It meant you could have someone like Peter Cho, who was working on typography, and someone like Ben Fry, who was working on information visualization, and someone like Elise Co , who was working on wearable electronics. It was about computation as a material rather than a tool.
Casey Reas: At the time, the barrier to learning how to code was extremely high. Maeda: I wanted to broaden who could code, so I created this language called Design by Numbers. That was the birth of Processing. Ben Fry: Later in the course of DBN, we were seeing how people would stretch it in different ways and try to build ridiculous things with this incredibly limited environment.
Reading the "Nothings that Are": Craig Dworkin's "No Medium"
As the maintainers of the software, we did a lot of toying with how we would approach it differently, or how we would use some of the nice things we liked about DBN and then expand it and get it closer to our own process for creating work. Reas: For me, the idea of traditional foundational studies was really important to Processing.
I thought it was another Bauhaus moment. I thought, in the same way that during the Bauhaus era we moved from arts-and-crafts production into industrialized production, it was time to move from industrial production into the computer software, information-based production.
I also wanted to change how software was integrated into arts and design education. I wanted there to be a deeper understanding of the medium, rather than just using it as a tool. Fry: A lot of people would say that having to write the code to produce the page and images is actually a huge step backward from having a tool to do it.
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Throughout the early s, Processing started to spread as professors used the toolkit to teach a new generation of artists and designers how to code. While Processing became a foundational tool for creating expressive code, other toolkits began emerging, in order to account for different programming languages and artistic needs. Then, in , new-media artist Lauren McCarthy created p5. Levin: The environments were put out there by Casey and Ben and Zach in order to democratize the creation of interactive graphical environments. These tools are trying to make it easy for people to get started and make things.
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McCarthy: P5. But also, in when we were thinking about it, I was hearing all these conversations about how we can incorporate more diversity into these projects.
Instead of trying to retrofit those ideas into a project, we wondered: Can we try to build values of diversity and inclusion into the code from the get-go? We were making decisions in every moment, asking who are we privileging here? Who are we excluding?
‘Am I as brave as I think I am?’ MIT Media Lab student Arwa Mboya on the aftermath of a scandal
Who are we including? How do we make our message more explicit? Lieberman: Today we have better tools and better communities. At one point this stuff was new. Now that we know what the medium is, we can use it in a more expressive way. Zuckerman said he told Ito the next day he planned to move his work out of the lab by May Zuckerman is a respected scholar in quantitative research on media and cofounded Global Voices, an international community of bloggers and activists.
Focusing on the relationship between media and social change, his center designs tools to better understand how ideas spread in the media and to support civic participation. The second person associated with the lab to announce his intention to resign was J.
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Nathan Matias, a visiting scholar who had studied under Zuckerman. Sarah Wu can be reached at sarah. Chapter 4 addresses the level of society and particularly the roles of collaborative media in societal change and transformation. The level of institutions chapter 5 is mainly concerned with existing and established media structures, and their relations to — potentially disruptive — collaborative media. Finally, the level of tribes chapter 6 is chosen to underscore the potential of collaborative media to nurture communality within a myriad of relatively small social structures coexisting on top of the same technical infrastructure.
Part III offers Insights and Conclusions where we reflect on our experience and situate it in the contemporary scholarly landscape.
About Playful Thinking
The structure mirrors part I, with a chapter reflecting on the specificities of collaborative media practices chapter 7 followed by a closing chapter addressing the practice of transdisciplinary collaborative media research chapter 8. What are people saying about this book? The book is rich when it comes to insights about collaborative media in our contemporary society, but maybe even more interesting is the overall research stance and approach that the authors outline and subscribe to. I expect and hope that this aspect of the book will receive the substantial interest it deserves and also will lead to engaging critique.