Randomness
From Maze
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<blockquote>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.</blockquote> | <blockquote>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.</blockquote> | ||
| − | After the first wave of visual images were created on plotters and microfilm at universities and research labs, a few professional artists independently started to gain access to computers and use them in their practice. The artists with the most success in integrating a computer into their work had previously created drawings with logical systems. These artists continue to use computers in their work to this day. Manfred Mohr started as a jazz musician and later studied art in Paris; he started writing software to create drawings in 1969 at the Meteorological Institute of Paris during the night after the researchers left for the day. Edward Zajec studied painting in Slovenia and the United States; he starting working with computers while teaching at Carleton College in 1968. Charles Csuri... Other artists who worked seriously with computers in the late 1960s, either individually or with technical collaborators, include Lillian Schwartz, Colette Bangert, Stan Vanderbeek, and Harold Cohen. All of them employed random numbers in their early works created with software. | + | After the first wave of visual images were created on plotters and microfilm at universities and research labs, a few professional artists independently started to gain access to computers and use them in their practice. The artists with the most success in integrating a computer into their work had previously created drawings with logical systems. These artists continue to use computers in their work to this day. Manfred Mohr started as a jazz musician and later studied art in Paris; he started writing software to create drawings in 1969 at the Meteorological Institute of Paris during the night after the researchers left for the day. Edward Zajec studied painting in Slovenia and the United States; he starting working with computers while teaching at Carleton College in 1968. Other artists who worked seriously with computers in the late 1960s, either individually or with technical collaborators, include Lillian Schwartz, Colette Bangert, Stan Vanderbeek, and Harold Cohen. All of them employed random numbers in their early works created with software. |
In 1971, Mohr's work was featured in “Une Esthétique Programmée” at the Musée d'Art Moderne de la Ville de Paris. This exhibition is distinguished as the first solo show of artworks created with a computer to be shown at a museum. Random values were used extensively in the creation of the work. Charles Csuri's ''Random War'' (1967) is another early notable work of computer art to use random values. Like much of Csuri's early computer work and unique in relation to his contemporaries, the work is figurative rather than abstract. This plotter drawing is comprised of outlined military figures patterned off of the little green army men toys popular at the time. Each figure, named after a real person, is placed randomly on the page and given a random status: dead, wounded, or missing. The solders of one army are drawn in red and the other in black; the names and status of each soldier appear at the top of the drawing. In general terms, Csuri's work comments on the often arbitrary nature of war through both its form and content; more specifically, with his reliance on random number generation, Csuri gestures toward the days of computers and random numbers, and their inextricable link to the Cold War. | In 1971, Mohr's work was featured in “Une Esthétique Programmée” at the Musée d'Art Moderne de la Ville de Paris. This exhibition is distinguished as the first solo show of artworks created with a computer to be shown at a museum. Random values were used extensively in the creation of the work. Charles Csuri's ''Random War'' (1967) is another early notable work of computer art to use random values. Like much of Csuri's early computer work and unique in relation to his contemporaries, the work is figurative rather than abstract. This plotter drawing is comprised of outlined military figures patterned off of the little green army men toys popular at the time. Each figure, named after a real person, is placed randomly on the page and given a random status: dead, wounded, or missing. The solders of one army are drawn in red and the other in black; the names and status of each soldier appear at the top of the drawing. In general terms, Csuri's work comments on the often arbitrary nature of war through both its form and content; more specifically, with his reliance on random number generation, Csuri gestures toward the days of computers and random numbers, and their inextricable link to the Cold War. | ||
