Simple application for switches and LED circuit

For this week’s lab circuits building I focused on 3 basic circuits:

  • LED connected to a power source

Similar to the lab example, I used an arduino to power the breadboard, connected the LED to a resistor and closed a circuit.

  • LED connected to a power source and controlled by a potentiometer

Similar to the lab example, I used an arduino to power the breadboard, connected the LED to a resistor and closed a circuit. I added a potentiometer to control the voltage that the LED receives. 


  • LED connected to a power source and controlled by a LDR (light dependent resistor)

Similar to the potentiometer example before this one, I used an arduino to power the breadboard, connected the LED to a resistor and closed a circuit. I added a LDR to control the voltage that the LED receives. once the circuit worked I built a small wood box to hold the two components together.

For the next itteration of this projects I’d like to invert the LDR sensor so it would light in the dark as opposed to light when bright.



Acousmatic Listening journal

Listening #01

  • short cling – high pitch short attack and release
  • A series of short high pitch hits, long release, about 1/2 a second between hits.
  • 2 seconds long high pitch hiss, long release.
  • Ascending and descending from high to low pitch – triangle waveform.  
  • low pitch Thumps – about 2 second between hits.
  • long high pitch drone with low hum.



P5.JS first sketch – self portrait

For the first assignment I decided to create a self portrait. 

I thought a lot about what would be interesting for me to work on, and after a few Ideas were tossed around in my notebook I decided I want to abstract the self portrait and to try and break down a high resolution image and work with the 2d matrix.

A 2D image is based of pixels distributed in matrix of X and Y. every pixel has an X value and a Y value for its position, plus holds its color attribute, for example if we look at the smiley face below X = 0, Y=0, (255,255,255,1).

Initial mock

Every pixel has its own luminance attribute that ranges between 0 (absolute black) and 255 (absolute white).

Pixel luminance – graphic representation

In the above drawing there are 6 squares that illustrate 6 different representations of luminance (the brightness channels of an each pixel).

I wanted to create an abstraction of those 6 squares to simply illustrate a graphic representation of them with p5.js 2D Primitive shapes. if we constrain each shape inside a square (a representation of a pixel) we can see that each shape fills up the square and creates an array of different brightness values. 

Pixel luminance – graphic representation

  • Part 1 – Image processing:

I started with picking a picture I liked – me destroying a donut. This picture will be used as a map for the code to determine what primitive shape (rect, ellipse, dot line or point) it needs to put on each location of the 2D matrix – by its luminance value. For optimization purposes I did a little photoshop processing to the picture (scaling it down to 50 by 50 pixels and converting to greyscale values) in order to for the code to run faster.

Pre p5.js Image processing

Part 2 – writing the code:

First thing I did was to start with an example code that loads the image file witch I have uploaded to the internet. 


Second, I needed to scan and load all of the original picture data into an array to get the luminance attribute, witch was the tricky part. I did that by forming a ‘nested loop’ – one loop for all the width pixels and another loop for all the height pixels in the image. After that I stored that number into variable that I named pixel (with the kind help of Barak Chamo).

Third, I wrote a series of If statements that would draw different shapes for each color range. for instance, all of the most bright pixels will be big white squares and the most dark pixels would be just a dot.


And the final result:

Source code



Intro to Computational Media – Week01

From an early age I have been absorbing a mixture of practical/analytical work and creative/artistic work from my family. My father, who is an engineer, and my mother, who is a piano teacher, raised me and my 3 older brothers with a mixture of both worlds. Visual Design, Animation, Object Design, Music & Sound are a few disciplines I enjoy playing around with and creating in.

Tools, of all kinds, were always fascinating to me. From mechanical tools like a simple hammer, screwdriver and wrench to electrical communications tools of all sorts, radio, stereo systems, phones, televisions, computers software – you name it. Marshall McLuhan famously said “We shape our tools. And then our tools shape us.” McLuhan was referring to the fact that our social practices co-evolve with our use of new tools and the refinements we make to existing tools.


To me, computation – or the power of technology – is a tool that can enhances all other tools and make them even better, more complex, intricate – magical. With the help of computation power, algorithms can produce real life like animations and simulations of entire ecosystems, software can render hyperrealistic images of made up fantasy scenes, and entire musical pieces can be written without a physical input. And that’s just the beginning, we see how computational technology is disrupting and changing every single type industry from health to agriculture, business to banking, practically everywhere.   

As technology increases to appear in more and more aspects of our everyday life I find that it helps us create/achieve much more in less time while at the same time technology kind of moves us away or pushes us back from the core aspect of creating/absorbing an experience by it being a mediator between the cause and the effect.

I’m absolutely fascinated by this idea. I try to touch this notion in my work as a designer and artist. In ITP I would like to create objects/experiences, whether they be visual or physical ones, that interact with humans and bridge the technological gap between the core physical feeling and the digital representation.

One project that I would absolutely love to try and start working on this term is an augmented Reality / Virtual Reality rube goldberg machine. For a long time I have been fascinated by how people work entire days (sometimes maybe even months) on building these machines that embody in the purest form the manifestation of cause and effect. 

No matter my age, looking at those machines always makes me feel calm and happy – something about the presence and appearance of the physical.

What is Interaction?

Trying to define the meaning of interactivity could be tricky, as Chris Crawford states in his book, the art of interaction design. If we broaden the way we think about the act of defining we might find that it is in itself an interactive mechanism that has different meanings in different cultures throughout time and place, thus meaning language is in itself interactive(?)

My stand on the definition of the word interaction is that it is something that’s also happening without the participation of the language that measures it, it could easily be described as the constant occurrence of cause and effect.

If we think of it, interactivity is happening everywhere all the time. In physics, interaction is attributed as interoperability between two bodies or the force that two bodies exert on each other. Under Newton’s Third Law, these forces are always of equal size and contrast in their direction. Thus forces in nature always appear in pairs.

We might look at interaction as a constant in the world, with technology being it’s multiplier that accelerates and mediates between the different bodies. In many aspects, we might guess a ‘good interaction’ will be a harmonic one, an act that helps two bodies encounter each other with ease other than collide in an explosion.

But that is just a loose definition of the word ‘good’.


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