Coverart for item
The Resource Slime mould in arts and architecture, editor Andrew Adamatzky

Slime mould in arts and architecture, editor Andrew Adamatzky

Label
Slime mould in arts and architecture
Title
Slime mould in arts and architecture
Statement of responsibility
editor Andrew Adamatzky
Contributor
Editor
Subject
Language
eng
Member of
Cataloging source
NhCcYBP
Dewey number
700.105
Illustrations
illustrations
Index
index present
Language note
Text in English
LC call number
QK635.P5
LC item number
S65 2019
Literary form
non fiction
Nature of contents
  • dictionaries
  • bibliography
http://library.link/vocab/relatedWorkOrContributorName
  • Adamatzky, Andrew
  • ProQuest (Firm)
Series statement
River publishers series in biomedical engineering
http://library.link/vocab/subjectName
  • Art and science
  • Architecture
  • Physarum polycephalum
  • Myxomycetes
Label
Slime mould in arts and architecture, editor Andrew Adamatzky
Instantiates
Publication
Copyright
Bibliography note
Includes bibliographical references and index
Carrier category
online resource
Carrier category code
  • cr
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
  • 3.2.
  • Amy Halliday
  • Jonathon Keats
  • 5.3.
  • Project Structure
  • Megan Dobro
  • Amy Halliday
  • Jonathon Keats
  • 5.4.
  • Example Investigations
  • Megan Dobro
  • Physarum Experiments
  • Amy Halliday
  • Jonathon Keats
  • 5.5.
  • Curating the Plasmodium Consortium: Amy Halliday
  • Megan Dobro
  • Amy Halliday
  • Jonathon Keats
  • 5.5.1.
  • Curating for Aesthetic Coherence and Effective Communication
  • Megan Dobro
  • Heather Barnett
  • Amy Halliday
  • Jonathon Keats
  • 5.5.2.
  • (Re)Presenting Process and Participation
  • Megan Dobro
  • Amy Halliday
  • Jonathon Keats
  • 5.6.
  • On Working with Slime Mould from a Biologist's Perspective: Megan Dobro
  • Megan Dobro
  • 3.3.
  • Amy Halliday
  • Jonathon Keats
  • 5.6.1.
  • Recruitment to Science
  • Megan Dobro
  • Amy Halliday
  • Jonathon Keats
  • 5.6.2.
  • Value to the Community
  • Megan Dobro
  • Encounters and Interactions
  • Amy Halliday
  • Jonathon Keats
  • 5.7.
  • Challenges
  • Megan Dobro
  • Amy Halliday
  • Jonathon Keats
  • 5.8.
  • Outcomes
  • Megan Dobro
  • Heather Barnett
  • Amy Halliday
  • Jonathon Keats
  • 5.9.
  • Conclusion
  • Megan Dobro
  • Amy Halliday
  • Jonathon Keats
  • References
  • Megan Dobro
  • Amy Halliday
  • 3.4.
  • Jonathon Keats
  • 6.1.
  • Introduction
  • Claudia Pasquero
  • Marco Poletto
  • 6.2.
  • Modern Bias: From the Modern Linear City to the Microorganism as Bio-citizen
  • Claudia Pasquero
  • Marco Poletto
  • 6.3.
  • Playful Pedagogies
  • Bio-citizens 01: Anthropocene Island at TAB 2017
  • Claudia Pasquero
  • Marco Poletto
  • 6.4.
  • Bio-citizens 02: Cyanobacteria in Aarhus and Astana
  • Claudia Pasquero
  • Marco Poletto
  • 6.5.
  • Physarum Polycephalum as Speculative Model
  • Claudia Pasquero
  • Heather Barnett
  • Marco Poletto
  • 7.1.
  • Introduction
  • Johan Monroy
  • Catalina Puello
  • Fabio Rivera
  • 7.2.
  • Project Description
  • Johan Monroy
  • Catalina Puello
  • 3.5.
  • Fabio Rivera
  • 7.3.
  • Concept
  • Johan Monroy
  • Catalina Puello
  • Fabio Rivera
  • 7.4.
  • Prototypes and Applications
  • Johan Monroy
  • Catalina Puello
  • Machine generated contents note:
  • Collective Experiments
  • Fabio Rivera
  • 7.5.
  • Vision
  • Johan Monroy
  • Catalina Puello
  • Fabio Rivera
  • References
  • Johan Monroy
  • Catalina Puello
  • Fabio Rivera
  • Heather Barnett
  • 8.1.
  • Introduction: Physarum as Artistic Medium
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • 8.2.
  • Routing between Disciplines and Institutions with Physarum
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • 3.5.1.
  • 8.2.1.
  • First Workshop - Studio XX, May 2017
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • 8.2.1.1.
  • "Your first pet slime mould"
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • Nodes and Networks
  • 8.3.
  • Plasmodalities
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • 8.3.1.
  • Plasmodial Affordances
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • Heather Barnett
  • 8.3.2.
  • Distributed Artistic Experimentation
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • 8.4.
  • Slimedium: Connecting Physarum, Artists and Publics
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • 3.5.2.
  • 8.5.
  • Conclusion: Opportunities and Challenges
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • References
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • 9.1.
  • Swarm/Cell/City
  • Introduction
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.2.
  • Art, Architecture and Science Template
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Heather Barnett
  • Barbara Imhof
  • 9.3.
  • Problem Statement
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.3.1.
  • Philosophy
  • Petra Gruber
  • 3.6.
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.3.2.
  • Why GrAB
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.4.
  • Polycephalism
  • Life as a Paradigm
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.4.1.
  • Design with Nature/Organisms
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • References
  • Heather Barnett
  • Barbara Imhof
  • 9.4.2.
  • Design with Biotechnology
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.4.3.
  • Organisms as Co-workers
  • Petra Gruber
  • References
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.4.4.
  • Organisms as Co-designers Integrated Organisms in the Design Process
  • Ceren Yonetim
  • Angelo Vermeulen
  • Petra Gruber
  • Barbara Imhof
  • 9.4.5.
  • Heather Barnett
  • Integration of Living Biology
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.5.
  • Methodology
  • Petra Gruber
  • Angelo Vermeulen
  • Barbara Imhof
  • 4.1.
  • Ceren Yonetim
  • 9.6.
  • Slime Mould
  • Petra Gruber
  • Ceren Yonetim
  • Angelo Vermeulen
  • Barbara Imhof
  • 9.7.
  • Explorative Growth
  • Ceren Yonetim
  • Introduction
  • Angelo Vermeulen
  • Petra Gruber
  • Barbara Imhof
  • 9.7.1.
  • Background Environment and Context
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.7.2.
  • Satvik Venkatesh
  • Information in Biology and Technology
  • Petra Gruber
  • Angelo Vermeulen
  • Barbara Imhof
  • Ceren Yonetim
  • 9.8.
  • Results
  • Petra Gruber
  • Ceren Yonetim
  • Angelo Vermeulen
  • Edward Braund
  • Barbara Imhof
  • 9.9.
  • Conclusions
  • Petra Gruber
  • Angelo Vermeulen
  • Barbara Imhof
  • Ceren Yonetim
  • 9.9.1.
  • Further Abstraction and Translation into a Technological Context
  • Petra Gruber
  • Eduardo Reck Miranda
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.9.2.
  • True Integration of Living Organisms into Buildings - Hybrids
  • Petra Gruber
  • Angelo Vermeulen
  • Barbara Imhof
  • Ceren Yonetim
  • 9.9.3.
  • 4.2.
  • Further Exploration - Adaptation to Environment
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • References
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • Why Biomemristors7
  • 10.1.
  • Infrastructural Planning and the City
  • Andrew Adamatzky
  • Neil Phillips
  • Richard Mayne
  • Teresa Dillon
  • Elliott Ballam
  • 10.2.
  • Following the Extracellular Matrix
  • Richard Mayne
  • Steven L. Stephenson
  • Satvik Venkatesh
  • Elliott Ballam
  • Teresa Dillon
  • Neil Phillips
  • Andrew Adamatzky
  • 10.3.
  • Reimaging City Infrastructures with Slime Mould
  • Andrew Adamatzky
  • Neil Phillips
  • Richard Mayne
  • Elliott Ballam
  • Edward Braund
  • Teresa Dillon
  • 10.3.1.
  • Experiment 1: Visualising Complex City Networks
  • Teresa Dillon
  • Elliott Ballam
  • Richard Mayne
  • Andrew Adamatzky
  • Neil Phillips
  • 10.3.1.1.
  • Thematic networks
  • Eduardo Reck Miranda
  • Andrew Adamatzky
  • Richard Mayne
  • Elliott Ballam
  • Teresa Dillon
  • Neil Phillips
  • 10.3.1.2.
  • Overlaying networks
  • Teresa Dillon
  • Elliott Ballam
  • Richard Mayne
  • 4.3.
  • Neil Phillips
  • Andrew Adamatzky
  • 10.3.1.3.
  • Scenario - playing
  • Teresa Dillon
  • Elliott Ballam
  • Richard Mayne
  • Neil Phillips
  • Andrew Adamatzky
  • 10.3.2.
  • Mapping Procedure
  • Experiment 2: Evaluation of Architecture Drafts of Individual Buildings
  • Teresa Dillon
  • Elliott Ballam
  • Richard Mayne
  • Neil Phillips
  • Andrew Adamatzky
  • 10.3.2.1.
  • Rationale
  • Teresa Dillon
  • Elliott Ballam
  • Satvik Venkatesh
  • Richard Mayne
  • Neil
  • Edward Braund
  • Eduardo Reck Miranda
  • 4.3.1.
  • Events to Voltages
  • References
  • Satvik Venkatesh
  • Edward Braund
  • Eduardo Reck Miranda
  • 4.3.2.
  • Currents to Events
  • Satvik Venkatesh
  • Edward Braund
  • Eduardo Reck Miranda
  • 4.3.3.
  • Resistor as Ideal Behaviour
  • Steven L. Stephenson
  • Satvik Venkatesh
  • Edward Braund
  • Eduardo Reck Miranda
  • 4.3.4.
  • User-adjustable Parameters
  • Satvik Venkatesh
  • Edward Braund
  • Eduardo Reck Miranda
  • 4.3.5.
  • Hardware Limitations
  • 3.1.
  • Satvik Venkatesh
  • Edward Braund
  • Eduardo Reck Miranda
  • 4.4.
  • Creative Systems
  • Satvik Venkatesh
  • Edward Braund
  • Eduardo Reck Miranda
  • 4.5.
  • Concluding Discussions
  • Introduction
  • Satvik Venkatesh
  • Edward Braund
  • Eduardo Reck Miranda
  • 4.6.
  • Future Work
  • Satvik Venkatesh
  • Edward Braund
  • Eduardo Reck Miranda
  • References
  • Satvik Venkatesh
  • Heather Barnett
  • Edward Braund
  • Eduardo Reck Miranda
  • 5.1.
  • Introduction
  • Megan Dobro
  • Amy Halliday
  • Jonathon Keats
  • 5.2.
  • Conceptual Beginnings: Jonathon Keats
  • Megan Dobro
  • Andrew Adamatzky
  • 10.4.
  • Findings
  • Teresa Dillon
  • Elliott Ballam
  • Richard Mayne
  • Neil Phillips
  • Andrew Adamatzky
  • 10.4.1.
  • Experiment 1
  • Phillips
  • Teresa Dillon
  • Elliott Ballam
  • Richard Mayne
  • Neil Phillips
  • Andrew Adamatzky
  • 10.4.2.
  • Experiment 2
  • Teresa Dillon
  • Elliott Ballam
  • Richard Mayne
  • Andrew Adamatzky
  • Neil Phillips
  • Andrew Adamatzky
  • 10.5.
  • Messy Matters
  • Elliott Ballam
  • Richard Mayne
  • Neil Phillips
  • Andrew Adamatzky
  • Teresa Dillon
  • References
  • 10.3.2.2.
  • Teresa Dillon
  • Elliott Ballam
  • Richard Mayne
  • Neil Phillips
  • Andrew Adamatzky
  • 12.1.
  • Many Heads, No Brain
  • Elvia Wilk with Jenna Sutela
  • 12.2.
  • Beginning to Think
  • Methods
  • Elvia Wilk with Jenna Sutela
  • 12.3.
  • Organization, Organism, Orgasm
  • Elvia Wilk with Jenna Sutela
  • 12.4.
  • Becoming Other
  • Elvia Wilk with Jenna Sutela
  • 13.1.
  • Introduction
  • Nenad Popov
  • Teresa Dillon
  • 13.2.
  • Experiments
  • Nenad Popov
  • 13.2.1.
  • Growing a Movie
  • Nenad Popov
  • 13.2.1.1.
  • Temporal isolation
  • Nenad Popov
  • 13.2.1.2.
  • Elliott Ballam
  • Lighting
  • Nenad Popov
  • 13.2.1.3.
  • Camera
  • Nenad Popov
  • 13.2.1.4.
  • Compositional aspects
  • Nenad Popov
  • 13.2.1.5.
  • Results
  • Richard Mayne
  • Nenad Popov
  • 13.2.2.
  • Sonification Experiments
  • Nenad Popov
  • 13.2.2.1.
  • Reinterpreting Mycenae alpha
  • Nenad Popov
  • 13.2.2.2.
  • Translating the growth to sound
  • Iannis Xenakis --
  • Neil Phillips
  • Pulse, Flow
  • Grace Chung
  • 16.4.12.
  • Organizational Logic of Space
  • Preety Anand
  • Grace Chung
  • 16.4.13.
  • Structure
  • Preety Anand
  • Grace Chung
  • 16.4.14.
  • Iannis Xenakis
  • Constraints for Design
  • Preety Anand
  • Grace Chung
  • 16.4.15.
  • Architectural Speculation
  • Preety Anand
  • Grace Chung
  • 16.5.
  • Issue of Control
  • Preety Anand
  • 14.1.
  • Grace Chung
  • 16.5.1.
  • Soft and Classic Modes of Control
  • Preety Anand
  • Grace Chung
  • 16.5.2.
  • Modes of Control: Fixed Body Plan vs Chemical Computation
  • Preety Anand
  • Grace Chung
  • 16.5.3.
  • Introduction
  • Linear Control in Building Systems vs Decentralised Control in the Chemical Machine
  • Preety Anand
  • Grace Chung
  • 16.6.
  • Physically Simulating the Chemical Machine
  • Preety Anand
  • Grace Chung
  • 16.6.1.
  • Motivation
  • Preety Anand
  • Liss C. Werner
  • Grace Chung
  • 16.6.2.
  • Technicalities: Sensor Driven Input
  • Preety Anand
  • Grace Chung
  • 16.6.3.
  • Physical Simulation: Self-Regulation of Light Levels
  • Grace Chung
  • Preety Anand
  • 16.6.4.
  • 14.2.
  • Feedback
  • Preety Anand
  • Grace Chung
  • 16.6.5.
  • Limitations
  • Preety Anand
  • Grace Chung
  • 16.7.
  • Architectural Merit
  • Preety Anand
  • Literature and Project Review for Slime Mold in Architecture, Urban and Regional Planning and Design
  • Grace Chung
  • 16.7.1.
  • Morphological Self Regulation: Non-Deterministic Morphology
  • Preety Anand
  • Grace Chung
  • 16.7.2.
  • Regulation of Light
  • Preety Anand
  • Grace Chung
  • 16.7.3.
  • Liss C. Werner
  • Deployment
  • Preety Anand
  • Grace Chung
  • 16.8.
  • Conclusion
  • Preety Anand
  • Grace Chung
  • References
  • Preety Anand
  • Grace Chung
  • 14.3.
  • 17.1.
  • Introduction
  • Gonzalo Moiguer
  • 17.2.
  • Cells
  • Gonzalo Moiguer
  • 17.3.
  • Programming
  • Gonzalo Moiguer
  • 17.4.
  • Digital Theory of Physarum
  • Memories
  • Gonzalo Moiguer
  • 17.5.
  • Screen
  • Gonzalo Moiguer
  • 17.6.
  • Questions
  • Gonzalo Moiguer
  • Contents note continued:
  • Liss C. Werner
  • 14.4.
  • Concluding Discussion: Physarum as Liquid Geometry Computer and Disruptive Bio-cybernetic System for Architectural Applications
  • Liss C. Werner
  • References
  • Liss C. Werner
  • References
  • Axel Cuevas Santamaria
  • Jason C. Slot
  • 16.1.
  • 13.2.2.3.
  • Introduction
  • Preety Anand
  • Grace Chung
  • 16.2.
  • Architectural Motivation
  • Preety Anand
  • Grace Chung
  • 16.3.
  • Research
  • Preety Anand
  • Outsourcing to non-humans: slime mould programming in Max/MSP
  • Grace Chung
  • 16.3.1.
  • Slime Mould: Physarum Polycephalum
  • Preety Anand
  • Grace Chung
  • 16.3.2.
  • Oregonator Model-Mathematical Logic
  • Preety Anand
  • Grace Chung
  • 16.3.3.
  • Iannis Xenakis
  • Belousov Zhabotinsky Reaction
  • Preety Anand
  • Grace Chung
  • 16.4.
  • Chemical Machine
  • Preety Anand
  • Grace Chung
  • 16.4.1.
  • Design as a Form of Control
  • Preety Anand
  • 13.2.3.
  • Grace Chung
  • 16.4.2.
  • Functionality of Components
  • Preety Anand
  • Grace Chung
  • 16.4.3.
  • Materiality of Components
  • Preety Anand
  • Grace Chung
  • 16.4.4.
  • Life Support
  • Fabrication of Components
  • Preety Anand
  • Grace Chung
  • 16.4.5.
  • Geometry of Components
  • Preety Anand
  • Grace Chung
  • 16.4.6.
  • Scale and Productivity
  • Preety Anand
  • Iannis Xenakis
  • Grace Chung
  • 16.4.7.
  • Packing Logic of Components
  • Preety Anand
  • Grace Chung
  • 16.4.8.
  • Encompassing Membrane
  • Preety Anand
  • Grace Chung
  • 16.4.9.
  • 13.3.
  • Geometry of Space
  • Preety Anand
  • Grace Chung
  • 16.4.10.
  • Matter Distribution
  • Preety Anand
  • Grace Chung
  • 16.4.11.
  • Prototypical Space
  • Preety Anand
Control code
MSTDDA5829251
Dimensions
unknown
Extent
1 online resource (xxix, 325 pages ):
Form of item
online
Isbn
9788770220712
Isbn Type
(electronic bk.)
Media category
computer
Media MARC source
rdamedia
Media type code
  • c
Other physical details
illustrations.
Reproduction note
Electronic reproduction.
Specific material designation
remote
Label
Slime mould in arts and architecture, editor Andrew Adamatzky
Publication
Copyright
Bibliography note
Includes bibliographical references and index
Carrier category
online resource
Carrier category code
  • cr
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
  • 3.2.
  • Amy Halliday
  • Jonathon Keats
  • 5.3.
  • Project Structure
  • Megan Dobro
  • Amy Halliday
  • Jonathon Keats
  • 5.4.
  • Example Investigations
  • Megan Dobro
  • Physarum Experiments
  • Amy Halliday
  • Jonathon Keats
  • 5.5.
  • Curating the Plasmodium Consortium: Amy Halliday
  • Megan Dobro
  • Amy Halliday
  • Jonathon Keats
  • 5.5.1.
  • Curating for Aesthetic Coherence and Effective Communication
  • Megan Dobro
  • Heather Barnett
  • Amy Halliday
  • Jonathon Keats
  • 5.5.2.
  • (Re)Presenting Process and Participation
  • Megan Dobro
  • Amy Halliday
  • Jonathon Keats
  • 5.6.
  • On Working with Slime Mould from a Biologist's Perspective: Megan Dobro
  • Megan Dobro
  • 3.3.
  • Amy Halliday
  • Jonathon Keats
  • 5.6.1.
  • Recruitment to Science
  • Megan Dobro
  • Amy Halliday
  • Jonathon Keats
  • 5.6.2.
  • Value to the Community
  • Megan Dobro
  • Encounters and Interactions
  • Amy Halliday
  • Jonathon Keats
  • 5.7.
  • Challenges
  • Megan Dobro
  • Amy Halliday
  • Jonathon Keats
  • 5.8.
  • Outcomes
  • Megan Dobro
  • Heather Barnett
  • Amy Halliday
  • Jonathon Keats
  • 5.9.
  • Conclusion
  • Megan Dobro
  • Amy Halliday
  • Jonathon Keats
  • References
  • Megan Dobro
  • Amy Halliday
  • 3.4.
  • Jonathon Keats
  • 6.1.
  • Introduction
  • Claudia Pasquero
  • Marco Poletto
  • 6.2.
  • Modern Bias: From the Modern Linear City to the Microorganism as Bio-citizen
  • Claudia Pasquero
  • Marco Poletto
  • 6.3.
  • Playful Pedagogies
  • Bio-citizens 01: Anthropocene Island at TAB 2017
  • Claudia Pasquero
  • Marco Poletto
  • 6.4.
  • Bio-citizens 02: Cyanobacteria in Aarhus and Astana
  • Claudia Pasquero
  • Marco Poletto
  • 6.5.
  • Physarum Polycephalum as Speculative Model
  • Claudia Pasquero
  • Heather Barnett
  • Marco Poletto
  • 7.1.
  • Introduction
  • Johan Monroy
  • Catalina Puello
  • Fabio Rivera
  • 7.2.
  • Project Description
  • Johan Monroy
  • Catalina Puello
  • 3.5.
  • Fabio Rivera
  • 7.3.
  • Concept
  • Johan Monroy
  • Catalina Puello
  • Fabio Rivera
  • 7.4.
  • Prototypes and Applications
  • Johan Monroy
  • Catalina Puello
  • Machine generated contents note:
  • Collective Experiments
  • Fabio Rivera
  • 7.5.
  • Vision
  • Johan Monroy
  • Catalina Puello
  • Fabio Rivera
  • References
  • Johan Monroy
  • Catalina Puello
  • Fabio Rivera
  • Heather Barnett
  • 8.1.
  • Introduction: Physarum as Artistic Medium
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • 8.2.
  • Routing between Disciplines and Institutions with Physarum
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • 3.5.1.
  • 8.2.1.
  • First Workshop - Studio XX, May 2017
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • 8.2.1.1.
  • "Your first pet slime mould"
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • Nodes and Networks
  • 8.3.
  • Plasmodalities
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • 8.3.1.
  • Plasmodial Affordances
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • Heather Barnett
  • 8.3.2.
  • Distributed Artistic Experimentation
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • 8.4.
  • Slimedium: Connecting Physarum, Artists and Publics
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • 3.5.2.
  • 8.5.
  • Conclusion: Opportunities and Challenges
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • References
  • Sarah Choukah
  • WhiteFeather Hunter
  • Tristan Matheson
  • 9.1.
  • Swarm/Cell/City
  • Introduction
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.2.
  • Art, Architecture and Science Template
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Heather Barnett
  • Barbara Imhof
  • 9.3.
  • Problem Statement
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.3.1.
  • Philosophy
  • Petra Gruber
  • 3.6.
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.3.2.
  • Why GrAB
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.4.
  • Polycephalism
  • Life as a Paradigm
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.4.1.
  • Design with Nature/Organisms
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • References
  • Heather Barnett
  • Barbara Imhof
  • 9.4.2.
  • Design with Biotechnology
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.4.3.
  • Organisms as Co-workers
  • Petra Gruber
  • References
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.4.4.
  • Organisms as Co-designers Integrated Organisms in the Design Process
  • Ceren Yonetim
  • Angelo Vermeulen
  • Petra Gruber
  • Barbara Imhof
  • 9.4.5.
  • Heather Barnett
  • Integration of Living Biology
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.5.
  • Methodology
  • Petra Gruber
  • Angelo Vermeulen
  • Barbara Imhof
  • 4.1.
  • Ceren Yonetim
  • 9.6.
  • Slime Mould
  • Petra Gruber
  • Ceren Yonetim
  • Angelo Vermeulen
  • Barbara Imhof
  • 9.7.
  • Explorative Growth
  • Ceren Yonetim
  • Introduction
  • Angelo Vermeulen
  • Petra Gruber
  • Barbara Imhof
  • 9.7.1.
  • Background Environment and Context
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.7.2.
  • Satvik Venkatesh
  • Information in Biology and Technology
  • Petra Gruber
  • Angelo Vermeulen
  • Barbara Imhof
  • Ceren Yonetim
  • 9.8.
  • Results
  • Petra Gruber
  • Ceren Yonetim
  • Angelo Vermeulen
  • Edward Braund
  • Barbara Imhof
  • 9.9.
  • Conclusions
  • Petra Gruber
  • Angelo Vermeulen
  • Barbara Imhof
  • Ceren Yonetim
  • 9.9.1.
  • Further Abstraction and Translation into a Technological Context
  • Petra Gruber
  • Eduardo Reck Miranda
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • 9.9.2.
  • True Integration of Living Organisms into Buildings - Hybrids
  • Petra Gruber
  • Angelo Vermeulen
  • Barbara Imhof
  • Ceren Yonetim
  • 9.9.3.
  • 4.2.
  • Further Exploration - Adaptation to Environment
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • References
  • Petra Gruber
  • Angelo Vermeulen
  • Ceren Yonetim
  • Barbara Imhof
  • Why Biomemristors7
  • 10.1.
  • Infrastructural Planning and the City
  • Andrew Adamatzky
  • Neil Phillips
  • Richard Mayne
  • Teresa Dillon
  • Elliott Ballam
  • 10.2.
  • Following the Extracellular Matrix
  • Richard Mayne
  • Steven L. Stephenson
  • Satvik Venkatesh
  • Elliott Ballam
  • Teresa Dillon
  • Neil Phillips
  • Andrew Adamatzky
  • 10.3.
  • Reimaging City Infrastructures with Slime Mould
  • Andrew Adamatzky
  • Neil Phillips
  • Richard Mayne
  • Elliott Ballam
  • Edward Braund
  • Teresa Dillon
  • 10.3.1.
  • Experiment 1: Visualising Complex City Networks
  • Teresa Dillon
  • Elliott Ballam
  • Richard Mayne
  • Andrew Adamatzky
  • Neil Phillips
  • 10.3.1.1.
  • Thematic networks
  • Eduardo Reck Miranda
  • Andrew Adamatzky
  • Richard Mayne
  • Elliott Ballam
  • Teresa Dillon
  • Neil Phillips
  • 10.3.1.2.
  • Overlaying networks
  • Teresa Dillon
  • Elliott Ballam
  • Richard Mayne
  • 4.3.
  • Neil Phillips
  • Andrew Adamatzky
  • 10.3.1.3.
  • Scenario - playing
  • Teresa Dillon
  • Elliott Ballam
  • Richard Mayne
  • Neil Phillips
  • Andrew Adamatzky
  • 10.3.2.
  • Mapping Procedure
  • Experiment 2: Evaluation of Architecture Drafts of Individual Buildings
  • Teresa Dillon
  • Elliott Ballam
  • Richard Mayne
  • Neil Phillips
  • Andrew Adamatzky
  • 10.3.2.1.
  • Rationale
  • Teresa Dillon
  • Elliott Ballam
  • Satvik Venkatesh
  • Richard Mayne
  • Neil
  • Edward Braund
  • Eduardo Reck Miranda
  • 4.3.1.
  • Events to Voltages
  • References
  • Satvik Venkatesh
  • Edward Braund
  • Eduardo Reck Miranda
  • 4.3.2.
  • Currents to Events
  • Satvik Venkatesh
  • Edward Braund
  • Eduardo Reck Miranda
  • 4.3.3.
  • Resistor as Ideal Behaviour
  • Steven L. Stephenson
  • Satvik Venkatesh
  • Edward Braund
  • Eduardo Reck Miranda
  • 4.3.4.
  • User-adjustable Parameters
  • Satvik Venkatesh
  • Edward Braund
  • Eduardo Reck Miranda
  • 4.3.5.
  • Hardware Limitations
  • 3.1.
  • Satvik Venkatesh
  • Edward Braund
  • Eduardo Reck Miranda
  • 4.4.
  • Creative Systems
  • Satvik Venkatesh
  • Edward Braund
  • Eduardo Reck Miranda
  • 4.5.
  • Concluding Discussions
  • Introduction
  • Satvik Venkatesh
  • Edward Braund
  • Eduardo Reck Miranda
  • 4.6.
  • Future Work
  • Satvik Venkatesh
  • Edward Braund
  • Eduardo Reck Miranda
  • References
  • Satvik Venkatesh
  • Heather Barnett
  • Edward Braund
  • Eduardo Reck Miranda
  • 5.1.
  • Introduction
  • Megan Dobro
  • Amy Halliday
  • Jonathon Keats
  • 5.2.
  • Conceptual Beginnings: Jonathon Keats
  • Megan Dobro
  • Andrew Adamatzky
  • 10.4.
  • Findings
  • Teresa Dillon
  • Elliott Ballam
  • Richard Mayne
  • Neil Phillips
  • Andrew Adamatzky
  • 10.4.1.
  • Experiment 1
  • Phillips
  • Teresa Dillon
  • Elliott Ballam
  • Richard Mayne
  • Neil Phillips
  • Andrew Adamatzky
  • 10.4.2.
  • Experiment 2
  • Teresa Dillon
  • Elliott Ballam
  • Richard Mayne
  • Andrew Adamatzky
  • Neil Phillips
  • Andrew Adamatzky
  • 10.5.
  • Messy Matters
  • Elliott Ballam
  • Richard Mayne
  • Neil Phillips
  • Andrew Adamatzky
  • Teresa Dillon
  • References
  • 10.3.2.2.
  • Teresa Dillon
  • Elliott Ballam
  • Richard Mayne
  • Neil Phillips
  • Andrew Adamatzky
  • 12.1.
  • Many Heads, No Brain
  • Elvia Wilk with Jenna Sutela
  • 12.2.
  • Beginning to Think
  • Methods
  • Elvia Wilk with Jenna Sutela
  • 12.3.
  • Organization, Organism, Orgasm
  • Elvia Wilk with Jenna Sutela
  • 12.4.
  • Becoming Other
  • Elvia Wilk with Jenna Sutela
  • 13.1.
  • Introduction
  • Nenad Popov
  • Teresa Dillon
  • 13.2.
  • Experiments
  • Nenad Popov
  • 13.2.1.
  • Growing a Movie
  • Nenad Popov
  • 13.2.1.1.
  • Temporal isolation
  • Nenad Popov
  • 13.2.1.2.
  • Elliott Ballam
  • Lighting
  • Nenad Popov
  • 13.2.1.3.
  • Camera
  • Nenad Popov
  • 13.2.1.4.
  • Compositional aspects
  • Nenad Popov
  • 13.2.1.5.
  • Results
  • Richard Mayne
  • Nenad Popov
  • 13.2.2.
  • Sonification Experiments
  • Nenad Popov
  • 13.2.2.1.
  • Reinterpreting Mycenae alpha
  • Nenad Popov
  • 13.2.2.2.
  • Translating the growth to sound
  • Iannis Xenakis --
  • Neil Phillips
  • Pulse, Flow
  • Grace Chung
  • 16.4.12.
  • Organizational Logic of Space
  • Preety Anand
  • Grace Chung
  • 16.4.13.
  • Structure
  • Preety Anand
  • Grace Chung
  • 16.4.14.
  • Iannis Xenakis
  • Constraints for Design
  • Preety Anand
  • Grace Chung
  • 16.4.15.
  • Architectural Speculation
  • Preety Anand
  • Grace Chung
  • 16.5.
  • Issue of Control
  • Preety Anand
  • 14.1.
  • Grace Chung
  • 16.5.1.
  • Soft and Classic Modes of Control
  • Preety Anand
  • Grace Chung
  • 16.5.2.
  • Modes of Control: Fixed Body Plan vs Chemical Computation
  • Preety Anand
  • Grace Chung
  • 16.5.3.
  • Introduction
  • Linear Control in Building Systems vs Decentralised Control in the Chemical Machine
  • Preety Anand
  • Grace Chung
  • 16.6.
  • Physically Simulating the Chemical Machine
  • Preety Anand
  • Grace Chung
  • 16.6.1.
  • Motivation
  • Preety Anand
  • Liss C. Werner
  • Grace Chung
  • 16.6.2.
  • Technicalities: Sensor Driven Input
  • Preety Anand
  • Grace Chung
  • 16.6.3.
  • Physical Simulation: Self-Regulation of Light Levels
  • Grace Chung
  • Preety Anand
  • 16.6.4.
  • 14.2.
  • Feedback
  • Preety Anand
  • Grace Chung
  • 16.6.5.
  • Limitations
  • Preety Anand
  • Grace Chung
  • 16.7.
  • Architectural Merit
  • Preety Anand
  • Literature and Project Review for Slime Mold in Architecture, Urban and Regional Planning and Design
  • Grace Chung
  • 16.7.1.
  • Morphological Self Regulation: Non-Deterministic Morphology
  • Preety Anand
  • Grace Chung
  • 16.7.2.
  • Regulation of Light
  • Preety Anand
  • Grace Chung
  • 16.7.3.
  • Liss C. Werner
  • Deployment
  • Preety Anand
  • Grace Chung
  • 16.8.
  • Conclusion
  • Preety Anand
  • Grace Chung
  • References
  • Preety Anand
  • Grace Chung
  • 14.3.
  • 17.1.
  • Introduction
  • Gonzalo Moiguer
  • 17.2.
  • Cells
  • Gonzalo Moiguer
  • 17.3.
  • Programming
  • Gonzalo Moiguer
  • 17.4.
  • Digital Theory of Physarum
  • Memories
  • Gonzalo Moiguer
  • 17.5.
  • Screen
  • Gonzalo Moiguer
  • 17.6.
  • Questions
  • Gonzalo Moiguer
  • Contents note continued:
  • Liss C. Werner
  • 14.4.
  • Concluding Discussion: Physarum as Liquid Geometry Computer and Disruptive Bio-cybernetic System for Architectural Applications
  • Liss C. Werner
  • References
  • Liss C. Werner
  • References
  • Axel Cuevas Santamaria
  • Jason C. Slot
  • 16.1.
  • 13.2.2.3.
  • Introduction
  • Preety Anand
  • Grace Chung
  • 16.2.
  • Architectural Motivation
  • Preety Anand
  • Grace Chung
  • 16.3.
  • Research
  • Preety Anand
  • Outsourcing to non-humans: slime mould programming in Max/MSP
  • Grace Chung
  • 16.3.1.
  • Slime Mould: Physarum Polycephalum
  • Preety Anand
  • Grace Chung
  • 16.3.2.
  • Oregonator Model-Mathematical Logic
  • Preety Anand
  • Grace Chung
  • 16.3.3.
  • Iannis Xenakis
  • Belousov Zhabotinsky Reaction
  • Preety Anand
  • Grace Chung
  • 16.4.
  • Chemical Machine
  • Preety Anand
  • Grace Chung
  • 16.4.1.
  • Design as a Form of Control
  • Preety Anand
  • 13.2.3.
  • Grace Chung
  • 16.4.2.
  • Functionality of Components
  • Preety Anand
  • Grace Chung
  • 16.4.3.
  • Materiality of Components
  • Preety Anand
  • Grace Chung
  • 16.4.4.
  • Life Support
  • Fabrication of Components
  • Preety Anand
  • Grace Chung
  • 16.4.5.
  • Geometry of Components
  • Preety Anand
  • Grace Chung
  • 16.4.6.
  • Scale and Productivity
  • Preety Anand
  • Iannis Xenakis
  • Grace Chung
  • 16.4.7.
  • Packing Logic of Components
  • Preety Anand
  • Grace Chung
  • 16.4.8.
  • Encompassing Membrane
  • Preety Anand
  • Grace Chung
  • 16.4.9.
  • 13.3.
  • Geometry of Space
  • Preety Anand
  • Grace Chung
  • 16.4.10.
  • Matter Distribution
  • Preety Anand
  • Grace Chung
  • 16.4.11.
  • Prototypical Space
  • Preety Anand
Control code
MSTDDA5829251
Dimensions
unknown
Extent
1 online resource (xxix, 325 pages ):
Form of item
online
Isbn
9788770220712
Isbn Type
(electronic bk.)
Media category
computer
Media MARC source
rdamedia
Media type code
  • c
Other physical details
illustrations.
Reproduction note
Electronic reproduction.
Specific material designation
remote

Library Locations

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      400 West 14th Street, Rolla, MO, 65409, US
      37.955220 -91.772210
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