In the ’90s, Joshua Davis was an art student at Pratt Institute in Brooklyn, learning to paint by day and absorbing everything he could about programming and building websites by night.
#Flash 8 pixel tools software
Because the tools and the work are tightly coupled, the history of generative art can be seen as a history of developments in software and hardware. These advances have been accompanied by shifts in who can make generative art, how they make it, what it looks like, and even the themes and topics that it is capable of addressing. Sotheby's Is Launching Another Digital Art Auction, This Time on the Art Before NFTs Meta's 'Make-A-Scene' Tech Is Pushing the Boundaries of AI-Generated Art Grace Hertlein says a colleague called her a “whore” and a “traitor” for her use of the computer as an art-making tool in the late 1960s.¹ In a 1970 New York Times review, critic John Canaday compared a display of computer art he saw at a convention to “popular sideshows” and “circuses.”² But recent years have seen a spike in institutional interest in generative art, as evidenced by a number of museum shows.³ Perhaps this embrace is linked to the increased accessibility of technology, as computers and network connections have become commonplace in homes in the last two decades. Generative art was initially rejected by the cultural establishment as the domain of computer scientists and mathematicians. Given this situation, one could argue that generative art-work created at least in part with autonomous, automated systems-is the art that best reflects our time. All aspects of our lives are driven by computation and algorithms: how we learn, work, play, even date.
Like it or not, we are all computer nerds now.
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