Algorithmic art

The final output is typically displayed on a computer monitor, printed with a raster-type printer, or drawn using a plotter.

[2] Roman Verostko argues that Islamic geometric patterns are constructed using algorithms, as are Italian Renaissance paintings which make use of mathematical techniques, in particular linear perspective and proportion.

[3] Some of the earliest known examples of computer-generated algorithmic art were created by Georg Nees, Frieder Nake, A. Michael Noll, Manfred Mohr and Vera Molnár in the early 1960s.

Sonia Landy Sheridan established Generative Systems as a program at the School of the Art Institute of Chicago in 1970 in response to social change brought about in part by the computer-robot communications revolution.

[5] Aside from the ongoing work of Roman Verostko and his fellow algorists, the next known examples are fractal artworks created in the mid to late 1980s.

[2] In light of such ongoing developments, pioneer algorithmic artist Ernest Edmonds has documented the continuing prophetic role of art in human affairs by tracing the early 1960s association between art and the computer up to a present time in which the algorithm is now widely recognized as a key concept for society as a whole.

For example, Georges-Pierre Seurat invented pointillism, a painting technique that involves placing dots of complementary colors adjacent to each other.

Here, an algorithm is simply a detailed recipe for the design and possibly execution of an artwork, which may include computer code, functions, expressions, or other input which ultimately determines the form the art will take.

Inasmuch as algorithms tend to be deterministic, meaning that their repeated execution would always result in the production of identical artworks, some external factor is usually introduced.

This can either be a random number generator of some sort, or an external body of data (which can range from recorded heartbeats to frames of a movie.)

[3] Algorists formally began correspondence and establishing their identity as artists following a panel titled "Art and Algorithms" at SIGGRAPH in 1995.

Hébert is credited with coining the term and its definition, which is in the form of his own algorithm:[3] Cellular automata can be used to generate artistic patterns with an appearance of randomness, or to modify images such as photographs by applying a transformation such as the stepping stone rule (to give an impressionist style) repeatedly until the desired artistic effect is achieved.

Joseph Weizenbaum has argued that computers have become metaphors for "effective procedures," that is, for anything that can be solved in a prescribed number of steps, such as gene expression and clerical work.

Two examples are visual performances of extant scores, such as Anton Bruckner's Eighth Symphony[18][19] and Kurt Schwitters' Ursonate.

[20][21] Later, she and her collaborator, Dave Britton, created the 21st Century Virtual Color Organ that does use computer coding and algorithms.

[26] Recent studies and experiments have shown that artificial intelligence, using algorithms and machine learning, is able to replicate oil paintings.

[26] Such improvements in algorithmic art and artificial intelligence can make it possible for many people to own renowned paintings, at little to no cost.

However, with the emergence of newer technologies and finer algorithms, research are confident that simulations could witness a massive improvement.