WEBVTT
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rC3 Wikipaka Music
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Herald: Dear galactic beings, get ready
for the nerdiest niche topics, the most
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interesting ideas and the most absurd
discoveries from computers, art and the
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world - Operation Mindfuck! Directly from
rC3 world to your home and into your minds
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and hearts. Please welcome your hosts:
bleeptrack and blinry!
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bleeptrack: Hi everyone at rC3. This is
bleeptrack and blinry and we are already
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back to our yearly little talk about
computers, art and other curious stuff.
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And yeah, we already reached volume 4 this
year. So this is the fourth episode of
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this talk. And if you want to watch the
older talks, you can find them on blinry's
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website. They're all called Operation
Mindfuck and yeah, have fun with them. I
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think the older ones are, some of them are
in German and now we do them in English so
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more people can have fun. And the talks
work as follows: We have prepared
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different, very small topics and we will
explain them in alternating order. And
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today, blinry will start with an
interesting variation of keyboards.
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blinry: That's right. It's not the kind of
keyboard you might be thinking about right
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now, but it's about musical instruments.
So this is about isomorphic keyboard
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layouts, because in the beginning of this
year, I was like starting to learn how to
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play the piano. And I was researching a
bit of how that system works, basically.
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And I was a bit... started getting a bit
frustrated with it for the following
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reason: I can't give you a whole intro
about music theory right now, but what you
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need to know is that these little keys on
the piano keyboard are specific notes and
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the distance between them is always one
semitone, one semitone between them. And
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they are arranged in this linear fashion,
basically. And then, if you want to play
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some part, what you do is that you count
the right number of steps between these
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notes. So for example, to play a major
chord, what you do is always you start at
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the base note and then you count one, two,
three, four for the second note of this
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chord and then one, two, three for the
third. And you press those three together
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and then you have a major chord, which
sounds like this pleasant, positive chord.
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But then, there is this weird property of
this keyboard where... it's designed in a
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way so that if you play all the white keys
on the keyboard, you get the scale in C
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major. You can just play the whole scale
from C to the next C and the black keys
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are the ones you would skip in the scale.
And because of that, if you start your
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major chord at a different note, like F#
for example, you do the same counting -
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you would count one, two, three, four, for
the second note and then one, two, three
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for the third. But now the shape is a bit
different, you'll start playing on black
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keys and sometimes you have to mix them.
If you'll start playing a D-major chord,
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you'll have one black and two white ones,
for example, which is the strange
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properties of this keyboard, I thought,
because often when you play the song, you
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play it in a specific transposition, you
start playing with a specific tone. And
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moving all of the notes up and down by a
specific amount. And then you have to kind
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of try to re-learn how to play all these
chords and the melody, because they will
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have this different shape. Your fingers
have to do different things. And I thought
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this was really weird. And I researched a
bit about that. And the first thing I
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found, I think, was this instrument, which
is called the "Dodeka", which is just the
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name the company has given this thing,
where actually all the semitones are
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arranged next to each other without a
specific shape. I think, still the black
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keys here are like the C, the middle C or
something here to give you an impression
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of where you are in the scale, but then
you have 12 semitones until the next C
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just the way in a linear fashion, meaning
that if you know the shape of the major
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chord, for example, like you count four
and you count three, you can move this
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shape anywhere on the keyboard to, like,
move it up and down, which, I think, is
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pretty cool. Back then, I asked a specific
person who knows how to play keyboards
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really well in the greater community: What
might be the reason for this strange
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layout? And they gave me two reasons. One
was that if you have this shape with the
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black keys sticking out, you can, kind of,
feel where you are on the keyboard when
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you play it, which makes sense, I guess.
And the other reason is that, like the
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classical music notation also uses that
system where notes, which are directly on
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the lines or in the gaps of this classical
music notation, are the white keys on the
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piano keyboard. And if you put a b or a #
in front of it, you would use the black
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keys. So that kind of fits together. And
to change the layout, you would change the
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past few hundred years of music notation,
which I think might be worth it, but yeah.
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There are some even more advanced ways to
arrange the notes and they use hexagonal
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keys, which, I think, is really cool. So
this is the harmonic table layout where...
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like you arrange the notes, according to
this diagram here: If you are at a
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specific tone like a C here and you want
to go to the C#, you move one key to the
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right over these columns here and like
if you go diagonally up to the right, you do
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a major third, which is four semitones.
And if you go directly to the left, it's
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three semitones. So basically to play a
major chord, for example, you would push
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the bass key like the C and then in
addition, you go four semitones up to the
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E, right. And then this one above it is
always seven semitones up. So to play a
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major chord you would kind of... you can
play this with one finger and you press
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your finger in the middle of this three
and then you have a major chord. And to do
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a minor chord, which is like a sad sounding
sound, you can press your finger at this
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corner here. This would be a C minor
chord. And this is a really cool property.
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The harmonic table layout has some
properties which make it pretty weird. For
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example, to go an octave up, you have to
do a really big jump. You have to jump
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from this C up to all the way over here,
which is kind of inconvenient. So people
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also came up with another arrangement of
the Wicki-Hayden Layout. I think, this was
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invented in the 19th century already,
where you, if you start at a specific key,
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you go a whole step to the right. This is
like two semitones. And then, if you go
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diagonally up to the right, you have seven
semitones... perfect fifth. And to go an octave
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up, you go two rows up. And this is a
pretty nice layout. And, I can just show
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you how this works, actually, because
people made like a web-based demo on this.
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So you get this hexagon grid. If we start
at a D for example and want to play a
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major chord now, what we do is, we go four
semitones up. So we end up at the E. And
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then we add one seven up from the original
base note, so it's a G. And you can
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actually play this on your keyboard, like
I pressed the E and G - we have a major
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chord and again, you can move this shape
around anywhere. So if I start here and
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this sounds... it's a major chord here.
Here. Here. The minor chord is just
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another symmetric version of this form
starting at C. We add this one and this.
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This is minor. This is major. And you can
start transposing specific keys up and
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down, like this is the first inversion of
the chord. And yeah, this is... for me,
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this was really surprising to see that you
can build a structure like this, and then,
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if you remember the shape of melody, you
can just transpose it anywhere, which is
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cool. People are actually building
hardware for this. So this is something
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people call a Jammer Keyboard. And if
you're interested in this, you will find a
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small community on this who build their
own input devices like this. And also,
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while preparing this talk, I learned that
accordion, the specific accordion also
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uses structures to places where you put
your hands and one of them is used for
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playing chords. And the other one, some of
them use like a piano key layout, but some
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others, like this one, also have an
asymmetric layout where - I think it's
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another variation of this, where, if you
move diagonally up, it's one whole step.
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And to go up means to go two whole steps,
basically, and that defines this layout.
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But then it's, again, really easy to play
a melody and move it someplace else and
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play another key. Yeah, you know. What
have you prepared next?
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bleeptrack: All right, so I like a lot to
work with generative art and tiles and
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tiling is a super simple way to make
really fancy pattern. And two years ago, I
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looked a bit deeper into truchet tiles,
and that's still really fascinating to me.
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So I thought, might be a nice topic today
to show you a bit around truchet tiles.
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So, this was basically the first version.
So the idea of truchet tiles is, that you
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have rectangular tiles that are not
symmetric along their X and Y axis. So for
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example... or this other... like the first
proposed truchet tiles are these four
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tiles on the top that are basically made
off... that are rotated by 90 degrees. So
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you get all variations that you can make
out of them. Now you can use these tiles
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to make larger patterns. So you put them
in a large grid and you have different
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possibilities to do so. For example, the
left version and... ah, the most
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important: For example, like the left
version here - you can just throw in
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always the same tile and you get a very
nice repeating pattern, but maybe it's a
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bit boring and you wouldn't really need
tiling for that. But it's also possible.
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But you can also say, like you go on
alternating road and switch them every
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second place, so you get a bit of a mosaic
shape. And you can also play around more
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of that and place them in very certain
ways and directions to create bigger
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patterns. And that's usually what I find
really interesting. And of course, you can
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just place them randomly like the example
below here, which also makes a really
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intriguing pattern to me, maybe a bit...
like, it's not so quiet, sometimes a bit
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exhausting to look at, but it's fun to see
pattern emerge that are not planned. So
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this is the earliest version of the
truchet tiles. And I think this version
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here... ah, right. This is basically every
bit of the tiles that I just showed you.
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Maybe you know that one, this is called 10
print. And this is basically a super
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famous way of pattern generation, where
you just put diagonal lines instead of
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triangles. And in this case, you'd have
basically only two tiles. Right. You have
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this line that is flipped to the right and
you have the line that is flipped to the
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left side. And you can place it randomly
in it. This 10 print pattern became so
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famous because you can just write more or
less a one liner in nearly any coding
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language and this will come up in the
area. And yeah, in a time of Basic, when
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you can just write a one-liner in Basic
and have your whole screen field a random,
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nice pattern. So this is also derivative
truchet tiles, actually, but these are the
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ones that I think most people know when
they think of truchet tiles. It's a
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version where you don't work with
Rectangles or lines, but you have parts
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of, like quadrants of circles placed in
the edges. And in this case, you can't
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make four tiles. You can only make two
because if you rotate them by ninety
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degrees, third flip, so you can only get
two. And when you place them in a random
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order, that's the example you can see
below, you get a super fancy pattern that
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basically contains off - either you can
accidentally basically form a whole circle
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or like parts of circles, that get
entangled and form super long lines. And
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it looks really fun. And this is also the
first picture that I saw of truchet tiles.
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And I found that very intriguing. And,
well, it turns out, you can do even more
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cool stuff with that. For example, I need
to find my mouse. Here we go. You can,
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basically, you can start scaling the
pattern in different ways. And, for
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example, you can use it for ditherings. So
here, the background image is the image of
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Mona Lisa, as you might have recognized,
and you can take the image, darkness and
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then scale your pattern accordingly to
that point on your image. So you get sort
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of a dithering and it looks super fancy.
And what I also found recently, what I
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think is exceptionally good looking, is a
very special way of scaling truchet tiles
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by Christopher Carlson. And he published a
paper at Bridges, which is a super nice
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math and art conference - I'm not sure if
it's a whole conference or more like a
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workshop, but they have super nice papers.
So if you're interested in these
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intertwined maths & arts stuff look into
these papers, they are supercool. And
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Christopher Carlson came up with a nice
way... a nice esthetic of having these
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scalable truchet tiles. And you can see
these are three scale sizes. So this is
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basically the original size and then you
go one step smaller and you can see that
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he - in his case, he works with white and
black areas and you can now combine them
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in ways. For example, this is a super,
super quick and easy example. So here on
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the left side, you have that large tile
and you add on the right side two of the
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smaller tiles. And you can see that the
posit let's, for the big one, let's say
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the dark one is the positive space, that
your white space or your negative space
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here becomes the positive space in the
next smaller scale. So this also always
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iterating when you go one scale-step
smaller. And now you can think about how
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can I combine these different scale...
these different scales? And he had - he
00:17:44.740 --> 00:17:49.269
prepared some examples of, for example,
the left one. It's more or less like a
00:17:49.269 --> 00:17:54.769
Quadri. So you can just choose a rectangle
and divide it by four and you get it one
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scale smaller. You can do this
recursively, randomly, basically. Or you
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can also do it in the form of a pattern or
maybe in a certain shape. So, when you
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want to approximate certain outlines, you
can go smaller there to reach a certain
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shape. And when you fill that in with
these tiles, you get this result. And that
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looks super fancy, especially the left one
for my taste is super awesome and looks
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really, really nice. And even in this
paper he even goes one step further and
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thinks about different additional motives
that he could do with these different
00:18:38.889 --> 00:18:42.221
scales. So I'm not sure if this would be
considered truchet tiles, because they
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lose this not symmetrical attribute in
some occasions like the TS version here
00:18:51.900 --> 00:18:56.019
that would be symmetrical along this axis.
So I'm not sure if this would actually be
00:18:56.019 --> 00:19:00.980
considered truchet tiles, but it looks
nice, so who cares? So he made different
00:19:00.980 --> 00:19:07.419
versions that can also be applied or added
to that set of tiles. So you just have,
00:19:07.419 --> 00:19:11.730
basically you have these four entry or
exit points like on the top, bottom left
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and right. And you need to have at least a
circle there or connect your entry or exit
00:19:18.809 --> 00:19:25.820
points in different ways. And he just
tries out different shapes. And if you add
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this to the regular scaling truchet tiles,
you get these results and that looks super
00:19:32.880 --> 00:19:40.799
fancy because you have very, very nice
fitting shapes that are still super
00:19:40.799 --> 00:19:49.039
randomly distributed. And, ya. So this is
where I think, I should stop maybe talk
00:19:49.039 --> 00:19:53.429
about tiles, but if you want - you fall
into a rabbit hole. We have rabbit holes
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prepared at the end also, but if you want
to go further into tiling, especially
00:19:57.509 --> 00:20:04.100
maybe check out penrose tiling, this is
such a huge and fancy and complex topic. But I
00:20:04.100 --> 00:20:08.970
think that it would fill several of its
own talks. But if you want to dig further,
00:20:08.970 --> 00:20:15.620
I can also highly recommend penrose
tiling. That's it. So I will give back to
00:20:15.620 --> 00:20:19.680
blinry.
blinry: Yeah, penrose tiles might be a
00:20:19.680 --> 00:20:26.850
topic for some Operation Mindfuck in the
future, right. Now, the section is
00:20:26.850 --> 00:20:34.950
settled. What even is art? I'm often
really fascinated by artworks and art-
00:20:34.950 --> 00:20:40.509
installations, which kind of push the
boundary of what's still considered to be
00:20:40.509 --> 00:20:49.029
an artwork. And I wanted to show you some
of those. For example, last year, there
00:20:49.029 --> 00:20:56.730
was an Italian, Mauritio Cattelan, who
just bought a fresh banana at a grocery
00:20:56.730 --> 00:21:02.299
store and taped it to the wall of a museum
and then declared this as art, the title
00:21:02.299 --> 00:21:10.210
is "Comedian". And because Cattelan was
rather well-known and popular, this was
00:21:10.210 --> 00:21:20.750
also worth a surprising amount of money. I
think this was.... like 120000 $ was what
00:21:20.750 --> 00:21:30.500
an American couple paid for this artwork
to buy it. And after the sale took place,
00:21:30.500 --> 00:21:42.299
the following thing happened: Another man
walked up to this artwork and explained to
00:21:42.299 --> 00:21:46.389
the people watching and recording this,
that this was an art-intervention called
00:21:46.389 --> 00:21:55.440
"hungry artist" and just, yeah, said it
was very tasty and that he didn't want to
00:21:55.440 --> 00:22:01.929
be disrespectful to the original artist,
but this was an intervention. And yeah,
00:22:01.929 --> 00:22:06.990
this artwork came with a kind of
certificate that said that you had really
00:22:06.990 --> 00:22:12.009
bought it and that it's yours now. And it
specifically mentioned that you can
00:22:12.009 --> 00:22:16.899
replace the banana as needed. So after
this happened, it was just like people
00:22:16.899 --> 00:22:23.450
bought a new one and taped it to the wall
again and it was repaired. But yeah, I
00:22:23.450 --> 00:22:29.690
like this combination of these two
artworks, interleaving with each other. I
00:22:29.690 --> 00:22:37.330
think, this artist was like... he was
asked to leave the museum, but nobody
00:22:37.330 --> 00:22:47.029
pursued legal action. The next artwork I'm
going to show you, has to do with this
00:22:47.029 --> 00:22:52.279
material, which you might have heard
about, it's called Vanta-Black, and it's
00:22:52.279 --> 00:23:00.769
one of the darkest materials known to
humankind. It's a specific... on a
00:23:00.769 --> 00:23:06.470
microscopic level, it has nanotubes which
are in parallel, kind of sticking up from
00:23:06.470 --> 00:23:13.460
the surface where this paint is on. And
then if lightweight falls on the surface,
00:23:13.460 --> 00:23:18.539
it kind of gets trapped between these
little tubes and can't escape anymore,
00:23:18.539 --> 00:23:23.539
which is why it looks so pitch black. I
think like there are a numbers where
00:23:23.539 --> 00:23:34.211
people state, that this swallows 99.4% of
visible light or something. And this was
00:23:34.211 --> 00:23:40.740
developed a few years ago by a company for
a pretty diverse applications, but there
00:23:40.740 --> 00:23:45.450
was an artist who was really interested in
this: Anish Kapoor, a British Indian
00:23:45.450 --> 00:23:52.529
artist, who had... who was interested in
playing with black color anyway. And they
00:23:52.529 --> 00:23:59.169
came to an agreement where they said that
Kapoor was the only artist allowed to use
00:23:59.169 --> 00:24:06.909
Vanta-Black in artworks. So one example is
this one, "descent into limbo", which
00:24:06.909 --> 00:24:14.389
Kapoor had already made installations of
like many years back, but in a recent
00:24:14.389 --> 00:24:21.880
revival of this artwork, he actually painted
the inside of this, with Vanta the hole that
00:24:21.880 --> 00:24:27.559
is several meters deep. And because he was
using this special paint, you can't really
00:24:27.559 --> 00:24:35.980
see the shape of it. And at one point,
there was a visitor to this artwork who
00:24:35.980 --> 00:24:40.470
tried to look into this hole and didn't
believe that this was actually a hole,
00:24:40.470 --> 00:24:49.999
tried to step into it and fell in and had
to be rescued after that. So, yeah, the
00:24:49.999 --> 00:24:55.720
situation where only Kapoor is allowed to
use this color made several people really
00:24:55.720 --> 00:25:03.509
angry. For example, there is another
artist called Stuart Semple who's making
00:25:03.509 --> 00:25:12.490
his own pigments, colored pigments and he
designed the "world's pinkest pink" one
00:25:12.490 --> 00:25:17.340
time. And this is the store website where
you can buy this pigment, which states
00:25:17.340 --> 00:25:23.730
that it's available to everyone except
Anish Kapoor. Right, a kind of revenge
00:25:23.730 --> 00:25:30.779
action. And if you click on the "Buy It
Now" button, you actually have to, like,
00:25:30.779 --> 00:25:39.059
verify that you are not Anish Kapoor and
you have no plans to share it with him.
00:25:39.059 --> 00:25:46.451
Well, some time later, Anish Kapoor posted
this picture on a social media channel. So
00:25:46.451 --> 00:25:52.889
apparently someone had broken this
contract and sent Kapoor some of this
00:25:52.889 --> 00:26:01.210
pigment. Well, I think Stuart Semple was
really angry and disappointed about this
00:26:01.210 --> 00:26:06.999
and asked him to give it back, but also
didn't have really any means to take legal
00:26:06.999 --> 00:26:17.330
action against this. You might have heard
of Banksy, who is an English street artist
00:26:17.330 --> 00:26:25.200
who chooses to remain anonymous, and he's
well known for making graffiti on just
00:26:25.200 --> 00:26:31.000
walls on the street somewhere. But at this
point, he also is so famous and well known
00:26:31.000 --> 00:26:39.379
that he is starting to sell his artworks.
For example, this is a painting with a
00:26:39.379 --> 00:26:44.950
girl with a heart shaped balloon. And this
went up for auction in an auction house
00:26:44.950 --> 00:26:51.990
some years ago. And because Banksy is such
a mystery and so popular, this is also
00:26:51.990 --> 00:26:57.309
worth a surprising amount of money. I
think, over one million US dollars was
00:26:57.309 --> 00:27:05.882
paid for this at this auction and after
the hammer fell and this was sold, the
00:27:05.882 --> 00:27:10.629
following happened: I can show you the
video or the thumbnail gave it anyway. So
00:27:10.629 --> 00:27:17.990
it's just been sold and then a loud
beeping noise was heard and this artwork
00:27:17.990 --> 00:27:26.750
just was sucked into the frame of itself,
which shredded the artwork. Actually,
00:27:26.750 --> 00:27:31.950
Banksy had prepared this stunt in several
years in advance and built like this
00:27:31.950 --> 00:27:37.360
shredding-device into the frame. Probably
he or someone he knowed was present at
00:27:37.360 --> 00:27:41.730
this auction and pressed the remote
control button to activate the system.
00:27:41.730 --> 00:27:49.619
Yeah. So this is an example of self-
destructive art, which maybe not so
00:27:49.619 --> 00:27:55.749
surprisingly even made it worth even more.
I think at this point it's valued at
00:27:55.749 --> 00:28:03.029
around three million U.S. dollars. So,
yeah. Also, it was supposed to shred
00:28:03.029 --> 00:28:10.749
itself completely, but apparently some of
the mechanism failed and so it's now half
00:28:10.749 --> 00:28:15.880
shredded. And yeah, I think I had that on
the slide here, it's now called "Love is
00:28:15.880 --> 00:28:25.110
in the Bin" after the stunt. This is an
artwork, the last one I want to show in
00:28:25.110 --> 00:28:31.510
the section by the German artist Josef
Beuys, who is often working with unusual
00:28:31.510 --> 00:28:37.649
material. And yeah, this is an artwork
consisting of several kilograms of butter.
00:28:37.649 --> 00:28:43.200
It's called "Fettecke" which translates to
Fat Corner, literally. And he just took
00:28:43.200 --> 00:28:47.619
the butter, put it in the corner of the
museum and let it stay there for many
00:28:47.619 --> 00:28:56.960
years, which I'm pretty sure developed an
interesting smell. Mm hmm. And after Beuys
00:28:56.960 --> 00:29:03.600
died, the custodian of the gallery where
this was exhibited accidentally cleaned it
00:29:03.600 --> 00:29:09.690
up. You might have heard of that before.
He didn't know what it was about and just
00:29:09.690 --> 00:29:13.230
removed it and put it in the trash can.
And one of the students, of course, was
00:29:13.230 --> 00:29:21.119
really angry about this, went to the trash
can to recover it, treasured the remains
00:29:21.119 --> 00:29:26.019
really deeply and I think also received a
payment from the custodian because of this
00:29:26.019 --> 00:29:35.960
destruction. And now I also learned that
not very long ago, a couple of artists got
00:29:35.960 --> 00:29:42.960
these remains of the butter and distilled
liquor from it. I have a picture of it
00:29:42.960 --> 00:29:50.409
here like this. Yeah. Even another
artistic intervention on top of this. So
00:29:50.409 --> 00:29:56.710
this is a really strong liquor. And they
tasted that and said that it tasted really
00:29:56.710 --> 00:30:07.170
strongly of cheese. Yeah, that's all the
strange artworks I wanted to show you in
00:30:07.170 --> 00:30:12.659
this section. bleeptrack
bleeptrack: Oh, amazing, amazing. I think
00:30:12.659 --> 00:30:19.889
that's where the German "Ist das Kunst
oder kann das weg?" comes from. Like "is
00:30:19.889 --> 00:30:30.389
it art or can I remove that?". Perfect.
Yeah, let's stay with art. So I really a
00:30:30.389 --> 00:30:34.549
lot enjoy watching machines work and
especially pen plotters, and they are
00:30:34.549 --> 00:30:41.559
perfect to produce art. And I never, in an
Operation Mindfuck talk, I never showed
00:30:41.559 --> 00:30:45.410
you different types of pen plotters and
realized that's actually really
00:30:45.410 --> 00:30:50.419
interesting, because there are quite
different constructions. So let's do a
00:30:50.419 --> 00:30:57.280
small walk through the history of pen
plotters. And this is to my knowledge, one
00:30:57.280 --> 00:31:03.190
of the oldest pen plotters. It's a
ZUSE Graphomat. And this one - I took
00:31:03.190 --> 00:31:08.080
the photo in the technical museum in
Berlin, it's in an exhibition now, I think
00:31:08.080 --> 00:31:12.059
it's in a permanent exhibition now. Sadly,
it's not running, but I think they can run
00:31:12.059 --> 00:31:17.889
it. At least there is that piece of paper
that is in the machine. Looked to me like
00:31:17.889 --> 00:31:22.700
they plotted it on plays. It could be. I'm
not really sure, but it would be extremely
00:31:22.700 --> 00:31:27.399
awesome. And these are... what you can't
really see on these photos is that these
00:31:27.399 --> 00:31:33.710
are like huge devices. If you stand before
that, it's like over a meter long, over a
00:31:33.710 --> 00:31:43.779
meter deep, I guess. And it's like, I
think it's also maybe, a bit, maybe l...
00:31:43.779 --> 00:31:52.299
it's about a one meter square, like it's
super huge and it just can grab a pen and
00:31:52.299 --> 00:31:56.692
draw it. There is nothing else that it can
do. But of course, it's also quite an old
00:31:56.692 --> 00:32:06.489
machine. And there is a person called
Georg Nieß, who worked at Siemens in the
00:32:06.489 --> 00:32:12.280
60s and 70s, and he was one of the
pioneers of generative art and plotter
00:32:12.280 --> 00:32:18.059
art. And he bought one of these
ZUSE Graphomat machines for Siemens at that
00:32:18.059 --> 00:32:24.149
time. And it was extremely modern and
futuristic thing to have, like a machine
00:32:24.149 --> 00:32:27.760
that can plot, of course you have to
mention that they never know printers.
00:32:27.760 --> 00:32:34.220
Everything was, also in architecture was,
of course, still drawn by hand. So these
00:32:34.220 --> 00:32:41.350
machines that can draw extremely precise
lines, this is totally fancy. What you can
00:32:41.350 --> 00:32:48.139
also see these pens and ink on the bottom.
These are all graphed pens. You can still
00:32:48.139 --> 00:32:51.309
buy them and they are still extremely
expensive, but they are really nice for
00:32:51.309 --> 00:32:56.559
pen plotting because they work a bit
different than most other pens. They have
00:32:56.559 --> 00:33:06.629
a metal nip, a very flat metal nip and along
the nip the ink will get sucked out or
00:33:06.629 --> 00:33:12.570
runs down and the nip is completely flat,
because the pen is meant to be used like
00:33:12.570 --> 00:33:16.410
on the point and dragged along on the
point. Because most modern pens like
00:33:16.410 --> 00:33:24.970
roller pens will not really like that if
you use them directly in 90 degrees on the
00:33:24.970 --> 00:33:32.279
paper. So these are... the Graphomats are
the, basically the first drawing machines.
00:33:32.279 --> 00:33:39.269
A few years later you will find machines
that were more usable for companies and
00:33:39.269 --> 00:33:46.299
they have the size of a regular printer or
maybe a bit bigger for A3 plotters. And this
00:33:46.299 --> 00:33:54.080
one is from HP. And you can see that our
hackspace had quite a lot of fun with it
00:33:54.080 --> 00:34:03.629
and tried to get it to work again. And
this model, for example, works in a way
00:34:03.629 --> 00:34:11.679
that the paper is moving forwards and
backwards. And the pen, that's the blue
00:34:11.679 --> 00:34:19.230
thing you can see here. This is... ah,
right. There are two. Like you can store
00:34:19.230 --> 00:34:23.820
one and you can put one pen in this device
and the pen can only, like, move left to
00:34:23.820 --> 00:34:33.200
right. And the paper will be dragged along
with two little wheels, basically, these
00:34:33.200 --> 00:34:39.970
are here and here. And then you can plot.
These are one kind of the devices that you
00:34:39.970 --> 00:34:47.550
can find a lot still on on your local
craigslist. And these are the other ones.
00:34:47.550 --> 00:34:55.440
This one is a Rolan Pen Plotter and it
completely moves along two axes. So the
00:34:55.440 --> 00:35:00.849
paper stays in place. And these Rolan
plotters, they have some really nice
00:35:00.849 --> 00:35:10.410
features. For example, you can see that
the plotter is standing up a bit and the bed
00:35:10.410 --> 00:35:14.730
is an electrostatic bed. So you can put
your paper on, press a button and the
00:35:14.730 --> 00:35:20.740
paper gets sucked to that bed. It is super
fancy and also on the left side here.
00:35:20.740 --> 00:35:28.440
Oops, I lost my screen sharing for a
reason. I still see it. Oh, I'm sorry.
00:35:28.440 --> 00:35:35.020
It's back. Like on the left side here.
These are like basically parking stations
00:35:35.020 --> 00:35:42.320
for pens. So the pen plotter
(incomprehensible) or exchange different
00:35:42.320 --> 00:35:47.280
pens on itself. That is super fancy, and
if you want to get one of these older pen
00:35:47.280 --> 00:35:52.180
plotters, make sure that they are not too
hard to communicate with and make sure
00:35:52.180 --> 00:35:56.920
that they can do the thing that you want
them that they can do. Because, for
00:35:56.920 --> 00:36:02.750
example, this older HP plotter, that was
really hard to talk to, because it did
00:36:02.750 --> 00:36:10.250
only speak very... sort of proprietary
language and only the newer HP plotters
00:36:10.250 --> 00:36:16.740
started to speak HPGL. And the Rolan
plotter also can do this, for example. And
00:36:16.740 --> 00:36:22.680
Rolan also has its own language. So
just make sure you know what the device
00:36:22.680 --> 00:36:30.549
wants to speak to with you, because this
can make your life a lot easier. Yeah, and
00:36:30.549 --> 00:36:34.809
these older plotters, they also often have
a nice function that they have a direct
00:36:34.809 --> 00:36:39.549
text mode. So you can... you need to boot
them in a certain way, like flip some
00:36:39.549 --> 00:36:43.400
switches on the back side and they will
boot into a text mode. So you can just
00:36:43.400 --> 00:36:51.559
send text over serial and it will just
write that down. It has its own matrix of
00:36:51.559 --> 00:36:55.549
letters and its own fonts store net. And
that's super fun and makes a great
00:36:55.549 --> 00:37:04.760
tutorwall plotter, for example.
And then, there are also a lot of, yeah,
00:37:04.760 --> 00:37:09.530
DIY home-brew sort of plotters, and this
one is maybe the one that's the easiest to
00:37:09.530 --> 00:37:16.030
build. You can find them either under the
name Michaelangelo or Polargraph. I think
00:37:16.030 --> 00:37:21.141
these are the two most common names for
these. And they work super differently. So
00:37:21.141 --> 00:37:25.641
on the left and on the right side, on the
top here and over here, you have two
00:37:25.641 --> 00:37:31.650
motors on - also, you need some sort
of control device or a little computer.
00:37:31.650 --> 00:37:42.809
And around these motors, you will find a
string that is attached in the middle to a
00:37:42.809 --> 00:37:49.450
gondola that can hold a pen and that
gondola usually also has a servo motor
00:37:49.450 --> 00:37:55.049
that can push away that gondola from your
drawing area. So you can lift and put down
00:37:55.049 --> 00:38:00.060
your pen. And to make this more stable,
usually you put down some weight on the
00:38:00.060 --> 00:38:09.119
left and right side so that the string has
some force on it and works better. Yeah,
00:38:09.119 --> 00:38:13.579
these are super easy to build and they are
really nice communities around them. And
00:38:13.579 --> 00:38:19.420
the very positive thing about this
construction is that they scale extremely
00:38:19.420 --> 00:38:24.089
well, because like the way the old Rolan
plotters, for example, worked, you have
00:38:24.089 --> 00:38:29.410
these two Axes that can move and you are
very defined on how long these Axes are.
00:38:29.410 --> 00:38:33.440
But with this, you can basically scale it
indefinitely. And I've seen some
00:38:33.440 --> 00:38:38.370
installations where, like, plotted over a
whole five meters wall with this, because
00:38:38.370 --> 00:38:42.619
you just need to have a very long string
and that's basically all. That's super
00:38:42.619 --> 00:38:48.320
fun, so if you want to build one yourself,
this is a very nice way to go. But there
00:38:48.320 --> 00:38:53.180
are also new commercial versions that are
quite fun. This one is called Linus. It's
00:38:53.180 --> 00:38:59.180
super tiny and basically only consists of,
I guess, two servo motors and a little
00:38:59.180 --> 00:39:07.119
Arduino or something. And it can only draw
on a super tiny area. And it's also so
00:39:07.119 --> 00:39:12.170
wiggly, it can't - no matter what - it
can't draw a straight line. But it's super
00:39:12.170 --> 00:39:18.040
cute to watch and super easy to take with
you and has some nice APIs and it's quite
00:39:18.040 --> 00:39:23.030
hackable. So that's also a really neat
device. And well, this is basically, I
00:39:23.030 --> 00:39:26.920
think, the most professional one that you
can buy up to date, which is called
00:39:26.920 --> 00:39:34.600
AxiDraw. But I've also seen some self-
built versions of this. And you also have
00:39:34.600 --> 00:39:41.230
your two axes, there's a little controller
part over here and the funny thing here is
00:39:41.230 --> 00:39:46.510
that you can put in very different types
of pens here. For example, this is a
00:39:46.510 --> 00:39:52.500
fountain pen, but you can basically put
any pen in that you want. That's different
00:39:52.500 --> 00:39:58.720
to the old plotters. They had very
specific, very little, specific plotter-pens
00:39:58.720 --> 00:40:02.230
and they are really expensive now if
you want to buy them and if you actually
00:40:02.230 --> 00:40:07.349
draw, you can basically use whatever you
want. And you can also put your pen in a
00:40:07.349 --> 00:40:12.830
certain angel that's especially nice for
fountain pens or sort of brushes. And I've
00:40:12.830 --> 00:40:19.460
seen a lot of people not only using pens,
but also going to use acrylic paint or
00:40:19.460 --> 00:40:24.880
very different materials or also, this is
one example, where someone just basically
00:40:24.880 --> 00:40:33.549
put in a sort of a toothpick and drew onto
some sort of flat clay and made pattern in that
00:40:33.549 --> 00:40:38.720
and that's super fun. So you're not
limited to going... you're not limited to
00:40:38.720 --> 00:40:43.941
use pens, but yeah, be creative and use
all kinds of stuff. So if you ever come
00:40:43.941 --> 00:40:48.400
around some sort of pen plotter, try it,
it's super fun for a very quick and nice
00:40:48.400 --> 00:40:55.400
creative coding output.
blinry: I really love how plotters combine
00:40:55.400 --> 00:41:01.788
this kind of handmade esthetic, which
impositions and stuff with this digital input.
00:41:01.788 --> 00:41:04.250
bleeptrack: Yeah, totally.
00:41:04.250 --> 00:41:07.510
blinry: And I think people sometimes joke,
that it's easier to get these plotters to
00:41:07.510 --> 00:41:12.990
run and to, like, produce something
compared to actual printing devices we
00:41:12.990 --> 00:41:14.230
would use.
bleeptrack: All right.
00:41:14.230 --> 00:41:18.339
blinry: Apparently like printing out a
piece of paper because of driver issues
00:41:18.339 --> 00:41:24.700
and stuff. And these are very clear
defined things, yes. I wanted to show you
00:41:24.700 --> 00:41:33.490
some RFCs. That abbreviation is short
for "request for comments". And it's
00:41:33.490 --> 00:41:38.900
really... it's a really common way to
define protocols for the Internet of how
00:41:38.900 --> 00:41:45.890
the Internet works. For example, TCP and
IP would be defined in our RFCs and HTTP
00:41:45.890 --> 00:41:54.119
and how Mails work and stuff. And yeah,
there are several thousands of those. And
00:41:54.119 --> 00:42:01.859
sometimes people publish RFCs on April
Fools' Day. And these are sometimes really
00:42:01.859 --> 00:42:09.520
interesting to read. One really well known for
example, is "RFC 1149: IP over Avian
00:42:09.520 --> 00:42:16.530
Carriers", which suggests to use like
carrier pigeons to carry information from
00:42:16.530 --> 00:42:20.839
one place to another. So it specifies that
you would like put your information on a
00:42:20.839 --> 00:42:26.589
piece of paper and roll it around the leg
of a pigeon and then send it off that way.
00:42:26.589 --> 00:42:33.320
And it will fly to the target, maybe. And
then you can retrieve the information
00:42:33.320 --> 00:42:42.319
there. And this RFC states some very good
technical properties, systems like this
00:42:42.319 --> 00:42:46.549
have, for example, that the carriers have
an intrinsic collision avoidance system
00:42:46.549 --> 00:42:53.050
which increases availability. Right. Or
that multiple types of service can be
00:42:53.050 --> 00:42:59.107
provided with a prioritized pecking order.
So this could be used to prioritize
00:42:59.107 --> 00:43:06.660
certain types of information over another.
It says that "with time the carriers are
00:43:06.660 --> 00:43:12.250
self-regenerating", which is a nice
property to have for a network and an
00:43:12.250 --> 00:43:18.710
additional property is "built-in worm
detection and eradication". And some time
00:43:18.710 --> 00:43:24.069
ago, a user group, a Linux user group in
Norway, I think, actually implemented this
00:43:24.069 --> 00:43:32.049
system. And they got the pigeons and they
set up all of the required infrastructure
00:43:32.049 --> 00:43:38.021
and then tried doing a ping command from
one node to the other. And this is the
00:43:38.021 --> 00:43:47.369
result. You will see that they try to send
nine data packets here. And I mean, the
00:43:47.369 --> 00:43:53.010
runtimes of these ping commands are...
it's like most often over an hour or
00:43:53.010 --> 00:44:02.190
something for the pigeon to go to place B
and return. So, yeah. And only four of
00:44:02.190 --> 00:44:07.960
these packets arrived back. So they stated
here that they have 55 percent packet
00:44:07.960 --> 00:44:21.049
loss. But it works. Now. Another RFC is
6592, the "null packet". This specifies
00:44:21.049 --> 00:44:28.549
"null packet", which "are neither sent nor
acknowledged when not received". There is
00:44:28.549 --> 00:44:34.809
like an informal definition where they say
that "The Null Packet is a zero-dimensional packet"
00:44:34.809 --> 00:44:39.480
and that it "exists since it
is non-self-contradictorily definable".
00:44:39.480 --> 00:44:46.590
And then in this specification
follows the formal definition that it's
00:44:46.590 --> 00:44:56.040
intentionally 0 of the reference,
not "NULL", and in the end of
00:44:56.040 --> 00:45:00.369
this document, there is like a list of
references and related work and there is
00:45:00.369 --> 00:45:06.290
like the key "NULL", which points to an
empty string. So this is all you need to
00:45:06.290 --> 00:45:14.890
know about the NULL packet. It goes on and
lists some properties of this packet, for
00:45:14.890 --> 00:45:20.440
example, that it is inherently good: "The
Null Packet cannot have the Evil Bit set,
00:45:20.440 --> 00:45:24.970
by definition. Consequently, it is rather
clear and undeniable that the null packet
00:45:24.970 --> 00:45:32.650
is harmless, having no evil intent." Now,
what is the evil bit? - you might ask.
00:45:32.650 --> 00:45:40.570
RFC 3514, let's look at that one. The
authors of this RFC noticed that the
00:45:40.570 --> 00:45:48.329
definition of an IP fragment - it is about
IPv4 - has a single bit, which is not used
00:45:48.329 --> 00:45:52.119
for anything, it is just undefined. It
doesn't have... it doesn't carry any
00:45:52.119 --> 00:45:59.923
meaning. And the authors thought we should
change that and play some meaning to this bit.
00:45:59.923 --> 00:46:07.210
So here is the layout of this field.
It's the first bit in the sequence and
00:46:07.210 --> 00:46:13.230
they give it like this shorthand E, E for
evil bit. It can have two possible values:
00:46:13.230 --> 00:46:18.660
If it's set to zero, the packet has no
"evil intent, host, network elements
00:46:18.660 --> 00:46:22.530
should assume that the packet is harmless
and should not take any defensive
00:46:22.530 --> 00:46:29.950
measures." And another possible value is
one. "If this bit is set to one, the
00:46:29.950 --> 00:46:35.880
packet has evil intent and secure systems
should try to defend themselves", while
00:46:35.880 --> 00:46:42.770
"insecure systems may choose to crash, to
be penetrated, etc." And then there's our
00:46:42.770 --> 00:46:47.130
seagull's and great detail about how
exactly and in which situations this bit
00:46:47.130 --> 00:46:52.230
should be set. For example, if you are
doing pentesting on a system, trying to
00:46:52.230 --> 00:46:59.549
attack it, you should set this bit so that
the receiving system will recognize that
00:46:59.549 --> 00:47:05.059
this packet has evil intent and can take
defensive measures. And you must do this
00:47:05.059 --> 00:47:14.220
if you are attacking, yes. And here's just
a list of some more fun RFCs. If you're
00:47:14.220 --> 00:47:20.910
interested in the stuff, you should check
them out. Fun is the "Hypertext Coffee Pot
00:47:20.910 --> 00:47:31.349
Control Protocol", HTCPCP, which like
gives some specific HTTP requests, for
00:47:31.349 --> 00:47:37.240
example, to make sure, that a coffeepot
which is connected to the Internet, that
00:47:37.240 --> 00:47:43.299
you can request to know its status,
whether it's empty or full and how full it
00:47:43.299 --> 00:47:50.770
is and stuff. And this is also where the
HTTP Code 418 comes from, which says: I am
00:47:50.770 --> 00:47:54.859
a teapot. Now, if you try to send a packet
like that to a system, which is actually a
00:47:54.859 --> 00:48:02.309
teapot, it can reply with this and this is
an error, sure. There is an RFC for "TCP
00:48:02.309 --> 00:48:10.480
Options to Denote Packet Mood". So this
allows you to set a specific mood in a TCP
00:48:10.480 --> 00:48:15.010
packet if under some circumstances... I
don't know, you're building a software and
00:48:15.010 --> 00:48:20.999
the software notices that there is a lot
of delay in your communication and stuff,
00:48:20.999 --> 00:48:24.850
it could send an annoyed mood in the
packets, that it is sending, to let the
00:48:24.850 --> 00:48:28.829
other system, that it is communicating
with, know. And then the system could
00:48:28.829 --> 00:48:38.109
respond to that accordingly. And there is
an RFC called "Scenic Routing for IPv6",
00:48:38.109 --> 00:48:45.500
which suggests, that traffic should be
sent over specific, very nice pathways,
00:48:45.500 --> 00:48:51.430
along with nice landscape and in a lot of
fresh air. For example, it says to
00:48:51.430 --> 00:48:58.650
prioritize communication channels that are
wireless, for example, to give the data a
00:48:58.650 --> 00:49:06.260
very scenic pathway to its destination.
That's the RFCs I wanted to show you. You
00:49:06.260 --> 00:49:12.109
will find a Wikipedia article with a list
of April Fools' RFCs. If you are
00:49:12.109 --> 00:49:20.999
interested, there are several dozen of
those and take those out. Yeah.
00:49:20.999 --> 00:49:28.019
bleeptrack: I especially love the packet
mood, when you think about upcoming AI.
00:49:28.019 --> 00:49:32.131
That might be interesting. So it can
communicate how it feels. I don't know.
00:49:32.131 --> 00:49:41.930
Maybe that's good. Maybe it's not good,
who knows. All right. To dig a bit into
00:49:41.930 --> 00:49:46.230
game development and indie game
development and while doing some research,
00:49:46.230 --> 00:49:55.450
I stumbled upon some people who called it
their own fancy, I guess, interesting
00:49:55.450 --> 00:50:02.289
applications. And so there are three short
videos I wanted to show you around a bit
00:50:02.289 --> 00:50:09.920
and all three of them... I think they are
very interesting because they try to
00:50:09.920 --> 00:50:17.620
implement game rules that could not exist
in our world and are very different and
00:50:17.620 --> 00:50:22.150
it's quite mind bending if you walk around
there and interact with stuff. So this is
00:50:22.150 --> 00:50:25.630
the first one, as it's called Non-
Euclidian game, which is, I think, is not
00:50:25.630 --> 00:50:31.050
really correct, because, I think, it would
be still Euclidian, just insisting on
00:50:31.050 --> 00:50:35.420
Euclidian room. But as you can see, you
can make photos of the scene and then put
00:50:35.420 --> 00:50:41.010
that photo in the scene and suddenly
everything appears there. And that's...
00:50:41.010 --> 00:50:45.260
like it's super mind bending and super fun
to play around with that. So far, I've
00:50:45.260 --> 00:50:50.660
just found that video and not a really
playable version. But maybe there is one
00:50:50.660 --> 00:50:54.261
now and here also, for example, like
gravity gets applied to stuff that is
00:50:54.261 --> 00:50:58.950
placed in the scene and it's just yeah...
It's just super fun and crazy. Crazy to
00:50:58.950 --> 00:51:08.099
watch. Here it would like... like this
scenario, I think that will be... would be
00:51:08.099 --> 00:51:13.770
a really nice parlor game. All right.
That's the first example. Second one is
00:51:13.770 --> 00:51:24.430
this one. And this is actually really a
Non-Euclidian room, basically. You can
00:51:24.430 --> 00:51:30.682
imagine that it works a bit like, for
example, Herveini's back or the Tardis, if
00:51:30.682 --> 00:51:33.880
something looks small from the outside and
very big from the inside. So you made some
00:51:33.880 --> 00:51:38.560
tunnels that have this effect. So this one
looks super from the outside. But actually
00:51:38.560 --> 00:51:43.750
when you walk through it, it's quite short
of this one. This is the opposite one. It
00:51:43.750 --> 00:51:49.131
looks super, super small from the outside
and extremely large from the inside. And
00:51:49.131 --> 00:51:54.240
here's... I think the YouTube channel is
called Copen, and he has a lot of
00:51:54.240 --> 00:51:58.150
different versions of that. So this is
also... this is also a nice example. So
00:51:58.150 --> 00:52:03.039
you have rooms and you can walk in a
circle and the longer you walk, you start
00:52:03.039 --> 00:52:07.970
to realize it's just three rooms. There's
just a blue one and a red one and a green
00:52:07.970 --> 00:52:15.190
one. But the shape of the, let's say,
house lets you think there should be at
00:52:15.190 --> 00:52:25.330
least four rooms, but it's just three. So
you can do these crazy effects. And yeah.
00:52:25.330 --> 00:52:30.690
I don't... I'm not sure, I don't want to
spoil you too bad - uh uh I made something
00:52:30.690 --> 00:52:38.609
fullscreen that I did not want to have
fullscreen, give me a second. Here we go.
00:52:38.609 --> 00:52:44.770
I just... I think it's codeparade, yes,
sorry. So check out the videos because he
00:52:44.770 --> 00:52:49.579
does a lot of fun examples if you continue
here. He also has a version, where you...
00:52:49.579 --> 00:52:54.160
he still has these tunnels, but some let
shrink everything when you go through it,
00:52:54.160 --> 00:52:57.170
so everything... and you cover up at the
end everything's smaller or everything
00:52:57.170 --> 00:53:02.660
gets bigger. That's also super fun. And I
can see, I can see him making super fancy
00:53:02.660 --> 00:53:08.660
tunnel games with that. We're already at
the last one, which is a world in
00:53:08.660 --> 00:53:16.849
hyperbolic space. And it's also... yes,
it's really fascinating for me to look at,
00:53:16.849 --> 00:53:22.360
because when you walk around here,
everything is bended so weirdly, because
00:53:22.360 --> 00:53:27.080
when you think you could look at the sky,
it's just wraps around you. The world
00:53:27.080 --> 00:53:31.109
wraps around you. So you see, I don't know
the other end of the world on top of you.
00:53:31.109 --> 00:53:36.590
And this is just.. it's just so crazy to
walk around there. They always have a bit
00:53:36.590 --> 00:53:41.140
of problems with motion sickness. And I
think this would not make it better for
00:53:41.140 --> 00:53:47.650
me. But it's so fun. And also, I think in
a few seconds, he will also check out the
00:53:47.650 --> 00:53:54.450
house more to walk into or to in front of
that house. It's just, it's just crazy.
00:53:54.450 --> 00:53:58.950
And it's hard to imagine why it should
look like... now he's moving backwards and
00:53:58.950 --> 00:54:02.701
then he reaches a point where he's
basically from the world side on the
00:54:02.701 --> 00:54:09.410
opposite side of the house. So the house
starts walking around him. That's super
00:54:09.410 --> 00:54:15.660
funky, and I think game engines and games
are perfect, are a perfect medium to
00:54:15.660 --> 00:54:23.539
experience such mathematically fun ideas
that you can have and I think some
00:54:23.539 --> 00:54:28.150
Operation Mindfuck talks back, blinry also
explained a 4D puzzle game.
00:54:28.150 --> 00:54:32.099
blinry: In the very first one, yeah.
bleeptrack: Yeah, exactly. And I think that goes
00:54:32.099 --> 00:54:41.650
like in the same direction as these games
and these test engines. All right.
00:54:41.650 --> 00:54:44.940
blinry: I heard that it takes a long time to
build these types of games because there
00:54:44.940 --> 00:54:49.520
are basically no pre-made tools for you
and you have to do everything yourself.
00:54:49.520 --> 00:54:53.430
bleeptrack: Yes, right.
blinry: Model a four dimensional object or
00:54:53.430 --> 00:54:57.419
hyperbolic one... you have to code
your tools for that, basically. Yeah.
00:54:57.419 --> 00:55:01.880
bleeptrack: Yeah, yeah.
blinry: It's really fun to look at. I also have
00:55:01.880 --> 00:55:08.950
some geometric things I wanted to show
you, related to topology. That's a field
00:55:08.950 --> 00:55:14.530
of mathematics where you are looking like
more at the geometric structure of the
00:55:14.530 --> 00:55:21.430
object, not its concrete, precise...
dimensions, for example. There is this
00:55:21.430 --> 00:55:26.020
joke, that for a topologist there's
basically no difference between a coffee
00:55:26.020 --> 00:55:33.430
pot and a donut. Because, if you... like
all substance, which you can squeeze and
00:55:33.430 --> 00:55:39.400
pull, you can kind of transform the cup
into a donut without making any cuts or
00:55:39.400 --> 00:55:44.780
without doing anything together. Now,
that's often the rules in topological
00:55:44.780 --> 00:55:50.529
transformations, that you cannot create
additional holes. And because this shape
00:55:50.529 --> 00:55:54.931
only has a single hole going through it in
the middle of the donut or in the handle
00:55:54.931 --> 00:56:02.450
of the cup, these are basically the same
object, topologically speaking. Right. And
00:56:02.450 --> 00:56:07.819
yeah, then you can do interesting
observations with this. A really well
00:56:07.819 --> 00:56:13.269
known example is the Mobius strip, where
you take a long piece of paper and you
00:56:13.269 --> 00:56:18.240
glue the ends together. But before you do
that, you rotate the strip like one end of
00:56:18.240 --> 00:56:25.109
the strip once and then you paste it
together. And then this is an object that
00:56:25.109 --> 00:56:31.359
has an interesting property. It only has
one side. Now, if you were to take a pen
00:56:31.359 --> 00:56:35.390
and start drawing on the top of the
surface here and follow it along the
00:56:35.390 --> 00:56:41.090
strip, you would get behind the ring here
and draw and then get on front here again.
00:56:41.090 --> 00:56:46.660
And then as you wrap around, you are now
at the back side of the strip and you like
00:56:46.660 --> 00:56:51.349
kind of opposite to where you started, but
you're still not done. Now you're still
00:56:51.349 --> 00:56:57.740
drawing. You can go behind here and there
and under this and on the top side, on the
00:56:57.740 --> 00:57:03.440
backside of this. And then you are going
to where you started, you made a long line
00:57:03.440 --> 00:57:07.760
and you would do the... all of the surface
in one stroke, basically, because there
00:57:07.760 --> 00:57:15.320
was only one of them. There is really fun
stuff that happens if you try to cut into
00:57:15.320 --> 00:57:20.940
this strip. I have a video and can try to
find a good point where you can see it. So
00:57:20.940 --> 00:57:28.200
this person is taking a Mobius strip and
is then using scissors to cut along the
00:57:28.200 --> 00:57:34.420
middle line of the strip. Something to
cut. And after cutting around the strip
00:57:34.420 --> 00:57:39.340
once, it doesn't fall apart into two
pieces, it's just still a single strip.
00:57:39.340 --> 00:57:46.060
Yeah, "single strip", wow, surprise!
Right. And yeah, the same thing could be
00:57:46.060 --> 00:57:51.650
done if you took a strip of paper and
twisted it twice before doing it together
00:57:51.650 --> 00:57:58.390
and then you start cutting in the middle.
I (incomprehensible) for yourself, if you are
00:57:58.390 --> 00:58:06.299
intersted, it's another really surprising
thing that happens if you do that. But the
00:58:06.299 --> 00:58:11.630
thing I really wanted to show you is this
one. This was in a tweet I found the other
00:58:11.630 --> 00:58:16.730
day and I thought: I have to note this
down into the list of ideas for Operation
00:58:16.730 --> 00:58:24.569
Mindfuck, because it's so surprising.This
tweet stated that if you have this, like,
00:58:24.569 --> 00:58:30.349
double donut shape and there is a long rod
going through one of the holes like this
00:58:30.349 --> 00:58:35.900
is an infinitely long rod where you can't
go over the edges of it. Then this tweet
00:58:35.900 --> 00:58:41.069
said, that it's possible to transform this
shape so that the rod goes through both
00:58:41.069 --> 00:58:47.400
holes. And I said, what? There's no way
this is possible. And then I clicked on
00:58:47.400 --> 00:58:50.460
this tweet and looked at the video. Let's
do that.
00:58:50.460 --> 00:58:58.311
[video runs]
00:58:58.311 --> 00:59:00.790
Let's look at it again, it's seven seconds.
00:59:00.790 --> 00:59:06.779
[video runs]
00:59:06.779 --> 00:59:09.720
Right. So by pushing and
squeezing in the right way, you can
00:59:09.720 --> 00:59:15.599
actually get to a stage where this rod
goes kind of through both of these holes
00:59:15.599 --> 00:59:19.520
and this is not a trick. And this is
really like a property of this shape, that
00:59:19.520 --> 00:59:25.510
you can transform it in this way. This is
kind of, like proof by example, which
00:59:25.510 --> 00:59:30.829
feels a bit unsatisfying to me. And that
really makes me want to learn more about
00:59:30.829 --> 00:59:36.029
topology to, kind of, in a formal way,
state what's going on there. But I guess
00:59:36.029 --> 00:59:41.950
the trick to, kind of, understand why this
works, is that somewhere in the in the
00:59:41.950 --> 00:59:47.460
middle of this transformation, you get to
the stage where you have this shape,
00:59:47.460 --> 00:59:53.289
that's basically like a symmetric... it's
rotational symmetrical. If you hold the
00:59:53.289 --> 00:59:59.940
bottom and the top part with your fingers,
then you can imagine that like the middle
00:59:59.940 --> 01:00:05.500
of this object is hollow. And there are
three holes going in from the side, one
01:00:05.500 --> 01:00:10.519
from the front, one is from the back left
and one is from the back right. And all of
01:00:10.519 --> 01:00:16.539
these holes connect to the interior of
this hollowed out shape now. And this rod
01:00:16.539 --> 01:00:25.140
is now going through two of those to the back.
The two binded. if you are at this stage, it's up to
01:00:25.140 --> 01:00:29.539
you to choose in which direction you want
to go. You can either, like, take the
01:00:29.539 --> 01:00:33.740
front hole and, like, pull it out and
stretch it to make it really large and
01:00:33.740 --> 01:00:40.869
kind of disappear into the edge of the
shape. And then you get in this situation
01:00:40.869 --> 01:00:46.269
where you have this rod picking through
both holes at the back and the front one,
01:00:46.269 --> 01:00:53.490
you can't really see it anymore. But you
can also, if you were at this position,
01:00:53.490 --> 01:01:01.570
you can choose to take the right
handle of the shape and push it inwards to
01:01:01.570 --> 01:01:06.450
go between the other two handles. And then
it's a situation where you arrive,
01:01:06.450 --> 01:01:13.740
finally, at the shape like this one, where
it appears to go through only one hole,
01:01:13.740 --> 01:01:19.041
but this is just this weird property of
this object that you can do topologic
01:01:19.041 --> 01:01:23.730
transformations to go in both directions.
And I think that's really fascinating and
01:01:23.730 --> 01:01:30.160
not very intuitive. And there is a second
thing like that, where you start with this
01:01:30.160 --> 01:01:36.529
kind of Bretzel-like shape, which is,
like, interlinked into itself. And then
01:01:36.529 --> 01:01:41.390
the question is, can you transform this in
a state where the handels are free? And it
01:01:41.390 --> 01:01:45.500
turns out of that you can, which is also,
again, really surprising. And this is...
01:01:45.500 --> 01:01:51.059
like this diagram shows how to do it. You
would start taking these two holes which
01:01:51.059 --> 01:01:57.760
interlink and stretch them out and stretch
them down, make them larger until they
01:01:57.760 --> 01:02:04.440
almost touch the bottom here. And then you
have this string of material, which you
01:02:04.440 --> 01:02:08.670
can still remain between these two holes.
And then you're at a state where you have
01:02:08.670 --> 01:02:15.380
this little twists in the material. Then
you can just start and twist this, twist
01:02:15.380 --> 01:02:21.440
once again. It was twice and then it's
free and then you can make the hole
01:02:21.440 --> 01:02:32.630
smaller again until you are at this stage.
And I think that's pretty cool, and that's
01:02:32.630 --> 01:02:42.030
the topological things I wanted to show.
bleeptrack: That's so cool, o man. I could
01:02:42.030 --> 01:02:49.529
look at these forever. Also, that clay
animation of the rod... it's nice to have
01:02:49.529 --> 01:02:52.749
really an animation that's a bit easier
to get this...
01:02:52.749 --> 01:02:57.890
blinry: still after looking at it for ten times,
it is so (incomprehensible)
01:02:57.890 --> 01:03:04.869
bleeptrack: Yeah. Like you can... yeah, completely.
All right. We already reached our last
01:03:04.869 --> 01:03:12.380
section, which is about PCB art. So this
year, I tried to learn more about PCB
01:03:12.380 --> 01:03:17.420
design and electronics and I found that
nice little community about people who
01:03:17.420 --> 01:03:22.660
like to make very artsy PCBs. For example,
here is a person who made a very nice
01:03:22.660 --> 01:03:31.820
schematic, an image, what possibilities
you have with PCBs or if you... I'm not sure,
01:03:31.820 --> 01:03:39.269
maybe you have had one in hand, a PCB
usually has like a base plate, which has a
01:03:39.269 --> 01:03:43.980
yellowish color. And on top and on the
bottom of this plate, you have a copper
01:03:43.980 --> 01:03:48.529
layer. And on top of these you can have a
solder mask, which is some sort of plastic
01:03:48.529 --> 01:03:55.180
coating that... you can cover contacts
that you ... because we don't want to have
01:03:55.180 --> 01:04:02.130
every part of copper traces be open to the
air, open to touch. So you might want to
01:04:02.130 --> 01:04:06.339
cover that. So this is the solder mask in
this example. This would be the purple
01:04:06.339 --> 01:04:13.170
color. And also, maybe you can have some
screen printing on top. This is usually in
01:04:13.170 --> 01:04:17.460
a white or in a black color, in this
example as white. So you can have a lot of
01:04:17.460 --> 01:04:22.119
different combinations of these materials,
like you could have the copper and then
01:04:22.119 --> 01:04:27.309
put on solder mask, for example, and you
will get a lighter color. This is the
01:04:27.309 --> 01:04:32.289
number four in this case. And if you just,
if you mill away the copper and just put
01:04:32.289 --> 01:04:40.710
the solder mask onto your base plate, you
will get usually the darker color. Now,
01:04:40.710 --> 01:04:45.519
this would be the number five. And then
also you can have either just the base
01:04:45.519 --> 01:04:51.780
plate. I think in this example it's number
three and you can also... the copper that
01:04:51.780 --> 01:04:56.930
is open to the air or to touch, usually
gets a coating and often this is silver,
01:04:56.930 --> 01:05:04.700
gold or some... what's it called in
English - and solder... solder.... Yeah.
01:05:04.700 --> 01:05:09.640
Which is also like a silverish color and,
yeah. And the screen printing which is
01:05:09.640 --> 01:05:16.759
some white or black. So these five sorts
of colors are your color palette that you
01:05:16.759 --> 01:05:21.190
can play with. And when you go to
different manufacturers, you can also get
01:05:21.190 --> 01:05:26.421
different solder mask colors. I think that
very typical one would be green. In this
01:05:26.421 --> 01:05:33.440
example, it's purple. You can also get
blue or black or white, whatever you want.
01:05:33.440 --> 01:05:37.671
And yeah, get your stuff manufactured.
That's super easy. And there's also some
01:05:37.671 --> 01:05:41.869
nice examples what else you can do,
because you have these two-layered PCBs
01:05:41.869 --> 01:05:48.849
with copper on both sides. You can leave
copper out on one side, only on certain
01:05:48.849 --> 01:05:53.809
places and leave it out on the other side
completely so you can get a very fancy
01:05:53.809 --> 01:06:00.070
shine through optic. Also, of course, when
you work with electronics, you can very
01:06:00.070 --> 01:06:05.010
distinctively place some light sources on
your board, if you want to, if you want to
01:06:05.010 --> 01:06:09.380
play with certain ways of lighting. So
that's fun. And also, as you can see on
01:06:09.380 --> 01:06:14.740
the right image, you can choose your cut-
out shape anywhere you want, the
01:06:14.740 --> 01:06:21.030
manufacturers are usually quite open and
can do, I guess, most of the shapes. And
01:06:21.030 --> 01:06:26.640
they can mill in extremely fine details,
especially if they want to mill the copper
01:06:26.640 --> 01:06:33.069
on the copper layer. And that's super
interesting because, when you design PCBs,
01:06:33.069 --> 01:06:38.610
you often want to have very extremely fine
traces. And this is interesting for art,
01:06:38.610 --> 01:06:43.579
of course, because you can engrain
extremely fine details like this very nice
01:06:43.579 --> 01:06:49.039
example of a broken, half broken-down
leaf, where the copper layer is used to
01:06:49.039 --> 01:06:57.440
have the fine vaines that are still intact
and a solder mask is used to have a bit of
01:06:57.440 --> 01:07:02.680
hole leaf cells that are starting to break
down. And the yellowish color that you can
01:07:02.680 --> 01:07:07.200
see, that's the color of the base plate.
So you can create extremely fine
01:07:07.200 --> 01:07:12.940
details. That's super fun. And then,
there's, for example, boldport. I can
01:07:12.940 --> 01:07:18.539
highly recommend boldport. He does a lot
of extremely crazy PCB art. And this one,
01:07:18.539 --> 01:07:24.559
I think, is also very nice. It's a
chameleon. And he uses the PCB not only as
01:07:24.559 --> 01:07:30.680
the base material, but also he uses it in
a very innovative way, I'd say, because he
01:07:30.680 --> 01:07:36.650
uses it, yeah, upright. This is quite
unusual. And you can see that he soldered
01:07:36.650 --> 01:07:43.690
the LEDs on the edge of the PCB to give
that chameleon a nice LED back row of
01:07:43.690 --> 01:07:50.910
lights, that is super fun. And he also
somehow got two solder mask colors on one
01:07:50.910 --> 01:07:56.359
PCB, I'm not sure who he contacted to get
that. That's rather unusual, but it seems
01:07:56.359 --> 01:08:01.610
that it can be done. And he also used
resistors for little feet. That's also
01:08:01.610 --> 01:08:09.349
really nice. So he thought about
integrating parts into the shape of the
01:08:09.349 --> 01:08:14.089
end-design that are usually more
functional and not used esthetically. And
01:08:14.089 --> 01:08:17.260
that's what's really interesting and
really nice. And he has a lot of these
01:08:17.260 --> 01:08:23.390
projects, and I think you can also buy
them as DIY kits. And that's really nice.
01:08:23.390 --> 01:08:28.880
And if you, yeah, if you can combine all
these layers - this is a project that I
01:08:28.880 --> 01:08:34.850
came up with, because, as I said, I really
like to do generative art. And of course,
01:08:34.850 --> 01:08:40.140
you can then start to write code that
generates shapes and patterns that you can
01:08:40.140 --> 01:08:49.020
put on your PCB for esthetic reasons and
these boards that you can see here, they
01:08:49.020 --> 01:08:54.771
were produced or created generatically or
procedurally, you would maybe say. And
01:08:54.771 --> 01:09:00.290
these three planets, they act as
capacitive touch buttons, so you can touch
01:09:00.290 --> 01:09:07.060
on them and it gets recognized by the MCU
on the board. And yeah, it was, it's
01:09:07.060 --> 01:09:12.440
really fun to... for me, when I work with
generative art to find a new material, but
01:09:12.440 --> 01:09:19.350
you need to figure out how to use it. And
PCBs are just, for me, a super different
01:09:19.350 --> 01:09:22.660
material than paper or other stuff. And
it's also really nice that you get these
01:09:22.660 --> 01:09:28.060
high quality coatings like gold or silver
that make stuff a lot more valuable and
01:09:28.060 --> 01:09:34.130
really nice to look at. So I can highly
recommend the hashtag #pcbart on Twitter
01:09:34.130 --> 01:09:38.960
and Instagram. There are a lot of people
posting really, really nice stuff. All
01:09:38.960 --> 01:09:42.130
right. And I think it's time for us to
wrap up.
01:09:42.130 --> 01:09:47.770
blinry: Yeah. Our last slide, we thought,
because we are sending you into all kinds
01:09:47.770 --> 01:09:51.351
of rabbit holes anyway. That's what we're
trying to do. We might, as well, list some
01:09:51.351 --> 01:09:56.890
of them very quickly. Mention them, just
maybe see what sticks in your heads. This
01:09:56.890 --> 01:10:04.200
is very mean. So, mechanical keyboards:
There are huge communities around building
01:10:04.200 --> 01:10:10.020
your own keyboards, like picking different
key-caps, different switches, different
01:10:10.020 --> 01:10:17.390
layout. Look into that. Some people are
really interested in skin care and look
01:10:17.390 --> 01:10:25.180
into what different products do and their
ingredients, communities are on this.
01:10:25.180 --> 01:10:31.220
Amateur astronomy. You can... if you know
where to look, you can find some really
01:10:31.220 --> 01:10:37.700
cool things in the galaxy that we can see
without any instruments - if you're in a
01:10:37.700 --> 01:10:46.660
good environment. You can try baking your
own bread, make your own sourdough with
01:10:46.660 --> 01:10:54.330
bacteria just from the air and use it to
bake your bread. Some people are into
01:10:54.330 --> 01:11:01.980
backpacking and optimize for weight, so
they try to have equipment that weighs as
01:11:01.980 --> 01:11:06.180
little as possible, so that they don't
have to carry as much and then come up
01:11:06.180 --> 01:11:10.980
with really interesting shapes for their
tents, where they spend these thin tarps
01:11:10.980 --> 01:11:18.330
basically between trees, for example, with
ropes to sleep under that.Oh yeah. And if
01:11:18.330 --> 01:11:22.060
you have... if you're into cooking and you
have these dull knives, which I am always
01:11:22.060 --> 01:11:28.330
annoyed about, you can get wet stones,
which is this abrasive material, and you
01:11:28.330 --> 01:11:33.500
put water on it and then you can remove
material from your knives to make chop.
01:11:33.500 --> 01:11:44.510
There are really good YouTube videos about
that. Yeah. And with that, we say thank
01:11:44.510 --> 01:11:51.220
you for listening to this. Greetings to
the future, I guess. I hope you are having
01:11:51.220 --> 01:11:59.140
a good Remote Chaos Experience right now.
And yeah, you have a link to the slides
01:11:59.140 --> 01:12:06.110
here if you are interested in any of
those. And I guess, yeah, thanks for being
01:12:06.110 --> 01:12:14.020
here, and see you soon.
bleeptrack: All right.
01:12:14.020 --> 01:12:19.200
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01:12:19.200 --> 01:12:24.000
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