FDM3507 Programming as Design Practice 7.5 credits

The aim for software development has traditionally been to create a predictable, rigorous, transparent process, so that a, for the assignment well-working, software can be delivered in time, and within budget. Computers are used today in many other locations than clearly task oriented contexts, such as class-rooms, homes, and studios of architects, designers and artists. The traditional working method for software development has been changed as well as the tools for it. New procedures have arisen, that go beyond the formal, engineering view on programming. In particular, the aesthetic aspects have been emphasised and new forms for how to organise software development projects have arisen. Courses will particularly focus the issue: How can the programming procedure promote aesthetic creativity?

The aim of this course is to teach students skills that are required for programming within creative practice. The course will partly present programming languages that are used in creative contexts and partly how one can approach programming in various ways. The course will interleave examples of how developers have used the programming languages with concrete proficiency exercises where the student uses the programming languages.

On completion of the course, the doctoral student should be able to:

Use a number of different programming paradigms in small projects and argue for when each paradigm is appropriate.

Use a number of different programmings practices in small projects and argue for when each practice is appropriate.

Understand and apply technologies for interactive interfaces, and the fundamentals of sound, video and generative computer graphics.

Discuss when it is appropriate to choose programming as procedure, and when reuse of existing solutions can be more appropriate.

Combine several systems existing and new, in order to create a new entity that reaches a set design goal.

For this, they should learn technologies for communication between programs and other involved systems, so that these can share control data, sound streams and video streams between themselves.

All doctoral students or researchers, with either computer science/technical background or background in art and design.

Ca. 20 forskningsartiklar. Dessa innefattar bland annat:

“Processing: Programming for Designers and Artists”, Casey Reas, Ben Fry, Design Management Review, Vol. 20 No. 1, 2009

“Crafting Code at the Demo-scene”, Hansen, Norgård, Halskov,DIS 2014

"Pure Data: another integrated computer music environment."Proceedings of the Second Intercollege Computer Music Concerts, Miller Puckette, (1996): 37-41.

“Code Bending: A New Creative Coding Practice”, Ilias Bergstrom, and Beau Lotto, Leonardo Journal, MIT Press, February 2015, Vol. 48, No. 1

“Open Sound Control: an enabling technology for musical networking”. Matthew Wright (2005), Organised Sound, 10, pp 193-200. doi:10.1017/S1355771805000932.

“OSC-Namespace and OSC-State: schemata for describing the namespace and state of OSC-enabled systems”, Ilias Bergstrom, Joan Llobera, New Interfaces for Musical Expression, NIME’14, June 30 – July 3, 2014

“Soma: live performance where congruent musical, visual, and proprioceptive stimuli fuse to form a combined aesthetic narrative”, Ilias Bergstrom, Beau Lotto, Leonardo Journal, MIT Press (Accepted for publication, posted online August 26, 2014)

“Mutable mapping: gradual re-routing of OSC control data as a form of artistic performance”, Bergström et al, ACE 2009

“The Practices of Programming”, Ilias Bergström, Kristina Höök, in preparation.

If the course is discontinued, students may request to be examined during the following two academic years.

Based on recommendation from KTH’s coordinator for disabilities, the examiner will decide how to adapt an examination for students with documented disability.

The examiner may apply another examination format when re-examining individual students.

The examination consists of:

1. An active participation during the lectures and the tutorial sessions.

a. Each participant presents at least one lecture and/or organises one tutorial session.

b. You should not miss more than 2 lectures, 2 tutorial sessions and 2 crit sessions. If you miss more sessions, you need to talk to your course planner about how you can compensate for this.

2. All three projects should have been carried out and presented.

3. The whole process is documented by the student in an individual blog. The blog is seen as basis of examination, both through the process it describes, and the quality in itself.

Roberto Bresin

• All members of a group are responsible for the group's work.
• In any assessment, every student shall honestly disclose any help received and sources used.
• In an oral assessment, every student shall be able to present and answer questions about the entire assignment and solution.