|
|
| (14 intermediate revisions by 2 users not shown) |
| Line 1: |
Line 1: |
| == Chen ==
| | Result of inventory of incoming student tools in the form of laptop and the kinds of tools they use "every day". |
| MacBookPro 2010?
| |
| * TVPainter (ANimation software)
| |
|
| |
|
| == Tamas == | | {| class="wikitable sortable" |
| Windows XP / Windows 7 dual boot
| | |- |
| SP3
| | ! Student !! Computer !! Processor !! Video Card !! Operating System(s) !! "daily tools"!! Notes |
| CyberPower Inc | | |- |
| AMD Turion 64 | | | Chen || MacBookPro 2010 || ? || ? || OS X || TVPainter (Animation software) || - |
| NVIDIA GeForce 7600 Go | | |- |
| Planning on wiping / replace | | | Tamas || CyberPower || AMD Turion 64 || NVIDIA GeForce 7600 Go || Windows XP, Windows 7 || NotePad++, VIM, |
| * Note Pad ++
| | Photoshop || Planning on wiping / erasing |
| * VIM
| | |- |
| * Photoshop
| | | Luisa || ASUS N50Vn || Core2Duo T9400 || NVIDIA GeForce 9650 || Windows Vista || Photoshop, InDesign, Illustrator, VectorWorks || - |
| | |- |
| | | Lucia || Acer Aspire || - || - || Windows Vista, Ubuntu 12.04 || Adobe CS, Komodo, Firebug || Fine tuning, still some problems (wireless not working?) |
| | |- |
| | | Lidia || MacbookPro 2013 || - || - || OSX 10.8.4, VirtualBox running Ubuntu || Adobe Creative Suite, Illustrator, Premiere, TextEdit / Open Office (trying) |
| | |- |
| | | Henk-Jelle || MacbookPro 2011 || - || - || OSX || ProTools, Ableton, Logic, CS Suite 6, Max MSP, After Effects (some) || - |
| | |- |
| | | Mihail || - || - || - || - || Adobe CS, Hackintosh, Final Cut || looking into a new laptop |
| | |- |
| | | Caetano || Lenovo i500 || i7 || NVIDIA || Windows 8, Crunchbang? || Guitar pedals, After Effects, Sublime Text, Live, Ableton, Blender (starting), QuickTime 7! || Menacing red light emanates from keyboard |
| | |- |
| | | Max || MacBook Pro || i5 || NVIDIA GF 330M+Intel HD || OSX 10.6.8 || Adobe CS6, Lots of smaller tools, After Effects, Adobe Premier, Final Cut, Sublime Text, MadMapper, VidVox (VJing software), Processing || - |
| | |- |
| | | Nik || HP || i5 || Radeon || Windows 8 || GIMP, Audacity, Blender, Processing, Different Online Tools (http://pixlr.com for instance) || - |
| | |- |
| | | Artyom || MacBookPro 2011 || i7 || ? || OS X.10.6.8 || ... || - |
| | |- |
| | | Elleke || MacBookPro 2012 || ? || ? || OS X.8 || ... || - |
|
| |
|
| == Lucia ==
| | |} |
| Vista
| |
| ASUS N50Vn, Core2Duo T9400
| |
| NVIDIA GeForce 9650
| |
| * Photoshop, InDesign, Illustrator
| |
| * VectorWorks
| |
| | |
| == Lidia ==
| |
| Desktop Mac / Adobe CS...
| |
| Komodo for code editing
| |
| Browser, Firebug
| |
| | |
| == Luisa ==
| |
| Acer Aspire ... Windows Vista / Ubuntu 12.04 installed everything working!
| |
| fine tuning... old problems
| |
| Mac 10.8.4
| |
| MacbookPro 2013
| |
| VirtualBox running Ubuntu 12?
| |
| * Adobe Creative Suite, Illustrator, Premiere
| |
| * TextEdit / Open Office (trying)
| |
| | |
| == Henk-Jelle ==
| |
| MacBookPro 2011
| |
| * ProTools (not using because of dongle)
| |
| * Ableton
| |
| * Logic
| |
| * CS Suite 6
| |
| * Max MSP
| |
| * After Effects (used for CE)
| |
| | |
| == Michel ==
| |
| About to get laptop
| |
| * Adobe CS
| |
| * Mac (had an early PPC)
| |
| Hackintosh on PC
| |
| * Final Cut (bg photography and video)...
| |
| coding new
| |
| | |
| == Caetano ==
| |
| Window 8
| |
| Lenovo i500 i7 / NVIDIA + CrunchBang?
| |
| * Guitar pedals
| |
| * After Effects
| |
| * Sublime Text
| |
| * Blender (starting)
| |
| * Live / Ableton
| |
| * QuickTime 7
| |
| | |
| == Max ==
| |
| MacBook Pro (older?)
| |
| Core i5 / NVIDIA GF 330M + Intel HD
| |
| OS 10.6.8
| |
| * Adobe * CS6 licensing issues...
| |
| * Lots of smaller
| |
| * After Effects / Adobe Premiere / Final Cut
| |
| * Sublime Text but not using
| |
| * MadMapper / VidVox VJing softwares
| |
| * Processing
| |
| | |
| == Nik ==
| |
| HP Corei5/Radeon graphics
| |
| * GIMP, Audacity
| |
| * Blender, Processing
| |
| * Online tools: pixlr.com
| |
| Windows 8
| |
| | |
| | |
| | |
| | |
| | |
| | |
| | |
| | |
| Asus
| |
| | |
| | |
| | |
| | |
| | |
| [[File:Token ring.png]]
| |
| | |
| == Plan for day ==
| |
| | |
| 1. Paper Cadavre Exquis (optional?...,maybe just start with this as intro...)
| |
| 2. Inventory of tools/work practices (wiki registration ?)
| |
| 3. Digital Cadavre Exquis (memory sticks)
| |
| 4. Corset, Skin, Skeleton
| |
| | |
| ... break? ...
| |
| | |
| 5. Python introduction exercise + Turtle Time
| |
| | |
| | |
| == Prototyping ==
| |
| | |
| Prototyping is about:
| |
| | |
| * Decomposable Systems not Suites (building a toolbelt / toolbox)
| |
| * Software as something inherently social
| |
| * Promiscuous Pipelines
| |
| | |
| == From Suites to Systems ==
| |
| | |
| Conscientious decision to avoid teaching "suites" or particular environments / frameworks / IDE as *exclusive* or ideal for learning & practice environments. Instead interest in decomposable systems and the interrelated parts that can be deconstructed, inspected, and rebuilt.
| |
| | |
| > IMAGE: SUITE
| |
| > IMAGE: DECOMPOSABLE (LINUX?)
| |
| | |
| == Universal Machine ==
| |
| | |
| >> UNIVERSAL MACHINE / IMAGE / ANIMATION ?!
| |
| | |
| In Turing's case, the "machine" was purely conceptual, a "Universal Machine" articulated as a mathematically sound description of machine based on an "infinite tape" and kind of operating manual that strictly defines what the machine does at each moment.
| |
| | |
| == Software ==
| |
| Software as a term can be traced to Alan Turing.
| |
| | |
| "Soft" and "hard" refer then to the interplay of malleable code (formed typically in text), and rigid hardward (typically implented in chips and circuit boards).
| |
| | |
| Interesting Turings machine broke the mold of the "machine" as being literall hard-wired to purpose. New functionalities / new kinds of machines as it were, could be sculpted by virtue of carefully constructing a new sequence of symbols on the tape that would produce the desired "computation" to occur when the machine would run. In describing this model, Turing also realised the potential profesion for writing the "software" of such a malleable/programmable machine.
| |
| | |
| == Shared and networked practices ==
| |
| * Authorship
| |
| * Sharing
| |
| * Work practices / Professionalisation/Amateurism
| |
| | |
| == Sociality of software: Four Freedoms ==
| |
| | |
| To summarize the idea of [[Free software]], people sometime refer to the "four freedoms":
| |
| | |
| * Use
| |
| * Study
| |
| * Share
| |
| * Improve
| |
| | |
| >> LINK
| |
| | |
| == Factory Pipelines ==
| |
| | |
| As epitomized by Henry Ford and the concept of the factory assembly line
| |
| >> Image: Modern Times ?! ... Foxconn ?!
| |
| | |
| * Efficiency, Optimisation
| |
| * Elimination of Redundancy
| |
| * Rigid, Fragile
| |
| | |
| == Promiscuous Pipeline ==
| |
| | |
| * Construction through making novel connections
| |
| * Working in a network (tools that have history, social dimension of use)
| |
| * Exploiting richness of different practices to multiplicatively produce and suggest new practices, expose hidden "inner" realities of existing ones
| |
| * Cross disciplinarity
| |
| * Interrogability / Editability at all stages
| |
| * Parallelism / Simultaneity
| |
| * Embrace Redundancy / Overloadedness
| |
| | |
| >> Image ?
| |
| | |
| == Corsets and Skeletons ==
| |
| | |
| <blockquote>
| |
| In the French Open Source content management system Spip, the set of scripts which define the lookandfeel of a site is called Squelettes (French for Skeleton). This is quite a different understanding than template (sjabloon in Dutch), the term commonly used in English speaking systems such as Wordpressv, Drupal or Zope.
| |
| | |
| While templates are molds, defining the border around what is in or out... skeletons are backbones, core structures that can hold very different bodies.
| |
| </blockquote>
| |
| | |
| Image: Corset Image from CSS
| |
| | |
| [[Corset, Skin, Skeleton]], [[Femke Snelting]]
| |
| | |
| == Coding a Template ==
| |
| | |
| <blockquote>
| |
| Coding a template is an interesting design exercise because unlike traditional designon paper, specific connections between image and text are hard to realise. Design choices have become fixed rules using conditional language (every second title should be red); and its resulting grid systems do not allow for any exception to the rule.
| |
| | |
| When design decisions are based on nothing more than a global sense of the nature and format of the data that will appear as header, footer, or body... than templates end up as collections of clichés, essentially functioning just like stock photography – because all you can do is prepare for the mediocre, the common denominator.
| |
| </blockquote>
| |
| [[Corset, Skin, Skeleton]], [[Femke Snelting]]
| |
| | |
| == Playing the template ==
| |
| | |
| <blockquote>
| |
| Zvezdostella Mission to the Magellanic Clouds, Lialiana presents the adventures of the cryonic space traveller in a breathtaking cadavre exquis.
| |
| </blockquote>
| |
| | |
| > LINK
| |
| | |
| [[Corset, Skin, Skeleton]], [[Femke Snelting]]
| |
| | |
| (See Also: Form art of [[Alexei Shulgin]])
| |
| | |
| == Mixing Identities ==
| |
| | |
| <blockquote>
| |
| “You shouldn't mix up your identities” warns the handbook for Smarty, a templating language. “Most often, designers are also programmers to some extent and vice versa. While designing you must totally forget that you are also a programmer and look at things only from a designer's perspective. If you mixup your identities, there will be a great risk of nonstandard designs.”
| |
| </blockquote>
| |
| | |
| [[Corset, Skin, Skeleton]], [[Femke Snelting]]
| |
| | |
| == Cutting the word up, open and into process ==
| |
| | |
| <blockquote>
| |
| To imagine yourself in another place might save you from the all to tight corset of conventional forms of use, reinscribed by conventional forms. To be able to shift the work of template design away from 'setting restraints' to 'making possible', from setting borders to creating flexible backbones. We need to develop imaginative practices of trial and error, messy interdisciplinary work between programmers and designers.
| |
| | |
| Matthew Fuller, who wrote amongst many other things a must read analysis of Microsoft Word, formulates it much better: “This strategy of focusing on precise technical conflicts needs now to be intensified by drawing in antagonisms from supposedly separate fields. Geek drives to innovation must, as awkwardly and confusingly as it will happen, be coupled with the drive to make language, to cut the word up, open, and into process” x
| |
| </blockquote>
| |
| | |
| [[Corset, Skin, Skeleton]], [[Femke Snelting]]
| |
| | |
| | |
| == Mixing Media ==
| |
| | |
| <blockquote>
| |
| Agglomeration of media? Pick a Web site, any Web site: you are process-
| |
| ing text as ASCII, text as code, text as a graphic file or textual symbols gen-
| |
| erated by a script using vectors; images as bitmaps or vectors; video and audio
| |
| streaming according to different coding and decoding protocols, themselves
| |
| multilayered aggregations of algorithmically switching decision-trees, vari-
| |
| ables and loops coming into layered composition with other such protocols;
| |
| data as data, formatted and interrogable by the conventions and procedures
| |
| of naming, sampling, addressing, encoding, compressing, decoding, sending,
| |
| receiving, storing, encrypting; movies, animation front ends unwritable
| |
| without a compiler, unreadable without a decompiler. What happens to media
| |
| when they are mixed? One first has to ask whether they mix at all. Perhaps,
| |
| rather than the anticipated fusion of all media, the disturbance of digitality
| |
| is its inherent scalar differentiation of parts. Perhaps, just as misplaced con-
| |
| creteness reifies the world to make it work in certain ways, a system built on
| |
| bits can call into being only its same?
| |
| </blockquote>
| |
| | |
| [[Media Ecologies]], [[Matthew Fuller]] (book:p117/pdf:p132)
| |
| | |
| == Seamly Sites ==
| |
| | |
| <blockquote>
| |
| What the Cctv site exploits is the combination of these elements. Their
| |
| combination occurs in the interpretation of the webcam feed by the viewer.
| |
| In the comprehension of the image as an image in real time comes also that
| |
| of the image as a process. Digital images—especially in such a visibly raw,
| |
| low-bandwidth state—demand to be understood as a computational and algo-
| |
| rithmic process. The computer cannot be seen simply as a seamless personal
| |
| media player for all media nor as the ultimate coding and decoding appara-
| |
| tus for the GKW. Here, if Hilliard’s A Camera Recording . . . demonstrates the
| |
| geometrization of vision and the camera’s function as a thickener of the inter-
| |
| play between extensive and intensive qualities, we can say also that Cctv allows
| |
| for such findings to be brought into relation with Virilio’s mapping of the
| |
| apparatuses of sight and their inherent conjugation of scalar fields of percep-
| |
| tion with dimensional relations of control.124 The image cuts into the flow of
| |
| life, detours it into an object and into a memorial trace, but also gives it a
| |
| new opportunity to be launched.
| |
| </blockquote>
| |
| | |
| [[Media Ecologies]], [[Matthew Fuller]], (book:156/pdf:171)
| |
| | |
| == BREAK ==
| |
| | |
| == An introduction to Python ==
| |
| | |
| Following OpenTechSchool's Introduction to Python [[LINK]]
| |
| | |
| * See also: [[Turtle graphics]]
| |
| | |
| * Talking Turtle: Video
| |
| * Python: Code Swarm
| |
| * Why Python?
| |
| | |
| == For next week ==
| |
| | |
| Make sure you feel comfortable with the Python/Turtle Exercises
| |
| (Namely combining function+loop)
| |
