As a jobbing coder, I always dabbled with generative ideas when I could. But this side of the millennium, that movement was gathering pace and becoming more visible, as the tools also became increasingly powerful and accessible.
Or ask you to write a book about it. I called it Abandoned Artworks and set myself the task of producing a generative artwork every week, throwing it out there in whatever state I had got it to hence the abandoned before real-life commitments intruded on my playtime. I included the source code, Creative Commons licensed, so anyone could take my abandoned, half-finished works and find some use in them.
This strict, self-imposed schedule was a conscious way to force myself to reorder my priorities. I knew that somehow I found time to spend hours reading comic books and watching no end of god-awful movies, yet generative art, something I enjoyed, was the thing I never found the time for. The discipline worked. Not only did I find the schedule easy to maintain, my enthusiasm for Processing the tool I had chosen keep growing.
The project took me on many diversions, into print and video, and started feeding back into my day job. It was somewhere around the 50 mark that Christina Rudloff at Manning got in touch to discuss the possibility of a book.
That project is now complete, as is the book. I wanted to write something more inspiring, something that was about the why as much as the how. Programming art is a different discipline than programming systems, and there should be no right or wrong way to use the powerful tools we have at our disposal. I wanted to get across how coding can be liberating and creative, not just structured and orderly, and accessible to more people than just the techies.
Most of all, thanks to my patient wife, Deborah, who somehow still loves me, despite my being a massive nerd. The appreciation of art is entirely subjective, so if I were to declare that there is a right way to go about creating art, I would be in need of a slap.
Even better, if one viewer loves the work, we would hope another might hate it. Perhaps the only cardinal sin of art is to be boring. This book is peppered throughout with stills from my own generative works, most of them relating to whatever topic is under discussion, but others are just randomly thrown in as a breather. I would hope that even if you hated every single piece of artwork within these pages, you may still get something from the book, if only the inspiration to do something better.
In this way, even bad art can be good, as it is only the very worst that can inspire an extreme reaction. To not produce any reaction at all is to fail as an artist. I want to explore how programmers can open themselves to more artistic flurries, a way of freeing the brain to get creative with code. Chapter 1 looks at the concept of generative art from a few different angles; then, in chapter 2, we get up to speed with Processing, a simple programming language that will be our main tool for the rest of the book.
We begin with the drawing of a line in chapter 3; we see how even this can be spun out into interesting spaces with a more fluid approach, extending the idea to trigonometry with chapter 4. Chapter 5 explores animation and 3D drawing. We maintain a practical approach throughout though, exploring how we might simulate these phenomena in code, and learning, by stealth methods, more advanced object-oriented programming required for these experiments.
There is no right or wrong way to be a generative artist. There are no rules or recipes. Generative art is about the organic, the emergent, the beautiful, the imprecise, and the unexpected. This delightful paradoxicality makes it an almost Zen approach to computing: playful and organic, free of restraint, and inviting a natural flow. To put it more simply, generative art is about having fun with coding.
The programming language can be an artistic tool, capable of making both profound statements and banal ones, if in the right hands. He lives in Brighton UK, where he shares a house with a number of small blonde children, a collection of MacBooks, and probably the most beautiful woman Wolverhampton ever produced.
Things which are made, such as houses, furniture, and machines, are an assemblage of parts put together, or shaped, like sculpture, from the outside inwards. But things which grow shape themselves from within outwards—they are not assemblages of originally distinct parts; they partition themselves, elaborating their own structure from the whole to the parts, from the simple to the complex.
He was a master of theology, a priest, and the author of more than 20 books on Zen philosophy. He also experimented with psychedelic drugs, both on a personal level and in laboratory trials.
He had plenty to say on the subject of creativity and technology but never, as far as I know, said anything specifically on the subject of generative art. Generative art is neither programming nor art, in their conventional sense. Art is an emotional subject, highly subjective and defying definition. Generative art is about creating the organic using the mechanical.
Like the landscape gardener, the lot of the generative artist is to take naturally evolving phenomena and to fashion them into something aesthetically pleasing. The sweet spot is between the two, where the grass is neat and evenly cut but still no two blades are alike or move in perfect synchronicity—where the colors of the flowers are evenly balanced, but not in a way that is exact and precise. Figures i. Multiple artworks produced by a single algorithm. From here on, if the artist is unspecified, assume that the artworks are by the author.
You may be used to skimming figure captions for clues as to how the figure relates to the chapter. Generatives Deep Learning. Confronting the Machine. Artists who work with new media generally adopt a critical media approach in contrast to artists who work with traditional art media. Where does the difference lie between media artists and artists who produce modern art?
Which key art objects illustrate this trend? While some of it has sadly already become dated as the author told me, many of the online examples are no longer available due to outdated browser tech , the principles and approach are all still very relevant and approachable.
I didn't work through every piece of code, but many of them were easily translated to p5. Feb 17, Koshka Eba rated it really liked it Shelves: design-art-read. Feb 01, Pedro Hdz rated it really liked it. Aug 23, Yates Buckley rated it liked it Shelves: curious , technical. A really great and pretty book about generative digital art with simple examples. Jul 14, Enkh-Amar rated it really liked it. Pretty solid statements about generative art, and programming is not only about business implemetation.
Motivative ideas. But there is no interactive design aspects. This book shows you some building blocks of generative art. It uses Processing and steps you through examples ranging from as simple as drawing a line to generating fractals. All of the examples support Matt Pearson's idea that by embracing chaos you can create something interesting.
I rewrote pretty much every line of code in this book into Clojure using the Quil library. The immutable nature of Clojure transformed some of the examples dramatically. I'm not sure how approachable this book would be This book shows you some building blocks of generative art. I'm not sure how approachable this book would be to someone who doesn't have at least some background in writing software. Enjoyable book. It took me a long time to work my way through it.
I particularly enjoyed the chapters on using emergence and autonomy to generate interesting chaotic systems. I have some ideas for future projects based off some of the learnings in this book. Jul 03, Toby rated it really liked it. A great introduction to generative art with Processing, with lots of practical examples and some colour plates at the start of the book. This book is ideal as a starter and inspiration, however by keeping things simple it doesn't go into the depth needed for a more long term or reference book.
A lot of very simple and important functions and programming concepts are not covered, so you would need to get another book alongside this. I enjoyed the authors informal and friendly style and step by st A great introduction to generative art with Processing, with lots of practical examples and some colour plates at the start of the book.
I enjoyed the authors informal and friendly style and step by step instructions. Dec 30, Tran rated it it was amazing Shelves: creative-coding , reference-book. I strongly believe that I am yet to grasp the nature of generative art. Eric Tommer rated it liked it Apr 09, Julio Sueiras rated it really liked it Jan 20, Neil rated it really liked it Sep 12, Ojas Patel rated it really liked it Jun 19, Hussein rated it it was ok Dec 08, Kentskyo rated it really liked it May 18, Karl rated it liked it Jun 02, Siddhartha Mukherjee rated it it was amazing Mar 18, Scott Fitzgerald rated it it was amazing Jan 31, Raleigh rated it really liked it Jan 03, Rasagy rated it it was amazing Mar 25, Beelzefuzz rated it really liked it Apr 20, Stef Woznarowycz rated it it was ok Jan 03,
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