Generative Art

DM3008

S2 AY2024

S2 AY2024

Syllabus

NTULearn

(under 'Information')

Submissions

OneDrive

Upload your outcomes here

READINGS

Download the readings here

Schedule

Week 1

August 11

Week 2

August 18

Exercise 1 (5%)

Week 3

August 25

Exercise 2 (5%)

Week 4

September 1

Week 5

September 8

Exercise 3 (5%)

Week 6

September 15

Week 7

September 22

Presentations (15%)

Schedule

Week 8

October 6

Week 9

October 13

Week 11

October 27

Final Project (40%)

Week 12

November 3

Week 13

November 10

Exercise 4 (5%)

Exercise 5 (5%)

Week 14

November 17

Introductions

What does generative mean to you?

What are your interests in generative art?

Survey of everyone's knowledge and skills in softwares or hardwares

MEDIA Artist

www.j-o-h-o.com

@chillisweetie

About Jo

Jo Ho (b. 1991, Singapore) is an artist working with emerging technology to explore human perceptions and imaginations of our rapidly advancing computational tools. She often questions the conception that digital assets are immaterial by exploring what she calls ‘digital corporeality’, the bridging of the digital with the corporeal.

Jo works with interactive installations, moving images, projection mapping, digital paintings using data and machine-learned graphics as material, and virtual experiences created with game engines. Recently, she has been incorporating performance in her practice to further extend emerging digital tools into live- and body-based work.

www.j-o-h-o.com

ntu S1 AY2024 | DM3008 | Generative art

NONOTAK - Shiro

2016

Week 4 | Live Performance & GenArt

Relationship between Humans and Digital Technology

Value and Presentation of Digital Art

Speculative Futures

Physicality vs. Digitality

ENZYME 1.2 (2023) AT ARTSCIENCE MUSEUM, SINGAPORE

SORRY FOR THE TECHNICAL DIFFICULTIES (2024) AT ART OUTREACH, SINGAPORE

Machinations of a Godless Mind (2023) AT HATCH ART PROJECT, SINGAPORE

My Desire to Consume (2022) at Grey Projects, Singapore

A DEVELOPING SLATE (2024) AT AMEZ YAVUZ GALLERY, SINGAPORE

disassemble (2021-2022)

(RE)ROOTING (2021) AT NATIONAL GALLERY SINGAPORE

📶👽🧠☄️ Ҽ-ՑɾɾɾɾɾS 🔗🌐💦 ÌՂ ƑՄɾɾɾɾS 😈💅✨(2022) AT ESPLANADE, SINGAPORE

EXQUISITE MONSTER (2022) AT GOETHE INSTITUTE, SINGAPORE

EXQUISITE MONSTER (2024) AT STARCH.SG, SINGAPORE

BUSSY TEMPLE (2023) AT T:>WORKS, SINGAPORE

1

What is generative art?

REFIK ANADOL - Machine Hallucinations

MoMA, 2022 - 2024

WEEK 1  |  WHAT IS GENERATIVE ART?

WEEK 1  |  WHAT IS GENERATIVE ART?

REFIK ANADOL

WEEK 1  |  WHAT IS GENERATIVE ART?

TEAMLAB - Universe of Water Particles on a Rock Where People Gather 

2018

WEEK 1  |  WHAT IS GENERATIVE ART?

WEEK 1  |  WHAT IS GENERATIVE ART?

TEAMLAB

WEEK 1  |  WHAT IS GENERATIVE ART?

WEEK 1  |  WHAT IS GENERATIVE ART?

DAVID OREILLY - EYE OF THE DReaM

2018

WEEK 1  |  WHAT IS GENERATIVE ART?

WEEK 1  |  WHAT IS GENERATIVE ART?

DAVID OREILLY

WEEK 1  |  WHAT IS GENERATIVE ART?

SOL LEWITT - INSTRUCTIONAL DRAWINGS

1975

WEEK 1  |  WHAT IS GENERATIVE ART?

WEEK 1  |  WHAT IS GENERATIVE ART?

SOL LEWITT

WEEK 1  |  WHAT IS GENERATIVE ART?

nam jun paik - tv buddha

1974 / 2002

WEEK 1  |  WHAT IS GENERATIVE ART?

WEEK 1  |  WHAT IS GENERATIVE ART?

nam jun paik

WEEK 1  |  WHAT IS GENERATIVE ART?

JOhn cage - 4'33"

1952

WEEK 1  |  WHAT IS GENERATIVE ART?

WEEK 1  |  WHAT IS GENERATIVE ART?

JOhn cage

WEEK 1  |  WHAT IS GENERATIVE ART?

JOhn cage

WEEK 1  |  WHAT IS GENERATIVE ART?

ZACH LIEBERMAN AND HIS CODING EXPERIMENTS

WEEK 1  |  WHAT IS GENERATIVE ART?

WEEK 1  |  WHAT IS GENERATIVE ART?

ZACH LIEBERMAN AND HIS CODING EXPERIMENTS

WEEK 1  |  WHAT IS GENERATIVE ART?

CASEY REAS

WEEK 1  |  WHAT IS GENERATIVE ART?

WEEK 1  |  WHAT IS GENERATIVE ART?

Sougwen Chung - Sougwen Chung, Drawing with D.O.U.G. Performance

2016

WEEK 1  |  WHAT IS GENERATIVE ART?

WEEK 1  |  WHAT IS GENERATIVE ART?

Sougwen Chung

WEEK 1  |  WHAT IS GENERATIVE ART?

HOLLY HERNDON - SPAWN

2020

WEEK 1  |  WHAT IS GENERATIVE ART?

WEEK 1  |  WHAT IS GENERATIVE ART?

HOLLY HERNDON

WEEK 1  |  WHAT IS GENERATIVE ART?

WEEK 1  |  WHAT IS GENERATIVE ART?

WHAt is generative art?

Breakaway into smaller groups.

Write down your thoughts.

Discuss amongst each other:

‣ Which projects were you most drawn to?

‣ What were some similar characteristics?

‣ How were the projects 'generative'?

‣ What disciplines does GenArt span?

‣ What kind of soft/hardware did you see? 

WEEK 1  |  WHAT IS GENERATIVE ART?

GENERATIVE ASSOCIATIONS

Let's share what you found in your discussions. 

But first: Let's do a word association exercise. Jo will start first, and whoever has a similar word sounds it out. Don't worry about interrupting each other.

WEEK 1  |  WHAT IS GENERATIVE ART?

WHAt is generative art?

Let's share what you found in your discussions.

‣ Which projects were you most drawn to?

‣ What were some similar characteristics?

‣ How were the projects 'generative'?

‣ What disciplines does GenArt span?

‣ What kind of soft/hardware did you see?

WEEK 1  |  WHAT IS GENERATIVE ART?

Generative art refers to any art practice where the artist uses a system, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is set into motion with some degree of autonomy contributing to or resulting in a completed work of art.

Philip Galanter, artist and professor at Texas A&M University, from his 2003 paper “What Is Generative Art? Complexity Theory as a Context for Art Theory”

WEEK 1  |  WHAT IS GENERATIVE ART?

An algorithmic way of creating an aesthetic.

A collaboration between an artist and an autonomous system.

An exercise in extracting unpredictable results from perfectly deterministic processes.

A quest for that sweet spot between order and chaos.

A fresh, fun approach to coding

MATT PEARSON, an author, artist and programmer from his book
"Generative Art: A Practical Guide Using Processing"

Some questions to think about:

‣ How do the authors challenge or support your understanding of "creations" from a machine?

‣ Which of these resonates most with you and why? How does it relate to you?

‣ How do the authors define "good" generative art? Do you agree?

Read 'Ten Questions Concerning Generative Computer Art'

By Jon Mccormack, Oliver Bown, Alan Dorin, Jonathan McCabe, Gordon Monro and Mitchell Whitelaw

2

AUTONOMOUS SYSTEMS in art

DISCUSSION ON READING

‣ How do the authors challenge or support your understanding of "creations" from a machine?

‣ Which of the questions are you most curious about and why?

‣ How do the authors define "good" generative art? Do you agree?

Read 'Ten Questions Concerning Generative Computer Art'

By Jon Mccormack, Oliver Bown, Alan Dorin, Jonathan McCabe, Gordon Monro and Mitchell Whitelaw

WEEK 2  |  Autonomous Systems In art

What does generative mean?

Randomly generated
Unpredictable
Using uncertainty
Unrepeatable
Unique
Varying outcomes
Autonomous systems
Process-driven

Geometric/abstract
Procedural Systematic
Artists set the rules

Recipes
Time, environment
Building relationships
Changing results
Viewer interaction

WEEK 2  |  Autonomous Systems In art

elements of generativity

Datasets
Iterations
Algorithms
Repetition
Randomness
Automation
Controlled Chaos
Interactivity

Commentary
Autonomous
Algorithms
Visuals
Rules
Time

WEEK 2  |  Autonomous Systems In art

Disciplines that span genart

Game design
Manual/analog
Line art
Robotics
Visual Art
Sonic art/Music
Computer Science
Engineering

Math
Sciences
Graphic Design
Architecture
Painting
Installation
Image-making
Video Art

WEEK 2  |  Autonomous Systems In art

hardware/software

Computers
3D Printers
Digital Screens
Projector
Robots
Cameras
Mics
Sensors

Speakers
Environment
Nature
Paint / Trad Media
Cameras
P5js
TouchDesigner
Unity

WEEK 2  |  Autonomous Systems In art

Aesthetic styles of genart

Animated
Minimalistic
Humor
Abstract
Interactivity
Natural
Geometric
Data-driven

Painting
Games, programming
Point clouds
Experimental
Surrealism
Organic
Avatars

WEEK 2  |  Autonomous Systems In art

Coined in 1965 by the German philosopher Max Bense, the term generative art describes works based on an algorithmic code or a mathematical formula. Generative art is made through a set of rules that automates the output where there is usually randomness embedded in the algorithm. 

[link to text]

[link to translation]

WEEK 2  |  Autonomous Systems In art

"Bense’s theory of generative art assumes not only that aesthetic experience can be measured but that it can also be rationally and predictably produced.

- artnews.com

WEEK 2  |  Autonomous Systems In art

ntu S1 AY2024 | DM3008 | Generative art

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INPUT

OUTPUT

UNPREDICTABLE OUTCOMES

UNPREDICTABLE OUTCOMES

PREDICTABLE OUTCOMES

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WEEK 2  |  autonomous systems in art

INPUT

OUTPUT

Sweet Spot

WEEK 1  |  WHAT IS GENERATIVE ART?

questions to keep in mind

‣ How does the artist approach technology?

‣ What is the artist investigating when working with technology?

‣ How do you think the artist addresses the viewer in their work?

ntu S1 AY2024 | DM3008 | Generative art

marcel duchamp - Fountain

1917

WEEK 2  |  autonomous systems in art

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marcel duchamp

(1887 - 1968)

WEEK 2  |  autonomous systems in art

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Nan rosenthal, the metropolitan museum of art, oct 2004

[link]

By World War I, he had rejected the work of many of his fellow artists as “retinal” art, intended only to please the eye. Instead, Duchamp wanted, he said, “to put art back in the service of the mind.”

WEEK 2  |  autonomous systems in art

ntu S1 AY2024 | DM3008 | Generative art

marcel duchamp - 3 STANDARD Stoppages

1913-1914

WEEK 2  |  autonomous systems in art

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marcel duchamp - 3 STANDARD Stoppages

1913-1914

The Idea of the Fabrication

–If a threadone meter longfalls straight from a height of one meter on to a horizontal plane twisting as it pleases and creates a new image of the unit of length

— 3 examples obtained more or less similar conditions considered in their relation to one another they are an approximate reconstitution of the unit of length

The 3 standard stoppages are the meter diminished.

WEEK 2  |  autonomous systems in art

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(Katherine Kuh, The Artist's Voice: Talks with Seventeen Artists, New York 1962, p.81.)

tate.org.uk

[link]

Asked what he considered to be his most important work, he replied: 'As far as date is concerned I'd say the Three Stoppages of 1913. That was when I really tapped the mainspring of my future. In itself it was not an important work of art, but for me it opened the way - the way to escape from those traditional methods of expression long associated with art. For me the Three Stoppages was a first gesture liberating me from the past.'

WEEK 2  |  autonomous systems in art

ntu S1 AY2024 | DM3008 | Generative art

marcel duchamp - bicycle wheel

1951 (3rd version), 1913 (lost)

WEEK 2  |  autonomous systems in art

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artists from the dada movement (1916)

WEEK 2  |  autonomous systems in art

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Artland magazine

[link]

Reacting against the rise of capitalist culture, the war, and the concurrent degradation of art, artists in the early 1910s began to explore new art, or “anti-art”, as described by Marcel Duchamp. They wanted to contemplate the definition of art, and to do so they experimented with the laws of chance and with the found object.

 

Theirs was an art form underpinned by humor and clever turns, but at its very foundation, the Dadaists were asking a very serious question about the role of art in the modern age.

WEEK 2  |  autonomous systems in art

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First dada gallery opening

1920

WEEK 2  |  autonomous systems in art

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exquisite corpse (invented by surrealists)

as early as 1918

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Cadavre Exquis with Esteban Francés, Remedios Varo, Oscar Domínguez, Marcel JeaN

1935

WEEK 2  |  autonomous systems in art

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WEEK 2  |  autonomous systems in art

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1945

WEEK 2  |  autonomous systems in art

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THE ENAIC at the university of pennsylvania

1945

WEEK 2  |  autonomous systems in art

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first modern computer in the world, using electronic technology

WEEK 2  |  autonomous systems in art

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1970s

WEEK 2  |  autonomous systems in art

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LINC (mit, 1962)

Datapoint 2200 (IBM, 1970)

Micral N (R2E, 1973)

Xerox Alto (1973)

WEEK 2  |  autonomous systems in art

ntu S1 AY2024 | DM3008 | Generative art

 from left to right: the Commodore PET 2001, the Apple II, and the Tandy/Radio Shack TRS-80 Model 1

1976

WEEK 2  |  autonomous systems in art

ntu S1 AY2024 | DM3008 | Generative art

1960s

WEEK 2  |  autonomous systems in art

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WEEK 2  |  autonomous systems in art

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Audio casette

Video game console

The computer mouse

Telephone network

Computer networking

Satellite communications

Lasers

Optical fibers

Bell telephone monopoly in US

WEEK 2  |  autonomous systems in art

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EXPErIMENTs IN ART AND TECHNOLOGY

1966

WEEK 2  |  autonomous systems in art

ntu S1 AY2024 | DM3008 | Generative art

EXPErIMENTs IN ART AND TECHNOLOGY

1966

WEEK 2  |  autonomous systems in art

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EXPErIMENTs IN ART AND TECHNOLOGY

1966

WEEK 2  |  autonomous systems in art

Robert Rauschenberg
Robert Whitman

Bill Klüver
Fred Waldhauer

Robert Breer

John Cage

Chandralekha

Lucinda Childs

Öyvind Fahlström

Deborah Hay

Marcos Marin

Fujiko Nakaya

Dashrath Patel

Steve Paxton

Yvonne Rainer

Vikram Sarabhai

Xanti Schawinsky

David Tudor

Andy Warhol

Beatie Wolfe

Nam Jun Paik

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BELL LABS (NEW JERSEY)

1966

WEEK 2  |  autonomous systems in art

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NJ.com "Remembering Bell Labs as legendary idea factory prepares to leave N.J. home"

[LINK]

The sprawling Murray Hill campus on Mountain Avenue was a bustling center for innovation in suburban Union County for decades. It served as the headquarters for a 90-year-old company whose researchers helped earn 10 Nobel Prizes, five Turing Awards for computer science breakthroughs and more than 20,000 patents.

 

At its height, Bell Labs employed nearly 15,000 people in New Jersey, including some of the world’s top scientists and innovators.

WEEK 2  |  autonomous systems in art

OPENING NIGHT OF "9 Evenings: Theatre & Engineering"

[LINK]

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WEEK 2  |  autonomous systems in art

[LINK]

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9 Evenings: Theatre & Engineering by E.A.T. & BELL LABS

Performance DOCUMENTATION

WEEK 2  |  autonomous systems in art

Robert Rauschenberg - Open Score

1966

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JOHN CAGE - VARIATIONS VII

1966

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DEBORAH HAY - SOLO

1966

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ARTIST Julie Martin ON E.A.T.

2013

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nam jun paik

WEEK 2  |  autonomous systems in art

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nam jun paik - tv buddha

1974 / 2002

WEEK 2  |  autonomous systems in art

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nam jun paik - magnet tv

1965

WEEK 2  |  autonomous systems in art

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nam jun paik - TV CROWN

1965

WEEK 2  |  autonomous systems in art

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nam jun paik - TV CROWN

1965

WEEK 2  |  autonomous systems in art

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Conserving and Exhibiting the Works of Nam June Paik: Joanna Phillips

2013

WEEK 2  |  autonomous systems in art

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"The Wobbulator"

2010

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p5.js Editor

‣ Make an account [link]

‣ Follow the demo

‣ Make an account

An introduction to p5.js

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p5.js Editor

‣ Functions help structure your code.

‣ Code is executed from top to bottom (order matters).

‣ Curly braces {} help enclose code in a function.

‣ Don't for get your camelCase.

‣ American spelling when calling for built-in variables and functions.

‣ Arithmetic rules here apply

Important things to note

ntu S1 AY2024 | DM3008 | Generative art

WEEK 2  |  autonomous systems in art

p5.js Editor

‣ Arithmetic rules here apply

Important things to note

+ addition

- subtraction

* multiplication

/ division

ctrl + / to comment Windows

cmd + / to comment on Mac

console.log() to talk to the JS Console

Colors are either in RGB (255, 255, 255) or in hexadecimal ('#000000').

ntu S1 AY2024 | DM3008 | Generative art

WEEK 2  |  autonomous systems in art

p5.js Editor

Important things to note

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Demo 1

‣ p5.js reference [link]

‣ 2D Primitives [ellipse / line / rect]

‣ Styling [fill / noFill / stroke / strokeWeight / noStroke]

‣ In-built variables [mouse X / mouse Y / width / height]

Let's begin with simple shapes and styling

ntu S1 AY2024 | DM3008 | Generative art

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Demo 2

‣ p5.js reference [link]

‣ Randomness, values between a range [random]

‣ Ever increasing value based on when the sketch was started [frameCount]

‣ Creating simple conditions based on in-built functions like mousePresssed / keyPressed

Let's begin with simple animation

ntu S1 AY2024 | DM3008 | Generative art

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Exercise 1

‣ Open and duplicate each of the code listed on the right.

‣ Experiment with it. How else could you transform the outcome?

‣ Is there anything you do not recognize? Variables or functions? Search on the p5.js reference to understand more.

Experiment with already created code

[DANIEL LIEBERMAN]

[SIMPLE PAINTBRUSH]

[COMPLEX PAINTBRUSH]

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Exercise 1

‣ By the end of class, please screenshot and upload your outcomes into this folder.

Experiment with already created code

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References

Some questions to think about:

‣ How does Pearson differ in his definition of Generative Art from Galanter?

‣ What example or idea stood out to you?

‣ How could you apply Pearson's way of thinking about your own creative process?

Read 'Generative Art: A Practical Guide using Processing' Intro and Chapter 1 only

By Matt Pearson, forward by Marius Watz

CODING in art

3

DISCUSSION ON READING

Some questions to think about:

‣ How does Pearson differ in his definition of Generative Art from Galanter?

‣ What example or idea stood out to you?

‣ How could you apply Pearson's way of thinking about your own creative process?

Read 'Generative Art: A Practical Guide using Processing' Intro and Chapter 1 only

By Matt Pearson, forward by Marius Watz

WEEK 3 |  Coding In art

INDIVIDUAL ACTIVITY

On a sheet of paper:

‣ Place 25 points at random. These dots should be evenly distributed.

‣ All of the points should be connected by straight lines.

Drawing #118

By Sol Lewitt

WEEK 3 |  Coding In art

Draw as you interpret the instructions. There is no right or wrong way!

sol lewitt - drawing #118

1971

WEEK 3 |  Coding In art

sol lewitt - drawing #118

1971

WEEK 3 |  Coding In art

SOL LEWITT's instructional Drawings

1968 - 2007

LeWitt himself observed in 1971 that "each person draws a line differently and each person understands words differently".

 

The variations in the pressure and speed of the crayon line, its darkness and breadth, the abruptness with which lines end and the confidence with which they meet, will always depend on who's doing the drawing. LeWitt continued: "Neither lines nor words are ideas, they are the means by which ideas are conveyed." 

[link to text]

WEEK 3 |  Coding In art

THE ENAIC at the university of pennsylvania

1945

WEEK 3 |  Coding In art

 from left to right: the Commodore PET 2001, the Apple II, and the Tandy/Radio Shack TRS-80 Model 1

1976

WEEK 3 |  Coding In art

Early computer art generally refers to computer art made from the 1950s through the 1980s, before personal computers were widely available and used. Much of this art was created by engineers and scientists, as computing resources were accessible only in university and research laboratories. 

- artsy.net

EARLY COMPUTER ART

WEEK 3 |  Coding In art

frieder nake

Random Polygonal Train

1965

Vera Molnar

100 Trapezes

1976

manfred mohr

P-197 J

1979

george nees

Computergrafik Computerplastik

1970

WEEK 3 |  Coding In art

Jean Tinguely

1925 - 1991

WEEK 3 |  Coding In art

Jean Tinguely -  Méta-Matic no 17

1959

WEEK 3 |  Coding In art

Jean Tinguely -  Méta-Matic series

1955-1959

WEEK 3 |  Coding In art

Graphomat z64

1961

WEEK 3 |  Coding In art

calcomp 745 flatbed plotter

1972

WEEK 3 |  Coding In art

modern day plotter

WEEK 3 |  Coding In art

axidraw - modern day pen plotter

WEEK 3 |  Coding In art

frieder nake - random polygon

1963

WEEK 3 |  Coding In art

frieder nake - 13/9/65 Nr. 2 (homage to paul klee)

1965

WEEK 3 |  Coding In art

frieder nake - 02/09/1965 (boxes with rectangular hatchings nr. 6)

1965

WEEK 3 |  Coding In art

frieder nake  -  matrizenmultiplikation serie 29

1967

WEEK 3 |  Coding In art

manfred mohr -  p021-g

1970

WEEK 3 |  Coding In art

manfred mohr -  p031b

1970

WEEK 3 |  Coding In art

manfred mohr -  p-100, combinatorial framework of the ordinal 15

1972

WEEK 3 |  Coding In art

manfred mohr -  p-135a

1973

WEEK 3 |  Coding In art

manfred mohr -  p-197-f

1977

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vera molnár -  interruptions

1969

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vera molnár -  inclinaisons 32

1971

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vera molnár -  22 ((Des)ordres)

1974

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vera molnár -  molndrian, 74,066/13.30.37

1974

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michael noll -  pATTERN FIVE

1962

(part of his paper 'Computer-Produced Patterns')

WEEK 3 |  Coding In art

michael noll -  computer composition with lines

1965

WEEK 3 |  Coding In art

michael noll -  ninety computer-generated sinusoids with lineraly increasing period

1965

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JOHN WHITNEY -  EXPERIMENTS IN MOTION GRAPHICS

1968

WEEK 3 |  Coding In art

Also known as computer-generated art, and can also include fractal art.

It uses simple algorithms to create art and can be output by a computer display, printed, or drawn using a plotter.

- artsy.net

ALGORITHMIC ART

WEEK 3 |  Coding In art

roman verostko - untitled

1987

WEEK 3 |  Coding In art

roman verostko - untitled #81

1987

WEEK 3 |  Coding In art

roman verostko - pathway -- lung shan II

1989

WEEK 3 |  Coding In art

roman verostko - Derivation of the Laws of the Symbols of Logic From the Laws of the Operations of the Human Mind: An Excerpt From the Writings of George Boole (End piece)

1990

WEEK 3 |  Coding In art

roman verostko - pathway series

1993

WEEK 3 |  Coding In art

Jean pierre hebert - olive bark

1990

WEEK 3 |  Coding In art

Jean pierre hebert - Jambes noires avec moire

1990

WEEK 3 |  Coding In art

Jean pierre hebert - Esprit Planant Au-Dessus Des Eaux (Spirit Hovering Above Waters)

1991

WEEK 3 |  Coding In art

Also known as computer-generated art, and can also include fractal art.

It uses simple algorithms to create art and can be output by a computer display, printed, or drawn using a plotter.

- artsy.net

CONTEMPORARY EXAMPLES

WEEK 3 |  Coding In art

processing (by casey Reas and ben fry, with daniel shiffman)

2001

WEEK 3 |  Coding In art

casey reas - process 4

2005

WEEK 3 |  Coding In art

casey reas - process 13 software

2011

WEEK 3 |  Coding In art

casey reas - network D (image 2)

2012

WEEK 3 |  Coding In art

casey reas - pfft!

2014

WEEK 3 |  Coding In art

WEEK 3 |  Coding In art

Peter Bauman: At Le Random, we think of generative art history by generation, informing our collection as well as projects like our Generative Art Timeline. We’ve identified eight phases that fit into three very broad generations: 

Generation 1: 1950s - 1980s (The Computer Era)
Generation 2: 1990s - 2014 (The Internet Era)
Generation 3: 2015 - today (The On-Chain Era)
Can you talk about how you would group the different generations of digital generative artists?

Casey Reas: I think of the first generation as the “Mainframe Era.” And then I think of the second as the “Studio Era.” When computers went into artist studios, it was a major change and a major shift. The Apple II (1977), Commodore 64 (1982) and Commodore Amiga (1985) all represent enough of a change, moving out of the research labs and into artist studios, that it's a whole other era.

- Le Random

CASEY REAS ON THE HISTORY OF GENERATIVE ART

WEEK 3 |  Coding In art

tyler hobbs - fragments of vision d

2014

WEEK 3 |  Coding In art

tyler hobbs - fidenza #374

2021

WEEK 3 |  Coding In art

tyler hobbs - one one overflow

2022

WEEK 3 |  Coding In art

Rafaël Rozendaal - permanent distraction

2021

WEEK 3 |  Coding In art

Rafaël Rozendaal - permanent distraction

2021

WEEK 3 |  Coding In art

Rafaël Rozendaal - Art and the blockchain

2021

WEEK 3 |  Coding In art

Rafaël Rozendaal - RANDOM FEAR (WITH MIRRORS)

2021

WEEK 3 |  Coding In art

Rafaël Rozendaal - complex computational compositions

2016

WEEK 3 |  Coding In art

Rafaël Rozendaal - Abstract Browsing 16 03 09 A B C (Waze)

2016

WEEK 3 |  Coding In art

Rafaël Rozendaal - Abstract Browsing 16 10 05 (Google Spreadsheets)

2016

WEEK 3 |  Coding In art

Rafaël Rozendaal - Abstract Browsing 18 08 01 (Google Spreadsheets)

2018

WEEK 3 |  Coding In art

zach lieberman - color ribbon study #1

2021

WEEK 3 |  Coding In art

zach lieberman - block gradient field

2022

WEEK 3 |  Coding In art

zach lieberman - chrome waves (still)

2023

WEEK 3 |  Coding In art

zach lieberman - center point circle study

2024

WEEK 3 |  Coding In art

zach lieberman - GRID LIGHT STUDY [link]

2022

WEEK 3 |  Coding In art

WEEK 3 |  Coding In art

WEEK 3  |  CODING In art

MARIUS WATZ

JESSICA IN

SEBASTIAN MONROY

MATT DESLAURIERS

JP YEPEZ

CHELLEY SHERMAN

JO VASSAR

ALIDA SUN

MANOLO GAMBOA NAON

MARK J STOCK

KATHARINA BRUNNER

JARED S TARBELL

MELISSA WIEDERRECHT

WILLLIAM MAPAN

STEFANO CONTIERO

EMILY XIE

ISKRA VELITCHKOVA

ANNA LUCIA

ANNA CARRERAS

MONICA RIZZOLLI

JESS HEWITT

KAORU TANAKA

ITZEL YARD

LIA

DISCUSSION

‣ How did each artist use rules or systems differently?

‣ How were the artworks influenced by the technology the artists used?

‣ Which artist's approach inspires you most?

‣ If you had to choose one rule, system or process from what you saw today to experiment with, which would you choose?

Artists who use code to make art

WEEK 3 |  Coding In art

p5.js Recap

Covered last week

+ addition

- subtraction

* multiplication

/ division

ctrl + / to comment Windows

cmd + / to comment on Mac

console.log() to talk to the JS Console

Colors are either in RGB
(255, 255, 255) or in hexadecimal ('#000000').

‣ 2D Primitives [ellipse / line / rect]

‣ Styling [fill / noFill / stroke / strokeWeight / noStroke]

‣ In-built variables [mouse X / mouse Y / width / height]

‣ Random values between a range [random(min, max)]

‣ Ever-increasing value [frameCount]

‣ Simple conditions mousePresssed / keyPressed

DEMO 3

To cover this week

>     greater than

<     less than

>=  greater than or equal to

<=  less than or equal to

==  equal to

!=   not equal to

‣ Comparison operators

+=   addition assignmnet

-=    subtraction assignment

*=    multiplication assignment

/=    division assignment

%=  remainder assignment

‣ Assignment operators

&&   (and) both conditions are true

| |      (or) if at least 1 condition is true

‣ Logical operators

DEMO 3

Conditional Statements

Conditionals in code (if, else if, else) let a program make decisions by running different instructions depending on whether certain conditions are true or false.

DEMO 3

Conditional Statements

‣ Custom variables [let]

‣ RGB color information [color]

‣ Conditionals [if, else if, else]

‣ Transformations [translate, rotate]

‣ Containing transformations [push, pop]

DEMO 4

Switch Statement

‣ Switch statement [switch] (in conjunction with mousePressed and keyPressed

‣ Switch statement with if()

DEMO 5

For Loop [for]

     Defining i for iterations

     Defining the maximum value for i

     Value added to i after each iteration

‣ i++ for regular increments of 1

‣ i+= for set value of increments

‣ if(i % 2) for every other element

for (let i = 0; i < 10; i++) {

  console.log(i);

}

DEMO 5

Sine function [sin]

     Multiply the wave, changing min/max

     Set the speed of the wave

     Shift the wave with an offset value

amplitude * sin(frequency * i) + offset