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http://citeseer.uark.edu:8380/citeseerx/viewdoc/summary;jsessionid=B267893AA43EFABD967145A05F4FAAF4?doi=10.1.1.90.2634
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== Abstract ==
 
== Abstract ==
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Aktuelle Version vom 4. November 2014, 19:01 Uhr


Reference

Galanter, P.: What is generative art? complexity theory as a context for art theory. In: International Conference on Generative Art, Milan, Italy (2003).

DOI

http://citeseer.uark.edu:8380/citeseerx/viewdoc/summary;jsessionid=B267893AA43EFABD967145A05F4FAAF4?doi=10.1.1.90.2634


Abstract

In this paper an attempt is made to offer a definition of generative art that is inclusive and provides fertile ground for both technical and art theoretical development. First the use of systems is identified as a key element in generative art. Various ideas from complexity theory are then introduced. It is noted that systems exist on a continuum from the highly ordered to the highly disordered. Citing examples from information theory and complexity science, it is noted that highly ordered and highly disordered systems are typically viewed as simple, and complex systems exhibit both order and disorder. This leads to the adoption of effective complexity, order, and disorder as organizing principles in the comparison of various generative art systems. This inclusive view leads to the somewhat surprising observation that generative art is as old as art itself. A number of specific artists and studies are discussed within this systems and complexity theory influenced paradigm. Finally a number of art theoretical questions are introduced to exercise the suggested generative art definition and implicit paradigm.

Extended Abstract

Bibtex

Used References

[1] Galanter, P. Foundations of generative art systems – a hybrid survey and studio class for graduate students. Generative Art 2001: Proceedings of the 4th International Conference. Generative Design Lab, Milan Polytechnic, Milan 2001

[2] Schwanauer, S. M. and D. A. Levitt (1993). Machine models of music . Cambridge, Mass., MIT Press.

[3] Miller, Dennis, Game of Chance, Electronic Musician, p 53-64, November 2003

[4] Perlin, Ken. An Image Synthesizer, Proc. SIGGRAPH '85, ACM Computer Graphics, Vol.19, No.3, pp.287-296.

[5] Prusinkiewicz, P., A. Lindenmayer, et al. (1990). The algorithmic beauty of plants . New York, Springer-Verlag.

[6] Todd, S., Latham, W. (1992) Evolutionary art and computers. London, Academic Press Limited

[7] Carrol, Noel. (1999) Philosophy of Art, London, Routledge

[8] Casti, John L. (1994) Complexification, New York, HarperCollins

[9] Shannon, Claude E. A mathematical theory of communication. The Bell System Technical Journal, 27(3):379--423, 1948.

[10] Moles, A. A. (1966). Information theory and esthetic perception. Urbana, University of Illinois Press.

[11] Bar-Yam, Y. (1997). Dynamics of complex systems. Reading, Mass., Addison- Wesley.

[12] Gell-Mann, Murry. What is complexity? Complexity – John Whiley and Sons, Vol 1 No 1, 1995

[13] Flake, G. W. (1998) The computational beauty of nature, Cambridge, The MIT Press

[14] Hargittai, I., Hargittai, M. (1994) Symmetry: a unifying concept, Bolinas CA, Shelter Publications

[15] Stevens, P. S. (1981). Handbook of regular patterns: an introduction to symmetry in two dimensions. Cambridge, Mass., MIT Press.

[16] Locher, J. L., ed. (1992) M. C. Escher: His life and complete graphic work, New York, Abradale Press


Links

Full Text

http://www.philipgalanter.com/downloads/ga2003_paper.pdf

intern file

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