2016 | 22 | 56-69
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Generative beginnings of digital Art
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Marcin Składanek Generative beginnings of digital Art The art of algorithmic code (today considered as generative art) started in the 1960’s and is the first form of computer art. When we look at the first two decades of its existence, its contemporary reception and assessments, we clearly can see that the road leading to modern recognition of the first manifestations of computer art as an avant-garde of digital culture was long and not easy at all. The process of its taming and adaptation to the domain was primarily connected with two dimensions of fundamental importance for creative coding - first, calculation, automated and semi-autonomous process; and secondly – critical synthesis of the third-cultural turn of orientation of art and progressive orientation of techno-scientific paradigm.
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  • 1 Cybernetic Serendipity. The Computer and the Arts, red. Jasia Reichardt, Studio International, London 1968.
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  • 15 Warto tu wspomnieć o powstających na uniwersytetach oraz akademiach interdyscyplinarnych kierunkach kształcenia artystów sztuki generatywnej. Co ciekawe, pierwszy z nich, powołany przez Sonię Landy Sheridan w Art Institute of Chicagoprogram „generative systems”, choć odwoływał się do systemowej estetykiMaksa Bensego, nie był zorientowany wyłącznie na wykorzystanie technologii komputerowych.
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  • 18 Grace Hertlein, Twelfth Annual ComputerArt Exposition, „Computers and People”,No. 8/1974, s. 8.
  • 19 Mohr pisał o komputerze jako „uprawomocnionym wzmacniaczu” (legitimate amplifier) doświadczenia intelektualnego i wizualnego. Por. Manfred Mohr, Manfred Mohr, [w:] Artist and Computer, Ruth Leavitt (red.0, Harmony Books, New York 1976, s. 95. Online:
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