Information Evil? - Extending the Panopticon
2009-03-27
- Foucault argues that the bureaucratic systems that regulate society extend the Panopticon of subtle social control deep into the inner most reaches of our psyche. (Foucault, 1975)
- The basis for this need to control and organise society finds its roots in the concepts of ownership and possession, the ability to accrue and control wealth and assets above and beyond that of others, and to then retain that control.
- The ideologies upon which modern Capitalism are based were first manifested in the Protestant work ethic. Himanen (2001) . This enshrined work and social compliance as the cornerstones of a godly life. At its heart lay the all seeing, omnipresent eyes of God inspecting his flock as they deified themselves through good honest labour, working daily for their place in heaven. Work became an end in itself, no longer based on productivity but rather hours spent in toil. It enslaved the working classes into a life of holy drudgery with the promise of eternal salvation if they complied.
- The church acted as an intermediary with the great omnipotent power of God and thus held sway over the lives of many whilst underpinning governments and bureaucratic institutions.
- As rational thought and the development of technology have gradually slain the myth of an omnipresent God, governments and those with an interest in social control have sought to fill the void with less celestial threats.
- Whilst bureaucracies have never had religious ideology at their core they do rely on principles of behavioural modification with the threat of social, legal and religious consequences.
- New technologies enable bureaucratic systems to micromanage themselves and grow on an unprecedented scale whilst also allowing them to extend the limits of surveillance in support of their goals of social conformity, cost cutting and efficiency.
- In order to accept the control of faceless bureaucracies utilising surveillance as a tool for the furtherance of freedom and justice it is necessary to view the state as a benevolent god-like body that can be trusted with the interests of all and which has an inherent sense of right and wrong with which all of the population agree. It is also necessary to think of the ‘criminal element’ of society as separate social strata which must be controlled and exemplified as a failure to conform.
- This dissertation aims to investigate how technology has aided the growth of bureaucratic systems in developing their internal structures whilst extending the effectiveness of the surveillance systems that underpin their powerbase, in contrast with the initial ethics and ideals that contributed to the development of the information technology revolution using London as a microcosm of a contemporary capitalism ruled by bureaucracy, extending its power through surveillance.
- Progressive development of computer systems has lead to an almost invaluable status within society, underpinning most of the daily routine of modern society. Vehicle engine management, financial systems, and the formulation of corporate and governmental policy are all examples based on computer models and analysis of data.
- Has all of this allowed modern technology in the form of organised information storage and computerised electronic surveillance replaced religion as a method of social control?
World Brain
2008-10-23
World Brain - Final Year Project
The aim of this project is to create a method allowing websites to exchange user data between one another both upon the direct request of the user and as background processes
Current legislation regarding sharing of IP address information states that one cannot forward information that could be used for the identification of an individual user to a 3rd party - therefore the use of sites which have this software installed will have to be limited to those who agree with disclaimers regarding divulding user data - or annonymising the data in a way that the user can be tracked but their true identiy can no longer be gleaned by a 3rd party
The world brain - envisaged by H G Wells was to be a world encylopedia based on microfilm which allowed itself to be used a a central repository for data. The world brain is becoming a reality as semantic meaning is being added to the divergent data spread across the net. Convergence of all data types is the ultimate aim - so all data sources can be graded in terms of relevence and they can interact with one another
Neural networks allow computers to 'intelligently' recognise patterns in data as well as allowing them to classify it and perform large data mining tasks.
IMAP mail access Plymouth University email account
2007-07-11
UPDATE - since the microsoft fan boys in the plymouth uni tech support upgraded(?) to a newer even crapier version of exchange server it appears external access is no longer possible - i can only recommend you raise the issue with your student representitive
No one at Plymouth seems to publish the fact that you can actually access your @plymouth.ac.uk account through IMAP (Thunderbird or Outlook) and you wont have to use their awful web interface again.. and its better than pop3
- IMAP: exchange.plymouth.ac.uk - port: 143
- SMTP: exchange.plymouth.ac.uk - port: 25
make sure you authentic for the outgoing mail server or you wont be able to send. now you can check your emails hassle free and use a local client.
Eden Game BBC Mention
2007-05-04
Our game for the Eden Project has been posted on the Eden site as well as getting a mention on the BBC website: http://news.bbc.co.uk/1/hi/england/cornwall/6629765.stm
Used – Enforcing Web 2 Synergy
2007-04-23
Used – Enforcing Web 2
Project URL http://www.sinrize.com
Key concepts are enforced user participation and generative art
Identity
The site automatically identifies the user’s IP address and the time that the user visits the site. This becomes their identity. They become numerically identifiable. This information is enough to track down and trace the precise computer from which the user connected to the net at the given time.
Tagging
This information is then used to physically tag the image. This tagging in turn degrades the image and reduces its quality – effectively adding a shelf life to what is traditionally viewed as a permanent digital form. This finite life span that now applies to views redefines the way that the image is viewed.
Actively Involving passive users // Degeneration // Permanence
It also forces the user to participate in the generative nature of the picture. All of the information, colours, text etc that are embedded into the picture when it is viewed are as a result of user data. This forces the passive user to participate within the project and become part of it. Effectively enforcing its web 2 nature and the user's synergy with the content.
User Input
If users are unhappy with an image or would like to see a change they can select any word that comes to their mind and suggest it to the site. The site will then attempt to look for another image that matches this key word and replace the old image with the newly imported one.
Copyright
Copyright. All the images this site rips are copyright to somebody and I have made no effort at all to try to interfere with any copyright issues relating to the picture. Provision has been made for users to mark any image as copyrighted and this will delete the original image and replace it with a “COPYRIGHT INFRACTION” notice.
Coding
This site was coded from the group up by myself in PHP. Using the flickr API, a stream ripper was written to extract data from flickr and pull images out from it. These images are ripped to the host server and then progressively generated/degenerated by server scripts adding tag data to each image.
Potential Bug
Flickr only allows access to it’s API when using a specifically generated Key. Flickr don’t really appreciate hug amounts of image data being ripped off their server and therefore the site can stop working when Flickr block individual keys. If this happens – contact me through http://www.bluemedia.co.uk/contact
User Instructions
Every time a user clicks on an image the image is tagged with the user IP address and time the user has viewed the image (according to the server).
The more frequently an image is viewed the further the original image will degenerate and the more tags from views will appear on the image.
The user can also choose to replace the image with another. Occasionally no image will be returned – in this case the process must be repeated.
If an image is in breach of copyright the user can select this option to remove the image content from the server and restore the balance of justice.
References: http://www.hackablekurator.org
Used - Making Finite
2007-03-23
Used - Making Finite
Degradation
Date stamp
The concept behind this is to involuntarily involve the user in the art work.
Their presence - the fact that they view the work changes it - it evolves with every progressive interaction gradually changing it from the original image into one that bears testiment to the users view.
There is a type of synergy between the viewer and the art work - talk more about synergy and mutual development of a concept and idea.
The viewer can voluntarily or involuntarily include art works within the new and evolving pieces.
Complaint
This software is not-for-profit and designed for educational purposes. It is assumed that anyone promoting their images on flickr and allowing these images to be included in the flickr is willing to allow a limited distribution of their work.
If any work listed on this page breaches your copyright or raises any other issues please contact the web master.
This site is here to experiment with a number of concepts.
//concepts to experiment with
cutting images
segments of images
masking
colour counting
stamping colour data onto the image
track number of views
submit keywords to the project
limited number of images
unlimited number with the option to addmore
change tag names
change image names
//
//do you like this image
good/bad
type a word that would improve it
sql
save image to server - save title, imagename, views,
Dematerialisation of the art object
2007-01-29
Dematerialisation of the art object
Introduction
The dematerialisation of the art object is a trend that has transcended artistic movements and ideologies and progressed from the redirection of focus from the object to the idea, to modern pieces that truly no longer exist in the physical realm.
The original driving force behind the whole process of dematerialisation was to liberate the concept behind the art work and let it stand separate from society’s objectification of physical pieces of art.
The long and tortuous route that has lead to the hazy confusion that surrounds the state of contemporary art at the beginning of the 21st century can be traced back to several key groups and individuals whose effect on the state of art and politics raised issues within the field of ‘art’ which in some cases still remain today.
To attempt to sum up contemporary art and its driving forces in the 20th century in brief essay would be foolhardy at best, but in a sentence its key descriptors could be: an attempt to liberate art from the elite in a time of great social change interspersed by two incredibly bloody conflicts and polished off with a global clash of ideologies that left many torn between their dreams and reality.
The question this essay attempts to address is what is dematerialisation, what has it achieved and what will it go on to do?
Materialisation
Before broaching the topic of dematerialisation and why certain movements sought to advance this concept, it is important to outline the confines from which they were striving to escape.
Key to this concept is materialisation of the Objet d'Art. Art at the beginning of the 20th century was in a state of great change. Up to this point the art object was an elitist item, produced by the artisan for his patron and usually aspiring to some Greek classical ideal of what should be. Art was rarely considered in its own right, but rather as a status symbol, the more money a patron had the finer the piece they would commission.
John Constable tentatively laid the way by breaking the mould, being one of the first artists to introduce scenes that did not conform to the classical ideal but included subjects from ‘real life’ – notably in the “The Hay Wain” (1821). However, he still retained a classical style of figurative painting.
Toulouse Lautrec was another seminal painter following on in the social theme. He spent most of his life in brothels surrounded by various forms of substance abuse and debauchery and managed to capture it in all its vibrant glory, bringing this new form and perspective to public attention for the first time.
The industrialisation of Europe lead to a great redistribution in wealth which in turn progressed to far greater social mobility amongst the working classes, giving them access to education, and breaking down the traditional barriers of self censorship and the natural assumption that class was for life.
Karl Marx had produced his Communist Manifesto in 1848 and these ideas were rapidly spreading throughout Europe encouraging workers to question their position within society and believe for the first time that there were real alternatives.
The arts community was at the core of this hotbed of socialist ideas and thinking and naturally reflected the changing times.
Thus, art objects as a show of wealth and power were no longer at the cutting edge. Art became the mouthpiece for these new political ideas.
Dematerialisation
Dadaism, borne in Switzerland in 1916 (during the first World War), was arguably one of the premier and most important movements that lead to ‘dematerialisation’. It revolved around a collective of artists, that rapidly expanded throughout Europe producing visual arts, theatre productions, literature and design, all with a strong underlying anti-war sentiment.
Dadaists went out of their way to reject the establishment and traditional artistic theory in a way that had not previously been seen. They believed that the existing intellectual hierarchy controlling and regulating the world of art was too staid, inflexible and unreceptive to embrace concepts.
They tackled this perceived impasse by producing ‘anti-art’. One of the luminaries of this particular movement, Marcel Duchamp, whose work included “The Fountain” (1917) was recognised in a recent survey by the Tate as one of the top 10 most recognisable art objects.
The idea of submitting a urinal to an exhibition worked on many levels, firstly the very fact that it is a urinal, part of the toilet, a utilitarian object for which the Western world has invented countless pseudonyms so as to avoid referring to it made it obviously controversial.
Secondly, it was a ‘ready made’, an object that was produced by the process of mass production, not by an artisan or crafts person. However it also possessed many of the qualities that critics found laudable in traditional art.
What Duchamp was experimenting with was the aura created by exhibiting an object in a gallery space. He was arguing that it was the gallery that gave the object the aura rather than the object itself.
Duchamp argued that most paintings and sculptures were also ready-mades as they were created using ‘found’ manufactured materials that were a result of industrialised commodity production.
Post Structuralism
In order to understand the climate of the 1960s it is important to look at the predominant political and philosophical climate during that period.
Post structuralism was in its embryonic stages and was having a profound effect on many peoples and groups with an anti-establishment agenda.
Post structuralism is antinomian (anarachic or lawless) movement developed as a reaction to structuralism. It marked the frustration that many philosphers and thinkers had with the totalitarian policies of the USSR and a disillusionment with the communist experiment. Post structuralism attempted to justify alternative theories such as nihilism, feminism and western marxism by questioning the assumptions that formed the foundation of 20th century Western society.
The key theories of post structuralism are an appreciation of the self and how one’s own views, experiences, class and education affect how life is viewed. The meaning that the creator, author or artist intends to portray is secondary to the one that the viewer will perceive. This process is known as the destabalisation of meaning.
In 1967 Roland Barthes wrote his seminal text Death of the Author. In this he argued that the background of an author was not relevant to the work they produced and should not be used in part or in whole to ‘distil meaning’. Readers should liberate the text from its from the interpretative tyranny.
This is an important concept that influenced the dematerialisation of the art object and later the authorship debate with regard to digital art.
The perspective of Lucy Lippard
Lucy Lippard’s' literary contribution to the dematerialisation debate is both crucial in chronicling it as an artistic style and also its death knoll.
It marked a pivotal era - post World War II utopian dreams abounded, the world was going to be a better place even only if every one took enough acid and embraced free love. This ideal was shared throughout many areas of society during this period but was wholly embraced by the arts community.
The very word ‘de’-materialisation is a negative, implying some kind of reversion, and that is essentially what it is. The ideal lying behind it is to strip art back to its purest form so it exists as some kind of ethereal concept with only the smallest physical footprint or spontaneous action to denote its existence – ‘progressive obsolescence’.
It attempted to react to the impasse in the world of art caused by the post war market driven society, promising to forever escape the ‘frame-and-pedestal syndrome’ of the traditional art object by stripping itself of its status as art. Originality, permanence, and aesthetics were considered peripheral to the core importance of the work.
“For years people have been concerned with what goes on inside the frame. Maybe there’s something going on outside that frame that could be considered an artistic idea.” Robert Barry, 1968.
Conceptual art although borne of minimalism, had a very differing set of core principles. It encouraged open ended thinking in contrast to minimalism’s self contained approach, which had developed in response to the excesses of pop art and expressionism.
Lippard points out in her text that conceptual art, whilst not overtly political during this period, was predominantly authored by left wing radicals within the art community and so (to the horror of post structuralists) should be viewed in this context.
“Information presented at the right time and in the right place can potentially be very powerful. It can affect the general social fabric… The working premise is to think in terms of systems: the production of systems, the interference with and the exposure of existing systems…. Systems can be physical, biological, or social” (Haacke 1970).
Haacke was one of the first artists to link conceptualism with activism and postmodernism in his ‘museum quality’ resistance which offended the Guggenheims with its biting social comment on absentee landlords who shared an intense class identification with the aforementioned.
Reverting to the subject of ownership, Weiner presented a model for avoiding ownership in the creation of a work of art.
- The artist my construct the piece.
- The piece may be fabricated.
- The piece need not be built.
Each being equal and consistent with the intent of the artist, the decision as to condition rests with the receiver upon the occasion of receivership.
One means to bypass the traditional reliance of novelty, which had fuelled the traditional art market, was to cut galleries and exhibitions out of the distributive loop thus hastening the process of distributing art to the consumer.
This redistribution of power can be paralleled with the democratisation of the web in its early days, although since then it has arguably been tamed and brought under the corporate umbrella by companies such as Google who shape the way in which most people experience it.
“…the new dematerialised art… provides a way of getting the power structure out of New York and spreading it around to where ever an artists feels like being at the time” Lucy Lippard 1969.
In retrospect this is a blatantly naïve statement and represents the major flaw in the idealistic nature of the movement which has ultimately resulted in its demise. Whenever any movement or style succeeds it will be exploited for personal gain and any semblance of radical free thinking will be expounded and marginalised, replaced in turn with a slick market driven model.
According to Lippard the new portability of art ideas and concepts allowed artists to produce relevant and contemporary work whilst living outside of the traditional creative hubs.
Prominent work that helped to define the early days of this movement included pieces by Huebler who attempted to dematerialise space and time using ‘maps’ including one that consisted of a vertical line on a piece of paper with text underneath reading “the line above is rotating on its axis at the speed of one revolution each day”.
Far more significance seems to have been attributed to this particular movement and its agitators than is really due. Whilst dematerialisation is an important idea and the work of these artists does raise important issues within the field of art, it seems that rather than defining an era they merely tagged along with some vaguely relevant ideas whilst not really having a huge impact on what was to follow.
The death of a dream
Five years after Lippard had first coined the term, dematerialisation was subsumed within the conceptual art movement. What was originally assumed to be the obsolescence of the art object was merely part of a transition towards the art object as a commodity.
In the ‘postface’ of Lippard’s book “Six Years:..” she acknowledges the singular failure of the hopes and dreams of those involved at the outset.
“Hopes that ‘conceptual art’ would be able to avoid the general commercialisation, the destructively ‘progressive’ approach of modernism were for the most part unfounded.”
Lippard states that at the outset the precept behind dematerialisation was to produce art that was in effect, so completely crap, that no one would ever want to buy it, own it or place a value on it, thus liberating the art from the object.
This entire ideal was shattered soon after its inception, with works of prominent dematerialist artists retailing for huge sums on the international art market and being displayed in the very galleries they had originally scorned and ridiculed.
A rather cynical comment at this point would be to point out the flaws of inexperience and outward stupidity of these radicals are for not realising what will happen. They try to fight the establishment, and if they win, will ultimately become the establishment. If they fail then no one will even remember their passing so therefore they are self fulfilling prophecies. This has been repeated countless times before and after. Brit Art is just another example of a ‘rebellious’ art form that screamed onto the scene with its radical socialist credentials, soon to be followed by Damien Hurst’s private collection of financially speculative art purchases on show at the Serpentine Gallery.
Lippard states that despite its best efforts “conceptual art has not, however, as yet broken down the real barriers between the art context and those external disciplines – social, scientific and academic – from which it draws sustenance”.
Further, she argues that communications between the different disciplines of art, science and philosophy are still at a very basic level which seems to contract the preceding desire to dispense with all inter-disciplinarily interactions.
By speculation, Lippart infers that the art world’s incestuous internal relationships with dealers and galleries prevents it from truly thinking ‘outside of the box’ in a truly independent way and curbs the potential for creativity within the art community.
Digital Art
The predominant themes that occupy much of the digital art space revolve around the use of hyper narratives, artificial intelligence, generative art, human computer interaction and the attempt to somehow bridge the gap between the organic and the inorganic (Digital Art, Christiane Paul).
Computers where first used to create ‘art works' (although this definition is questionable when the conception list perspective is taken into account) in the 1960s. Michael A. Noll a Bell Laboratories researcher created some of the first computer generated images.
Marshall McLuhan's book The Media is the Message, highlighted the social and societal changes brought about by new information formats and is especially pertinent to the new formats that have emerged through the digitisation and networking of information.
The area of artificial life and its attempt to replicate the processes of evolution whilst developing alongside biological and gene modelling projects, has spilled over into areas affecting religion and society, with its obvious implications for creationist theories and the foundation of Christianity and its dependants (for example Islam etcetera).
This makes it particularly poignant at a time when hiding places of the faithful have become ever smaller, requiring an even more radical and obtuse justification of faith from the religious zealots.
Digital art is both an object and not an object. It exists as an idea but it does not exist in physical form. However to describe digital art as ‘dematerialised’ in the sense that Lippard originally intended the term to be used – that is, a pure id unfettered by context or physicality – would be a mistake.
Digital art only fails to physically exist as a peculiarity of the technology upon which it has been developed, not due to any underlying ideology that attempts to liberate the art object. Where digital art breaks new ground and creates new and interesting areas of investigation is in relation to its objectivity is in the area of authorship and redistribution.
Any art form created in digital form can be infinitely copied and reproduced without detracting from the original piece. Unlike a photograph of a painting which can give the illusion of being the object, digital copies cannot be differentiated from the originals.
Object and Authorship and Aura
“Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be.” Walter Benjamin 1935.
This statement was made without the knowledge necessary to be able to assess the impact of computing or digital art but still raises some key questions. If a piece of art is generative and has a random nature with an infinite amount of possibilities does it still retain its aura of ipseity? It may never exist as the same object within space and time ever again and could be considered an individually unique art object every time it is viewed, whilst at the same time being an identical copy of another.
This new fluidity in the final piece adds an extra element to the ‘art object’ that was not before conceived of when it was limited by its physical bounds.
Traditionally the value of art has been gauged by how unique and non-replicable a piece was. This gave the object a unique ’aura’ – this can be seen in the prices of the work of ‘old masters’ as traded on the art market. Owning a particularly important Picasso is a status symbol and worth millions of dollars whereas a signed print of the same painting is worth only a few thousand.
It is at this point that digital art inadvertently rejoins the idealistic dreams of Lippard et al. The digital art object is thus emancipated from authenticity and authority (Adrian Ward – Authorship).
According to post structuralist theory as previously outlined, its driving aim is to separate the creator from the art merely conveying the pure idea.
Creative Agency
With the development of intelligent driven generative systems the line between what is created as a result of biology and technology becomes every more blurred. The time to question the creative agency of a piece of software is upon us. This blurring of the line between the two brings the dematerialisation debate a step further - if the art work itself is capable of agency, then surely it is closer to the post structuralist ideal of removing the author from the narrative.
It could however be argued that this has in fact not happened as the agency exhibited by the generative vehicle is merely relying on its authors’ original intentions and rules in order to carry out its tasks.
Representing these new art forms has become a challenge for traditional galleries whose only real advantage in the era of mass distribution can be to add value to the work by providing some framework or context that the viewer would otherwise not experience.
Digital aesthetics and manipulation
"The boundaries of art are constantly blurring and it seems no more fruitful to ask the question 'Is it art?', than to question the "purity" of a particular medium” - Martin Rieser, Senior Lecturer in Digital Media at Napier University.
This brings sharply into focus the question – is digital art really art? To answer this one would have to define art, which is essentially a question of personal aesthetics and far too complicated to really address here.
Manipulation of imagery has been widely accepted since the early days of the Dadaist movement, with examples such as Marcel Duchamp’s addition of a moustache to the Mona Lisa. That this should not extend to the digital medium seems somewhat absurd, and even if the digital aesthetic has not been widely accepted within the lay community it is safe to say that it has been widely embraced within the world of contemporary art as a tool and as a medium in its own right.
Digital Art and the Human Form
The body and how people identify and define themselves has become a prominent theme within the digital art debate as well as how we define ourselves in networked virtual spaces as opposed to reality (telematics).
The surveillance society in which we now live tracks our movements and measures our biometric data essentially creating a virtual parallel of our lives in digital format that is becoming ever more detailed. We no longer have a choice in whether we exist in the virtual world but are mandatorially drawn into its networks and memory.
When people use the internet it allows them to exist in many places simultaneously thus bringing the question of man-machine symbiosis and the extent to which it has been achieved to the fore.
The art object is starting to redefine society and social interactions in a way never before seen.
Key artists
Key artists in the field of digital art that have popularised it as a medium within recent years include Paul Smith who has created large series of digitally manipulated images in which he plays the role of the ‘clichéd hero’ or superimposes his own image as the different actors in the photo (the whole identity question).
The work of William Latham and his generative 3d forms attempt to simulate organic organisms growing and exhibiting evolutionary behaviour.
It has been argued that digital imagery is not representative of life however, as it is merely a binary encoded emulation and does not recreate the actual biological life process.
Conclusion
How do all these disparate strands relate to the state of digital art and what makes a relevant artistic project? The views expressed by exponents of particular schools of thought are only that. The entire dematerialisation debate is not an all pervasive school of thought that has invaded every aspect of contemporary art, but rather a particular viewpoint peculiar to certain schools of thought within the art movement.
That the question of dematerialisation as again raised by the expansion of digital media is based largely on luck than any preconceived intention to drive in that direction, unlike Lippard et al, who made a conscious effort to effect dematerialisation.
Granted there are digital artists that follow this particular school of conceptual thought and are using digital media in a way to further their own agendas. However they are not a dominant driving force within the technology and do not contribute vastly to the shaping of the technology as they generally have rather a poor understanding of its technical implications.
References
http://www.generative.net/papers/authorship/
http://www.noaura.com/noaura.html
http://sunsite.uakom.sk/sunworldonline/swol-08-1997/swol-08-bookshelf.html
http://lasa.epfl.ch/research/control_automation/entertainement/paint/index.php
http://www.tate.org.uk/onlineevents/archive/CuratingImmaterialitySystems/
"The Work of Art in the Age of Mechanical Reproduction.", Walter Benjamin 1935
Digital Art – Christiane Paul
Marcel Duchamp – Dawn Ades, Neil Cox, David Hopkins
Organism Final version
2006-11-05
have just presented to mr speed.. apparently we are too boring and corporate to achieve marks for whacky creativity.. but then the marking was rather bizarre.. the best project by far (by Mayo) didn't seem to impress at all. Not entirely convinced by the assessment criteria.
flash is still havng some issues
2006-10-25
have been drawing random movie clip instances all over the place an making pretty shapes.. have stuck a few on here to peruse
http://www.sciencenews.org/articles/20020831/mathtrek.asp
http://www.yu4you.com/items/en/photo/item_2118.html
flash just cant handle it
2006-10-15
Having a few problems with a growing curve as flash cant handle the amount of vectors on the screen.. are trying to use some static curves instead that will c hange when the collide with one another.. only problem is that once a movie clip has been created in flash its very hard to alter the formula for the vector drawn other than its height and width.. other possibility is to store all numbers in an array an destroy the movie clip on collision and have it create a new instances of itself once the numbers within the array have been processed against the numbers of the object that it has collided with.. only problem is it looks a bit jerky and nothing much happens until we have a collission.
Organism Project - stage one
2006-10-08
ideas for this week are to make a type of flower using sine/cosine curves using a formula we found online.
Plant life forms will develop and interact with one another swapping internal numbers and developing.. chris will simply love it.. im sure of this
IDAT205 - Project Design
2006-10-03
our in house specialists can provide extensive information
Group Members
Alan Bourne - Graphics/CSS/ASP/FLASH/HTML
Michael Lang - PHP/Photography/SEO/CSS
James Baugh - Tea Boy/FLASH
Business name ideas.
creativeindustries
industrialcreative
creativeindustrial
creativelab
creativestudios
industrialmedia
studioindustry*
studiomedia
creativemedia
studioindustries
Slogans/Marketing blurb
Creative web solutions
Ill create you in a minute
Solutions for the web
Unique Selling Points.
We already have a strong background in web design/photography and creating integrated solutions for a number of businesses.
Our portfolio of previous work highlights our strengths and showcases the style and professional aproach we bring to any project.
Whilst there is cross over between the skills of team members we all have individual areas of speciality which help to provide a complete solution to most web based problems.
Technical:
Web Design
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Database integration
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