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Libros sobre el tema "Creative interface"

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Publicado: 25 de mayo de 2024

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1

Rosemary, Rivett, ed. Science & religion: Exploring the creative interface. Birmingham: Christian Education Publications, 2003.

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2

Malcolm, Betts y Crosfield Electronics (Firm), eds. Operator interface for a creative design terminal. [UK]: Crosfield, 1986.

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3

Germany) Symposium on the Entrepreneurship-Innovation-Marketing Interface (3rd 2009 Cottbus. The entrepreneurship-innovation-marketing interface: 3rd symposium, Cottbus. Künzelsau: Swiridoff Verlag, 2010.

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4

Callard, B. G. The creative interface between design and marketing in the British carpet industry. Manchester: UMIST, 1994.

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5

Macro. Boston: Academic Press, 1988.

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6

Flavia, Zucco y SpringerLink (Online service), eds. Women in Biotechnology: Creating Interfaces. Dordrecht: Springer Science + Business Media B.V, 2008.

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7

Myers, Brad A. Creating user interfaces by demonstration. Ottawa: National Library of Canada, 1988.

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8

Playful design: Creating game experiences in everyday interfaces. Brooklyn: Rosenfeld Media, 2012.

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9

1969-, Schwarz Adam J., ed. Creative 3-D display and interaction interfaces: A trans-disciplinary approach. Hoboken, N.J: John Wiley & Sons, 2005.

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10

Woods, Dan. APIs: A Strategy Guide: Creating Channels with Application Programming Interfaces. Editado por Mary Treseler. Sebastopol, CA, USA: O'Reilly Media, 2011.

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11

Hanson, David R. C interfaces and implementations: Techniques for creating reusable software. Reading, Mass: Addison Wesley, 1997.

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12

Falchuk, Benjamin y Aderito Marcos. Innovative design and creation of visual interfaces: Advancements and trends. Hershey, PA: Information Science Reference, 2012.

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13

Rocks, Kieran. Database creation and provision of an interface for a motor factor business. [s.l: The Author], 2001.

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14

Designing for interaction: Creating innovative applications and devices. 2a ed. Berkeley, CA: New Riders, 2010.

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15

Carleen, Mandolfo y Murphy Catherine M. 1961-, eds. From earth's creation to John's Revelation: The Interfaces biblical storyline companion. Collegeville, MN: Liturgical Press, 2003.

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16

Bölöni, Lotzi. Programming KDE 2.0: Creating Linux desktop applications. Lawrence, Kan: CMP Books, 2001.

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17

R, McClain Gary, ed. Back to the user: Creating user-focused web sites. Indianapolis, IN: New Riders Publishing, 2002.

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18

Caddick, Richard. Communicating the user experience: A practical guide for creating useful UX documentation. Chichester, West Sussex: Wiley, 2011.

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19

Core Animation for Mac OS X and the iPhone: Creating compelling dynamic user interfaces. Raleigh, N.C: Pragmatic Bookshelf, 2008.

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20

Designing for interaction: Creating innovative applications and devices. 2a ed. Berkeley, Calif: New Riders, 2010.

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21

Designing for Interaction: Creating smart applications and clever devices. Berkeley: New Riders, in association with AIGA Design Press, 2007.

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22

Software by design: Creating people friendly software for the Macintosh. New York, N.Y: M&T Books, 1994.

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23

Lal, Rajesh. Creating Vista gadgets: Using html, css and javascript with examples in rss, ajax, activex (com) and silverlight. Indianapolis, Ind: Sams Pub., 2008.

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24

Lal, Rajesh. Creating Vista gadgets: Using html, css and javascript with examples in rss, ajax, activex (com) and silverlight. Indianapolis, Ind: Sams Pub., 2008.

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25

Lal, Rajesh. Creating Vista gadgets: Using html, css and javascript with examples in rss, ajax, activex (com) and silverlight. Indianapolis, Ind: Sams Pub., 2008.

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26

Pope, Rob. Textual Intervention: Critical and Creative Strategies for Literary Studies (Interface). Routledge, 1994.

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27

Pope, Rob. Textual Intervention: Critical and Creative Strategies for Literary Studies (Interface). Routledge, 1994.

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28

Pope, Rob. Interface : Textual Intervention: Critical and Creative Strategies for Literary Studies. Taylor & Francis Group, 2013.

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29

Richards, Ruth y Mark A. Runco. Eminent Creativity, Everyday Creativity, and Health: New Work on the Creativity/Health Interface (Creativity Research). Ablex Publishing, 1998.

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30

Vorobyova, Olga y Elzbieta Chrzanowska-Kluczewska. Language − Literature − the Arts: A Cognitive-Semiotic Interface. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2017.

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31

Vorobyova, Olga y Elzbieta Chrzanowska-Kluczewska. Language − Literature − the Arts: A Cognitive-Semiotic Interface. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2017.

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32

Thapalyal, Ranjana. Education As Mutual Translation: A Yoruba and Vedantic Interface for Pedagogy in the Creative Arts. BRILL, 2018.

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33

Thapalyal, Ranjana. Education As Mutual Translation: A Yoruba and Vedantic Interface for Pedagogy in the Creative Arts. BRILL, 2018.

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34

Saethre-McGuirk, Ellen Marie. Making Things and Teaching Creative Arts in the Post-Digital ERA: Seeing and Experiencing the Self and the Object Through a Digital Interface. Taylor & Francis Group, 2022.

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35

Making Things and Teaching Creative Arts in the Post-Digital Era: Seeing and Experiencing the Self and the Object Through a Digital Interface. Taylor & Francis Group, 2022.

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36

Saethre-McGuirk, Ellen Marie. Making Things and Teaching Creative Art in the Post-Digital ERA: Seeing and Experiencing the Self and the Object Through a Digital Interface. Routledge, 2022.

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37

Saethre-McGuirk, Ellen Marie. Making Things and Teaching Creative Arts in the Post-Digital Era: Seeing and Experiencing the Self and the Object Through a Digital Interface. Taylor & Francis Group, 2022.

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38

Saethre-McGuirk, Ellen Marie. Making Things and Teaching Creative Arts in the Post-Digital Era: Seeing and Experiencing the Self and the Object Through a Digital Interface. Taylor & Francis Group, 2022.

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39

Myers, Brad A. Creating user interfaces by demonstration. 1987.

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40

Molfino, Francesca y Flavia Zucco. Women in Biotechnology: Creating Interfaces. Molfino Francesca Zucco Flavia, 2010.

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41

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman y Stephanie Sandler. Cultural interface. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0009.

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The chapter contextualizes the literary developments of the second half of the seventeenth century, including the changes in education and print culture. A new vision of court culture, expanding administration, and ecclesiastical reforms provided new contexts for writing, as well as innovations in the theater and in poetry. The spaces represented in Russian literature were, as previously, the monastery and the church. The court moved into the limelight as a center of cultural production. The social reality of the period did not entirely foster the creation of civic spaces or an autonomous literary field, and writing had to adapt to the control of the authorities. Opportunities for the ritual performance of the liturgy and at court expanded considerably during the last decades of the seventeenth under the aegis of Tsar Aleksei. Orthodox proponents of neo-humanist culture who worked in Moscow succeeded in transforming the uses of rhetoric during ceremonial occasions.
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42

Steane, Jamie. The Principles and Processes of Interactive Design. 2a ed. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350258587.

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This much anticipated second edition of The Principles and Processes of Interactive Design is aimed at new designers and creatives from across the design and media disciplines who want to learn the fundamentals of designing for user experience and user interface (UX/UI) projects. The blurring of boundaries between disciplines is leading to a new breed of hybrid designers and creative practitioners who are fusing different discipline perspectives, principles and processes to support their new practices. It is these shared principles and processes that this book explores, including: - The fundamentals of design research and UX development- Classic visual design topics such as colour, image, layout and typography- Essential media-specific topics such as working with data, interactivity, motion and sound- Important guidance on how to present your work For this new editions there are brand new chapters on Motion and Sound (including storyboarding, sonic interaction and UX storytelling), Data (including data as a material, AI and anticipatory design) and Interactivity (including accessibility, gesture control and voice UI). With over 150 inspirational examples from a diverse range of leading international creatives and award-winning agencies, this is a must-have guide for budding designers. In addition, industry perspectives from key design professionals provide fascinating insights into this exciting creative field. Each chapter concludes with a workshop tutorial to help you put what you’ve learnt into practice.
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43

Stocks, Elliot Jay. Sexy Web Design: Creating Interfaces that Work. Sitepoint, 2009.

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44

Weigant, Jeff. Creating Human Machine Interfaces using Visual Basic. IndustrialVB, 1999.

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45

Weigant, Jeff. Creating Human Machine Interfaces Using Visual Basic. Jeff Weigant, 2001.

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46

De Souza, Jonathan. Idiomaticity; or, Three Ways to Play Harmonica. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190271114.003.0004.

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How do instrumental interfaces map pitches onto physical locations? And how do these instrumental spaces guide players’ creative action? As a case study, this chapter examines the ten-hole diatonic harmonica. It develops a transformational model of “harmonica space” and juxtaposes it with fretboard and keyboard spaces. This model is then used in a comparative analysis of folk, blues, and jazz harmonica playing, which explores performative moves on the instrument and the resulting pitch patterns. Such analysis shows that instrumental idioms reflect both the interface’s possibilities and the player’s motor habits. This confluence may also explain situations where instruments are experienced as external agents.
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47

McAlpine, Kenneth B. The Ultimate Soundtracker? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.003.0006.

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In the early days of home computing, writing music was as much a technical as a creative process. This chapter explores how the launch of a software music package, Ultimate Soundtracker, for Commodore’s Amiga created a new, symbolic way to compose and edit music. It was sample-based and structured music using a grid-style interface that could be navigated using the computer keyboard, and its music files distributed both, making it easy to share—and copy—others’ musical ideas. This ‘open-source’ approach allowed nonprogrammers and nonmusicians to experiment with music making and for the sound to promulgate. This was also the period from which the term ‘chiptune’ emerged; the Amiga’s sample-based chipset allowed it to create other sounds beside raw electronic waveforms, and chiptune was used to highlight tracks written in the 8-bit sound chip style.
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48

Supalov, Alexander. Inside the Message Passing Interface: Creating Fast Communication Libraries. De Gruyter, Inc., 2018.

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49

Robinson, D. y Adele Goldberg. Smalltalk 80: Creating a User Interface and Graphical Applications. Addison-Wesley, 1996.

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50

Supalov, Alexander. Inside the Message Passing Interface: Creating Fast Communication Libraries. De Gruyter, Inc., 2018.

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