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Introduction to Creative Technologies 2020 Part 1

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Part I of the course slides for Introduction to Creative Technologies in 2020

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Introduction to Creative Technologies 2020 Part 1

  1. 1. Introduction to CT: #ctec502 Semester 1, 2020 Handbook https://blackboard.aut.ac.nz
  2. 2. Introduction to CT: #ctec502 Week 1 Nau Mai, Welcome Course: https://blackboard.aut.ac.nz
  3. 3. Welcome to #CTEC502 This paper is a “Deep Dive” into Creative Technologies Goal: to introduce you to the ethos of this area
  4. 4. Success in #CTEC502: Capacity to think, do & reflect meaningful creative tech
  5. 5. Success in #CTEC502: Capacity to think, do & reflect meaningful creative tech
  6. 6. 2020 Semester 1 24 February First day of classes 10 April - 14 April Easter break 15 - 24 April Mid-semester break 2 - 19 June Exam weeks 19 June Last day of semester CTEC502 2020 25 Feb w1: Introduction, Outcomes, Conduct, Assessments, Vlog rubric Method: Brainstorming 03 Mar w2: Dispositions, pedagogy, praxis, myths, reflective action, studio ethos, A-Z of CT Method: Affinity Diagrams 10 Mar w3: Creativity, precedents, concepts, reflective journaling Method: Interviews 17 Mar w4: Briefs, process. Technology. Intentions and consequences. Method: Image boards Vlog due (20%) 24 Mar w5: Vlog feedback. Paradigms. Senses & emotions Method: Experience prototyping 31 Mar w6: Powerful Questions. Creative teams Method: Forming and growing teams 07 Apr w7: Precedents: AUT Library resources and strategies. Failure. Method: Wicked problem framing 14 Apr Mid-semester break week 1 21 Apr Mid-semester break week 2 28 Apr w8: Nudging. Abductive logic. Effectuation. Method: Creative pitches Reflective journaling due (50%) 05 May w9: Journaling feedback. Design principles: communication, composition Method: Storyboarding 12 May w10: Methods, toolkits. Empathy. Method: Diagramming an exhibit 19 May w11: Creative industries. Posters & portfolios. Design competitions. Method: Poster design 26 May w12: Sustainability. Worldviews. Futures. Method: Creative pivots Poster due (30%) 02 Jun AUT Exam week 1 09 Jun AUT Exam week 2 Weekly activities to pilot test design methods and tools.
  7. 7. 126 hours: “Student directed learning” (That’s roughly 10 hours every week during the semester)
  8. 8. Instructor Dr Ricardo Sosa • https://www.aut.ac.nz/profiles?id=rsosa • ricardo.sosa@aut.ac.nz • Twitter: @designcomputing Recent publications: • Accretion theory of ideation. Design Science, doi:10.1017/dsj.2019.22 • Creativity in graduate business education. Innovations in Education and Teaching, doi:10.1080/14703297.2019.1628799 • Innovation Teams and Organizational Creativity: Reasoning with Computational Simulations. She Ji: The Journal of Design, Economics, and Innovation, doi:10.1016/j.sheji.2018.03.004 • Metrics to select design tasks in experimental creativity research. Part C: Journal of Mechanical Engineering Science, doi:10.1177/0954406218778305 • The A-Z of Creative Technologies. Transactions on Creative Technologies, doi:10.4108/eai.10-4-2018.154460
  9. 9. ’70s ’80s 1990 1995 2000 2005 2010 2015 2020 Opportunity Lab creativity & cognition 3
  10. 10. rev_9trev_8t1grev_6t3g DS = 1/N DD = 1/f DS = N DD = 1/f DS = N DD = f
  11. 11. RoboMods https://doi.org/10.1177/1687814015573824 https://doi.org/10.3389/fnbot.2019.00078
  12. 12. Designing with Indigenous Communities
  13. 13. Zacoalpan, 1995 http://huaracheblog.wordpress.com http://www.flickr.com/photos/mexicantextile
  14. 14. Tzintzuntzan, 1996 http://www.artemolinero.com.mx
  15. 15. Zipiajo, 2007
  16. 16. precedentanalysis readability Methods to select creative design tasks
  17. 17. planet transformations ↑ fully-formed planets ↑ proto-planets ↑ planetesimals ↑ pebbles ↑ chondrules planetary accretion final design ↑ proto-solutions ↑ “ideaspaces” ↑ “ideasimals” ↑ fragmentary ideas ↑ individual ideas pre- brainstorming design ideation fragments runaway accretion ↑ oligarchic accretion ↑ fully-formed ↑
  18. 18. Framing Embodiment Mapping Effects Decoding Context Empowerment Data User Object Material
  19. 19. https://www.youtube.com/watch?v=atQgxdeCCes https://www.waverlylabs.com/press
  20. 20. Questions? pgcreativetech@aut.ac.nz
  21. 21. https://jamesdysonaward.org/projects/peri/ https://futurism.com/new-eyeglass-accessory-translates-sound-into-light-for-the-hearing-impaired
  22. 22. https://www.harpercollins.com/9780062296009/the-evolution-of-everything
  23. 23. #ctec502Use this hashtag for everything that you post online related to this paper
  24. 24. Creative Technologies Code of Conduct • Respect • Professionalism • Be constructive • Sharing • Ask for help • Curiosity • Patience (with others and yourself) • Persevere • Critique ≠ criticism
  25. 25. “Here's to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently. They're not fond of rules. And they have no respect for the status quo. You can quote them, disagree with them, glorify or vilify them. About the only thing you can't do is ignore them. Because they change things. They push the human race forward. And while some may see them as the crazy ones, we see genius. Because the people who are crazy enough to think they can change the world, are the ones who do.” ― Rob Siltanen
  26. 26. https://www.rnz.co.nz/programmes/the-detail/story/2018733818/our-gigantic-e-waste-problem
  27. 27. https://images.app.goo.gl/vprGSEgHeeo9PX3D9
  28. 28. Creative Technologies New ideas that are implemented Not “eye candy” and Not a better, faster, well-known idea
  29. 29. http://www.signs-derby.com/catalog/item/4027930/7618399.htm Creative Technologies Ambitious and original ideas Not school or garage projects
  30. 30. https://www.youtube.com/watch?v=NCtW0YNJpYQ
  31. 31. https://www.youtube.com/watch?v=qbmK0W9WHwg&list=PLWVQAe9fXZok7MXXhJuCsoWE3UviUJaW5
  32. 32. https://www.youtube.com/watch?v=tUwtB6_YUs0&list=PLf_S39L3F3QU14VCXHOcqLT_dH-FuBJV3
  33. 33. Method: Brainstorming • Not just to sit around to come up with ideas! • A semi-structured method to storm problems • Before a session: • Nominate a facilitator and a note taker • Work to define the problem to storm • Define time, place, participants, goals • Give participants the problem one day before the session, ask them to bring ideas • During a session: • Train people, use a practice run • Four key rules: Delay judgement, Go for quantity, Go crazy, Build on ideas of others • Facilitate the session: turn-taking, register ideas, keep focus, seeding questions
  34. 34. Method: Brainstorming • After the session: • Reflect what worked, what didn’t. Learn to brainstorm better • Share the ideas with participants, ask them for follow-up ideas • Use the ideas as pointers: combine, develop, grow, test ideas • Run more sessions throughout a project, redefine the problem Arguably most important skill is: To learn to creatively frame problems that lead to creative solutions
  35. 35. Due 17 March 2020: 3-minute vlog (20%) “I want to be a Creative Technologist because…” How to vlog: https://www.wikihow.com/Make-a-Great-First-Vlog
  36. 36. • Create an individual video: two to three-minute “vlogging”. Summative grade 20% of the semester for ICT #ctec502 • Title: “I want to be a Creative Technologist because…” • Share your view of Creative Technology and how you envision your professional career • Should demonstrate at least 10 to 12 hours of work. Read the rubric! • You can talk to the camera, but may also try other formats like a slideshow or simple animation techniques like stop-motion. • Use any technique, but focus on content, not “decorations”: www.magisto.com, www.moovly.com... camstudio.org, www.screencast-o-matic.com... biteable.com, www.animatron.com, www.powtoon.com... • Not all content (images, video, audio) must be original, but your views have to be original, informed, critical, and broad. Credit all your sources in the video, comments section, or in your blog. • To formulate your very own personal viewpoint, ask yourself questions such as: • Why go to University and why AUT? • Why the Bachelor of Creative Technologies (BCT)? • What is "Creative Technologies"? What’s its origins and history? • How do I envision my future career in this field? • To get started, sketch a storyboard as a way to plan and organise your content: • http:// www.wikihow.com/Create-a-Storyboard • http:// www.blogher.com/storyboarding-resources-and-vlogging-assistance • https:// www.youtube.com/watch?v=zXtYNdCPKV8 • Look at guides, recommendations, and examples: • https:// www.youtube.com/watch?v=GzNUNnmyjM0 • https:// filmora.wondershare.com/business/vlog-ideas.html • Have fun! To submit: press the "Write Submission" button in the Blackboard Assignment and paste the URL to your Vlog there. It can be a link to the video (youtube, vimeo, etc), or to the tumblr blog post where your video is embedded. Thank you.
  37. 37. Rubric (or how to score an A+) Fail C region (>49.5) B region A region A+ (>89.5) LO #1: Demonstrate competency in creative, critical and reflective thinking Students achieving this grade do not provide evidence that demonstrates competency in creative, critical and reflective thinking. Incomplete or insufficient evidence is made available, for example no or few blog posts exist and assignment submissions are missing or incomplete. Demonstrates weak or very limited capacity to critically analyse and produce creative responses. Instead, views are largely uninformed, ungrounded, taken at face value, and go unexamined. Assumptions remain implicit. Ignores key arguments, facts, and precedent ideas that are central to the topic. Simplistic and arbitrary views. Inconsistent and unsubstantiated claims and conclusions. Due to a lack of awareness and depth, creative ideas are lacking in originality, relevance, and value. Demonstrates some capacity to critically analyse ideas, theories, and practices or a limited capacity to creatively respond to assessment events and instructions. Views include terms that are misused, remain ambiguous, or are not framed in context. Some interpretation of sources but not sufficient to develop meaningful arguments. Little questioning of opinions and facts. Misattributions or sources that remain unspecified. A combination of naïve and simplistic views with some more informed and structured ideas. Due to a limited awareness and depth of reasoning, most ideas remain inauthentic, only marginally relevant, largely unoriginal, and of limited value. Provides evidence of a developing capacity to critically formulate ideas, revise views, judge sources, and identify authority and relevance of facts and expert opinions. Identifies debates and tensions, multiple views and levels of arguments, and makes some connections between themes and domains. Inconsistently applies critical and creative reasoning based on a growing awareness of the context. Ideas are a combination of simplistic and insightful, average and high originality, high and marginal relevance and argumentative quality. Evidence can be incomplete at times, and inconsistent in clarity, recurrence, and quality. Consistently provides ample, clear, and well presented evidence of an extraordinary capacity to critically analyse ideas, challenge views, question beliefs, and build arguments. Identifies relevant and at times little-known sources of high quality and authority. Connects ideas from non-obvious origins creating insightful linkages and valuable observations. Based on a strong awareness and deep understanding of the issues at hand, generates creative ideas that are authentic, original, and of high value to others in the field. Clearly demonstrates a superior learning motivation and engagement that permeates to other learners in the class.
  38. 38. Rubric (or how to score an A+) Fail C region (>49.5) B region A region A+ (>89.5) LO #2: Describe the nature of the creative industries and how the convergence disciplines can contribute to the development of a creative knowledge economy The work does not provide evidence that the student grasps the nature of creative professional practice and how CT develops from the convergence of domains, disciplines, and fields of practice. Provides scarce evidence of understanding the integration of disciplinary knowledge and practices that gives form to Creative Technologies. Little evidence that this student is aware of the range of sources and domains and the larger trends that will shape the future of technology and the impacts and consequences in society, the economy, and the environment. Some but inconsistent evidence is available to identify an informed and critical understanding of the role of technology and creativity in the local and global contexts. Limited views about the disciplinary principles and professional practices that have shaped and will continue to shape the societal, economic, and environmental dimensions of the future. A combination of views and sources of varied relevance and authority are provided about the constitutive elements of Creative Technologies. Evidence shows an understanding of the factors that shape and are shaped by technology in the world including societal, economic, and environmental. Student shows an awareness of the future opportunities and challenges for the study and practice of CT. The work submitted demonstrates an engaging, clear, and well developed understanding of the various sources that have shaped and will continue to shape Creative Technologies. Views about the future of the field are insightful and contribute to a better understanding of what Creative Technologies can become in the future and their value in the local and global contexts.
  39. 39. Rubric (or how to score an A+) Fail C region (>49.5) B region A region A+ (>89.5) LO #3: Analyse and critique historical and contemporary practices in the creative technologies The work does not provide evidence that historical and contemporary practices in CT are understood. Provides very limited evidence of understanding the past and present context of Creative Technologies. No or little evidence is made available to show that this student is aware of core theoretical ideas, methodological principles, and current professional practices in the field. Views about CT practices are shallow, uninformed, and unsubstantiated. Only “That project is so cool!” type of responses are expressed. Limited evidence is available to identify a familiarity and awareness of the state of the art in the field of Creative Technologies. Limited views about the past and the future of the field. Reference to some theoretical principles and professional practice cases are made, but include erroneous or limited information. Views of CT practice are inarticulate and intuitive. Patchy evidence with a combination of views and sources about the context and trajectories of Creative Technologies. Can include simplistic and common tropes that go unexamined (including myths) with some more substantial and interesting views about the field. At times shows some understanding of the trajectory of theories and practices in Creative Technologies, but can fail to connect ideas from a range of sources. Evidence can be unclear, ambiguous, difficult to access or understand, and of limited engagement. The work submitted demonstrates in clear and engaging ways that this student understands the state of the art in Creative Technologies. This authentic and broad understanding includes concrete references to theoretical ideas and principles, and cases from professional practice that are of high relevance, accuracy, and interest to the future of the field and beyond. This student shows signs of being deeply engaged and interested in developing a personal and well informed position about the past and future of Creative Technologies. Views of CT practice show evidence of reflection as well as introspection.
  40. 40. http://tinyurl.com/RegisterYourTumblrBlog ToDo today: Create your tumblr blog (choose a professional name that includes the acronym BCT, as you will be using this blog for 3 years) and register the URL here: https://www.tumblr.com/
  41. 41. Weekly Activity: Introspection Read and annotate: Rich Gold’s “The 4 creative hats I’ve worn” Chapter 2 of the book “The Plenitude. Creativity, Innovation, and Making Stuff” MIT Press, 2007 https://ebookcentral.proquest.com/lib/aut/reader.action?ppg=28&docID=3338757&tm=1518564398105
  42. 42. 126 hours: “Student directed learning” (That’s roughly 10 hours every week during the semester) Week 1 suggestions a) Brainstorm problems b) Read Rich Gold’s chapter c) Start taking notes for your vlog d) What is Creative Technologies to you? e) Get acquainted with CT projects around the world
  43. 43. Introduction to CT: #ctec502 Week 2 Nau Mai, Welcome Course: https://blackboard.aut.ac.nz
  44. 44. http://tinyurl.com/RegisterYourTumblrBlog Seriously, you need to do this: Create your tumblr blog https://www.tumblr.com then register the URL here:
  45. 45. Only 36 blogs created and registered so far (02.03.2020) Special mentions (pay them a visit): • James Cherryman jcherrybct.tumblr.com • Emily Dick xkhbct.tumblr.com • Chris Kim hohbct.tumblr.com Check: https://creativetech2020.tumblr.com Broken links: http://thomas_masters.tumblr.com
  46. 46. #ctec502 Week 1 recap • 150 hours = 12 x 2 sessions + 126 hours of self-directed learning • CT ethos = ideas + implementation • Change ≠ !rules • “Crazy enough” • Learning • Brainstorming activity • Vlog due 17.03.2020, check brief and rubric • Initial leads: • 15 Cool Makey Makey Project Ideas on Instructables • Rich Gold’s “The Plenitude. Creativity, Innovation, and Making Stuff” • Projects from Exploratorium & Science Gallery Dublin
  47. 47. What are Universities for? NZ Education Act 1989 “Universities have all the following characteristics: (i) they are primarily concerned with more advanced learning, the principal aim being to develop intellectual independence, (ii) their research and teaching are closely interdependent and most of their teaching is done by people who are active in advancing knowledge, (iii) they meet international standards of research and teaching, (iv) they are a repository of knowledge and expertise, (v) they accept a role as critic and conscience of society
  48. 48. Creative Practice
  49. 49. Creative technologists work with their hands, their head and their heart to make the world a better place
  50. 50. https://youtu.be/803LU4C_7IY?t=92
  51. 51. Podcast: https://howwegettonext.com/wonderland- podcast-dc6e08ab07f6#.9p603huw3
  52. 52. "The most difficult thing is the decision to act. The rest is merely tenacity. The fears are paper tigers. You can do anything you decide to do. You can act to change and control your life and the procedure. The process is its own reward.“ - Amelia Earhart, aviation pioneer and author http://www.ameliaearhart.com/about/quotes.html CT: Iteration
  53. 53. CT: more than a good idea
  54. 54. “In a modern context, creative technologies is normally considered to be a broad interdisciplinary and transdisciplinary domain that typically combines knowledge from a variety of disciplines that include art, computer science, design, engineering and the humanities.” CT: “T-shaped people” who can transcend disciplinary boundaries, work collaboratively, and handle complexity
  55. 55. CT @ AUT: we bring together the creative arts, design, digital media, computing, engineering and entrepreneurship in a project-based learning environment CT @ UT Austin: to graduate diverse, creative students who are the best technical creators, designers and problem solvers with exceptional job opportunities CT @ VTech: provides students with the ability to flourish at the ever-changing intersections of technology, media, art, and innovation. We take a dualistic approach of teaching critical thinking and conceptual development alongside the important technical underpinnings
  56. 56. Creative Technologies MA/MSc • An innovative and transformational programme that crosses traditional subject disciplines and enables students to work at the convergence of technology and creative practice. • Students may be technologists with creative dimensions, artists working with technologies, designers with programming skills or a combination of other traditional disciplines. • Subject areas open to students include Artificial Intelligence, Computational Intelligence, Creative Coding, Digital Arts, Digital Cultures, Future Cities, Holography, Internet of Things, Interactions Design, Systems Design, Transmedia Practice and Virtual, Augmented and Mixed Realities. https://www.dmu.ac.uk/study/courses/postgraduate-courses/creative-technologies/creative-technologies-ma-msc-degree.aspx https://www.dmu.ac.uk/research/centres-institutes/ioct/index.aspx
  57. 57. Global Bachelor Creative Technologies • It responds directly to the market, developing the necessary and required skills of the future hybrid professionals in the areas of audiovisual, digital, multimedia, web and mobile applications, and games; • It combines computing, design, art, and humanities allowing the student to develop a mixed profile, based on an artistic and technical component; • It provides the opportunity to live multi-sensory experiences through video production, digital cinematography, virtual reality, video editing, 3D printing, Internet of Things, CAD / CAM, technology usability, computer graphics and software engineering; • It enables the student to acquire competences in video editing, visual effects, 2D animation, multimedia, game design and computing; • In each semester, the learning process is based on a real project, guided and supported by teachers and industry representatives https://www.iade.europeia.pt/en/courses/undergraduate/global-bachelor-creative-technologies
  58. 58. Creative Computing BA, BSc • Tomorrow's leaders to have both creative flair and technical skills - and the business acumen to tie them together. • The combination of creativity and computing is highly sought-after by industry and there is a real demand for creative coders, digital technologists and computer artists of all kinds. • Creative Computing is a future-oriented course that comprises creativity, computing and business, with the ability to choose an arts (BA) or science (BSc) pathway. https://le.ac.uk/courses/creative-computing-ba-bsc/2020
  59. 59. CT: beyond stereotypes
  60. 60. WRONG http://www.wall321.com/ http://www.signs-derby.com/catalog/item/4027930/7618399.htm CT: inclusive
  61. 61. “Funny” and “creative” are two adjectives no one should self-apply. Erika Hall Co-founder of Mule Design @mulegirl Mar 1, 2020
  62. 62. “Studio” pedagogies • No lectures + exams • Student-led • “Low floor, high ceiling, wide walls” • Piaget, Papert, Resnick… • Active, experiential learning • Peer learning, collaborative • “Make” culture • Meaningful • Process as important or more than outcome
  63. 63. Creative Tech Studio Ethos • Be present • Find your passion • Learn with others • Reflect in/on action • Listen to feedback/feedforward • Understand, connect, integrate • Question, inquire, synthesise • Mindful of process • Make a dent • Iterate, effort over outcome
  64. 64. Aristotle’s 3 activities: theoria (thinking), poiesis (making), and praxis (doing) https://en.wikipedia.org/wiki/Aristotle#/media/File:Aristotle_Altemps_Inv8575.jpg
  65. 65. Hannah Arendt’s Human condition: Labour (survival) Work (homo faber) Action (vita activa) https://en.wikipedia.org/wiki/The_Human_Condition https://images.app.goo.gl/axkxuqzKWwfzgwmu9
  66. 66. https://makeymakey.com/
  67. 67. Reflective Practice Plan / Design How should we do this? Model / Prototype What could be done? Document What works? What doesn’t? Reflect Why are we doing this? Based on Zull, J. (2002) The Art of Changing the Brain. Sterling, VA: Stylus Publishing Very often we do this
  68. 68. Why should a creative practitioner blog? - “Self-directed learning” - Reflective action (in process, on process) - Articulate and share ideas - Document process, keep track - Identify milestones - Look back, see growth - Make it part of the process!
  69. 69. http://learningfundamentals.com.au/presentations/focus/
  70. 70. https://www.youtube.com/watch?v=pCl9EsQd7iM
  71. 71. https://www.youtube.com/watch?v=LDcm6twPEJA
  72. 72. Method: Affinity Diagrams https://images.app.goo.gl/Bd5RqY4C4sBTk4mw5
  73. 73. Method: Affinity Diagrams • Useful to process large amounts of data/ideas/feedback • Great to cluster or group ideas, sensemaking • Grouping and re-grouping by similarity • Aim for a handful of groups • Rank, examine, and park ideas • Lead to actionable insights • Make this process collaborative, iterate Often overseen: Use Affinity Diagrams to identify gaps, rephrase problems, ask new questions, find new connections Author/Copyright holder: Open.Michigan. Copyright terms and licence: CC BY-SA 2.0
  74. 74. 126 hours: “Student directed learning” (That’s roughly 10 hours every week during the semester) Week 2 suggestions a) Read A-Z of CT b) Start blogging now c) Practice Affinity Diagrams d) Gauge your dispositions & mindset e) Reflect in and on action in your practice f) Identify and challenge some myths & barriers
  75. 75. Introduction to CT: #ctec502 Week 3 Nau Mai, Welcome Course: https://blackboard.aut.ac.nz
  76. 76. https://www.reddit.com/r/Pareidolia/ https://www.reddit.com/r/Pareidolia/
  77. 77. https://www.reddit.com/r/Pareidolia/ https://www.reddit.com/r/Pareidolia/
  78. 78. The Löwenmensch figurine or Lion-man ivory sculpture: ~40,000 years old
  79. 79. Find your creative potential • How does your cultural background shape your creativity? • Your family history and life experiences* • Your network: the people who surround you • Your personality traits and preferences • Your career goals and technical skills • Your values, dreams, and motivations • The abilities that distinguish you from other people 115
  80. 80. https://images.app.goo.gl/yLcuSBDF82NvkKqy6
  81. 81. By Unknown - http://lccn.loc.gov/50041709, Public Domain, https://commons.wikimedia.org/w/index.php?curid=14901168https://themillionairedropout.files.wordpress.com/2013/05/twoc2a32.jpg
  82. 82. That Squiggle of the Design Process by Damien Newman
  83. 83. “Concept” • What you want to express (art) • How you want to create impact (design) • How the problem needs to be solved (engineering) In all cases, the “concept” (voice, idea, solution) is what you bring to the project. This is your contribution.
  84. 84. Steve Jobs in 1980 Paradox, Pervasive curiosity, Agency of objects, Collaboration http://youtu.be/0lvMgMrNDlg?t=2m23s 02:23 – 13:05 121 Paul Terrell
  85. 85. Steve Jobs in 1980 Paradox, Pervasive curiosity, Agency of objects, Collaboration http://youtu.be/0lvMgMrNDlg?t=2m23s 122 “We had absolutely no idea what people were going to do these things when we started out… uh, matter of fact the two people it was designed for Woz and myself because we couldn't afford to buy a computer {} on the market… We got it working and we showed it some of our friends, and immediately everybody wanted one” “One day I walked into a bike shop the first in Mountain View and Paul Terrell then owner of the bike shop said he would like to take 50 of these… fully assembled and tested ready to go which is a new twist”
  86. 86. Steve Jobs, 1980 Paradox, Pervasive curiosity, Agency of objects, Collaboration http://youtu.be/0lvMgMrNDlg?t=2m23s 123 “Gradually the whole thing began to build momentum and at that point in time we had some feeling that we were onto something but the feeling was so different than the experience it actually seeing it happen right now is entirely different and sometimes a lot of people ask what did you know it was going to mushroom into this phenomenon and you can say yeah you know we planned it out we have led on a piece of paper” “Man is a tool maker has the ability to make a tool to amplify an inherent ability that he has and that’s exactly what we're doing here it’s exactly what we're doing here… what we're working towards now is the ability to amplify another human ability and we're just starting to get the glimmerings of where it's going to go” https://cinstatearchives.com/computing_exhibit/
  87. 87. 124 “The key area we’re focusing on is the following: right now if you buy a computer system and you want to solve all your problems we immediately throw a big problem right in the middle of you and your problem which is learning how to use the computer. All right. A substantial problem to overcome once you overcome that it's a phenomenal tool but there is a barrier of having to overcome that problem. What we trying to do and I think there's a reasonable chance that Apple is going to make a real contribution solving this problem… is to remove that barrier so that someone can buy a computer system that knows nothing about it and directly attack their problem without learning how to program”
  88. 88. https://youtu.be/nMBXVw8qPfE
  89. 89. One doesn’t just have concepts, one gives birth to them (grow them) “If your presence doesn't make an impact your absence won't make a difference”
  90. 90. https://www.youtube.com/watch?v=fPGPkbsA-8I127
  91. 91. http://www.instructables.com/id/LED-STRIP-SKATEBOARD/http://www.instructables.com/id/Another-infinite-table/ (“Garage projects” can be didactic and fun, but they have zero concept and no-one needs a University education for that)
  92. 92. http://additivism.org/manifesto We want to encourage, interfere, and reverse-engineer the possibilities encoded into the censored, the invisible, and the radical notion of the 3D printer itself. We implore you - radicals, revolutionaries, activists, Additivists - to distil your distemper into texts, templates, blueprints, glitches, forms, algorithms, and components.
  93. 93. http://www.morehshin.com/material-speculation-isis/
  94. 94. Study of ancient polychromy Adrián Santuario www.adriansantuario.com
  95. 95. Free Speech Single Channel Video 9:47 Vienna 2012 Free Speech is tool for citizen discourse that combines the privacy of a personal phone call with the art of public speaking. https://vimeo.com/50162010
  96. 96. The Cabinet of Curiousness, Installation 2010 https://www.youtube.com/watch?v=JCiXV6b7N0A The Cabinet of Curiousness is an antique wooden card catalogue with 20 drawers. Functioning as an interactive piece, the opening of each drawer activates a voice or piece of music from within the cabinet. The audience, assuming the role of a DJ, may experience the clarity of sound from one drawer or a cacophony of sounds from numerous drawers opened simultaneously as the cabinet is played like an instrument. A contrast emerges between the obsolete system of cataloguing single pieces of data and our current tendency to inundate ourselves with excessive information. An investigation of knowledge, time, and our relationship to objects and music. All photos by Larry Lamay Your Voice is You at SECRET Science Gallery Dublin https://youtu.be/Tjt8d2xgziM?list=PLf_S39L3F3QUClissRgYRd1ypFr7CmFOT
  97. 97. “Finger-worn Assistive Augmentation; the vision of empowering and enabling people with visual impairments” http://www.ahlab.org/project/fingerreader
  98. 98. 2002: https://www.youtube.com/watch?v=VSWBcizzpKM
  99. 99. 2014: https://www.youtube.com/watch?v=4EvNxWhskf8
  100. 100. Why Design and Technology? | Parsons https://www.youtube.com/watch?v=bp_QFY09yMY Cuba's DIY Inventions from 30 Years of Isolation https://www.youtube.com/watch?v=v-XS4aueDUg Be My Eyes App https://www.youtube.com/watch?v=-3fuipKprSU Sputniko! - Menstruation Machine, Takashi's Take https://www.youtube.com/watch?v=gnb-rdGbm6s Host at HOMESICK https://www.youtube.com/watch?v=DogewEl14rw Drawing pictures with music! | Andrew Huang https://www.youtube.com/watch?v=lVybwjl_GI0 The Beck's Edison Bottle https://www.youtube.com/watch?v=g_klb-PIsZI Piano stairs - TheFunTheory.com https://www.youtube.com/watch?v=2lXh2n0aPyw
  101. 101. Giving birth to a concept is key, but then you have to raise the concept A painful and wonderful process of trial and error, of growth and milestones
  102. 102. https://www.flickr.com/photos/vickisnature/ https://www.flickr.com/photos/132295270@N07/ 140
  103. 103. https://www.flickr.com/photos/lunarcaustic/
  104. 104. https://www.flickr.com/photos/63526540@N00/
  105. 105. time into design project %fromtotal 20406080100 design freedom available information In other words, in design, innovation and entrepreneurship you start making decisions under high uncertainty, and one of your aims becomes to obtain information throughout the process. Alas, you will never have full information about a really novel idea.
  106. 106. Method: Interviews • Tool to know more about who we design for/with • To understand what people say (not what they believe, behave, or design) • A goal-oriented activity, beware of power and ethics • Types: • Structured: ask questions • Semi-structured: raise themes, direct process • Unstructured: carry out a conversation • Contextual: interview in situ • Creatively and critically define participants, pilot questions, be empathic • Take notes, record the session if appropriate • Analysis of interviews: • Thematic analysis of open-ended interviews • Statistical analysis of questionnaires Most important skills: Ask the right people the right questions. Make people think. Listen actively! https://www.interaction-design.org/literature/article/how-to-conduct-user-interviews
  107. 107. Class Activity • Listening Triads • Form triads (strictly 3) • Take turns, every 5 minutes: • One person asks questions (interviewer) • One person responds (interviewee) • One person listens actively and takes notes • Listener remains a passive observant • Topic to talk about: • “Stuff we do at home… is it a new paradigm to you?” Listener Interviewer Interviewee
  108. 108. Vlog rubric Fail A+ (>89.5) LO #1: Demonstrate competency in creative, critical and reflective thinking Hard to understand, unclear, improvised, weakly framed, formulaic, generic. Clear, well presented, articulate, engaging, persuasive, informed, supported views, strong arguments, authentic personal views. LO #2: Describe the nature of the creative industries and how the convergence disciplines can contribute to the development of a creative knowledge economy Views of creativity and technology that are ad-hoc, uninformed, clichéd, naive, simplistic, generic, shallow. Off- topic. Informed and insightful views on creativity and technology, in particular those aspects of personal interest or relevance. LO #3: Analyse and critique historical and contemporary practices in the creative technologies Detached from personal significance and relevance to the field of Creative Technologies. Links theoretical and practical ideas on Creative Technologies to personal interests and experiences. Shows high levels of engagement, reflection, and introspection.
  109. 109. Bad Vlogs “The Verbose” “My childhood and High School…” AUT BCT “No idea; thanks for watching!” “The Thin” Music Music Music Music “Hmmm… yeah… I… [unintelligible]…”“The Unscripted” “My childhood and High School…” “The Generic” “AUT is hands-on” BCT “only in AUT” & brochure blurb “Creative technology is a broadly interdisciplinary and transdisciplinary field…” Wikipedia quote
  110. 110. 126 hours: “Student directed learning” (That’s roughly 10 hours every week during the semester) Week 3 suggestions a) Keep blogging b) Practice Interviewing c) Find your creative potential d) Look for and grow meaningful concepts e) Prepare the content and craft your Vlog, check rubrics
  111. 111. Introduction to CT: #ctec502 Week 4 Nau Mai, Welcome Course: https://blackboard.aut.ac.nz
  112. 112. Opportunity is missed by most people because it is dressed in overalls and looks like work. Thomas A. Edison
  113. 113. http://www.fullhdwpp.com/ if your presence doesn't make an impact your absence won't make a difference
  114. 114. My video is only 2’30”. Is that too short? I have content for 7’. Do I need to cut out anything? I’m struggling because I don’t know how to do it I’m thinking of doing a voiceover or a step motion Is it alright if my video is about 6’?
  115. 115. Mental/Cultural Switch • You are not told what to do or how to do it • Take initiative! • Teachers expect more from you • No recipes (but there is a structure) • Integrate and integrate • Begin anywhere, start early! • Keep working, a creative project never ends • Dance with uncertainty, ambiguity • Grow a diversity of skills, tools, ideas • Manage your creative and your learning processes, reflect • No right/wrong answers (but certainly more/less appropriate) • Results-oriented, not grade-driven • Challenge your beliefs • Fail early, fail fast, fail often (and learn) • Both: high self-esteem and humility
  116. 116. Mental/Cultural Switch • “How many drawings/concepts/prototypes?” • “Is my proposed solution ok?” • “Checklist: I did x, y, and z” • “Subject x is not relevant to my work” • “Tell me what to do!” • “What do I do next?” • “We did what you asked for” • “I have a great idea!” • “That’s who I am, I procrastinate” • “You are asking for too much, I need to sleep”
  117. 117. “I finally got started with software X after some frustrating fiddling with the installer. My computer has been playing up of late… frustrating! My initial results were less than satisfactory (ok, awful), but after an hour of perseverance and reading an online forum, I did manage to produce some decent results. I'm pretty happy with the results. As it turns out, the config file in the root directory is where the settings for the scratch disk need to be modified using a text editor if you want high resolution renders. I feel that I'm on track with this project and will be able to reach a good output for the submission.” Q: What’s wrong with this type of blog posts?
  118. 118. Reflective Practice
  119. 119. “I’m learning to use software X. It has been difficult to set things up, as my computer’s specs aren’t great. I didn’t like my first results, they don’t look anything like what I was expecting: see an example below. I’ve stayed late at night and feel frustrated! I discovered a forum online1 with helpful tips and tutorials. My work is still pretty basic but I can see some progress in my results as I’ve learned how to use more advanced features. Here is what I can do next: 1. Practice with this tool a couple of hours every day until the submission deadline: preferably before noon when I tend to be more patient! 2. Look at professional work done with this tool to check my expectations and to find out if people use additional software to achieve those results. 3. Add some RAM to my computer and perhaps a SSD disk. 4. Sketch my ideas on paper in detail, to have a clear plan before I use software X 5. Be more active in the forums and seek feedback from @teammate” Q: How is this a better/more useful blog post?
  120. 120. What is the departing point of your project? Example: To make daily life more enjoyable
  121. 121. “We identify opportunities to make your environment a little more enjoyable. We started with the alarm clock” http://www.nandahome.com/story/index.php https://www.youtube.com/watch?v=izWCU4Y61o4
  122. 122. https://vimeo.com/107567840
  123. 123. 165
  124. 124. "Briefly" video: https://vimeo.com/107567840
  125. 125. That Squiggle of the Design Process by Damien Newman The “brief”
  126. 126. https://images.app.goo.gl/yLcuSBDF82NvkKqy6
  127. 127. https://www.ideo.com/post/design-kit
  128. 128. https://www.ideo.com/post/design-kit REALITYIMAGINATION “GROUNDED”“BLUESKY”
  129. 129. What is the departing point of your project? To amplify accurate messages in social media
  130. 130. https://trends.google.com/trends/explore?date=all&q=white%20genocide
  131. 131. Brené Brown on Empathy https://www.youtube.com/watch?v=1Evwgu369Jw
  132. 132. “Clouds Over Sidra” https://www.youtube.com/watch?v=MjWscImcosM http://thesidraproject.ca/
  133. 133. “Why practicing empathy matters, and how VR can help” https://www.youtube.com/watch?v=oOtGjGmQwUQ
  134. 134. VR Goggles Gender Swap Experience https://www.youtube.com/watch?v=WCprfChibTE
  135. 135. “Behind the Fence” https://www.youtube.com/watch?v=KOefFymebMQ
  136. 136. “Life after Hate” https://youtu.be/rWIMbH6tLks?t=163
  137. 137. https://www.youtube.com/watch?v=qQ-PUXPVlos Jaron Lanier
  138. 138. “As We May Think” Vannevar Bush (1945): https://www.theatlantic.com/magazine/archive/1945/07/as-we-may-think/303881/ “The Aleph” Jorge Luis Borges (1945): http://www.phinnweb.org/links/literature/borges/aleph.html “Memex”
  139. 139. “Technophilia” A reverential and uncritical attitude towards technology See also: Technological determinism
  140. 140. https://qzprod.files.wordpress.com/2018/02/tesla-spacex-starman-falcon-heavy-rocket-elon-musk.jpg
  141. 141. http://www.whereisroadster.com/index.html
  142. 142. LifeFuels Bottle + Starter Pack Introducing the world's first smart nutrition bottle that turns your ordinary water into a beverage packed with flavor, essential vitamins and nutrients. Staying hydrated is as easy as the touch of a button or a swipe in the app. $99.00 LifeFuels has raised a total of $5M in funding over 2 rounds. Their latest funding was raised on Jan 11, 2019 from a Series A round.
  143. 143. Imagine the convenience of turning off all your lights with one tap Configure your system with the app and discover the fun of creating your own scenes and programs You can personalize your lights to create the perfect ambience. Choose from any shade of white or from a spectrum of 16 million colors to find the one that matches your mood
  144. 144. ”Could this duvet save your relationship?” -Daily Mail ”This is too Cool! This app will make your bed for you” -Martha Stewart
  145. 145. Morozov, E. (2014). To save everything, click here:The folly of technological solutionism / Evgeny Morozov. NewYork: PublicAffairs https://www.youtube.com/watch?v=9yQqrZUD6Gk
  146. 146. 0 500 1000 1500 2000 2500 3000 "Virtual Reality" patents in USTPO 1982-2018
  147. 147. “In an alternative embodiment having application in the emerging field of so- called "virtual sex,” the visual images displayed for the user may be explicitly sexual in nature and the active interactive solids may be solids or semi-solids which represent an interactive partner in the “virtual sex' environment.” Patent Number: 5,490,784 Inventor: David E. E. Carmein, 4921 Upton Ave. South, Minneapolis, Minn. 55410
  148. 148. Weekly Activity: Impact Read and annotate: “We have the choice” (p. 33 to 36) of “Islands in the Cyberstream : Seeking Havens of Reason in a Programmed Society” by Joseph Weizenbaum https://ebookcentral.proquest.com/lib/AUT/detail.action?docID=4823663
  149. 149. Method: Image boards
  150. 150. http://www.ijdesign.org/ojs/index.php/IJDesign/article/view/170/146 Perceptual Maps http://www.core77.com/reactor/04.06_xbox.asp
  151. 151. http://vimeo.com/6827740
  152. 152. Week Date Topic 5 28 April Mindsets and paradigms. Creative coding. Method: Figuring with Algorithms 6 05 May Powerful questions. Framing problems. Precedents. Method: Creative methods 7 12 May Prototypes. Failure. Creative teamwork. Method: Design with Intent 8 19 May Abductive logic. Effectuation. Ethics and change Agents. Method: Creative pitches 9 26 May Design principles: communication, composition. Method: Storyboarding 10 02 June Methods, toolkits. Empathy. Method: Posters and portfolios 11 09 June Creative industries. Design competitions. Method: Job applications 12 16 June Sustainability. Worldviews. Futures. Method: Creative pivots
  153. 153. Introduction to CT: #ctec502 Week 5 Nau Mai, Welcome Course: https://blackboard.aut.ac.nz
  154. 154. Activity: “Figuring with Algorithms” Using Context Free Art Generator to figure out patterns of behaviour
  155. 155. Design grammars are sets of very simple non- deterministic rules to produce images. Context Free is a graphical environment for editing, rendering, and exploring CFDG. John HoriganChris Coyne Mark Lentczner
  156. 156. startshape startclouds background { b -0.1 h 220 sat 0.75 } rule startclouds { 3* { x 1 } startcloud { a -1 } } rule startcloud { side { y -0.5 } } rule startcloud { side { y 0.5 } } rule cloud { step { } horiz { s 0.7 } side { } } rule side { step { } cloud { x -1 a 0.0005 s 0.99 } } rule side { step { } cloud { x 1 a 0.001 s 0.99 } } rule horiz { step { } rotatecloud { y -1 } } rule side {} rule horiz { step { } rotatecloud { y 1 } } rule rotatecloud { cloud { r 15 } } rule rotatecloud { cloud { r -15 } } rule step { SQUARE { b 1 } } rule step { CIRCLE { b 1 } }
  157. 157. Start with a root symbol/shape (the startshape) and use grammar rules to elaborate this into a sentence of symbols/shapes. When Context Free draws a shape it remembers some state information for the shape (colour, xyz position, size, rotation). To draw the shape Context Free evaluates a rule for the shape and replaces the shape with the shapes listed in the rule. The state for these replacement shapes is relative to the state of the parent shape.
  158. 158. https://www.contextfreeart.org/gallery/search.php?by=lazymoon
  159. 159. https://www.contextfreeart.org/gallery/search.php?by=lazymoon
  160. 160. https://www.contextfreeart.org/gallery/search.php?by=lagroue
  161. 161. https://www.contextfreeart.org/gallery/search.php?by=Guigui
  162. 162. https://www.contextfreeart.org/gallery/search.php?by=Guigui
  163. 163. https://www.contextfreeart.org/gallery/search.php?by=craftycurate
  164. 164. https://www.contextfreeart.org/gallery/search.php?by=benjy
  165. 165. https://www.contextfreeart.org/gallery/search.php?by=bluesky
  166. 166. https://www.contextfreeart.org/gallery/search.php?by=bluesky
  167. 167. https://www.contextfreeart.org/gallery/search.php?by=chris
  168. 168. https://www.contextfreeart.org/gallery/view.php?id=2592
  169. 169. https://www.contextfreeart.org/gallery/view.php?id=697
  170. 170. https://www.contextfreeart.org/gallery/view.php?id=3215
  171. 171. Start with a simple example Copy and Paste into Context Free Art and hit Ctrl + R (Render)
  172. 172. startshape tree shape tree rule { SQUARE [] tree [ s .99 r 2 y .995] } rule 33 { SQUARE [] tree [ s .99 r 2 y .995 flip 90] } rule { SQUARE [] tree [[ s .5 r 10 y .995 b .07 z -.07 ]] tree [ s .99 y .995 flip 90 ] tree [[ s .5 flip 90 r 10 y .995 b .07 z -.07]] } rule 3 { SQUARE [] tree [[ sat 0.5 b 0.1 s .8 r 10 y .995 b .01 z -.001]] tree [[ sat 0.5 b 0.1 s .8 flip 90 r 10 y .995 b .01 z -.001]] }
  173. 173. startshape tree shape tree rule { SQUARE [] tree [ s .99 r 2 y .995] } rule 33 { SQUARE [] tree [ s .99 r 2 y .995 flip 90] } rule { SQUARE [] tree [[ s .5 r 10 y .995 b .07 z -.07 ]] tree [ s .99 y .995 flip 90 ] tree [[ s .5 flip 90 r 10 y .995 b .07 z -.07]] } rule 3 { SQUARE [] tree [[ hue 30 sat 0.5 b 0.1 s .8 r 10 y .995 b .01 z -.001]] tree [[ hue 30 sat 0.5 b 0.1 s .8 flip 90 r 10 y .995 b .01 z -.001]] } Using colour to figure out what rules generate trunk, main and secondary branches
  174. 174. startshape tree shape tree rule { SQUARE [] tree [ hue 30 sat 0.5 b 0.1 s .99 r 2 y .995] } rule 33 { SQUARE [] tree [ hue 30 sat 0.5 b 0.1 s .99 r 2 y .995 flip 90] } rule { SQUARE [] tree [[ s .5 r 10 y .995 b .07 z -.07 ]] tree [ s .99 y .995 flip 90 ] tree [[ s .5 flip 90 r 10 y .995 b .07 z -.07]] } rule 3 { SQUARE [] tree [[ s .8 r 10 y .995 b .01 z -.001]] tree [[ s .8 flip 90 r 10 y .995 b .01 z -.001]] } Using colour to figure out what rules generate trunk, main and secondary branches
  175. 175. startshape tree shape tree rule { SQUARE [] tree [ s .99 r 2 y .995] } rule 33 { SQUARE [] tree [ s .99 r 2 y .995 flip 90] } First two rules generate thick, mainly vertical arrangement of squares: ‘trunk’
  176. 176. startshape tree shape tree rule { SQUARE [] tree [ s .99 r 2 y .995] } rule { SQUARE [] tree [ s .99 r 2 y .995 flip 90] } Change the odds for each rule to trigger to see effects in the type of trunks generated
  177. 177. startshape tree shape tree rule { SQUARE [] tree [ s .99 r 2 y .995] } rule 33 { SQUARE [] tree [ s .99 r 2 y .995 flip 90] } Second rule is called 33x more than the first rule
  178. 178. startshape tree shape tree rule { SQUARE [] tree [ s .99 r 2 y .995] } rule 33 { SQUARE [] tree [ s .99 r 2 y .995 flip 90] } rule { SQUARE [] tree [[ s .5 r 10 y .995 b .07 z -.07 ]] tree [ s .99 y .995 flip 90 ] tree [[ s .5 flip 90 r 10 y .995 b .07 z -.07]] } rule 3 { SQUARE [] tree [[ sat 0.5 b 0.1 s .8 r 10 y .995 b .01 z -.001]] tree [[ sat 0.5 b 0.1 s .8 flip 90 r 10 y .995 b .01 z -.001]] } Play with the third and fourth rules to see branching effects. Remember to “Render” a few times to see variations due to randomness
  179. 179. First… some mechanics (It’s way easier than you may have been led to believe)
  180. 180. startshape PLANT shape PLANT { CIRCLE [ ] } Starting point: This code draws a simple black circle, we arbitrarily call the function “PLANT”:
  181. 181. startshape PLANT shape PLANT { BL [ h 10 sat 1 b 1 ] } shape BL { CIRCLE [ ] } Two changes: 1. The “CIRCLE” definition moved to a function that we call “BL” 2. Shape parameters are sent when invoking BL: a) hue 10 b) saturation 1 c) brightness 1
  182. 182. startshape PLANT shape PLANT { BL [ h 10 sat 1 b 1 ] } shape BL { CIRCLE [ ] BL [size (0.95) y 1 ] } Recursion: We introduce an operation after the CIRCLE, which the program applies in a loop (until the shapes are too small to be rendered, then it stops). The new line is effectively, updating itself (shape BL) scaling down its size and moving in the y axis 1 unit up
  183. 183. startshape PLANT shape PLANT { BL [ h 10 sat 1 b 1 ] } shape BL { CIRCLE [ ] BL [size (0.95) y 1 x 1 ] } Recursion: Now each new shape is moved one unit up and one unit right on every step
  184. 184. startshape PLANT shape PLANT { BL [ h 10 sat 1 b 1 ] } shape BL rule { CIRCLE [ ] BL [size (0.95) y 1 x 1] } Randomness: This is exactly the same code as before, it just shows that shapes can have more than one operations, i.e., “rules”. Here BL has a single rule, the same as the previous step
  185. 185. startshape PLANT shape PLANT { BL [ h 10 sat 1 b 1 ] } shape BL rule { CIRCLE [ ] BL [size (0.95) y 1 ] } rule { CIRCLE [ ] BL [size (0.95) x 1 ] } Randomness: Now the fun begins: randomness. When two rules are defined for a shape, then the software chooses randomly only one of them to execute. The results start being a bit unpredictable…
  186. 186. startshape PLANT shape PLANT { BL [ h 10 sat 1 b 1 ] } shape BL rule { CIRCLE [ ] BL [ rotate randint(0, 8) size (0.95) y 1 ] } rule { CIRCLE [ ] BL [ rotate randint(0, 8) size (0.95) x 1 ] } More randomness: Now we also add a random rotation (an integer value between 0 and 8), so every time that the code is executed, it renders a slightly different image: overall the same logic, but with the specific details different every time.
  187. 187. startshape PLANT shape PLANT { BL [ sat 1 b 1 ] } shape BL rule { CIRCLE [ ] BL [ h randint(0, 360) rotate randint(0, 8) size (0.95) y 1 ] } rule { CIRCLE [ ] BL [ h randint(0, 360) rotate randint(0, 8) size (0.95) x 1 ] } Even more randomness: We take the hue parameter out from the BL definition in “shape PLANT” and make it random too every time BL is called in a rule. But now the code is getting “messy” and things are duplicated… let’s do some cleaning next
  188. 188. startshape PLANT shape PLANT { BL [ sat 1 b 1 ] } shape BL { CIRCLE [ ] WL [ size (0.985) y 1 ] } shape WL rule { BL [ h randint(0, 360) rotate randint(0, 8)] } Recursion between shapes: Compare the code with the previous version. Shape BL now declares a circle and calls shape WL with a change in size and location in y axis And shape WL has one rule where it calls shape BL with a change in hue and rotation. The program continues with this recursive loop until it can’t render new shapes because they are too small
  189. 189. startshape PLANT shape PLANT { BL [ sat 1 b 1 ] } shape BL { CIRCLE [ ] WL [ size (0.985) y 1 ] } shape WL rule 50 { BL [ h randint(0, 360) rotate randint(0, 8)] } rule { BRANCH [] } shape BRANCH { BL [ rotate 1 flip 90] BL [ rotate -1 flip 90] } Recursion between shapes: The advantage of separating and calling shapes recursively, is that we can create routines with several rules, each with a “weight” or probability of being chosen and executed. This is how the shape BRANCH looks, and we add a weight of 50 to the rule that calls shape BL. Now every instance looks quite different! (within a shared generative grammar)
  190. 190. Download and install: https://www.contextfreeart.org To Do: - Play with the code - Document and share your results in your blog Credits: Chris Coyne designed the CFDG grammar and wrote the original command-line version. Mark Lentczner saw Chris' site and decided he had to have an interactive version. He is responsible for the Macintosh version. John Horigan got sucked into this project and it immediately ate all of his spare time. He wrote the Windows version. Mark and John jointly maintain the common code base and the Posix/Unix version.
  191. 191. Carol Dweck: https://www.youtube.com/watch?v=hiiEeMN7vbQ Casey Reas: https://www.youtube.com/watch?v=_8DMEHxOLQE John Maeda: https://youtu.be/FG3PkJoYLcw Warren Berger: https://www.youtube.com/watch?v=5ALlGU2GYbk
  192. 192. paradigm - An exemplar, an idea serving as an appropriate model - A world view underlying the theories and methodology of a particular subject
  193. 193. https://plato.stanford.edu/entries/thomas-kuhn/#3 https://www.thenewatlantis.com/imgLib/20160617_TNA37Rees1200x627facebook.jpg
  194. 194. Thomas Kuhn: Paradigms Die Hard -- Imran Javaid. Complete version [here] Leiden University: Thomas Kuhn, scientific revolutions https://www.youtube.com/watch?v=JQPsc55zsXA Think of paradigms beyond science, to the formation and transformation of ideas Is “Creative Technologies” in a pre-paradigmatic phase?
  195. 195. What was the paradigm of video consoles before Nintendo Wii?
  196. 196. “I often said that I wanted to make the sort of games you could play with your grandmother. I had an image of games not feeling out of place in the living room… I just wanted to make a game that would be fun for the entire family… I wanted to make gaming a little less lonely. I spent a long time discussing with a whole range of people about what we could do to achieve this” “Listening to everyone here talk about Wii reminds me that the most important thing was clearly defining our vision. Even if it was a vision without a precedent.” http://iwataasks.nintendo.com/interviews/#/wii/wii_channels/0/0 How did the Nintendo Wii shift the console paradigm?
  197. 197. Questions for a reflective blog post: - What do people create with code? - How is programming a tool for creative practice? - How does my intention change as I see the output of my code? - Expectations vs. outputs and new questions - How do I deal with challenges? - How does my disposition to programming change? - What can I use code for?
  198. 198. 126 hours: “Student directed learning” (That’s roughly 10 hours every week during the semester) Week 5 suggestions a) Play with Context-Free Art b) Learn what are “Paradigms” c) Learn about “Growth-Fixed mindsets” d) Watch 4 videos: Carol, Casey, John, Warren
  199. 199. Week Date Topic 5 28 April Mindsets and paradigms. Creative coding. Method: Figuring with Algorithms 6 05 May Powerful questions. Framing problems. Precedents. Method: Creative methods 7 12 May Prototypes. Failure. Creative teamwork. Method: Design with Intent 8 19 May Abductive logic. Effectuation. Ethics and change Agents. Method: Creative pitches 9 26 May Design principles: communication, composition. Method: Storyboarding 10 02 June Methods, toolkits. Empathy. Method: Posters and portfolios 11 09 June Creative industries. Design competitions. Method: Job applications 12 16 June Sustainability. Worldviews. Futures. Method: Creative pivots

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