Ramas

Video made with a version demo of a functional possible universe of this platform. This is the concrete intersection of the theorical situation of the programming system based on ecosystems and the idea we have about the future (contained in the video as text). Both ideas match in the operation of the branching system as an evolutionary organ. As own character beyond of each particular item.

Diverse systems for the algoritmic generation of audio or video exist . These go from the composition random to the use of neuronal systems.
In our work we observed and we tried to decode the natural components of the beauty. We found in this exercise that the function of a system, not perfectly decodable, but delimited and with clear norms aid to the generation of this natural estetic. It is the estetic of life, the ecosystems.

In an ecosystem we see the moving of objects in reaction and like conclusion of present or previous acts of other elements of the same atmosphere. This ordered system does not imply “order” or chaos, can generate any type of stress in the attitude and the unfolding, but it is the beauty that we see the existence of that predictable and determined system in parts. Is the natural overtone that even can be the greater one of the chaos.

With this idea in mind we decided to develop at least in the teoric aspect a new formulation for the programming. Not oriented to objects, not structured, but orienting to ecosystems. In her objects with abilities would be generated, reactions and actions determined in relation to a given atmosphere in which it is, and there are related to other agents of the same or other type. These agents would generate data that would allow the audio-visual composition. In a given atmosphere each agent would react, would be modified, and would modified the atmosphere. This interrelation we could synthesize it like “character”.

What is tried with this method of programming is exactly to generate of algoritmic form, character in the audio-visual pieces, to do not see the piece like a logic sequence or random, but with impetus given by the character of these agents. In part, so that it loses the cold of the metal and the circuits of tecnology and wins a little soul.

Studying possible methods to take ahead a language of this style we principle decided to lay the foundations of a possible universe. For that we structured the language in a given teoric field. We can determine that any ecosystem is circumscribed to a space, fisic and/or psiquic. In our case (humans) a space of 3 dimensions. In where data travel and are caught in a sphere of 5 perceptivos or felt fields. These data generally contain a high range of values, of which we single perceived some. As reaction to these data we generate new data that catch others and so establish the interrelations

There are several systems for the algorithmic generation of video or audio. These range from random composition to the use of neural systems.
In our work we observe and try to decipher the natural components of beauty. We find in this exercise that the function of a system, not perfectly decipherable, but if delimited and with clear rules helps the generation of this natural aesthetic. It is the aesthetics of life, they are ecosystems.

In an ecosystem we see displace objects in reaction and as a conclusion of current or previous acts of other elements of the same environment. This orderly system does not imply “order” or chaos, it can generate any kind of stress in the attitude and development, but it is the beauty that we see the existence of that predictable and determined system in parts. It is the natural harmony that can even be the greatest of chaos.

With this idea in mind we decided to develop at least in the theoretical aspect a new formulation for programming.  Not oriented to objects, unstructured, but oriented to ecosystems. It would generate objects with skills, reactions and actions determined in relation to a given environment in which it is located, and in which it is related to other agents of the same or another type.
These agents would generate data that would allow audiovisual composition.

In a given environment, each reactionary agent would be modified, and in turn modify the environment. We could synthesize this interrelation as “character”.
What is attempted with this method of programming is precisely to generate an algorithmic character in the audiovisual pieces, that the piece is not seen as a logical or random sequence, but with an impetus given by the character of these agents. Partly to lose the cold of the metal and the circuits of technology and gain a bit of soul.

Studying possible methods to carry out a language of this style we decided in principle to lay the foundations of a possible universe.
For that we structure the language in a given theoretical field.
We can determine that any ecosystem is circumscribed to a space, physical and / or psychic. In our case (human) a space of 3 dimensions. Where data travels and are captured in a sphere of 5 perceptual fields or senses.

These data usually contain a high range of values, of which we only perceive some. As a reaction to these data we generate new data that captures other data and thus interrelationships are established.

We decided then to synthesize this system to determine the guidelines of a language structured for an ecosystem. We say then that this must have a general Atmosphere. In this atmosphere it isdeterminate how many are the possible percetibles fields totally in N possibilities (an object may be single perceive 2). Working on writings of Ouspensky we determined that the perception of the space is given by the perception of the senses and not the inverse way. For that reason we determined the importance and relevance of order where followed by the atmosphere are the perceptivs channels, the data that travel by the universe.

Each one of these fields we will call it channel. Channel is a definition where delimited data travel between a minimun and a maximum.

The following component of this teoric concept are the objects by themselves. The objects are elements that can be registered (to acquire the capacity to perceive) to certain channels. With this registration they receive data from the channel.

They can also apply filters to this entrance, for example:
Scaling of the value to an order of minimun and a maximum
Limitate certain rank of the data that enter.

To reduce the definition of the data

Each object can have N dimensions of movement. The use of N dimensions and N fields is to take this language to a usefull abstraction for the programming and not that in short time becomes in a series of repeated systems. With this abstraction unreal atmospheres and ecosystems can be made but possibles at matematical level and usefull at audio-visual level . The objects also contain a buffer of the recived data previously in each channel. Now the important thing is to determine the type of data that travel by the channels. For that there are 2 types of generators. External generators and the objects themselves like generators. The external generators are objects that emit data on a channel. The generating objects as can be the reaction to a channel (on the part of an object) overturned in the same channel or another one or the function of a channel like constant generator. The data can be constant or to be certain to a location in N dimensions and reaches.

Another important abstraction is the one of the affinity. This determines the reaction of objects between them by the closer or the distance with intrinsic values, and by the reception of data emitted by another object.

The affinity is controlled by a table that has each object on each channel. It has a unique dimension of long N. In this space, points of repulsion and affinity with values of incidence and affection in each one are marked. Each object has an own value of situation in that dimension with a certain force. The table gives back then the type of reaction to a given affinity when an object is in the field of inference of its affinity in the space of the corresponding channel.

With all these points we try to lay the teoric and abstract foundations for the elaboration of a language oriented to the recreation of systems of reactive and affective interrelation (ecosystem) which allow the elaboration of generative audio-visual pieces that have own and defined character in their components (spirit).

We decided then to synthesize this system to determine the guidelines of a structured language for an ecosystem.

We say then that this must have a general Environment. In this environment, we determine how many perceptible fields are possible in total N in possibilities (an object can perhaps only perceive 2).

Working on the writings of Ouspensky we determine that the perception of space is given by the perception of the senses and not the other way around. That is why we determine the importance and re-ordering of order where, following the environment, the perceptual channels are found, the data that travels through the universe.

Each of these fields we will call channel.
Channel is a definition through which data delimited between a minimum and a maximum travel.  The next component of this theoretical concept are the objects themselves.

Objects are elements that can be registered (acquire the ability to perceive) to certain channels.  With this registration they will receive data from that channel.

They can in turn apply filters to this entry, such as:

1. Scaling the value to an order of its own minimum and maximum
2. Limit the data entered to a certain range.
3. Reduce the definition of the data

Each object can have N dimensions of movement.
The use of N dimensions and N fields is to take this language to a useful abstraction for programming and not in a short time it becomes a series of repeated systems.

With this abstraction, unreal environments and ecosystems can be created, but possible at the mathematical level and useful at an audiovisual level.
The objects also contain a buffer of the data previously received in each channel.

Now the important thing is to determine what type of data travels through the channels. For that there are 2 types of generators. External generators and the same objects as generators.

External generators are objects that emit data on a channel.
The objects as generators can be the reaction to a channel (by an object) dumped in the same channel or in another or the function of a channel as a constant generator.

The data can be constant or determined at a location in N dimensions and at a range.

Another important abstraction is that of affinity. This determines the reaction of objects to each other by proximity or distance with intrinsic values, and by the reception of data emitted by another object.
The affinity is controlled by a table that each object has on each channel. It has a single long N dimension. In this space points of repulsion and affinity are marked with values ​​of incidence and affection in each one. In turn, each object has a specific value of situation in that dimension with a certain force.
The table then returns the type of reaction to a given affinity when an object is in the inference field of its affinity in the corresponding channel space.

With all these points what we intend is to lay the theoretical and abstract bases for the elaboration of a language oriented to the recreation of reactive and affective interrelation systems (ecosystem) that allow the elaboration of generative audiovisual images that have their own and defined character in their components (spirit).

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