For this project, I decided not to do a traditional clock that measure regular time, but a biological clock that measure the pain level of cramps over time during menstrual cycle. The level of pain is represented by the amount of wine in the wine glass. The day is represented by the darkness of the color of the wine. Every time a pain killer is consumed, a person would appear and drink the wine. The pain killer also appears overtime, and the amount consumed is displayed with text. At the end of every cycle, a black screen will appear with a message(shown above).
For demonstration purposes, I scaled the time down. So the wine glass will refill every minute.
Record the current time using disney/pixar references. One petal fall every 10 minutes, like beauty and the beast. When all the petals fall, one balloon from the house from Up fly away, and the house lowers. When the house is on the ground at midnight, the beast turns into a prince, the house land on the cliff, and cinderella’s glass slippers fall.
Record pain level over time during menstrual cycles using the vibrancy and hue of colors. I’m planning on coding a glass and wine, the pain level is measured by the amount of wine in the glass. Whenever it’s time to eat pain killers(every 8 hours), the wine will be drank by a person.
Record the current time with dominos. The dominos will be in 3 different sizes, each representing seconds, minutes, and hours. 60 smaller dominos will push one bigger domino.
In his work “Kiss”, Luke DuBois visualized 50 iconic embraces from the history of cinema through a non-photorealistic rendering technique developed by the artist. The technique analyzes the footage by looking at details in the source that resemble the lips of the kissing actors and redrawing them with points tinted to match the colors of the original film. The data used in this project are the vertex of the figures within the images. These are most likely detected by identifying a high contrast in color between two nearby pixels. The software then connect all the dots to create a work of moving string art that entwines the actors performing the kiss in a new, geometric embrace of connecting lines.
Only the highlights of the lips, hair, and clothing are emphasized and tinted, while other parts of the images was filled in by the lines created by vectorization. Dubois prioritized the forms and movement of the points. He did not put much emphasize on recreating the color scheme of the films featured in the video. He also left out the background, leaving an empty space in between the human figures and in the background.
For this project, I coded a portrait of my friend Gray. I decided to use geometric shapes and shading to create an image as close to my sketch as possible.
I encountered a lot of problems while coding my figure’s clothing. In the sketch, my friend is wearing a plaid jacket. This pattern was very hard to code, so I decided to change it into a line pattern that somewhat mimic the plaid he’s wearing. To do so I used nested for loops that help me draw a line segment repeatedly within a boundary. Making variations of the static face wasn’t really hard for me. When I first coded my face, I already used a lot of variables so that I can reposition shapes easily. Therefore, to make my variable faces, I simply put my variables in the mousePressed function so they change every time I click the screen.
In his project, Deslauriers used the rendering algorithm to create his generative art. Each particle is rendered as a small line segment in the direction of its velocity. The scale of the noise is randomized so that some lines curl tightly, while others head straight. Deslauriers also used photos of snails, flowers, architecture, and geometry as guides to make the renderings look a little more polished. The particles sample a black and white image, and the luminance value of the image determines parameters such as noise scale and line thickness. When choosing colors, Deslauriers used popular colors in design communities rather than pick schemes by hand.
color palette
Deslauriers’ work relies more on the artist’s creativity. As explained, the programmer made the decision of the color palette used in his work. The randomized noise value and line thickness are also determined by images chosen by the programmer. Therefore, the computer’s role in the making of this art is very passive.
Machines can randomize, but it can never be original. They learn from patterns and programmers’ instructions. Everything created by a computer comes from a pattern or image that it has seen before. This is the same for human — all of our ideas come from previously seen objects, but the way of how we put images together makes us creative. Computers cannot do so. They might be able to randomize locations or shapes, but in most cases they are instructed by a programmer to do so.Similarly, human aesthetics cannot be formalized or proceduralized. The human mind thinks freely, and is not controlled by boundaries. A programmer can always use computers to express or recreate a piece of art, but the computer itself can never mimic the creative process of a human.
I think for a machine, making art to satisfy human aesthetics can be hard. Human’s beauty standards are constantly changing, and for computers to realize that pattern is really hard. Human on the other hand, might not have the ability to appreciate a computer generated artwork. Therefore, it’s pretty hard for a computer to make good art.
Hodgin created a stippling algorithm for reproducing images as dot patterns using p5js. Whenever an image is loaded, the pixel information of that image is stored in an array. The space on the screen is populated with magnetic particles that spread out by pushing away other particles.
Particles that need to represent blackness grow smaller and their magnetic charge diminished accordingly. Particles that need to represent white grow larger as does its charge. After adding a thousands of particles into the scene, you will be able to get particles that spread out in an organically pleasing manner.
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