Here's a structured outline of topics and sub-topics for a beginner's course in creative coding with Processing, organized into three main sections to provide a clear progression.
Section 1: Foundations of Creative Coding
.1 Introduction to Creative Coding, What is Creative Coding?, Art vs. Creative Coding, Examples of Creative Coding Applications, Overview of Processing and p5.js
.2 Setting Up the Development Environment, Installing Processing IDE (or p5.js for web), Exploring the IDE interface, Using the editor, console, and tools, Overview of helpful resources and libraries
.3 Basic Programming Concepts, Variables and Data Types, Control Structures: If statements and loops, Functions and Scope, Basics of Object-Oriented Programming (optional)
.4 Drawing Basics, Coordinate System and Canvas Setup, Drawing Shapes: Lines, Rectangles, Ellipses, etc., Colors: RGB, HSB, and transparency, Stroke, Fill, and Customization
.5 Creating a Visual Sketch, Understanding the `setup()` and `draw()` functions, Using `background()` for frame-by-frame control, Adding interactivity with mouse and keyboard input, Saving sketches and exporting images
Section 2: Animation and Interactivity
2.1 Animation Basics, Understanding Frames and Frame Rate, Creating Simple Animations, Positioning and Movement of Objects, Basic easing and interpolation techniques
2.2 Introduction to Transformations, Translation, Rotation, and Scaling, Working with Push and Pop Matrix, Rotating and scaling objects in 2D space
2.3 Interaction with User Input, Detecting mouse and keyboard events, Responding to clicks, drags, and key presses, Creating responsive elements (buttons, sliders), Using the `mouseX`, `mouseY`, and `keyPressed` variables
2.4 Creating Simple Interactive Art, Designing interactive shapes and patterns, Creating randomized patterns and shapes, Experimenting with randomness and control
2.5 Introduction to Generative Art, What is Generative Art?, Using loops and randomness in art creation, Introduction to Perlin noise for smooth randomness, Exploring pattern-making and algorithmic designs
2.6 Sound and Visual Integration (optional), Using the `minim` or p5.sound library, Adding sound effects and simple audio visualization, Basics of sound-reactive visualizations
Section 3: Exploring Depth, Complexity, and Projects
3.1 Working with Layers and Composition, Organizing visuals in layers, Using transparency and blend modes, Creating depth and visual hierarchy
3.2 3D Basics (optional for beginners), Introduction to 3D coordinates and perspective, Basic shapes in 3D: Boxes, spheres, planes, Understanding the camera and lighting in 3D
3.3 Motion and Particle Systems, Introduction to particle systems, Using vectors for physics-based motion, Simple forces: gravity, wind, and friction
3.4 Exploring Text and Typography, Rendering text and custom fonts, Dynamic text effects and typography, Using text in interactive pieces
3.5 Building a Creative Coding Project, Planning and ideation: From concept to code, Choosing colors, shapes, and style, Working iteratively and improving sketches, Adding finishing touches: polish and presentation
3.6 Sharing and Publishing Your Work, Exporting images, animations, and videos, Using the Processing web editor for p5.js projects, Sharing online: platforms like OpenProcessing, GitHub, Collecting feedback and iterating on your project
This structured outline gradually introduces the basics, moving from core concepts and drawing to animation, interactivity, and finally, project development. This approach encourages learning foundational skills first, then exploring creative expression and completing a final project.
INTERNAL - Internal o yaong inihahain sa loob ng kinabibilangang organisasyon.
EKSTERNAL - organisasyong di-kinabibilangan ng proponent.
INTERNAL
Internal o yaong inihahain sa loob ng kinabibilangang organisasyon.
EKSTERNAL
organisasyong di-kinabibilangan ng proponent.
Ito ay dokumentong nagtatala ng mahahalagang diskusyon at desisyon
Dapat ibinabatay sa agendang unang inihanda ng tagapangulo o pinuno ng lipon
Maaaring gawin ito ng kalihim , typist, o reporter sa korte.
Dapat ding maikli at tuwiran ito
Dapat walang paligoy-ligoy, walang dagdag-bawas sa dokumento, at hindi madrama
Dapat ito ay detalyado, nirepaso, at hindi kakikitaan ng katha o pagka-bias sa pagsulat
Oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad. Road, road, road, road, road, road, road, road, road, road, road, road, road, road, road, road. Oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad. Download, download, download, download, download, download, download, download, download. Vehicles needed on the road, vehicles needed on the road, vehicles needed on the road, vehicles needed on the road, vehicles needed on the road, vehicles needed on the the road,
family mother father sister brother man woman boy girl friend name surname age person baby child teenager adult active friendly funny kind smart lazy shy rude passive greedy pretty short tall cute ugly hungry thirsty tired dizzy happy unhappy calm nervous love hope care fear anger good bad easy difficult important unimportant
family mother father
Keys To Power
Everything in the world depends on absence and presence. A strong presence will draw power and attention to you you shine more brightly than those around you. But a point is inevitably reached where too much presence creates the opposite effect: The more you are seen and heard from, the more your value degrades. You become a habit. No matter how hard you try to be different, subtly, without your knowing why, people respect you less and less. At the right moment you must learn to withdraw yourself before they unconsciously push you away. It is a game of hide-and-seek.
A man said to a Dervish: "Why do I not see you more often?" The Dervish replied, "Because the words 'Why have you not been to see me?' are sweeter to my ear than the words 'Why have you come again?'"
Mulla Jami, quoted in Idries Shah's Caravan of Dreams, 1968
Once Deioces had discovered the truth of this law, he carried it to its ultimate realization. In the palace his people had built for him, none could see him except a few courtiers, and those only rarely. As Herodotus wrote, "There was a risk that if they saw him habitually, it might lead to jealousy and resentment, and plots would follow; but if nobody saw him, the legend would grow that he was a being of a different order from mere men."
At the height of his power as a judge, however, Deioces realized the truth of the law of absence and presence: By serving so many clients, he had become too noticeable, too available, and had lost the respect he had earlier enjoyed. People were taking his services for granted. The only way to regain the veneration and power he wanted was to withdraw completely, and let the Medes taste what life was like without him. As he expected, they came begging for him to rule.
In a land plagued with anarchy, the most powerful man is the judge and arbiter. So Deioces began his career by making his reputation as a man of impeccable fairness.
Interpretation
Deioces was a man of great ambition. He determined early on that the country needed a strong ruler, and that he was the man for the job.
Deioces ruled for fifty-three years, extended the Medean empire, and established the foundation for what would later be the Persian empire, under his great-great-grandson Cyrus. During Deioces' reign, the people's respect for him gradually turned into a form of worship: He was not a mere mortal, they believed, but the son of a god.
Yet he also imposed conditions. An enormous palace was to be constructed for him, he was to be provided with bodyguards, and a capital city was to be built from which he could rule. All of this was done, and Deioces settled into his palace. In the center of the capital, the palace was surrounded by walls, and completely inaccessible to ordinary people. Deioces then established the terms of his rule: Admission to his presence was forbidden. Communication with the king was only possible through messengers. No one in the royal court could see him more than once a week, and then only by permission.
And so, despite all that the Medes had suffered under the Assyrian despotism, they decided to set up a monarchy and name a king. And the man they most wanted to rule, of course, was the fair-minded Deioces. He was hard to convince, for he wanted nothing more to do with the villages' infighting and bickering, but the Medes begged and pleaded without him the country had descended into a state of lawlessness. Deioces finally agreed.
At the height of his power, Deioces suddenly decided he had had enough. He would no longer sit in the chair of judgment, would hear no more suits, settle no more disputes between brother and brother, village and village. Complaining that he was spending so much time dealing with other people's problems that he had neglected his own affairs, he retired. The country once again descended into chaos. With the sudden withdrawal of a powerful arbiter like Deioces, crime increased, and contempt for the law was never greater. The Medes held a meeting of all the villages to decide how to get out of their predicament. "We cannot continue to live in this country under these conditions," sad one tribal leader. "Let us appoint one of our number to rule so that we can live under orderly government, rather than losing our homes altogether in the present chaos."
He did this so successfully, in fact, that soon any legal conflict in the area was brought to him, and his power increased. Throughout the land, the law had fallen into disrepute the judges were corrupt, and no one entrusted their cases to the courts any more, resorting to violence instead. When news spread of Deioces' wisdom, incorruptibility, and unshakable impartiality, Medean villages far and wide turned to him to settle all manner of cases. Soon he became the sole arbiter of justice in the land.
In one such village lived a man named Deioces, who began to make a name for himself for fair dealing and the ability to settle disputes.
I met a traveller from an antique land,
Who said—“Two vast and trunkless legs of stone
Stand in the desert. . . . Near them, on the sand,
Half sunk a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed;
And on the pedestal, these words appear:
My name is Ozymandias, King of Kings;
Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.”
