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دانلود کتاب The Muse of Coding: Computer Programming as Art

دانلود کتاب موزه کدگذاری: برنامه نویسی کامپیوتر به عنوان هنر

The Muse of Coding: Computer Programming as Art

مشخصات کتاب

The Muse of Coding: Computer Programming as Art

ویرایش: [1 ed.] 
نویسندگان:   
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 

قیمت کتاب (تومان) : 31,000



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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.


توضیحاتی در مورد کتاب موزه کدگذاری: برنامه نویسی کامپیوتر به عنوان هنر

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.


توضیحاتی درمورد کتاب به خارجی

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.



فهرست مطالب

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




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