Construction and intuition: Creativity in early computer art

Aus de_evolutionary_art_org
Wechseln zu: Navigation, Suche


Reference

Nake, F.: Construction and intuition: Creativity in early computer art. In: McCormack, J., d’Inverno, M. (eds.) Computers and Creativity, pp. 61–94. Springer, Heidelberg (2012)

DOI

http://link.springer.com/chapter/10.1007%2F978-3-642-31727-9_3

Abstract

This chapter takes some facets from the early history of computer art (or what would be better called “algorithmic art”), as the background for a discussion of the question: how does the invention and use of algorithms influence creativity? Marcel Duchamp’s position is positively referred to, according to which the spectator and society play an important role in the creative process. If creativity is the process of surmounting the resistance of some material, it is the algorithm that takes on the role of the material in algorithmic art. Thus, creativity has become relative to semiotic situations and processes more than to material situations and processes. A small selection of works from the history of algorithmic art are used for case studies.

Extended Abstract

Bibtex

@incollection{
year={2012},
isbn={978-3-642-31726-2},
booktitle={Computers and Creativity},
editor={McCormack, Jon and d’Inverno, Mark},
doi={10.1007/978-3-642-31727-9_3},
title={Construction and Intuition: Creativity in Early Computer Art},
url={http://dx.doi.org/10.1007/978-3-642-31727-9_3 http://de.evo-art.org/index.php?title=Construction_and_intuition:_Creativity_in_early_computer_art },
publisher={Springer Berlin Heidelberg},
author={Nake, Frieder},
pages={61-94},
language={English}
}

Used References

Anon (1965). Bald krumme linien. In Der Spiegel (xxxx, pp. 151–152).

Bense, M. (1965). Aesthetica. Einführung in die neue Ästhetik. Baden-Baden: Agis. This is a collated edition of four books on aesthetics that appeared between 1954 and 1960. Aesthetica has been translated into French and some other languages.

Birkhoff, G. (1931). A mathematical approach to aesthetics. In Collected mathematical papers (Vol. 3, pp. 320–333). New York: Am. Math. Soc.

Cohen, H. (2007). Forty-five years later… . http://www.sandiego.gov/public-library/pdf/cohencatalogessay.pdf.

reyfus, H. (1967). Why computers must have bodies in order to be intelligent. The Review of Metaphysics, 21, 13–32.

Duchamp, M. (1959). The creative act. In R. Lebel (Ed.), Marcel Duchamp (pp. 77–78). New York: Paragraphic Books.

Frank, H. (1964). Kybernetische Analysen subjektiver Sachverhalte. Quickborn: Schnelle.

Gerstner, K. (1963). Programme entwerfen. Teufen: Arthur Niggli. Second ed. 1968, third ed. 2007 in English under the title Designing programmes. Baden: Lars Müller.

Glowski, J. M. (Ed.) (2006). Charles A. Csuri: beyond boundaries, 1963-present. Columbus: Ohio State University.

Guilford, J. P. (1950). Creativity. American Psychologist, 5, 444–454. http://dx.doi.org/10.1037/h0063487

Gunzenhäuser, R. (1962). Ästhetisches Maß und ästhetische Information, Quickborn: Schnelle.

Hentig, H. v. (1998). Kreativität. Hohe Erwartungen an einen schwachen Begriff. München: Carl Hanser.

Herzogenrath, W., & Nierhoff, B. (Eds.) (2006). Vera Molnar. Monotonie, symétrie, surprise. Bremen: Kunsthalle. German and English.

Herzogenrath, W., Nierhoff, B., & Lähnemann, I. (Eds.) (2007). Manfred Mohr. Broken symmetry. Bremen: Kunsthalle. German and English.

Hollinger, L. (Ed.) (1999). Vera Molnar. Inventar 1946–1999. Ladenburg: Preysing Verlag.

Keiner, M., Kurtz, T., & Nadin, M. (Eds.) (1994). Manfred Mohr. Weiningen-Zürich: Waser Verlag. German and English.

Kittler, F. (1985). Aufschreibesysteme 1800/1900. München: Fink. English: Kittler, F. (1990). Discourse networks 1800/1900. Stanford, with a foreword by David E. Wellbery.

Klee, P. (1928). Exakte versuche im bereich der kunst.

Knuth, D. E. (1968). The art of computer programming. Reading: Addison-Wesley. Planned for seven volumes of which three appeared from 1968 to 1973. Resumed publication with part of Vol. 4 in 2005.

Lunenfeld, P. (1999). The digital dialectic. New essays on new media. Cambridge: MIT Press.

McCorduck, P. (1990). AARON’s code: meta-art, artificial intelligence, and the work of Harold Cohen. New York: Freeman.

Moles, A. A. (1968). Information theory and esthetic perception. Urbana: University of Illinois Press. French original 1958.

Nadin, M. (2011). Semiotic machine. An entry of the Semiotics Encyclopedia Online. http://www.semioticon.com/seo/S/semiotic_machine.html.

Nake, F. (1974). Ästhetik als Informationsverarbeitung. Vienna: Springer. http://dx.doi.org/10.1007/978-3-7091-7097-7

Nake, F. (2009). The semiotic engine. Notes on the history of algorithmic images in Europe. Art Journal, 68, 76–89.

Nees, G., & Bense, M. (1965). Computer-grafik (19th ed.) Stuttgart: Walther.

Nöth, W. (2002). Semiotic machines. Cybernetics & Human Knowing, 9, 5–21.

Shannon, C. E., & Weaver, W. (1963). The mathematical theory of communication. Chicago: University of Illinois Press.

Stern, W. (1912). The psychological methods of intelligence testing. Baltimore: Warwick and York. Transl. from the German.

Sundin, B. (Ed.) (1980). Is the computer a tool? Stockholm: Almqvist & Wiksell.


Links

Full Text

[extern file]

intern file

Sonstige Links