Tomorrow could be different
R = Proces G = Project B = Research
Wave forms Random Function TouchDesigner Audio PixelSorting Typographic Creative Coding CELLULAR AUTOMATA neither is without the other construction neither is without the other Transition of values Spotify streaming history I accept, but do not read Poster 2.0 Theoretical Research Visual Research Dummy Contact Concept

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 Walter Benjamin's groundbreaking essay explores how the age of mass media means audiences can listen to or see a work of art repeatedly - and what the troubling social and political implications of this are. What was lacking in Benjamin's view, through the use of mechanical reproduction, was the aura of the work. The aura being the unique “presence in time and space and its originality”.

Walter Benjamin
Het kunstwerk in het tijdperk van zijn technische reproduceerbaarheid

DeOorsprongVanHetKunstwerk The Origin of the Work of Art is the title of an article by German philosopher Martin Heidegger. In his article, Heidegger explains the essence of art in terms of the concepts of being and truth. He argues that art is not only a way of expressing the element of truth in a culture, but the means of creating it and providing a springboard from which "that which is" can be revealed.

Martin Heidegger
De oorsprong van het kusntwerk

CultuurAlsConfrontatie Digital media in technological culture. A cultural policy advice to State Secretary Dr F. van der Ploeg. In his essay Michiel Schwarz calls for an arts and culture policy that is anchored in a cultural anchored in a cultural-policy vision of the network society and technological culture. culture. Michiel Schwarz is an independent consultant in the field of technological culture.

Michiel Schwarz
Cultuur Als Confrontatie

CapsLock CAPS LOCK shows how graphic design and capitalism are inextricably linked. The book features designed objects and also examines how the study, work, and professional practice of designers support the market economy. Six radical design cooperatives are featured that resist capitalist thinking in their own way, hoping to inspire a more socially aware graphic design.

Ruben Pater
CapsLock

Lammert Kamphuis Lorem ipsum dolor sit amet, consectetur adipiscing elit. Praesent sit amet arcu nec mauris sollicitudin tincidunt. Ut eu molestie neque. Nunc placerat, urna non tempus vehicula, mi felis vulputate dolor, vitae ornare tortor lectus vitae massa. Quisque at condimentum arcu. Proin faucibus nibh lorem, quis fringilla justo scelerisque vitae. Pellentesque eu dignissim lectus, ac euismod diam. Aenean eget elit ac magna rhoncus ornare. Vestibulum laoreet est aliquam congue varius. Duis nisi nisi, porttitor non imperdiet in, congue id turpis.

Lammert Kamphuis
Filosofie voor een weergaloos leven

John Berger John Bergers Ways of Seeing changed the way people think about painting and art criticism. This work shows, through word and image, how what we see is always influenced by a whole hose of assumptions concerning that nature of beauty, truth, civilization, form, taste, class and gender. Exploring the layers of meaning within oil paintings, photographs and graphic art, Berger argues that when we see, we are not just looking - we are reading the language of images.

John Berger
Ways of Seeing

Eva Wittocx Since the turn of this century, we have witnessed a significant expanse in the field of transhistorical exhibition practices. A range of curatorial efforts have emerged in which objects and artefacts from various periods and art-historical and cultural contexts are combined in display. Such experiments in transcending art-historical boundaries can potentially result in both fresh insights into the workings of entrenched historical presumptions.

Eva Wittocx
The Transhistorical Museum

Will Gompertz What is modern art? Why do we either love it or loathe it? And why is it worth so much damn money? In this book you learn: not all conceptual art is bollocks; Picasso is king (but Cezanne is better); Pollock is no drip; Dali painted with his moustache; a urinal changed the course of art, why your five year-old really couldn't do it. What Are You Looking At? asks all the basic questions that you were too afraid to ask.

Will Gompertz
Dat Kan Mijn Kleine Zusje Ook

InSearch:ReSearch IN/Search RE/Search offers a unique insight into the wide range of appearances of the intersection between art, design and research. The book is organized into twelve substantive chapters. All these themes are analysed through art and design projects. The projects are further contextualised by journalistic explorations and academic reflections on similar matters, grappled by varied research outlooks.

Gabrielle Kennedy
In/search Re/search

Reflecties In this introduction to aesthetics, Onno Zijlstra and Wendy Janssen are inspired by the visual arts. I In twenty-five concise chapters, the authors let a philosopher think along about the meaning of a work of art, based on their fascination with it. In this way, the reader also gains access to ideas from aesthetics. Image and philosophy explain each other.

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>
                    
 
<p class="pNormal" style="font-size: 20px;">
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>
                    
 
<p class="pNormal" style="font-size: 20px;">
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

André

Graphic Designer André Burnier

OorsprongVanHetKunstwerk

Martin Heidegger Philosophy

kunstwerk

Walter Benjamin Philosophy

Sartre

Jean-Paul Sartre Philosophy

Sartre

Jean-Paul Sartre Philosophy

Collection

Collection Revue

I-mal

iMAL

Data

Send motion data to PC — ZIG SIM

Henrik

Projects 94_ Henrik Olesen - Domus

Henrik

Projects 94_ Henrik Olesen - MoMA

Xreart

Xreart

deconstructing-code

Deconstructing-code

James Bridle

James Bridle — Books

yannickgregoire.nl

yannickgregoire.nl

GroeneAmsterdammer

Wat internet doet met ons brein – De Groene Amsterdammer

E-cultuur

E-cultuur - Wikipedia

DADA

From DADA to DATA

Lev Manovich

Database as Symbolic Form - Lev Manovich, 1999

Lev Manovich

Lev Manovich - Cinema as a Cultural Interface

VirtueelPlatform

E-cultuur Virtueel Platform

Het Nieuwe Instituut

Het Nieuwe Instituut_ Architectuur, Design en Digitale Cultuur

ComputerCode

Computer Codes Art—A New Form of Creativity

Four

Four Transitions – The (unstoppable) passing of time on the half a century of technological advancement

SpeculativeDesignArchive

Speculative Design Archive - WNW

Refik

Wind of Boston_ Data Paintings by Refik Anadol Studios – CreativeApplications.Net

Anthropocene

The beauty of the Anthropocene – SPECULATIVE NOW.

ourcourse

our course. – SPECULATIVE NOW.

ModesofCritisism5

Modes of Criticism 5 – Design Systems _ Modes of Criticism

robotkunstwerk

Het eerste robotkunstwerk van het Guggenheim kan maar niet stoppen met schoonmaken

kunstvorm

Creative coding programmeren als kunstvorm

ProgrammingPoster

Programming Posters — Slanted

beginpunt

Een origineel beginpunt — Essay van Steven ten Thije

manipulatie

‘Databases manipuleren onze identiteit’ - NEMO Kennislink

GeertMul

Geert Mul.nl

GeertMul

Geert Mul - Ron Mandos

sensed

How can we make sense of that which cannot be sensed – Sami Hammana and Yazan Khalili

Creative Coding Utrecht

Creative Coding Utrecht

Metamedia - Wikipedia

Metamedia - Wikipedia

mediakunst

Nieuwe mediakunst

web2.0 - Wikipedia

Web 2.0 - Wikipedia

DeWereldIsGroterDanData

De wereld is groter dan data – De Groene Amsterdammer

UniversiteitvanAmsterdam

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