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Добірка наукової літератури з теми "Computer art"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 29 липня 2024

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Статті в журналах з теми "Computer art"

1

Mason, C. "Computer Art." ITNOW 53, no. 2 (February 25, 2011): 32–33. http://dx.doi.org/10.1093/itnow/bwq254.

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Mason, C. "Computer Art." ITNOW 53, no. 3 (May 1, 2011): 32. http://dx.doi.org/10.1093/itnow/bwr014.

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3

Mason, C. "Computer Art." ITNOW 53, no. 4 (July 1, 2011): 32–33. http://dx.doi.org/10.1093/itnow/bwr030.

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4

Mason, C. "Computer Art." ITNOW 53, no. 5 (August 31, 2011): 32–33. http://dx.doi.org/10.1093/itnow/bwr046.

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5

Wilson, Stephen, and Herbert W. Franke. "Computer Graphics: Computer Art." Leonardo 19, no. 4 (1986): 348. http://dx.doi.org/10.2307/1578386.

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6

Kunii, Tosiyasu L., and Herbert W. Franke. "Computer graphics — Computer art." Visual Computer 2, no. 3 (July 1986): 131–33. http://dx.doi.org/10.1007/bf01900322.

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7

Venturelli, Suzete. "Computer art: software art design." ANIAV - Revista de Investigación en Artes Visuales, no. 8 (March 31, 2021): 79. http://dx.doi.org/10.4995/aniav.2021.14944.

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Анотація:

El artículo presenta trabajos artísticos desarrollados en el Computational Art Research Laboratorio Media Lab / UnB, realizado en equipo, bajo mi coordinación. La producción artística y teórica buscaba defender la idea de que el arte computacional es una nueva forma de arte apreciado, basado en el supuesto de que contiene muchos de los componentes de una filosofía completa de una forma de arte, que se puede resumir en cuatro referencias básicas: una definición, una ontología, características estéticas y el reconocimiento de su condición de arte. Lo que actualmente se llama arte computacional se basa en la observación de que los experimentos en este dominio implican problemas comunes más generales, in statu nascendi, a los dominios artísticos y tecnocientíficos, que proporcionan los modos de estructuración, la metodología y las técnicas de programación, introducidas en el proceso. El arte computacional no siempre usa la computadora, a veces es basado únicamente en operaciones lógico‐ matemáticas. Sin embargo, las computadoras tenían un profundo impacto en las artes, y con el fin de realizar una síntesis parcial, basada en un teoría de la estética en la actualidad, se seleccionó un conjunto de obras artísticas que engloban los temas siguientes: la computadora como un amplificador de complejidad (métodos computacionales de la creación); lenguaje computacional; el artista desarrollador; arte computacional como arte de la multitud y no del individuo; trabajo de laboratorio; software art (presentación y análisis de algoritmos históricos como permutación, aleatorio, etc.); la apreciación de la interfaz hombre‐computadora (destacando la importancia del juego), que posibilitó una mayor interactividad pública con la obra artística; la apropiación de los medios con fines artísticos; el compromiso artístico con los problemas sociales y ecológicos originados por los avances tecnocientíficos y la política de informatización de la sociedad y proposiciones relacionadas con el futuro, formuladas filosóficamente en la era posbiológica. Buscamos desarrollar poéticas que resultaron de la colaboración entre seres vivos y máquinas.

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8

Tamblyn, Christine. "Computer Art as Conceptual Art." Art Journal 49, no. 3 (1990): 253. http://dx.doi.org/10.2307/777116.

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9

Pickover, Clifford A. "Is Computer Art Really Art?" Idealistic Studies 23, no. 1 (1993): 75–85. http://dx.doi.org/10.5840/idstudies19932318.

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10

Tamblyn, Christine. "Computer Art as Conceptual Art." Art Journal 49, no. 3 (September 1990): 253–56. http://dx.doi.org/10.1080/00043249.1990.10792699.

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Дисертації з теми "Computer art"

1

Buchholtz, Carol A. "The integration of computer art in the art curriculum." Online version, 1999. http://www.uwstout.edu/lib/thesis/1999/1999buchholtzc.pdf.

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Mao, Yuhan-Lin. "Computer art and creative tool making." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/78802.

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Анотація:

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (leaves 124-126).
A digital paint package has been developed which places attention on the design of personal "brush " patterns. The user generates an image by iterating these pattern modules on the raster display. During the application of a pattern, it can grow, shrink, and change in opacity level under the user's control. This method of digitally creating images was developed in light of the problem of representing visual characteristics effectively while "painting" with a computer graphics system . Allowing the user to design personal brush patterns, which can be stored in a library of patterns, and to make marks by repeating them, expands the potential visual qualities of the image as demonstrated by sample images included in this thesis. Software functions are provided for creating and editing patterns through a menu of selections. These functions treat individual shapes and colors in a pattern as separate entities that can be manipulated. Shapes can be manipulated individually, or as a selected group. The manipulation functions include the following: move, copy, scale, and delete. Software functions are also provided for the editing of color components. One method allows a color's red, green, and blue components to be adjusted. And the other allows its hue, lightness, and saturation levels to be adjusted.
by Yuan-Lin Mao.
M.S.V.S.

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3

Greh, Deborah Ellen. "Computers in art education /." Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10778184.

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4

Bell, Stephen Charles Davenport. "Participatory art and computers : identifying, analysing and composing the characteristics of works of participatory art that use computer technology." Thesis, Loughborough University, 1991. https://dspace.lboro.ac.uk/2134/7207.

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Анотація:

This research was initiated to determine the essential characteristics of participatory works of art that use computer technology. Through comparing ideas and practices which emerged during the practical development of a participatory work called Smallworld with those reported by makers and critics of existing works a need was identified for a general system of analysis of these works which can be remembered easily and applied in their critical evaluation and realisation. The thesis proposes a system of analysis in which the principal characteristics are considered to be those which contribute to the degree and manner of control afforded to participants. The system can be applied in the composition of works as well as in their analysis: it is demonstrated that the characteristics identified can be composed and that works can be considered to be compositions of changing degree and manner of control. The system proposed is intended to serve as a paradigm for the development of further systems to analyse such works and to contribute to the evolution of a language with which to discuss them. Although the thesis addresses a special class of the use of interactive computer technology it is intended to contribute to the broader discussion of the use of computer technology in participatory situations.

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5

Cai, Tengjiao. "Recognizing Art Pieces in Subway using Computer Vision." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-156433.

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Анотація:

We present a mobile application that automatically recognizes art pieces in the subway. Users can take a photo of an art piece with their mobile phones, and by using image recognition our system retrieves information about that particular art piece. By combining the location with image data, we can delimit the dataset of photos of art pieces to speed up the image recognition. The image recognition is based on feature detection using SURF, and by matching feature points using kd-trees for storing the interest points of the training data. We propose a method for selecting good training images when creating the database. In addition, we also cluster the training interest points by the k-means algorithm, which reduces the space of the kd-tree and increase the matching speed. We demonstrate the effectiveness of our approach with an application that allows users to enjoy the art pieces at different subway stations through image recognition.

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6

Margerison, Paul. "An algorithmic and interactive approach to computer art." Thesis, Open University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240001.

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7

Taylor, Grant D. "The machine that made science art : the troubled history of computer art 1963-1989." University of Western Australia. Visual Arts Discipline Group, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0114.

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Анотація:

[Truncated abstract] This thesis represents an historical account of the reception and criticism of computer art from its emergence in 1963 to its crisis in 1989, when aesthetic and ideological differences polarise and eventually fragment the art form. Throughout its history, static-pictorial computer art has been extensively maligned. In fact, no other twentieth-century art form has elicited such a negative and often hostile response. In locating the destabilising forces that affect and shape computer art, this thesis identifies a complex interplay of ideological and discursive forces that influence the way computer art has been and is received by the mainstream artworld and the cultural community at large. One of the central factors that contributed to computer art’s marginality was its emergence in that precarious zone between science and art, at a time when the perceived division between the humanistic and scientific cultures was reaching its apogee. The polarising force inherent in the “two cultures” debate framed much of the prejudice towards early computer art. For many of its critics, computer art was the product of the same discursive assumptions, methodologies and vocabulary as science. Moreover, it invested heavily in the metaphors and mythologies of science, especially logic and mathematics. This close relationship with science continued as computer art looked to scientific disciplines and emergent techno-science paradigms for inspiration and insight. While recourse to science was a major impediment to computer art’s acceptance by the artworld orthodoxy, it was the sustained hostility towards the computer that persistently wore away at the computer art enterprise. The anticomputer response came from several sources, both humanist and anti-humanist. The first originated with mainstream critics whose strong humanist tendencies led them to reproach computerised art for its mechanical sterility. A comparison with aesthetically and theoretically similar art forms of the era reveals that the criticism of computer art is motivated by the romantic fear that a computerised surrogate had replaced the artist. Such usurpation undermined some of the keystones of modern Western art, such as notions of artistic “genius” and “creativity”. Any attempt to rationalise the human creative faculty, as many of the scientists and technologists were claiming to do, would for the humanist critics have transgressed what they considered the primordial mystique of art. Criticism of computer art also came from other quarters. Dystopianism gained popularity in the 1970s within the reactive counter-culture and avant-garde movements. Influenced by the pessimistic and cynical sentiment of anti-humanist writings, many within the arts viewed the computer as an emblem of rationalisation, a powerful instrument in the overall subordination of the individual to the emerging technocracy

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8

Keating, Marla Jo Matlick. "Computers in college art and design programs /." Online version of thesis, 1992. http://hdl.handle.net/1850/11630.

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9

Hall, Jennifer A. "The human interface in three dimensional computer art space." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/74325.

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Анотація:

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH
Bibliography: leaves 61-68.
by Jennifer A. Hall.
M.S.V.S.

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10

Kent, Marina. "Evolving Art: Modifying Context Free Art with a Genetic Algorithm." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1033.

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Анотація:

Context Free Design Grammar (CFDG) is a programming language for defining recursive structures that can be used to create art. I use CFDG as a design space for genetic programming, experimenting with various options for crossover, mutation, and fitness. In this exploratory work, multiple generations are manually assessed to determine the usefulness of the mutation strategies and fitness functions. I find that simple value mutation and fitness that alters general program structure is not enough to produce an increase of interesting images in CFDG. I discuss these findings as well as future avenues of inquiry for genetic programming in artistic domains.

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Книги з теми "Computer art"

1

Franke, Herbert W. Computer Graphics — Computer Art. Berlin, Heidelberg: Springer Berlin Heidelberg, 1985. http://dx.doi.org/10.1007/978-3-642-70259-4.

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2

W, Franke Herbert. Computer graphics - Computer Art. Berlin, Germany: Springer, 1985.

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3

W, Franke Herbert. Computer Graphics - Computer Art. Berlin, Heidelberg: Springer, 1986.

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4

W, Franke Herbert. Computer graphics - Computer Art. 2nd ed. New York City, USA: Springer, 1985.

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5

Baines, Alan. The Art of computer art. [London]: Middlesex Polytechnic, 1989.

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6

Franke, Herbert W., and Horst Helbig, eds. Computer Science Art. Berlin, Heidelberg: Springer Berlin Heidelberg, 1985. http://dx.doi.org/10.1007/978-3-662-06383-5.

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7

Angell, Ian O. Computer geometric art. New York: Dover, 1985.

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8

Fenton, Erfert. Canned art: Clip art for the Macintosh. 2nd ed. Berkeley, Calif: Peachpit Press, 1992.

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9

Image, Digital, ed. Computer graphics art work. Tokyo: Graphic-sha, 1992.

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10

cielny, Ziemowit Kos. PROC: Towards computer art. [London]: Middlesex University, 1992.

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Частини книг з теми "Computer art"

1

Hunt, John. "Creating Computer Art." In Advanced Guide to Python 3 Programming, 23–33. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-25943-3_4.

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2

Franke, Herbert W., and Horst Helbig. "Computer Science Art." In Computer Science Art, 6–25. Berlin, Heidelberg: Springer Berlin Heidelberg, 1985. http://dx.doi.org/10.1007/978-3-662-06383-5_1.

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3

Hunt, John. "Computer Generated Art." In Advanced Guide to Python 3 Programming, 109–19. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-40336-1_13.

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4

Franke, Herbert W. "History of Computer Art." In Computer Graphics — Computer Art, 93–152. Berlin, Heidelberg: Springer Berlin Heidelberg, 1985. http://dx.doi.org/10.1007/978-3-642-70259-4_2.

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5

Boy, Guy André. "Art." In Human–Computer Interaction Series, 187–205. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-30270-6_10.

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6

Sasaki, Mutsuko K., and Tateaki Sasaki. "Techniques in Computer Art." In Computer Graphics, 311–19. Tokyo: Springer Japan, 1985. http://dx.doi.org/10.1007/978-4-431-68030-7_21.

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7

Weik, Martin H. "art." In Computer Science and Communications Dictionary, 64. Boston, MA: Springer US, 2000. http://dx.doi.org/10.1007/1-4020-0613-6_852.

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8

Colonna, Jean-François. "Computer, Mathematics and Art." In Mathematics and Modern Art, 47–52. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-24497-1_5.

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9

O’Toole, Michael. "Art versus Computer Animation." In The Hermeneutic Spiral and Interpretation in Literature and the Visual Arts, 95–105. New York : Routledge, 2017. | Series: Routledge studies in multimodality ; 22: Routledge, 2018. http://dx.doi.org/10.4324/9781315145525-8.

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10

Franke, Herbert W. "Theoretical Foundations of Computer Art." In Computer Graphics — Computer Art, 153–62. Berlin, Heidelberg: Springer Berlin Heidelberg, 1985. http://dx.doi.org/10.1007/978-3-642-70259-4_3.

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Тези доповідей конференцій з теми "Computer art"

1

Nake, Frieder. "Computer art." In the 5th conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1056224.1056234.

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2

Nake, Frieder. "Computer art." In the 6th ACM SIGCHI conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1254960.1255041.

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3

Smith, B. R. "Beyond computer art." In SIGGRAPH 89 Art show catalog - Computer art in context. New York, New York, USA: ACM Press, 1989. http://dx.doi.org/10.1145/73877.73885.

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4

Petrovich, Lucy, Maurice Benayoun, Tammy Knipp, Thomas Lehner, and Christa Sommerer. "Experiential computer art." In ACM SIGGRAPH 99 Conference abstracts and applications. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/311625.311931.

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5

Wright, R. "The image in art and `computer art'." In SIGGRAPH 89 Art show catalog - Computer art in context. New York, New York, USA: ACM Press, 1989. http://dx.doi.org/10.1145/73877.73887.

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6

Pokrywka, Agnieszka. "Computer Art for Non-computer People." In 2011 Second International Conference on Culture and Computing (Culture Computing). IEEE, 2011. http://dx.doi.org/10.1109/culture-computing.2011.22.

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7

Clark, Sean. "Leicester Computer Art Pioneers." In Proceedings of EVA London 2024. BCS Learning & Development, 2024. http://dx.doi.org/10.14236/ewic/eva2024.36.

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8

Wands, Bruce. "CREATING CONTINUITY BETWEEN COMPUTER ART HISTORY AND CONTEMPORARY ART." In CAT 2010: Ideas before their time : Connecting the past and present in computer art. BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/cat2010.21.

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9

Sourin, Alexei. "Functionally based virtual computer art." In the 2001 symposium. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/364338.364369.

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"Cover Art." In 2013 International Conference on Computer-Aided Design and Computer Graphics (CAD/Graphics). IEEE, 2013. http://dx.doi.org/10.1109/cadgraphics.2013.100.

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Звіти організацій з теми "Computer art"

1

Willson. L51756 State of the Art Intelligent Control for Large Engines. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), September 1996. http://dx.doi.org/10.55274/r0010423.

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Анотація:

Computers have become a vital part of the control of pipeline compressors and compressor stations. For many tasks, computers have helped to improve accuracy, reliability, and safety, and have reduced operating costs. Computers excel at repetitive, precise tasks that humans perform poorly - calculation, measurement, statistical analysis, control, etc. Computers are used to perform these type of precise tasks at compressor stations: engine / turbine speed control, ignition control, horsepower estimation, or control of complicated sequences of events during startup and/or shutdown. For other tasks, however, computers perform very poorly at tasks that humans find to be trivial. A discussion of the differences in the way humans and computer process information is crucial to an understanding of the field of artificial intelligence. In this project, several artificial intelligence/ intelligent control systems were examined: heuristic search techniques, adaptive control, expert systems, fuzzy logic, neural networks, and genetic algorithms. Of these, neural networks showed the most potential for use on large bore engines because of their ability to recognize patterns in incomplete, noisy data. Two sets of experimental tests were conducted to test the predictive capabilities of neural networks. The first involved predicting the ignition timing from combustion pressure histories; the best networks responded within a specified tolerance level 90% to 98.8% of the time. In the second experiment, neural networks were used to predict NOx, A/F ratio, and fuel consumption. NOx prediction accuracy was 91.4%, A/F ratio accuracy was 82.9%, and fuel consumption accuracy was 52.9%. This report documents the assessment of the state of the art of artificial intelligence for application to the monitoring and control of large-bore natural gas engines.

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2

Walton, C., G. Gilmer, A. Wemhoff, and L. Zepeda-Ruiz. Full-Process Computer Model of Magnetron Sputter, Part I: Test Existing State-of-Art Components. Office of Scientific and Technical Information (OSTI), September 2007. http://dx.doi.org/10.2172/922114.

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3

Schubert, Wulf, and Nedim RADONCIC. COMPUTER AIDS FOR DESIGN AND CONSTRUCTION OF UNDERGROUND STRUCTURES: THE AUSTRIAN STATE-OF-THE-ART. Cogeo@oeaw-giscience, September 2011. http://dx.doi.org/10.5242/iamg.2011.0666.

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4

Kayser, M. B., and A. G. Collins. Computer simulation models relevant to ground water contamination from EOR or other fluids - state-of-the-art. Office of Scientific and Technical Information (OSTI), March 1986. http://dx.doi.org/10.2172/6003706.

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5

Papadakis, Stamatios, Арнольд Юхимович Ків, Hennadiy M. Kravtsov, Viacheslav V. Osadchyi, Maiia V. Marienko, Olga P. Pinchuk, Mariya P. Shyshkina, et al. Revolutionizing education: using computer simulation and cloud-based smart technology to facilitate successful open learning. Криворізький державний педагогічний університет, March 2023. http://dx.doi.org/10.31812/123456789/7375.

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The article presents the proceedings of two workshops: Cloud-based Smart Technologies for Open Education Workshop (CSTOE 2022) and Illia O. Teplytskyi Workshop on Computer Simulation in Education (CoSinE 2022) held in Kyiv, Ukraine, on December 22, 2022. The CoSinE workshop focuses on computer simulation in education, including topics such as computer simulation in STEM education, AI in education, and modeling systems in education. The CSTOE workshop deals with cloud-based learning resources, platforms, and infrastructures, with topics including personalized learning and research environment design, big data and smart data in open education and research, machine learning for open education and research, and more. The article includes a summary of successful cases and provides directions for future research in each workshop’s respective topics of interest. The proceedings consist of several peer-reviewed papers that present a state-of-the-art overview and provide guidelines for future research. The joint program committee consisted of members from universities and research institutions worldwide.

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Litzelfelner. L51592 Development of Pipeline Stability Design Guidelines for Liquefaction and Scour. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), February 1989. http://dx.doi.org/10.55274/r0010541.

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Documents and evaluates the current state of the art for assessing offshore pipeline stability for both liquefaction and scour conditions. Includes a PC-based computer program to assess pipeline stability conditions. The PC program includes a soil liquefaction program, a scour program, and a data base of referenced reports. 3 diskettes

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Michalopoulos, C. D. PR-175-420-R01 Submarine Pipeline Analysis - Theoretical Manual. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), December 1985. http://dx.doi.org/10.55274/r0012171.

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Describes the computer program SPAN which computes the nonlinear transient response of a submarine pipeline, in contact with the ocean floor, to wave and current excitation. The dynamic response of a pipeline to impact loads, such as loads from trawl gear of fishing vessels, may also be computed. In addition, thermal expansion problems for submarine pipelines may be solved using SPAN. Beam finite element theory is used for spatial discretization of the partial differential equations governing the motion of a submarine pipeline. Large-deflection, small-strain theory is employed. The formulation involves a consistent basis and added mass matrix. Quadratic drag is computed using a nonconventional approach that involves the beam shape functions. Soil-resistance loads are computed using unique pipeline-soil interaction models which take into account coupling of axial and lateral soil forces. The nonlinear governing equations are solved numerically using the Newmark Method. This manual presents the discretized equations of motion, the methods used in determining hydrodynamic and soil-resistance forces, and the solution method.

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Seidametova, Zarema S., Zinnur S. Abduramanov, and Girey S. Seydametov. Using augmented reality for architecture artifacts visualizations. [б. в.], July 2021. http://dx.doi.org/10.31812/123456789/4626.

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Nowadays one of the most popular trends in software development is Augmented Reality (AR). AR applications offer an interactive user experience and engagement through a real-world environment. AR application areas include archaeology, architecture, business, entertainment, medicine, education and etc. In the paper we compared the main SDKs for the development of a marker-based AR apps and 3D modeling freeware computer programs used for developing 3D-objects. We presented a concept, design and development of AR application “Art-Heritage’’ with historical monuments and buildings of Crimean Tatars architecture (XIII-XX centuries). It uses a smartphone or tablet to alter the existing picture, via an app. Using “Art-Heritage’’ users stand in front of an area where the monuments used to be and hold up mobile device in order to see an altered version of reality.

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Osadchyi, Viacheslav V., Hanna Y. Chemerys, Kateryna P. Osadcha, Vladyslav S. Kruhlyk, Serhii L. Koniukhov, and Arnold E. Kiv. Conceptual model of learning based on the combined capabilities of augmented and virtual reality technologies with adaptive learning systems. [б. в.], November 2020. http://dx.doi.org/10.31812/123456789/4417.

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The article is devoted to actual problem of using modern ICT tools to increase the level of efficiency of the educational process. The current state and relevance of the use of augmented reality (AR) and virtual reality (VR) technologies as an appropriate means of improving the educational process are considered. In particular, attention is paid to the potential of the combined capabilities of AR and VR technologies with adaptive learning systems. Insufficient elaboration of cross-use opportunities for achieving of efficiency of the educational process in state-of-the-art research has been identified. Based on analysis of latest publications and experience of using of augmented and virtual reality technologies, as well as the concept of adaptive learning, conceptual model of learning based on the combined capabilities of AR and VR technologies with adaptive learning systems has been designed. The use of VR and AR technologies as a special information environment is justified, which is applied in accordance with the identified dominant type of students' thinking. The prospects of using the proposed model in training process at educational institutions for the implementation and support of new teaching and learning strategies, as well as improving learning outcomes are determined by the example of such courses as “Algorithms and data structures”, “Computer graphics and three-dimensional modeling”, “Circuit Engineering”, “Computer Architecture”.

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Tkachuk, Viktoriia V., Vadym P. Shchokin, and Vitaliy V. Tron. The Model of Use of Mobile Information and Communication Technologies in Learning Computer Sciences to Future Professionals in Engineering Pedagogy. [б. в.], November 2018. http://dx.doi.org/10.31812/123456789/2668.

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Research goal: the research is aimed at developing a model of use of mobile ICT in learning Computer Sciences to future professionals in Engineering Pedagogy. Object of research is the model of use of mobile ICT in learning Computer Sciences to future professionals in Engineering Pedagogy. Results of the research: the developed model of use of mobile ICT as tools of learning Computer Sciences to future professionals in Engineering Pedagogy is based on the competency-based, person-centered and systemic approaches considering principles of vocational education, general didactic principles, principles of Computer Science learning, and principles of mobile learning. It also takes into account current conditions and trends of mobile ICT development. The model comprises four blocks: the purpose-oriented block, the content-technological block, the diagnostic block and the result-oriented block. According to the model, the learning content of Computer Sciences consists of 5 main units: 1) Fundamentals of Computer Science; 2) Architecture of Modern Computers; 3) Fundamentals of Algorithmization and Programming; 4) Software of Computing Systems; 5) Computer Technologies in the Professional Activity of Engineer-pedagogues.

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