Randomness
From Maze
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(→Randomness and Aesthetics Before Computing) | (→Computational Randomness in Aesthetic Design) | ||
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[[File:VeraMolnar.png|400px|thumb|Vera Molnar (French, born Hungary 1924). Interruptions à recouvrements (Disturbances through overlappings). 1969 Ink on paper, edition 2 of 2, 11 7/16 x 30 5/16" (29 x 77 cm). Collection Anne and Michael Spalter.]] | [[File:VeraMolnar.png|400px|thumb|Vera Molnar (French, born Hungary 1924). Interruptions à recouvrements (Disturbances through overlappings). 1969 Ink on paper, edition 2 of 2, 11 7/16 x 30 5/16" (29 x 77 cm). Collection Anne and Michael Spalter.]] | ||
| + | Even before the SAGA II playlets, there were other literary experiments with randomness and computers. Noah Wardrip-Fruin identifies the British computer scientist Christopher Strachey as the creator of the first work of electronic literature, a series of "love letter" generated by the Ferranti Mark I computer at Manchester University in 1952. Affectionately known as M.U.C., the Manchester University Computer was programmed by Strachey to use its built-in random number generator to assemble love letters from fragments, in a combinatory method that predates Raymond Queneau's ''One Hundred Thousand Billion Poems'' by a decade (Wardrip-Fruin 2005). | ||
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[Randomness in art/computing appropriates the code/hardware from engineering uses.] | [Randomness in art/computing appropriates the code/hardware from engineering uses.] | ||
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Before personal computers, however, calculating machines could only be found in universities and research labs and because of the cost and perceived use. They were typically used exclusively for serious work, not for creating aesthetic images. When artists did gain access to these machines it was typically through artists-in-residence programs at companies such as Bell Labs and IBM, and through infrastructure such as Experiments in Art and Technology (E.A.T) based in New York and the Los Angeles County Museum of Art's Art and Technology initiative in Los Angeles. In fact, many of the first aesthetic computer graphics were made not by artists, but by mathematicians and engineers who were curious about the potential for other uses for the machines at their labs. | Before personal computers, however, calculating machines could only be found in universities and research labs and because of the cost and perceived use. They were typically used exclusively for serious work, not for creating aesthetic images. When artists did gain access to these machines it was typically through artists-in-residence programs at companies such as Bell Labs and IBM, and through infrastructure such as Experiments in Art and Technology (E.A.T) based in New York and the Los Angeles County Museum of Art's Art and Technology initiative in Los Angeles. In fact, many of the first aesthetic computer graphics were made not by artists, but by mathematicians and engineers who were curious about the potential for other uses for the machines at their labs. | ||
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| − | [Connect this previous paragraph to Christopher Strachey, SAGA II, and other early examples] | ||
Within the first years that computer images were made, random processes were explored thoroughly. The first two exhibitions of computer-generated graphics appeared in art galleries in 1965 and both shows included pieces that were created using random values. In New York, the works of A. Michael Noll and Bela Julesz, both researchers at Bell Labs, were exhibited at the Howard Wise gallery from 6-24 April under the title “Computer-Generated Pictures”. In Stuttgart, the works of Georg Nees and Frieder Nake were exhibited at the Wendelin Niedlich Gallery from 5 - 26 November under the title “Computer-Grafik Programme” | Within the first years that computer images were made, random processes were explored thoroughly. The first two exhibitions of computer-generated graphics appeared in art galleries in 1965 and both shows included pieces that were created using random values. In New York, the works of A. Michael Noll and Bela Julesz, both researchers at Bell Labs, were exhibited at the Howard Wise gallery from 6-24 April under the title “Computer-Generated Pictures”. In Stuttgart, the works of Georg Nees and Frieder Nake were exhibited at the Wendelin Niedlich Gallery from 5 - 26 November under the title “Computer-Grafik Programme” | ||
