探索Processing：创意编程与计算艺术的创新指南

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"《Processing：创意编码与计算艺术》是一本由Ira Greenberg所著的指南，专注于介绍使用Processing这门强大的却又相对简单的计算机语言和编程环境进行创新性创作的过程。该书特别关注于创意编程，涵盖了2D和3D动画制作、像素级别的图像处理、动态效果以及物理模拟等技术。通过一个富有创意且乐趣十足的学习路径，读者可以掌握如何将艺术、视觉化元素和互动应用融入到计算机程序设计中。本书的特点在于其易学性和实用性，对于那些希望探索计算机编程艺术和计算艺术领域的初学者和专业人士来说，它提供了一个坚实的基础。作者通过实例演示和深入解析，帮助读者理解如何运用Processing来创造独特的艺术作品，无论是为了个人兴趣还是职业发展，都能从中获益匪浅。作为一本专业教材，书中还包含前言，由Keith Peters撰写，他可能是一位在 Processing社区中有影响力的人物，对本书的理论和实践应用提供了有价值的见解和鼓励。版权方面，所有内容受法律保护，未经版权所有者和出版商事先书面许可，不得以任何形式复制或传输，包括但不限于电子或机械复制，如复印、录音，以及通过任何信息存储或检索系统。本书的ISBN-13和ISBN-10分别标识为978-1-59059-617-3和1-59059-617-X，表明这是一本在美国印刷和装订的作品。书中可能涉及商标名称，但出于编辑规范，仅在必要时使用，而非每个出现都标注商标符号。《Processing：创意编码与计算艺术》是一本结合了实用技能和艺术灵感的书籍，是学习计算机图形、交互设计和数字艺术创作的理想资源，适合那些寻求将技术与创新思维相结合的读者深入探索。"

the bits you need to get started. On the other hand, when you are ready to dive in deep,

here’s more than enough material to keep you up late at night coding.

o take another flip through the book for inspiration, take a deep breath, get comfortable,

and dive in, just like I’ll be doing as soon as I finish writing this!

Keith Peters, April 2007

FOREWORD

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ABOUT THE AUTHOR

With an eclectic background combining elements of painting and

programming,

Ira Greenberg has been a painter, 2D and 3D anima-

tor, print designer, web and interactive designer/developer, pro-

grammer, art director, creative director, managing director, art

professor, and now author. He holds a BFA from Cornell University

and an MFA from the University of Pennsylvania.

Ira has steadily exhibited his work, consulted within industry, and

lectured widely throughout his career. He was affiliated with the

Flywheel Gallery in Piermont, New York, and the Bowery Gallery in

New York City. He was a managing director and creative director

for H2O Associates in New York’s Silicon Alley, where he helped

build a new media division during the golden days of the dot-com boom and then bust—

barely parachuting back to safety in the ivory tower. Since then, he has been inciting students

to create inspirational new media art; lecturing; and holding residencies at numerous institu-

tions, including Seton Hall University; Monmouth University; University of California, Santa

Barbara; Kutztown University; Moravian College; Northampton Community College’s Digital

Art Institute; Lafayette College; Lehigh University; the Art Institute of Seattle; Studio Art

Centers International (in Florence, Italy); and the City and Guilds of London Art School.

Currently, Ira is Associate Professor at Miami University (Ohio), where he has a joint appoint-

ment within the School of Fine Arts and Interactive Media Studies program. He is also an

affiliate member of the Department of Computer Science and Systems Analysis. His research

interests include aesthetics and computation, expressive programming, emergent forms, net-

based art

, artificial intelligence, physical computing, and computer art pedagogy (and any

thing else that tickles his fancy). During the last few years, he has been torturing defenseless

art students with trigonometry, algorithms, and object-oriented programming, and is excited

to spread this passion to the rest of the world.

Ira lives in charming Oxford, Ohio with his wife, Robin; his son, Ian; his daughter, Sophie; their

squirrel-obsessed dog, Heidi; and their night prowler cat

, Moonshadow

Photo by Robin McLennan

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ACKNOWLEDGMENTS

I am very fortunate to know and work with so many kind, smart, and generous people. Here

are just a few who have helped make this book possible:

Advisors, colleagues, and reviewers: Fred Green, Andres Wanner, Paul Fishwick, Paul

Catanese, Mary Flanagan, Laura Mandell, Scott Crass, Mike Zmuda, and David Wicks for

showing an interest when it really, really mattered; technical reviewers Carole Katz, Mark

Napier, and Charles E. Brown for helping me simplify, clarify, and rectify—the book is far bet-

ter because of your combined wisdom; my wonderful colleagues and students at Miami

University, in the Department of Art and Interactive Media Studies program—especially Mike

McCollum, Jim Coyle, Bettina Fabos, Glenn Platt, Peg Faimon, and dele jegede—for tolerating

such a looooong journey and my perpetual “when the book is finished” response.

The wonderful people at friends of ED: Production editor Ellie Fountain for always respond-

ing kindly to my neurotic, 11th-hour requests; copy editor Damon Larson for his patience

and precision in helping me craft actual grammatical sentences; project manager Sofia

Marchant for keeping the book (and me) from slipping into the procrastinator’s abyss—I

couldn’t have pulled this off without you! Lead editor and heavy metal warrior Chris Mills for

believing in a first-time author and providing constant support and sage advice throughout

the entire process. I appreciate this opportunity more than you know, Chris!

The wonderful Processing community—especially Ben Fry and Casey Reas for giving me

something to actually write about. I know I am just one of many who owe you a world of

thanks for selflessly creating this amazing tool/medium/environment/language/revolution.

My incredible mentors, friends, and family: Petra T. D. Chu, for all your generosity and

support over the years; Tom Shillea, Bruce Wall, and Sherman Finch for helping plant the

“

creative coding” seed; Bill Hudders for sticking around even after I put down the paintbrush;

Roger Braimon for keeping me from taking anything too seriously; Jim and Nancy for moving

700 miles to join us in a cornfield; Paula and Stu for giving me (and my Quadra 950) our first

shot; my uncles R

on and Ed and their respective wonderful families for fostering my early

interest in science and technology and the belief that I could do it “my way”; Bill and

Rae

Ann, for lovingly supporting the west coast surf and burrito operations; Ellen, Sarah,

Danny, Ethan, Jack, Anne, Miles, Shelley, Connor, and Matthew for all your kindness and love

over so many years; my genius brother Eric, for keeping me humble and bailing me out on

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