Hadoopoopadoop, Time and Material, and Sculpture in Our Time are by me, Peter Coates, a longtime software engineer and sometime artist (more about that below.) Just lately, I’ve been concentrating on making art, but that’s coming off a few years doing big data in New York with the Hortonworks Hadoop platform.  Now I’m getting deeper and deeper into the Internet of Things world, with a new startup out of France so the art will be slipping into the background again.  This new gig will still be big data, and Hadoop will no doubt be in the mix, but it’s going to be a whole new constellation of technologies: The AWS IoT platform as well as AWS’s more conventional services, IoT devices, and all kinds of interesting protocols and hardware. It’s going to be interesting!

Hadoopoopadoop has a pro-Horton bias but I don’t speak for Hortonworks in any capacity, so please assume that any mistakes or crackpot opinions are mine. Most of what you’ll find in this blog concerns basic core Hadoop but HDP is a big distribution with many other components including HBase, Storm, Kafka, Atlas, and Ranger, to name just a few.  There are also some articles on non-Hadoop big data projects I’ve done.152bb5c293e1e1b091141c2c1ad9ebda2

My interest in Hadoop developed from a background in other distributed computing technologies, including CORBA, Tibco, JMS, Gigaspaces, and NoSQL databases. I’ve mostly used Java for the last few years, but I’ve worked with C, Smalltalk, C++, and many other languages, including just lately, Haxe. (If you haven’t seen Haxe yet, by all means check it out ASAP.)

I have a side interest in probabilistic algorithms for processing information in unusual ways that aren’t necessarily classic “big data” (see the blog entries on analyzing the Twitter firehose in real-time and estimating Levenshtein distance from signatures.)

Sculpture Wiki is a manual on stone carving techniques, tools, aesthetic issues and history, basically, a giant how-to on stone sculpture. It uses some interesting Web tech. The content is written using Knuth/Lamport’s LaTex typesetting language. LaTex is normally for fancy math and computer science typesetting, but I’ve added in a less-well-known package called Hyperlatex that extends its capabilities into the normal domain of HTML and JavaScript. This combination allows a single body of text to be automatically issued as both a Web site and as a book.

Elements which are specific to the book or the Web page can be tagged for appropriate handling. Once the document is fully marked up, further change to the content automatically appear in both—there are no extra steps to issue the book. which is generated as a PDF document.  I plan to try publishing it in an edition of one using the Espresso book printing machine at Shakespeare and Co.

Sculpture in Our Time is articles about aesthetics. It’s not updated much and I’m going to merge it into one of the others.

Time and Material is my place for general essays and comments.

I’ve also written about books for the, unfortunately, now-dormant The Second Pass.

Below are some samples of my work in the plastic arts:


Piglet, painted wood, 2017. approximately life-size.


Lamb, painted wood, 2017, approximately life-size.



Chicken, painted wood, 2017, approximately life size.


Goat, wood, 2017, approximately life size.


Cow, approximately life-size, wood, 2017


Girl, marble, 2015. This is about 2/3 life-size.

Imported Photos 00014

Club girl, concrete, 2012. About 2/3 life-size.

(Yes—it’s the same young woman.)


A polychromed wood panel over the entrance to our old house in Brooklyn, c. 2015. It’s all the non-arthropod pets and other animals that were part of our lives there. I sold the wretched old pile a year or so ago. Don’t miss it a bit.



2010  Marble, life-size


c. 2008 Concrete, life-size. This is my son Dodge at age 10 or 11.


c. 1988  Painted wood, app. 1.25x life size. The image was lifted from a magazine photo.


c. 1988 Painted wood, app. life-size, also lifted from a magazine photo.


c 1986 Oil on canvas, 18″x18″  This was one of the scores of paintings I did in the same format.



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