This handout is also available in PDF.
Note: We will revisit the readings for the second half of the semester during our meeting of week eight.
|1||Friday, 31 August 2012||No reading. First class.||Rebelsky|
|2||Friday, 7 September 2012||
Clayson, James (2008).
Radical Bricolage: Building Coherence in the Liberal Arts Using Art,
Modelling, and Language.
International Journal of Education Through Art, 4 (2).
Clayson, James (2007). Radical Bricolage - Making the Liberal Arts Coherent. From Proceedings of Eurologo 2007.
|Sinan and Spencer|
|3||Friday, 14 September 2012||
Pearson, Matt (2011). Introduction to Generative Art. Manning.
|Adriana and Max|
|4||Friday, 21 September 2012||
Mitchell, William J., Inouye, Alan S., and Blumental, Marjory S., Eds.
Creative Practices. Chapter 2 of Beyond Productivity: Information
Technology, Innovation, and Creativity.
|Tolu and Kate|
|5||Friday, 28 September 2012||
No class. Sam at conference on
Visual Learning: Transforming the Liberal Arts.
|6||Friday, 5 October 2012||
Paul A. Fishwick. 2006. Aesthetic Computing. Chapter 1 of Paul A. Fishwick (ed.), Aesthetic Computing. Cambridge, MA: MIT Press.
|Radhika and Chike|
|7||Friday, 12 October 2012||
Temporary Organisation for the Permanence of Live AudioVisual Programming, A Manifesto.
Wang, G. and Cook, P. R. (2004). On-the-fly programming: using code as an expressive musical instrument. In Proceedings of the 2004 Conference on New Interfaces for Musical Expression, pages 138-143.
Nick Collins (2011). Live coding of Consequence. Leonardo 44 (3), pp. 207-211.
|Colin B. and Jennelle|
|8||Friday, 19 October 2012||Victoria & Albert Museum (2009). V&A Pattern: Digital Pioneers. (Primarily a collection of digital artworks.)||Opavaksy|
|9||Friday, 2 November 2012||Wright, Richard. From System to Software: Computer Programming and the Death of Constructivist Art. In Brown, et al., eds. White Heat Cold Logic: British Computer Art 1960-1980.||Jennelle.|
|10||Friday, 9 November 2012||
Rosen, Margit, Ed. (2011). A Little-Known Story about a Movement,
a Magazine, and the Computer's Arrival in Art: New Tendencies and Bit
International, 1961-1973, including.
Franke, Herbert W. (orig. 1971, translation 2011). Social Aspects of Computer Art. pp. 435-437.
Morellet, Francois (orig. 1962, translation 2011). The Case for Programmed Experimental Painting. pp. 92-93.
Munari, Bruno (orig. 1964, reprinted 2011). Arte Programmata. p. 176.
Nake, Frieder (orig. 1968). There Should Be No Computer Art. pp. 466-467.
Nees, Georg (orig. 1968, translation 2011). Computer Graphics and Visual Translations. pp. 320-325.
|Colin and Sinan.|
|11||Friday, 16 November 2012||Selections from Meada, John (1999). Design by Numbers.||Tolu and Kate.|
|12||Friday, 30 November 2012||Lewis, Matthew. Evolutionary Visual Art and Design. In Romero and Machado (eds.) The Art of Artificial Evolution: A Handbook of Evolutionary Art and Music.||Spencer and Chike.|
|13||Friday, 7 December 2012||Selections from Lopes, Dominic McIver (2010). A Philosophy of Computer Art.||Erik and Radhika.|
|14||Friday, 14 December 2012||No reading. Final class. Debrief and wrap up.||Sam and Adriana.|
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