Progressing parallelograms

Progressing parallelograms

Pretty abstract for me, eh?

There’s an app called ‘Camera for iPad’ which allows your iPhone to be used as a remote camera for an iPad, which doesn’t have a camera of its own. Quite fun. It shows a ‘viewfinder’ on the iPad, so of course I pointed the camera at that.

So this is a view, taken on an iPhone, of a view on an iPad of what an iPhone is seeing when the iPhone camera is pointed at the iPad. The kitchen ceiling light is reflected in the iPad screen.

Enjoyed this post? Why not sign up to receive Status-Q in your inbox?

1 Comment

Q, years ago I experimented with video feedback, with which you can obtain extremely rich moving patterns. The simple trick was to turn the video camera (iPhone, in this case) upside-down, and make sure the screen was filled with the image (rather than any borders showing). This is makes a mathematically very sophisticated environment, akin to an Iterated Function System – remember those? – chaos and fractals leap out of the screen. Well, at least they did with old analogue camera/TV combination. It also helped to skew the colour response a little (ah – weren’t analogue controls just the best??!). You can seed a pattern by waving your hand in front of the camera, or using a light, etc. It’d be interesting to know whether you can achieve the same effects easily with a modern digital set-up! I should try and digitise some of the old VHS tapes a friend and I made…

Got Something To Say:

Your email address will not be published. Required fields are marked *

To create code blocks or other preformatted text, indent by four spaces:

    This will be displayed in a monospaced font. The first four 
    spaces will be stripped off, but all other whitespace
    will be preserved.
    
    Markdown is turned off in code blocks:
     [This is not a link](http://example.com)

To create not a block, but an inline code span, use backticks:

Here is some inline `code`.

For more help see http://daringfireball.net/projects/markdown/syntax

*

© Copyright Quentin Stafford-Fraser