Gbachelier: /* Reference */

2014-11-10T14:02:23Z

‎Reference

Gbachelier: /* Used References */

2014-11-10T14:00:07Z

‎Used References

Gbachelier: /* Used References */

2014-11-10T13:59:51Z

‎Used References

Gbachelier: Die Seite wurde neu angelegt: „ == Reference == McCormack, J., Bown, O., Dorin, A., McCabe, J., Monro, G., Whitelaw, M.: Ten questions concerning generative computer art. Leonardo to Appear…“

2014-11-10T13:58:23Z

Die Seite wurde neu angelegt: „ == Reference == McCormack, J., Bown, O., Dorin, A., McCabe, J., Monro, G., Whitelaw, M.: Ten questions concerning generative computer art. Leonardo to Appear…“

Neue Seite

== Reference ==
McCormack, J., Bown, O., Dorin, A., McCabe, J., Monro, G., Whitelaw, M.: Ten questions concerning generative computer art. Leonardo to Appear (2012)

== DOI ==

== Abstract ==
In this paper we pose ten questions we consider the most important for
understanding generative computer art. For each question, we briefly dis-
cuss the implications and suggest how it might form the basis for further
discussion.

== Extended Abstract ==

== Bibtex ==

== Used References ==
[1] Jon McCormack and Alan Dorin. Art, emergence and the computa-
tional sublime. In Alan Dorin, editor, Second Iteration: conference on
Generative Systems in the Electronic Arts, pages 67–81. CEMA, Mel-
bourne, Australia, 2001.

[2] Philip Galanter. What is generative art? complexity theory as a con-
text for art theory. In 6th International Conference, Exhibition and
Performances on Generative Art and Design (GA 2003), Milan., Avail-
able online at http://www.philipgalanter.com/downloads/ga2003_
paper.pdf, 2003.

[3] Margaret A. Boden and Ernest A. Edmonds. What is generative art?
Digital Creativity, 20(1 & 2):21–46, March 2009.

[4] That is, generative art that uses a digital computer as the primary (but
not necessarily solitary) mechanism for enacting the generative process
specified by the artist.

[5] Alan Dorin, Jon McCormack, Jonathan McCabe, Gordon Monro, and
Mitchell Whitelaw. A framework for understanding generative art. Di-
gital Creativity, to appear, (accepted Nov. 2011), 2012.

[6] This is a well discussed problem at least since: Alan M. Turing. Com-
puting machinery and intelligence. Mind, 59:433–460, 1950.

[7] Mitchell Whitelaw. Metacreation: art and artificial life. MIT Press,
Cambridge, Mass., 2004.

[8] Oliver Bown and Jon McCormack. Creative agency: A clearer goal for
artificial life in the arts. In George Kampis, Istv ́an Karsai, and E ̈ors
Szathm ́ary, editors, ECAL (European Conference on Artificial Life),
volume 5778 of Lecture Notes in Computer Science, pages 254–261.
Springer, 2009.

[9] Anthony O’Hear. Art and technology: An old tension. Royal Institute
of Philosophy Supplement, 38:143–158, 1995.

[10] T. Nagel. What is it like to be a bat?
LXXXIII(4):435–450, October 1974.
The philosophical review,
Preprint: to appear in Leonardo (MIT Press), accepted July 2012

[11] For an overview of attempts at formalised aesthetic measures, see:
Philip Galanter. Computational aesthetic evaluation: Past and fu-
ture. In Jon McCormack and Mark d’Inverno, editors, Computers and
Creativity, pages 263–302. Springer, 2012.

[12] Leonard Koren. Which “Aesthetics” Do You Mean?: Ten Definitions.
Imperfect Publishing, 2010.

[13] V. S. Ramachandran and William Hirstein. The science of art: A
neurological theory of aesthetic experience. Journal of Consciousness
Studies, 6:15–51, 1999.

[14] John Onians. Neuroarthistory. Yale University Press, New Haven, 2007.

[15] Colin Martindale, Paul Locher, and Vladimir M. Petrov, editors. Evol-
utionary and Neurocognitive Approaches to Aesthetics, Creativity and
the Arts. Foundations and Frontiers in Aesthetics. Baywood Publishing
Co., Inc., 2007.

[16] Denis Dutton. The Art Instinct: beauty, pleasure, and human evolution.
Oxford University Press, 2009.

[17] J. David Bolter and Richard Grusin. Remediation: understanding new
media. MIT Press, Cambridge, Mass., 1999.

[18] Similar questions were raised by photography and cinema.

[19] Mitchell Whitelaw. System stories and model worlds: A critical ap-
proach to generative art. In Readme 100: Temporary Software Art
Factory, pages 135–154. Books on Demand GMBH, Norderstedt, 2005.

[20] Stephen A. Hedges. Dice music in the eighteenth century. Music and
Letters, 58(2):180–187, 1978.

[21] William Brooks. John cage and history: Hymns and variations. Per-
spectives of New Music, 31(2):74–103, Summer 1993.

[22] Paul Griffiths. Aleatory, Groves Music Online, 2012. URL http://
www.oxfordmusiconline.com/.

[23] Peter Cariani. Creating new informational primitives in minds and
machines. In Jon McCormack and Mark d’Inverno, editors, Computers
and Creativity, pages 393–428. Springer, 2012.

[24] P. Bourdieu. The rules of art: Genesis and structure of the literary
field. Stanford University Press, 1996.

[25] R. Williams. Keywords: a vocabulary of culture and society. Oxford
University Press, Oxford, 1976.

== Links ==
=== Full Text ===
http://www.csse.monash.edu.au/~jonmc/research/Papers/TenQuestionsLJ-Preprint.pdf

[[intern file]]

=== Sonstige Links ===

@@ Zeile 2: / Zeile 2: @@
 == Reference ==
-McCormack, J., Bown, O., Dorin, A., McCabe, J., Monro, G., Whitelaw, M.: Ten questions concerning generative computer art. Leonardo to Appear (2012)
+McCormack, J., Bown, O., Dorin, A., McCabe, J., Monro, G., Whitelaw, M.: Ten questions concerning generative computer art. Leonardo April 2014, Vol. 47, No. 2, Pages 135-141
 == DOI ==

@@ Zeile 57: / Zeile 57: @@
 The philosophical review,
 Preprint: to appear in Leonardo (MIT Press), accepted July 2012
 [11] For an overview of attempts at formalised aesthetic measures, see:

@@ Zeile 25: / Zeile 25: @@
 text for art theory. In 6th International Conference, Exhibition and
 Performances on Generative Art and Design (GA 2003), Milan., Avail-
-able online at http://www.philipgalanter.com/downloads/ga2003_
+able online at http://www.philipgalanter.com/downloads/ga2003_paper.pdf 2003.
 [3] Margaret A. Boden and Ernest A. Edmonds. What is generative art?
@@ Zeile 109: / Zeile 108: @@
 [25] R. Williams. Keywords: a vocabulary of culture and society. Oxford
 University Press, Oxford, 1976.
 == Links ==

Ten questions concerning generative computer art - Versionsgeschichte

Gbachelier: /* Reference */

Gbachelier: /* Used References */

Gbachelier: /* Used References */

Gbachelier: Die Seite wurde neu angelegt: „ == Reference == McCormack, J., Bown, O., Dorin, A., McCabe, J., Monro, G., Whitelaw, M.: Ten questions concerning generative computer art. Leonardo to Appear…“