Snebtor

sketchpad

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sprite-art

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LPM2011-Color_1

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308-cdrom

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screen

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diagram

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photocirciut

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screen

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IMAG0170

snebtor — Fri, 16 Mar 2012 15:58:58 +0000

motion

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Predator%20-%20Scanning%20in%20Thermal%20Vision%203

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predator

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experiencia_m

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DSC07494

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zboromini3

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arduino

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arduino

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arduino

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em1

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em3

snebtor — Sat, 15 Sep 2012 23:59:51 +0000

experiencia 2

snebtor — Sat, 15 Sep 2012 23:59:52 +0000

imagen1

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RelSubway2-1

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RelSubway2

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img347

snebtor — Sun, 16 Sep 2012 00:06:10 +0000

elements

snebtor — Tue, 18 Sep 2012 13:47:35 +0000

exponent-shapes

snebtor — Tue, 18 Sep 2012 13:47:36 +0000

shapey01

snebtor — Tue, 18 Sep 2012 13:47:37 +0000

GarciaEstebanA1_32x76

snebtor — Tue, 18 Sep 2012 13:47:39 +0000

shapey_installed

snebtor — Thu, 27 Sep 2012 23:02:09 +0000

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Screen shot 2012-10-15 at 6.20.10 PM

snebtor — Mon, 15 Oct 2012 22:21:33 +0000

Whitson_Rachel_211_Project 3

snebtor — Mon, 15 Oct 2012 22:35:16 +0000

img359

snebtor — Mon, 15 Oct 2012 23:11:39 +0000

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original_GLDB_jpg

snebtor — Thu, 18 Oct 2012 14:35:19 +0000

greatlakes

snebtor — Thu, 18 Oct 2012 14:38:01 +0000

detail

snebtor — Sat, 20 Oct 2012 13:27:25 +0000

experiencia_in

snebtor — Sat, 20 Oct 2012 13:48:09 +0000

Screen shot 2012-10-15 at 6.20.10 PM

snebtor — Sat, 20 Oct 2012 14:14:07 +0000

GarciaEstebanA1_32x76

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Screen shot 2010-09-30 at 12.48.53 AM

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garcia4

snebtor — Sat, 20 Oct 2012 18:30:01 +0000

Esteban Garcia CV art

snebtor — Sat, 20 Oct 2012 18:55:43 +0000

cd_cero39_Konn

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cero39_shirt2

snebtor — Sat, 20 Oct 2012 20:21:02 +0000

cocos

snebtor — Sat, 20 Oct 2012 20:21:08 +0000

mar-animacion

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screenshot digipack

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7552759328_9e8417d025_c

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7561605958_77b98ba7cb_c

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7586315322_9bddbbd163_c

snebtor — Sat, 20 Oct 2012 20:54:49 +0000

detail

snebtor — Sat, 20 Oct 2012 21:32:32 +0000

phil

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phil_sketch1

snebtor — Sun, 21 Oct 2012 00:00:41 +0000

phil_circuit

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phil

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7273752232_d9a06a7115_c

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6792635388_9c9d2a128d_z

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6818421069_397d28ed12_z

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experiencia-mistica

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radio_chiguiro ISEA

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code_talker-panel

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vaca

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P1030335

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8159390746_c4147a3c1a_c

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P1030241-a

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pizza-flyer_color

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logo-instagram-64x64

snebtor — Sat, 10 Nov 2012 03:17:59 +0000

flickr_logo

snebtor — Sat, 10 Nov 2012 03:18:03 +0000

Flickr

snebtor — Sat, 10 Nov 2012 03:40:38 +0000

ISEA2012_chiguiro

snebtor — Sat, 10 Nov 2012 17:41:00 +0000

44.4.garcia

snebtor — Sat, 10 Nov 2012 17:50:10 +0000

P1030371

snebtor — Thu, 15 Nov 2012 18:33:03 +0000

arkanoid clone

snebtor — Sat, 17 Nov 2012 20:30:51 +0000

video full

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903e3ac87ea911e1be6a12313820455d_7

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6705075293_a1c506ea32_b

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6705079977_9f23cc8dd3_b

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me

snebtor — Sat, 08 Dec 2012 15:00:11 +0000

8159391600_26cdd4b794_c

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6623507321_f202302828_z

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P1030616

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foam

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7788856704_536fd48220_c

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7788852224_d33739b0bd_c

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7154556891_6178819eb8_c

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tunnel2

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tunnel

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P1020077

snebtor — Tue, 18 Dec 2012 02:04:23 +0000

melt

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isis

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pizza

snebtor — Wed, 19 Dec 2012 00:17:55 +0000

frontCD

snebtor — Wed, 19 Dec 2012 00:20:53 +0000

cropped-Logo-Sept

snebtor — Thu, 03 Jan 2013 21:46:05 +0000

P1030928

snebtor — Sat, 19 Jan 2013 04:05:18 +0000

P1030960

snebtor — Sat, 19 Jan 2013 15:25:41 +0000

tumblr_button

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Screen shot 2013-03-19 at 1.14.38 PM

snebtor — Tue, 19 Mar 2013 17:15:06 +0000

IMAG1251

snebtor — Fri, 03 May 2013 14:53:34 +0000

P1040034

snebtor — Fri, 03 May 2013 15:10:59 +0000

Screen Shot 2013-05-04 at 8.39.16 AM

snebtor — Sat, 04 May 2013 15:27:38 +0000

corn-game

snebtor — Tue, 04 Jun 2013 18:11:10 +0000

Screen Shot 2013-06-04 at 3.28.21 PM

snebtor — Tue, 04 Jun 2013 19:28:48 +0000

8780037594_85793f2cbc_c

snebtor — Tue, 04 Jun 2013 19:34:14 +0000

diptych

snebtor — Tue, 04 Jun 2013 22:53:40 +0000

Screen Shot 2013-06-09 at 11.52.44 AM

snebtor — Sun, 09 Jun 2013 01:53:11 +0000

971102_531475693556426_1974242907_n

snebtor — Thu, 01 Aug 2013 21:17:27 +0000

8928645882_8f6705731b_o

snebtor — Thu, 01 Aug 2013 21:17:28 +0000

9194491177_95bfaa5951_o

snebtor — Thu, 01 Aug 2013 21:17:29 +0000

Mas Rombilandia

snebtor — Tue, 03 Dec 2013 02:19:13 +0000

By: snebtor (Attribution-NonCommercial License)

LUST AND WORSHIP

snebtor — Tue, 03 Dec 2013 02:19:14 +0000

By: snebtor (Attribution-NonCommercial License)

HEXAGONS

snebtor — Tue, 03 Dec 2013 02:19:14 +0000

By: snebtor (Attribution-NonCommercial License)

LOVE AND BEAUTY

snebtor — Tue, 03 Dec 2013 02:19:15 +0000

By: snebtor (Attribution-NonCommercial License)

LIVING FAST SHAPES

snebtor — Tue, 03 Dec 2013 02:19:16 +0000

By: snebtor (Attribution-NonCommercial License)

COVER SKETCHBOOK 2007

snebtor — Tue, 03 Dec 2013 02:19:17 +0000

By: snebtor (Attribution-NonCommercial License)

PONY DESTROY

snebtor — Tue, 03 Dec 2013 02:19:18 +0000

it did destroy

By: snebtor (Attribution-NonCommercial License)

EDDIE

snebtor — Tue, 03 Dec 2013 02:19:19 +0000

By: snebtor (Attribution-NonCommercial License)

STEREO EVENTOS

snebtor — Tue, 03 Dec 2013 02:19:20 +0000

By: snebtor (Attribution-NonCommercial License)

END OF SKETCHBOOK 2007

snebtor — Tue, 03 Dec 2013 02:19:21 +0000

By: snebtor (Attribution-NonCommercial License)

EXTRAFANCY FOR YOU

snebtor — Tue, 03 Dec 2013 02:19:22 +0000

By: snebtor (Attribution-NonCommercial License)

SHARP

snebtor — Tue, 03 Dec 2013 02:19:23 +0000

By: snebtor (Attribution-NonCommercial License)

2185500123_44cb7d8acd_o

snebtor — Tue, 03 Dec 2013 02:19:24 +0000

By: snebtor (Attribution-NonCommercial License)

TATTOO

snebtor — Tue, 03 Dec 2013 02:19:25 +0000

sketch

By: snebtor (Attribution-NonCommercial License)

FUN

snebtor — Tue, 03 Dec 2013 02:19:26 +0000

By: snebtor (Attribution-NonCommercial License)

BOBITO

snebtor — Tue, 03 Dec 2013 02:19:28 +0000

By: snebtor (Attribution-NonCommercial License)

GUT

snebtor — Tue, 03 Dec 2013 02:19:29 +0000

By: snebtor (Attribution-NonCommercial License)

ROCK KILLS I TELL YA

snebtor — Tue, 03 Dec 2013 02:19:30 +0000

By: snebtor (Attribution-NonCommercial License)

BORED

snebtor — Tue, 03 Dec 2013 02:19:31 +0000

By: snebtor (Attribution-NonCommercial License)

MORE EVIL CITIES

snebtor — Tue, 03 Dec 2013 02:19:31 +0000

By: snebtor (Attribution-NonCommercial License)

OMAR RAYO

snebtor — Tue, 03 Dec 2013 02:19:32 +0000

likes sid vicious

By: snebtor (Attribution-NonCommercial License)

BEAUTY

snebtor — Tue, 03 Dec 2013 02:19:33 +0000

By: snebtor (Attribution-NonCommercial License)

MELTED

snebtor — Tue, 03 Dec 2013 02:19:34 +0000

By: snebtor (Attribution-NonCommercial License)

ROAD TRIP

snebtor — Tue, 03 Dec 2013 02:19:34 +0000

By: snebtor (Attribution-NonCommercial License)

CONO Y ROMBOS

snebtor — Tue, 03 Dec 2013 02:19:35 +0000

By: snebtor (Attribution-NonCommercial License)

EASTCOAST

snebtor — Tue, 03 Dec 2013 02:19:36 +0000

By: snebtor (Attribution-NonCommercial License)

CLEAN

snebtor — Tue, 03 Dec 2013 02:19:37 +0000

By: snebtor (Attribution-NonCommercial License)

Lafayette Characters

snebtor — Tue, 03 Dec 2013 02:19:38 +0000

For "mentes Jodidas" comic

By: snebtor (Attribution-NonCommercial License)

COMPULSIVE

snebtor — Tue, 03 Dec 2013 02:19:38 +0000

By: snebtor (Attribution-NonCommercial License)

Underwater creatures

snebtor — Tue, 03 Dec 2013 02:19:39 +0000

Austin, March 2007

By: snebtor (Attribution-NonCommercial License)

CARA DE TRIANGULO

snebtor — Tue, 03 Dec 2013 02:19:40 +0000

By: snebtor (Attribution-NonCommercial License)

2185500063_9592a59aa8_o

snebtor — Tue, 03 Dec 2013 02:19:41 +0000

Broken hearted creatures

By: snebtor (Attribution-NonCommercial License)

THE SHAPE OF COLOR

snebtor — Tue, 03 Dec 2013 02:19:41 +0000

By: snebtor (Attribution-NonCommercial License)

ROTTEN MIND AND HEART

snebtor — Tue, 03 Dec 2013 02:19:42 +0000

new sketchbook

By: snebtor (Attribution-NonCommercial License)

EVIL CITIES

snebtor — Tue, 03 Dec 2013 02:19:43 +0000

Austin, March 2007

By: snebtor (Attribution-NonCommercial License)

UBALA

snebtor — Tue, 03 Dec 2013 02:19:44 +0000

By: snebtor (Attribution-NonCommercial License)

horse

snebtor — Tue, 03 Dec 2013 02:19:44 +0000

By: snebtor (Attribution-NonCommercial License)

Derrida and hotdogs

snebtor — Tue, 03 Dec 2013 02:19:45 +0000

By: snebtor (Attribution-NonCommercial License)

EVIL CITIES

snebtor — Tue, 03 Dec 2013 02:19:46 +0000

only in my mind

By: snebtor (Attribution-NonCommercial License)

coldest

snebtor — Tue, 03 Dec 2013 02:19:47 +0000

By: snebtor (Attribution-NonCommercial License)

INTERSECCIONES

snebtor — Tue, 03 Dec 2013 02:19:47 +0000

By: snebtor (Attribution-NonCommercial License)

BAD CELLS

snebtor — Tue, 03 Dec 2013 02:19:48 +0000

new sketchbook starts here

By: snebtor (Attribution-NonCommercial License)

ROMBILANDIA

snebtor — Tue, 03 Dec 2013 02:19:49 +0000

By: snebtor (Attribution-NonCommercial License)

Class Notes

snebtor — Tue, 03 Dec 2013 02:19:50 +0000

By: snebtor (Attribution-NonCommercial License)

Home Run kings III

snebtor — Tue, 03 Dec 2013 02:19:51 +0000

By: snebtor (Attribution-NonCommercial License)

Home Run kings II

snebtor — Tue, 03 Dec 2013 02:19:51 +0000

By: snebtor (Attribution-NonCommercial License)

Home Run kings I

snebtor — Tue, 03 Dec 2013 02:19:52 +0000

es lo que he estado haciendo esta semana

By: snebtor (Attribution-NonCommercial License)

new drawings

snebtor — Tue, 03 Dec 2013 02:19:52 +0000

By: snebtor (Attribution-NonCommercial License)

musi-amor

snebtor — Tue, 03 Dec 2013 02:19:53 +0000

By: snebtor (Attribution-NonCommercial License)

new drawings

snebtor — Tue, 03 Dec 2013 02:19:54 +0000

By: snebtor (Attribution-NonCommercial License)

solid gold

snebtor — Tue, 03 Dec 2013 02:19:55 +0000

By: snebtor (Attribution-NonCommercial License)

new drawings

snebtor — Tue, 03 Dec 2013 02:19:56 +0000

By: snebtor (Attribution-NonCommercial License)

city bird

snebtor — Tue, 03 Dec 2013 02:19:57 +0000

By: snebtor (Attribution-NonCommercial License)

city bird

snebtor — Tue, 03 Dec 2013 02:19:58 +0000

preparing for the bird-art market

By: snebtor (Attribution-NonCommercial License)

nancy

snebtor — Tue, 03 Dec 2013 02:19:59 +0000

By: snebtor (Attribution-NonCommercial License)

smokes

snebtor — Tue, 03 Dec 2013 02:20:00 +0000

By: snebtor (Attribution-NonCommercial License)

raw power

snebtor — Tue, 03 Dec 2013 02:20:01 +0000

By: snebtor (Attribution-NonCommercial License)

Only

snebtor — Tue, 03 Dec 2013 02:20:01 +0000

By: snebtor (Attribution-NonCommercial License)

ruscha y el mar

snebtor — Tue, 03 Dec 2013 02:20:02 +0000

By: snebtor (Attribution-NonCommercial License)

BCN

snebtor — Tue, 03 Dec 2013 02:20:03 +0000

By: snebtor (Attribution-NonCommercial License)

Snebtor world tour logo

snebtor — Tue, 03 Dec 2013 02:20:03 +0000

By: snebtor (Attribution-NonCommercial License)

ciudat

snebtor — Tue, 03 Dec 2013 02:20:04 +0000

collage de barcelona

By: snebtor (Attribution-NonCommercial License)

cof

snebtor — Tue, 03 Dec 2013 02:20:05 +0000

amsterdam

By: snebtor (Attribution-NonCommercial License)

tos

snebtor — Tue, 03 Dec 2013 02:20:05 +0000

amsterdam

By: snebtor (Attribution-NonCommercial License)

green bear

snebtor — Tue, 03 Dec 2013 02:20:06 +0000

beerlin

By: snebtor (Attribution-NonCommercial License)

golden bear

snebtor — Tue, 03 Dec 2013 02:20:06 +0000

berlin

By: snebtor (Attribution-NonCommercial License)

bauhaus

snebtor — Tue, 03 Dec 2013 02:20:07 +0000

Berlin

By: snebtor (Attribution-NonCommercial License)

paris

snebtor — Tue, 03 Dec 2013 02:20:07 +0000

By: snebtor (Attribution-NonCommercial License)

amsterdam

snebtor — Tue, 03 Dec 2013 02:20:07 +0000

atardecer

By: snebtor (Attribution-NonCommercial License)

he he he

snebtor — Tue, 03 Dec 2013 02:20:08 +0000

Amsterdam

By: snebtor (Attribution-NonCommercial License)

pound

snebtor — Tue, 03 Dec 2013 02:20:09 +0000

By: snebtor (Attribution-NonCommercial License)

berliner phantom

snebtor — Tue, 03 Dec 2013 02:20:09 +0000

By: snebtor (Attribution-NonCommercial License)

spaceship

snebtor — Tue, 03 Dec 2013 02:20:10 +0000

the original pic comes from my cousin ankkla (http://www.flickr.com/photos/annkla/56715602/) when she was in chile

By: snebtor (Attribution-NonCommercial License)

snebtor — Tue, 03 Dec 2013 02:20:10 +0000

By: snebtor (Attribution-NonCommercial License)

big ben texture

snebtor — Tue, 03 Dec 2013 02:20:11 +0000

By: snebtor (Attribution-NonCommercial License)

lugar imaginario

snebtor — Tue, 03 Dec 2013 02:20:11 +0000

By: snebtor (Attribution-NonCommercial License)

sketchbook back

snebtor — Tue, 03 Dec 2013 02:20:12 +0000

By: snebtor (Attribution-NonCommercial License)

sketchbook cover

snebtor — Tue, 03 Dec 2013 02:20:12 +0000

spring-summer 2006

By: snebtor (Attribution-NonCommercial License)

bcn notes

snebtor — Tue, 03 Dec 2013 02:20:13 +0000

By: snebtor (Attribution-NonCommercial License)

golden concepts

snebtor — Tue, 03 Dec 2013 02:20:14 +0000

By: snebtor (Attribution-NonCommercial License)

endless detox

snebtor — Tue, 03 Dec 2013 02:20:14 +0000

I was blaming myself for my bad habits

By: snebtor (Attribution-NonCommercial License)

life

snebtor — Tue, 03 Dec 2013 02:20:15 +0000

By: snebtor (Attribution-NonCommercial License)

"GUT"

snebtor — Tue, 03 Dec 2013 02:20:16 +0000

By: snebtor (Attribution-NonCommercial License)

2008

snebtor — Tue, 03 Dec 2013 02:20:17 +0000

Mis Perros/ My Dawgs: Happy Holidays!

By: snebtor (Attribution-NonCommercial License)

CLIP'D BEAKS KNICKERBOCKER

snebtor — Tue, 03 Dec 2013 02:20:18 +0000

clip'd beaks (LA) We Are Hex (Indy) Analog Zebra + VJ snebtor Drumkit

By: snebtor (Attribution-NonCommercial License)

CHIGUIPERRO PATCH

snebtor — Tue, 03 Dec 2013 02:20:19 +0000

CHIGUIPERRO PATCH parche

By: snebtor (Attribution-NonCommercial License)

BEER TOUCH!

snebtor — Tue, 03 Dec 2013 02:20:20 +0000

Erin's got some BEER

By: snebtor (Attribution-NonCommercial License)

BEER ZINE COVER

snebtor — Tue, 03 Dec 2013 02:20:22 +0000

BEER ZINE COVER. NOV 2 Sponsored by Luxie's Pub-n- Grub

By: snebtor (Attribution-NonCommercial License)

LOVE MONEY

snebtor — Tue, 03 Dec 2013 02:20:23 +0000

I've got a 24K gold Hummer

By: snebtor (Attribution-NonCommercial License)

Scared of evil space cities

snebtor — Tue, 03 Dec 2013 02:20:24 +0000

By: snebtor (Attribution-NonCommercial License)

heaven cake

snebtor — Tue, 03 Dec 2013 02:20:25 +0000

By: snebtor (Attribution-NonCommercial License)

THE HALF RATS 7"

snebtor — Tue, 03 Dec 2013 02:20:27 +0000

It's Done!!

By: snebtor (Attribution-NonCommercial License)

JESUS CHRIST BEFORE CHRIST

snebtor — Tue, 03 Dec 2013 02:20:29 +0000

JESUS CHRIST BEFORE CHRIST design for new MAN'S 7" www.myspace.com/themansmans

By: snebtor (Attribution-NonCommercial License)

SIDE B THE MANS

snebtor — Tue, 03 Dec 2013 02:20:30 +0000

By: snebtor (Attribution-NonCommercial License)

PERROCK

snebtor — Tue, 03 Dec 2013 02:20:30 +0000

By: snebtor (Attribution-NonCommercial License)

DIBULOCO

snebtor — Tue, 03 Dec 2013 02:20:32 +0000

sesion de dibujo hasta las 7 am

By: snebtor (Attribution-NonCommercial License)

DETALLE

snebtor — Tue, 03 Dec 2013 02:20:33 +0000

dibujos con el busesito "cafran" ejecutivo

By: snebtor (Attribution-NonCommercial License)

DETALLE

snebtor — Tue, 03 Dec 2013 02:20:34 +0000

By: snebtor (Attribution-NonCommercial License)

DETALLE

snebtor — Tue, 03 Dec 2013 02:20:34 +0000

By: snebtor (Attribution-NonCommercial License)

DETALLE

snebtor — Tue, 03 Dec 2013 02:20:35 +0000

By: snebtor (Attribution-NonCommercial License)

HOY LOUTEC

snebtor — Tue, 03 Dec 2013 02:20:36 +0000

PROGRAMACION DE EVENTOS LOUTEC MARTES 17 6:00 PM INAUGURACION MUSICA EN VIVO: Chúsmica Amenizado por La Rockola aficionada de la reinta, snebtor MIERCOLES 18 5:30PM-7:30PM VIDA ALREDEDOR DE LOS FANZINES Conversación con Constanza Espitia (Lunatika), Leonardo Peña (Mal gusto, 9 milimetros), Camilo Sanín (Medusa) JUEVES 19 5:30PM-7:30PM TALLER DE FANZIN Con Andrés Bustamante MARTES 24 5:30PM-7:30PM STENCIL Conversación con Marcelo Mejía

By: snebtor (Attribution-NonCommercial License)

Tatuaje para Lucas

snebtor — Tue, 03 Dec 2013 02:20:37 +0000

By: snebtor (Attribution-NonCommercial License)

RADIO CHIGUIRO RECLAIMS THE AIRWAVES

snebtor — Tue, 03 Dec 2013 02:20:39 +0000

This friday with the beatkids (Chicago) And az

By: snebtor (Attribution-NonCommercial License)

NUEVAS CAMISETAS ///EN BOGOTA!!!

snebtor — Tue, 03 Dec 2013 02:20:41 +0000

MINE-US coleccion nueva a partir de este miercoles en Bogota. para dama y caballero en variados colores y en materiales de la mejor calidad!

By: snebtor (Attribution-NonCommercial License)

eat-cmyk

snebtor — Tue, 03 Dec 2013 02:20:42 +0000

new sharpies!!

By: snebtor (Attribution-NonCommercial License)

city projects

snebtor — Tue, 03 Dec 2013 02:20:43 +0000

By: snebtor (Attribution-NonCommercial License)

meth-burrito

snebtor — Tue, 03 Dec 2013 02:20:45 +0000

Uno de mis restaurantes favoritos era en realidad una olla de Meth.

By: snebtor (Attribution-NonCommercial License)

thou-shalt-always-kill

snebtor — Tue, 03 Dec 2013 02:20:47 +0000

Listen to our new mix tape! only in www.chiguiro.org AWESOME!

By: snebtor (Attribution-NonCommercial License)

blobby

snebtor — Tue, 03 Dec 2013 02:20:48 +0000

By: snebtor (Attribution-NonCommercial License)

pollo

snebtor — Tue, 03 Dec 2013 02:20:49 +0000

By: snebtor (Attribution-NonCommercial License)

blacklips fixed time

snebtor — Tue, 03 Dec 2013 02:20:50 +0000

By: snebtor (Attribution-NonCommercial License)

deluxe gravy

snebtor — Tue, 03 Dec 2013 02:20:52 +0000

Back cover for bootsy's mix. Coming up soon! Bands that played Lafayette.

By: snebtor (Attribution-NonCommercial License)

joey

snebtor — Tue, 03 Dec 2013 02:20:53 +0000

By: snebtor (Attribution-NonCommercial License)

pointless

snebtor — Tue, 03 Dec 2013 02:20:54 +0000

By: snebtor (Attribution-NonCommercial License)

mochuelos

snebtor — Tue, 03 Dec 2013 02:20:54 +0000

By: snebtor (Attribution-NonCommercial License)

mochuelos

snebtor — Tue, 03 Dec 2013 02:20:55 +0000

By: snebtor (Attribution-NonCommercial License)

j

snebtor — Tue, 03 Dec 2013 02:20:56 +0000

By: snebtor (Attribution-NonCommercial License)

wheels on fire at zoolegers

snebtor — Tue, 03 Dec 2013 02:20:56 +0000

By: snebtor (Attribution-NonCommercial License)

superbad

snebtor — Tue, 03 Dec 2013 02:20:57 +0000

By: snebtor (Attribution-NonCommercial License)

midwest tour

snebtor — Tue, 03 Dec 2013 02:20:58 +0000

radiochiguiro 2007

By: snebtor (Attribution-NonCommercial License)

Daily Artist Proposal

snebtor — Tue, 03 Dec 2013 02:21:00 +0000

For the "daily artist" project from the Berlin based collective daily services. www.dailyservices.net/products/t-shirt/ Part of the XV BIENNALE DE PARIS (http://www.biennaledeparis.org/)

By: snebtor (Attribution-NonCommercial License)

Proposal 2

snebtor — Tue, 03 Dec 2013 02:21:01 +0000

For the "daily artist" project from the Berlin based collective daily services. www.dailyservices.net/products/t-shirt/ Part of the XV BIENNALE DE PARIS (http://www.biennaledeparis.org/)

By: snebtor (Attribution-NonCommercial License)

chigui mobile

snebtor — Tue, 03 Dec 2013 02:21:02 +0000

se puede amarrar a la bicicleta o al carro... le hace falta un banderin en la cola. La serie a continuacion es el sketchbook que acabo de terminar

By: snebtor (Attribution-NonCommercial License)

delisabor

snebtor — Tue, 03 Dec 2013 02:21:02 +0000

dibujos ineditos

By: snebtor (Attribution-NonCommercial License)

layers of time

snebtor — Tue, 03 Dec 2013 02:21:03 +0000

By: snebtor (Attribution-NonCommercial License)

mobile patch

snebtor — Tue, 03 Dec 2013 02:21:03 +0000

I'm printing this patch for the Renegade crafts festival this weekend in chicago to raise funds for building the chiguiromobile www.renegadecraft.com

By: snebtor (Attribution-NonCommercial License)

wavy

snebtor — Tue, 03 Dec 2013 02:21:04 +0000

By: snebtor (Attribution-NonCommercial License)

first page

snebtor — Tue, 03 Dec 2013 02:21:05 +0000

By: snebtor (Attribution-NonCommercial License)

time spent

snebtor — Tue, 03 Dec 2013 02:21:05 +0000

By: snebtor (Attribution-NonCommercial License)

pure evil

snebtor — Tue, 03 Dec 2013 02:21:06 +0000

series of drawings of nightmares

By: snebtor (Attribution-NonCommercial License)

lava

snebtor — Tue, 03 Dec 2013 02:21:06 +0000

By: snebtor (Attribution-NonCommercial License)

heart went boom

snebtor — Tue, 03 Dec 2013 02:21:07 +0000

By: snebtor (Attribution-NonCommercial License)

music birds

snebtor — Tue, 03 Dec 2013 02:21:08 +0000

spring

By: snebtor (Attribution-NonCommercial License)

hot girls burn

snebtor — Tue, 03 Dec 2013 02:21:08 +0000

By: snebtor (Attribution-NonCommercial License)

owl shirt

snebtor — Tue, 03 Dec 2013 02:21:09 +0000

este es el diseño original para las camisetas que lleve a europa

By: snebtor (Attribution-NonCommercial License)

wrong

snebtor — Tue, 03 Dec 2013 02:21:09 +0000

By: snebtor (Attribution-NonCommercial License)

weird jukebox

snebtor — Tue, 03 Dec 2013 02:21:10 +0000

By: snebtor (Attribution-NonCommercial License)

useless

snebtor — Tue, 03 Dec 2013 02:21:11 +0000

feeling awkward at some point of may

By: snebtor (Attribution-NonCommercial License)

RYAN PITS & THE BOYTOYS TOUR POSTER

snebtor — Tue, 03 Dec 2013 02:21:13 +0000

WISH YOU WERE HERE www.myspace.com/theboytoysmusic

By: snebtor (Attribution-NonCommercial License)

Softy

snebtor — Tue, 03 Dec 2013 02:21:14 +0000

By: snebtor (Attribution-NonCommercial License)

FIRE

snebtor — Tue, 03 Dec 2013 02:21:16 +0000

By: snebtor (Attribution-NonCommercial License)

snebtor — Tue, 03 Dec 2013 02:21:20 +0000

By: snebtor (Attribution-NonCommercial License)

collage

snebtor — Tue, 03 Dec 2013 02:21:21 +0000

By: snebtor (Attribution-NonCommercial License)

collage

snebtor — Tue, 03 Dec 2013 02:21:24 +0000

By: snebtor (Attribution-NonCommercial License)

BOYTOYS fire idea

snebtor — Tue, 03 Dec 2013 02:21:26 +0000

By: snebtor (Attribution-NonCommercial License)

working man lay down logo

snebtor — Tue, 03 Dec 2013 02:21:28 +0000

By: snebtor (Attribution-NonCommercial License)

MO-SNO

snebtor — Tue, 03 Dec 2013 02:21:30 +0000

By: snebtor (Attribution-NonCommercial License)

Tape design

snebtor — Tue, 03 Dec 2013 02:21:32 +0000

By: snebtor (Attribution-NonCommercial License)

additive color idea

snebtor — Tue, 03 Dec 2013 02:21:34 +0000

By: snebtor (Attribution-NonCommercial License)

interactive shapes idea

snebtor — Tue, 03 Dec 2013 02:21:36 +0000

By: snebtor (Attribution-NonCommercial License)

IDEAS

snebtor — Tue, 03 Dec 2013 02:21:38 +0000

By: snebtor (Attribution-NonCommercial License)

PRACTICE

snebtor — Tue, 03 Dec 2013 02:21:40 +0000

By: snebtor (Attribution-NonCommercial License)

YEAHH

snebtor — Tue, 03 Dec 2013 02:21:42 +0000

By: snebtor (Attribution-NonCommercial License)

TRAFOAS

snebtor — Tue, 03 Dec 2013 02:21:45 +0000

By: snebtor (Attribution-NonCommercial License)

BUDS

snebtor — Tue, 03 Dec 2013 02:21:47 +0000

By: snebtor (Attribution-NonCommercial License)

FLYING PIZZA

snebtor — Tue, 03 Dec 2013 02:21:49 +0000

By: snebtor (Attribution-NonCommercial License)

SUBMARINE IN LAKE

snebtor — Tue, 03 Dec 2013 02:21:51 +0000

By: snebtor (Attribution-NonCommercial License)

SUNSET ON LAKE

snebtor — Tue, 03 Dec 2013 02:21:53 +0000

By: snebtor (Attribution-NonCommercial License)

NEW SKETCHBOOK

snebtor — Tue, 03 Dec 2013 02:21:56 +0000

By: snebtor (Attribution-NonCommercial License)

NEW SKETCHBOOK

snebtor — Tue, 03 Dec 2013 02:21:58 +0000

By: snebtor (Attribution-NonCommercial License)

TRIANGLES (stacked)

snebtor — Tue, 03 Dec 2013 02:22:00 +0000

By: snebtor (Attribution-NonCommercial License)

LINES

snebtor — Tue, 03 Dec 2013 02:22:02 +0000

By: snebtor (Attribution-NonCommercial License)

ANEMONA

snebtor — Tue, 03 Dec 2013 02:22:04 +0000

By: snebtor (Attribution-NonCommercial License)

DEAD PARTS

snebtor — Tue, 03 Dec 2013 02:22:06 +0000

By: snebtor (Attribution-NonCommercial License)

BLOSSOM

snebtor — Tue, 03 Dec 2013 02:22:08 +0000

By: snebtor (Attribution-NonCommercial License)

ID

snebtor — Tue, 03 Dec 2013 02:22:10 +0000

By: snebtor (Attribution-NonCommercial License)

FRIDAY HEAT

snebtor — Tue, 03 Dec 2013 02:22:12 +0000

By: snebtor (Attribution-NonCommercial License)

DO

snebtor — Tue, 03 Dec 2013 02:22:16 +0000

By: snebtor (Attribution-NonCommercial License)

FRIDAYNITE HEAT

snebtor — Tue, 03 Dec 2013 02:22:18 +0000

next friday - It's my birthday party!

By: snebtor (Attribution-NonCommercial License)

Practice

snebtor — Tue, 03 Dec 2013 02:22:21 +0000

By: snebtor (Attribution-NonCommercial License)

Solid stack

snebtor — Tue, 03 Dec 2013 02:22:23 +0000

By: snebtor (Attribution-NonCommercial License)

Solids

snebtor — Tue, 03 Dec 2013 02:22:26 +0000

By: snebtor (Attribution-NonCommercial License)

Shapes

snebtor — Tue, 03 Dec 2013 02:22:28 +0000

By: snebtor (Attribution-NonCommercial License)

3D drawing

snebtor — Tue, 03 Dec 2013 02:22:31 +0000

By: snebtor (Attribution-NonCommercial License)

Poison Ivy

snebtor — Tue, 03 Dec 2013 02:22:33 +0000

By: snebtor (Attribution-NonCommercial License)

Breakdown

snebtor — Tue, 03 Dec 2013 02:22:35 +0000

By: snebtor (Attribution-NonCommercial License)

Raccoon

snebtor — Tue, 03 Dec 2013 02:22:38 +0000

By: snebtor (Attribution-NonCommercial License)

Raccoon

snebtor — Tue, 03 Dec 2013 02:22:40 +0000

By: snebtor (Attribution-NonCommercial License)

Logs

snebtor — Tue, 03 Dec 2013 02:22:42 +0000

By: snebtor (Attribution-NonCommercial License)

Practicing

snebtor — Tue, 03 Dec 2013 02:22:45 +0000

By: snebtor (Attribution-NonCommercial License)

Thirsty creature

snebtor — Tue, 03 Dec 2013 02:22:49 +0000

By: snebtor (Attribution-NonCommercial License)

Shape Interactions

snebtor — Tue, 03 Dec 2013 02:22:51 +0000

By: snebtor (Attribution-NonCommercial License)

Space

snebtor — Tue, 03 Dec 2013 02:22:54 +0000

By: snebtor (Attribution-NonCommercial License)

snebtor — Tue, 03 Dec 2013 02:22:56 +0000

By: snebtor (Attribution-NonCommercial License)

Drawing at McDonalds

snebtor — Tue, 03 Dec 2013 02:22:59 +0000

By: snebtor (Attribution-NonCommercial License)

Every Drawing is a Project?

snebtor — Tue, 03 Dec 2013 02:23:01 +0000

Color/Shape interaction Models

By: snebtor (Attribution-NonCommercial License)

Mas Rombilandia

snebtor — Tue, 03 Dec 2013 02:23:05 +0000

By: snebtor (Attribution-NonCommercial License)

LUST AND WORSHIP

snebtor — Tue, 03 Dec 2013 02:23:06 +0000

By: snebtor (Attribution-NonCommercial License)

HEXAGONS

snebtor — Tue, 03 Dec 2013 02:23:07 +0000

By: snebtor (Attribution-NonCommercial License)

LOVE AND BEAUTY

snebtor — Tue, 03 Dec 2013 02:23:07 +0000

By: snebtor (Attribution-NonCommercial License)

LIVING FAST SHAPES

snebtor — Tue, 03 Dec 2013 02:23:08 +0000

By: snebtor (Attribution-NonCommercial License)

COVER SKETCHBOOK 2007

snebtor — Tue, 03 Dec 2013 02:23:09 +0000

By: snebtor (Attribution-NonCommercial License)

PONY DESTROY

snebtor — Tue, 03 Dec 2013 02:23:10 +0000

it did destroy

By: snebtor (Attribution-NonCommercial License)

FEAR

snebtor — Tue, 03 Dec 2013 02:23:10 +0000

By: snebtor (Attribution-NonCommercial License)

PUKING BRAINS

snebtor — Tue, 03 Dec 2013 02:23:11 +0000

By: snebtor (Attribution-NonCommercial License)

EDDIE

snebtor — Tue, 03 Dec 2013 02:23:12 +0000

By: snebtor (Attribution-NonCommercial License)

STEREO EVENTOS

snebtor — Tue, 03 Dec 2013 02:23:12 +0000

By: snebtor (Attribution-NonCommercial License)

END OF SKETCHBOOK 2007

snebtor — Tue, 03 Dec 2013 02:23:13 +0000

By: snebtor (Attribution-NonCommercial License)

EXTRAFANCY FOR YOU

snebtor — Tue, 03 Dec 2013 02:23:14 +0000

By: snebtor (Attribution-NonCommercial License)

SHARP

snebtor — Tue, 03 Dec 2013 02:23:14 +0000

By: snebtor (Attribution-NonCommercial License)

2185500123_44cb7d8acd_o1

snebtor — Tue, 03 Dec 2013 02:23:15 +0000

By: snebtor (Attribution-NonCommercial License)

TATTOO

snebtor — Tue, 03 Dec 2013 02:23:16 +0000

sketch

By: snebtor (Attribution-NonCommercial License)

FUN

snebtor — Tue, 03 Dec 2013 02:23:16 +0000

By: snebtor (Attribution-NonCommercial License)

BOBITO

snebtor — Tue, 03 Dec 2013 02:23:17 +0000

By: snebtor (Attribution-NonCommercial License)

GUT

snebtor — Tue, 03 Dec 2013 02:23:18 +0000

By: snebtor (Attribution-NonCommercial License)

Mentes Jodidas

snebtor — Tue, 03 Dec 2013 02:23:18 +0000

By: snebtor (Attribution-NonCommercial License)

ROCK KILLS I TELL YA

snebtor — Tue, 03 Dec 2013 02:23:19 +0000

By: snebtor (Attribution-NonCommercial License)

BORED

snebtor — Tue, 03 Dec 2013 02:23:20 +0000

By: snebtor (Attribution-NonCommercial License)

MORE EVIL CITIES

snebtor — Tue, 03 Dec 2013 02:23:21 +0000

By: snebtor (Attribution-NonCommercial License)

OMAR RAYO

snebtor — Tue, 03 Dec 2013 02:23:21 +0000

likes sid vicious

By: snebtor (Attribution-NonCommercial License)

BEAUTY

snebtor — Tue, 03 Dec 2013 02:23:22 +0000

By: snebtor (Attribution-NonCommercial License)

MELTED

snebtor — Tue, 03 Dec 2013 02:23:23 +0000

By: snebtor (Attribution-NonCommercial License)

ROAD TRIP

snebtor — Tue, 03 Dec 2013 02:23:23 +0000

By: snebtor (Attribution-NonCommercial License)

CONO Y ROMBOS

snebtor — Tue, 03 Dec 2013 02:23:24 +0000

By: snebtor (Attribution-NonCommercial License)

EASTCOAST

snebtor — Tue, 03 Dec 2013 02:23:25 +0000

By: snebtor (Attribution-NonCommercial License)

CLEAN

snebtor — Tue, 03 Dec 2013 02:23:25 +0000

By: snebtor (Attribution-NonCommercial License)

Lafayette Characters

snebtor — Tue, 03 Dec 2013 02:23:26 +0000

For "mentes Jodidas" comic

By: snebtor (Attribution-NonCommercial License)

COMPULSIVE

snebtor — Tue, 03 Dec 2013 02:23:27 +0000

By: snebtor (Attribution-NonCommercial License)

Underwater creatures

snebtor — Tue, 03 Dec 2013 02:23:27 +0000

Austin, March 2007

By: snebtor (Attribution-NonCommercial License)

CARA DE TRIANGULO

snebtor — Tue, 03 Dec 2013 02:23:28 +0000

By: snebtor (Attribution-NonCommercial License)

2185500063_9592a59aa8_o1

snebtor — Tue, 03 Dec 2013 02:23:28 +0000

Broken hearted creatures

By: snebtor (Attribution-NonCommercial License)

THE SHAPE OF COLOR

snebtor — Tue, 03 Dec 2013 02:23:29 +0000

By: snebtor (Attribution-NonCommercial License)

ROTTEN MIND AND HEART

snebtor — Tue, 03 Dec 2013 02:23:30 +0000

new sketchbook

By: snebtor (Attribution-NonCommercial License)

EVIL CITIES

snebtor — Tue, 03 Dec 2013 02:23:30 +0000

Austin, March 2007

By: snebtor (Attribution-NonCommercial License)

UBALA

snebtor — Tue, 03 Dec 2013 02:23:31 +0000

By: snebtor (Attribution-NonCommercial License)

horse

snebtor — Tue, 03 Dec 2013 02:23:32 +0000

By: snebtor (Attribution-NonCommercial License)

Derrida and hotdogs

snebtor — Tue, 03 Dec 2013 02:23:33 +0000

By: snebtor (Attribution-NonCommercial License)

EVIL CITIES

snebtor — Tue, 03 Dec 2013 02:23:33 +0000

only in my mind

By: snebtor (Attribution-NonCommercial License)

coldest

snebtor — Tue, 03 Dec 2013 02:23:34 +0000

By: snebtor (Attribution-NonCommercial License)

INTERSECCIONES

snebtor — Tue, 03 Dec 2013 02:23:35 +0000

By: snebtor (Attribution-NonCommercial License)

BAD CELLS

snebtor — Tue, 03 Dec 2013 02:23:35 +0000

new sketchbook starts here

By: snebtor (Attribution-NonCommercial License)

ROMBILANDIA

snebtor — Tue, 03 Dec 2013 02:23:36 +0000

By: snebtor (Attribution-NonCommercial License)

Class Notes

snebtor — Tue, 03 Dec 2013 02:23:37 +0000

By: snebtor (Attribution-NonCommercial License)

Home Run kings III

snebtor — Tue, 03 Dec 2013 02:23:37 +0000

By: snebtor (Attribution-NonCommercial License)

Home Run kings II

snebtor — Tue, 03 Dec 2013 02:23:38 +0000

By: snebtor (Attribution-NonCommercial License)

Home Run kings I

snebtor — Tue, 03 Dec 2013 02:23:38 +0000

es lo que he estado haciendo esta semana

By: snebtor (Attribution-NonCommercial License)

new drawings

snebtor — Tue, 03 Dec 2013 02:23:39 +0000

By: snebtor (Attribution-NonCommercial License)

musi-amor

snebtor — Tue, 03 Dec 2013 02:23:39 +0000

By: snebtor (Attribution-NonCommercial License)

new drawings

snebtor — Tue, 03 Dec 2013 02:23:40 +0000

By: snebtor (Attribution-NonCommercial License)

solid gold

snebtor — Tue, 03 Dec 2013 02:23:41 +0000

By: snebtor (Attribution-NonCommercial License)

new drawings

snebtor — Tue, 03 Dec 2013 02:23:41 +0000

By: snebtor (Attribution-NonCommercial License)

city bird

snebtor — Tue, 03 Dec 2013 02:23:42 +0000

By: snebtor (Attribution-NonCommercial License)

city bird

snebtor — Tue, 03 Dec 2013 02:23:43 +0000

preparing for the bird-art market

By: snebtor (Attribution-NonCommercial License)

nancy

snebtor — Tue, 03 Dec 2013 02:23:44 +0000

By: snebtor (Attribution-NonCommercial License)

smokes

snebtor — Tue, 03 Dec 2013 02:23:45 +0000

By: snebtor (Attribution-NonCommercial License)

raw power

snebtor — Tue, 03 Dec 2013 02:23:46 +0000

By: snebtor (Attribution-NonCommercial License)

Only

snebtor — Tue, 03 Dec 2013 02:23:46 +0000

By: snebtor (Attribution-NonCommercial License)

ruscha y el mar

snebtor — Tue, 03 Dec 2013 02:23:47 +0000

By: snebtor (Attribution-NonCommercial License)

BCN

snebtor — Tue, 03 Dec 2013 02:23:48 +0000

By: snebtor (Attribution-NonCommercial License)

Snebtor world tour logo

snebtor — Tue, 03 Dec 2013 02:23:49 +0000

By: snebtor (Attribution-NonCommercial License)

ciudat

snebtor — Tue, 03 Dec 2013 02:23:50 +0000

collage de barcelona

By: snebtor (Attribution-NonCommercial License)

cof

snebtor — Tue, 03 Dec 2013 02:23:51 +0000

amsterdam

By: snebtor (Attribution-NonCommercial License)

tos

snebtor — Tue, 03 Dec 2013 02:23:51 +0000

amsterdam

By: snebtor (Attribution-NonCommercial License)

green bear

snebtor — Tue, 03 Dec 2013 02:23:51 +0000

beerlin

By: snebtor (Attribution-NonCommercial License)

golden bear

snebtor — Tue, 03 Dec 2013 02:23:52 +0000

berlin

By: snebtor (Attribution-NonCommercial License)

bauhaus

snebtor — Tue, 03 Dec 2013 02:23:53 +0000

Berlin

By: snebtor (Attribution-NonCommercial License)

paris

snebtor — Tue, 03 Dec 2013 02:23:53 +0000

By: snebtor (Attribution-NonCommercial License)

amsterdam

snebtor — Tue, 03 Dec 2013 02:23:53 +0000

atardecer

By: snebtor (Attribution-NonCommercial License)

he he he

snebtor — Tue, 03 Dec 2013 02:23:54 +0000

Amsterdam

By: snebtor (Attribution-NonCommercial License)

pound

snebtor — Tue, 03 Dec 2013 02:23:54 +0000

By: snebtor (Attribution-NonCommercial License)

berliner phantom

snebtor — Tue, 03 Dec 2013 02:23:57 +0000

By: snebtor (Attribution-NonCommercial License)

spaceship

snebtor — Tue, 03 Dec 2013 02:23:57 +0000

the original pic comes from my cousin ankkla (http://www.flickr.com/photos/annkla/56715602/) when she was in chile

By: snebtor (Attribution-NonCommercial License)

snebtor — Tue, 03 Dec 2013 02:23:58 +0000

By: snebtor (Attribution-NonCommercial License)

big ben texture

snebtor — Tue, 03 Dec 2013 02:23:58 +0000

By: snebtor (Attribution-NonCommercial License)

lugar imaginario

snebtor — Tue, 03 Dec 2013 02:23:59 +0000

By: snebtor (Attribution-NonCommercial License)

sketchbook back

snebtor — Tue, 03 Dec 2013 02:23:59 +0000

By: snebtor (Attribution-NonCommercial License)

sketchbook cover

snebtor — Tue, 03 Dec 2013 02:24:00 +0000

spring-summer 2006

By: snebtor (Attribution-NonCommercial License)

bcn notes

snebtor — Tue, 03 Dec 2013 02:24:00 +0000

By: snebtor (Attribution-NonCommercial License)

golden concepts

snebtor — Tue, 03 Dec 2013 02:24:01 +0000

By: snebtor (Attribution-NonCommercial License)

endless detox

snebtor — Tue, 03 Dec 2013 02:24:01 +0000

I was blaming myself for my bad habits

By: snebtor (Attribution-NonCommercial License)

life

snebtor — Tue, 03 Dec 2013 02:24:02 +0000

By: snebtor (Attribution-NonCommercial License)

"GUT"

snebtor — Tue, 03 Dec 2013 02:24:02 +0000

By: snebtor (Attribution-NonCommercial License)

2008

snebtor — Tue, 03 Dec 2013 02:24:03 +0000

Mis Perros/ My Dawgs: Happy Holidays!

By: snebtor (Attribution-NonCommercial License)

CLIP'D BEAKS KNICKERBOCKER

snebtor — Tue, 03 Dec 2013 02:24:04 +0000

clip'd beaks (LA) We Are Hex (Indy) Analog Zebra + VJ snebtor Drumkit

By: snebtor (Attribution-NonCommercial License)

CHIGUIPERRO PATCH

snebtor — Tue, 03 Dec 2013 02:24:05 +0000

CHIGUIPERRO PATCH parche

By: snebtor (Attribution-NonCommercial License)

BEER TOUCH!

snebtor — Tue, 03 Dec 2013 02:24:06 +0000

Erin's got some BEER

By: snebtor (Attribution-NonCommercial License)

BEER ZINE COVER

snebtor — Tue, 03 Dec 2013 02:24:07 +0000

BEER ZINE COVER. NOV 2 Sponsored by Luxie's Pub-n- Grub

By: snebtor (Attribution-NonCommercial License)

LOVE MONEY

snebtor — Tue, 03 Dec 2013 02:24:08 +0000

I've got a 24K gold Hummer

By: snebtor (Attribution-NonCommercial License)

Scared of evil space cities

snebtor — Tue, 03 Dec 2013 02:24:09 +0000

By: snebtor (Attribution-NonCommercial License)

heaven cake

snebtor — Tue, 03 Dec 2013 02:24:10 +0000

By: snebtor (Attribution-NonCommercial License)

THE HALF RATS 7"

snebtor — Tue, 03 Dec 2013 02:24:13 +0000

It's Done!!

By: snebtor (Attribution-NonCommercial License)

JESUS CHRIST BEFORE CHRIST

snebtor — Tue, 03 Dec 2013 02:24:15 +0000

JESUS CHRIST BEFORE CHRIST design for new MAN'S 7" www.myspace.com/themansmans

By: snebtor (Attribution-NonCommercial License)

SIDE B THE MANS

snebtor — Tue, 03 Dec 2013 02:24:15 +0000

By: snebtor (Attribution-NonCommercial License)

PERROCK

snebtor — Tue, 03 Dec 2013 02:24:16 +0000

By: snebtor (Attribution-NonCommercial License)

DIBULOCO

snebtor — Tue, 03 Dec 2013 02:24:17 +0000

sesion de dibujo hasta las 7 am

By: snebtor (Attribution-NonCommercial License)

DETALLE

snebtor — Tue, 03 Dec 2013 02:24:18 +0000

dibujos con el busesito "cafran" ejecutivo

By: snebtor (Attribution-NonCommercial License)

DETALLE

snebtor — Tue, 03 Dec 2013 02:24:18 +0000

By: snebtor (Attribution-NonCommercial License)

DETALLE

snebtor — Tue, 03 Dec 2013 02:24:19 +0000

By: snebtor (Attribution-NonCommercial License)

DETALLE

snebtor — Tue, 03 Dec 2013 02:24:20 +0000

By: snebtor (Attribution-NonCommercial License)

HOY LOUTEC

snebtor — Tue, 03 Dec 2013 02:24:20 +0000

By: snebtor (Attribution-NonCommercial License)

Tatuaje para Lucas

snebtor — Tue, 03 Dec 2013 02:24:21 +0000

By: snebtor (Attribution-NonCommercial License)

RADIO CHIGUIRO RECLAIMS THE AIRWAVES

snebtor — Tue, 03 Dec 2013 02:24:23 +0000

This friday with the beatkids (Chicago) And az

By: snebtor (Attribution-NonCommercial License)

NUEVAS CAMISETAS ///EN BOGOTA!!!

snebtor — Tue, 03 Dec 2013 02:24:24 +0000

MINE-US coleccion nueva a partir de este miercoles en Bogota. para dama y caballero en variados colores y en materiales de la mejor calidad!

By: snebtor (Attribution-NonCommercial License)

eat-cmyk

snebtor — Tue, 03 Dec 2013 02:24:25 +0000

new sharpies!!

By: snebtor (Attribution-NonCommercial License)

city projects

snebtor — Tue, 03 Dec 2013 02:24:26 +0000

By: snebtor (Attribution-NonCommercial License)

meth-burrito

snebtor — Tue, 03 Dec 2013 02:24:28 +0000

Uno de mis restaurantes favoritos era en realidad una olla de Meth.

By: snebtor (Attribution-NonCommercial License)

thou-shalt-always-kill

snebtor — Tue, 03 Dec 2013 02:24:29 +0000

Listen to our new mix tape! only in www.chiguiro.org AWESOME!

By: snebtor (Attribution-NonCommercial License)

blobby

snebtor — Tue, 03 Dec 2013 02:24:31 +0000

By: snebtor (Attribution-NonCommercial License)

pollo

snebtor — Tue, 03 Dec 2013 02:24:32 +0000

By: snebtor (Attribution-NonCommercial License)

blacklips fixed time

snebtor — Tue, 03 Dec 2013 02:24:33 +0000

By: snebtor (Attribution-NonCommercial License)

deluxe gravy

snebtor — Tue, 03 Dec 2013 02:24:34 +0000

Back cover for bootsy's mix. Coming up soon! Bands that played Lafayette.

By: snebtor (Attribution-NonCommercial License)

joey

snebtor — Tue, 03 Dec 2013 02:24:35 +0000

By: snebtor (Attribution-NonCommercial License)

pointless

snebtor — Tue, 03 Dec 2013 02:24:36 +0000

By: snebtor (Attribution-NonCommercial License)

mochuelos

snebtor — Tue, 03 Dec 2013 02:24:36 +0000

By: snebtor (Attribution-NonCommercial License)

mochuelos

snebtor — Tue, 03 Dec 2013 02:24:37 +0000

By: snebtor (Attribution-NonCommercial License)

j

snebtor — Tue, 03 Dec 2013 02:24:38 +0000

By: snebtor (Attribution-NonCommercial License)

wheels on fire at zoolegers

snebtor — Tue, 03 Dec 2013 02:24:38 +0000

By: snebtor (Attribution-NonCommercial License)

superbad

snebtor — Tue, 03 Dec 2013 02:24:39 +0000

By: snebtor (Attribution-NonCommercial License)

midwest tour

snebtor — Tue, 03 Dec 2013 02:24:39 +0000

radiochiguiro 2007

By: snebtor (Attribution-NonCommercial License)

Daily Artist Proposal

snebtor — Tue, 03 Dec 2013 02:24:41 +0000

For the "daily artist" project from the Berlin based collective daily services. www.dailyservices.net/products/t-shirt/ Part of the XV BIENNALE DE PARIS (http://www.biennaledeparis.org/)

By: snebtor (Attribution-NonCommercial License)

Proposal 2

snebtor — Tue, 03 Dec 2013 02:24:41 +0000

For the "daily artist" project from the Berlin based collective daily services. www.dailyservices.net/products/t-shirt/ Part of the XV BIENNALE DE PARIS (http://www.biennaledeparis.org/)

By: snebtor (Attribution-NonCommercial License)

chigui mobile

snebtor — Tue, 03 Dec 2013 02:24:42 +0000

se puede amarrar a la bicicleta o al carro... le hace falta un banderin en la cola. La serie a continuacion es el sketchbook que acabo de terminar

By: snebtor (Attribution-NonCommercial License)

delisabor

snebtor — Tue, 03 Dec 2013 02:24:43 +0000

dibujos ineditos

By: snebtor (Attribution-NonCommercial License)

layers of time

snebtor — Tue, 03 Dec 2013 02:24:43 +0000

By: snebtor (Attribution-NonCommercial License)

mobile patch

snebtor — Tue, 03 Dec 2013 02:24:44 +0000

I'm printing this patch for the Renegade crafts festival this weekend in chicago to raise funds for building the chiguiromobile www.renegadecraft.com

By: snebtor (Attribution-NonCommercial License)

wavy

snebtor — Tue, 03 Dec 2013 02:24:44 +0000

By: snebtor (Attribution-NonCommercial License)

first page

snebtor — Tue, 03 Dec 2013 02:24:45 +0000

By: snebtor (Attribution-NonCommercial License)

time spent

snebtor — Tue, 03 Dec 2013 02:24:45 +0000

By: snebtor (Attribution-NonCommercial License)

pure evil

snebtor — Tue, 03 Dec 2013 02:24:46 +0000

series of drawings of nightmares

By: snebtor (Attribution-NonCommercial License)

lava

snebtor — Tue, 03 Dec 2013 02:24:46 +0000

By: snebtor (Attribution-NonCommercial License)

heart went boom

snebtor — Tue, 03 Dec 2013 02:24:47 +0000

By: snebtor (Attribution-NonCommercial License)

music birds

snebtor — Tue, 03 Dec 2013 02:24:47 +0000

spring

By: snebtor (Attribution-NonCommercial License)

hot girls burn

snebtor — Tue, 03 Dec 2013 02:24:48 +0000

By: snebtor (Attribution-NonCommercial License)

owl shirt

snebtor — Tue, 03 Dec 2013 02:24:49 +0000

este es el diseño original para las camisetas que lleve a europa

By: snebtor (Attribution-NonCommercial License)

wrong

snebtor — Tue, 03 Dec 2013 02:24:49 +0000

By: snebtor (Attribution-NonCommercial License)

weird jukebox

snebtor — Tue, 03 Dec 2013 02:24:50 +0000

By: snebtor (Attribution-NonCommercial License)

useless

snebtor — Tue, 03 Dec 2013 02:24:50 +0000

feeling awkward at some point of may

By: snebtor (Attribution-NonCommercial License)

RYAN PITS & THE BOYTOYS TOUR POSTER

snebtor — Tue, 03 Dec 2013 02:24:52 +0000

WISH YOU WERE HERE www.myspace.com/theboytoysmusic

By: snebtor (Attribution-NonCommercial License)

Softy

snebtor — Tue, 03 Dec 2013 02:24:54 +0000

By: snebtor (Attribution-NonCommercial License)

FIRE

snebtor — Tue, 03 Dec 2013 02:24:56 +0000

By: snebtor (Attribution-NonCommercial License)

snebtor — Tue, 03 Dec 2013 02:24:58 +0000

By: snebtor (Attribution-NonCommercial License)

collage

snebtor — Tue, 03 Dec 2013 02:25:01 +0000

By: snebtor (Attribution-NonCommercial License)

collage

snebtor — Tue, 03 Dec 2013 02:25:02 +0000

By: snebtor (Attribution-NonCommercial License)

BOYTOYS fire idea

snebtor — Tue, 03 Dec 2013 02:25:05 +0000

By: snebtor (Attribution-NonCommercial License)

working man lay down logo

snebtor — Tue, 03 Dec 2013 02:25:07 +0000

By: snebtor (Attribution-NonCommercial License)

MO-SNO

snebtor — Tue, 03 Dec 2013 02:25:10 +0000

By: snebtor (Attribution-NonCommercial License)

Tape design

snebtor — Tue, 03 Dec 2013 02:25:13 +0000

By: snebtor (Attribution-NonCommercial License)

additive color idea

snebtor — Tue, 03 Dec 2013 02:25:15 +0000

By: snebtor (Attribution-NonCommercial License)

interactive shapes idea

snebtor — Tue, 03 Dec 2013 02:25:18 +0000

By: snebtor (Attribution-NonCommercial License)

IDEAS

snebtor — Tue, 03 Dec 2013 02:25:20 +0000

By: snebtor (Attribution-NonCommercial License)

PRACTICE

snebtor — Tue, 03 Dec 2013 02:25:22 +0000

By: snebtor (Attribution-NonCommercial License)

YEAHH

snebtor — Tue, 03 Dec 2013 02:25:24 +0000

By: snebtor (Attribution-NonCommercial License)

TRAFOAS

snebtor — Tue, 03 Dec 2013 02:25:26 +0000

By: snebtor (Attribution-NonCommercial License)

BUDS

snebtor — Tue, 03 Dec 2013 02:25:28 +0000

By: snebtor (Attribution-NonCommercial License)

FLYING PIZZA

snebtor — Tue, 03 Dec 2013 02:25:30 +0000

By: snebtor (Attribution-NonCommercial License)

SUBMARINE IN LAKE

snebtor — Tue, 03 Dec 2013 02:25:33 +0000

By: snebtor (Attribution-NonCommercial License)

SUNSET ON LAKE

snebtor — Tue, 03 Dec 2013 02:25:36 +0000

By: snebtor (Attribution-NonCommercial License)

NEW SKETCHBOOK

snebtor — Tue, 03 Dec 2013 02:25:38 +0000

By: snebtor (Attribution-NonCommercial License)

NEW SKETCHBOOK

snebtor — Tue, 03 Dec 2013 02:25:41 +0000

By: snebtor (Attribution-NonCommercial License)

TRIANGLES (stacked)

snebtor — Tue, 03 Dec 2013 02:25:43 +0000

By: snebtor (Attribution-NonCommercial License)

LINES

snebtor — Tue, 03 Dec 2013 02:25:46 +0000

By: snebtor (Attribution-NonCommercial License)

ANEMONA

snebtor — Tue, 03 Dec 2013 02:25:48 +0000

By: snebtor (Attribution-NonCommercial License)

DEAD PARTS

snebtor — Tue, 03 Dec 2013 02:25:50 +0000

By: snebtor (Attribution-NonCommercial License)

BLOSSOM

snebtor — Tue, 03 Dec 2013 02:25:53 +0000

By: snebtor (Attribution-NonCommercial License)

ID

snebtor — Tue, 03 Dec 2013 02:25:55 +0000

By: snebtor (Attribution-NonCommercial License)

FRIDAY HEAT

snebtor — Tue, 03 Dec 2013 02:25:57 +0000

By: snebtor (Attribution-NonCommercial License)

DO

snebtor — Tue, 03 Dec 2013 02:25:59 +0000

By: snebtor (Attribution-NonCommercial License)

FRIDAYNITE HEAT

snebtor — Tue, 03 Dec 2013 02:26:02 +0000

next friday - It's my birthday party!

By: snebtor (Attribution-NonCommercial License)

Practice

snebtor — Tue, 03 Dec 2013 02:26:05 +0000

By: snebtor (Attribution-NonCommercial License)

Solid stack

snebtor — Tue, 03 Dec 2013 02:26:07 +0000

By: snebtor (Attribution-NonCommercial License)

Solids

snebtor — Tue, 03 Dec 2013 02:26:10 +0000

By: snebtor (Attribution-NonCommercial License)

Shapes

snebtor — Tue, 03 Dec 2013 02:26:12 +0000

By: snebtor (Attribution-NonCommercial License)

3D drawing

snebtor — Tue, 03 Dec 2013 02:26:14 +0000

By: snebtor (Attribution-NonCommercial License)

Poison Ivy

snebtor — Tue, 03 Dec 2013 02:26:16 +0000

By: snebtor (Attribution-NonCommercial License)

Breakdown

snebtor — Tue, 03 Dec 2013 02:26:19 +0000

By: snebtor (Attribution-NonCommercial License)

Raccoon

snebtor — Tue, 03 Dec 2013 02:26:22 +0000

By: snebtor (Attribution-NonCommercial License)

Raccoon

snebtor — Tue, 03 Dec 2013 02:26:24 +0000

By: snebtor (Attribution-NonCommercial License)

Logs

snebtor — Tue, 03 Dec 2013 02:26:26 +0000

By: snebtor (Attribution-NonCommercial License)

Practicing

snebtor — Tue, 03 Dec 2013 02:26:28 +0000

By: snebtor (Attribution-NonCommercial License)

Thirsty creature

snebtor — Tue, 03 Dec 2013 02:26:32 +0000

By: snebtor (Attribution-NonCommercial License)

Shape Interactions

snebtor — Tue, 03 Dec 2013 02:26:34 +0000

By: snebtor (Attribution-NonCommercial License)

Space

snebtor — Tue, 03 Dec 2013 02:26:36 +0000

By: snebtor (Attribution-NonCommercial License)

snebtor — Tue, 03 Dec 2013 02:26:39 +0000

By: snebtor (Attribution-NonCommercial License)

Drawing at McDonalds

snebtor — Tue, 03 Dec 2013 02:26:41 +0000

By: snebtor (Attribution-NonCommercial License)

Every Drawing is a Project?

snebtor — Tue, 03 Dec 2013 02:26:44 +0000

Color/Shape interaction Models

By: snebtor (Attribution-NonCommercial License)

10697124705_65c96be6f2_c

snebtor — Mon, 06 Jan 2014 22:21:28 +0000

uflyoh

snebtor — Mon, 06 Jan 2014 22:28:13 +0000

uflyoh sky

snebtor — Mon, 06 Jan 2014 22:30:10 +0000

P1040955

snebtor — Mon, 06 Jan 2014 22:30:35 +0000

chromatic-shifts1

snebtor — Mon, 06 Jan 2014 22:39:59 +0000

chromaticshifts2

snebtor — Mon, 06 Jan 2014 22:40:01 +0000

chromaticshifts3

snebtor — Mon, 06 Jan 2014 22:40:03 +0000

chromaticshifts3

snebtor — Mon, 06 Jan 2014 22:41:17 +0000

11313631195_930059f286_c

snebtor — Mon, 06 Jan 2014 22:50:00 +0000

11313490195_0ebb80bee9_c

snebtor — Mon, 06 Jan 2014 22:50:01 +0000

11313772503_72be361670_c

snebtor — Mon, 06 Jan 2014 22:50:02 +0000

Screen Shot 2014-01-06 at 5.52.49 PM

snebtor — Mon, 06 Jan 2014 22:54:08 +0000

structure-chiguiro

snebtor — Mon, 06 Jan 2014 23:02:29 +0000

fly

snebtor — Wed, 29 Jan 2014 01:20:02 +0000

in-out

snebtor — Sat, 19 Apr 2014 17:32:03 +0000

IMG_0646

snebtor — Sat, 19 Apr 2014 17:39:54 +0000

oling-graphs1

snebtor — Mon, 21 Apr 2014 21:12:40 +0000

vision

snebtor — Mon, 21 Apr 2014 21:13:12 +0000

IMG_0608

snebtor — Mon, 21 Apr 2014 21:16:44 +0000

zane-bennett-screenshot2

snebtor — Tue, 15 Jul 2014 15:21:24 +0000

mind in transit screen_square

snebtor — Sun, 17 Aug 2014 22:16:22 +0000

VLC2014-08-17-14h28m30s15

snebtor — Sun, 17 Aug 2014 22:18:35 +0000

VLC2014-08-17-14h27m35s238

snebtor — Sun, 17 Aug 2014 22:18:51 +0000

VLC2014-08-17-14h29m18s241

snebtor — Sun, 17 Aug 2014 22:19:07 +0000

VLC2014-08-17-14h27m49s121

snebtor — Sun, 17 Aug 2014 22:19:31 +0000

VLC2014-08-17-14h29m00s64

snebtor — Sun, 17 Aug 2014 22:19:47 +0000

mind-in-transit-screen_sq

snebtor — Sun, 17 Aug 2014 22:21:31 +0000

8572650650_5890e7ee52_b

snebtor — Sun, 17 Aug 2014 22:46:41 +0000

6821748332_a1fa37aeeb_k

snebtor — Sun, 17 Aug 2014 22:47:14 +0000

6531691611_f6833b06d3_b

snebtor — Sun, 17 Aug 2014 22:48:04 +0000

6251672114_850477dcd5_b

snebtor — Sun, 17 Aug 2014 22:48:16 +0000

CV - oct 2014

snebtor — Fri, 14 Nov 2014 19:28:16 +0000

IMG_2199

snebtor — Fri, 14 Nov 2014 19:33:26 +0000

XV

snebtor — Tue, 06 Jan 2015 16:42:47 +0000

carlsongarcia-circuit

snebtor — Wed, 26 Aug 2015 02:57:23 +0000

geode720

snebtor — Fri, 28 Aug 2015 21:18:32 +0000

A video mapping installation / sculpture

Screen Shot 2015-08-28 at 5.27.03 PM

snebtor — Fri, 28 Aug 2015 21:27:34 +0000

9505081247_b2cd4dc1f7_k

snebtor — Fri, 25 Dec 2015 19:09:18 +0000

ufo

snebtor — Fri, 25 Dec 2015 19:30:34 +0000

13648548565_6bb3da5f2e_k

snebtor — Fri, 25 Dec 2015 19:33:48 +0000

tape

snebtor — Fri, 25 Dec 2015 20:33:45 +0000

sun

snebtor — Fri, 25 Dec 2015 20:33:52 +0000

cyb-book02

snebtor — Fri, 25 Dec 2015 21:12:27 +0000

cyb-book01

snebtor — Fri, 25 Dec 2015 21:12:29 +0000

cyb-cover

snebtor — Fri, 25 Dec 2015 21:32:39 +0000

cyb-cover

snebtor — Fri, 25 Dec 2015 21:33:17 +0000

snebtor — Thu, 13 Sep 2012 11:56:03 +0000

snebtor — Thu, 13 Sep 2012 12:15:47 +0000

about

snebtor — Thu, 13 Sep 2012 13:00:32 +0000

projects

snebtor — Thu, 13 Sep 2012 13:16:41 +0000

15558608613_e62097f2ce_b

snebtor — Fri, 25 Dec 2015 21:37:23 +0000

15558608613_e62097f2ce_b

snebtor — Fri, 25 Dec 2015 21:40:11 +0000

serigrafia2

snebtor — Fri, 25 Dec 2015 21:41:46 +0000

bacon-s

snebtor — Sat, 26 Dec 2015 13:30:30 +0000

22786157707_7602d1de97_k

snebtor — Sat, 26 Dec 2015 13:37:23 +0000

23154211266_99ba5a4d6c_k

snebtor — Sat, 26 Dec 2015 13:37:24 +0000

bodyg

snebtor — Sat, 26 Dec 2015 13:54:45 +0000

fig9

snebtor — Sat, 26 Dec 2015 13:59:34 +0000

fig9

snebtor — Sat, 26 Dec 2015 14:00:04 +0000

singular-motions

snebtor — Tue, 29 Dec 2015 01:05:56 +0000

blockshadow

snebtor — Tue, 29 Dec 2015 01:11:50 +0000

555 PWM

snebtor — Thu, 28 Jan 2016 18:41:36 +0000

gamuts

snebtor — Thu, 04 Feb 2016 06:18:34 +0000

Garcia_CV_12 2015

snebtor — Sat, 09 Apr 2016 22:57:54 +0000

IMG_0031

snebtor — Fri, 15 Apr 2016 12:31:48 +0000

IMG_0031

snebtor — Fri, 15 Apr 2016 12:32:29 +0000

About

snebtor — Wed, 09 Feb 2011 17:25:28 +0000

Esteban García Bravo explores computational arts as a researcher, a practitioner and as an educator. He earned his MFA from Purdue University in 2008, and a Ph.D. in Technology, also from Purdue, in 2013. His research has been featured in the annual meetings of international organizations such as SIGGRAPH and ISEA, as well as in the publication Leonardo Journal of Art, Sciences and Technology. His artwork has been featured internationally in media art festivals, exhibits and artist-in-residence programs. Esteban is currently an Assistant Professor in the department of Computer Graphics Technology at Purdue University, where he teaches and develops new STEAM educational experiences.

contact: estebang -[at]- gmail.com cv

Research

snebtor — Thu, 13 Sep 2012 12:15:16 +0000

[blog_in_blog category_id=19,16,14 num=10]

Art

snebtor — Thu, 13 Sep 2012 13:14:02 +0000

snebtor — Sat, 15 Sep 2012 23:05:45 +0000

notes

snebtor — Sat, 15 Sep 2012 23:13:27 +0000

snebtor — Tue, 18 Sep 2012 13:57:53 +0000

snebtor — Tue, 18 Sep 2012 14:14:58 +0000

snebtor — Mon, 15 Oct 2012 22:16:06 +0000

snebtor — Mon, 15 Oct 2012 22:24:38 +0000

old site

snebtor — Tue, 16 Oct 2012 01:44:09 +0000

snebtor — Sat, 20 Oct 2012 20:39:43 +0000

snebtor — Sat, 20 Oct 2012 21:01:57 +0000

snebtor — Tue, 30 Oct 2012 18:18:38 +0000

snebtor — Sat, 10 Nov 2012 17:44:49 +0000

Experiencia Mistica

snebtor — Sun, 11 Nov 2012 19:56:28 +0000

The piece straddles that line between having a mystical experience and being surveilled: the movements and posture shifts of the participants are registered by the sensors, and appear as distortions or wave movements on a screen. Was the church the first space surveilled not by cameras or sensors but by the technology of religion? How is a mystical experience configured in our contemporary mediated landscape? The church allowed believers to participate in a meditative relation to an observing power, the eye of God. My work provides a glimpse into this mystical experience by channeling it through the digital technologies that have supplanted the place of the transcendent overseer.

Shapey

snebtor — Sun, 09 Sep 2012 13:51:37 +0000

Shapey is the result of an algorithmic composition. The image has been produced by a program that uses graphical elements previously created outside of the digital realm. The input images are drawings and paintings that I made by hand. The computer program is used to combine and produce appealing repetitions of elements. The parameters and functions of the program are used experimentally, meaning that I manipulate these variables resulting in unexpected compositions.

Digicostume

snebtor — Sun, 15 Apr 2012 23:30:47 +0000

Video experiment with openCV

BT Corn Game

snebtor — Thu, 14 Mar 2013 23:44:21 +0000

In this videogame, Beto, the main character collects high fructose corn syrup items at the corn factory. As the players collect items, they also discover information about genetically modified organisms and their negative impacts on health and the environment.

Unzip and play!!

Download beto for mac Download beto for Windows

Gestural Interface

snebtor — Thu, 15 Dec 2011 23:49:53 +0000

(2012) A collaboration with Jordan Cleland. Gestural Interface is a arduino-based sound instrument that is affected by body movement. This project was our response to a growing trend of gestural technologies.

Radio Chiguiro

snebtor — Sat, 16 Oct 2010 00:08:58 +0000

Radio Chigüiro was a social platform for the distribution of Lafayette, Indiana's glocal culture. It operated as a community radio, exploring youth practices associated with parties, live music shows, and free radio workshops by using a web site as a medium for contact, production and participation. Visit chiguiro.org for more information.

Cero 39

snebtor — Wed, 20 Jun 2012 20:22:26 +0000

Concept art and motion graphics for the music project Cero 39. Available in the following labels: Polen (Colombia), Chusma (Germany), Konn (Chile) and Choles (USA). cero39.com soundcloud.com/cero39 see a motion graphics video clip

Fallopian Tuba

snebtor — Wed, 20 Oct 2010 20:55:08 +0000

Listen to the "fallopian tuba", an extravagant instrument designed to produce soundwaves and electromagnetic fields capable of increasing your fertility. It is known that it can also be used in plants, encouraging abundance.

P.H.I.L. Robotic Groundhog Day

snebtor — Wed, 21 Apr 2010 00:04:48 +0000

A robotic version of Punxsutawney Phil, the famous groundhog that predicts how early the spring will come.

Robot Transformation

snebtor — Sun, 21 Mar 2010 16:28:42 +0000

A possible place for contextualizing robotics is popular culture, specifically films and science fiction literature. My work "Robot Transformation" is inspired by human-machine relationships, specifically the construction of fear and anxiety in their portrayal in western popular culture.Thunder, sparks and light are some of the graphic elements used to represent the becoming of this new life form: the cyborg, a human being that, after a tragic accident gets parts of their body replaced with technology (Reichardt 1978, 28). The interactive system is using face recognition algorithms to map the image sequences to the viewer's face.

Painting

snebtor — Fri, 07 Sep 2012 01:12:50 +0000

Acrylic on mixed media. These are sketches for projects, explorations on shape, space and color. My work is influenced by the aesthetics of cartoons, exploring mysterious and funny representations that lay between the organic and geometrical.

Pizza

snebtor — Tue, 10 Aug 2010 01:33:33 +0000

In a world divided by distances and ideals, one constant emerges in planet earth: Pizza. A delicious meal that has been reinterpreted over centuries since the ancient Greece. Foamcity and Espacio 101 invited a diverse group of artists to reinterpret this universal theme. The result was a simultaneous exhibit in Bogotá and Lafayette.

Revenge Eternal

snebtor — Tue, 08 Mar 2011 15:17:08 +0000

Collaboration with Aaron Zernack and Jordan Cleland. The performance involves a set of visual and programming tools combined with analog sound generation and effects. Live recorded samples are effected through visual interfaces, analog voices and synthesized drums. Circuit bent instruments are also effected with analog effects pedals. The sound parameters of the piece affect the image sequences presented in the screen. The use of sound as a data parameter on a code-based visualization results in a semi-automatic band. revengeeternal.bandcamp.com

FoamCity

snebtor — Fri, 14 Dec 2012 21:51:25 +0000

FoamCity was an artists run space in Lafayette, Indiana. With no funds or staff, we provided a space for creative exploration in the arts. Foamcity consisted of 9 studios and a public area. FoamCity hosted a variety of events ranging from live music, performances, workshops, visual art and a unique artist-in-residence program. FoamCity was an initiative by Paul Baldwin in collaboration with Esteban García and Aaron Zernack. (2011-2014) For more information visit: www.foamcity.org

Diptych

snebtor — Tue, 04 Jun 2013 06:50:02 +0000

(2013) Dyptich is a 4-foot by 8-foot installation that displays interactive light patterns. The project is a formal exploration of data, shape, color and motion. Work in progress A collaboration with Max Carlson

Airman

snebtor — Fri, 02 May 2008 15:12:18 +0000

Airman is an inflatable character that responds to the tweets #party and #noparty. The character gets literally "pumped" when somebody in the world wants to party. This was the result of the Networked Objects workshop led by Camilo Martinez and Gabriel Zea.

Scorpio

snebtor — Thu, 04 Apr 2013 19:28:54 +0000

DVD/Animation A collaboration with Aaron Nemec. We started tracing each other's drawings in a sequential way. After collecting many drawings, Aaron and I animated them. 2009-2013

U FLY OH

snebtor — Sun, 08 Sep 2013 13:27:29 +0000

(2013-2016) I am free Unburdened by time or space Exploring the world, as it explores me I rise fall and rise again Telling the story of an erratic adventure amuses me. This project started from thinking about the narrative of the journey while I was reading "Don Quijote" whom conquered adventures without knowing where he was going. Some of these unmanned-spaceships made long journeys that will never be told. This continued exploration of shape started at the Ohio 5050 residency.

Graphics Interchange Format

snebtor — Mon, 06 Jan 2014 22:50:38 +0000

(2013) An exhibit featuring 15 GIF artists from around the world. Co-curated with La Ramona Proyectos/ Espacio 101 Bogotá

In / Out

snebtor — Sat, 19 Apr 2014 17:16:24 +0000

(2014) Collaboration with Max Carlson [video width="1000" height="563" mp4="http://snebtor.chiguiro.org/blog/wp-content/uploads/2014/04/in-out.mp4"][/video]

Who & Why

snebtor — Wed, 09 Feb 2011 18:35:24 +0000

Hi, I am Esteban García a new media artist and a PhD student in the department of computer graphics at Purdue University. I do love art and I do love computer graphics. This is the type of stuff that I enjoy making. However, real love is not always a garden of roses and, I struggle a lot with my own thoughts. I am usually involved with a set of creative and exciting projects, but my lack of motivation gets in the way sometimes... it slows me down. I lay in my bed and think. think and think some more. This stream of ideas is overwhelming sometimes. I want to use this blog as a form of documentation, but mostly as a form of therapy to let all this thoughts out. Cyberspace is vast and wonderful there is a lot of other places to read, look and network. This site will not give the readers any answers about anything... the points of view presented here are arguable. In short, I am disappointed from ideologies and don't foresee a great future coming up to us. I had a girlfriend that thought that we could make a different future, that people like Bono and all the charity would save the world. This relationship lasted 3 weeks. This year I'll be 30 and a lot of things are what I expected to be and others not so much. Some people say you should start a blog to get a job, to have web presence... I have web presence since 1995 band this hasn't helped me deal with the rejection letters I get on a daily basis. Luckly, I have a job teaching a sketching class in the Computer Graphics department, but this is just part of my PhD. What will happen next? The future produces me a lot of anxiety. Anyways, This is kind of the idea for now. I will also discuss literature and research into this ramblings. Disclaimer: I am a non-native english speaker. Posts may have inaccurate use of grammar. I'll proof read, but will not spend hours on each text. If you are into style, buy a book!

Sketchpad: A man machine graphical communication system (1963)

snebtor — Fri, 11 Feb 2011 16:37:50 +0000

This 1963 article explains the sketchpad software developed by Ivan E. Sutherland. Sketchpad is considered to be the first graphical user interface (GUI) allowing users to draw in the draw and model without using numbers or code. This software introduced a new language of man-machine interaction through the use visual geometry. Sketchpad used line, point and circle graphic primitives to produce a vocabulary of shapes. This elements could be arranged in the screen and manipulated in real time. Additionally, sketchpad could be used to work under constraints such as parallel and perpendicular relationships between elements. Sketchpad also pioneered in the concept of object oriented programming by defining graphical objects in terms of constraints. The article explains how the user creates objects with the aid of a light pen, screen and buttons. Sutherland explains that computer modeling can aid the design process in highly repetitive drawings, for example in the creation of patterns. Each object can be stored and reused to create modularity. The memory space can be used to store graphics, constraints and subroutines (functions) allowing the users to create complex relationships between these elements. The screen is used as a coordinate system that allows the user to add line segments, points and circles in it. The screen as a canvas where the user can draw, however, the drawing is scalable to up to seven miles. The light-pen/screen interface have a snapping feature similar to the one of photoshop allowing points of the shapes to connect. The generalized geometric functions and constraints prove very powerful to create a wide variety of graphics. Sketchpad could also be used to create animations in a computer, making it the first tool for computer animation. Sketchpad introduced visual programming and object-oriented programming, one of the most important features of computing to our days. This shows evidence that visualization can create advances in computer programming, an that not only limited to the constraints of prestablished computer languages. Sketchpad introduced the concept of recursive drawing and it was one of its main contributions. However, the skechpad had limitations in the creation of simple drawings. In the words of Sutherland:

For highly repetitive drawings or drawings where accuracy is required, sketchpad is sufficiently faster than conventional techniques to be worthwhile. For drawings which merely communicate with shops, it is probably better to use conventional paper and pencil (Sutherland, 1963, p. 122).

The author also envisioned an artistic use of his software suggesting its potential to create animated cartoons. Sutherland proposes that future uses of sketchpad include three-dimensional drawing, since the drawing will be directly in three dimensions from the start. No two dimensional data will be stored (p.125). The three dimensional application was rapidly implemented changing the course of computing and opening to the new discipline of computer graphics. Article retrieved from: Sutherland, I. (1963). Sketchpad: A man machine graphical communication system. The New media Reader pp.111-126.

Sprite Art Workshop

snebtor — Sun, 13 Feb 2011 15:20:48 +0000

The craft of creating animated frames for 2D videogames is refered to as spriting or pixel art. With the advent of new image techniques and technologies in computer graphics, pixel-level editing has become an unusual practice. Hardwares limiting constraints in resolution and colorspace, shaped early videogame aesthetics. Art director from Megaman for NES, Keiji Infaune explains that there were severe visual restrictions and that, a lot of detail couldnt be added in the dot matrix of early videogame consoles. (Infaune, 2009). Artists of the digital age explore technologies as new tool for creative development. This workshop will contextualize videogames in contemporary art and will introduce participants to some of the techniques for sprite making and further development. By: Esteban García MFA, PhD student in computer graphics, Purdue University. http://snebtor.chiguiro.org/ Duration: 9 AM - 3:30 PM

Purpose of researching early computer art

snebtor — Tue, 15 Feb 2011 22:43:51 +0000

During the past 40 years, graphics technologies have evolved from rudimentary images produced in room-sized computer labs to realistic simulated scenes diplayed in hand-held devices. Fast-paced advancement has been a defining characteristic of computer graphics and very little attention has been placed in the history of this emergent discipline. Societys lure with new technologies drives todays computer graphics consumer culture, represented by the film, gaming and software industries. We live in a world dominated by computer graphics aesthetics, but, what about when computers couldnt do all this? How did this all happen?

I remember my first computer. It was a Commodore VIC20 that could be connected to the TV and produced graphics in a 22x23 matrix with only 16 colors. I used the BASIC language to program animations and the software LOGO to produce images like the one of an ice cream composed by 3 circles and a triangle. The VIC20 was a tool for home computing aimed for all ages, and it was a lot of fun. Nowadays I feel that computers, including mobile devices in this definition, are mainly consumer tools that do not encourage creativity. In a nostalgic way, I would like to revisit the days when computers were laboratories for the creativity and experimentation of the fathers of this discipline. Visionaries from different areas ranging from the sciences to art and engineering found the computer as a tool for something more than repetitive tasks and calculations. Around the late 1960s, research enthusiasts from different universities sought to use the computer as an artistic tool. During this period, the hardware available was very limited and, programming languages were not robust, and difficult to program. Computers for visualization helped develop the concept of object-oriented programming, one of the most important features of contemporary computer languages. Examples of early visualization labs are the Electronic Visualization Lab (EVL) at the University of Chicago (UIC), Charles Csuri at the Ohio State University and Aldo Giorgini at Purdue University. Aldo Giorgini was a pioneer in both computer graphics and the digital arts. His work designing the software FIELDS in 1975 is an important antecedent to the use of computers to aid artistic production. His contribution to computer graphics and the digital arts remains almost unknown, and his material legacy is at risk of disappearing. After his death in 1994, Giorginis materials remain untouched at his home-studio located in Lafayette, Indiana. Many of these documents present evidence of an engaged computer-aided art practice. The documents hold an untold history of a computer graphics visionary and I, as a researcher want to bring his contribution to the light. Unfortunately, many of the materials found that include, pen plotted prints, screen-prints, sketches, manuscripts, letters and printed code are not kept in optimum conditions from a preservation standpoint. Part of this research consists in finding the appropriate conditions to conserve digital art. Learning about Aldo Giorginis approach to art and computer graphics will teach newer generations about our relationship with technology, and revive the spirit of creative experimentation with computers. There is a lot of criticism to technology in our society, but from a Heidegger perspective, technology is nothing else that we already are. We cannot escape technology by denial, but we can seek for meanings. For this reason, writing an educational biography about Aldo Giorginis work in the digital arts is important to us today. This research will give the reader a framework to understand our living relationship with todays technologies and their impact in the fine arts.

Another day

snebtor — Fri, 18 Feb 2011 15:18:46 +0000

This is another day in the life of an artist. I just got another rejection to a festival somewhere in the Nordic countries: See? It's not a big deal. You'll get a lot of these in the process of building your career. We live in a very competitive world and the artworld is no exception. Everybody is an freaking artist now... Just too many people in the world! Don't feel discouraged by this stuff to stop making art. Is it the focus to make art or 'make it'? I will continue making art projects. I got a job anyways!

Code as muse

snebtor — Mon, 21 Feb 2011 15:41:35 +0000

* Blais, J., & Ippolito, J. (2006). Code as muse. In At the edge of art (pp.16-55). New York, NY: Thames & Hudson

Code as muse is an attempt to make sense of the different approaches artists have to using programming languages as their media for art making. This chapter is focused extensively in artistic approaches to code writing. The authors explain that the art or craft of a computer program has little to do with fine arts. A clean program from a computer scientist or the art of programming is only the mastery of a technique. In the other hand, artists would misuse code to create new meanings of the world and our relation to technology.

If programming is an art, is any programmer with high standards an artist? No. (p.17)

Scientific discoveries and visualizations such as the Mandelbrot set are important landmarks of this area of study, however, merely image production does not constitute a piece of art. The value of art relies on its meaning, and the production of realistic images using procedural techniques is addressed in the chapter, but also questioned. Art with code has nothing to do with the mastery of the code, in fact, many artists misuse code to produce new meanings and new uses for this medium. The limitations of software art are constrained by syntax, if the program is not properly written in computer language, it wont work. One of the most important aspects of this reading is that art-making is not the main purpose of programming languages, and this code bending re-purposes the original scientific intent of this tools. The chapter has a negative bias towards beauty. Computer aesthetics is an important characteristic of the tool and can be used as a catalyst for deeper meanings. It is true that a naive approach to form, without addressing the medium is not worth a lot meaning, but we cannot assume that critical art makes better art. It just makes sense that ugly is more critical of the medium than an appealing image. In fact, beauty would seen as a positive outcome of these technologies, therefore non critical. Can art with technology can be critical and aesthetically engaging? This chapter is an advocate of the misuse of scientific-oriented machines and languages for creative and aesthetic purposes and achieve the purposeful perversion of code syntax (p.29).

As these examples indicate, scientific analysis frequently generates images at least as compelling as aesthetic output. Sometimes those with scientific training are to eager to bend their output into a frame defined by art-word norms and dont recognize the most artistically illuminating option may be to leave the work in the state of a scientific diagram (p.44).

Artists may use simple instructions and code to produce complex visual outputs. It is important that the viewer can make the connection between code and output. The relationship between code and output produces artistic meanings, and for this reason, the code concept needs to be intelligible to the viewers. This could be just an explication of the algorithm, instead of syntax.

Artists like LeWitt deliberately kept the concepts underlying their works as simple as possible, precisely so that viewers could connect the dots between process and product (p.40).

Biotech Manimal

snebtor — Sun, 27 Feb 2011 03:36:08 +0000

My recent project is a comic called "Biotech Manimal". It tells the story of Rich, a grad student exploited by his professors. While doing some experiments at his lab, Rich's molecular structure blend with a BIO-enzime. The Zine will be out soon, but you can read the first 3 pages by clicking in the picture below: This is the comic is the result of my question about technology. What is the impact (causa eficiens) of technology? This question cannot be simply answered.

Significance of research in Digital aesthetics

snebtor — Mon, 28 Feb 2011 14:08:32 +0000

Why do we study lives? The study of a life does not simply tell the facts and anecdotes of a person. Biographical inquiry (Denzin, 1989) seeks to understand the meanings of the events that form someones life. The biographical study researcher seeks to find truthful facts and turning points in the life of the subject, and interprets them in a narrative form. Turning life points are called epiphanies (Denzin, 1989) and in the case of Aldo Giorgini, the development of the software FIELDS was an epiphany that turned the direction of his life, and the origin of Giorginis contribution to computer graphics and the digital arts. The materials at the Giorgini residence in Lafayette, Indiana hold an untold life story. After his death in 1994, his son Massimiliano Adelmo Giorgini has taken care of his fathers state, and presently lives in the house where Aldo Giorgini lived and worked as an artist. Massimiliano has kept the artists studio practically untouched. At a first glance to Giorginis studio in the basement of 734 Berkley road, it would seem that he would still be alive. The amount of files, folders and artwork lying around look like there was still, an artist working on a big project. However, a closer look to the materials shows signs of wear and humidity. Unfortunately, the personal papers and art of Aldo Giorgini are at risk of disappearing and with them the story of how, an Italian-born artist and scientist pioneered in digital aesthetics. What methods did he use? Giorgini worked extensively developing algorithms for graphics, but also theorized about the meanings of a computer aided practice. In 1975, FIELDS marks the beginning of Giorgini as a digital artist and it is the main focus of this study. Why is important to find new meanings? Through the study of Giorginis life and papers, this study will find meanings of a technology-based art practice. In Heideggers text The question concerning technology (1954), he explains that the meaning of technology is concealed and that it cant be defined only as a mere tool. Heidegger explains the meaning of technology is found in four aspects: causa materialis (the material), causa formulis (the form), causa finalis (the end) and causa efficiens (the effect). According to him, they all belong to each other and effect each other. A simplistic definition of Giorginis work would only explore his work in the dimension of use of technology as a tool, that is, using computers instead of brushes and canvases. As Heidegger explains, this is truth, but only partial. This study will seek the meanings of Giorginis use of technology and how, he redefined the use of the tool to create different results (causa efficiens) than those that technology intended for (causa finalis). New media theorists attempt to explain the meaning of new technologies and criticize their impact in our society. This study will inspect Giorginis work and texts under the light of new media theory, to unveil the concealed meanings in Giorginis digital aesthetics. In 1967, Giorgini became a professor in the Civil Engineering department at Purdue University. During this period, Giorgini worked at a lab equipped with the latest scientific visualization technologies developing algorithms to produce terrain simulations. The visual output of the computer code inspired Giorgini to pursue computer aided art. Making art using computer languages was an unusual practice and Giorgini was one of the first artists to develop his own software to produce art. This relationship between instruction and form will also addressed in this study. How & what to preserve? One of the main purposes of this study is to provide the guidelines for the preservation of Giorginis documents and artifacts. The conservation of digital art poses a challenge to traditional archival methods, and new vocabularies need to be implemented for a successful preservation. This study will lay out possible frameworks for the preservation of software art, namely, the documents concerned with the production and execution of the software FIELDS, its physical outputs, computer aided art and related materials. The resulting data from this study will be readily for its cataloguing in archival records, and will provide the frameworks for further conservation of these materials.

Audiovisual performance: revenge eternal

snebtor — Sun, 06 Mar 2011 01:56:09 +0000

I just came back from Indianapolis. Last night we played in a place called "Earth House", a venue for independent visual artists and performers. It is located downtown "Indy" a few blocks from our friends Jordan, Ryan and Benedict. It was a lot of fun. Unfortunately, one of the members of revenge eternal couldn't come to our show and we had to adapt the sound material a little. Here is a picture of the auditorium where we played at: The show was booked by Erin Drew, a very interesting visual artist that I met a couple of years ago through a Meatballz show in Zonie's closet, Indianapolis. Aaron and I got there and we were surprised that we were playing at a very old methodist? church. erin did a very cool flyer for the event too: There was a big group of friends from the Lafayette infamous scene and their presence didn't remain unnoticed by the public attending to the event. The consumption of alcoholic beverages was frowned upon by one of the organizers of the event. Anyways, our show seemed to have a receptive audience and we also enjoyed the other bands on the show: Bad eyes and Drekka. I really hope we get to get around with the revenge eternal project. I just want to have something else than research. I am more of an artist than a researcher and I want to keep my interests well balanced. We will play 2 shows next friday in Lafayette, our hometown. we'll see how that goes. Here is a video documentation of the revenge eternal performance days before the earth house show:

Got my ass kicked again in grad school

snebtor — Mon, 07 Mar 2011 19:32:06 +0000

Have you ever heard that getting a PhD is hard? If you're considering on starting one be aware that this is a nearly impossible task in Computer Graphics. You can get an MFA by only attending to classes and doing some random artwork on the side. After 3 years of sitting around, partying and dozens of messy relationships I earned an MFA in Electronic and time based media. Some of you might be aware that the MFA is already a terminal degree and no further training is needed to be in the academic or art market. However, I ended out enrolling on a PhD in Computer Graphics... I originally thought of only getting a seconds masters, so I could sit around some more, but my advisers said that it would be just "stupid" to do a second masters. Well... 2 years later and after seeing all the master students have graduated I feel more stupid! Making a PhD is about making a supreme breakthrough in knowledge. Art making is an expression and new work alone does not mean a contribution. Or is it? I am really talking form the heart of my frustration. I was hoping to be able to present my preliminary exams by the end of this semester, but according to my adviser "I'm not ready yet". I really respect him and I thank him for kicking my ass in a caring way. There was nothing mean about his statements, but "being ready" is an abstract concept that only leaders of a fraternity and PhD advisers can decide. Dr. W wants me to see more of who I am. He doesn't want me to please the needs of traditional research, he just wants me to take the time to use my PhD as my opportunity to develop my artistic and philosophical ideas like I never done before. His advice is that I need to be more of an artist than I am being now, to believe in myself, and in my art. I need to believe more in the stuff I make, stop being modest about it, because it is just bringing me down. I doubt myself a lot and this is not letting my creative ideas expand... I'm also trying to make to make to many things at once. Dr. W's message make more art, care less. He also mentioned that the road is more fun than the end- and I agree with him. I guess I don't want the PhD as much as I want to make great artwork. I see people doing amazing things everyday and I want to do it too!

Chromatic Shifts

snebtor — Thu, 06 Nov 2014 22:40:25 +0000

(2013-2016) This LED installation illustrates the cognitive dissonance that occurs in the 2D retinal representation of 3D images. Shifts in light and color offer illusory perceptions of a static shape. This project became the continuing collaboration with Max Carlson called "Carlson Garcia"

Mind in Transit

snebtor — Sun, 17 Aug 2014 22:24:22 +0000

(2014) This audiovisual journey will take you into a deep-spatial exploration through a landscape of computerized sculptures and soundscapes. Out of oceans of static, rise majestic mountains of three-dimensional planes constructed through analog and digital synthesis. VHS (issue of 25), 15 Minutes. A collaboration with Aaron Zernack

XV

snebtor — Tue, 06 Jan 2015 16:42:57 +0000

(2014-2015) In Collaboration with Aaron Zernack (Sound design) and Jorge Garcia Galicia (Algorithm design). Fifteen points (XV) define the configuration of diverse reactive spaces. The body-sensitive experience can be described as a shifting architecture, delineated by mathematically arranged quadrilaterals and textures that display ambiguous perspectives.

Geode

snebtor — Fri, 28 Aug 2015 21:27:42 +0000

[video width="980" height="551" mp4="http://snebtor.chiguiro.org/blog/wp-content/uploads/2015/08/geode720.mp4"][/video] (2015-2016) Video-mapped installation / sound A collaboration with Max Carlson and Aaron Zernack

Infinite Sun

snebtor — Fri, 25 Dec 2015 20:34:23 +0000

(2015) A decoded message, transmitted from the future, tells the story of electronic lifeforms in their pursuit to save the dying star at the heart of their existence. With time running out, will their star go dark or will they unlock the key to an infinite sun? First edition run of 15 VHS cassette. Runtime approx. 30 mins. Video by: Esteban Garcia, Max Carlson, and Tim Gick Music by Tim Gick and Aaron Zernack Video edited by Esteban Garcia Audio mixed by Tim Gick

Aldo Giorgini: Cybernethisms

snebtor — Fri, 25 Dec 2015 21:33:49 +0000

(2011-2015) Working extensively as both artist and scientist, Aldo Giorgini (19341994) was one of the first computer artists to combine software writing with early printing technologies. His innovative process involved producing pen-plotted drawings that were embellished by painting, drawing, photography, and screen printing. This biography is the first to uncover the remarkable work and life of an underappreciated artist, providing insights into the innovative methods and computerized techniques he used to weave creations that seamlessly combined technological sophistication with artistic sensibility. Buried manuscripts, documentation, and art taken directly from Giorginis former studio in Indiana have been used to tell the story of this digital pioneer. The book explores the artists life as a professor of civil engineering at Purdue University as well as providing a catalog of his artistic contributions. Published by Purdue Press. 105 pages

Yturralde: Impossible Figure Generator

snebtor — Fri, 25 Dec 2015 21:39:42 +0000

(2013-2015) This research highlights José Maria Yturraldes most significant involvement and contributions to early computer art from 1968 to 1973 at the Centro de Cálculo de la Universidad de Madrid (CCUM). Yturralde collaborated with artists and scientists to expand and redefine his understanding of shapes, and explored ways that the mainframe computer could be used as a tool for complementing his art practices. He is most well known for developing a mathematical model with which he was able to create a highly sophisticated program where Penrose geometries could be recombined algorithmically. However, there is limited evidence and access to the code of the actual software. Our goal is to further understand Yturraldes contribution by developing a re-significance of his model, which we have accomplished through a modern interpretation of original manuscripts. visit Link to project here A project by Esteban García Bravo and Jorge A. García

Carlson Garcia

snebtor — Fri, 25 Dec 2015 22:16:52 +0000

(2013-2016) Carlson Garcia is a collective effort by artists Maxwell Carlson and Esteban García Bravo to create a unique display of paradoxical shapes. We explore designs that evoke multiple retinal interpretations of space that question constructs of shape perception. Our aesthetic is influenced by lyrical geometric abstraction of the twentieth century, while incorporating new technologies for design and fabrication. Since 2011, we have collaborated constructing interactive installations and manufacturing digital objects through an exploratory studio practice. http://carlsongarcia.com

Bodygraphe

snebtor — Fri, 25 Dec 2015 06:47:31 +0000

(2015-2016) A Project by Esteban Garcia Bravo and Tim McGraw Bodygraphe is an interactive, visual music application that unifies holographic computing with live performance art. Through motion, holographic dancers become instruments and conductors of a visual music experience, and wholly generate graphics and sounds that correspond with their movements. (work in progress)

Ideal Flow

snebtor — Thu, 24 Dec 2015 05:00:10 +0000

(2015) A project by Esteban Garcia Bravo and Tim McGraw - Purdue University This research analyzed primary sources (manuscripts, software documentation and artifacts) found at Aldo Giorgini's estate and revisited Giorgini's contribution developing a WebGL interactive application. http://snebtor.org/idealflow/

Banana DOOM - Videogame mod project

snebtor — Thu, 10 Mar 2011 19:45:38 +0000

During the past year I've been programming my own videogames using the tool called Unity. It is a free engine, and very compatible with the opensource 3d modeling tool wings. I never had used 3D before and it was easy to just start working on it after a workshop organized by ETB and the envision center at Purdue. Besides that, I have been using other game engines for 2D "modding". Modding means making modifications or 'mods' of preexisting games changing the original assets of the game. An example of this is the M.U.G.E.N software that contains the program of a 2-player fight game similar to Mortal Kombat and Street Fighter II. I experienced modding it with an engine called Fighter Factory ultimate. I obviously had to get a machine with windows XP (service pack 3) in it. Anyhow it's a lot of fun to remove the original graphics and replace them with my own drawings. One example of modding in FFU and M.U.G.E.N. is my Cortez character: My next modding project consists of moding the historic first-person shooter DOOM. For this I am using a .Wad file called freedoom, a free version of the doom software. A WAD is the extension file of the game files. WAD stands for "Where is All the Data" and it is part of the doom software. You can edit this files using doombuilder and Xtendable WAD editor... both PC shareware/freeware. I like to use preexisting game plots to raise awareness of historic events. In the case of my Doom WAD, I am creating BANANA DOOM, a game that retells the "masacre de las bananeras" or Banana Massacre in Colombia (1928). You are one of the soldiers that were order to kill 1000+ unionized farmers and their families. The unionized workers pressured the american corporation "United Fruit Company" to get better job conditions. The goverment officials threatened workers to kill them if they didn't resume their banana collection. A threat that became true and has become one of the landmarks in the history of violence in Colombia. Here is a video of my WAD replacing the tree sprites with Banana plants: And one of the sprite ideas for the farmer character will be coming soon. It looks like this: I am using archival images to make the sprite art. But one of my friends will be the Farmer actor.

Summer plans and trips

snebtor — Thu, 05 May 2011 16:22:15 +0000

I've been excited and even nervous about the upcoming events this summer starting in just a couple of weeks. Last Feb. I submitted the Revenge eternal documentation to a festival called LPM in Rome. Pretty soon we got informed about our acceptance in the new media festival for audiovisual performance. Jordan and I will be traveling in two weeks to Rome and stay 5 days there for the duration of the event. We're part of the "RE-Encode" selection for this year, curated by Andrea Sztojánovits. according to the page RE-Encode is:

Generative art is an expressive and increasingly explored genre, particularly thanks to the last decade's technological novelties. The vj became a programmer and the programmer mutated into a performer, capable of creating incredible digital biospheres; a new era of sound and codes have produced novel organic visual experiences. From computer to physical and portable devices, many tools are available to creators and designers which contribute to the technological and artistic development through generative audiovisual language. Thanks to an active and reactive coding of the world surrounding us, the audience can perceive a unique atmosphere, experiencing complex performances of simple bits and binary codes.

I guess what we do fits into that category, since we use computer code to alter and produce audiovisual content. Another exciting event is the one coming up in August. My paper entitled "Art and code: The aesthetic legacy of Aldo Giorgini" was selected for SIGGRAPH 2011 Vancouver. I am excited to present my research and a little bit scared about learning the required presenter/entertainer skills. It has been a great semester so far and the fruits of my work are starting to bloom. After being rejected from a lot of applications to art residencies and bad luck with shows, I get to fulfill 2 of my dream goals for 2011. I have learnt a lot about growing up as an artist and realizing that the road is gonna be long and interesting. The accomplishment of goals is the beginning of new ones. As far as the PhD, I will be working in my research about Aldo Giorgini with great help of my Advisers, Dr. Whittinghill, Dr. Miller and Dr. Mohler. Additionally, The College of Technology will cover the costs of my research during the summer which is freakin' awesome. I would like to encourage other creative artists to persist on their quest to sustainability (economic-integrity-happiness) because it can happen to you. The way the art world works is pretty weird and the chances of becoming "a great artist" are pretty slim in our contemporary world. But, if you can be sustainable, then you're an artist.

Sprite Art Workshop at the College for Creative Stidies in Detroit

snebtor — Mon, 18 Apr 2011 01:00:57 +0000

During the past month there have been a lot of 'bloggable' events in my life that I haven't been able to document because of the lack of time. What can I say, new Zine, new shirts, and travel plans! It is a very exciting moment in my life that coincides with the coming of spring and my 30th Birthday. One of the projects that had me excited all semester was the Sprite Art Workshop at the CCS, Detroit. I was invited by my artist friend Brian Barr whom we went to school together at Purdue's Fine arts grad program. We hadn't seen each other for about 4 years, but he contacted me through FB to see if I was interested to do a lecture and workshop with his painting students from the CCS. I immediately replied because I love doing workshops, it is my favorite art activity. It's really fun to teach something for a day and to interact and collaborate with the participants. The outline of the lecture presentation can be downloaded here: /sprite-art/ Here is a picture of Brian: Stefi drove me there from Lafayette, and it was a long 6 hour trip with a stop in Mc Donald's. I use to like these Mc Donald's stops a lot, but since we saw that movie Food Inc., it really ruined it for me. I hate doing statements about meat and stuff like that, but the reality is that it is just fucking gross. Yes the food industry is ripping everybody off and there is nothing we can do about it. My favorite stop ever was on a KFC/Tacobell restaurant, you could order nuggets and burritos on the same place! I asked if I could have KFC crunchy chicken on my chalupa but that was not possible. Anyways those rest stops are over and I'm sure I will miss the MSG craving every now and then. Okay going back to the Detroit story... We got up early in the morning to go to the workshop. Some students got there fashionably late and heard me talk about digital art for about 1 hour. After that we started sketching some characters and then we went to the computer lab. We used photo cameras to scan the drawings, it was easy and worked well. At the end of the workshop, we had a few functional animations and a lot of creative sprites. Walking around the College for Creative Arts was awesome, the environment felt very artistic and creative. They had an amazing art library with Magazines I even didn't know they existed. I have always wondered if state Universities with their tenure track positions are positive to the arts, and CCS shows a different model to this. The teaching jobs there are contract based and have to be renewed regularly. The focus is on education as oposed to research, which makes more sense to me. There is a lot of hostility to get to be a tenure professor. A lot of really nice assistant professors that I've liked have been bullied-out of the schools I've been to, and it's heartbreaking and sometimes very unfair. Detroit has also a growing young artists' scene that has taken advantage of the real state/financial crisis to take over the city. There are lots of artist-run gallery spaces, and old factories now turned art studios. We visited Brian's and Lauren's studio at an old Car/plane manufacturing plant. Here are some pictures: Lauren and Brian showed us around and they are great hosts. We ate delicious food, had lots of funny conversations and enjoyed sharing experiences. It was so nice to spend time with friends! We went to a show in a space called Butter Projects that was very nice. I had a positive impression of the place when I saw a pregnant young woman giving chilled PBR's from a tub. The show was called 'nude' and featured about 10 artists I think. The quality of the work was a little strange, it seemed that the work in it had been created the night before and carelessly. I really appreciated the sense of community from this opening, and it reminded me of the lively Lationoamerican art scenes like in Bogotá, Mexico DF or Caracas. With a similar cast of participants, the show was more about the gathering of people, but not a lot about the art and the ideas. I wish I would have talked to the guy that did the croched pink costume. That was great work! I hope that the Detroit kids learn to capitalize the uniqueness of their city to produce significant work. The setting is ideal for a renewal of the american art, with the potential of becoming an art center like LA or NY. The future is now for them and it is in the hand of the current Detroit artists to lead attention to the art critics. Or maybe not? maybe trying to imitate the big-art-center scheme would be stupid? Didn't the scheme of 'making it' already fail? Thank you Brian, Lauren and Stephanie for such great trip experience.

SIGGRAPH 2011 Vancouver

snebtor — Wed, 31 Aug 2011 13:12:11 +0000

A few weeks ago I returned from the SIGGRAPH conference in Vancouver. It was a great experience and I had a lot of fun in the company of Dr. Mohler, Professor Hassan and my fellow PhD student and friend Zheng. I had the great opportunity to present my study about Aldo Giorgini in the Art Papers panel and it went very well. I was intimidated by the size of the conference and the amount of people. Before the presentation I received a call from my dad in Colombia, who told me... "Don't worry about the public, just think that they're students," and I think it worked. During this panel I met Francis Marchese, a professor in the department of Computer Science at Pace University. His paper entitled "Conserving digital art for deep time" was very inspiring and eye-opening as well. The practice of preserving digital art is a work in progress and researchers are looking for a feasible methodology to preserve this type of art. Digital art has been often times called "new media", however, this "newness" is about 50 years old and it's necessary to stop and think about the past of this discipline. On the same day of the panel, the Leonardo journal had a reception in the SIGGRAPH art gallery where I had quite an exciting time. All the papers presented in the art papers panel where also featured in the latest issue of Leonardo, which for a PhD student counts as "two birds with one stone." In the exhibition I had the pleasure to meet with Computer art pioneer Professor Chuck Csuri. My adviser Dr. Miller had previously sent him an introduction letter as a fellow "Buckeye", asking him to meet me at SIGGRAPH. I saw him there and gave him a recording of a presentation he did at Purdue in 1974 or 1975 where he talked about interactive graphics. We talked for about 15 minutes and he gave me some very good pointers in relation to the history of Computer Art. Roman Verostko was also with us and I was very excited to hear about the 1970s context. They recommended me to look up the work of researcher Margit Rosen and her historical research entitled "A Little-Known Story about a Movement, a Magazine, and the Computers Arrival in Art New Tendencies and Bit International, 19611973." Get your hands on one of these catalogs NOW. This is the most amazing study of digital art I've seen so far. It tells a complete different history of computer art and it compiles a large group of artists and avant-gardes. It's kind of the missing link between optic-kinetic art and computer aesthetics. You ever wondered why the work of Cruz-Diez or Vasarelly resembled the first computer aided designs? It is because this movements were actually connected! and they were called "New Tendencies." All the ideas of concrete art and the avant gardes in south america shared similar views with the first computer artists, in fact they coexisted around the "new tendencies" exhibitions in Zagreb, Yugoslavia (now Croatia) from 1961-1978. I have the good luck to have kept in touch with Professor Csuri and I am hoping to ask him more specific questions about his relation with Aldo Giorgini and the role that he played in the computational arts movement. Vancouver was such a blast. I am still recovering from all the information I received. I had a lot more interesting conversation with other artists and researchers, namely, Michael Bielicky from ZKM, Osman Khan and David Bowen. It was great to meet this amazing guys on a personal level. It felt good to share similar ideas about art and computers with more established artists and professors. Here I am back in Lafayette now. I traveled so much this summer that I hardly had any time to think... but now that the whole excitement is wearing off and I come back to my normal life as an artist, a course instructor and a researcher, I can't help but feeling the despair of not knowing what to do next.

Interactive Random Chromatic Experience

snebtor — Mon, 12 Sep 2011 12:38:45 +0000

I just stumbled upon the amazing Cruz-Diez foundation site. If I ever visit Houston I have to check this place out. My early assumptions about a connection between the kinetic / OP art movement from the late 1950s and the first experiments in computer art were finally proved through the "New Tendencies / Nuevas Tendencias" international movement. Cruz-Diez participated in some of the New Tendencies exhibitions in Zagreb, a melting pot for artists working with technology. I don't think that there is somebody else that can understand the physical qualities of color as Cruz-Diez. His paintings produce visual effects as you walk through them. It an absolutely amazing experience. We find in his work, elements of interactivity, perception and science used for the purpose of creating amusing art. It is wonderful to think that the viewer doesn't need to be an expert in art with MFA's and/or PhD's to understand this work. Anyhow, The Cruz-Diez foundation has just launched an "app" called Interactive Random Chromatic Experience for iphone and ipad to create optical and colorful images in the style of Cruz-Diez. It is a new version of a 1995 CD-rom that I would love to have: This project is a good demonstration of the research aspects present in Cruz-Diez work. In the computer screen, color is data and interacting with the software allows the user to manipulates the values of the program. I've been toying with the idea of making an app that reconstructs "FIELDS," the software created by Giorgini in 1975. Maybe this would be a good way of making his work accessible to the new generations?

Museo del Futuro

snebtor — Thu, 29 Sep 2011 17:01:08 +0000

Museo del futuro was the result of an artistic residency in the city of Caracas in 2004. During a period of three months, I collected data from the website museodelfuturo.org, no longer online as of today. The data was acquired though a survey with 5 questions about a disappeared consumer product. The questions were:

Which of the disappeared products you remember?
Describe its Flavor/Smell
Year
How was the design? (color, logo, etc.)
Any additional information?

fig1.survey screenshot I received 54 entries. The submissions were used to create visual representations of these memories based on the given information. However, this project was unfinished since only 30 of the products had been visualized. A few weeks ago I found an old stack of papers and with the Museo del futuro drawings in it. Under the light of the topic of data visualization, I gained interest on this project on a different level. This time I wanted to analyze this data through the lens of qualitative research and to produce visualizations for it.

fig2. example of the product visualizations. see all

As opposed to number crunching the surveys, I read the dataset until themes and patterns emerged. The themes found were: fruity, chocolate, colorful, childhood, spicy, sweet, cheesy, fresh, chewy, drink, snack, bubblegum, candy, ice cream, cookie, beer dairy, milk chocolate, spreadable chocolateThe visual results are below:

Questions and feelings

snebtor — Sun, 11 Dec 2011 04:05:34 +0000

Why having a blog if you can't post drunken "illuminations"? I've been bummed for a few days and it has been hard to know the reason of this. My head has been full of anxiety during the last month after the whole preliminary exam thing. Not really worried about the exam itself, but about the future. Last Wednesday I had my oral exam and it went incredibly well. I feel lucky to have finally found a supportive and functional PhD committee to help me move to the next doctoral student stage: the dissertation proposal. I can't really understand when some people complain about being a grad student... for the most part I feel like a slacker, I mean, I wake up, I make coffee, read comics, grade some projects, maybe watch a B movie and then go to class. It is not really a big deal to be a grad student. My battle hasn't been in the actual work, but in my mind. As an artist, what should I do next? Why am I sitting on my ass so much? I don't even know what to do now. I found some interest exploring new ways of doing art and was happy with the results of purely visual and abstract compositions. At some point, I felt that they were very valuable and innovative works, but now I don't even know what to think about them. I mean, a part of me wants to make art my own way, disregarding the ridiculous and glamorous art world, but at the same time, I feel the need to validate my work. What have I done? I don't even know what I want. Knowing what you want is the most important thing for reaching your goals, but now my goals are gray and confusing. I can't tell what they are, and that makes me loose motivation. I really hope this changes! Anyways, part of my thoughts have been revolving around making meaningful connections and leaving behind some digital networking. I feel that publicizing my work in the so-called social networks hasn't been very successful and that, everybody is using the same methods. I am trying to break this cycle, and do things without expecting to have # of comments, "views" or "hits", but it has been hard... I feel isolated, and unmotivated. I was just looking to some of the pictures of the events from Radio Chiguiro in 2006 and it was great because it was about making work and not about the consequences. It was great to make meaningful work for a community. I have high hopes that foamcity will bring this type of creative and artistic force to a fulfilling experience.

Read values from a 203CE accelerometer directly in Processing

snebtor — Thu, 05 Jan 2012 23:05:47 +0000

1. Upload the standardFirmata example from the Arduino IDE in your Arduino board. If you are using Arduino UNO, there is a standard firmata for UNO. 2.Install Arduino library for processing in your libraries folder in the processing sketchbook 3.Test the following code for the Led blink to test that Arduino and processing are communicating correctly (code from the arduino playground page):


import processing.serial.*;
import cc.arduino.*;

Arduino arduino;
int ledPin = 13;

void setup()
{
//println(Arduino.list());
arduino = new Arduino(this, Arduino.list()[0], 57600);
arduino.pinMode(ledPin, Arduino.OUTPUT);
}

void draw()
{
arduino.digitalWrite(ledPin, Arduino.HIGH);
delay(1000);
arduino.digitalWrite(ledPin, Arduino.LOW);
delay(1000);      }

DEBUG.Try the analog read program in the arduino and use the serial monitor to see the maximum and minumum values of the accelerometer. You can take my word that they will be from 300 to 700. Supposedly should be (0-1023) in analog read with mid values around (500).

4. If the LED in the Arduino blinks it means that your hello world between the Arduino firmata and processing is working. 5.Build the circuit: (Connect to A0 for Y and A1 for X) in diagram it says 6 and 7, but it should be an analog pin.

This is the schematic in paper and the photo here:

6. Use the following code in processing:


import processing.serial.*;
import cc.arduino.*;
Arduino arduino; //creates arduino object
color back = color(64, 218, 255); //variables for the 2 colors
int xpin= 0;
int ypin= 1;
float value=0;
PImage a;
void setup() {
size(800, 600);
arduino = new Arduino(this, Arduino.list()[0], 57600); //sets up arduino
a = loadImage("mar.png");
arduino.pinMode(xpin, Arduino.INPUT);//setup pins to be input (A0 =0?)
arduino.pinMode(ypin, Arduino.INPUT);
}
void draw() {
background(back);
noStroke();
image(a,arduino.analogRead(xpin)-180, arduino.analogRead(ypin)-300); // in case you want to draw an image
//ellipse(arduino.analogRead(xpin)-130, arduino.analogRead(ypin)-130,30, 30); // in case you want an ellipse
}

--This program tracks down the X and Y values from the accelerometer and displays them altering the position of a graphic in the screen. --Youll need to replace the image mar.png in the data folder. --The position of the object needs to be calibrated to the min and max values the accelerometer is giving you through the serial monitor and for this reason I substract 180 and 330 to the position of the graphic. It still needs improvement!

ABD and other things

snebtor — Fri, 16 Mar 2012 15:42:17 +0000

Last week I presented my dissertation proposal to my committee. To say the least, it was a challenging and awesome experience. After 2 hours of heady talk and scrutiny from my 4 committee members. I got my thesis proposal approved! That means that my research project is good to go. It's hard to keep in my mind all the things I have to do. In fact having this blog kind of saved my ass when I explained I used it as a researcher-bias check - journal. I guess it is! Now I have to get that IRB approved and the rest should be smooth sailing. I mean I'm almost done with that statistics class... Things are looking up. On another note, first run of my submitted proposals to conferences and art venues is starting to come back. Refused proposals:

Currents New media festival, Santa Fe
Mapping festival, idk?
Bilsland fellowship, Purdue

Accepted (so far)

ISEA 2012 Albuquerque

We'll see what happens but I am excited about the news with ISEA 2012. It is for my project that is in this blog called 'banana doom'. Okay I sign off now. Gotta go work on the "Experiencia Mística" project an arduino/ processing controlled environment! here is a teaser pic:

Experiencia Mistica

snebtor — Thu, 12 Apr 2012 17:24:39 +0000

First sketch with the idea. Okay, so I have embarked in a project that involves a lot of work, research and skill. A lot of people have seen me working at foamcity in a "church" or "castle", but in reality is my Experiencia Mistica project. My motivation to do this project is an image that came to me a long time ago. This image is a three dimensional model of one of Lafayette's churches. After that I started thinking about the most appropriate material to do a huge 3D model and after making 2 giant plywood structures in December, I went for plywood for this project. I have been obsessed with geometry for a while and during my PhD I've been exposed to visualization techniques and geometric modeling. I also teach a visualization class and Dr. Miller's orthographic teachings came in very handy in the development of the model: Max helped a ton with his knowledge and tools and we put together the main geometry in only 2 days! It was great. Now I am in the process of painting the outside and it's been already a month of heavy work. This is how it looked last week: Since then I have repainted a lot of the early lines because I was not happy with the way the geometry looked kind of flimsy. The video on top shows a program for controling the lights inside via arduino. There is so much to be done!

PIR sensor code

snebtor — Mon, 14 May 2012 16:27:04 +0000

After reading a little bit about motion sensing with PIR sensors and arduino, I was able to improve this code a little bit. The idea came up from sensing "strong motion" as opposed to just a random one. This image shows a previous code based on the buildr link above: The idea is that it will only turn the led on or send a "motion detected" message if a strong motion is detected, that is if 5 consecutive signals from the infraRed sensor will trigger the actual action. I was trying to debug this sensor trying to understand its behavior correctly. When I built the circuit, I noticed the motion sensing was as not as reliable as I wanted. That was triggering a false or unwanted signal. Based on my observations of how my interactions with the sensor affected the LED and serial messages, I discovered that the sensor sometimes will send a weird "LOW" to the board and trigger the alarm... But what is the probability of 5 signals in a row? That is what this program does... It is very reliable now! It was just a software solution to the sensor debugging. In fact the "motion" sensor is actually activated by heat sensing, a variable associated with motion.... Watch out predator, I can sense you now!

int pirPin = 2; //digital 2
int ledPin = 13;
int counter;

void setup(){

pinMode(pirPin, INPUT);pinMode(ledPin, OUTPUT);
}

void loop(){
int pirVal = digitalRead(pirPin);

if(pirVal == LOW){ //was motion detected
counter ++;
if (counter == 5){ // the sensor has to be triggered at least 5 times to detect strong motion
digitalWrite(ledPin,HIGH);// send the signal put your trigger action here

} }

if(pirVal == HIGH){ //was motion detected

counter=0;
digitalWrite(ledPin,LOW );
}

}

Experiencia Mistica program

snebtor — Tue, 15 May 2012 15:26:48 +0000

In an effort to document and archive the circuit and program of the experiencia mistica installation, I publish this circuit and code, in wich a PIR (infrared motion sensor) triggers a display of a RGB LED strip and 2 strobe lights. Additionally has a 12V input and a webcam. It runs in processing with different libraries, such as Arduino, processing.video and minim for the audio


import processing.serial.*;
import cc.arduino.*;
import ddf.minim.*;
import processing.video.*;
import gifAnimation.*;
Minim minim;
AudioPlayer player;
Arduino arduino; //creates arduino object
Capture cam;
Gif tunel;

//variables for PIR
int PIRPIN = 2;
int ledPin = 13;
int counter;

//Variables for RGB strip
int REDPIN= 5;
int GREENPIN= 3;
int BLUEPIN= 6;
int r, g, b;

//Variables for R L strobes
int LEFTPIN =9;
int RIGHTPIN=10;

float leftChannel;
float rightChannel;
float soundValLeft;
float soundValRight;

void setup(){
size(800, 600);
colorMode(HSB);
tunel = new Gif(this, "tunel.gif");
tunel.loop();
cam = new Capture(this, 160, 120);
arduino = new Arduino(this, Arduino.list()[0], 57600);
arduino.pinMode(PIRPIN, Arduino.INPUT);
arduino.pinMode(ledPin, Arduino.OUTPUT);
arduino.pinMode(REDPIN, Arduino.OUTPUT);
arduino.pinMode(GREENPIN, Arduino.OUTPUT);
arduino.pinMode(BLUEPIN, Arduino.OUTPUT);
arduino.pinMode(LEFTPIN, Arduino.OUTPUT);
arduino.pinMode(RIGHTPIN, Arduino.OUTPUT);

minim = new Minim(this);
player = minim.loadFile("mystica2.aiff", 1024); //or 2048
player.play();

}

void draw(){
int pirVal = arduino.digitalRead(PIRPIN);

if(pirVal == Arduino.LOW){ //was motion detected
counter ++;
if (counter == 5){ // the sensor has to be triggered at least 5 times to detect strong motion
arduino.digitalWrite(ledPin, Arduino.HIGH);// send the siignal
player.play();
background (255, 0, 0);
//delay(2000);
}

}

if(pirVal == Arduino.HIGH){ //was motion detected

counter=0;
arduino.digitalWrite(ledPin,Arduino.LOW );
background (0, 0, 0);

}

if ( !player.isPlaying() ){
player.rewind();

}
if ( player.isPlaying() ){
for(int i = 0; i < player.bufferSize() - 1; i++) {
soundValLeft= player.left.get(i)*150;
soundValRight= player.right.get(i)*100;

}

int soundintL = int(soundValLeft); // int version of sound value
int soundintR = int(soundValRight);

arduino.analogWrite(LEFTPIN,soundintL);
arduino.analogWrite(RIGHTPIN,soundintR);
cam.read();
image(tunel,0,0);
image(cam, 322, 236);

if (g==255){ // loop for green variation
g=0;}else g++;

tint (g, 255, 255);

if (r==200){ // loop for red variation
r=0;}else r++;

arduino.analogWrite(GREENPIN,g);

arduino.analogWrite(REDPIN,r);

arduino.analogWrite(BLUEPIN,soundintR);

}

Dorkbot indy 0x8

snebtor — Tue, 22 May 2012 15:15:22 +0000

Yesterday I presented in Dorkbot Indianapolis 0x8. It was a great experience and the Big Car service center provided a great venue for this event. I was recommended by my friend Mayowa Tomori who we knew from the radio chiguiro times. It was very cool to meet very interesting people and get feedback/ support for the type of work that I am doing. I guess it made me see my work in a more linear perspective and understand my process by having it explained to others. I mean... I think conversational speak is easier to explain art. Maybe I should do that in writing.Aaron, Paul and I rode down there for a little bit, ate great tacos at a place called "TEX MEX" and went to a house show. Anyways. I hope to be involved in more dorkbot events... Being part of this is a dream come true :)

experiencia mistica

snebtor — Mon, 04 Jun 2012 18:34:45 +0000

Experiencia Mistica from Snebtor on Vimeo. Here is the final result of my 4 month project. I feel very pleased with the result and learned a lot of new techniques in the process.

Getting samples of computer art

snebtor — Wed, 13 Jun 2012 02:20:34 +0000

I have been working at Aldo Giorgini's studio for the last couple of weeks. I can't describe the thrill of having access to such valuable materials. Kelly (Mass' wife) has been allowing me into the house to work in this project. Tomorrow will be the fourth time I go and my feelings are very complex in regard to this experience. First of all it has been entertaining to try to find a meaning of the amount of information in the place. There is a lot of stuff (clothes, flyers, old magazines, records, tapes, manuscripts, teaching materials, personal objects, newsclippings, and a lot of dirt...) to be sorted and I am on my way of doing this. I am just touching the tip of the iceberg... Lots of materials are Civil Engineering research and class materials. His work with the software? HEC-2 for hydraulics simulation seems to come up a lot in documents from 1985-1989. This research allowed him to review books in the subject of HEC-2 and computer aided fluid simulation. During this period, Giorgini carefully created the illustrations using the computer and embellish them using letraset (adhesive) black and white patterns to create fills and variety of surfaces. One that brought my attention was the ones mounted on bigger panels that simulate a turbulence. In one corner of the printed plots, that at this point they are still calComp prints, there is a variable "T" for "time" suggesting image sequences. Was Giorgini's interest on creating animated movies of this graphics? In prior conversations with Mass, he mentioned the existance of some photographed "frames" of a bridge simulation project. His bridge simulation images from a 1979 paper entitled "Bridges as Sculptures", written by Giorgini and presented at a CE conference in Atlanta,later became the Landscape series and furthermore in 1998, the cover of the Screaching Weasel album. Other things are salient, such as his CE conference in Morrocco, in 1988. I think this trip meant a lot to Giorgini... I just have an instict that he had a connection to Arab Africa because of his early life in the Eritrea...One of the manuscripts was in arab. Did he also visit Eritrea? I noticed in his tickest that he stopped for about 20 days in Rome. I guess I gotta keep focused in the computer art and not get caught up on other mysteries... so many of them. What matters? What is meaningful? - Everything and nothing. In regard to computer art, the findings are rich and less abundant. Evrey now and then I find correspondance with galleries and brochures of exhibits in which he participated. Also found some brochures of the "Computer art day" at Purdue. Now I can be for sure which computer artists visited Purdue in 1975. In addition to Chuck Csuri, Robert Mallary, Kenneth Knowlton, Colette and Jeff Bangert, I recently discovered the participation of John Whitney and Lilian Schwartz. This is exciting if you are into computer art history... They are all pioneers! Last but not least are my findings of a folder with the manuscripts for "Palette" a computer software developed by Giorgini to produce pixel-based graphics. I think this development was for tektronix... In the picture above you can see his numerical approach to color and pattern. Please be reminded that this is circa 1979 when the pixel-based computing is early, underdeveloped, expensive and incipient. In short, pixel-based monitors are another different technology that became ubiquitous in the "Personal Computer" revolution, which marks the end of "computer art" and the beggining of "digital art."

Innovations in computer art

snebtor — Wed, 20 Jun 2012 14:20:23 +0000

As I progress in my quest of finding computer art data from Aldo Giorgini's state, I have discovered very intriguing traces of early pixel-based simulations. It is exciting to see so much material that I (and probably nobody else) has seen before. Giorgini was in a constant duality between art and technology. Many would think that this duality is a plus, but to him it only meant a struggle. After the early computer art scene from the 1970s faded away in the 1980's, Giorgini had several dilemmas to deal with. The personal computer, as opposed to the mainframe computers, were more accessible to people, and were vastly commercialized. I found some 80's clippings offering IBM or Commodore computers. Around 1980, Giorgini aquired a Tektronix 4027, a raster based computer. This jump from the "vector" foundations of CalComp to the pixel-based technologies in Tektronix presented a challenge to Giorgini, since it is a drastically different technology, that was also incipient at that time. During all of the 1980's, Giorgini's work in computer art became less intense and he became more focused in his work with the HEC-2 and HEC-1 software from the Hydrologuc Engineering Center. The majority of his classes were in this subject and developed several manuals for his classes at Purdue and this institution. In 1983, he won a grant with the Apple Education foundation for the creation of the "Apple Hydraulics", an apple version of HEC. Giorgini was obsessed with fluid simulation, even his non-computer paintings resemble the fluid turbulences that he plotted. He continued to use CalComp throughout the 1980's, but did some simulation work in the full-color tektronix. In the above images we can see similar simulations using different technologies. The one of the left is CalComp and the one on the right is a photo from the tektronix screen. It seems like Giorgini tried to produce some raster-based art, but struggled to produce image outputs. The CalComp plots outnumber the color pictures and he might have just feel creatively limited. His work using CalComp allowed him to reproduce the image at very a big scale, and to produce screenprints. However, I have some indices that he tried to create a framework for artistic production in Tektronix, in a similar way that he did with his softwares "Fields" and "Light". At Giorgini's state I have found several manuscripts and folders with the title "Palette". In his CV, he mentions an existing published report about this software, but as for now I have only found several manuscripts with numeric formulations and text. I am hoping to find more about this program. As a result of this software he won an art prize in Germany in 1984. The late life of Giorgini, was full of trips around the world. He became a knowledgeable resource for HEC-2 and was invited to conferences in Morrocco, Tokio and Italy. He had a very busy schedule that included teaching, publishing, reviewing and traveling. He collaborated with his graduate students, whom he had friendly and long lasting relationships. Giorgini was very much liked based on the correspondance and student evaluations found. In contrast to this, his faculty colleagues at the Civil Engineering department did not support his promotion to full-professor based in the fact that he was more known as an artist. In a letter found, voting committee members argued that he didn't have enough publications for the amount of years that he had been at Purdue. Is it possible that Civil Engineering department "repressed" an innovative artist? In a similar way, last month his murals have been removed from the potter engineering center, with the argument that they seem dated. Today, the new buzz word is "Innovation", but the institutions that say that foster it don't really understand how innovation happens and they jump into fast conclusions. Innovation is a very slow process that takes years of not-knowing. The academic world is all but innovative, with the faculty and tenure system, when professors are only valued for the amount of publications, rather than the significance of their discoveries. Yes, this makes me sad, angry. Why is it that nobody at Purdue is interested on taking care of Giorgini's murals? Is it for the same reasons that he didn't get his promotion in 1990? Are we just using Innovation in technology as a buzz concept but not really embracing it?

Experiencia Mistica in Lafayettech

snebtor — Tue, 10 Jul 2012 13:13:00 +0000

Last month, I met Nelu Lazar from an organization called Lafayettech. Nelu and his group have been organizing lots of community events in technology development and entrepreneurship. I was invited to do an Arduino workshop that was hosted in foamcity on June 3. It was really fun to find so many people interested in developments with arduino. In fact, I was the least knowledgeable person in arduino within the group. There were people of varied disciplines and ages, with a common interest. During the workshop, we were able to hack an accelerometer, a LED panel and some RGB lights. Here is a pic from that day. Also Nelu made the really cool video/interview about my project. (above)

Fallopian Tuba

snebtor — Fri, 13 Jul 2012 14:52:02 +0000


int speakerPin = 2;
int buzzerPin = 4;
int buzzer2Pin = 0;
int xpin= A2;
int ypin= A1;
int zpin= A0;
int x, y, z;

void setup() {
// initialize the serial communication:
pinMode(xpin, INPUT);
pinMode(speakerPin, OUTPUT);
pinMode(buzzerPin, OUTPUT);
pinMode(buzzer2Pin, OUTPUT);
//Serial.begin(9600);
}

void loop() {

bass();

}

void beep (unsigned char speakerPin, int frequencyInHertz, long timeInMilliseconds)     // the sound producing function
{
int x;
long delayAmount = (long)(1000000/frequencyInHertz);
long loopTime = (long)((timeInMilliseconds*1000)/(delayAmount*2));
for (x=0;x           {
digitalWrite(speakerPin,HIGH);
delayMicroseconds(delayAmount);
digitalWrite(speakerPin,LOW);
delayMicroseconds(delayAmount);
}
}

void bass ()
{

x= analogRead(xpin);
y= analogRead(ypin);
z= analogRead(zpin);

beep(speakerPin,500+x,89);
beep(buzzerPin,90+y,80);
beep(speakerPin,290+z,x);
//beep(buzzer2Pin,700+z,10);
// beep(speakerPin,800+x,78);
//beep(speakerPin,x*0.7,sensorvalue%5);
//beep(speakerPin,xe*0.09,400);	//
//delay(1000);

}

Playing with technology

snebtor — Fri, 20 Jul 2012 13:36:14 +0000

Yesterday I went back to Aldo's studio and explored the "art room" that consists of a wall with a custom made PVC pipe array. The "pixels" of the wall stored the majority of Giorgini's Legacy. Unfortunately, some of the large (4m X 1.50m) original photographic transparencies have masking tape stuck to them. After careful exploration, it may come off. There are materials that have been stored inside other paper rolls and are in good condition. This transparencies were the result of photographic enlargements of the plots. Giorgini decided to work in a medium scale and enlarged the computer plots through taking film pictures of them. Photography was a passion for Giorgini. A collection of about a thousand slides are a time machine to Giorgini's vision. His photo documentations are intriguing. Very few of them show people or events, suggesting Giorgini's uttermost visual interests. The themes are: bridges, Lafayette, computer art, architectural, travel, home, class materials. Giorgini had an admiration for the Italian renaissance in the work of Andrea Palladio. To Giorgini, bridges were constructions that succeded Palladio's theories for architectural exploration. It is natural that Giorgini was fascinated by bridges, he was a Civil Engineer that enjoyed mathematical calculations to create shapes. An envelope with black and white pictures show intriguing models of buildings and bridges with custom made computer aided patterns. I did not find this originals anywhere yet! But they were the "Swiss cheese" and "Checkerboard" among others that are in his catalog of artworks. The majority of computer aided, enlarged transparencies on mylar are original pieces of art that often times were hand painted and exhibited. Other times they were used to make reproduction of the pieces. By this means, Giorgini created his "Surfaces" series, a run of 200 hand numbered print portfolio of five images. Did he actually make other bigger prints? Did he attempt to make prints with his gigantic screens? The majority of prints he made at his studio are for Surfaces, or at least no other evidence of test runs. Giorgini had an almost exaggerated sense of printing lots of copies of his art. There are currently about 30 thousand prints of his art, specially the ones created with FIELDS and the "Surfaces" print portfolio. Were the missing works purchased or donated to people and institutions? Which works are in the collection of the Smithsonian and Carnegie Melon? Pictures, slides and film negatives reveal Giorgini's process of computer aided art. His computer plots varied in size from 8 in x 17 in to 20 in x 30 in. Sometimes they were colored and then photographed and some other times they were painted over the mylar or paper using black markers or photographic emulsion in the case of the transparencies. When you see the murals of the "Light" series, photography comes to mind. A perfectly defined and focused intricate pattern of alternating and almost glowing by photography: perfect black and the shiny white of it's matte paper. The "Light" murals make me wonder how to make a print of this dimensions. This images were made in a photographic lab in a similar manner than a photogram. Photograms are an early photographic technique that consists of laying objects over photographic paper. A timed light exposure and an immediate development in a dark roomcreate contours of opaque objects in black and white. Giorgini used the modules to do a multiple exposition in the paper, and be able to create a large image. This process was not easy, and it probably required the aid of professional expertise. I imagine it would be hard to avoid double exposures and matching the image prior to developing it... It needed careful calculation. Maybe if he was living he could tell me how he accomplished this, probably in a very logical and practical solution. At this point the work has evolved from math to computer code to plot to photo to paint and then to photo again. The goal was to create a perfect image. Notes: Other important software discoveries: Stretch ( use to make lots of works) and other 2 that can't remember! in adition to FIELDS, Palette and Light. Is there one called Surfaces? The other art prints come from the Bridges as sculptures paper. Chastique prior to computer art - connection to hydrology

Aldo in the 1980s

snebtor — Mon, 15 Oct 2012 20:38:47 +0000

In his last decade, Giorgini continued to work in side design projects for people he knew in the Lafayette area, and used the computer in a less artistic way. During this period, his use of computer focused greatly in creating graphics for the visualization of fluid mechanics. Some of his most significant contribution to this field are: The development of the software and instruction of HEC-1 and HEC-2 and "Apple hydraulics," a fluid mechanics simulator developed with a grant form the apple foundation in 1984. For apple Hydraulics he collaborated with his PhD student, Andrea Rinaldo, one that he collaborated on several research papers and grant proposals. His last years are marked by a series of trips to Morocco, Tokyo and Italy. The reason for travel was his inclusion in two international conferences about hydraulics. Giorgini had a busy schedule juggling between his extensive research in fluid simulation, visualization, grant proposals. In 1988, Giorgini travelled to Morrocco and Tokyo to present the latest techniques in fluid simulation and visualization. During the trip to Morrocco, few manuscripts show his familiarity with the arabic language. Giorgini grew part of his early life in the African country of Ethirea, as a war refugee during Mussolinni's dictatorship. After Morroco, He visited his Voghera, his hometown in Italy and reconnected with family members as well as Italian researchers. Regardless of all this endeavors, and his full devotion to teaching in the Civil Engineering department thought he didn't have enough merits in academia to fullfil the requirements to become a full-professor. In the report found at Giorgini's, anonymus commentaries state "too much art, need more papers." The cold approach to a exemplary academic that contributed to the development of computer graphics simulations and computer art, raises questions to how the academic system measures knowledge using certain quantitative research landmarks such as "3 publications per year." It is important to understand the magnitude of Giorgini's contribution. He was an active participant in a technological development that impacted the history of computation. In a seminal period in which very few had access to computers, Giorgini devised several methods and instructions to use early computer code and printers to produce graphic information. The foundations of his visualization models were highly mathematical and sometimes statistical. In "Circular Cylinder" you can see that during his scientific visualizations he was also having fun. The program "CYLIN" shows visual cues of Giorgini's artistic interests. Some illustrations from the CE reports became indeed, the foundations for some of his later art pieces.

CGT 216 - Vector Imaging for Computer Graphics

snebtor — Mon, 15 Oct 2012 22:21:02 +0000

Art by Ben Yoder

Course overview Full-color vector illustrations for a variety of uses are produced using computer methods. Color theory, surface analysis, and rendering techniques are emphasized as they apply to vector-based technical illustrations . Course objectives Upon completion of this class, students will be able to:

Understand the cognitive and communicative attributes that make graphics effective.
Learn about the history, implications and application of vector graphics.
Specify color in RGB, HLS, CYMK, and PANTONE systems as they relate to vector illustrations.
Discover the suitability of PostScript vector graphics applications for particular illustration tasks.
Gain skill in an industry-standard PostScript illustration tool.
Describe methods for planning and evaluating informational graphics.
Develop experience in securing high-quality color output from service bureaus.
Learn about the principles of light, shade and shadow as they apply to vector renderings.
Create realistic and appealing technical graphics for visualization.

CGT 211-Raster Imaging for Computer Graphics

snebtor — Mon, 15 Oct 2012 23:35:55 +0000

Art by Rachel Whitson

Course overview Digital images are produced using a variety of computer technologies. Advanced color theory, surface rendering, and light control are emphasized in relation to technical illustration, hardware characteristics, and software capabilities. Course objectives Upon completion of this class, students will be able to:

Demonstrate understanding of the primary attributes and differences between vector and raster graphics and their application to various communicative products and tasks.
Demonstrate understanding of analog and digital data forms and the conversion processes relating to digital imaging.
Appropriately use common imaging application features such as layers, channels, paths, filters, color adjustment and correction tools, histograms, color mode tools, and calibration tools.
Demonstrate understanding of input, manipulation, and output technologies related to raster graphics.
Demonstrate understanding of color theory, color models, color systems, and the psychological affects of color in raster imaging.
Demonstrate understanding of miscellaneous raster graphics issues such as file formats, compression technologies, vector to raster conversion methods and the legal implications of copyrights, trademarks, licenses, and releases.
Demonstrate skill and proficiency in creating professional raster graphics for all types of output including: textures for use in 3D environments, photographic reproduction, digital illustration, web delivery, CD-ROM multimedia, and self-promotion.

CGT 112 - Sketching for Visualization and Communication

snebtor — Mon, 15 Oct 2012 22:58:07 +0000

Art by Priya Johal

This course applies fundamental computer graphics concepts of visualization, communication and creativity within a sketching metaphor. Exercises and projects in graphic theory, problem solving and sketching skill development provides students with activities that focus on further development within the discipline. A variety of sketching techniques are used to gather critical information and transform data into effective communication instruments. Course Objectives

Demonstrate the knowledge, technical skills and personal discipline required to be successful utilizing sketching abilities for creative problem solving in a technical environment.
Demonstrate the knowledge, technical skills and personal discipline required to be successful utilizing visualization abilities for creative problem solving in a technical environment.
Systematically identify, evaluate and solve problems using points, lines, surfaces, and solid geometric forms in the solution of technical problems.
To develop an understanding, and be able to use, common geometric construction techniques when creating 2D and 3D geometric forms for the solution of technical problems.
Acknowledge the history, research, and implications of sketching methods for creative problem solving in a technical environment.
To develop skill and proficiency in the ability to present clearly identified solutions using freehand sketching graphical communication conventions and standards in a technical environment.
Develop sketching skills for communicating ideas.
Read and interpret visual content.
Understand the basic concepts of visual communication.
Utilize sketching methods to represent organic and inorganic shapes.
Utilize sketching methods to represent and communicate creative ideas.

A&D 101 - Electronic Media Studio

snebtor — Mon, 15 Oct 2012 23:16:48 +0000

The Electronic Media Studio 1 is an art studio before it is a computer course. Our goal is to make art with computers, not simply learn how to use computers. Every student in this course should use it as an opportunity to become a media art creator rather than consumer. Assignments in this course are invitations to invent and experiment. They are also designed as hands-on experiences to explore the possibilities and pitfalls of this new medium.

Iosafe NAS animation project

snebtor — Thu, 18 Oct 2012 14:20:50 +0000

My friend Chad interviewed and edited this promo about my animation work for Iosafe NAS-cloud computing.

Great Lakes Drawing Biennial

snebtor — Thu, 18 Oct 2012 14:44:25 +0000

Last week was the opening of the 2012 Great Lakes Drawing Biennial. My friend Brian was curating this exhibit and I came to visit him and the show in Eastern Michigan University, Ypsilanti. I got to check out their great art buildings and meet some of the faculty. My work shapey 48 was displayed in the Ford gallery along with other really exciting visual art. I am glad to come back to the Detroit area... it has a vibrant scene in the arts.

Presentations at ISEA 2012

snebtor — Tue, 30 Oct 2012 18:16:47 +0000

In september I had two presentations in LAF ISEA 2012 in Albuquerque, NM. It was really great to see this part of the country and reconnect with my friend Andres Burbano, whom invited me to collaborate in the code talkers panel. I have decided to add here both of my presentations in pdf for documentation Radio Chigüiro was a social platform for the distribution of Lafayette, Indianas glocal culture. It operated as a community radio, exploring youth practices associated with parties, live music shows, and free radio workshops by using a web site as a medium for contact, production and participation. Using basic computers, participants will learn to produce their own radio programs. The objective of the workshop is to instruct in easy and free resources for audio recording, editing and broadcasting. The workshop is available here: Radio Chiguiro Workshop and materials here: Radio Escuela My other presentation was "Navajo Code Talkers and technology." I was invited to collaborate with this project, originally conceptualized by Andrés Burbano. The Latin American Forum at ISEA2012 is proud to host Bill Toledo, Navajo Code Talker. The history of Native American Code Talkers remains as one of the most complex and intriguing interactions between indigenous communities and the geopolitical challenges that characterized the XX century. This conversation with Bill Toledo is not only an opportunity to engage with his personal history and the context of his work as a code talker, but is also an opportunity to explore topics related to the nature of language, code and computation. This presentation highlights the renovation of the discourse about Latin American understanding with the richness of the Native American Cultures. Presentation here: Codetalkers

snebtor — Thu, 15 Nov 2012 18:33:50 +0000

A small version of 'Light B' (1977) Among the 78 different Civil Engineering reports found in Giorginis Vitae from 1990, a small group of software art projects were listed. The majority of publications found displayed texts, mathematical foundations, computer codes and illustrations for the visualization of Hydraulic models. In a lesser proportion, the reports that featured software art were: Light, Palette, Photo, Drawing, Fields and Stretch. These programs were created as frameworks for artistic production. Giorgini had the aim to make his ideas approachable to future artists and researchers, keeping notes, graphics and extensive documentation about these programs. The only technical report for software art I have found is the Fields one (1974), however, the others were found in the form of manuscripts at Giorginis estate. The Potter Engineering Library at Purdue, that currently archives Purdues Civil Engineering materials from this time has no record of these reports either. Based on this evidence it is possible that the documents listed as published in the Vitae were never published or at least missing . In the 1984s Vitae, Stretch, Palette and Photo are listed as in print. LIGHT 1977 I found no records of the program Light from 1977, the one used to produce the Murals commissioned by the Aesthetics in Technology program to decorate the Potter Engineering Center. The only documentation of Light A and Light B (alternatively titled Fiat Lux and Sculptural Forms), is the extensive trails of the process of creating gigantic photographic image reproductions on mylar, and later transferred into photographic paper using the photogram technique.

snebtor — Sat, 10 Nov 2012 17:41:23 +0000

Yesterday I received the ISEA proceedings. Below is a link to the article: Radio Chigüiro: Making community radio

Aldo Giorgini in Leonardo Journal, MIT Press

snebtor — Sat, 10 Nov 2012 17:50:35 +0000

You can download the article below: Art and Code: The aesthetic legacy of Aldo Giorgini

Arkanoid clone

snebtor — Sat, 17 Nov 2012 20:37:23 +0000

This is the code for an arkanoid clone based on local-guru's. I decided to use it to explain how to bring vector graphics from illustrator into a game framework in processing using the Pshape object. I have commented as much as possible the original code to allow for an easy implementation.


/**
 * a arkanoid clone by
 http://www.local-guru.net
 * use the mouse to play
 
 slightly modyfied by snebtor.org
 Replacing graphic elements with pshape
 */

int px, py;
int vx, vy;
PShape ship;
PImage back;

boolean paused = true;
boolean done = true;
int[][] stones; 

void setup() {
  //noCursor();
  size(1280,720);
  ship = loadShape("ship3.svg");// vector loader
  back=loadImage("bg.png");//raster loader
  smooth();
  px = width/2; //position of ball x
  py = height-70;//initial position of ball y
  
  vx = int(random( -25, 25 ));//initial speed
  vy = -40;
  
  stones = new int[31][17]; //two dimesnional array of stones
  for( int x = 0; x < 31; x++) {
    for( int y = 0; y < 17; y++ ) {
      stones[x][y] = y + 1;
    }
  }
  textFont( loadFont( "font.vlw" ));
}

void draw() {
 //shape(bg,0,0);// needs to be a simple image in this case we rasterize
 background(back);
  stroke(60);
  strokeWeight(1);
  noCursor();
  
  // update postion of the ball 
  if (!paused) update();
 
  // draw all stones that are not removed yet
  // check if all are gone
  done = true;
  for( int x = 0; x < 31; x++) {
    for( int y = 0; y < 17; y++ ) { //create new rows or columns of elements
      if ( stones[x][y] > 0 ) {
        done = false;
        fill( 1 + 10 * stones[x][y],145,52,200 );//this is an array for the gradient fill
        rect( 10 + x * 40, 10 + y * 20, 40, 20 ); //this is the stone design
      }
    }
  }
  
  // no stone remaining - display yippie message
  if ( done ) {
    paused = true;
    fill(255);
    textSize( 48 );
    text( "JIPPIE!", 50, 200 );
  }
  
  // display text if paused
  if ( paused ) {
    textSize( 16 );
    fill(128);
    text( "press mousebutton to continue", 10, 650 );
  }
  
  //draw starts here
  
  
  
  // draw paddle
  shape( ship, mouseX+106, height-280, ship.width/3, ship.height/3 ); // here we locate the new vector file considering width of graphic
 
 
  fill(mouseX,56,70);
  noStroke();
  // draw ball
  ellipse(px,py,20,20);
}

void update() {
  // check if ball dropped out of the lower border
  if ( py + vy > height - 10 ) {
    px = width/2;
    py = height-70; // make the distances relative to size of the screen
    vx = int(random( -40, 40 )); //change speed here too
    vy = -19;
    paused = true;
  }


  // check if the ball hits a block
  for( int x = 0; x < 31; x++) {
    for( int y = 0; y < 17; y++ ) {
      if ( stones[x][y] > 0 ) {
        if ( px + vx + 10 > 10 + x * 40 && px + vx - 10 < 10 + x * 40 + 40 &&
             py + vy + 10 > 10 + y * 20 && py + vy - 10 < 10 + y * 20 + 20 ) {
          stones[x][y] = 0;
          
          // change the velocity in y direction if the block has been hit 
          // on the bottom or on the top 
          if ( px + 10 > 10 + x * 40 && px - 10 < 10 + x * 40 + 40 ) vy = -vy;
          // change the velocity in the x direction if the block has been hit on the side
          if ( py + 10 > 10 + y * 20 && py - 10 < 10 + y * 20 + 20 ) vx = -vx; 
        }
      }
    }
  }
  
  // change the direction if the ball hits a wall
  if (px + vx  < 10 || px + vx > width - 10) {
    vx = -vx;
  }

  if (py + vy  < 10 || py + vy > height - 10) {
    vy = -vy;
  }
  
  // check if the paddle was hit
  // change the place where you want the ball to be matched with mouseX
  // take into consideration the height of your vector file
  if (  py + vy >= height-80  && px >= mouseX - 53 && px <= mouseX +53 ) { //change these values to map boundaries of ship, need to know size of ship
    vy = -vy;
    vx = int(map( px - mouseX, -33, 33, -18, 18 )); 
    
  }  
  
  // calculate new postion
  px += vx;
  py += vy;
}

void mousePressed() {
  paused = !paused;
  if (done) {
    for( int x = 0; x < 31; x++) {
      for( int y = 0; y < 17; y++ ) {
        stones[x][y] = y + 1;
      }
    }
    done = false;
    px = width/2;
    py = height/2;
    vx = int(random( -40, 40 ));
    vy = -18;
  }

}

Stretch: An early software art framework by Aldo Giorgini

snebtor — Sat, 08 Dec 2012 15:46:23 +0000

Stretch provided Aldo Giorgini (1934-1994) with a framework for manipulating vector primitives using his own mathematical model. Although stretch was technical report in 1981, Giorgini had a prior body of work in 1976 that demonstrated the use of stretching algorithms to make art, like in the case of inedited works such as checkerboards, stripes, polka dots and swiss cheese. After exhaustive primary source research at Giorginis estate in Lafayette, Indiana, there was no evidence that the manuscript for Stretch was actually published. However, the Stretch framework was found in a manuscript stage and this paper will unveil the methods that Giorgini created for his own artistic production. The program was written in Fortran IV and intended for a CDC-6600 computer.

Workshop and Paper in ISEA 2013

snebtor — Thu, 03 Jan 2013 21:50:46 +0000

My workshop "sensing for visualization" and paper "Stretch" were selected for the next ISEA 2013 in Sydney. Good news to start the year. The workshop introduces the use of analog sensors to produce interactive experiences. Using inexpensive microcontrollers, components and open software, participants will prototype electronic boards to read meaningful data from the environment. The sensors can be affected by the light, the orientation, or a users physical input. I'll be using the Wiring microcontroller.

Networked Objects

snebtor — Tue, 19 Mar 2013 17:15:14 +0000

Last January, I invited Camilo Martinez and Gabriel visited to visit the Lafayette area to develop an art workshop and residency with Purdue students and the lafayette community. It was a great experience to have this artists lead an arduino-based workshop aimed for the Physical Computing students from Purdue's electronic and time based media artists. During the workshop, Gabriel and Camilo taught us how to interface home appliances to email and twitter. The results were displayed in a one day exhibit at foamcity.

Arka-android

snebtor — Fri, 03 May 2013 16:09:28 +0000

Ever since I went to the processing.android symposium led by Daniel Sauter at UIC, I wanted to have an android. It is fairly easy to develop applications for android mobiles using the language processing. You can find very complete documentation on the how-to's here: http://wiki.processing.org/w/Android. You can also have access to the hardware components of the android device using the Ketai library, developed by Sauter and Jesus Duran. I incorporated my paintings as sprites for the popular game "Arkanoid." My idea was to make a painting into something more than painting. A playable painting?

Interactive light show

snebtor — Sat, 04 May 2013 15:35:19 +0000

I have been involved with the band Tigerfox since their very beginnings as a sort of an art director for their live performances. Last year I did some video projections of computer programs with interactive graphics. For the their new music, my friend Ryan Puetz had this grandiose vision of adding lights to their show. I was excited to create some kind of "interactive light carpet" that I could control in the background, changing colors and rhythmic patterns. I used arduino and processing to make this. If you want to see a video of the performance/music, check here

ISEA 2013

snebtor — Sun, 09 Jun 2013 01:36:54 +0000

I arrived to Sydney a few days ago for the ISEA. Before the conference starts on Tuesday, the event has a series of workshops with an electronic arts focus. I gave my workshop "Sensing for Visualization" yesterday and will repeat it today at 3 PM. The idea was to create a programming crash-course for physical computing. The workshop covered Processing and the Wiring board. It was cool to put the idea to a test with participants. The workshops occur at the College of Fine Arts of UNSW. You can download the file with the workshop here I was interested on teaching the Wiring board in the context of the Latin American Forum of the ISEA and to give information about this seminal project that preceded Arduino developed by the Colombian artist/designer Hernando Barragán. Hernando was a professor while I did my art undergrad in Bogotá at Universidad de los Andes, were he still teaches. There are a lot cool things going on. Right now I at a workshop named SurSouth, an online collaborative conversation. It was great to reconnect with an old friend, Hamilton who now lives in London. His work is pretty cool. His objects are living organisms that exist through alchemy and technology. Check his stuff here There we be a lot coming up. I'll try to document other experiences of this trip. There is too much going on.

snebtor — Thu, 01 Aug 2013 21:28:49 +0000

My friends from espacio 101/ La ramona proyectos organized an independent publication festival called C-Zine. The exhibit took place in El Parqueadero-Espacio de proyectos Museo de Arte del Banco de la República, in Bogotá Colombia. For this invitational, I asked my buddy Aaron Nemec to finalize one of our drawing projects that we had been working since 2010. The results of tracing each other's drawings became image sequences and animations. The inspiration for the each sequence was almost surreal... Our conversations of the day, could turn into actual sequences- like in the case of the Knife-donut-hulk sequence, taken from a discussion about cutting donuts at home. The result was "Scorpio" a 3 minute animated short with hundreds of drawings in motion. The soundtrack was developed by Nemec and I, but mostly Nemec. The editing process was pretty cool. I feel like we were swaping files for a while and building it very slowly. Las Malas Amistades performing Scorpio in the Exhibit C-Zine view (pictures by La Ramona) Another part of the process with Scorpio, was to create it into an actual DVD to be more of a publication. For this matter, buddy Zern from Mine-Us print hooked us up with some pretty awesome inks. We used the limited edition prints to wrap the disc... This was a very exciting experience of bridging Bogotá (my hometown) and Lafayette (where I've lived for 8 years). La Ramona and Foamcity will continue developing more cross-national exhibits in this two places this fall. After "Pizza" in 2012, we are planning a new show called GIF: graphic interchange format. Stay tuned!

Ohio 8550 art residency

snebtor — Fri, 16 Aug 2013 23:31:04 +0000

Last week I was in the middle of nowhere, in a place called 8550 Ohio (formerly known as Harold Arts). The place is near a town called Chesterhill, 20 minutes from Athens, OH. The experience was magical. A group of artists (music/visual) were nominated to participate on a residency during the month of August 2013. Jason Ajemian invited me to come and there I meet with other artists that live in the midwest, specially Chicago. There I met with the other leaders of this program: Joe Jeffers and Frank Van Duerm (both badass). They were very good hosts and made sure that we had everything we needed to make good stuff. When I asked Frank if there was any way I could help needed some help with the dishes, he said : we just want you to make awesome work. With that support in mind, I adventured to get immersed in the experience of making something brand new. The studio space is a few minutes from the lodge, the place were we slept and ate. The studios are totally amazing. They were made out of wood from the farm and had 2 stories. It was great to share space with Jeff, Jessica, Ally, Dani and Molly. There were also other artists that worked on the lodge. During my time there I experimented making solar balloons. a bizarre science project that consists of making flying objects using trash bags. I have been trying to make spaceships, or flying saucers since 2010 and this occasion I succeeded in creating a working balloon. I am planning on continuing working on some more designs, but this residency gave me the space to create this large-scale experiment. In the future I hope to make some more solar balloons. The trash bags lift because of the hot air inside it is lighter than the surrounding air. The heat is all generated by the temperature accumulated by the dark color of the bags. The days at 8550 were wonderful. We lived in a community of like-minded artists, in a wonderful environment that had everything we needed plus a pond! Happy artists

A visit to Olin College

snebtor — Mon, 21 Apr 2014 21:17:45 +0000

Last week a group of PPI faculty fellows, including myself, traveled from Indiana to Massachusetts to learn details about the Olin College of Engineering. Our host was Mark Somerville, who kindly shared invaluable information about his experience forging this innovative culture, pedagogy and curriculum. It was helpful to hear about the processes and struggles that Olin had in the early stages of development starting in the late 1990s and throughout. Mark was very honest with us and we were lucky enough to get feedback on our ideas for the Purdue Polytechnic Initiative. The following post is the transcription of my notes during the visit, so I hope that others might find it helpful as well. In addition to Mark, I would like to thank the groups of students and faculty that guided us during the day. The conversations were very inspiring and helpful, as we are in the development stages of a new academic experience in Indiana.

Curricular models

One of the things that I was most curious about was on how to achieve a balance between a flexible curriculum and specific learning outcomes. Mark explained that in the beginnings, Olin started with a very flexible curriculum, but that with time it became not as much. It was hard to implement a wide variety of courses because of practical terms (time, staff, students), so they opted for having flexibility within the courses. It was also noted that it was important to set a degree pathway for students, rather than leaving it completely open. The above graphic illustrates the gradual increase of student autonomy in time. The dots represent project or course sequences, meaning that the first experiences would have more scaffolding and less openness. The idea is to help the student develop their autonomy in gradual process. Mark highlighted here the importance of being intentional with the first projects, because students love to be successful. Having projects with no concrete deliverables might overwhelm the student or causing that the student creates a bigger project that he/she can accomplish. When overhauling the curriculum, Mark identified three options: a) Starting building from a list of learning objectives, b) Content-driven and c) Higher level vision + experience design. At the origins of Olin, Mark and the rest of faculty initially approached the task of creating the curriculum with a content-driven approach: What is the minimum that an engineering graduate needs? After a post-it brainstorming, the faculty realized that in order to accomplish those "minimum" requirements, the undergraduate students would need 8 years to go through program. Subsequently, they developed the higher-level vision model. At Olin, the curriculum design is created through the Higher-level vision and experience design approach. The idea is to start asking concrete questions about the course experience, for example: Tell me the story of the third week of class. What would students be doing? How? The above graphic shows an integrated high-level vision approach that uses concrete examples (projects) to inform the learning objectives and vice versa. The philosophy of curriculum design is more like designing an experience (like Disneyworld), instead of just starting from the learning objectives. Below is a list of courses and projects that we learned about while we visited and serve as examples of the high level vision model in practice. The notes I have about these courses are the result of my conversations with Sharon Grimshaw, an Olin student who patiently explained to me in detail the Olin curriculum. This list and my notes are not complete, but my intention is to illustrate the type of educational experiences at Olin. Mechanical Prototyping (aka) "Proto" This semester, students were exploring the hand as a topic for new mechanical designs. Students explored different prototyping techniques such as 3D printing. I peaked through the window and saw several students sitting around a big table with their mechanical hands. The work was individual, but the professor was moderating a group critique of the projects. Design Nature Students work on 2 projects inspired by nature. One is "transporters" and the other is to design a toy for a 9 year old. The transporters is based on observing grasshoppers. User Oriented Collaborative Design (UOCD) This course is oriented towards identifying a design problem and teamwork. Students should stay away from technology and focus only on collaborative user experience design. The course consists of:

Ideation: Learn to identify problems
Bring back to users and gather feedback
Create visual aids and prototypes that solve the problem

The problem to solve is projected 20 years in the future, to invite students to think "outside the box." The course takes place in a studio. Each team has their own space where they work throughout the semester. Human Factors in Interface Design Sharon described this course as a "sink or swim" course, combining one-half programming and one-half design. The course consists of one team project that solves an interface problem identified by the students. In team based classes, such as this and UOCD, students vote for ideas and conform groups as they wish. Additionally, they created the "silver bullet" mechanism that allows students to decide to not work with somebody in particular, such as a current boyfriend/girlfriend. The class has no lectures and it is just project based. Students identify competencies among their groups, like for example: Lead programmer or lead designer. Sharon explained: "You don't have to learn how to program, but you can also learn if you want to." This particular class is mainly focused on interface design for Web and Mobile apps. Engineering for humanity This class is co-taught by anthropology and engineering faculty. Students design projects aimed for underserved communities (elder, poor, etc.). Physics One lecture + Studios. Physics is taught through practical examples, projects and problems. Students focus on explaining the Why's of observed physical phenomena, such as the speed of a basket ball. They also create theoretical simulations with MATHLAB. Principles of Engineering Arduino+ Design + Building systems. Combines computer code with mechanical, electrical and visual applications. Modeling and control Focuses on sensor and data aquisition. The course includes an experimental approach to analog sensors and filtering. Additionally to data collecting, students learn to analyze the datasets. Digital Eye A course on written composition and digital imaging. Other courses: Robotics 2, Expedition atmosphere

Culture Building

Most of our visit consisted on being immersed in the Olin culture. That is the values shared by the individuals that belong to this community. It is difficult to describe how it feels to be at Olin, but it is certainly a unique place with unique cultural values. The student motivation was apparent not only on those students that gave us the tours, but everywhere we went. Students were rushing to get to the labs with not because a particular deadline, but because of a true engagement with their projects. Mark explained to us that part of the creation of the Olin culture begins in the admission process. While in a previous campus visit, students work on a one-day project. This allows them to create a bond with the community before classes actually start. It is also important to mention here that space drives behavior and the Olin campus is very inspiring. Walking through the hallways, I felt in a very creative and open-minded environment. Olin faculty created this culture by becoming truly sensitive to the student needs. Feedback for PPI Mark seemed very excited about the Purdue Polytech, and confirmed that we had all the right ingredients for a transformative educational experience (right people/right mindset). He addressed the fact that we have focused too much on abstract ideas and not so much on concrete examples. To me this was a wake up call to focus more on designing specific projects rather than just the learning objectives. I am very thankful to have been able to understand through the Olin example, what we need to do at Purdue. I realized that our task is not impossible! See more pictures here

New Media Transforms Tradition at Zane Bennett Gallery

snebtor — Tue, 15 Jul 2014 15:23:22 +0000

A few weeks ago my friend Max and I visited Santa Fe, New Mexico. We drove across the country with our light sculptures and lived an adventure that it will be hard to forget. Our project was presented at the gallery through the Currents new media festival, which this year celebrated its fourth installment.

RGB LED circuit

snebtor — Wed, 26 Aug 2015 03:00:31 +0000

This is the circuit the right circuit to drive multiple RGB LED strips using the Arduino/wiring board. Resistor is 10Kohm and the transistor is a N-Channel MOSFET 60V 30A. Power is 12V @ 1A

Exploring 555

snebtor — Thu, 28 Jan 2016 18:50:28 +0000

For the past couple of years, my friend and collaborator Aaron Zernack has been investigating audio synthesis using Current Voltage (CV/Gate) modular synthesizers. The whole thing has been very interesting to me aesthetically as sound, but also as to wonder about its potential in visualization. I have 2 modules now that allow me to experiment with analog synthesis in the visual realm. One is the Gieskes Oscillatoscope video synth and the other is the Minigorille Geometry Synth. Both of these devices have been an amazing ways of visualizing sound data and creating very exciting synesthesia art projects. However, I noticed that a lot of these synths use ATMega chips, same or similar to the arduinos. This made me think in a more conter-intuitive way. What if I could get rid of all the coding and produce synthesizers that modulate current voltage using simple electronics? The diagram shows a snapshot of a circuit simulator of an LED fader using the 555 timer, resistors and capacitors. As you can see on the graphic we should have a smooth PWM modulation, but it ends up ramping up really fast. The video shows how the circuit is not really able to keep a consistent value, or a slow gradation of value at the least. Anyhow, This is mostly a new venue for research and experimentation. It would be really cool to simplify the circuits for my sculptures and not necessarily need to use I/0 boards for each sculpture. In this case you can see how the Red color fades in and then very suddenly it becomes white. I was hoping for a smoother transition, but nevertheless, very interesting.

RGB LED Color gamut

snebtor — Thu, 04 Feb 2016 06:26:23 +0000

For the Carlson Garcia project, we were wondering about the possibilities of expanding the color vocabulary of the given 8 primary colors (RGB + complementaries) through PWM and code. Initially, we noticed that the screen values did not match the actual colors of the LED strips. It was a frustrating task to design sculptures that would display the actual colors that we envisioned. For this reason, we designed a processing application that would allow us to see how the screen colors were represented in the LED displays. We discovered that through PWM we could emulate a wide gamut of colors bigger than the given 8 primaries. However, the LEDs do not provide all the actual 255 values for each color. With the software and hardware like seen in the video, we are able to see how the colors will be shown in the LED hardware. This development has been very helpful to design sculptures with specific color palettes that we design. The color spectrum is not as wide as the 17 million colors of a screen, but at least we get to combine a wider number of colors. It is hard to know right now how many colors can be represented, but at least we have thousands of colors to chose from. The code for our app is below (Processing with arduino firmata):

/* PALETTE for Processing 2.1.2 (2015)
Use Arduino Firmata to control ports. Cnange the index number [?] corresponding to your USB port
This program works with the hardware "palette" created by Carlson Garcia
www.carlsongarcia.com
Use nobs to mix RGB values of the LEDS. Record the liked colors by making screenshots
of the combinations */

import processing.serial.*;
import cc.arduino.*;

Arduino arduino;

int red1=3;
int green1 =5;
int blue1=6;
int red2=9;
int green2 =10;
int blue2=11;

int mapvalred1,mapvalred2;
int mapvalgreen1,mapvalgreen2;
int mapvalblue1,mapvalblue2;

boolean andruinoThere = true; //Deactivate andruidno for debuggings

void setup() {
size(800, 600);
println(Arduino.list());
arduino = new Arduino(this, Arduino.list()[12], 57600); // 3 or 12

}

void draw() {
background(0);
fill(mapvalred1,mapvalgreen1,mapvalblue1);
rect(0,0,width/2,height/2); //Left Rectangle
fill(mapvalred2,mapvalgreen2,mapvalblue2);
rect(width/2,0,width/2,height/2); //right rectangle
//rect(width/2,height/2,width/2,height/2);
//rect(0,height/2,width/2,height/2);

// read analog input arduino.analogRead(0) from potentiometer, store it in a variable, map it
// and write it arduino.analogWrite(9, mappedto255);
int valred1=arduino.analogRead(0);
int valgreen1=arduino.analogRead(1);
int valblue1=arduino.analogRead(2);
int valred2=arduino.analogRead(3);
int valgreen2=arduino.analogRead(4);
int valblue2=arduino.analogRead(5);

mapvalred1=int(map (valred1, 0,1023,0,255));
mapvalgreen1=int(map (valgreen1, 0,1023,0,255));
mapvalblue1=int(map (valblue1, 0,1023,0,255));
mapvalred2=int(map (valred2, 0,1023,0,255));
mapvalgreen2=int(map (valgreen2, 0,1023,0,255));
mapvalblue2=int(map (valblue2, 0,1023,0,255));

arduino.analogWrite(red1,mapvalred1);
arduino.analogWrite(green1,mapvalgreen1);
arduino.analogWrite(blue1,mapvalblue1);
arduino.analogWrite(red2,mapvalred2);
arduino.analogWrite(green2,mapvalgreen2);
arduino.analogWrite(blue2,mapvalblue2);

fill(255);
text(mapvalred1,width/4,400);
text(mapvalgreen1,width/4,420);
text(mapvalblue1,width/4,440);

text(mapvalred2,500,400);
text(mapvalgreen2,500,420);
text(mapvalblue2,500,440);
}