The creative process where the artist is amplified or superseded by the computer, 1973, Stroud Cornock , Ernest Edmonds
Éloge de l’ordinateur dans les arts visuels, 1984, Vera Molnar
The Aesthetics of Exhibition: A Discussion of Recent American Computer Art Shows, 1988, Patric D. Prince
Epigenetic Painting: Software as Genotype, 1990, Roman Verostko
Processing: programming for the media arts, 2006, Casey Reas and Ben Fry
Software engineering issues in interactive installation art, 2008, Anna Trifonova, Letizia Jaccheri
What is generative art?, 2009, Margaret A. Boden and Ernest A. Edmonds
Computer Programming in the Creative Arts, 2012, Alex McLean, Geraint Wiggin
Magic Squares and Aesthetic Events, 2013,You Fang, Hans Dehlinger, Wang Jian Min, Yao Ming
From sonic Pi to overtone: creative musical experiences with domain-specific and functional languages, 2013, Sam Aaron and Alan F. Blackwell.
Large-Scale Curation and Presentation of CD-ROM Art, 2013, Dragan Espenschied, Klaus Rechert, Dirk von Suchodoletz, Isgandar Valizada and Nick Russler
Making programming languages to dance to: live coding with tidal, 2014, Alex McLean
Reading between the lines: Source code documentation as a conservation strategy for software-based art, 2014, Deena Engel, Glenn Wharton
Evolving Glitch Art, 2013,vEelco den Heijer
Light Pattern: Writing Code with Photographs, 2015, Daniel Temkin
Generative Art Theory, 2016, Philip Galanter
Estuary: Browser-based Collaborative Projectional Live Coding of Musical Patterns, 2017, David Ogborn, Jamie Beverley, Luis Navarro del Angel, Eldad Tsabary, Alex McLean
The afterlives of network-based artworks, 2017, Emmanuel Guez, Morgane Stricot, Lionel Broye, Stéphane Bizet
Generative art for all, 2017, Michael Tempel
Open the museum’s gates to pirates: Hacking for the sake of digital art preservation, 2018, Morgane Stricot, Daniel Heiss, Matthieu Vlaminck
256B on the C64 for 8K, 2019, Nick Montfort
Chance and Control: Art in the Age of Computers, 2019, Douglas Dodd
Creative Coding on the web in p5. js: a Library where JavaScript Meets Processing, 2019, BSc thesis Sandberg, Emil
Preservation of software-based art at Tate, 2019,Patrícia Falcão
Art and Code: Programming as a Medium, 2020, Ernest Edmonds
Vera Molnar. Weaving Variations, 2022, Zsofi Valyi-Nagy
p5.fab: Direct Control of Digital Fabrication Machines from a Creative Coding Environment, 2022, Blair Subbaraman
Artist Support Networks: Implications for Future Creativity Support Tools, 2022, John Joon Young Chung, Shiqing He, Eytan Adar
Seeing Programming Seeing: Exploring the Pedagogical Values of Functional Errors in Creative Coding, 2023, Jennifer Sykes, Mick Grierson, Rebecca Fiebrink
Generative art via grammatical evolution, 2023, Erik M. Fredericks, Abigail C. Diller, Jared M. Moore
Spellburst: A Node-based Interface for Exploratory Creative Coding with Natural Language Prompts, 2023, Tyler Angert, Miroslav Ivan Suzara, Jenny Han
Forking a Sketch: How the OpenProcessing Community Uses Remixing to Collect, Annotate, Tune, and Extend Creative Code, 2023, Blair Subbaraman, Shenna Shim, Nadya Peek
Do NFTs’ Owners Really Possess their Assets? A First Look at the NFT-to-Asset Connection Fragility, 2023, Ziwei Wang, Jiashi Gao, Xuetao Wei
KnitScape: Computational Design and Yarn-Level Simulation of Slip and Tuck Colorwork Knitting Patterns, 2024, Hannah Twigg-Smith, Emily Whiting, Nadya Peek
Stale Diffusion: Hyper-Realistic 5D Movie Generation using Old-school Methods, 2024, Joao F. Henriques, Dylan Campbell, Tengda Han
Immersion into the Datascape, 2024, Joo Yun Lee
Myriad People Open Source Software for New Media Arts, 2025, Benoit Baudry, Erik Natanael Gustafsson, Roni Kaufman, Maria Kling
TriGraph: A Probabilistic Subgraph-Based Model for Visual Code Completion in Pure Data, 2025, Anisha Islam, Abram Hindle