Frieder Nake
ABSTRACT
Early algorithmic art (also called computer art or digital art) is chosen as a case to differentiate three aspects of creative behavior: trivial, personal, and historic creativity. Extending a remark by Marcel Duchamp on the role of the spectator in fully completing a work of art, one - perhaps controversial - position in the history of art of the 20th century claims that the artist only generates the material work, whereas society transforms the work into an accepted work of art. This position leads to differentiation in the concept of creativity. The paper discusses different shades of creativity. It is of interest both to digital art, and to creativity research.
- Weizenbaum, J., Computer Power and Human Reason. W. H. Freeman, San Francisco, CA, 1976. Google Scholar
Digital Library
- Franchi, St.,&Güüzeldere. G. (eds.), Mechanical Minds, Computational Bodies. MIT Press, Cambridge MA, 2005 - See, in particular, the editors' remarks on Herbert A. Simon's predictions of 1958, p. 65--66.Google Scholar
- Hentig, H. v., Kreativität. Hohe Erwartungen an einen schwachen Begriff. Hanser, München, 1998.Google Scholar
- Guilford, J. P., The Nature of Human Intelligence. McGraw-Hill, New York, 1967Google Scholar
- Florida, R., The Rise of the Creative Class. Basic Books, New York, 2002.Google Scholar
- Partridge, D.,&Rowe, J., Computers and Creativity. Intellect, Oxford, 1994.Google Scholar
- Cybernetic Serendipity. Catalogue of the exhibition at Inst. of Contemporary Art, London, 2 Aug. - 20 Oct., 1968. Special issue of studio international, ed. by Jasia Reichardt, 1968.Google Scholar
- Usselmann, R., The Dilemma of Media Art: Cybernetic Serendipity at the ICA London, Leonardo 36, No. 5 (2003).Google Scholar
- bit international. Bi-lingual magazine, publ. by Galerije Grada Zagreba. Each issue dedicated to a special topic.Google Scholar
- McLuhan, M., Understanding Media: The Extensions of Man. McGraw-Hill, New York, 1964.Google Scholar
- Hilbert, D., Grundlagen der Geometrie (Foundations of Geometry), originally publ. in 1899. Teubner, Stuttgart, 1968.Google Scholar
- Csikszentmihalyi, M., Creativity. Flow and the Psychology of Discovery and Invention. Harper Collins Publ., New York, 1996.Google Scholar
- Duchamp, M., The creative act. In R. Lebel: Marcel Duchamp. Paragraphic Books, New York, 1959, 77/78.Google Scholar
- Gerstner, K., quoted in Produkt: Kunst! Wo bleibt das Original? Catalog of an exhibition at Neues Museum Weserburg Bremen, 1997, p. 53.Google Scholar
- Bodemann-Ritter, C. (ed.), Jeder Mensch ein Künstler. Gespräche auf der documenta 5. Ullstein, Berlin, 1975.Google Scholar
- McCorduck. P., Aaron's Code. W. H. Freeman, New York, 1991. Google ScholarDigital Library
- Lunenfeld, P. (ed.), The Digital Dialectic. New Essays on New Media. MIT Press, Cambridge MA, 1999 Google ScholarDigital Library
Index Terms
- Creativity in algorithmic art
Recommendations
Computers and modern art: digital art museum
C&C '02: Proceedings of the 4th conference on Creativity & cognitionThis paper focuses on the relationship between fine art movements in the 20th C and the pioneers of digital art from 1956 to 1986. The research is part of a project called Digital Art Museum, which is an electronic archive devoted to the history and ...
Brief History of Computer Art and New Media Art in Latvia
IV '11: Proceedings of the 2011 15th International Conference on Information VisualisationThe Soviet and particularly Latvian computer art is not a well-known topic of digital art history. This paper attempts to analyze this computer art in context of the 20th century art, considering the political circumstances in Soviet Union. At the turn ...
Digital islamic art: the use of digital technologies in contemporary islamic art in the UK
EVA '16: Proceedings of the conference on Electronic Visualisation and the ArtsIn this paper, I provide a brief introduction to my artistic practice combining the use of digital technologies with traditional methods for producing Islamic art. Looking at further examples of Islamic artworks by artists in the UK I describe how in ...
Comments