Editing Generative art (section)

==Types==

===Music===
{{Main|Generative music}}
[[Johann Kirnberger]]'s ''[[Musikalisches Würfelspiel]]'' ("Musical Dice Game") of 1757 is considered an early example of a generative system based on randomness. Dice were used to select musical sequences from a numbered pool of previously composed phrases. This system provided a balance of order and disorder. The structure was based on an element of order on one hand, and disorder on the other.<ref name="Algorithmic">Nierhaus, Gerhard (2009). ''Algorithmic Composition: Paradigms of Automated Music Generation'', pp. 36 & 38n7. {{ISBN|9783211755396}}.</ref>

The [[fugues]] of [[J.S. Bach]] could be considered generative, in that there is a strict underlying process that is followed by the composer.<ref>{{cite web|last1=Smith|first1=Tim|title=Fugue 9: E Major. Well-Tempered Clavier, book 1. The Fugue is Generative|url=http://bach.nau.edu/clavier/nature/fugues/Fugue09.html|publisher=NAU.edu|access-date=28 November 2017|date=2013|archive-url=https://web.archive.org/web/20171123103414/http://bach.nau.edu/clavier/nature/fugues/Fugue09.html|archive-date=23 November 2017|url-status=dead}}</ref> Similarly, [[serialism]] follows strict procedures which, in some cases, can be set up to generate entire compositions with limited human intervention.<ref>[[Fred Lerdahl|Lerdahl, Fred]]. 1988. "Cognitive Constraints on Compositional Systems". In ''Generative Processes in Music'', ed. John Sloboda. Oxford University Press. Reprinted in ''Contemporary Music Review'' 6, no. 2 (1992):97–121.</ref><ref>Lerdahl, Fred, and [[Ray Jackendoff]]. 1983. ''A Generative Theory of Tonal Music''. MIT Press.</ref>

Composers such as [[John Cage]],<ref name="Paul">[[Christiane Paul (curator)|Christiane Paul]] ''Digital Art'', Thames & Hudson.</ref>{{rp|13–15}} [[Farmers Manual]],<ref>{{Cite web|url=https://archive.org/details/ga-2009-xii-generative-art-conference-politecnico-di-milano-university-italy |title=Generative Art Conference – Politecnico di Milano University, Italy |year=2009}}</ref> and [[Brian Eno]]<ref name="Paul"/>{{rp|133}} have used [[generative systems]] in their works.

===Visual art===
The artist [[Ellsworth Kelly]] created paintings by using chance operations to assign colors in a grid. He also created works on paper that he then cut into strips or squares and reassembled using chance operations to determine placement.<ref>Yve-Alain Bois, Jack Cowart, Alfred Pacquement ''Ellsworth Kelly: The Years in France, 1948-1954'', Washington DC, National Gallery of Art, Prestel, p. 23-26</ref>

[[File:Album de 10 sérigraphies sur 10 ans 09.jpg|thumb| Album de 10 sérigraphies sur 10 ans, by [[François Morellet]], 2009]]
Artists such as [[Hans Haacke]] have explored processes of physical and social systems in artistic context.
[[François Morellet]] has used both highly ordered and highly disordered systems in his artwork.  Some of his paintings feature regular systems of radial or parallel lines to create [[Moiré Patterns]]. In other works he has used chance operations to determine the coloration of grids.<ref>[http://www.tate.org.uk/tateetc/issue16/colourchart3.htm Tate Online Article] {{webarchive|url=https://web.archive.org/web/20120325054818/http://www.tate.org.uk/tateetc/issue16/colourchart3.htm |date=2012-03-25 }} about [[François Morellet]]</ref><ref>Grace Glueck "Francois Morellet, Austere Abtractionism", New York Times, Feb. 22, 1985</ref> [[Sol LeWitt]] created generative art in the form of systems expressed in [[natural language]] and systems of geometric [[permutation]]. [[Harold Cohen (artist)|Harold Cohen]]'s [[AARON]] system is a longstanding project combining software artificial intelligence with robotic painting devices to create physical artifacts.<ref>[http://www.kurzweilcyberart.com/aaron/hi_cohenbio.html Biography of Harold Cohen] [[Harold Cohen (artist)|Harold Cohen]]</ref> 
[[Steina and Woody Vasulka]] are video art pioneers who used analog video feedback to create generative art. Video feedback is now cited as an example of deterministic chaos, and the early explorations by the Vasulkas anticipated contemporary science by many years.
Software systems exploiting [[evolutionary computing]] to create visual form include those created by [[Scott Draves]] and [[Karl Sims]].
The digital artist [[Joseph Nechvatal]] has exploited models of viral contagion.<ref>Bruce Wands ''Art of the Digital Age'', London: Thames & Hudson, p. 65</ref> 
''[[Autopoiesis]]'' by [[Ken Rinaldo]] includes fifteen musical and [[robotic]] sculptures that interact with the public and modify their behaviors based on both the presence of the participants and each other.<ref name="Paul"/>{{rp|144–145}}
[[Jean-Pierre Hebert]] and [[Roman Verostko]] are founding members of the [[Algorists]], a group of artists who create their own algorithms to create art.
[[Michael Noll|A. Michael Noll]], of Bell Telephone Laboratories, Incorporated, programmed computer art using mathematical equations and programmed randomness, starting in 1962.<ref>A. Michael Noll, "The Digital Computer as a Creative Medium," IEEE Spectrum, Vol. 4, No. 10, (October 1967), pp. 89-95; and "Computers and the Visual Arts," Design and Planning 2: Computers in Design and Communication (Edited by Martin Krampen and Peter Seitz), Hastings House, Publishers, Inc.: New York (1967), pp. 65-79.</ref>

[[File:Iapetus 1985.jpg|thumb|''Iapetus'', by [[Jean-Max Albert]], 1985]]
[[File:Calmoduline Monument.jpg|thumb|upright|''Calmoduline Monument'', by [[Jean-Max Albert]], 1991]]
The French artist [[Jean-Max Albert]], beside environmental sculptures like ''Iapetus'',<ref>Michel Ragon, Jean-Max Albert «Iapetus», L’art abstrait vol.5, Éditions Maeght, Paris, 1989</ref> and ''O=C=O'',<ref>Jean-Max Albert O=C=O, Franco Torriani, Dalla Land arte alla bioarte, Hopefulmonster editore Torino, 2007, p. 64-70</ref> developed a project dedicated to the vegetation itself, in terms of biological activity. The ''Calmoduline Monument'' project is based on the property of a protein, [[calmodulin]], to bond selectively to calcium. Exterior physical constraints (wind, rain, etc.) modify the electric potential of the cellular membranes of a plant and consequently the flux of calcium. However, the calcium controls the expression of the calmoduline gene.<ref>Intra-and Intercellular Communications in Plants, Millet & Greppin Editors, INRA, Paris, 1980, p.117.</ref> The plant can thus, when there is a stimulus, modify its "typical" growth pattern. So the basic principle of this monumental sculpture is that to the extent that they could be picked up and transported, these signals could be enlarged, translated into colors and shapes, and show the plant's "decisions" suggesting a level of fundamental biological activity.<ref>[https://books.google.com/books?id=PAlPAAAAYAAJ ''Space in profile/ L'espace de profil,'']</ref>

[[Maurizio Bolognini]] works with generative machines to address conceptual and social concerns.<ref>Maurizio Bolognini, ''De l'interaction à la démocratie. Vers un art génératif post-digital''  ([http://www.bolognini.org/lectures/amx.htm From interactivity to democracy. Towards a post-digital generative art]), in {{citation|title= Ethique, esthétique, communication technologique dans l'art contemporain|year=2011|author=Actes du Colloque international Artmedia X|language=fr|publisher=L’Harmattan|location=Paris|isbn=9782296132306}}</ref>
[[Mark Napier (artist)|Mark Napier]] is a pioneer in data mapping, creating works based on the streams of zeros and ones in Ethernet traffic, as part of the "Carnivore" project. [[Martin M. Wattenberg|Martin Wattenberg]] pushed this theme further, transforming "data sets" as diverse as musical scores (in "Shape of Song", 2001) and Wikipedia edits ([[History Flow]], 2003, with [[Fernanda Viegas]]) into dramatic visual compositions.
The Canadian artist [[San Base]] developed a "Dynamic Painting" algorithm in 2002. Using computer algorithms as "brush strokes", Base creates sophisticated imagery that evolves over time to produce a fluid, never-repeating artwork.<ref>[http://www.sanbasestudio.com/about.htm San Base: About]</ref>

Since 1996 there have been [[ambigram#Ambigram generators|ambigram generators]] that auto generate [[ambigram]]s.<ref>{{Cite web|url=http://jeux-et-mathematiques.davalan.org/liens/liens_ambi.html|title=Davalan Ambigram Generator|website=Davalan.org|access-date=1 April 2020}}</ref><ref>{{Cite web|url=https://makeambigrams.com/ambigram-generator/|title=The Make Ambigrams Ambigram Generator|website=MakeAmbigrams.com|access-date=1 April 2020}}</ref><ref>{{Cite web|url=https://trulyscience.com/ambigram-generator/|title=Truly Science Free Ambigram Generator|website=trulyscience|access-date=2 April 2020|archive-date=30 September 2022|archive-url=https://web.archive.org/web/20220930030928/https://trulyscience.com/ambigram-generator/|url-status=dead}}</ref>

Italian composer [[Pietro Grossi]], pioneer of [[computer music]] since 1986, he extended his experiments to images, (same procedure used in his musical work)  precisely to computer graphics, writing programs with specific auto-decisions, and developing the concept of ''HomeArt'', presented for the first time in the exhibition ''New Atlantis: the continent of electronic music'' organized by the [[Venice Biennale]] in 1986.

Some contemporary artists who create generative visual artworks are [[John Maeda]], [[Daniel Shiffman]], [[Zachary Lieberman]], [[Golan Levin]], [[Casey Reas]], [[Ben Fry]], and [[Giles Whitaker (artist)]].

===Software art===
{{Main|Software art|Fractal art|Parametric surface}}
For some artists, graphic user interfaces and computer code have become an independent art form in themselves. [[Adrian Ward (artist)|Adrian Ward]] created Auto-Illustrator as a commentary on software and generative methods applied to art and design.{{citation needed|date=July 2016}}

===Architecture===
{{See also|Grasshopper 3D}}
In 1987 [[Celestino Soddu]] created the artificial DNA of Italian Medieval towns able to generate endless [[3D computer graphics|3D]] models of cities identifiable as belonging to the idea.<ref>Celestino Soddu [http://www.soddu.it/progetti/med.htm Soddu: "Italian Medieval Town"]</ref>

In 2010, [[Michael Hansmeyer]] generated architectural columns in a project called "Subdivided Columns – A New Order (2010)". The piece explored how the simple process of repeated subdivision can create elaborate architectural patterns. Rather than designing any columns directly, Hansmeyer designed a process that produced columns automatically. The process could be run again and again with different parameters to create endless permutations. Endless permutations could be considered a hallmark of generative design.<ref>Michael Hansmeyer [https://aiartists.org/generative-art-design AIArtists: "Generative Art & Design Guide"]</ref>

===Literature===
{{further|Generative literature|The Eureka|Electronic literature|Spam Lit|Informationist poetry|Language game|Prehistoric Digital Poetry}}

Writers such as [[Tristan Tzara]], [[Brion Gysin]], and [[William Burroughs]] used the [[cut-up technique]] to introduce randomization to literature as a generative system. [[Jackson Mac Low]] produced computer-assisted poetry and used algorithms to generate texts; [[Philip M. Parker#Automatically generated books|Philip M. Parker]] has written software to automatically generate entire books. [[Jason Nelson]] used generative methods with speech-to-text software to create a series of digital poems from movies, television and other audio sources.<ref>{{cite web |last1=Flores |first1=Leonardo |title=The Battery Life of Meaning: Speech to Text Poetry |url=http://iloveepoetry.com/?p=324 |website=I love E-Poetry |date=29 June 2012 |access-date=9 February 2018 |archive-url=https://web.archive.org/web/20130704155151/http://iloveepoetry.com/?p=324 |archive-date=4 July 2013 |url-status=live}}</ref>

In the late 2010s, authors began to experiment with [[Artificial neural network|neural networks]] trained on large language datasets. [[David Jhave Johnston]]'s ''[[ReRites]]'' is an early example of human-edited AI-generated poetry.

===Live coding===
{{Main|Live coding}}
Generative systems may be modified while they operate, for example by using interactive programming environments such as [[Csound]], [[SuperCollider]], [[Fluxus (programming environment)|Fluxus]] and [[TidalCycles]], including patching environments such as [[Max/MSP]], [[Pure Data]] and [[vvvv]]. This is a standard approach to programming by artists, but may also be used to create live music and/or video by manipulating generative systems on stage, a performance practice that has become known as [[live coding]]. As with many examples of [[software art]], because live coding emphasizes human authorship rather than autonomy, it may be considered in opposition to generative art.<ref name=McLean11>{{cite book |last=McLean |first=Alex |title=Artist-Programmers and Programming Languages for the Arts |year=2011 |publisher=Goldsmiths, University of London (PhD Thesis) |pages=16–17 |url=http://yaxu.org/writing/thesis.pdf |access-date=2012-08-21 |archive-date=2015-06-10 |archive-url=https://web.archive.org/web/20150610193445/http://yaxu.org/writing/thesis.pdf |url-status=dead }}</ref>

=== Blockchain ===
[[File:Chromie Squiggle 7515.png|thumb|Chromie Squiggle #7515, from the first generative art collection of Art Blocks]]

In 2020, Erick "Snowfro" Calderon launched the Art Blocks platform<ref>{{Cite web |last=Escalante-De Mattei |first=Shanti |title=Meet Erick Calderon, Founder of Art Blocks |date=17 September 2021 |url=https://www.artnews.com/art-news/news/erick-calderon-art-blocks-1234604108/}}</ref> for combining the ideas of generative art and the [[blockchain]], with resulting artworks created as [[Non-fungible token|NFTs]] on the [[Ethereum]] blockchain. One of the key innovations with the generative art created in this way is that all the source code and algorithm for creating the art has to be finalized and put on the blockchain permanently, without any ability to alter it further. Only when the artwork is sold ("minted"), the artwork is generated; the result is random yet should reflect the overall aesthetic defined by the artist. Calderon argues that this process forces the artist to be very thoughtful of the algorithm behind the art:<blockquote>Until today, a [generative] artist would create an algorithm, press the spacebar 100 times, pick five of the best ones and print them in high quality. Then they would frame them, and put them in a gallery. ''Maybe.'' Because Art Blocks forces the artist to accept every single output of the algorithm as their signed piece, the artist has to go back and tweak the algorithm until it's perfect. They can't just cherry pick the good outputs. That elevates the level of algorithmic execution because the artist is creating something that they know they're proud of before they even know what's going to come out on the other side.<ref>{{Cite web |last=Escalante-De Mattei |first=Shanti |title=Algorithm-Generated NFTs Are Quickly Rising in Value. Can Art Blocks Up the Quality? |date=13 September 2021 |url=https://www.artnews.com/art-news/news/algorithm-generated-nfts-art-blocks-1234603548/}}</ref></blockquote>