Motion Paintings Software

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MotionPaintings was a system I built in collaboration with artist, Rebecca Allen, based on the terrain mapping from her emmersive environment, Emergence. It allows her to easily create a looping keyed path of 3D cameras, intended for motion-tweening at the speed of growing plants. The idea of the piece is that this painting on the wall will change so slowly that a viewer must come back in an hour to see any noticable visual change. The beautiful mountainous terrain becomes a semi-still painting, admired as an abstract scene of blurring colors. Additionally, I aimed to bring the Emergence software to a level in which the system could be installed on a computer by one non-technical person, in one minute - instead of a crew of programmers over several weeks. This software is currently unavailable for download.

Concept by Rebecca Allen. The beautiful mountainous terrain built by Gino Ok, Pete Conolly, Damon Seeley, and Daniel Shiplacoff. User interface design and data-cleaning by Josh Nimoy.

Screenshot and Video

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The n0time Saver

A PC screen saver that communicates with other screen savers via internet, slowly building a sculptural object on the screen. Working closely with the UCLA DMA chair to adapt a concept from her original n0time installation into this new delivery format, I made a screen saver, network server, and web site in efforts to make the piece into something more accessible.

Collaboration between Josh Nimoy and Victoria Vesna


JTNGSE was a graphics editing program that was half GUI, half scripting. I originally wrote it for undergraduate friends in the UCLA design department because I was sad to hear that John Maeda's awesome Design by Numbers "did not save" or "did not support color." I also saw that Processing was wonderful, but also discouraging for my peers to learn (at that time, they considered it too complicated). Basically, everyone seems to need something that integrates in a very obvious way with their software packages. This lack of easy integration is what my friends claim is holding them back from beginning to learn this sort of process. JTNGSE was one attempt. Since that time, I have come to believe that the problem is a bit more complex.

Special Thanks to Debrah Isaac for using it in her senior project, Gabe Dunne for testing.

ASCII Imaging

I produced a few ascii based images using a converter I wrote. Although the idea is cliche now, I was thrilled at the idea that pixels could be replaced with meaningful symbols. Other students used the software for their work, which also thrilled me. It was the feeling of automated collaboration. The first image is a screenshot from a test animation for grad student, John Zast - who later used the software to produce a film include in his thesis, entitled "This will Kill That."

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Poly Edit is a kind of development program I wrote in hopes to speed up the behavior scripting process for Rebecca Allen's Emergence project. This was also the first Help system the project had. The application is based around the emergent processes for creating reactive creatures in the 3D world. I hear they still use it.

Impracticality: Early Attempts At Interactivity

This was my first and earliest attempt in high school to create art with my programming. I was still very new at computers, and at the time, making a great effort to apply those skills I had learned for fun on my graphing calculator - to my PC. I loved making little games and tiny reactive geometries, but I was tired of the slow processor - and I wanted to work with a mouse instead of directional arrows. I also felt that as an artist, I should get to know the computer as deep as possible - as I had been attempting to do in all the other media I was working with. The idea was that I would create a series of screen savers which responded not just to time, but also to the mouse and keyboard. I think I called it Impracticality because the idea of a bunch of programs that did nothing - was still a weird concept for me. I wanted to be upfront with people that these were not tools. The pieces did not mean much to anyone. They were mainly meant for myself, my mother, my brother Marc, and my father - until I showed them to a few friends in college a year later. The amount of encouragement I received for these pieces made me feel young again, and I decided to pursue it further, practically leaving my beloved oilpaints and Nikormat camera behind.