Bits and Pieces: Tron: Legacy (2009)

As empowering as watching Tron: Legacy is tonight at Flicks, technological glitter always leaves me with this agitated need to immerse myself in the digital world. Most of the time I'm pretty organic: flowery designs on my wall, wood, cardboard and cloth rather than metallic, muted colors intersperse with vibrancy rather than neon glow. But I have to admit I find myself undeniably ecstatic over gadgets in Iron Man, Star Trek and now Tron: Legacy. The most exciting part about it is that if I choose to, I can enter the world and start making my way to the top in it right here, right now. There are classes to take, and innumerable resources online. The great thing about computer science is that it is absolutely accessible to any and all, and free has always been my ring tone (it's actually always on vibrate, so free in sound bytes). The thrill of creating everything from nothing gives me such an adrenaline rush. Eventually the software bytes become limited by hardware, but those are only fences when the real obstacles are within the logic of the code.

I had an idea for an art project afterwards, intended for a spacial design rather than a maneuverable. Two versions:
a) Design a relevant code/hardware, something meaningful, entire entirely new and complex or found in existing technology, preferably something we depend on but most doesn't know how the complexity of its design.
b) Re-create code/hardware in replacement of each object for that respective part of the room. A TV hardware/software blue print as the centerpiece, computer designs on walls around work tables.

The design should not be duplication of the hardware piece built. Rather, it reflects the logic of the program: if using my Kit Generator code, I would start at one point, branch out continuously with some short-ends, to be collected together again at the base when all the closing brackets are called to finish each function. The reasoning is logic embedded within logic with all thought neatly tied and finished despite their convoluted mapping, a concept I haven't really been exposed to extensively before (and my experience still hasn't reached 'extensively'). It reflects the spirit and the intelligence of the design rather than mimic the physical format itself. Be reminded of Stark's father's map of a future city, which became the map of a brand new element.

The execution should be as calculated and meticulous as possible, reflecting the integrity of machines. Plenty of stencils, metrics, and geometry (straight lights and concentric circles). It may be appropriate in some places to lose the grid-like structure of thought and create a more organic function in reflection of chaos that inevitably lingers at the edges of our creations; in which case, it's best if the center of the piece is as mathematical as possible, re-creating the human effort to create order within a world of entropy. The work should fill a space, so position on the wall should be carefully decided, and best if the design incorporated roof, ceiling, and all walls. When the art encounters a true technology, it's best if the two interacted and became one. Cover windows and hide organics. Glow-in-the-dark paint may be used, or black lighting, but be careful about garnish tainting the 'cleanliness' of perfection that programmers strive for.

It's nice to define my more artistic ideas here where I can revisit later if I have time. Now I really want to take CS106A.

Gratuitous pictures after the cut because oh dear God do I want to pee my pants. The official sites for these movies are also quite a sensational experience, but their URL won't last with time, so I won't post. Films are Iron Man, Star Trek, Tron and Fractale, a new futuristic anime keeping me company. Also, Hulu's got the entire Digimon Tamer series! Guess what I'll be doing over spring break.