Fractal.Invaders, Substrate (Interview with Jared Tarbell) - Processing

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Processing… Processing relates software concepts to principles of visual form, motion, and interaction. It integrates a programming language, development environment, and teaching methodology into a unifi ed system. Processing was created to teach fundamentals of computer programming within a visual context, to serve as a software sketchbook, and to be used as a production tool. Students, artists, design professionals, and researchers use it for learning, prototyping, and production. The Processing language is a text programming language specifi cally designed to generate and modify images. Processing strives to achieve a balance between clarity and advanced features. Beginners can write their own programs after only a few minutes of instruction, but more advanced users can employ and write libraries with additional functions. The system facilitates teaching many computer graphics and interaction techniques including vector/raster drawing, image processing, color models, mouse and keyboard events, network communication, and object-oriented programming. Libraries easily extend Processing’s ability to generate sound, send/receive data in diverse formats, and to import/export 2D and 3D fi le formats. Software A group of beliefs about the software medium set the conceptual foundation for Processing and inform decisions related to designing the software and environment. Software is a unique medium with unique qualities Concepts and emotions that are not possible to express in other media may be expressed in this medium. Software requires its own terminology and discourse and should not be evaluated in relation to prior media such as fi lm, photography, and painting. History shows that technologies such as oil paint, cameras, and fi lm have changed artistic practice and discourse, and while we do not claim that new technologies improve art, we do feel they enable different forms of communication and expression. Software holds a unique position among artistic media because of its ability to produce dynamic forms, process gestures, defi ne behavior, simulate natural systems, and integrate other media including sound, image, and text. Every programming language is a distinct material As with any medium, different materials are appropriate for different tasks. When designing a chair, a designer decides to use steel, wood or other materials based on the intended use and on personal ideas and tastes. This scenario transfers to writing software. The abstract animator and programmer Larry Cuba describes his experience this way: “Each of my fi lms has been made on a different system using a different 1
programming language. A programming language gives you the power to express some ideas, while limiting your abilities to express others.” 1 There are many programming languages available from which to choose, and some are more appropriate than others depending on the project goals. The Processing language utilizes a common computer programming syntax that makes it easy for people to extend the knowledge gained through its use to many diverse programming languages. Sketching is necessary for the development of ideas It is necessary to sketch in a medium related to the fi nal medium so the sketch can approximate the fi nished product. Painters may construct elaborate drawings and sketches before executing the fi nal work. Architects traditionally work fi rst in cardboard and wood to better understand their forms in space. Musicians often work with a piano before scoring a more complex composition. To sketch electronic media, it’s important to work with electronic materials. Just as each programming language is a distinct material, some are better for sketching than others, and artists working in software need environments for working through their ideas before writing fi nal code. Processing is built to act as a software sketchbook, making it easy to explore and refi ne many different ideas within a short period of time. Programming is not just for engineers Many people think programming is only for people who are good at math and other technical disciplines. One reason programming remains within the domain of this type of personality is that the technically minded people usually create programming languages. It is possible to create different kinds of programming languages and environments that engage people with visual and spatial minds. Alternative languages such as Processing extend the programming space to people who think differently. An early alternative language was Logo, designed in the late 1960s by Seymour Papert as a language concept for children. Logo made it possible for children to program many different media, including a robotic turtle and graphic images on screen. A more contemporary example is the Max programming environment developed by Miller Puckette in the 1980s. Max is different from typical languages; its programs are created by connecting boxes that represent the program code, rather than lines of text. It has generated enthusiasm from thousands of musicians and visual artists who use it as a base for creating audio and visual software. The same way graphical user interfaces opened up computing for millions of people, alternative programming environments will continue to enable new generations of artists and designers to work directly with software. We hope Processing will encourage many artists and designers to tackle software and that it will stimulate interest in other programming environments built for the arts. 2 Processing...
Page 2 and 3: Processing: a programming handbook
Page 4 and 5: 29 34 45 57 67 72 91 99 113 121 131
Page 6 and 7: 88 342 55 65 305 220 98 319 323 351
Page 8 and 9: 29 30 44 55 63 70 88 97 113 124 128
Page 10 and 11: 51 51 53 57 61 61 65 67 69 69 71 72
Page 12 and 13: 237 237 238 239 242 243 245 245 249
Page 14 and 15: 501 503 507 511 515 519 519 521 522
Page 18 and 19: Literacy Processing does not presen
Page 20 and 21: languages suitable for different co
Page 22 and 23: The Processing website, www.process
Page 24 and 25: Using Processing Download, Install
Page 26 and 27: Sketch_123.java The JAVA fi le gene
Page 28 and 29: 13 Using Processing int x = 0; // S
Page 30 and 31: 15 Using Processing } } diagonals(d
Page 33 and 34: Shape 1: Coordinates, Primitives Th
Page 35 and 36: A position on the screen is compris
Page 37 and 38: While it’s possible to draw any l
Page 39 and 40: triangle(55, 9, 110, 100, 85, 100);
Page 41 and 42: Drawing order The order in which sh
Page 43 and 44: ect(33, 20, 33, 60); fill(255, 204)
Page 45 and 46: the width and the fourth parameter
Page 47 and 48: also use this range. Setting the re
Page 49 and 50: ackground(56, 90, 94); smooth(); st
Page 51 and 52: RGB HSB HEX 255 0 0 360 100 100 #FF
Page 53 and 54: Change the brightness, hue and satu
Page 56 and 57: Synthesis 1: Form and Code This uni
Page 58 and 59: Riley Waves. These images were infl
Page 61 and 62: Substrate, 2004. Image courtesy of
Page 63 and 64: 159 Interviews 1: Print
Page 65 and 66: When a program starts, mouseX and m
Page 67 and 68:
208 Input 1: Mouse I // Exponential
Page 69 and 70:
Using the mouseX and mouseY variabl
Page 71 and 72:
Mouse buttons Computer mice and oth
Page 73 and 74:
Draw an ellipse to show the positio
Page 76 and 77:
Rafael Lozano-Hemmer. Standards and
Page 78 and 79:
obtained, in this case, with the he
Page 80 and 81:
Example 1. Detects motion by compar
Page 82 and 83:
detecting people in videos of offi
Page 84 and 85:
trajectories in 2D space. EyesWeb
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color currColor = video.pixels[i];
Page 88 and 89:
Example 3: Detection through bright
Page 90 and 91:
Resources Computer vision software
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map(), 81 mask(), 354 max(), 50 mil
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C, 7, 264, 515-517, 522-523, 592, 6
Page 96 and 97:
Listening Post (Rubin, Hansen), 514
Page 98:
Spark Fun Electronics, 640 SQL (Str
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Fractal.Invaders, Substrate (Interview with Jared Tarbell) - Processing

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