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    Archived pages: 181 . Archive date: 2014-10.

  • Title: i2off.org+r3nder.net // estadolateral.net [design is death]
    Descriptive info: .. i2off.. org+r3nder.. net [estadolateral].. our links, dates and works.. Links:.. Social:.. Blog.. Stream.. /.. Flickr.. i2offPlusR3nder.. Pownce.. Paredros.. /.. Del.. icio.. us.. MySpace.. tdi.. YouTube.. render00.. Mobile.. Walkman.. Group:.. r3nder.. net.. estadolateral.. TratadoDeIntegracion.. ClandestinaWeekendNerd.. Vidriera:.. net/resource.. People:.. Emergente.. GroupClandestina.. Festival:.. Contact:.. email.. msn.. facebook.. about.. NextDates:.. 2008.. FILE Sao Paulo.. [sao paulo brasil, agosto-2008].. +160 VJing.. [buenos aires, argentina, 12-agosto-2008].. +160 Aniversary.. [buenos aires, argentina, 17-agosto-2008].. UGIS presentation in Bogota [bogota, colombia26.. 31-agosto-2008].. Apertura Cultura y Media.. [buenos aires, argentina, september-2008].. Optica Festival Paris.. [paris, francia, octubre-2008].. The Circle [abu dhabi, emiratos arabes unidos, octubre-2008].. LastWork:.. is.. 3s.. on Sao Paulo at the.. FILE Festival.. Works:.. a.. rt.. / b.. rand.. li.. v.. e.. / l.. ab.. interactive..  ...   Cocoliche Web.. UGIS 3D VJ.. Psynthtronic.. UGIS Casa FOA.. Artemotion.. Wall Givenchy.. CamelGame.. SupUrban.. CodeArtVJ.. Experiencia Fargo.. RevGraffitiShow.. UGIS.. EMN4 SAMC.. v:.. CraftsVJ SAMC.. i2offRedesign.. bl:.. Lateral Media Web.. Lateral ReelDVD.. Wall KSK.. Wall Movistar.. VideoCode03.. 2006.. VisualScratch.. T*3D OneDotZero.. abl:.. GanciaRoom ODZ.. Flaxus.. EuropeanTour.. Multitouch.. TangibleUI.. CraftsVJ Creamfields.. Movistar VideoCode.. MixedGames.. TarjetaCodeDesign.. ToNewWebPic.. SonyPsp VJ.. OjosNegros.. AtypicaCoverByCode.. FerryCorsten VJ.. LateralConcept.. LateralTrailer.. CraftsVJ Update3.. CraftsVJ LedsSet.. CraftsVJ Update2.. CraftsVJ Update1.. Aquanauta.. Ramas VideoCode02.. 2005 and less.. LightsOn!.. CraftsVJ Breake.. PixelSticker.. TacomeExperience.. liv3Evil.. Human? PoeticGame.. Issue12.. Issue11.. NAT.. url.. Issue10.. Issue7.. ComunitariaWebTV.. Zetz.. Yenta City.. Resaca.. Planta01.. MalvinasVideo+Game.. Less16k.. LanarkMusik.. H.. E.. R.. O.. CraftsVJ Street.. CraftsVJ.. BeetPresentation.. BeetCover.. -.. tecnologies:.. Processing.. QuartzComposer.. Flash.. OpenFrameworks.. Arduino.. Ruby.. previous issue:.. issue13.. -..

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  • Title: i2off.org+r3nder.net //about:me
    Descriptive info: Icon:.. Name:.. Ivan Ivanoff.. Age:.. 30.. Location:.. Buenos Aires.. Email:.. avatar in i2off.. org.. Msn:.. paredros in hotmail.. com.. Mobile Msn:.. paredros in gmail..

    Original link path: /aboutnew.html
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  • Title: Psynthtronic v070 Made with Processing::i2off.org+r3nder.net // estadolateral.net
    Original link path: /psynthtronic/
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  • Title: ***//\\www.i2off.org++FlaxusBackground//\\***RealtimeVideoCoding
    Original link path: /issue13.html
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  • Title: Siembra::VideoCode03
    Descriptive info: Title |.. Titulo.. Siembra:VideoCode03.. Duration |.. Duracion.. :.. 04:09.. Screens |.. Pantallas.. Download |.. Descarga.. If you wanna a high quality copy [DVD], please contact us.. ||.. Si desea una copia en alta calidad [DVD], por favor pongase en contacto con nosotros.. DOWNLOAD LATEST QUICKTIME.. SEE WEB VERSION 95 MB.. need.. QuickTime 7.. SEE LOW WEB VERSION 23 MB.. In Short |.. Sintesis.. This video is a follow up to our previous work titled.. Ramas.. It was entirely generated by code [programmed structures] and it attempts to become both a visual and sound metaphor for the text that accompanies the piece.. The resulting artwork is a system, a set of algorithms that process and generate the video frame by frame, based on the interaction of the various programmed agents.. These behave in an autonomous and independent way, but compose a large organism at the global ecosystem level.. The work which was completely created in.. , uses as generative elements three other words besides the title of the piece.. These words operate as seeds, that once planted, determine, together with the virtual environment generated by the algorithms, the growth of the different elements, their state and evolution, camera positioning, frame composition and sound.. Este video es una continuación del trabajo que realizamos en la obra.. Generado enteramente por código [estructuras programadas], tanto en el aspecto visual como sonoro, la pieza intenta convertirse en una metáfora del texto que acompaña a la obra.. La obra es un sistema, un conjunto de algoritmos que procesan y generan cuadro a cuadro el video, basandose en la interrelación de los distintos agentes programados.. Que se comportan de forma autónoma e independiente, pero que en su relación global de ecosistema componen un gran organismo.. Creado enteramente en.. , toma como elementos generativos 3 palabras y el titulo mismo de la obra.. Estas palabras operan como semillas que son sembradas y de las que, en su interrelación con el entorno virtual generado por los algoritmos, determinan el crecimiento de los elementos, su estado y evolución, situación de cámara, composición de cuadro y de sonido.. Field |.. Terreno.. We believe there is a large organism behind what we call humanity.. This thought is not arbitrary.. We arrived to this conclusion after observing certain phenomena in human interrelation throughout history, as well as the relationship between humanity and other systems in nature.. As we have previously stated in.. , we found a behavior or motive in this organic system.. Firstly survival through expansion [if few individuals of a species survive, the species will most likely become extinct].. Secondly the need to constantly enhance the bonds between different segments in order to improve the flow.. Finally the need to insure that the interdependence between parts is not strictly vertical [see.. for more information].. Trying to find the possible origins of this organizational model, we came across three interesting elements of human behavior as part of an incredibly dynamic organism.. Its important to stress that amongst all of nature s systems known to us today, humankind has unique active characteristics that allow it operate on the environment and quickly shape the necessary tools for the expansion and improvement of the global entity.. These three elements can be thought of the manure in the soil of human history, the substance that allowed the growth of mankind as a great organism.. We are talking about:.. desperation: the discovery of death, of loss, the possibility that tomorrow  ...   el hombre en el espacio de la historia, abono que permitió el crecimiento de un gran organismo como la humanidad.. Hablamos entonces de:.. desesperación; haciendo referencia al descubrimiento principalmente de la muerte, de la ausencia, de la posibilidad de que mañana algo no este.. conciencia: como reconocimiento de la existencia propia, de uno mismo en relación al entorno.. de la existencia psicológica misma del individuo.. recuerdo: la capacidad de construcción hacia atrás de la historia, tanto en verdades como en mitos y leyendas.. Estas 3 particularidades operan de forma activa en el campo histórico de la humanidad, forzando la necesidad inicial de ciertos vínculos y la creación de estructuras, bien reales o virtuales, bien físicas o psíquicas que fueron soporte de la organización sistemática que se procura la misma humanidad de forma inconsciente.. Means |.. Organo.. These three elements are included in the video as writing, graphical composition and initial character.. A series of generative algorithms operate on them and modulate the growth, evolution and interconnection of every individual in particular.. Thus, generating an entire organism which is the video, with it s image and sound.. To carry out this task we used the.. programming environment for which, when working on Ramas, we developed a system based on ecosystems that allows both the creation of agents and the follow-up of the relations between them.. This data triggers the graphical and sound composition.. We chose Processing because its an open source environment, specially developed for artistic creation and experimentation.. Together with this environment, we operate two open source plugins with which we generate the sound.. One of them, called.. Oscillator.. makes wave abstractions very easy to work with, allowing us to generate basic sounds that combined create compositions.. The other plugin we used is called.. Ess.. and it allowed to generate audio files in.. Proccessing.. and manipulate them.. For the visuals we chose to run OpenGL in Processing and hence generate dynamic 3D structures and video effects.. En el video, se toman estos 3 elementos como palabra, como composición gráfica y determinación de un carácter inicial.. Sobre ellos una serie de algoritmos generativos operan y modulan el crecimiento, evolución e interconexión de cada individuo en particular.. Generando así un organismo entero que es el video en su imagen y su sonido.. Para realizar esta tarea usamos el entorno de programación.. en el que venimos trabajando regularmente y sobre el cual, para el video.. , elaboramos un sistema basado en ecosistemas que permite tanto creación de agentes como mantener registro de las interrelaciones de estos.. Dichos datos son el sustento de la composición gráfica y sonora.. Elegimos usar Processing porque es un entorno de uso libre desarrollado especialmente para la experimentación y la creación artística.. Junto a este entorno operamos con 2 plugins de uso libre para poder generar el sonido.. Estos son.. que nos permitió trabajar de forma sencilla con abstracciones de ondas.. Así con estas poder generar sonidos primitivos que en su unión elaboren ciertas composiciones.. El otro plugin usado es.. que permite desde Processing generar archivos de audio y manipularlos.. Así pudimos no solo grabar el audio cuadro a cuadro, sino que levantar samples y usar los datos abstractos del sonido de estos para generar mas audio.. Para el apartado visual optamos por usar OpenGL desde.. para generar estructuras dinámicas 3D y efectos de video.. References |.. Referencias.. RESACA:VIDEOCODE01.. RAMAS:VIDEOCODE02.. FLAXUS:LIVECODINGflashbasedTOPLAPsoftware.. CRFTS*:VJSystemOverQuartzComposer.. Contact |.. Contacto.. http://www.. i2off.. avatar@i2off.. Jose Jimenez.. http://r3nder.. noremorse@gmail..

    Original link path: /videocode03/
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  • Title: FLAXUS, Toplap flash based by i2off.org+r3nder.net
    Descriptive info: News.. 26.. 10.. 2006.. Flaxus beta.. Flaxus is a software developed under the.. TOPLAP.. manifesto, to perform visual performances in real time.. You can read the explanation, see some of the.. Screens.. , or use the.. Example Codes.. on the.. Online Version.. Reference Links Contact.. Flaxus is an application developed in Flash 8 by.. +.. You can contact us via email at following addresses.. or.. reference links:.. ,.. Fluxus.. (another aplication built in Flash by i2off.. net).. About.. toplap flash based aplication.. In short.. manifesto, that carries out visual performances in real time.. The graphic piece is generated by code at the same moment of its execution, thus, the artistic experience comes closer to a performance event such as music or dancing.. But Flaxus also brings forth a new paradigm, since it allows a user to execute visuals that hundreds of other participants can watch activated by their indicidual audio in different parts of the world.. Therefore, the same visual composition becomes reactive to individual musical perception anywhere.. Flaxus is also a collaborative tool that promotes network tasking by allowing the real time creation of a piece amongst various executors connected through the internet.. Motive.. We believe that electronic audiovisual arts still demand great experimentation and further insight into their fundamental search.. Flaxus is a field work, a statement that privileges visual over musical performance.. It uses network capabilities to create elements that simultaneously react to different environments.. It fosters collaborations between people working at a distance, programming codes and live interpretative processes.. We seek to investigate the boundaries of live visual performance.. Path.. For the last couple of years we ve been researching the live performance potential of electronic audiovisual arts.. Trying to explore the similarities between playing a musical instrument live and generating visual contents in real time.. At first we turned to Visual Jockey or VJ, a visual performance in which an operator displays images that accompany audio.. But we found that Vjing is closer to what a DJ does, since it involves mixing rather than composing.. Even when the mix incorporates pieces of the VJ s own authorship, it s not quite what we re looking for.. Given that there is a huge difference between playing a tune live on a guitar composing a melody note by note, and mixing something, determining which previously recorded samples should be heard at a certain time.. The same is true for VJing.. This kind of performance is never 100% live, as playing a piano would be.. We then determined it was important to define the smallest visual unit, comparable to a note in music.. The problem is music only has one axis of data, whereas a digital image contains a lot more information.. A note is a wave moving in just one direction, with different values over time, while a flat visual display has at least two axis that run perpendicularly to make up a grid of pixels.. Additionally, the surface is related to a fraction of visual time, around 1/30 and 1/12 of a second.. By attempting to make a metaphorical translation from music to image processin, we could only control minimal data in a timeline, we were only able to turn certain elements on and off, slightly shifting color or shape.. We then realized we could not metaphorically translate the wave creation process to an image.. Otherwise the visual composition would involve different values of only one color occupying the whole surface, or in the best case scenario, offer a slightly more complex variable that could not fulfill our expectations.. At this point we noticed an indirect relation existed between playing an instrument and writing computer code.. Researching further into this, we came across the.. manifesto.. It originally began as a musical trend, but currently also has a visual branch.. The manifesto deals with the same issues that we are interested in, mainly concerning the performance potential of electronic arts, and it arrives to our same conclusion.. sets a platform for programming visual content.. Code is written and structured in way that is understandable to the machine, which in turn translates it into images.. Hence, the performer is compelled to constantly act out in order to keep the image flowing in an esthetic way.. This solution is very similar to the act of playing live music, and may even be considered a return to the origins of electronic music and the ideals of pioneers such as Varesse.. In the early stages of electronic music there was a keen interest in achieving a way to replicate a performance through electronic means.. Since at the time the final outcome of the execution of a musical piece was influenced by many variables, such as the musicians, the location, the conductor,  ...   rigid and become adaptable to various circumstances.. But the flexibility attained is not limited to the sort of linear transmission consisting of a transmitter and a receiver.. Digital channels allow a circular performance.. Flaxus makes performance a collaborative affair.. Instead of there being a single performer, a spectator can act out and modify the piece for the rest of the audience (who at any time can become performers) to see.. Thus, the performance becomes a group dialogue between many parties.. The opposition between the performer and the audience is dissolved and can even be inverted.. The esthetic error is incorporated as a basis of the system.. In each place the final perception of the execution can be completely different without altering the piece s artistic composition at all.. Grammar.. The logical structure of this programming language is based on a system of modular hierarchies.. They are inserted one inside of another and are solved from the inside out, clearing the unknown quantity the same way as in maths.. Each structure generally has a verb as its first element and as a second one a noun that operates on the verb.. The noun is sometimes followed by different adjectives or secondary verbs that operate on it.. These structures are always placed between parenthesis.. Here s an example of a verb in use:.. (Build_Cube).. Creates a cube.. (deleteModel ACTIVE_MODEL).. This phrase is composed of a verb and a noun and it tells the system to delete the last active model, that is, the last model created or accessed.. (Build_Cube 30).. This creates a cube at a scale of 30.. In this case the noun is implied.. (setVar miCubo ACTIVE_MODEL).. Here miCubo is the denomination for a new noun with the solved value of an adjective.. There is also another type of structure that refers to a group, and usually its first value is an element of that group.. (math random).. In this case the system takes the random value of the math element.. The structures can also replace values within other structures.. (setPosition (math random 100) 0 0).. The verb set position operates automatically on the last model created, changing its position according to the three adjectives or parameters submitted, which respectively represent X Y Z.. In the example the value of X is given by a random value between 0 and 100.. Consequently, the structures may serve not only as an action, but also as a definition for a value involved in an action of greater hierarchy.. Capabilities.. Flaxus is an experimental conceptual tool.. It s a not high performance software.. It has great educational value, in the same way as John Maeda s MIT.. Design By Numbers.. did or as Ben Fry (Broad Institute) and Casey Reas s (UCLA Designs | Media Arts).. does.. The tool allows the user to create simple 3D polygons in real time in a space that reacts to sound.. It support the use of 2D and 3D particles;.. variables management and mathematical calculations;.. bitmap creation in real time;.. different layer blending operations;.. the use of textures, fonts and gradients generated in eral time;.. as well as direct operations on videos and bitmaps such as Kerneling, Convolution Filters, Bitmap Copy, Video Feedback, etc.. All of these processes are executed in real time.. Furthermore, Flaxus is a collaborative tool that allows different people to operate simultaneously on the same piece as they instantly share the code and its execution.. Technology.. The entire software was built in.. Adobe Flash 8.. , a tool initially conceived to develop animations which currently has a powerful language oriented to esthetic programming.. Which also lets us perform real time operations on bitmaps.. Moreover it can run on any platform that supports the.. Adobe Flash 8 Palyer.. , thus as well as being multiplatform the software is able to run embedded in a web site.. What s Next.. We will begin by adding documentation and examples.. Seeing as we believe that example analysis is one of the strongest and most effective ways of understanding a tool.. The software is still at a beta stage, so from here on in we ll be correcting errors pointed out by the very community that uses it.. Hence the next step is implementing a series of forums so that the community may post questions, codes or scripts.. Community.. The software is offered to the community under a.. GNU GPL License.. Its use is free to any individual.. The code is shared for anyone to correct or modify.. We only ask that the sources and authors of the tool are clearly stated.. Non for commercial use.. Authors.. Ivan Ivanoff.. [touch].. EstadoLateral Media Lab.. Jose Jimenez.. [touch].. Home.. //.. Reference.. / Screen.. Samples.. Contact.. // also you can check..

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  • Title: << El Futuro Cercano no esta en el Espacio, esta en los rincones que ocupamos de forma deficiente... >> << VideoCode02:Ramas >>
    Descriptive info: Video realizado con una version demo de un universo posible funcional de esta plataforma.. Este es la interseccion concreta del planteo teorico del sistema de programacion basado en ecosistemas y la idea que tenemos nosotros del futuro y el progreso (que esta contenida en parte como texto dentro del video).. Ambas ideas coinciden en el ejercicio de los sistemas ramificados como organo evolutivo.. Como caracter propio mas alla de cada elemento particular.. Diverse systems for the algoritmic generation of audio or video exist.. These go from the composition random to the use of neuronal systems.. In our work we observed and we tried to decode the natural components of the beauty.. We found in this exercise that the function of a system, not perfectly decodable, but delimited and with clear norms aid to the generation of this natural estetic.. It is the estetic of life, the ecosystems.. In an ecosystem we see the moving of objects in reaction and like conclusion of present or previous acts of other elements of the same atmosphere.. This ordered system does not imply order or chaos, can generate any type of stress in the attitude and the unfolding, but it is the beauty that we see the existence of that predictable and determined system in parts.. Is the natural overtone that even can be the greater one of the chaos.. With this idea in mind we decided to develop at least in the teoric aspect a new formulation for the programming.. Not oriented to objects, not structured, but orienting to ecosystems.. In her objects with abilities would be generated, reactions and actions determined in relation to a given atmosphere in which it is, and there are related to other agents of the same or other type.. These agents would generate data that would allow the audio-visual composition.. In a given atmosphere each agent would react, would be modified, and would modified the atmosphere.. This interrelation we could synthesize it like character.. What is tried with this method of programming is exactly to generate of algoritmic form, character in the audio-visual pieces, to do not see the piece like a logic sequence or random, but with impetus given by the character of these agents.. In part, so that it loses the cold of the metal and the circuits of tecnology and wins a little soul.. Studying possible methods to take ahead a language of this style we principle decided to lay the foundations of a possible universe.. For that we structured the language in a given teoric field.. We can determine that any ecosystem is circumscribed to a space, fisic and/or psiquic.. In our case (humans) a space of 3 dimensions.. In where data travel and are caught in a sphere of 5 perceptivos or felt fields.. These data generally contain a high range of values, of which we single perceived some.. As reaction to these data we generate new data that catch others and so establish the interrelations.. Existen diversos sistemas para la generacion algoritmica de video o audio.. Estos van desde la composicion random a el uso de sistemas neuronales.. En nuestro trabajo observamos e intentamos decisifrar los componentes naturales de la belleza.. Encontramos en este ejercicio que la funcion de un sistema, no perfectamente descifrable, pero si delimitado y con normas claras ayuda a la generacion de esta estetica natural.. Es la estetica de la vida, son los ecosistemas.. En un ecosistema vemos desplazarce objetos en reaccion y como conclusion de actos actuales o anteriores de otros elementos del mismo ambiente.. Este sistema ordenado no implica orden o caos, puede generar cualquier tipo de stress en la actitud y el desenvolvimiento, pero es la belleza que vemos la existencia de ese sistema predecible y determinado en partes.. Es la armonia natural que incluso puede ser el mayor de los caos.. Con esta idea en mente decidimos desarrollar al menos en el aspecto teorico una nueva formulacion para la programacion.. No orientada a objetos, no estructurada, sino orientada a ecosistemas.. En ella se generarian objetos con habilidades, reacciones y acciones determinadas en relacion a un ambiente dado en el que se encuentra, y en el que se relaciona con otros agentes del mismo u otro tipo.. Estos agentes generarian datos que permitirian la composicion audiovisual.. En un ambiente dado cada agente reaccionaria, se veria modificado, y a su vez modificaria el ambiente.. A esta interrelacion la podriamos sintetizar como caracter.. Lo que se intenta con este metodo de programacion es justamente generar de forma algoritmica caracter en las piezas audiovisuales, que no se vea la pieza como una secuencia logica o random, sino con un impetu dado por el caracter de estos agentes.. En parte para que pierda lo frio del metal y los circuitos de la tecnologia y gane un poco de alma.. Estudiando metodos posibles de llevar adelante un lenguaje de este estilo decidimos en principio sentar las bases de un universo posible.. Para eso estructuramos el lenguaje en un campo teorico dado.. Podemos determinar que cualquier ecosistema esta circunscripto a un espacio, fisico y/o psiquico.. En nuestro caso(humanos) un espacio de 3 dimensiones.. En donde datos viajan y son captados en una esfera de 5 campos perceptivos o sentidos.. Estos datos contienen por lo general una alta gama de valores, de los cuales nosotros solo percibimos algunos.. Como reaccion a estos datos generamos nuevos datos que captan otros y asi se entablan las interrelaciones.. We decided then to synthesize this system to determine the guidelines of a language structured for an ecosystem.. We say then that this must have a general Atmosphere.. In this atmosphere it isdeterminate how many are the possible percetibles fields totally in N possibilities (an object may be single perceive 2).. Working on writings of Ouspensky we determined that the perception of the space is given by the perception of the senses and not the inverse way.. For that reason we determined the importance and relevance of order where followed by the atmosphere are the perceptivs channels, the data that travel by the universe.. Each one of these fields we will call it channel.. Channel is a definition where delimited data travel between a minimun and a maximum.. The following component of this teoric concept are the objects by themselves.. The objects are elements that can be registered (to acquire the capacity to perceive) to certain channels.. With this registration they receive data from the channel.. They can also apply filters to this entrance, for example:.. Scaling of the value to an order of minimun and a maximum.. Limitate certain rank of the data that enter.. To reduce the definition of the data.. Each object can have N dimensions of movement.. The use of N dimensions and N fields is to take this language to a usefull abstraction for the programming and not that in short time becomes in a series of repeated systems.. With this abstraction unreal atmospheres and ecosystems can be made but possibles at matematical level and usefull at audio-visual level.. The objects also contain a buffer of the recived data previously in each channel.. Now the important thing is to determine the type of data that travel by the channels.. For that there are 2 types of generators.. External generators and the objects themselves like generators.. The external generators are objects that emit data on a channel.. The generating objects as can be the reaction to a channel (on the part of an object) overturned in the same channel or another one or the function of a channel like constant generator.. The data can be constant or to be certain to a location in N dimensions and reaches.. Another important abstraction is the one of the affinity.. This determines the reaction of objects between them by the closer or the distance with intrinsic values, and by the reception of data emitted by another object.. The affinity is controlled by a table that has each object on each channel.. It has a unique dimension of long N.. In this space, points of repulsion and affinity with values of incidence and affection in each one are marked.. Each object has an own value of situation in that dimension with a certain force.. The table gives back then the type of reaction to a given affinity when an object is in the field of inference of its affinity in the space of the corresponding channel.. With all these points we try to lay the teoric and abstract foundations for the elaboration of a language oriented to the recreation of systems of reactive and affective interrelation (ecosystem) which allow the elaboration of generative audio-visual pieces that have own and defined character in their components (spirit).. I suppose, in me is almost a position, that the human being is mistaken in the greater part of his beliefs (something not novel ) but mainly he is mistaken in his presuppositions.. Century 20 squashed to us with the idea, already turned  ...   utiles a nivel audiovisual.. Los objetos tambien contienen un buffer de las datos recividos con anterioridad en cada canal.. Ahora lo importante es determinar que tipo de datos viajan por los canales.. Para eso hay 2 tipos de generadores.. Generadores externos y los objetos mismo como generadores.. Los generadores externos son objetos que emiten datos sobre un canal.. Los objetos como generadores puede ser la reaccion a un canal (por parte de un objeto) volcada en el mismo canal o en otro o la funcion de un canal como generador constante.. El dato puede ser constante o estar determinado a una ubicacion en N dimensiones y a un alcanze.. Otra abstraccion importante es la de la afinidad.. Esta determina la reaccion de objetos entre si por la cercania o la distancia con valores intrinsicos, y por la recepcion de datos emitidos por otro objeto.. La afinidad es controlada por una tabla que posee cada objeto sobre cada canal.. Tiene una unica dimension de N largo.. En este espacio se marcan puntos de repulsion y de afinidad con valores de incidencia y afeccion en cada uno.. A su vez cada objeto tiene un valor propio de situacion en esa dimension con una fuerza determinada.. La tabla devuelve entonces el tipo de reaccion a una afinidad dada cuando un objeto se encuentra en el campo de inferencia de su afinidad en el espacio del canal correspondiente.. Con todos estos puntos lo que intetentamos es sentar las bases teoricas y abstractas para la elaboracion de un lenguaje orientado a la recreacion de sistemas de interrelacion reactiva y afectiva (ecosistema) que permitan la elaboracion de piesas audiovisuales generativas que posean caracter propio y definido en sus componentes (espiritu).. This video is made with one first test of this abstraction to prove the efficiency practices of this type of languages.. Programmed in Processing, in this video we used the sound, in the data of its wave and its frequencies like generators of data on 5 channels of perception and 4 objects registered to these channels.. Of its interrelation is defined the character of images to show.. Este video que realizamos esta hecho con una primera prueba de esta abstraccion para probar la eficiencia practica de este tipo de lenguajes.. Programado en Processing, en este video usamos al sonido, en el dato de su onda y sus frecuencias como generadores de datos sobre 5 canales de percepcion y 4 objetos registrados a estos canales.. De su interrelacion se define el caracter de las imagenes a mostrar.. Video made with a version demo of a functional possible universe of this platform.. This is the concrete intersection of the theorical situation of the programming system based on ecosystems and the idea we have about the future (contained in the video as text).. Both ideas match in the operation of the branching system as an evolutionary organ.. As own character beyond of each particular item.. Supongo, en mi ya casi se trata de una postura, que el humano esta errado en la mayoria de sus creencias (cosa que no seria novedoso) pero por sobre todo erra en sus presuposiciones.. El siglo 20 nos apabullo con la idea, ya convertida en lema publicitario, de la capacidad evolutiva de la ciencia.. Y nos dejo como legado una hija paralitica que es la tecnologia.. Crecimos pensando que las invensiones acaecidas eran la construccion de un futuro mas comodo.. Un impulso encaminado a hacernos la vida sencilla, cocinar mas rapido, acelerar los negocios, defender la paz.. Y todo, porque nosotros, los humanos, queremos vivir mejor, y creemos que podemos lograrlo.. Todavia estoy esperando a la gente con jet ventiladores en las espaldas y que alguno entre por la ventana de mi casa con una pizza del tamanio de un caramelo.. Porque no repasamos la historia y las promesas?.. La estupides humana en su pretensioso futurismo solo llega a aventurar mejoras tecnicas sobre la cotidaneidad del momento.. Odio pensar que nosotros controlamos y decidimos esos aspectos de relevancia historicos, en pro de una mejor calidad de vida.. De la conquista armamentistica o de la busqueda de un planeta lejano.. La idea habitual de futuro esta equivocada.. No creo que el porvenir nos traiga mejores aparatos que satisfagan necesidades inventadas.. Lo que se esperaba de este siglo no lo fue, y solo hubo una importante mejora en el rendimiento de los vinculos sociales apoyada especialmente por la tecnologia.. Creo que hay una intencion tras el desarrollo de nuestra especie y a traves de esa intencion se puede develar que nos depara el porvenir.. Hace un tiempo lei algo muy interesante que desperto en mi un pensamiento.. Aquello que lei(con un interes inicial puramente matematico) hablaba del calculo de produccion energetica en animales de distinto tamanio.. Me encontre con que la distribucion, por ejemplo sanguinea, es distributiva y se ramifica.. La gran diferencia(en relacion al flujo sanguineo) entre los seres de mayor y menor tamanio no es lineal.. O sea, no tienen las mismas venas mas grandes.. A mayor tamaño mayor es la cantidad de divisiones.. Igual sucede en las plantas.. Se muy poco de biologia, pero comprendi un sistema.. Un sistema universal, donde hay un algo que en la medida que se expande o crece, se desarrolla dividiendose, trazando vinculos entre las partes dividias, mejorando la circulacion entre todos los elementos.. Veo hoy en la naturaleza ensayos de estos sistemas.. Nosotros, como especie, somos uno mas.. Quizas el futuro no trae otra cosa que la busqueda por mejorar las relaciones de todas las partes.. Pulir los lazos sociales, mejorar la comunicacion, mejorar el sistema dividiendolo en partes menores y mas eficientes.. Acercandolas y mejorando sus interrelaciones.. Internet es eso, los sistemas de comunicacion y el desarrollo en telofonia son ejemplos innegables.. Algun visionario pudo adelantar internet?.. En los inventos de nuestro siglo se percibe mas que nada el interes inconciente de acercar las distancias, mejorar la comunicacion; en consecuencia mejorar el flujo.. Como un gran cuerpo que busca distribuir mejor su energia para poder crecer mas.. Esto no solo es hoy, sino que fue siempre asi.. Desde la moneda al avion, y del camino romano al celular, solo existio esta necesidad real.. Entonces el futuro nos habla de un mejoramiento tecnico en este aspecto, nada mas.. No de autos volando precisamente.. Sino de una via notoria y descifrable por la que este cuerpo que es la humanidad pueda crecer.. Y por la cual llegue a mas lugares y acelere y optimize esta relacion que permite la expansion.. Creimos que determinabamos la evolucion y las ciencias, pero no fue asi.. Solo somos objeto de una progresion expansionista ya determinada por la naturaleza.. No hay inventos humanos reales.. Solo una necesidad de la especie de expandirse y de mejorar el rendimiento del sistema.. La agrupacion en tribus, el lenguaje.. La moneda para transaccionar.. Los navios.. Los medios de comunicacion.. Todo es hijo de esta necesidad.. El futuro esta donde se acelere y simplifique la interrelacion de los elementos que componen a este cuerpo, la humanidad.. Solo evolucionaremos en ese sentido, y todo invento siempre tuvo y tendra esa unica intencion.. La tecnologia entonces es quizas el desarrollo social real, no la politica.. O quizas la politica es el desarrollo tecnologico real.. El futuro, fuera de nuestras pretenciones soberbias, es tan solo una corriente impetuosa que intenta optimizar nuestras relaciones sociales.. En definitiva, la idea es tan simple como que si observamos los inventos y el progreso que nos trajo el siglo XXI, antiguo futuro devenido en presente, podemos sorprendernos ante el detalle de que los mayores avances se dieron en los apectos referidos a las relaciones sociales, puntualmente a un impetu por relacionarnos a todos con todos.. Vemos como entonces ya no somos esos individuos solitarios en post de un salto adelante.. Se tramo una red, se focalizo en los circuitos, independientemente de cualquier interes egoista que suposo otras cosas.. La vida es expansion.. Y esta se ejercita mediante una suerte de discurso fractal.. Es logico entonces que los avanzes que hayamos tenido ayudaran a desmembrarnos, a mejorar el flujo.. Si nosotros solo tuviesemos unas pocas venas grandes correriamos el riesgo de que una se tape y eso nos mate.. Nos ramificamos para poder garantizarnos la existencia.. Entonces el futuro solo trae progresos que ayuden a esa expansion.. En un momento fue necesario la familia y la tribu, la moneda, el trueque, el lenguaje, ayudaron a vincularlas.. Los caminos le permitieron expandirlas, lo mismo las ciencias, los medios de transporte.. Hoy los sistemas de comunicacion, una base de datos universal como internet.. Mañana.. mañana no se, supongo y arriesgo arbitrariamente (sabiendo que si erro compartire el bochorno con otros miles, y si acierto el placer sera enorme) que el progreso se focalizara por sobre todo en la estructura familiar, creo que ahi se dara una gran revolucion, lo mismo ocurrira con las lenguas.. El futuro cercano no esta en el espacio, esta en los rincones que ocupamos de forma deficiente..

    Original link path: /ramas/
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  • Title: livE (3vil) :::[installation][mw P5] i2off.org+r3nder .../
    Descriptive info: esp.. una proyeccion en tiempo real que responde a la intervencion de nuestro cuerpo.. en ella se pueden ver una serie de bacterias virtuales que caminan libremente hasta que detectan una presencia a la que corren desesperadamente en busca de su carne para deborar sus pecados y dolores.. eng.. a real-time projection that responds to the intervention of our body.. a projection in which you can see a series of virtual bacterias that walk freely until they detect a presence, towards which they desperately run in search of it's flesh, to devour their pain and sins.. obra[sintesis].. motivo.. descubrir un dia la terrible dulzura de la vida, dolorosas verdades.. la crueldad de un dios que se divierte exterminandonos y poniendo a prueba nuestra estadia a cambio de una promesa vana.. encontrar una vida que no es tan estable, ni es tan segura de seguir siendo vida, la fragilidad de hombres duros rellenos de  ...   one day discover the terrible sweetness of life, the painful truths.. the cruelty of a god who finds pleasure both in exterminating us, and putting to the test our very existence, in exchange for a promise made in vain.. To find a life that is less stable; a life in which it is not certain that life will continue being life, the fragility of strong, willful men, filled with flesh.. that system which is our body, and about which we form our magnanimous consciousness', is nearly a union of ordered cells conveniently susceptible to the forces of luck and coincidence.. the fragility of every centimeter of out bodies, of every second of our lives, is so ample that my very existence becomes a amazing miracle.. biotec1.. biotec2.. biotec3.. biotec4.. biotec5.. biotec6.. biotec7.. biotec8.. biotec9.. biotec10.. biotec11.. f404_1.. f404_2.. f404_3.. photos.. biotec1[4.. 5mb].. biotec2[2.. 4mb].. movs.. made with processing.. biotec.. festival 404.. featured on..

    Original link path: /live/
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  • Title: |||||||||||||||||||||| HUMAN? |||||||||| En busca de un meteorito!!.. |||||||||||| i2off vs. r3nder.net |||||||||||||| julio 2005
    Original link path: /human/
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  • Title: ***//\\www.i2off.org++FlashEDv0.4//\\***||__issue12__:HUG YOUR CHILDREN+FlashEDv0.4
    Original link path: /issue12.html
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  • Title: ***//\\www.i2off.org//\\***||__issue11__:VACACIONES+less16k__
    Original link path: /issue11.html
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  • Archived pages: 181