Theoretical Research
Theoretical Research
On this page all the theoretical research made during this semester can be seen. It is divided into five
different groups (see below).
Books
/
Websites
/
Stig Møller Hansen
/
Discord
/
Interviews-Talks-Podcasts
Books
Walter Benjamin
Het kunstwerk in het tijdperk van zijn technische
reproduceerbaarheid
Martin Heidegger
De oorsprong van het kusntwerk
Michiel Schwarz
Cultuur Als Confrontatie
Ruben Pater
CapsLock
Lammert Kamphuis
Filosofie voor een weergaloos leven
John Berger
Ways of Seeing
Eva Wittocx
The Transhistorical Museum
Will Gompertz
Dat Kan Mijn Kleine Zusje Ook
Gabrielle Kennedy
In/search Re/search
Onno Zijlstra & Wendy Janssen
Reflecties: 25 kunstwerken 24 filosofen
Stig Møller Hansen
Stig Møller Hansen is a Creative Coding educator from Denmark, working at the Danish School of Media and
Journalism in Kopenhagen. PhD in Computational Graphic Design, Master of IT in Multimedia & Interaction
Design, BA in Graphic Communication.
Personal website
Professional website
<p class="pNormal" style="font-size: 20px;">
Question 1:
Are you a: Students, Artists, Designer,
Researchers, Hobbyists, or other
</p>
<p class="pNormal" style="font-size: 20px;">
Answer 1:
Designer + Researcher + Educator
</p>
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Question 2:
When did you started with writing code?
</p>
<p class="pNormal" style="font-size: 20px;">
Answer 2:
1989 when I bought my first computer.
</p>
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Question 3:
What was the reason or motivation
that you started with this?
</p>
<p class="pNormal" style="font-size: 20px;">
Answer 3:
Games never interested me.
I found more inspiration in the things
coming from the demoscene of the time.
Wanted to see how I could turn
code into new and exciting visuals.
</p>
<p class="pNormal" style="font-size: 20px;">
Question 4:
Which computer program do you use the most?
</p>
<p class="pNormal" style="font-size: 20px;">
Answer 4:
Processing
</p>
<p class="pNormal" style="font-size: 20px;">
Question 5:
Are there any other programming tools
you would like to experiment with?
</p>
<p class="pNormal" style="font-size: 20px;">
Answer 5:
Lots. But despite (or perhaps because of)
33 years of autodidact programming
experience, I’m still paralyzed
and terrifird about the prospect
of having to learn a new language
from scratch.
</p>
<p class="pNormal" style="font-size: 20px;">
Question 6:
What are the things you hope to
achieve by learning the write code?
</p>
<p class="pNormal" style="font-size: 20px;">
Answer 6:
Push the boundaries of visual language.
Push the field of visual
communication forward. Push for people
to break the shackles of commercial
software and reclaim the power to
create their own design tools in
the digital realm.
</p>
<p class="pNormal" style="font-size: 20px;">
Question 7:
What are the benefits of learning
how to code?
</p>
<p class="pNormal" style="font-size: 20px;">
Answer 7:
Numerous. Iterate fast. Fail fast.
Speak the language of the medium.
Think of design as a system,
not an artefact. Discover new
and fertile grounds for artists
to play in. Plus loads more.
</p>
<p class="pNormal" style="font-size: 20px;">
Question 8:
But are there also any downsides
or limitations?
</p>
<p class="pNormal" style="font-size: 20px;">
Answer 8:
Steep learning curve. Anxiety attack when
starting as a total n00b. Takes time to
build fluidity and confidence = often
your limited knowledge of code will
dictate what you can makeand not
vice versa. Plus loads more.
</p>
<p class="pNormal" style="font-size: 20px;">
Question 9:
Do you think learning code should
be mandatory within the design academy?
</p>
<p class="pNormal" style="font-size: 20px;">
Answer 9:
Yes
</p>
<p class="pNormal" style="font-size: 20px;">
Question 10:
What is your view on the future
of creative coding, how is it
going to look in the next five years?
</p>
<p class="pNormal" style="font-size: 20px;">
Answer 10:
I see increasing interest from
lots of design agencies. They are gradually
getting request from clients wanting
solutions that require the
involvement of coders. No doubt you will
have an advantage on the future job market
as a designer, if you can also understand
how to think in code
(and perhaps even dabble with it yourself).
</p>
<p class="pNormal" style="font-size: 20px;">
Question 11:
The use of creative coding is generally
thought of as more aesthetic
than functional. However it is becoming
more popular within advertising, branding
and the wider design industry (for example
Studio Dumbar). How would you describe
the intersection between graphic design
and programming?
</p>
<p class="pNormal" style="font-size: 20px;">
Answer 11:
The two distinct disciplines converged
around the time of the early internet,
when all the cool stuff on the web prompted
designers to pick up programming manuals
(Flash, Director, etc). A tech-savvy
generation of young designers weren’t at all
scared rather thrilled about exploring the
potential of code as an expressive material
through endless screens of
gnarly looking syntax. Since then the cross
pollenation of aesthetics and code has
intensified and lead us to where
we are today, where people like you,
dear author of this survey, as the most
natural thing in the world, is asking
questions about code in a community of
artists and designers. I wrote my PhD
dissertation about programming + graphic
design + education.
</p>
Websites
Graphic Designer André Burnier
Martin Heidegger Philosophy
Walter Benjamin Philosophy
Jean-Paul Sartre Philosophy
Jean-Paul Sartre Philosophy
Collection Revue
iMAL
Send motion data to PC — ZIG SIM
Projects 94_ Henrik Olesen - Domus
Projects 94_ Henrik Olesen - MoMA
Xreart
Deconstructing-code
James Bridle — Books
yannickgregoire.nl
Wat internet doet met ons brein – De Groene Amsterdammer
E-cultuur - Wikipedia
From DADA to DATA
Database as Symbolic Form - Lev Manovich, 1999
Lev Manovich - Cinema as a Cultural Interface
E-cultuur Virtueel Platform
Het Nieuwe Instituut_ Architectuur, Design en Digitale Cultuur
Computer Codes Art—A New Form of Creativity
Four Transitions – The (unstoppable) passing of time on the half a century of technological advancement
Speculative Design Archive - WNW
Wind of Boston_ Data Paintings by Refik Anadol Studios – CreativeApplications.Net
The beauty of the Anthropocene – SPECULATIVE NOW.
our course. – SPECULATIVE NOW.
Modes of Criticism 5 – Design Systems _ Modes of Criticism
Het eerste robotkunstwerk van het Guggenheim kan maar niet stoppen met schoonmaken
Creative coding programmeren als kunstvorm
Programming Posters — Slanted
Een origineel beginpunt — Essay van Steven ten Thije
‘Databases manipuleren onze identiteit’ - NEMO Kennislink
Geert Mul.nl
Geert Mul - Ron Mandos
How can we make sense of that which cannot be sensed – Sami Hammana and Yazan Khalili
Creative Coding Utrecht
Metamedia - Wikipedia
Nieuwe mediakunst
Web 2.0 - Wikipedia
De wereld is groter dan data – De Groene Amsterdammer
Master Television and Cross-Media Culture (Media Studies) - Universiteit van Amsterdam
Discord
Programmer, graphic designer, and lecturer Tim
Rodenbröker has been a big inspiration for me during this project. He developed an online
learning
platform (supported by Pateon) with a variaty of different courses to onboard creatives to the
world of creative coding. Within this online platform it is possible to communicate whith each
other to help out, find inspiration, and information. This is done thrue a Discord server, so
everything whitin this chapter is from there.
Check out his website for more
information.
Interviews/Talks/Podcasts