analog Not analog

analog Not analog (aNa) is an open source software that allows you to combine generative algorithms with web cams or video recordings in real time. It combines two techniques: live coding and video feedback loops.

aNa tries to eliminate the difference between analog video technology and digital animation.

We are influenced in our aesthetic perception by the forms of nature. Today, we can synthesize these forms and textures algorithmically to a certain extent. But we can also think about how the two can work together. aNa is an approach to inserting textures and shapes from the natural environment into computer generated graphics.

The control is like live coding. While the program is running parts of the algorithm can be reprogrammed. This is done without losing the graphical data or having to restart aNa.

The second principle comes from analog video technology. The image data flows through several filters and is modified in the process. In this case not by analog electronics but by image manipulations which are done algorithmically directly on the graphics card. The filter chains may contain feedback loops. This leads to effects that are difficult to control, but provide surprising visuals.

Software analog Not analog: https://gitlab.com/metagrowing/ana

analog Not analog Cookbook: http://digital-defect.org/


Thomas Jourdan, have been working with graphic algorithms for many years.

DMX to Motion: An open hardware DMX controller for large AC motors

DMX to Motion is an open-hardware circuit board used to control AC motor drivers through DMX, ArtNet and/or OSC. It is being developed in Mexico City by researchers in STEAMLab at Centro de Diseño, Cine y Television and engineers at Total Show.

When using large AC motors for installations or eventswe commonly encounter that they are often controlled through Programmable Logic Controllers (PLC) connected to motor drivers. This generates a complicated experience where content creators must communicate the desired motor behaviour is to automation engineers. It also removes creative flexibility as iterating through different behaviours requires the PLC to be reprogrammed. We addressed these issues by developing a circuit board that can take inputs from protocols commonly used by artists and designers and translate them into the signals required by an AC motor driver, thus providing complete creative control over a motor’s code and it’s movement using the software tools that designers already know.
It was recently used in a projection-mapped immersive experience related to Frida Khalo’s works.


Diego Trujillo Pisanty is an artist and designer living and working in Mexico City. His work focuses on the materilaity of information ranging from its creation and interpretation to its destruction. Diego holds a Master in Arts degree from the Royal Colle of Art where he graduated from the Design Interactions progrmme in 2012. Since then ha has worked as a Research Associate in Design at Newcastle University (UK) and as a lecturer and researcher at Centro de Diseño, Cine y Television. He has also been twice awarded the Young Creators Fellowship (2013,2015) from the Mexican Fund for Culture and Arts to develop his projects This Tape Will Self-Destruct and Finding the Operator. In 2015 he was also awarded a Honourable Mention in Hybrid Art at the Prix Ars Electronica. As a researcher he has presented at ACM Designing Interactive Systems and Conference on Human Factors in Computing Systems

the experimental and experiential interaction from the wearable-wearable: Tryptich

The crossing of the wearable with the new technologies is a discipline that develops new areas of theoretical research about the functionality and symbolism of the wardrobe as such, which constantly generates technical and methodological rethinking, in the field of creation and production of the wearable, of the design, art and engineering, and that, through these technologies that can be merged into their confection, it is possible to reach the instance of transformation of the wearable into a material and support with a new meaning, since by making possible Sensory, audiovisual interactions, produced through tools (analog and digital), interactivity is evident: a property that new technologies contain, and that leads to a situation of dialogue between the subject, the communities and the environment to recognize and encounter sensations , with things, with the same everyday world, allowing to enter another state of consciousness in the context to the use of something wearable on oneself, and that somehow explains a being and being from a more real and immediate context from a new layer.


www.triptico.vestibles.cl


Maria Jose Rios Araya
Santiago de Chile,
www.vestibles.cl


The crossing of the wearable with the new technologies is a discipline that develops new areas of theoretical research about the functionality and symbolism of the wardrobe as such, which constantly generates technical and methodological rethinking, in the field of creation and production of the wearable, of the design, art and engineering, and that, through these technologies that can be merged into their confection, it is possible to reach the instance of transformation of the wearable into a material and support with a new meaning, since by making possible Sensory, audiovisual interactions, produced through tools (analog and digital), interactivity is evident: a property that new technologies contain, and that leads to a situation of dialogue between the subject, the communities and the environment to recognize and encounter sensations , with things, with the same everyday world, allowing to enter another state of consciousness in the context to the use of something wearable on oneself, and that somehow explains a being and being from a more real and immediate context from a new layer.

Art of Coding – The Demoscene as UNESCO intangible world cultural heritage

The Demoscene is an international computer art subculture focused on producing demos: self-contained, sometimes extremely small, computer programs that produce audio-visual presentations. It shows how skills and creativity can be stimulated and implemented in a dynamic cultural practice adopted to digital contexts. The Demoscene’s roots go more than four decades back to the home computer revolution. It thinks it’s now time to push for the next step to take born-digital culture seriously as part of mankind’s cultural heritage. This is the purpose of Art of Coding, AoC in brief, the initiative to bring the Demoscene onto the UNESCO list of intangible world cultural heritage. AoC was successful already in Finland in 2020 and in Germany in 2021. Other countries are running full steam. This presentation will provide insights into AoC, updating the audience on what’s happened and what’s in the making.


Art-of-Coding is an initiative to enlist the Demoscene as first digital culture on the list of UNESCO intangible world cultural heritage. Details can be found on the dedicated website: http://demoscene-the-art-of-coding.net
AoC was successful in Finland in 2020
http://demoscene-the-art-of-coding.net/2020/04/15/breakthrough-finland-accepts-demoscene-on-their-national-list-of-intangible-cultural-heritage-of-humanity/
and in Germany in 2021
http://demoscene-the-art-of-coding.net/2021/03/20/demoscene-accepted-as-unesco-cultural-heritage-in-germany/

The author/presenter, Andre ‘kudrix’ Kudra, is an active AoC member and has already published articles and conference papers about AoC, e.g.:

  • Bridges Conference 2020: https://2020.bridgesmathart.org/short/479.html | http://archive.bridgesmathart.org/2020/bridges2020-479.html
  • Return Magazine #43 2020: https://www.kudra.de/demoscene/RETURN43_2020_Art_of_Coding.pdf