Ten questions concerning generative computer art

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Reference

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

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.

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