I have extended my project into being a type of minesweeper game. I intend on making a scoring system or some sort with If and Else statements and a Dynamic Text box with updatable text. I'm definitely still not happy with it yet without the adequate time to work on it. But making it a scoring game will be very easy.
Tuesday, September 30, 2008
9/30
I have extended my project into being a type of minesweeper game. I intend on making a scoring system or some sort with If and Else statements and a Dynamic Text box with updatable text. I'm definitely still not happy with it yet without the adequate time to work on it. But making it a scoring game will be very easy.
Thursday, September 25, 2008
9/25
My program had everything we discussed in class (a movie clip controlling another movie clip and a movie clip controlling the main time line) but I didn't have a dynamic text box. So I changed the page numbers to updatable text boxes. I really would like to expand this into a kind of Minesweeper type of thing but with more interaction due to the various pages, which could become stages possibly?
Tuesday, September 23, 2008
9/23 Quiz
An event handler is a function code block that controls a movie clip where as a frame event is specific to the selected frame.
9/23
I had a hard time coming up with any kind of subject matter to deal with for my action script testing. I opted for an output aesthetic of old computer games, still in the mindset of digiscapes. I just set it up as a simply animated, but code driven program that accentuates all of the requirements.
Tuesday, September 16, 2008
9/16
From looking at my project from last week, I felt I needed to consider a different composition for the initial stage. It was bland and didn't indicate any kind of action for the user. The original image is a screen shot from my desktop, so I decided to take a picture of my actual computer and include that as well. I animated the computer as well so it looks more like you're zooming into the computer instead of the desktop zooming into you. I worked more with the code and enhanced some of the actions.
I still need to enhance the pixel view in both RGB and CMYK, that is the only let down for me right now.
Thursday, September 11, 2008
How to Embed your SWF in your Blog
Above the title for your upload SWF on www.zippyvideos.com, you can Right Click and choose "View Source".
In the source code, scroll until you see "!--begin left column--" which is the column for which your embedded video is kept.
Below the "--begin left column--" you will find "div id=clip". This is the beginning of your embedded SWF code.
Copy from the "div id=clip" until the corresponding "/div" code.
Paste this in your Edit Html section of your blog, and TADA, you have your embedded SWF file.
Assignment Write-up for 9/11
My concept for my "digiscape" was to be able to investigate the components that make up everything you see within a computer screen. Since the computer is comprised of everything digital, it inherently is a "digiscape" within itself. The components that make up a screen are developed by the RGB colorspace — RED, GREEN, BLUE. In contrast, I'm including the ability to choose the CMYK colorspace — CYAN, MAGENTA, YELLOW, BLACK — which conflicts with web viewing and is typically used for print.
Using the Mac OSX operating system as a reference point, where the interaction between minimizing, maximizing, opening, and closing is shown by default as a "Genie Effect" or the "Scale Effect" within the Dock, a three-dimensional environment is created. With my "digiscape", I chose to include a screen shot of my actual desktop. To keep the visual aesthetics of the stage very simple I used a white background and the RGB and CMYK color bars underneath. With code, I enabled the RollOver function to change between viewing the RGB and CMYK desktops and enabled the onRlease function to create the animation into the "digiscape" where you can view the interactive particles of either colorspace.
Quiz
1. What is the difference between a symbol and an instance?
A symbol is a converted graphic that lives within the project's Library. An instance is a copy of that symbol. Each symbol is stored only once and if duplicated or copied, it thus becomes an instance of that symbol.
2. What is the difference between a frame that has an empty circle versus a frame that has a filled in black circle?
A frame with an empty circle is a keyframe that does not include any content. A frame with a filled in black circle is a keyframe that includes some form of content (rather it be text, graphics, symbols, or code).
3. What are two of the main reasons people use flash?
People use flash for it's ability to process and store information at small file sizes and it's ability to deal with vector graphics for scalability.
4. You can only motion tween a __________.
Symbol
5. If you select an object, how can you tell if it's a shape or a symbol?
A shape will appear in the properties panel as a Shape and with have a sort of "checkerboard" appearance. A symbol appears in the properties panel as the type of symbol it is (Movie Clip, Graphic, or Button) with an option for an instance name and it acquires a registration point, removing the "checkerboard" appearance.
A symbol is a converted graphic that lives within the project's Library. An instance is a copy of that symbol. Each symbol is stored only once and if duplicated or copied, it thus becomes an instance of that symbol.
2. What is the difference between a frame that has an empty circle versus a frame that has a filled in black circle?
A frame with an empty circle is a keyframe that does not include any content. A frame with a filled in black circle is a keyframe that includes some form of content (rather it be text, graphics, symbols, or code).
3. What are two of the main reasons people use flash?
People use flash for it's ability to process and store information at small file sizes and it's ability to deal with vector graphics for scalability.
4. You can only motion tween a __________.
Symbol
5. If you select an object, how can you tell if it's a shape or a symbol?
A shape will appear in the properties panel as a Shape and with have a sort of "checkerboard" appearance. A symbol appears in the properties panel as the type of symbol it is (Movie Clip, Graphic, or Button) with an option for an instance name and it acquires a registration point, removing the "checkerboard" appearance.
Monday, September 1, 2008
9/02
A.
Landscape
"Physical Geography and subfields like Landscape ecology, and Environmental geography, the technical term landscape comprises the visible features of an area of land, including physical elements such as landforms, living elements of flora and fauna, abstract elements such as lighting and weather conditions, and human elements, for instance human activity or the built environment."
Wikipedia
I would like to view landscapes as environments created by someone, rather than the typical interpretation of landscape being Mother Nature's incredible ability to create compositions. The artist's ability to create composition comes naturally, quite possibly as natural as Mother Nature does. But what about people that have no artistic ability at all — someone who just wants things to look "better", when typically it really doesnt.
Landscaping
"Landscaping refers to any activity that modifies the visible features of an area of land. Landscaping is both science and art, and requires good observation and design skills. A good landscaper understands the elements of nature and construction, and blends them accordingly.
An early Greek philosopher known for his view that "all is water," spent a considerable time thinking about the nature and scope of landscaping. Some of his students believed that in order for human activity to be considered landscaping, it must be directed toward modifying the physical features of the land itself, including the cultivation and/or manipulation of plants or other flora. Thales rejected this notion, arguing that any aspect of the material world affecting our visual perception of the land was a proper subject for landscaping. Both Plato and Aristotle praised Thales' analysis as a model for philosophy. In the early 20th century, British philosopher G.E. Moore cited Thales' reasoning as one of the few historical examples of how philosophical inquiry has led to genuine human understanding and progress.
Philosophers in the 17th century debated whether visual beauty was a necessary goal of landscaping. With the advent of the positivists by the early 20th century, however, most western philosophers had rejected the notion of an objective esthetic standard for any form of art, including landscaping. Practitioners since the mid-20th century have experimented with jarring visual panoramas that are now generally accepted, at least in western societies, as falling within the scope of landscaping."
Wikipedia
http://www.landscapingideasonline.com/
http://www.hgtv.com/hgtv/gl_landscaping_design/
http://www.the-landscape-design-site.com/
B.
Digiscape
- Pixels floating around creating things throughout
- Genie effect in OSX that animates three-dimensionally within the flat desktop space
- Random assortment of pixels in CMYK color scheme representing the color scape of computers and a digital landscape all of it's own
C.
Web Work: A HISTORY OF INTERNET ART - ArtForum, May, 2000, by Rachel Greene
"THE TERM "NET.ART" is less a coinage than an accident, the result of a software glitch that occurred in December 1995, when Slovenian artist Vuk Cosic opened an anonymous e-mail only to find it had been mangled in transmission. Amid a morass of alphanumeric gibberish, Cosic could make out just one legible term--"net.art"--which he began using to talk about online art and communications. Spreading like a virus among certain interconnected Internet communities, the term was quickly enlisted to describe a variety of everyday activities. Net.art stood for communications and graphics, e-mail, texts and images, referring to and merging into one another; it was artists, enthusiasts, and technoculture critics trading ideas, sustaining one another's interest through ongoing dialogue. Net.art meant online detournements, discourse instead of singular texts or images, defined more by links, e-mails, and exchanges than by any "optical" aesthetic. Whatever images of net.art projects grace these pages, beware that, seen out of their native HTML, out of their networked, social habitats, they are the net.art equivalents of animals in zoos."
Would net.art still be dominant, through all of the emense changes between 1995 and 2000, if things such as "homepages flaunting hobbies and personal histories, advertising technology companies, or promoting online communities of all stripes" were still at the forefront of the internet? Would things such as this Blog I'm writing in now be something completely different through it's form of personal communication, as changing the E-mail, the number one form of communication for "anyone who was wired to communicate on equal ground, across international boundaries, instantaneously, every day."?
Landscape
"Physical Geography and subfields like Landscape ecology, and Environmental geography, the technical term landscape comprises the visible features of an area of land, including physical elements such as landforms, living elements of flora and fauna, abstract elements such as lighting and weather conditions, and human elements, for instance human activity or the built environment."
Wikipedia
I would like to view landscapes as environments created by someone, rather than the typical interpretation of landscape being Mother Nature's incredible ability to create compositions. The artist's ability to create composition comes naturally, quite possibly as natural as Mother Nature does. But what about people that have no artistic ability at all — someone who just wants things to look "better", when typically it really doesnt.
Landscaping
"Landscaping refers to any activity that modifies the visible features of an area of land. Landscaping is both science and art, and requires good observation and design skills. A good landscaper understands the elements of nature and construction, and blends them accordingly.
An early Greek philosopher known for his view that "all is water," spent a considerable time thinking about the nature and scope of landscaping. Some of his students believed that in order for human activity to be considered landscaping, it must be directed toward modifying the physical features of the land itself, including the cultivation and/or manipulation of plants or other flora. Thales rejected this notion, arguing that any aspect of the material world affecting our visual perception of the land was a proper subject for landscaping. Both Plato and Aristotle praised Thales' analysis as a model for philosophy. In the early 20th century, British philosopher G.E. Moore cited Thales' reasoning as one of the few historical examples of how philosophical inquiry has led to genuine human understanding and progress.
Philosophers in the 17th century debated whether visual beauty was a necessary goal of landscaping. With the advent of the positivists by the early 20th century, however, most western philosophers had rejected the notion of an objective esthetic standard for any form of art, including landscaping. Practitioners since the mid-20th century have experimented with jarring visual panoramas that are now generally accepted, at least in western societies, as falling within the scope of landscaping."
Wikipedia
http://www.landscapingideasonline.com/
http://www.hgtv.com/hgtv/gl_landscaping_design/
http://www.the-landscape-design-site.com/
B.
Digiscape
- Pixels floating around creating things throughout
- Genie effect in OSX that animates three-dimensionally within the flat desktop space
- Random assortment of pixels in CMYK color scheme representing the color scape of computers and a digital landscape all of it's own
C.
Web Work: A HISTORY OF INTERNET ART - ArtForum, May, 2000, by Rachel Greene
"THE TERM "NET.ART" is less a coinage than an accident, the result of a software glitch that occurred in December 1995, when Slovenian artist Vuk Cosic opened an anonymous e-mail only to find it had been mangled in transmission. Amid a morass of alphanumeric gibberish, Cosic could make out just one legible term--"net.art"--which he began using to talk about online art and communications. Spreading like a virus among certain interconnected Internet communities, the term was quickly enlisted to describe a variety of everyday activities. Net.art stood for communications and graphics, e-mail, texts and images, referring to and merging into one another; it was artists, enthusiasts, and technoculture critics trading ideas, sustaining one another's interest through ongoing dialogue. Net.art meant online detournements, discourse instead of singular texts or images, defined more by links, e-mails, and exchanges than by any "optical" aesthetic. Whatever images of net.art projects grace these pages, beware that, seen out of their native HTML, out of their networked, social habitats, they are the net.art equivalents of animals in zoos."
Would net.art still be dominant, through all of the emense changes between 1995 and 2000, if things such as "homepages flaunting hobbies and personal histories, advertising technology companies, or promoting online communities of all stripes" were still at the forefront of the internet? Would things such as this Blog I'm writing in now be something completely different through it's form of personal communication, as changing the E-mail, the number one form of communication for "anyone who was wired to communicate on equal ground, across international boundaries, instantaneously, every day."?
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