By contrast, the control board was fine first time the second version of was primarily about fitting the components in an enclosure better. The second brain revision is the one we’re sticking with for now - the third was a misfire, and really, a reach beyond the needs of the project. Six months later, there have now been several more prototypes - three versions of the ‘brain’ board, and two of the upper control board. Last I wrote, I’d just received the first Ilkley prototype board. Ilkley has continued to run on for the spring and summer. Ilkley The Ilkley revision B 'brain' board, with a Teensy 3.6 attached. I’ve said yes to teaching the course again next year whilst I greatly enjoy my commercial work, teaching aligns strongly with my values, and it’s a rewarding way to spend a small amount of time each week. The students did admirably given that awkward restriction - some of them may only have been coding for a single term prior - and they delivered a great range of work in their portfolios. Perhaps that’s a lack of confidence showing - a kind of perfectionism as a way of hedging against coming up blank - but as the term went on, I relaxed into it, and found a good balance between preparation, delivery, and the collaborative process of teaching and learning.Īnd, of course, it was almost all taught entirely remotely. This was quite demanding: it was my first time teaching this material, which meant that before I could teach it to anybody else, I had to teach it to myself in enough depth to be confident tackling questions beyond the core material, and to be able to explain and clarify those basics. Finally, having already looked at raster graphics, we looked at maniuplating vector-graphics in real time to produce animation, particle systems, and behaviour, culminating in implenenting Craig Reynolds' Boids and creature-like simulation. We could then apply this approach to sound, too, starting by building a sound wave, sample-by-sample, and then looking at higher-level manipulations of that sound wave to make instruments and effects.
We covered manipulating those arrays simply - with greyscale filtering - and then more procedural methods such as greyscale dithering and convolution filters. The course worked its way up the ladder of abstraction, starting with the representation of a single coloured pixel, through to how images are just arrays of pixels (and video, similarly, just a sequence of those arrays).
The explanation I use in the first week is: we’re not learning how to operate Photoshop, we’re learning how to write Photoshop. Sound and Image Processing is a module about using code to generate and manipulate images, video, and sound. I wrapped up a term of teaching a single module at UAL’s Creative Computing Institute. What’s been going on since I last wrote? Teaching at UAL-CCI
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