| p.3 |
コードリポジトリ |
| イントロダクション |
| p.18 / *1 |
Leah Buechley :: wats:ON? TRANSFORMER 2012 |
| p.18 / *2 |
Computing Education Lessons Learned from the 2010’s: What I Got Wrong |
| p.18 / *3 |
Ben Fry & Casey Reas - Eyeo Festival 2011 |
| p.18 / *4 |
『Frames of Mind: The Theory of Multiple Intelligences』 |
| p.18 / *5 |
ON ART AND TECHNOLOGY: THE POWER OF CREATING OUR OWN WORLDS |
| p.18 / *6 |
IdN v19n5: Interactive Design — Perfecting those Air to Surface Missiles |
| p.18 / *7 |
Art as Intervention: A Guide to Today's Radical Art Practices |
| p.18 / *8 |
ツイート |
| p.18 / *9 |
ツイート |
| p.18 / *11 |
SCI-FI CRIME DRAMA WITH A STRONG BLACK LEAD |
| p.18 / *12 |
『メディア論―人間の拡張の諸相』 |
| p.18 / *13 |
New Media Artworks: Prequels to Everyday Life |
| p.18 / *14 |
Creating Creating |
| p.18 / *15 |
『Metacreation: Art and Artificial Life』 |
| p.18 / *15 |
ツイート |
| p.18 / *17 |
What can WE do? The international artist in the age of resurgent nationalism |
| p.18 / *18 |
VOICES; John Maeda |
| p.18 / *19 |
Strange and Unstable Fabrication |
| p.18 / *20 |
A HISTORY OF THE MIT MEDIA LAB SHOWS WHY THE RECENT EPSTEIN SCANDAL IS NO SURPRISE |
| p.18 / *21 |
The Future of Democracy |
| p.18 / *22 |
The Environment Is Not A System |
| p.18 / *23 |
MIT Media Lab: Momentum Dedication |
| p.18 / *24 |
Computational Fluency |
| p.18 / *24 |
『Constructionism in Practice: Designing, Thinking, and Learning in A Digital World』 |
| p.18 / *26 |
Situating Constructionism |
| p.18 / *28 |
Captivating Technology: Race, Carceral Technoscience, and Liberatory Imagination in Everyday Life |
| p.18 / *29 |
Heather Dewey-Hagborg at The Influencers 2016 |
| p.18 / *30 |
Refresh |
| p.18 / *31 |
『Data Feminism』 |
| p.18 / *32 |
Democratize Design |
| p.18 / *33 |
The Technologists in the Studio: Nettrice Gaskins highlights the connections between communities, cultures, arts, and STEM |
| p.18 / *34 |
Infrastructures of abstraction: how computer science education produces anti-political subjects |
| p.18 / *34 |
Kosbie's automated plagiarism detector demo |
| p.18 / *35 |
『とびこえよ、その囲いを』 |
| p.18 / *36 |
『二つの文化と科学革命 新装版』 |
| 第1部 学習課題 |
| p.27 |
David Bailey's World of Tessellations |
| p.27 |
The Search for Quasi-Periodicity in Islamic 5-fold Ornament |
| p.27 |
『The Handweaver's Pattern Directory』 |
| p.27 |
『African Fractals: Modern Computing and Indigenous Design』 |
| p.27 |
Fabric Cybernetics |
| p.27 |
『Tilings and Patterns』 |
| p.27 |
Wallpaper Collection |
| p.27 |
『The Grammar of Ornament』 |
| p.27 |
Albert Racinet's L'Ornement Polychrome (1869–73) |
| p.27 |
{Software} Structures |
| p.27 |
『Patterns in Design, Art and Architecture』 |
| p.33 |
MACHINE PAREIDOLIA: HELLO LITTLE FELLA MEETS FACETRACKER |
| p.33 |
『The Expression of the Emotions in Man and Animals』 |
| p.33 |
Sci-fi Crime Drama with a Strong Black Lead |
| p.33 |
Facial Action Coding System |
| p.33 |
Más Que la Cara overview |
| p.33 |
『芸術としてのデザイン』 |
| p.33 |
『Face to Face』 |
| p.33 |
『Changing Faces』 |
| p.38 |
Dr. Donna Carroll: „It’s about time: A brief history of the calendar and the development of timekeeping“ |
| p.39 |
『Graphesis: Visual Forms of Knowledge Production』 |
| p.39 |
『The Marvelous Clouds: Toward a Philosophy of Elemental Media』 |
| p.39 |
A MINOR HISTORY OF / TIME WITHOUT CLOCKS |
| p.39 |
『Time (Documents of Contemporary Art)』 |
| p.39 |
Clocks in New Media |
| p.39 |
How Different Cultures Understand Time |
| p.44 |
Generative Methods |
| p.44 |
Worlding Raga: 2 – What is a World? |
| p.44 |
『A Companion to Digital Art』 |
| p.44 |
Eyeo 2014 |
| p.44 |
Ten Questions Concerning Generative Computer Art |
| p.44 |
SimCities and SimCrises |
| p.44 / *i |
So you want to build a generator… |
| p.48 |
『シミュラークルとシミュレーション』 |
| p.48 |
『Vehicles: Experiments in Synthetic Psychology』 |
| p.48 |
Lenia: Biology of Artificial Life |
| p.48 |
『Emissaries Guide to Worlding』 |
| p.48 |
Steering Behaviors For Autonomous Characters |
| p.48 |
『Nature of Code -Processingではじめる自然現象のシミュレーション-』 |
| p.48 |
『Metacreation: Art and Artificial Life』 |
| p.53 |
My Chuck Close Problem |
| p.53 |
『From Point to Pixel: A Genealogy of Digital Aesthetics』 |
| p.53 |
『Artyping』 |
| p.53 |
Unraveling the JPEG |
| p.53 |
Photomosaics : putting pictures in their place |
| p.53 |
『Typewriter Art: A Modern Anthology』 |
| p.60 |
Machine Drawing Drawing Machines |
| p.60 |
Extending Manual Drawing Practices with Artist-Centric Programming Tools |
| p.60 |
Interactive Art and Computational Design, Spring 2016 |
| p.60 |
Eyeo 2015 |
| p.60 |
Instruments for Dynamic Abstraction |
| p.60 / *i |
Sketchpad: A man-machine graphical communication system |
| p.65 |
『The Alphabetic Labyrinth: The Letters in History and Imagination』 |
| p.65 |
What Is Algorithmic Typography? Will It Replace Font Designers? |
| p.65 |
COMPUTED TYPE DESIGN |
| p.65 |
The Concept of a Meta-Font |
| p.65 |
Typeface As Programme |
| p.65 |
『Thinking with Type, 2nd revised and expanded edition: A Critical Guide for Designers, Writers, Editors, & Students』 |
| p.65 |
Programming Design Systems |
| p.65 |
Modular Typography |
| p.65 |
Typeface As Programme |
| p.65 |
『Dexter Sinister - Bulletins of the Serving Library #3』 |
| p.65 |
Super-Veloz: Modular Modern |
| p.65 / *i |
Designing type systems |
| p.71 |
『W. E. B. Du Bois's Data Portraits: Visualizing Black America』 |
| p.71 |
Measurement and Its Discontents |
| p.71 |
Data portraits |
| p.71 |
『ビジュアライジング・データ ―Processingによる情報視覚化手法』 |
| p.71 |
Data Humanism: The Revolutionary Future of Data Visualization |
| p.71 |
『We Are Here: An Atlas of Aotearoa』 |
| p.71 |
『Creative Coding and Data Visualization with p5.js: Drawing on the Web with JavaScript 』 |
| p.71 |
『Self-Tracking』 |
| p.71 |
Heartbreak and the Quantified Selfie |
| p.71 |
A chronology of tactics: Art tackles Big Data and the environment |
| p.71 |
『The Visual Display of Quantitative Information』 |
| p.71 |
From Paint to Pixels |
| p.77 |
『Projection mapping A Complete Guide』 |
| p.77 |
Building Projection Round-Up |
| p.77 |
『Augmented Reality in public spaces. Basic Techniques for video mapping』 |
| p.77 |
『A Manual for Urban Projection』 |
| p.77 |
『LIGHT WORKS EXPERIMENTAL MAPPING』 |
| p.77 |
The Designer's Guide to Overprojection |
| p.82 |
Physical Barriers in Video Games |
| p.82 |
One Button Games |
| p.82 |
Experimental Game Design |
| p.82 |
Two Hundred Fifty Things a Game Designer Should Know |
| p.82 |
『ルールズ・オブ・プレイ（上）』 |
| p.82 |
『ルールズ・オブ・プレイ（下）』 |
| p.82 / *i |
Towards minimalist game design |
| p.86 |
What is the Value of a Bot? |
| p.86 |
On Paying Attention: How to Think about Bots as Social Actors |
| p.86 |
A Brief Survey of Journalistic Twitter Bot Projects |
| p.86 |
Talking to Machines |
| p.86 |
The 10 Best Twitterbots That Are Also Net Art |
| p.86 |
The bot scare |
| p.86 |
Twitter bots as digital writing assignments. |
| p.86 |
Bots: A definition and some historical threads |
| p.86 |
The Secret Life of Pronouns: James Pennebaker at TEDxAustin |
| p.86 |
Twitter Bot Encyclopedia |
| p.86 |
A protest bot is a bot so specific you can’t mistake it for bullshit |
| p.86 |
Activist Bots: Helpful But Missing Human Love? |
| p.86 |
How to Think About Bots |
| p.86 / *i |
Exploring (Semantic) Space With (Literal) Robots |
| p.91 |
Crowdsourced Art: When the Masses Play Nice |
| p.91 |
『Out Of Control: The New Biology Of Machines, Social Systems, And The Economic World』 |
| p.91 |
The Work of Art in the Age of Mediated Participation: Crowdsourced Art and Collective Creativity |
| p.91 |
Exploring Qualitative Displays and Interfaces |
| p.91 |
All Together Now: Artists and Crowdsourcing |
| p.91 |
『Crowd and Art - Kunst und Partizipation im Internet』 |
| p.91 |
『Smart Mobs: The Next Social Revolution』 |
| p.91 |
Wikipedia – an unplanned miracle |
| p.91 |
Crowdsourcing: The art of a crowd |
| p.91 |
When Pixels Collide |
| p.97 |
『Telematic Embrace』 |
| p.97 |
Conversation and Computation |
| p.98 |
『Lurking: How a Person Became a User』 |
| p.98 |
CRITICAL INTERFACE TOOLBOX |
| p.98 |
Here/There: Telepresence, Touch, and Art at the Interface |
| p.98 / *i |
Remote Play / Remote Work |
| p.102 |
A User's Guide to Détournement |
| p.102 |
Protocol, or, How Control Exists after Decentralization |
| p.102 |
CRITICAL INTERFACE TOOLBOX |
| p.102 |
Net Art Anthology |
| p.102 |
How your web browser affects your online reality, explained in one image |
| p.107 |
Hiding in Plain Sight. Amy Suo Wu’s The Kandinsky Collective |
| p.107 |
Cryptography as a Pedagogical Tool |
| p.107 |
CRYPTOGRAPHY AS A TEACHING TOOL |
| p.107 |
The Weavers and Their Information Webs: Steganography in the Textile Arts |
| p.107 |
ENCRYPTED REPOSITORIES |
| p.107 |
Hidden in Plain Sight: The Steganographic Image |
| p.107 |
『CODE コードから見たコンピュータのからくり』 |
| p.107 |
The Moral Character of Cryptographic Work |
| p.107 |
Chamber Guide |
| p.107 |
A Sea of Data: Apophenia and Pattern (Mis-)Recognition |
| p.113 |
April 2: Contemporary Vocal Interfaces |
| p.113 |
Hands-on Speech Science Exhibition for Children at a Science Museum |
| p.114 |
The Weird And Wonderful World Of Nicole He's Technological Art |
| p.114 |
『Speaking Code: Coding as Aesthetic and Political Expression』 |
| p.114 |
Five Artificial Intelligence Insiders in Their Own Words |
| p.114 |
Voices in and of the machine: Source orientation toward mobile virtual assistants |
| p.114 |
Fifteen Unconventional Uses of Voice Technology |
| p.114 |
Talking to Computers |
| p.114 |
Inauthentically Speaking: Speech Technology, Accent Bias and Digital Imperialism |
| p.114 |
Episode 4: Halcyon Lawrence / When I Talk to Siri |
| p.114 |
Urban Auscultation; or, Perceiving the Action of the Heart |
| p.114 |
Media and Prosthesis: The Vocoder, the Artificial Larynx, and the History of Signal Processing |
| p.114 |
『Emotional Labor in the 21st Century』 |
| p.114 |
Vocal Vowels |
| p.114 |
Humans, Machines, and Conversations: An Ethnographic Study of the Making of Automatic Speech Recognition Technologies |
| p.119 |
Suspicious Images, Latent Interfaces |
| p.119 |
『Data Feminism』 |
| p.119 |
『How to Do Things With Sensors』 |
| p.119 |
A Futureproofed Power Meter |
| p.119 |
When Proof Is Not Enough |
| p.119 |
『Seeing Like a State: How Certain Schemes to Improve the Human Condition Have Failed』 |
| p.127 |
THEORIES OF TECHNOLOGY AS EXTENSION OF HUMAN FACULTIES |
| p.127 |
『行為と演技―日常生活における自己呈示』 |
| p.127 |
『猿と女とサイボーグ ―自然の再発明―新装版』 |
| p.127 |
『How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics』 |
| p.127 |
『What Can a Body Do?: How We Meet the Built World』 |
| p.127 |
『See Yourself Sensing: Redefining Human Perception』 |
| p.136 |
『形の合成に関するノート/都市はツリーではない』 |
| p.136 |
『The 3D Additivist Cookbook』 |
| p.136 |
Architecture Research Quarterly: Computational Tools in Architecture, Cybernetic Theory, Rationalisation and Objectivity |
| p.136 |
『Morphing: A Guide to Mathematical Transformations for Architects and Designers』 |
| p.136 |
List of Physical Visualizations and Related Artifacts |
| p.136 |
SCRIPTEDBYPURPOSE |
| p.136 |
『Parametric Design for Architecture』 |
| p.136 |
『Parametric Form Finding in Contemporary Architecture: The Simplicity Within The Complexity Of Modern Architectural Form』 |
| p.136 |
Parametric 3D Form |
| p.136 |
『On Growth and Form』 |
| p.136 |
『Printing Things: Visions and Essentials for 3D Printing』 |
| p.136 |
『[En]Coding Architecture - the book』 |
| p.142 |
unusual monuments |
| p.142 |
『Subway Art』 |
| p.142 |
『Augmented Reality Art: From an Emerging Technology to a Novel Creative Medium』 |
| p.142 |
Notes on Design Activism |
| p.142 |
『Street Art and Social Movements』 |
| p.142 |
The Ultimate Display |
| p.142 |
『Cut It Out』 |
| p.148 |
MACHINE PAREIDOLIA: HELLO LITTLE FELLA MEETS FACETRACKER |
| p.148 |
Gender Shades |
| p.148 |
Excavating AI |
| p.148 |
The Chronocyclegraph |
| p.148 |
The History of the Interface in Interactive Art |
| p.148 |
IT’S MURDER ON THE DANCEFLOOR: INCREDIBLE EXPRESSIONIST DANCE COSTUMES FROM THE 1920S |
| p.148 |
A Brief History of Motion-Capture in the Movies |
| p.148 |
Human Pose and Motion |
| p.148 |
Face as interface |
| p.148 |
Light Painting Photography |
| p.148 |
A Visual Journey Through Addiction |
| p.148 |
Social immersive media: pursuing best practices for multi-user interactive camera/projector exhibits |
| p.148 |
『Interactive Art and Embodiment: The Implicit Body as Performance』 |
| p.148 |
How We Created a New Way to Depict Addiction Visually |
| p.148 |
Goodbye Uncanny Valley |
| p.148 / *i |
2019: A Face Odyssey |
| p.148 / *ii |
Fairytales of Motion |
| p.148 / *iii |
『Captivating Technology: Race, Carceral Technoscience, and Liberatory Imagination in Everyday Life』 |
| p.153 |
Perceptual Correspondences of Abstract Animation and Synthetic Sound |
| p.153 |
『See this Sound: Audiovisuology: A Reader』 |
| p.153 |
Sons & Lumières: Une histoire du son dans l'art du XXe siècle |
| p.153 |
『VJ: Audio-Visual Art and VJ Culture』 |
| p.153 |
Audiovisual Composition |
| p.154 |
『Instruments and the Imagination』 |
| p.154 |
『Scores: An Anthology of New Music』 |
| p.154 |
Audiovisual Software Art: A Partial History |
| p.154 |
Making Your Own Musical Instruments with P5.js, Arduino, and WebMIDI |
| p.154 |
LEVELS OF SOUND: ON THE PRINCIPLES OF INTERACTIVITY IN MUSIC VIDEO GAMES |
| p.154 |
Interactive Video As A Way Of Life |
| p.154 |
『The Spiritual in Art: Abstract Painting 1890-1985』 |
| p.154 |
『ディジタル・ハーモニー―音楽とビジュアル・アートの新しい融合を求めて』 |
| p.154 |
Fifty Years of Composing Computer Music and Graphics: How Time's New Solid-State Tractability Has Changed Audio-Visual Perspectives |
| p.154 / *i |
『フロー体験 喜びの現象学』 |
| p.154 / *ii |
Painterly Interfaces for Audiovisual Performance |
| 第2部 エクササイズ |
| p.157 |
{Software} Structures |
| p.157 |
Processing.A4 |
| p.157 |
Mathematickal Arts |
| p.157 |
SERIAL NOTATIONS / DRIFT DRAWINGS |
| p.157 |
『Grapefruit: A Book of Instructions and Drawings by Yoko Ono』 |
| p.157 / *1 |
Here Are the Instructions for Sol LeWitt’s 1971 Wall Drawing for the School of the MFA Boston |
| p.157 / *2 |
The Beach |
| p.157 / *3 |
Dots and Boxes |
| p.157 / *4 |
Sprouts (game) |
| p.157 / *5 |
Zoom Schwartz Profigliano |
| p.157 / *6 |
『Creative Code: Aesthetics + Computation』 |
| p.157 / *7 |
The Human Fax Machine Experiment |
| p.162 |
RGB Colorspace Atlas |
| p.162 |
『Chromatic Algorithms: Synthetic Color, Computer Art, and Aesthetics after Code』 |
| p.162 |
COMPUTATIONAL COLOR |
| p.162 |
Color models and color spaces |
| p.162 |
Perceptually uniform color spaces |
| p.162 |
Subtleties of Color |
| p.162 / *1 |
The Colorist's Cookbook |
| p.165 / *1 |
『10 PRINT CHR$(205.5+RND(1)); : GOTO 10』 |
| p.165 / *2 |
ツイート |
| p.165 / *3 |
Interruptions |
| p.169 / *1 |
Typography |
| p.169 / *2 |
This Is Not a Small Voice |
| p.169 / *3 |
Strings and Drawing Text |
| p.169 / *4 |
TYPOGRAPHY |
| p.169 / *5 |
Geomerative |
| p.169 / *6 |
Character representation of grey scale images |
| p.171 / *1 |
Butt Generator |
| p.171 / *2 |
drawCircle |
| p.171 / *3 |
Turtle’s Phyllotactic Spiral |
| p.171 / *4 |
Curves |
| p.171 / *5 |
Guest Tutorial #7: Circle Morphing with Golan Levin |
| p.171 / *6 |
p5.func |
| p.171 / *6 |
Easing Functions |
| p.173 / *1, 2 |
Procedural Shapes |
| p.173 / *3 |
Compactness measure of a shape |
| p.175 / *1, 2 |
Points, lines, and planes |
| p.175 / *3 |
Circles and spheres |
| p.178 / *1 |
『ISOTYPE［アイソタイプ］』 |
| p.178 / *2 |
『ビジュアライジング・データ ―Processingによる情報視覚化手法』 |
| p.178 / *3 |
Big Five Personality Test |
| p.178 / *4 |
Rat Sightings |
| p.178 / *5 |
International Space Station Current Location |
| p.178 / *5 |
Working with Data and APIs in JavaScript |
| p.178 / *6 |
Scrapism |
| p.178 / *7 |
How Many People Have Been Killed by Guns Since Newtown? |
| p.181 / *1 |
Corpora |
| p.181 / *1 |
Tracer |
| p.181 / *2 |
RiTa |
| p.181 / *2 |
NLTK |
| p.181 / *3 |
Markovify |
| p.181 / *4 |
Coding Challenge #40.3: TF-IDF |
| p.181 / *5 |
The CMU Pronouncing Dictionary |
| p.183 / *1 |
Coding Challenge #14: Fractal Trees - Recursive |
| p.183 / *2 |
6.1: Autonomous Agents and Steering - The Nature of Code |
| p.183 / *3 |
Coding Challenge #50.1: Animated Circle Packing - Part 1 |
| p.183 / *4 |
7.3: The Game of Life - The Nature of Code |
| p.183 / *5 |
Coding Challenge #34: Diffusion-Limited Aggregation |
| p.183 / *6 |
Morphogenesis Resources |
| p.186 |
Experimental Game Design |
| p.186 |
Machine Learning for the Web |
| p.186 |
Machine Learning for Artists |
| p.186 |
Runway |
| p.186 / *1 |
ImageClassifier |
| p.186 / *2 |
Teachable Machine |
| p.186 / *2 |
ツイート |
| p.186 / *3 |
Webcam2Emoji |
| p.186 / *4 |
ml5.js Pose Estimation with PoseNet |
| p.186 / *6 |
Sentiment |
| p.189 / *1 |
『Draw It With Your Eyes Closed: The Art of the Art Assignment』 |
| 教室運営のテクニック |
| p.242 / *1 |
Worms, Butterflies and Dandelions. Open source tools for the arts |
| p.242 / *2 |
ツイート |
| p.242 / *3 |
User’s Manual |
| p.242 / *4 |
The High Stakes of Limited Inclusion |
| p.242 / *4 |
Now is the time for social justice philanthropy to invest in emerging media |
| p.242 / *5 |
ツイート |
| p.242 / *6 |
ツイート |
| p.242 / *7 |
ツイート |
| p.242 / *8 |
Learning to Teach, Teaching to Learn II |
| p.242 / *9 |
ツイート |
| p.242 / *10 |
ツイート |
| p.242 / *11 |
The Pen Is Mightier Than the Keyboard: Advantages of Longhand Over Laptop Note Taking |
| p.242 / *12 |
『CRITS: A Student Manual』 |
| p.242 / *12 |
『Criticizing Art: Understanding the Contemporary』 |
| p.242 / *13 |
ツイート |
| p.242 / *14 |
Let's Switch Questioning Around |
| p.242 / *15 |
『協同学習の技法―大学教育の手引』 |
| 学習課題の起源 |
| p.255 / *1 |
『Draw It With Your Eyes Closed: The Art of the Art Assignment』 |
| p.255 / *2 |
『Taking a Line for a Walk: Assignments in design education』 |
| p.255 / *3 |
Design Techniques and Art Materials in Computer Art |
| p.255 / *4, 5 |
Computer Graphics at the University of Munich (West Germany) |
| p.255 / *6 |
『FORM+CODE ─デザイン／アート／建築における、かたちとコード』 |
| p.255 / *7 |
『Generative Design Processingで切り拓く、デザインの新たな地平』 |
| p.255 / *8 |
『芸術としてのデザイン』 |
| p.255 / *9 |
『Drawing with Computers』 |
| p.255 / *10 |
Bla Bla Bla |
| p.255 / *11 |
Interactivity |
| p.255 / *11 |
Interactivity |
| p.255 / *12 |
Introduction to Interactive Graphics (Fall 2004) |
| p.255 / *13 |
『Taking a Line for a Walk: Assignments in design education』 |
| p.255 / *14 |
Organic Form |
| p.255 / *15 |
『Design By Numbers―デジタル・メディアのデザイン技法』 |
| p.255 / *16 |
Computer-related design at the Royal College of Art: 1997 graduation projects |
| p.255 / *17 |
Clock |
| p.255 / *18 |
Asking What Is Possible: The Georgia Tech Approach to Game Research and Education |
| p.255 / *19 |
CMS.950: Comparative Media Studies Workshop I |
| p.255 / *20 |
Interactivity |
| p.255 / *21 |
Coding Challenge #74: Clock with p5.js |
| p.255 / *22 |
A Survey of Procedural Techniques for City Generation |
| p.255 / *23 |
The Interactive Image (Fall 2005) |
| p.255 / *24 |
CMS.950: Comparative Media Studies Workshop I |
| p.255 / *25 |
『Exploratory Programming for the Arts and Humanities, second edition』 |
| p.255 / *26 |
『Generative Design Processingで切り拓く、デザインの新たな地平』 |
| p.255 / *27 |
『Creative Code: Aesthetics + Computation』 |
| p.255 / *28 |
singlecell |
| p.255 / *29 |
Processing Monsters |
| p.255 / *30 |
Processing Monsters by Lukas Vojir |
| p.255 / *31 |
Interactivity |
| p.255 / *31 |
Interactivity |
| p.255 / *32 |
Steering Behaviors For Autonomous Characters |
| p.255 / *33 |
『Nature of Code -Processingではじめる自然現象のシミュレーション-』 |
| p.255 / *34 |
『Processing:ビジュアルデザイナーとアーティストのためのプログラミング入門』 |
| p.255 / *35 |
『Processing: Creative Coding and Computational Art』 |
| p.255 / *36 |
『初めてのProcessing 第2版』 |
| p.255 / *37 |
『Processing for Visual Artists: How to Create Expressive Images and Interactive Art』 |
| p.256 / *38 |
『FORM+CODE ─デザイン／アート／建築における、かたちとコード』 |
| p.256 / *39 |
『Generative Design Processingで切り拓く、デザインの新たな地平』 |
| p.256 / *40 |
Introduction to Interactive Graphics (Fall 2004) |
| p.256 / *41 |
『Maeda@Media』 |
| p.256 / *42 |
『Design By Numbers―デジタル・メディアのデザイン技法』 |
| p.256 / *43 |
scribble-variations |
| p.256 / *44 |
gesture machines |
| p.256 / *45 |
From Point A to Point B |
| p.256 / *46 |
Design for Interactive Media. UCLA D|MA. Fall 03 |
| p.256 / *47 |
Programming Media. UCLA D|MA . Spring 04 |
| p.256 / *48 |
Introduction to Interactive Graphics (Fall 2004) |
| p.256 / *49 |
The Interactive Image (Spring 2005) |
| p.256 / *50 |
Asking What Is Possible: The Georgia Tech Approach to Game Research and Education |
| p.256 / *51 |
Interactivity |
| p.256 / *51 |
Interactivity |
| p.256 / *52 |
『Generative Design Processingで切り拓く、デザインの新たな地平』 |
| p.25 / *53, 54 |
『Taking a Line for a Walk: Assignments in design education』 |
| p.256 / *55 |
Digital Typography |
| p.256 / *56 |
MAS962: DIGITAL TYPOGRAPHY |
| p.256 / *58 |
Computational Models for Expressive Dimensional Typography |
| p.256 / *59 |
Introduction to Interactive Graphics (Fall 2004) |
| p.256 / *60 |
『Generative Design Processingで切り拓く、デザインの新たな地平』 |
| p.256 / *61 |
Data portraits |
| p.256 / *62 |
Interactive Art & Computational Design, Spring 2014 |
| p.256 / *63 |
Augmented sculpture |
| p.256 / *64 |
60210-A • Electronic Media Studio 2 |
| p.256 / *65 |
Physical Barriers in Video Games |
| p.256 / *66 |
One Button Games |
| p.256 / *67 |
ONE-BUTTON GAMES |
| p.256 / *68 |
CANABALT |
| p.256 / *70 |
EXPERIMENTAL GAME DESIGN - 60424A |
| p.256 / *71-73 |
『Design By Numbers―デジタル・メディアのデザイン技法』 |
| p.256 / *74 |
『Creative Code: Aesthetics + Computation』 |
| p.256 / *75 |
PRISM Break Up |
| p.256 / *75 |
CryptoParty. |
| p.256 / *75 |
Art Hack Day |
| p.256 / *76 |
Lessons Learned from a Mathematical Cryptology Course |
| p.256 / *76 |
CRYPTOGRAPHY AS A TEACHING TOOL |
| p.256 / *76 |
Cryptography as a Pedagogical Tool |
| p.256 / *76 |
Writing and Information Literacy in a Cryptology First-Year Seminar |
| p.256 / *77 |
Voice Experiments |
| p.256 / *78 |
SCHEDULE |
| p.256 / *79 |
Fifteen Unconventional Uses of Voice Technology |
| p.256 / *80 |
ITP Data Art - Spring 2016 |
| p.256 / *81 |
Scrapism |
| p.256 / *82 |
60210-A • Electronic Media Studio 2 |
| p.256 / *83 |
Interactive Environments. UCLA D|MA . Winter 04 |
| p.256 / *84 |
Interactive Environments . UCLA D|MA . Winter 06 |
| p.257 / *85 |
DESMA28: INTERACTIVITY |
| p.257 / *86 |
AVSYS Homework 7 |
| 関連資料集 |
| p.268 |
『Teaching For People Who Prefer Not To Teach』 |
| p.268 |
『Conditional Design Workbook』 |
| p.268 |
『Exploring Algorithmic Tectonics: A Course on Creative Computing in Architecture and Design』 |
| p.268 |
『The Photographer's Playbook: 307 Assignments and Ideas』 |
| p.268 |
『Do It』 |
| p.268 |
『Wicked Arts Assignments: Practising Creativity in Contemporary Arts Education』 |
| p.268 |
『Digital Design Exercises for Architecture Students』 |
| p.268 |
『Grapefruit: A Book of Instructions and Drawings by Yoko Ono』 |
| p.268 |
『Taking a Line for a Walk: Assignments in design education』 |
| p.268 |
『Draw It With Your Eyes Closed: The Art of the Art Assignment』 |
| p.268 |
『How to Be an Explorer of the World: Portable Life Museum』 |
| p.268 |
『The 3D Additivist Cookbook』 |
| p.268 |
『未来を築くデザインの思想 ─ポスト人間中心デザインへ向けて読むべき24のテキスト』 |
| p.268 |
『Mass Effect: Art and the Internet in the Twenty-First Century』 |
| p.268 |
『Digital by Design: Crafting Technology for Products and Environments』 |
| p.268 |
『From Point to Pixel: A Genealogy of Digital Aesthetics』 |
| p.268 |
『A Touch of Code: Interactive Installations and Experiences』 |
| p.268 |
『Aesthetics of Interaction in Digital Art』 |
| p.268 |
『10 PRINT CHR$(205.5+RND(1)); : GOTO 10』 |
| p.268 |
『A Companion to Digital Art』 |
| p.268 |
『Digital Art (World of Art)』 |
| p.268 |
『Zeros and Ones: Digital Women and the New Technoculture』 |
| p.268 |
『FORM+CODE ─デザイン／アート／建築における、かたちとコード』 |
| p.268 |
『Critical Fabulations: Reworking the Methods and Margins of Design』 |
| p.268 |
『Art and Electronic Media』 |
| p.268 |
『When the Machine Made Art』 |
| p.268 |
『New Media Art』 |
| p.268 |
『Metacreation: Art and Artificial Life』 |
| p.268 |
『Syllabus: Notes from an Accidental Professor』 |
| p.268 |
『Teaching Design: A Guide to Curriculum and Pedagogy for College Design Faculty and Teachers Who Use Design in Their Classrooms』 |
| p.268 |
『Design and Form: The Basic Course at the Bauhaus and Later』 |
| p.269 |
『Teaching Artist Handbook, Volume One: Tools, Techniques, and Ideas to Help Any Artist Teach』 |
| p.269 |
『教育スケッチブック（新装版 バウハウス叢書）』 |
| p.269 |
『Computational Drawing: From Foundational Exercises to Theories of Representation』 |
| p.268 |
『The ABC's of Triangle, Square, Circle: The Bauhaus and Design Theory』 |
| p.269 |
『Man: Teaching Notes from the Bauhaus』 |
| p.269 |
『The Visual Display of Quantitative Information』 |
| p.269 |
『Principles of Two-Dimensional Design』 |
| p.268 |
『Generative Design with p5.js［p5.js版ジェネラティブデザイン］ ─ウェブでのクリエイティブ・コーディング』 |
| p.269 |
『Creating Procedural Artworks with Processing: A Holistic Guide』 |
| p.269 |
『ビジュアライジング・データ ―Processingによる情報視覚化手法』 |
| p.269 |
The Book of Shaders |
| p.269 |
『Making Things Talk ―Arduinoで作る「会話」するモノたち』 |
| p.269 |
Programming Design Systems |
| p.269 |
『Design By Numbers―デジタル・メディアのデザイン技法』 |
| p.269 |
『Getting Started with p5.js: Making Interactive Graphics in JavaScript and Processing』 |
| p.269 |
『Exploratory Programming for the Arts and Humanities, second edition』 |
| p.269 |
『Creative Coding and Data Visualization with p5.js: Drawing on the Web with JavaScript』 |
| p.269 |
『Getting Started with Processing.py: Making Interactive Graphics with Processing's Python Mode』 |
| p.269 |
『CODE: コードから見たコンピュータのからくり』 |
| p.269 |
『Processing:ビジュアルデザイナーとアーティストのためのプログラミング入門』 |
| p.269 |
『初めてのProcessing 第2版』 |
| p.269 |
『Nature of Code -Processingではじめる自然現象のシミュレーション-』 |
| p.269 |
『Drawing with Computers』 |
| p.269 |
『シミュラークルとシミュレーション』 |
| p.269 |
『Race After Technology: Abolitionist Tools for the New Jim Code』 |
| p.269 |
『ニュー・ダーク・エイジ テクノロジーと未来についての10の考察』 |
| p.269 |
『Speaking Code: Coding as Aesthetic and Political Expression』 |
| p.269 |
『Data Feminism』 |
| p.269 |
『猿と女とサイボーグ ―自然の再発明―新装版』 |
| p.269 |
『How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics』 |
| p.269 |
『Chromatic Algorithms: Synthetic Color, Computer Art, and Aesthetics after Code』 |
| p.269 |
『Lurking: How a Person Became a User』 |
| p.269 |
『何もしない』 |
| p.269 |
『In Your Computer』 |
| p.269 |
『デューティーフリー・アート:課されるものなき芸術 星を覆う内戦時代のアート』 |
| クレジット |
| p.270 / 1 |
Spamghetto |
| p.270 / 3 |
Ceramic Tile Tessellations in Marrakech |
| p.270 / 5 |
Wallpaper |
| p.270 / 6 |
UNTITLED |
| p.270 / 8 |
Weird Faces |
| p.270 / 9 |
Stranger Visions |
| p.270 / 10 |
The Use of Faces to Represent Points in k-Dimensional Space Graphically |
| p.270 / 11 |
Making Procedural People |
| p.270 / 12 |
Parametric Expression |
| p.270 / 13 |
All The Universe is Full of The Lives of Perfect Creatures |
| p.270 / 14 |
Prescribed to Death |
| p.270 / 15 |
CenterClock |
| p.270 / 16 |
Last Clock |
| p.270 / 17 |
Banded Clock |
| p.270 / 18 |
All the Minutes |
| p.270 / 19 |
Standard Time |
| p.270 / 20 |
Ink Calendar |
| p.270 / 21 |
Dantilon: The Brutal Deluxe |
| p.270 / 22 |
Lonely Planets |
| p.270 / 23 |
『フラクタル幾何学（上）』 |
| p.270 / 23 |
『フラクタル幾何学（下）』 |
| p.270 / 24 |
mirror lake |
| p.270 / 25 |
Substrate |
| p.270 / 26 |
San Andreas Streaming Deer Cam |
| p.270 / 27 |
Connected Worlds |
| p.270 / 28 |
CORA the tortoise |
| p.270 / 29 |
Evolved Virtual Creatures |
| p.270 / 30 |
0,16 |
| p.271 / 31 |
South of the Border |
| p.271 / 32 |
Computer Nude (Studies in Perception I) |
| p.271 / 33 |
Garbage Selfie |
| p.271 / 34 |
Numbers and Trees: Central Park Series II |
| p.271 / 35 |
10,000 Cents |
| p.271 / 36 |
Peg Mirror |
| p.271 / 37 |
Chuck Close Filter |
| p.271 / 38 |
alone together |
| p.271 / 39 |
Drawing Operations |
| p.271 / 40 |
Tree Drawings |
| p.271 / 41 |
Sketch Furniture Performance Design |
| p.271 / 42 |
LASER TAG |
| p.271 / 43 |
Sloppy Forgeries |
| p.271 / 44 |
DIGIT LIVE PERFORMANCE |
| p.271 / 45 |
Dynadraw |
| p.271 / 46 |
ALPHABOT |
| p.271 / 47 |
TYPEFACE |
| p.271 / 49 |
type me, type me not |
| p.271 / 50 |
Robotype 3: Sujigen, Mojigen, and 7x7. |
| p.271 / 51 |
Abc con fantasia |
| p.271 / 52 |
Schriftsystem |
| p.271 / 53 |
Fregio Mecano |
| p.271 / 54 |
Bit.Fall |
| p.271 / 55 |
Iconic History - a browser history visualization |
| p.271 / 56 |
Dear Data |
| p.271 / 57 |
Everyone I Have Ever Slept With 1963–1995 |
| p.271 / 58 |
Themail: Email visualization |
| p.271 / 59 |
Biorhythm |
| p.271 / 60 |
Stay |
| p.271 / 61 |
Warsaw Projection |
| p.271 / 62 |
Displacements |
| p.271 / 63 |
Sunset Solitaire |
| p.271 / 64 |
Nuage Vert à Ivry |
| p.271 / 65 |
Scenic Jogging |
| p.271 / 66 |
Apparition |
| p.271 / 67 |
Keyfleas |
| p.271 / 68 |
Augmented sculpture |
| p.272 / 69 |
Delicate Boundaries |
| p.272 / 70 |
Wildlife |
| p.272 / 71 |
Flappy Bird |
| p.272 / 72 |
Finger Battle |
| p.272 / 73 |
MOON WALTZ |
| p.272 / 74 |
ONE BUTTON NIPPLE GOLF |
| p.272 / 75 |
Hit Me! |
| p.272 / 76 |
Swordfight |
| p.272 / 77 |
Art Assignment Bot |
| p.272 / 78 |
The Ephemerides |
| p.272 / 79 |
twitter bots |
| p.272 / 80 |
Reverse OCR |
| p.272 / 81 |
Random Darknet Shopper |
| p.272 / 82 |
CSPAN 5 |
| p.272 / 83 |
Exhausting a Crowd |
| p.272 / 84 |
Rock cairn at Cairn Sasunnaich, Scotland |
| p.272 / 85 |
The Telegarden |
| p.272 / 86 |
Sluts Across America |
| p.272 / 87 |
Dead Drops |
| p.272 / 88 |
Do Not Touch |
| p.272 / 89 |
The Smaller Picture |
| p.272 / 90 |
r/place/ |
| p.272 / 91 |
Iyapo Repository |
| p.272 / 92 |
Hole in Space |
| p.272 / 93 |
The Trace |
| p.272 / 94 |
The Space Between Us |
| p.272 / 95 |
Motion Phone |
| p.272 / 96 |
POOPCHAT PRO |
| p.272 / 97 |
meatspace |
| p.272 / 98 |
The online Museum of Multiplayer Art / LIKELIKE Online |
| p.272 / 99 |
SANDY SPEAKS |
| p.272 / 100 |
Decodelia |
| p.272 / 101 |
We See In Every Direction |
| p.272 / 102 |
Add-Art |
| p.272 / 103 |
Newstweek |
| p.272 / 104 |
us+ |
| p.272 / 105 |
Thunderclap |
| p.272 / 106 |
HOW TO MAKE ANYTHING SIGNIFY ANYTHING |
| p.272 / 107 |
KARDASHIAN KRYPT |
| p.272 / 108 |
Block Bills |
| p.272 / 109 |
Disarming Corruptor |
| p.272 / 110 |
Biopresence |
| p.272 / 111 |
Talking Popcorn |
| p.273 / 112 |
The Notepad |
| p.273 / 113 |
DiNA |
| p.273 / 114 |
Conversations with Bina48 |
| p.273 / 115 |
Hey Robot |
| p.273 / 116 |
The Giver of Names |
| p.273 / 117 |
When Things Talk Back |
| p.273 / 118 |
Game of Phones |
| p.273 / 119 |
Pink Trombone |
| p.273 / 120 |
Blendie |
| p.273 / 121 |
ENHANCE.COMPUTER |
| p.273 / 122 |
SUiCIDE BOX |
| p.273 / 123 |
The Deep Sweep |
| p.273 / 124 |
This or That |
| p.273 / 125 |
Revolving Games |
| p.273 / 126 |
The Babbling Brook |
| p.273 / 127 |
Picture Sky |
| p.273 / 128 |
The Library of Missing Datasets |
| p.273 / 129 |
Dialogue: goggles |
| p.273 / 130 |
Menstruation Machine, Takashi's Take |
| p.273 / 131 |
ScreamBody |
| p.273 / 132 |
Archisuits |
| p.273 / 133 |
Animal Superpowers |
| p.273 / 134 |
Engineering at Home |
| p.273 / 135 |
Entry Holes and Exit Wounds |
| p.273 / 136 |
Urban Armor #7: The Social Escape Dress |
| p.273 / 137 |
The Rift: An Afronaut's Journey |
| p.273 / 138 |
fahz |
| p.273 / 139 |
Kinematics Dress |
| p.273 / 140 |
Interactive Evolutionary Design with Region-of-Interest Selection for Spatiotemporal Ideation & Generation |
| p.273 / 140 |
Interactive Evolutionary Design with Region-of-Interest Selection for Spatiotemporal Ideation & Generation |
| p.273 / 141 |
Grand Old Party |
| p.273 / 142 |
Filament Sculptures |
| p.273 / 143 |
Numeric Milling |
| p.273 / 144 |
Wage Islands |
| p.273 / 145 |
Wildfire Progression Series |
| p.273 / 146 |
3D Printed Record |
| p.273 / 148 |
Open Fit Lab |
| p.273 / 149 |
Material Speculation: ISIS |
| p.273 / 150 |
Hyper-Reality |
| p.273 / 151 |
Golden Calf |
| p.273 / 152 |
Nail Art Museum |
| p.273 / 153 |
The Whole Story |
| p.274 / 154 |
the leak in your home town |
| p.274 / 155 |
The Exit Glacier |
| p.274 / 156 |
Augmented Nature |
| p.274 / 157 |
Body, Movement, Language: AI Sketches With Bill T. Jone |
| p.274 / 158 |
Forms |
| p.274 / 159 |
Walking City |
| p.274 / 160 |
Miroir |
| p.274 / 161 |
Más Que la Cara |
| p.274 / 161 |
Más Que la Cara overview |
| p.274 / 162 |
In C |
| p.274 / 163 |
Sonic Wire Sculptor |
| p.274 / 164 |
Psychic Synth |
| p.274 / 165 |
Patatap |
| p.274 / 166 |
SUFI PLUG INS |
| p.274 / 167 |
Hundred Rabbits |
| p.274 / p.158 |
15104 & 60212 • COMPUTATION for CREATIVE PRACTICES |
| p.274 / p.184 |
ANTI-FACE-TOUCHING MACHINE |
| p.274 / p.185 |
MSCHF Drop #12: This Foot Does Not Exist |
| p.274 / p.185 |
UMAP Plot of the OpenMoji Emoji Collection |
| p.274 / p.245 |
Computer Graphics at the University of Munich |
| p.274 / p.246 |
Drawing with Computers |
| p.274 / p.247 |
mas961(G): ORGANIC FORM |
| p.274 / p.248 |
Processing Monsters |
| 日本語版付録 |
| p.283 |
ProCamToolKit |
| p.298 |
chromatophony |
| p.298 |
植物デッサン100531 |