artcage
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artcage
Mar 24, 2009
Dynamic Painting
From Wikipedia, the free encyclopedia
Dynamic painting is a movement in visual arts where paintings are updated on an on-going basis. The artist determines the general principles for image genesis and develops algorithms for transformation methods. The resulting image depends on a myriad of factors, and is, as a rule, unpredictable.
artcage
Mar 24, 2009
The Dynamic Paintings can be considered a generative art—an art that has been generated algorithmically by a computer system. Unlike all other generative art examples that account for just a few basic artistic principles and require very little artist input, Dynamic Paintings require skill of an artist. An artist begins creation of a Dynamic Painting by conceiving an idea for the painting, selecting basic colors, shapes and principles of their development over time. Unlike a conventional painter, the artist has to think in one more dimension to properly design the evolution of images as the painting would develop. Using various techniques that have deep roots in the styles of conventional paintings, an artist converts the brush strokes into algorithms that can precisely convey his original design of a digital painting.
artcage
Mar 24, 2009
Once the Dynamic Painting has been designed and programmed, it is up to a computer system to bring it to life.
This algorithm represents the "DNA" of the picture. Just like the DNA of a living organism, with a slight mutation, the image algorithm can produce an infinite number of unique paintings. A carefully devised "mutation" algorithm uses a computer to generate a series of distinct images that follow the style and concept of the original painting. This "mutation" process can be slowly animated over time to produce a fluid motion within the element of a painting; producing a never-ending and never repeating show. The painting is always in the state of a perpetual transformation. The picture living its own life with objects moving and transforming but still following the original artist's concept.
artcage
Mar 24, 2009
Generative Systems refers to systems that use a few basic rules to yield extremely varied and unpredictable patterns. Conway's Game of Life is an excellent example of one such system: Cellular automaton. These systems can be found in music, Generative music, in art, Generative art, and, more recently, in video games such as Spore.
Video game designer Will Wright and musician Brian Eno gave a superb talk on generative systems for the Long Now Foundation on June 26, 2006. The talk is available for free download at http://www.longnow.org/.
[Features of a Generative System][1]
Generativity of a system is premised on [five principle factors][2]:
(1) How extensively a system of technology leverages a set of possible tasks;
(2) How well it can be adapted to a range of tasks;
(3) How easily new contributors can master it;
(4) How accessible it is to those ready and able to build on it; and
(5) How transferable any changes are to others, including non-experts.
artcage
Mar 24, 2009
Evolutionary Art exploits the process of evolution to create an artwork which continually changes according to an evolutionary algorithm.
In common with natural selection and animal husbandry, the members of a population undergoing artificial evolution modify their form or behaviour over many reproductive generations in response to a selective regime.
In interactive evolution the selective regime may be applied by the viewer explicitly by selecting individuals which are aesthetically pleasing. Alternatively a selection pressure can be generated implicitly, for example according to the length of time a viewer spends near a piece of evolving art.
Equally, evolution may be employed as a mechanism for generating a dynamic world of adaptive individuals, in which the selection pressure is imposed by the program, and the viewer plays no role in selection, as in the Black Shoals project.
artcage
Mar 24, 2009
The demoscene is a computer art subculture that specializes in producing demos, which are non-interactive audio-visual presentations that run in real-time on a computer. The main goal of a demo is to show off programming, artistic, and musical skills.
The demoscene first appeared during the 8-bit era on computers such as the Commodore 64, ZX Spectrum and Amstrad CPC, and came to prominence during the rise of the 16/32-bit home computers (the Atari ST and the Amiga). In the early years, demos had a strong connection with software cracking. When a cracked program was started, the cracker or his team would take credit with a graphical introduction called a "crack intro" (shortened cracktro). Later, the making of intros and standalone demos evolved into a new subculture independent of the software (piracy) scene.
artcage
Mar 24, 2009
Music visualization, a feature found in some media player software, generates animated imagery based on a piece of recorded music. The imagery is usually generated and rendered in real time and synchronized with the music as it is played.
Visualization techniques range from simple ones (e.g., a simulation of an oscilloscope display) to elaborate ones, which often include a plurality of composited effects. The changes in the music's loudness and frequency spectrum are among the properties used as input to the visualization. With respect to loudness and frequency, many visualization programs do not present a discernible correspondence (synchronization) to this aspect of the music
artcage
Mar 24, 2009
Computer art
From Wikipedia, the free encyclopedia
Joseph Nechvatal 2004 Orgiastic abattOirComputer art is any art in which computers played a role in production or display of the artwork. Such art can be an image, sound, animation, video, CD-ROM, DVD-ROM, videogame, web site, algorithm, performance or gallery installation. Many traditional disciplines are now integrating digital technologies and, as a result, the lines between traditional works of art and new media works created using computers has been blurred. For instance, an artist may combine traditional painting with algorithm art and other digital techniques. As a result, defining computer art by its end product can thus be difficult. Nevertheless, this type of art is beginning to appear in art museum exhibits. Notable artists in this vein include James Faure Walker, Joseph Nechvatal, Matthias Groebel, Geor
artcage
Mar 24, 2009
Computer art is by its nature evolutionary since changes in technology and software directly effect what is possible. The most recent evolution of computer art where the computer is allowed to create the art uses the evolutionary computing and swarm principles. However, many of the pioneers of the genre disagree with the idea of considering this type of output a form of art. Italian artist Aldo Giorgini, one of the trailblazers who fought for the recognition of computer art as a valid art form said in a 1974 interview that "serendipitous or accidental computer art is not to be considered a valid art form," albeit that it "can serve as an exploratory device or as a source of ideas." To further reinforce the point, Giorgini states that "using a 'canned' program is like choosing one work from 100 paintings in a gallery, and then calling it your own."
artcage
Mar 24, 2009
New media artists
Miguel Álvarez-Fernández
Carlos Amorales
Cory Arcangel
Roy Ascott
Maurice Benayoun
Brody Condon
Luc Courchesne
Ronald Davis
Heiko Daxl
Agricola de Cologne
DJ Lotu5 (aka Micha Cárdenas)
Ken Feingold
Ingeborg Fülepp
Peter Benjamin Graham
Phil Hansen
Lynn Hershman
Perry Hoberman
G.H. Hovagimyan
Junichi Kakizaki
KMA
Knowbotic Research
Roy LaGrone
Golan Levin
Rafael Lozano-Hemmer
Christian Moeller
Francesco Monico
Michael Naimark
Joseph Nechvatal
Graham Nicholls
Randall Packer
Zaven Paré
Melinda Rackham
Ken Rinaldo
Don Ritter
David Rokeby
Jason Salavon
Scott Snibbe
Camille Utterback
artcage
Mar 24, 2009
Types
The term New Media Art is generally applied to disciplines such as:
Artistic computer game modification
Ascii Art
Bio Art
Computer art
Digital art
Digital poetry
Tradigital art
Electronic art
Evolutionary art
Generative art
Hacktivism
Information art
Interactive art
Internet art
Net art
Performance art
Radio art
Robotic art
Software art
Sound art
Systems art
Video art
Virtual art
artcage
Mar 24, 2009
New media art
From Wikipedia, the free encyclopedia
(Redirected from Media art)
New media art is an art genre that encompasses artworks created with new media technologies, including digital art, computer graphics, computer animation, virtual art, Internet art, interactive art technologies, computer robotics, and art as biotechnology. The term differentiates itself by its resulting cultural objects, which can be seen in opposition to those deriving from old media arts (i.e. traditional painting, sculpture, etc.) This concern with medium is a key feature of much contemporary art and indeed many art schools now offer a major in "New Genres" or "New Media".
New Media concerns are often derived from the telecommunications, mass media and digital modes of delivery the artworks involve, with practices ranging from conceptual to virtual art, performance to installation
artcage
Mar 24, 2009
Algorithmic artists
Yoshiyuke Abe (Japan)
Manuel Barbadillo (Spain)
San Base (Canada)
Steven C. G. Bell (UK)
Peter Beyls (Belgium)
Harold Cohen (UK – USA)
Charles Csuri (USA)
Hans Dehlinger (Germany)
Brian Evans (USA)
Helaman Ferguson (USA)
Herbert W. Franke (Austria – Germany)
John Greene (USA)
Jean-Pierre Hébert (USA)
Channa Horwitz (USA)
Hervé Huitric (France)
Yoichiro Kawaguchi (Japan)
Hiroshi Kawano (Japan)
Wolfang Kiwus (Germany)
Sergio Maltagliati (Italy)
Manfred Mohr (Germany)
Vera Molnar (France)
Ken Musgrave (USA)
Monique Nahas (France)
Frieder Nake (Germany)
Georg Nees (Germany)
A. Michael Noll (USA)
Eugen Roth (Germany)
Remko Scha (Netherlands)
Celestino Soddu (Italy)
Jared Tarbell (USA)
Roman Verostko (USA)
Edward Zajec (USA)
artcage
Mar 24, 2009
Algorists
"Algorist" is a term used for digital artists who create algorithmic art. One group of algorists is known as Les Algoristes.
Algorists formally began correspondence and establishing their identity as artists following a panel titled "Art and Algorithms" at SIGGRAPH in 1995. Jean-Pierre H?bert is credited with coining the term and its definition, which is quite unsurprisingly, in the form of his own algorithm:
if (creation && object of art && algorithm && one's own algorithm) {
include * an algorist *
} elseif (!creation || !object of art || !algorithm || !one's own algorithm) {
exclude * not an algorist *
}
artcage
Mar 24, 2009
By this definition, algorithmic art is not to be confused with graphical methods such as generating a fractal out of a fractal program; it is necessarily concerned with the human factor (one's own algorithm, and not one that is pre-set in a package). The artist must be concerned with the most appropriate expression for their idea, just as a painter would be most concerned with the best application of colors. By this definition, defaulting to something like a fractal generator (and using it for all or most of your creations) would in essence be letting the computer dictate the form of the final work, and not truly be a creative art. The artist's self-made algorithms are an integral part of the authorship, as well as being a medium through which their ideas are conveyed.
artcage
Mar 24, 2009
The role of the algorithm
For a work of art to be considered algorithmic art, its creation must include a process based on an algorithm devised by the artist. Here, an algorithm is simply a detailed recipe for the design and possibly execution of an artwork, which may include computer code, functions, expressions, or other input which ultimately determines the form the art will take. This input may be mathematical, computational, or generative in nature. Inasmuch as algorithms tend to be deterministic, meaining that their repeated execution would always result in the production of identical artworks, some random factor is usually introduced. If the algorithm is executed by a computer, this can be the use of a pseudo-random number generator. Some artists also work with organically based gestural input which is then modified by an algorithm.
artcage
Mar 24, 2009
Aside from the ongoing work of Verostko and his fellow algorists, the next known examples are fractal artworks created in the mid to late 1980s. These are important here because they use a different means of execution. Whereas the earliest algorithmic art was "drawn" by a plotter, fractal art simply creates an image in computer memory; it is therefore digital art. The native form of a fractal artwork is an image stored on a computer – this is also true of very nearly all equation art and of most recent algorithmic art in general. However, in a stricter sense "fractal art" is not considered algorithmic art, because the algorithm is not devised by the artist
artcage
Mar 24, 2009
History
The earliest known examples of algorithmic art are artworks created by Georg Nees and Frieder Nake in the early 1960s. These works were executed by a plotter controlled by a personal computer, and were therefore computer-generated art but not digital art. The act of creation lay in writing the program, the sequence of actions to be performed by the plotter.
artcage
Mar 24, 2009
Overview
Algorithmic art is a subset of generative art, and is practically always executed by a computer. If executed by a computer, it is also classified as computer-generated art, but in much computer-generated art the role of the computer is confined to the execution. In contrast, in algorithmic art the creative design is the result of an algorithmic process, usually using a random or pseudo-random process to produce variability. Algorithmic art is also related to systems art.
It is usually digital art, although a number of artists work with plotters. Fractal art is an example of algorithmic art.
Generative Art Genres Architecture, The code as art movement, Computer graphics, Conceptual and minimal art, The demo scene, Design, Electronic music, Islamic art, Live coding, Math art, Music composition, Pattern based folk art and decoration, Physical computing, Robotic art, VJ culture