In love and seduction, similarly, absence is only effective once you have surrounded the other with your image, been seen by him or her everywhere. Everything must remind your lover of your presence, so that when you do choose to be away, the lover will always be thinking of you, will always be seeing you in his or her mind's eye.
Reversal
This law only applies once a certain level of power has been attained. The need to withdraw only comes after you have established your presence; leave too early and you do not increase your respect, you are simply forgotten. When you are first entering onto the world's stage, create an image that is recognizable, reproducible, and is seen everywhere. Until that status is attained, absence is dangerous instead of fanning the flames, it will extinguish them.
Authority: Use absence to create respect and esteem. If presence diminishes fame, absence augments it. A man who when absent is regarded as a lion becomes when present something common and ridiculous. Talents lose their luster if we become too familiar with them, for the outer shell of the mind is more readily seen than its rich inner kernel. Even the outstanding genius makes use of retirement so that men may honor him and so that the yearning aroused by his absence may cause him to be esteemed. (Baltasar Gracian, 1601-1658
Make yourself too available and the aura of power you have created around yourself will wear away. Turn the game around: Make yourself less accessible and you increase the value of your presence.
The greatest ruler of the sixteenth century was Charles V. King of Spain, Hapsburg emperor, he governed an empire that at one point included much of Europe and the New World. Yet at the height of his power, in 1557, he retired to the monastery of Yuste. All of Europe was captivated by his sudden withdrawal; people who had hated and feared him suddenly called him great, and he came to be seen as a saint. In more recent times, the film actress Greta Garbo was never more admired than when she retired, in 1941. For some her absence came too soon she was in her midthirties but she wisely preferred to leave on her own terms, rather than waiting for her audience to grow tired of her.
There always comes a moment when those in power overstay their welcome. We have grown tired of them, lost respect for them; we see them as no different from the rest of mankind, which is to say that we see them as rather worse, since we inevitably compare their current status in our eyes to their former one. There is an art to knowing when to retire. If it is done right, you regain the respect you had lost, and retain a part of your power.
Extend the law of scarcity to your own skills. Make what you are offering the world rare and hard to find, and you instantly increase its value.
MAGPLANO NANG MAAGAP
GAWIN ANG PAGPAPLANO NANG PANGKATAN
MAGING REYALISTIKO SA GAGAWING PANUKALS
MATUTO BILANG ISANG ORGANISASYON
MAGING MAKATOTOHANAN AT TIYAK
LIMITAHAN ANG PAGGAMIT NG TEKNIKAL NA JARGON
PILIM ANG PORMAT NG PANUKSIANG MALINAW ET MEDALING BASAHIN
ALAHANIN ANG PRAYORIDAD NG HIHINGIAN NG SUPORTANG PINANSIYAL
GUMAMIT NG MGA SALITANG KILOS SA PAGSULAT NG PANUKALANG PROYEKTO
Image: The Sun. It can only be appreciated by its absence. The longer the days of rain, the more the sun is craved. But too many hot days and the sun overwhelms. Learn to keep yourself obscure and make people demand your return.
Give me the what why and how parts of processing
Here’s a breakdown of the "What," "Why," and "How" of Processing:
What is Processing?
Processing is an open-source programming language and environment designed for people who want to create visuals and interactive art with code. Originally developed to make coding accessible to artists, designers, and beginners, Processing is highly suited to creating visualizations, animations, interactive installations, and generative art.
It’s known for its simple syntax, instant visual feedback, and a supportive community. Processing projects can be exported to different platforms, including web, desktop, and even physical installations, making it a versatile tool for creatives.
Why Use Processing?
Here are five strong reasons to learn Processing:
1. Perfect Entry to Coding for Artists: Processing is designed specifically for creative people who may not have a programming background. Its syntax is simple and beginner-friendly, making it an ideal gateway into coding, especially for those interested in visual and interactive projects.
2. Instant Visual Feedback: With Processing, you see the results of your code immediately on screen, making it easier to understand concepts and explore creative ideas. This instant feedback accelerates learning, as you can quickly iterate on designs, animations, and effects.
3. Powerful Visual and Interactive Capabilities: Processing excels at graphics and interactive art. It’s a go-to tool for creating generative art, animations, and data visualizations. With libraries for 3D graphics, sound, and even machine learning, Processing lets you bring complex and dynamic visuals to life.
4. Community and Resources: Processing has an active, global community of artists, designers, educators, and programmers, offering a wealth of tutorials, libraries, and forums. This supportive ecosystem makes it easy to get help, find inspiration, and collaborate with others on creative projects.
5. Cross-Platform Flexibility: Processing is versatile across multiple platforms and supports exporting projects for the web using p5.js, a JavaScript library based on Processing. This flexibility allows you to share your work widely, whether on the web, as standalone applications, or even in installations and live performances.
Processing is more than just a tool—it’s a gateway to exploring creative possibilities with code. Whether you’re interested in art, design, or interactive technology, Processing equips you to experiment and create with ease.
1. Accessible for Beginners: Processing’s straightforward syntax and beginner-friendly approach help non-programmers get started easily, particularly those interested in visual arts.
2. Specialized for Visual and Interactive Art: Unlike traditional programming languages, Processing is designed with visual output in mind, making it ideal for artists and designers focused on interactive art, generative design, or data visualizations.
3. Rapid Prototyping: With immediate feedback on changes, Processing enables rapid experimentation and iteration, making it perfect for testing creative ideas quickly.
4. Active Community and Abundant Resources: Processing’s large community offers many resources—tutorials, forums, libraries, and example projects—providing constant support and inspiration.
5. Seamless Cross-Platform Sharing: Processing projects can run on different operating systems and on the web (using p5.js), which is great for showcasing creative work online or in various formats.
How to Use Processing
1. Set Up: Start by downloading the Processing IDE or using p5.js (a JavaScript version of Processing for web). You’ll find that sketches (Processing projects) are created within a simple code editor that allows you to run your code and instantly see the results.
2. Understanding the Basics: Every Processing sketch has two main functions—setup() and draw().
* setup() runs once at the start and is often used to initialize settings.
* draw() loops continuously, allowing animations and interactivity.
3. Experiment with Built-In Functions: Processing has a rich library of built-in functions for shapes, colors, images, audio, and video. Start experimenting by drawing basic shapes, using colors, and animating elements on screen.
4. Incorporate Libraries for Advanced Features: Processing has a vast ecosystem of libraries for everything from 3D rendering to sound manipulation. Libraries like Toxiclibs (for computational design) or ControlP5 (for GUI components) add powerful capabilities to your projects.
5. Explore Export Options: Once your project is complete, you can export it to run on different platforms, or if you’re using p5.js, share it directly online.
Processing empowers creatives by making coding fun, visual, and accessible, opening the door to endless creative possibilities through code.
2 URI NG NILALAMAN: INTERNAL - INTERNAL O YAONG INIHAHAIN SA LOOB NG KINABIBILANGANG ORGANISASYON. EKSTERNAL - ORGANISASYONG DI-KINABIBILANGAN NG PROPONENT.
2 URI NG PAG-AANYAYA O PAG-AALOK: SOLICITED- ISANG PANUKALANG PROYEKTO NA ISINAGAWA DAHIL MAY PABATID ANG ISANG ORGANISASYON SA KANILANG PANGANGAILANGAN NG ISANG PROPOSAL. TINATAWAG DIN ITONG INVITED O IMBITADO. UNSOLICITED - WALANG PABATID AT KUSA O NAGBABAKASAKALI LAMANG ANG PROPONENT. TINATAWAG DIN ITONG PROSPECTING.
2 URI NG HABA: MAIKLING PROYEKTO - HANGGANG 10 PAHINA NA KADALASAN AY NASA ANYONG LIHAM LAMANG. MAHABANG PROYEKTO - NAGLALAMAN NG MAHIGIT SA SAMPUNG PAHINA. MAGKAPAREHO LAMANG ANG NILALAMAN NG DALAWANG URI NG PROPOSAL, NAGIGING ELABORATED LAMANG AT SUMUSUNOD SA ISANG STRUCTURED FORMAT ANG MAHABANG BERSYON.
MGA TAGUBILIN SA PAGSULAT NG PANUKALANG PROYEKTO: 1. MAGPLANO NANG MAAGAP, 2. GAWIN ANG PAGPAPLANO NANG PANGKATAN, 3. MAGING REYALISTIKO SA GAGAWING PANUKALS, 4. MATUTO BILANG ISANG ORGANISASYON, 5. MAGING MAKATOTOHANAN AT TIYAK, 6. LIMITAHAN ANG PAGGAMIT NG TEKNIKAL NA JARGON, 7. PILIM ANG PORMAT NG PANUKSIANG MALINAW ET MEDALING BASAHIN, 8. ALAHANIN ANG PRAYORIDAD NG HIHINGIAN NG SUPORTANG PINANSIYAL, 9. GUMAMIT NG MGA SALITANG KILOS SA PAGSULAT NG PANUKALANG PROYEKTO.
PAGSULAT NG PANUKALANG PROYEKTO AT ANG MGA ELEMENTO NITO: 1. TITULO NG PROYEKTO, 2. NILALAMAN, 3. ABSTRAK, 4. KONTEKSTO, 5. KATWIRAN NG PROYEKTO(PAGPAPAHAYAG SA SULIRANIN, PRAYORIDAD NA PANGANGAILANGAN, INTERBENSYON, MAG-IIMPLEMENTANG ORGANISASYON), 6. LAYUNIN(DAPAT ISA LAMANG ANG MASAKLAW NA LAYUNIN NG PANUKALA, DAPAT NA KONEKTADO ANG MASAKLAW NA LAYUNIN SA BISYON NG PAGPAPAUNLAD O PAGPAPABUTI, AT DAPAT NAPATUTUNAYAN ANG MERITO NG KONTRIBUSYON NG LAYON SA BISYON), 7. TARGET NA BENEPISYARYO, 8. IMPLEMENTASYON NG PROYEKTO.
MGA DAPAT GAWIN BAGO ANG PAGSULAT NG PANUKALANG PROYEKTO: MGA DAPAT GAWIN BAGO ANG PAGSULAT NG PANUKALANG PROYEKTO: 1. PAG-INTERBYU SA DATI AT INAASAHANG TATANGGAP NG BENEPISYO, 2. PAGBALIK-TANAW SA MGA NAUNANG PANUKALANG PROYEKTO, 3. PAGBALIK-TANAW SA MGA ULAT SA EBALWASYON NG MGA PROYEKTO, 4. PAG-ORGANISA NG MGA FOCUS GROUP, 5. PAGTINGIN SA MGA DATOS ESTADISTIKA, 6. PAGKONSULTA SA MGA EKSPERTO, 7. PAGSASAGAWANG MGA SARBEY AT IBA PA, 8. PAGSASAGAWA NG MGA PULONG AT PORUM SA KOMUNIDAD.
2 URI NG NILALAMAN: INTERNAL - INTERNAL O YAONG INIHAHAIN SA LOOB NG KINABIBILANGANG ORGANISASYON. EKSTERNAL - ORGANISASYONG DI-KINABIBILANGAN NG PROPONENT.
2 URI NG PAG-AANYAYA O PAG-AALOK: SOLICITED- ISANG PANUKALANG PROYEKTO NA ISINAGAWA DAHIL MAY PABATID ANG ISANG ORGANISASYON SA KANILANG PANGANGAILANGAN NG ISANG PROPOSAL. TINATAWAG DIN ITONG INVITED O IMBITADO. UNSOLICITED - WALANG PABATID AT KUSA O NAGBABAKASAKALI LAMANG ANG PROPONENT. TINATAWAG DIN ITONG PROSPECTING.
2 URI NG HABA: MAIKLING PROYEKTO - HANGGANG 10 PAHINA NA KADALASAN AY NASA ANYONG LIHAM LAMANG. MAHABANG PROYEKTO - NAGLALAMAN NG MAHIGIT SA SAMPUNG PAHINA. MAGKAPAREHO LAMANG ANG NILALAMAN NG DALAWANG URI NG PROPOSAL, NAGIGING ELABORATED LAMANG AT SUMUSUNOD SA ISANG STRUCTURED FORMAT ANG MAHABANG BERSYON.
MGA TAGUBILIN SA PAGSULAT NG PANUKALANG PROYEKTO: 1. MAGPLANO NANG MAAGAP, 2. GAWIN ANG PAGPAPLANO NANG PANGKATAN, 3. MAGING REYALISTIKO SA GAGAWING PANUKALS, 4. MATUTO BILANG ISANG ORGANISASYON, 5. MAGING MAKATOTOHANAN AT TIYAK, 6. LIMITAHAN ANG PAGGAMIT NG TEKNIKAL NA JARGON, 7. PILIM ANG PORMAT NG PANUKSIANG MALINAW ET MEDALING BASAHIN, 8. ALAHANIN ANG PRAYORIDAD NG HIHINGIAN NG SUPORTANG PINANSIYAL, 9. GUMAMIT NG MGA SALITANG KILOS SA PAGSULAT NG PANUKALANG PROYEKTO.
PAGSULAT NG PANUKALANG PROYEKTO AT ANG MGA ELEMENTO NITO: 1. TITULO NG PROYEKTO, 2. NILALAMAN, 3. ABSTRAK, 4. KONTEKSTO, 5. KATWIRAN NG PROYEKTO(PAGPAPAHAYAG SA SULIRANIN, PRAYORIDAD NA PANGANGAILANGAN, INTERBENSYON, MAG-IIMPLEMENTANG ORGANISASYON), 6. LAYUNIN(DAPAT ISA LAMANG ANG MASAKLAW NA LAYUNIN NG PANUKALA, DAPAT NA KONEKTADO ANG MASAKLAW NA LAYUNIN SA BISYON NG PAGPAPAUNLAD O PAGPAPABUTI, AT DAPAT NAPATUTUNAYAN ANG MERITO NG KONTRIBUSYON NG LAYON SA BISYON), 7. TARGET NA BENEPISYARYO, 8. IMPLEMENTASYON NG PROYEKTO.
MGA DAPAT GAWIN BAGO ANG PAGSULAT NG PANUKALANG PROYEKTO: MGA DAPAT GAWIN BAGO ANG PAGSULAT NG PANUKALANG PROYEKTO: 1. PAG-INTERBYU SA DATI AT INAASAHANG TATANGGAP NG BENEPISYO, 2. PAGBALIK-TANAW SA MGA NAUNANG PANUKALANG PROYEKTO, 3. PAGBALIK-TANAW SA MGA ULAT SA EBALWASYON NG MGA PROYEKTO, 4. PAG-ORGANISA NG MGA FOCUS GROUP, 5. PAGTINGIN SA MGA DATOS ESTADISTIKA, 6. PAGKONSULTA SA MGA EKSPERTO, 7. PAGSASAGAWANG MGA SARBEY AT IBA PA, 8. PAGSASAGAWA NG MGA PULONG AT PORUM SA KOMUNIDAD.
Another, more everyday side of this law, but one that demonstrates its truth even further, is the law of scarcity in the science of economics. By withdrawing something from the market, you create instant value. In seventeenth-century Holland, the upper classes wanted to make the tulip more than just a beautiful flower they wanted it to be a kind of status symbol. Making the flower scarce, indeed almost impossible to obtain, they sparked what was later called tulipomania. A single flower was now worth more than its weight in gold. In our own century, similarly, the art dealer Joseph Duveen insisted on making the paintings he sold as scarce and rare as possible. To keep their prices elevated and their status high, he bought up whole collections and stored them in his basement. The paintings that he sold became more than just paintings they were fetish objects, their value increased by their rarity. "You can get all the pictures you want at fifty thousand dollars apiece that's easy," he once said. "But to get pictures at a quarter of a million apiece that wants doing!"
2 URI NG NILALAMAN: INTERNAL - INTERNAL O YAONG INIHAHAIN SA LOOB NG KINABIBILANGANG ORGANISASYON. EKSTERNAL - ORGANISASYONG DI-KINABIBILANGAN NG PROPONENT.
2 URI NG PAG-AANYAYA O PAG-AALOK: SOLICITED- ISANG PANUKALANG PROYEKTO NA ISINAGAWA DAHIL MAY PABATID ANG ISANG ORGANISASYON ES KANILANG PANGANGAILANGAN NG ISANG PROPOSAL. TINATAWAG DIN ITONG INVITED O IMBITADO. UNSOLICITED - WALANG PABATID AT KUSA O NAGBABAKASAKALI LAMANG ANG PROPONENT. TINATAWAG DIN ITONG PROSPECTING.
2 URI NG HABA: MAIKLING PROYEKTO - HANGGANG 10 PAHINA NA KADALASAN AY NASA ANYONG LIHAM LAMANG. MAHABANG PROYEKTO - NAGLALAMAN NG MAHIGIT SA SAMPUNG PAHINA. MAGKAPAREHO LAMANG ANG NILALAMAN NG DALAWANG URI NG PROPOSAL, NAGIGING ELABORATED LAMANG AT SUMUSUNOD SA ISANG STRUCTURED FORMAT ANG MAHABANG BERSYON.
MGA TAGUBILIN SA PAGSULAT NG PANUKALANG PROYEKTO: 1. MAGPLANO NANG MAAGAP, 2. GAWIN ANG PAGPAPLANO NANG PANGKATAN, 3. MAGING REYALISTIKO SA GAGAWING PANUKALS, 4. MATUTO BILANG ISANG ORGANISASYON, 5. MAGING MAKATOTOHANAN AT TIYAK, 6. LIMITAHAN ANG PAGGAMIT NG TEKNIKAL NA JARGON, 7. PILIM ANG PORMAT NG PANUKSIANG MALINAW ET MEDALING BASAHIN, 8. ALAHANIN ANG PRAYORIDAD NG HIHINGIAN NG SUPORTANG PINANSIYAL, 9. GUMAMIT NG MGA SALITANG KILOS SA PAGSULAT NG PANUKALANG PROYEKTO.
PAGSULAT NG PANUKALANG PROYEKTO AT ANG MGA ELEMENTO NITO: 1. TITULO NG PROYEKTO, 2. NILALAMAN, 3. ABSTRAK, 4. KONTEKSTO, 5. KATWIRAN NG PROYEKTO(PAGPAPAHAYAG SA SULIRANIN, PRAYORIDAD NA PANGANGAILANGAN, INTERBENSYON, MAG-IIMPLEMENTANG ORGANISASYON), 6. LAYUNIN(DAPAT ISA LAMANG ANG MASAKLAW NA LAYUNIN NG PANUKALA, DAPAT NA KONEKTADO ANG MASAKLAW NA LAYUNIN SA BISYON NG PAGPAPAUNLAD O PAGPAPABUTI, AT DAPAT NAPATUTUNAYAN ANG MERITO NG KONTRIBUSYON NG LAYON SA BISYON), 7. TARGET NA BENEPISYARYO, 8. IMPLEMENTASYON NG PROYEKTO.
MGA DAPAT GAWIN BAGO ANG PAGSULAT NG PANUKALANG PROYEKTO: MGA DAPAT GAWIN BAGO ANG PAGSULAT NG PANUKALANG PROYEKTO: 1. PAG-INTERBYU SA DATI AT INAASAHANG TATANGGAP NG BENEPISYO, 2. PAGBALIK-TANAW SA MGA NAUNANG PANUKALANG PROYEKTO, 3. PAGBALIK-TANAW SA MGA ULAT SA EBALWASYON NG MGA PROYEKTO, 4. PAG-ORGANISA NG MGA FOCUS GROUP, 5. PAGTINGIN SA MGA DATOS ESTADISTIKA, 6. PAGKONSULTA SA MGA EKSPERTO, 7. PAGSASAGAWANG MGA SARBEY AT IBA PA, 8. PAGSASAGAWA NG MGA PULONG AT PORUM SA KOMUNIDAD.
Napoleon was recognizing the law of absence and presence when he said, "If I am often seen at the theater, people will cease to notice me." Today, in a world inundated with presence through the flood of images, the game of withdrawal is all the more powerful. We rarely know when to withdraw anymore, and nothing seems private, so we are awed by anyone who is able to disappear by choice. Novelists J. D. Salinger and Thomas Pynchon have created cultlike followings by knowing when to disappear.
Once you die, everything about you will seem different. You will be surrounded by an instant aura of respect. People will remember their criticisms of you, their arguments with you, and will be filled with regret and guilt. They are missing a presence that will never return. But you do not have to wait until you die: By completely withdrawing for a while, you create a kind of death before death. And when you come back, it will be as if you had come back from the dead an air of resurrection will cling to you, and people will be relieved at your return. This is how Deioces made himself king.
The moment you allow yourself to be treated like anyone else, it is too late you are swallowed and digested. To prevent this you need to starve the other person of your presence. Force their respect by threatening them with the possibility that they will lose you for good; create a pattern of presence and absence.
The truth of this law can most easily be appreciated in matters of love and seduction. In the beginning stages of an affair, the lover's absence stimulates your imagination, forming a sort of aura around him or her. But this aura fades when you know too much when your imagination no longer has room to roam. The loved one becomes a person like anyone else, a person whose presence is taken for granted. This is why the seventeenth-century French courtesan Ninon de Lenclos advised constant feints at withdrawal from one's lover. "Love never dies of starvation," she wrote, "but often of indigestion."
Here's a structured outline of topics and sub-topics for a beginner's course in creative coding with Processing, organized into three main sections to provide a clear progression.
Section 1: Foundations of Creative Coding
.1 Introduction to Creative Coding, What is Creative Coding?, Art vs. Creative Coding, Examples of Creative Coding Applications, Overview of Processing and p5.js
.2 Setting Up the Development Environment, Installing Processing IDE (or p5.js for web), Exploring the IDE interface, Using the editor, console, and tools, Overview of helpful resources and libraries
.3 Basic Programming Concepts, Variables and Data Types, Control Structures: If statements and loops, Functions and Scope, Basics of Object-Oriented Programming (optional)
.4 Drawing Basics, Coordinate System and Canvas Setup, Drawing Shapes: Lines, Rectangles, Ellipses, etc., Colors: RGB, HSB, and transparency, Stroke, Fill, and Customization
.5 Creating a Visual Sketch, Understanding the `setup()` and `draw()` functions, Using `background()` for frame-by-frame control, Adding interactivity with mouse and keyboard input, Saving sketches and exporting images
Section 2: Animation and Interactivity
2.1 Animation Basics, Understanding Frames and Frame Rate, Creating Simple Animations, Positioning and Movement of Objects, Basic easing and interpolation techniques
2.2 Introduction to Transformations, Translation, Rotation, and Scaling, Working with Push and Pop Matrix, Rotating and scaling objects in 2D space
2.3 Interaction with User Input, Detecting mouse and keyboard events, Responding to clicks, drags, and key presses, Creating responsive elements (buttons, sliders), Using the `mouseX`, `mouseY`, and `keyPressed` variables
2.4 Creating Simple Interactive Art, Designing interactive shapes and patterns, Creating randomized patterns and shapes, Experimenting with randomness and control
2.5 Introduction to Generative Art, What is Generative Art?, Using loops and randomness in art creation, Introduction to Perlin noise for smooth randomness, Exploring pattern-making and algorithmic designs
2.6 Sound and Visual Integration (optional), Using the `minim` or p5.sound library, Adding sound effects and simple audio visualization, Basics of sound-reactive visualizations
Section 3: Exploring Depth, Complexity, and Projects
3.1 Working with Layers and Composition, Organizing visuals in layers, Using transparency and blend modes, Creating depth and visual hierarchy
3.2 3D Basics (optional for beginners), Introduction to 3D coordinates and perspective, Basic shapes in 3D: Boxes, spheres, planes, Understanding the camera and lighting in 3D
3.3 Motion and Particle Systems, Introduction to particle systems, Using vectors for physics-based motion, Simple forces: gravity, wind, and friction
3.4 Exploring Text and Typography, Rendering text and custom fonts, Dynamic text effects and typography, Using text in interactive pieces
3.5 Building a Creative Coding Project, Planning and ideation: From concept to code, Choosing colors, shapes, and style, Working iteratively and improving sketches, Adding finishing touches: polish and presentation
3.6 Sharing and Publishing Your Work, Exporting images, animations, and videos, Using the Processing web editor for p5.js projects, Sharing online: platforms like OpenProcessing, GitHub, Collecting feedback and iterating on your project
This structured outline gradually introduces the basics, moving from core concepts and drawing to animation, interactivity, and finally, project development. This approach encourages learning foundational skills first, then exploring creative expression and completing a final project.
INTERNAL - Internal o yaong inihahain sa loob ng kinabibilangang organisasyon.
EKSTERNAL - organisasyong di-kinabibilangan ng proponent.
