Skip to content

Commit 56f575d

Browse files
committed
updating navigation to skip files
1 parent 4b22f02 commit 56f575d

34 files changed

Lines changed: 1075 additions & 3541 deletions

.DS_Store

0 Bytes
Binary file not shown.

README.md

Lines changed: 1 addition & 1 deletion
Original file line numberDiff line numberDiff line change
@@ -1,2 +1,2 @@
11
# art-plus-code
2-
Website for the 2024 Art + Code.
2+
Website for the 2025 Art + Code.

_curriculum/00-01_Intro.md

Lines changed: 31 additions & 33 deletions
Original file line numberDiff line numberDiff line change
@@ -25,10 +25,10 @@ When we think of code, we often picture functionality—algorithms, instructions
2525

2626
Artists working with code aren’t just telling a computer what to do—they’re shaping a conversation between rules and randomness, intention and chance. What makes code a powerful medium is not just what it produces, but how it makes us think. It teaches precision while opening space for abstraction. It demands structure while allowing play. In this way, code is not only a tool—it’s a collaborator, a material, and a mirror to the way we imagine.
2727

28-
# 2D Art
28+
## 2D Art
2929

30-
## Drawing & Painting
31-
### [Precarious](https://camilleutterback.com/projects/precarious/) (2018)
30+
### Drawing & Painting
31+
#### [Precarious](https://camilleutterback.com/projects/precarious/) (2018)
3232
Camille Utterback
3333

3434
![Camille Utterback, Precarious]({{ "https://camilleutterback.com/wp2022/wp-content/gallery/precarious-new/06.24.2019_Precarious_ScreenShot_001.jpg" | relative_url }})
@@ -38,12 +38,12 @@ In *Precarious*, Utterback transforms the ephemeral nature of human presence int
3838

3939
<iframe src="https://player.vimeo.com/video/344447606?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479" width="1920" height="1013" frameborder="0" allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media" title="Precarious, 2018"></iframe>
4040

41-
#### Discussion Prompts
41+
##### Discussion Prompts
4242
- How does code enable the artwork to respond to human movement in real time?
4343
- In what ways does coding turn ephemeral human presence into a lasting visual trace?
4444
- How might the meaning of this piece shift if it were created through analog means instead of code?
4545

46-
### [*Possible, Plausible, Potential*](https://www.creativeapplications.net/project/possible-plausible-potential-drawings-of-architecture-generated-by-code/) (2015)
46+
#### [*Possible, Plausible, Potential*](https://www.creativeapplications.net/project/possible-plausible-potential-drawings-of-architecture-generated-by-code/) (2015)
4747
Made in [Processing](https://processing.org/) by Miguel Nóbrega
4848

4949
![Miguel Nóbrega, Possible, Plausible, Potential]({{ "/assets/images/curriculum/Unit-0_Sample-2.jpg" | relative_url }})
@@ -57,16 +57,16 @@ Nóbrega's *Possible, Plausible, Potential* embraces the unpredictability inhere
5757
5858
<iframe src="https://player.vimeo.com/video/143076578?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479" width="1920" height="1080" frameborder="0" allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media" title="Superficie – Possible, plausible, potential"></iframe>
5959

60-
#### Discussion Prompts
60+
##### Discussion Prompts
6161
- How does Nóbrega use code to create a balance between randomness and structure?
6262
- What creative decisions are made through writing code, and what are left to the machine?
6363
- In what ways does code become an artistic collaborator in this work?
6464

6565
**Tip:** [p5.plotSvg](https://github.com/golanlevin/p5.plotSvg) is a tool that supports p5.js artists to download their sketches as SVG files, making it possible to connect p5.js with pen plotters.
6666
{: .notice--success}
6767

68-
## Printmaking
69-
### [*Decode Kolams*](https://aarati.online/rituals-of-recursion) (2025)
68+
### Printmaking
69+
#### [*Decode Kolams*](https://aarati.online/rituals-of-recursion) (2025)
7070
Made in [p5.js](https://p5js.org) by Aarati Akkapeddi
7171

7272
![Aarati Akkapeddi, Decode Kolams]({{ "https://aarati.online/media/pages/rituals-of-recursion/cf3c70f922-1744573498/print_detail2.jpg" | relative_url }})
@@ -86,16 +86,16 @@ By converting characters into binary code and mapping them onto a grid, Akkapedd
8686
![Aarati Akkapeddi, Decode Kolams]({{ "https://aarati.online/media/pages/rituals-of-recursion/198e667c76-1744573500/prints.jpg" | relative_url }})
8787
Installation view at the Rituals of Recursion exhibition, Spill 180, NY.
8888

89-
#### Discussion Prompts
89+
##### Discussion Prompts
9090
- How is code used to translate linguistic information into visual form?
9191
- What does this piece show us about how code can preserve or extend tradition?
9292
- How does encoding text into binary and turning it into pattern expand our idea of how code can be represented?
9393

9494
**Tip:** You are invited to encode text into a kolam pattern using Akkapeddi's software, [kolam.codes](https://kolam.codes/).
9595
{: .notice--success}
9696

97-
## Photography
98-
### [*Glance Back*](https://glanceback.info/) (2021)
97+
### Photography
98+
#### [*Glance Back*](https://glanceback.info/) (2021)
9999
Maya Man
100100

101101
*Glance Back* captures the fleeting nature of digital interactions by collecting and displaying selfies taken when one least expects it. This participatory artwork reflects on the performative aspects of online presence and the ways we curate our identities. By archiving these transient moments, it prompts contemplation on memory, self-representation, and the ephemerality of digital life.
@@ -112,18 +112,18 @@ Software screenshot of *Glance Back*, a custom chrome extension software.
112112
![Maya Man, Glance Back]({{ "https://glanceback.info/assets/2022/collection.png" | relative_url }})
113113
Maya Man's *Glance Back* archive.
114114

115-
#### Discussion Prompts
115+
##### Discussion Prompts
116116
- How does the use of code shape the interaction between viewer and artwork in this piece?
117117
- What does this work tell us about how code can collect, curate, and reframe everyday behavior?
118118
- How is the creative use of code shaping our understanding of authorship and agency in digital spaces?
119119

120120
**Tip:** If you use the chrome browser, you can try Glance Back by installing the [chrome extension](https://chromewebstore.google.com/detail/glance-back/hgickafobcmcfffbjiamhhejkockfccm?pli=1).
121121
{: .notice--success}
122122

123-
# 3D Art
123+
## 3D Art
124124

125-
## Sculpture
126-
### [She Who Sees the Unknown](https://shewhoseestheunknown.com/) (2017-2021)
125+
### Sculpture
126+
#### [She Who Sees the Unknown](https://shewhoseestheunknown.com/) (2017-2021)
127127
Morehshin Allahyari (Persian: موره شین اللهیاری‎)
128128

129129
![Morehshin Allahyari, She Who Sees the Unknown]({{ "https://i0.wp.com/shewhoseestheunknown.com/wp-content/uploads/2020/03/AllahyariM-SWSTU-TheLaughingSnake-01-5428x7286-1-scaled.jpg?ssl=1" | relative_url }})
@@ -138,13 +138,13 @@ Installation view at the She Who Sees the Unknown exhibition, Transfer Gallery,
138138
>
139139
> \- Morehshin Allahyari
140140
141-
#### Discussion Prompts
141+
##### Discussion Prompts
142142
- How does 3D modeling software allow the artist to recreate mythological figures?
143143
- What role does 3D printing play in reconstructing lost or marginalized narratives?
144144
- How is the 3D printing used not just to replicate, but to speculate and resist?
145145

146-
## Textile
147-
### [Doilies](https://www.laurasplan.com/projects/doilies) (2004)
146+
### Textile
147+
#### [Doilies](https://www.laurasplan.com/projects/doilies) (2004)
148148
Laura Splan
149149
![Laura Splan, Doilies]({{ "https://cdn.prod.website-files.com/6391e5efd5c2c1a8b351b8b8/64078a19a76aa391400a0de0_Laura_Splan%E2%80%942004%E2%80%94Doilies-SARS%E2%80%94computerized_machine_embroidered_lace.jpg" | relative_url }})
150150
Close-up view of *Dollies (SARS)*, computerized machine embroidered lace mounted on velvet.
@@ -158,18 +158,16 @@ Close-up view of *Dollies (SARS)*, computerized machine embroidered lace mounted
158158
![Laura Splan, Doilies]({{ "https://cdn.prod.website-files.com/6391e5efd5c2c1a8b351b8b8/640681a40983f6e9610d3f3f_Laura_Splan%E2%80%942009%E2%80%94commissioned_installation_for_Re-Formations_at_Van_Every-Smith_Galleries%E2%80%943.jpg" | relative_url }})
159159
Installation view at the Re/Formations exhibition, Van Every/Smith Galleries, NC
160160

161-
#### Discussion Prompts
162-
161+
##### Discussion Prompts
163162
- What role did code play in the embroidery design?
164163
- How does using code to generate visual patterns change the meaning or context of a form conventionally designed by hand?
165164
- What does this piece teach us about the aesthetic potential of procedueral design?
166165

167166
**Tip:** [PEmbroider](https://github.com/CreativeInquiry/PEmbroider) is an add-on tool that empowers Processing artists to export their sketches to a home embroidery machine!
168167
{: .notice--success}
169168

170-
## Ceramic
171-
172-
### [*Lantern Vessel in Collage*](https://design-milk.com/f5-jolie-ngo-on-chicago-bricks-her-favorite-clogs-more/) (2024)
169+
### Ceramic
170+
#### [*Lantern Vessel in Collage*](https://design-milk.com/f5-jolie-ngo-on-chicago-bricks-her-favorite-clogs-more/) (2024)
173171
Jolie Ngo
174172

175173
> Ngo blends 3D-printing technology with hand-painted imagery influenced by the digital aesthetics of her childhood, as seen in Minecraft and The Sims. A Vietnamese-American creative, she also references her heritage. Faceted forms echo the look of traditional silk lanterns, while layered textures recall the topographic views of rice paddies.
@@ -186,12 +184,12 @@ Close-up view of *Lantern Vessel in Collage*, 3D-printed ceramic inspired by Vie
186184
![Jolie Ngo, installation]({{ "https://images.prismic.io/sayhito/5730abb2-712d-4314-83d9-449a82e425c1_sayhito_Jolie-Ngo_4.png?auto=compress,format" | relative_url }})
187185
Studio photography of Ngo's 3D-printed ceramic series.
188186

189-
#### Discussion Prompts
187+
##### Discussion Prompts
190188
- Are you able to recognize and describe the hand-made/machine-made tensions Ngo referred to in her ceramics?
191189
- What opportunities does generative design through code offer to ceramic or physical practices?
192190
- How does code expand the definition of craft?
193191

194-
### [*Dust Furries*](https://www.unitedstatesartists.org/artists/linda-nguyen-lopez) (2019)
192+
#### [*Dust Furries*](https://www.unitedstatesartists.org/artists/linda-nguyen-lopez) (2019)
195193
Linda Nguyen Lopez
196194

197195
![Linda Nguyen Lopez, Dust Furries]({{ "/assets/images/curriculum/Unit-0_Sample-3.png" | relative_url }})
@@ -206,7 +204,7 @@ Linda Nguyen Lopez
206204
![Linda Nguyen Lopez, installation]({{ "https://artlogic-res.cloudinary.com/w_2400,c_limit,f_auto,fl_lossy,q_auto/ws-artlogicwebsite1040/usr/exhibitions/images/exhibitions/10/lopez-somebody-install7-web.jpg" | relative_url }})
207205
Installation view at the ʎpoqǝɯos exhibition, David B. Smith Gallery, CO
208206

209-
#### Discussion Prompts
207+
##### Discussion Prompts
210208

211209
- What adjectives might you use to describe Lopez's visual language?
212210
- How might this work shift our understanding of what kinds of forms or textures code can generate?
@@ -219,9 +217,9 @@ Installation view at the ʎpoqǝɯos exhibition, David B. Smith Gallery, CO
219217
## Architecture
220218
## Public Art -->
221219

222-
# 4D Art
223-
## Video & Animation
224-
### The Earth Eaters (2025)
220+
## 4D Art
221+
### Video & Animation
222+
#### The Earth Eaters (2025)
225223
Made in [Processing](https://processing.org/) by Marina Zurkow and James Schmitz
226224

227225
![Marina Zurkow and James Schmitz, The Earth Eaters]({{ "/assets/images/curriculum/Unit-0_Sample-1.jpg" | relative_url }})
@@ -233,13 +231,13 @@ Installation view at the Parting Worlds exhibition, Whitney Museum, NY.
233231
234232
<iframe src="https://player.vimeo.com/video/1074718891?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479" width="1920" height="1080" frameborder="0" allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media" title="Marina Zurkow, &quot;The Earth Eaters&quot; (single channel), 2025"></iframe>
235233

236-
#### Discussion Prompts
234+
##### Discussion Prompts
237235
- How is code used to generate time-based narratives or environmental systems in this piece?
238236
- What role does algorithmic design play in shaping the emotional arc of the work?
239237
- How can code as a medium help us explore cycles of destruction, transformation, or growth?
240238

241-
## Performance
242-
### [Border Tuner / Sintonizador Fronterizo](https://www.lozano-hemmer.com/border_tuner__sintonizador_fronterizo.php) (2019)
239+
### Performance
240+
#### [Border Tuner / Sintonizador Fronterizo](https://www.lozano-hemmer.com/border_tuner__sintonizador_fronterizo.php) (2019)
243241
Rafael Lozano-Hemmer
244242

245243
![Rafael Lozano-Hemmer, Border Tuner]({{ "/assets/images/curriculum/Unit-0_Sample-0.png" | relative_url }})
@@ -253,7 +251,7 @@ Lozano-Hemmer's *Border Tuner / Sintonizador Fronterizo* is an interactive insta
253251
254252
<iframe width="560" height="315" src="https://www.youtube.com/embed/sX-VXlweApI?si=BhtyT-8vmbE7lPca&amp;start=180" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>
255253

256-
#### Discussion Prompts
254+
##### Discussion Prompts
257255

258256
- How are human inputs sensed, interpreted, and responded to in this piece?
259257
- What does this work reveal about code’s ability to bridge—or highlight—distances between people?

_curriculum/00-02_Lessons.md

Lines changed: 1 addition & 2 deletions
Original file line numberDiff line numberDiff line change
@@ -7,7 +7,6 @@ published: true
77
gallery: # Below is for including an image gallery
88
---
99
# Lesson Plans & Technical Steps
10-
1110
## 1. Setting Up Your Environment
1211

1312
To begin writing code using [p5.js](https://p5js.org/), you need to set up the coding environment to write and save your programs. [Processing Foundation](https://processingfoundation.org/) provides the [p5.js Editor](https://editor.p5js.org/), a website where programmers can write, test, share, and remix p5.js programs without needing to download or install a code editor on a computer.
@@ -26,7 +25,7 @@ To begin writing code using [p5.js](https://p5js.org/), you need to set up the c
2625
1. Open the latest version of Chrome or Firefox browser on your computer and visit the [p5.js Editor](https://editor.p5js.org/) website.
2726
1. Click the “Sign up” link on the top right of the web page.
2827

29-
![p5.js Editor sign-up link]({{ "https://github.com/processing/p5.js-website/blob/main/src/content/tutorials/images/introduction/p5_editor_sign_up.png?raw=true" | relative_url }})
28+
![p5.js Editor sign-up link]({{ "https://github.com/processing/p5.js-website/blob/main/src/content/tutorials/images/introduction/p5_editor_sign_up.png?raw=true" | relative_url}})
3029

3130
### 1B. Creating an Account
3231
Create an account on the [p5.js Editor](https://editor.p5js.org/) using one of the following options:

_curriculum/00-unit.md

Lines changed: 4 additions & 3 deletions
Original file line numberDiff line numberDiff line change
@@ -1,6 +1,7 @@
11
---
22
title: "Units"
33
permalink: /introduction/
4+
published: false
45

56
# Include links, images, and descriptions for each unit row below:
67
unit1_row: # One row that has two columns (1 column for each unit)
@@ -21,7 +22,7 @@ unit1_row: # One row that has two columns (1 column for each unit)
2122
- drawing methods
2223
- text methods
2324
- loading and displaying images
24-
url: /collaginginstructions-intro/
25+
url: /maskGenerator-intro/
2526

2627
unit2_row:
2728
- image_path: /assets/images/curriculum/Unit-3_Sample-4.png
@@ -33,7 +34,7 @@ unit2_row:
3334
- arithmetic operators and expressions
3435
- if/else statements
3536
- boolean expressions and operators
36-
url: /artTime-introduction/
37+
url: /walkInNeighborhood-introduction/
3738

3839
- image_path: /assets/images/curriculum/Unit-4_Sample-0.png
3940
title: "Drawing Machine"
@@ -42,7 +43,7 @@ unit2_row:
4243
- variables
4344
- map(), constrain() functions
4445
- p5.js Sound Library
45-
url: /responsivevisualdata-intro/
46+
url: /drawingMachine-intro/
4647

4748
unit3_row:
4849
- image_path: /assets/images/curriculum/Unit-5_Sample-0.png

0 commit comments

Comments
 (0)