![]() Towards the end of the semester, I discovered something called Processing. That semester, I learned many of the algorithms by translating them into C++ (the language I was using quite awkwardly at the time, well before C++ creative coding environments like openFrameworks and Cinder had arrived). Galanter’s course was mostly theory-based, while Tu’s was taught using Macromedia Director and the Lingo programming language. Both Tu’s course and Galanter’s course opened my eyes to a world of simulation algorithms and techniques that carried me through the next several years of work and teaching, and served as the foundation and inspiration for this book.īut there’s another piece of the puzzle missing from this story. That very semester, I also enrolled in Foundations of Generative Art Systems, a course taught by Philip Galanter, that focused on the theory and practice of generative art, covering topics such as chaos, cellular automata, genetic algorithms, neural networks, and fractals. I had been using these concepts informally in my own projects, but had never taken the time to closely examine the science behind the algorithms or learn object-oriented techniques to formalize their implementation. The Dynamic Bodies course-which covered vectors, forces, oscillations, particle systems, recursion, steering, and springs-aligned perfectly with my work. ![]() The applications involved capturing images from a live source and “painting” the colors with elements that moved about the screen according to various rules. At the time, my work was focused on a series of software experiments that generated real-time “non-photorealistic” imagery. The course was taught by interaction designer and ITP adjunct professor James Tu. In 2003, as a graduate student at the Interactive Telecommunications Program (ITP) in the Tisch School of the Arts at New York University, I enrolled in a course called Dynamic Bodies. Our hope is to create intuitive, rich, and more satisfying experiences by drawing from the perceptual memories of our users." - James Tu, Dynamic Bodies course description, Spring 2003, ITP This class focuses on understanding, simulating, and incorporating motion-based elements of our physical world into the digital worlds that we create. if we drop a rock it will fall due to gravity, if a gust of wind blows, lighter objects will be tossed by the wind further. We expect the physical world around us to behave consistently with our perceptual memory, e.g. We spend the earlier parts of our lives learning about our environment through perception and interaction. "The world around us moves in complicated and wonderful ways. This book was generated by the Magic Book Project.Įvan Emolo, Miguel Bermudez, Luisa Peirera Hors To view a copy of this license, visit or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California 94041, USA.Īll of the book’s source code is licensed under the GNU Lesser General Public License as published by the Free Software Foundation either version 2.1 of the License, or (at your option) any later version. ![]() This work is licensed under the Creative Commons Attribution-NonCommercial 3.0 Unported License. The Bella Manel Prize for outstanding graduate work by a woman or minority was established at NYU’s Courant Institute in 1995. Later, she taught mathematics at the College of Notre Dame (now Notre Dame de Namur University) in Belmont, California, and at UCLA. She worked for Ramo-Wooldridge (now TRW) and at the Rand Corporation with Richard Bellman. A pioneering woman in mathematics, she earned her PhD in 1939 from New York University under the supervision of Richard Courant. Version 2.0 alpha, generated July 13, 2016įor my grandmother, Bella Manel Greenfield (Octo– April 3, 2010)īella Manel was born in New York City. The publisher would go here, but there isn’t one it’s only me. Bug reports for the site and online purchasing system can be reported on GitHub as well. Please submit corrections to the book on my Nature of Code GitHub repo. If you like this book, please consider supporting it via the links below: Hello! By browsing the table of contents on your left, you can read the entire text of this book online for free, licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License.
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