Complexism and the Role of Evolutionary Art - Versionsgeschichte

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== Referenz ==
[[Philip Galanter | Galanter, Philip]]: Complexism and the Role of Evolutionary Art. In: [[Literatur_zur_Evolutionären_Kunst#Romero_.26_Machado:_The_Art_of_Artificial_Evolution | Romero, Juan; Machado, Penousal: The Art of Artificial Evolution. Springer, Berlin, 2007]], S. 311-332.

== DOI ==
http://link.springer.com/10.1007/978-3-540-72877-1_15

== Abstract ==
Artists have always learned from nature. A new generation of artists is adapting the very processes of life to create exciting new works. But art is more than the creation of objects. It is also a progression of ideas with a history and a correspondence to the larger culture.

The goal of this chapter is to take a step back from the details of the technology and the consideration of specific works, and to view evolutionary art in the broader context of all art. This kind of multidisciplinary discussion requires one to be multilingual, and this chapter will use the language of scientists, humanists, artists, and philosophers. While doing so we will quickly visit complexity science, postmodernism in the arts, and the conflict between the cultures of the humanities and the sciences.

With this as a backdrop, I will introduce a new approach I call complexism. Complexism is the application of a scientific understanding of complex systems to the subject matter of the arts and humanities. We will see that the significance of evolutionary art is that it takes complexism as both its method and content. Evolutionary art is a new kind of dynamic iconography: the iconography of complexism. And complexism offers nothing less than the reconciliation of the sciences and the humanities through a higher synthesis of the modern and the postmodern.

To a certain extent this chapter participates in the modernist tradition of the art manifesto. The art manifesto is a form of speculative writing where the artist-author posits a new revolutionary creative direction for a group of artists who share a set of common interests, as well as a new worldview that offers a radical break with the past. Writers of such manifestos have included Marinetti, Kandinsky, Schwitters, Moholy-Nagy, Gropius, Breton, and others[1].

Like other manifestos, this chapter includes forward-looking assertions about work not yet started let alone completed. I have tried to identify the more speculative parts of this chapter as being part of this complexist manifesto.

== Extended Abstract ==

== Bibtex ==

== Links ==
=== Full Text ===
[http://www.philipgalanter.com/downloads/complexism_chapter.pdf extern file]

[[intern file]]

=== Sonstige Links ===

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 == Bibtex ==
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+ year={2008},
 == Used References ==

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	== Bibtex ==		== Bibtex ==
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		+	== Used References ==
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		+
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		+
		+	Cohen, J., Stewart, I. (1994). The Collapse of Chaos: Discovering Simplicity in a Complex World. Viking. New York
		+
		+	Flake, G.W. (1998). The Computational Beauty of Nature: Computer Explorations of Fractals, Chaos, Complex Systems, and Adaptation. MIT Press. Cambridge, MA, USA
		+
		+	Cambel, A.B. (1993). Applied Chaos Theory: A Paradigm for Complexity. Academic Press. Boston
		+
		+	Smith, P. (1998). Explaining Chaos. Cambridge University Press. New York
		+
		+	Kauffman, S.A. (1995). At Home in the Universe: The Search for Laws of Self-Organization and Complexity. Oxford University Press. New York
		+
		+	Bar-Yam, Y. (1997). Dynamics of Complex Systems. Addison-Wesley
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		+	Shannon, C.E. (1948). A mathematical theory of communication. The Bell System Technical Journal, 27(3): 379–423
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		+	Gell-Mann, M. (1995). What is complexity? Complexity, 1: 16–19
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		+	Kolmogorov, A.N. (1965). Three approaches to the quantitative definition of information. Problems in Information Transmission, 1: 1–7
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		+	Galanter, P. (2003). What is generative art? Complexity theory as a context for art theory. In: International Conference on Generative Art. Milan, Italy
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		+	Hargittai, I., Hargittai, M. (1994). Symmetry: A Unifying Concept. Shelter Publications. Bolinas, Calif. Berkeley
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		+	Schwanauer, S.M., Levitt, D.A., eds. (1992). Machine Models of Music. MIT Press. Cambridge, MA, USA
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		+	Bois, Y.A., Cowart, J., Pacquement, A. (1992). Ellsworth Kelly: The years in France, 1948–1954. National Gallery of Art, Prestel
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		+	Mandelbrot, B.B. (1983). The Fractal Geometry of Nature. Updated and augmented. W.H. Freeman. San Francisco
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		+	Prusinkiewicz, P., Lindenmayer, A., Hanan, J.S., Fracchia, F.D., Fowler, D.R., de Boer, M.J.M., Mercer, L. (1991). The Algorithmic Beauty of Plants (The virtual laboratory). Springer
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		+	Casti, J.L. (1994). Complexification: Explaining a Paradoxical World Through the Science of Surprise. 1st edn. HarperCollins. New York
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		+	Steina, Vasulka, W. (2001). Instrumental video
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		+	Benthall, J. (1972). Science and Technology in Art Today. Praeger World of Art Series. Praeger. New York
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		+	Koertge, N. (2000). A House Built on Sand: Exposing Postmodernist Myths about Science. Oxford University Press, USA
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		+	Sim, S. (1999). The Routledge Critical Dictionary of Postmodern Thought. Routledge. New York
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		+	Lyotard, J.F. (1984). The Postmodern Condition: A Report on Knowledge. Vol. 10 of Theory and History of Literature. University of Minnesota Press
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		+	Caputo, J.D. (1996). Deconstruction in a Nutshell: A Conversation with Jacques Derrida. Perspectives in Continental Philosophy. Fordham University Press. New York
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		+	Sokal, A., Bricmont, J. (1999). Fashionable Nonsense: Postmodern Intellectuals’ Abuse of Science. Picador. New York
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		+	Sokal, A. (2000). The Sokal Hoax: The Sham that Shook the Academy. University of Nebraska Press
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		+	Blais, J., Ippolito, J. (2006). At the Edge of Art. Thames and Hudson Ltd.
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		+	Lovejoy, M. (1996). Postmodern Currents: Art and Artists in the Age of Electronic Media. Prentice Hall
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		+	Wilson, S. (2002). Information Arts: Intersections of Art, Science and Technology. Leonardo Books. The MIT Press. Cambridge, Mass.
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		+	Gödel, K. (1934). On undecidable propositions of formal mathematical systems. In Davis, M., ed.: The Undecidable. Raven Press. New York, 41–71
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		+	Church, A. (1936). An unsolvable problem of elementary number theory. American Journal of Mathematics, 58(2): 345–363
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		+	Turing, A.M. (1936). On computable numbers, with an application to the entscheidungsproblem. Proceedings of the London Mathematical Society, 2(42): 230–265
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		+	Chaitin, G.J. (2006). The Unknowable. Discrete Mathematics and Theoretical Computer Science. Springer
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		+	Chaitin, G.J. (2002). The Limits of Mathematics: A Course on Information Theory and the Limits of Formal Reasoning. Discrete Mathematics and Theoretical Computer Science. Springer
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		+	Chipp, H.B., Selz, P.H., Taylor, J.C. (1968). Theories of Modern Art; A Source Book by Artists and Critics. Vol. 11 of California Studies in the History of Art. University of California Press. Berkeley
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	== Links ==		== Links ==

@@ Zeile 126: / Zeile 126: @@
 == Links ==
 === Full Text ===
-[http://www.philipgalanter.com/downloads/complexism_chapter.pdf extern file]
+http://www.philipgalanter.com/downloads/complexism_chapter.pdf
 [[intern file]]
 === Sonstige Links ===