Further CGA ETG Compression

I’ve been trying to find a way to compress images even more, so I could expand the size of the color tweets available. Basically, since Twitter uses only the usable characters of ASCII text, and it can be hard to type higher-bit ASCII on some keyboards, I’ve pretty much exhausted the palette of encoding options with my 6-bit “0-9 A-Z a-v” encoding scheme. So… instead of encoding, maybe I could address patterns in the data itself.

One of the easiest things to see in the data are strings of repeating elements. If I could further encode those strings I could save room and not have long lines of 000000 or 33333 for fields of color in the image. Let’s say I simply put the number of pixels in front of the code for the pixel color, and the TwGD will decipher what was meant. So, a string of eight white CGA pixels, FFFFFFFF, would be represented as 8F.

The only problem with this is that the character 8 already encodes for dark grey. Putting numbers in the stream will collide with the numbers already there. So I’ll need to convert the hex numbers into a new coding scheme, so the pixel quantities don’t mess with the pixel codes. Say, pixel 0 (black) equals a, pixel 1 (dark blue) equals b, and so on. In this scheme, the string of white, FFFFFFFF, would become 8p. That’s a savings of 6 characters!

Of course, you won’t get that kind of savings everywhere. Especially 2-pixel doubles, since you’re just replacing 2 identical pixel codes with a “2″ and the new code. There’s still some squishing to be had here. For this special case, I came up with a second series of codes, using punctuation to stand for pixel doubles. Here’s the full set of codes for this scheme, which I’m calling Similar String CGA encoding (“CGS”)

0 = a   00 = !
1 = b   11 = "
2 = c   22 = $
3 = d   33 = %
4 = e   44 = &
5 = f   55 = '
6 = g   66 = (
7 = h   77 = )
8 = i   88 = *
9 = j   99 = +
A = k   AA = ,
B = l   BB = -
C = m   CC = .
D = n   DD = /
E = o   EE = :
F = p   FF = ;

So, using this additional compression scheme, I was able to encode a 12 x 17 pixel CGA image with plenty of room to spare. It doesn’t sound like too much extra, but that’s 150% the area of the 10 x 13 CGA pixel image I tweeted back in December, and includes the ETG header information, too.

Here’s the image, a color version of the self-portrait from yesterday:

And the resulting tweet, using “CGS” as the code for this new compression scheme:

`GCS`12x17`{6ag12ae!ghi9ago11ag8aigag4ah*gpiag3a4h3pigahih3ihphioa3hp
)phigia)ih;hp)!*)p3hpi3ai5hgh3a3ihp4h!*haihp)g!b)i!i)3ajd)i8abj3hi5a

A New ETG (Encoded Twitter Graphic) Self-Portrait

I dusted off the old ETC encoding protocol today for a project I’m doing for a show entry, creating a self-portrait to send through social media. I used the 6-bit compression scheme I used for old Teddy Roosevelt’s 2-bit gray image for an image of myself. Because I did a couple tweaks on the protocol between encoding Roosevelt and nailing down the format, I had to sacrifice a line of pixels for this image. It’s 15×25 pixels, not 15×26, but that’s not too bad. The tweet:

`2bg`15x25`{K5LLX01MH5G41Kle00GR4004P0006M01GQL07glb0R$$r9UQ$lUkckhlh
$!PFl$$zMh$luck$gq6R!hm6Q!gWRMl$Hdql!LNj1O0Nwb0G2lgG51hxH006fGH00004

And the encoded image:

Preview of Large Print for the Mixit/Boston Public Library Show

Quick preview of the large print I’m doing for the Mixit Print Studio’s 25th Anniversary show, ReThink Ink, at the Boston Public Library. This print will be displayed in the Johnson Lobby of the BPL, along with three other installation pieces, a informational video and a Mixit Studios slideshow. Opening is April 11th. Further information posted here soon.

Letterpress Linoleum Cut

Sadly, February has been something of a null month as far as art and artmaking is concerned. I got into a pissy mood about my talents and then got really busy in the last couple of weeks.

To make sure that February doesn’t pass by without a least one post, here’s a shot of a quick and dirty linoleum print I did at the Bow and Arrow Press. It began as an ancient lino block, hard and dirty, and I attacked it with an Xacto, a hammer, a carving tool and a punch. I don’t know if I’d call it “angry”, more “annoyed”.

Alewife Station MBTA Icosacomposite

And here’s the Alewife footage I shot Thursday along with the Harvard stuff. This station is one of the terminal stations for the Red Line, so both sets of tracks go the same direction. However, the Red Line splits after the JFK station, one side going to Braintree and the other going to Ashmont, so the Alewife tracks are similarly split.

Since Alewife is right up next to a major highway coming in to Boston from the west, it’s also a big commuter station, and has a large parking garage for commuters. Thus, there’s a lot of traffic through the station, especially at 7:30 am, which is when I shot this footage. This is a very busy composite.

And, just in case anyone is wondering what an “alewife” is, it’s a small, edible fish, like a herring, that lives in streams and gave its name to Alewife Brook, which runs near the eponymous T station and major road:

Roadbed Palimpsests

I’ve been interested in the tar marks the city crews make on the cracks in asphalt roadbeds when they repair them, there’s a nice script-like gesture to the best of them. I’ve done some recording of the shapes and lines using multiple digital photos to create hi-res montages of shapes I’ve found in parking lots and city streets. While I was in Austin I did some waaaaay low-budget photo montaging with a digital camera that could only record 15 seconds of video, pointing it down from my driver’s-side window as I went down the road. I then stitched the video frames together to make a “manuscript” of the scribblings. Here’s an example of such:

All this was fine, and I had some of the more photographic montages in a show, but about a week ago I had an interesting idea: why take it a little further than just recording these, and actually create a collaborative art piece out of these marks? Thus, my roadbed palimpsests, a collaboration between myself and the Cambridge Public Works Department:

Ultramarine 01 • acrylic and tar on asphalt • 2011

Phthalocyanine Blue 01 • acrylic and tar on asphalt • 2011

Permanent Light Green 01 • acrylic and tar on asphalt • 2011

Permanent Light Green 02 • acrylic and tar on asphalt • 2011

These pieces can be seen on Russell, Milton and Chester Streets in Cambridge, MA, just off of Massachusetts Avenue.

Somerville Containerhenge

It’s been a while, but I’m back in town and finally had a moment to post something. Just before I left I had an idea for a large-scale monumental construction based around world shipping and shipping containers. It would be modeled after the Neolithic henges of Britain and Europe, but using container ports and shipping containers as the guiding landmarks and marking stones for the piece. The center of the piece represents Somerville (or, really, any city in the world), and the directions of the 20 largest container ports in the world are marked along their Great Circle directions by containers from the largest international shipping companies. Will this ever be built? I’d love to see it, but I’m not gonna hold my breath.

Click for larger images:

Cover blurb for the Containerhenge concept

Cover blurb for the Containerhenge concept

Schematic layout of the Somerville Containerhenge, to scale.

The McGlynn Turbine at Sunset

Finally the weather and my schedule allowed me to run a time-lapse near sunset. I was hoping this would allow a nice “natural” fade and get some interesting color effects on the turbine blades, but the weather was not ideal for the style I was working with before. Clear skies means the polarizer turns the sky deep blue and the turbine stays fully illuminated as the sun nears the horizon. Hazy, partly-cloudy skies means the sky stays light blue and the illumination varies widely. However, there’s a gamut of backgrounds for the blurred turbine blades to present against, there’s a whole host of different colors appearing in the sky and the turbine, and the boiling of the clouds provides a lovely physical force for the turbine to be pushing against. I’m happy with the outcome, although a small glitch made the camera eat six frames close to the ending. The abrupt jump was too jarring, so I papered over it with some Photoshop blending. It’s not pretty, but it’ll do. I may simply edit another version of the video to stop just before the cut, but I’m presenting it warts and all here, because the fadeout is too nice to waste.