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Light-Graph, 2017
Fotografia informale
La parola fotografia deriva dall’unione di due parole greche luce (phôs) e grafia (graphis) che unite significano “scrivere/disegnare con la luce".
Il progetto nasce nel 2013 con la serie “Signs and Spots”. Si basa sullo studio del segno grafico, dall’incisione calcografica alla serigrafia, dalla pittura allo schizzo a carboncino, e degli eventuali metodi e mezzi per la riproduzione digitale di tali segni e tecniche. L’obiettivo di tale progetto è dunque quello di rimediare vecchie e nuove tecniche seguendo la teoria sociologica di Bolter e Grusin. I due autori parlano di “doppia logica della rimediazione”, proponendo da un lato la logica dell’immediatezza e dall’altro quella dell’ipermediazione. Con immediatezza gli autori intendono quelle pratiche mediali accomunate dalla “convinzione che esista un punto di contatto tra il medium e ciò che viene rappresentato”. Nella prospettiva di Leon Battista Alberti la logica dell’immediatezza si esprime tramite “la finestra” definita dalla cornice, attraverso la quale si può guardare la realtà, quale essa è; l’unica condizione posta è che non si guardi la cornice e che l’operazione artistica sia fedele imitatrice della natura. “Se la logica dell’immediatezza porta a cancellare o a rendere automatico l’atto di rappresentazione, la logica dell’ipermediazione riconosce l’esistenza di atti di rappresentazione multipli e li rende visibili” (Bolter e Grusin). L’ipermediazione ci spinge a guardare la cornice e l’atto di mediazione, non pretendendo di soddisfare il nostro desiderio di immediatezza, ma cercando di “riprodurre la ricchezza sensoriale dell’esperienza umana” . Immediatezza significa trasparenza e autenticità dell’esperienza (della realtà reale), ipermediazione invece significa opacità e autenticità dell’esperienza (della realtà mediale).
Con i media digitali, le due logiche agiscono e reagiscono contemporaneamente.
Bolter e Grusin propongono una dinamica complessa al punto da contenere al proprio interno la rimediazione dei vecchi media da parte dei nuovi, e viceversa.
L’artista basandosi su tale teoria, conduce il suo esperimento attraverso l’utilizzo della fotocamera digitale, giungendo al suo obiettivo.
Difatti in questa nuova serie “Light-Graph”, come nella serie precedente, i segni creano un’illusione, una confusione tra ciò che rappresentano e ciò che sono realmente. Sembra di osservare dei dipinti, delle pennellate di colore su tela, delle incisioni, tutto tranne che fotografie digitali.
Signs and Spots | flic.kr/s/aHskeZZSsD
www.visualcomplexity.com/vc/project_details.cfm?id=634&am...
Burak Arikan is an artist and researcher who focuses on creating networked systems that evolve with the interactions of people and machines. He has also been previously featured in VC. One of his latest pieces has been an experiment with the Twitter API, where he tracked the growth of his Twitter network over a period of 3 weeks. Burak was trying to understand how connections and particular clusters might expand or contract over time. The first image is a portrait of Burak's Twitter graph on the first week of the experiment, when he was following 80 people. Burak only mapped the interconnections between friends, removing himself from the picture, and then labeled the 6 main clusters: "MIT", "silicon valley", "web programming", "generative art", "Istanbul", and "web business tr (Turkey)". As he explains: "The silicon valley cluster is large and dense compared to others. The MIT cluster is almost like a clique (every person connected to every other). Generative art is quite close to Silicon Valley, mostly bridged through the user neb. Obviously the Turkish web business cluster has many connections to the Silicon Valley, techcrunch being a major bridge here. The web programming cluster is very small, surprisingly it is connected to Silicon Valley only through the user al3x, who works at Twitter". To test the importance of key bridging users, Burak decided to remove them and see if the graph still hold together. Many of these changes are represented on his map of week 3 (second image) where more bridges and denser clusters are discernible within his network of 158 people. Apart from a careful analysis of some of the patterns emerging in this experiment, which can be further explored in his blog post, Burak poses an important question worth considering: "Do these people mind abo
I've started playing Defense Grid recently (I'm quite late to the party, but it was on steep discount on Steam recently), and I've been enjoying it a lot. This is a map of the final level of the main story campaign of the game. I drew it out because I want to get this level right, and it's a testament to the Tower Defense genre that that's something games like this make me want to do: not just scrape up a win, but to think through how to really exploit the games mechanics to win elegantly.
Tower Defense is a genre spawned to the best of my knowledge (and exploded into popularity in any case) by the cutesy-but-deep flash classic Desktop Tower Defense; you play by spending resources to place various kinds of defense towers (e.g. assault towers like guns, lasers, or flamethrowers, plus support towers that slow enemies down or improve overall efficiency) in order to try and kill off the enemy before it can sneak back off the map. In Defense Grid, the bad guys specifically want to sneak off the map with your valuable "energy cores". If they make off will all 24 of them, you lose. There are a lot more than 24 enemies.
So, the map: there's two entrance/exits points in the bottom left; any given bad guy is going to come in through one of those two gates, and then leave (if he's still alive) through the same gate, carrying (if I don't do my job right) one or more of my energy cores. The cores are stored in the upper right of the map, where I've drawn a couple of concentric circles.
The dark-outlined squares of the map are where the action will take place; the dotted bridges between them are roads the enemy can march from square to square on, and to which I can do nothing. In the large squares, black holes are gaps in the map where the enemy can't walk (and where I can't build anything); dotted tiles are bits of terrain where the enemy can walk but where I can't build anything.
That leaves the white tiles: those are the spots where I can build towers. Enemies can't walk through a tower, nor can they sneak between two adjacent towers, even if they're only adjacent at a diagonal. By placing towers, I can force the enemy to go in one direction instead of the other.
This is what makes Tower Defense games interesting: the game is as much about redefining the map as it is about shooting the bad guys. If I were to willfully allow the bad guys to march unfettered across the map, they'd take a fairly direct route to the cores and then back out again. That'd be more or less true even if I threw up a lot of defense towers but did so without a plan.
And it may well be possible to win without a good plan. But a good plan is the whole attraction. I don't just want to manage to blow up some bad guys; I want to exploit the geography of this map to make the reshaped map itself do the work of dooming the invaders, and to do it elegantly. I want to lay out my gun towers just so, so the enemy has to take a long, winding march around the map, so that I can accomplish as much defense with as few resources as possible.
A game that can get me excited about planning -- to the point of pulling out some graph paper and drawing up a map by hand as step one -- is a game that's doing something right.
You do not have to be able to read German to figure out the import of this message. Germany was claiming to be winning the war in the air. Some recent scholarship suggests that German numbers for air victories was very accurate.
The blue graph shows Wired Magazine's page count (I couldn't find a few, hence the gaps, but they should be in boxes somewhere). The red is the Nasdaq composite index. Notice Wired tracks the Nasdaq. (recently changed the Nasdaq chart for accuracy, and now it doesn't lag but tracks).
I'm not suggesting it's an accurate indicator. But it's fun.
Monthly from November 1996 to December 2005, combining Wired's page count and the Nasdaq Composite.
More at The Gadget Show.
FITB offers a range of graphs to be included per switch. At the present time you can choose from bits/sec, unicast packets/sec, errors/sec, multicast packets/sec or broadcast packets/sec.
This is the port view mode, where you can see all the graphs for that port in one display.
And of course the time period is adjustable from the dropdown in the header.
Business Graph with arrow showing profits and gains
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