Computer art
Computer art is
Origin of the term
On the title page of the magazine Computers and Automation, January 1963, Edmund Berkeley published a picture by
History
The precursor of computer art dates back to 1956–1958, with the generation of what is probably the first image of a human being on a computer screen, a (
By the mid-1960s, most individuals involved in the creation of computer art were in fact engineers and scientists because they had access to the only computing resources available at university scientific research labs. Many artists tentatively began to explore the emerging computing technology for use as a creative tool. In the summer of 1962, A. Michael Noll programmed a digital computer at Bell Telephone Laboratories in Murray Hill, New Jersey to generate visual patterns solely for artistic purposes.[7] His later computer-generated patterns simulated paintings by Piet Mondrian and Bridget Riley and became classics.[8] Noll also used the patterns to investigate aesthetic preferences in the mid-1960s.
The two early exhibitions of computer art were held in 1965: Generative Computergrafik, February 1965, at the Technische Hochschule in Stuttgart, Germany, and Computer-Generated Pictures, April 1965, at the Howard Wise Gallery in New York. The Stuttgart exhibit featured work by Georg Nees; the New York exhibit featured works by Bela Julesz and A. Michael Noll and was reviewed as art by The New York Times.[9] A third exhibition was put up in November 1965 at Galerie Wendelin Niedlich in Stuttgart, Germany, showing works by Frieder Nake and Georg Nees. Analogue computer art by Maughan Mason along with digital computer art by Noll were exhibited at the AFIPS Fall Joint Computer Conference in Las Vegas toward the end of 1965.
In 1968, the Institute of Contemporary Arts (ICA) in London hosted one of the most influential early exhibitions of computer art called Cybernetic Serendipity. The exhibition, curated by Jasia Reichardt, included many of those often regarded as the first digital artists, Nam June Paik, Frieder Nake, Leslie Mezei, Georg Nees, A. Michael Noll, John Whitney, and Charles Csuri.[10] One year later, the Computer Arts Society was founded, also in London.[11]
At the time of the opening of Cybernetic Serendipity, in August 1968, a symposium was held in Zagreb, Yugoslavia, under the title "Computers and visual research".[12] It took up the European artists movement of New Tendencies that had led to three exhibitions (in 1961, 63, and 65) in Zagreb of concrete, kinetic, and constructive art as well as op art and conceptual art. New Tendencies changed its name to "Tendencies" and continued with more symposia, exhibitions, a competition, and an international journal (bit international) until 1973.
Katherine Nash and Richard Williams published Computer Program for Artists: ART 1 in 1970.[13]
Andy Warhol created digital art using an Amiga when the computer was publicly introduced at the Lincoln Center, New York in July 1985. An image of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol manipulated the image adding colour by using flood fills.[14][15]
Output devices
Formerly, technology restricted output and print results. Early machines used pen-and-ink plotters to produce basic hard copy.
In the early 1960s, the Stromberg Carlson SC-4020 microfilm printer was used at Bell Telephone Laboratories as a plotter to produce digital computer art and animation on 35-mm microfilm. Still images were drawn on the face plate of the cathode ray tube and automatically photographed. A series of still images were drawn to create a computer-animated movie, early on a roll of 35-mm film and then on 16-mm film as a 16-mm camera was later added to the SC-4020 printer.
In the 1970s, the
In 1976, the
Graphic software
Robot painting
A robot painting is an artwork painted by a robot. Raymond Auger's Painting Machine, made in 1962, was one of the first robotic painters [17] as was AARON, an artificial intelligence/artist developed by Harold Cohen beginning in the late 1960s.[18] Joseph Nechvatal began making large computer-robotic paintings in 1986. Artist Ken Goldberg created an 11' x 11' painting machine in 1992 and German artist Matthias Groebel also built his own robotic painting machine in the early 1990s.[19]
Neural style transfer
AI generated art
With the rise of
See also
- 3D printing art
- Algorithm art
- Artificial intelligence art
- ASCII art
- Digital painting
- Digital art
- Fractal art
- Generative art
- Glitch art
- Internet art
- New media art
- Software art
- Systems art
- Modding
References
- ^ "Computers and Automation - Database of Digital Art". dada.compart-bremen.de. Archived from the original on 18 November 2018. Retrieved 11 April 2018.
- ^ Herbert W. Franke: Grenzgebiete der bildenden Kunst, Staatsgalerie Stuttgart In: Katalog, 1972, S. 69.
- ^ "Boobs not bombs: The first ever computer art was made possible by the Cold War... & it was a girly pic". Dangerous Minds. 2013-01-25. Archived from the original on 2015-09-26. Retrieved 2013-10-09.
- ^ Benj Edwards (2013-01-24). "The Never-Before-Told Story of the World's First Computer Art (It's a Sexy Dame)". The Atlantic. Retrieved 2013-10-09.
- ^ O'Hanrahan, Elaine (2005). Drawing Machines: The machine produced drawings of Dr. D. P. Henry in relation to conceptual and technological developments in machine-generated art (UK 1960–1968). Unpublished MPhil. Thesis. John Moores University, Liverpool.
- ^ Beddard, Honor (26 May 2011). "Computer art at the V&A". Victoria and Albert Museum. Archived from the original on 25 September 2015. Retrieved 22 September 2015.
- ^ Noll, A. Michael, "The Beginnings of Computer Art in the United States: A Memoir", Leonardo, Vol. 27, No. 1, (1994), pp. 39-44.
- ^ JSTOR 1578284. Archived from the original(PDF) on 2016-03-22. Retrieved 2008-04-28.
- ^ Preston, Stuart, "Art ex Machina", The New York Times, Sunday, April 18, 1965, p. X23.
- ^ ISBN 978-0-8109-9236-8
- ^ Page, No. 1, April 1969, p. 2.
- ^ Christoph Klütsch: The Summer 1968 in London and Zagreb: Starting or End Point for Computer art? Archived 2015-08-13 at the Wayback Machine (PDF 2,19 MB).
- S2CID 192985628.
- ^ Reimer, Jeremy (October 21, 2007). "A history of the Amiga, part 4: Enter Commodore". Ars Technica. Archived from the original on November 17, 2011. Retrieved June 10, 2011.
- ^ YouTube.[dead YouTube link]
- ISBN 978-0-500-23817-2.
- ^ cyberneticzoo [cyberneticzoo.com/robots-in-art/1962-painting-machine-raymond-auger-american/] a history of cybernetic animals and early robots
- ISBN 0-7167-2173-2.
- ^ Helen Sloan,Art in a Complex System: The Paintings of Matthias Groebel January 2002 PAJ A Journal of Performance and Art 24(1):127-132 DOI: 10.1162/152028101753401866
- )
- ^ Jing, Y., Yang, Y., Feng, Z., Ye, J., & Song, M. (2017). Neural style transfer: A review. arXiv preprint arXiv:1705.04058.
- ^ Levin, Sam (14 July 2016). "Why everyone is crazy for Prisma, the app that turns photos into works of art". The Guardian. Archived from the original on 19 July 2016. Retrieved 16 March 2018.
- ^ "Facebook's tech boss on how AI will transform how we interact". New Scientist. 2016. Archived from the original on 8 November 2020. Retrieved 16 March 2018.
- ^ Gershgorn, Dave (2016). "MIT is using AI to create pure horror". Quartz. Archived from the original on 15 March 2020. Retrieved 16 March 2018.
- ^ Nicholas, Gabriel (11 December 2017). "These Stunning A.I. Tools Are About to Change the Art World". Slate. Archived from the original on 16 March 2018. Retrieved 16 March 2018.
- ^ gazettebeckycoleman (2023-08-15). "Is art generated by artificial intelligence real art?". Harvard Gazette. Retrieved 2024-05-29.
Further reading
- Honor Beddard and Douglas Dodds. (2009). Digital Pioneers. London: V&A Publishing. ISBN 978-1-85177-587-3
- Timothy Binkley. (1988/89). "The Computer is Not A Medium", Philosophic Exchange. Reprinted in EDB & kunstfag, Rapport Nr. 48, NAVFs EDB-Senter for Humanistisk Forskning. Translated as "L'ordinateur n'est pas un médium", Esthétique des arts médiatiques, Sainte-Foy, Québec: Presses de l'Université du Québec, 1995.
- Timothy Binkley. (1997). "The Vitality of Digital Creation" The Journal of Aesthetics and Art Criticism, 55(2), Perspectives on the Arts and Technology, pp. 107–116.
- Thomas Dreher: History of Computer Art
- Fernandez, Maria (2008). "Detached from history: Jasia Reichardt and Cybernetic Serendipity". Art Journal. 67 (3): 6–23. S2CID 193026727. Archived from the originalon 2009-02-04.
- Virtual Art: From Illusion to Immersion (MIT Press/Leonardo Books) by Oliver Grau
- Charlie Gere (2002). Digital culture. Reaktion Books. ISBN 978-1-86189-143-3.
- ISBN 978-0-262-02653-6.
- Mark Hansen. (2004). New Philosophy for New Media. Cambridge, MA: MIT Press.
- Dick Higgins. (1966). Intermedia. Reprinted in Donna De Salvo (ed.), Open Systems Rethinking Art c. 1970, London: Tate Publishing, 2005.
- Lieser, Wolf. Digital Art. Langenscheidt: h.f. ullmann. 2009
- Lopes, Dominic McIver. (2009). A Philosophy of Computer Art. London: Routledge
- Lev Manovich (2002-03-07). The language of new media. The MIT Press. ISBN 978-0-262-63255-3.
- Lev Manovich. (2002, October). Ten Key Texts on Digital Art: 1970–2000. Leonardo - Volume 35, Number 5, pp. 567–569.
- Art Journal, pp. 76–89.
- Perry M., Margoni T., (2010) From music tracks to Google maps: Who owns computer-generated works? in Computer Law and Security Review, Vol. 26, pp. 621–629, 2010
- Edward A. Shanken. (2009). Art and Electronic Media. London: Phaidon.
- Grant D. Taylor (2014). When The Machine Made Art: The Troubled History of Computer Art. New York: Bloomsbury.
- Usselmann, Rainer (October 2003). "The Dilemma of Media Art: Cybernetic Serendipity at the ICA London" (PDF). Leonardo. 36 (5). Cambridge, Massachusetts: The MIT Press: 389–396. S2CID 57564123. Archived from the original(PDF) on 2016-03-04. Retrieved 2022-01-17.
External links
- Media related to Computer art at Wikimedia Commons