DOCSLIB.ORG

Algorithmic Art: Technology, Mathematics and Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Algorithmic Art: Technology, Mathematics and Art See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/4359618 Algorithmic art: Technology, mathematics and art Conference Paper · July 2008 DOI: 10.1109/ITI.2008.4588386 · Source: IEEE Xplore CITATIONS READS 3 2,297 1 author: Vlatko Ceric University of Zagreb 17 PUBLICATIONS 123 CITATIONS SEE PROFILE All content following this page was uploaded by Vlatko Ceric on 29 May 2014. The user has requested enhancement of the downloaded file. Algorithmic Art: Technology, Mathematics and Art Vlatko Ceric Faculty of Economics and Business, Trg J.F.Kennedyja 6, 10000 Zagreb, Croatia [email protected] Abstract. This paper describes algorithmic art, the more narrowly I limit my field of action and i.e. visual art created on the basis of algorithms the more I surround myself with obstacles». that completely describe generation of images. So it is not quite sure whether to start painting Algorithmic art is rooted in rational approach to on a blank paper without any constraints is art, technology and application of mathematics. necessarily easier than to have a constraint that, It is based on computer technology and for example, you only use squares of two sizes. particularly on programming that make The rest of this paper is organized as follows: algorithmic art possible and that influences it In Section 2 we describe relations between art most. Therefore we first explore relations of and technology, while Section 3 presents the role technology and mathematics to art and then of computer technology in development of describe algorithmic art itself. digital art, and particularly of algorithmic art. Section 4 discusses rational approach to art by Keywords. Art, Technology, Computer, presenting approaches of several well known Mathematics, Algorithmic Art. artists. In section 5 rich relations of mathematics and art is described. Section 6 presents the role 1. Introduction of algorithms in generation of visual art pieces from the technical side, while Section 7 gives an Algorithmic art is visual art generated on the overview of algorithmic art, its history and main basis of algorithms that completely describe proponents. Finally, Section 8 presents generation of images. This kind of art is strongly conclusions. related with contemporary computer technology Author of this paper used some of the and especially with computer programming. materials from his earlier texts [2] and [3]. Another influence to algorithmic art is related with mathematics that is used in algorithms for 2. Art and technology image generation. It is clear that it is technically possible to Visual arts have seen birth of a number of produce images by computer programs based on technologies, especially in the last six centuries. some algorithm. However, the question is Some of them are gravure (invented around whether under such strong constraint that image 1400), print (1440), lithography (1796), has to be created by an algorithm (instead of e.g. photography (1830) and serigraphy (1920). use image processing tools like Photoshop where Development of new technologies was always human hand can be involved in creating the a stimulus for artists to try to use them for image) it is possible to create interesting, original creation of new expression, expression that was or even aesthetically valuable visual works. not possible with existing technological tools. Interesting thoughts about producing artworks Although technology is a medium for artistic under constraints come from the famous Russian work, new tools for work very often become composer Igor Stravinsky in his essay “The inspiration for new approaches and give birth to Poetics of Music» [12]. Stravinsky literally new ideas. Visual art is e.g. hardly imaginable without Albrecht Dürer’s engravings, but the fact wrote: «My freedom thus consists in my moving th about within the narrow frame that I have is that artists before 1400 didn’t have gravure at assigned myself for each one of my their disposal. undertakings”. And he also added even more Modern technologies based on computers and communication, developed in the second half of strongly: “I shall go even further: my freedom th will be so much the greater and more meaningful 20 century, gave a new powerful stimulus for developing of fresh expression. On the first place are computers, then various input devices like mouse or scanner, various output devices like Program generated or processed information is screens, inkjet printers or 3D printers, image used in algorithmic art. processing tools like Photoshop, Internet with its Graphical information that are generated by popular Web and email services, etc. programs or processed after obtained from We will now analyse the main characteristics diverse input devices can be shown on different of computer generated art, also called digital art output devices like screens, printers or plotters. It (although this title doesn’t seem to be very is also possible to create dynamically changing appropriate in the era of digitalisation of image structures, e.g. graphical animations. everything including art). Interactivity with computer can lead to constant changes in image structures that we see on the 3. Computer generated art screen, e.g. as a consequence of changing the position of objects or their temperature “Many years of exploration in art, science distribution that are detected by appropriate and technology have brought us such fields as sensors. Sensors continuously send this detected computer graphics, computer animation and information to the computer program in charge music, scientific visualization and multimedia that uses updated values of input variables and design – all of which are having tremendous on the basis of them generate change of the impact in the artistic, educational, research and image wee see. commercial communities” – C. Harris, Editor of Enormous potential of information and Leonardo Books communication technologies led to numerous Let us first see what new features that were approaches to application of computers in visual not present in earlier generations of visual arts. Some of these are digital imaging (creating technologies are specific for computer as a key 2D images), digital sculpture (creating 3D tool for enabling computer generated art. To images using CAD type of tools), digital begin with, computer is the first tool for symbol installations and virtual reality (e.g. interactive processing in human history, and this means for environments or data-driven installations that use processing of any kind of symbols humans use real-time information obtained from Internet), like numbers, characters, geometric figures and performance and sound art, digital animation and lines, images, sounds, etc. video, software art (e.g. interactive drawing) and Besides that computer is executing operations net art (various art forms that use Internet). that are programmed. It can repeat a huge Description of different forms of digital art number of complex programmed operations and presentation of numerous examples of these extremely fast and precise. This gives the forms can be found in Bruce Wand’s book «Art computer an enormous potential for support of the Digital Age» [15]. developing human creativity, the potential that no technology yet had. Programming and 4. Art and rationality flexible processing of input information also enabled interactivity, again a completely new “A man paints with his brains, not with his technological feature of considerable interest for hands” - Michelangelo art. Programming also enabled animation, a Although art is often considered as an feature used in many art activities. intuitive activity related mostly with emotions Besides, networked computers enabled and inspiration, this is certainly not the only communication, cooperation and transport of approach to art. Finally, artists have to learn information on huge distances, and thus about art theory, technology and techniques in additionally increased abilities of information order to have an appropriate background for technology in many art fields. creating artwork. All these are disciplines based Computer generated visual art is using on rational approach. But rational approach is potential of computers for generation and primarily important in creation of artworks. processing of visual and possibly also other During the history of art numerous techniques information. Information can either be directly were devised in order to obtained particular generated from programs or it can come from artistic effects. This is e.g. the case for various input devices like scanners, mouse or pointillism and cubism. Thus Georges-Pierre different type of databases, to be processed either Seurat developed pointillism as almost analytical by image processing tools or by programs. technique in which painting is done using discrete colour dots with complementary colours being next to each other. Cubism devised of the physical world and that the universe was technique of painting objects from several points ordered and explainable in geometric terms [7]. of view that provided a novel view on portrayed Thus for example two famous Renaissance objects. Studying of colour theory, light, and artists, Leonardo da Vinci and Albrecht Dürer perception was also necessary in order to fully were studying and using knowledge on utilize colours and develop desired colouristic perspective, human body proportions (especially effects. da Vinci), optics and science of colours in Perspective is another analytic
Load more

Recommended publications
  • Transformations in Sirigu Wall Painting and Fractal Art
    TRANSFORMATIONS IN SIRIGU WALL PAINTING AND FRACTAL ART SIMULATIONS By Michael Nyarkoh, BFA, MFA (Painting) A Thesis Submitted to the School of Graduate Studies, Kwame Nkrumah University of Science and Technology in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY Faculty of Fine Art, College of Art and Social Sciences © September 2009, Department of Painting and Sculpture DECLARATION I hereby declare that this submission is my own work towards the PhD and that, to the best of my knowledge, it contains no material previously published by another person nor material which has been accepted for the award of any other degree of the University, except where due acknowledgement has been made in the text. Michael Nyarkoh (PG9130006) .................................... .......................... (Student’s Name and ID Number) Signature Date Certified by: Dr. Prof. Richmond Teye Ackam ................................. .......................... (Supervisor’s Name) Signature Date Certified by: K. B. Kissiedu .............................. ........................ (Head of Department) Signature Date CHAPTER ONE INTRODUCTION Background to the study Traditional wall painting is an old art practiced in many different parts of the world. This art form has existed since pre-historic times according to (Skira, 1950) and (Kissick, 1993). In Africa, cave paintings exist in many countries such as “Egypt, Algeria, Libya, Zimbabwe and South Africa”, (Wilcox, 1984). Traditional wall painting mostly by women can be found in many parts of Africa including Ghana, Southern Africa and Nigeria. These paintings are done mostly to enhance the appearance of the buildings and also serve other purposes as well. “Wall painting has been practiced in Northern Ghana for centuries after the collapse of the Songhai Empire,” (Ross and Cole, 1977).
    [Show full text]
  • Gyã¶Rgy Kepes Papers
    http://oac.cdlib.org/findaid/ark:/13030/c80r9v19 No online items Guide to the György Kepes papers M1796 Collection processed by John R. Blakinger, finding aid by Franz Kunst Department of Special Collections and University Archives 2016 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc Guide to the György Kepes M1796 1 papers M1796 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: György Kepes papers creator: Kepes, Gyorgy Identifier/Call Number: M1796 Physical Description: 113 Linear Feet (108 boxes, 68 flat boxes, 8 cartons, 4 card boxes, 3 half-boxes, 2 map-folders, 1 tube) Date (inclusive): 1918-2010 Date (bulk): 1960-1990 Abstract: The personal papers of artist, designer, and visual theorist György Kepes. Language of Material: While most of the collection is in English, there is also a significant amount of Hungarian text, as well as printed material in German, Italian, Japanese, and other languages. Special Collections and University Archives materials are stored offsite and must be paged 36 hours in advance. Biographical / Historical Artist, designer, and visual theorist György Kepes was born in 1906 in Selyp, Hungary. Originally associated with Germany’s Bauhaus as a colleague of László Moholy-Nagy, he emigrated to the United States in 1937 to teach Light and Color at Moholy's New Bauhaus (soon to be called the Institute of Design) in Chicago. In 1944, he produced Language of Vision, a landmark book about design theory, followed by the publication of six Kepes-edited anthologies in a series called Vision + Value as well as several other books.
    [Show full text]
  • Art Gallery: Global Eyes Global Gallery: Art 152 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG Adamczyk Walt J
    Art Gallery: Global Eyes Chair Vibeke Sorensen University at Buffalo Associate Chair Lina Yamaguchi Stanford University ELECTRONIC ART & ANIMATION CATALOG ELECTRONIC ART & ANIMATION ART GALLERY ART 151 Table of Contents 154 Art Gallery Jury & Committee 176 Joreg 199 Adrian Goya 222 Masato Takahashi 245 Andrea Polli, Joe Gilmore 270 Peter Hardie 298 Marte Newcombe 326 Mike Wong imago FACES bogs: Instrumental Aliens N. falling water Eleven Fifty Nine Elevation #2 156 Introduction to the Global Eyes Exhibition Landfill 178 Takashi Kawashima 200 Ingo Günther 223 Tamiko Thiel 246 Joseph Rabie 272 Shunsaku Hayashi 327 Michael Wright Running on Empty Takashi’s Seasons Worldprocessor.com The Travels of Mariko Horo Psychogeographical Studies Perry’s Cowboy • Animation Robotman Topography Drive (Pacific Rim) Do-Bu-Ro-Ku 179 Hyung Min Lee 224 Daria Tsoupikova 158 Vladimir Bellini 247 r e a Drought 328 Guan Hong Yeoh Bibigi (Theremin Based on Computer-Vision Rutopia 2 La grua y la jirafa (The crane and the giraffe) 203 Qinglian Guo maang (message stick) 274 Taraneh Hemami Here, There Super*Nature Technology) A digital window for watching snow scenes Most Wanted 225 Ruth G. West 159 Shunsaku Hayashi 248 Johanna Reich 300 Till Nowak 329 Solvita Zarina 180 Steve Mann ATLAS in silico Ireva 204 Yoichiro Kawaguchi De Vez En Cuando 276 Guy Hoffman Salad See - Buy - Fly CyborGLOGGER Performance of Hydrodynamics Ocean Time Bracketing Study: Stata Latin 226 Ming-Yang Yu, Po-Kuang Chen 250 Seigow Matsuoka Editorial 301 Jin Wan Park, June Seok Seo 330 Andrzej
    [Show full text]
  • Glossaire Infographique
    Glossaire Infographique André PASCUAL [email protected] Glossaire Infographique Table des Matières GLOSSAIRE ILLUSTRÉ...............................................................................................................................................................1 des Termes techniques & autres,.....................................................................................................................................1 Prologue.......................................................................................................................................................................................2 Notice Légale...............................................................................................................................................................................3 Définitions des termes & Illustrations.......................................................................................................................................4 −AaA−...........................................................................................................................................................................................5 Aberration chromatique :..................................................................................................................................................5 Accrochage − Snap :........................................................................................................................................................5 Aérosol,
    [Show full text]
  • Biological Agency in Art
    1 Vol 16 Issue 2 – 3 Biological Agency in Art Allison N. Kudla Artist, PhD Student Center for Digital Arts and Experimental Media: DXARTS, University of Washington 207 Raitt Hall Seattle, WA 98195 USA allisonx[at]u[dot]washington[dot]edu Keywords Agency, Semiotics, Biology, Technology, Emulation, Behavioral, Emergent, Earth Art, Systems Art, Bio-Tech Art Abstract This paper will discuss how the pictorial dilemma guided traditional art towards formalism and again guides new media art away from the screen and towards the generation of physical, phenomenologically based and often bio-technological artistic systems. This takes art into experiential territories, as it is no longer an illusory representation of an idea but an actual instantiation of its beauty and significance. Thus the process of making art is reinstated as a marker to physically manifest and accentuate an experience that takes the perceivers to their own edges so as to see themselves as open systems within a vast and interweaving non-linear network. Introduction “The artist is a positive force in perceiving how technology can be translated to new environments to serve needs and provide variety and enrichment of life.” Billy Klüver, Pavilion ([13] p x). “Art is not a mirror held up to reality, but a hammer with which to shape it.” Bertolt Brecht [2] When looking at the history of art through the lens of a new media artist engaged in several disciplines that interlace fields as varying as biology, algorithmic programming and signal processing, a fairly recent paradigm for art emerges that takes artistic practice away from depiction and towards a more systems based and biologically driven approach.
    [Show full text]
  • Extending Mandelbox Fractals with Shape Inversions
    Extending Mandelbox Fractals with Shape Inversions Gregg Helt Genomancer, Healdsburg, CA, USA; [email protected] Abstract The Mandelbox is a recently discovered class of escape-time fractals which use a conditional combination of reflection, spherical inversion, scaling, and translation to transform points under iteration. In this paper we introduce a new extension to Mandelbox fractals which replaces spherical inversion with a more generalized shape inversion. We then explore how this technique can be used to generate new fractals in 2D, 3D, and 4D. Mandelbox Fractals The Mandelbox is a class of escape-time fractals that was first discovered by Tom Lowe in 2010 [5]. It was named the Mandelbox both as an homage to the classic Mandelbrot set fractal and due to its overall boxlike shape when visualized, as shown in Figure 1a. The interior can be rich in self-similar fractal detail as well, as shown in Figure 1b. Many modifications to the original algorithm have been developed, almost exclusively by contributors to the FractalForums online community. Although most explorations of Mandelboxes have focused on 3D versions, the algorithm can be applied to any number of dimensions. (a) (b) (c) Figure 1: Mandelbox 3D fractal examples: (a) Mandelbox exterior , (b) same Mandelbox, but zoomed in view of small section of interior , (c) Juliabox indexed by same Mandelbox. Like the Mandelbrot set and other escape-time fractals, a Mandelbox set contains all the points whose orbits under iterative transformation by a function do not escape. For a basic Mandelbox the function to apply iteratively to each point �" is defined as a composition of transformations: �#$% = ��ℎ�������1,3 �������6 �# ∗ � + �" Boxfold and Spherefold are modified reflection and spherical inversion transforms, respectively, with parameters F, H, and L which are described below.
    [Show full text]
  • Insight: Algorithmic Art in the Digital Age," the State Press, September 14, 2020
    Ellefson, Sam. "Insight: Algorithmic art in the digital age," The State Press, September 14, 2020 Insight: Algorithmic art in the digital age Artists working with algorithms have existed for centuries, and computers have helped bolster their work Photo by Nghi Tran (https://www.statepress.com/staff/nghi-tran) | The State Press "Algorithmic art predates the rise of technology with evidence found from Islamic tessellation to 15th-century Renaissance art." Illustration published on Sunday Sept. 13 2020 By Sam Ellefson (https://www.statepress.com/staff/sam-ellefson) | 09/14/2020 8:10pm In our present-day, digital art is de ned by its limitless stylistic possibilities and methodologies. During its formative years, neoterics sought to further the existing relationship between mathematics and art through the burgeoning technologies of the postmodern age. One of the earliest instances of digital art, born out of an urge to challenge conventional means of creating work and explore technology's relationship between aesthetic and intellectual value, is Ben Laposky's "Oscillon (http://www.vasulka.org/archive/Artists3/Laposky,BenF/ElectronicAbstractions.pdf)" works. These abstract electrical compositions, as the Iowa-born mathematician-turned-abstractionist Laposky described them, were generated by photographing electronic beams outputted by a cathode ray oscilloscope with sine wave generators. As computers gradually became more accessible to academics in the latter portion of the 20th century, mathematicians and scientists began to delve into artistic
    [Show full text]
  • Generalized Fractals for Computer Generated Art: Preliminary Results Charles F
    Purdue University Purdue e-Pubs Weldon School of Biomedical Engineering Faculty Weldon School of Biomedical Engineering Working Papers 9-14-2017 Generalized Fractals for Computer Generated Art: Preliminary Results Charles F. Babbs Purdue University, [email protected] Follow this and additional works at: http://docs.lib.purdue.edu/bmewp Part of the Biomedical Engineering and Bioengineering Commons Recommended Citation Babbs, Charles F., "Generalized Fractals for Computer Generated Art: Preliminary Results" (2017). Weldon School of Biomedical Engineering Faculty Working Papers. Paper 15. http://docs.lib.purdue.edu/bmewp/15 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. GENERALIZED FRACTALS FOR COMPUTER GENERATED ART: PRELIMINARY RESULTS Charles F. Babbs, MD, PhD* *Weldon School of Biomedical Engineering, Purdue University, West Lafayette, Indiana, USA Abstract. This paper explores new types of fractals created by iteration of the functions xn+1 = f1(xn, yn) and yn+1 = f2(xn, yn) in a general plane, rather than in the complex plane. Iteration of such functions generates orbits with novel fractal patterns. Especially interesting are N-th order polynomials, raised to a positive or negative integer power, p, p p N N N N j i j i f1(xn , yn ) ai jxn yn and f2 (xn , yn ) bi jxn yn . i0 j0 i0 j0 Such functions create novel fractal patterns, including budding, spiked, striped, dragon head, and bat-like forms. The present faculty working paper shows how to create a rich variety of complex and fascinating fractals using this generalized approach, which is accessible to students with high school level skills in mathematics and coding.
    [Show full text]
  • Laboratory & Diagnosis
    Laboratory & Diagnosis Official Journal of Iranian Association of Clinical Laboratory Doctors Supplement Issue for IQC 17 Editorial Board Members: Dr. Kamaledine. Bagheri, DCLS Dr. Saeed Mahdavi, DCLS Dr. Mohammad Reza Bakhtiari, DCLS, PhD Dr. Ali Sadeghitabar, DCLS Dr. Mohammad Ghasem Eslami, DCLS Dr. Mohammad Sahebalzamani, DCLS Dr. S. Mohammad Hasan Hashemimadani, DCLS Dr. Narges Salajegheh, DCLS Executive Board Members: Ali Adibzadeh Sara Tondro Sedigheh Jalili Azam Jalili Mohammad Kazemi Leyla Pourdehghan Maryam Fazli Marzieh Moradi Mehrnosh shokrollahzadeh Layout by: Navid Ghahremani Circulation: 1000 copies Address: 1414734711, No.29, Ardeshir Alley, Hashtbehesht S t., Golha Square, Fatemi Ave, Tehran – Iran Telefax: (+98 21) 88970700 Laboratory & Diagnosis Vol. 10, No 42, Supplement Issue Message of Congress Chairman Dr. Mohammad Sahebalzamani DCLS In the Name of God We are planning to hold the 12th International Congress and 17th National Congress on Quality Improvement of Clinical Laboratory Services on 21-23 April 2019. We have tried to invite prominent national and international scientists and experts to take part in the event and present their scientific theories in order to ensure the improvement of congress’ quality. Congress authorities are going to provide the participants with a peaceful, friendly and jolly environment, together with scientific initiatives, as the outcome of scientific research of the congress. Modern researches of clinical sciences are in the course of rapid development and our country has a significant role in this venture. Hence, the authorities have to make a fundamental planning in order to increase enthusiasms and motivations of this large and educated s tratum. We mus t not isolate the scientific elements, scientists and skilled and experienced experts by performing incorrect activities and mus t avoid emptying out the scientific channels by superficial approaches.
    [Show full text]
  • Thoughts on Generative Art
    Bridges Finland Conference Proceedings Thoughts on Generative Art David Chappell Department of Math, Physics and Computer Science University of La Verne, La Verne, CA, USA [email protected] Abstract I reflect on my mathematical art-making process and speculate on how it might relate to contemporary art practice. What does mathematical art represent and how does it relate to generative art? Is generative art a form of abstraction, illustration or realism? I use examples from my own work to guide the discussion. Introduction The term “generative art” usually applies to art in which the artist gives up some degree of control to an automated system. The system could be a mechanical drawing machine or a digital computer, or it could be a set of prescribed rules that the artist (or someone else) follows in producing the work. Galanter [1] defines generative art in the following way: Generative art refers to any art practice where the artist uses a system, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is set into motion with some degree of autonomy contributing to or resulting in a completed work of art. As Galanter observes, generative art is a classification of process rather than of style, content or ideology. Thus, it does not constitute a movement in the way that, for example abstract expressionism does, but rather represents a tool that can be used in a wide variety of ways. Adopting Galanter’s definition, generative art includes repetitive patterns, algorithmic art, many forms of op art, rule-based conceptual art, algorithmic music, computer-generated imagery (CGI), and, as we will see, many forms of mathematical art.
    [Show full text]
  • An Interactive Shader Editor Made for Programmers and Artists
    An Interactive Shader Editor Made for Programmers and Artists Master's Project Thesis Joshua Bailey MSc Computer Animation and Visual Effects 23rd August 2021 Abstract This project documents the process of creating a Ray Marching tool, accessible to both programmers and artists, used to create 3D fragment shaders. The tool aims to provide a sandbox-like environment to shader development, be inclusive of a range of abilities and have the capability to be used as a scaffolding tool within a pedagogical environ- ment. The resultant tool successfully provides users with a choice between a code or node editor, with the former relying on previous graphics programming experience and the later not. Further development of the tool would require an increased complexity and variety of nodes available within the node editor, to create more elaborate shader programs. 1 Contents 1 Introduction 1 2 Previous Work 2 2.1 Shadertoy . .2 2.2 hg sdf .......................................2 2.3 Learning Graphics Programming . .3 2.4 Node-based Editors . .4 3 Technical Background 6 3.1 Object Representation . .6 3.2 Ray Marching . .6 3.3 Lighting . .8 4 Implementation 9 4.1 Project Objectives . .9 4.1.1 Objective 1 { Shader Development . .9 4.1.2 Objective 2 - Accessibility and Inclusivity . .9 4.1.3 Objective 3 - Teaching and Learning . .9 4.1.4 Considerations . .9 4.2 Core Functionality . 10 4.2.1 Code Editor . 10 4.2.2 Node Editor . 11 4.3 Saving / Loading . 13 4.4 Examples . 13 4.4.1 RGB Spheres . 13 4.4.2 Constructive Solid Geometry (CSG) .
    [Show full text]
  • Pionners of Computer Art, II RCM GALERIE
    Pionners of Computer Art, II RCM GALERIE Pioneers of Computer Art Colette Bangert, Aldo Giorgini, Jean-Pierre Hebert, Desmond Paul Henry, Hervé Huitric, Ken Knowlton, Charles Mattox, Manfred Mohr, Monique Nahas, Jacques Palumbo, Edward Zajec 20 June - 31 July 2019 RCM Galerie Monique Nahas (b. 1940) and and Hervé Huitric (b. 1945) co-counded the Groupe Art et Informatique de Vincennes and were among the preeminent artists working with computers in France in the late 1960s and 1970s. Their work explores how computer algorithms can be transformed into colored images. They first worked with a CAE 510 and then an IBM 1130 writing programs in Algol and then Fortran that created random variations in constructivist color schemes. Instead of working on a palette with rules of transition, the duo considered color as a continuous variable, while treating color as a set of percentages of its basic components. Although interested in how the computer changed the rules of art, their works in the early seventies are highly influenced by pontilism, especially Georges Seurat. The duo's first work used a coded sequence of letters then printed on a plotter. R for Red, B for Blue etc. Each square was then hand painted. The couple then developed a stencil method, using the punch cards and screenprinting artwork using a plotter. The couple exhibited widely in the 1970s, including the New Tendency 5 exhibition in Zagreb. Monique Nahas and Hervé Huitric Cube, 1971 Layered perforated program cards, paint, wood, lacquer 12 x 12 x 12 inches Unique Monique Nahas and Hervé Huitric Untitled, 1971 Double serigraph 31.5 x 22 in One of two copies Signed on verso Monique Nahas and Hervé Huitric Monique Nahas and Hervé Huitric Untitled, 1971 Untitled, 1971 Computer print, hand-painted 6.2 x 7.8 in Computer print, hand-painted 9.4 x 7.4 in Unique Unique Signed on verso Signed on verso 1 1 - ' ' I I ..._ / / • / / .
    [Show full text]