The Pioneer of Generative Art: Georg Nees

Leonardo ◽  
2018 ◽  
Vol 51 (3) ◽  
pp. 277-279
Author(s):  
Frieder Nake
Keyword(s):  
Information Theory ◽  
Computer Art ◽  
Generative Art ◽  
Art And Design ◽  
Object Based ◽  
Phd Thesis ◽  
Information Aesthetics

The pioneer of computer art Georg Nees passed away on 3 January 2016, at the age of 89. He was the first to exhibit computer-generated drawings, in Stuttgart in February 1965. Influenced by Max Bense’s information aesthetics (a rational aesthetics of the object based on Shannon’s information theory), Nees completed his PhD thesis in 1968 (in German). Its title, Generative Computergraphik, is an expression of the new movement of generative art and design. Trained as a mathematician, Nees participated in many early, but also recent, displays of computer art. After retiring from his research position at Siemens in Erlangen, he again concentrated on computer-generated art and researched issues of digital coloring but also wrote several novels expressing his philosophy of a nonreligious, human-made culture.

From analogue to digital: preserving early computer-generated art in the V&A’s collections

2010 ◽  
Vol 35 (3) ◽  
pp. 10-16
Author(s):  
Douglas Dodds
Keyword(s):  
Computer Art ◽  
Art Collections ◽  
Art And Design ◽  
Early Computer ◽  
Digital Material ◽  
History Of ◽  
Analogue To Digital ◽  
Victoria And Albert Museum

The Victoria and Albert Museum holds the UK’s emerging national collection of early computer-generated art and design. Many of the earliest works only survive on paper, but the V&A also holds some born-digital material. The Museum is currently involved in a project to digitise the computer art collections and to make the information available online. Artworks, books and ephemera from the Patric Prince Collection and the archives of the Computer Arts Society are included in a V&A display on the history of computer-generated art, entitled Digital pioneers. In addition, the project is contributing to the development of the Museum’s procedures for dealing with time-based media.

New Naturality: A Generative Approach to Art and Design

Leonardo ◽  
2002 ◽  
Vol 35 (3) ◽  
pp. 291-294 ◽  
Author(s):  
Celestino Soddu
Keyword(s):  
Virtual Environments ◽  
Artificial Life ◽  
3D Model ◽  
Generative Art ◽  
Art And Design ◽  
The Real ◽  
Design Concepts ◽  
Design Idea ◽  
Generative Approach

In the field of generative art and design, design concepts are represented as code. This generative code functions as DNA does in nature. It uses artificial life to generate a multiplicity of possible artworks, artificial events, architectures and virtual environments. In the generative approach the real artwork is not merely a product, such as an image or 3D model. The generative artwork is an Idea-Product. It represents an artificial species able to generate an endless sequence of individual events, each one different, unique and unrepeatable but belonging to the same identifiable design Idea. The author's project, Argenia, realizes the “new naturality” of artificial objects.

Cabinets of Costume: Renegotiating Participation Through Practice, Object-Based Study and ‘Ghosts’ of an Assemblage of Dress

Costume ◽  
2020 ◽  
Vol 54 (2) ◽  
pp. 222-241
Author(s):  
Louise Elizabeth Penn Chapman
Keyword(s):  
Current Practice ◽  
Art And Design ◽  
International Conference ◽  
Object Based ◽  
Creative Capital ◽  
Art Design

The exhibition Cabinets of Costume was undertaken as part of an international conference, Culture, Costume, and Dress at Birmingham City University (BCU) in May 2017. Its aim was to highlight two study collections held at BCU — the first, the Historical Dress Archive, which includes the Kate Elizabeth Bunce objects, and the second, the Art and Design Archives. Referencing the previous practice of object-based study to inform current practice at the Municipal School of Art, Birmingham, this paper will explore the cultural and creative capital of this assemblage of everyday historic dress uncovered in 2012 at BCU. Focusing on the Historical Dress Archive the initiative was developed to enable undergraduates across the faculty of Art, Design and Media at BCU to study extant historical dress, creating five representations or ‘ghosts’ of the objects of study. The initiative and exhibition offered an opportunity for a student-academic partnership to share the practices of object-based study as a creative catalyst, to inform costume practices as a live project.

scholarly journals Is There a Relationship between Energy, Amount of Information and Temperature?

2019 ◽  
pp. 1-9
Author(s):  
Boris M. Menin
Keyword(s):  
Information Theory ◽  
Ambient Temperature ◽  
Physical System ◽  
Scientific Literature ◽  
Energy Content ◽  
Thermodynamic Temperature ◽  
Amount Of Information ◽  
Object Based ◽  
Specific Object ◽  
The Universe

Aims: To use the generally accepted formulas linking energy, temperature and information, and not requiring any additional restrictions, to introduce a practical numerical value of the energy of any specific object based on the amount of information and thermodynamic temperature. Place and Duration of Study: Beer-Sheba, between January 2019 and July 2019. Methodology: By combining the Landauer limit and Bekenstein’s proof that the amount of information of any physical system must be finite, if the object space and its energy are finite, the values of energy-matter and energy, based on the amount of information, were calculated for various elements of nature. In addition, a formula is presented for the energy of the universe containing these two components. Results: The energy content of an object depends not only on its mass and speed. The value of the additional independent component, due to the amount of information contained in the object, is caused by its size and the ambient temperature. This component has never been considered in the scientific literature. This means that energy is inextricably linked with both the space and the thermodynamic component of Nature. Conclusion: Using the generally accepted formulas linking energy, temperature and information and not requiring any additional restrictions, we have shown that it is possible to represent the energy of the universe on the basis of information theory.

scholarly journals CONCERNING THE ISSUE OF GENERATIVE ART CLASSIFICATION: DEFINITION OF CONCEPTS

2019 ◽  
Vol 15 (3) ◽  
pp. 11-31
Author(s):  
RUSLAN V. LUKICHEV ◽  
Keyword(s):  
Autonomous Systems ◽  
Classification Model ◽  
Computer Art ◽  
Interactive Art ◽  
Parametric Image ◽  
Generative Art ◽  
Avant Garde ◽  
The Status ◽  
Cartesian Coordinate ◽  
Definition Of

The article refers to the problem of generative art taxonomy as a complex interdisciplinary phenomenon and analysis of its key features. The generative art is a relevant cultural and artistic phenomenon in Russian and foreign art that emerged in the 1910s within Russian and West European avant-garde painters and received a new boost for development thanks to contemporary computer technologies. Based on the classification model proposed by foreign researchers, M. Boden and E. Edmonds, the author of this article identifies concepts like Generative Art (G-art), Computer Art (C-art), Interactive Art (I-art), Interactive Computer Art (CI-art), and Computer Generative Art (CG-art) and introduces new scientific terms: Interactive Generative Art and Interactive Computer- Generated Art. The first one refers to a series of works of art created with the active participation of the audience and the use of traditional (non- computer) autonomous systems that provide a certain degree of randomness without the implementation of multimedia technologies. The second one refers to a series of artworks created by autonomous computer systems and involving active interaction with the audience. These phenomena are considered based on the art object’s possessing the features of generative (G), interactive (I) or computer (C) vectors that underlie the classification method of Gen Art and adjacent contextual phenomena developed by the author and visually modeled by him in the Cartesian coordinate system. Emphasis was made on Interactive Computer-Generated Art. A media installation by Stain art group called Mobile Interactive Multi-Parametric Image (MIMPI) is provided as an example; it is an interactive audio-visual environment first introduced in MEL Space gallery (Moscow) in May 2012 Finally, the author comes to the conclusion that granting the generative art the status of a natural transitional phase in the art history of the 20th — early 21st centuries, as proposed by him, is justified, since this art combines “dry” and “wet” technologies and the corresponding types of cultures.

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