Processing.org

Liveness and Interactivity in Popular Music

“…Max allows for rapid prototyping of ideas, while Max for Live facilitates the creative process by allowing easy access to transport, routing, audio and software instruments in Live (Ableton 2014). Processing (Reas & Fry 2015) was also used for some of the system visuals. As a well-documented C-like programming language aimed at artists, it offers significant efficiency advantages over graphical programming languages for some tasks.…”

Extending Manual Drawing Practices with Artist-Centric Programming Tools

“…Our research was galvanized by the study of specialized textual programming libraries for procedural and interactive art [50,37,6]. These libraries are powerful and expressive [51,36], yet they retain many of challenges of general-purpose programming languages.…”

“…Yet the building blocks of procedural art are often poorly aligned with the processes of manual artists. Programming languages for art [10,37,50] use abstractions from general-purpose textual languages [51]. As a result, they have high learning thresholds for new programmers [31].…”

“…Prior research that aims to broaden participation in procedural art focuses on simplified textual languages [22,48,50], visual programming [13, 14,17], or direct-manipulation of procedural and parametric relationships [21,28,63]. Instead, we build on systems that integrate representational programming and direct-manipulation interfaces [1,9,20,24,39], but with the new objective of tool creation.…”

What We Can Learn From Visual Artists About Software Development

“…The ways software designers expect artists to interact with the system may be different from the ways artists are used to engaging with materials to make art in their domain [92]. Furthermore, artists who use domain-specific creative coding languages [56,73] face additional challenges in having to understand abstract representations and work in a highly structured manner [92]. These forms of working can be incompatible with their existing practices of manual manipulation and non-objective exploration [6,31].…”