PL EN


2016 | 22 | 56-69
Article title

GENERATYWNE POCZĄTKI SZTUKI CYFROWEJ

Content
Title variants
EN
Generative beginnings of digital Art
Languages of publication
PL
Abstracts
EN
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.
Year
Volume
22
Pages
56-69
Physical description
Dates
published
2016-12-05
References
  • 1 Cybernetic Serendipity. The Computer and the Arts, red. Jasia Reichardt, Studio International, London 1968.
  • 2 C.P. Snow, Dwie kultury, przeł. Tadeusz Baszniak, Prószyński i S-ka, Warszawa 1999.
  • 3 C.P. Snow, The Two Cultures and a Second Look, Cambridge University Press, Cambridge 1963.
  • 4 Arnold Rockman, Leslie Mezei, The Electronic Computer as an Artist, „Canadian Art”, No. 11/ 1964, s. 365–367.
  • 5 Herbert W. Franke, Computer Graphics –Computer Art, dz. cyt., s. 106.
  • 6 A. Michael Noll, Human or Machine: A Subjective Comparison of Piet Mondrian’s ‘Composition with Lines’ (1917) and a Computer-Generated Picture, “The Psychological Record”, No. 16/1966; A. Michael Noll, The Digital Computer as a Creative Medium, „IEEE Spectrum”, vol. 4, No. 10/1967.
  • 7 Charles „Chuck” Csuri, James Shaffer, Arts, Computers, and Mathematics, [w:] Proceedings of the December, No. 9–11/1968, fall joint computer conference, part II. ACM, New York 1968. Online: http://design.osu.edu/carlson/history/PDFs/FJCC-Csuri.pdf
  • 8 Jack Burnham, Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of This Century, George Braziller, New York 1968.
  • 9 Jack Burnham, Real Time Systems, „Artforum”, vol. 8, No. 1/1969, s. 49–55.
  • 10 Jasia Reichardt, The Computer in Art,Studio Vista Limited, London 1971.
  • 11 Herbert W. Franke, Computer Graphics –Computer Art, Phaidon, New York 1971.
  • 12 Gene Youngblood, Expanded Cinema, P. Dutton & Co., New York 1970.
  • 13 Grant D. Taylor, When the Machine Made Art. The Troubled History of Computer Art, Bloomsbury Academic, New York,London 2014, s. 103–104.
  • 14 Herbert W. Franke, Computer Graphics –Computer Art, dz. cyt., s. 122.
  • 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.
  • 16 Vera Molnar, Toward Aesthetic Guidelinesfor Paintings with the Aid of a Computer,„Leonardo”, vol. 8, No. 3/1975 (Summer),s. 186–187.
  • 17 Grant D. Taylor, When the Machine MadeArt, dz. cyt., s. 137–138.
  • 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: http://www.atariarchives.org/artist/sec27.php
Document Type
Publication order reference
Identifiers
YADDA identifier
bwmeta1.element.desklight-2e27f2d3-cab8-4121-8672-b9e984f6b6a4
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