View allAll Photos Tagged coder
zkm.de/en/event/2022/01/on-the-fly-live-coding-hacklab
The Hacklab will connect live coding with areas ranging from machine learning to spatial sound to programming visuals. There will also be a special on the format of Algorave. Each of these areas will be supervised by international mentors: Alexandra Cárdenas, Anna Xambó Sedó, Antonio Roberts, Iván Paz, Lina Bautista and Marije Baalman.
On the occasion of and during the two-day Hacklab, live coding masterclasses (with Shelly Knotts, Olivia Jack and Kıvanç Tatar) and workshops for beginners (children, teenagers and adults) will be offered. The results of the workshops will be presented in evening presentations and »from scratch sessions«.
The event will kick off on Friday, January 28 with several live coding performances that offer a wide range of different aesthetics and approaches to the audiovisual performance art. We are very pleased to present CodeKlavier, Luka Prinčič and Blaz Pavlica as well as our Artists in Residence Malitzin Cortés & Iván Abreu, Gaia Leandra and Kıvanç Tatar via livestream.
The Hacklab and the live coding performances are part of the project »on-the-fly« and co-funded by the European Union's »Creative Europe« program. With »on-the-fly«, ZKM, Hangar Barcelona, Creative Coding Utrecht and Ljudmila Art + Science Laboratory have made it their goal to foster the European live coding scene.
edition code: live1927
price:
size 2 to 6 - Php 815
size 7 - Php 845
size 8 - Php 875
For orders and inquiries, kindly text 0917 5875665. Thank you
INSTAGRAM – thevaultsuperoutlet
FB – The Vault Super Outlet Store (links of other sites only)
FB – Mister Le Croc (with pictures)
NOTE: The shirts were measured while laid flat on a surface. Best to compare the measurements with your existing shirts.
HOW TO MEASURE:
shoulder width - from the top edge of the shirt's shoulder point going to the opposite side.
chest width - from the shirt's left armpit going to the right armpit
length - from one top shoulder point all the way down to the shirt's edge
GDS colleagues participated in 3 introductory sessions to coding at GDS. Students were from the Women's and BAME network. Volunteer coaches were from across the organisation, and included frontend developers, backend developers, and site reliability engineers.
London Psychogeophysics Summit 2010
Dark Heart of Codeness .walk (pronounced as “dot-walk”)
Wilfried Houjebek wrote a geospatial algorithm in the “Brainfuck” programming language. After initialisation by a random coin toss the algorithm sends the user on a algorithmic tour. For historic reasons Wilfried chose the Royal Observatory as the starting point. From here our group was sent on a spiraling course towards Point Hill.
During the walk electromagnetic energies were recorded with an ELF receiver.
At Point Hill we planted undeveloped film sheets for thoughtographic experiments and hid measuring devices for logging high frequency energies. Also some intuitive drawings were made to record the atmosphere.
From there we went back to the center of London to interrogate the London Stone.
Sound recordings and map:
www.archive.org/details/Greenwich---Dark-Heart-Of-Codenes...
Thoughtography:
www.fotokatie.com/katier/?p=934
Intuitive drawings:
www.fotokatie.com/katier/?p=939
Psychogeophysics summit:
www.psychogeophysics.org/wiki/doku.php?id=summit:desc
Dark Heart of Codeness:
The Paradise Institute installed at Emily Carr Concourse Gallery. Docents light, headphones and chair.
The Paradise Institute
Janet Cardiff and / et Georges Bures Miller
Organized by the National Gallery of Canada
organisée par le Musée des beaux arts du Canada
In a small replica of a full-sized movie theatre balcony with 16 red velvet-covered seats, viewers put on headphones to watch and listen to a film projected in a miniature movie theatre in front of them. Surprisingly they hear other more intimate sounds and stories. A real and a fictional layer of sound are intertwined, creating a strange sensation of reality for the viewer.
Movies are, of course, The Paradise Institute referred to in the title. Looking over the full-sized balcony into a hallucinatory space of a miniature movie theatre below, a visitor’s senses are further misled by putting on headphones that create surrounding sounds which are equally deceptive between the film being shown and noises being heard. The projected movie is about a man who is a prisoner in a hospital with its own soundtrack faithful to the images. Simultaneously, another soundtrack, more intimate, is confidentially whispered or heard nearby with a surprising fidelity in the viewer’s ears. This other soundtrack seems to directly emerge from other members of the audience present with coughs, secrets, cellphones and other sounds of ordinary life interrupting the flow of the movie’s audio effects. The impression is disturbing as the realities created by the sounds close by are more real than the fiction of the movie, although both are illusions, with their narratives culminating in an eerie conclusion. How the brain tricks itself into believing through image and sound is one of the inescapable implications of the experience of The Paradise Institute.
Dans cette réplique à petite échelle d’un balcon de salle de cinéma, les participants sont invités à s’asseoir dans l’un des seize sièges recouverts de velours rouge et à mettre des écouteurs pour assister à la représentation d’un film projeté sur l’écran miniature devant eux. À leur grande surprise, ils entendront également des sons et des récits intimes. Ces couches de son réelles et fictives sont inextricablement liées et donnent au spectateur une impression étrange de réalité.
Les films sont l’essence même de l’installation The Paradise Institute. En regardant du haut d’un balcon le spectacle hallucinant qui se déroule sur l’écran de cinéma miniature au bas, le spectateur est davantage induit en erreur lorsqu’il met des écouteurs pour entendre des sons qui ne correspondent pas aux images et aux bruits du film projeté. Le film, qui raconte l’histoire d’un homme emprisonné dans un hôpital, possède sa propre piste sonore, adaptée aux images. Simultanément, une autre piste sonore, plus intime, presque un chuchotement, s’impose avec une étonnante fidélité dans les oreilles du spectateur. Cette nouvelle piste sonore semble provenir des autres spectateurs présents qui toussent, livrent des récits intimes, parlent au cellulaire et produisent d’autres bruits réels qui interrompent les effets audio du film. L’impression est troublante car la réalité créée par les sons environnants est beaucoup plus réelle que la fiction du film, même si les deux ne sont qu’illusions, et que les narrations se terminent par une conclusion sinistre. Il est certain que le spectateur s’engagera dans une réflexion sur la façon dont le cerveau se conditionne à croire ce qu’il voit et entend après avoir vécu cette expérience.
Janet Cardiff and / et Georges Bures Miller
CANADA
Janet Cardiff and Georges Bures Miller make audio-based installations and walking pieces that use the narrative and technical language of film noir to create lush, suspenseful sound and video works. The duo represented Canada at the Venice Biennial in 2001. Their work has been shown at the PS1 Contemporary
Art Center of the Museum of Modern Art (New York), The Musée d’Art Contemporain (Montreal), and the Whitechapel Art Gallery (London), amongst others.
Janet Cardiff et Georges Bures Miller conçoivent des installations audio et des marches sonores qui font appel au langage narratif et technique du film noir pour créer des œuvres audio et vidéo riches et pleines de suspense. Ces deux artistes ont représenté le Canada à la Biennale de Venise en 2001. Leurs œuvres ont fait l’objet d’expositions au PS1 Contemporary Art Center du Museum of Modern Art (New York), au Musée d’art contemporain (Montréal)
et à la Whitechapel Art Gallery (Londres),
pour ne citer que ceux-là.
Photo Credits
Mention de sources :
Janet Cardiff and / et George Bures Miller
The Paradise Institute 2001
National Gallery of Canada, Ottawa
Anonymous gift, 2002 / Musée des
beaux-arts du Canada, Ottawa,
cadeau anonyme, 2002
Working on a small script in Ruby. Scans my comp for music to make a HTML music catalog. The above do iterator would recursively traverses the file system and check for mp3 files. Use Mp3Info to extract title, artist and album info. Now I need to generate google charts, extract info from AWS + wikipedia + freebase + MusicBrainz. I think the end output will look decent.
CODE TALKERS-12- 10/9/99 - GALLUP, NEW MEXICO: Pfc. Preston Toledo (left) and Pfc Frank Toledo (right), cousins attached to a Marine Artillery Regiment in the South Pacific, relay orders using the Navajo code over a field radio in July 1943. PHOTOGRAPH COURTESY OF THE NAVAJO CODE TALKERS ASSOCIATION
KPL Code Camp: Teens work together to solve problems while learning basic computer programming skills, www.kpl.gov
Google's logo is a bar code today (to celebrate the invention of the bar code). I scanned it with my phone to see what it meant (blogged here).
Desfile Ponto Zero - 32a Casa de Criadores - Inverno 2013 Maquiagem: Cris Rocha (Senac) Cabelo: Sil Alegre (Senac)
Fotografia: Seimi HIraga (Seimi Hiraga Photography para Senac)
St. Clair Secondary School shortly after it closed in June of 2016. These pictures were take by Leann Cotton.
Two TPD Cars meet up in a parking lot in front of my apartment, moments later a priority one call is dispatched and they both leave code 3 "Lights and Sirens"
I was only able to get a good shot of the white car.
The Girls Can Code! coding camp focused on teaching vulnerable girls from the Nabukuyu area and from Choma about coding, circuitry, electronics, and robotics, with a broader aim of increasing their self-esteem and leadership abilities and expanding their sense of what is possible for their futures. April 2019.
The Girls Can Code! coding camp focused on teaching vulnerable girls from the Nabukuyu area and from Choma about coding, circuitry, electronics, and robotics, with a broader aim of increasing their self-esteem and leadership abilities and expanding their sense of what is possible for their futures. April 2019.
The Code of Hammurabi (also known as the Codex Hammurabi and Hammurabi's Code) was created ca. 1760 BC (middle chronology) and is one of the earliest extant sets of laws and one of the best preserved examples of this type of document from ancient Mesopotamia. It was created by Hammurabi. Still earlier collections of laws include the codex of Ur-Nammu, king of Ur (ca. 2050 BC), the Codex of Eshnunna (ca. 1930 BC) and the codex of Lipit-Ishtar of Isin (ca. 1870 BC).
The Code contains an enumeration of crimes and their various punishments as well as settlements for common disputes and guidelines for citizens' conduct. The Code does not provide opportunity for explanation or excuses, though it does imply one's right to present evidence. For a comprehensive summary, see Babylonian law.
The Code was openly displayed for all to see; thus, no man could plead ignorance of the law as an excuse. Scholars, however, presume that few people could read in that era, as literacy was primarily the domain of scribes.
KPL Code Camp: Teens work together to solve problems while learning basic computer programming skills, www.kpl.gov
Came upon this in an out of the way corner of St Marys Collegiate Church in Youghal.
Best viewed large. Press "L".
Photo credit: Elena Olivo
Copyright: NYU Photo Bureau
The Fall 2010 Student Hackathon brought in hundreds of students from 30 universities to NYU's Courant Institute for 24 hours of creative hacking on New York City startups' APIs.
Selected startups presented their technologies at the beginning of the event, and students formed groups to brainstorm and begin coding on their ideas. Many students worked into the night, foregoing sleep to fulfill their visions.
On Sunday afternoon students presented their projects to an audience including a judging panel, which selected the final winners.
hackNY hosts hackathons one each semester, as well as a Summer Fellows Program, which pairs quantitative and computational students with startups which can demonstrate a strong mentoring environment, a problem for a student to work on, a person to mentor them, and a place for them to work. Startups selected to host a student are expected to compensate student Fellows. Students enjoy free housing together and a pedagogical lecture series to introduce them to the ins and outs of joining and founding a startup.
For more information on hackNY's initiatives, please visit www.hackNY.org and follow us on twitter @hackNY