Ringing the Changes: Mapping the Algorithmic Art of Change-Ringing on Church Bells

Ecotone ◽  
2018 ◽  
Vol 13 (2) ◽  
pp. 138-144
Author(s):  
Stephanie Strickland
Keyword(s):  
Algorithmic Art

Cellular Automat'Art as Part of Algorithmic Art

Leonardo ◽  
2000 ◽  
Vol 33 (2) ◽  
pp. 112-113
Author(s):  
Bernard Caillaud
Keyword(s):  
Algorithmic Art

scholarly journals Visual Theogonies: Chance, control and automation in algorithmic art

2018 ◽  
Vol 10 (3) ◽  
pp. 287-293 ◽  
Author(s):  
Fabrizio Augusto Poltronieri
Keyword(s):  
Algorithmic Art

scholarly journals A Context for Complexism: Between Neoliberal Social Thought and Algorithmic Art

2018 ◽  
Vol 2 (1) ◽  
pp. 341-352
Author(s):  
Ricky D. Crano
Keyword(s):  
First Century ◽  
Computer Algorithms ◽  
New Science ◽  
Interdisciplinary Field ◽  
Self Organized ◽  
Algorithmic Art ◽  
The Social ◽  
The Many ◽  
Complex Phenomena ◽  
Tools And Techniques

Abstract Among the many genres of visual art to emerge in the wake of computerisation, the subset of generative or algorithmic art known as complexism seems uniquely keyed to the social and technological mainsprings of everyday life in the twenty-first century. Complexism typically deploys computer algorithms to demonstrate how complex phenomena can emerge through the reiterative enactment of simple rulesets. The light and sound installations and the videos that complexist artists produce, alongside the discourses surrounding the works, stand out as singularly contemporary, not necessarily for their exploitation of now-ubiquitous telematic tools and techniques, but for their deep commitment to the trailblazing problems, methods, and hypotheses set out by the new science of complexity. Practitioners of and commentators on complexism (the work and writings of Philip Galanter feature most prominently here) persistently invoke this booming interdisciplinary field of complexity research. Against this trend, I argue that for all the leverage the tools and terms of complexity science supply to complexist art, the concept of complexity itself remains surprisingly vague and shorn of any historical sensibility. One preliminary aim of this essay is to bring more theoretical rigour to the artists’ use of this concept by beginning to fill in the missing backstory. From there, I move to complicate this genealogy by introducing a somewhat controversial figure-the social theorist, political economist, and legal philosopher Friedrich Hayek, who had posited similar problems concerning the emergence and maintenance of complex, self-organized systems as early as the 1930s, and whose theoretical solutions to these problems were instrumental to what historians and sociologists have subsequently described as capitalism’s late “neoliberal turn.”

Romanticism with the Machine (2): Cyberromanticism, Uncanny Robots, Romantic Cyborgs, and Spooky Science

2017 ◽  
Author(s):  
Mark Coeckelbergh
Keyword(s):  
Social Media ◽  
Human Enhancement ◽  
Surveillance Technology ◽  
Algorithmic Art ◽  
Technological Practice ◽  
Contemporary Science

Chapter 5 continues constructing the “hybridity” and “fusion” narrative, but now focused on contemporary electronic ICTs. For the purpose of trying to understand the relation between romanticism and these ICTs, it constructs the working thesis that contemporary use and development of ICTs can meaningfully be interpreted as contributing to, if not completing, material romanticism’s project to marry Enlightenment and Romanticism: rather than creating new “machines”, there is an attempt to reach a synthesis of rationalism and romanticism by fusing humans and machines. The chapter reveals romanticism in the development and use of smartphones, social media, games, surveillance technology, algorithmic art, robots, transhumanist human enhancement, and other technological practices and phenomena. It is also shown how romanticism and even gothic is present in contemporary science and scientific-technological practice. It seems that with these new hybrids, technology and romanticism merge to an unprecedented extent.

Form, Grace and Stark Logic: 30 Years of Algorithmic Drawing

Leonardo ◽  
2010 ◽  
Vol 43 (3) ◽  
pp. 230-231
Author(s):  
Roman Verostko
Keyword(s):  
Computer Assisted ◽  
Active Participant ◽  
Good Fortune ◽  
Achievement Award ◽  
Algorithmic Art ◽  
Personal Experiences ◽  
Lifetime Achievement ◽  
Lifetime Achievement Award

This essay outlines the personal experiences, influences and ideas that underlie 60 years of Roman Verostko's artwork and that drew him to embrace “algorithmic art.” The author spells out qualities of form unique to computer-assisted algorithmic drawing as well as the genre's pitfalls and discusses his good fortune to have been an active participant in what Peter Weibel has labeled the “Algorithmic Revolution.” For his pioneering work, Roman Verostko was awarded the 2009 SIGGRAPH Lifetime Achievement Award.

Evolving Expressions and Art by Choice

Leonardo ◽  
2000 ◽  
Vol 33 (2) ◽  
pp. 93-99 ◽  
Author(s):  
Gary R. Greenfield
Keyword(s):  
Algorithmic Method ◽  
Technical Ability ◽  
Common Criticism ◽  
Algorithmic Art ◽  
The Way

One common criticism of algorithmic art is its slavish devotion to technical virtuosity at the expense of artistic intent and content. To address this problem, the author uses an algorithmic method known as “evolving expressions,” which both challenges the technical ability of the artist and also paves the way to “art by choice”—an art that re-creates what lies in the imagination by visualizing the creatures that live there, the creatures of our dreams.

Algorithmic Art

Leonardo ◽  
2014 ◽  
Vol 47 (2) ◽  
pp. 108-108 ◽  
Author(s):  
Frieder Nake
Keyword(s):  
Algorithmic Art
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