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Is Art in Which the Computer Is Employed as a Primary Tool Medium or Creative Partner

Written By Thursday 28 April 2022 Add Comment Edit

Art genre

Reckoner art is any fine art in which computers play a role in production or display of the artwork. Such art tin can exist an image, sound, animation, video, CD-ROM, DVD-ROM, video game, website, algorithm, functioning or gallery installation. Many traditional disciplines are now integrating digital technologies and, every bit a result, the lines betwixt traditional works of art and new media works created using computers has been blurred. For instance, an artist may combine traditional painting with algorithm art and other digital techniques. Equally a issue, defining calculator art by its finish product tin thus be difficult. Figurer art is bound to modify over time since changes in technology and software directly touch on what is possible.

The term "reckoner art" [edit]

On the title page of the magazine Computers and Automation, January 1963, Edmund Berkeley published a picture past Efraim Arazi from 1962, coining for it the term "computer fine art." This picture inspired him to initiate the first Computer Art Contest in 1963. The almanac contest was a primal point in the development of computer art up to the year 1973.[1] [two]

History [edit]

The forerunner of computer art dates back to 1956–1958, with the generation of what is probably the first paradigm of a human being being on a computer screen, a (George Trivial-inspired)[3] pin-up girl at a SAGE air defense installation.[four] Desmond Paul Henry invented the Henry Drawing Machine in 1960; his work was shown at the Reid Gallery in London in 1962, after his machine-generated art won him the privilege of a one-man exhibition.[5] [6]

By the mid-1960s, well-nigh individuals involved in the cosmos of reckoner art were in fact engineers and scientists because they had access to the simply computing resource bachelor at academy 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 Phone Laboratories in Murray Hill, New Bailiwick of jersey to generate visual patterns solely for artistic purposes.[seven] His later computer-generated patterns false paintings past Piet Mondrian and Bridget Riley and became classics.[viii] Noll likewise used the patterns to investigate aesthetic preferences in the mid-1960s.

The two early exhibitions of calculator art were held in 1965: Generative Computergrafik, February 1965, at the Technische Hochschule in Stuttgart, Germany, and Reckoner-Generated Pictures, Apr 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.[nine] A third exhibition was put up in November 1965 at Galerie Wendelin Niedlich in Stuttgart, Germany, showing works past Frieder Nake and Georg Nees. Analogue figurer art past Maughan Bricklayer forth with digital computer fine art past Noll were exhibited at the AFIPS Autumn Articulation Computer Conference in Las Vegas toward the end of 1965.

In 1968, the Institute of Contemporary Arts (ICA) in London hosted one of the almost influential early exhibitions of computer fine art called Cybernetic Serendipity. The exhibition, curated by Jasia Reichardt, included many of those often regarded as the start digital artists, Nam June Paik, Frieder Nake, Leslie Mezei, Georg Nees, A. Michael Noll, John Whitney, and Charles Csuri.[10] I year later, the Computer Arts Club was founded, also in London.[xi]

At the time of the opening of Cybernetic Serendipity, in August 1968, a symposium was held in Zagreb, Yugoslavia, nether the championship "Computers and visual research".[12] It took up the European artists motility of New Tendencies that had led to three exhibitions (in 1961, 63, and 65) in Zagreb of concrete, kinetic, and constructive art equally well as op art and conceptual art. New Tendencies inverse its proper name to "Tendencies" and continued with more symposia, exhibitions, a competition, and an international periodical (fleck international) until 1973.

Katherine Nash and Richard Williams published Computer Program for Artists: Fine art i in 1970.[13]

Xerox Corporation'southward Palo Alto Enquiry Middle (PARC) designed the first Graphical User Interface (GUI) in the 1970s. The first Macintosh computer was released in 1984; since and then the GUI became pop. Many graphic designers quickly accepted its capacity as a creative tool.

Andy Warhol created digital fine art using a Commodore Amiga where the computer was publicly introduced at the Lincoln Center, New York in July 1985. An prototype of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol manipulated the image adding color by using overflowing fills.[14] [fifteen]

Output devices [edit]

Formerly, technology restricted output and impress results. Early machines used pen-and-ink plotters to produce bones hard copy.

In the early 1960s, the Stromberg Carlson SC-4020 microfilm printer was used at Bell Telephone Laboratories equally a plotter to produce digital computer art and animation on 35-mm microfilm. However images were fatigued on the face plate of the cathode ray tube and automatically photographed. A series of still images were fatigued to create a computer-animated picture show, early a gyre of 35-mm motion-picture show and then on 16-mm film as a 16-mm photographic camera was later added to the SC-4020 printer.

In the 1970s, the dot matrix printer (which uses a print head hit an ink ribbon somewhat like a typewriter) was used to reproduce varied fonts and capricious graphics. The first animations were created by plotting all all the same frames sequentially on a stack of paper, with movement transfer to 16-mm film for project. During the 1970s and 1980s, dot matrix printers were used to produce most visual output while microfilm plotters were used for most early blitheness.[8]

In 1976, the inkjet printer was invented with the increase in use of personal computers. The inkjet printer is now the cheapest and well-nigh versatile option for everyday digital colour output. Raster Image Processing (RIP) is typically congenital into the printer or supplied as a software package for the calculator; information technology is required to achieve the highest quality output. Basic inkjet devices do not feature RIP. Instead, they rely on graphic software to rasterize images. The laser printer, though more expensive than the inkjet, is some other affordable output device bachelor today.[10]

Graphic software [edit]

Adobe Systems, founded in 1982, developed the PostScript language and digital fonts, making drawing, painting, and image manipulation software popular. Adobe Illustrator, a vector drawing plan based on the Bézier curve introduced in 1987 and Adobe Photoshop, written by brothers Thomas and John Knoll in 1990 were developed for utilise on MacIntosh computers,[16] and compiled for DOS/Windows platforms by 1993.

A robotic brush head painting on a canvas

Robot painting [edit]

A robot painting is an artwork painted by a robot. Raymond Auger's Painting Machine, made in 1962, was one of the offset robotic painters [17] as was AARON, an artificial intelligence/artist developed by Harold Cohen beginning in the belatedly 1960s.[18] Joseph Nechvatal began making big computer-robotic paintings in 1986. Artist Ken Goldberg created an 11' ten 11' painting auto in 1992 and German language creative person Matthias Groebel likewise built his own robotic painting auto in the early on 1990s.[19]

Neural way transfer [edit]

Non-photorealistic rendering (using computers to automatically transform images into stylized fine art) has been a field of study of inquiry since the 1990s. Around 2015, neural mode transfer using convolutional neural networks to transfer the manner of an artwork onto a photograph or other target image became viable.[20] One method of style transfer involves using a framework such as VGG or ResNet to break the artwork manner down into statistics nearly visual features. The target photograph is subsequently modified to match those statistics.[21] Notable applications include Prisma,[22] Facebook Caffe2Go style transfer,[23] MIT'southward Nightmare Machine,[24] and DeepArt.[25]

Come across also [edit]

  • 3D printing fine art
  • Algorithm art
  • Artificial intelligence fine art
  • ASCII art
  • Digital painting
  • Digital art
  • Fractal fine art
  • Generative art
  • Glitch art
  • Net fine art
  • New media fine art
  • Software art
  • Systems art
  • Video game art / Modding

References [edit]

  1. ^ "Computers and Automation - Database of Digital Fine art". dada.compart-bremen.de . Retrieved 11 April 2018.
  2. ^ Herbert W. Franke: Grenzgebiete der bildenden Kunst, Staatsgalerie Stuttgart In: Katalog, 1972, Southward. 69.
  3. ^ "Boobs not bombs: The first always computer art was made possible past the Cold War... & it was a girly pic". Dangerous Minds. 2013-01-25. Retrieved 2013-10-09 .
  4. ^ Benj Edwards (2013-01-24). "The Never-Before-Told Story of the Earth's First Computer Fine art (It's a Sexy Matriarch)". The Atlantic . Retrieved 2013-10-09 .
  5. ^ O'Hanrahan, Elaine (2005). Drawing Machines: The automobile produced drawings of Dr. D. P. Henry in relation to conceptual and technological developments in car-generated art (United kingdom of great britain and northern ireland 1960–1968). Unpublished MPhil. Thesis. John Moores University, Liverpool.
  6. ^ Beddard, Accolade (26 May 2011). "Computer fine art at the V&A". Victoria and Albert Museum. Retrieved 22 September 2015.
  7. ^ Noll, A. Michael, "The Ancestry of Computer Art in the U.s.: A Memoir," Leonardo, Vol. 27, No. 1, (1994), pp. 39-44.
  8. ^ a b Dietrich, Frank (1986). "Visual Intelligence: The First Decade of Computer Art" (PDF). Leonardo: 159–169. CiteSeerX10.1.1.473.7750. doi:x.2307/1578284. JSTOR 1578284. Archived from the original (PDF) on 2016-03-22. Retrieved 2008-04-28 .
  9. ^ Preston, Stuart, "Art ex Machina," The New York Times, Sunday, Apr xviii, 1965, p. X23.
  10. ^ a b Raimes, Jonathan. (2006 ) The Digital Canvas, Abrams. ISBN 978-0-8109-9236-8
  11. ^ Page, No. 1, April 1969, p. 2.
  12. ^ Christoph Klütsch: The Summer 1968 in London and Zagreb: Starting or Finish Point for Computer art? Archived 2015-08-thirteen at the Wayback Motorcar (PDF 2,19 MB).
  13. ^ Nash, Katherine; Richard H. Williams (October 1970). "Calculator Program for Artists: ART I". Leonardo. The MIT Printing. 3 (four): 439–442. doi:10.2307/1572264. JSTOR 1572264. S2CID 192985628.
  14. ^ 'Reimer, Jeremy (October 21, 2007). "A history of the Amiga, part 4: Enter Commodore". Arstechnica.com . Retrieved June 10, 2011.
  15. ^ YouTube. [ expressionless YouTube link ]
  16. ^ Bruce Wands (2006). Art of the digital age . Thames & Hudson. ISBN978-0-500-23817-ii.
  17. ^ cyberneticzoo [cyberneticzoo.com/robots-in-art/1962-painting-machine-raymond-auger-american/] a history of cybernetic animals and early on robots
  18. ^ McCorduck, Pamela (1991). AARONS'due south Code: Meta-Fine art. Bogus Intelligence, and the Piece of work of Harold Cohen. New York: Westward. H. Freeman and Visitor. p. 210. ISBN0-7167-2173-2.
  19. ^ Helen Sloan,Art in a Complex System: The Paintings of Matthias Groebel January 2002 PAJ A Journal of Functioning and Art 24(one):127-132 DOI: 10.1162/152028101753401866
  20. ^ Gatys, Leon A.; Ecker, Alexander S.; Bethge, Matthias (2015). "A Neural Algorithm of Artistic Style". arXiv:1508.06576.
  21. ^ Jing, Y., Yang, Y., Feng, Z., Ye, J., & Song, M. (2017). Neural style transfer: A review. arXiv preprint arXiv:1705.04058.
  22. ^ Levin, Sam (xiv July 2016). "Why everyone is crazy for Prisma, the app that turns photos into works of fine art". The Guardian . Retrieved xvi March 2018.
  23. ^ "Facebook'due south tech boss on how AI will transform how we interact". New Scientist. 2016. Retrieved 16 March 2018.
  24. ^ Gershgorn, Dave (2016). "MIT is using AI to create pure horror". Quartz . Retrieved xvi March 2018.
  25. ^ Nicholas, Gabriel (11 December 2017). "These Stunning A.I. Tools Are Virtually to Alter the Art World". Slate . Retrieved 16 March 2018.

Further reading [edit]

  • Laurels 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 due north'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 Periodical of Aesthetics and Art Criticism, 55(2), Perspectives on the Arts and Engineering science, pp. 107–116.
  • Thomas Dreher: History of Figurer Art
  • Fernandez, Maria (2008). "Detached from history: Jasia Reichardt and Cybernetic Serendipity". Art Journal. 67 (3): 6–23. doi:10.1080/00043249.2008.10791311. S2CID 193026727. Archived from the original on 2009-02-04.
  • Virtual Fine art: From Illusion to Immersion (MIT Press/Leonardo Books) by Oliver Grau
  • Charlie Gere (2002). Digital culture . Reaktion Books. ISBN978-ane-86189-143-3.
  • Charlie Gere. (2006). White Heat, Cold Logic: Early British Calculator Art, co-edited with Paul Brown, Catherine Mason and Nicholas Lambert, MIT Press/Leonardo Books.
  • Mark Hansen. (2004). New Philosophy for New Media. Cambridge, MA: MIT Printing.
  • 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 Printing. ISBN978-0-262-63255-iii.
  • Lev Manovich. (2002, Oct). Ten Central Texts on Digital Art: 1970–2000. Leonardo - Volume 35, Number five, pp. 567–569.
  • Frieder Nake. (2009, Spring). The Semiotic Engine: Notes on the History of Algorithmic Images in Europe. Fine art Journal, pp. 76–89.
  • Perry One thousand., Margoni T., (2010) From music tracks to Google maps: Who owns computer-generated works? in Calculator 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 Automobile Made Art: The Troubled History of Computer Fine art. New York: Bloomsbury.
  • Usselmann, Rainer (October 2003). "The Dilemma of Media Fine art: Cybernetic Serendipity at the ICA London" (PDF). Leonardo. Cambridge, Massachusetts: The MIT Press. 36 (five): 389–396. doi:ten.1162/002409403771048191. S2CID 57564123. Archived from the original (PDF) on 2016-03-04. Retrieved 2022-01-17 .

External links [edit]

  • Media related to Computer art at Wikimedia Commons

witherspoonpetly1984.blogspot.com

Source: https://en.wikipedia.org/wiki/Computer_art

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