ALL YOUR BASE ARE BELONG TO WASS

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  • ICM Wk 2 HW - Ghostface

    So this week has been a little trying. I did have a lot of help from Antonius. He helped me learn about pushMatrix and popMatrix and translate. It was a helpful conceptual bridge between my understanding of working in layers, adjusting, flatenning or moving them around. I'm still not totally sure why I needed to redefine (0,0), but I do understand how it is done. I now understand it as a useful tool to manage the relativity between the object that moves and its spatial relationship to the canvas. The example of spinning objects help bring that home.

    Here is the example we worked on together:

    ghost_test_3

    After that I applied my ghost to that template. I wanted it to travel from left to right, starting at a lower row once it reached the right side of the frame, and accelerating the entire time.

    I came up with this:

    ghost_run2

    I also had wanted the screen to explode with a Kanye face (courtesy of Sam Slover) once the ghost hit a point at the bottom of the frame. But one of my numerous obstacles, was how to compress the extensive code of the kanye face into a tidy package a la a variable so that I could insert it into a command.

    Ultimately, I opted to keep it simpler, and employ the code from Ex. 4.7 and use the power pellet from my original sketch rather than Kanye.

    Behold!:

    ghost_run_pox1

    My intention was to write an "If/Then" that would eliminate the ghost at a certain point, and just have the pellets freaking out. But in a way, actually every way, this sketch is a perfect expression of my brain, my feelings, my face after this 2nd week of school. I'm sure next week will be a quantum leap!

     

    Here is the code for ghost_run_pox1:

     

    //ghost travels left to right, repeats, speeds up
    int locX=0;
    int counter=0;
    int locY=0;

    void setup () {
    size(640, 640);
    }

    void draw () {

    // purple body
    pushMatrix();
    translate(locX, locY);
    ellipseMode (CENTER);
    background(0);
    stroke(150, 0, 150);
    fill(150, 0, 150);
    ellipse(70, 80, 70, 70);

    rectMode (CENTER);
    rect(70, 100, 70, 35);

    stroke(0);
    fill(0);
    triangle(35, 119, 45, 107, 55, 119);
    triangle(60, 119, 70, 107, 80, 119);
    triangle(85, 119, 95, 107, 105, 119);

    // white eyes
    fill(255);
    stroke(255);
    ellipse (57, 75, 15, 20);
    ellipse (82, 75, 15, 20);

    // black irises
    fill(0);
    stroke(0);
    ellipse(62, 75, 5, 7);
    ellipse(88, 75, 5, 7);

    popMatrix();
    locX=locX+5;
    if (locX>=700) {
    locX=-100;
    counter=counter+5;
    locY=locY+15;
    }
    locX=locX+locY+counter;
    if (locY>=600) {

    locY=0;
    locX=0;
    }
    //adding pellet pox
    else if (locY>=599 || locY<=600);
    {

    float diam;
    float x;
    float y;

    /*void setup() {
    size(640, 640);
    background(0);
    smooth();
    }

    void draw() {
    // Each time through draw(), new random numbers are picked for a new ellipse.
    */

    diam = random(20);
    x = random(width);
    y = random(height);

    // Use values to draw an ellipse
    noStroke();
    fill(250, 250, 10);
    ellipse(x, y, diam, diam);
    }
    }

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  • Wk 1 PComp Notes and Thoughts

    BLOG THOUGHTS:

    After reading Crawford and Victor's descriptions of interaction, my dominating feeling is that physical interaction is defined by intention. Even when the dynamic involves passive activity and connection to a device, there is either intention to initially engage in the tech (headphones) or intention by the creator for the tech to be designed for invisibility (escalator).

    Good physical interaction comes from intention, and intention is made up of compassion and feeling. You don't need to be a soldier to design hand weapons for soldiers. The balance of a rifle. The weight.  Proofing a rifle from water, sand, temperature, a certain margin of collision force. Not just the effectiveness and evolution of a sight, but the usability. The additions of bayonets and eventually light torches or laser sights. This technology is improved by research, and that research is narrative and anecdotal.

    In this way we can say that good physical interaction is informed by empathy and imagination. We hybridize our ideas and experience with that of the experience we've learned about from others. And with the intention of using and stimulating relevant feelings we can design for the comprehensive and holistic "conversation" that Crawford talks about, and that Victor demands.

    Good examples of digital tech that are not interactive:
    QR Codes
    Time zone relative Auto-updating
    Intuitive sidebar ad placement which feeds off of your internet activity and keyword relevance.
    Garage door light

     

    NOTES

    The Art of Interactive Design - Chris Crawford

    Chapter 1

    "So it is with the term interactivity, yanked around so much as to be half-dead, a pallid, bloodless nothingburger of a word." awesome

    *An essential tenet of Interaction is that there is plural participation. "There are two actors, not one." or "You can’t converse with a brick wall."

    crawford - "I’m concerned with interactivity that has some blood in its veins."

    *Is Sleep No More Interactive? I'd say yes to the experience, and a lesser but positive yes to the acting.

    "Interactivity design, on the other hand, addresses the entire interaction between user and computer. While it shares much with the study of user interface, interactivity design differs because it considers thinking in the process of optimization. The user interface designer optimizes the design towards the computer’s strengths in speaking and listening, and away from its weaknesses in these same areas. The user interface designer never presumes to address the thinking content of software (the algorithms that determine its core behaviors)."

    "Interactivity design faces an obstacle in the territoriality of the older and established human factors and user interface people, whose work is valuable and relevant. The problem is that user interface design is a more narrowly focussed field than interactivity design, and yet the user interface people seem to resent the intrusion of interactivity design into “their” field. They’re perfectly willing to tolerate studies of interactivity —so long as those studies closely adhere to and build on the established traditions of the user interface field.

    The pernicious effect of this attitude lies in its refusal to recognize the paradigm shift implicit in interactivity design. Much human intellectual advance arises from the steady refinement of an established set of ideas; occasionally, however, progress is more readily achieved by rearranging established truths under a new paradigm. Interactivity is such a new paradigm. Interactivity designers do not deny the hard-won lessons of the past; they seek to incorporate them in a wider perspective, which, in turn, requires some rearrangement. We must incorporate the wisdom of older fields into the larger design framework of interactivity."

    Review Questions
    1. Are rugs interactive? Explain in your own words why or why not.
    Rugs are not, because they don't think, listen or communicate. However, if it was an anthropomorphized magic carpet, that listened to your directions, thoughtfully considered the way to get there, and audibled adjustments on the fly for your benefit, then it would be interactive.

    2. Come up with your own damn definition of interactivity.
    Interactivity is the dynamic, communicative relationship between 2 or more agents.

    3. Throw this book across the room. Measure the distance it traveled and the angle of impact. Draw appropriate conclusions in crayon.

    null

    CHAPTER 2

    "Email, interestingly enough, has exploded into our lives precisely because it is an extension of conversation, yet it’s greatest weakness is the absence of conversational cues, leading to embarrassing misunderstandings."

    "As the Chinese proverb says, “I hear and I forget; I see and I remember; I do and I understand.”

    "Well-executed expressions in other media will always outperform interactive expressions in their superior texture, polish, and detail, but the interactive expression has its own unbeatable advantage: people identify more closely with it because they are emotionally right in the middle of it."

    "It wasn’t the number-crunching or data storage that made these programs suddenly useful–those features were just as good on the old mainframe spreadsheets. It was the interactivity that made this new generation of spreadsheets so exciting."

    http://worrydream.com/ABriefRantOnTheFutureOfInteractionDesign/
    This guy is on to something!
    All three necessary parts of the "conversation" are here. All three that make it interactive. But what if there is a fourth, feeling. That is the difference between "pictures under glass" and pages of a book. The difference between movie robots and humans.

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  • ICM Week 1 HW

    This is my Week 1 homework assignment for ICM. I would say it was a success because I powered through some dead-ends. But I also will admit to looking up the pieces of what I wanted to do, and then just inserting them. And there was a lot of trial and error guessing. For example, I wanted a purple color, so I experimented with different combos of RGB coordinates. But for the yellow, after a try or two, I just googled "yellow, rgb" and got a few options I could just plug in. I did however opt to build a solid circle overlapping with a solid rectangle rather than mess with the arc.

    My biggest obstacle was trying to insert the black triangles at the bottom to make the ridges. I was getting really frustrated when it didn't work, and kept pouring over the lines of code to see if I omitted a semicolon or had an extra space or messed up case sensitivity. Finally, to confirm if I was crazy or not, I just drew a white line. This let me know that I was just shooting too low, and that seeing a black triangle on a black field was not the same as messing up the code. I'm a GENIUS! Anyway, once that was resolved, I kept plugging in numbers and playing it until I had the shape and location I wanted. After that, it was pretty smooth.

     

    Here is the final recipe:

    size(200,200);
    background(0);

    ellipseMode (CENTER);
    stroke(150,0,150);
    fill(150,0,150);
    ellipse(70,80,70,70);

    rectMode (CENTER);
    rect(70,100,70,35);

    stroke(0);
    fill(0);
    triangle(35, 119, 45, 107, 55, 119);
    triangle(60, 119, 70, 107, 80, 119);
    triangle(85, 119, 95, 107, 105, 119);

    fill(255);
    stroke(255);
    ellipse (57,75,15,20);
    ellipse (82,75,15,20);

    fill(0);
    stroke(0);
    ellipse(62,75,5,7);
    ellipse(88,75,5,7);

    stroke(250, 250, 10);
    fill(250,250,10);
    ellipse (130,80,15,15);
    ellipse (170,80,15,15);

    And HERE is the final jam.

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  • Photo and Video

    Check out this photo I have of Steve:

    [caption id="attachment_5" align="alignnone" width="300"] Heard![/caption]

    Also check out this:

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  • my first processing js post

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