Assembly Language Programming

In the Spring of 2008 I taught Wichita State University’s Assembly Language Programming for Engineers course. As explained in the syllabus, the course used the Z80 microprocessor and the GameBoy platform to introduce general concepts of computer architecture, machine and assembly language programming. Students practiced the ideas and concepts introduced in the course with programming projects on the GameBoy. For their final project students in the course wrote a game. We then held a celebratory public event where kids of all ages could play all the games.

Similar Posts

  • SoundBlocks

    SoundBlocks is a tangible environment where youth connect blocks to describe network dataflow. The environment explores digital sound manipulation as a personal, meaningful and fun artistic endeavor, rather than as a venture into mathematical, electronic or networking relationships.

  • DoubleTalk

    Doubletalk, a two player audio-manipulation game was my first serious endeaver with the Gameboy. The game used the Pocketvoice, a Gameboy cartridge with a built-in amplified speaker and microphone. In Doubletalk, players record themselves, reverse their recordings, then try to guess what each other is saying.

  • SoundScratch

    SoundScratch is a set of extensions I wrote to manipulate audio in a children’s programming language called Scratch. The environment emphasizes the expressive capabilities of sound through the act of creation and design.

  • Minigolf at Figment in New York

    As a faculty member Wichita State University’s College of Engineering (WSU), I worked with students to create and install a mini-golf hole as part of FIGMENT at Governor’s Island, NY in 2010. I also gave the keynote address that year for FIGMENT’s public art opening. WSU’s mini-golf hole was chosen from a juried selection. Our…

  • Still Life

    In 2011, as part of Hack.Art.Lab, I collaborated with composer Mary Ellen Childs and percussionist Michael Holland to create live animation triggered by live performance of Mary Ellen Childs’ composition “Still Life.” We analyzed the piece into 11 sections and created algorithmic video triggered by sound and motion to match each of the 11 sections. The video was projected…