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A year ago, I mentioned that I always write a cGA implementation when I learn a new language. Then, I was trying to get back to fluent in Haskell. A couple of days ago, Martin Pelikan just did the same and wanted to compare implementations. So, what did I do? I looked for my implementation to post it here. I took a look at the code and change a couple of things, but I can say that the Haskell implementation is the shortest working implementation that I have ever written in any language. It is shorter than the versions I wrote in Scala and Erlang. Python could get awkwardly compressed using some functional flavor to get close to this, but dynamic typing… C, C++, Java, Go and other friends, are far away when you look in the rear Haskell mirror. Anyway, the code below implements cGA for binary strings. You chose the population size, the number of bits, and the evaluation function. Also, some of the constructs are simple and elegant that do not need much explanation (not to mention maintainability…) ...

Catching up with the list of assignments proposed by Harold Davis article series Becoming a More Creative Photographer. The eight assignment is all about new looks. Starting with a place you know very well, find a way to “slip through the cracks” so you are looking around you with new eyes. Create a photographic image that conveys what you are now seeing. ...

Another week, another assignment down the list extracted from Harold Davis article series Becoming a More Creative Photographer, seventh assignment, improving mistakes. Your assignment: The next time something goes wrong with a shoot, grab the problem, turn it into a possibility, and make it the basis of a photograph. Auto-focus, that friend that gets it right most of the time, kind of. Yes, I am guilty of usually relying on autofocus most of the time, mainly as a way to remove one var out of the equation. You can chose where you want the auto-focus easily and the camera does the rest. Mostly. There is a scenario where it always goes wrong. You have a composition where you have objects in the far back and an object in front which you look through. Most of the time, your friend auto-focus will decide to focus on the background, likely because it covers most of the frame. So how would the moment in time if I choose the other option? You get something intriguing. A fence to something uncertain. A fence that dilutes the clear-cut and turns it into an image of interpretation. The changed focus trap an eluding reality giving it a transcending quality. It makes the dirt and unfinished lines into textures. It also turns non-exciting lights into puzzling flares of unknown dusk. I am wondering if it could improved further with another mistake, over/under exposure. Maybe for the next round of experiments. Endless possibilities for improving mistakes. ...

I had the assignment done last week, but I was a bit busy and I could not put it out. Enough excuses, the assignment from the list extracted from Harold Davis article series Becoming a More Creative Photographer, sixth assignment, or making the ordinary visually appealing Your assignment: Pick something that you’ve looked at often, and that you think is visually boring. Now, let go of your preconceptions about your subject. Study it carefully. Find something you haven’t observed before about it, and make an interesting image using this new aspect of your subject. ...

This week assignment from list extracted from Harold Davis article series Becoming a More Creative Photographer, is the fifth assignment, or taking pictures without your camera. Your assignment: Without a camera, observe a scene closely. What abstract pattern or patterns can the scene be boiled down to visually? Staring up, light pours in trough the window softly fading away. The ceiling beams gently guide it through the room space. I am trying to think what are the basic visual patterns in which I could decompose the scene. Maybe the first one would be the window acting as the vanishing point for the main beam and the angled ceiling. It looks pretty simple as a visual construct. However, if I had to choose one abstract pattern that remains consistent and powers the image across the scene, that pattern would be line repetition. It starts on the window. Repeating lines define it. Beam lines emanate from it. They define the basic resting guidelines for the parallel and perpendicular lines to rest and repeat. Even when the scene gets abruptly interrupted, the guiding and recursively repeating lines emerge again with slanted generative angles. In case you wonder, yes, I just took the camera after I finished the assignment so you could see what I was staring at :) ...