http://de.evo-art.org/index.php?action=history&feed=atom&title=The_Evolving_Role_of_the_Artist 2026-06-13T12:57:55Z Versionsgeschichte dieser Seite in de_evolutionary_art_org MediaWiki 1.27.4 http://de.evo-art.org/index.php?title=The_Evolving_Role_of_the_Artist&diff=2610&oldid=prev 2014-12-27T16:19:06Z

<p>Die Seite wurde neu angelegt: „== Reference == Jamy Sheridan: <a href="/index.php?title=The_Evolving_Role_of_the_Artist" title="The Evolving Role of the Artist">The Evolving Role of the Artist</a>. In: <a href="/index.php?title=Generative_Art_2002" title="Generative Art 2002">Generative Art 2002</a>. == DOI == == Abstract == For more than a decade the author …“</p> <p><b>Neue Seite</b></p><div>== Reference ==<br /> Jamy Sheridan: [[The Evolving Role of the Artist]]. In: [[Generative Art 2002]]. <br /> <br /> == DOI ==<br /> <br /> == Abstract ==<br /> For more than a decade the author has designed and used algorithmic systems to produce<br /> artworks that incorporate generative and evolutionary concepts, forms and processes. This<br /> work has demonstrated that algorithmic aesthetic processes and products can be effectively<br /> created and modulated by both human beings and non-human systems. However, this work<br /> has also raised important questions such as:<br /> <br /> - What role can the individual human artist play in a cultural economy based upon<br /> industrialized generative processes and non-human systems?<br /> <br /> - How can artists integrate standardized scientific languages and algorithmic processes into<br /> personal visions and expressive languages?<br /> <br /> - How can artists capture their personal creative processes and encapsulate these processes<br /> in industry standard systems and software; and should they do so?<br /> <br /> - How might the generative systems and products created by human and non-human artists<br /> function and evolve in the larger social context?<br /> <br /> To address these questions, in this paper the author uses examples taken from his past and<br /> present artwork to illustrate the opportunities and pitfalls presented by computerized<br /> generative aesthetic processes and tools. In addition, the author offers a set of conjectures<br /> intended to help clarify issues such as: the evolving role of the artist as a producer of<br /> knowledge and form, and the value and appropriate structure of personalized computer<br /> languages for artists.<br /> <br /> == Extended Abstract ==<br /> <br /> == Bibtex == <br /> <br /> == Used References ==<br /> [1] CD: Magic Carpet Music, 1. for Tree of Life: Alpha/Beta/Folding in Proteins, 2. for Dark<br /> Matter: DNA of HIV #7. by John Dunn<br /> <br /> [2] Each ASCII character in a DOS-based PC has three attributes: a character(C) index, a<br /> foreground(F) color index, and a background(B) color index. In Vango each character’s CFB<br /> indexes can be accessed independently.<br /> <br /> [3] CD: Algorithmic Music From DNA, including HIV DNA #11, HIV DNA #39, HIV<br /> DNA #110. by John Dunn<br /> <br /> [4] SoftStep 3.0 by John Dunn. Available from Algorithmic Arts at: http://www.algoart.com<br /> <br /> [5] From Conjectures on Space, by Jamy Sheridan and Peter Anders, published in Minds,<br /> Machines, and Electronic Culture, the proceeding of The Seventh Biennial Symposium on<br /> Arts and Technology at the Center for Arts and Technology at Connecticut College, New<br /> London, CT, March 1999.<br /> <br /> <br /> == Links ==<br /> === Full Text === <br /> http://www.generativeart.com/on/cic/papersGA2002/36.pdf<br /> <br /> [[intern file]]<br /> <br /> === Sonstige Links ===</div>

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