An infinite finite pattern
1.Preset
2.A pattern of endless variations
3.Functional part: customisable cipher
4.Experemental part: endless iterations
5.Examples of possible uses
6.Conclusion
It was planned to link chapters to save you time, but the platform doesn't know how to do that.
1. Preset
Before I go on to describe the process of creating a pattern in my project, it is worth noting that from the beginning there have been discussions between me and my colleagues about what a pattern is. For the sake of objectivity, it is worth clarifying that a unitary definition has not been found, and the debate on this topic will continue after the end of this project. Therefore, I will describe the pattern as I perceived it and as I relied on it when working on the project.It all begins with an idea. Maybe you want to launch a business.
As a first step that might somehow prompt some reflection on the choice of directional vector when recreating a pattern was to collect examples of patterns in the world around. In what follows, only a few instances will be given which will later lead to the train of thought for the entire project.
These four specimens were chosen for a reason. Each of the examples describes the essence of the patterns in one way or another.
The first photo shows the upholstery pattern on a commuter train in Duisburg. Although the pattern is not aesthetically original, it fulfils another function: that of information.
Although it will always be a mystery why the elephant is shown in this row of icons and what exactly it symbolises in this communication, the design does convey a message, a sequence of symbols that ultimately come together to form a meaningful associative thread, which ultimately leads to a semantic perception of the transport company that commissioned the design. This example refers directly to a associative function of human perception.
The associative nature of human perception refers to the way in which the brain links and organizes information from different sensory inputs to create a coherent and meaningful representation of the environment. This means that the brain combines information from multiple sources to form a single, integrated perception of the world. For example, when we see an object, the brain associates information from our visual system with information from other sensory systems, such as touch and sound. This allows us to form a complete and detailed perception of the object and its properties, such as its color, texture and weight. The associative nature of human perception is important for our ability to process and understand the world around us. It allows us to form connections between different pieces of information, which can help us make predictions and understand cause-and-effect relationships. Overall, the associative nature of human perception is a fundamental aspect of how the brain processes information and creates a representation of the world.
The second photo shows the tiles covering the wall and roof of the building. The obvious yet curious detail of this example is that a single piece of tile alone does not represent any co-dependent structure. Individually a tile is an independent unit of non-solidarity. But as soon as several tiles stand next to each other, a synergy occurs which leads not only to functional results (i.e. roof coverage) but also to the formation of a consistent pattern. And depending on how the tiles are laid, the pattern will vary and complement both its beginning and end. The same applies to the principles of pattern formation.
The principle of forming a pattern in a pattern refers to the process of creating a repeating sequence of elements that follow a specific rule or set of rules. This can involve arranging elements
in a specific way, repeating a sequence of actions, or creating a set of data that follows a particular pattern. The principle of forming a pattern involves identifying the rules or principles that govern the arrangement of elements, and then applying those rules consistently to create a repeating sequence. This can involve using mathematical operations, such as addition or multiplication, or following specific steps to create a design.
Forming patterns is an important part of problem-solving and can help to make information and processes more manageable and easier to understand. By recognizing and using patterns, we can also make predictions and draw conclusions about new information, making it an essential skill in many fields, including mathematics, science, art, and engineering.
The third photo shows two plastic boxes which, when superimposed, give a new visual output. This random functional pattern describes the very conceptual process of pattern creation, where individually the outputs have no visual or semantic value, but when crossed randomly produce unexpected results that previously could not have been thought of.
Finally, the fourth photo shows a brick whose colours have been edited and contrast has
been brought up to maximum. Because of this, the normal brick is now less distinguishable
and its negative space, the holes between the components, creates a new pattern. So this is another function of the patterns - concentrating on the negative space. The duality of shapes that both complement each other and exist separately.
A pattern is defined as a sequence of elements that repeat in a specific way and abide by a
set of rules. It can take various forms, such as visual patterns in art, musical patterns in music, mathematical patterns in numbers or shapes, and behavioral patterns in people or animals. The formation of patterns can be achieved through human effort, computer algorithms, or natural processes. They can serve various purposes, such as solving problems, making predictions, or simply providing aesthetic appeal. Recognizing patterns is the ability of humans or machines to identify repetitive arrangements in data, images, or other information. This skill is significant in fields like computer vision, machine learning, and data analysis or any other field requered a pattern generation.
Pattern generation refers to the process of creating a set of repeating or predictable patterns. This can be done in a variety of ways and for different purposes.
For example, in art and design, pattern generation can refer to the process of creating repeating visual patterns, such as those found in textiles, wallpaper, and other different decorative items. This can be done manually, by hand- drawing or painting the pattern, or digitally, using computer software. In computer science, pattern generation can refer to the process of creating patterns of data or instructions for a computer to follow. This can include things like generating random numbers, creating test data for a program, or generating a sequence of steps for a computer to perform oe calculate a specific task.
In mathematics, pattern generation refers to the process of creating a sequence of numbers or shapes that follows a certain rule or set of rules. This can include things like generating a sequence of Fibonacci numbers, or creating a fractal pattern.
Pic. 1 — Seat upholstery on a commuter train;
Pic. 2 — The pattern produced by the application of tiles on the roof;
Pic. 3 — Plastic box on plastic box;
So why all this text in the documentation?
Because all four of these ideas existed separately, not merged with each other into a single concept. And in order to begin describing the final result, I must demonstrate the intermediate stage of work on the parterre, after which all the pieces of the puzzle described above began to come together into one complete picture.
The previous made patterns will not be shown in this documentation as they acted more as a warm-up than anything serious. The first step in this project was the idea of communicating with the user via a pattern. That is, it was decided not to produce a meaningless set of images that carried no connotations (this was done in the warm-up phase), but to somehow develop the idea of iterating a pattern as a visual manifestation that carried a message.
A cipher is an algorithm for encrypting and decrypting information, typically used to secure sensitive information and protect it from unauthorized access. It involves transforming plaintext, which is the original, readable message, into ciphertext, an encoded form that is unreadable without the proper decryption key.
Ciphers can be either symmetric or asymmetric, depending on the type of encryption used. Symmetric ciphers use the same key for both encryption and decryption, while asymmetric ciphers use a pair of keys, one for encryption and another for decryption. In this particular case it is a symmetric cipher.
The first version of the attempt used a triangular breakdown of the square and made its own unique figure for each colour. Based on the colour matrix a pattern was created which was then translated into two contrasting colours in order to see how independently the pattern works outside the context of colour saturation and also a third version was provided as a skeleton of shapes to visualise the structure of the individual elements. In this example we can clearly distinguish repeating symbols in the form of large bulky triangles that repeat with some periodicity, actually forming a pattern within the pattern.
The shapes are the result of dividing the square into rectangular components. Thus we get a set of unique matching but more pixelated icons. Accordingly the result of addition and imposing of pattern on colour matrix will be more geometrical and proportional pattern which approaches under the description of pixel. The result can also vaguely resemble a QR code. At the same time if to look at the linear model of pattern building we can see more consecutive structure of the lines while the logic of pattern forming remains the same based on the principles of Trichet tiles. Accordingly we can observe that with a small change of the incoming data we get two absolutely different results following the same logic.
After two attempts, a pattern can be traced that before the pattern becomes more and more cumbersome and heavy. It was therefore decided to simplify the number of triangular elements in each figure of the first example in order to visually relieve the cartridges and give perspective to create a richer and more varied pattern both in the positive space repeatedly and in its negative space.
To do this, several triangles were removed in each element of each colour, making each icon more unique and dynamic. The result is a satisfactory outcome that reflects the dynamics of negative and positive space within the context of a single pattern. Accordingly, the basic idea is that it is possible to encode any selected text into a resulting pattern, in effect having a custom image pattern that is a hidden message as well as an aesthetically pleasing graphical result, making the value of this cartridge to the user higher in terms of perception of information.
2. A pattern of endless variations
Thinking about the functional manifestation of the previous pattern along with its positive features, there is clearly one big disadvantage: yes indeed users of this pattern can encode any message into a graphic representation but the difficulty of this approach is that each time they choose a new phrase the user will have to manually perform all the subsequent steps from colour coding to building a sequence of patterns and selecting the shape of icons consistently. Consequently, the functional value of this pattern is not fully revealed.
The functional value of reusing a pattern refers to the benefits and advantages of using a previously established pattern in a new context. Reusing patterns can lead to a number of benefits, including:
— Consistency: Reusing patterns ensures consistency and uniformity in design, which can make a system or product more user-friendly and predictable.
— Efficiency: Reusing patterns can save time and effort in the design process, as well as in the maintenance and updates of a system or product. Code Reuse: Reusing patterns can also improve code reuse, making it easier to maintain and update the codebase.
— Best practices: By reusing patterns that have been established as best practices, designers and developers can leverage the accumulated wisdom and experience of the community to create better and more effective solutions.
— Problem-Solving: Reusing patterns can also provide a starting point for solving problems, allowing designers and developers to build on established solutions and find new and innovative ways to use them.
2.1 Functional part: customisable cipher
The first thought that comes to mind when analyzing the previous pattern in the context of usability and functionality of operation is universality and simplicity of both input information and automation of the output result.
Simply put, the solution to the problem of complexity and the large amount of time involved in text-based pattern customization is to create a font with a specific pattern that, when the desired text is entered, automatically obtains the generated pattern while omitting some manual calibration and work with the replacement of objects in the colour matrix.
Accordingly, the first logical step in implementing this concept is to encode with the character set used in the previous example some letters of the Latin alphabet to test the compatibility of textual and patterned information display.
The first step is to check element compatibility by manually substituting each alphabet object, using the classic phrase when checking fonts.
The idea of the existence of our civilization in a simulation of a more advanced previous civilization was chosen as the ideological basis for communication in this step.
The academic basis for this idea is Rizwan Virk’s theory, based on the theses of the Oxford philosopher Nick Bostrom: «1) All human-like civilizations in the universe go extinct before they develop the technological capacity to create simulated realities; 2) if any civilizations do reach this phase of technological maturity, none of them will bother to run simulations; or 3) advanced civilizations would have the ability to create many, many simulations, and that means there are far more simulated worlds than non-simulated ones». Simply put, the idea of the feature film «The Matrix» is based on the same principles.
Without ignoring the source, the phrase for the codification was — «Everything around is a simulation». Following the idea of the existence of the mind in the digital space, it was decided to recode this phrase into a computer code.
At first I thought about the binary code as it is the brightest symbol of cybernetics. Especially for those who sincerely consider The Matrix to be science fiction. But immediately a problem arose: the pattern would come out of this with only two characters - 0 and 1. This was not suitable for variety. As a result, the choice fell on codification and Unicode, as a common tool for codifying images into a language accessible for programmatic reading.
The pixel font «Pixel» was also chosen, because with the deepest shame I admit that at that time I thought that it would be a very witty move to convert into machine language with a font that reminds people of computer technology. Conclusion of this project number 1: «Don’t give yourself a reason to think that the audience are idiots. You are a designer, not a theater director.»
Developing the idea of codification, I decided to increase the number of steps and coding methods. One more step was added - colour coding of selected text where letters have approximately equal number of repetitions and uniqueness. And it was decided in favour of choosing a phrase conceptually complementary to the essence of codification in meaning further separating the repeating and non-repeating letters and translating them into a colour code. In fact this method is a cipher and not codification as such in essence, but this process is a transitional step between the perception of translation of the text read and understood by human perception into a pattern or a image.
The colour matrix obtained after the colour coding of Unicode translated text. In the future, the positioning of the figures will be based on this scheme.
The next step was to develop a symbol shaping system to create a variety of combinations of the surah sequence based on the colour matrix. The Truchet tiling method was chosen as the pattern formation model. For purity of the experiment it was decided to develop two variants of figure combinations in the initial square, the first variant using triangular forms. The second variant using square shapes.
A Truchet pattern is a type of geometric pattern that is formed by arranging tiles in a specific way to create a more complex design. The tiles used in Truchet patterns are usually square or rectangular, and each tile is divided into two sections with different shapes, such as a triangle and a semicircle. The tiles are then arranged in a particular way to create the final pattern. Truchet patterns are notable for their ability to create complex and intricate designs using relatively simple tiles. They can be used to create decorative designs for various applications, such as floor tiles, wallpaper, and fabric patterns.
In mathematics, Truchet patterns are used to study symmetry, tiling, and other geometric concepts. They can also be used to model and study complex physical and biological systems, such as the formation of patterns in nature and the behaviour of fluids. In the context of this project, this cartridge technique was chosen because of the equilateral squares used by the colour matrix, which would theoretically result in a straight and crisp pattern.
And accordingly it is time to refer to the four images of patterns found in the environment described at the beginning. Separately, their display of communicative consistency of functionality and negative spaces work perfectly well from each other and generally do not raise any questions until it comes to the deep functionality and reproductivity of the chosen pattern. The global ideas of this project after much trial and error analysis of the course of development of perception depend on the dependence of these four elements in forming the concept of understanding pattern as an element of communication and information encoding is the combination of these four functions in a single functional itself repeating encoded pattern.
The following documentation will describe the steps involved in creating such a concept. The whole process actually consists of two main parts: a functional one, i.e. the finalised practical idea - a product which the user can use now, and an experimental one - an unexpected offshoot of this project which fully reveals the concepts of encoding and recoding visual information both based on incoming data and not based on it at the same time.
In the following description, each step of the functional and experimental part of the project will be described in detail. Each example will also be supplemented with visual references and illustrations of areas in which the pattern can be applied in functional, aesthetic and experimental areas. It is worth clarifying that the examples below are only a small part of the possible uses, as the variations in use depend directly on the perception of communication and information by the current user.
The first set of icons in combination with the Upper Case alphabet
A stylised image taken from the sequence of elements in the resulting pattern.
Well all of the above methods had a big disadvantage within this project. The amount
of time I would have spent on creating and translating the shapes into font would have taken the full duration of the whole project. Therefore, on the recommendation of my tutor I decided to use a very sloppy in terms of detailing the font settings, but a very effective tool for my particular needs. I purchased an extension for Illustrator, which allows you to automatically create and customize the font right inside the program. That is, this plug-in allows you to quickly and more or less painlessly translate vector shapes into a printed font. Fontself Maker is a plugin for Adobe Illustrator and Photoshop that allows users to create their own custom fonts. It provides an intuitive and user- friendly interface for designing and generating font files, without requiring extensive knowledge of font design or technical skills.
With Fontself Maker, users can design their own letterforms, symbols, and special characters using the tools and features of Illustrator or Photoshop. The plugin then generates a font file that can be used in a variety of applications, including word processing, graphic design, and web design.
One of the key features of Fontself Maker is its support for variable fonts technology, which allows users to create fonts with multiple variations, such as different weights and styles, within a single font file. This makes it possible to create more versatile and flexible fonts that can adapt to different design requirements.
Fontself Maker also provides a range of tools and features to help users fine-tune and refine their fonts, such as kerning, spacing, and ligatures. Additionally, the plugin includes a preview feature that allows users to see how their font will look in different contexts and applications, helping to ensure that their font meets their design goals.
It was decided that this tool was ideal for my current task.
Number of attempts to fix the first font. Attempts have been made to manually adjust the character spacing, as well as to adjust the length and width of the characters to the same size.
Skeleton pattern in different thicknesses .
Text on the left encoded in the pattern
In this case, at this stage of work we have one main rule for codification each subsequent character should be taken from the negative space of the previous pattern translated into alphabet encoded font and the same text throughout the experiment is recoded into a new pattern based on the previous pattern. So already at this stage we can assume that the project consists of an infinite number of iterations repeating itself from itself.
The main question in this part of the project is whether the chaotic result of the output information as a pattern is directly consistent with the incoming information and whether it will be more chaotic and unstructured or whether there will come a point when the pattern will come back to a structural one.
Then we have to do exactly the same steps as we did in the previous times and in order not to repeat here again the same steps will be carried out in the next steps with other variants. We also use the plug-in to make a font out of the resulting shapes, but we are no longer trying to align the shapes or transform them into a perfect sequence, as that is no longer our goal.
a frog sitting on a bench
a frog dancing a break-dance
jumping man
paper swang
By parsing the skeleton of this pattern, the logic of building a new subsequent pattern can clearly be traced.
rhinoceros
walking person
Already in the fourth stage of the river defecation of the pattern we can trace some regularities in the formation of the image of negative space. Taking into account that previous figures formed a more structured image of the pattern while the elements of this pattern were more chaotic, this pattern has a more relaxed dynamics and is closer to the sequence than previous variants.
At the same time the size of the figure of negative space has increased. As a hypothesis it is possible to put forward the statement that at successive cofii ciation and recodef fication the result of visualization has wavy fluctuations from chaotic and disjointed to the field of structured and organized.
«It is typical in such cases that the uncertainty, initially confined to the atomic world, is transformed into a macroscopic uncertainty which can be eliminated by direct observation. This prevents us from naively accepting the '‘blur model’’ as reflecting reality.» Erwin Rudolf Josef Alexander Schrödinger
Therefore, only a few of the possible uses of the pattern will be described further, as firstly any use and perception of the information depends primarily on the transistor of this information in this case any user and secondly on the infinity of variation itself.
I should perhaps make a small digression from the topic and demonstrate a curious detail, which accidentally emerged during the formation of the pattern. While the idea of the pattern itself already involves getting a unique image from a personalized text which somehow or other does not consistently reflect the meaning of the text put into the pattern, the result of the combination of images unexpectedly gave the illustration of the coded text itself. So it has turned out that in a pattern based on the text about a dog and a fox it is possible to distinguish figures of a dog and a fox. That is, it turns out that this is itself a recurring pattern visually and, most importantly, in semantic context. It is worth noting that this outcome is not always directly dependent on the selected text but in some cases it is indeed possible to trace co-dependence of images to the pattern which is dependent on the incoming text. Thus we got a vicious circle from semantic to graphic iteration and from graphic iteration back to semantic iteration.
Once we had ensured that the initial stages of idi-ca defecation of the text in the pattern worked, the next step was to add and expand the glyph variants. New patterns were added and elaborated for high lettering and low lettering of the alphabet as well as for the most basic characters and number sets.
The next step took a long time because the task was to make a real working font out of the character sets. It was difficult to choose because there are so many ways to create a font.
There are several methods for creating a font vere considered, including:
— Hand-drawn: this is the traditional method of font creation, where the letters and symbols are drawn by hand, usually using a pen or pencil, on paper or a light table. This method allows for a high degree of creative freedom, but it is also time-consuming and can be difficult to achieve precise letter shapes and spacing.
— Digital: digital font creation involves using computer software to design and create the letterforms. This method is much faster and more precise than hand-drawn methods, and it allows for easy iteration and experimentation. Thereare several software options available for digital font creation, including FontLab, Glyphs, and RoboFont.
— Scanning: this method involves scanning pre- existing letterforms, either from hand-drawn sources or from printed material, and then vectorizing the scanned images to create digital font files.
— Modification: this method involves taking
an existing font and modifying its letterforms, spacing, and other elements to create a new font.This method is faster and easier than creating a font from scratch, but it can also result in a less original and less distinctive font.
— Parametric: This method involves creating a
set of rules and parameters that determine the shapes of the letters in a font, rather than drawing each letter individually. This allows for greater consistency and uniformity in the letterforms, but it can also result in a less expressive and less nuanced font.
Each method has its own strengths and limitations, and the choice of method will depend on the specific goals and needs of the font creator.
In this risky experimental approach to font shaping, it must be said that expecting everything to work perfectly from the first rayl means never trying to work with any minimum set of font shaping conditions.
Even though the plugin is fairly well automated after shaping the font, there were some difficulties. The reality was that the computer recognized the incoming keystrokes and displayed the correct characters encoded into the corresponding letters. But in this case there was a difference in proportions of height and width of some figures that led to some difficulties in still manual settings of the translated text pattern, namely adjustment of line spacing and letter spacing. At the same time it turned out that when the figures have reached such a distance that they touch each other and form a complete pattern, some errors appeared in the form of either too big distance between some figures or overlapping and overlapping of figures.
During the creation of this review, an obvious part of the process is to test the functionality first of all of the plume as a font and second of all of the font as a pattern a. To do this it was necessary to select some text to translate it into a pattern and check how the elements work with each other. As a test pattern a passage from the book «The Lord of the Rings» by J.R.R. Tolkien was taken. Later in the documentation I will explain in detail why any text may initially be suitable as a test pattern.
«It’s like in the great stories, Mr. Frodo. The ones that really mattered. Full of darkness and danger they were. And sometimes you didn’t want to know the end...because how could the end be happy? How could the world go back to the way it was when so much bad had happened? But in the end, it’s only a passing thing...this shadow. Even darkness must pass.»
Selected text fragment for codification.
The result after translating the text into a pattern.
Imperfect pattern in enlarged format.
After long attempts to understand what the problem is, as after six attempts to fix the situation when the program reads different widths and lengths of each individual image, it was decided to unify the size of each image, thus making a monospaced font. To do this, an equilateral square was taken and all the figures of the alphabet were written into this square.After aligning each block the square in the background was converted to 100% transparency and again all the aligned shapes were converted to font so that the plugin now reads all the square areas as a separate shape respectively resorting to a more precise alignment.
The result is a pattern with the same source text after being fixed with a square area.
In this way it fulfils its functional purpose. You can select any text and encode its pattern so you get a unique representation of your text. In fact, this is a graphical representation of the meaning of text.
If to show a little imagination.
Although the typeface then performs its functional task if you look closely, despite all attempts to align the figures so that they fit together as a mosaic nevertheless then does not work so perfectly and on closer inspection you can find some elements of chaos in a seemingly decent picture. Therefore it was decided to continue the chaos. The idea was that if you can’t make a perfectly adjusted pattern and every step leads to failure, then you need to go deeper into systematic codification creating a pattern of itself thereby producing and re-producing a kind of endless sequence in the pattern.
2.2 Experemental part: endless iterations
What is the essence of this experiment? If we imagine it as a space in which there is positive and negative space, you can see that depending on the location of the figures in addition to the positive cartridge is formed and the cartridge is made up of figures of negative space. The ideological essence of this experiment is to make a set of rules for the codification of the sequence of production of one cartridge from another cartridge and to trace the patterns based on the results of the coding.
Coding can be thought of as a way of translating human thinking and problem-solving into a form that can be executed by a computer. When we write code, we are essentially creating a set of instructions that tell the computer what to do in order to achieve a specific goal. In this way, coding is a way of expressing our ideas and solving problems using the language of computers.
Just as human language provides a way for us to express and communicate our thoughts and ideas, coding provides a way for us to express and communicate our solutions to the computer. When we write code, we are using the syntax and structure of a particular programming language to express our ideas in a way that the computer can understand and execute.
In this sense, coding is a form of abstraction that allows us to separate our ideas and solutions from the underlying mechanics of the computer. This allows us to focus on solving problems at a high level, without having to worry about the details of how the computer will actually perform the necessary calculations and operations.
Overall, coding can be seen as a tool for transforming human thinking and problem- solving into a form that can be executed by a computer. Whether writing code for a simple script or a complex system, coders must use their technical skills, creativity, and problem-solving abilities to create effective and efficient solutions.
The first thing we do is identify the incoming information. The incoming information (or input) will be the same text from Lord of the Rings. Then we calculate the negative space in the resulting pattern. Then we choose figures and objects from the negative space, which will later become an alphabet, which will later become a font. At this encoding stage the conditions for selecting figures are more or less asynchronous elements to move as quickly as possible from a pattern structured geometric to a more chaotic one. Next all figures are assigned to AND capital letters of the alphabet as well as spaces and numbers from 0 to 9 as we did in the first encoding step.
As a result, we can observe a cartridge that is less structured and consistent, but which has a more active dynamic of repetition of elements and the construction of a more active pattern. We can observe that chaotic elements dominate in both positive and negative space. And the elements of the negative space are becoming more and more chaotic, which will lead to a more decentralized result in the next encoding.
In the next step, some changes were made to the incoming information and it was decided to remove a number of characters such as numbers and uppercase letters to speed up production. Accordingly, the incoming text was converted to uppercase letters. We can already observe at this step a regular deformation of the graphic elements. Referring to the experience of depicting a fox and a dog, the choice of elements on this step is combined with chaotic elements as well as with elements that may remotely resemble objects in the environment.
In the third result of the pattern, there was an unexpected result. Although the incoming font shapes were more chaotic and deflected than in variant 2, pattern 3 ended up looking slightly more structured, while having the same dynamics.
In the context of pattern iteration, the extent of increase in randomness refers to the degree to which the pattern deviates from its original structure as it repeats. The randomness can range from slight variations to complete randomization of the pattern elements.
The extent of the increase in randomness depends on the specific requirements and goals of the iteration process and how it was designed and implemented. For example, if the goal is to maintain a recognizable pattern, the extent of randomness may be limited, whereas if the goal is to create completely unique and unpredictable variations, the randomness may be much greater.
As a confirmation of the hypothesis, we see a more chaotic and disjointed result while based on a more structural input parameter. The documentation describes only five steps to the defecation of the pattern, although there could be an infinite number of these steps. But for lack of time, only these initial steps could be demonstrated. However, one very curious conclusion was drawn during the development of the hypothesis.
In essence this codification system gives us two infinite patterns. The first most obvious result is that the codification used in this system actually reproduces itself generating an infinite number of unique shapes which qualify afterwards into an equally infinite number of unique patterns. But the starting point of generation is the primary incoming information. In this case it is a passage from Tolkien’s book. But in this case if to change incoming information with Schrödinger’s quote, or with any other text differing from primary text, firstly, the visual of incoming primary text on the basis of which all following infinite iterations are generated, and at the same time the sequence of qualification changes if to change the incoming text in the middle of program generation of pattern. In fact the paradox arises that in this system codified incoming information is as important as you are completely unimportant. This is why this system can be called both highly flexible and twice infinite.
3. Examples of possible uses
But the most curious prospective development of this project is the machine/computer codification of this process. Only 5 variations were made manually, but there is a great prospect of using this pattern in an automated version. The concept is to set the software algorithm to convert incoming text into an initial pattern and then by scanning white and black pixels to automatically generate alphabets and fonts, bringing the coding process into an infinite number of iterations with a huge experimental potential.
4. Conclusion
Throughout the process of working on this project, many pattern concepts were tried
out which would fulfil one of four functions: consistency, communication, functionality and perception of negative spaces.
In the end, after a lot of trial and error, we managed not only to create a pattern that combines all these 4 elements into one, but also to develop the idea to a deeper experimental meaning, analyzing and implementing codification not as a computer algorithm.
But as a way of thinking and working with the process, setting one or more parameters that either repeat in the process or change each other, creating a double infinity of iterations. In fact, the concept of an infinite pattern has been voiced from the perspective of an input and output. Considering the globality of the topic, the 48 pages of description are just one small percentage of possible variations of interpretations and consistent conclusions, both visual and theoretical.
«This text exists to check the font»
