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Apr. 12th, 2013

cyber

This is a LiveJournal Update!

1) Despite my long hiatus I remain firm in my support of the social media mass exodus from FB back to LJ.

2) Upon reflection, I would have to term 2011's misguided experiment of using LiveJournal as an actual journal (which I had somehow forgotten about since) as a SUPERFAIL. Posts, hidden.

3) Once again I am modifying my plan for this blog, this time to be used the main platform for my more serious writing on topics of interest to me: mainly politics, environmentalism and social activism. I may also post the occasional work of fiction. I intend to use this platform as a portfolio of my writing, with the intent of actually getting my work published in reputable news sources one day.

4) I did write some gems in the failed 2011 "use LiveJournal as a real journal" sessions and I think I will re-vamp some of the posts into real articles and re-post in the near future.

5) LiveJournal...I know we haven't talked in a while but I still love you.

Jul. 28th, 2011

cyber

New Blog?

I'm going to start a new blog for information-based articles on a few topics I think need more examination. I think it's important for there to be as many alternative voices as possible out there sharing info and speaking out from different points of view than the corporate media. I don't know how big my readership will be but I suppose I have to have faith and believe that my voice will be heard and will matter to some people somewhere!

I'm thinking of keeping this blog up for posting more out there visual art and fictional/poetic writing. We'll see how things go as they go.

Jul. 22nd, 2011

cyber

(no subject)

Hi Livejournal.

I might start updating you again one day soon.

Feb. 15th, 2010

cyber

Graphic Design Geekery

You know you're a graphic design geek when discovering www.dafont.com and www.cgtextures.com make you want to go crazy with excitement.

---

I made a fairly large life and career decision recently: I'm giving up Windows and switching to Linux entirely, which means no Adobe and virtually no industry standard software for digital art and design. Obviously this will affect my work if I decide to freelance, but in my opinion it will affect it positively. I will have a niche, the chance to explore unconventional, up-and-coming software and a more unique product. Mostly I'm excited to be able to argue informatively the merits of open-source design software.

I'm considering shifting the focus of this blog to documenting my adventures. While it may be an obscure niche, I imagine it could be quite a useful source of information for other designers running (or wanting to run) Linux.


For some eye candy, here are two recent photos edited in the GIMP.

Dec. 14th, 2009

cyber

Max's Christmas Present

So my friend Max stated that people could give him anything they wanted for Christmas, so long as it had no physical dimensions. What follows is my answer to that challenge.

Touchless

"Max's Christmas Present"

You will never see it
Never hear it
Never be it
Nor be near it
You can never touch it
Neither taste it
Use it all and never waste it
You cannot smell it
Write or tell it
Despite what's said,
You cannot sell it
It makes no noise upon the stair
It is the thing that isn't there.

Paradox
Pandora's box
It keeps the birds
Arrayed in flocks

Formless as water
Touchless as gas
Lacking width and depth and mass
Like reflections in the glass

It is the meaning in the script
The memory of what's been done
The information in the bit
The zero and the one

The bud inside the winter branch
The shadow in the cave
The rock before the avalanche
It is both particle and wave

Cut the cell and magnify it
You will not find it
You cannot add or multiply it
But dreams describe it

Forever heated, never cool
It binds the atoms in the molecule
Forever moving, never still
You cannot catch it, never will

You cannot measure, cannot test
To nothing concrete is it bound
It is a riddle without a guess
Search and it is nowhere to be found

In the dance it lies between the steps
The moment when your feet lift off the ground
It is neither in the keys nor in the frets
In the song it is a note without a sound

It cannot be split, cannot be broken
Its name is the word that cannot be spoken
It is the circle in the square
It is the thing that isn't there.

Nov. 30th, 2009

cyber

A little story found in a notebook from a year ago.

“It's been a while,” she said, more to her heavily creamed coffee than to him. An old jukebox skipped, making incoherent noises that blurred into some kind of avant-garde remix. Dirty yellow tables, dirty yellow walls. Dirty yellow classic rock crackling on the radio.

“Just your kind of place,” he said. She was damn classy, so classy she loved slumming it. Her taste ran to this washed-up retro vibe that she turned into magic and history. The only girl in the world that could turn a six-year-old coffee stain and the smell of kitchen-grade sterilizer into magic. He thought he might be in love with her.

"I been out of it for a while,” she said. “Far away from everybody.”

“I guess we all get far away in our own directions,” he said. “There's no centre without people out on the fringes.”

“No,” she said. “There were centres out there existing without us, beyond our scope, outside of our knowledge all along, that we never even could touch. And we missed them.” She looked deep into her coffee like she was divining the secrets of the universe in the murky brown, the colour of a faded 1970's photograph of the void. “You know how it is, sometimes you just trip up, and suddenly the walls of your apartment are crawling and staring at you and they're aggressive, and you get locked up in this little room where everyone else is far away, and you remember only what the walls tell you and it's never pretty. And sometimes you think you've seen the bottom but eventually you learn there's no bottom because there's always more down and down and down the rabbit hole you go like...”

Stop.

“...I can't think of anything that it's like. But anyway you know there's a hundred thousand parties going on out there, one for every star in the night sky and they're in love with life and in love with each other and there's music and dancing and costumes and lights and you're not invited to a single one. Not even one. But you know they're there, because you can feel them deep inside you, feel the pulsing vibes, the beat that is not your own. But you're so far lost down the rabbit hole that you can't find your way to the source. You've lost your way home, and eventually you begin to think that you never even had a home in the first place. And that's the story. That's how you get lost.”

“But you must not have gotten lost completely because you can still transform the world into your special dream.”

And she actually smiled. She damn well smiled. And he thought about leaping over the table and knocking her to the floor just to be with her then and there.

And--crack--everything broke. Her coffee was ice and they were sitting on the ceiling looking up at the floor and the jukebox was playing the radio and the radio was playing Led Zeppelin in reverse and she was smiling and smiling and smiling.

*

The drive started like the coffee, weak and bland. Little clicks of bad dance-pop on the radio but it was in and out. The road grew darker, the trees grew closer, leaning in, tunnelling the road, encircling it. The headlights became the sun, moon and stars and all the light in the universe. It began to rain. The wipers made rhythm, clicking with the radio which was more static than music, like the popstars were coming in through SETI from the next galaxy over, an ancient and hidden wisdom about the nature of love and intercourse channelled through their feeble voices.

She was sleeping in the back seat and little drips of rain leaked in through the crappy seal on the hatchback window. Her hair was damp. He had to use all his will to keep his eyes open, to keep from surrendering to the sweet lullaby of windshield wipers and deep breaths. He thought he had never been this happy in his life and tried to forget anything else ever existed, tried to believe that this was sweet eternity, the perfect mix of thrill and comfort, somewhere between the slick road and the soothing heat blasting from the radiator.

He pulled over and climbed into the back seat with her. She woke up a little but did not push him away. “I fucking love this night, and you too, I think,” he told her. A massive splash covered the windows as the roadway carried on its life without them. She turned beneath him and he felt the beltline of her jeans.

It all melted into prismic multicoloured water. Everything began to drip, to flow until there was no more form, no more body, only awareness and intention.

“You can still transform the world into your special dream.”

Oct. 4th, 2009

cyber

(no subject)

I have all but stopped using Twitter since LoudTwitter stopped working and I have precious few non-spam friends on there anyway. I liked making one post to Twitter and having it update on Facebook and LJ as well, but that schema is too buggy to work right now. And since barely anyone reads my Twitter or makes posts on it that I'm interested in, I'm letting that account go dormant for now. I will probably just manually re-post most LJ information on Facebook.

The craziness of moving has finally settled and I'm looking forward to getting back into my artistic life in the context of a much more healthy, relaxing and inspiring home environment than the last.

I briefly considered a personal rebranding for my artistic body of work. I was worried that The Book of X, which is my current moniker, was too vague and akward, and that people might not interpret its symbolism. I considered switching the name to one of a set of Latin names for butterflies, including Nymphalidae, Vanessa and Lepidoptera. The main problem was the sheer effort of rebranding my website, my DeviantArt page and my other online faces. I have gone through a couple rebrandings in the past trying to find my personal image and each one was more intensive than the last. I only just finished my BookofX webpage, it would be murder to reshape it from scratch now. But all of that wouldn't matter if the new name was better than the old. However, looking at the new idea, I was struck by some other doubts: namely that it is too feminine, and not rooted enough in the digital world, in which most of my art takes place. After some consideration, I decided not to rebrand all my work, but instead work with the Book of X moniker to clear up some of its ambiguity and shape it into something more than just a name. I already have logo ideas which illustrate it well, and my thoughts on its symbolism are certainly well formed. Now its just a case of illustrating that with, and through, my art.

With the help of some kind, loving, supportive people I am going through a phase of embracing aspects of myself I had previously tried to suppress, finding my confidence through chasing my dreams and desires, and reconnecting with many old friends I had drifted away from. Furthermore I am lucky to live within a nexus of culture and beginning to make new connections and draw inspiration from new sources.

And I'm -uh- writing in my blog! Aren't you proud of me?

Aug. 9th, 2009

cyber

(no subject)

A few summers ago I successfully took a picture of lightning, but a few weeks later I lost it in a hard drive crash. Suddenly I don't feel so bad anymore. It was no where near as cool as this one, which was taken about a half hour ago. I has outdone myself.

boom

Jul. 30th, 2009

cyber

Some More GIMP Reviews

After my positive experience with GIMP 2.6 I've been using GIMP more lately to work on my personal photos. Last time I commented on the interface differences between GIMP and Photoshop, but the interface is nothing compared to the real strength of any graphic program: the algorithms that run behind the scenes and tell your CPU how to interpret the graphical data.

As I mentioned last time, I got the impression that GIMP handled low-light digital grain better than Photoshop. That's a pretty huge claim as grain is one of THE most considered factors in the professional photography world. Grain can ruin your chances of having a photo published, and while the photographers have gradually become more tolerant of film grain, digital grain is still hated and feared. Grain occurs in low-light conditions, but photograph-worthy moments don't always occur in brightly lit studios. So if an algorithm exists to reduce grain that is more powerful than Adobe's algorithm, it's a big deal.

One powerful tool that Photoshop has that I've yet to see matched is unsharp mask. GIMP has an unsharp mask but it doesn't have nearly the range and flexibility of Photoshop's. I have used unsharp mask to make blurry photos look sharp, to hide flaws inside subjects while sharpening their outlines, and to reduce grain. It's a very powerful tool once you learn how to use its settings. GIMP's unsharp mask is a very simple sharpen tool with a low range of uses.

The thing that really got me excited about GIMP was its filters, and here is where its open-source heritage really shines. In Photoshop you have a certain set of stock filters like emboss, oil painting, trace edges, pencil sketch etc. They're boring. They're tacky. They're overdone, and you've probably seen them a million times. Aside from 2 or 3 with more flexible uses once you tweak them enough I've never seen a more useless dropdown menu. Sometimes you can use them in interesting ways but believe me, it's not easy. They also haven't changed in the past billion versions of Photoshop that have been released. Why are they still there? I don't know either.

There are lots of third party software called plugins that work with Photoshop to give you a whole new set of filters. They're usually commercial (I don't know of any free ones), and they work with varying degrees of speed, quality and crashiness. From my limited experiences with them I've found them to be a pain.

It's always exciting to try new filters out and see what they are going to do to your image, knowing that you will have to try them in many situations to really get a feel for how the filter works. Gradually you begin to associate a random name in a menu with a set of possibilities for your image. GIMP is exciting just in the fact that it has more filters than those horrible Photoshop stock ones. It does take the few good ones that have the most wide-ranging uses and duplicate their effects under similar names. But it also has a range of exciting new possibilities, especially the fractal rendering filters. These provide a huge array of possibilities for mathematically working with your images in ways that make Photoshop cry. Some of the best art I've seen made with the GIMP uses these fractal filters. I love how many of the filters come with little explanations from their makers, telling you what they're supposed to do and throwing in some humour as well. One filter is described as "special effects that nobody understands". Amen to that. Designers usually use the effects without having any idea what they actually do to the photo algorithmically, only caring about how the end result looks. It's amusing to know that the people coding the filters haven't got a clue either, and just do what looks good.

GIMP has its bases covered with its filters, allowing you to edit your images in so many different ways. I'm sure there's a nearly infinite amount of other things that can be done but the GIMP filters sure feel more comprehensive than Photoshop's.

It's worth noting that the super-common effects: levels, curves, saturation, contrast, etc. are totally equal in quality, interface and speed. They've probably become standard since they appear in any number of other generic photomanipulation programs as well.

Back to the interface comparisons: It seems that GIMP is optimized for working with smaller-sized photos such as those suitable for web display, like a 400x600 px, 72 dpi photograph. A few complications come up when you begin working with a 2000x3000 px, high resolution still. All of the brushes are measured in pixel size and they don't come very big. So if you want to darken, lighten or erase part of your big image by hand using a brush, it's out of the question. Of course I did learn how to make new brushes of a custom size, but why can't there be a simple slider or number box to punch in the pixel size you want? I accidentally made a 1000 pixel brush and crashed GIMP. It was very exciting.

Adobe has a system of displaying big images starting at partial resolution and gradually scaling up to full-res. This allows you to see your image even if it's blurry until the full-res image loads. Handy if you're just tweaking colours or things where you don't really need to see details. GIMP does a line-by-line image read where you can watch your updates get rendered on the image from left to right, top to bottom like a progress bar. A pain if you're trying to edit something that occurs at the bottom of the image, but still better than not seeing anything until the whole thing is done. GIMP generally applies edits to big images more slowly than Photoshop, but 2.6 is a world of improvement over whatever old version I was using before that took ages to render the smallest changes.

I think this speaks to the software's main audiences. Adobe caters to professionals who often work with images big enough to print in a magazine, poster or even a billboard. GIMP caters to the internet generation, those who wish to create art and post it on their webpage or blog. In order for GIMP to move into the professional market, I think it will need to tackle the way it handles large, high-resolution images.

Because of its awesome filters, GIMP still wins.

Jul. 25th, 2009

cyber

=)

I just landed a really really awesome job. I am very happy =)

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cyber

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