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How computers may be used to produce drawings, as well as to make animated films and sculptures.
In A Philosophy of Computer Art Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’.
The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than usual in such histories.
Ten years have passed since the first edition of this book, a time sary to stress that the availability of colors further assists artistic span during which all activities connected with computers have ambitions. experienced an enormous upswing, due in particular to the ad The dynamics of display which can be achieved on the screen is vances in the field of semiconductor electronics which facilitated also of significance for the visual arts. It is a necessary condition microminiaturization. With the circuit elements becoming small for some technical applications, for example when simulating er and smaller, i. e. the transition to integrated circuits, the price dynamic processes. Although the graphics systems operating in real time were not designed for artistic purposes, they nonethe of hardware was reduced to an amazingly low level: this has de less open the most exciting aspects to the visual arts. While the finitely been an impulse of great importance to the expansion of computer technology, as well as to areas far removed from tech static computer picture was still a realization in line with the nology.
For anyone interested in how computers are used in art and design, this introduction to computer graphics is uniquely focused on the computer as a medium for artistic expression and graphic communication.
Considering how culturally indispensable digital technology is today, it is ironic that computer-generated art was attacked when it burst onto the scene in the early 1960s. In fact, no other twentieth-century art form has elicited such a negative and hostile response. When the Machine Made Art examines the cultural and critical response to computer art, or what we refer to today as digital art. Tracing the heated debates between art and science, the societal anxiety over nascent computer technology, and the myths and philosophies surrounding digital computation, Taylor is able to identify the destabilizing forces that shape and eventually fragment the computer art movement.
What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? A Philosophy of Computer Art is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a wealth of examples he also explains how the roles of the computer artist and computer art user distinguishes them from makers and spectators of traditional art forms and argues that computer art allows us to understand better the role of technology as an art medium.
This interdisciplinary volume introduces new theories and ideas on creativity from the perspectives of science and art. Featuring contributions from leading researchers, theorists and artists working in artificial intelligence, generative art, creative computing, music composition, and cybernetics, the book examines the relationship between computation and creativity from both analytic and practical perspectives. Each contributor describes innovative new ways creativity can be understood through, and inspired by, computers. The book tackles critical philosophical questions and discusses the major issues raised by computational creativity, including: whether a computer can exhibit creativity independently of its creator; what kinds of creativity are possible in light of our knowledge from computational simulation, artificial intelligence, evolutionary theory and information theory; and whether we can begin to automate the evaluation of aesthetics and creativity in silico. These important, often controversial questions are contextualised by current thinking in computational creative arts practice. Leading artistic practitioners discuss their approaches to working creatively with computational systems in a diverse array of media, including music, sound art, visual art, and interactivity. The volume also includes a comprehensive review of computational aesthetic evaluation and judgement research, alongside discussion and insights from pioneering artists working with computation as a creative medium over the last fifty years. A distinguishing feature of this volume is that it explains and grounds new theoretical ideas on creativity through practical applications and creative practice. Computers and Creativity will appeal to theorists, researchers in artificial intelligence, generative and evolutionary computing, practicing artists and musicians, students and any reader generally interested in understanding how computers can impact upon creativity. It bridges concepts from computer science, psychology, neuroscience, visual art, music and philosophy in an accessible way, illustrating how computers are fundamentally changing what we can imagine and create, and how we might shape the creativity of the future. Computers and Creativity will appeal to theorists, researchers in artificial intelligence, generative and evolutionary computing, practicing artists and musicians, students and any reader generally interested in understanding how computers can impact upon creativity. It bridges concepts from computer science, psychology, neuroscience, visual art, music and philosophy in an accessible way, illustrating how computers are fundamentally changing what we can imagine and create, and how we might shape the creativity of the future.
The collection of papers that makes up this book arises largely from the joint activities of two specialist groups of the British Computer Society, namely the Displays Group and the Computer Arts Society. Both these groups are now more than 20 years old and during the whole of this time have held regular, separate meetings. In recent years, however, the two groups have held a joint annual meeting at which presentations of mutual interest have been given and it is mainly from the last two of these that the present papers have been drawn. They fall naturally into four classes: visualisation, art, design and animation-although, as in all such cases, the boundaries between the classes are fuzzy and overlap inevitably occurs. Visualisation The graphic potential of computers has been recognised almost since computing was first used, but it is only comparatively recently that their possibilities as devices for the visualisation of complex. and largely ab stract phenomena has begun to be more fully appreciated. Some workers stress the need to be able to model photographic reality in order to assist in this task. They look to better algorithms and more resolution to achieve this end. Others-Alan Mackay for instance-suggest that it is "not just a matter of providing more and more pixels. It is a matter of providing congenial clues which employ to the greatest extent what we already know.