City of Skyscrapers

City Of Glass on what is hopefully, it's final incarnation.

The interface has been massively improved to make it faster and simpler. The colours are more realistic. I managed to use a formula to ensure that the words in the boxes were the most contrasted with the colour of that cell. It also no longer linearly disseminates each cell but does it en masse.


Here's a kind of vision of how I hope it could one day be displayed. For most impact itowuld obviously have to have the presence of a skyscraper.



Or perhaps more ideally, on an actual skyscraper.



What's the big idea?


This is a very rough sketch of the overall idea for the Oulipo project. A box that acts a a physical interface controls the mathematical input for the bisquares that are then used to output a story. This is pretty much the very first sketchy design.

Preface to George Perec's Life; A User's Manual

I always find this something of an inspiration when creating things.

The eye follows the paths that have
been laid down for it in the work
(Paul Klee, Padagogisches Skizzenbuch)

To begin with, the art of jigsaw puzzles seems of little substance, easily exhausted, wholly dealt with by a basic introduction to Gestalt: the perceived object – we may be dealing with a perceptual act, the acquisition of a skill, a physiological system, or, as in the present case, a wooden jigsaw puzzle – is not a sum of elements to be distinguished from each other and analyzed discretely, but a pattern, that is to say a form, a structure: the element’s existence does not precede the existence of the whole, it comes neither before nor after it, for the parts do not determine the pattern, but the pattern determines the parts: knowledge of the pattern and of its laws, of the set and its structure, could not possibly be derived from discrete knowledge of the elements that compose it. That means that you can look at a piece of a puzzle for three whole days, you can believe that you know all there is to know about its colouring and shape, and be no
further on than when you started. The only thing that counts is the ability to link this piece to other pieces, and in that sense the art of the jigsaw puzzle has something in common with the art of go. The pieces are readable, take on a sense, only when assembled; in isolation, a puzzle piece means nothing – just an impossible question, an opaque challenge. But as soon as you have succeeded, after minutes of trial and error, or after a prodigious half-second flash of inspiration, in fitting it into one of its neighbours, the piece disappears, ceases to exist as a piece. The intense difficulty preceding this link-up = which the English word puzzle indicates so well – not only loses its raison d’ĂȘtre, it seems never to have had any reason, so obvious does the solution appear. The two pieces so miraculously conjoined are henceforth one, which in its turn will be a source of error, hesitation, dismay, and expectation.

The role of the puzzle-maker is hard to define. in most cases- and in particular in all cardboard jigsaws – the puzzles are machine-made, and the lines of cutting are entirely arbitrary: a blanking die, set up once and for all, cuts the sheets of cardboard along identical lines every time. But such jigsaws are eschewed by the true puzzle-lover, not just because they are made of cardboard instead of wood, nor because the solutions are printed on the boxes they come in, but because this type of cut destroys the specific nature of jigsaw puzzles. Contrary to a widely and firmly held belief, it does not really matter whether the initial image is easy (or something taken to be easy – a genre scene in the style of Vermeer, for example, or a colour photograph of an Austrian castle) or difficult (a Jackson Pollock, a Pissarro, or the poor paradox of a blank puzzle). It’s not the subject of the pictures, or the painter’s technique, which makes a puzzle
more or less difficult, but the greater or lesser subtlety of the way it has been cut; and an arbitrary cutting pattern will necessarily produce an arbitrary degree of difficulty, ranging from the extreme of easiness – for edge pieces, patches of light, well-defined objects, lines, transitions – to the tiresome awkwardness of all the other pieces (cloudless skies, sand, meadow, ploughed land, shaded areas, etc.).

Pieces in puzzles of this kind come in classes of which the best-known are

the little chaps

the double crosses

and the crossbars

and once the edges have been put together, the detail pieces put in place – the very light, almost whitish yellow fringe on the carpet on the table holding a lectern with an open book, the rich edging of the mirror, the lute, the woman’s red dress – and the bulk of the background pieces parceled out according to their shade of grey, brown, white, or sky blue, then solving the puzzle consists simply of trying all the plausible combinations one by one.

The art of jigsaw puzzling begins with wooden puzzles cut by hand, whose maker undertakes to ask himself all the questions the player will have to solve, and instead of allowing chance to cover his tracks, aims to place it with cunning, trickery and subterfuge. All the elements occurring in the image to be reassembled – this armchair covered in gold brocade, that three-pointed black hat with its rather ruined black plume, or that silver-braided bright yellow livery – serve by design as points of departure for trails that lead to false information. The organized, coherent, structured signifying space of the picture is cut up not only into inert, formless elements, carrying false information; two fragments of cornice made to fit each other perfectly when they belong in fact to two quite separate sections of the ceiling, the belt buckle of a uniform which turns out in extremis to be a metal clasp holding the chandelier, several almost identically cut
pieces belonging, for one part, to a dwarf orange tree placed on a mantelpiece and, for the other part, to its scarcely attenuated reflection in a mirror, are classic examples of the types of traps puzzle-lovers come across.

From this, one can make a deduction which is quite certainly the ultimate truth of jigsaw puzzles: despite appearances, puzzling is not a solitary game: every move the puzzler makes, the puzzle-maker has made before; every piece the puzzler picks up, and picks up again, and studies and strokes, every combination he tries, and tries a second time, every blunder and every insight, each hope and each discouragement have all been designed, calculated, and decided by the other.

Lengthy study...

...on City Of Glass and it's way of portraying space in the city. Lengthy but actually quite interesting.

Demetri Martin's Palindrome.

I posted this a while ago on my main blog but this is Demetri Martin's 224 word palindrome Damnit I'm Mad, which is a poem that always fascinated me as well as fitting into the idea of Oulipo constraint based writing.

Dammit I’m mad.
Evil is a deed as I live.
God, am I reviled? I rise, my bed on a sun, I melt.
To be not one man emanating is sad. I piss.
Alas, it is so late. Who stops to help?
Man, it is hot. I’m in it. I tell.
I am not a devil. I level “Mad Dog”.
Ah, say burning is, as a deified gulp,
In my halo of a mired rum tin.
I erase many men. Oh, to be man, a sin.
Is evil in a clam? In a trap?
No. It is open. On it I was stuck.
Rats peed on hope. Elsewhere dips a web.
Be still if I fill its ebb.
Ew, a spider… eh?
We sleep. Oh no!
Deep, stark cuts saw it in one position.
Part animal, can I live? Sin is a name.
Both, one… my names are in it.
Murder? I’m a fool.
A hymn I plug, deified as a sign in ruby ash,
A Goddam level I lived at.
On mail let it in. I’m it.
Oh, sit in ample hot spots. Oh wet!
A loss it is alas (sip). I’d assign it a name.
Name not one bottle minus an ode by me:
“Sir, I deliver. I’m a dog”
Evil is a deed as I live.
Dammit I’m mad.