Computer art: a personal recollection

ABSTRACT

The story of some early computer art drawings in 1965 is told. It is a story of randomness. Computer art is viewed here as the programming of classes of aesthetic objects. In the mid 1960s, information aesthetics was a powerful and radical theory that had some influence on constructive and concrete forms of art in Europe. A connection is drawn to computer supported works by A. Michael Noll in the US, and Georg Nees in Germany. "Experiment and tendency" is identified as an important principle still valid today. The concept of the algorithmic sign appears at the horizon. Digital media are claimed to be explorations of algorithmic signs.

REFERENCES

• 1: Bense, M. Einführung in die informationstheoretische Ästhetik. Reinbek: Rowohlt 1969.
• 2: Davis, D. Art and the future. New York: Praeger Publ. 1972.
• 3: Denegri, J. Constructive approach art. Exat 51 and new tendencies. Zagreb: Horetzky 2004.
• 4: Galerije grada Zagreba (ed.) bit international. (A journal dedicated to constructive and computer art, and to visual research, published between 1968 and 1972, 7 issues, 2 of them double).
• 5: Lunenfeld, P. (ed.) The digital dialectic. Cambridge: MIT Press 2003.
• 6: Maeda, J. Creative code. London: Thames and Hudson 2004.
• 7: Moles, A.A. Information theory and esthetic perception. Chicago: University of Illinois Press 1968.
• 8: Nake, F. Ästhetik als Informationsverarbeitung. Wien, New York: Springer 1974.
• 9: Nees, G. Generative Computer-Grafik. München: Siemens 1969.
• 10: Noll, A.M. The digital computer as a creative medium. IEEE Spectrum 4, 10 (Oct. 1967). Also in: Reichardt 1971, 143--164.
• 11: Reichardt, J. Cybernetics, art and ideas. London: Studio Vista 1971.

INDEX TERMS

Primary Classification:
  J. Computer Applications
  J.5 ARTS AND HUMANITIES
      Subjects: Fine arts

Keywords:
Nees, Noll, computer art, information aesthetics, semiotics