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QUARTZ COMPOSERin the art and motion design of futurismo zugakousaku
ian grant
november 2005
e l l i n g t o n . t v u . a c . u k / m a /
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TABLE OF CONTENTS
INTRODUCTION 4
Quartz Composer 4
PixelShox: Brief History of Quartz Composer 6
Comparison with MaxMSP and Jitter 7
Comparison with Director / Shockwave 3D? 8
THE POETICS OF QUARTZ COMPOSER 10
Time-Based Imaging 11
The Quartz Composer Audience 13
Futurismo Zugakousaku’s “Who Are You?” 16
(a) Description 16
(b) Hybridity 17
(c) Dynamics 17
(d) Process 18
Su mmary 26
BIBLIOGRAPHY 28
Texts 28
Web 28
Images and Sources 28
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QUARTZ COMP OSERin the art and design of futurismo zugakousaku
Ian GrantNovember 2005
INTRODUCTION
Screen-shots fro m “Hotel Margate” by fut urismo zugakousaku 1
This essay will examine the role that an emerging technology, Apple ’ s Quartz
Composer 2 , is playing in the development of interactive computer arts. I will offer
interpretations of select examples of work by Japanese web motion/graphics art-
ist Zugakousaku (found at www.zugakousaku.com ).
Q U A R T Z C O M P O S E R
Quartz Composer (Quartz Composer) is a technology that exploits the graphics
processing unit (GPU) of the host Apple Mac and integrates:
★ graphic standards as dened by Open-GL and Open-GL Shader Language, ena-
bling real-time video, 3D and image processing,
★ with Apple ’ s Quicktime technology for image handling and dissemination
quartz composer in the art and motion design of futurismo zugakousaku 4
1 www.zugakousaku.com/index.cgi?hotel&&en
2 http://developer.apple.com/graphicsimaging/quartz/quartzcomposer.html
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★ data aggregation standards dened by RSS and a logic / control language de-
ned by javascript,
★
midi and audio input processing allowing sophisticated image and compositioncontrol by external sources and sensors,
★ with xCode, Apples Integrated Developing Environment (IDE) - allowing Quartz
Composer compositions to be embedded in a wider coding environment for more
complex control and interoperability.
Quartz Composer is an opportunity for interactive motion graphics artists to ex-
plore an interesting early foray int o ‘ resolution independent ’ imaging.
‘ Quartz ’ is Apple ’ s brand name for a suite of technologies internally known as
‘ core graphics ’ . It is based on a PDF graphics/imaging model and extends from
still image and text into 3D graphics with Open-GL and real-time video processing
with a collection of techniques and APIs called ‘ core video ’ .
In addition to real-time interactions and integration with the image processing li-
braries Apple calls ‘ core image ’ 3 , Quartz Composer, according to Apple, can
“make data-driven visual e f ects, and even perform live performance anima-
tions.” (Apple Developer Connection, 2006).
In an earlier iteration, Quartz Composer, as PixelShox had a vibrant life fa-
voured by V-Jays and live-motion graphics artists.
5 quartz composer in the art and motion design of futurismo zugakousaku
3 resolution-independent 2d graphics based on PDF technologies and 3D graphics based on hardware acceleratedopen-GL
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P I X E L S H O X : B R I E F H I S T O R Y O F Q U A R T Z C O M P O S E R
Quartz Composer is a software that elegantly combines many core apple tech-
nologies and is based on “PixelShox Studio” written by Pierre-Olivier Latour, circa2003. Pierre-Olivier Latour now works for Apple and Quartz Composer is a small,
but significant, part of a wider coding architecture 4 .
An early vision for PixelShox was for artistic use “professionally in any project
where interactive visuals are required: V-Jaying, multimedia installations, presen-
tations, [or] concerts.” (Latour, 2003). Quartz Composer is significantly pruned of
functionality when compared with PixelShox. Although it was never completed, it
is likely that the past functionality of PixelShox may be a rough roadmap of where
Quartz Composer could head. One repeated feature request is support for arbi-
trary 3D objects.
6 quartz composer in the art and motion design of futurismo zugakousaku
4 Quartz Composer compositions integrate nicely into the Cocoa programming environment, utilising ‘bindings’ to
make it easy to write applications that connect GUIs to visual compositions. Also Quartz Composer compositionscan be turned into “Image Units’ and made available as video processing plug-ins for compatible applications, like
Avid’s Soft-image, Apple’s Final Cut Pro and Motion.
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C O M P A R I S O N W I T H M A X M S P A N D J I T T E R
Quartz Composer benefits from an interface and approach that is more contem-
porary and has significant ease of use compared with the closest comparablesoftware. Playing with real-time open-GL space is elusive for artists as the pro-
gramming expertise necessary is relatively advanced. Although Quartz Composer
and MaxMSP/Jitter share a visual programming environment, MaxMSP/Jitter is
more complex and has rich feature laden environment. Midi and audio synthesis
and output and not possible in Quartz Composer. The following chart outlines
simple comparisons between the packages 5.
Q U A R T Z C O M P O S E R M A X / M S P J I T T E R
environment visual programming inter-face - patch based pro-gramming
same
output native quicktime mov
qtz - plays in quicktime oras native mac screen-saver
plays full screen inauthoring environment
can be used and linked toa GUI in Apples IDE
no audio out
significant midi and audiosynthesis
GUI building integratedinto package.
input quicktime native imagevideo,
audio,
midi
file-system
internet
rss
imagesvideo,
midi,
audio,
serial data,
3D files etc.
7 quartz composer in the art and motion design of futurismo zugakousaku
5 Source of speed / performance info: http://eskatonia.net/qcblog/quartz-composer-for-vjs/
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Q U A R T Z C O M P O S E R M A X / M S P J I T T E R
video processing speed faster (direct to GPU) slower (CPU)
coding javascript (subset)
Open-GL Shader Lan-guage (subset) - allowskernel programming
modular logic patches
javascript (subset)
modular logic patchesGUI logic patches
cost free with Mac OS 10.4 $850.00 funct ional i tyneeds to be added with
3rd party add-ons.platform platform specific (Mac OS
10.4)cross platform
authoring total open authoring -share solutions
closed authoring - com-piled stand-alone
strengths cost, ease of use
speed / performance
emerging online commu-
nity
audio / midi processing
synthesis
mature online community
weaknesses single platform,
limited 3d model support(possible with 3rd partyhack)
no audio out
cost, complexity
speed / performance
C O M P A R I S O N W I T H D I R E C T O R / S H O C K W A V E 3 D
As an example to indicate the revolutionary shift between generations of soft-
ware, try creating an open-GL space with a video textured quad, spinning and re-
sizing in response to the amplitude of an incoming audio signal in Director MX
2004. Two extras later (with a possible expense) and two or so pages of 3D lingo
you may have a result that is running after compilation and possibly without
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hardware acceleration. Quartz Composer could do the pre ceding task with built in
functionality by dragging four patches into the editor space, zero code and take
approximately 30 seconds to author.
Director and Shockwave 3D has more sophisticated 3D model import capabilities.
You can only import 3DS (3D Studio Max) models into Quartz Composer with a
third party hack 6.
9 quartz composer in the art and motion design of futurismo zugakousaku
6 Reverse engineering Quartz Composer - see http://www.clockskew.com/blog/ Import 3DS les and textures into QC - see http://blog.livedoor.jp/quartzcomposer/
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THE POETICS OF QUARTZ COMPOSER
This essay will now focus on an aesthetic and technical dissection of Quartz
Composer as used by Futurismo Zugakousaku. The work could be categorised as
‘ sketches ’ in motion graphics, time-based explorations inspired by a strong illus-
tration led graphic art, sometimes in the form of screen-savers or in the form
short cyclical, repeating vignettes.
“Approach to motion graphics of automatism.
I made all these samples at the time for less than one hour.
Quartz Composer can make a impromptu. An image is lightly
created such as poetry and music. Designer can make a mo-
tion graphics by this tool in real time.
I want to make a work like a new surrealist of the new genera-
tion.”
(Zugakousaku, 2005; translated by google)
It is worthwhile to look at the aesthetic nature of the Quartz Composer technology
and investigate in what ways the logical structure inherent in the software may
effect the final resonance of art work made with it. First, a quick discussion of
Time in Quartz Composer, then a consideration of the context of reception - the
Audience and User base for artefacts made with Quartz Composer.
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T I M E - B A S E D I M A G I N G
Quartz Composer stands in an interesting, complex relation to Time. The anima-
tion only appears to loop be-cause the X position is trans-
lated but ends in a position that
overlaps exactly with the start
position. The X position value
then loops back to it ’ s original
value not the time of the com-
position. Composition time is
linear and infinite - starting from
0 to infinity. “Local” or “Patch
Time” similarly starts when the
patch is activated and contin-
ues, but it can be controlled:
started, stopped and reset.
Some patches have an option
to change their timebase:
Illustrated here are the “3D Transformation” and “Image With Movie” patches
An External timebase also exists. This can synchronise patch playback to, for ex-
ample, the “Interpolation” patch, counts and the Midi Clock patch. According to
Apple ’ s documentation Quartz Composer compositions “don't have defined dura-
tion or frame rates” (Apple Computers, 2005): logical for a media that is designed
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to operate in real time and perform to the best capabilities of the video hardware
in the host machine.
12 quartz composer in the art and motion design of futurismo zugakousaku
"Parent " (default): the time is simply the same as the one passed to the par-
ent macro patch - if all its parent patches have this setting, then the time will
be the same as the global composition rendering time,
"Local ": the time passes at the same speed as the parent macro patch
time, but is reset to 0 whenever the patch starts being used by the renderer
patches it is connected to (i.e. when the renderer patches Enable inputs go
from False to True),
"External ": this adds a new "Patch Time" input to the patch through which
the time can be manually specied.
Timebase Controls in Quartz Composer (Apple Computers 2005b)
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T H E Q U A R T Z C O M P O S E R A U D I E N C E
Futurismo Zugakousaku is primarily known through a web presence. There fol-
lows a brief outline of the current audience / user base for Quartz Composer in-
spired work.
★ Currently, the primary audience is developers interested in real-time performance
and the real-time processing of computer graphics.
★ A ‘ popular ’ context is emerging in the form of screen-savers and dissemination of
compositions / movies through art and design web sites. The screen saver as po-
tential art space has been explored before and will not be discussed in the pre-
sent essay.
★
Site specic - an emerging prominent use of Quartz Composer in the V-Jayingand clubbing communities. Quartz Composer plays a role in the real-time visuali-
sation and performance systems. The full screen context of Quartz Composer -
playing within the authoring context provides an ideal source for projected images
and motion graphics.
★
Software - Quartz Composer compositions are mediated by other software.Quartz Composer plays a role in the development of ‘ image units ’ (image and
video processing plug-ins). Users/audience witness the image / video processing
executed by Quartz Composer vicariously through ‘ host applications ’ like Avid ’ s
suite, Apple ’ s Motion or Final Cut Pro. Here the composition or image processing
is dominated by an external creative workow. In one sense, the work of Futur-
ismo Zugakousaku is evidence of an exploratory practice that emerges during the
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development o f commercial video processing plug-ins f or the Avid suite of video
editing applications 7.
14 quartz composer in the art and motion design of futurismo zugakousaku
7 See the Avid section of http://www.zugakousaku.com/index.cgi?quartz&avid&en
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In analysing examples of work disseminated by Futurismo Zugakousaku, I want
to evaluate how Quartz and Quartz Composer technology has facilitated the crea-tion of work which would probably not be possible in other media. I will use the
following broad headings to guide a visual and technical critique:
★ Description of the Motion / Visual Design: Communication of Concept and Con-
text
★ Hybridity: How has the possibility of combining different media created new kinds
of art?
★ Dynamics: Time and event management in digital artworks - the model of time in
Quartz Composer is interesting and complex.
★ Process: How are the effects achieved?
In the analysis below of “Who Are You?” I will go into a little more detail about the
general architecture of a Quartz Composer composition. In future examples, I will
focus on notable and remarkable elements.
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F U T U R I S M O Z U G A K O U S A K U’
S “ W H O A R E Y O U ? ” 8
( A ) D E S C R I P T I O N
A simple animation parades a
cloned figure from left to right in an
never-ending loop. The figure, re-
sembling an Edwardian swimmer,
recedes row upon row to a blur in
the distance. On every passing
loop, the movement smoothly stops
and a slogan appears in English and Japanese. Each slogan describes a role or
occupation that is selected at random from a large array - it tends not to repeat.
quartz composer in the art and motion design of futurismo zugakousaku 16
8 Direct Link to Online Demo Movie: http://www.zugakousaku.com/quicktime.cgi?web_data/quartz/sample s/
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( B ) H Y B R I D I T Y
The juxtaposition of random text and image is a technique Zugakousaku uses
frequently - and harkens to the Surrealist love of random collisions of words cre-ating new and surprising associations and meaning. The image doesn ’ t change
so the implication is that the language of role masks homogeneity - that below the
surface of language we are all the same With just the use of a single image, rep-
licated and scaled into the distance, Zugakousaku achieves a minimalism and
clarity of design that I find engaging. Other work, e.g. “The 20th Century Voyage”
uses RSS 9 and blends together motion, data, text and image in real time - such
hybridity is characteristic of work made with Quartz Composer.
( C ) D Y N A M I C S
The quality of movement, impossible to capture with a sequence of still images, is
hypnotic: smooth, rhythmic, organic.
Screen-shots from “Who Am I?” by futurismo zugakousaku
Each row of men moves at a slightly different pace, achieve a ‘ parallax effect ’ that
gives an excellent illusion of depth and receding distance. In this example the vir-
tual 3D space of Open-GL is not used, rather an illusion of depth in 2D - some-
times know as two-and-a-half D. The depth of field blur adds to the illusion of
depth.
17 quartz composer in the art and motion design of futurismo zugakousaku
9 RSS - Really Simple Syndication or Rich Site Summary: An XML le contain basic data about stories on web-sites
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( D ) P R O C E S S
Quartz Compo s er has a single
frame editing window. Patches arecolour coded (pink means content
will be rendered ) and if they have
square corners they are hierarchi-
cal. If you double click on this
patch, you can edit any sub-
patches ‘ inside ’ it. For more information on basic editing in Quartz Composer
please see the documentation at Apple ’ s developers web site 10 .
quartz composer in the art and motion design of futurismo zugakousaku 18
10 Working with Quartz Composer http://developer.apple.com/graphicsimaging/quartz/quartzcomposer.html QC Programming Guide http://developer.apple.com/documentation/GraphicsImaging/Conceptual/QuartzComposer/
A M A C R O P A T C H
this is text in the box
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Each patch in Quartz Composer
has an information panel providing
contextual help and areas to set
input values. Here the 3D Trans-
form patch simply translates
(moves) its whole rendered con-
tents down a bit. (-0.45 on the Y
axis)
Double clicking the 3D Transforma-
tion patch (more accurately it is
called an environment) reveals the
following sub-patches:
In a sense the 3D Transformation environment ‘ renders ’ or displays the results of
it’ s sub-patches. In this case: the green patches are ‘ controllers ’ . The interpola-
tion and the range patch combine to create a set of values that animate the -X
shift. In the inspector of the interpolation patch is the key to how the animation
appears so ‘ organic ’ .
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The interpolation patch uses a
custom curve to control the out-put of a range of values - in this
case set to change between -3
and -3.5 over the duration of 5
seconds.
The range patch output is plugged into the input “Translation X” with a yellow pipe
or “noodle”. These values move the image in the -X direction (from right to left)
over a duration of 5 seconds The values do not simply increase in a linear way
over time but according to the weightings visualised in the customised curve.
Creating a smooth, flowing movement.
The parent “3D Transformation” patch contains yet another “3D Transformation” -
a child or sub-patch.
So: a Quartz Composer composition can be a set of nested patches and sub-
patches. Zugakousaku ’ s “Who Am I?” contains the following pattern of hierarchi-
cal nesting:
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(0) ▼ Root Macro Patch
(1) ▼ 3D Transformation
(2) ▼ 3D Transformation
(3) ▼ man (Iterator)
(4) ▼ 3D Transformation
(5) ▶ Replicate in Space
(3) ▶ text (Macro)
(1) ▶ Credit
The outline above gives an indication of how the patches interrelate. Change the
X position of the “3D Transform” at level 1 and you move the entire nested con-
tents. The Quartz Composer editing environment gives you an outline of this list
in what is called the “Hierarchy Browser”. As we shall see, each area/node,
though, can contain a complex collection of patches.
Next I ’ ll dig down into the composition and find the relevant parts that create the
cloned man image and create the parallax / depth effect.
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The man patch has a
custom title “man”. The
inputs and the inspector
reveal it is an ‘ iterator ’
patch. An iterator be-
haves like a simple “for”
loop, repeating its con-
tained patches until the
number of iterations (repeats) is equal, in this case, to five. The iteration is zero-
indexed (0-4). This iteration refers to the number of the rows of men. The large
diagram (below) represents the patches inside the iterator patch:
quartz composer in the art and motion design of futurismo zugakousaku 22
I T E R A T O R
A
B
C
D
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(A) The single man image. Note that dwelling over a connected output brings up a
tool-tip preview of the output. The same source image is passed four times
through “Gaussian Blur” patches with different settings.
(B) The very clever “Multiplexer” patch switches between source inputs using an
index. In this case the index is provided by the iterator “index”. As the iterator in-
crements from 0-4, the multiplex result is switched between the 4 blurred images
and the original non blurred source and provided to the “image” input on the 3D
Transformation patch. This “Image” input is what is known as a published input
from the patch hierarchically below the current patch. More of the feature of pub-
lishing inputs and outputs in Apple ’ s documentation.
(C) At the same time, a “Math” patch performs a calculation, using the increment-
ing “Current Position” as an initial value and multiplying it by 5. The initial value is
greyed out because the value is supplied via a ‘ noodle ’ from the “Iterator Vari-
ables” patch. This value is passed into the “3D Transformation” patch and moves
the produced image forward an
increasing distance on the Z
axis every iteration.
(D) Drill into the “3D Transfor-
mation” and you find the follow-
ing single “Replicate in Space”
patch:
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The “Replicate in Space” patch and it ’ s
inspector (illustrated below) control
making copies of the patches contents
in 3D space. In the case of “Who Are
You?”, 16 copies of the man image (in
different ‘ blur ’ states) are made 1:1
scale each translated on the X axis by
7.5 units. (See Apple ’ s documentation
for more information on the resolution
independent unit and co-ordinate sys-
tem used in Quartz Composer). The X
quartz composer in the art and motion design of futurismo zugakousaku 24
R E P L I C A T E I N S P A C E
contents of the replicate in space patch
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translation value is so chosen to match the position of the man image at the be-
ginning and the end of the scrolling animation. Note that the “Image” input on the
patch is a dark filled circle. This signifies that the input is published and therefore
available as an input of the containing patch. Likewise, inside the “Replicate in
Space” patch an “Input Splitter” patch has it ’ s input published and given a custom
name “Image”. Using an “Input Splitter” is a technique that allows reuse of a
common resource or value. With careful publishing, “Input Splitters” (and most
other patches) can be used to pass values, images and data between levels of a
composition.
The “Sprite” patch is a “renderer” - i.e.. it displays a quad 11 on the screen. The
next paragraph will sound complicated as it attempts an over-arching description
of the entire graphical process:
the “Sprite” displays a man image, duplicated 16 times and each copy offset by
the “Replicate in Space” patch. The image is passed in from the “Multiplexer” that
selects blurred versions of the images via a “3D Transfor ma tion” patch that cre-
ates the rows of men going backwards. As this patch is contained in the “Iterator”
patch we get 5 rows of men. The parent “3D Transformation” patch is animated
moving right to left on the X axis - moving the whole scene smoothly.
An interesting construction principle emerges: the smallest element, the single
image, is at the deepest level of the hierarchy. It is operated on (translated, dupli-
cated, blurred, colorised) by operations higher up the chain. A complete discus-
sion of the execution order of patches and the ‘ data flow ’ within a quartz com-
poser composition is beyond the scope of this essay.
25 quartz composer in the art and motion design of futurismo zugakousaku
11 A rectangular polygon that can be textured with video or images and position in Cartesian 3D space
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S U M M A R Y
Quartz Composer stands in an exciting position as a new technology facilitating
artists who wish to make high-performance, hybrid interactive artworks with soft-ware that ships free with Mac OS 10.4. It is simple to use and learn but has hid-
den, complex potential. This present essay sought to
★ introduce the technology, with brief reference to similar technologies, it ’ s history
and future role in Apple ’ s graphics architecture
★ deconstruct an artefact by one artist, Futurismo Zugakousaku, as a means for ex-
ploring the form and potential of Quartz Composer as an artistic medium. I dis-
cussed audience, time and dynamics, and hybridity. I described the motion graph-
ics and visual design and then talked about the technical process.
The description of the technical process sounds involved and complex but it
doesn ’ t do justice to the flow and ease of development in the drag and drop, vis-
ual programming environment.
In conclusion, the method of aesthetic enquiry is rich and needs to be applied to
more examples, including:
★ Real Time Video Processing in Quartz Composer. Programmer / artist Sam Kass
explores advanced real time video processing including optical ow, motion and
colour detection.
Screen-shots from works by sam kass (2005)
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and
★ Other offerings from Futurismo Zugakousaku. I selected a simple, visually rich
example. More complexity, technique and surprises await in the open sources ofFuturism's other work.
Screen-shots from “falling text”, “jelly worm”, “squids”, “light passage” and “Black
White” by futurismo zugakousaku (2005)
Ian Grant
January 2006
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BIBLIOGRAPHY
T E X T S
Gelphman, D. and Laden, B. (2005) Program-ming with Quartz: 2D and PDF Graphics in MacOS X, Morgan Kaufmann, NY.
Greene, R. (2004) Internet art, Thames & Hud-son, London ; New York.
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