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ویرایش: [1 ed.]
نویسندگان: Richard Garfinkle
سری:
ISBN (شابک) : 9781032606071, 9781003459866
ناشر: CRC Press
سال نشر: 2024
تعداد صفحات: 304
[305]
زبان: English
فرمت فایل : PDF (درصورت درخواست کاربر به PDF، EPUB یا AZW3 تبدیل می شود)
حجم فایل: 9 Mb
در صورت تبدیل فایل کتاب The Muse of Coding: Computer Programming as Art به فرمت های PDF، EPUB، AZW3، MOBI و یا DJVU می توانید به پشتیبان اطلاع دهید تا فایل مورد نظر را تبدیل نمایند.
توجه داشته باشید کتاب موزه کدگذاری: برنامه نویسی کامپیوتر به عنوان هنر نسخه زبان اصلی می باشد و کتاب ترجمه شده به فارسی نمی باشد. وبسایت اینترنشنال لایبرری ارائه دهنده کتاب های زبان اصلی می باشد و هیچ گونه کتاب ترجمه شده یا نوشته شده به فارسی را ارائه نمی دهد.
Muse of Coding به دانشآموزان و برنامهنویسان باتجربه راهی میدهد تا کدنویسی را یک هنر ببینند و خود را هنرمندانی ببینند که دیدگاهها، تجربیات و روشهای تفکر شخصی آنها میتواند برنامههایشان را برای خود و کاربرانشان بهتر کند. این کتاب با طنز خوب و دلسوزانه نشان میدهد که چگونه جنبههای هنری و کاربردی برنامهنویسی یکسان است و به روشهای کدنویسی، تاریخ هنر و روشهایی که هنرمندان و مخاطبان با یکدیگر تعامل میکنند و از یکدیگر سود میبرند، میکاود. این کتاب به یک زبان یا سبک کدنویسی محدود نمیشود، این کتاب چارچوبی قابلکاربرد برای افراد فراهم میکند تا یاد بگیرند که چه زبانها و سبکهایی در حال حاضر و با پیشرفت این رشته برای آنها بهتر عمل میکند. می توان از آن به عنوان متن کلاس درس یا برای مطالعه شخصی و غنی سازی استفاده کرد.
The Muse of Coding gives students and experienced programmers a way to see coding as an art and themselves as artists whose personal views, experiences and ways of thinking can make their programs better for themselves and their users. This book shows in a good humored and sympathetic way how the artistic and practical sides of programming are the same, delving into the methods of coding, the history of art, and the ways in which artists and audiences interact and benefit each other. Not confined to a single language or style of coding, this book provides a widely applicable framework for people to learn what languages and styles work best for them at present and as the field evolves. It can be used as a classroom text or for personal study and enrichment.
Cover Half Title Title Page Copyright Page Dedication Table of Contents Acknowledgments Section I: Everything Humans Do Is Art Chapter 1: All Art Everywhere since Time Began Art History Art as Illuminating Abstraction Mathematics, Abstraction, and Tool Making Modeling and Representation Reality Augmented by Art Composition and Contrast Art Is Personal and Cultural but Never Universal Normalization, Fashions, and Aesthetic Theories Artist and Audience Arts, Responsibilities, and Playspaces of the Artist Arts, Responsibilities, and Playspaces of the Audience The Chaos between Artist and Audience Making Art Personal Personal Exercises Testable Exercises Notes Chapter 2: What Programming Does Best Each Art Does Something Better than All the Others In Motion and Moving Persistence and Programming Human Memory versus Computer Memory The Ease of Copying and Varying Memoria versus Addressing Symbolism, Implication, and Meaning Reversible and Irreversible Framing Persistence Personal Exercises Testable Exercises Chapter 3: User as Audience All Art as Tools the Mind Makes Use Of Artworks That Are Interactive Tools Work, Play, Learn, and Share The Many Ways an Audience Can Follow Rhythms and Polyrhythms between Humans and Artworks Frustration, Confusion, Annoyance, and Rage Starting Out: Blank Page, Filled Screen, Tutorial, and Too Much Data Helping Users Explore and Find Their Ways Personal Exercises Testable Exercises Chapter 4: Programmer as Artist Res and Dictum Res Work: Research, Design, and Organization: The Art Envisioned Dictum: Materials and Techniques All Art Has Mistakes: Bugs, Debugging, and Habits of Error Layers, Drafts, and Updates Being Done: Polishing Dirt, Mixing Varnish, Close Enough, and Crashing Personal Ways: Each Artist Is Unique Personal Exercises Testable Exercises Chapter 5: The Five Programming Actions as Techniques All Programming Can Be Seen as Five Actions Storage/Retrieval Calculation Branching Looping Input/Output I/O Is Made by Shaping Action, Reaction, and Persistent Interaction Composition, Movement, and Variant Paths Contrast of Interface Elements Presence Five as One and One as Five Personal Exercises Testable Exercises Chapter 6: Languages as Materials How Are Computer Languages Art Materials Low-Level Languages Classical Languages What Data Can the Language Represent and How Does It Represent It? What Capabilities Does the Language Have and How Does It Let Programmers Extend the Space of Capabilities? How Can Humans Work with the Language? How Does It Fit Itself into Human Senses, Hands, and Voices? Object-Oriented Languages Functional Languages HTML: Language and Interface Mixing Languages/Mixed Media What Is the Future of Programming Languages/Materials? Personal Exercises Testable Exercises Section II: Too Much Information Chapter 7: Information Theory Classical Information Theory and Meaning in Information Quantum Information Theory and Reality Structuring Information and the Evolution of Complexity Information Seen from Multiple Perspectives: Basis and Observation Information as Part of Reality Personal Exercises Testable Exercises Chapter 8: Human Perception and Measurement How Humans Perceive: The Filtration and Enhancement of Information Measurement and the Creation of Data The Artist’s Eye Persistence and the Ability to Accumulate Awareness: Making New Information from Data Presence and the Biasing of Awareness Symmetry Making and Breaking Broken Symmetries and Tests: Questions Embodied The Surprises of Iteration Personal Exercises Testable Exercises Chapter 9: Data as Information at a Distance Too Much Information Too Little Data Composition and Contrast of Data Data as Presence and Evolving Persistence Art Is Made from Data through the Action of Changing Information Personal Exercises Testable Exercises Chapter 10: Data Structures as Architecture and Furniture for Data Data Structures That Represent Data Data Structures That Represent Information Structure and Infrastructure Recurrence, Inheritance, and Uniqueness Coevolution: Architecture, Furniture, and Clothing Personal Exercises Testable Exercises Chapter 11: Functions and Objects Functions and Parameters Functions as Invocable Code Main Body Side Effects Return Values Data Structure + Methods = Objects Inheritance and Taxonomy Instantiation Clothed Motion Personal Creation Group Creation Contemplation and Conversation Personal Exercises Testable Exercises Chapter 12: Interfaces: Creating Shapes, Flows, and Empty Spaces Surface as Expression of the Art Surface as Mirror The Shape of Output The Flow of Input Space, Time, and Possibility Personal Exercises Testable Exercises Chapter 13: Practice, Experimentation, and Playing with Possibility Recurrent Tasks and the Development of Practices Knowledge, Understanding, and Capability Praxis and Languages Learning and Adapting Practices from Others Inventing and Creating Practices Knowledge and Competence Develop Understanding Understanding and Competence Develop Knowledge Understanding and Knowledge Develop Competence Knowledge Develops Understanding and Competence Understanding Develops Knowledge and Competence Competence Develops Understanding and Knowledge Metapractices from Which Praxis Can Be Instantiated Ways as Clusters of Practices around the Artist Play. Meant to Do That Personal Exercises Testable Exercises Chapter 14: Artworks and Human Needs What Humans Need Art as Tools and Materials Old and New Tools Making Materials Art as Inspiration Art as Food, Clothing, Shelter, Medicine to Sustain Art in the Flow of Logistics Art as Teaching Art as Companionship Direct Companioning Indirect Companioning Art That Conveys the Weary Personal Exercises Testable Exercises Chapter 15: Combining Coding with Other Arts If You Are Also the Other Artist If Someone Else Is the Other Artist Various Arts that Are Used in Software 2D Images Writing Online Design Sound Effects, Music, and Singing Sculpture and 3D Printing Animation and Video Making Voice Acting and Audio Recording Acting, Dance, and Puppetry Hardware and Robotics Arts Integral, Unknown, and Unregarded Personal Exercises Testable Exercises Section III: Foreground: Artist’s Life Chapter 16: What Is Needed? Looking at Humanity through Binocular Vision of Art and STEM Seeing the Problems That Are Most Visible to You Listening for Problems That Others Are Having Are They Really Problems? Finding the Problem within the Problem Who Does Your Solution Solve the Problem For Finding More Problems as You Go Along Helping Your Works Be Useful beyond Your Vision Personal Exercises Testable Exercises Chapter 17: What Do You Enjoy Making? Playing with Ideas Playing with Implementation Enjoying the Making Enjoying Watching the Enjoyment of Others What Work Energizes You and What Work Drains You? What Work Creates New Ideas or Inspires Research? Rare and Unheard Perspectives: Opening Spaces Personal Exercises Testable Exercises Chapter 18: Working Alone The Mind Is Bad at Caring for the Body The Mind Is Bad at Caring for the Mind Normal Is a List of Statistics, Not a Way of Life Bodily Health Exercise That Works for You Physical Ableism Mental Health and Mental Ableism Personal Exercises Testable Exercises Chapter 19: Working with Others Collaboration Human Entanglement Composition and Contrast of Art Styles Studio and Business Work The Myth of the Fungible Programmer The Semi-Myth of the House Style Good and Toxic Work Environments Chapter 20: Clients and Audiences Artist–Audience Interaction Client–Artist Interaction Client–Audience Interaction Reliability and Trustworthiness Is There a Way of Finding Audiences and Clients? Chapter 21: Support Network Home Life. Space to Work and Think Family Support: Illuminating the Artist’s Life for Others Respect for Space, Time, Work Habits, and Artworks Talking about One’s Art. Listening to Others Talk about Theirs Art and Children Social Life, Friends, Your Art, and Their Art Colleagues and Other Uncertain Supports Learning and Keeping to Your Social Tolerances Chapter 22: Making Money Nonmonetary Systems Money as Tool and Problem There Is Not Now nor Has There Ever Been a Single Way to Make a Living with Art Commission Work Seasonal or Part-Time Work Long-Term Employment Marketplaces Patronage Societal Support Costs Employing and Commissioning Other Artists Having a Studio Artist Organizations: Guilds and Unions Personal Exercises Testable Exercises Chapter 23: Intellectual Property Software Is Complicated Software as Copyrightable Software Methods as Patentable Trade Secrets Trademarks Personal Exercises Chapter 24: Art as Life Mountains Are Mountains and Rivers Are Rivers, but They Are Not the Same Mountains and Rivers* Looking at the World Through Different Artistic Augmentations Credit Where It’s Due. The Fractal Character of Art and Humanity Evolving One’s Art The Unplannable Future We Never Know but We Can Understand Index