Zeiten: 9:05 – 11:35 und 12:50 – 15:10
Raum: 745 116 1. OG
Hanna Züllig, Stefanie Bräuer, Yann Martins
Wiki zum Colabor Creative Coding, Links, Ressourcen
Link zu Agenda (Check for Updates)
Salon Colabor 2025 Öffentliche Vorträge und Präsentationen
- Ambauen Emma
- Berchtold de Oliveira Camargo Laura
- Bischof Julia
- Biswas Gian
- Brinksma Eva Sanneke
- Bucher Lukas
- Eggli Norda
- Fernando Warnakulasuriya Jithmini Andriya
- Grab Diana
- Hovhannisyan Nune
- Kukulu Elisee
- Miklos Agnes
- Milcevski Nik
- Reiser Vivienne
- Scovell Melissa
- Stojkaj Ardit
We will explore coding in a playful, collaborative way to generate visuals – experimentation and allowing for chance will be part of this process. Different sprints will guide our curiosity, each involving learning about historical and theoretical contexts from early computer art, generative design, net art and algorithmic design.
In Sprint 1 we are inspired by the concepts and aesthetics of the broader field of early computer art (Vera Molnár, Bridget Riley, John Whitney, Lillian F. Schwartz and others) and reinterpret these works using contemporary techniques. We gain technical, aesthetic, conceptual and analytical knowledge.
In Sprint 2, we look at how digital devices are 'scripted' to encourage certain interactions while excluding or making others invisible. Technically, we could interact with our devices in many ways, but cultural norms and design choices limit these possibilities. We look at works and strategies by Lauren McCarthy, Yehwan Song, Rafaël Rozendaal and others and design a series of speculative, artistic, intervening settings in which we use critique, interaction, camera, gyroscope, microphone and machine learning to reflect on our interactions.
In Sprint 3, each group immerses itself into a selected project from the previous two sprints and works on how it can be performed or presented at the final festival.
For each sprint work groups alternate. The focus is on building the ability to prototype quickly to test and iteratively improve ideas, with an emphasis on experimentation. Collaboration is important here as well - coding as craft and as a caring activity. Basic programming concepts are taught practically and with reference to topics from art, design and computer aesthetics. Work is carried out in particular in the relevant technologies such as JavaScript and p5.js. The entire process is reflected upon in individual portfolios, documented and published on a web platform.
Re-Creation of an algorithmic artwork in p5.js
- Presentation 6th may
Browser Extension around the topic 'Take a Break'
- Presentation 19th may
Create-Share-Show: your own menu, your own rules, your own setting. You’ll share and present your work twice:
- First, on June 3rd, within our group—a more intimate, working context.
- Then again, on June 5th, at the festival, where your work will be part of a broader public presentation.
You’ll each be creating a documentation website. This site will bring together everything you’ve worked on: your experiments, your thoughts, and the outcomes of all three sprints. It’s not just a side task—it's part of your project. The website will be published, and it serves as a way to reflect on and present your process. The writing assignement (next chapter) is part of the documentation.
The documentation is where you can reflect on your work and make those reflection available to others. It is important to put such thought and processes in words, as it helps further sharpen ideas and uncover blind spots.
- It is not necessary to document every single exercise or test that you did. Define some milestones and describe the exercises that made you reach them. For example if you made several sketches for sprint 1 document those who significantly heleped you understand p5.js.
- Part of the documentation is also listing all of the used ressources. Therefore, webpages, wikipedia, stackoverflow, chatgpt prompts and responses, should be collected in you documentation.
- Furthermore, showing code snippets [few lines of code, not the whole program] that that do significant work to achieve the result are very welcome in the documentation. Try to avoid putting
createCanvas(w,h)or any other basic p5.js functions, rather bring the pieces of code that describe an interaction. - It is a very good practice to document your code. You do not need to describe it line by line. Try to define code blocks and describe what they do. Something like this:
/** * the following functions are used to access HTML * elements of a webpage * the one below here searches for al paragraphs * aka <p> elements */ let p_el = document.querySelectorAll('p') // this for loops iterate over all of the found html elements for (let i = 0; i < p_el.length; i++) { let element = p_el[i]; // console.log(element); element.innerHTML = "" element.textContent = "Cats are cute" }
- If you used generated or borrowed code, make sure that it is marked in your code, but also describe what this code does and how you used it for your own purposes. For example if you have some generated or borrowed code that produces 1000 circles make sure to highlight and describe the code snippet that is related to how many circles are spawned.
Briefly present your results and give a brief written account of the decisions you made during Sprint 1. Which historical work did you choose as a starting point and why? What did you learn about this historical work through re-coding? This process reflection should accompany your online process gallery for Sprint 1 and be no longer than 400 words.
Explain your result from Sprint 2 and then answer the following questions: What did I try that worked well for me? What would I do differently next time? This process reflection should accompany your online process gallery for Sprint 2 and should not be longer than 400 words.
The texts for the festival are based on the texts for the online process documentation. The festival texts are aimed at a broad audience, briefly describe the project and give an insight into the process. They should not be longer than 400 words.
Research and design process (exploration of the medium, originality of approaches, degree of reflection in process documentation)
Autonomy in creative and technical implementation
Creative and technical quality of the results
Active participation (min. 80%), oral presentations, feedback to peers, collaboration and contributions