Archive for the ‘text’ Category

The LFG series is a low cost high quality monochrome and composite/S-Video frame grabber. Available for several operating systems and also provided with royalty free optimised JPEG and wavelet codecs. 

http://cuppetellimendoza.com/files/cuppetelli-mendoza.zip

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page2image1512.jpg

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Multi channel video capture

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Mango DSP – Raven-M

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video capture os x

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Monday, February 20th, 2012

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Timebased Media1:Video Art 

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Natasha Beste

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Spec Topics: Digital Arts 

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Retransfer:  If Purchaser (or representative of his/her estate) in any way whatsoever sells, gives, or trades the Work, or if it is inherited from Purchaser, or if a third party pays compensation for its destruction, Purchaser (or representative of his/her estate) must notify the Artist of all conditions of said action(s) and provide the Artist with complete information relating to the new owner, if applicable.

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Retransfer:  If Purchaser (or representative of his/her estate) in any way whatsoever sells, gives, or trades the Work, or if it is inherited from Purchaser, or if a third party pays compensation for its destruction, Purchaser (or representative of his/her estate) must notify the Artist of all conditions of said action(s) and provide the Artist with complete information relating to the new owner, if applicable.

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##

# Host Database

#

# localhost is used to configure the loopback interface

# when the system is booting.  Do not change this entry.

##

127.0.0.1       localhost

255.255.255.255 broadcasthost

::1             localhost

fe80::1%lo0     localhost

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   sudo /Applications/TextEdit.app/Contents/MacOS/TextEdit /etc/hosts            

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cpBodyNew(from.mass, cpMomentForCircle(from.mass, 0.0f, 1, cpvzero));

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lastConstraint

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 cpConstraint *constraint;

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404 International Festival of Art & Technology

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28th February 2012.

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mviana01

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mviana01

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Sonia Gutierrez-Steckler

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Bon Scott Arte Bar

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. Technical tuition supplemented by readings, critiques, discussions and screenings featuring various mainstream and experimental examples of 3D animation

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. Technical tuition supplemented by readings, critiques, discussions and screenings featuring various mainstream and experimental examples of 3D animation

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Interaction Area

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Nervous Structure (field)

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  1. 1. Hardware
  1. a. Projector(s) 
  1. i. Short-throw lens (0.5:1 throw ratio or better)
  2. ii. XGA or better (WXGA+ preferred)
  3. iii. 2500 lumens or better
  4. iv. PJ-Link enabled preferred
  • b. Projector Mounts
  • c. Computer
    1. i. Single projector setup: Mac mini w/ discrete graphics card (no Intel integrated graphics)
    2. ii. Multi-projector setup: Mac Pro
  • d. Security camera(s) (to be determined for each site)
    1. i. IR Lights may be required depending on camera choice
  • e. Video capture device
    1. i. Single projector setup: DV Digitizer
    2. ii. Multi-projector setup: TBD
  • f. Cabling
    1. i. VGA or HDMI from computer to projector(s)
    2. ii. RCA from cameras to computer
    3. iii. Power to cameras
    4. iv. Power to projectors
    5. v. Power to computer
    6. 2. Dimensions
  • a. The dimensions stipulated in the diagrams are not to be taken as a rule. These are measurements that we are sure would work.
  • b. The scale of the piece can be adapted to suit a space, with some limits:
    1. i. Max width for a single projector is 4 m.
    2. ii. Max height is ~3 m.
    3. 3. Interaction Area
  • a. Should be at least as large as stipulated. If the interaction area cannot be made as deep as required, the size of the structure may have to be reduced in width and height.
  • 4. About Multiple Projectors
  • a. The work can accommodate between 1 and 3 projectors (as of this writing).
  • b. Adding multiple projectors will require a more powerful computer (Mac Pro, multichannel video capture), as well as additional sensing hardware (2-3 cameras).
  • c. Max width per projector is 4 m.
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    Multi-projector setup: 

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    Multi-projector setup: 

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    Single projector setup: 

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    Multiple Projector

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    Single Projector

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    Prototipo

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    Museum of Art and History

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    Our current interests lie in the creation of installations that investigate ideas of phenomenology and perception, focused through the exploration of the relationships between the physical and the virtual. Aesthetically and conceptually our work borrows from the “Light and Space” movement of the 1960’s, as well as from Kinetic Art (and specifically Venezuelan Constructivism), which we attempt to fuse with ideas and materials borne out of digital technologies. Thus, our physical structures are usually combined with software processes to create interactive and immersive installations that challenge perception and (physically) engage viewers.

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      Thursday, February 16th, 2012
      1. Our current interests lie in the creation of installations that investigate ideas of phenomenology and perception, focused through the exploration of the relationships between the physical and the virtual. Aesthetically and conceptually our work borrows from the “Light and Space” movement of the 1960’s, as well as from Kinetic Art (and specifically Venezuelan Constructivism), which we attempt to fuse with ideas and materials borne out of digital technologies. Thus, our physical structures are usually combined with software processes to create interactive and immersive installations that challenge perception and (physically) engage viewers.

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      Nervous Structure (field)

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      Our work is also about the intersection of our particular disciplines’ languages (Cuppetelli in Fibers, Mendoza in New Media); patterning, repetition and interaction are issues that are highly relevant in both of these realms. The results of our collaboration begin with the commonalities we have discovered in our specialties, but develop through the hybrid vocabulary engendered by that dialog.

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        Thursday, February 16th, 2012
        1. Our current interests lie in the creation of installations that investigate ideas of phenomenology and perception, focused through the exploration of the relationships between the physical and the virtual. Aesthetically and conceptually our work borrows from the “Light and Space” movement of the 1960’s, as well as from Kinetic Art (and specifically Venezuelan Constructivism), which we attempt to fuse with ideas and materials borne out of digital technologies. Thus, our physical structures are usually combined with software processes to create interactive and immersive installations that challenge perception and (physically) engage viewers.

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        Jane Lackey

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        Jane Lackey
        Studio/Residence
        609 Avenida Celava
        Santa Fa, New Mexico, 87506-3435 505 984 9822
        505 414 6770 (cell)
        jlackey@q.com

        Mark Newport
        Artist in Residence and Head of Fiber Cranbrook Academy of Art
        39221 Woodward Ave.
        Bloomfield Hills, MI 48303-0801
        248 645 3337 markenewport@yahoo.com

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        terirueb@buffalo.edu

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