Synopses & Reviews
andlt;Pandgt;It has been more than twenty years since desktop publishing reinvented design, and it's clear that there is a growing need for designers and artists to learn programming skills to fill the widening gap between their ideas and the capability of their purchased software. This book is an introduction to the concepts of computer programming within the context of the visual arts. It offers a comprehensive reference and text for Processing (www.processing.org), an open-source programming language that can be used by students, artists, designers, architects, researchers, and anyone who wants to program images, animation, and interactivity. The ideas in Processing have been tested in classrooms, workshops, and arts institutions, including UCLA, Carnegie Mellon, New York University, and Harvard University. Tutorial units make up the bulk of the book and introduce the syntax and concepts of software (including variables, functions, and object-oriented programming), cover such topics as photography and drawing in relation to software, and feature many short, prototypical example programs with related images and explanations. More advanced professional projects from such domains as animation, performance, and typography are discussed in interviews with their creators. andquot;Extensionsandquot; present concise introductions to further areas of investigation, including computer vision, sound, and electronics. Appendixes, references to additional material, and a glossary contain additional technical details. Processing can be used by reading each unit in order, or by following each category from the beginning of the book to the end. The Processing software and all of the code presented can be downloaded and run for future exploration.Includes essays by Alexander R. Galloway, Golan Levin, R. Luke DuBois, Simon Greenwold, Francis Li, and Hernando Barragán and interviews with Jared Tarbell, Martin Wattenberg, James Paterson, Erik van Blockland, Ed Burton, Josh On, Jürg Lehni, Auriea Harvey and Michaël Samyn, Mathew Cullen and Grady Hall, Bob Sabiston, Jennifer Steinkamp, Ruth Jarman and Joseph Gerhardt, Sue Costabile, Chris Csikszentmihályi, Golan Levin and Zachary Lieberman, and Mark Hansen.Casey Reas is Associate Professor in the Design Media Arts Department at the University of California, Los Angeles. Ben Fry is Nierenburg Chair of Design in the School of Design at Carnegie Mellon University, 2006-2007.andlt;/Pandgt;
Review
" Processing, the handbook and tutorial, is an indispensable companion to Processing, the integrated programming language and environment that has developed from phenomenon to revolution. Bridging the gap between programming and visual arts, the Processing handbook, in a concise way, connects software elements to principles of visual form, motion, and interaction. The book"s modular structure allows for different combinations of its units and self-directed reading. Interviews with artists who create software-based works and extension chapters that expand software practice into computer vision, sound, and electronics successfully connect the realms of art and technology. Now used by artists, visual designers, and in educational institutions around the world, Processing has been groundbreaking not only as an alternative language for expanding programming space, but as an attempt to nurture programming literacy in the broader context of art and cultural production."Christiane Paul , Adjunct Curator of New Media Arts, Whitney Museum of American Art The MIT Press
Review
"With Processing, Casey Reas and Ben Fry have opened up the world of programming to artists and designers in a manner that inspires playfulness and creativity with code." Red Burns , Chair and Arts Professor, Interactive Telecommunications Program, Tisch School of the Arts, New York University The MIT Press
Review
"A whole generation of designers, artists, students, and professors have been influenced by Processing. Now, a handbook is published that goes far beyond explaining how to handle the technology and boldly reveals the potential future for the electronic sketchbook."Joachim Sauter , University of the Arts, Berlin, Founder, Art+Com The MIT Press
Review
"This is an elegant and practical introduction to programming for artists and designers. It is rigorously grounded, informed by a vast amount of practical experience, and visually compelling. The worked examples are terrific. There's no better starting point for visual artists who want to learn how to think computationally, or for programmers who want to give visual and spatial expression to their ideas."
—William J. Mitchell, Program in Media Arts and Sciences, MIT"With Processing, Casey Reas and Ben Fry have opened up the world of programming to artists and designers in a manner that inspires playfulness and creativity with code."
—Red Burns, Chair and Arts Professor, Interactive Telecommunications Program, Tisch School of the Arts, New York University"Processing, the handbook and tutorial, is an indispensable companion to Processing, the integrated programming language and environment that has developed from phenomenon to revolution. Bridging the gap between programming and visual arts, the Processing handbook, in a concise way, connects software elements to principles of visual form, motion, and interaction. The book's modular structure allows for different combinations of its units and self-directed reading. Interviews with artists who create software-based works and extension chapters that expand software practice into computer vision, sound, and electronics successfully connect the realms of art and technology. Now used by artists, visual designers, and in educational institutions around the world, Processing has been groundbreaking not only as an alternative language for expanding programming space, but as an attempt to nurture programming literacy in the broader context of art and cultural production."
—Christiane Paul, Adjunct Curator of New Media Arts, Whitney Museum of American Art"Processing is a milestone not only in the history of computer software, of information design, and of the visual arts, but also in social history. Many have commented on the pragmatic impact of the open source movement, but it is time to also consider Processing's sociological and psychological consequences. Processing invites people to tinker, and tinkering is the first step for any scientific and artistic creation. After the tinkering, it leads designers to their idea of perfection. It enables complexity, yet it is approachable; it is rigorous, yet malleable. Its home page exudes the enthusiasm of so many designers and artists from all over the world, overflowing with ideas and proud to be able to share. Processing is a great gift to the world."
—Paola Antonelli, Curator, Architecture and Design, MOMA"This long-awaited book is more than just a software guide; it is a tool for unlocking a powerful new way of thinking, making, and acting. Not since the Bauhaus have visual artists revisited technology in such a world-changing way. Ben Fry and Casey Reas have helped a growing community of visual producers open up fresh veins of expression. Their work proves that code is open to designers, architects, musicians, and animators, not just to engineers. Providing a powerful alternative to proprietary software, Processing is part of a new social phenomenon in the arts that speaks to self-education and networked engagement."
—Ellen Lupton, Director of the graphic design MFA program at Maryland Institute College of Art, Baltimore, and author of D.I.Y: Design It Yourself"A whole generation of designers, artists, students, and professors have been influenced by Processing. Now, a handbook is published that goes far beyond explaining how to handle the technology and boldly reveals the potential future for the electronic sketchbook."
—Joachim Sauter, University of the Arts, Berlin, Founder, Art+Com
Review
"Processing is a milestone not only in the history of computer software, of information design, and of the visual arts, but also in social history. Many have commented on the pragmatic impact of the open source movement, but it is time to also consider Processing"s sociological and psychological consequences. Processing invites people to tinker, and tinkering is the first step for any scientific and artistic creation. After the tinkering, it leads designers to their idea of perfection. It enables complexity, yet it is approachable; it is rigorous, yet malleable. Its home page exudes the enthusiasm of so many designers and artists from all over the world, overflowing with ideas and proud to be able to share. Processing is a great gift to the world."Paola Antonelli , Curator, Architecture and Design, MOMA The MIT Press
Review
"This is an elegant and practical introduction to programming for artists and designers. It is rigorously grounded, informed by a vast amount of practical experience, and visually compelling. The worked examples are terrific. There's no better starting point for visual artists who want to learn how to think computationally, or for programmers who want to give visual and spatial expression to their ideas." William J. Mitchell , Program in Media Arts and Sciences, MIT The MIT Press
Review
"This long-awaited book is more than just a software guide; it is a tool for unlocking a powerful new way of thinking, making, and acting. Not since the Bauhaus have visual artists revisited technology in such a world-changing way. Ben Fry and Casey Reas have helped a growing community of visual producers open up fresh veins of expression. Their work proves that code is open to designers, architects, musicians, and animators, not just to engineers. Providing a powerful alternative to proprietary software, Processing is part of a new social phenomenon in the arts that speaks to self-education and networked engagement."Ellen Lupton , Director of the graphic design MFA program at Maryland Institute College of Art, Baltimore, and author of D.I.Y: Design It Yourself The MIT Press
Review
andlt;Pandgt;"A whole generation of designers, artists, students, and professors have been influenced by Processing. Now, a handbook is published that goes far beyond explaining how to handle the technology and boldly reveals the potential future for the electronic sketchbook."andlt;Bandgt;Joachim Sauter andlt;/Bandgt;, University of the Arts, Berlin, Founder, Art+Comandlt;/Pandgt; The MIT Press The MIT Press The MIT Press
Review
andlt;Pandgt;" andlt;Iandgt;Processing,andlt;/Iandgt; the handbook and tutorial, is an indispensable companion to Processing, the integrated programming language and environment that has developed from phenomenon to revolution. Bridging the gap between programming and visual arts, the andlt;Iandgt;Processingandlt;/Iandgt; handbook, in a concise way, connects software elements to principles of visual form, motion, and interaction. The book"s modular structure allows for different combinations of its units and self-directed reading. Interviews with artists who create software-based works and extension chapters that expand software practice into computer vision, sound, and electronics successfully connect the realms of art and technology. Now used by artists, visual designers, and in educational institutions around the world, Processing has been groundbreaking not only as an alternative language for expanding programming space, but as an attempt to nurture programming literacy in the broader context of art and cultural production."andlt;Bandgt;Christiane Paul andlt;/Bandgt;, Adjunct Curator of New Media Arts, Whitney Museum of American Artandlt;/Pandgt; The MIT Press
Review
andlt;Pandgt;"Processing is a milestone not only in the history of computer software, of information design, and of the visual arts, but also in social history. Many have commented on the pragmatic impact of the open source movement, but it is time to also consider Processing"s sociological and psychological consequences. andlt;Iandgt;Processingandlt;/Iandgt; invites people to tinker, and tinkering is the first step for any scientific and artistic creation. After the tinkering, it leads designers to their idea of perfection. It enables complexity, yet it is approachable; it is rigorous, yet malleable. Its home page exudes the enthusiasm of so many designers and artists from all over the world, overflowing with ideas and proud to be able to share. Processing is a great gift to the world."andlt;Bandgt;Paola Antonelli andlt;/Bandgt;, Curator, Architecture and Design, MOMAandlt;/Pandgt; The MIT Press
Review
andlt;Pandgt;"This is an elegant and practical introduction to programming for artists and designers. It is rigorously grounded, informed by a vast amount of practical experience, and visually compelling. The worked examples are terrific. There's no better starting point for visual artists who want to learn how to think computationally, or for programmers who want to give visual and spatial expression to their ideas." andlt;Bandgt;William J. Mitchell andlt;/Bandgt;, Program in Media Arts and Sciences, MITandlt;/Pandgt; The MIT Press
Review
andlt;Pandgt;"This long-awaited book is more than just a software guide; it is a tool for unlocking a powerful new way of thinking, making, and acting. Not since the Bauhaus have visual artists revisited technology in such a world-changing way. Ben Fry and Casey Reas have helped a growing community of visual producers open up fresh veins of expression. Their work proves that code is open to designers, architects, musicians, and animators, not just to engineers. Providing a powerful alternative to proprietary software, Processing is part of a new social phenomenon in the arts that speaks to self-education and networked engagement."andlt;Bandgt;Ellen Lupton andlt;/Bandgt;, Director of the graphic design MFA program at Maryland Institute College of Art, Baltimore, and author of andlt;Iandgt;D.I.Y: Design It Yourselfandlt;/Iandgt;andlt;/Pandgt; The MIT Press
Review
andlt;Pandgt;"With andlt;Iandgt;Processing,andlt;/Iandgt; Casey Reas and Ben Fry have opened up the world of programming to artists and designers in a manner that inspires playfulness and creativity with code." andlt;Bandgt;Red Burns andlt;/Bandgt;, Chair and Arts Professor, Interactive Telecommunications Program, Tisch School of the Arts, New York Universityandlt;/Pandgt;
Synopsis
It has been more than twenty years since desktop publishing reinvented design, and it's clear that there is a growing need for designers and artists to learn programming skills to fill the widening gap between their ideas and the capability of their purchased software.
This book is an introduction to the concepts of computer programming within the context of the visual arts. It offers a comprehensive reference and text for Processing (www.processing.org), an open-source programming language that can be used by students, artists, designers, architects, researchers, and anyone who wants to program images, animation, and interactivity. The ideas in Processing have been tested in classrooms, workshops, and arts institutions, including UCLA, Carnegie Mellon, New York University, and Harvard University. Tutorial units make up the bulk of the book and introduce the syntax and concepts of software (including variables, functions, and object-oriented programming), cover such topics as photography and drawing in relation to software, and feature many short, prototypical example programs with related images and explanations.
More advanced professional projects from such domains as animation, performance, and typography are discussed in interviews with their creators. "Extensions" present concise introductions to further areas of investigation, including computer vision, sound, and electronics. Appendixes, references to other material, and a glossary contain additional technical details. Processing can be used by reading each unit in order, or by following each category from the beginning of the book to the end. The Processing software and all of the code presented can be downloadedand run for future exploration.
Synopsis
An introduction to the ideas of computer programming within the context of the visual arts that also serves as a reference and text for Processing, an open-source programming language designed for creating images, animation, and interactivity.
Synopsis
It has been more than twenty years since desktop publishing reinvented design, and it's clear that there is a growing need for designers and artists to learn programming skills to fill the widening gap between their ideas and the capability of their purchased software. This book is an introduction to the concepts of computer programming within the context of the visual arts. It offers a comprehensive reference and text for Processing (www.processing.org), an open-source programming language that can be used by students, artists, designers, architects, researchers, and anyone who wants to program images, animation, and interactivity.
Synopsis
It has been more than twenty years since desktop publishing reinventeddesign, and it's clear that there is a growing need for designers and artists tolearn programming skills to fill the widening gap between their ideas and thecapability of their purchased software. This book is an introduction to the conceptsof computer programming within the context of the visual arts. It offers acomprehensive reference and text for Processing (www.processing.org), an open-sourceprogramming language that can be used by students, artists, designers, architects, researchers, and anyone who wants to program images, animation, and interactivity.The ideas in Processing have been tested in classrooms, workshops, and artsinstitutions, including UCLA, Carnegie Mellon, New York University, and HarvardUniversity. Tutorial units make up the bulk of the book and introduce the syntax andconcepts of software (including variables, functions, and object-orientedprogramming), cover such topics as photography and drawing in relation to software, and feature many short, prototypical example programs with related images andexplanations. More advanced professional projects from such domains as animation, performance, and typography are discussed in interviews with their creators.Extensions present concise introductions to further areas ofinvestigation, including computer vision, sound, and electronics. Appendixes, references to additional material, and a glossary contain additional technicaldetails. Processing can be used by reading each unit in order, or by following eachcategory from the beginning of the book to the end. The Processing software and allof the code presented can be downloaded and run for future exploration.Includesessays by Alexander R. Galloway, Golan Levin, R. Luke DuBois, Simon Greenwold, Francis Li, and Hernando Barrag?n and interviews with Jared Tarbell, MartinWattenberg, James Paterson, Erik van Blockland, Ed Burton, Josh On, J?rg Lehni, Auriea Harvey and Micha?l Samyn, Mathew Cullen and Grady Hall, Bob Sabiston, Jennifer Steinkamp, Ruth Jarman and Joseph Gerhardt, Sue Costabile, ChrisCsikszentmih?lyi, Golan Levin and Zachary Lieberman, and Mark Hansen.Casey Reas isAssociate Professor in the Design - Media Arts Department at the University ofCalifornia, Los Angeles. Ben Fry is Nierenburg Chair of Design in the School ofDesign at Carnegie Mellon University, 2006-2007.
Synopsis
andlt;Pandgt;An introduction to the ideas of computer programming within the context of the visual arts that also serves as a reference and text for Processing, an open-source programming language designed for creating images, animation, and interactivity.andlt;/Pandgt;
About the Author
Casey Reas is Professor of Design Media Arts at UCLA and coauthor of Processing: A Programming Handbook for Visual Designers and Artists (MIT Press, 2007). Ben Fry is Principal of Fathom, a design and software consultancy in Boston. Together, Reas and Fry cofounded Processing in 2001.John Maeda is President of Rhode Island School of Design and former Associate Director of the MIT Media Lab. In 2008 Esquire magazine named Maeda one of the 75 most influential people of the twenty-first century. He is the author of The Laws of Simplicity (MIT Press, 2006) and other books.