Randomness

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[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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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. Certainly, one reason for this reluctance is the stigma surrounding the computer use in art. Manfred Moore, an pioneer of computer-generated art remarked in an interview, "I called my work generative art, or occasionally also algorithmic works. The problem was that no-one understood either of these terms, and I was forced -- so to speak -- to declare my drawings as art from the computer... people accused me of degrading art, because I was employing capitalistic instruments of ware -- computer was a word non grata!".[ddaa p. 35] While Mohr was referring to the 1970s, the aversion to computers remains strong today within contemporary art.

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Within 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]

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.”

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@@ Line 73: / Line 73: @@
 [Random values for mutation in genetic algorithms]
-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]
+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. Certainly, one reason for this reluctance is the stigma surrounding the computer use in art. Manfred Moore, an pioneer of computer-generated art remarked in an interview, "I called my work generative art, or occasionally also algorithmic works. The problem was that no-one understood either of these terms, and I was forced -- so to speak -- to declare my drawings as art from the computer... people accused me of degrading art, because I was employing capitalistic instruments of ware -- computer was a word non grata!".[ddaa p. 35] While Mohr was referring to the 1970s, the aversion to computers remains strong today within contemporary art.
+Within 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]
 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.”