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Gen E R a T I V E Algorithmic Art

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Fine art created by a ready of rules, without human intervention.

Telepresence-based installation 10.000 Moving Cities, 2016 by Marc Lee

Generative art refers to fine art that in whole or in function has been created with the use of an democratic system. An autonomous system in this context is more often than not one that is not-homo and can independently decide features of an artwork that would otherwise require decisions made directly by the creative person. In some cases the human creator may merits that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator.

"Generative art" often refers to algorithmic art (algorithmically determined computer generated artwork) and synthetic media (general term for any algorithmically-generated media), merely artists can likewise make it using systems of chemistry, biological science, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, tiling, and more.

History [edit]

The utilise of the word "generative" in the discussion of fine art has developed over fourth dimension. The use of "Artificial DNA" defines a generative approach to art focused on the construction of a system able to generate unpredictable events, all with a recognizable common grapheme. The use of autonomous systems, required by some contemporary definitions, focuses a generative arroyo where the controls are strongly reduced. This approach is also named "emergent". Margaret Boden and Ernest Edmonds take noted the use of the term "generative art" in the broad context of automated computer graphics in the 1960s, starting time with artwork exhibited by Georg Nees and Frieder Nake in 1965:[1]

The terms "generative fine art" and "computer fine art" have been used in tandem, and more or less interchangeably, since the very earliest days.[1]

The first such exhibition showed the work of Nees in February 1965, which some claim was titled "Generative Computergrafik".[1] While Nees does not himself retrieve, this was the title of his doctoral thesis published a few years afterwards.[2] The correct title of the showtime exhibition and catalog was "computer-grafik".[3] "Generative art" and related terms was in mutual utilize by several other early calculator artists effectually this time, including Manfred Mohr.[1] Vera Molnár (born 1924) is a French media artist of Hungarian origin. Molnar is widely considered to exist a pioneer of generative art, and is also one of the first women to use computers in her art practice. The term "Generative Art" with the meaning of dynamic artwork-systems able to generate multiple artwork-events was clearly used the start time for the "Generative Art" conference in Milan in 1998.

The term has also been used to depict geometric abstract art where simple elements are repeated, transformed, or varied to generate more complex forms. Thus defined, generative art was practised by the Argentinian artists Eduardo McEntyre and Miguel Ángel Vidal in the late 1960s. In 1972 the Romanian-born Paul Neagu created the Generative Art Group in Britain. Information technology was populated exclusively past Neagu using aliases such as "Hunsy Belmood" and "Edward Larsocchi." In 1972 Neagu gave a lecture titled 'Generative Fine art Forms' at the Queen'south University, Belfast Festival.[4] [five]

In 1970 the School of the Fine art Establish of Chicago created a section called Generative Systems. As described by Sonia Landy Sheridan the focus was on fine art practices using the and so new technologies for the capture, inter-machine transfer, printing and transmission of images, also every bit the exploration of the aspect of time in the transformation of prototype information. Likewise noteworthy is John Dunn,[6] first a pupil so a collaborator of Sheridan.[7]

In 1988 Clauser[eight] identified the aspect of systemic autonomy as a critical element in generative art:

It should be evident from the in a higher place description of the evolution of generative fine art that process (or structuring) and change (or transformation) are among its most definitive features, and that these features and the very term 'generative' imply dynamic evolution and move. (the result) is not a creation by the artist just rather the production of the generative process - a self-precipitating construction.

In 1989 Celestino Soddu defined the Generative Blueprint approach to Architecture and Boondocks Blueprint in his volume Citta' Aleatorie.[9]

In 1989 Franke referred to "generative mathematics" equally "the study of mathematical operations suitable for generating artistic images."[10]

From the mid-1990s Brian Eno popularized the terms generative music and generative systems, making a connection with before experimental music by Terry Riley, Steve Reich and Philip Drinking glass.[11]

From the end of the 20th century, communities of generative artists, designers, musicians and theoreticians began to meet, forming cross-disciplinary perspectives. The first coming together virtually generative Art was in 1998, at the countdown International Generative Art conference at Politecnico di Milano Academy, Italy.[12] In Australia, the Iterate conference on generative systems in the electronic arts followed in 1999.[13] On-line discussion has centred around the eu-cistron mailing list,[14] which began late 1999, and has hosted much of the fence which has defined the field.[fifteen] : 1 These activities take more than recently been joined past the Generator.ten briefing in Berlin starting in 2005. In 2012 the new journal GASATHJ, Generative Art Science and Engineering Difficult Journal was founded by Celestino Soddu and Enrica Colabella[16] jointing several generative artists and scientists in the Editorial Board.

Some have argued that every bit a outcome of this engagement beyond disciplinary boundaries, the community has converged on a shared meaning of the term. As Boden and Edmonds[1] put it in 2011:

Today, the term "Generative Art" is however current within the relevant artistic community. Since 1998 a serial of conferences have been held in Milan with that title (Generativeart.com), and Brian Eno has been influential in promoting and using generative art methods (Eno, 1996). Both in music and in visual art, the utilise of the term has at present converged on work that has been produced by the activation of a set of rules and where the creative person lets a computer arrangement take over at to the lowest degree some of the controlling (although, of course, the artist determines the rules).

In the call of the Generative Art conferences in Milan (annually starting from 1998), the definition of Generative Art past Celestino Soddu:

Generative Fine art is the idea realized as genetic code of artificial events, every bit structure of dynamic complex systems able to generate countless variations. Each Generative Projection is a concept-software that works producing unique and non-repeatable events, like music or 3D Objects, equally possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an creative person / designer / musician / architect /mathematician.[17]

Discussion on the european union-factor mailing listing was framed past the following definition past Adrian Ward from 1999:

Generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually (although not strictly) automatic by the utilize of a automobile or computer, or by using mathematic or businesslike instructions to define the rules past which such artworks are executed.[eighteen]

A similar definition is provided by Philip Galanter:[fifteen]

Generative art refers to any art practice where the artist creates a process, such every bit a set up of natural language rules, a computer program, a car, or other procedural invention, which is so prepare into movement with some degree of autonomy contributing to or resulting in a completed work of art.

Types [edit]

Music [edit]

Johann Philipp Kirnberger'southward Musikalisches Würfelspiel ("Musical Die Game") of 1757 is considered an early on example of a generative system based on randomness. Dice were used to select musical sequences from a numbered puddle of previously composed phrases. This system provided a balance of gild and disorder. The structure was based on an chemical element of order on one paw, and disorder on the other.[19]

The fugues of J.South. Bach could exist considered generative, in that there is a strict underlying process that is followed by the composer.[20] Similarly, serialism follows strict procedures which, in some cases, can be prepare to generate entire compositions with express human being intervention.[21] [22]

Composers such as John Cage,[23] : 13–15 Farmers Manual,[24] and Brian Eno[23] : 133 have used generative systems in their works.

Visual art [edit]

The artist Ellsworth Kelly created paintings past using chance operations to assign colors in a filigree. He also created works on paper that he and then cut into strips or squares and reassembled using run a risk operations to make up one's mind placement.[25]

Artists such equally Hans Haacke have explored processes of concrete and social systems in artistic context. François Morellet has used both highly ordered and highly disordered systems in his artwork. Some of his paintings feature regular systems of radial or parallel lines to create Moiré Patterns. In other works he has used chance operations to determine the coloration of grids.[26] [27] Sol LeWitt created generative art in the form of systems expressed in natural language and systems of geometric permutation. Harold Cohen's AARON organization is a longstanding projection combining software artificial intelligence with robotic painting devices to create physical artifacts.[28] Steina and Woody Vasulka are video art pioneers who used analog video feedback to create generative art. Video feedback is now cited as an example of deterministic chaos, and the early on explorations by the Vasulkas anticipated contemporary science by many years. Software systems exploiting evolutionary calculating to create visual form include those created by Scott Draves and Karl Sims. The digital artist Joseph Nechvatal has exploited models of viral contagion.[29] Autopoiesis by Ken Rinaldo includes 15 musical and robotic sculptures that interact with the public and modify their behaviors based on both the presence of the participants and each other.[23] : 144–145 Jean-Pierre Hebert and Roman Verostko are founding members of the Algorists, a group of artists who create their ain algorithms to create art. A. Michael Noll, of Bong Telephone Laboratories, Incorporated, programmed computer art using mathematical equations and programmed randomness, starting in 1962.[30] The French artist Jean-Max Albert, beside ecology sculptures like Iapetus,[31] and O=C=O,[32] developed a project dedicated to the vegetation itself, in terms of biological activeness. The Calmoduline Monument project is based on the property of a poly peptide, calmodulin, to bond selectively to calcium. Exterior physical constraints (air current, rain, etc.) modify the electric potential of the cellular membranes of a constitute and consequently the flux of calcium. Nevertheless, the calcium controls the expression of the calmoduline factor.[33] The plant can thus, when at that place is a stimulus, modify its « typical » growth pattern. So the basic principle of this awe-inspiring sculpture is that to the extent that they could be picked upwards and transported, these signals could exist enlarged, translated into colors and shapes, and show the plant's « decisions » suggesting a level of fundamental biological activity.[34]

Maurizio Bolognini works with generative machines to address conceptual and social concerns.[35] Mark Napier is a pioneer in data mapping, creating works based on the streams of zeros and ones in ethernet traffic, as part of the "Carnivore" project. Martin Wattenberg pushed this theme further, transforming "data sets" as various as musical scores (in "Shape of Song", 2001) and Wikipedia edits (History Period, 2003, with Fernanda Viegas) into dramatic visual compositions. The Canadian creative person San Base of operations developed a "Dynamic Painting" algorithm in 2002. Using calculator algorithms as "brush strokes," Base creates sophisticated imagery that evolves over time to produce a fluid, never-repeating artwork.[36]

Since 1996 at that place have been ambigram generators that automobile generate ambigrams.[37] [38] [39]

Italian composer Pietro Grossi, pioneer of computer music since 1986, he extended his experiments to images, (same procedure used in his musical piece of work) precisely to computer graphics, writing programs with specific auto-decisions, and developing the concept of HomeArt, presented for the starting time time in the exhibition New Atlantis: the continent of electronic music organized past the Venice Biennale in 1986.

Software art [edit]

For some artists, graphic user interfaces and reckoner code take become an independent art class in themselves. Adrian Ward created Auto-Illustrator as a commentary on software and generative methods applied to art and pattern.[ citation needed ]

Architecture [edit]

In 1987 Celestino Soddu created the artificial DNA of Italian Medieval towns able to generate endless 3D models of cities identifiable as belonging to the thought.[40]

In 2010, Michael Hansmeyer generated architectural columns in a project called "Subdivided Columns – A New Order (2010)". The piece explored how the unproblematic process of repeated subdivision tin create elaborate architectural patterns. Rather than designing whatever columns directly, Hansmeyer designed a process that produced columns automatically. The process could be run once more and again with different parameters to create endless permutations. Endless permutations could be considered a hallmark of generative design.[41]

Literature [edit]

Writers such as Tristan Tzara, Brion Gysin, and William Burroughs used the cut-up technique to innovate randomization to literature as a generative organization. Jackson Mac Low produced computer-assisted poetry and used algorithms to generate texts; Philip M. Parker has written software to automatically generate entire books. Jason Nelson used generative methods with voice communication-to-text software to create a series of digital poems from movies, tv set and other audio sources.[42]

Live coding [edit]

Generative systems may exist modified while they operate, for example by using interactive programming environments such as SuperCollider, Fluxus and TidalCycles, including patching environments such equally Max/MSP, Pure Data and vvvv. This is a standard approach to programming by artists, but may likewise exist used to create live music and/or video by manipulating generative systems on stage, a operation practice that has become known every bit live coding. As with many examples of software art, because live coding emphasises human authorship rather than autonomy, it may exist considered in opposition to generative art.[43]

Theories [edit]

Philip Galanter [edit]

In the most widely cited theory of generative art, in 2003 Philip Galanter[15] describes generative art systems in the context of complexity theory. In particular the notion of Murray Gell-Mann and Seth Lloyd's effective complexity is cited. In this view both highly ordered and highly disordered generative art can be viewed every bit simple. Highly ordered generative art minimizes entropy and allows maximal data compression, and highly disordered generative art maximizes entropy and disallows significant data compression. Maximally complex generative art blends club and disorder in a manner similar to biological life, and indeed biologically inspired methods are most often used to create complex generative art. This view is at odds with the earlier information theory influenced views of Max Bense[44] and Abraham Moles[45] where complexity in art increases with disorder.

Galanter notes further that given the utilize of visual symmetry, pattern, and repetition past the most ancient known cultures generative art is as old as art itself. He also addresses the mistaken equivalence past some that rule-based art is synonymous with generative art. For example, some art is based on constraint rules that disallow the utilise of sure colors or shapes. Such art is not generative because constraint rules are not constructive, i.eastward. by themselves they don't assert what is to be done, only what cannot be done.[46]

Margaret Boden and Ernest Edmonds [edit]

In their 2009 article, Margaret Boden and Ernest Edmonds agree that generative fine art need not be restricted to that done using computers, and that some rule-based art is not generative. They develop a technical vocabulary that includes Ele-fine art (electronic art), C-art (computer art), D-art (digital art), CA-fine art (computer assisted fine art), G-art (generative fine art), CG-art (computer based generative art), Evo-art (evolutionary based fine art), R-art (robotic fine art), I-fine art (interactive art), CI-art (computer based interactive fine art), and VR-art (virtual reality art).[1]

Questions [edit]

The discourse around generative art can be characterised by the theoretical questions which motivate its development. McCormack et al. propose the following questions, shown with paraphrased summaries, as the nigh of import:[47]

  1. Tin can a machine originate anything? Related to machine intelligence - can a car generate something new, meaningful, surprising and of value: a poem, an artwork, a useful idea, a solution to a long-standing problem? [47]
  2. What is it like to be a reckoner that makes art? If a computer could originate art, what would it be similar from the computer's perspective? [47]
  3. Can homo aesthetics be formalised?[47]
  4. What new kinds of art does the figurer enable? Many generative artworks do non involve digital computers, but what does generative figurer fine art bring that is new? [47]
  5. In what sense is generative art representational, and what is it representing?[47]
  6. What is the role of randomness in generative art? For example, what does the apply of randomness say almost the place of intentionality in the making of art? [47]
  7. What tin can computational generative art tell us about inventiveness? How could generative art give ascension to artefacts and ideas that are new, surprising and valuable? [47]
  8. What characterises good generative art? How can nosotros form a more critical understanding of generative art? [47]
  9. What can we learn about art from generative art? For example, can the fine art world be considered a complex generative system involving many processes exterior the straight control of artists, who are agents of production within a stratified global fine art market? [47]
  10. What futurity developments would force united states to rethink our answers?[47]

Another question is of postmodernism—are generative art systems the ultimate expression of the postmodern condition, or do they point to a new synthesis based on a complexity-inspired world-view?[48]

Come across too [edit]

  • Algorithmic fine art
  • Artmedia
  • Conway'due south Game of Life
  • Digital morphogenesis
  • Evolutionary fine art
  • Generative music
  • Interactive art
  • New media art
  • Non-fungible token
  • Mail-conceptualism
  • Software art
  • Constructed media
  • Systems art
  • Virtual art

References [edit]

  1. ^ a b c d e f Boden, Margaret; Edmonds, Ernest (2009). "What is Generative Art?". Digital Creativity. 20 (i/2): 21–46. doi:10.1080/14626260902867915. S2CID 28266287.
  2. ^ Nake, Frieder. "Georg Nees: Generative Computergrafik". University of Bremen. Retrieved nineteen August 2012.
  3. ^ Ness, Georg; Bense, Max: figurer-grafik; Edition Rot nineteen; Stuttgart, 1965.
  4. ^ Osborne, Harold, ed. The Oxford Companion to Twentieth-Century Fine art, Oxford; New York: Oxford University Press
  5. ^ Walker, J. A. Glossary of fine art, compages, and pattern since 1945 (3rd ed.), London; Boston: Library Association Publishing; G.G. Hall.
  6. ^ "Memories from Sonia Sheridan". Geneticmusic.com. Retrieved 17 June 2021.
  7. ^ Sheridan, Sonia Landy. Generative Systems versus Copy Art: A Clarification of Terms and Ideas, Leonardo, sixteen(2), 1983.
  8. ^ Clauser, H. R. Towards a Dynamic, Generative Computer Fine art, Leonardo, 21(2), 1988.
  9. ^ Soddu, C. Citta' Aleatorie, Masson Publisher 1989 "[i]"
  10. ^ Franke, H. W.Mathematics Equally an Artistic-Generative Principle, Leonardo, Supplemental Consequence, 1989.
  11. ^ Eno, B. Generative Music, In Motion Magazine
  12. ^ Soddu, C. and Colabella, E. ed.s "Generative Art", Dedalo
  13. ^ "First Iteration Home Page".
  14. ^ "Archived copy". Archived from the original on 2012-07-27. Retrieved 2012-08-22 . {{cite web}}: CS1 maint: archived copy every bit championship (link)
  15. ^ a b c Philip Galanter What is Generative Fine art? Complication theory as a context for art theory, 2003 International Briefing on Generative Fine art
  16. ^ GASATHJ
  17. ^ Generative Fine art
  18. ^ eu-cistron mailing listing welcome page
  19. ^ Nierhaus, Gerhard (2009). Algorithmic Composition: Paradigms of Automated Music Generation, pp. 36 & 38n7. ISBN 9783211755396.
  20. ^ Smith, Tim (2013). "Fugue 9: E Major. Well-Tempered Clavier, book 1. The Fugue is Generative". NAU.edu. Archived from the original on 23 November 2017. Retrieved 28 November 2017.
  21. ^ Lerdahl, Fred. 1988. "Cognitive Constraints on Compositional Systems". In Generative Processes in Music, ed. John Sloboda. Oxford Academy Press. Reprinted in Contemporary Music Review half dozen, no. 2 (1992):97–121.
  22. ^ Lerdahl, Fred, and Ray Jackendoff. 1983. A Generative Theory of Tonal Music. MIT Printing.
  23. ^ a b c Christiane Paul Digital Art, Thames & Hudson.
  24. ^ "Generative Art Conference – Politecnico di Milano Academy, Italy". 2009.
  25. ^ Yve-Alain Bois, Jack Cowart, Alfred Pacquement Ellsworth Kelly: The Years in France, 1948-1954, Washington DC, National Gallery of Art, Prestel, p. 23-26
  26. ^ Tate Online Article Archived 2012-03-25 at the Wayback Machine about François Morellet
  27. ^ Grace Glueck "Francois Morellet, Ascetic Abtractionism", New York Times, Feb. 22, 1985
  28. ^ Biography of Harold Cohen Harold Cohen
  29. ^ Bruce Wands Art of the Digital Age, London: Thames & Hudson, p. 65
  30. ^ A. Michael Noll, "The Digital Computer every bit a Creative Medium," IEEE Spectrum, Vol. iv, No. ten, (October 1967), pp. 89-95; and "Computers and the Visual Arts," Design and Planning 2: Computers in Design and Communication (Edited by Martin Krampen and Peter Seitz), Hastings House, Publishers, Inc.: New York (1967), pp. 65-79.
  31. ^ Michel Ragon, Jean-Max Albert «Iapetus», L'art abstrait vol.5, Éditions Maeght, Paris, 1989
  32. ^ Jean-Max Albert O=C=O, Franco Torriani, Dalla Country arte alla bioarte, Hopefulmonster editore Torino, 2007, p. 64-seventy
  33. ^ Intra-and Intercellular Communications in Plants, Millet & Greppin Editors, INRA, Paris, 1980, p.117.
  34. ^ Space in contour/ L'espace de profil,
  35. ^ Maurizio Bolognini, De l'interaction à la démocratie. Vers un art génératif mail-digital (From interactivity to democracy. Towards a mail-digital generative art), in Actes du Colloque international Artmedia X (2011), Ethique, esthétique, communication technologique dans l'fine art contemporain (in French), Paris: L'Harmattan, ISBN9782296132306
  36. ^ San Base: About
  37. ^ "Davalan Ambigram Generator". Davalan.org . Retrieved 1 April 2020.
  38. ^ "The Brand Ambigrams Ambigram Generator". MakeAmbigrams.com . Retrieved 1 April 2020.
  39. ^ "Truly Scientific discipline Gratuitous Ambigram Generator". trulyscience . Retrieved 2 April 2020.
  40. ^ Celestino Soddu Soddu: "Italian Medieval Town"
  41. ^ Michael Hansmeyer AIArtists: "Generative Fine art & Pattern Guide"
  42. ^ Flores, Leonardo (29 June 2012). "The Battery Life of Meaning: Voice communication to Text Poetry". I love E-Poesy. Archived from the original on four July 2013. Retrieved 9 February 2018.
  43. ^ McLean, Alex (2011). Artist-Programmers and Programming Languages for the Arts (PDF). Goldsmiths, University of London (PhD Thesis). pp. 16–17.
  44. ^ Bense, Max Aesthetica; Einfuehrung in dice neue Aesthetik, Agis-Verlag
  45. ^ Moles, Abraham. Data theory and esthetic perception, University of Illinois Press
  46. ^ Galanter, Philip. Generative art and rules-based art., Vague Terrain (2006)
  47. ^ a b c d e f g h i j k McCormack, Jon; Oliver Bown; Alan Dorin; Jonathan McCabe; Gordon Monro; Mitchell Whitelaw (2012). "10 Questions Concerning Generative Computer Art". Leonardo. Archived from the original on 2012-xi-29.
  48. ^ Galanter, Philip. Complexism and the role of evolutionary art in "The art of artificial evolution : a handbook on evolutionary art and music", Springer

Further reading [edit]

  • Oliver Grau (2003). Virtual Fine art: From Illusion to Immersion (MIT Press/Leonardo Book Serial). Cambridge, Massachusetts: The MIT Press. ISBN 0-262-07241-6.
  • Wands, Bruce (2006). Fine art of the Digital Age, London: Thames & Hudson. ISBN 0-500-23817-0.
  • Matt Pearson, Generative fine art : a practical guide using processing Archived 2019-12-xix at the Wayback Car". Manning 2011.
  • Playing with Fourth dimension A conversation betwixt Will Wright and Brian Eno on generative creation.
  • Off Book: Generative Art - Computers, Data, and Humanity Documentary produced by Off Book (web series)
  • Thomas Dreher: History of Figurer Fine art, chap.Iii.2, Iv.three, Viii.1
  • [two]"Epigenetic Painting:Software as Genotype", Roman Verostko(International Symposium on Electronic Fine art, Utrecht, 1988); Leonardo, 23:1,1990, pp. 17–23

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Source: https://en.wikipedia.org/wiki/Generative_art

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