Dorkbot Presentation

Thursday, October 27, at En3my Sound, 1550 N. Milwaukee Ave., 3rd floor, in Chicago: I’ll be presenting the newest version of my Processing library, IgnoCodeLib. I may even be so lucky as to have it online and ready to download. If not, expect an announcement soon. IgnoCodeLib provides a framework for 2D graphics using Bézier curves and straight lines. It can export its graphics to Adobe Illustrator. Moar information can be found on the Dorkbot Chicago site.

I’ll also hang some of my most recent work, created with my library. I’ve been posting much of it to Flickr, to the Sampling Patterns 55 set (a selection from the larger Sampling Patterns set) and recently to the Tree Jive set. This animated GIF, Not a Glitch, was created with the Tree Jive algorithm. My page on on Open Processing has some samples of the library used for animation.

 

Not a Glitch, animated GIF

Not a Glitch, animated GIF, created with Processing and IgnoCodeLib

 

Update: for those curious about the algorithmic technique behind the Tree Jive patterns, L-systems or string-rewriting systems, I recommend Prusinkiewicz and Lindenmeyer’s book The Algorithmic Beauty of Plants, available in a free, high-resolution version on the Algorithmic Botany web site.

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.