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Version vom 10. November 2014, 16:00 Uhr
Inhaltsverzeichnis
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
