Randomness
From Maze
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(→Computational Randomness in Aesthetic Design) | (→Computational Randomness in Aesthetic Design) | ||
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=== Computational Randomness in Aesthetic Design === | === Computational Randomness in Aesthetic Design === | ||
| + | [[File:Noll-Pattern2.png|400px|thumb|Pattern Two from "Patterns by 7090." A. Michael Noll, 1962]] | ||
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| + | [[File:Nake_Fields.png|400px|thumb|Frieder Nake: Fields of rectangular cross hatchings, overlaid by vertical lines. 22/10/65 Nr. 2. Computer drawing, ink on paper, 50 x 44 cm. Collection Etzold, Museum Abteiberg Mönchengladbach. Permission by the artist.]] | ||
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[An early example of this is a 1960 teleplay "written" by a computer at MIT, and then performed on CBS.] | [An early example of this is a 1960 teleplay "written" by a computer at MIT, and then performed on CBS.] | ||
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[Perlin Noise] | [Perlin Noise] | ||
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| − | [[File:Nake_Fields.png|400px|thumb|Frieder Nake: Fields of rectangular cross hatchings, overlaid by vertical lines. 22/10/65 Nr. 2. Computer drawing, ink on paper, 50 x 44 cm. Collection Etzold, Museum Abteiberg Mönchengladbach. Permission by the artist.]] | ||
The 1960s were a time for radical experimentation with randomness in the visual arts. Even though computers were an available tool to explore chance operations, they were used in a limited way because of problems of access to the machines and a distrust of technology within the arts. The 10 PRINT program is remarkable because it represents the time when these reasons for not using computers in the visual arts were disappearing; the C64 was relatively inexpensive and designed for home use and the image of the computer was changing from machines that support technocracies to learning and self-empowerment tools. | The 1960s were a time for radical experimentation with randomness in the visual arts. Even though computers were an available tool to explore chance operations, they were used in a limited way because of problems of access to the machines and a distrust of technology within the arts. The 10 PRINT program is remarkable because it represents the time when these reasons for not using computers in the visual arts were disappearing; the C64 was relatively inexpensive and designed for home use and the image of the computer was changing from machines that support technocracies to learning and self-empowerment tools. | ||
