Free and open-source software (F/OSS, FOSS) or free/libre/open-source software (FLOSS) is software that is both free software and open source. It is liberally licensed to grant users the right to use, copy, study, change, and improve its design through the availability of its source code.[1] This approach has gained both momentum and acceptance as the potential benefits[clarification needed] have been increasingly recognized by both individuals and corporations.[2][3]
In the context of free and open-source software, free refers to the freedom to copy and re-use the software, rather than to the price of the software. The Free Software Foundation,
an organization that advocates the free software model, suggests that,
to understand the concept, one should "think of free as in free speech,
not as in free beer".[4]
FOSS is an inclusive term that covers both free software and open source software, which despite describing similar development models, have differing cultures and philosophies.[5]
Free software focuses on the philosophical freedoms it gives to users,
whereas open source software focuses on the perceived strengths of its
peer-to-peer development model.[6] FOSS is a term that can be used without particular bias towards either political approach
http://www.flossproject.org/outline.htm
Monday, 14 May 2012
Wednesday, 4 April 2012
Week 8
Authoring/Editing of Collaborative online spaces, Setting up a collaborative online space
My posts on Dipity
http://www.dipity.com/tedles/Computers-and-Art-1960-2012/
My posts on Dipity
http://www.dipity.com/tedles/Computers-and-Art-1960-2012/
Wednesday, 28 March 2012
Week 7 Creative Commons License
Name: Skeleton Leaf
Date: February 16, 2012
Artist:_chrisUK
tags: Skeleton, Leaf
This image is covered by an Attribution-NonComercial-NoDerivs Creative Commons License
This means that Attribution —
You must attribute the work in the manner specified by
the author or licensor (but not in any way that suggests that they
endorse you or your use of the work).
Noncommercial — You may not use this work for commercial purposes
No Derivative Works — You may not alter, transform, or build upon this work.
As I have arttibuted the artist, am using this image for noncommercial puposes and have not altered this work I am allowed to post this to my blog.
Date: February 16, 2012
Artist:_chrisUK
tags: Skeleton, Leaf
This image is covered by an Attribution-NonComercial-NoDerivs Creative Commons License
Noncommercial — You may not use this work for commercial purposes
No Derivative Works — You may not alter, transform, or build upon this work.
As I have arttibuted the artist, am using this image for noncommercial puposes and have not altered this work I am allowed to post this to my blog.
Week 7 Case study 3
http://www.youtube.com/watch?v=S6eHcQhUH7Q
I do not agree with this work being illegal. He is not claiming that he owns/ has created all things in this video only that he created the video itself and the way the clips and audio are put together. The audio and visuals used in this video are readily available to anyone, therefore they should be considered fair use.
I do not agree with this work being illegal. He is not claiming that he owns/ has created all things in this video only that he created the video itself and the way the clips and audio are put together. The audio and visuals used in this video are readily available to anyone, therefore they should be considered fair use.
Week 7 case study 2
http://www.benedict.com/Visual/Monkeys/Monkeys.aspx
I believe that there are definately the same in many respects. Floor and the walls are the same texture and look, the room is even the same shape. I agree with the decision of the court.
I believe that there are definately the same in many respects. Floor and the walls are the same texture and look, the room is even the same shape. I agree with the decision of the court.
week 7 Case study 1
http://www.benedict.com/audio/Harrison/Harrison.aspx
How similar do you think they are? To be honest I think they sound very similar in their structure
5= Exactly the same.4=Very similar 3=somewhat alike 2=barely the same1=Not alike at all
Melody 3
Harmony 3
Rhythm 3
Tempo 3
Lyrics 1
Instruments 2
How are the songs similar? Not Sure.
How are the songs different? The gender of the singer.
How similar do you think they are? To be honest I think they sound very similar in their structure
5= Exactly the same.4=Very similar 3=somewhat alike 2=barely the same1=Not alike at all
Melody 3
Harmony 3
Rhythm 3
Tempo 3
Lyrics 1
Instruments 2
How are the songs similar? Not Sure.
How are the songs different? The gender of the singer.
Monday, 26 March 2012
Beautiful Nature
Friday, 23 March 2012
Week 6 Artwork analysis
The idea that New Zealand art, during the period 1840-1970 is characterised by a harsh reflective light is confirmed in many works from this age. They show the ideas that the natural light in New Zealand is harsh compared to the rest of the world, and is replicated in art. Harsh light is shown in the works in the sky and the water. These works are documenting New Zealand, with the harsh style reflecting the nature of New Zealand environment.
John Guise Mitford, Mt Albert nearby Auckland an extinct volcano, 1845
The light in New Zealand is naturally harsh. More often than not the sky is cloudy in New Zealand causing a glary light. Therefore, the early paintings of New Zealand landscapes also show this harsh reflective light. This light is merely a part of the documentation of New Zealand. During the 1800’s when the art was brought back to Europe, people began requesting works with this hard edged clarity of style. Therefore, creating a canon for this style of work.
Charles Heaphy, Rangitoto Island, Extinct Volcano no.2, 1850’s
The harsh light is shown in the sky of these works. In these works the skies are mostly cloudy and grey causing this harsh light. Where the water is shown it is mostly white as the water is reflecting glary white light from the sky. These examples also show the intensity of the light. At this time nowhere else in the world, were landscapes painted in this clear detail as New Zealand was.
John Kinder Whangarei falls,1858
As New Zealand was being colonised painters in New Zealand at this time were mostly European, they painted the land as it was and not the land that belonged to them. They came here to document this foreign country and they did so with precise clarity. The harsh reflective light results in such clarity shown in these painting. It is fair to say these are not so much paintings as they are documents of the New Zealand environment. It is a hard style, not soft and romantic but almost clinical. The harsh clear light also reflects the beauty of New Zealand environment. It reveals the form of the land, the colours in the waterfall and the patterns in the tree bark.
George O’Brien, The North Head from Cheltenham Beach
The harsh style reflects not only the light but also the nature of the New Zealand environment. The forests, ocean and waterfalls are all beautiful and majestic yet at the same time also treacherous and dangerous. The New Zealand environment is hard and beautiful at the same time. The waterfalls do not sprinkle down lightly; they crash down against the rocks. This harsh style of documentation helps to describe New Zealand: the idea that the natural light in New Zealand is harsh and reflected in art this way. Harsh light is shown in the sky and water. These paintings are documenting New Zealand environment. all show that New Zealand art is characterised by a harsh reflective light.
George O’Brien, Otago Harbour from the Old Portobello Road, 1872
These ideas are showcased through the works I have chosen. All are very detailed and they show a clear, near perfect documentation of New Zealand that show the sky as cloudy which is reflected in the water that intensifies the light. They also show that the natural light in New Zealand is harsh because of the way the works are documented without putting the artists own influence into the painting. Waterfall, by Petrus Van Der Velden, shows how hard the New Zealand nature can be. Therefore the harsh style is very fitting for these landscapes.
Alfred Sharpe, Pohutokawa Tree, 1876
The idea that New Zealand art is characterised by a harsh reflective light is very fitting for showcasing New Zealand’s natural environment.
Petrus Van Der Velden, A Waterfall in the Otira Gorge, 1891
Bibliography: Keith, Hamish, Images of Early New Zealand. Auckland: David Bateman Ltd,1983.
Edward C. Simpson, “The Year’s Painting in Perspective”, in 1945: First year Book of the Arts in New Zealand, ed. Howard Wardman. Wellington: H .H. Tombs Ltd, 1945
T.P. Garrity, ‘An Opening upon Silence: Images of Early New Zealand by Hamish Keith’, Art New Zealand 29, summer, 1983
Edward C. Simpson, “The Year’s Painting in Perspective”, in 1945: First year Book of the Arts in New Zealand, ed. Howard Wardman. Wellington: H .H. Tombs Ltd, 1945
A. R. D. Fairburn, “some aspects of N.Z. Art and Letters”, Art in New Zealand 6, no.4 (June 1934)
http://christchurchartgallery.org.nz/collection/objects/864_0039/ (accessed 28 April, 2012)
PDF version: https://docs.google.com/file/d/0B5XHctVU11DhT0hiWDhqdWtYT1E/edit
John Guise Mitford, Mt Albert nearby Auckland an extinct volcano, 1845
The light in New Zealand is naturally harsh. More often than not the sky is cloudy in New Zealand causing a glary light. Therefore, the early paintings of New Zealand landscapes also show this harsh reflective light. This light is merely a part of the documentation of New Zealand. During the 1800’s when the art was brought back to Europe, people began requesting works with this hard edged clarity of style. Therefore, creating a canon for this style of work.
The harsh light is shown in the sky of these works. In these works the skies are mostly cloudy and grey causing this harsh light. Where the water is shown it is mostly white as the water is reflecting glary white light from the sky. These examples also show the intensity of the light. At this time nowhere else in the world, were landscapes painted in this clear detail as New Zealand was.
As New Zealand was being colonised painters in New Zealand at this time were mostly European, they painted the land as it was and not the land that belonged to them. They came here to document this foreign country and they did so with precise clarity. The harsh reflective light results in such clarity shown in these painting. It is fair to say these are not so much paintings as they are documents of the New Zealand environment. It is a hard style, not soft and romantic but almost clinical. The harsh clear light also reflects the beauty of New Zealand environment. It reveals the form of the land, the colours in the waterfall and the patterns in the tree bark.
The harsh style reflects not only the light but also the nature of the New Zealand environment. The forests, ocean and waterfalls are all beautiful and majestic yet at the same time also treacherous and dangerous. The New Zealand environment is hard and beautiful at the same time. The waterfalls do not sprinkle down lightly; they crash down against the rocks. This harsh style of documentation helps to describe New Zealand: the idea that the natural light in New Zealand is harsh and reflected in art this way. Harsh light is shown in the sky and water. These paintings are documenting New Zealand environment. all show that New Zealand art is characterised by a harsh reflective light.
These ideas are showcased through the works I have chosen. All are very detailed and they show a clear, near perfect documentation of New Zealand that show the sky as cloudy which is reflected in the water that intensifies the light. They also show that the natural light in New Zealand is harsh because of the way the works are documented without putting the artists own influence into the painting. Waterfall, by Petrus Van Der Velden, shows how hard the New Zealand nature can be. Therefore the harsh style is very fitting for these landscapes.
The idea that New Zealand art is characterised by a harsh reflective light is very fitting for showcasing New Zealand’s natural environment.
Bibliography: Keith, Hamish, Images of Early New Zealand. Auckland: David Bateman Ltd,1983.
Edward C. Simpson, “The Year’s Painting in Perspective”, in 1945: First year Book of the Arts in New Zealand, ed. Howard Wardman. Wellington: H .H. Tombs Ltd, 1945
T.P. Garrity, ‘An Opening upon Silence: Images of Early New Zealand by Hamish Keith’, Art New Zealand 29, summer, 1983
Edward C. Simpson, “The Year’s Painting in Perspective”, in 1945: First year Book of the Arts in New Zealand, ed. Howard Wardman. Wellington: H .H. Tombs Ltd, 1945
A. R. D. Fairburn, “some aspects of N.Z. Art and Letters”, Art in New Zealand 6, no.4 (June 1934)
http://christchurchartgallery.org.nz/collection/objects/864_0039/ (accessed 28 April, 2012)
PDF version: https://docs.google.com/file/d/0B5XHctVU11DhT0hiWDhqdWtYT1E/edit
Wednesday, 21 March 2012
Week 6
Tuesday, 13 March 2012
An artist that's a bit of alright
http://lindseyway.com/
I love the way she uses layering and bright colours to attract the viewers attention, making them want to look closer at her work
I love the way she uses layering and bright colours to attract the viewers attention, making them want to look closer at her work
It started with a post...(week 5)
Wednesday, 7 March 2012
Wednesday, 29 February 2012
Week 3
Looking at CGI and moving digial images, including a short history. Scanning and saving images at different resolutions
a video depicting the unrealistic quality of advertising
My Scanned image
My Scanned image
Wednesday, 22 February 2012
Week 2
Introduction to photoshop and photo manipulation over the years
Thomas Ruff looks at enlarging images until they are hugely pixulated, creating amazing works from things they eye would not see normally
photoshop work for week 2 worksheet
Thomas Ruff looks at enlarging images until they are hugely pixulated, creating amazing works from things they eye would not see normally
Tuesday, 14 February 2012
Week 1
Introduction to the Digital Literacy Course. I have logged on to the moodle, enrolled in my courses online and set up my student email. I have completed the Health and Safety Quiz aswell.
Introduction to the Digital Literacy Course. I have logged on to the moodle, enrolled in my courses online and set up my student email. I have completed the Health and Safety Quiz aswell.
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