05
February
2012

design

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Raining on bus (s)tops

BusTops Shoreditch profile

or: “I made some public art”.

It’s been lovely to see Bus Tops finally emerge into the world. If you’re not aware: it’s a series of LED-matrix screens on the top of bus stops around London, displaying a curated programme of art that anyone can submit works to. It’s been beautiful to see it come to life so well: feels like a thing, has its own aesthetic, the public nature of it feels exciting and odd and transgressive.

I decided I ought to start making some things for it. I’m particularly interested in the screens as an animated medium. So far, I’ve submitted two works; one, an original, and the other, very much not, although it’s the kind of thing that needs to be on giant red LED matrixes.

Anyhow.

Ripples has been selected for display, which is quite exciting! It’s a short animation that makes it look a little like it’s raining on top of the bus stop, even when it’s not. It was a nice exercise for me: making something attractive, graphical, in code (which is not my sweet spot of programming).

An hour or so with Processing later and I was getting somewhere, and it didn’t take much longer with the rather lovely gifAnimation library to spit out an animated gif to import into the Bus Tops editor.

The original animation that Ripples is based on can be viewed here. The source code for it is also on that site.

This feels like a good beginning, and I have a few more ideas for abstract moving works that would look good in red, black, and nighttime, from the top of a double-decker.

(And, as reference primarily for myself: the way you fixed “sad about not making things” is by just starting things, ideally small things, and before you know they’re done.)

Update: and here’s what it looks like on top of a bus stop. Static:

and in motion:

(thanks to the Bus Tops site for the images)

17
January
2012

Links

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  • "I went forward with this theme; what if movies we were all familiar with were made a different slice of time? Who would be in it? Who would direct it?" These are marvellous, not just for the art, but for the casting and direction calls. Friedkin's "Terminator"; Peckinpah's "Wolverine"; John Ford's "Drive" starring James Dean. Perfect.
02
January
2012
16
December
2011
  • "I've now stopped accumulating stuff. Except books—but books are different. Books are more like a fluid than individual objects. It's not especially inconvenient to own several thousand books, whereas if you owned several thousand random possessions you'd be a local celebrity." Books as a fluid!
  • "…one of the things I learned in attempting to produce 50 interesting variants on the text is that it is very, very hard. Whatever is done to the text, it is virtually impossible to extinguish Dickens’ intention without extinguishing the whole work (as in the case of the copies which read simply “Fancy fancy fancy fancy…” or “Facts facts facts…” for 300-odd pages). The text stands; it is greater than paper." This is brilliant.
  • "There are 1868 cars on the highway right now. You can watch them drive by, or draw your own and it will join the front of the line. Where are they going? The journey is yours." Progressive's annual report is done vy an artist each year; this year's is a lovely Aaron Koblin piece.
  • "The choice for light as a medium is the result of a systematic exploration of what kinds of stimuli pigs respond to. We were aware of some evidence indicating pigs enjoy light. But when we saw how they reacted to a laser pointer, we knew we were on to something." Kars' frankly crazy game for pigs and people is in video form now, but he's deadly serious about it existing. I'm quite excited for him.
  • "However, if you are making a sustainable living doing pay-up-front games, and you find those are the kinds of games you are most passionate about, but you feel the itch to try out free-to-play because some other people are getting rich doing it, then I'd take a step back and examine your motives and what makes you fulfilled as a person. VC-types look down on this kind of thinking with the awesomely cynical term "lifestyle business", but isn't that exactly what we want to create, a business that supports our desired lifestyle, which includes making games we're proud of?" Chris Hecker on Free-to-Play
  • "Patient explained most of these (and most subsequent) injuries as being the result of membership in a private and apparently quite intense mixed martial arts club.  Patient has denied being the victim of domestic abuse by Mr. Grayson following indirect and direct questioning on numerous occasions." Patient BW's medical records make for iiinteresting reading.
  • "…the world of Shadow of the Colossus is seemingly empty, except for the colossi and the warrior. Until you reach a colossus, there is no music, leaving you alone with your thoughts and the sound of your horse’s hooves. No enemies jump out to attack, it occurred to me on one of these rides, because I am the one on the hunt. The natural order of a video game is reversed. There are no enemies because I am the enemy." A decent enough piece on Ueda's games for the New Yorker – but this paragraph is marvellous.
  • "A great deal of what is called `digital art’ is not digital art at all, and it seems many digital artists seem ashamed of the digital.  In digital installation art, the screen and keyboard are literally hidden in a box somewhere, as if words were a point of shame.  The digital source code behind the work is not shown, and all digital output is only viewable by the artist or a technician for debugging purposes.  The experience of the actual work is often entirely analog, the participant moves an arm, and observes an analog movement in response, in sight, sound or motor control.  They may choose to make jerky, discontinuous movements, and get a discontinuous movement in response, but this is far from the complexity of digital language.  This kind of installation forms a hall of mirrors.  You move your arm around and look for how your movement has been contorted."
  • "If I were in London now or in the next few weeks, instead of Frieze I'd probably be getting to these shows." Rod's lists are always good.
  • I've used the Settings plugin a lot, but it's very old and dusty. This is a nice fork of it, ported to Rails 3, and saved for future reference.
  • "In a sense, a child, by definition, shrinks Scribblenauts’ scope. The game’s potential solutions are necessarily limited by vocabulary, so players with a smaller vocabulary have fewer options open to them. But, free of the dry, efficient logic of adulthood, a child’s imagination also opens the game up in ways beyond most adults’ reach."
16
October
2011
  • "It’s hard to believe that there was a time when any of these weren’t conventional wisdom, but there was such a time. Unix combines more obvious-in-retrospect engineering design choices than anything else I’ve seen or am likely to see in my lifetime.

    It is impossible — absolutely impossible — to overstate the debt my profession owes to Dennis Ritchie. I’ve been living in a world he helped invent for over thirty years."

  • List of all 58 fonts now in iOS, mainly for reference. (Although, eesh, Zapfino AND Papyrus? Really?)
  • Critical, critical, to the world we live in today.
  • "And all this time I can’t help thinking that this was because I’m working with games. If I was a fimmaker, this is issue would never crop up. But games have to constantly defend their status as a way of creative expression. When creating games, you are by default suspected of either selling out or producing nothing of value what so ever. Or both." Seriously, Vimeo need to sort this out: it's embarrassing, and contrary to the messages they send out.
  • "I wanted to talk about the Occupy $CITY movement here (in fact, that’s where this post started); a protest movement that is not about the event, or the movement through the city, or even the disruption per se. It is protest as part of the fabric of the city; a constant questioning and reassessment of a conversation with both the fabric of the city physically, economically and politically; taking the concept of Wall St and Main St and making it suddenly concrete, forcing a conversation to take place."
  • "If this doesn’t seem like a big issue imagine the state of cinema if film students were only able to study films made in the last two decades? Or if English Literature students no longer have the ability to examine the works of Shakespeare or Twain? What might be lost?" Seriously, companies: stop turning servers off. Processor power is cheap.
  • "Q: I don't imagine that a design meeting with Takahashi is a typical PowerPoint affair.

    A: He has singlehandedly invented the animated GIF as the design spec. It's fucking hilarious." Animated GIF as design spec. Superb. (And: nice interview with Stuart Butterfield about Glitch).

11
September
2011

Links

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  • "All Hockney's work and thought is dedicated to the proposition that there is always more to see in the world around us. Art is a way—you might say a set of technologies—for making images, preserving them in time, and also for showing us things we aren't normally aware of. Those might include gods, dreams, and myths, but also hedgerows." Hockney continues to be marvellous.

Links & notes for this month

Endnotes