DOCSLIB.ORG

What Is Generative Art?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
What Is Generative Art? Digital Creativity ISSN: 1462-6268 (Print) 1744-3806 (Online) Journal homepage: https://www.tandfonline.com/loi/ndcr20 What is generative art? Margaret A. Boden & Ernest A. Edmonds To cite this article: Margaret A. Boden & Ernest A. Edmonds (2009) What is generative art?, Digital Creativity, 20:1-2, 21-46, DOI: 10.1080/14626260902867915 To link to this article: https://doi.org/10.1080/14626260902867915 Published online: 01 Dec 2010. Submit your article to this journal Article views: 1959 View related articles Citing articles: 45 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=ndcr20 Digital Creativity 2009, Vol. 20, Nos. 1–2, pp. 21–46 What is generative art? Margaret A. Boden1 and Ernest A. Edmonds2 1Centre for Cognitive Science, University of Sussex 2Creativity & Cognition Studios, University of Technology, Sydney [email protected] Abstract 1 Introduction There are various forms of what’s sometimes Since the late-1950s, an ever-diversifying set called generative art, or computer art. This of novel art practices has arisen which are still paper distinguishes the major categories little known or discussed in aesthetics and art and asks whether the appropriate aesthetic theory. (For a wide variety of examples, see: criteria—and the locus of creativity—are the Krueger 1991; Wilson 2002; Candy and same in each case. Edmonds 2002; Whitelaw 2004; Woolf 2004; Popper 2007.) As Jon McCormack, one of the Keywords: computer art, generative art, artists concerned, has put it, interactive art, computational creativity [M]uch of the innovation today is not achieved within the precious bubble of fine art, but by those who work in the industries of popular culture–computer graphics, film, music videos, games, robotics and the Internet (McCormack 2003, p. 5). The “bubble of fine art” refers to a shifting socially accepted norm. Artists often work outside the norm of their day, as famously illustrated by Marcel Duchamp and his ready- mades or John Cage and silence. The novel approaches that McCormack mentions are closely related, both theoretically and metho- dologically—so much so, that they are often all lumped together under one label: “computer art”, “electronic art”, or “generative art”. One aim of this paper is to clarify how they can be distinguished. Theoretically, this new art originated in cybernetics and general systems theory. The young painter Roy Ascott, later to be highly influential in the field, identified the novel activity as “a cybernetic vision” (1966/67). And the exceptionally creative cybernetician Gordon Pask was a key influence. For besides producing and/or imagining some of the first artworks of this general type (in the 1950s), he provided much of the theoretical impetus that inspired the more philosophically minded artists in the field (Boden 2006, p. 4.v.e). Very soon, the “cybernetic vision” was bolstered by ideas about structure and process drawn from computer science. This paper’s co-author Ernest Edmonds, for instance, turned DOI: 10.1080/14626260902867915 Boden and Edmonds from paintbrush and easel to the computer in The resulting artworks are highly diverse. the1960s: he thought he could produce more They include music, sonics, the visual arts, interesting art in that way (see Section 3). At video art, multimedia installations, virtual much the same time, music and visual art was reality, kinetic sculpture, robotics, performance produced which reflected AI’s computational art and text. And whereas some of these theories of mind. Indeed, Harold Cohen, a outside-the-bubble activities place ink or paint renowned abstract painter in 1960s London, onto a surface, others involve desk-top VDUs deserted his previous working practices largely or room-scale video-projection. Yet others because he felt that doing computer art would eschew the virtuality of cyberspace, construct- help him to understand his own creative ing moving physical machines instead. Digital Creativity, Vol. 20, Nos. 1–2 processes (McCorduck 1991; Boden 2004, The labels attached to these new art forms pp. 150–166, 314f.). vary and have not yet settled down into a Over the past twenty years, this artistic field generally accepted taxonomy. The names has been inspired also by ideas about emer- preferred by the artists involved include: gence, evolution, embodiment, and self- generative art, computer art, digital art, organisation. These concepts are borrowed computational art, process-based art, electronic from various areas of cognitive science and in art, software art, technological art and particular from artificial life (A-Life). However, telematics. All of those terms are commonly the theoretical roots of A-Life reach back to used to denote the entire field–and (although mid-century cybernetics and automata theory distinctions are sometimes drawn) they are (Boden 2006, p. 4.v.e, 15.iv-v). In short, the often treated as synonyms. In addition, there theoretical wheel has turned full circle. are names for subfields: interactive art, The methodological wheel, meanwhile, has evolutionary art, video art, media (and climbed an ascending spiral. For the art new-media and multimedia) art, holographic practices outside the bubble are grounded in art, laser art, virtual art, cyborg art, robotic art, technologies for communication and infor- telerobotics, net art ... and more. Again, the mation processing whose power and variety extension of these labels is not always clear. have burgeoned over the last half-century. It’s partly for that reason that “a satisfactory (Often, this means that the customary lone artist critical framework of new forms in art tech- is replaced by a team, some of whose members nology has yet to be developed” (Candy and may be computer scientists and/or tele- Edmonds 2002, p. 266). We hope that the dis- engineers.) tinctions made in this paper may help towards Most of them rely heavily on digital com- such a framework. Mainly, however, we aim to puting and in particular on methods drawn from outline some philosophical problems that arise AI/A-Life. Specifically, they have employed with respect to the art that lies outside both symbolic and connectionist computation, McCormack’s “precious bubble”. and—more recently—cellular automata, L- In Section 2, we sketch the history and systems and evolutionary programming too. current usage of some of the new labels within This is an ascending spiral, not a linear ascent, the artistic community concerned. Then, in because two of those ‘recent’ methods were Section 3, Edmonds gives a brief autobiogra- foreseen (by John von Neumann) in 1950s phical account of why he chose—and now cybernetics, and all three had been mathemat- chooses—one name rather than another for his ically defined by the 1960s—but none could be own art. fruitfully explored, by artists or scientists, until Section 4 distinguishes various categories, powerful computers became available much focusing especially on computer art, generative later (Boden 2006, p. 15.v-vi). art, evolutionary art, robotic art and interactive 22 What is generative art? art. The terms we define here use words that are Noll that was exhibited in New York between Digital Creativity, Vol. 20, Nos. 1–2 already being used by the artists in question. the two German shows was also generative. Indeed, we hope that our analysis may help Others pioneering the activities outside readers to interpret these artists’ discussions of McCormack’s bubble also adopted the term. their work. But we are not aiming to offer a For example, when Manfred Mohr, who knew report of common usage because, as already Nake, started producing drawings with a com- remarked, such usage is not consistent. Rather, puter program in 1968 he termed it ‘generative our account is intended as a theoretical tool art’. (Mohr still uses that description of his with which to highlight certain distinctions that work and uses it in the same sense.) And the have philosophical and/or aesthetic interest. philosopher Max Bense—who had composed The philosophical issues concerned are the manifesto for the original Stuttgart exhibi- indicated in Section 5. We’ll see that ton of 1965—was writing about what he called judgements concerning creativity, authorial ‘generative aesthetics’ (Nake 1998). Alterna- responsibility, agency, autonomy, authenticity tive tags were already being offered, however: and (sometimes) ontology are even more an influential discussion by the art historian problematic outside the precious bubble than Jack Burnham (1968), for instance, identified inside it. To explore these matters fully would the new work as ‘process art’. be beyond the scope of this paper. But we In music, the use of computer systems to identify some pertinent questions and some produce work started very early on. By 1957 possible responses to them. Lejaren Hiller and Leonard Isaacson had created the Illiac Suite for String Quartet (Hiller and Isaacson 1958) and in 1962 Iannis Xenakis completed the Stochastic Music 2 A terminological history program. Xenakis published essays on for- The terms ‘generative art’ and ‘computer art’ malised music, including this program in the have been used in tandem, and more or less same year (in English, Xenakis 1971) and was interchangeably, since the very earliest days. a key figure in the development of computer- For the first exhibition of computer art was generated music. Probably as a result of this called Generative Computergraphik (see the early start, the development of computer- description of the event in Nake 2005). It was generative music preceded that of computer- held in Stuttgart in February 1965 and showed generative visual art. the work of Georg Nees. Four years later he Not all generative visual art involves com- produced the first PhD thesis on computer art, puters. Pre-computer examples include such giving it the same title as the exhibition (Nees clear cases as Kenneth Martin, whose 1949 1969).
Load more

Recommended publications
  • Women's Colleges with Digital Media Majors/Minors Carlow University
    Women’s Colleges with Digital Media Majors/Minors Carlow University, Pittsburgh PA, has Art/Graphic Design, Media Arts & Animation, and Multimedia and Web Design majors. These are associated with the Art Institute of Pittsburgh, and are designed to combine a liberal arts education with concentration in the arts using the Art Institute’s established computer studios. http://www.carlow.edu/academics/schools/div-humanities/art-graphic-major.html Chatham University, Pittsburgh PA, offers a Visual Arts major with an Electronic Media Concentration, in which courses “emphasize emerging media production and critical analysis of new media forms.” The University has new technology and software and other resources within the Electronic Media program. http://www.chatham.edu/departments/artdesign/undergrad/visualart/index.cfm College of Notre Dame, Baltimore MD, has a new Digital Media Arts major for academic year 2007-2008. This major will include “a solid foundation in technology, a rich creative background in the arts, and the communication skills necessary to convey ideas in the digital realm.” Part of the reason for the major is because of the value digital media in businesses and communication. In order to fulfill the major, students complete an advanced internship with a local business in order to “refine their professional competencies.” http://www.ndm.edu/Academics/UndergraduateMajors/digitalmediaarts.cfm Georgian Court University, Lakewood NJ, offers a Bachelor of Fine Arts degree in Art with a graphic design/illustration concentration. Required courses for this major include Computer Graphics, Professional Practices in Imaging, and Digital Imaging. This program relates more to the business/communications aspect of graphic design, rather than having a technological focus.
    [Show full text]
  • WORDS MADE FLESH Code, Culture, Imagination Florian Cramer
    WORDS MADE FLESH Code, Culture, Imagination Florian Cramer Me dia De s ign Re s e arch Pie t Z w art Ins titute ins titute for pos tgraduate s tudie s and re s e arch W ille m de Kooning Acade m y H oge s ch ool Rotte rdam 3 ABSTRACT: Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and exper- imental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that en- compasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persis- tence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh. Media Design Research Piet Zwart Institute institute for postgraduate studies and research Willem de Kooning Academy Hogeschool Rotterdam http://www.pzwart.wdka.hro.nl The author wishes to thank Piet Zwart Institute Media Design Research for the fellowship on which this book was written. Editor: Matthew Fuller, additional corrections: T. Peal Typeset by Florian Cramer with LaTeX using the amsbook document class and the Bitstream Charter typeface. Front illustration: Permutation table for the pronounciation of God’s name, from Abraham Abulafia’s Or HaSeichel (The Light of the Intellect), 13th century c 2005 Florian Cramer, Piet Zwart Institute Permission is granted to copy, distribute and/or modify this document under the terms of any of the following licenses: (1) the GNU General Public License as published by the Free Software Foun- dation; either version 2 of the License, or any later version.
    [Show full text]
  • Software Art: Image
    NYUAD - Interactive Media Syllabus Software Art: Image NYU Abu Dhabi — Interactive Media SOFTWARE ART: IMAGE IM-UH 2115 Fall 2017 COURSE SYLLABUS Instructor Pierre Depaz ([email protected]) Meeting Time Tuesday — 10:25AM - 1:05PM Thursday — 11:50AM - 1:05PM Classroom C3-153 Office C3-032 Office Hours Open-door policy Credits 2 Class website https://github.com/pierredepaz/software-art-image !1 of !12 NYUAD - Interactive Media Syllabus Software Art: Image This course counts towards the following NYUAD degree requirement: • Multidisciplinary Minors > Interactive Media • Majors > Art and Art History Course Description Although computers only appeared a few decades ago, automation, repetition and process are concepts that have been floating around artists’ minds for almost a century. As machines enabled us to operate on a different scale, they escaped the domain of the purely functional and started to be used, and understood, by artists. The result has been the emergence of code-based art, a relatively new field in the rich tradition of arts history that today acts as an accessible new medium in the practice of visual artists, sculptors, musicians and performers. Software Art: Image is an introduction to the history, theory and practice of computer-aided artistic endeavours in the field of visual arts. This class will focus on the appearance of computers as a new tool for artists to integrate in their artistic practice, how it shaped a specific aesthetic language and what it reveals about technology and art today. We will be elaborating and discussing concepts and paradigms specific to computing platforms, such as system art, generative art, image processing and motion art.
    [Show full text]
  • Open Etoth Dissertation Corrected.Pdf
    The Pennsylvania State University The Graduate School The College of Arts and Architecture FROM ACTIVISM TO KIETISM: MODERIST SPACES I HUGARIA ART, 1918-1930 BUDAPEST – VIEA – BERLI A Dissertation in Art History by Edit Tóth © 2010 Edit Tóth Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 The dissertation of Edit Tóth was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Adviser Chair of Committee Sarah K. Rich Associate Professor of Art History Craig Zabel Head of the Department of Art History Michael Bernhard Associate Professor of Political Science *Signatures are on file in the Graduate School ii ABSTRACT From Activism to Kinetism: Modernist Spaces in Hungarian Art, 1918-1930. Budapest – Vienna – Berlin investigates modernist art created in Central Europe of that period, as it responded to the shock effects of modernity. In this endeavor it takes artists directly or indirectly associated with the MA (“Today,” 1916-1925) Hungarian artistic and literary circle and periodical as paradigmatic of this response. From the loose association of artists and literary men, connected more by their ideas than by a distinct style, I single out works by Lajos Kassák – writer, poet, artist, editor, and the main mover and guiding star of MA , – the painter Sándor Bortnyik, the polymath László Moholy- Nagy, and the designer Marcel Breuer. This exclusive selection is based on a particular agenda. First, it considers how the failure of a revolutionary reorganization of society during the Hungarian Soviet Republic (April 23 – August 1, 1919) at the end of World War I prompted the Hungarian Activists to reassess their lofty political ideals in exile and make compromises if they wanted to remain in the vanguard of modernity.
    [Show full text]
  • Videogame Art and the Legitimation of Videogames by the Art World
    Videogame Art and the Legitimation of Videogames by the Art World xCoAx 2015 Computation Communication Sofia Romualdo Aesthetics Independent researcher, Porto, Portugal and X [email protected] Glasgow Scotland Keywords: videogames, art, art world, legitimation 2015.xCoAx.org The legitimation process of a new medium as an accepted form of art is often accelerated by its adaptation by acclaimed artists. Examining the process of acceptance of popular culture, such as cinema and comic books, into the art world, we can trace histori- cal parallels between these media and videogames. In recent years, videogames have been included in exhibitions at specialty muse- ums or as design objects, but are conspicuously absent from tra- ditional art museums. Artists such as Cory Arcangel, Anne-Marie Schleiner and Feng Mengbo explore the characteristics of videog- ames in their practices, modding and adapting the medium and its culture to their needs, creating what is often called Videogame art, which is widely exhibited in art museums but often criticised within the videogames community. This paper aims to give a per- spective of Videogame art, and explore its role in the legitimation process of the videogame medium by the art world. 152 1 Introduction The assimilation of a new medium into the art world has, tradi- tionally, been a matter of contention throughout the history of art. Media such as photography, film, television, street art and comic books struggled to be recognized and respected for several years after their creation, but were eventually accepted into the network comprised of galleries, museums, biennials, festivals, auctions, critics, curators, conservators, and dealers, defined thus by art historian Robert Atkins: The art world is a professional realm – or subculture in anthropological lan- guage – akin to those signified by the terms Hollywood or Wall Street.
    [Show full text]
  • On the Human Role in Generative Art: a Case
    ON THE HUMAN ROLE IN GENERATIVE ART: A CASE STUDY OF AI-DRIVEN LIVE CODING ANTONIO POŠĆIĆ Independent Scholar [email protected] GORDAN KREKOVIĆ Visage Technologies [email protected] https://doi.org/10.34632/jsta.2020.9488 ABSTRACT The constant evolution of philosophical views on art is interwoven with trajectories of accelerating technological development. In the current vehement emergence of generative algorithms there is an immediate need for making sense of modern technologies that increasingly seem to step in the realm that has been reserved for humans – creativity. This paper aims to understand the role of the human in generative art by demystifying Vol. 12, n. 3 (2020): pp. 45-62 implications of black-box generative algorithms and their applications for artistic purposes. First, we present examples of current practice and research in generative art with a special interest in music that served as foundation for our work. Then, we introduce Anastatica (2020), a part performance, part installation built on the basis of data-driven generative live coding. Finally, we discuss the various implications of AI in art through a case study rooted in Anastatica’s development and performance. Here we trace the path from algorithms to intelligence, applying both musical and computer science theory to a practical case of generating a live coding musical performance, with special focus given to aesthetic, compositional, conceptual, and phenomenological implications. Journal of Science and Technology of the Arts, of the Journal of Science and Technology Keywords: Artificial intelligence; Generative art; Live coding; Generative music; Computer art. 46 1. INTRODUCTION In broad terms, artificial intelligence (AI) is any sort of intelligence exhibited by machines (Nilsson 1998).
    [Show full text]
  • Download Download
    Media-N | The Journal of the New Media Caucus 2019: Volume 15, Issue 1, Pages 69–81 ISSN: 1942-017X Media-N | The Machines Wave Back CHAD M. EBY Assistant Professor, Herron School of Art + Design, IUPUI ABSTRACT This paper examines notions of autonomy and agency in the context of understanding artist and rules system relationships within an Autonomous Art System (AAS). The concept of Create / Read / Update / Delete is borrowed from computer engineering as a metaphor for a role-based (rather than medium-based) framework for classifying AASs and, combined with the discussion of autonomy and agency, forms the basis for a new taxonomic system of Autonomous Art Systems for analysis, categorization and comparison. “A chipped pebble is almost part of the hand it never leaves. A thrown spear declares a sort of independence the moment it is released.” – Isaac Asimov, “The machine and the robot” in Robot Visions “The machines aren’t very smart yet, but we’re teaching them this stuff all the time. We’re giving them eyes and ears and we’re giving them access to our world. We’re sharing our social spaces with them increasingly. They increasingly live like the render ghosts, on the borders of our world, and they’re starting to share it with (us). – James Bridle, “Waving at the Machines” INTRODUCTION The purpose of this paper is to propose a way to describe degrees of autonomy and agency in Autonomous Art Systems (hereafter, AAS) to aid in analysis, categorization and comparison of such systems, and to consider their boundary conditions in an art-making context.
    [Show full text]
  • Painting in a Digital World: I Told You So
    AUTHOR James Faure Walker University of the Arts, Camberwell London, United Kingdom Painting in a Digital World: [email protected] I Told You So Over the past 10 years, the proportion of painters who use comput­ like say hello. The curator of new media will casually mention that ers in their work has been rising, and rising dramatically. They may painting is "over" as if it were a given among the digerati. Here is not all be expert users, and they probably know next to nothing a phrase from the SIGGRAPH 2005 Electronic Art and Animation about digital art or its origins, and nothing at all about its pioneer art­ Catalog: "... the now-weary exertions of the 20th century's picture ists. They will not have heard of SIGGRAPH. They read Frieze. They plane." Yet the pot-pourri of post-modernist styles suggests oth­ probably outnumber hardcore digital artists by a factor of 50 to one. erwise. That concept of progress in art, of one phase superseding So if we are to speak of the way things are going in "digital art," they another, whether tired or not - that's history. So "new media" is on a are part of the picture. somewhat anachronistic track: a one-way track. No going back! No mixing! It's all historically determined! Goodbye non-interactive art! In the 1990s, it was different. Only a handful of galleries (special- You're exhausted! Any attempt to integrate, to reconcile the disci­ ist digital art galleries) exhibited inkjet prints as fine art. Today it is plines of that wretched, tired-out 20 picture-plane, is doomed.
    [Show full text]
  • The Creativity of Artificial Intelligence in Art
    The Creativity of Artificial Intelligence in Art Mingyong Cheng Duke University October 19th, 2020 Abstract New technologies, especially in the field of artificial intelligence, are dynamic in transforming the creative space. AI-enabled programs are rapidly contributing to areas like architecture, music, arts, science, and so on. The recent Christie's auction on the Portrait of Edmond has transformed the contemporary perception of A.I. art, giving rise to questions such as the creativity of this art. This research paper acknowledges the persistent problem, "Can A.I. art be considered as creative?" In this light, the study draws on the various applications of A.I., varied attitudes on A.I. art, and the processes of generating A.I. art to establish an argument that A.I. is capable of achieving artistic creativity. 1 Table of Contents Chapter One ..................................................................................................................................... 4 1.1 Introduction ............................................................................................................................ 4 2.1 Overview ................................................................................................................................ 7 2.2 Defining Artificial Intelligence .............................................................................................. 8 2.3 Application of AI in Various Fields .................................................................................... 10 2.3.1 Music ............................................................................................................................
    [Show full text]
  • Cyberarts 2018
    Hannes Leopoldseder · Christine Schöpf · Gerfried Stocker CyberArts 2018 International Compendium Prix Ars Electronica Computer Animation · Interactive Art + · Digital Communities Visionary Pioneers of Media Art · u19–CREATE YOUR WORLD STARTS Prize’18 Grand Prize of the European Commission honoring Innovation in Technology, Industry and Society stimulated by the Arts INTERACTIVE ART + Navigating Shifting Ecologies with Empathy Minoru Hatanaka, Maša Jazbec, Karin Ohlenschläger, Lubi Thomas, Victoria Vesna Interactive Art was introduced to Prix Ars Electronica farewell and prayers of a dying person into the robot as a key category in 1990. In 2016, in response to a software; seeking life-likeness—computational self, growing diversity of artistic works and methods, the and environmental awareness; autonomous, social, “+” was added, making it Interactive Art +. and unpredictable physical movement; through to Interactivity is present everywhere and our idea of the raising of a robot as one's own child. This is just what it means to engage with technology has shifted a small sample of the artificial ‘life sparks’ in this from solely human–machine interfaces to a broader year’s category. Interacting with such artificial enti- experience that goes beyond the anthropocentric ties draws us into both a practical and ethical dia- point of view. We are learning to accept machines as logue about the future of robotics, advances in this other entities we share our lives with while our rela- field, and their role in our lives and society. tionship with the biological world is intensified by At the same time, many powerful works that deal the urgency of environmental disasters and climate with social issues were submitted.
    [Show full text]
  • COMPUTER ART As a WAY of LIFE
    COMPUTER ART as a WAY OF LIFE By Gene Youngblood hen I think of computer art I think of Chicago, and of four people there- Jane Veeder, Phil Morton, Dan Sandin and Tom De Fanti-who are pioneer- ring a visual art form that ultimately is not visual at all, but rather the cre- ation of language, and of conversational "envi- ronments" out of which will emerge our future images and the images of our future. Together Wwith Steina and Woody Vasulka in Santa Fe, they inspired me, taught me, and changed me profoundly over thelast tenyears. With infinite patience and dedication, with the passion of vi- sionary seekers, they guided me ever deeper into the digital domain and caused me at last to understand that computer graphics is some- thing more than art, that it is a kind of practical philosophy, a way of life, a way of being in the world anda way of creating a world to be in. No story reflects this more vividlythan that of Jane Veeder, an artist-programmer whose life and work epitomize both the unique computer- art community in Chicago and a personal path- way of growth and discovery that will become representative of the life of the artist in our time. In my opinion, Veeder stands with Ed Em- shwiller and Larry Cuba as one of the most gifted computer artists working in America to- day. Relatively unknown until recently, she is beginning to get the recognition she deserves. Her 1982 animation Montana is the only work of computer graphics in the Museum of Modern Art's video collection, and her interactive paint program/arcade game Warpitout-the sensation of the SIGGRAPH '82 Art Show in Boston-will later this year be installed at the Ontario Sci- ence Center in Toronto, one of the most presti- gious science museums in the world.
    [Show full text]
  • Cyberarts 2021 Since Its Inception in 1987, the Prix Ars Electronica Has Been Honoring Creativity and Inno- Vativeness in the Use of Digital Media
    Documentation of the Prix Ars Electronica 2021 Lavishly illustrated and containing texts by the prize-winning artists and statements by the juries that singled them out for recognition, this catalog showcases the works honored by the Prix Ars Electronica 2021. The Prix Ars Electronica is the world’s most time-honored media arts competition. Winners are awarded the coveted Golden Nica statuette. Ever CyberArts 2021 since its inception in 1987, the Prix Ars Electronica has been honoring creativity and inno- vativeness in the use of digital media. This year, experts from all over the world evaluated Prix Ars Electronica S+T+ARTS 3,158 submissions from 86 countries in four categories: Computer Animation, Artificial Intelligence & Life Art, Digital Musics & Sound Art, and the u19–create your world com - Prize ’21 petition for young people. The volume also provides insights into the achievements of the winners of the Isao Tomita Special Prize and the Ars Electronica Award for Digital Humanity. ars.electronica.art/prix STARTS Prize ’21 STARTS (= Science + Technology + Arts) is an initiative of the European Commission to foster alliances of technology and artistic practice. As part of this initiative, the STARTS Prize awards the most pioneering collaborations and results in the field of creativity 21 ’ and innovation at the intersection of science and technology with the arts. The STARTS Prize ‘21 of the European Commission was launched by Ars Electronica, BOZAR, Waag, INOVA+, T6 Ecosystems, French Tech Grande Provence, and the Frankfurt Book Fair. This Prize catalog presents the winners of the European Commission’s two Grand Prizes, which honor Innovation in Technology, Industry and Society stimulated by the Arts, and more of the STARTS Prize ‘21 highlights.
    [Show full text]