1. About
  2. Animation
  3. Building-Block
  4. Contact
  5. Content-Awareness
  6. Drawings
  7. The Adventurer's Guild
  8. Performance
  9. Vortices
  10. Webdev
  11. Posts (updated: 04/03/2019)
  12. Games
  13. ๐Ÿ”‘Keybase Profile
  14. Juegos Rancheros
  15. Karakasa Games
  16. Altar VI: Shapes (and Other Shapes)
  17. Photography
  18. Thunderbeam
  19. Computer Chess
  20. Tilde.town
  21. Susan Tyrrell
  22. Film Watchlist
  23. Voice Samples
  24. Category: "essays"
  25. Category: "juegos_rancheros"
  26. Category: "software"
  27. Category: "animation"
  28. Category: "vj"
  29. Category: "games"
  30. Category: "design"
  31. Category: "audio"
  32. Category: "videos"
  33. Category: "video"
  34. Tagged: "blog"
  35. Tagged: "comics"
  36. Tagged: "genre"
  37. Tagged: "culture"
  38. Tagged: "essays"
  39. Tagged: "games"
  40. Tagged: "juegos rancheros"
  41. Tagged: "fantastic arcade"
  42. Tagged: "me"
  43. Tagged: "video"
  44. Tagged: "waking life"
  45. Tagged: "film"
  46. Tagged: "science fiction"
  47. Tagged: "party"
  48. Tagged: "viz"
  49. Tagged: "vj"
  50. Tagged: "venus patrol"
  51. Tagged: "favorited"
  52. Tagged: "ofnote"
  53. Tagged: "interactive"
  54. Tagged: "vimeo"
  55. Tagged: "game"
  56. Tagged: "software"
  57. Tagged: "art"
  58. Tagged: "pocketed"
  59. Tagged: "rip"
  60. Tagged: "video art"
  61. Tagged: "audio,"
  62. Tagged: "tinnitus"
  63. Tagged: "tutorials"
  64. Tagged: "motion graphics"
  65. Tagged: "vdmx"
  66. Tagged: "press"
  67. Tagged: "compression"
  68. Tagged: "automation"
  69. Tagged: "music"
  70. Tagged: "amphibians"
  71. Tagged: "octopus project"
  72. Tagged: "octopusproject"
  73. Tagged: "visuals"
  74. Tagged: "austin"
  75. Tagged: "ai"
  76. Tagged: "animation"
  77. Tagged: "youtube"
  78. Tagged: "thu tran"
  79. Tagged: "videos"
  80. Tagged: "ACC"
  81. Tagged: "Vimeoโ€™s"
  82. Tagged: "self"
  83. Constellation
  84. Link- Forest of Sleep- Procedural g...
  85. Fomogotchi
  86. The Ground Itself
  87. Harmonia
  89. Flat โ€” Xxyxyz
  90. Requiem for a Toaster
  91. What I'm Doing
  92. GlitchScarf
  93. Projection mapping in Unity
  94. Sun Raโ€™s Full Lecture & Reading Lis...
  95. Mini vMac for iOS
  97. General Bonkers
  98. PUREkev
  99. PING
  103. Adam Bryanbaum Wiltzie - 485 - Elec...
  104. Fantastic Arcade 2017
  107. 2017 Adult Swim Singles โ€“ Brian Eno...
  108. First wave games announced!
  109. Norman
  110. Help Me Help You
  111. Wednesday with Goddard
  112. Plurabelle - Our Fires
  113. the silent city II
  115. Piqniq Scientifiq
  116. Topology
  117. Wormholes
  118. Syd Barrett - Effervescing Elephant
  119. IINA
  120. Words
  121. time for sushi
  122. Luna. Visual and textual functional...
  123. -kyลfu no sekai-
  124. Mixed Reality - THEORIZ - RnD test 002
  125. Greenscreen Cookies
  126. Lucid Movement- an interview with F...
  128. An AI invented a bunch of new paint...
  129. Walden Pink
  130. The Octopus Project Memory Mirror M...
  131. Memory Mirror, by The Octopus Project
  132. A Tiny Amphibian Trapped in Amber I...
  133. Anna Taberko
  134. Everything
  135. All the ghostly sounds that are los...
  136. Oikospiel
  137. Hidden Folks
  138. brixsystem
  139. Scavengers
  140. MELTER!
  141. HandBrake 1.0.0 Released
  142. Mystic_move
  143. Project Moonbase | The Historic Sou...
  144. H.264 is Magic
  145. Transcoding a movie library with Ha...
  146. Talking about VDMX over on the VIDV...
  147. Using Lumen and VDMX together with ...
  148. Tinnitus Neuromodulator
  149. Fantastic Arcade Itch.io Bundle
  150. prosthetic knowledge โ€” RIP Bill Etr...
  151. Peek Inside The Notebooks Of A Lege...
  152. James Paterson At Eyeo 2013
  153. Les Mรฉtamorphoses de Mr. Kalia
  154. that.party
  155. The Distant Future of the Here and Now
  156. Monkeytown 6
  157. Bob Sabiston at Nerd Nite
  158. A New Blog
  159. Fantastic Arcade 2015 videos online
  160. The Universe According to Scrooge M...
  161. /documents/01_1989_BHUG.sit
  162. /documents/ENGL-1301_Wiggins-Aaron.pdf
  163. /documents/PSYC-2301_Wiggins-ikiru.pdf
  164. /documents/cv.pdf
  165. /documents/family-history.pdf
  166. /documents/sheriff Grandma.pdf
  167. /documents/sponsoring_juegos_rancheros.pdf
  168. โ”Œโ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ” โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”Œโ”€โ”€โ”€โ”€โ”€โ”โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚Enterโ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ””โ”€โ”€โ”€โ”€โ”€โ”˜โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–ˆโ–ถโ—€โ–ฉโ–ฉโ–ฉโ–ฉโ–ฉโ–ถโ—€โ–ˆโ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–ˆ โ”Žโ”Œโ”€โ”€โ”€โ”โ”“ โ–ˆโ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–ˆ โ”ƒโ”‚โ–คโ–คโ–คโ”‚โ”ƒ โ–ˆโ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–ˆ โ”ƒโ”‚โ–คโ–คโ–คโ”‚โ”ƒ โ–ˆโ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–ˆ โ”ƒโ”‚โ–คโ–คโ–คโ”‚โ”ƒ โ–ˆโ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ”‚โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–ˆ โ”ƒโ””โ”€โ”€โ”€โ”˜โ”ƒ โ–ˆโ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ–‘โ”‚ โ””โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”˜
  169. โ—ฐ โ—Š โ—ณ ฮ› โ–ปโ•ฎ โ•ฑ โ•ฒ โ•ญโ—… โ”‚ โ•ฑ โ•ฒ โ”‚ โ”œโ— โ”ˆ โ–ทโ”ค โ”‚ โ•ฒ โ•ฑ โ”‚ โ–ปโ•ฏ โ•ฒ โ•ฑ โ•ฐโ—… V โ—ฑ โ—Š โ—ฒ โ”Œโ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ” โ”‚where is a soul? โ”‚ โ””โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”€โ”˜

There was once an inside and an outside.
Now the walls of context are gone. Instead of walls we have tunnels of attention.
If I have your attention, I can speak privately to you because Iโ€™m functionally invisible in this new landscape where everything is visible.

an abstract image

I have pretty bad tinnitus now. I think a lot about how we threshold out sensations. Growing accustomed to a hot bath, to a pain that never goes away. At some point that sensation stops telling us anything new and it stops demanding our attention, but itโ€™s still there, in the background, part of a largely ignored fixture we call โ€˜everythingโ€™. I think about how much of the movie we construct from our senses is an hallucination. Filling in the holes, creating associations. Imbuing meaning, stripping meaning away.

An ocean of noise. Itโ€™s hard for me to pick out your voice in this sea of voices. Iโ€™ve resorted to trying to read lips. At night thereโ€™s this everpresent screaming nerve that cries out for flat white noise to cover it. Thereโ€™s always too much noise or not enough noise. Turning the lights up and down in our room. Changing โ€˜everythingโ€™. Finding a place to sit in my own body. Exhaustion.

There used to be compartments to place selves. Now signal bleeds through everywhere. Angrily putting up walls, finding secret spaces, but our voices carry, our tracks are easy to follow. The only way to hide is to jump into that ocean of noise, where everything is heard and thereby nothing is heard.

Until a couple of years ago I was creating extremely noisey visual art, with the intention of triggering some sort of apophenia in the audience, wherein individual viewers might each see something unique in random or chaotic movement. Where brief harmonies of co-movement might create a feeling of resolution, the satisfaction of pattern identification. Each viewer would bring their own meaning and emotions to these resolutions and dissolutions. The bigger and more immersive the better, blotting out โ€˜everythingโ€™ with a field of noise that might all be somehow meaningful, stretching how much awareness of sense one could maintain for as long as possible.

a cartoon rabbit is anxious

In the last two years of schooling Iโ€™ve wanted to experiment with simple, intentional symbols and shapes. Cartoon and character animation. Iโ€™d like to use the lessons Iโ€™ve learned about perception of shapes, motion, the appeal of a character, all the things that make conventional commercial animation successful, and then take those lessons of perceptual psychology to return to my original work, with an understanding of what we notice, understand and remember of our senses.

Iโ€™m hoping to put all of these lessons into practice in experiments that test how meaning is transmitted, and to learn a language to work with these sorts of ideas.

What do you and I consider meaning that should be preserved in processed, distressed, compressed media and what does an algorithm see as important?

In a world where we are all deafened by each otherโ€™s voices, how do I reach you with a message in a bottle, with a feeling, with a constructed space that has its own rules?