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GENERATYWNE POCZĄTKI SZTUKI CYFROWEJ

100%
Składanek M.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2016
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vol. 22
56-69
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.
2
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Portrety przypadku

81%
Jernajczyk J.
Racjonalia. Z punktu widzenia humanistyki
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2013
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vol. 3
EN
We used to identify the scientific reflection over the idea of the chance with mathematics or philosophy. In this paper we shall look at the problem from the perspective of visual arts. The history of philosophy and science shows that the idea of the chance was understood in many different ways. Also today we can differentiate at least three distinct paths of apprehending the topic: 1) the objective chance – when we presume that random events exist actually in nature, 2) the subjective chance – when what we presume to be random, results from the lack of sufficient knowledge about what could happen, and 3) the dynamic chance – when the randomness appears as an effect of complex interactions in determined systems. It seems that all the faces of the chance find their examples in arts, too. We notice them in the heritage of great masters, such as Leonardo da Vinci, Max Ernst, André Masson, Marcel Duchamp, Jackson Pollock, or Ryszard Winiarski. We also see that the chance plays a crucial role in contemporary arts.
3
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Sztuka algorytmów. Algorytmy w sztuce

72%
Bomba R.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2019
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vol. 104
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issue 1
154-158
4
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Sztuka tworząca sztukę

41%
Tarara P.
inAW Journal – Multidisciplinary Academic magazine
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2020
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vol. 1
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issue 1
EN
In the first part of the article I am going to present the definition and the onset of generative art, based on the example of Harold Cohen’s AARON and Simon Colton’s The Painting Fool. In the second part, I am going to describe the contemporary trends in generative art, based on the example of the machine imitating Rembrandt and Elgammal’s Adversarial Network.
PL
W pierwszej części artykułu przedstawię definicję oraz początki sztuki generatywnej (generative art) na przykładzie AARONa Harolda Cohena i Malującego Błazna Simona Coltona. W drugiej części opiszę współczesne dążenia w sztuce generatywnej na przykładzie maszyny imitującej Rembrandta oraz sieci przeciwstawnej Elgamalla.
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