"Resonance is the condition whereby a tiny input autonomously cascades into a much larger output. It occurs when a small vibration interacts with the internal structure of a material and greatly increases in intensity, threatening to destroy the object if pushed beyond a certain limit. Chaos is the point at which order breaks down, when elements in an organized system start acting randomly and autonomously, creating a situation where it is impossible to predict exactly what will happen next or in what order. Both involve limits and thresholds that have been crossed, organization that breaks down, actions that go out of control, systems that collapse—creating something new and unexpected in the process."
— Bill Viola, “David Tudor: The Delicate Art of Falling,” 2004 (via cristianvogel)
The Cycloid [red] is generated by tracing a point on a rolling circle. This animation shows a curious symmetry between the Cycloid and itself shifted. The traced lines are always crossing at right angles to the top cycloid and are tangent to the bottom. [The Cycloid is its own evolute] [code] [more]
"How exactly this happened, in [Chris] Kohler’s admitted simplification, concerns the split between japanese and American gaming in the 1980s. American gaming went to the personal computer, while Japanese gaming retreated largely to the console. Suddenly there were all sorts of games: platformers, flight simulators, text-based adventures, role-playing games. The last two were supreme early examples of games that, as Kohler put it, have “human drama in which a character goes through experiences and comes out different int eh end.” The japanese made story a focus in their growingly elaborate RPGs by expanding the length and moment of the in-game cut scene. American games used story more literarily, particularly in what became known as “point-and-click” games, such as Sierra Entertainment King’s Quest and Leisure Suit Larry, which are “played” by moving the cursor to various points around the screen and clicking to the result of story-furthering text. These were separate attempts to provide games with a narrative foundation, and because narratives do not work without characters, a hitherto incidental focus of the video game gradually became a primary focus."
— Bissell, Tom. Extra Lives: Why Video Games Matter. New York: Pantheon books, 2010. (via carvalhais)