//how to know what file extensions?
//good way to test and see what is available on a server?
| <align=”left”> | size(20, 20); String[ ] fontList = PFont.list( ); println(fontList); |
Peter Terezakis
ITP, Tisch School of the Arts
New York City
All posts by Peter Terezakis
Whose Common Good?
There was something about Philip K. Howard’s presentation this past Tuesday night which troubled me. Actually, there were several items which did not sound quite right.
I did some research and attempted to both look and read between the lines of his presentation. The first item that came to my attention was Mr. Howard’s place of employment.
Mr. Howard is both founding partner (1999) and vice-chairman of the international law firm of Covington & Burling LLP.
Covington and Burling is not a typical law firm. In 1919 it represented the Kingdom of Norway against the United States, employs over 800 lawyers, offices including one in Beijing, Brussels, London, Seoul, and five in the United States. In January of 2011, Covington & Burling LLP became affiliated with the Institution Quraysh for Law & Policy which has offices in Doha, Jeddah, London, and Riyadh.
Partners at Covington and Burling are said to earn $665,000/year. As a senior partner and vice-chairman, Mr. Howard’s compensation package may be substantively greater than that of other partners.
Money has its own momentum. The momentum of directed wealth possesses the power to change laws, policies, and history. Vast sums of money focused on an issue transform momentum into pure energy enabling water to run uphill, blue skies to become pink, and to alter what is best for a people to that which serves the interest of corporations.
“If you let every case come down to the vote of the jury you never know where you stand.” – Philip K. Howard
Given the right to a jury trial is part of the United States Constitution exactly whose “Common Good” would be represented by the changes Philip K. Howard proposes? The manufacturer of an automobile whose gas tank was known to explode on impact, the human being (or their estate) affected by corporate negligence, or oil and gas companies exempted from key environmental laws and regulations?
Who will lose when multi-billion dollar corporations are allowed to corrupt our government and have their way?
Peter Terezakis
ITP, Tisch School of the Arts
New York City
Kitchen Apocalypse
It’s Halloween. Supposed to be scary. It’s a “Kitchen Apocalypse.” Can’t let the proverbial cat out of the bag as to what our show is going to be. Can show you the puppet so far:
I wanted to make his face using the shadow from wire mesh:
The concept worked. Problem is the marionette is walking around and doesn’t have a hard front light on his face or a wall to his back (though he could) when on stage. I had to bow to convention and doll him up a bit, but he still looks scary with his kitchen knife appendages.
Peter Terezakis
ITP, Tisch School of the Arts
New York City
Random Objects 2
I see applications for zoimorphic (“ζωή” Greek for “life/living”)/kinetic objects all around me; especially when it comes to point of sales and advertising. I’m not talking about a wireframe reindeer nodding its head. More than that. In much the same manner that static, non-kinetic works of art really need to be stunning to seize a viewer’s attention, store mannikins and stuffed animals are fundamentally unchanged for the past two thousand years.
There is a tremendous opportunity for technological development in this area. Especially if you study what captures attention and why.
Peter Terezakis
ITP, Tisch School of the Arts
New York City
ICM Week 6.1
Used a background image and loaded it in a directory outside of Processing code.
Create squares whose fill, borders, and alpha are random. Pressing any key “clears screen” by repainting background image.
No doubt about it: Josef Albers would have detested my appropriation of his work.
Peter Terezakis
ITP, Tisch School of the Arts
New York City
ICM week 6 – The Square
Squares gone wild (homage to Josef Albers):
(Using mousePressed)
Cool and new discovery: size(displayWidth, displayHeight);
didn’t work in Javascript. Does work in JAVA. Code is here.
Peter Terezakis
ITP, Tisch School of the Arts
New York City
event
Size of display works in JAVA; not in JavaScript
>>>>>>>>>>>>>>>>>>>>>>>>>>
void setup() {
frameRate(60);
//new for me to use
size(displayWidth, displayHeight);
background(random(255),random(123),random(255));
}
void draw() {
smooth();
strokeWeight(random(50));
fill(random(255), random(255), random(255),random(255));
translate(width, height);
if (mousePressed == true) {
rotate(radians(mouseX/2));
rect(60, 60, 50, 50);
}
else {
stroke(random(255), random(255), random(255),random(255));
strokeWeight(random(50));
}
stroke(random(255), random(255), random(255),random(255));
rect(mouseX, mouseY, mouseX, mouseX);
}
Peter Terezakis
ITP, Tisch School of the Arts
New York City
PAPO class 6: Sculpt and create a zoetrope
Gregory Barsamian’s career in imagining and constructing animated four-dimensional sculptures continues to awe and influence all who see his work. Gregory is a poet, philosopher, master craftsman, and a consummate artist. We have also been friends since 1992. I’m glad that Ithai was able to get Gregory to visit class and inspire everyone – including me.
As usual I strayed from the requirements of the assignment and used a twelve-inch vinyl record for the base of my zoetrope project. I almost couldn’t help it – Bleecker Bob’s is now a few blocks away from where I live. I’ve been buying records from them (on and off) in their current location for nearly… thirty years. While I no longer own a turntable, I can appreciate the great cover art of records – and a perfect base for my project! There is also the fact that they pay $15,000 a month for rent, a pretty irresistible force in a world of mp3 players and clouds.
I had my concept in mind as soon as we were given the assignment. After getting the vinyl base, the next thing I needed to do was to figure out how wide a “slice” I had for each of my sixteen frames.
This meant I had to first calculate the circumference:
C = Π D
Where C = Circumference D = Diameter and Π is 3.14159265358979323846264338327950288419716939937510 (and so on. But I’m going to use 3.145, eventually.). ” indicates inches
The diameter of my twelve inch LP zoetrope is 12 inches. So:
C = 12 x (3.14159265358979323846264338327950288419716939937510) = 37.69911184307752″
or
C = 12 x 3.1415 which is equal to 37.698″
or
Circumference of our 12″ disc is = 12 x 3.14 whose value is 37.68″
Calculating the width of each section (segment) is pretty straightforward. Once you know the circumference and the number of images/frames, you can calculate the width of each image/frame. Image width can be determined using the following:
imageWidth = (2)x(Π)x(radius) divided by frames”
imageWidth is defined as the width of each image, radius is the radius of your spinning disc, and frames is the number of frames or stages your animation will contain.
Using the 12″ vinyl record as the spinning disc, the radius is 6″, and we are using sixteen frames. The equation looks like this:
imageWidth = (2 x 3.14 x 6) / 16
imageWidth = (37.68) / 16
imageWidth = 2.355″
The math can be checked by multiplying imageWidth by the number of frames/stages/segments. If our math is correct, 2.355″ x 16 frames should equal the circumference. In fact, this is what we get: 37.68″ (It works!).
To measure the sections in the record I cut a piece of wire a little under 2.4″ and marked a cardboard template accordingly.
Images to help illustrate the process follow. Here’s a link to a video from my iPhone.
Meanwhile, grab a turntable, some bits of wire, clay, wood, or whatever you can find, and make your own zoetrope!
Peter Terezakis
ITP, Tisch School of the Arts
New York City
Marionette made from wood
This project was very challenging. The use of strings moved the puppet away from immediate control and introduced a host of problems. The biggest issue was (and still is) the tangling of strings. One of my classmates suggested that shorter was easier to manipulate, which turned out to be very true. I saw a fallen branch in the park and thought that it would be nice to give it another chance at life as a puppet.
Peter Terezakis
ITP, Tisch School of the Arts
New York City
Stick Puppet
Had the opportunity to examine a stick puppet made by NYC’s Puppet Kitchen at an NYU theater. Expressive and well-crafted it was solid in my hands but not overly heavy. The costume was very well made. While the head was disproportionately larger than the body the appearance was less of caricature and more of character. Also it was the hands that caught my attention more than any other part of the puppet.
Peter Terezakis
ITP, Tisch School of the Arts
New York City
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