August 2004 Archives
Animal reference books tend to be quite light on useful anatomy.
Here's some (non-art) reference for wolves.
Not for the squeamish:
http://www.skullsunlimited.com/gray_wolf_skull.html
http://www.searchingwolf.com/wskull.htm
http://www.soappuppy.com/wolf/index.html
Here's some (non-art) reference for wolves.
Not for the squeamish:
http://www.skullsunlimited.com/gray_wolf_skull.html
http://www.searchingwolf.com/wskull.htm
http://www.soappuppy.com/wolf/index.html
A lovely name for a useful image analysis technique. Kazushi Mukaiyama seems to be using it in Shizuka now.
http://bigwww.epfl.ch/publications/jacob0103.html
http://bigwww.epfl.ch/publications/jacob0103.html
A bank holiday weekend of hacking sees menu handling, keymap handling, a test framework and buffer s-expression picking finally in SourceForge CVS.
There' some picking and masking code in there along with some colour handling code, but those parts are incomplete.
I think I'm going to pull the pen tool together next, which will give the buffer and redrawing code a work-out, then finally work out transformations.
I've been thinking about how to handle macros, functions, and multi-file projects. I think I might need to patch eval (and maybe define and defmacro) for picking in more complex scenarios, unless I can always get access to the call stack from Guile. I need to check that. :-)
There' some picking and masking code in there along with some colour handling code, but those parts are incomplete.
I think I'm going to pull the pen tool together next, which will give the buffer and redrawing code a work-out, then finally work out transformations.
I've been thinking about how to handle macros, functions, and multi-file projects. I think I might need to patch eval (and maybe define and defmacro) for picking in more complex scenarios, unless I can always get access to the call stack from Guile. I need to check that. :-)
The first part of 1968 is now online:
Click here to go there.
The Open Content versions of each image can be downloaded individually, and the archives of all the images (so far) in svg, Postscript and PDF format are all on the same page as the images themselves. Download and extend, everything's cc-by-sa-2.0.
There's more to come on this project, but I wanted to get this batch of images online now they're finished.
Click here to go there.
The Open Content versions of each image can be downloaded individually, and the archives of all the images (so far) in svg, Postscript and PDF format are all on the same page as the images themselves. Download and extend, everything's cc-by-sa-2.0.
There's more to come on this project, but I wanted to get this batch of images online now they're finished.
Via Planet Lisp. This looks interesting. I've wanted to apply Markov Chains to bitmaps and PostScript for ages, this looks even better.
An Introduction To Latent Semantic Analysis.
An Introduction To Latent Semantic Analysis.
A book on how Open Source methods can re-invigorate democracy. Available under a Free-Circulation license that look suspiciously like a modified CC license :-) :
Book details and download.
Book details and download.
A book on why Open Source works, how it's good for business, and how its principles are more broadly applicable
Book site and downloadable exerpt.
Book site and downloadable exerpt.
All my work (well, everything I feel I can release legally :-) ) is now available under the CC-BY-SA-2.0 license:
Click Here For Downloads
Click Here For Downloads
(from cc-license-discuss)
1. NC stops anyone who uses the work from making money off of it.
2. The internet service providers, software and hardware companies, internet hosts and print shops that are involved in the creation of the work still make money off of it.
3. The warm glow of anti-capitalist virtue people get from NC is therefore self-defeating. They are giving money to commercial interests without taking anything back from them. Which is better, subsidising commerce a little or getting it to open some of its content in return for using yours?
1. NC stops anyone who uses the work from making money off of it.
2. The internet service providers, software and hardware companies, internet hosts and print shops that are involved in the creation of the work still make money off of it.
3. The warm glow of anti-capitalist virtue people get from NC is therefore self-defeating. They are giving money to commercial interests without taking anything back from them. Which is better, subsidising commerce a little or getting it to open some of its content in return for using yours?
It covers the Creative Commons licenses as well. There are some factual errors in the sample chapter available online, and it isn't spectacularly well edited, but it looks like a good legal discussion for the layperson (US law obviously):
Understanding Open Source and Free Software Licensing
It should be out soon.
Understanding Open Source and Free Software Licensing
It should be out soon.
The latest US craze headed to the UK is our over-stretched teachers becoming unpaid propagandists for the kind of corporate unreality that lead to the DMCA/EUCD.
There's a good letter against this at Kuro5hin.
Soon maths questions will be based on ccalculating how much revenue poor EMI lose each time someone downloads Unplayable Crap Vol.3 from the 'net, history will be based on when the first conviction for file swapping happened, and art will be based on drawing anti-file-sharing posters.
This jihad is turning into a real multiple-whammy for culture.
There's a good letter against this at Kuro5hin.
Soon maths questions will be based on ccalculating how much revenue poor EMI lose each time someone downloads Unplayable Crap Vol.3 from the 'net, history will be based on when the first conviction for file swapping happened, and art will be based on drawing anti-file-sharing posters.
This jihad is turning into a real multiple-whammy for culture.
(From Aesthetics-L)
Aesthetic experience is reflective awareness of the discovery or rediscovery of an engaging pattern in chunked sensory input combinded with memory by right-brain abstract global pattern-matching systems.
Reflective = awareness of consciousness available to consciousness.
Engaging Pattern = one that appeals to the organisational principles of the brain, rewarding its work.
Chunked Sensory Input = sensory input processed in some way by the brain, anywhere from properties to signs. This may involve different "levels" of perception, but is still perceptual.
Brain Structure = Whatever the brain does to structure information.
Right Brain Abstract Global Pattern Matching System = See any bad left/right brain self-help book.
Aesthetic experience is reflective awareness of the discovery or rediscovery of an engaging pattern in chunked sensory input combinded with memory by right-brain abstract global pattern-matching systems.
Reflective = awareness of consciousness available to consciousness.
Engaging Pattern = one that appeals to the organisational principles of the brain, rewarding its work.
Chunked Sensory Input = sensory input processed in some way by the brain, anywhere from properties to signs. This may involve different "levels" of perception, but is still perceptual.
Brain Structure = Whatever the brain does to structure information.
Right Brain Abstract Global Pattern Matching System = See any bad left/right brain self-help book.
In Quality Assurance, the product (work) should delight the customer (consumer). In art, the artist is the first viewer (consumer) of a work. What of a Jeff Koons work, made by artisans for the artist? In QA, what of the sweatshop workers who make the product? Are they its first consumers? Does it delight them?
1968 is almost finished. I've realised that it can be regarded as a distant relative of Sarah Morris's project. 1968 isn't grids and capital, it is biomorphism and militarism. I like Sarah Morris's work very much, but it wasn't a conscious influence.
I'm looking at the images for 1968 on a CRT and there are a few colour changes I can see I need to make. 1968 has been made mostly on LCD. I did San Jose on LCD back in 2000, so it isn't a first for me, but that was some time ago and I don't yet trust myself to get the screen at the right angle. I suppose I should fiddle with ColorSync more.
Apart from the colour changes I'm working on a Makefile (a computer script) to generate the different formats, archives and web pages for the work automatically. This will allow me to put this work and future projects online quicker. It used to take hours to format up a project. Now I'll just be able to type "make".
I'm looking at the images for 1968 on a CRT and there are a few colour changes I can see I need to make. 1968 has been made mostly on LCD. I did San Jose on LCD back in 2000, so it isn't a first for me, but that was some time ago and I don't yet trust myself to get the screen at the right angle. I suppose I should fiddle with ColorSync more.
Apart from the colour changes I'm working on a Makefile (a computer script) to generate the different formats, archives and web pages for the work automatically. This will allow me to put this work and future projects online quicker. It used to take hours to format up a project. Now I'll just be able to type "make".
I lost some code for Minara to not backing up. :-/ I've just about remade the lost functionality, and it should be in CVS soon. I didn't finish 1968 using Minara, so no dog food for me.
I wondered if there was an instruction manual for police sketch artists. The only thing on Amazon that I can find is an American book by an expert:
Mug Shots
I'm interested in this because it may provide a facial ontology for drawing software and some way for me to improve my face-drawing skills.
Mug Shots
I'm interested in this because it may provide a facial ontology for drawing software and some way for me to improve my face-drawing skills.
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