Este é um levantamento inicial realizado na biblioteca digital da ACM - Association for Computing Machinery.
Esse levantamento foi possível graças ao movimento de abertura de acervos de instituições científicas durante a pandemia COVID19. A ACM abriu o acesso à diversos artigos de sua biblioteca digital no dia 30/03/2020 e permanecerá aberto por 3 meses, até 30/06/2020, como publicado no Twitter da biblioteca.
A busca foi realizada no dia 31/03/2020 pelo termo "Creative Code", sem aspas e sem outros filtros. Obtiveram-se 388.331 resultados, dos quais foram analisados os primeiros 400 artigos. Ao longo da análise foram observadas variações do termo pesquisado, incorporado no resultado automaticamente pela própria ferramenta. Foram selecionados 33 artigos, todos de acesso gratuito e relacionados ao assunto programação de computadores em contexto artístico. Contabilizou-se 69 autores e 114 palavras-chaves, tabulados no documento a seguir(atente-se para as 3 abas do documento): https://docs.google.com/spreadsheets/d/1vDQIg0MpEixeRBE7zdVM7KIJabWjFacN47ETNCSAqWk/edit#gid=1512462155
A seguir o resultado do levantamento inicial ordenado em ordem alfabética:
Autores: Travis Kirton
Palavras-chave: Creative coding, Application Programming Interface, Mobile, Multitouch, Media, First-class objects
C4 is a new creative coding framework that focuses on interactivity, visualization and the relationship between various media. Designed for iOS, C4 makes it extremely easy to create apps for iPad, iPhone and iPod devices. Initially developed as a platform for quickly creating interactive artistic works, C4 is developing into a more broad-based language for other areas such as music and data visualization. In this workshop, participants will rapidly prototype interactive animated interfaces on iOS devices. Participants will have the opportunity to learn how to easily create dynamic animations, using all kinds of media including audio, video, shapes, OpenGL objects and more. In addition to this, participants will learn how to easily add the full suite of iOS gestural interaction to their applications and objects. Furthermore, C4 provides easy access to the camera, as well as access to the compass, motion, acceleration, proximity and light sensors. Along the way, participants will be introduced to the larger C4 community through their participation on various social networks, the Stackoverflow community-moderated Q&A forum, and will also be shown how to access and share code on Github.
Autores: Neil Smith, Clare Sutcliffe, Linda Sandvik
Palavras-chave: introductory programming, elementary school, primary school, K-12
Code Club is a network of after-school programming clubs for primary (US: elementary) schoolchildren, run by technically-competent volunteers in conjunction with (generally technically-unskilled) teachers. The main motivation of Code Club is to inspire children with a sense of fun and achievement for programming and digital creativity. This paper reports on the first year of Code Club in 1000 UK schools. The results were extremely positive, but some children had difficulty understanding the concepts behind the projects.
Autores: Ursula Wolz, Michael Auschauer, Andrea Mayr-Stalder
Palavras-chave: Machine embroidery, creative computation, code crafting
A programmable embroidery machine is a kind of robot, and programmable machine embroidery is based on a rich heritage of textile crafting and computer coding. In this workshop participants will learn how computer science originated in handcraft. Embroidery, tapestry, quilting, and weaving all embody principles of computation - and did so centuries (eons) before the Jacquard Loom was invented. We will introduce TurtleStitch (turtlestitch.org), a web-based platform to generate patterns for embroidery machines. It is useful for designers for experimenting with generative aesthetics and precision embroidery, but its pedagogic power is in gently introducing crafters of all ages to coding. This workshop will take participants through the basics of blocks-based coding, and introduce turtle geometry; an established field of mathematics, in which you navigate a space by driving a robot. Our robot controls an embroidery needle. Unlike expensive embroidery design software, TurtleStitch provides the crafter with an open-ended coding environment in which to build their own tools or explore the foundations of the craft, providing potential to extend the artistry of the medium in innovative directions. Novice designers will be introduced to some basic principles of machine embroidery and textile design. Novice coders will learn some foundational programming concepts and computing principles. The more skilled will have an opportunity to explore advanced concepts and skills from both the design and coding perspective. Participants will learn the process flow of the embroidery machines to appreciate how simulated perfection translates to real-time machine robotics. Participants may take away a small embroidery 'patch' of their own design, that may be incorporated into a collaborative tapestry-quilt that will be raffled off among the workshop participants.
Autores: Ursula Wolz, Michael Auschauer, Andrea Mayr-Stalder
Palavras-chave: Machine embroidery, creative computation, code crafting
Despite the increasing attention to infusing CT into middle and high school content area classrooms, there is a lack of information about the most effective practices and models to support teachers in their efforts to integrate disciplinary content and CT principles. To address this need, this paper proposes the Code, Connect and Create (3C) professional development (PD) model, which was designed to support middle and high school content area teachers in infusing computational thinking into their classrooms. To evaluate the model, we analyzed quantitative and qualitative data collected from Infusing Computing PD workshops designed for in-service science, math, English language arts, and social studies teachers located in two Southeastern states. Drawing on findings from our analysis of teacher-created learning segments, surveys, and interviews, we argue that the 3C professional development model supported shifts in teacher understandings of the role of computational thinking in content area classrooms, as well as their self-efficacy and beliefs regarding CT integration into disciplinary content. We conclude by offering implications for the use of this model to increase teacher and student access to computational thinking practices in middle and high school classrooms.
Autores: Dan Morris, Jimmy Secretan
Palavras-chave: Creativity support tools, machine learning, data mining, signal processing
The emergence of computers as a core component of creative processes, coupled with recent advances in machine-learning, signal-processing, and algorithmic techniques for manipulating creative media, offers tremendous potential for building end-user creativity-support tools. However, the scientific community making advances in relevant algorithmic techniques is not, in many cases, the same community that is currently making advances in the design, evaluation, and user-experience aspects of creativity support. The primary objective of this workshop is thus to bring together participants from diverse backgrounds in the HCI, design, art, machine-learning, and algorithms communities to facilitate the advancement of novel creativity support tools.
Autores: Frieder Nake
Palavras-chave: Computer art, information aesthetics, semiotics, Nees, Nol
The story of some early computer art drawings in 1965 is told. It is a story of randomness. Computer art is viewed here as the programming of classes of aesthetic objects. In the mid 1960s, information aesthetics was a powerful and radical theory that had some influence on constructive and concrete forms of art in Europe. A connection is drawn to computer supported works by A. Michael Noll in the US, and Georg Nees in Germany. "Experiment and tendency" is identified as an important principle still valid today. The concept of the algorithmic sign appears at the horizon. Digital media are claimed to be explorations of algorithmic signs.
Autores: Kyu Han Koh, Vicki Bennett
Palavras-chave: Creativity Measurement, Game Design, Computational Thinking, Computational Thinking Pattern Analysis
Divergent thinking has been linked to creative processes leading to innovative artifacts. Measuring creative divergence can be difficult. Across the USA, the Scalable Game Design (SGD) Project includes thousands of student participants building their own games through learning computational thinking (CT). To evaluate these games, a technique, the Computational Thinking Pattern Analysis (CTPA) , was developed, refined and used successfully. Under three different learning conditions, divergence was computed through CTPA, and then analyzed and explored as an indication of creativity.
Autores: Nicolai Brodersen Hansen, Rikke Toft Nørgård, Kim Halskov
Palavras-chave: Design materials, materials, craftsmanship, code
This paper introduces the idea of craftsmanship as a way of understanding the shaping and re-shaping of code as a material crafting practice. We build our analysis on a qualitative study of a coder engaged in creative and expressive programming on an old hardware platform. The contribution of the paper is a set of conceptual categories: craft engagement, craftsmanship rhythm and craftsmanship expressivity, that conceptualizes coding as crafting.
Autores: Oliver Bown, Angelo Fraietta, Lian Loke, Sam Ferguson
Palavras-chave: Media arts, Embedded systems, Sound-based input / output;
Media multiplicities are media artworks that employ multiple networked digital devices to create holistic aesthetic effects. Examples include the networked light artworks of Squidsoup, the Spaxels drone-mounted light performances, DrawBots, Siftables and many others. In multiplicitous media artworks, each individual device is a programmable node connected to other nodes via a network connection, and may combine any number of sensors and actuators. A number of development technologies support artists and designers to configure and create media multiplicities, but this domain offers new challenges for creative practitioners. This workshop aims to bring together experts in creative coding and interaction design to discuss and conceptualise frameworks for the practice of media multiplicities. Open challenges include: speed of setup; ease of hardware configuration; speed of code deployment; ability to model and simulate works in VR; network connectivity and stability; and understanding network, computation and power constraints.
Autores: Ira Greenberg, Deepak Kumar, Dianna Xu
Palavras-chave: CS1, computer science, education, pedagogy, creative coding, art, visual portfolio, Processing
In this paper, we present the design and development of a new approach to teaching the college-level introductory computing course (CS1) using the context of art and creative coding. Over the course of a semester, students create a portfolio of aesthetic visual designs that employ basic computing structures typically taught in traditional CS1 courses using the Processing programming language. The goal of this approach is to bring the excitement, creativity, and innovation fostered by the context of creative coding. We also present results from a comparative study involving two offerings of the new course at two different institutions. Additionally, we compare our results with another successful approach that uses personal robots to teach CS1.
Autores: Sam Ferguson, Oliver Bown
Palavras-chave: interaction, physical computing
This workshop will introduce creative coding audio for the Raspberry Pi, using the 'beads' platform for audio programming, and the 'HappyBrackets' platform for inter-device communication and sensor data acquisition. We will demonstrate methods to allow each self-contained battery-powered device to acquire sensor data about its surroundings and the way it is being interacted with, as well as methods for designing systems where groups of these devices wirelessly communicate their state, allowing new interaction possibilities and approaches.
Autores: Kylie A. Peppler, Yasmin Bettina Kafai
Palavras-chave: não consta
The focus of this poster is to turn our attention to the arts as an understudied area in the learning sciences and examine how studying the learning of arts and programming can open new avenues of research. Results from a case study analysis suggest that appropriation builds on multiple connections: cultural connections such as referencing popular iconography, personal connections such as including family pictures, and larger epistemological connections to larger bodies of knowledge.
Autores: Dianna Xu, Aaron Cadle, Darby Thompson, Ursula Caroline Wolz, Ira Greenberg, Deepak Kumar
Palavras-chave: K-12, CS0, CS1, education, creative computation, Processing
In this paper we describe the success of bringing Creative Computation via Processing into two very different high schools that span the range of possibilities of grades 9-12 in American education. Creative Computation is an emerging discipline that requires a thorough grounding in both media arts and computing. We report on how contextualized computing that supports integration of media arts, design, and computer science can successfully attract and motivate students to learn foundations of programming and come back for more. The work of two high school teachers with divergent pedagogical styles is presented. They successfully adapted a college-level Creative Computation curriculum to their individual school cultures providing a catalyst for significant increases in total enrollment as well as female participation in high school computer science.
Autores: Sierra Magnotta, Anushikha Sharma, Jingya Wu, Darakhshan J. Mir
Palavras-chave: Computing for non-STEM majors, creative computing
Autores: Stanislaw Zabramski
Palavras-chave: Shape, tracing, drawing, creativity, freehand, mouse, stylus, touch, evaluation, comparison, method
Autores: Sophie Nichol
Palavras-chave: não consta
This study explores the enhancement of creativity in students studying computer science at a tertiary level. It has been widely acknowledged (Blumenthal et al., 2003) that while creativity is advantageous to any form of study, the perceived lack of creativity, and its expression, in computer science students severely hampers their ability to accommodate the skills necessary to successfully perform within the IT industry. These creative skills include: innovation, intrinsic motivation, self confidence, independence of judgement, a wide range of interest and tolerance of ambiguity (Bahleda & Runco, 1989; Ripple, 1989). Further, this study explores the potential of both technological and social collaborative environments to enhance and nurture these requisite creative skills. Computer science students are particularly receptive to online collaboration, thus being a focus in this study. Creativity is multifaceted with the components of person, product process and press (environment) interacting. Previous research has focussed on components of creativity such as person, process and product, yet fails to acknowledge the significance of the role of the environment, specifically online collaborative environments, as a facilitator for nurturing the creative person. Ironically, considering the apparent myth of the computer science student or "geek" who is perceived as a particularly anti-social creature, such a nurturing environment is the result of a social collaboration between the creative person and peers, mentors and teachers. In this study the creative environment is made possible through the use of computer support, or Creativity Support Systems (CSS).
Autores: Jill Fantauzzacoffin, Juan D. Rogers, Jay David Bolter
Palavras-chave: Creativity, innovation, art, engineering
In this paper we present early findings from our comparative case study of the work practices of artists and engineers independently developing similar technologies. We describe two patterns of creative strategies: teleological and stochastic. We also draw a connection between these creative strategies and our subjects' negotiation of the uncertainty inherent in the creative process.
Autores: Frieder Nake
Palavras-chave: Digital art, computer art, algorithmic art, trivial creativity, personal creativity, historic creativity
Early algorithmic art (also called computer art or digital art) is chosen as a case to differentiate three aspects of creative behavior: trivial, personal, and historic creativity. Extending a remark by Marcel Duchamp on the role of the spectator in fully completing a work of art, one - perhaps controversial - position in the history of art of the 20th century claims that the artist only generates the material work, whereas society transforms the work into an accepted work of art. This position leads to differentiation in the concept of creativity. The paper discusses different shades of creativity. It is of interest both to digital art, and to creativity research.
Autores: Michael Cook
Palavras-chave: não consta
Mediums such as fine art and poetry are common subjects in computational creativity---but what about something closer to home? Can computers be as creative in programming as they are in poetry?
Autores: Alison Williams
Palavras-chave: Creativity, physical press, shape grammar, grammar of creative spaces, creative footprint
The impact of the physical environment on people's ability to be optimally creative at work is a research area which has only now, in the past decade, started to receive detailed attention. Although creativity in the workplace has been the subject of intensive research for over half a century researchers have stepped away from or minimized the effect that the physical environment may have on people's creativity and ability to innovate. Building on recent work done in the field, and on earlier theories of pattern language and shape grammar, this paper outlines work that moves towards a grammar of creative spaces identifying and codifying those elements of the physical environment which may optimize creativity in the workplace.
Autores: Duri Long, Mikhail Jacob, Brian S Magerko
Palavras-chave: collaboration, public displays, reflection on design processes, co-creative AI, human-centered AI
Artificial intelligence (AI) is becoming increasingly pervasive in our everyday lives. There are consequently many common misconceptions about what AI is, what it is capable of, and how it works. Compounding the issue, opportunities to learn about AI are often limited to audiences who already have access to and knowledge about technology. Increasing access to AI in public spaces has the potential to broaden public AI literacy, and experiences involving co-creative (i.e. collaboratively creative) AI are particularly well-suited for engaging a broad range of participants. This paper explores how to design co-creative AI for public interaction spaces, drawing both on existing literature and our own experiences designing co-creative AI for public venues. It presents a set of design principles that can aid others in the development of co-creative AI for public spaces as well as guide future research agendas.
Autores: Callum Goddard, Mathieu Barthet, Geraint A. Wiggins
Palavras-chave: computational creativity, expressive music performance, vir- tuosity, case-based reasoning
This is work in progress where we outline a design process for a computationally creative musical performance system using the Creative Systems Framework (CSF). The proposed system is intended to produce virtuosic interpretations, and subsequent synthesized renderings of these interpretations with a physical model of a bass guitar, using case-based reasoning and reflection. We introduce our interpretations of virtuosity and musical performance, outline the suitability of case-based reasoning in computationally creative systems and introduce notions of computational creativity and the CSF. We design our system by formalising the components of the CSF and briefly outline a potential implementation. In doing so, we demonstrate how the CSF can be used as a tool to aid in designing computationally creative musical performance systems.
Autores: Chronis Kynigos, Foteini Moustaki
Palavras-chave: Creativity, problem-solving, problem-posing, meaning making, half-baked microworlds
Although "creativity" has been included in lifelong competencies, designing tools and pedagogies for fostering creativity in classroom has been in the last years a field that appears quite overwhelmed. The reason for that mostly stems from the lack of a clear definition of what creativity is or even from the wide range of descriptions for the specificities of situations inside which creativity arises. Among others, the interplay between problem solving and problem posing has been considered an indicator of creativity. This short paper describes the design of a web platform that entails a constructionist medium and two online shared workspaces. Empirical research with these tools attempts to enhance our understanding on they may support students in jointly figuring out how to fix a program for a 3D mathematical artifact and use it as a building block for creative constructions.
Autores: David Tinapple, John Sadauskas, Loren Olson
Palavras-chave: digital art, computer science, programming, education, STEM, motivation, K-12
Children and young adults are immersed in digital culture, but most are not familiar with the computational thinking behind the latest tools and technologies. There are few opportunities in secondary school curricula for students to learn such practices, but we believe that skills such as computational thinking, creative coding, collaboration, innovation, and information literacy can be taught in a highly effective manner by using aesthetic challenges as a motivation. In other words, by engaging students in creative digital arts projects they are naturally driven to acquire the many new skills to effectively use and understand the computational tools and techniques involved in creating digital and interactive projects. In this paper, we outline a project-based digital arts curriculum through which novice middle/high school students are intrinsically motivated to learn and apply science, technology, engineering and mathematics (STEM) skills and computational thinking.
Autores: Anna K. Jordanous
Palavras-chave: Creativity, Evaluation, Aspects of Creativity
Can a computer be creative? And what can we learn about our own creativity from studying computational creativity? My research offers a comprehensive and practically useful investigation into how to evaluate the level of creativity demonstrated by computational systems. How should something so subjective as creativity be measured? I argue that it is most productive to treat creativity as a collection of inter-related factors such as originality, value and productivity, which are more tightly defined and therefore more amenable to measurement. Potential factors are being derived from empirical studies examining a wide variety of our writings on creativity. These will be tested in a simulation of a creative environment: the best performing factors will be applied to evaluation of existing creative systems, in comparison to assessments made by human judges. The aim of this is to identify key components for creativity, giving insight into how to approach the evaluation and improvement of computational systems and also towards human creativity as well.
Autores: Santiago Fuentemilla, Javier Domínguez
Palavras-chave: creativity, steam, digital fabrication, coding, electronics, virtual reality, molding and casting, community, video mapping
How To Create A STEAM Installation is a workshop for creative teachers which offers an impact experience, seeking to inspire and motivate the participants to use the possibilities of digital fabrication, coding and makers philosophy to treat any aspect of the curriculum, but also be able to implement methodologies in the classroom oriented towards research and project work. Our methodology is based on the practice of small exercises, designed to encourage creativity and the imagination of the participants, as well as stimulating the search for tools and solutions for its correct definition. The challenge will be to create an interactive installation going through the learning by doing steps and dealing with topics such as electronics, virtual reality, video mapping, scanning and materials. We will finish reflecting on what we have learned and giving helpful resources.
Autores: Semmy Purewal
Palavras-chave: Artificial creativity, neuroevolution, intention, visual arts
Khan Academy recently started teaching introductory Computer Science topics with the Processing.js language and an interactive, web-based code editor. At UNC Asheville, we have been using a similar pedagogical approach for over a year. Specifically, we have integrated Processing.js into our introductory course for non-majors by building a web-based editor that makes it easy for students to edit, save and share their Processing.js sketches. This workshop offers a hands-on introduction to Processing.js and our editor. Participants will also be given an overview of the programming module in Creative Computing, our recently re-imagined CS0 course. Curious individuals with a laptop, a modern web-browser and some basic programming experience are welcome.
Autores: David Norton
Palavras-chave: Live-coding, Static code examples, Programming pedagogy, Cogni- tive load theory, Cognitive apprenticeship
Creativity is a nebulous, albeit vital part of every society. Regardless of whether or not a computer program can actually be creative, much can be learned in an attempt to emulate creativity. We outline an original computer system designed to produce artefacts that are perceived as creative, and do so through arguably creative processes. We show how the computer system, called DARCI (Digital ARtist Communicating Intention), can augment the study of human creativity while assisting in the field of artificial intelligence.
Autores: Adalbert Gerald Soosai Raj, Pan Gu, Eda Zhang, Arokia Xavier R, Jim Williams, Richard A Halverson, Jignesh M Patel
Palavras-chave: não consta
Teaching programming using static code examples is the process of displaying pre-written code examples and explaining the purpose of the code. Live-coding is the process of writing code in-class in front of the students and thinking aloud while doing so. Static coding has more structure (similar to PowerPoint presentations) but lacks the authenticity and dynamic nature of writing code lively in front of an audience since the focus is more on the end product (i.e., program) rather than the process in which the program came to life. On the other hand, live-coding engages the students as the process is dynamic and makes the instructor's thought processes explicit to the students, but it lacks the structure and predictability of static code examples. We conducted an experiment in which we taught programming and data structures in C++ to two groups of undergraduate students. We used live-coding to teach one group (experimental) and static code examples to teach the other group (control). We conducted a pre-test and a post-test to measure students' understanding of programming before and after our intervention respectively. We collected a validated survey to measure the cognitive load experienced by the students in both the groups. Our experiments failed to show a difference between live-coding and static code examples with respect to student learning, but we found that live-coding reduced the extraneous cognitive load on students when compared to static code examples.
Autores: Rebecca Fiebrink
Palavras-chave: Computing education, Machine learning, Arts and humanities, Machine learning education, creative computing, STEAM
This article aims to lay a foundation for the research and practice of machine learning education for creative practitioners. It begins by arguing that it is important to teach machine learning to creative practitioners and to conduct research about this teaching, drawing on related work in creative machine learning, creative computing education, and machine learning education. It then draws on research about design processes in engineering and creative practice to motivate a set of learning objectives for students who wish to design new creative artifacts with machine learning. The article then draws on education research and knowledge of creative computing practices to propose a set of teaching strategies that can be used to support creative computing students in achieving these objectives. Explanations of these strategies are accompanied by concrete descriptions of how they have been employed to develop new lectures and activities, and to design new experiential learning and scaffolding technologies, for teaching some of the first courses in the world focused on teaching machine learning to creative practitioners. The article subsequently draws on data collected from these courses—an online course as well as undergraduate and masters-level courses taught at a university—to begin to understand how this curriculum supported student learning, to understand learners’ challenges and mistakes, and to inform future teaching and research.
Autores: Giuseppe Chiazzese, Giovanni Fulantelli, Vito Pipitone, Davide Taibi
Palavras-chave: Computational Thinking, Kodu Game Lab, primary school children education, computational thinking tools
This paper presents the preliminary results of the project "Computational Thinking for children education", aimed at promoting computational thinking, creativity and learning amongst primary school children. The didactic activities of the project focus on computer programming and, in particular, the development of video games. The paper introduces also a teaching model based on narrative learning where the screenplay of the game has a key role. A preliminary analysis of the project results highlights how children's perception of computer programming is influenced by practical coding sessions; furthermore, these results suggest that some individual features (e.g. gender; math and language competencies), and the socio-economics familiar context can significantly impact on development of computational thinking skills.
Autores: Mark C. Mitchell, Oliver Bown
Palavras-chave: Creative coding, processing, creativity support tool, media arts
Creative coding as a paradigm has seen increased interest in recent years. However, detailed studies of the processes and needs of these creative coders are currently lacking. This paper reports on the preliminary findings of a study into the practices of both novice and expert creative coders by analysing their approach to a creative design task in an observational, qualitative study. The findings have been placed into a taxonomy of needs, which can feed into the design of tools that aim to assist creative coders. The paper concludes by discussing the implications the taxonomy of needs has on defining requirements for a creativity support tool in the Processing environment.
Autores: Stig Møller Hansen
Palavras-chave: curricula, tertiary education, programming, visual arts, graphic design, creative coding
This poster presents an analysis of structure and content in introductory programming courses taught at tertiary art and design schools. Part of a more extensive study, the analysis provides a foundation for critically discussing how teaching programming to graphic design students can be improved.