Scroll art is a form of ASCII art where a program generates text output in a command line terminal. After the terminal window
fills, it begins to scroll the text upwards and create an animated effect. These programs are simple, beautiful, and accessible as programming projects for beginners. The SAM is a
online collection of several scroll art examples.
Here are some select pieces:
Zig-zag, a simple periodic pattern in a dozen lines of code.
Program output is limited to text (though this could include emoji and color.)
Once printed, text cannot be erased. It can only scroll up.
But these restrictions compel creativity. The benefit of scroll art is that beginner programmers can create scroll art apps with a minimal amount of experience. Scroll art
requires knowing only the programming concepts of print, looping, and random numbers. Every programming langauge has these features, so scroll art can be created in
any programming language without additional steps. You don’t have to learn heavy abstract coding concepts or configure elaborate software libraries.
…
Okay, so: scroll art is ASCII art, except the magic comes from the fact that it’s very long and as your screen scrolls to show it, an animation effect becomes apparent. Does that make
sense?
Anyway, The Scroll Art Museum has lots of them, and they’re much better than mine. I especially love the faux-parallax effect in Skulls and Hearts, created by a “background” repeating pattern being scrolled by a number of lines slightly off from its
repeat frequency while a foreground pattern with a different repeat frequency flies by. Give it a look!
I think of ElonStan420 standing in that exhibit hall, eyeing those cars with disdain because all that time, energy, care, and expression “doesn’t really matter”. Those hand-painted
pinstripes don’t make the car faster or cheaper. Chrome-plated everything doesn’t make it more efficient. No one is going to look under the hood anyway.
…
Don’t read the comments on HackerNews, Adam! (I say this, but I’ve yet to learn not to do so myself, when occasionally my writing escapes from my site and finds its way over there.)
But anyway, this is a fantastic piece about functionalism. Does it matter whether your website has redundant classes defined in the HTML? It renders the same anyway, and odds are good
that nobody will ever notice! I’m with Adam: yes, of course it can matter. It doesn’t have to, but coding is both a science and an art, and
art matters.
…
Should every website be the subject of maximal craft? No, of course not. But in a industry rife with KPI-obsessed, cookie-cutter, vibe-coded, careless slop, we could use
more lowriders.
Generated a QR code as usual, minimising its size by making the URL uppercase (allows a smaller character set to be used) and maximising its resilience by ramping up the error
correction to the maximum.
Masked off all but the central 7% of each row and column, leaving just a grid of spots, and then re-adding the three large and one small square and the “zebra crossing” stripes that
connect the large squares, to ensure rapid discovery.
With a pink mask in place to help me see where I was working, drew lines, dots, and whatever else I liked over the black spots but not touching the white ones, to build a maze.
Removed the pink mask, leaving just black and white. Tested a bit.
It’s just about possible to scan this super-minimal QR code, but having the positioning elements in place to help the scanner identify that it is something
scannable makes a huge difference.
Obviously this isn’t a clever idea for real-world scenarios. The point of QR codes’ resilience and error correction is to compensate for suboptimal conditions “in the
field”, like reflections, glare, dust, grime, low light conditions, and so on.
Fellow Abnibbers and I, who see each other extraordinary infrequently in our diaspora, have a tradition of sharing a group selfie when we happen to
coincide. I forgot to take one when @garethbowker@infosec.exchange and I met today, and by way of penance I tried to draw what I
should have done.
Unfortunately I can’t draw. He looks much less like a potato in real life! Think I got his dog right, though.
Brought the kids up Knipe Scar with limited and challenging art materials (huge sheets of paper and thick marker pens) for a lesson in drawing what a landscape makes you feel, rather
than focusing on what you can actually see.
As others have observed, this is a bit challenging right now owing to the hoardings that have been erected in the way. But like others, I found a gap in the fence through which I was
able to photograph the sculpture (while holding up a piece of paper with the geocaching logo and my username, to prevent reuse!). TFTC!
Being on your phone all the time and while also not being on your phone all the time has never been more important.
“It is as if you were on your phone” is a phone-based experience for pretending to be on your phone without needing to be on your phone. All from the comfort of your phone.
Relax and blend in with familiar gestures and realistic human behaviour.
When I tried this fun and experimental game, I was struck by a feeling of deja vu. Was this really new? It felt ever so familiar.
Turns out, it draws a lot of inspiration from its 2016 prequel, It is as if you were playing
chess. Which I’d completely forgotten about until just now.
It really is almost as if I were on my phone.
Anyway, It is as if you were on your phone is… well, it’s certainly a faithful simulation of what it would be like to be on my phone. If you saw me, you’d genuinely think that
I was on my phone, even though in reality I was just playing It is as if you were on your phone on my phone. That’s how accurate it is.
the world needs more recreational programming.
like, was this the most optimal or elegant way to code this?
no, but it was the most fun to write.
Yes. This.
As Baz Luhrmann didn’t say, despite the implications of this video: code one thing every day that amuses you.
There is no greater way to protest the monetisation of the Web, the descent into surveillance capitalism, and the monoculture of centralised social media silos… than to create things
just for the hell of it. Maybe that’s Kirby eating a blog post. Maybe that’s whatever slippy stuff Lu put out this week. Maybe it’s a podcast exclusively about random things that interest one person.
The pre-corporate Web was fun and weird. Nowadays, keeping the Internet fun and weird is relegated to a
counterculture.
But making things (whether code, or writing, or videos, or whatever) “just because” is a critical part of that counterculture. It’s beautiful art flying in the face of rampant
commercialism. The Web provides a platform where you can share what you create: it doesn’t have to be good, or original, or world-changing… there’s value in just creating and giving
things away.
I used to pay for VaultPress. Nowadays I get it for free as one of the many awesome perks of my job. But I’d probably still pay for it
because it’s a lifesaver.
Why must a blog comment be text? Why could it not be… a drawing?1
Red and black might be more traditional ladybird colours, but sometimes all you’ve got is blue.
I started hacking about and playing with a few ideas and now, on selected posts including this one, you can draw me a comment instead of typing one.
Just don’t tell the soup company what I’ve been working on, okay?
I opened the feature, experimentally (in a post available only to RSS subscribers2) the
other week, but now you get a go! Also, I’ve open-sourced the whole thing, in case you want to pick it apart.
What are you waiting for: scroll down, and draw me a comment!
Footnotes
1 I totally know the reasons that a blog comment shouldn’t be a drawing; I’m not
completely oblivious. Firstly, it’s less-expressive: words are versatile and you can do a lot with them. Secondly, it’s higher-bandwidth: images take up more space, take longer to
transmit, and that effect compounds when – like me – you’re tracking animation data too. But the single biggest reason, and I can’t stress this enough, is… the
penises. If you invite people to draw pictures on your blog, you’re gonna see a lot of penises. Short penises, long penises, fat penises, thin penises. Penises of every shape
and size. Some erect and some flacid. Some intact and some circumcised. Some with hairy balls and some shaved. Many of them urinating or ejaculating. Maybe even a few with smiley
faces. And short of some kind of image-categorisation AI thing, you can’t realistically run an anti-spam tool to detect hand-drawn penises.
2 I’ve copied a few of my favourites of their drawings below. Don’t forget to subscribe if you want early access to any weird shit I make.
I’ve long been a fan of Hugh Howey‘s Wool series of books (especially the first and third;
the second’s a bit weaker); in fact I’ve been enjoying re-reading them as a bedtime story for our eldest!1
Naturally, when I heard that it would become a TV series I was really excited! I’m enjoying
the series so far, especially thanks to its epic casting. It diverges a lot from the books –
sometimes in ways I love, sometimes in ways that confuse me – but that’s not what I wanted to talk about. I wanted to share how cool the opening credits sequence is!
Spoiler warning: even if you’re following the TV series there are likely to be major spoilers below based on my recollection of the books!
We open on the sun shining above a thick layer of all-obscuring clouds, tinted sickly yellow like poison gas, then descend into the darkness below. This hints at the uninhabitability of
the world above, foreshadows Lukas stargazing through gaps in the clouds2,
and foreshadows revelations about the argon gas used to flush the airlocks. The descent feels representative of humanity’s migration from the sunlit surface to the underground silos.
Looking down, we see the silo from above in a desolate landscape, introducing the world and its setting. The area around it is shrouded and hostile, reflecting the residents’ view of
the outside world as unsurvivable, but also masking our view of the other nearby silos that we might otherwise be able to see.
Descending “into” this representation of the silo, we get a view for only a split second that looks distinctly like the platter and spindle of a magnetic hard disk drive, broken-up as
if to represent corruption. This reflects a number of major plot points in the first season relating to the destruction and recovery of secret information from ancient storage devices.
Truly within the silo now, we see the spokes of landings radiating out from the great stairwell. The shape is reminiscient of a cog: a motif we’ll return to later. Humanoid shapes made
of light, like you get in a long exposure, move around, giving both the idea of a surveillance state, and setting us up to think of all such “glowing spots” as people (relevant later in
the credits).
A representation of the stairwell itself appears, with a lit gaseous substance whipping up and down it. Given that we’ve just been shown that this kind of “light” represents people,
it’s easy to see this as showing us the traffic that grinds up and down the silo, but it also feels like looking at part of a great machine, pumping gas through a condenser: notice that
there’s no landings any more: this is all about the never-ending traffic.
A landing appears, and the gaseous forms are now more-clearly humanoid, almost as if they’re ghosts (perhaps pointing to the number of generations who’ve lived before, in this place, or
else a reference to Juliette’s investigation into the lives of those who lived before her).
More swirling gas-people, this time below an empty balconette: perhaps a nod to the source of Juliette’s uncommon name (in the books, it’s taken from Romeo & Juliet, a
possibly-illicit copy of which is retained by the silo and performed prior to Juliette’s birth and for at least a short while afterwards: she writes mechanical notes on the back of a
playscript), or perhaps a reference to George’s death after “falling” from a balcony.
Seen from a different angle, the colour shifts, and the gas/ghosts become white like the argon spray of the airlock. The people are all part of a machine: a machine that sends people
outside to clean and die. But more than that, the blue comes to represent a clean/perfect view of what a silo can be: a blueprint representation of the goals of its creators to
shape the inhabitants into their vision of the future:
We refocus on the shape of the silo itself, but just for a split second the view looks more like an x-ray… of a human spine? As if to remind us that it’s people who upload the
system of the silo, just as its concrtete uploads its physical structure. Also a reminder that the silo is treated (by those who manage it, both within and beyond it) as an
organic thing that can be nurtured, grown, or if necessary killed.
This becomes the structure of the silo, but it almost looks architectural: a “clean” look, devoid of people or signs of life, like a blueprint, perhaps foreshadowing Donald’s role in
designing the structures that will eventually become the silos. The “space” between the arms is emphasised, showing how the social system that this structure imposes serves to separate
and segregate people: classism is a recurring theme in both the books and the TV series, and it eventually becomes apparent that the silos are specifically organised to reduce
communication between interdependent groups.
Returning to the “populated” silo – swirls of gas spiralling away down (or up: it’s no longer clear!), we catch a glimpse of a nautilus shell at the centre. The nautilus is a “living
fossil”, a creature from a bygone era that continues to survive in our modern world, which is an excellent metaphor for the population of the dead world who go on living beneath its
surface. The nautilus shell is a recurring image within the TV series: Gloria’s visions of the world that came before see her clutching one and tracing its shape, for example.
We cut to what appears to be a seed, representing both the eventual conclusion of the story (Juliette, Charlotte and the Silo 18 survivors’ discovery of the cache of supplies that will
allow them to begin rebuilding the world) and also the nature of the silo3. The seed we see initially
appears to fail and degrade, becoming nothing at all, before eventually growing into the beginnings of a strong new plant. This could represent the eventual and inevitable collapse of
silo 18, among others, but the eventual flourishing of those that survive, or on a broader scale the collapse of modern civilization to be replaced by the silos, or even of the silo
system to be replaced with that which follows it after the conclusion of the story. Lots of options!
It’s also possibly a reflection of the harsh and opaque eugenics/population control mechanism imposed by the “lottery”, which becomes a major plot point in the TV series much earlier
than in the books.
We cut to trees, thriving despite a yellow fog. The sky can’t be seen, which is a reminder that all of humanity’s resources must now be produced underground (trees are especially rare
and prized, leading to a shortage of paper4.
It seems to be deliberately left unclear whether the trees we see are on the surface before the fall of humanity, on the surface after the fall, or grown underground.
A fruit falls from the tree, which links back to the seed we saw geminate earlier but also seems likely to be a representation of the concept of original sin. The grand idea of the
silos was to create a better world on the other side of a man-made catastrophe, but this idea is inherently flawed because the systems that are constructed by the same people who are
complicit in the destruction of the world that came before. The structure that’s put in place through the Pact carries the weight of the sins of its creators: even though the
inhabitants of silo 1 ultimately intend to destroy themselves, they’re unable to create a new world that is both better than the one that came before and free from their
influence: it’s an impossibility.
It’s also possibly a representation of the religious beliefs of some inhabitants that the creators of the silo should be revered as gods. This was a recurring plot point in the books
but has been somewhat muted in the TV series so far.
The metaphor continues when we see that this falling fruit is already beginning to rot, degrading as it tumbles towards the earth. We don’t see it strike the ground: it almost seems to
hover in the air, uncertain and undecided, and reflective of the eventual end when the inhabitants of the silos break free from the shackles of the system that’s been constructed for
them and can choose their own destiny. Or perhaps we don’t see the collision simply because the camera continues to fall down into the earth and below the surface again?
This time, wer’e very deep: all the way down in the depths of Mechanical, at the bottom of the silo: home to our heroine and source of many aspects of the story. In the centre, a shaft
descends, connecting us back to the “spine” of the silo – the great staircase – but it’s harder to see as a wealth of machinery appears to support it, occluding our view. From down here
in Mechanical it appears that the machines keep the silo running, whereas further up it looked like humans pumped through it like blood, which reflects Juliette’s disagreements with
many of those up-top about their priorities during her time as Sheriff and, later, as Mayor.
We see a cloud of steam, like that used to drive the generator that brings life to the silo, and for a moment it’s impossible to differentiate it from the cloud of people we saw
earlier, rushing up and down the stairs. Look closely at the steam, though, and you’ll see that it too contains the ghosts of people.
Deeper still, the cog motif returns and we’re buried in an impossible number of interconnected gears. The machine that they support is impossible to comprehend from within: How big is
it? What is it for? Who made it and why?
The final cog mutates into the staircase again, winding away from us and hammering the point home.
The staircase changes again, first becoming an outline of itself (a callback to the “blueprint” design we saw earlier, reminding us that this thing was designed to be like
this)…
…but this becomes a double-helix, representing the chaos of life. Again, the metaphor is of a perfect idea constructed to achieve a goal, but the unpredictability of humans
leads to a different outcome.
Seen from above, the staircase now looks like an enormous clock, a machine of cogs each turning slower than the one beneath, counting down until the end of the silo experiment in
accordance with the whim of its creators. Except, of course, if something were to break this machine.
Seen from the side, the silo is a hive of activity, but the shape the levels form in this depiction are exactly like the rotors of a steam turbine, and this is reflected by an image of
steam, almost in the shape of a growing tree – passing behind it in the background. The generator and its rotor blades is a significant early plot point in both the books and the TV
series, and the books in particular use engine metaphors to explain Juliette’s interpretation of different situations she finds herself in, even those which are distinctly interpersonal
rather than mechanical.
Looking back up the silo, towards the light, we can now see its shape and structure for what it is: just another cog – a part of an even bigger machine that is the whole Operation Fifty
silo network. The people are the lifeblood of this machine, but they’re as replaceable and interchangable as any other part.
Finally, we crossfade to the title, looking like a stencil. Each letter is more-degraded than the one before it, representing the impossibility of building a perfect system.
The credits sequence is less than 90 seconds long, but so much is packed into it. It’s just great.
Footnotes
1 We’re into the final act of Dust now and it’s been amazing to experience the characters – loveable and hateable – of the series.
2 Curiously, in the TV series Lukas is only ever seen stargazing on clear nights, which is
one of those confusing choices I mentioned. I suspect it’s for aesthetic reasons and to help add some romance to Juliette and Lukas’s courtship.
3 A silo is, of course, a place to store something valuable through the hard times. This
is exactly what the silos in this story are for.
4 The shortage of paper shows up many times in the books but is somewhat glossed-over in
the TV series. I’m not sure how they’ll reconcile that with the impact of the discovery of the Legacy, later.
I’ve a long history of blogging about dreams I’ve had, and though I’ve not done so recently I don’t want you to think it’s because my dreams have gotten any
less trippy-as-fuck. Take last night for example…
I plough every penny and spare minute I can into a side-project that in my head at least qualifies as “art”. The result will be fake opening credits animation for the (non-existent)
pilot episode of an imagined 80s-style children’s television show. But it gets weirder.
Do you remember Hot Shots!? There’s this scene near the end where Topper Harley, played by Charlie Sheen, returns to the Native
American tribe he’s been living with since before the film (in sort of a clash between the “proud warrior
race” trope and a parody of Dances With Wolves, which came out the previous year). Returning to his teepee, Topper meets tribal
elder Owatonna (Rino Thunder), who asks him about the battle Topper had gone to fight in and, in a callback to an earlier joke, receives the four AA-cell batteries he’d asked Topper
to pick up for him “while he was out”.
There are very few occasions where a parody film is objectively better than it’s source material, but I maintain that Hot Shots! beats Top Gun hands-down.
I take the dialogue from this scene (which in reality is nonsense, only the subtitles give it any meaning),
mangle it slightly, and translate it into Japanese using an automated translation service. I find some Japanese-speaking colleagues to help verify that each line broadly makes sense,
at least in isolation.
I commission the soundtrack for my credits sequence. A bit of synth-pop about a minute long. I recruit some voice actors to read each of my Japanese lines, as if they’re characters in
an animated kids TV show. I mix it together, putting bits of Japanese dialogue in the right places so that if anybody were to sync-up my soundtrack with the correct scene in Hot
Shots!, the Japanese dialogue would closely mirror the conversation that the characters in that film were having. The scene, though, is slow-paced enough that, re-recorded, the voices
in my new soundtrack don’t sound like they’re part of the same conversation as one another. This is deliberate.
Meanwhile, I’ve had some artists put together some concept character art for me, based on some descriptions. There’s the usual eclectic mix of characters that you’d expect from 80s
cartoons: one character’s a friendly bear-like thing, another’s a cowardly robot, there’s a talking flying unicorn… you know the kind of shit. I give them descriptions, they give me
art.
Next, I send the concept art and the soundtrack to an animation team and ask them to produce a credits sequence for it, and I indicate which of the characters depicted should be
saying which lines.
Identifying the shows I lifted images from to make this sample is left as an exercise for the reader.
Finally, I dump the credits sequence around the Internet, wait a bit, and then start asking on forums “hey, what show is this?” to see what kind of response it gets.
The thing goes viral. It scratches the itch of people who love to try to find the provenance of old TV clips, but of course there’s no payoff because the show doesn’t exist. It
doesn’t take too long before somebody translates the dialogue and notices some of the unusual phasing and suggests a connection to Hot Shots! That seems to help date the show as
post-1991, but it’s still a mystery. By the time somebody get around to posting a video where the soundtrack overlays the scene from Hot Shots!, conspiracy theories are already all
over: the dominant hypothesis is that the clips are from a series of different shows (still to be identified) but only the soundtrack is new… but that still doesn’t answer what the
different shows are!
As the phenomenon begins to expand into mainstream media I become aware that even the most meme-averse folks I know are going to hear about it, at some point. And as I ‘m likely to be
“found out” as the creator of this weird thing, sooner or later, I decide to come clean about it to people I know sooner, rather than later. I’m hanging out with Ruth and her brothers Robin and Owen and I bring it up:
“Do you remember Hot Shots!? There’s this scene near the end where Topper Harley, played by Charlie Sheen…”, I begin, hoping that the explanation of my process might somehow justify
the weird shit I’ve brought to the world. Or at least, that one of this group has already come across this latest Internet trend and will interject and give me an “in”.
Ruth interrupts: “I don’t think I’ve seen Hot Shots!”
“Really?” Realising that this’ll take some background explanation, I begin by referring to Top Gun and the tropes Hot Shots! plays into and work from there.
Some time later, I’m involved with a team who are making a documentary about the whole phenomenon and my part in it. They’re proposing to release a special edition disc with a chapter
that uses DVD video’s “multi angle” and “audio format switch” features to allow you to watch your choice of either the scene from
Hot Shots! or from my trailer with your choice of either the original audio, my soundtrack, or a commentary by me, but they’re having difficulty negotiating the relevant rights.
After I woke, I tried to tell Ruth about this most-bizarre dream, but soon got stuck in an “am I still dreaming” moment after the following exchange:
