Parallax ping))) Ultrasonic Sensor
Desoldering Braid
Pololu Pulleys
Copper Clamps
Jumper Wires
12V Unipolar Stepper Motor
Atlas Contents
Itemized contents for artist atlas at 1aura.org
Civilizations
Africa
Predynastic Egypt [9000 - 4200 BC]
Egyptian [3150 BC - 31 BC]
Tribal (Nile Valley Civilizations)
Modern
Asia
Mesopotamia
Sumerian [5300 - 4100 BC]
Elam [c.3200 - 539 BC]
Akkadian [2300 - 2200 BC]
Amoritian [2000 - 1600 BC]
Babylonian [c.2500 - 1531 BC]
Assyrian [c.1950 - 612 BC]
Hittite [c.1750 - 1180/750 BC]
Persia
Median [728 - 549 BC]
Achaemenid [c.550 - 330 BC]
China
Ancient Chinese [c.2100 - 221 BC]
Imperial Chinese [221 BC - 1911 AD]
Modern Chinese [1911 AD - ]
Japan
Paleolithic Japanese [35000 - 14000 BC]
Jomon [14000 - 300 BC]
Ancient Japan [300 BC - 1185 AD]
Feudal Japan [1185 - 1603 AD]
Edo Japan [1603 - 1868 AD]
Empire of Japan [1868 - 1945 AD]
State of Japan [1945 AD - ]
Siberia
Mongolian [1206 - 1368]
Tribal
Modern
Europe
Greek [c.750 BC - 146 BC/529 AD
Roman [27 BC - 476/1453 AD]
Turkish
Norse
Anglo-Saxon
Napoleanic
Tribal
Modern
North America
Tribal
Modern
South America
Aztec
Incan
Mayan
Tribal
Modern
Australia
Tribal
Modern
Antarctica
Scientific
Predynastic Egypt [9000 - 4200 BC]
Egyptian [3150 BC - 31 BC]
Tribal (Nile Valley Civilizations)
Modern
Asia
Mesopotamia
Sumerian [5300 - 4100 BC]
Elam [c.3200 - 539 BC]
Akkadian [2300 - 2200 BC]
Amoritian [2000 - 1600 BC]
Babylonian [c.2500 - 1531 BC]
Assyrian [c.1950 - 612 BC]
Hittite [c.1750 - 1180/750 BC]
Persia
Median [728 - 549 BC]
Achaemenid [c.550 - 330 BC]
China
Ancient Chinese [c.2100 - 221 BC]
Imperial Chinese [221 BC - 1911 AD]
Modern Chinese [1911 AD - ]
Japan
Paleolithic Japanese [35000 - 14000 BC]
Jomon [14000 - 300 BC]
Ancient Japan [300 BC - 1185 AD]
Feudal Japan [1185 - 1603 AD]
Edo Japan [1603 - 1868 AD]
Empire of Japan [1868 - 1945 AD]
State of Japan [1945 AD - ]
Siberia
Mongolian [1206 - 1368]
Tribal
Modern
Europe
Greek [c.750 BC - 146 BC/529 AD
Roman [27 BC - 476/1453 AD]
Turkish
Norse
Anglo-Saxon
Napoleanic
Tribal
Modern
North America
Tribal
Modern
South America
Aztec
Incan
Mayan
Tribal
Modern
Australia
Tribal
Modern
Antarctica
Scientific
Arduino + Tiny Vibrate Motor + Pushbutton
Arduino Code
int buttonPin = 3;
int buttonState = 0;
void setup(){
pinMode(buttonPin, INPUT);
Serial.begin(9600);
}
void loop(){
buttonState = digitalRead(buttonPin);
switch(buttonState){
case HIGH:
Serial.println("off");
break;
case LOW:
Serial.println("on");
analogWrite(9, 123);
delay(100);
analogWrite(9,0);
break;
}
delay(100);
}
int buttonState = 0;
void setup(){
pinMode(buttonPin, INPUT);
Serial.begin(9600);
}
void loop(){
buttonState = digitalRead(buttonPin);
switch(buttonState){
case HIGH:
Serial.println("off");
break;
case LOW:
Serial.println("on");
analogWrite(9, 123);
delay(100);
analogWrite(9,0);
break;
}
delay(100);
}
Arduino + Pushbutton
Arduino Code
int buttonPin = 3;
int buttonState = 0;
void setup(){
void loop(){
int buttonState = 0;
void setup(){
pinMode(buttonPin, INPUT);
Serial.begin(9600);
}Serial.begin(9600);
void loop(){
buttonState = digitalRead(buttonPin);
switch(buttonState){
delay(100);
}switch(buttonState){
case HIGH:
Serial.println("off");
break;
case LOW:
Serial.println("on");
break;
}Serial.println("off");
break;
case LOW:
Serial.println("on");
break;
delay(100);
QED by Richard Feynman
QED: Quantum Electrodynamics / Quod Erat Dictum
Everyday properties of light:
- goes in straight lines
- bends when it goes into water
- when reflected from a surface like a mirror, the angle at which the light hits the surface is equal to the angle at which it leaves the surface
- light can be separated into colors
- you can see beautiful colors on a mud puddle when there is a little bit of oil on it
- a lens focuses light
- light is partly reflected in some surfaces, such as glass or water
Proven using photomultipliers (which produce an audible click each time a photon hits) and monochromatic (red, green, or blue) light:
- light is made of particles (photons)
- partially reflective surfaces return an average of 4% of photons
- as the thickness of a given partially reflective surface increases, the return oscillates between 0 and 8%
- because glass has two reflective surfaces (front and back), the return oscillates between 0 and 16%
- this cycle repeats itself at different rates for different colors, so some thicknesses return only red or only blue, or blue and red in different proportions, creating effects like rainbows in oil puddles
Grand Principle:
The probability of an event is equal to the square of the length of an arrow called the "probability amplitude." An arrow of length 0.4, for example, represents a probability of 0.16 or 16%.
General Rule for drawing arrows if an event can happen in alternative ways:
Draw an arrow for each way, and then combine the arrows ("add" them) by hooking the head of one to the tail of the next. A "final arrow" is then drawn from the tail of the first arrow to the head of the last one. The final arrow is the one whose square gives the probability of the entire event.
Derived from the above findings:
- The arrows correspond to a metaphorical stopwatch hand; their direction is determined by the amount of time it takes for them to travel a given distance. When graphed, outliers cancel each other out, so the center of the distribution has the most influence on the final direction of the arrow / path of the light. Thus, light travels along the shortest path, and the angle of incidence equals the angle of reflection.
- If the scope of the possible paths is limited too extremely, the time of each revolution of the metaphorical stopwatch is too short, so near-identical paths end up scattering. There is a lower limit to the size of a mirror.
- Scraping away the parts of a mirror that bias one direction biases the light towards the opposite direction, making a previously unreflective surface reflective. This is called a diffraction grating.
16x2 Parallel LCD Display
Chromatics (of Materials)
Chemicals mixed into pigments work by absorbing some light and reflecting the rest.
Arduino + Unipolar Stepper Motor + ULN2004A + Bipolar Stepper Motor + L293DNE + 2 Potentiometers
Arduino Code
#include <Stepper.h>
#define biSTEPS 200
#define uniSTEPS 400
int last_verti, curr_verti, last_horiz, curr_horiz;
Stepper bi_stepper(biSTEPS, 7, 6, 5, 4);
Stepper uni_stepper(uniSTEPS, 8, 9, 10, 11);
void setup(){
void loop(){
void sweepVertical(){
void sweepHorizontal(){
void controlVertical(){
void controlHorizontal(){
void blinkLed(){
#define biSTEPS 200
#define uniSTEPS 400
int last_verti, curr_verti, last_horiz, curr_horiz;
Stepper bi_stepper(biSTEPS, 7, 6, 5, 4);
Stepper uni_stepper(uniSTEPS, 8, 9, 10, 11);
void setup(){
Serial.begin(9600);
bi_stepper.setSpeed(15);
uni_stepper.setSpeed(15);
}bi_stepper.setSpeed(15);
uni_stepper.setSpeed(15);
void loop(){
sweepVertical();
sweepHorizontal();
}sweepHorizontal();
void sweepVertical(){
bi_stepper.step(10);
bi_stepper.step(-10);
delay(100);
}bi_stepper.step(-10);
delay(100);
void sweepHorizontal(){
uni_stepper.step(20);
uni_stepper.step(-20);
delay(100);
}uni_stepper.step(-20);
delay(100);
void controlVertical(){
curr_verti = analogRead(0);
if(abs(curr_verti - last_verti) > 20) blinkLed();
else bi_stepper.step(curr_verti-last_verti);
last_verti = curr_verti;
delay(100);
}if(abs(curr_verti - last_verti) > 20) blinkLed();
else bi_stepper.step(curr_verti-last_verti);
last_verti = curr_verti;
delay(100);
void controlHorizontal(){
curr_horiz = analogRead(1);
if(abs(curr_horiz - last_horiz) > 20) blinkLed();
else uni_stepper.step(curr_horiz-last_horiz);
last_horiz = curr_horiz;
delay(100);
}if(abs(curr_horiz - last_horiz) > 20) blinkLed();
else uni_stepper.step(curr_horiz-last_horiz);
last_horiz = curr_horiz;
delay(100);
void blinkLed(){
digitalWrite(13, HIGH);
delay(100);
digitalWrite(13, LOW);
}delay(100);
digitalWrite(13, LOW);
Color Constancy
In an image employing a limited palette, the gray or neutral areas will take on the appearance of the missing colors.
Chromatics (of Language)
Hue
The color's place in a given color scale.
Saturation
The purity or intensity of the color; the amount of pigment:oil.
Brightness
The color's place in a given color scale.
Saturation
The purity or intensity of the color; the amount of pigment:oil.
Brightness
Shade
The amount of black in the color.
Tint
The amount of white in the color.
The amount of black in the color.
Tint
The amount of white in the color.
Chromatics (of Human Perception)
The retina contains cells called rods & cones.
There are three types of cones:
Colors stimulate each cone type in different proportions—
each color accorded a tristimulus value.
The set of all possible tristimulus values yields the visible color space (10 million colors).
There is one type of rod:
Rods are only informative in dim light,
when the cones are understimulated.
The brain processes tristimulus values into three opponent channels:
There are three types of cones:
- S (short-wavelength) ~420nm, violet
- M (middle-wavelength) ~534nm, green
- L (long-wavelength) ~563nm, yellowish green
Colors stimulate each cone type in different proportions—
each color accorded a tristimulus value.
The set of all possible tristimulus values yields the visible color space (10 million colors).
There is one type of rod:
Rods are only informative in dim light,
when the cones are understimulated.
The brain processes tristimulus values into three opponent channels:
- red-green
- blue-yellow
- black-white (luminance)
Art Lessons from Humans (Painting)
Mrs. Ibreck (Lady Eden’s Girls School, 1989-1992)
Use linseed oil to thin
Use turpentine to clean
Lightly sketch out the desired image
Paint the highlights, then the colors, then the shadows
Repeat until image is aesthetically pleasing
Mr. Harris (Latin School, 1997-2001)
Start with a large bristle brush
Then use incrementally smaller bristle brushes
Switch to large soft brush
Then use incrementally smaller soft brushes
The face has cool undertones across the forehead and chin
And warm undertones across the cheekbones and nose tip
The human body tip-to-toe is the height of eight heads
The wingspan is equal to the height
The eyes are halfway between the top of head and bottom of chin
The nose is halfway between the center of eyes and bottom of chin
The mouth is halfway between the bottom of nose and bottom of chin
The head is egg-shaped
Samin Lama (Bhaktapur, Nepal, 2007-2008)
To prepare a thankga canvas:
Don’t breathe while the brush is on the canvas
(This also applies to soldering)
Time breaths with brushstrokes
Use no more paint than necessary
The image should shine clearly when back-lit
Ignore any distraction
Maintain posture
Sara Bright (UC Berkeley, 2007-2009)
[Mr. Harris'] bristle/soft brush strategy is not always best
Use the brush that best suits the attitude of the subject
Keep all your tools clean
Maintain a lightness
Squeak Carnwath (UC Berkeley, 2007-2009)
Paintballs are too violent and ugly to be called painting
To paint carelessly is to insult the entire history of painting
Mineral spirits are better than turpentine as a subtractive
And can be used as a non-retarding thinner
Unprimed canvases deteriorate after 10 years
Paint well-applied can disguise itself as any other medium
Katherine Sherwood (UC Berkeley, 2007-2009)
[Cannot yet be sufficiently summarized.]
Use linseed oil to thin
Use turpentine to clean
Lightly sketch out the desired image
Paint the highlights, then the colors, then the shadows
Repeat until image is aesthetically pleasing
Mr. Harris (Latin School, 1997-2001)
Start with a large bristle brush
Then use incrementally smaller bristle brushes
Switch to large soft brush
Then use incrementally smaller soft brushes
The face has cool undertones across the forehead and chin
And warm undertones across the cheekbones and nose tip
The human body tip-to-toe is the height of eight heads
The wingspan is equal to the height
The eyes are halfway between the top of head and bottom of chin
The nose is halfway between the center of eyes and bottom of chin
The mouth is halfway between the bottom of nose and bottom of chin
The head is egg-shaped
Samin Lama (Bhaktapur, Nepal, 2007-2008)
To prepare a thankga canvas:
Build a frame of four interlocked planks of wood wide enough to be rigid under pressure
Cut a canvas a hand-width narrower than the frame’s interior
Sew a finger-width hem around the canvas
Run twine through the hem, crosshatching over the corners of the frame
Use a leather needle to sew the canvas into the frame
Use a stitch four-fingers wide
Stretch the canvas tight and even into the frame, like a hide
Lap around until the canvas is stiff and springy
Bring a small pot of water and a hand-sized strip of animal skin glue to a boil over low heat
Do this outside, because it will stink
When the glue melts, add a fistful of clay
Stir over heat until it is smooth and spreadable, not too sticky
Add small amounts of clay and water as necessary
Lay the canvas on the ground with something clean but expendable, and rigid
We used plywood but cardboard works well
Take a rag and spread the warm primer evenly across the canvas
Take a smooth stone and rub the primer into the canvas
Apply firm pressure, using your whole arm
Flip the canvas over and repeat
Let dry between layers
Repeat until the surface is smooth and thin, like parchment
Cut a canvas a hand-width narrower than the frame’s interior
Sew a finger-width hem around the canvas
Run twine through the hem, crosshatching over the corners of the frame
Use a leather needle to sew the canvas into the frame
Use a stitch four-fingers wide
Stretch the canvas tight and even into the frame, like a hide
Lap around until the canvas is stiff and springy
Bring a small pot of water and a hand-sized strip of animal skin glue to a boil over low heat
Do this outside, because it will stink
When the glue melts, add a fistful of clay
Stir over heat until it is smooth and spreadable, not too sticky
Add small amounts of clay and water as necessary
Lay the canvas on the ground with something clean but expendable, and rigid
We used plywood but cardboard works well
Take a rag and spread the warm primer evenly across the canvas
Take a smooth stone and rub the primer into the canvas
Apply firm pressure, using your whole arm
Flip the canvas over and repeat
Let dry between layers
Repeat until the surface is smooth and thin, like parchment
Don’t breathe while the brush is on the canvas
(This also applies to soldering)
Time breaths with brushstrokes
Use no more paint than necessary
The image should shine clearly when back-lit
Ignore any distraction
Maintain posture
Sara Bright (UC Berkeley, 2007-2009)
[Mr. Harris'] bristle/soft brush strategy is not always best
Use the brush that best suits the attitude of the subject
Keep all your tools clean
Maintain a lightness
Squeak Carnwath (UC Berkeley, 2007-2009)
Paintballs are too violent and ugly to be called painting
To paint carelessly is to insult the entire history of painting
Mineral spirits are better than turpentine as a subtractive
And can be used as a non-retarding thinner
Unprimed canvases deteriorate after 10 years
Paint well-applied can disguise itself as any other medium
Katherine Sherwood (UC Berkeley, 2007-2009)
[Cannot yet be sufficiently summarized.]
Art Lessons from Humans (Photography)
My Father
Never have the subject directly centered
Use the right camera for the right job
Aperture is the dilation of the lens
Shutter speed is the length of time the lens is open, in tenths of a second
Focal point marks the distance from you to the subject
Ms. Ross (Latin School, 1997-2001)
Three ways to take a photo:
Fully com/posed
Right place, right time
Premeditated composition, waiting for the perfect moment
A tight aperture (high number) has a long depth of field (more is in focus)
A wide aperture (low number) has a short depth of field (less is in focus)
To prepare black & white film:
With your hands in a lightproof bag (even darkroom light will ruin undeveloped film)
Use a bottle opener to pry open the film canister
Slide the film onto the ridged spool of the developing tank
Encase the spool in the lightproof tank
Add chemicals and water as directed into the tank
Shaking carefully
Disposing of chemicals properly
Practiced, takes 5 minutes
Developed film is light-safe
To prepare color or slide film:
Is too difficult and not worth doing yourself, send them to a lab
To print on an enlarger:
Any errant light will ruin photo paper
Objects placed directly on paper will produce an image (Rayographs)
Place negative in holder, focus
Place photo paper on enlarger rack
Expose light (time is critical: longer exposure leads to a darker image)
Dodge and burn as necessary
Put photo paper in developer for around 30 seconds (time is critical, may vary)
Then stop bath for a minute (time not critical)
Then fix for four minutes (time is critical, may vary)
Then rinse for a minute (time not critical, image is now light-safe)
Then hang to dry (let dry fully)
Final prints should range from full black to full white
Digital photos are the wave of the future
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