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 講師:松浦知也
 
+# 2023年　東京藝術大学 芸術情報センター開設科目　「メディア特論」（通年 水曜6限隔週）(ゲスト講義のため資料なし)
+
+
 
 # [2023年 福岡女学院大学 「サウンド・デザイン」(夏季集中講義)](fukujo-sounddesign)
 

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+---
+title: 2024
+weight: 1
+bookFlatSection: true
+---
+
+
+# [2024 Tokyo University of the Arts Art media Center「Code and Design」（Spring-Summer　Friday 4・5）](code-design)
+
+前期　金曜4・5限
+
+講師:松浦知也
+
+# [2024年　東京藝術大学 芸術情報センター開設科目　「メディアアート・プログラミングII」（後期　金曜4限）](mediaart-programming2)
+
+後期　金曜4限
+
+講師:松浦知也
+
+
+# [2024年 福岡女学院大学 「サウンド・デザイン」(夏季集中講義)](fukujo-sounddesign)
+
+夏期集中講義
+
+講師:松浦知也
+

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+---
+title: 2024年度
+weight: -6
+bookFlatSection: true
+---
+
+
+# [2024年　東京藝術大学 芸術情報センター開設科目　「コードとデザイン」（前期　金曜4・5限）](code-design)
+
+前期　金曜4・5限
+
+講師:松浦知也
+
+# [2024年　東京藝術大学 芸術情報センター開設科目　「メディアアート・プログラミングII」（後期　金曜4限）](mediaart-programming2)
+
+後期　金曜4限
+
+講師:松浦知也
+
+
+# [2024年 福岡女学院大学 「サウンド・デザイン」(夏季集中講義)](fukujo-sounddesign)
+
+夏期集中講義
+
+講師:松浦知也
+

content/docs/2024/bigakko-fromzero/_index.en.md

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+---
+title: 2023 Tokyo University of the Arts Art media Center「Code and Design」（Spring-Summer　Friday 4・5）
+weight: 1
+bookCollapseSection: true
+---
+# 2023 Tokyo University of the Arts Art media Center「Code and Design」
+
+（Spring-Summer　Friday 4・5）
+
+
+Lecturer:[Matsuura Tomoya ](https://matsuuratomoya.com/en)
+
+Room: Art Media Center(Factory Complex A 2F) Classroom 1,2
+
+## Class Summary
+
+In this class, students will learn basic knowledge for creating and designing artworks that use computers independently, with practical application. In particular, students will learn how to handle hardware and interfaces such as LEDs and switches through electronic construction and programming.
+
+The first half of the class aims to understand the components of a computer, such as algorithms, protocols, and logic, through workshops and simple electronics work without using a computer.
+
+In the second half of the course, students will use Arduino, an environment that easily connects electronics and programming, and digital fabrication equipment such as laser cutters and 3D printers to understand more practical interaction and control methods, and to be able to incorporate them into their own creations. The course is designed to enable students to understand and incorporate more practical interaction and control methods into their own production.
+
+*Due to the equipment in AMC, the number of students will be limited to a maximum of 20. The number of students may be further limited depending on the infection situation.
+
+## Purpose and Goal of the Class	
+
+The goal of this class is for students to be able to use computers not as a black box but as a tool for production through electronic fabrication and programming.
+
+In addition, by learning how to convert data and materials into each other through the operation of digital fabrication equipment, students will gain a deep understanding of the structure of data and information that underlies production.
+
+
+## Class Schedule
+
+(This is the first year of the class thus the content may change according to the progress.)
+
+1. [(4/7) Introduction: Computing without Electricity](./1)
+2. [(4/14) Anti-Introduction to Electronics (Victorian Oscillator)](./2)
+3. [(4/21) Paper Circuit and Logic Circuits](./3)
+4. [(4/28) Binary Numbers WS ](./4)
+5. [(5/12) Handmade Computer(DIWO Full Adder)](./5)
+6. [(5/19) Software and Algorithm - Let's try using Arduino](./6)
+7. [(5/26) Considering Inputs (Make Unreasonable Mouse)](./7)
+8. [(6/2) Considering Inputs 2 - Combining Processing and Arduino, OOP (PONG for One)](./8)
+9. [(6/9) Considering Outputs - Generating Sound with Arduino](./9)
+10. (6/16) Cartesian Robot and Digital Fabrication (3D Printer and G-code Hack)
+11. (6/23) Studio Work 1. Consultation
+12. (6/30) Studio Work 2. Work
+13. (7/7) Studio Work 3. Supplementary lessons according to the works
+14. (7/14) Exhibition of the final assignments
+15. (7/21) Review and summary of presentations
+
+
+## Reference Books
+
+- "Code as Creative Medium A Handbook for Computational Art and Design", (2021) by Golan Levin and Tega Brain, MIT Press.
+- "Handmade Electronic Music - The Art of Hardware Hacking, 3rd Edition" (2020) by Nicolas Collins, Routledge.
+- "Getting Started with Arduino, 3rd Edition" (2014), by Massimo Banzi and Michael Shiloh, Make: Community
+- "Making Things Move"(2011), by Dustyn Roberts ,O'Reilly Verlag
+
+// translated books into Japanese.
+
+- 「Code as Creative Medium 創造的なプログラミング教育のための実践ガイドブック」(2022) ゴラン・レヴィン 、 テガ・ブレイン著 澤村正樹 、 杉本達應 、 米田研一　訳、BNN
+- 「Arduinoをはじめよう 第4版」(2015) Massimo Banzi、Michael Shiloh　著、船田 巧　訳、オライリー
+- 「Handmade Electronic Music ―手作り電子回路から生まれる音と音楽 (Make: PROJECTS) 」(2013)Nicolas Collins 著、 久保田 晃弘 監訳、 船田 巧 訳、オライリー
+- 「Making Things Move ―動くモノを作るためのメカニズムと材料の基本 (Make: PROJECTS) 」（2012）Dustyn Roberts 著、 岩崎 修 監修、 金井 哲夫 訳、オライリー
+
+## Required Preparation for the Class
+
+At the end of each lecture, the contents of the preparation for the next lecture will be presented.
+The materials for each lecture will be posted on the website so that students can review them on their own as necessary.
+
+## Grading
+
+Grades will be graded as follows: 30% for attendance, 30% for small assignments presented several times during the class, and 40% for assignments.
+
+Attendance points will be counted by submitting your comments and questions on the Google Form at the end of each class.
+
+For the short assignment, you will submit the work you have done in class as it is in data format or as a document including photos, videos, etc. in physical format via Google Classroom.
+
+The final assignment will be one of the following, which must be submitted by the end of the 14th class session by installing the exhibit in the AMC Lab.
+
+- A brushed-up version of the small assignment created in class
+- A free work (a work that reflects the knowledge gained in the class on your own work)
+- 
+Both individual and group work is acceptable for the assignment.
+
+The grade for the final assignment will be based on what the student intended to produce rather than on the degree of completion.
+
+Unsubmitted work will receive 0 points, and work submitted after the due date will receive a reduction in points.
+
+## Messeges for the Participants
+
+The class will be basically done in Japanese. However, the teacher can help and answer to individual question in English. If you are worrying whether you should take the class or not, do not hesitate contact to the teacher to ask about it (teach[at]matsuuratomoya.com).
+
+Today, whether creating video or music, it is no longer easy to complete a production without the use of a computer. However, the world of computers is not inherently closed to mice, keyboards, and displays. If we can handle various inputs and outputs such as light, motors, and switches through electronic construction, or if we can use digital fabrication equipment to convert data and materials into each other, we can play with various elements of the real world. Through these practices, you will be able to use technology proactively while increasing your range of expression.
+
+### Required prior knowledge and expected class participation
+
+No prior experience with electronics or programming is required. Those with experience are expected to actively support beginners.
+
+In class, we will be handling equipment such as soldering irons and laser cutters, which can lead to serious problems such as injury or fire if used incorrectly. Please listen carefully to the instructions and concentrate on safety measures, including clothing and hair.
+
+### About the equipment
+
+#### Hardware
+
+Basically, AMC will provide materials and tools related to electronics.
+
+However, since some tools such as soldering irons are not that high quality, you can bring your own if you have the better one.
+
+In addition, for the final project, students should bring materials like paper, wood and electronic components, by their own in principle.
+
+#### Software
+
+Basically, you will use the computer provided in the AMC lab, Mac mini (M1, Late 2020).
+The following software is likely to be used at this time.
+
+- Arduino IDE v2.0.3 (https://www.arduino.cc/en/software)
+- Processing v4.2 (https://processing.org/download)
+- Adobe Illustrator 2022-10, v27 (https://helpx.adobe.com/jp/illustrator/system-requirements.html)
+Adobe can be used on the AMC lab machines by logging in with your Geidai account.
+
+You may bring your own laptop to work on. However, please be aware that we may not be able to immediately respond to differences in behavior or bugs that may occur due to non-macOS operating systems, different OS versions, or different hardware.
+
+The computers in the lab will erase data when they are shut down, so please save your work data to a USB memory stick or similar device as appropriate.
+
+### Communication Tools
+
+All communication regarding class cancellations, reference materials, and assignment data will be conducted via Google Classroom. Please be sure to register by the second week before your course registration is confirmed.

content/docs/2024/bigakko-fromzero/_index.md

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+---
+title: 2024/02/25 美学校「基礎教養シリーズ〜ゼロから聴きたいテクノロジーと音楽史〜」
+weight: 1
+bookCollapseSection: true
+params:
+    pdf_path: 20240225_bigakko_matsuura.pdf
+---
+
+# 2024/02/25 美学校「基礎教養シリーズ〜ゼロから聴きたいテクノロジーと音楽史〜」
+
+## 講義概要
+
+**[【アーカイブ配信：2/27〜3/31】「基礎教養シリーズ〜ゼロから聴きたいテクノロジーと音楽史〜」講師：imdkm／ゲスト：松浦知也](https://bigakko.jp/event/2024/technology_and_music_history)**
+
+> ### 音楽とテクノロジーの関わりを改めて考える
+> 「音楽制作のテクノロジーと音楽がいかに関わるか、そしてその関係をどのように語ることができるか？」をテーマに制作されたZINE「音楽とテクノロジーをいかに語るか？」の著者であるライターのimdkmさんをお招きして、音楽とテクノロジーの関わりを改めて考えます。また、ゲストにSoundMaker（音を作ったり音を出す道具と環境を作る人）、東京藝術大学芸術情報センター特任助教の松浦知也さんを迎え、更に議論を深めます。
+> 
+> - 講　師：imdkm／ゲスト：松浦知也
+> - 日　程：2024年2月25日（日）
+> - 放送時間：4時間17分
+> - 開　催：対面／オンライン
+> - 参加費：対面・・・1,650円(アーカイブ付き、税込み)　※先着25名
+>   - オンライン・・・1,100円(アーカイブ付き、税込み)
+>   - 美学校在校生(オンライン)・・・550円(アーカイブ付き、税込み)
+>   - アーカイブのみ・・・1,650円(税込み) ※2/27日より販売開始
+> - 主　催：美学校
+
+### 想像しうる音を、すべてあなた(たち)に – 音楽の道具としてのパーソナル・コンピューター論概説(松浦知也)
+
+この講義では、コンピューターを表現の道具として扱う思想が消費社会とどう結びつき発展してきたか、特に音楽の焦点を当てつつ概観する。
+DAW、ストリーミングサービス、イマーシブオーディオ、人工知能による音楽生成と、さまざまなレベルはあれど、私たちが今日音楽を体験するにあたって、制作から聴取までの過程にコンピューターが使われない事などほとんどない。では一方、私たちは今日コンピューターを「使いこなしている」かと言われると躊躇してしまう。コンピューターの万能さを、私たちは私たちの手の内に収められているだろうか？
+自分で自分の道具の機能を更新できる「メタメディア」としてのパーソナルコンピューティングの歴史を振り返りながら、計算機を主体的に扱えるようになるための糸口を考察する。
+
+## スライド資料
+
+{{< embed_pdf >}}
+
+{{< button href="20240225_bigakko_matsuura.pdf">}}ダウンロード{{< /button >}}
+
+## 参考文献、Webサイト
+
+### 講義内で参照したもの
+
+[クリティカル・ワード　ポピュラー音楽 〈聴く〉を広げる・更新する (2023) 永冨真梨／忠聡太／日高良祐 編著, フィルムアート社, 978-4-8459-2131-7](https://www.filmart.co.jp/books/978-4-8459-2131-7/)
+
+#### Part.1 テクノロジーの歴史をいかに語るか？ 
+
+[物語の哲学, 2005(1997初版), 野家啓一, 岩波書店, 9784006001391](https://www.hanmoto.com/bd/isbn/9784006001391)
+
+[The Shock of the Old: Technology and Global History Since 1900,2007, David Edgerton, Profile Books, ISBN  9780195322835](https://profilebooks.com/work/the-shock-of-the-old/)
+
+[メディア考古学とは何か？ デジタル時代のメディア文化研究, 2023, ユッシ・パリッカ著, 梅田拓也,大久保遼, 近藤和都, 光岡寿郎 訳, 東京大学出版会, 978-4757103542](https://www.utp.or.jp/book/b10031770.html)
+
+[120 Years Of Electronic Music. Kelly Careb](http://120years.net/)
+
+**[Any Sound You Can Imagine: Making Music/Consuming Technology, 1997, Paul Theberge著, Wesleyan University Press , 9780819563095](https://www.weslpress.org/9780819563095/any-sound-you-can-imagine/)**
+
+[【あの有名企業の異分野進出】音響メーカーのオーディオテクニカが「寿司」で成功した理由(2015)、リクナビNEXTジャーナル](https://next.rikunabi.com/journal/20150109/)
+
+#### Part.2 エージェントでもあり、環境でもある - パーソナルコンピューターの二枚舌
+
+[Weiser, Mark, John Seely Brown. "The Coming Age of Calm Technology". Beyond Calculation, by Peter J. DenningとRobert M. Metcalfe, 75–85. New York, NY: Springer New York, 1997](https://doi.org/10.1007/978-1-4612-0685-9_6)
+
+[Kay, Alan, and Adele Goldberg. 1977. “Personal Dynamic Media.” Computer 10 (3): 31–41](https://doi.org/10.1109/C-M.1977.217672)
+
+[アラン・ケイ (1992), アラン・C・ケイ著, 浜野 保樹監修, 鶴岡 雄二訳, アスキー出版局, 9784756101075](https://www.hanmoto.com/bd/isbn/9784756101075)
+
+[American computer pioneer Alan Kay’s concept, the Dynabook, was published in 1972. How come Steve Jobs and Apple iPad get the credit for tablet invention? - Quora](https://www.quora.com/American-computer-pioneer-Alan-Kay-s-concept-the-Dynabook-was-published-in-1972-How-come-Steve-Jobs-and-Apple-iPad-get-the-credit-for-tablet-invention)
+
+[カーム・テクノロジー 生活に溶け込む情報技術のデザイン(2015), アンバー・ケース著, 高崎拓哉訳, mui Lab 監修](https://bnn.co.jp/products/9784802511872)
+
+#### Part.3 技術革命と民主化によって誰もが簡単に音楽を作れるようになった!
+
+[Rosenberg, Nathan. 1994. Exploring the Black Box: Technology, Economics, and History. Cambridge: Cambridge University Press.](https://doi.org/10.1017/CBO9780511582554)
+
+**[ノイズ 音楽／貨幣／雑音(2012), ジャック・アタリ著, 金塚貞文訳, 陣野俊史解説, みすず書房, 978-4-622-08351-1](https://www.msz.co.jp/book/detail/08351/)**
+
+[YAMAHA VL1 パーフェクトガイド（VL1 取扱説明書4）](https://jp.yamaha.com/files/download/other_assets/3/316523/VL1J4.pdf)
+
+[象徴交換と死（1992）, ジャン・ボードリヤール著, 今村 仁司,塚原 史 訳, ちくま学芸文庫](https://www.chikumashobo.co.jp/product/9784480080134/)
+
+[インビジブルコンピュータ―PCから情報アプライアンスへ(2009) - ドナルド・A・ノーマン著,  岡本明,  安村 通晃, 伊賀 聡一郎 訳, 新曜社](https://www.shin-yo-sha.co.jp/book/b455838.html)
+
+[What I learned about innovation from founding the MIT Media Lab | Barry Vercoe | TEDxChristchurch](https://youtu.be/_fDEm1esS0g?si=Dw_s0tiaxb2L9OBI&t=575)
+
+
+### その他参考文献
+
+[科学技術社会学（STS）テクノサイエンス時代を航行するために(2021), 日比野愛子, 鈴木舞,福島真人 編, 新曜社, 9784788517325](https://www.shin-yo-sha.co.jp/book/b588100.html)
+
+↑私はエジャートンの"使用の歴史"やインフラ研究についてはこの本で知りました。技術決定論に対する批判の歴史的文脈などをつかむにはおすすめの入門書です。
+
+[スペクテイター 48号　パソコンとヒッピー(2021), エディトリアル・デパートメント, 978-4-344-95418-0](https://www.spectatorweb.com/back_issues.html)
+
+↑若干歴史を単純化しすぎてないかな？と思う部分はあれど、パーソナルコンピューターの誕生とLSDやホールアースカタログなどネオヒッピー思想の繋がりを漫画も含めわかりやすく解説してくれてます。
+
+[Rodgers, Tara. 2010. Pink Noises: Women on Electronic Music and Sound. Duke University Press.](https://doi.org/10.2307/j.ctv1134dqn)
+
+[Magnusson, Thor. 2019. Sonic Writing - Technologies of Material, Symbolic, and Signal Inscriptions. Blomsbury Academic. 9781501313868](https://www.bloomsbury.com/sonic-writing-9781501313868/)
+
+[Hagood, Mack. 2019. Hush: Media and Sonic Self-Control. Sign, Storage, Transmission. Durham, NC: Duke University Press.](https://www.dukeupress.edu/hush)