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Try Coding with These Fun Books! www.mywpl.ca Coding From Scratch Code like a Girl By Rachel Ziter By Miriam Peskowitz Learn to create your own Get started on the games, animations or adventure of coding with other projects in no time! cool projects and step by Whether you’re just step tips. learning to code or need a refresher, this visual guide Find in library: will cover all of the basics J 005.13082 PES of Scratch programming. Find in library: J 005.133 ZIT A Beginner’s Guide to How to Code Coding By Max Wainewright By Marc Scott Teaches you all the basic An easy-to-follow guide to concepts like Loops, basics of coding, using free Variables and Selections programs like Scratch and and make your own Python. Includes step by website. Learn how to use step instructions to make Lego, build games in your own chatbot or video Scratch or experiment with game. HTML. Find in library: J 005.1 SCO Find in library: J 000.1 WAI Creative Coding in Coding Onstage By Kristin Fontichiaro Python By Sheena Vaidyanathan Presents early learners Kids will learn the with a theatre story fundamentals of challenge they can solve computer programming in using Scratch 3. Book is 30+ fun projects with the aligned to curriculum standards and includes intuitive programming language of Python extension activities. Find as a Hoopla eBook. Find in library: J 005.133 VAI Algorithms with Frozen Coding Basics By Allyssa Loya By George Anthony Kulz An easy to understand Explains how coding is used introduction to looping for today, key concepts include young readers. robotics and careers. Find in library: J 005.1 LOV Find as a Hoopla eBook. .

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Code-Bending: a New Creative Coding Practice
Code-bending: a new creative coding practice Ilias Bergstrom1, R. Beau Lotto2 1EventLAB, Universitat de Barcelona, Campus de Mundet - Edifici Teatre, Passeig de la Vall d'Hebron 171, 08035 Barcelona, Spain. Email: [email protected], [email protected] 2Lottolab Studio, University College London, 11-43 Bath Street, University College London, London, EC1V 9EL. Email: [email protected] Key-words: creative coding, programming as art, new media, parameter mapping. Abstract Creative coding, artistic creation through the medium of program instructions, is constantly gaining traction, a steady stream of new resources emerging to support it. The question of how creative coding is carried out however still deserves increased attention: in what ways may the act of program development be rendered conducive to artistic creativity? As one possible answer to this question, we here present and discuss a new creative coding practice, that of Code-Bending, alongside examples and considerations regarding its application. Introduction With the creative coding movement, artists’ have transcended the dependence on using only pre-existing software for creating computer art. In this ever-expanding body of work, the medium is programming itself, where the piece of Software Art is not made using a program; instead it is the program [1]. Its composing material is not paint on paper or collections of pixels, but program instructions. From being an uncommon practice, creative coding is today increasingly gaining traction. Schools of visual art, music, design and architecture teach courses on creatively harnessing the medium. The number of programming environments designed to make creative coding approachable by practitioners without formal software engineering training has expanded, reflecting creative coding’s widened user base.
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Creative Coding and Visual Portfolios for CS1 Ira Greenberg
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Computer Science Faculty Research and Computer Science Scholarship 2012 Creative Coding and Visual Portfolios for CS1 Ira Greenberg Deepak Kumar Bryn Mawr College, [email protected] Dianna Xu Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/compsci_pubs Part of the Computer Sciences Commons Custom Citation Greenberg, I. et al. 2012.Creative coding and visual portfolios for CS1, Proceedings of the 43rd ACM technical symposium on Computer Science Education, February 29-March 03, 2012, Raleigh, North Carolina: 247-252. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/compsci_pubs/59 For more information, please contact [email protected]. Creative Coding and Visual Portfolios for CS1 Ira Greenberg Deepak Kumar Dianna Xu Center of Creative Computation Department of Computer Science Department of Computer Science Dept. of Comp. Sci. & Engineering Bryn Mawr College Bryn Mawr College Southern Methodist University Bryn Mawr, PA (USA) Bryn Mawr, PA (USA) Dallas, TX (USA) (1) 610-526-7485 (1) 610-526-6502 [email protected] [email protected] [email protected] ABSTRACT Notable efforts include media computation [Guzdial 2004], robots In this paper, we present the design and development of a new [Summet et al 2009], games/animation [Moskal et al 2004, approach to teaching the college-level introductory computing Bayless & Stout 2006], and music [Beck et al 2011]. Arguments course (CS1) using the context of art and creative coding.
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Visual Programming and Creative Code: a Maker Perspective in Software Studies
Visual Programming and Creative Code: A Maker Perspective in Software studies Master thesis MA Mediastudies New Media & Digital Culture Utrecht University Netherlands Jelke de Boer 3884023 2 Abstract If software is the cornerstone of (post) modern society then it is the algorithm that serves as the primary tool of the information age. The field of software studies investigates how software affects culture and society. The initial efforts have contributed to the understanding of the “nature” of code and widespread ‘popular’ or ‘mainstream’ productivity software. This thesis shifts attention to visual programming, a popular tool in artistic performance, interactive installations and electronic music production. How can visual programming be understood as an artistic tool? As an overarching theme three concepts will be addressed: Materiality, Agency and Sociality. Building upon actor network theory it will be argued that, as a tool, visual programming should be understood an act of creative coding that attempts to make hardware performative. Furthermore, it will also be argued that aside of the arts, engineering and design, a new tradition of creators has emerged from maker culture. Keywords Software studies, Visual Programming, Artistic Tools, Creative Code, Agency, Performance, DIY, Maker Culture, Actor Network Theory, Design Fiction. 3 4 Acknowledgments The list of people that somehow deserve to be mentioned for their support is long, including a network of people that covers all three major Educational institutions in the Utrecht area; Utrecht University, the University of Applied Sciences Utrecht and the University of the Arts Utrecht. The Utrecht area offers a wonderful climate for students, lecturers and artists, three roles that I have tried to combine following the New Media & Digital Culture program.
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Code Bending: a New Creative Coding Practice
g e n e r a l a r t i c l e Code Bending A New Creative Coding Practice I l ias B e R g str o m a n d R . B e A u l o tt o Creative coding, or artistic creation through the medium of program include sketching, oil painting, creating pieces from found instructions, is constantly gaining traction, and there is a steady stream objects and live painting. Note the notions of art practice of new resources emerging to support it. However, the question of how and of technique overlap somewhat: A painter may regard creative coding is carried out still deserves more attention. In what ways ABSTRACT may the act of program development be rendered conducive to artistic applying oil paint with a palette knife instead of a paintbrush creativity? As one possible answer to this question, the authors present as employing a new technique. A painter in his studio ver- and discuss a new creative coding practice, that of code bending, sus a live painter in front of an audience may on the other alongside examples and considerations regarding its applications. hand employ the same techniques, but engage in different practices. While programming has been established as a me- dium for art, there is still much room for analogous discus- With the creative coding movement, artists have transcended sion on how creative coding practice may be carried out. In the dependence on using only pre-existing software for creat- what ways may software development, largely established as ing computer art.
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Interdisciplinary Research As Musical Experimentation: a Case Study in Musicianly Approaches to Sound Corpora
Proceedings of the Electroacoustic Music Studies Network Conference, Florence (Italy), June 20-23, 2018. www.ems-network.org Owen Green, Pierre Alexandre Tremblay, Gerard Roma Interdisciplinary Research as Musical Experimentation: A case study in musicianly approaches to sound corpora Centre for Research into New Music (CeReNeM) University of Huddersfield, UK {o.green, p.a.tremblay, g.roma}@hud.ac.uk Abstract Can a commitment to musical pluralism be embedded as a value in musical technologies? This question has come to structure part of our work during the early stages of a five-year project investigating techniques and tools for ‘Fluid Corpus Manipulation’ (FluCoMa)1. In this paper we frame our thinking about this by considering interdisciplinarity in Electroacoustic Music Studies, before proceeding to apply our thoughts on this to our specific project in terms of practice-led design. We end with questions as seeds for future discussion, rather than categorical findings. Introduction The authors are currently in the early stages of a five-year project concerned with the general topic of making music using collections of recorded sound (corpora, in a broad sense) in creative coding environments (Max, Supercollider, PD). The project aims to animate musical and technical research around this topic by developing new tools and learning resources, and by seeding a community of interest (Fischer 2009), made up of diverse researchers and practitioners. We will develop extensions for creative coding environments that enable techno- fluent musicians to explore and develop new techniques for constructing and manipulating corpora of recordings, and that seek to prioritise divergent, open-ended engagement.
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Combining Live Coding and Vjing for Live Visual Performance
CJing: Combining Live Coding and VJing for Live Visual Performance by Jack Voldemars Purvis A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Science in Computer Graphics. Victoria University of Wellington 2019 Abstract Live coding focuses on improvising content by coding in textual inter- faces, but this reliance on low level text editing impairs usability by not al- lowing for high level manipulation of content. VJing focuses on remixing existing content with graphical user interfaces and hardware controllers, but this focus on high level manipulation does not allow for fine-grained control where content can be improvised from scratch or manipulated at a low level. This thesis proposes the code jockey practice (CJing), a new hybrid practice that combines aspects of live coding and VJing practice. In CJing, a performer known as a code jockey (CJ) interacts with code, graphical user interfaces and hardware controllers to create or manipulate real-time visuals. CJing harnesses the strengths of live coding and VJing to enable flexible performances where content can be controlled at both low and high levels. Live coding provides fine-grained control where con- tent can be improvised from scratch or manipulated at a low level while VJing provides high level manipulation where content can be organised, remixed and interacted with. To illustrate CJing, this thesis contributes Visor, a new environment for live visual performance that embodies the practice. Visor's design is based on key ideas of CJing and a study of live coders and VJs in practice.
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Technologies and Workflow of Creative Coding Projects: Examples from the Google Devart Competition
Technologies and Workflow of Creative Coding Projects: Examples from the Google DevArt Competition Author Keywords Youyang Hou Creative coding; DevArt; Art technology; programming Google 1600 Amphitheatre Parkway, CA 94043, USA CSS Concepts [email protected] • Human-centered computing~Human computer interaction (HCI); Graphical user interface; User Abstract interface programming; User interface toolkits Recently, many artists and creative technologists created computer programming as a goal to create Introduction something expressive instead of something Creative coding is defined as a type of computer functional. In this paper, I analyzed 18 creative programming in which the goal is to create something coding projects from the Google DevArt competition expressive instead of something functional and summarized the critical technologies, types of (https://en.wikipedia.org/wiki/Creative_coding). content, and key workflows of these creative coding Creative coding has been considered as a way of projects. The paper also discusses the potential teaching programming languages [1, 2, 3]. Creative research opportunities for creative coding and art coding opens up opportunities in new areas of art and technologies. design, yet it could hard to understand and execute. To better understand creative coder’s needs for technologies and their workflow, I did a content analysis of 18 projects from the Google DevArt contest. Permission to make digital or hard copies of part or all of this work for personal or classroom use is granted without fee provided that copies are Understanding the content, process, and creative not made or distributed for profit or commercial advantage and that coder’s needs will help researchers create better copies bear this notice and the full citation on the first page.
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The Relationship Between Artistic Activities and Digital Technology Development
The relationship between artistic activities and digital technology development STUDY Panel for the Future of Science and Technology EPRS | European Parliamentary Research Service Scientific Foresight Unit (STOA) PE 634.440 – May 2019 EN The relationship between artistic activities and digital technology development This report examines how digital technology change is affecting artistic activity and how artistic activity is affecting digital technology. Artistic activity is broadly defined to include design, film, computer games, architecture, music and fashion, as well as art. The focus is on digital technology's role in creative activity. The study examines global trends with a particular focus on the European Union (EU). It describes likely future trends and sets out policy options to encourage activity at the intersection of artistic and technological skills. AUTHORS This paper has been written by John Davies and Georgia Ward Dyer of Nesta, at the request of the Panel for the Future of Science and Technology (STOA), and managed by the Scientific Foresight Unit within the Directorate-General for Parliamentary Research Services (EPRS) of the Secretariat of the European Parliament. ADMINISTRATOR RESPONSIBLE Philip Boucher, Scientific Foresight Unit (STOA) To contact the publisher, please e-mail [email protected] LINGUISTIC VERSION Original: EN Manuscript completed in May 2019 DISCLAIMER AND COPYRIGHT This document is prepared for, and addressed to, the Members and staff of the European Parliament as background material to assist them in their parliamentary work. The content of the document is the sole responsibility of its author(s) and any opinions expressed herein should not be taken to represent an official position of the Parliament.
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Gibber: Abstractions for Creative Multimedia Programming
Gibber: Abstractions for Creative Multimedia Programming Charles Roberts, Matthew Wright, JoAnn Kuchera-Morin, Tobias Höllerer Media Arts & Technology Program, University of California at Santa Barbara [email protected], {matt,jkm}@create.ucsb.edu, [email protected] ABSTRACT in a way that is arguably specific to audio programming. We describe design decisions informing the development of Researchers have argued in favor of using DSLs for teach- Gibber, an audiovisual programming environment for the ing creative coding [18, 33], as they enable abstractions af- browser. Our design comprises a consistent notation across fording creative expressivity to be encoded within language modalities in addition to high-level abstractions affording in- syntax. However, we argue that multimodal content cre- tuitive declarations of multimodal mappings, unified timing ation often requires the use of general-purpose programming constructs, and rapid, iterative reinvocations of constructors languages to accommodate the needs of differing represen- while preserving the state of audio and visual graphs. tations. General-purpose languages for creative coding also We discuss the features of our environment and the ab- provide an opportunity to use and teach syntax and other stractions that enable them. We close by describing use elements that, assuming a given language has wide adoption, cases, including live audiovisual performances and computer transfer to other environments. science education. We seek to bring the expressivity often found in domain- specific languages for creative coding to a general-purpose programming language through the use of high-level abstrac- Categories and Subject Descriptors tions. We address this challenge in the design of an audio- D.2.6 [Programming Environments]: Interactive Envi- visual, creative coding environment for the browser, Gibber ronments; J.5 [Arts and Humanities]: Performing Arts [25].
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Akito Van Troyer
AKITO VAN TROYER Assistant Professor | Berklee College of Music Research Afﬁliate | MIT Media Lab 1140 Boylston Street, Boston, MA 02215-3693, USA 617.821.1306 | [email protected] | https://vantroyer.com/ EDUCATION Doctor of Philosophy in Media Arts and Sciences 2012.9 – 2018.2 Massachusetts Institute of Technology Media Arts and Sciences Master of Science in Media Arts and Sciences 2010.9 – 2012.8 Massachusetts Institute of Technology Media Arts and Sciences Master of Science in Music Technology 2008.9 – 2010.6 Georgia Institute of Technology Music Technology Bachelor of Arts in Interdisciplinary Studies for Multimedia 2001 – 2008.6 University of Hawaii at Manoa Interdisciplinary Studies for Multimedia RESEARCH INTERESTS Computational Acoustic, Music, and Visual Design. Performance Systems. Audience Participation. Human-Computer Interaction. Ubiquitous Computing. Music Information Retrieval. Signal Processing. Embedded System. Digital Fabrication. RESEARCH EXPERIENCE MM-RT: Electromagnetic Tabletop Musical Instrument 2015 – present MIT Media Lab, Research Assistant under Tod Machover • Investigates new paradigm of musical instruments to trigger sonic curiosity towards music-making. • Initiated concept, produced hardware, and programmed software. • Paper published and presented at the 2017 New Interfaces for Musical Expression conference. • People’s Choice Award for Most Unusual Musical Instrument (2017 Guthman Musical Instrument Competition). Constellation: An Audio Web App for Music Score Making 2013 – present MIT Media Lab, Research Assistant under Tod Machover • Enables website visitors to intuitively explore and co-create a music piece through graphical input. • Designed and produced both front and back-end software. • Paper published in 2013 Computer Music Modeling and Retrieval proceedings. Sound Dérive 2013 – present MIT Media Lab, Research Assistant under Tod Machover • A community-based sound/music application where users can record, upload, view, and share sounds collected in a particular city.
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Mastering Openframeworks: Creative Coding Demystified
Mastering openFrameworks: Creative Coding Demystified A practical guide to creating audiovisual interactive projects with low-level data processing using openFrameworks Denis Perevalov BIRMINGHAM - MUMBAI Mastering openFrameworks: Creative Coding Demystified Copyright © 2013 Packt Publishing All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without the prior written permission of the publisher, except in the case of brief quotations embedded in critical articles or reviews. Every effort has been made in the preparation of this book to ensure the accuracy of the information presented. However, the information contained in this book is sold without warranty, either express or implied. Neither the author, nor Packt Publishing, and its dealers and distributors will be held liable for any damages caused or alleged to be caused directly or indirectly by this book. Packt Publishing has endeavored to provide trademark information about all of the companies and products mentioned in this book by the appropriate use of capitals. However, Packt Publishing cannot guarantee the accuracy of this information. First published: September 2013 Production Reference: 1160913 Published by Packt Publishing Ltd. Livery Place 35 Livery Street Birmingham B3 2PB, UK. ISBN 978-1-84951-804-8 www.packtpub.com Cover Image by Asher Wishkerman ([email protected]) Credits Author Project Coordinators Denis Perevalov Shiksha Chaturvedi Hardik Patel Reviewers Mathias Paumgarten Proofreader Tim Pulver Mario Cecere Acquisition Editor Indexer Nikhil Karkal Priya Subramani Lead Technical Editor Production Coordinator Sweny M. Sukumaran Arvindkumar Gupta Technical Editors Cover Work Sharvari Baet Arvindkumar Gupta Aparna Kumari Hardik B.
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Processing: Creative Coding and Computational Art
Inside you’ll learn: GREENBERG • The fundamentals of creative computer programming—from procedural IRA GREENBERG programming, to object-oriented programming, to pure Java™ programming • How to virtually draw, paint, and sculpt using computer code and clearly explained mathematical concepts PRO • 2D and 3D programming techniques, motion design, and cool graphics effects • How to code your own pixel-level imaging effects, such as image contrast, color saturation, custom gradients and more CREatE CODE • Advanced animation techniques, including realistic physics and artificial life simulation ART, VISUALIZatiONS, AND INTERACTIVE APPLicatiONS WITH THIS Foreword by Keith Peters POWERFUL YET SIMPLE If you’re interested in creating cutting-edge code-based art and animations, COMPUTER LANGUAGE you’ve come to the right place! Processing (available at http://processing.org) is a AND PROGRAMMING revolutionary open source programming language and environment designed ENVIRONMENT. to bridge the gap between programming and art, allowing non-programmers to learn programming fundamentals as easily as possible, and empowering C anyone to produce beautiful creations using math patterns. With the software freely available, Processing provides an accessible alternative to using LEARN HOW TO Flash for creative coding and computational art—both on and off ESS CODE 2D AND 3D the Web. ANIMatiON, PIXEL- This book is written especially for artists, designers, and other cre- LEVEL IMAGING, MOTION ative professionals and students exploring code art, graphics pro- EFFECTS, AND PHYSICS gramming, and computational aesthetics. The book provides a solid SIMULatiONS. and comprehensive foundation in programming, including object-orient- ed principles, and introduces you to the easy-to-grasp Processing language, so no previous coding experience is necessary.
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