Protected: LoRA Notes

This content is password protected. To view it please enter your password below:

Password:

Deeper Still: Stable Diffusion Notes

Run Stable Diffusion on linux, use Fedora 37 baseline.

Installation notes. Nothing to it.

Prompt creation is the creative zone right now.

Midjourney

See Nick St. Pierre (on twitter as nickfloats) for some prompt hacking for midjourney. His midjourney prompts look like:

cinematic, cowboy, hillside, high noon, gritty, grainy film negative, high contrast, burnt orange earth & periwinkle skies --ar 4:5 --style raw --stylize 420 --weird 69 --chaos 13 --turbo --repeat 20

Stable Diffusion

A couple of different UIs for this.

1. easy diffusion
2. automatic1111, then http://127.0.0.1:7860/

Basic models and key ideas, List of different custom stable diffusion models, including Hugging Face’s stable-diffusion-2, and sdxl. The AUTOMATIC1111 model page is perhaps the most useful, especially the parts about yaml config files for the 2x models.

Huggingface.co, prompt generator,

Prompt guide, fotor, beginners guide, art guide,

underwater temple, (ancient city of atlantis), high detail, majestic city, dramatic scale, 8k, blue, fish, (coral reef), Greek temple, Greek architecture, godrays, cinematic lighting, concept art, distinct, in the style of studio ghibli

Use negative prompts to remove unwanted things. So, if you want to remove “mustache” in the image, set the negative prompt to “mustache.”

Use (increase strength) and [reduce strength]

hyperrealistic

resolution = unreal engine, sharp focus, 8k, vray

dramatic, expansive, low angle, psychedelic

subject == scene description

medium == “digital painting”, “portrait”, “concept art”, “ultra realistic illustration”, underwater portrait, underwater steampunk

artist == by NAME

details chain with , DETAIL

Playground

for making prompts for multiple AI generators

RunwayML

web-ui for inpainting, etc.

civitai

Library of models and prompts

To make your own models, see this workflow post.

LLAMAFILE

here is a product from Moz that lets you use “executable” LLM files that launches a chat interface on a local webbrowser session to run jobs.

Notes on Large Format Laser

Approximating the width of a copper plate means the canonical metal type is 18 gauge mirror-finish copper (aka 1.02mm), closest available acrylic that works is 1/16th inch (aka 1.5mm).

Vector cut lines are 100% R, and 0.025mm stroke (0.066mm works in practice, which is .18pt).

There are a variety of acrylics

• 1.5mm transparent clear gloss (2022)
• 1.5mm silver mirror with mirror side semi-matte (2023)
• 1.5mm frosted/matte
• 1.2mm silicone in grades medium to hard. Get medium-soft. Get hard.

Remember, images (text especially) have to be reversed. (If the object is going to be displayed with the laser-cut side face-down).

Star-X v11, 2022

This was two horizontal halves of acrylic, a top half that was 22×30 and a bottom half that was 22×30, that when put together formed a 44×30 inch work. There is a vector cut overlay for the center star. And two 300 dpi PNG images that have not been flattened, with red vector lines representing vector cuts, and black lines part of it that would be rasterized.

• fiber linesize: .50pt, 100% black line
• satellite triangle radius: 4.6px, red cut line
• tor exit nodes: .2pt, 55% black
• ix: .188 pt, 100% black

Star-X Southern, v12-13, summer 2023

But there is also the art of getting a whole mess of grouped vector paths to print out out a laser printer. First, ungroup into. This attempt uses paths directly, instead of PNG groups. It is a layered SVG with each layer having some impact.

• fiber linesize: .55pt 100% black line
• satellite triangle radius: 4.2px, red cut line
• tor exit nodes: .263pt, 25% black
• ix: .63pt, 100% black
• graticule inner: .35mm / 1pt, dashes pattern 13
• graticule edge: .71mm / 2pt pattern 14

Antarctica imaged as 50% gray, which was not enough. Should this and the north pole/star be cut?

If this is to be a woodcut, then the base station triangles should not be cutouts. This is more problematic this year, as there are more ground-stations in the Americas, and if they are cut out then they will make the whole plate unstable. Should they be smaller?

Star-X v14.8, winter 2023

This is for laser etching (reverse) on the back of a mirrored acrylic (1.5mm) at 44 x 30 size. It’s broken into two halves vertically, a top half and a bottom half. These are tile-able with a 180 degree turn, and (a stylized) cabling route runs through the Pacific and Atlantic oceans.

• fiber linesize: .2pt (.071mm), 100% black line
• satellite triangle radius: 3.6px, 100% black fill
• tor exit nodes: .263pt, 25% black
• ix: .63pt, 100% black
• graticule inner: .35mm / 1pt, pattern 16
• graticule outer: .71mm / 2pt pattern 14

Star-X v14.9, valentine 2024

This is for laser etching (reverse) on the back of a silicone hard square (1.5mm) at 6×6 size.

• fiber linesize: .55pt, 100% black line
• satellite triangle radius: 3.6px, 100% black fill
• tor exit nodes: .263pt, 25% black
• ix: .63pt, 100% black
• graticule inner: 0.75pt, pattern 12
• graticule outer: .71mm / 2pt pattern 14

See setup hints from Pagoda Arts. Cut lines are styled as Red, 0.025mm stroke or smaller, aka 0.02.

Final production file format is PDF. Created via rasterizing vector layers (black/white) at 600 dpi, and then slotting raster layers in to new svg file as imported PNG. This is the production file SVG, with rasterized layers for cable, satellite, tor exit nodes, and ix. Cut layers are vector. Export the production file SVG raster and vector layers as a single pdf, run as a raster job on the laser cutters. Basically, this is pre-rasterizing the vector files on the beefy linux workstations so that what is presented to the laser imaging doesn’t blow them up with (linux-workstation run by madman) complexity.

NB: This is the thinnest vector line possible. On some angles and bezier curves, this width line may not cut through all of the mirror backing. Probably .25 is better, which means that inkjet resolution for visualization remains the highest-resolution.

NB: Maybe also vector grouping for drop-outs? Ungroup, convert? Or just hitting a machine complexity limit?

Mueller (Report + Manafort Response) Redactions Printed With Invisible Ink

In 2019, a heavily-redacted version of the Mueller Report was made public. On the thirteenth of May this year, another heavily-redacted addendum was made public as part of the Paul Manafort sentencing, the Mueller Manafort Response.

If you take both of these documents, add them together, and shrunk every page down such that 486 pages fit on a 44 x 30 inch sheet of paper, it’d look like this. Reading left to right, row one to two, etc.

That big black box on the third to last row is what one page looks like, a pseudo registration mark. It’s a document break between the report and the response documents.

On visual inspection, of immediate note is the sheer number of black bars. What shade of gray is this? Maybe 20%, 40%? The Department of Justice very liberally blacked out and censored any text that it, on review, would do HARM TO ONGOING MATTER (often abbreviated as H.O.M), or PERSONNEL PRIVACY, among other reasons. These redactions make key parts of this document completely incomprehensible, especially anything to do with Russia’s Internet Research Agency and past and present activities on USA-based Social Media Platforms in and after the 2016 US Presidential Election.

If you then removed all the text from those aggregated pages, and just looked at redaction blocks, it’d look like this:

It takes a village folks.

Profound thanks to

Alex Thompson at Pagoda Arts, Emily York and Courtney Sennish at Crown Point Press, Kate Randall (invisible ink, burn art history, burn safety), Ian Roxbourough (combustion)

We stand on the shoulders of giants

Agnes Martin, John Cage(1, 2), Nam June Paik, Birgit Skiöld, Nance O’Banion, Jenny Holzer, Cai Guo-Qiang

Cahill Keyes Star-X

Cahill-Keyes Star X Internet Infrastructure

The data sources and iconography used are as follows:

1. Fiber nodes, submarine cables, from TeleGeography (thin black lines)
2. Starlink Satellite Gateways (black triangles)
3. Internet Exchanges (purple x)
4. Tor Exit Nodes (blue ray clusters)
5. Tor Exit Nodes With Obfuscated Geolocation (larger green ray clusters)

The Star-X projection is based on the Cahill-Keyes Butterfly M projection as implemented in the D3.js carto package, as show in the Visionscarto base map. This projection geometry is mostly accurate with limited distortion, and has been associated with decades of anti-nuclear and utopian thinking. The Cahill-Keyes Butterfly M projection is landscape (horizontal) in orientation, with four horizontal octets or sections – quarto one is a north and south octet paired– that starts in the Pacific Ocean by New Zealand to the coast of North America as the first quarto, and then the second quarto is the rest of of the Americas, the third quarto is the Atlantic Americas to Africa and Europe, and the fourth quarto is Asia to Oceania. 

The Star-X projection is to cut up the four quartos as above and stack them on top of each other. Spatially, this is a look “down” at the globe, as if from space but over the North Pole. Take the first two quartos as the southern vertical half of the projection, where the northern vertical half is composed of rotating the third and fourth quartos about the North Pole, such that they are upside-down and on top of the southern half. In the center of the page is a star geometric shape that marks the position of the North Pole.

Here’s a smaller map that shows what this rotation and tessellation looks like when the continents and land masses are obvious.

Can you see land?

Besides this obsessive geometric symmetry, the fiber routes run off the globe, falling off the cartography and being pulled to the sides as if from a force much greater than known gravity. 

The size of this map almost exactly matches the poster given away at SFMOMA by Felix Gonzalez-Torres “Untitled”, 1992/1993,  29 x 44

The Star X projection as manifest in 2022 is made of 4 components, each  22×17 inches portrait. The total image size is 44×34 inches, and with a 1 inch matt, 46 x 36.

See the following diagram of plate location and orientation, with plate numbers in red.

—

ARP Database Notes

Software configuration for commodity x86/86_64 linux art research platform.

Prerequisites

Assume Fedora 27. See base document for full software stack.

Database Setup 1: server mysql

Both the wiki and wordpress require a database. So, pick the MySQL database, which is packaged as mariadb on Fedora. Project page for MariaDB.

dnf install -y mariadb mariadb-server php-mysqlnd phpMyAdmin

Secure it (and set the root password on the database) with

mysql_secure_installation

And enable and start it via

systemctl enable mariadb.service
systemctl start mariadb.service

To use the web-ui to administer, go to

http://localhost/phpmyadmin/

Configuration file is: /etc/my.cnf
Log file is:/var/log/mariadb/mariadb.log
The site files are in prefix:/var/lib/mysql

Database Setup 2: per-user postgressql

For non-platform use, aka for individual users, pick the glom front-end for the postgres database. Some platform notes are here.

dnf install -y postgresql postgresql-server postgresql-libs postgresql-contrib phpPgAdmin

Initialize the database

postgresql-setup --initdb --unit postgresql

Then enable and start

systemctl enable postgresql
systemctl start postgresql

To use the web-ui to administer, go to

http://localhost:8080/phppgadmin

There is a graphical database called glom that is similar to FileMakerPro on the mac and Access on windows.

dnf install -y glom

Art Distribution Case Studies

Survey and analysis of publishing and distribution methods for a variety of arts groups.

• The Serving Library, http://www.servinglibrary.org/
• In Terms of Performance, http://intermsofperformance.site/
• Open Space, https://openspace.sfmoma.org/

Pending sites and organizations as per

• Libre Graphics, http://libregraphicsmag.com, https://gitlab.com/libregraphicsmag
• Manifold, https://manifoldapp.org/learn
• Hybrid Publishing Group, https://hpg.io/
• Hybrid-Publishing-Consortium, http://consortium.io/
• Mute, http://www.metamute.org
• The Contemporary Condition, http://contemporaneity.au.dk
• APRJA (A Peer-Reviewed Journal About_), https://transmediale.de/content/excessive-research-1
• transmediale archive, https://transmediale.de/archive
• The Influencers, http://theinfluencers.org/
• triplecanopy, https://www.canopycanopycanopy.com/
• e-flux, http://www.e-flux.com/
• MONO.KULTUR, http://www.mono-konsum.com/

Artistic Research Platform Notes

Software configuration for commodity x86/86_64 linux art research platform.

Prerequisites

Assume Fedora 27.

Background

The wide variety of web and print platforms for contemporary artistic research can be found at the survey.

Components

1. Database
2. Webserver
3. Content Management System
4. Wiki
5. Etherpad
6. IPFS

Cartography Futures

1.dymaxion to authagraph to myriahedral projections

Buckminister Fuller and co-cartographer Shoji Sadao, designed an alternative projection map, called the Dymaxion map. Since then, several other projections have been proposed that evolve the idea of map projections in a similar manner. Favorites are:

• authagraph
• myriaworld
• unfolding the earth myriahedral projections

2. new approaches to population density, use natural earth data and then read the shapefile with python

3. pyshp
https://pypi.python.org/pypi/pyshp

 

4. geospatial python
http://geospatialpython.com/

 

5. example api

• get projection
• get shapefile

Ben Fry Geospatial

Processing started with a map of zip codes. Since then, Ben Fy has made some extraordinary maps of the United States, a few of which are listed below.

1. zipdecode. How does the postal code numbering work in the United States?

2. allstreets.

Visual ChangeLog as Obelisk v10

Platform Cooperativism, Blockchain Notes

See New School’s site, platformcoop.net. A summary. For the use of block chain and arts, see A Bitcoin for Digital Art.

And Monegraph. Also on vimeo and Facebook. See also Electric Objects, Daylighted, Artsy.

On the video side: Nameless, ikonos.tv, Electric Arts Intermix, Video DataBank. Or, YouTube and or bittorrent on the pirate side. And rhizome.net, research catalogue, figure/ground on the public archive side.

Fuck War 1996-2001 via 2015

Visual ChangeLog as Obelisk v7

Visual ChangeLog as Stele

Visual ChangeLog as Obelisk v5

Tumbleweed Prototypes

Tumbleweed Work in Progress, Version 1

2015-07-24

Notes on Notes on the Grove

Benjamin De Kosnik, Notes on the Grove: Member Portfolios and Botanical Experiments, 2015
148 pages, 8.5 x 11 inches, softbound and ebook

A contemporary Northern California gardening journal, suitable for note-taking and photo
documentation of any indoor or outdoor botanical experiment up to twenty-six weeks in
length. Appropriate for field use. Results from recent L.E.D. horticulture experiment included.
Also contains recent art, photography, light sculpture, and installation art. A list of relevant
books, films, and prior art is appended for reference.

Earth Day Actions

 Historical Context

Earth Day. First on March 21, 1970. Now “coordinated’ via Earth Day Network on April 22 annually.

See: A Brief History of Earth Day, or the longer American Experience piece on PBS Earth Days (or via YouTube).

Instantiated in San Francisco via Earth Day SF Street Fair. This event is April 18th, 2015 on 22nd street between Mission and Valencia streets.

 

Art Context

Yes Men hijinks including “Canada turns over a new leaf,” “Balls Across America,” and media jamming in La Jolla Action. Think of way to involve media.

 

David Ireland, Sidewalk Repair, 500 Capp Street, San Francisco, 1976. Conceive of something that is a maintenance action.

 

Agnes Denes, Wheatfield – A Confrontation, 1982. Is there a way to transmute the urban materials of concrete, sidewalks, into something green?

 

Site Context

Situated on the public sidewalk space and streets of the Mission District, in San Francisco, CA.

Public space is currently contested in this area. One of the main parks is half closed, and tensions between longtime and new residents, between residents and visitors, and between residents and tourists mix in unpredictable and often antagonistic ways.

Dolores Park is half closed due to a multi-year park improvement project, and has been the origin for clashes between under-staffed park rangers and partying parkgoers. The neighbors immediately surrounding the park are concerned with late-night vandalism, and the mounds of trash left by partying parkgoers every weekend.

Public trash piles and sidewalk litter are exacerbated by the removal of public trash cans on San Francisco city streets in 2007 by the Board of Supervisors and Gavin Newsom. A summary quote from the linked-to article:

“Before, there used to be a container on every street,” said Salvador Román, the janitor at La Victória bakery on 24th and Alabama. “Now there is one every two blocks.”

 

Possible Actions

Goal: Choose an approach that moves your work in a new trajectory and deepens your experimentation. What kind of public might the work produce? Take into account your mode of address and tactics, considering time and site, the political moment, and opportunities for solidarity, amelioration, agonism, antagonism, etc. Have a working Plan B prepared. — A.B.

A Plan: Each of the participants will enact sidewalk sweeping, trash removal, and or mobile trashcan-being as a counter-performance to the EDN Earth Day Street Fair. We target Capp Street, 15th to 20th from 11am to 3pm. Each participant will wear an identifiable uniform or costume, wear gloves, and carry a broom. (??) We will document this action with still photography and perhaps some gopro footage.

B Plan: We attend the Earth Day Network event on 22nd street starting at 3pm, and document how the actual event differs from our perception and conflict with Earth Day.

Complicating Distribution Plan: We will try to use the documentation of the fact on social media, to use the Yes Men methodology to give the media an in to a longstanding greivance. Can we target a supervisor for the Mission or a neighborhood group? Can we do this in other venues? Depends on the reaction.

Warhol Outer Space Notes

Visual Work

Looking at four visual themes in Andy Warhol’s art works during the summer of 1965. Four visual themes: grid saturation, grid portraiture, grid black and white tonal variance, and multi-screen, multi-channel mixed-media film work.

Grid Saturation

Flowers, Lleana Sonnabend Gallery, Paris, 1965. Now via Gagosian Gallery, see Warhol From The Sonnabend Collection, 2009.

Grid Portraiture

Holly Solomon, gelatin silver print, 1965. Now via

Grid B&W Tonal Variance/Deterioration Aesthetic

Cagney, screenprint, 1962

Film and Video

Bruce Conner, Cosmic Ray, premier at Film-Maker’s Cinemateque, 1964-11-30

Andy Warhol, Newsreel, premier at Film-Maker’s Cinemateque, 1964-11-30

Andy Warhol, 13 Most Beautiful Women, premier at Film-Maker’s Cinemateque, 1964-12-07

Vinyl, filmed March 1965.

Poor Little Rich Girl, 70 min, B&W, filmed March-April, 1965, premier at Film-Maker’s Cinemateque, 1965-06-05, five nights, screened with Vinyl.

Beauty #2, filmed early July 1965, premier at Film-Maker’s Cinemateque, 1965-07-17, two nights, screened with Party Sequence for The Poor Little Rich Girl.

Space, filmed summer 1965, premier at Film-Maker’s Cinemateque, 1965-09-17, one night

Outer and Inner Space.

Bibliography

The New Multi-Screen World Infographic, Think With Google, 2012.

Rush, Michael. Video Art. Thames and Hudson, 2007.

Research Notes

Found while researching Andy Warhol, Outer and Inner Space, or any combination of related topics. Notes for future reference.

Background, Film and Video, Ownership, Access, Archives

Andy Warhol gives approval to the Whitney’s the Andy Warhol Film Project at the Whitney and “hands over his original films to MoMA” for cataloging and storage in 1984.

In 1997, the Foundation donated ownership for “most” of AW’s film and video works to the Museum. Also, via the AWFP above, the Museum, MoMA, and UCLA Film and Television Archive gets a copy of each restored print. The Museum currently has 273 films and the entire AW Video Collection (4k tapes). Copies of all television material owned by the Paley Center for Media, NY and LA.

New digitization partnership, accessibility push in 2014 via The Andy Warhol Museum, MoMA, and MPC. Looking to “make accessible approximately 500 titles made between 1963-1972”, including 1k rolls of 16mm, marked for conversion to 2k image format.

The Whitney plans to open the new downtown building in 2016 with a retrospective of Warhol, curated by Donna De Salvo.

Special Collections

Andy Warhol, Museum of Modern Art (MoMA), NY.

Andy Warhol, SFMOMA, CA

Andy Warhol, Pompidou, Paris, France

Andy Warhol, Art Institute Chicago

Andy Warhol Film Newspaper Advertisements 1964-1970

1965 Chronology
1966 Chronology

The Andy Warhol Museum.

Current Archives Collection Research Requests.

Current Pursuits
Audio tape with Andy Warhol discussing Richard Ekstract and Norelco taping (Tape #1241, Tape #1223).

First issue of “Tape Recording” magazine, a NY magazine about recording founded by Richard Ekstract around 1965.

Picture of Andy Warhol in “HiFi Magazine”, October 3, 1965.

Premier of Outer Inner Space at The Film-makers Cinemateque.

September 29, 1965 “The Underground Party” on the train platform under the Waldorf-Astoria. The party itself is videotaped and played back to guests (Rush, 213)

“I agreed to sponsor the world premiere of these videos in an underground location. The party was held on an unused rail platform underneath the Waldorf Astoria Hotel in New York City, adjacent to the tracks of the New York Central Railroad. Guests had to enter through a fire door on East 49th Street and descend two long staircases to reach the tracks, which then had to be crossed to reach the platform. The Waldorf Astoria Hotel was kind enough to run an electric line down to the platform so we could show the work. We had to move in by hand the bulky equipment needed to project the sound and video.” (R.Ekstract, NYC).

The party in the tunnels under the Waldorf Astoria that Richard Ekstract describes so vividly celebrated the premiere of Warhol’s first video with Edie Sedgwick, Outer and Inner Space (R. Dorment, NYRB)

The New York Herald Tribune, on October 3, 1965 has a Sunday edition documenting the opening party of Outer and Inner Space. (Rush, 213)