Year 1 Creative Projects (introduction to creative practice)
NOTE : This page will be updated as the course progresses.
This course is intended as an introduction to practical creative projects.
You work in groups to conceive, develop and produce finished practical software projects in creative computing, making the fullest possible use of your creative and coding skills at level 1. Each project is uniquely specified to allow students the fullest possible creative choice, and projects are mentored by course leaders and professionals to ensure that they are at the appropriate level, and to provide students with specific programming and practical suggestions where required. All student projects must feature the creative use of digital media technologies through applied programming.
In addition to allowing students to develop their skills in a chosen area of interest, this unit encourages students to make coherent judgments regarding the application of their computing skills as they develop and reinforce their technical knowledge through creative projects.
Some of the skills you will be expected to learn and use are covered in the following online resources. You will have come across these in ‘Introduction to Digital Media’.
Week 1 : Introduction to the Course
NOTE : Visiting students will need to complete their commentary by 28th March 2014
Week 2 : Animation
Week 3 : Sound
Week 4 :
Week 5 : PRESENTATIONS
Week 6 : Audio DSP
Intro to Audio DSP
Here are some examples of how to do analysis using my Maxim library (All these examples take a while to load – wait for it to load then click/drag in the screen somewhere)
These examples of how to create basic samplers / synths in processing with Maxim.js
Download code for all examples :
Processing : processing.org/
Daniel Shiffman :
Processing Workbook : Creative Computing Vol1.
Design Basics : gdbasics.com
Web Audio API Examples :
JQuery Mobile : jquerymobile.com/
Introduction to jQuery
A wireframe is a mock up of your project – a visual plan with indications of what will happen. It need not be complex and can even be hand drawn. It must, however, be clear.
Further reading :
Joshua Noble, “Programming Interactivity: A Designer’s Guide to Processing, Arduino, and openFrameworks”, O’Reilly Media, 2009
Art & Physics: Parallel Visions in Space, Time, and Light (P.S.) Leonard Shlain
Design, Form, and Chaos
Mr. Paul Rand
Visual display of quantative information
Chapter Zero: Fundamental Notions of Abstract Mathematics (2nd Edition)
The Psychology of Computer Programming: Silver Anniversary Edition
Gerald M. Weinberg
Phantoms in the Brain: Probing the Mysteries of the Human Mind
V. S. Ramachandran, Sandra Blakeslee
Dynamics: The Geometry of Behavior (Studies in Nonlinearity)
Ralph Abraham, Christopher D. Shaw
Andy Hunt, Ross Kirk, Richard Orton, Benji Merrison, “A generic model for compositional approaches to audiovisual media”, Cambridge Journals, 1998
Rodrigo F. Cádiz, “Fuzzy logic in the arts: applications in audiovisual composition and sound synthesis”, NAFIPS, 2005
Michael Faulkner/D-FUSE, “vj audio-visual art + vj culture”, Laurence King Publishing Ltd, 2006
Mick Grierson, “Audiovisual composition”, into the pill, 2007