comz

@comz

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Claiming my @socialtoken airdrop and crediting @vortac with my social airdrop

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lines of force of equipotential surfaces (1865) by james clerk maxwell the method of drawing lines of force so that the charge of any center is indicated by the number of lines which converge to it, and the induction through any surface cut off in the way described is measured by the number of lines of force which pass through it. the dotted straight lines on the left hand side of Fig. 6 represent the lines of force due to each of two electrified points whose charges are 10 and —10 respectively.

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induction in rotating spheres (1880) by heinrich hertz hertz provides equations and solutions for interactions between magnets and solid or hollow rotating spheres. inducing magnets may be outside or inside, in the case of the hollow sphere.

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ISO/IEC 10646 #2 (2024) by @paul-prudence a series of works exploring the use of text and signs as a material from which to weave fabrics of encoded patterns. exploring the historical links between weaving and computing, and their history of punched-card programming.

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kubus (1974), by klaus basset typewriter lettering composed of five symbols: 'I', 'O', ‘o', 'H' and '%'. by overstriking in various combinations, basset achieved a range of halftones from bright to dark, using the tones to shade the cubic object.

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outside the restored TWA hotel by eero saarinen

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multi-dimensional perceptual scaling of musical timbres (1976) by john m grey, stanford two experiments were performed to evaluate the perceptual relationships between 16 music instrument tones.The stimuli were computer synthesized based upon an analysis of actual instrument tones, and they were perceptually equalized for loudness, pitch, and duration. figure 1: a spatial solution for 35 similarity matrices generated by multi-dimensional scaling program INDSCAL (Carroll and Chang, 1970). Hierarchical clustering analysis (Johnson, 1967) is represented by connecting lines, in clustering strengths order: solid, dashed, dotted. two-dimensional projections of the configuration appear on the wall and floor. abbreviations for stimulus points: O=oboes, C=clarinets, X=saxophones, EH=english horn, FH=french horn, S=strings, TP=trumpet, TM=trombone, FL=flute, BN=bassoon.

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return to 3D warp structures

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the cube schematic & tvc4, edward zajec (1971) tvc focuses on no longer the design of visual modules, but of procedural ones. and no longer on the geometry of projection, but on the grammatical rules that delimit the possible combinations of the constituent elements. the cube schematic and program flowchart illustrations are taken from the "comp 3" exhibition catalogue, organized in 1971 by the Museo Revoltella in Trieste, Italy, and was probably one of the first exhibitions of digital art organized by a major museum at the time.

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zajec & hmeljak: the cube, theme & variations tvc 59888 (1972) left is the output, on the right is the flowchart and computer instructions

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graphik, advertising + design magazine (1950) by matthew leibowitz

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printers weekly book cover (1958) by otto treumann

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raster and chance 9 x 7 portfolio (1979) by gerhard von graevenitz 63 serigraphs created after original unique computer-generated plotter drawings, accompanied by title page, colophon text page by the artist, and a serigraph thumbnail index, housed in a custom made wooden box

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P-197 J (1979), by manfred mohr the cube is divided into four parts by a horizontal and a vertical incision. four independent rotations of a cube are projected into corresponding quadrants produced by incisions. in order to make the signs visually stable, two diagonally opposite quadrants contain the same rotation.

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victoria burge, notation 7 (2018), pen and gesso on sheet music

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a custom 80170NX chip is at the heart of the synthesizer; from 64 non-linear amplifiers (neurons) with 10,240 programmable interconnections, capable of processing many analog signals in parallel. Sixteen of the sixty-four "neurons" are connected in feedback loops to create sound oscillators, with tank circuits to control their frequencies. during a performance, Tudor will chose up to 14 channels of output, further modifying them with other electronic devices. for this recording, Tudor employed a new binaural technique for translating sound into out-of-head localizations, seemingly surrounding the listener.

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oscar niemeyer, cathedral of brasília physical model & schematic, 1959, completed in 1970

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learning about optical systolic circuits introduced in the 1970s, here’s a method for all-optical 3D manipulation of neural circuits https://www.frontiersin.org/journals/cellular-neuroscience/articles/10.3389/fncel.2018.00469/full

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victoria burge, ink and typewriter (2021)

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a mix of both new and previous selections, featuring @holotx, @lennyjpg, @paul-prudence, @dennis-chilas, @aether, @olgaf, @jbarbeau, @distcollective

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