GLI.TC/H 2011

The GLI.TC/H Festival Kickstarter Project, GLI.TC/H 0111!?▐▐▐▀▀▀▀▀▀▄▄▀▀▌▌▌▐▐▐DIT▀▀▀▀▀Do▄it▄2gather▀▀▀▀, appears to have the necessary funding and then some. Building on the success of GLI.TC/H 2010, GLI.TC/H 2011 will take place November 4, 5, and 6 in Chicago, November 11 and 12 in Amsterdam, and November 19 in Birmingham, UK.  Check it out. Pledge: an over-the-top festival deserves to go well over the top.

Is This Thing On?

A work by Darrell Luce, Painting with Balls, for Maurice de Vlaminck, Jasper Johns, and Murakami Saburo (encaustic and oil on canvas, with collaged elements, 42 x 18 inches, 2000), is included in the group show Is This Thing On: The Art of Comedy, curated by Miguel Cortez.

For Painting with Balls Luce “appropriated” a computer print from fellow ignoStudio member Paul Hertz and threw paint-loaded balls at it. He combined the results with a painting in encaustic loosely inspired by Disney’s The Sorcerer’s Apprentice and Italian Renaissance cartoons. The work cites Work Painted by Throwing a Ball (1954) by Murakami Saburo, a member of the Japanese avant-garde group Gutai, Jasper Johns’s Painting with Two Balls (1960), and Fauvist Maurice de Vlaminck, who winningly declared: “I try to paint with my heart and loins, not bothering with style.” The senior member of ignoStudio, the former carnival mentalist J.T. Pescador (stagename, “Ignotus the Mage”) interpreted Luce’s painting as a sendup of the macho challenge: “Hay que poner los huevos sobre la mesa a ver si alguién te los corta. (You’ve got to put your balls on the table to see if anyone cuts them off.)”

Computational Aesthetics 2011

Two large format digital prints by Paul Hertz will be shown in the juried art show at the annual Computational Aesthetics conference, held this year in Vancouver, Canada from August 5 through 7. The archival inkjet prints from the artist’s recent “Sampling Patterns” series, Ponente and Shimmer, were printed at Ignotus Editions.

Selections from the Sampling Patterns series can be viewed here, in a Flickr set. The series was developed with the Processing programming language, including Hertz’s Processing Library, IgnoCodeLib.

Artist’s Statement

Ponente and Shimmer are based on regular random distributions known as “blue noise.” Natural phenomena such as identically charged particles jostling for position within a limiting boundary or a flock of birds adjusting their mutual distances have similar distributions. Blue noise dot patterns have interesting visual and cognitive effects: Their regularity seems to imply an order just about to emerge, which their randomness negates. These and other works in my “Sampling Patterns” series are snapshots from interactive real-time animations where the geometric points of the distribution are used to sample functions that control color, scale, shape, and other visual attributes. The snapshots are further edited to produce prints.

In Ponente, blue noise grids determine the locations of distorted circular shapes in different scales and granularities. Low frequency wave functions control variations in scale and simple coloring rules distinguish different layers of shapes or populations within each layer. In Shimmer, a distribution is partitioned into three populations that are distinguished by algorithmically determined colors. Each population has its own shape-generation rule. A global rule for shape orientation (a wave function) creates swirling motions over the visual field.

MySQL-Python on MacOSX 10.6 Snow Leopard

GCC was reporting a file not found error for stdarg.h early in the compile of MySQL-Python-1.2.3 on MacOSX 10.6 (Snow Leopard). I was staring right at the file, “/Developer/SDKs/MacOSX10.4u.sdk/usr/include/stdarg.h,” so it most certainly did exist. The problem seems to have been caused by the GCC compiler version and architecture I was using with my Python, Apache and MySQL installations.

$ gcc --version
i686-apple-darwin10-gcc-4.2.1 (GCC) 4.2.1 (Apple Inc. build 5666) (dot 3)
$ mysql --version
mysql Ver 14.14 Distrib 5.1.35, for apple-darwin9.5.0 (i386) using readline 5.1
$ /usr/sbin/httpd -v
Server version: Apache/2.2.17 (Unix)
$ python --version
Python 2.6.2

This was not obvious until I went to the trouble of downloading the MacOSX10.4u.sdk files and still had the same error—but I will spare you the tale of the hours I lost banging my head.

For reasons that don’t matter here, I had previously manually compiled both Apache and MySQL to use 32-bit architecture. As I understand from all the help I looked for online (this site where my issue with stdarg.h was part of the discussion was particularly helpful), all the various libraries, Python, and the GCC compiler need to be using the same architecture. I found two solutions:

MySQL-python-1.2.3 $ sudo CC=/usr/bin/gcc-4.0 python clean
MySQL-python-1.2.3 $ sudo CC=/usr/bin/gcc-4.0 python build
MySQL-python-1.2.3 $ sudo CC=/usr/bin/gcc-4.0 python install
MySQL-python-1.2.3 $ sudo ARCHFLAGS='-arch x86' python clean
MySQL-python-1.2.3 $ sudo ARCHFLAGS='-arch x86' python build
MySQL-python-1.2.3 $ sudo ARCHFLAGS='-arch x86' python install

Everything compiled with either one of these. The latter seems to me to be the better solution. After running it, I could load the library in Python with no errors:

>>> import MySQLdb

I was then able to get Django to talk with MySQL and set up a database. Yay!

Notes: For the compile to work you will also need the Python setuptools module. I installed it using easy_install, which I had evidently installed without installing the full setuptools package.

Django, PYTHONPATH, and iPython

After trying Drupal and finding it needlessly twisted, I have decided to experiment with Django. I’m working my way through Python Web Development with Django®, by Jeff Forcier, Paul Bissex and Wesley Chun, published by Addison-Wesley Professional in 2008. Thing have gone smoothly, so far, though I have not yet set up Apache to work with Python and Django either locally or on my server. My previous experience has been limited using Python for cgi scripting.

I followed the Django installation instructions at to install Django 1.2.5 (current version is 1.3), generally without a hitch. Following instructions in Appendix B of the book, I ran the command python install from the Django directory. Also at the suggestion of the book, I installed iPython. It has some handy features, but also seems to have far more features than I need. I’ve also had a problem with its recognizing my Django directory as part of its search path. The regular Python editor does not have this problem.

To inspect the search path, start python:

$ python
Python 2.6.2 (r262:71600, Apr 16 2009, 09:17:39)
[GCC 4.0.1 (Apple Computer, Inc. build 5250)] on darwin
Type "help", "copyright", "credits" or "license" for more information.
>>> import sys
>>> sys.path

This should print out a mutable list of paths. The problem is, the list is different if you invoke ipython as the editor. In fact, it’s missing the path that contains the Django library. As a result typing

>>> import django

in iPython will return an error message. It works just fine in the regular old Python editor.

The remedy? For scripts that are run from the Terminal, you need to create or modify the PYTHONPATH environmental variable, which stores the search path returned by sys.path in Python. Even if you haven’t set this variable, the standard Python editor apparently gets all the necessary information from other path variables in Mac OSX, while iPython doesn’t. It seems to be missing one specific path. To add it in, edit your ~/.bash_profile file to contain the following line:

export PYTHONPATH=/Library/Frameworks/Python.framework/Versions/2.6/lib/python2.6/site-packages:$PYTHONPATH

You can add other paths to this later on, as you develop your own modules. Other techniques for adding to the search path involve .pth files or, for apps launched from the finder, creating or modifying ~/.MacOSX/environment.plist.

Surprised Party

A new Voronoi-based computer print by Paul Hertz, Surprised Party. Paul suggests that this print registers his giddy mood upon being welcomed to a surprise birthday party, a plot hatched by his wife, sister, and son and very successfully executed. The party was surprised.

Surprised Party

Surprised Party

The image was generated with multiple passes of Michael Balzer’s code for Capacity-Constrained Voronoi Tesselations. Basically, the CCVT algorithm generates random dot patterns where the dots are evenly distributed. The CCVT algorithm has the particularity of greatly reducing geometric artifacts, such as hexagonal grids,  that may appear in other generation methods. The artifacts can easily be detected just by looking, from which one might deduce that the human visual system is very good at detecting order within randomness.

Detail of Surprised Party

Detail of Surprised Party

Like a perfect gray tone, CCVT-generated dot patterns seem to have a aesthetic appeal that has a statistical correlate. Using them to produce art seems rather natural, in the tradition of “all-over” abstract painting. Their lack of order has the somewhat paradoxical effect of enabling one to see all sorts of orders–trails and swirls of dots where the fundamental rules are, roughly, for dots to keep their distance and avoid regimentation.

The Fibonacci Series and some shuffling were instrumental in selecting and assigning the colors. I leave it to the curious to decipher the numerical game. It should not be difficult. Like a good friend, you can count on the Fibonacci series.

* Shuffles an array of integers into random order
* @param intArray   an array of ints
public void shuffle(int[] intArray) {
  for (int lastPlace = intArray.length - 1; lastPlace > 0; lastPlace--) {
    // Choose a random location from 0..lastPlace
    int randLoc = (int)( randGenerator().nextInt(lastPlace + 1) );
    // Swap items in locations randLoc and lastPlace
    int temp = intArray[randLoc];
    intArray[randLoc] = intArray[lastPlace];
    intArray[lastPlace] = temp;

Lens Distortion and Perspective Correction

A review of PTLens, lens distortion correction software for Windows and Mac OS, with further notes on correction in Photoshop and Bridge CS4.

PTLens uses a database of lens characteristics for correcting barrel, pincushion, and complex distortion caused by lenses. It also provides tools for correcting perspective distortion and chromatic aberration. The lens distortion correction, in my brief test, proved markedly better than what I could achieve with Photoshop. I used the Photoshop plug-in (the software also provides a standalone application and a plug-in for shift lenses): it identified my lens and focal length and applied an automatic correction. Although I could have tweaked the correction, it turned out to be as close to spot-on as I could detect.

PTLens does have one drawback: it presents as a preview a scaled-down image in its dialog box. Photoshop does the same–neither tool lets you preview in the image itself–but Photoshop’s Lens Correction tool permits you to zoom in over a comparatively large image. PTLens can zoom, though only for chromatic aberration, apparently, and it provides a small area to preview. This makes PTLens decidedly awkward to work with if you need to see zoomed in views. PTLens does provide a grid, which facilitates distortion, perspective, and rotation corrections, but even for these more global corrections, a larger zoomable image than PTLens provides can be handy. For its modest price, PTLens provides some excellent functionality, from what I can tell on first impression, but its limitations mean that you will still use Photoshop’s tools for some corrections.

Comparing PTLens with Photoshop

Photoshop correction on the left, PTLens on right

The above images were corrected for lens distortion. The PS example used the Filter > Distort > Lens Correction tool, with distortion, perspective and rotation corrections. For the PTLens example, distortion was corrected with PTLens and perspective, rotation, and warping corrections were applied in Photoshop. The image was shot at 18mm with a Nikon 18-200mm f/3/5-5.6 zoom lens, Nikon D300 body.

In Photoshop, it proved very difficult to get the precise correction, and I think this shows in the comparison. Quite possibly, the distortion had both barrel and pincushion distortion–common in wide angle lenses, according to the PTLens web site. Photoshop can’t correct such “complex” distortion; PTLens can. The combination of corrections in Photoshop also warped the image considerably, more than occurred with PTLens. I cropped the Photoshop image to remove warped edges. The PTLens image, after minor perspective and rotation correction, was easy to correct with the Edit > Transform > Warp tool. The Perspective correction had scaled the image down in the lower portion. Applying the warp transformation only on the lower portion distorted only the garden. Because the garden has no straight lines, the distortion isn’t even noticeable.

By the way, for chromatic aberration correction, if you are using RAW images, the best tool in my pack is Adobe Bridge. Photoshop’s correction is less fine-tuned. It’s a good idea to correct chromatic aberration before you even begin working in Photoshop.

Update: Much of the functionality offered by PTLens is now built into Adobe Bridge CS5, and I assume by extension to other Adobe Products.

Emigre Type Foundry: Historia

I have in my hands the most recent specimen book from Emigre Type Foundry and I am delighted. Emigre’s type books become collector’s items, and its not hard to see why–in small format, they extend to the printed document the quirky, fun and righteously well-defined aesthetic that permeates their typeface design.

This current offering, Historia, is something else. It’s not just a “greeked” specimen book, but a photographer Rudy VanderLan‘s journal of battlefield locations in the Mexican-American war of 1846–1848, with a recounting of that history, panoramic photos, and stylized, typeset “labels” for each location.

You can order the next specimen book free from Emigre, or buy a small collection for the modest price of $3. I did not see the current one online, though I expect it’s still available. Just don’t ask to borrow mine ;^}.

Fonts and the Visual Design of Web Pages

HTML was not made for visual designers–certainly not in the beginning. It was built on markup languages that were intended to capture the organization and functionality of documents and document elements, not their appearance. It was intended to be flexible in its presentation, independent of visual layout and style. Database designers understood this. Visual designers hated it. They have been striving ever since to twist it to their purposes.

In many ways they have succeeded. Netscape’s introduction of the now-deprecated <font> tag in 1995 was the first crack in the facade. Tables were used early on to create layout, though HTML advocates objected: “Tables are for tabular data!” Invisible GIF “shims” provided indents and line spacing that markup balked at. It was a mess, though it provided a nice market for the the specialized knowledge that HTML tweakers and twisters acquired. Mercifully, the WWW Consortium introduced new markup standards and eventually CSS. Using tables and shims today is a not just anachronistic, it’s counter-productive. It will frustrate good design, because always was just a workaround.

Font display is the one element that is still not under the designer’s control. Designers tend to rely a handful of “web-safe” fonts that “most” computers will have installed. To circumvent the quirks of different browser in displaying these common fonts, markup libraries like YUI can level the ground with CSS that zaps the quirks and then lets you build up CSS specifications that will provide uniform font display on all browsers. Cascades (font-family: “Lucida Grande”, “Verdana”, sans-serif) provide a measure of fallback safety, but you still have no way of really assuring uniform appearance of fonts on web pages. PDFs or Flash are poor substitutes for standards. Creating font graphics is fine for a smattering of display type, but it won’t do for body text.

There have been a number of font embedding schemes. The W3C is working on a standard for Embedded Open Type, but there are quite few legal and technical problems to overcome.  At the moment, embedded fonts (via the @font-face CSS declaration) are mostly supported through font servers that operate on a fee-for-service basis. Not all type foundries permit their fonts to be embedded. Meanwhile, the Google Font API provides some 16 open source fonts that are designed to work on all current browsers. It’s a step in the right direction, and supported by a company many of have come to rely on (with varying enthusiasm).