Week 02: Reading Response

As someone deeply interested in art and technology, I found Casey Reas’s works incredibly inspiring. His integration of algorithms, geometry, and art in design, interactive installations, and games has profoundly shifted my perspective on algorithms. Reas’s emphasis on the importance of randomness and chance operations in sparking imagination and pattern recognition truly resonated with me. Previously, algorithms seemed like rigid, rule-bound constructs, but Casey Reas demonstrated their creative potential through his projects. I also appreciated the historical context he provided on the juxtaposition of order and chaos in art and culture. He discussed how various artists, such as Jean Arp, Marcel Duchamp, John Cage, and Ellsworth Kelly, have employed chance and randomness in their work, showing how these concepts have evolved.

Reas’s ideas about randomness and chance reminded me of a photography project I’ve been working on, capturing different flowers from the NYUAD campus. I realized I could introduce more randomness into the process by experimenting with various camera settings and unconventional techniques. This approach could lead to more unexpected and intriguing results while maintaining cohesion and structure. I was also intrigued to learn about how military research into randomness has evolved into generative art. For example, his 10 PRINT algorithm, which generates unique and intricate patterns, fascinated me by showing how a simple algorithm can produce complex and beautiful results based on randomness. His work has motivated me to delve deeper into creative coding and explore the vast intersection of art and technology.

In general, a balance between randomness and control can be achieved by introducing elements of chance and unpredictability into a structured framework. This can help to create a sense of tension and surprise, while still maintaining a sense of coherence and direction. Casey’s use of the 10 PRINT algorithm to generate unique and intricate patterns is a great example of how a balance between randomness and control can be achieved. The algorithm provides a structured framework for generating patterns, while the random elements introduce a degree of unpredictability and surprise.

Week 2 — Reading Reflection

I thought Casey’s talk on chance operation was really cool! I feel like when people talk about computers/ tech, they think about how the systems are built from am extremely rigid structure. When in reality, computer system (especially now with AI) have the capability to produce series of random results beyond what humans can think of and learn/ fix their own programming. Although there is structure in the way computer programs are given sets of parameters (position of the pivot points, color of the objects, movement of the shapes, etc.), the way which the program takes the information and returns a result may not always be what humans expect to happen.

Throughout Casey’s talk, I kept thinking if he could have imagined how far generative art has come. Since Casey’s talk 12 years ago, we have applications such as OpenAI and ChatGPT that have the capabilities to generate some artwork based off user prompts. User do not even need to have technical skills in order to tell the computer what to do; whereas compared to 12 years ago, users likely had to understand the computer manual and/or operating system in order to create some digital art.

With that said, my favorite part of his talk was his demonstration from 30:52 to 34:14 of the commodore 64. Whenever I see technology from the ’80s to early 2000 I am just absolutely fantastically with how far the digital and physical world of technology has come. The commodore 64 is a simple 8-bit home computer in the ’80s, and knowing something so simple was able to produce something complex humans consider as art, is the coolest thing to me. Now as programs and technology continue to advance, I wonder what the future would bring for not only the art community, but how else technology can influence our society.

Going into my work, I hope to have the ability to randomize my work on a deeper level and not only with simple generators with colors and shapes. I hope to explore more on how computers are able to compute and generate different numbers and the probability which they have different numbers. I feel the more I learn about computer architecture and how computers think for themselves through numbers the more I become fascinated with the mechanism behind it. As I learn and do more with projects, I hope to create generative/ AI models for whatever it is I want.

Week 2 — Generative Art with Loops

SHORT DESCRIPTION: 

In week 2 of intro to IM we were introduced to the concept of for and while loops in class and was asked to create a small project using these concepts. For my project, I decided to create a simple generative art program that selects a random shape and fits them onto the screen based off a given coordinate point. In order to achieve randomness in my project, I had used the Math.random() * n + 1 to generate number between 0 to n inclusively.

Design Concept 

Initially, I had wanted my design to be static, pure black and white piece with square grids that are filled with semi-circles rotated to different degrees, but I felt li

ke this concept has been used or seen before, so I decided to try something new. When I started the project, I knew I wanted to keep it simple, yet complex at the same time. My goal was to create a portrait that resembles modern contemporary art with color, where someone can make their own subjective opinions about the piece.

In the end, I created a dynamic and colored piece that changes what the individual sees on the screen every 2-seconds, and when the users press their mouse, the piece turns black and white. While I diverted from my original concept, I am still extremely happy with my final result and was still able to incorporate the black and white feature into my project.

Coding Processes

To achieve a structured, yet random pattern, I started by designing a grid pattern, where each square is 50 x 50 pixels. Then, in each square, there would be a randomly selected shape in the center of that grid. For the program to select a random shape, I created a function (getRandomShape) that would return a type:string from a shapes array (type: string).

The function that I wrote to select a random shape is as follows:

function getRandomShape() {
  const shapes = ['circle', 'triangle', 'square', 'ellipse', 'rect'];
  let randShape = shapes[Math.floor(Math.random() * shapes.length)]
  // console.log(randShape)
  return randShape

In the code, I had taken advantage of the Math library function .floor() and .random() in order to generate an integer that is within the length of the shapes array. Later I could also use the same functions to randomly assign the size of the shape. After which, running the code created a simple static design.

Some examples of the shapes bound within each 50 x 50 grid :

While I could have stopped there, I decided to play around more with the Math library and decided to shift the shape’s center, so it wasn’t restricted within each 50 x 50 square grid. As a result, it led to complex and unpredictable placements of the shape size and centers.

Some example of the randomized shape center

The Hardships

On top of the unpredictable pieces, I wanted to go further and implement an interactive “water ripple” effect that would emerge from where the user clicked on the screen. Unfortunately, I didn’t realize how complicated that process was because I had used the noLoop() in the draw() function to only produce one image at a time. Therefore, I couldn’t have the shapes stay static which the background continues to refresh (or at least I couldn’t figure how…). I spent a couple frustrating hours trying to get my idea to work before realizing the noLoop() was the issue. To future me and anyone else, understand the affect noLoop() will have your project and background, especially when working with for and while loops.

Eventually, I did get rid of the noLoop() in my draw() function and reduce the framerate to 2 fps because I didn’t want to give up on making my project interactive. [Another pro tip: the default framerate (60 fps) will make a project like this incomprehensible because the canvas is changing constantly.]

Achievements 

After dropping the ripple effect idea, I went back to my original idea of a black and white canvas. Using the mouseClicked() function, I set a variable “colorChange” to true if the mouse is pressed and make the canvas black and white, otherwise it would return to its default state of false and make the canvas colored. I really enjoyed this process because it exposed me more to p5’s library and allowed me to incorporate another idea I originally wanted to do.  I also felt like it added more depth and cool composition to my project.

let colorChange = false
... 

function mouseClicked(){
  return mouseIsPressed
  }
...

function drawShape(x, y){

  colorChange = mouseClicked()
    
    if (colorChange){
     circleColor = '#FFFFFF'
     rectColor = '#FFFFFF'
     circleColor = '#FFFFFF'
     squareColor = '#FFFFFF'
     triangleColor = '#FFFFFF'
     rectColor = '#FFFFFF'
     ellipseColor = '#FFFFFF'    
    }
}
Final Design

Below is my final design. I am happy with how it turned out and made me appreciate the process behind generative art and randomness. In the future, I hope to figure out how to implement a ripple effect and ability to create more generative projects.

[Press anywhere to make it black & white!]

 

Reading Reflection – Week 2

I found Casey Reas’ talk quite interesting as I discovered a number of new things I never thought of before. To begin with, as I have mentioned in this week’s assignment blog post, art is very subjective, and I feel that while some people can be fascinated by the art of chance and generative art as a whole, others will not even consider this art but rather set of unpredictable computer drawings that do not make a lot of sense. Personally, I am still not sure which side I belong to, but I really enjoyed watching the video as it gave me food for thought about the randomness implementation, and how it influences both physical and computer art.

First of all, there is a big difference between the randomness that humans create and the randomness that is generated by computers. It was unusual and captivating to see the pieces of art from the times before computers were invented, but I believe that as humans, we cannot ensure the complete randomness of our actions. On the contrary, computers are capable of producing chance operations that are much more unpredictable, and this is why it is important to control this process and find the right balance in order to get something that makes sense, something that can be called art. I was particularly impressed by the conceptual vehicles simulation (timecode: 9:03-10:00) that Casey Reas showed, and the way how he divided these random moves into stages and transformed them into drawings is interesting to think about. Overall, I agree with the ‘limitations’ of randomness that Casey Reas is setting in his works. In my opinion, a good thing to keep in mind is that I can always add some manual control to improve the visual effect of what was randomly generated, just like Casey Reas showed at the end.

In terms of my future generative art projects, I am definitely planning to keep the element of randomness as it surely adds uniqueness to the work. At the same time, I want to add more order, control, and interactivity for the user with what will be happening on the screen. As I watched the video after my assignment, I realized that although I tried to balance between ‘beautiful’ and ‘ugly’ randomnesses, maybe it was not enough. In my next work,  I will do my best to find a better balance.

Assignment 2: Going Through Life

For my second assignment, my goal became to use simple and basic shapes – rectangles and ellipses, but make the most out of them by playing with sizes and colors, while utilizing the available information resources – p5.js website Reference page, YouTube Channel The Coding Train, and the Internet as a whole. At first, I planned to make a plain art object, but as I was discovering more and more features of p5.js that I could implement to enhance the visual experience, I started seeing the bigger picture with the meaning behind it, and that is why I called it “Going through Life”.

Creating the Art

Art is a very subjective thing, especially nowadays, but I tried to create something that would simply show beauty and uniqueness. I took some inspiration from Computer Graphics and Art Journal, more specifically from “Random Squares” by Bill Kolomyjec, and decided to use shapes, random() functions, and loops as the foundation of my work. I also used the just-gained knowledge of arrays and a couple of other intermediate-level tricks that I took from the resources mentioned in the previous paragraph to make it easier to write the code. My first step was to create rectangles that would be of random size and would emerge in random locations on the canvas while I press the mouse mouseIsPressed(). Later, I decided to make the same effect but with ellipses emerging when I press the space bar using keyIsPressed() . I will explain the part of the code I am most proud of later, but now I would like to talk about the two concepts that I implemented.

1. Paint Blender

Before doing the assignment, I was looking at different works of generative art on the internet and on YouTube. Multiple times I saw how people used p5.js color functions to create something similar to the real painting. Although I was not familiar with any such types of functions, I decided to do some research on the Reference page to find something that I could apply to my work to make it look like a painting too. I came across the filter() function with the built-in parameters to impact the canvas in various types of ways. I started trying to apply them one by one to my work, and I realized that when the BLUR effect is applied, the shapes and colors that are randomly drawn on my canvas look like they are blended together, so I decided to keep it. Whenever ENTER is clicked, the colors and the shapes blend together. For me, it looks kind of like graffiti.

 

Instructions:
Press the Mouse to draw rectangles!
Press Space Bar to draw ellipses!
When you think that’s enough, click ENTER to blend the colors and the shapes!

 

2. “Going Through Life”

After finishing the job with the BLUR filter, I realized that although I reached my initial goal of creating a simple piece of art using the basic functions, it was a little bit boring and did not really have any meaning behind it. As an artist, I thought, I should convey the idea through my work, so I decided to change the filter to something more interesting. I found the DILATE filter, which increases the light areas on the canvas. I really liked the effect that it had – all the dark and grey colors were pushed away and overtaken by the bright ones, and it reminded me of how our thoughts and memories work.

The canvas is by default clear and bright – just like our minds. However, when we start facing problems, difficulties, and overall negative moments during our everyday lives, our minds start to get filled up with bad thoughts that constantly grow if we keep focusing on them. To change that, we must let go of all the negative emotions since we cannot change what happened in the past anyway. Once we do that, our minds will start getting back to light, even if it is just a small area of light left. There are wonderful moments and memories inside every one of us, and we just need to remember to turn them on. This is the mindset that I think is important – you always have to stay positive, even when you are going through tough times, and then you will surely find the light!

Thus, I made the rectangles represent the negative thoughts by changing the RGB to the lower range of values. I did the opposite with the canvas – the mind, and the ellipses – the positive thoughts. For the DILATE effect to start working, you need to “let go” and stop pressing the mouse 🙂

Instructions:

This canvas represents your mind.
Life is not life without challenges and troubles!
And we often concentrate too much on the negative emotions and feelings.
They grow just like when you press the mouse.
But it is important to let go.
And really appreciate the good things that are happening to you – unpress the mouse after some time. 
You can add positive thoughts by pressing SPACE BAR.
Try to mix pressing mouse and SPACE BAR, and then let go to see the effect!

The part of the code that I am most proud of is when I needed to figure out a way to make the process of growing look smooth and unusual. First, I used the floor(random(1, 3)) to make the random choice between numbers 1 and 2 that would represent in which direction – top/bottom (up/down) and width/height – the rectangle would grow. I used a similar technique with the ellipse. Second, I used the trick with frameCount and increased the time variable to regulate the delay before the new rectangle/ellipse started emerging. I am glad that I still remember things I learned in my Python class and am now able to apply them here in JavaScript. Lastly, I used the Alpha value of the fill() to control the transparency and make the so-called “waterfall” effect.

function draw() { 
  if (mouseIsPressed) {

      let width_vs_height = floor(random(1, 3)); // chooses whether width or height of the rectangle will increment
      
      for (let j = 0; j < 100; j += 1) {
        let emerging_rectangle = all_rectangles[j]; // takes rectangles for an array one by one
        
        if (frameCount > emerging_rectangle.time) { // delays the emergence of the next rectangle
          if (emerging_rectangle.up_vs_down === 1) { // grows down
            if (width_vs_height === 1) { // grows in width
              if (emerging_rectangle.w < emerging_rectangle.wLimit) {
                emerging_rectangle.w += incrementingspeed;
              }
            } else if (width_vs_height === 2) { // grows in height
              if (emerging_rectangle.h < emerging_rectangle.hLimit) {
                emerging_rectangle.h += incrementingspeed;
              }
            }
          }
          else if (emerging_rectangle.up_vs_down === 2) { //grows up
            if (width_vs_height === 1) {
              if (emerging_rectangle.w < emerging_rectangle.wLimit) { // grows in width
                emerging_rectangle.w -= incrementingspeed;
              }
            }   
            else if (width_vs_height === 2) { // grows in height
              if (emerging_rectangle.h < emerging_rectangle.hLimit) {
                emerging_rectangle.h -= incrementingspeed;
              }
            }
          }
        }
      

        fill(emerging_rectangle.colorR, emerging_rectangle.colorG, emerging_rectangle.colorB, random(0, 6)); //random transparency to create the 'waterfall' effect
        noStroke();
        rect(emerging_rectangle.x, emerging_rectangle.y, emerging_rectangle.w, emerging_rectangle.h);
      }
    }

Conclusion

I enjoyed working on this Assignment because it challenged me to not only write the code but also find the idea and meaning behind it. I created two variations of my artwork, and I am curious to know which one people would like more – Paint Blender or “Going Through Life”.

In terms of my p5.js skills, I feel that I learned more functions and techniques that I will definitely apply in my future work. There is a lot of room for improvement, and in terms of this particular assignment, I have some things in mind that could make the experience even better. For example, I could implement the restart button that would erase the canvas and make it empty again.

What I realized today is that p5.js is a massive field to explore. It has so many features and advanced-level functions that allow you to create basically anything that you can imagine. While going through the Reference page, I came across the Perlin noise algorithm, which I found to be quite a powerful tool, and I really want to figure out how to use it properly for my future work. I also liked the idea of the WEBGL render mode, which allows you to draw high-level 3D models, and has a number of tools that seem not to be available in the basic mode we are currently working in.

Overall, I am very satisfied with how our class is going. I came to Interactive Media to develop my imagination and creative thinking and explore the idea of thinking about art and producing it. I believe that it really helps me to improve the way I think “outside the box”, and I am looking forward to continuing this journey.

 

Week 2 – Maneuvring Around Difficulties

Intro

Sometimes, unexpected pop-ups may not be serendipities but discoveries of limits that propel us to set off on a new adventure.

My expenditure this time didn’t turn out to be very smooth in terms of my realizing my initial vision and how that vision deviates from my expectations. On the other hand, I believe these sorts of experiences would be quite beneficial as a lesson learned to guide future planning.

As my initial vision (or product concept) changed many times in the course, it’s rather difficult to start this documentary with a definitive concept aforesaid. Therefore, I will briefly touch on the concept of each of the prototypes alongside my process description.

process

A Definitive Heart in 3D Space

In the first stage of my development, my goal was to construct a framework of basic interactions that could satisfy my needs later on – which was attempted later on but eventually did not stand for my final product. Hence, I stuck to the idea of generating a visible coordinate system in 3D space at the beginning and wrote a basic ‘arrow generating-shooting’ mechanism.

The loops in this prototype are mostly for displaying every ‘arrow’ I stored in an array and the axis plane in each frame.

let arrowArray = [];

function draw() {
...
// Display all arrows in arrowArray for 1 frame
  if (arrowArray[0]) {
    for (let i = 1; j = arrowArray[i] ;i += 1) {
      if (j._3Dz < -50) {
        arrowArray.splice(i, 1); // Remove the arrow that is behind the plane
      } else {
        j.arrowDisplay(); // A method in Arrow class
      }
    }
  }
}

// Draw axis plane on a Graphics object
function drawAxis() {
  // translate to 2D coordinate system
  axis.translate(-axis.width / 2, -axis.height / 2);
  
  axis.background(10);
  
  // draw the axises
  axis.stroke('white');
  axis.line(0, axis.height / 2, axis.width, axis.height / 2);
  axis.line(axis.width / 2, 0, axis.width / 2, axis.height);
  
  // draw the marks on the y axis
  for (let i = 0; i < width; i += axis.height / 20) {
    axis.line(axis.width / 2, 
         0 + i, 
         axis.width / 2 + 5, 
         0 + i);
  }
  
  // draw the marks on the x axis
  for (let i = 0; i < width; i += axis.width / 20) {
    axis.line(0 + i, 
         axis.height / 2,
         0 + i,
         axis.height / 2 - 5);
  }
}

Here, I adopted a math function that has the graphic appearance of a heart to test out the prototype. As the heart function could have multiple y values for one x value, I used the unit circle to generate the coordinates of the points on the function.

// Heart shape function
function functionHeartX(t) {
  return 160 * pow(sin(t), 3);
}

function functionHeartY(t) {
  return 150 * cos(t) - 55 * cos(2 * t) - 30 * cos(3 * t) - 10 * cos(4 * t);
}

Besides, I also tried some basic lighting to hue the ‘arrows’ with redish-pinky color. It was quite interesting to see how the gamma factor affects the actual light color.

lights();
ambientLight(50); // as a gamma factor
pointLight(
  255, 0, 0, // color
  0, 0, 0 // position
);

A Probability Heart in 2D Space

Then, I started a new prototype to specifically realize generating random positions based on the probability distribution in a 2D space (in order to later adopt into the 3D space). Multiple probability functions were tested in this stage, including:

// Gaussian probability function
function gaussianProbability(distance) {
  if (distance > maxDistance) {
    return 0; // No points beyond maxDistance
  }
  return exp(-pow(distance, 2) / (2 * pow(sigma, 2))); // Gaussian decay
}

// Quadratic probability function
function quadraticProbability(distance) {
  if (distance > maxDistance) {
    return 0; // No points beyond maxDistance
  }
  return max(0, 1 - pow(distance / maxDistance, 2)); // Quadratic decay
}

It is also noticeable that the default random() function could be used as such to mimic the probability realization:

// Add point based on probability
 if (random() < probability) {
   points.push(createVector(x + width / 2, -y + height / 2)); // Store the point
}

A Probability Heart in 3D Space

After that, it was much easier to adopt the probability parts into the 3D version (and to be presented as a cliche gift in a long distance relationship):

A Grayscale Webcam Downgrader

# Please access the p5js page directly from the instance to allow webcam/mic usage for the following demonstration.

On top of that, I started to experiment with the webcam as an input:

// Create a video capture from the webcam
video = createCapture(VIDEO, { flipped:true });
video.hide(); // Hide the default video element that appears under the canvas

My intentions in this stage is: 1. convert the video into grayscale values instead of RGBs (as the grayscale values can be later on mapped into probabilities); 2. downgrade the video resolution into a mosaic (as, for probability generation purposes, it would save a lot of time and be even more beneficial for the depiction of the overall shape that I planned to deliver with a collective of ‘arrows’).

To achieve the first goal, we have to operate directly on the pixel array that holds the RGB values for each pixel of each frame in the video with a time complexity of O(n) (instead of calling a filter() method for the displayed effect on the video stream when showing the video).

function videoToGray() {
  // Load the pixels from the video
  video.loadPixels();

  // Check if the video has pixels loaded
  if (video.pixels.length > 0) {
    // Convert to grayscale
    for (let i = 0; i < video.pixels.length; i += 4) {
      let r = video.pixels[i];     // Red
      let g = video.pixels[i + 1]; // Green
      let b = video.pixels[i + 2]; // Blue

      // Calculate grayscale value
      let gray = (r + g + b) / 3;

      // Set the pixel color to the grayscale value
      video.pixels[i] = gray;       // Red
      video.pixels[i + 1] = gray;   // Green
      video.pixels[i + 2] = gray;   // Blue
      // pixels[i + 3] stays the same (Alpha)
    }

    // Update the video pixels
    video.updatePixels();
  }
}

As for the second goal, however, it was also at this stage that I did a lot of technical idle work. I started to write my method for downgrading the video resolution right away without checking the features of the video.size() method, and ended up with a function that loops through the pixel arrays with a time complexity of O(n^2) (which became very time-consuming when the original video resolution is relatively high):

function videoToMosaic(mosaicSize) {
  // Load the pixels from the video
  video.loadPixels();
  
  // Check if the video has pixels loaded
  if (video.pixels.length > 0) {
    // Clear the mosaicPixels array
    mosaicPixels = new Uint8ClampedArray(video.pixels.length);
    
    // Loop through the canvas in blocks
    for (let y = 0; y < height; y += mosaicSize) {
      for (let x = 0; x < width; x += mosaicSize) {
        // Calculate the average color for the block
        let r = 0, g = 0, b = 0;
        let count = 0;

        // Loop through the pixels in the block
        for (let j = 0; j < mosaicSize; j++) {
          for (let i = 0; i < mosaicSize; i++) {
            let pixelX = x + i;
            let pixelY = y + j;

            // Check if within bounds
            if (pixelX < width && pixelY < height) {
              let index = (pixelX + pixelY * video.width) * 4;
              r += video.pixels[index];       // Red
              g += video.pixels[index + 1];   // Green
              b += video.pixels[index + 2];   // Blue
              count++;
            }
          }
        }

        // Calculate average color
        if (count > 0) {
          r = r / count;
          g = g / count;
          b = b / count;
        }

        // Set the color for the entire block in the mosaicPixels array
        for (let j = 0; j < mosaicSize; j++) {
          for (let i = 0; i < mosaicSize; i++) {
            let pixelX = x + i;
            let pixelY = y + j;

            // Check if within bounds
            if (pixelX < width && pixelY < height) {
              let index = (pixelX + pixelY * video.width) * 4;
              mosaicPixels[index] = r;        // Set Red
              mosaicPixels[index + 1] = g;    // Set Green
              mosaicPixels[index + 2] = b;    // Set Blue
              mosaicPixels[index + 3] = 255;   // Set Alpha to fully opaque
            }
          }
        }
      }
    }

At the end of the day, it turned out that I could simply lower the hardware resolution with video.size() method:

video.size(50, 50); // Set the size of the video

Random Points Generated Based on Probability

Next, I wrote a prototype to see how the mosaic of probabilities could guide the random generation. The core code at this stage is to map the x-y coordinates on the canvas to the mosaic pixel array and map the grayscale value to probability (the greater the grayscale, the lower the probability, as the brighter the mosaic, the fewer the points):

function mapToPixelIndex(x, y) {
  // Map the y-coordinate to the pixel array
  let pixelX = Math.floor((x + windowWidth / 2) * j / windowWidth);
  let pixelY = Math.floor((y + windowHeight / 2) * k / windowHeight);
  
  // Ensure the pixel indices are within bounds
  pixelX = constrain(pixelX, 0, j - 1);
  pixelY = constrain(pixelY, 0, k - 1);
  
  // Convert 2D indices to 1D index
  return pixelX + pixelY * j;
}

function shouldDrawPoint(x, y) {
  let index = mapToPixelIndex(x, y);
  let grayscaleValue = pixelArray[index];
  
  // Convert grayscale value to probability
  let probability = 1 - (grayscaleValue / 255);
  
  // Decide to draw the point based on probability
  return random() < probability; // Return true or false based on random chance
}

A Probability Webcam in 3D space

‘Eventually’, I incorporated all the components together to try out my initial vision of creating a fluid, responsive, and vague but solid representation of images from the webcam with arrows generated based on probabilities flying towards an axis plane.

Unfortunately, although the product with many tuning of variables like the amount of arrows, the spread and speed of the arrows, and the lapse of arrows on the axis, etc., there could be a vague representation captured (aided by re-mapping & stretching out the probabilities with more contrasting grayscale values), the huge amount of 3D objects required to shape a figure significantly undermines the experience of running the product.

function applyHighContrast(array) {
  // Stretch the grayscale values to increase contrast
  let minVal = Math.min(...array);
  let maxVal = Math.max(...array);

  // Prevent division by zero if all values are the same
  if (minVal === maxVal) {
    return array.map(() => 255);
  }

  // Apply contrast stretching with a scaling factor
  const contrastFactor = 6; // Increase this value for more contrast
  return array.map(value => {
    // Apply contrast stretching
    let stretchedValue = ((value - minVal) * (255 / (maxVal - minVal))) * contrastFactor;
    
    // Clip the value to ensure it stays within bounds
    return constrain(Math.round(stretchedValue), 0, 255);
  });
}

Besides, the 3D space did not benefit the demonstration of this idea but hindered it as the perspectives of the arrow farther away from the focus would make them occupy more visual space and disturb the probability distribution. 

A Probability Webcam in 2D space

At the end of the day, after trying the ortho() method in the 3D version (which makes the objects appear without the affecting perspectives), I realized that reconstructing a 2D version was the right choice to better achieve my goals.

In this latest 2D version, I gave up the idea of drawing the axis plane and introduced the concept of probability distribution affected by ‘mic level’.

function setup() {
  ...

  // Create an audio from mic
  audio = new p5.AudioIn();
  audio.start(); // start mic
}

function draw() {
  ...

  // Map the audio level to contrast factor
  let level = map(audio.getLevel(), 0, 1, 1.05, 30);
  // Apply high contrast transformation
  pixelArray = applyHighContrast(pixelArray, level);
  ...
}

function applyHighContrast(array, contrastFactor) {
  // Stretch the grayscale values to increase contrast
  let minVal = Math.min(...array);
  let maxVal = Math.max(...array);

  // Prevent division by zero if all values are the same
  if (minVal === maxVal) {
    return array.map(() => 255);
  }

  // Apply contrast stretching with a scaling factor
  return array.map(value => {
    // Apply contrast stretching
    let stretchedValue = ((value - minVal) * (255 / (maxVal - minVal))) * contrastFactor;
    
    // Clip the value to ensure it stays within bounds
    return constrain(Math.round(stretchedValue), 0, 255);
  });
}

reflection

TBH, the technical explorations did consume much of my time this week, and it came to me later to realize that I could have thought of more about the theme ‘loop’ before getting started – as it appears now to be a very promising topic to delve deeper into. Nevertheless, I believe our workflow of production could be like this from time to time, and it is crucial to maintain this balance thoughout.

 

 

 

Week 2 – Bubbles.

CONCEPT:

While walking across campus, I saw children blowing bubbles with their families. This simple, joyful scene transported me back to my own childhood, when my brother and I would spend hours blowing bubbles in the park. While I was in front of the screen, I thought about the patterns I recently saw during the week — and then I was reminded of the bubbles. I was then propelled this wave of nostalgia, inspiring me to incorporate the playful essence of bubbles into my piece. 

 

CODE:

In terms of coding, I was particularly challenged by the randomness factor. I was unsure of how to produce bubbles at random places, sizes, and even colours. Therefore, I looked for assistance on the p5.js website.: https://p5js.org/reference/p5/random/ to understand the syntax of the ‘random’ feature. After relentless experimenting, I was able to randomise the selection of colours, which I had little idea on how to approach. I was particularly proud of it. In terms of design, I removed the stroke to add some sort aesthetic to the bubbles, and I changed the background to a light blue, to resemble the sky.

 

for (let i = 0; i < 20; i++ ){
  
  let x = random(width);
  let y = random(height);
  let r = random (10, 50);
  
  fill(random(250), random(250), random(250))
  
  noStroke()
  
  ellipse(x,y,r)
  

REFLECTION:

This assignment really challenged what my understanding of art is, and also made me realise how often we are surrounded by ‘art’ – no matter how subtle, quotidian, or ordinary it may be. Perhaps, if I were given the opportunity to further it, I may add some user interactivity such as popping the bubble and slowing down the speed.

WORK:

 

Reading Reflection – Week #2

For me, Casey Reas’ talk on the balance between randomness and control in artistic process appeared to be extremely motivational and spot-on. Although Reas does not provide a definitive answer on where this balance lies, the ideas he presents are still compelling and thought-provoking. For instance, I loved the way in which he highlighted the beauty of imprecision, suggesting that it stems from nature itself (which unexpectedly reminded me of the recent reading from another class on the beginning of life on Earth). To prove his point, Casey refers to the “randomness in order” seen in the artwork that demonstrates protein molecules communicating within a cancer cell. This non-obvious connection between the chaotic patterns of nature and those found in computer programming was truly eye-opening.

As I begin to work on my own creative projects using coding, I am constantly reflecting on how much I will rely on chance. For me, randomness is simply a tool to help achieve a creative goal, but it is by no means the most decisive factor. I firmly agree with Reas that artistic choices involve a little magic of chance, but they are mostly guided by thoughtful decision-making about the final result. This applies to all forms of art, as the artistic process is always shaped by stylistic choices, vision, and ideas that arise from the creative mind long before the actual craft begins. Henceforth, there is no “chance” in the foundational decision of what the work will make the viewer feel. The uncertainty only lies in the ways the effect is reached: that’s where embracing the beauty of chance and experiment becomes so handy.

Reading Reflection – Week #2

Reflecting Eyeo2012 lecture by Casey Reas

Casey Reas starts with the statement that nature constituted the chaos in the world, but after, order was introduced by God. I was surprised by such an idea, because in my worldview people are the ones causing chaos in neatly ordered nature. Learning on biology classes about different systems that existed in nature, like nutrient cycling, I was thinking about humans intervening in these structures and causing disorder. But, now, looking back to Reas’ statement, I feel like maybe it is God and humanity who decided to order all the processes in our ecosystem, so that it would be easier for us to live with them. Moreover, I started thinking about how exactly artists are maintaining order with their works. Don’t they question the initial order of things to break through it? I felt like art was always about the protest, but now I do think I was partly wrong. 

Looking at the artworks that experiment with total randomness in images, I really liked how the same patterns get transformed to different mediums and it adds to the idea of a chance and minimum control of future image (07:07 about process 18). In addition, I couldn’t fully understand what’s the optimum balance between total randomness and complete control, because some works used a little bit of randomness and mostly decision making, which gets us to the point that we can control the amount of randomness, and it is a contradictory statement at its core. 

I really liked the author’s throwback to the past interactions of artists with a chance. It reflected in me in a sense that previous generations were highly afraid of chaos or anarchy, which is why destruction of an order in artworks was considered a radical gesture. But, as previous generations, we did experience different wars and uncertainties, and I think what makes us different from them and what makes artists be more confident and open about using randomness in arts, it is a sense of freedom and being okay with not knowing everything. Before I didn’t really think about historical events being influential on appealing to order and chaos, but now I do. 

In the video, the quote of Richter: “Chance is always planned, but also very surprising” resonated with me because chance is needed to introduce something different and disruptive. 

Observing Mondrian’s work, I didn’t expect to understand that order actually does not limit emotion and spirit, even in total order there is a room for interpretation and imagination. Moreover, looking at different algorithms presented by Reas, an association with the game PacMan came to my mind, since it also employed balance between order and randomness.

Reading Reflection: Casey Reas

One thing that I, as an art history major, really enjoyed about Casey Reas’s talk on chance operations is the way he connected the topic to the Dada movement in art, referencing the desire of artists to break away from the pre-World War I  conventions of logic and reason. However, as Reas proposes applying the same elements of randomness through generative computer algorithms to create art, I couldn’t help but begin to question its compatibility with my understanding of what constitutes art.

To me, art is something birthed by human deliberation; it encompasses the story, the soul of the artist. When we leave it to chance operations to work and create independently of the intents of the human artist, can we still consider it a meaningful, artistic creation? But just as Jackson Pollock was the one waving his brushes with much force for the paint droplets to create random patterns, the programmer is the one who sets up and sends the computer programs into motion in the first place, allowing these chance operations to create the unexpected. These pieces are not possible without the programmer setting the parameters, and while I do not have a definitive answer about whether this makes them real artists or not, I think it’s nonetheless interesting to see how the role of an artist evolves over time.