exchange the item for a product that better suits your needs. If you need to return an item, simply bring it back to any Micro Center store for Fractal 3D Magic full refund or exchange. All other products may be returned within 30 days of purchase. Using the software may require the use of a computer or other device that must meet minimum system requirements. It is recommended that you familiarize Fractal 3D Magic with the system requirements before making your purchase. Software system requirements are typically found on the Product information specification page. Aerial Drones Micro Center is happy to honor its customary day return policy for Aerial Drone returns due to product defect or customer dissatisfaction. -
Great Inventors of the Ancient World Preliminary Syllabus & Course Outline
CLA 46 Dr. Patrick Hunt Spring Quarter 2014 Stanford Continuing Studies http://www.patrickhunt.net Great Inventors Of the Ancient World Preliminary Syllabus & Course Outline A Note from the Instructor: Homo faber is a Latin description of humans as makers. Human technology has been a long process of adapting to circumstances with ingenuity, and while there has been gradual progress, sometimes technology takes a downturn when literacy and numeracy are lost over time or when humans forget how to maintain or make things work due to cataclysmic change. Reconstructing ancient technology is at times a reminder that progress is not always guaranteed, as when Classical civilization crumbled in the West, but the history of technology is a fascinating one. Global revolutions in technology occur in cycles, often when necessity pushes great minds to innovate or adapt existing tools, as happened when humans first started using stone tools and gradually improved them, often incrementally, over tens of thousands of years. In this third course examining the greats of the ancient world, we take a close look at inventions and their inventors (some of whom might be more legendary than actually known), such as vizier Imhotep of early dynastic Egypt, who is said to have built the first pyramid, and King Gudea of Lagash, who is credited with developing the Mesopotamian irrigation canals. Other somewhat better-known figures are Glaucus of Chios, a metallurgist sculptor who possibly invented welding; pioneering astronomer Aristarchus of Samos; engineering genius Archimedes of Siracusa; Hipparchus of Rhodes, who made celestial globes depicting the stars; Ctesibius of Alexandria, who invented hydraulic water organs; and Hero of Alexandria, who made steam engines. -
Human Brain Evolution, Theories of Innovation, and Lessons
MAX-PLANCK-INSTITUT FÜR WISSENSCHAFTSGESCHICHTE Max Planck Institute for the History of Science 2004 PREPRINT 254 Alfred Gierer Human Brain Evolution, Theories of Innovation, and Lessons from the History of Technology Human Brain Evolution, Theories of Innovation, and Lessons from the History of Technology1 Alfred Gierer Max-Planck-Institute for Developmental Biology, T¨ubingen Abstract Biological evolution and technological innovation, while differing in many respects, also share common features. In particular, the implementation of a new technology in the market is analogous to the spreading of a new genetic trait in a population. Technological innovation may occur either through the accumulation of quantitative changes, as in the development of the ocean clipper, or it may be initiated by a new combination of features or subsystems, as in the case of steamships. Other examples of the latter type are electric networks that combine the generation, distribution, and use of electricity, and containerized transportation that combines standardized containers, logistics, and ships. Biological evolution proceeds, phenotypically, in many small steps, but at the genetic level novel features may arise not only through the accumulation of many small, common mutational changes, but also when dis- tinct, relatively rare genetic changes are followed by many further mutations. New evolutionary directions may be initiated by, in particular, some rare combinations of regulatory sections within the genome. The combinatorial type of mechanism may not be a logical prerequisite for bio- logical innovation, but it can be efficient, especially when novel features arise out of already highly developed systems. Such is the case with the evolution of general, widely applicable capabilities of the human brain. -
Transformations in Sirigu Wall Painting and Fractal Art
TRANSFORMATIONS IN SIRIGU WALL PAINTING AND FRACTAL ART SIMULATIONS By Michael Nyarkoh, BFA, MFA (Painting) A Thesis Submitted to the School of Graduate Studies, Kwame Nkrumah University of Science and Technology in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY Faculty of Fine Art, College of Art and Social Sciences © September 2009, Department of Painting and Sculpture DECLARATION I hereby declare that this submission is my own work towards the PhD and that, to the best of my knowledge, it contains no material previously published by another person nor material which has been accepted for the award of any other degree of the University, except where due acknowledgement has been made in the text. Michael Nyarkoh (PG9130006) .................................... .......................... (Student’s Name and ID Number) Signature Date Certified by: Dr. Prof. Richmond Teye Ackam ................................. .......................... (Supervisor’s Name) Signature Date Certified by: K. B. Kissiedu .............................. ........................ (Head of Department) Signature Date CHAPTER ONE INTRODUCTION Background to the study Traditional wall painting is an old art practiced in many different parts of the world. This art form has existed since pre-historic times according to (Skira, 1950) and (Kissick, 1993). In Africa, cave paintings exist in many countries such as “Egypt, Algeria, Libya, Zimbabwe and South Africa”, (Wilcox, 1984). Traditional wall painting mostly by women can be found in many parts of Africa including Ghana, Southern Africa and Nigeria. These paintings are done mostly to enhance the appearance of the buildings and also serve other purposes as well. “Wall painting has been practiced in Northern Ghana for centuries after the collapse of the Songhai Empire,” (Ross and Cole, 1977). -
Guide to Digital Art Specifications
Guide to Digital Art Specifications Version 12.05.11 Image File Types Digital image formats for both Mac and PC platforms are accepted. Preferred file types: These file types work best and typically encounter few problems. tif (TIFF) jpg (JPEG) psd (Adobe Photoshop document) eps (Encapsulated PostScript) ai (Adobe Illustrator) pdf (Portable Document Format) Accepted file types: These file types are acceptable, although application versions and operating systems can introduce problems. A hardcopy, for cross-referencing, will ensure a more accurate outcome. doc, docx (Word) xls, xlsx (Excel) ppt, pptx (PowerPoint) fh (Freehand) cdr (Corel Draw) cvs (Canvas) Image sizing specifications should be discussed with the Editorial Office prior to digital file submission. Digital images should be submitted in the final size desired. White space around the image should be removed. Image Resolution The minimum acceptable resolution is 200 dpi at the desired final size in the paged article. To ensure the highest-quality published image, follow these optimum resolutions: • Line = 1200 dpi. Contains only black and white; no shades of gray. These images are typically ink drawings or charts. Other common terms used are monochrome or 1-bit. • Grayscale or Color = 300 dpi. Contains no text. A photograph or a painting is an example of this type of image. • Combination = 600 dpi. Grayscale or color image combined with a line image. An example is a photograph with letter labels, arrows, or text added outside the image area. Anytime a picture is combined with type outside the image area, the resolution must be high enough to maintain smooth, readable text. -
David Rosenberg's July 2013 / 2018 Interview with Miguel Chevalier
David Rosenberg’s July 2013 / 2018 Interview with Miguel Chevalier Flows and Networks David Rosenberg: Can you tell me what led you, starting in the early 1980s, to use computer applications as a means of artistic expression? Miguel Chevalier: I was very much interested in the video work of the South Korean artist Nam June Paik and in Man Ray’s rayographs. And the work of Yves Klein and Lucio Fontana constituted at that time for me two forms of pictorial absolutism, but I did not yet clearly see how one could go beyond all those avant-garde movements. In the early 1980s, at the Fine Arts School in Paris, several of us young students asked ourselves what was to do done after all these “deconstructions” and negations of the field of art and painting. This was, need it be recalled, a time when, for example, Daniel Buren said he represented the “degree zero” of painting. For my part, I felt far removed from Graffiti Art, from Free Figuration, from the German Neo-Expressionists, and from the Italian painters who had gathered around the art critic Achille Bonito Oliva. I wanted to explore still-virgin territories and create a new form of composition with the help of computer applications. D.R.: You took a special set of courses in this area? M.C.: No, not at all. I really approached computers and programming as an artist and an autodidact. During this period, there was no instruction in these areas in art schools in France. D.R.: And how were your research efforts perceived? M.C.: With a lot of scepticism. -
Education + Technology + Innovation = Learning? T
Thank you for downloading Education + Technology + Innovation = Learning? T. V. Joe Layng and Janet S. Twyman from the Center on Innovations in Learning website www.centeril.org This report is in the public domain. While permission to reprint this publication is not necessary, it should be cited as: Layng, T. V. J., & Twyman, J. S. (2013). Education + technology + innovation = learning? In M. Murphy, S. Redding, & J. Twyman (Eds.), Handbook on innovations in learning (pp. 13 –1 ). Philadelphia, PA: Center on Innovations in Learning, Temple University; Charlotte, NC: Information Age Publishing.3 48 Retrieved from http://www.centeril.org/ 2 <body> e = mc2 e = mc </body> </html> Part 3 Technology in Learning Innovation Education + Technology + Innovation = Learning? T.V. Joe Layng and Janet S. Twyman Close your eyes, and think of the word “technology.” What thoughts and images come to mind? Your smart phone? Computers? Hardware or digital head? Now, pause to pay attention to the feelings that you associate with “tech- nology”?things, or Do information you feel comfortable, in bits and bytes or sense floating stirrings around of concern? in the “cloud” Is there above eager your- Technology is the use and knowledge of tools, techniques, systems, or meth- ness, or do you have a sense that things could very easily be out of control? ods in order to solve a problem or serve some purpose. What we view as new technology evolves and advances persistently. A technological innovation— stone tools—is said to be a driver behind early human migration (Jacobs et al., 2008). Agriculture and pottery were innovative “technologies” to our Neolithic - ancestors (Cole, 1970), as was the light bulb to Edison and his contemporaries (Hargadon & Douglas, 2001). -
History of Science and History of Technology (Class Q, R, S, T, and Applicable Z)
LIBRARY OF CONGRESS COLLECTIONS POLICY STATEMENTS History of Science and History of Technology (Class Q, R, S, T, and applicable Z) Contents I. Scope II. Research strengths III. General collecting policy IV. Best editions and preferred formats V. Acquisitions sources: current and future VI. Collecting levels I. Scope This Collections Policy Statement covers all of the subclasses of Science and Technology and treats the history of these disciplines together. In a certain sense, most of the materials in Q, R, S, and T are part of the history of science and technology. The Library has extensive resources in the history of medicine and agriculture, but many years ago a decision was made that the Library should not intensively collect materials in clinical medicine and technical agriculture, as they are subject specialties of the National Library of Medicine and the National Agricultural Library, respectively. In addition, some of the numerous abstracting and indexing services, catalogs of other scientific and technical collections and libraries, specialized bibliographies, and finding aids for the history of science and technology are maintained in class Z. See the list of finding aids online: http://findingaids.loc.gov/. II. Research strengths 1. General The Library’s collections are robust in both the history of science and the history of technology. Both collections comprise two major elements: the seminal works of science and technology themselves, and historiographies on notable scientific and technological works. The former comprise the original classic works of science and technology as they were composed by the men and women who ushered in the era of modern science and invention. -
NANCE PATERNOSTER Digital Artist - Compositor - Instructor 503 • 621 • 1073
NANCE PATERNOSTER Digital Artist - Compositor - Instructor 503 • 621 • 1073 OBJECTIVE: Working in a Creative Capacity for Apple Computer or Adobe Products Digital Compositing, Motion Graphics & Special Effects Animation Creating Digital Art & Animated Sequences Teaching in an Animation Department at an Art School EDUCATION: MA 1993 – San Francisco State University Masters in Computer & Film Animation/Video Disk Technology BFA 1984 - Syracuse University: Syracuse, New York Art Media Program: Computer Graphics Major/College of Visual & Performing Arts (Film, Video, Photo. & Computer Graphics/Programming - Fine Art Emphasis) Additional Computer Graphics Training: Art Institute of Portland - Maya Courses Academy of Art College 1994; Pratt Institute, N.Y., NY 1985; The School of Visual Art, NY 1984 N.Y. Institute of Technology 1984-1985; Pratt Brooklyn, 1985 Center for Electronics Arts, S.F., CA 1988-1989 COMPUTER GRAPHIC EQUIPMENT Platforms - Mac/SGI/PC Software - Flame, After Effects Photoshop, Illustrator, Painter, Quark Some - Maya, Max, Lightwave, Soft Image Xaos Tools - Pandemonium, NTITLE Some - Avid, Final Cut, Premiere Amazon Paint 2D/3D, PIRANHA Unix, Dos, + Some C++, Pascal, Fortran, Javascript , HTML Additional Photography, Stereo Photography. Analog and Digital Video editing, Film editing. RELATED WORK: Art Institute of Portland - Adjunct Faculty VEMG/DFV Depts. - Present Pacific Northwest College of Art - Adjunct Faculty - Present Art Institutes Online - Adjunct Faculty - Present Art Institutes Online- Full Time Faculty - Animation Department - 2006-2007 Art Institute of Portland - Full Time Faculty - Animation Department Teaching Compositing, Motion Graphics, Special FX Animation, Advanced Image Manipulation, Digital Paint, Independent Study for Senior Animation Students, & Digital Portfolio. 2000 - 2005 Art Institutes Online - Adjunct Faculty - Game Art & Design Department Teaching Digital Ink & Paint Online, 2D Animation, Image Manipulation.