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From 1999-2001, Reas was a graduate student and researcher at the Massachusetts Institute of Technology's Media Lab. After twenty-eight years of drawing, playing video games, drumming, and designing information systems, his nascent talent for writing software forged these disparate interests into a new path. Building on his professional experience and undergraduate studies in design at the University of Cincinnati, he spent the next two years developing software and electronics as an artistic exploration. After graduating, Reas began to exhibit his software and installations internationally in galleries and festivals.
In August 2001, Reas moved to Italy. As one of the founding professors at the Interaction Design Institute Ivrea, Reas worked with an international student body to develop a new arts pedagogy for the present cultural and technical environment. Simultaneously, Reas initiated Processing with Ben Fry. Processing is a programming language and environment for people who want to program images, animation, and sound. It is used by students, artists, designers, architects, researchers, and hobbyists for learning, prototyping, and production. It is created to teach fundamentals of computer programming within a visual context and to serve as a software sketchbook and professional production tool.
After two years in Italy, Reas moved to Los Angeles. As an assistant professor in the department of Design | Media Arts at UCLA, Reas interacts with undergraduate and graduate students to push the boundaries of art and design. His classes provide a foundation for thinking about computers and the Internet as a medium for exploration and set a structure for advanced inquiry into synthesis of culture, technology, and aesthetics.
Couldn't decide which version to upload so I uploaded both.
The most trying part about this shoot was the lights. The owner of the car and the house refused to let me have an electric connection required for my lights. (No battery packs owned sadly) I really wanted to shoot here so I had to make do with a SB-800 and reflector.
This photograph was a last minute decision. I was shooting an old house close by when I discovered this car. I know it's a Plymouth, I am still trying to figure out what model.
It has the front of 1957 Plymouth Fury but it's a 4 door and also resembles the '58 Savoy. The Savoy however has a twin headlamp assembly.
I did go back and convince the owner to let me plug in my lights and while the power company decided take a break right when the skies were perfect I still have some decent shots.
I'll upload them later if they don't seem too repetitive.
Picture of Assam from probably ten years ago or so when we lived in California, processed by my camera program.
A few photos of select pages of my process book for my honours project.
The book serves as the 'glue' of my project, describing the processes I went through throughout the year, as well as illustrating them with photos
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Step 3: Stack your photos
I followed this tutorial -
www.lonelyspeck.com/milky-way-exposure-stacking-with-manu...
Previous step - www.flickr.com/photos/trismi/30935548464/in/album-7215767...
Full write-up: trisha-smith.photography/post/154750049274/milky-way-phot...
Flocking algorithm + processing
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We can’t deny the beauty of these patterns but one can’t help but question the static nature of them. Algorithms are as much about variables as they are about output. Freezing them in time, giving them static shape questions how viable is one objects to the next. If they exist in the range, does only personal aesthetic preference decide importance of one over another and where the process plays such an important part how can we ignore their pre and post decessors. Can their physical manifestation exist not just as a single frame and how does this affect their validity. Are these just decoration and if so, does it then matter if they were created using generative tools or just simply drawn as they are?
Just a thought..
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Preserving the foraged plums: drying them, making jam and cooked fruit for later use in baked goods or mixed with plain yogurt.
Photo/Video Usage:
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Every now and again, I revisit code from many months ago and end up finding GLARING ERRORS and POOR CODING STYLE and after fixing these problems, the code runs exponentially faster than it used to. The ripple code was one of those projects.
Originally, I rendered the ripple array directly to the screen, and I was able to get away with about 60x40 squares. After playing with it a bit recently, i realized that I could simply define a color array and use arraycopy to copy it over onto a PImage that i then use to render out the ripple information.
Whereas I could do 1 plane of 60x40 elements before, now I could do 500 planes with alpha intormation at the same FPS as I was getting previously.
Just goes to show, revisit old code!
After passing the Lab-test, the first process is called "skinning", is to peel off the skin of the fish.
©ILO/Fauzan Azhima
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_US.
Loining is to clean what is inside the fish stomach, inside bones and inside read meat of the fish. This process where all women workers are involved.
a processing sketch that uses bezier curves to control the speed of a moving object. the brightness is directly proportional to the speed of the moving object.
Working on my entry in Alecia's book for the Moleskine portrait exchange group #4 - see more about the exchange at our group blog.
Every now and again, I revisit code from many months ago and end up finding GLARING ERRORS and POOR CODING STYLE and after fixing these problems, the code runs exponentially faster than it used to. The ripple code was one of those projects.
Originally, I rendered the ripple array directly to the screen, and I was able to get away with about 60x40 squares. After playing with it a bit recently, i realized that I could simply define a color array and use arraycopy to copy it over onto a PImage that i then use to render out the ripple information.
Whereas I could do 1 plane of 60x40 elements before, now I could do 500 planes with alpha intormation at the same FPS as I was getting previously.
Just goes to show, revisit old code!
York Curiouser 2015
Black Horse Passage
Ride the black horse of the spaces between you
policeman, whoremaster, big man, little boy
O Nymphs of the Pave, rain dries back to cracks
O whores of York, where is your bricked up rage?
Here's the place to watch your step, fear the corner
needle, junk, to cross internal borders of the city
ancient checkpoints of flesh and soul
where the straight line and the curved run down to water.
By John Wedgwood Clarke from In Between
John Wedgwood Clarke is a lecturer in creative writing at the University of Hull.
In 1855 a policeman was arrested on this snickelway for "associating with ladies of the night" while on duty. A subsequent investigation revealed that 1 in 6 of all visits to a brothel in the area were made by members of the constabulary.