随着20世纪60年代中期数字技术的蓬勃发展,新的艺术实践也开始涌现。艺术家利用算法和生成技术创造新图像与新形式,由此拓展了视觉艺术的边界。他们发明了新的媒介以表达自己对新世界的看法,在这个新世界中,计算机渗透进人们生活的各个方面,而1956年被约翰·麦卡锡命名为“人工智能”的技术,成为了21世纪公众讨论的中心话题之一。
20世纪60至70年代,弗里德·纳克、薇拉·莫尔纳、曼弗雷德·莫尔、哈罗德·科恩等欧洲与美国的先驱艺术家们,开始使用编码程序与原始绘图仪生产图像与绘画,并制作了首部由计算机生成的影片。这些创举标志着一个新的视觉领域的出现,结合了艺术的感性与计算编程的方法论。一种当时被称为“计算机艺术”的全新媒介诞生了;计算机成为了这次数字先锋运动的“调色板”。部分灵感来自德国哲学家马克斯·本泽(1910—1990),他于1954年完成巨著《美学》,提出运用数学定理进行艺术创作,并于1974年在加拉加斯艺术博物馆策划了展览“计算机的艺术”。可以发现,在这段百花齐放的计算机艺术史的开端,由计算机生成的艺术作品大多使用纸本、布面等较为传统和学院派的媒介,从而实现了对其非物质性的“再物质”过程,有条不紊而意义深远。艺术家们也同时提出了一种悖论:非物质在本质上也是物质。
20世纪60至70年代,弗里德·纳克、薇拉·莫尔纳、曼弗雷德·莫尔、哈罗德·科恩等欧洲与美国的先驱艺术家们,开始使用编码程序与原始绘图仪生产图像与绘画,并制作了首部由计算机生成的影片。这些创举标志着一个新的视觉领域的出现,结合了艺术的感性与计算编程的方法论。一种当时被称为“计算机艺术”的全新媒介诞生了;计算机成为了这次数字先锋运动的“调色板”。部分灵感来自德国哲学家马克斯·本泽(1910—1990),他于1954年完成巨著《美学》,提出运用数学定理进行艺术创作,并于1974年在加拉加斯艺术博物馆策划了展览“计算机的艺术”。可以发现,在这段百花齐放的计算机艺术史的开端,由计算机生成的艺术作品大多使用纸本、布面等较为传统和学院派的媒介,从而实现了对其非物质性的“再物质”过程,有条不紊而意义深远。艺术家们也同时提出了一种悖论:非物质在本质上也是物质。
Starting in the mid-1960s, new artistic practices have emerged alongside the development and proliferation of digital technology. Using algorithms and generativity to create new forms and images, artists have pushed the borders of the visual arts. They have invented a new medium to express their visions of a new world, one in which computers have become the companion to everyone’s life and activities—and in which Artificial Intelligence, a term first coined in 1956 by John McCarthy, has become a central topic of twenty-first-century public debate.
Pioneering artists in Europe and the US, such as Frieder Nake, Vera Molnar, Manfred Mohr, and Harold Cohen, first developed, between 1960 and 1970, graphic drawings and canvases produced by coded programs and printed by primitive plotters, as well as the first computer-made films. This marked the emergence of a new visual world, which combined the emotionality of artistic sensitivity with the methodologies of computing programming. A new medium, which was then called “computer art,” was born. The computer became the palette of this digital avant-garde. They were partly inspired by German philosopher Max Bense (1910-1990), author of the 1954 landmark tome Aesthetica, who proposed the use of mathematical theorems to create art, and curated, in 1974, an exhibition entitled “Art by Computer” at the Museum of Fine Arts in Caracas. One can observe, in this opening salvo of computing art history, the launch of a systematic and meaningful re-materialization of the immateriality of computer-generated artworks, as these works were produced in more traditional, academic media, such as paper or canvas. These artists thereby propose a paradox: isn’t the immaterial fundamentally material?
Pioneering artists in Europe and the US, such as Frieder Nake, Vera Molnar, Manfred Mohr, and Harold Cohen, first developed, between 1960 and 1970, graphic drawings and canvases produced by coded programs and printed by primitive plotters, as well as the first computer-made films. This marked the emergence of a new visual world, which combined the emotionality of artistic sensitivity with the methodologies of computing programming. A new medium, which was then called “computer art,” was born. The computer became the palette of this digital avant-garde. They were partly inspired by German philosopher Max Bense (1910-1990), author of the 1954 landmark tome Aesthetica, who proposed the use of mathematical theorems to create art, and curated, in 1974, an exhibition entitled “Art by Computer” at the Museum of Fine Arts in Caracas. One can observe, in this opening salvo of computing art history, the launch of a systematic and meaningful re-materialization of the immateriality of computer-generated artworks, as these works were produced in more traditional, academic media, such as paper or canvas. These artists thereby propose a paradox: isn’t the immaterial fundamentally material?