Creative Computation for CS1 and K9-12

We present the design and development of a new approach to teaching the introductory computing course (CS1), at both the college-level as well as K9-12, using the context of digital art and creative computation. Creative computation is a highly interdisciplinary area combining theory and methodology from computer science and engineering with aesthetic principles and creative practices from the arts. Using the Processing programming language, students create a portfolio of aesthetic visual designs that employ basic programming constructs and structures typically taught in traditional CS1 courses. The goal of this approach is to bring the excitement, creativity, and innovation fostered by the context of creative coding. We have developed a web portal containing an extensive set of resources for adoption by others. A comprehensive textbook has also been published in 2013 [Greenberg et al 2013]. We present results from a comparative study involving multiple offerings of the new course at the two lead institutions as well as several other partner institutions. We also describe the success of bringing creative computation via Processing into two very different high schools that span the range of possibilities of grades 9-12 in American education. We report on how contextualized computing that supports integration of media arts, design, and computer science can successfully motivate students to learn foundations of programming and come back for more. The work of two high school teachers with divergent pedagogical styles is presented. They successfully adapted a college-level creative computation curriculum to their individual school cultures providing a catalyst for significant increases in enrollment and female participation in high school computer science

Creative Computation for CS1 and K9-12

We present the design and development of a new approach to teaching the introductory computing course (CS1), at both the college-level as well as K9-12, using the context of digital art and creative computation. Creative computation is a highly interdisciplinary area combining theory and methodology from computer science and engineering with aesthetic principles and creative practices from the arts. Using the Processing programming language, students create a portfolio of aesthetic visual designs that employ basic programming constructs and structures typically taught in traditional CS1 courses. The goal of this approach is to bring the excitement, creativity, and innovation fostered by the context of creative coding. We have developed a web portal containing an extensive set of resources for adoption by others. A comprehensive textbook has also been published in 2013 [Greenberg et al 2013]. We present results from a comparative study involving multiple offerings of the new course at the two lead institutions as well as several other partner institutions. We also describe the success of bringing creative computation via Processing into two very different high schools that span the range of possibilities of grades 9-12 in American education. We report on how contextualized computing that supports integration of media arts, design, and computer science can successfully motivate students to learn foundations of programming and come back for more. The work of two high school teachers with divergent pedagogical styles is presented. They successfully adapted a college-level creative computation curriculum to their individual school cultures providing a catalyst for significant increases in enrollment and female participation in high school computer science

_derivations and the performer-developer : co-evolving digital artefacts and human-machine performance practices

University of Technology Sydney. Faculty of Arts and Social Sciences.This thesis concerns the development and use of interactive performance systems designed for improvised musical performance. Written from the perspective of a performer-developer, the research traces the development of personal approaches to designing for musical interactivity in human-machine performance, culminating in the development of the _derivations interactive performance system and related creative outcomes. The contributions and outcomes of this research project are as follows: - The development of novel computer music techniques for use in interactive musical performance; - A novel self-reflective study of the development and use of interactive musical performance systems from the perspective of a performer-developer; - Theoretical perspectives on the design and use of interactive musical performance systems. In addition to the published thesis, this research has generated significant creative outcomes in the form of software, studio recordings, documentation of live performances, video documentation and a publicly available website dedicated to the _derivations system. These creative outcomes are also presented as significant contributions of this research. The creative practice underpinning this research is presented as a narrative of development, tracing advancements in the author’s practice towards the stabilisation of the _derivations system and its accompanying performance practice. Designed for use by instrumental improvisers, _derivations uses live-sampling and timbral matching techniques to generate autonomous responses to the live performance of an improvising musician, engaging the performer in a playful, improvised musical dialogue. This thesis outlines both formative programming experiments and stabilised software artefacts, tracing the author’s creative practice to reveal the iterative and cyclical patterns of development engaged in throughout this research. Employing a practice-based research approach, this project uses the creative practices of software programming and interactive musical performance to surface issues, concerns and interests concerning human-machine performance practice. A self-reflective methodology is employed to engage with emergent research themes arising throughout the development of my creative artefacts. The thesis concludes with three extended reflections-on-action that interrogate theoretical concerns relevant to the interactive computer music community. The first of these reflections addresses the relationship between human and material agencies in the practice of the performer-developer, whilst the second reflection interrogates the concept of musical interpretation in the context of human-machine performance. The final reflection proposes symbiosis as a novel interactive metaphor in the development of interactive musical systems

Straddling the intersection

Music technology straddles the intersection between art and science and presents those who choose to work within its sphere with many practical challenges as well as creative possibilities. The paper focuses on four main areas: secondary education, higher education, practice and research and finally collaboration. The paper emphasises the importance of collaboration in tackling the challenges of interdisciplinarity and in influencing future technological developments

Incorporating characteristics of human creativity into an evolutionary art algorithm

A perceived limitation of evolutionary art and design algorithms is that they rely on human intervention; the artist selects the most aesthetically pleasing variants of one generation to produce the next. This paper discusses how computer generated art and design can become more creatively human-like with respect to both process and outcome. As an example of a step in this direction, we present an algorithm that overcomes the above limitation by employing an automatic fitness function. The goal is to evolve abstract portraits of Darwin, using our 2nd generation fitness function which rewards genomes that not just produce a likeness of Darwin but exhibit certain strategies characteristic of human artists. We note that in human creativity, change is less choosing amongst randomly generated variants and more capitalizing on the associative structure of a conceptual network to hone in on a vision. We discuss how to achieve this fluidity algorithmically

What's Going on in Community Media

What's Going On in Community Media shines a spotlight on media practices that increase citizen participation in media production, governance, and policy. The report summarizes the findings of a nationwide scan of effective and emerging community media practices conducted by the Benton Foundation in collaboration with the Community Media and Technology Program of the University of Massachusetts, Boston. The scan includes an analysis of trends and emerging practices; comparative research; an online survey of community media practitioners; one-on-one interviews with practitioners, funders and policy makers; and the information gleaned from a series of roundtable discussions with community media practitioners in Boston, Chicago, Minneapolis/St. Paul, and Portland, Oregon

Herding cats: observing live coding in the wild

After a momentous decade of live coding activities, this paper seeks to explore the practice with the aim of situating it in the history of contemporary arts and music. The article introduces several key points of investigation in live coding research and discusses some examples of how live coding practitioners engage with these points in their system design and performances. In the light of the extremely diverse manifestations of live coding activities, the problem of defining the practice is discussed, and the question raised whether live coding will actually be necessary as an independent category

Lisp, Jazz, Aikido -- Three Expressions of a Single Essence

The relation between Science (what we can explain) and Art (what we can't) has long been acknowledged and while every science contains an artistic part, every art form also needs a bit of science. Among all scientific disciplines, programming holds a special place for two reasons. First, the artistic part is not only undeniable but also essential. Second, and much like in a purely artistic discipline, the act of programming is driven partly by the notion of aesthetics: the pleasure we have in creating beautiful things. Even though the importance of aesthetics in the act of programming is now unquestioned, more could still be written on the subject. The field called "psychology of programming" focuses on the cognitive aspects of the activity, with the goal of improving the productivity of programmers. While many scientists have emphasized their concern for aesthetics and the impact it has on their activity, few computer scientists have actually written about their thought process while programming. What makes us like or dislike such and such language or paradigm? Why do we shape our programs the way we do? By answering these questions from the angle of aesthetics, we may be able to shed some new light on the art of programming. Starting from the assumption that aesthetics is an inherently transversal dimension, it should be possible for every programmer to find the same aesthetic driving force in every creative activity they undertake, not just programming, and in doing so, get deeper insight on why and how they do things the way they do. On the other hand, because our aesthetic sensitivities are so personal, all we can really do is relate our own experiences and share it with others, in the hope that it will inspire them to do the same. My personal life has been revolving around three major creative activities, of equal importance: programming in Lisp, playing Jazz music, and practicing Aikido. But why so many of them, why so different ones, and why these specifically? By introspecting my personal aesthetic sensitivities, I eventually realized that my tastes in the scientific, artistic, and physical domains are all motivated by the same driving forces, hence unifying Lisp, Jazz, and Aikido as three expressions of a single essence, not so different after all. Lisp, Jazz, and Aikido are governed by a limited set of rules which remain simple and unobtrusive. Conforming to them is a pleasure. Because Lisp, Jazz, and Aikido are inherently introspective disciplines, they also invite you to transgress the rules in order to find your own. Breaking the rules is fun. Finally, if Lisp, Jazz, and Aikido unify so many paradigms, styles, or techniques, it is not by mere accumulation but because they live at the meta-level and let you reinvent them. Working at the meta-level is an enlightening experience. Understand your aesthetic sensitivities and you may gain considerable insight on your own psychology of programming. Mine is perhaps common to most lispers. Perhaps also common to other programming communities, but that, is for the reader to decide..