World Library  
Flag as Inappropriate
Email this Article

Computer art

Article Id: WHEBN0000353880
Reproduction Date:

Title: Computer art  
Author: World Heritage Encyclopedia
Language: English
Subject: Postmodern art, Digital art, Painting, Neo-conceptual art, Electronic art
Collection: Art Movements, Computer Art, Contemporary Art, Postmodern Art
Publisher: World Heritage Encyclopedia
Publication
Date:
 

Computer art

Arambilet: Dots on the I's, D-ART 2009 Online Digital Art Gallery, exhibited at IV09 and CG09 computer Graphics conferences, at Pompeu Fabra University, Barcelona; Tianjin University, China; Permanent Exhibition at the London South Bank University

Computer art is any Olga Kisseleva, John Lansdown, Perry Welman, and Jean-Pierre Hébert.

Contents

  • History 1
  • Output devices 2
  • Graphic software 3
  • Robot Painting 4
  • References 5
  • See also 6
  • Further reading 7

History

Picture by drawing machine 1, Desmond Paul Henry, c.1960s

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 (


  • 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
  • Virtual Art: From Illusion to Immersion (MIT Press/Leonardo Books) by Oliver Grau
  • Charlie Gere (2002). Digital culture.  
  • Charlie Gere. (2006). White Heat, Cold Logic: Early British Computer 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 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.  
  • Lev Manovich. (2002, October). Ten Key Texts on Digital Art: 1970-2000. Leonardo - Volume 35, Number 5, pp. 567–569.
  • Frieder Nake. (2009, Spring). The Semiotic Engine: Notes on the History of Algorithmic Images in Europe. 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.
  • Rainer Usselmann. (2003). "The Dilemma of Media Art: Cybernetic Serendipity at the ICA London", Cambridge, Massachusetts: The MIT Press/Leonardo Journal - Volume 36, Number 5, October 2003, pp. 389–396.

Further reading

See also

  1. ^ "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. Retrieved 2013-10-09. 
  2. ^ "The Never-Before-Told Story of the World's First Computer Art (It's a Sexy Dame) - Benj Edwards". The Atlantic. 2013-01-24. Retrieved 2013-10-09. 
  3. ^ Spartan Daily, May 3 1963
  4. ^ a b c Raimes, Jonathan. (2006 ) The Digital Canvas, Abrams. ISBN 978-0-8109-9236-8
  5. ^ Noll, A. Michael, “The Beginnings of Computer Art in the United States: A Memoir,” Leonardo, Vol. 27, No. 1, (1994), pp. 39-44.
  6. ^ a b Dietrich, Frank (1986). "Visual Intelligence: The First Decade of Computer Art" (PDF). pp. 159-169. Leonardo. Retrieved 2008-04-28. 
  7. ^ Preston, Stuart, “Art ex Machina,” The New York Times, Sunday, April 18, 1965, p. X23.
  8. ^ Page, No. 1, April 1969, p2.
  9. ^ Nash, Katherine; Richard H. Williams (October 1970). "Computer Program for Artists: ART I". Leonardo,  
  10. ^ Bruce Wands (2006). Art of the digital age.  

References

One of the first robot painters was AARON, an artificial intelligence/artist developed by Professor Harold Cohen, UCSD, in the mid-1970s. Another pioneer in the field, Ken Goldberg of UC Berkeley created an 11' x 11' painting machine in 1992. Multiple other robotic painters exist though none are currently mass-produced.

A Robot Painting is an artwork painted by a robot. It differs from other forms of printing that uses machinery such as offset printing and inkjet printing, in that the artwork is made up of actual brush strokes and artist grade paints. Many robot paintings are indistinguishable from artist created paintings.

Robot Painting

A robotic brush head painting a Zanelle.

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 program based on the Bézier curve introduced in 1987 and Adobe Photoshop, written by brothers Thomas and John Knoll in 1990 were developed for use on MacIntosh computers.[10] and compiled for DOS/Windows platforms by 1993.

Graphic software

In 1976, the inkjet printer was invented with the increase in use of personal computers. The inkjet printer is now the cheapest and most versatile option for everyday digital color output. RasterImage Processing (RIP) is typically built into the printer or supplied as a software package for the computer; it 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 another affordable output device available today.[4]

In the 1970s, the dot matrix printer (which was much like a typewriter) was used to reproduce varied fonts and arbitrary graphics. The first animations were created by plotting all still frames sequentially on a stack of paper, with motion transfer to 16-mm film for projection. During the 1970s and 1980s, dot matrix printers were used to produce most visual output while microfilm plotters were used for most early animation.[6]

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.

Formerly, technology restricted output and print results: early machines used pen-and-ink plotters to produce basic hard copy.

Output devices

Xerox Corporation’s Palo Alto Research Center (PARC) designed the first Graphical User Interface (GUI) in the 1970s. The first Macintosh computer is released in 1984, since then the GUI became popular. Many graphic designers quickly accepted its capacity as a creative tool.

Katherine Nash and Richard Williams published Computer Program for Artists: ART 1 in 1970.[9]

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". 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.

In 1968, the John Whitney, and Charles Csuri.[4] One year later, the Computer Arts Society was founded, also in London.[8]

Joseph Nechvatal 2004 Orgiastic abattOir

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.[7] 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.

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 .[5] His later computer-generated patterns simulated paintings by Piet Mondrian and Bridget Riley and became classics.[6] Noll also used the patterns to investigate aesthetic preferences in the mid-1960s.

[4][3] of San Jose State University wrote a computer program based on artistic principles, resulting in an early public showing of computer art in San Jose, California on May 6, 1963.James Larsen invented the Henry Drawing Machinine 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. In 1963 Desmond Paul Henry [2] air defense installation.SAGE girl at a pin-up [1]

This article was sourced from Creative Commons Attribution-ShareAlike License; additional terms may apply. World Heritage Encyclopedia content is assembled from numerous content providers, Open Access Publishing, and in compliance with The Fair Access to Science and Technology Research Act (FASTR), Wikimedia Foundation, Inc., Public Library of Science, The Encyclopedia of Life, Open Book Publishers (OBP), PubMed, U.S. National Library of Medicine, National Center for Biotechnology Information, U.S. National Library of Medicine, National Institutes of Health (NIH), U.S. Department of Health & Human Services, and USA.gov, which sources content from all federal, state, local, tribal, and territorial government publication portals (.gov, .mil, .edu). Funding for USA.gov and content contributors is made possible from the U.S. Congress, E-Government Act of 2002.
 
Crowd sourced content that is contributed to World Heritage Encyclopedia is peer reviewed and edited by our editorial staff to ensure quality scholarly research articles.
 
By using this site, you agree to the Terms of Use and Privacy Policy. World Heritage Encyclopedia™ is a registered trademark of the World Public Library Association, a non-profit organization.
 


Copyright © World Library Foundation. All rights reserved. eBooks from Project Gutenberg are sponsored by the World Library Foundation,
a 501c(4) Member's Support Non-Profit Organization, and is NOT affiliated with any governmental agency or department.