Издательство MIT Press, 2007, -737 pp.
At MIT, the full-time graduate studio that I administer attracts a uniquely gifted lot: people who have a fundamental balance issue in the way they approach the computer as an expressive medium. On the one hand, they don’t want the programming code to get in the way of their designs or artistic desires; on the other hand, without hesitation they write sophisticated computer codes to discover new visual pathways. The two sides of their minds are in continual confl ict. The conclusion is simple for them. Do both.
Hybrids that can fluidly cross the chasm between technology and the arts are mutations in the academic system. Traditionally, universities create technology students or art students—but never mix the two sides of the equation in the same person. During the 1990s the mutants that managed to defy this norm would either seek me out, or else I would reach out to fi nd them myself. Bringing these unique people together was my primary passion, and that’s how I came into contact with Casey Reas and Ben Fry. It is said that the greatest compliment to a teacher is when the student surpasses the teacher. This coer was tued quickly after I began to work with them, and the fi nishing blow came when Ben and Casey created Processing. They prominently elevated the call for visual experimentation with their timely mastery of the Inteet to engage at fi rst tens, hundreds, and then tens of thousands of hybrids all over the world. Wherever I might travel, young technology artists are always talking about Processing and ask me to pass on their thanks to Casey and Ben.
So it is here that I express my thanks to you, Ben and Casey. On behalf of all of the people who follow where Processing might take the field of computational art and design, I wish you more sleepless nights in the relentless pursuit of perfecting the bridge that connects the art-mind with the computer-mind. All of us look to you to lead the way for when art on the computer becomes simply, art—without the icky technology connotations. We’re all counting on you to take us there. Please?
Processing . . .
Using Processing
Structure 1: Code Elements
Shape 1: Coordinates, Primitives
Data 1: Variables
Math 1: Arithmetic, Functions
Control 1: Decisions
Control 2: Repetition
Shape 2: Vertices
Math 2: Curves
Color 1: Color by Numbers
Image 1: Display, Tint
Data 2: Text
Data 3: Conversion, Objects
Typography 1: Display
Math 3: Trigonometry
Math 4: Random
Transform 1: Translate, Matrices
Transform 2: Rotate, Scale
Development 1: Sketching, Techniques
Synthesis 1: Form and Code
Interviews 1: Print
Structure 2: Continuous
Structure 3: Functions
Shape 3: Parameters, Recursion
Input 1: Mouse I
Drawing 1: Static Forms
Input 2: Keyboard
Input 3: Events
Input 4: Mouse II
Input 5: Time, Date
Development 2: Iteration, Debugging
Synthesis 2: Input and Response
Interviews 2: Software, Web
Motion 1: Lines, Curves
Motion 2: Machine, Organism
Data 4: Arrays
Image 2: Animation
Image 3: Pixels
Typography 2: Motion
Typography 3: Response
Color 2: Components
Image 4: Filter, Blend, Copy, Mask
Image 5: Image Processing
Output 1: Images
Synthesis 3: Motion and Arrays
Interviews 3: Animation, Video
Structure 4: Objects I
Drawing 2: Kinetic Forms
Output 2: File Export
Input 6: File Import
Input 7: Interface
Structure 5: Objects II
Simulate 1: Biology
Simulate 2: Physics
Synthesis 4: Structure, Interface
Interviews 4: Performance, Installation
Extension 1: Continuing . . .
Extension 2: 3D
Extension 3: Vision
Extension 4: Network
Extension 5: Sound
Extension 6: Print
Extension 7: Mobile
Extension 8: Electronics
At MIT, the full-time graduate studio that I administer attracts a uniquely gifted lot: people who have a fundamental balance issue in the way they approach the computer as an expressive medium. On the one hand, they don’t want the programming code to get in the way of their designs or artistic desires; on the other hand, without hesitation they write sophisticated computer codes to discover new visual pathways. The two sides of their minds are in continual confl ict. The conclusion is simple for them. Do both.
Hybrids that can fluidly cross the chasm between technology and the arts are mutations in the academic system. Traditionally, universities create technology students or art students—but never mix the two sides of the equation in the same person. During the 1990s the mutants that managed to defy this norm would either seek me out, or else I would reach out to fi nd them myself. Bringing these unique people together was my primary passion, and that’s how I came into contact with Casey Reas and Ben Fry. It is said that the greatest compliment to a teacher is when the student surpasses the teacher. This coer was tued quickly after I began to work with them, and the fi nishing blow came when Ben and Casey created Processing. They prominently elevated the call for visual experimentation with their timely mastery of the Inteet to engage at fi rst tens, hundreds, and then tens of thousands of hybrids all over the world. Wherever I might travel, young technology artists are always talking about Processing and ask me to pass on their thanks to Casey and Ben.
So it is here that I express my thanks to you, Ben and Casey. On behalf of all of the people who follow where Processing might take the field of computational art and design, I wish you more sleepless nights in the relentless pursuit of perfecting the bridge that connects the art-mind with the computer-mind. All of us look to you to lead the way for when art on the computer becomes simply, art—without the icky technology connotations. We’re all counting on you to take us there. Please?
Processing . . .
Using Processing
Structure 1: Code Elements
Shape 1: Coordinates, Primitives
Data 1: Variables
Math 1: Arithmetic, Functions
Control 1: Decisions
Control 2: Repetition
Shape 2: Vertices
Math 2: Curves
Color 1: Color by Numbers
Image 1: Display, Tint
Data 2: Text
Data 3: Conversion, Objects
Typography 1: Display
Math 3: Trigonometry
Math 4: Random
Transform 1: Translate, Matrices
Transform 2: Rotate, Scale
Development 1: Sketching, Techniques
Synthesis 1: Form and Code
Interviews 1: Print
Structure 2: Continuous
Structure 3: Functions
Shape 3: Parameters, Recursion
Input 1: Mouse I
Drawing 1: Static Forms
Input 2: Keyboard
Input 3: Events
Input 4: Mouse II
Input 5: Time, Date
Development 2: Iteration, Debugging
Synthesis 2: Input and Response
Interviews 2: Software, Web
Motion 1: Lines, Curves
Motion 2: Machine, Organism
Data 4: Arrays
Image 2: Animation
Image 3: Pixels
Typography 2: Motion
Typography 3: Response
Color 2: Components
Image 4: Filter, Blend, Copy, Mask
Image 5: Image Processing
Output 1: Images
Synthesis 3: Motion and Arrays
Interviews 3: Animation, Video
Structure 4: Objects I
Drawing 2: Kinetic Forms
Output 2: File Export
Input 6: File Import
Input 7: Interface
Structure 5: Objects II
Simulate 1: Biology
Simulate 2: Physics
Synthesis 4: Structure, Interface
Interviews 4: Performance, Installation
Extension 1: Continuing . . .
Extension 2: 3D
Extension 3: Vision
Extension 4: Network
Extension 5: Sound
Extension 6: Print
Extension 7: Mobile
Extension 8: Electronics