During the past year I have been asking myself how did humanity chose that men was going to be the dominant gender in society. In which point did women gained a secondary role and begun being oppressed by the patriarchy. I came across to a compilation of essays by Silvia Federici: Witches Witch-Hunting and Women where I found what it could be an answer to my question. In her book, she reviews the connection between the rise of capitalism and female oppression, while telling the story of witches and witch hunting, torture and murder.
“It is in this context that the attack of women as ‘witches’ should be located. Because of their unique relation to the process of reproduction, women in many capitalist societies have been credited with a special understanding of the secrets of nature, presumably enabling them to procure life and death and discover the hidden property of things. Practicing magic (as healers, folk doctors, herbalists, midwives, makers of love philters) was also for many women a source of employment and undoubtedly a source of power, although it exposed them to revenge when their remedies failed.”
I feel that a very effective way to communicate these findings is by revealing actual data. For the final project of this course I intend to visualize a dataset of ‘witch’ hunt cases to demonstrate how what it seems a fairy tale, fiction or something from the past, is still happening nowadays.
So far I found one article published in the year 2003 that contains an analysis of surveys performed in Tanzania’s villages. The datasets compares local rainfall variation to identify the impact of income shocks on murder in a rural Tanzanian district.
Although this article is very powerful in terms of the year published, the data is very quantitative. There is also an interesting table I found in wikipedia that has less cases dated for the 1600, but contain the description of each killed witch.
I would like to visualize one of the datasets presented, or maybe combine both (or look make a deeper research) in order to put this information out there available for many people to engage.
Loading media into p5.js makes sense when there is a way to read the information given and use it for something. In this sketch I used the ability of computational media to read the color information of every pixel of a determined image. After gathering the RGB code of the pixels where the mouse is positioned I used the mousePressed function to draw a big rectangle on top of the image in order to pixelate it as if it was censored. I have encountered many cases where social media networks such as Instagram decide that a women’s nipple is sexual content and different to a male one. So in this sketch the interaction will lead you to pixelate and ‘protect’ yourself from this illegal content.
My aim was to use the Star Wars Api SWAPI and draw the information about the starships. I wanted to draw an inner circle for the crew capacity and a outer circle for the passenger capacity. This way, I could compare the sizes of each starship in relation to the amount of people (or other universe habitants) they could carry, as well as the total starships. Besides not being able to properly read the data, the numbers where either to big or to small to show draw the circles in the canvas. Not even with the map or constrain function I was able to normalize the numbers.
After giving up on the idea of drawing the crew and passengers numbers, I decided to make a simple bar graph that showed the length of each starships and their names. I was only able to show one of the ships for this sketch. Hopefully I can achieve my initial goal with a second iteration of the sketch.
Following my previous work with random phrases and the inspiration from the famous word magnets, I made a p5 version of it. In my sketch you are able to input random words and after you feel you have enough of them, you can paste them around the fridge. I used the input DOM element to allow the user to write the words. Even though if you intuitively press the Enter key, the words will be added to the array. But in order to make it easier to use, I also added a button to the interface to add the words to the array. For it to be more aesthetically appealing and have a better look, I loaded a fridge image into the sketch. To enhance even more the feel of the magnets, I added a slight random rotation for each of the words that you add.
What is missing now is the possibility to move the words once you have them ‘on the fridge’, allowing to build phrases that make more sense, or not. But for now, I think the game is to be somehow surprised with the random order in which the words appear as you click the mouse around the screen.
Inspired by the weird phrases that typeface designers use to showcase the letters such as "The quick brown fox jumps over the lazy dog". The last contains every letter of the english alphabet so people can see the how the typeface will look. But in google fonts they use shorter ones that do not contain every letter, but a handful of them. So I started by making an array with all the words of one of these phrases. With this I wanted to make something similar to the fridge magnets that have words and you can arrange them to invent phrases. Instead of dragging them around the fridge, the words would appear at the mouse position randomly so you could 'paint' with them and see what other random phrases you could come up.
It didn't work as I wanted because the words are continuously randomizing themselves and the sketch looks crazy, but I think I figured what I'm supposed to do in order to fix it.
Starting from the creepy smile faces class example, I transformed them into a series of flexible strings. The bouncing effect is given by the Y position of the mouse in order to simulate a hand playing multiple strings, like a guitar. I made a function that draws the flexible lines twice with different parameters. And used a for loop to build the rules for these strings. I also added some shiny colors to tell apart the different lines on the sketch. The R channel of this color is controlled by the X position of the mouse making crispy combination between the two.
For this first two-person-programming experience we started by understanding the 10 Print example and playing around with it independently. We then met and shared some previous sketches of buttons and sliders and figured out how to insert them in the sketch. After this first attempt, we each came up with different results:
We met to compare our sketches and combine them. With some difficulties on combining snippets of code which had been done with different logics, we worked our way into making a sketch that was aesthetically pleasing for both:
We also encounter in the process a lot of weird results on our code, some that looked better than others, and some that looked more like errors than an intentional sketch. We kept this one.
For this assignment I wanted to use the classic bouncing ball. I started my sketch with one of p5 web's example to figure out the math around the bouncing feature of an ellipse, which I find it's the most difficult part to code. First thing I did was to make sure the ellipses stayed in the canvas. I spent some time just staring how the path of the ellipse would start making a pattern that looked like a textile weaving. With this in mind, I made the mouse interaction, the 'weaving tool'. The x position changes the stroke weight of the ellipse, allowing the animation to draw mainly colored 'stitches' or moon-shaped ones. Everything else in the sketch is set to random, so whenever you refresh it, it will randomly pick a color, the initial position of the ellipse and the angle of the direction of drawing.
For me, computation is like a reachable parallel universe. A space to make almost anything you can imagine and that it is not impossible to reach. It may require some time, but things can always get done. I was (and still am) particularly surprised by the sorcerer characteristic that computational media has. If properly hidden, it is the perfect tool to achieve the ‘movie magic’ to impress an audience. This cool thing about this is that this way of impression builds a special engagement between the audience and the ‘artwork’. Last year I was able to prove this by myself when I collaborated in the design and implementation of an interactive installation about neuroscience. Without the goal to educate the people who experienced the installation, I was able to corroborate how after visiting the room, a tiny awareness about the neural network the piece was about sparked among the visitors. In this case, instead of trying to understand a complex scientific paper filled with unintelligible pictures and data tables, we brought new findings in neuroscience to the general public. In this course I would like to continue to develop similar exercises and transform interesting topics in entertaining and impressive experiences.
When creating this first sketch in p5.js I felt like doing a tedious hand-made craft. I thought that the cartoon I chose was going to be easier than I thought, but I guess that is something that usually happens. I say a hand-made craft because of the process of building each figures felt super slow compared to making the same figures in a software like Adobe Illustrator. I know there are a thing called variables to make some processes easier, like defining a color so that then you can write just ‘cherry red’ instead of ‘(217, 25, 82)’, but I’m not sure how to use them properly and I’m expecting to find out soon. Also, by the end of the building of BoJack I gave up on some arcs which I couldn’t figure how to put in the right position and angle as desired. I commented them to someday come back to them and figure them out.