There is no doubt that WordPress is the best content management system (CMS) for your website. Sure, countless CMS’ are available, ranging from open-source to paid, and you’ll hear evangelists on all sides swearing that their choice is the best. But Drupal, Joomla or any other CMS doesn’t hold a candle to WordPress for its ease of use, security and reliability.
A set of 350 pixel perfect glyphs icons, perfect for apps, websites or just about anything you can think of. You may use this icon set for both personal and commercial use, which means this resource can be used in any project without worrying about licensing.
At the end of the twentieth century, intellectual property rights collided with everyday life. Expansive copyright laws and digital rights management technologies sought to shut down new forms of copying and remixing made possible by the Internet. International laws expanding patent rights threatened the lives of millions of people around the world living with HIV/AIDS by limiting their access to cheap generic medicines. For decades, governments have tightened the grip of intellectual property law at the bidding of information industries; but recently, groups have emerged around the world to challenge this wave of enclosure with a new counter-politics of 8220;access to knowledge8221; or 8220;A2K.8221; They include software programmers who took to the streets to defeat software patents in Europe, AIDS activists who forced multinational pharmaceutical companies to permit copies of their medicines to be sold in poor countries, subsistence farmers defending their rights to food security or access to agricultural biotechnology, and college students who created a new 8220;free culture8221; movement to defend the digital commons. Access to Knowledge in the Age of Intellectual Property maps this emerging field of activism as a series of historical moments, strategies, and concepts. It gathers some of the most important thinkers and advocates in the field to make the stakes and strategies at play in this new domain visible and the terms of intellectual property law intelligible in their political implications around the world. A Creative Commons edition of this work will be freely available online.
Edited: Gaëlle Krikorian and Amy Kapczynski
Contributors: Ahmed Abdel Latif, Philippe Aigrain, Jeffrey Atteberry, Yochai Benkler, Yann Moulier Boutaing, Carlos Correa, Laura DeNardis, Sarah Deutsch, Peter Drahos, Hala Essalmawi, Rick Falkvinge, Sean Flynn, Vera Franz, Spring Gombe, Anil Gupta, Ellen 8216;t Hoen, Charles Igwe, Eddan Katz, Kannikar Kijtiwatchakul, Gaëlle Krikorian, Lawrence Liang, Jiraporn Limpananont, James Love, Leena Menghaney, Viviana Munoz, Sisule F. Musungu, HeeSeob Nam, Chan Park, Eloan Pinheiro dos Santos, Achal Prabhala, Onno Purbo, Manon Ress, Caroline Rossini, Susan Sell, Sangeeta Shashikant, Roberto Verzola, Jo Walsh
Discover Adobe® Kuler® — the web-hosted application for generating color themes that can inspire any project. No matter what you8217;re creating, with Kuler you can experiment quickly with color variations and browse thousands of themes from the Kuler community.
DID YOU KNOW…
Adobe Kuler is now available as a tablet app
The Adobe Kuler app, an extension of the full Adobe Kuler service, enables you to generate and view color themes on the go. Initially available for Android only.
Kuler is accessible from your favorite Creative Suite 5 software
Explore, search, and create new color themes right where you work with the Kuler panels built into Adobe Illustrator® CS5, Photoshop® CS5, InDesign® CS5.5, Fireworks® CS5, and Flash® Professional CS5.5 software. See more features
I think in moving images, and I don8217;t think moving images are objects.
I place these moving images in domain names. Each URL is the title and the location of each art piece. These websites are public, their ownership is exclusive. Domain names are one of the internet’s few scarcities. They are unique, they can8217;t be forged or copied.
This contract explains the rights and duties of the artist and the collector, to make sure the work remains intact as long as possible. It was drafted by Aernoud Bourdrez, attorney at law. You can download the document here. It can be used by anyone who wants to buy or sell an art-piece-in-a-domain-name.
Are you a print designer, photographer, fine-artist, or general creative person? Do you have a shitty website that you slapped together yourself in Dreamweaver in that ONE web design class that you took in college? Do you not have a site at all because you’ve been waiting two years for your cousin to put it together for you? Well, we’re here to help. We know that you have little to no desire to do web design professionally, but that doesn’t mean that you want an ugly cookie-cutter site or to settle for one that hasn8217;t been updated since Hackerswas in theaters. Through short tutorial videos, you’ll learn how to take a basic wordpress blog and manipulate the css, html (and even some php!) to match your aesthetic. You’ll feel empowered rather than crippled by the internet and worst case scenario you’ll at least end up having a better idea of how professional web designers turn your design dreams into a reality on screen.
Our traditional notion of privacy is coming under pressure from a political system obsessed with security and control and a commercial sector avid for sales. More and more measures are being taken that conflict with our constitutional right to privacy. New technologies are being developed and implemented in order to keep an eye on citizens and collect data about their comings and goings. Societal resistance to this is relatively scarce, particularly in the Netherlands. At the same time people harbour fewer and fewer qualms about voluntarily revealing personal information in the media and on the Internet. Apparently the protection of privacy is subordinate to people’s desire to manifest themselves publicly in society. If the perception of privacy is changing then this raises questions about the extent to which the existing principle of privacy remains tenable and whether there are alternative subjectivities or rights that are considered more important. Are new strategies being introduced for the protection of personal autonomy or for the evasion of instruments that violate privacy? Beyond Privacy attempts to give an impression of the current sociopolitical and technological violators of privacy as well as of what is on the horizon beyond privacy.
With contributions by Rudi Laermans, Maurizio Lazzarato, Rob van Kranenburg, Martijn de Waal, Armin Medosch and others
booru WebCam 2.0 will assist you in capturing images from your web camera, publishing them on your homepage, archiving them on your harddrive or storing them on the Internet. The program makes it easy to apply effects such as picture and text overlays to the camera image. The main purpose of booru Webcam is to increase the fun factor and usefulness of webcams!
Party Cam: Use your web camera as a party cam, documenting the party to your local hard drive. You can later on look through the archive to find all the highlights from yesterday8217;s party. Or why not share your fun with others on the Internet?
Surveillance: Use your web camera as a simple surveillance camera, documenting the things happening in its view.
Share in Style: Publish images on the Internet with dynamic text and custom made overlay images.
Free: The program can be freely downloaded below for private, non-commercial use. No nagging, no trial period. See the online manual for installation instructions.
Bundled, Buried & Behind Closed Doors is a short documentary explaining internet infrastructure, focusing on the art deco building 60 Hudson Street in Tribeca, which is now one of the most concentrated carrier hotels in the world. The internet has an 8220;ironically very limited geography in terms of big strategic concentrations,8221; explains Stephen Graham, professor of cities and society, Newcastle University, in the short film. 8220;The big affluent high tech information rich regions8221; is where the infrastructure is densely located. And 60 Hudson Street was especially ideal as a hub, given that the building was already designed to accomidate cables as it was first fitted for pneumatics tubes, then telegraph cables and telephone lines.
In an interview with The Atlantic8217;s Kasia Cieplak-Mayr von Baldegg, director Ben Mendelsohn explains, 8220;The issue of how this infrastructure is hidden fascinates me. Andrew Blum has a book coming out in May about physical Internet infrastructure, which I8217;m very excited for. He was giving a lecture and handing out postcards of 8220;data monuments8221; in New York City, and I asked him: if these are monuments, what do they reveal about the culture that built them? Their message is really one of ambivalence. Service providers need to let potential clients know where they are, but they generally decline to make their presence widely known beyond that marketing purpose. Andrew did say that he envisions 8221;brewery tour8221; style visits or class field trips to Internet buildings in the future, and I think that would be great, but the industry is not there yet.8221;
Converts color data to different color standards (RGB, CMYK, L*ab, L*ch, L*uv, Hunter, XYZ etc.). All the math implemented in this calculators is available in the math/formulas page.
Create color harmonies
From your RGB colors it creates colors complements, harmonies and themes. It can be used to easily create a Web site color theme or to select good trim and accent colors for your home decorations.
From RGB values to commercial tints
Matches your computer generated RGB values to color cards, paint lines, inks, fandecks, standards and more8230;
Helps you find a commercial product matching your computer generated colors. Also let you get cross-products matches of paint and ink products. Transforms 8220;virtual8221; colors in 8220;real world8221; references.
From commercial tints to RGB values
Search through our commercial tints database for specific color codes or names.
Once selected the desired color, find the closest match in competitors8217; fandecks and color cards, create harmonies or get full chromatic data.
Software and color database
We can supply software and color database to perform this site8217;s services without the need to be on-line all the time.
Popular chromameter interfaces are also available upon request.
You will find a rich collection of color related information here. Math and formulas, FAQ, useful links, monitor resolution notes and much more8230; A constantly updated source of useful color tips.
Freely submit your tints
We will be glad to freely post readings of your tints samples on our pages. Before sending us your color cards, fandecks or color collection please contact us first.
Easy Website Building Tools
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Give your customers a positive first impression! Create a website with our professionally designed themes or create your own look and feel.
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Sites built with Onepager have the best standards for search engine optimization so your customers can easily find you online.
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Get insightful analytics on where your users are coming from and how they are finding you through your dashboard.
Use Custom Domains
Your domain name is important to your business8217;s online presence. Purchase one through Onepager or use one you already own.
You can test out the interface and tools before committing
One of the most common misunderstandings artists have about websites is the idea that an online virtual gallery or portfolio can function as a comprehensive marketing strategy. I often read articles encouraging artists to simply develop an online portfolio to drive audiences (and potential buyers) toward their works. Unfortunately, the internet is so saturated with images, audio, texts and videos that creative manifestations without context can easily become engulfed in the abyss of the World Wide Web.
Creating your successful artist website is not about simply displaying art. It’s about engaging your site visitors through a compelling story about you as an artist that includes your artistic vision and your ability to create unique works. Your story should be interwoven throughout the structure of the website in such a way that visitors’ navigation through your site should reveal different aspects of your larger narrative.
The resulting relationship from visitors’ encounter with your site’s narrative is what has the potential to create audiences and potentially generate opportunities and sales for you.
The significance and potential of your website will allow it to function as the anchor of your artistic online identity. It is a place where you can maintain full control of your personal narrative (artistic journey, history and vision). It should be the most official and complete version of your artistic identity available on the web.
CONSTRUCTING A NARRATIVE:
Just like the blank pages of a book or white walls of a gallery, your website should be a simple and stark background that highlights your unique vision and ability. The goal is to use the website design and content to present a clear narrative that weaves your story together in a way that it is accessible to a broad general audience.
The most basic, common, and effective narrative structure for your website is as follows:
Homepage - The homepage is a brief introduction to the intent and content of your website. It is here that visitors first encounter you and your work. It is also the place where the look and feel of the website should be established. This includes elements such as font, color scheme, layout, and logo (if one exist) that should be found on every page.
A standard artist homepage typically involves the strong pairing of one image that epitomizes your work or vision as an artist with sparse text that conveys basic information about you and the your site’s contents (ex. Lisa Smith. Graphic Designer. Futurist. Feminist.).
Selected Works – Works included on the website should expand upon the story introduced on the homepage.
You should not feature your entire body of work online, since it will make the site look cluttered and unfocused. Instead, make a selection that will give a viewer an idea of your style(s), theme(s), message, and breadth of work, while still conveying a sense of cohesiveness.
If you work in more than one medium (such as photography, performance, and painting), feature a few selected works from each. However, this should only be done if you have a reasonable amount of work in each medium, or if the selected works are in some way related to the works done in your primary medium.
Regardless of what medium is featured, all media should be sized and compressed in a manner that will allow it to quickly load on the website. Site visitors may lose interest, if they are subjected to a long wait before they can see or hear featured work. The specifications for the appropriate media file size will depend on the capabilities of whatever platform the website has been built upon. Therefore, it is up to you (or your website developer) to test the load time of the site’s media on several different web browsers (i.e. Firefox, Safari, Internet Explorer), before launching the final version of the site.
Artist Statement – The statement should demonstrate how the sparse description on the homepage blooms into a full-blown story about your vision and creative process. It may include information about your influences, inspiration and creative intent.
This is the area of the website that most clearly provides visitors with context for your work. It should be free of esoteric language and discipline-specific analysis, to ensure that it can be understood by a broad audience.
Biography/CV – Your biography and CV should connect your statement to your broader personal and artistic journey. This section should include mention of your training (apprenticeships and professional development fellowships), past experience working in the arts (teaching, conference presenter, commissions), awards, grants, and exhibitions.
Store/Representation(optional) – Knowledge of the entities that elect to represent and sell your work gives visitors a sense of your established (and potential) value in the art market. It also allows them to become part of your story, by enabling them to purchase the works.
If your art is being sold through a gallery or agent, it is worth listing their contact information, so potential buyers know where to turn to make their purchase(s).
Depending on your needs and resources, an online store may be an efficient way for you to sell art independently. Creating links through a service such as PayPal is an easy and low-cost way to integrate a purchase option into a website that will allow a buyer to use their PayPal account or credit/debit card to purchase art.
Press – This section serves as an archive of press coverage received by you, and thus presents a history of you as an artist in the public eye.
Over time, as the archive builds, you should weed out articles that have very little specific coverage about you (such as a review about a group show). You should also become more discerning about the news outlets represented.
Contact/Email List/Social Network – This is one of the most important aspects of the website, since it is the portal through which site visitors can interact with you directly. This section should contain one (or more) ways for visitors to be in conversation with you.
Email – Providing an email address is the most direct line of communication that you can make available between yourself and your site visitors.
Contact Form – A contact form offers optimal privacy for you, since it doesn’t require that you provide an email address. Visitors simply enter their email address and a message in the designated fields of the form. Once they have submitted it, it is sent to your email address and you have the option to respond directly.
Email List – Embedding an email list sign-up option allows visitors to submit their email addresses to you, via an eMarketing service, such as iContact, MailChimp andConstant Contact. This list can then receive mass messages from you about upcoming exhibitions, broadcasted interviews, fundraising campaigns, and other related matters.
Social Network Links – While your website is the foundation of an your online presence, social media networks* on platforms such as Twitter, Facebook, and Instagram provide a means through which you can post commentary and minor announcements, as well as correspond with your audience and fellow artists.
Most social network sites offer easy to embed code that will allow a direct link from an artist’s website to their social media account.
*You should note that current policies held by some popular social networking companies call into question the ownership of posted material. Some sites include in their user agreement a clause that allows the site to use images or materials posted on their service for marketing purposes. Therefore, you should be wary when posting images, audio or video of your work.
PUBLISHING THE STORY:
Once you have generated all of the content needed to populate your website, the next step is to upload it onto the internet. To do this, a crucial decision about the construction and maintenance of the website needs to be decided.
Hired Assistance vs. Do it Yourself (DIY)
Depending on your computer and internet literacy, you may grapple with the decision to hire an experienced web designer versus constructing a website on your own. The decision is informed by many pros and cons.
The pros of hiring a web designer include:
- Working with a designer allows for the construction of a completely customized website
- Working with a designer allows you to be hands-off with matters surrounding acquiring a domain name and hosting service, updating security features, conducting routine data backup, and of course web coding.
The cons of hiring a web designer include:
- Depending on what you want from a website, the initial fee for a designer can run from a few hundred to a few thousand dollars.
- In addition to the initial development and launch of a site, you will need to pay a designer to add new content to the website as well as run security updates, data backups, and other website maintenance.
The pros of the DIY approach include:
- If you have a strong command of coding, then you can have full control over the look, feel and operation of your website.
- If you have little to no coding expertise, there are a plethora of art-specific pre-fabricated sites (e.g. WordPress.com, Weebly, Wix that you can easily customize to develop a professional looking website. These sites often take care of security and back-up issues, leaving you to focus on the website’s content and aesthetic.
The cons of the DIY approach include:
- You are responsible for the continual maintenance and content update of your website, in addition to continuing your practice. 8211; Even if you elect to use a prefabricated template service, you may find the need to pay an annual fee to add advance features on the website (e.g. video hosting, customized domain name, additional space).
- While prefabricated templates do allow for minor modifications, you must know some level of code to achieve a significant degree of customization.
- Should the company providing the prefabricated site fold, you may be is faced with the responsibility of transferring your data to another readymade service or considering converting to a custom-built solution.
If you elect to use the DIY approach to website design, a list of services that offer prefabricated sites specifically designed or well-suited for an artist website can be found here.
BEYOND PUBLISHING — MAKING AN ARTIST SITE VISIBLE
The internet is a vast library of resources. Therefore, once a publishing approach has been implemented and your website is live, it will need an ongoing marketing campaign to drive visitors towards it.
Methods for driving an audience towards your website:
Email List – In addition to informing audiences about important announcements regarding your career, email lists can be used to encourage people to revisit your website. Whenever new content is added to your site, an announcement should be sent out to the list. The announcement should be truncated and linked to the full announcement that is posted on the website. This will encourage people to visit the website to read the full story.
Know that in addition to collecting email addresses through your website, you can manually enter email addresses into your list. These can be acquired by receiving business cards from interested parties and having a paper sign-up sheet available at events where you are presenting your work. Make sure to avoid adding email addresses to your email list if you have not received consent from the address holder. Email recipients can report the unauthorized inclusion of their email in someone’s list to eMarketing services, which can lead to having your account deactivated.
Social Network – Social media allows you to do more than just interact with your audience. The ease in which you can connect with other members of the social media community also allows you access to another avenue through which you can expand your audience. With these expanding networks, you can drive more traffic to your site by including a link to your website in the social media profile. You can also post comments or announcements (with direct link to a specific page of your site), on your account feed.
Business Cards, Postcards and Emails – Any means of communication that you distribute should include mention of your website. General business cards and postcards that are advertising a specific event or show should have your website listed clearly on them. The signature of your email (the area right below your name at the end of an email) should also include a link to the site.
Search Engine Optimization(SEO) – SEO are strategies that can be used to elevate the presence of a website in search engine queries.
- Increased traffic means increased popularity.
The more people you can encourage to visit your site, the higher a search engine will position your site in a search result list.
- Search engines recognize words and associate them with websites
Whenever possible, your site should contain as many commonly used and discipline-specific descriptive words as possible. Everything from the file names of images, videos and audio files, to the website’s narrative should contain words and phrasing that people are likely to enter into a search engine. This will help increase the likelihood that the website will appear, when those words are entered into a search.
visualization.ch put together a selection of data visualization tools that they use the most and that they enjoy working with. It includes libraries for plotting data on maps, frameworks for creating charts, graphs and diagrams and tools to simplify the handling of data. Even if you’re not into programming, you’ll find applications that can be used without writing one single line of code. They will keep this list as a living repository and add / remove things as technology develops.
Image reigns supreme. From the thousands of films churned out each year from Nollywood, to the persistent recording of images by security cameras in London to the scaling of windows on your desktop computer, you are already a pixel pusher. But, how can you reign supreme over images? How can you become an active participant in the creation of graphics and move beyond passive consumption. While the distinction between amateur and professional is erased in the Youtube-record-a-video-get-rich-generation, the focus upon high-quality content controlling tools is key. What is the point of mastering verion 3.5 of Killer Graphics App 978242;s fuzz filter  if you don8217;t have a use, or you have become locked into a niche application that costs 2000 Euros for each new version? The focus of this chapter is about exploring free and open source tools that empower you to do what you want to say and if the tools aren8217;t working out, you are allowed to change them from the inside-out! The major tools in this chapter to be discussed are bitmap editor Gimp, vector drawing tool Inkscape, 3d graphics with Blender, and algorithmic graphics creation with Processing . By the way, these tools are free! They have huge constructive communities around them waiting to help you with your tasks, adding new features and supporting vibrant actively producing pixel pushers.
In working with any graphics application, it is important to understand the difference between vector and pixel graphics. Vector graphics describe the use of geometrical primitives such as points, lines, Bezier curves, and polygons to represent images in computer graphics . It is used in contrast with the term raster graphics (bitmap graphics), which is the representation of images as a collection of pixels (dots). Vector graphics are math equations to define curves, generally have a smaller file size than raster graphics and also, can be scaled from tiny to massively huge billboards with no loss in quality. The letterforms for these words I8217;m typing are vector graphics. Bitmaps on the other-hand, are the types of images that a camera outputs, for example. Maybe your camera is a 5-megapixel camera, meaning it can record 5 million pixels per image. With bitmap graphics the more data about an image, then generally the better quality image, and thus a larger file size.
Gimp is one of the oldest free and open source applications. It is now 10 years old and is on par with major closed-source  applications. Gimp is primarily a tool you can use to edit all aspects of a bitmap image, from color retouching of photos, to painting on a canvas to fixing blemishes on a face, Gimp is chock full of tools. Its vector-based sibling is Inkscape, an Open Source drawing tool. With it you can make complex typography, make huge billboards, draw architectural plans and make lovely charts. This powerful tool implements the World Wide Web consortium8217;s Scalable Vector Graphics specification (SVG) and points out another strength of Open Source graphics tools in supporting free and open standards that won8217;t just vanish because a company closes shop, or locks down a format under proprietary patents.
Another important concept for graphics is the difference between two (2D) and three-dimensions (3D). Most graphics applications, including Gimp and Inkscape, are two-dimensional, meaning they deal with height and width of graphics, also called X and Y coordinates. Think of 2D graphics as a piece of paper. 3D graphics, like those operated on by the free software editor, Blender, add depth (Z-axis) to 2D graphics. This is what you see in the famous Pixar movies like Toy Story and Cars .
These typical 3D animations also add a fourth dimension (4D), time. While Blender does handle the fourth dimension by allowing 3D creators to animate, for these chapters, the concept of 4D also includes the concept of graphics through time and interactivity. When Casey Reas and Ben Fry developed Processing, a simple Java-based language and runtime for creating generative graphics, the tools for creating graphics primarily relied upon manual creation with Gimp and Inkscape, or more sophisticated knowledge of graphics programming in C/C++. Processing lowered the barriers for participation in creating interested graphics from code, and also allowed for these graphics to take on a life of their own through user interaction. It should also be noted that Inkscape, Gimp and Blender all offer forms of scripting and automation as well to enable creators to be extended quickly. The main difference between these three apps and Processing, is that Processing generates standalone applications which can be run anywhere. This is great for artists who are making interactive installations, but way too much manual controls for simple photo retouching.
In addition to these great free and open source tools that exist, there are projects as well, which focus on the community of graphics creation and on connecting together graphics applications into a coherently focused suite. The Open Clip Art Library encourages the upload and remix of public domain vector graphics under the guise of “clip art” and the Open Font Library goal is to build the world8217;s largest free and open collection of fonts . The Open Clip Art Library has approximately 15,000 pieces of high quality public domain clip art, meaning anyone can do anything they want with these resources. The Open Font Library is still a fairly new project with ~40 high quality fonts that are either in the public domain or under the new SIL Open Font License . The most notable font on the system is by famed kottke.org blogger, Jason Kottke. He created the super-popular font Silkscreen, a small bitmap-looking font used everywhere on the web. He recently licensed it under the Open Font License and uploaded it to the collection, signally clearly to other font creators that they can build upon it and make it better.
While all these projects exist in the free and open source software universe, the projects did not talk very much until two key projects developed. The first is the Create Project, whose goal is to provide a third-party space for creation applications to work together on standards, shared resources (palettes, brushes, patterns, keyboard mappings), and to encourage inter-project communication . The other key development is the annual Libre Graphics Meeting  which is the major event where artists and developers come together to work on making free and open source tools better, seeing what is possible by artists, and massive amounts of cross-pollination to create the future for graphics pixel pushers.
The major difference to closed source proprietary drawing apps is that you can8217;t reign supreme over images. You can8217;t become a true pixel pusher. You can only be the pixel pusher that someone else wants you to be. By using Gimp, Inkscape, Blender, Processing or one of the many other free and open source applications, you can dig deep into the code and communities of these projects. You can even shape the direction of these projects by joining in the discussions, filing bugs about problems with the tools, and showing off how much you reign supreme over images pixel pusher.
 Please note, this is vast satire over learning tools rather than having a reason to use them. Also, please note, this should be called the cheese filter.
In this article, we will cover a few questions and principles of open content licensing. We will discuss why to use a license and how it helps to give a stable legal background to start a collaboration. As choosing a license means accepting a certain amount of legal formalism, we will see the conditions required to be entitled to use an open license. Using the comparison of the Free Art License and the Creative Commons, we will try to give an accurate picture of the differences that co-exist in the world of open licensing, and approach what distinguishes free from open licenses. We will end by envisioning briefly the case of domain specific licenses and with a more practical note on how to apply a license to a work.
Self publishing is not a new phenomenon. It is the publishing of all media by the author/artists of those works rather than by established, third party publishers. Although self publishing has been around since the beginning of publishing , it has seen a huge increase in activity with the advancement of publishing technology and the World Wide Web.
This article introduces the possibilities of the software Pure Data (Pd), explains a bit why it8217;s so popular among artists and shows what Pd can be used for. The goal is to help artists decide if Pd is a tool for their own work.
Pure Data, or PD for short, is a software written by mathematician and musician Miller S. Puckette. It has become one of the most popular tools for artists working with digital media. Originally conceived in the late 90s as an environment to create sounds and to compose music, it was soon extended by modules to work with video and graphics. Pd is freely available for no cost, and it is Free Software in that the source code can be obtained, modified and distributed without restrictions as well. Pd runs on many operating systems including the big three: Linux, OS-X and MS-Windows.
You might have come across the 8216;made with Processing8217; hyperlink on the internet or heard ofProcessing before. Over the past six years it has become a real phenomenon, allowing creative mindsto access the digital world. Based on a rather simple syntax and minimal interface, Processingsmoothly drives beginners into the scary world of programming.This article is not a tutorial, but rather an attempt to give you a global idea of what the programmingenvironment is, looks like and why it was created. Should you decide it is the tool you need, thisarticle will hopefully provide enough pointers to online and offline resources to get you started on theright track.
What and who was it designed for ?
As the Processing web site mentions: “Processing is an open source programming language andenvironment for people who want to program images, animation, and interactions. It is used bystudents, artists, designers, researchers, and hobbyists for learning, prototyping, and production. It iscreated to teach fundamentals of computer programming within a visual context and to serve as asoftware sketchbook and professional production tool. Processing is developed by artists anddesigners as an alternative to proprietary software tools in the same domain.”
It is of course a truism, often repeated, that the Internet has been the basis for a revolution in (remote) interpersonal communications, collaboration and data sharing. It is probably safe to say that there would be very few of the Free/Libre and Open Source (FLOSS) projects that exist today without the collaboration technologies the Internet supports. One of the many effects of the powerful tools FLOSS has put in to the hands of creative people is that it has potentially made them more independent. No longer are they reliant on specialists with access to expensive software and hardware to carry out aspects of their projects for them. Their limitations are now time and knowledge, not the lack of access. It is in fact precisely this issue that the Digital Artists8217; Handbook seeks to address, by providing authoritative information to guide practitioners in to new fields of endeavour.
The downside of this independence is that many artists find themselves more isolated, working alone at home rather than interacting with others at shared studios or where shared resources were previously found.
The Internet, being fundamentally a communications medium, offers potential solutions to this isolation, but the solutions themselves have, to date, largely dictated that collaboration happens in new ways, shaped by the technology. For some, the thousands of FLOSS coders for example, the tools have made possible projects that would otherwise be virtually inconceivable, but for other artists looking to enhance their existing practice with new digital methods the situation is perhaps more double-edged.
It maybe be useful to step back for a moment and consider what we mean when we talk about working, or collaborating with others. For a start it could be divided in to five broad types of collaboration:
For those of us who aren’t code slingers, what’s the easiest way to build a digital book? I’ve noticed a small but growing number of tools, ranging from big guns like those on offer from Adobe to iPad-based efforts that aim to make publishing a touch and drag affair. Below is a list I’ve been compiling over the past few weeks. Some of these solutions get you an iPad app, some get you ePub, some are for web-based books.
More and more I hear people talking on the subject of the preservation of internet art. It is a new medium and no one knows what exactly will happen. Will we still browse the web in 15 years? Will information be injected straight into our mind without any screens?
Art works should last a long time. I love seeing old art, and I think it’s not until an artist dies that we get the big picture of their work.
Many media came before the internet. Lots of those media were lost, and some were saved. Paintings, sculptures, books, celluloid, vinyl, tapes, they can all rot and wither. The internet is different. It is a universal, decentralized, universal library, controlled by no one.
When a file exists on the internet, it gets copied. If it is an interesting file, many copies are made. The data is no longer connected to any single physical medium, it exists on many locations at the same time. Old lost music and movies resurface as torrents. These torrent files exists on many machines and media at the same time. Those same movies might have deteriorated on celluloid. I think the internet is the safest place for data.
Operating systems, programs and protocols change all the time. The survival of software is both by emulation and translation. If you look at old video games, they have always survived. They are kept alive by communities of enthusiasts. Passionate geeks re-code old software for new platforms.
The context might change, but we will always be able to revisit old software in some form.
Transferring software to new platform is peanuts compared to preserving traditional art.
Sharks deteriorate in formaldehyde.
If something is interesting, it will survive. As long as someone cares, a copy will exist.
Your files, anywhere
Any file you save to Dropbox also instantly saves to your computers, phones, and the Dropbox website.
2GB of Dropbox for free, with subscriptions up to 100GB available. Your files are always available from the secure Dropbox website. Dropbox works with Windows, Mac, Linux, iPad, iPhone, Android and BlackBerry. Works even when offline. You always have your files, whether or not you have a connection. Dropbox transfers just the parts of a file that change (not the whole thing). Manually set bandwidth limits 8212; Dropbox won8217;t hog your connection.
Shopify offers a complete ecommerce solution that allows you to set up an online store and easily sell your goods. It lets you organize your products, customize your storefront, accept credit card payments through payment gateways, track and respond to orders — all with a few clicks of the mouse.
1 >go to navigator on right > add layers by clicking on small square with turned up edge
2 >create your images on each layer (rem to click eye on left pic to view individual layers)
3 >click window in top toolbar > click animation, a box will appear at bottom of page >create new layers in this box to correspond to your layers in navigation box. eg: click the layer icon (small square with turned up edge) to duplicate selected frames
4 >rem to apply each layer to your image layer using the eye tool as before. > the speed of animation can be adjusted on drop down menu8217;s of individual images
Press sideways 8216;play8217; triangle to view animation
5 >file >save for web and devices >make sure gif is selected > SAVE > you can then drag your saved file into browser to see what gif will look like online!!
Culturegrid is a huge index of cultural assets in the UK (books, photographs, videos, locations8230;), and has a search API. At the moment it doesn8217;t return the large images for the URLs it indexes. This adds that feature.
FLOSS Manuals is a collection of manuals about free and open source software together with the tools used to create them and the community that uses those tools. They include authors, editors, artists, software developers, activists, and many others. There are manuals that explain how to install and use a range of free and open source softwares, about how to do things (like design) with open source software, and manuals about free culture services that use or support free software and formats.
Anyone can contribute to a manual – to fix a spelling mistake, to add a more detailed explanation, to write a new chapter, or to start a whole new manual on a topic.
Anyone can start a manual – Since March 2011 we have implemented a new system (which we built ourselves) called Booki. With this new system we are handing over many more admin tasks and autonomy to 8216;you8217;. This means you can start a manual without needing help from admins and you can also clone manuals, remix them etc. You can also just use FM as a toolkit to make your own book/manual about your favourite free software without it appearing in the FLOSS Manuals READ section if you want to. Our aim is to help you to make great manuals about free software not to 8216;own8217; your content or 8216;sell your books8217; (although if you want help with that we are pleased to help) so if you want to use FM as 8216;just8217; a toolkit then please go right ahead!
You can read and use the manuals in a number of different ways. They are available online in separately indexed chapters, and you can use the website as a reference base in this way. You can also view, download, or print each manual as a PDF or (since March 2011) EPUB for electronic book readers. It is also possible to ‘remix’ manuals to create a version that only includes specific aspects of a particular manual, or that combines chapters from two or more manuals in a single document. These can be downloaded and printed, added to websites, and used for any purpose. You can also print a manual, or an individually ‘remixed’ manual, as a book via the print-to-order service of Lulu.com.
The Document Foundation, which coordinates development of LibreOffice, a new, free and open office suite, has reached an important development milestone significantly ahead of schedule. LibreOffice 3.3 shipped this week; it8217;s the first, stable, road-ready version of the suite. A large, 100+ community of developers has been attracted to the project, and while it8217;s still clearly under construction, it8217;s an impressive showing in a short time.
Dyn’s legendary free DNS service allows you to create a hostname that points to your home or office IP address, providing a easy URL for you to remember anywhere you have internet access.
Dyn also provides update mechanisms for making hostnames work with your dynamic IP address, delivery of your DNS records to five DNS servers in five Tier 1 bandwidth datacenters around the world, fast propagation/reliable static IP caching for DNS TTL values and more.
Noble Desktop has been teaching courses in web development and digital publishing since 1991. They offer comprehensive day and evening classes and certificate programs in web design, web development, digital publishing, print design and photo retouching.
The Portable Document Format (PDF) is a popular format to publish formatted text and documents. There are several different versions of it, some qualifying as an Open Standard, some certified by ISO and some encumbered by software patents. You might want to promote the versions that are Open Standards, because Open Standards guarantee interoperability, competition and choice. Read more8230;
There are many programs to read and write PDF documents. All of the PDF readers in the following list are Free Software, respecting your basic four freedoms to use, study, share and improve them. This gives you control over your computer and helps protect your privacy. Read more8230;
A green background indicates that the reader is recommended for your operating system. The recommendations are based on ease of use and install and do not reflect the technical merits of the software itself.
Other proprietary alternatives to Adobe8217;s PDF reader also exist, but like it, their internal working is a trade secret and these programs do not respect your right to control your own privacy and data.
 Note that most Free Operating Systems provide package management systems and do not require you to download any files manually from project pages. You will find instructions on how to install these packages on the website of your distributor. The download pages referred to will provide source code, should you desire to build the software.
Golden Grid System (GGS) splits the screen into 18 even columns. The leftmost and rightmost columns are used as the outer margins of the grid, which leaves 16 columns for use in design.
Now, 16 columns sounds a bit much for anything other than huge widescreen monitors. This is where the folding, inspired by the DIN paper system and Unigrid, comes in. The 16 columns can be combined, or folded, into 8 columns for tablet-sized screens, and into 4 columns for mobile-sized ones. This way GGS can easily cover any screen sizes from 240 up to 2560 pixels.
This tutorial shows you how to enter data in an online spreadsheet to generate a set of placemarks in Google Earth and Maps. Google8217;s web-based, collaborative editing allows you and your team members to simultaneously enter data and instantly publish updates. Using this tool you could: showcase your organisation8217;s projects, programme sites or partners; map your offices, volunteers or resources; or visualise your data on local, regional or global scales.
Some of the new and improved features in Spreadsheet Mapper version 3 include:
Create 1000 placemarks 8211; add more if needed.
Six simplified balloon design templates 8211; add more if needed
Simplified publication process
Additional customisation options
Spreadsheet Mapper 3 uses Google Apps Scripts to help generate the KML placemarks and to provide useful tools. If you want to use the older Spreadsheet Mapper 2, which only uses spreadsheet formulas, but limits the number of placemarks and balloon templates, you can still access it here: Spreadsheet Mapper 2.0 tutorial
Spreadsheet Mapper is a powerful tool for mapping point locations. It starts with enough spreadsheet rows for 1,000 placemark points and provides a tool for adding additional rows. Adding more than a few thousand rows/points will slow down the spreadsheet mapper and produce a very large KML file, in which case you may want to look at other tools such as Google Fusion Tables.
Habari is next-generation blogging. Download Habari or try the demo and help our community design the future of blogs.
Habari is different
While there are a number of technical reasons that highlight the differences and advantages Habari has over other blogging packages, a major component of what makes Habari different is its community participation model. Users who demonstrate a level of quality contributions to the project are granted more privileges within the project.
The RayV Grid is the worlds first telco grade HDTV Delivery Network over IP. Designed specifically to serve the world8217;s most sophisticated content providers, we stream for telcos and networks tens of millions of hours of HDTV every month to millions of viewers in over 150 countries. RayV is the most robust, scalable and secure network for delivering high quality video on the web.
In this tutorial, we will focus on creating an interactive network visualization that will allow us to get details about the nodes in the network, rearrange the network into different layouts, and sort, filter, and search through our data.
In this example, each node is a song. The nodes are sized based on popularity, and colored by artist. Links indicate two songs are similar to one another.
Try out the visualization on different songs to see how the different layouts and filters look with the different graphs.