INDEX A 142–144, 151, 153, 157, 168, 179, A Computer in the Art Room: The Origins 283, 291–292 of British Computer Arts, 19, 58, 207, Artificial Intelligence Meets Natural 307 Stupidity, 72, 87 AARON Arts and Humanities Reseach Council, acrobats-and-balls period, 65, 67 45 early 1990s period, 66 As We May Think, 39, 55 jungle period, 65 Ascott, Roy, 24, 38–41, 49, 54, 64, 185, program, 140, 145 211, 221, 227, 230, 239 Adelaide Festival, 302 Ashby, William Ross, 39, 114–115, 123 aesthetic evaluation, 51 Atari, 217–218 AHRC, 23 audience experience, 235, 252, 255, 261 Akam, Yaacov, 226 Audiovisions, 244, 249 Alberro, Alexander, 214, 221 Audiovisual Discourse, 241, 243–244, Aldis, Maddy, 246 248 Alexander, Igor, 29 Australasian CRC for Interaction Design, Algorithmic Poetry, 310, 312 23 ALgorithmically Integrated Composing Australian Government's Research Environment (ALICE), 68 Centres Programme, 23 Amarel, Saul, 80, 82 authorial responsibility, 27, 33, 35, 47, ambient art, 17, 251–252 49–50 American Association for AI (AAAI), 61, auto-destructive, 32, 58 153 Autogena, Lise, 107 An X on America, 280–281 automata theory, 24 And Herein of the True Functions of the Autonomy, 5, 13, 19, 27, 35, 37, 47–48, Workman in Art, 19, 104, 157 50, 55, 104, 304, 306 Apple Macintosh, 218, 350 Autopoiesis, 39, 52 Aristotle, 9, 37, 242, 312 B ARPAnet, 38 Babbage, Charles, 77 Ars Poetica, 312 Bach, Johann Sebastian, 68, 346 Art and Technology Committee, 183 BACON program, 79 Art Appreciation, 7, 40, 44, 91–95, 97, BACON suite, 64, 80 99, 101, 103, 105, 129 Baltic, 348–349 art in software, 15, 215 Bann, Stephen, 201, 205–206, 246, 248 Art Theory, 23, 212 Barbaud, Pierre, 292–293 art-generating program, 36, 45, 92, 141 Barthes, Roland, 280 artificial genomes, 114 Bartlett, Frederic, 69 artificial intelligence (AI), 3–6, 19, 24, Beautiful Phase Violations, 348 34–35, 49–50, 55–64, 68–74, 77–88, Beethoven, Ludwig van, 69–70, 92 97, 102, 104, 107, 122–125, 129, 365 366 INDEX behavior of collectors, 191 C Benjamin, Walter, 4, 139 CA-art examples, 34 Bense, Max, 25, 143, 292–293 Cage, John, 23, 226, 228, 299 Bernstein, Jeremy, 352 Candy, Linda, 17–19, 23, 26, 55–59, Bertalanffy, Ludvig von, 114, 124, 236, 83–84, 105, 151, 179, 223, 227, 234, 239 239, 254–261 Bertrand-Castel, Louis, 243 Cardiomorphologies, 252, 261 Beta_Space, 17, 252, 256 Cariani, Peter, 81 Beyond Modern Sculpture, 55, 306 Carnegie Mellon group, 79 Beyond the Buzz, 45 Carroll/Fletcher, 189–190 Biasi, Alberto, 200 Castelli, Leo, 193 Biccoca, Hanger, 349 Castner, Frederick, 243 Bilda's Engagement Framework cellular automata, 24, 35, 102, 107, Adaptation, 259 120, 231, 357 Anticipation, 259 CG-art, definition of, 33–34 Deeper understanding, 259–260 CG-Artists' Skills, 95–100 Learning, 259 Chamberlain, John, 315 Bilda, Zafer, 255, 258–260 Chance and Order and Chance, Order, Bill, Max, 14, 199–200, 206 Change, 31 Biological evolution, 9, 49, 81–82, 100, Chopin style, 69 109–116 choreographing, 339, 342 Bird, Jonathan, 28, 54, 59, 116–117, Christov-Bakargiev, Carolyn, 183 121, 124–126 chromatic music, 248 Bishop, Bainbridge, 243 Church-Turing thesis, 33 Black Elk, 309–312 CI-art, definition of, 40–41 Black Shoals Stock Market Planetarium, Clark, Andy, 52 107 Clark, Sean, 15–16, 42 Blow, Joe, 82, 148 Claude Monet's water lily, 37 Boden, Margaret A., 3, 5, 23, 61, 91, Closed system, 224 107, 127, 155, 282, 301 Cohen, Harold, 6–7, 18, 24, 48, 58, Bollo, Alessandro, 251, 260 64–67, 83, 96, 104, 107, 125, 140, Boole, George, 314 152, 167, 187, 205, 216, 265–266, Boreham, Dominic, 204 269, 282–284, 305–306 boundaries of art, 215 Collingwood's theory of art, 10–11 Brecht, George, 315–316 Collingwood, Robin, 7, 10–11, 19, Breton, Andre, 31–32, 55 93–94, 127–153, 176 Briscoe, Chris, 303, 305 ColorField painters, 42, 54, 146 British Computer Society, 143 colorist, 35, 68, 140 Bronte, Charlotte, 156 colour organ/color organ, 243, 249 Bronte, Emily, 155–156 Communications Game, 38 Brown, Andrew, 269, 343–346 computational art, 25, 29, 238, 270 Brown, Paul, 35, 48, 58–59, 119, 163, Computational Intelligence, 23 175, 204–205, 209, 270, 301–302 Computer Art Brown, Richard, 28–29, 101, 168 and Art World, 183–186 Brown, Spencer, 306 and Gothic art, 155 Burnham, Jack, 26, 55, 212–215, 221, definition of, 29 227, 239, 306 Taxonomy of, 27–32 Bush, Vannevar, 39 367 INDEX computer arts (C-art) Copley, Peter, 71 3-D printing (3DP-art), 27, 46 Cornock, Stroud, 15, 19, 46, 56, 98, artwork on the Internet (Net-art), 104, 201–202, 206, 224, 230, 239 27, 45 Correspondence 1, 246–247 computer-assisted art (CA-art), 27 Costello's Pleasure Framework computer-generated art (CG-art), 27, Camaraderie, 258 45 Captivation, 258 computer-generated virtual world Competition, 258 (VR-art), 27, 46 Creation, 257 digital art (D-art), 27, 45 Danger, 258 electronic art (Ele-art), 27, 45 Difficulty, 258 evolutionary art (Evo-art), 27, 45 Discovery, 258 generative art (G-art), 27, 45 Exploration, 257 interactive art (CI-art), 27, 46 Fantasy, 258 interactive art (I-art), 27, 46 Sensation, 258 live coding art (LC-art), 27, 46 Simulation, 258 robotic art (R-art), 27, 45 Subversion, 258 Computer Arts Society (CAS), 63, 171, Sympathy, 258 186, 194, 302, 308, 330 Costello, Brigid, 46, 56, 257–261 Computer Arts, Contexts, Histories, etc. Courbet, Gustave, 11 (CACHe), 303, 307–308 Cramer, Florian, 210–211, 221 computer code, 3, 15, 17, 188, 197, Creative Skills, 91, 93, 95, 97–99, 101, 241, 265, 267–268, 339 103, 105 Computer Graphics, 23, 25, 59, 89, 104, Cronly-Dillon, John R., 115, 125 119, 126, 153, 170, 187, 201, Cybernetic Landscapes, 275–276 217–218, 271–277, 280, 317–318 Cybernetic Serendipity, 87, 98, 104, computer programming, 3, 15–16, 171, 119–120, 126, 143, 165, 179, 186, 200–206, 209–212, 219, 222, 200, 207, 228–229, 240 265–268, 283, 337 Cybernetic Spatiodynamic 1 (CYSP 1), Computer systems, 9, 17, 209, 251, 304, 228, 304 343 cybernetic vision, 24, 54, 221, 239 computer virus, 185 cybernetics, midcentury, 24 computer-based art, 5, 16, 183–195, Czarnecki, Gina, 225, 239 200, 205, 212, 216, 229, 241, 266–267, 281–282 D computer-generated work, 187 d'Arezzo, Guido, 68 Computer-Human Interaction (CHI), DAM Gallery, 193, 195 15–16, 19, 254, 261 Danto, Arthur, 128, 151 Conceptual art, 10, 18, 57, 97, 104, Darwinian evolution, 110 128–129, 151–152, 163, 214–215, Davies, Char, 252, 261 221–222, 275, 280 Davis, Miles, 347 Concrete Poetry, 280–281 Dawkins, Richard, 37 Constructed Abstract Art in England, 201, DC_Release, 247 207 de Maria, Walter, 10, 134 Constructivism, 9, 14, 198, 201, 207, degeneration, 32 214, 221–222, 305 Demoiselles d'Avignon, 123 Control Magazine, 227, 240 Denes, Peter, 273 Cope, David, 6, 35, 68, 129, 139 Derivation of the Laws, 314 Descartes, Rene, 37 368 INDEX Devcic, Robert, 188–189, 195 Escher, Maurits, 129 Dibbets's oscillating sticks, 39 EURISKO, 78, 86 Dibbets, Jan, 31 Evans, Thomas, 72 Digital Art, 3–4, 17, 25, 29, 186, Evo-art, definition of, 36–37 192–194, 205, 211, 231, 239, 241, Evo-values, 122 248, 252, 270, 280, 292–293, 310, Evolving Gravity, 272, 275 315, 330, 343, 356 Experimental Department, 202 Digital Decomposition, 331 Experiments in Musical Intelligence digital media, 188, 195, 248, 330, 337 (EMI), 68, 70 Dodds, Douglas, 186–188, 194–195 Eye Music, 248 Donovan, Andrew, 183, 195 Eyecon software, 341 Douglas Lenat's program, 77 DRAWBOT Project, 1 F Dreyfus, Herbert, 64 Fanelli, Sara, 187 Dreyfus, Hubert, 52 Feigenbaum, Edward, 64 Duchamp, Marcel, 23, 40, 49, 56, Félibien, André, 243 149–152, 159, 225–226, 239 Fell, Mark, 219, 246–247, 268–270, 348 Dumitriu, Anna, 336 Fels, Sidney, 234 Duplicability, 138–139 Film as Subversive Art, 334 Duprat, Hubert, 32, 147 Fishwick, 215, 221 dynamic equilibrium, 311 Flavin, Dan, 183 Fletcher, Steve, 190–195 E Flowers in Blue Vase, 44 EARLY BIRD, program by Hodgson, 81 Floyd, Pink, 301 Eco, Umberto, 226–227, 239, 279 Fodor, Jerry, 73 Eden and Future Garden, 175 FORTRAN, 217, 222, 271, 292, 295, Edmonds, Ernest, 3, 5, 13–19, 23–26, 304, 310, 317, 319–320 38, 42, 46–47, 54–58, 64, 71, 82–83, Fountain, 37, 159 98, 102–105, 120, 128, 142, 151, Fourier, Charles, 158 165–166, 170, 175, 178, 183, 197, Franco, Francesca, 185–187, 195 199, 202–206, 209–210, 216, Frankenstein, 155 219–224, 227, 238–241, 246, 248, Freeman, Julie, 268, 270, 321–322 251, 255–261, 265, 348 From Typeface to Interface, 275 Em, David, 188 Fry, Roger, 19, 130, 159, 178 embodiment, 24, 49, 51, 114, 119, 212, 255 G Emily Howell, 69 Gage, John, 178, 243, 248 Emmy Galápagos, 232 basic method's description, 70 Galileo's law, 79 music, 69 Gardner, Howard, 174, 178, 216 program, 129, 149 Gartland-Jones, Andrew, 71 Emmy, program by Cope, 71, 129, 139 GAs mimic, 110 Emotion, 131–132, 135, 143, 147 General Problem Solver programs, 31 Eno, Brian, 25, 268 General systems, 24, 114, 124, 236, 239 Environments, Situations & Spaces, 316 generative aesthetics, 25 épater le bourgeois, 137 generative art, 3, 5, 14, 23–26, 30–34, Epigenetic Painting: Software as Genotype, 40, 46, 55, 124, 146, 203, 209–210, 313 214–217, 238, 248, 301, 310, 344, Eroica symphony, 92 354, 356 369 INDEX Generative Computergraphik, 25, 58 human-computer interaction (HCI), Genetic Images and Galapagos, 36 254–255 Gere, Charlie, 205, 307 human-computer interactions, 41 Giuliani, Mayor Rudolph, 137 human-human communication, 41 Goethe, Johann von, 156 Hume, David, 117 GOFAI-based models, 80 Husbands, Phil, 304 Gogh, Van, 44, 146 Goldberg, Ken, 37 I Goldsworthy, Andy, 32, 118 I-art, definition of, 39 good old-fashioned AI (GOFAI), 35,