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January 11, 2018

Artificial water (+ women at PC Gamer)

I’ve long wondered — like for a couple of decades — when software developers who write algorithms that produce beautiful animations of water will be treated with the respect accorded to painters who create beautiful paintings of water. Both require the creators to observe carefully, choose what they want to express, and apply their skills to realizing their vision. When it comes to artistic vision or merit, are there any serious differences?

In the January issue of PC Gamer , Philippa Warr [twitter: philippawarr] — recently snagged
from Rock, Paper, Shotgun points to v r 3 a museum of water animations put together by Pippin Barr. (It’s conceivable that Pippin Barr is Philippa’s hobbit name. I’m just putting that out there.) The museum is software you download (here) that displays 24 varieties of computer-generated water, from the complex and realistic, to simple textures, to purposefully stylized low-information versions.

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Philippa also points to the Seascape
page by Alexander Alekseev where you can read the code that procedurally produces an astounding graphic of the open sea. You can directly fiddle with the algorithm to immediately see the results. (Thank you, Alexander, for putting this out under a Creative Commons license.) Here’s a video someone made of the result:

Philippa also points to David Li’s Waves where you can adjust wind, choppiness, and scale through sliders.

More than ten years ago we got to the point where bodies of water look stunning in video games. (Falling water is a different question.) In ten years, perhaps we’ll be there with hair. In the meantime, we should recognize software designers as artists when they produce art.

 


 

Good work, PC Gamer, in increasing the number of women reviewers, and especially as members of your editorial staff. As a long-time subscriber I can say that their voices have definitely improved the magazine. More please!

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October 13, 2016

Michelle Obama speaking truth

These are words we need to hear.

I will so miss her voice. I hope she will stay where we can hear her.

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February 3, 2016

Trump’s "linguistic killshot"

Scott Adams, the Dilbert guy, writes perceptively about Trump’s skill verbally assassinating his opponents with what Scott kills a “linguistic killshot.” His example is Trump labeling Jeb! as “low-energy.” It’s the type of description that cannot be countered and cannot be unheard. Adams notes that Trump is both very calculating and very smart about this.

But he predicts that Trump’s shot against Hillary Clinton will be that she is not “credible.” I think I disagree. For one thing, that’s been the explicit beef against her for twenty years. For another, I don’t think it will have much traction with the people Trump needs to reach, because independents are just as likely to think that Trump negotiating with allies is more of a Dukakis-in-the-tank moment than a vision of credibility.

Assuming that Hillary is the nominee, I think maybe Trump will go after her as “always flapping her jaws,” as “chatty but no one can understand what she’s saying,” as “blah blah NATO blah blah Excuses blah blah Policy Report #45278 Part A.” But that’s not what America needs, he’ll tell us. We need someone who will stand up to our allies and kill our enemies. “It’s not that hard, folks. And we don’t need a Chatty Cathy for that.”

This has the effect of neutralizing her deep expertise, especially in foreign affairs, thus turning her strength against her. It makes her look weak-willed. There is no effective counter to it. And it’s deeply misogynistic. In short, it’s got Trump in big gold letters all over it.

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July 24, 2014

Michelle Obama on working parents

In case anyone has forgotten what honesty sounds like:

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September 26, 2011

GlobalVoices on Saudi women

Global Voices curates tweets from Saudi Arabia about the announcement of some small advances in rights promised by the government. Since the King has promised full rights to women “eventually,” I wonder what the monarchy thinks is going to change in the 2-4 years before these reforms kick in to make women — and men — ready for the slightly increased presence of women in the public sphere.

(Here’s a post from 1.5 years ago about my very brief trip to Saudi Arabia.)

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September 9, 2011

[2b2k] Difference matters

I still don’t know why I started getting a free subscription to Game Developer magazine, but I sure enjoy it. The technical articles are over my head and frequently completely over my head, but I enjoy reading articles written from a hard-core developer point of view. (The magazine comes to me under the name Johnny Locust at Wild West Ware — not a pseudonym or anynym of mine. I find traces of him on the Net, but none that lets me contact him directly. Johnny, if you find this, I’m enjoying your subscription!)

The magazine opener this month (Sept.) comes from Eric Caoili. It”s about The Difference Engine Initiative, an incubator to encourage and enable women as game developers. Two sessions are planned in Toronto.

One of the founders, Mare Sheppard, says in Game Developer:

“There’s this huge, homogenous, very insular, established set of developers right now in the game industry, and it happens to be mostly white and mostly male. From that, you can really only get a certain amount of innovation…If we had more voices and more opinions and more people coming in, then we would be able to take bigger steps in releasing games that represent different people, because they’re involved in the development process.”

As for the incubator, says Sheppard, “It’s like a crafter’s circle. It’s loose and low-key, and it’s about peer mentorship.” She sees it as just one step that might help some people get over the initial hurdle.

The project is named after Ada Lovelace’s contribution to Babbage’s Difference Engine, but I enjoy the implicit endorsement of difference as a source of innovation. In fact, difference is the source of all value, isn’t it?

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August 8, 2009

Shakespeare for girls, and young language

Two more points from Kenneth Coleman’s lecture on teaching Shakespeare, at Shakespeare & Co.

First, he says that the four most-taught Shakespearean plays are all tragedies. The tragedies are — he says — about how men screw up the world. And in the four most-taught ones, the women generally kill themselves or are otherwise disempowered. We should be teaching the comedies, he says, because they’re about how women make the world livable.

Second, he objects to calling Shakespeare’s language “old English.” Actually, it’s young English, full of play, lacking rules, inventing itself.

Two excellent points.

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