Discover more from Generative Arts / Creative Coding Weekly
10PRINT SVG, Visual Language Workshop, and Text to Music?
#059 - Creative Coding / Generative Arts Weekly
It’s humbling that in the past 90 days, I’ve had subscribed readers from 75 different countries. However, in a world with so much content and other things to do, I appreciate your interest in this passion, and I hope I can continue celebrating this practice with you all.
But to some of my week’s shenanigans:
So speaking of AI, I’ve been working with ChatGPT to develop catchy article titles to gain inspiration for a few posts I’d like to write this year. Here are a few of my favorites:
"Algorithms as Artists: The Impact of Generative Art on the Art World"
"From Randomness to Beauty: The Science behind Generative Art"
"A New Generation of Art: The Rise of Generative Art and its Place in Contemporary Art"
"Beyond Human Control: The Emergence of Generative Art in Modern Art"
"A New Dimension of Creativity: The Evolution of Generative Art"
"The Beauty of Randomness: Understanding Generative Art"
"Algorithms as Muse: The Role of Generative Art in Contemporary Art"
These all have gotten my wheels turning, and I find this a great way to gain inspiration to craft stories for future editions.
And I’m going to predict in the next year; I’ll even be able to create my intro music that sounds usable.
It’s interesting, but it has yet to get even close to creating on its own. Until a model can control its reward function without input, making the case for sentient output will be tough.
Have a great weekend all!
Who Am I?
And this week’s rendition is Muriel Cooper (1924 - 1994)
She is known best for her work in book design and engaging with digital art.
Designer of the MIT Press Logo
Although they never learned to code, Muriel was central to teaching and helping ready a new generation of creative coding practices, such as John Maeda, who continued to influence the likes of Golan Levin and Casey Reas heavily.
Founder of the Visual Language Workshop (instrumental in exploring multimedia types in numerous mediums)
To showcase some of her work…
For next week.
Who are they? Leave a guess in the comments!
🔖 Articles and Tutorials
Just a fun simulation to play around with a bunch of technical documentation linked inside of it.
The first thing we need to produce an image is a two-dimensional surface (this surface must be of some area and cannot be a point). With this in mind, we can visualize a picture as a cut made through a pyramid whose apex is located at the center of our eye and whose height is parallel to our line of sight (remember, to see something, we must view along a line that connects the eye to that object). We will call this cut, or slice, mentioned before, the image plane (you can see this image plane as the canvas used by painters). An image plane is a computer graphics concept, and we will use it as a two-dimensional surface to project our three-dimensional scene. Although it may seem obvious, what we have just described is one of the most fundamental concepts used to create images on various apparatuses. For example, an equivalent in photography is the surface of the film (a sensor for a digital camera) or, as mentioned before, the canvas used by painters.
Arcadia is a long-form generative art series hosted on Art Blocks. The algorithm for the artwork takes a "seed" value - a large combination of numbers and letters - and then uses that to compute shapes, colors, and scribbles for the final output. There is no human intervention when an output is generated; the art is created solely by a computer. With this generation method, the possible outputs are almost endless and no two outputs will look the same. The project was created using p5.js and WebGL.
Yes, yet another 10 PRINT notebook! The ideas of that seminal program is a favorite among creative coders and everybody should check the book. If you don't believe me, just type 10 print in the Search box above...
Tyler Hobbs is arguably the poster boy of generative art and the most eloquent champion of code as a creative medium. A former software engineer with a side passion for (figurative) drawing and painting, he discovered the potential of abstract, algorithm-assisted art a decade ago and began writing relatively simple programs that could create multiple variants on a theme. Running, tweaking and repeatedly re-running these programs, Hobbs has developed a uniquely ‘painterly’ digital aesthetic rooted in non-digital 'system' art and Abstract Expressionism.
I’m always happy to see generative art continue to be part of the cultural conversation.
Following is the profile site of おかず who has an entire blog filled with amazing tutorials around the work that he continues to do. Thanks to Makio135 for linking it in one of his many tutorials on Observable
Coded: Art Enters the Computer Age, 1952–1982 explores how the rise of computer technology, together with its emergence in popular consciousness, impacted the making of art in the age of the mainframe. International and interdisciplinary in scope, Coded examines the origins of what we now call digital art, featuring artists, writers, musicians, choreographers and filmmakers working directly with computers as well as those using algorithms and other systems to produce their work. Whether computer-generated or not, the many artworks considered here reflect the simultaneous wonder and alienation that was characteristic of the 1960s and ’70s, along with the utopian and dystopian possibilities of these new machines. Today, with digital technology fully integrated into our lives, Coded’s examination of the years leading up to the advent of the personal computer is relevant, even imperative, to fully appreciating art and culture in the computer age―both then and now.
I do hope to make it to this exhibition at some point. Being that it is in LA, I don’t make it out there that often, but it might be worth the trip across the country.