Randomness
From Maze
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(→Computational Randomness in Aesthetic Design: Adding Noll and Nake text) | (→Computational Randomness in Aesthetic Design) | ||
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:Within a given (arbitrarily chosen) image size, a random number of hatchings were generated. Each one of them was determined by the following random variables: location (x, y), size (a, b), orientation of lines within rectangle (horizontal or vertical), number of lines, pen. So for each rectangle there were seven random numbers determining its details. | :Within a given (arbitrarily chosen) image size, a random number of hatchings were generated. Each one of them was determined by the following random variables: location (x, y), size (a, b), orientation of lines within rectangle (horizontal or vertical), number of lines, pen. So for each rectangle there were seven random numbers determining its details. | ||
| − | MORE NAKE | + | [More on NAKE's random work] |
[Vera Molnar] | [Vera Molnar] | ||
| − | Writing with perspective in 1970, Noll highlights randomness as an essential feature of the computer in relation to the arts, “The computer is a unique device for the arts since it can function solely as an obedient tool with vast capabilities for controlling complicated and involved processes, but than again, full exploitation of its unique talents for controlled randomness and detailed algorithms could result in an entirely new medium – a creative artistic medium.” | + | The 1982 film Tron is a landmark in the history of computation and aesthetics. This film pushed the aesthetics of computer graphics as far as they had been to date, and it therefore reveals the strongest limitation of computer images at the time. The images are purely geometric and cold in feeling; they lack the organic qualities of our larger world. Ken Perlin, one of the programmers for the film was frustrated with the clean look and he invented a technical called Perlin Noise to generate textures... A few years later, all Hollywood computer graphics used his technique for creating more realistic water, fire, and smoke... |
| − | [Perlin Noise for organic texture (clouds, flames, etc.)] | ||
[Random values for mutation in genetic algorithms] | [Random values for mutation in genetic algorithms] | ||
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| + | Today, within the traditional visual arts, the most widely known artists that utilize random values still do so without computers. For example, 2002 Turner Prize winner Keith Tyson has designed sculptures entirely through rolling dice. Simultaneously in the last decade, however, as a new generation of visual artists have started to program their work, computed random numbers have played an increased role in the visual landscape. The most prominent programming languages used by visual artists have functions for generating random numbers, noise values, and setting the random seed value to repeat a sequence. [Maybe more] | ||
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| + | With the perspective of time, it seems that aesthetic computational work and random values are intertwined. Writing with perspective in 1970, Noll highlights randomness as an essential feature of the computer in relation to the arts, “The computer is a unique device for the arts since it can function solely as an obedient tool with vast capabilities for controlling complicated and involved processes, but than again, full exploitation of its unique talents for controlled randomness and detailed algorithms could result in an entirely new medium – a creative artistic medium.” | ||
=== Randomness in Contemporary Computing === | === Randomness in Contemporary Computing === | ||
