View allAll Photos Tagged complexification
By touching each other at the creative core of their being, they release new energy which leads to more complex units. Greater complexity leads to greater interiority which, in turn, leads to more creative unions. Throughout the process, the individual elements do not lose their identity but rather deepen and fulfill it through union…. The more “other” they become in conjunction, the more they find themselves as “self.” At this point of history because of the shift from divergence to convergence, the forces of planetization are bringing about an unprecedented complexification of consciousness through the convergence of cultures and religions.
-Ewert Cousins, Christ of the 21st Century (Rockport, Mass.: Element Books, 1992), 8-9. Cousins had, however, referred to Panikkar as a “mutational man” as early as 1979. See idem, “Raimundo Panikkar and the Christian Systematic Theology of the Future,” Cross Currents 29 (1979): 143.
Dans l’histoire des technologies, il n’y a jamais eu un tel fossé entre ce qu’un logiciel est capable de produire et nos capacités cognitives de comprendre comment ça marche ...
Les autorités devraient s’emparer de l’IA, avec le monde académique, pour la mettre au service du bien public !
En effet, nous devons nous mettre à l’évidence … les capacités des réseaux neuronaux, comme ChatGPT, sont époustouflantes et échappent à notre compréhension !
Personne ne s’attendait à ce que l’IA évolue autant !
Ses concepteurs sont tellement bluffés qu’ils ont avancé cette équation : plus de puissance, plus de paramètres, plus de mots !
On va l’amener encore plus loin dans cette course effrénée à la complexification, parce que la complexification va donner encore plus d’intelligence … et dès lors, nous la comprendrons de moins en moins !!!
Je pense cependant qu’il y a une manière très positive de faire de l’IA mais l’explication tangible pour y arriver n’est pas encore vraiment au programme 🤔
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In the history of technology, there has never been such a gap between what software is capable of producing and our cognitive abilities to understand how it works ...
The authorities should take advantage of AI, with the academic world, to put it at the service of the public good !
Indeed, we must face the facts… the capabilities of neural networks, like ChatGPT, are breathtaking and beyond our comprehension !
No one expected AI to evolve this much !
Its designers are so amazed that they came up with this equation: more power, more parameters, more words !
We will take it even further in this frantic race towards complexity, because complexity will give even more intelligence... and from then on, we will understand it less and less !!!
However, I think that there is a very positive way of doing AI but the tangible explanation to achieve it is not really on the agenda yet 🤔
_____________PdF__________________________________
Made with the famous J.Tarbell's Substrate Processing code*, adapted for (controlling the mouse pointer above) Verve painter**
Lines like crystals form at perpoendicular angles to existing lines. A complex form emerges. A link to the algorithm.
Computer graphics programer and co-founder of www.ETSY.com. See and read more of his interestingness at www.complexification.net
256 nodes with friendships to other nodes tied together using the following rules: get as close to friends as possible, and get away from everyone else. Drawing lines between friends the above image is generated (unique with each execution).
More information on the Happy.Place algorithm.
Now the invaders are part of the past.
An old algorithm engraved on an Epilog laser engraver into harvested cedar.
The input image here was rasterized into the wood. At this printing size, the image was about 280 dpi. The laser is capable of 20x that resolution (on some materials).
One hundred Invader Cubes arranged as common multiples. Each one is unique.
Invader Cubes are made of premium maple hardwood, 2.5" sides, laser engraved with a fractal arrangement of generative invader symbology. More about the www.complexification.net/gallery/machines/invaderfractal/ algorithm.
Playing with the new printer. Trying out the Jared Tarbell recommendation for paper... Im impressed. Hahnemüehle Torchon 275. Superb.
Photographing my first series of prints from 2004.
Here I let go about about 10,000 wandering particles from nine discrete locations (seen in this photo are three of them). They wandered around leaving a path behind until death. The final composition was rendered to 12000 x 8000 pixels and output to paper.
More information on the Paths algorithm here.
Photographing my first series of digital prints from 2004.
Each one of these shape patterns is unique. I love this photo because the strange way it makes my eyes dart around it.
More information on the Nine.Block algorithm here.
Substrate, one of my favorite algorithms.
If you're into algorithmic art, pretty much anything in the Complexification Gallery is amazing, but this Substrate algorithm by Jared Tarbell has been a favorite of mine for years. Check out his amazing work.
These images were generated by a Windows screensaver I'm working on.
Got Windows 10? Want to try it out? You can Download the Windows 10 screensaver here. It's a work in progress, so let me know any issues you have.
Other screen captures below...
Playing with the new printer. Trying out the Jared Tarbell recommendation for paper... Im impressed. Hahnemüehle Torchon 275. Superb.
A screencap from a generative art program that uses Jared Tarbell's *Substrate* algorithm.
I've ported it to a Windows 10 screensaver app, and added some new geometries, textures, and generative color palettes.
Also, some color palettes stolen from Van Gogh, Mondrian, Monet, and others. See if you can tell which palettes are from classic art and which are generated by robots. (The iteration above took its palette from Jackson Pollock, I believe.)
If you have Windows 10, you can download Substrate Screensaver here: 12tone.software/downloads/
Notched Edges 5-3-2
60 units 5-fold view.
This model was the second expression of a notched edge unit concept, which I developed a few years back but only recently applied. This pattern is simple, and I believe Hideaki Kawashima may have discovered something similar, though with different units. The 5-point stars are rotated here to intersect with the 3-fold axes rather than the 2-fold axes (where the latter was the case with 5-2-5). This is another example of a notation I have used to describe weaving relationships, that I refer to as “Edge Mapping.” (Non-basic versions will likely follow.) Also, this offers another unit type to simply express the basic compounds. The paper is used in such a way that extra layers reinforce the notched area. Traditionally, a constraint on unit complexification is reduction of structural strength which follows from additional layers and folds, but such layers, if judiciously arranged, may recontribute to strengthening the units. The applications for notched edges are manifold in wireframe design, and thus I will probably plan on including something of this series in my third book.
Designed by me.
Folded out of copy paper.
A screencap from a generative art program that uses Jared Tarbell's *Substrate* algorithm.
I've ported it to a Windows 10 screensaver app, and added some new geometries, anisotropies, and generative color palettes.
Also, some color palettes stolen from Van Gogh, Monet, Jackson Pollock, and Monet. See if you can tell which palettes are from classic art and which are generated by robots. (The iteration above took its palette from Mondrian's Red Tree.)
If you have Windows 10, you can download Substrate Screensaver here: 12tone.software/downloads/
A photograph of a limited edition print I created in 2004.
How strange it is.
More information on the Deep.Lorenz algorithm here.
Notched Edges 3-2-3
60 units 5-fold view.
This model was the fourth expression of a notched edge unit concept, which I developed a few years back but only recently applied. This simple pattern was possibly expressed by other individuals with different units. The 3-point stars intersect in 2-fold axes. By fixing the 3-point stars as planar and adjusting the intersection of the notches with respect to the edges, the exterior angles could be reduced considerably, but I thought a flatter star might generate an interesting visual effect. This is another example of a notation I have used to describe weaving relationships, that I refer to as “Edge Mapping.” (Non-basic versions will likely follow.) Also, this offers another unit type to simply express the basic compounds. The paper is used in such a way that extra layers reinforce the notched area. Traditionally, a constraint on unit complexification is reduction of structural strength which follows from additional layers and folds, but such layers, if judiciously arranged, may recontribute to strengthening the units. The applications for notched edges are manifold in wireframe design, and thus I will probably plan on including something of this series in my third book.
Designed by me.
Folded out of copy paper.
Photographing my first series of digital prints from 2004.
The term Trema refers to removed pieces. In this algorithm I've attempted to remove circles so that at any observable scale, one would see an equal distribution of removed space. This was also a great test of the printer's maximum resolution capabilities.
More information on the complexification.net/gallery/machines/tremaDisk/.
A screencap from a generative art program I'm working on based on Jared Tarbell's *Substrate* algorithm.
I've taken Jared's very versatile algorithm, ported it to Windows 10 screensaver app, and added some new geometries, textures, and generative color palettes.
Also, some color palettes stolen from Van Gogh, Mondrian, Monet, and others. See if you can tell which palettes are from classic art and which are generated by robots.
If you have Windows 10, you can download Substrate Screensaver here: 12tone.software/downloads/
Built in processing using Jared Tarbell's box fitting applet :http://complexification.net/gallery/machines/boxFittingImg/. He's put his box fitted tornado on flickr too: www.flickr.com/photos/generated/416819/in/set-72157594149...
A screencap from a generative art program that uses Jared Tarbell's *Substrate* algorithm.
I've ported it to a Windows 10 screensaver app, and added some new geometries, anisotropies, and generative color palettes.
Also, some color palettes stolen from Van Gogh, Monet, Mondrian, and others. See if you can tell which palettes are from classic art and which are invented by robots.
If you have Windows 10, you can download Substrate Screensaver here: 12tone.software/downloads/
4 random variations generated by www.complexification.net/gallery/machines/peterdejong/
A little Flash fullscreen (well, 1920 x 1200 px) slideshow can be seen here.
Notched Edges 3-2-3
60 units 5-fold view.
This model was the fourth expression of a notched edge unit concept, which I developed a few years back but only recently applied. This simple pattern was possibly expressed by other individuals with different units. The 3-point stars intersect in 2-fold axes. By fixing the 3-point stars as planar and adjusting the intersection of the notches with respect to the edges, the exterior angles could be reduced considerably, but I thought a flatter star might generate an interesting visual effect. This is another example of a notation I have used to describe weaving relationships, that I refer to as “Edge Mapping.” (Non-basic versions will likely follow.) Also, this offers another unit type to simply express the basic compounds. The paper is used in such a way that extra layers reinforce the notched area. Traditionally, a constraint on unit complexification is reduction of structural strength which follows from additional layers and folds, but such layers, if judiciously arranged, may recontribute to strengthening the units. The applications for notched edges are manifold in wireframe design, and thus I will probably plan on including something of this series in my third book.
Designed by me.
Folded out of copy paper.
Notched Edges 3-5-2
60 units 2-fold view.
This model was the third expression of a notched edge unit concept, which I developed a few years back but only recently applied. This pattern is simple, and I believe Hideaki Kawashima may have discovered something similar, though with different units. 3-point stars intersect in 5-fold axes. This is another example of a notation I have used to describe weaving relationships, that I refer to as “Edge Mapping.” (Non-basic versions will likely follow.) Also, this offers another unit type to simply express the basic compounds. The paper is used in such a way that extra layers reinforce the notched area. Traditionally, a constraint on unit complexification is reduction of structural strength which follows from additional layers and folds, but such layers, if judiciously arranged, may recontribute to strengthening the units. The applications for notched edges are manifold in wireframe design, and thus I will probably plan on including something of this series in my third book.
Designed by me.
Folded out of copy paper.
It was great to spend time with Jared again. He closed the conference with a fantastically orchestrated and inspiring talk which definitely got my neurons firing. You would be hard pressed to meet a nicer guy than Jared. The desert air does wonders for him it seems.
Complexification.net has a great open source app for Proce55ing called Orbitals. I created the light swarm using Orbitals and the rest of the image in Photoshop.
For all you non-geeks, the qoute is from 2001: Space Odyssey. Yeah, it's pretty cheesy but I'm just that kinda guy.
The Moment of British Women’s History: Memories, Celebrations, Assessments, Critiques
Friday, February 8, 2013 - Saturday, February 9, 2013
About forty years ago, historians of women began to claim a place for their subject as a distinct scholarly field. This movement emerged particularly powerfully in Britain, its early preoccupations and questions shaped by the feminist movement, the New Left, and especially by Thompsonian social history. A clutch of brilliant young feminist scholars uncovered the forgotten claims and achievements of women Chartists, Owenists, suffragists and social reformers, their work enabled by and further fostering a raft of innovative and successful (if financially fragile) networks, institutions, and publishing ventures. At the meetings of the London Feminist History Group and through chance encounters in the Fawcett Library’s rediscovered and rich collections, in early issues of Feminist Review and History Workshop Journal, through Virago Press’s publication of new scholarship on women and the rediscovered fiction and historical records of earlier periods, and in the struggle to found women’s studies courses and programs, this new field took shape.
That early flowering of British women’s history was symbiotically bound to American developments from the start. Strong transatlantic feminist ties brought young American women scholars to London, and the better-funded and to a degree more anarchic structure of American higher education also made space for collaboration. The Berkshires Conference of Women’s Historians, Feminist Studies and other new journals, and the Conference of Women’s Historians, fostered exchanges, friendships, and paradigms. Graduate courses and then graduate programs in women’s history and women’s studies emerged, launching a generation of women into the profession. Through the seventies, women’s history also engaged with, and was reshaped by, well-founded criticisms of its blindness to imperial legacies and racial hierarchies; paradigms asserting the ‘primacy of patriarchy’ jostled with those relying on the triumvirate of ‘race, sex, and class.’ Connections to literary criticism on the one hand, and to sociology on the other, turned Victorian ideology and male-dominated social structures into major foci of research. Then, suddenly, structuralist explanation was under challenge from within, as scholars turned to Foucault, Saussure and Lacan for a theory of ‘difference’ less tied to physical bodies and material or state structures. Some of the field’s prominent early founders changed course; ‘gender history’ had arrived.
Today, that moment of ‘women’s history’ seems both present and a long way off. The field’s founders and pioneers are now retiring. They leave impressive accomplishments – an academic landscape in which ‘women’ as subjects of study and ‘gender’ as a ‘useful category’ are taken for granted; positions, programs and professorial chairs in the UK and US alike; rich scholarship stretching across three generations. But institutionalization and what we might call analytic ‘complexification’ has also changed the field in many ways. It seems a good moment for celebration and acknowledgement, then, but also for reflection. How does this field now look to some of its early pioneers? How has mentorship and ‘school-formation’ worked? What have successive generations taken from earlier generations’ work, and how have they transformed it? What happened to those early institution and networks? What has been gained and lost through the process of institutionalization? What has happened both to the ‘place’ of the feminist imperative within history, and to the relatively privileged place of Britain within that scholarship?
Homage to a print that Jared Tarbell sent me a while ago. Thanks for the inspiration JT (though yours is much more elegant... nice trick with the black orb with multiple specular highlights... sublime!). Rendered out at 5000x5000. Check the fullsize to see the detail.