<\/p>\n I think this project would be an interesting way to demonstrate how \u00a0the unconventional tools and techniques in early film\/animation of 20th avant-gard artists \u00a0for creating unpredictable abstract media would translate into modern computing that was created for the same purpose and could relatively achieve the same outcome.<\/p>\n My interest in experimental film and animation\u00a0\u00a0was what drew me to Hirsh as an artist because he was among the first filmmakers in the 20th century to incorporate electronic imagery into film. Hirsh experimented by using tools used in the film and animation industry of his time in an \u00a0unconventional environment with other forms of media in order to create unexpected visual results. He \u00a0would create randomly generated patterns in his films by using superimposed oscilloscope patterns printed through colour filters and ‘Scratch Pad’ utilises found-footage and graffiti with superimposed closeups of metallic structures to create the impression of 3D sculptures.<\/p>\n I think Scratch Pad, and Hirsch’s other works, could be considered as generative art because the patterns are created depending on how the\u00a0material Hirsch uses effects the film which could make them autonomous because the process is unpredictable and out of the control of the artist.\u00a0I think his work is also very relevant to what I’ve studied about “noise” because we’ve used noise in processing as a means to create natural imperfections and progression in our generative drawings and\u00a0Hirsch’s goal for his films is to create expressive unpredictable shapes that change over the course of its duration to create a sense of liveliness for the viewer. I hope to achieve this same outcome for the viewer so that they can experience liveliness through unrestricted generated patterns.<\/p>\n However, my main concern for this project is that the final result may not contain the same kind of raw expression and results as Hirsch’s film because the patterns generated in Processing will be predictable to me as the artist whereas Hirsh’s \u00a0circumstances were more accidental.However I think where I have the advantage is that processing can create the same effects that Hirsh strived for without having to use the same tools he had that aren’t at my disposal, such as an oscilloscope.<\/p>\n I tried to create similar scratch patterns from Hirsh in my sketchbook. For the first sketch I pressed onto the paper very hard with a dry pen so as to create imprints on the paper, or scratches, and then traced the surface with a pencil. This resulted in somewhat faint but textured white lines with a contrasting textured background:<\/p>\n 1. <\/p>\n For the other sketches I used a white colour pencil for making the imprints and then drew over the surface with charcoal. The white lined patterns were much more defined this time around and the fragility of the charcoal made it easier to the capture the imprints without having to push down too hard on the surface of the paper.<\/p>\n 2. 4. I incorporated some of the shapes and patterns from my own programs to Hirsh’s scratching style:<\/p>\n![\"screen-shot-2016-11-16-at-6-07-44-pm\"](\"http:\/\/astoryisnotatree.net\/wp-content\/uploads\/2016\/11\/Screen-Shot-2016-11-16-at-6.07.44-pm-300x222.png\")
\u00a0![\"screen-shot-2016-11-17-at-3-23-44-am\"](\"http:\/\/astoryisnotatree.net\/wp-content\/uploads\/2016\/11\/Screen-Shot-2016-11-17-at-3.23.44-am.png\")
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