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Early generative art

Pioneers of generative art

The computer may be potentially as valuable a tool to the arts as it has already proven itself to be in the sciences. Michael Noll

Once programmed with the right instructions, a single Jacquard loomarrow-up-right could produce an unlimited number of copies of a given design without the need for human labor. Maniac - Benjamín Labatut

Generative art dates back at least to the rise of the computer in the 1950s. Immediately, early generative art pioneers realized that the computer may be potentially as valuable a tool to the arts as it was in the sciences. They used (now) archaic programming languages like Algol and Fortran. The corresponding code generated punched tapes that, when read by a computer, printed an output using some form of drawing machine, like the legendary Zuse Graphomat Z64. Indeed, at this time, computers had no screen on which the image could be visualized. Given the inherent limitations of this early creating process, the output was typically a single printed black-and-white piece of art.

Zuse Graphomat Z64

We selected four pioneers of generative art, the so-called 3N computer art pioneers (Nees, Noll, and Nake) and Vera Molnár - one of the first women to use computers as an art practice:

  1. Georg Nees (1926 – 2016) was a German mathematician, computer scientist, and painter

  2. Michael Noll (1939-) is an American engineer

  3. Frieder Nake (1938-) is a German mathematician and computer scientist

  4. Vera Molnár (1924-2023) was a Hungarian media artist who studied aesthetics and art history

For each artist, we select and review one piece of art among their artistic portfolio and provide the code generating the work of art recoded in Processing language via a process of art reverse engineering.

Schotter, Georg Nees, 1968

Georg Nees worked for Siemens as a software engineer. There, he was instrumental in that company purchasing a Zuse Graphomat, a drawing machine operated by computer-generated punched tape. The machine was capable of creating geometric patterns and, although the programming language that Nees used (ALGOL) was designed specifically for scientific computers, Nees used it to create aesthetic images.

Nees was interested in the relationship between order and disorder in picture composition. In one of his iconic artworks, Schotter (1968), he introduced random variables into the computer program, causing the orderly squares to descend into chaos.

Schotter (Gravel), Georg Nees, 1968. Victoria and Albert Museum, London

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Computer Composition With Lines, Michael Noll, 1964

In 1914 the Dutch painter Piet Mondrian (1872–1944) introduced a horizontal-vertical theme into his paintings which later culminated in the black-and-white painting Composition With Lines (1917). The painting consists of a scattering of vertical and horizontal bars which, at first glance, seem to be randomly scattered throughout the painting.

With further study, however, one realizes that Mondrian used considerable planning in placing each bar in proper relationship to all the others. Conceivably, Mondrian followed some scheme or program in producing the painting although the exact algorithm is unknown.

Composition With Lines, Piet Mondrian, 1917. Rijkmuseum Kröller-Müller

Michael Noll created a computer-generated version of Piet Mondrian’s painting to determine whether computers could mimic artistic creativity.

Computer Composition With Lines, Michael Noll, 1964. In association with an IBM 7094 digital computer and a General, Dynamics SC-4020 microfilm plotter. A. Michael Noll 1965

Interestingly, reproductions of both pictures were then presented to 100 subjects whose tasks were to identify the computer picture and to indicate which picture they preferred. Only 28% of the subjects were able to correctly identify the computer-generated picture, while 59% of the subjects pre­ferred the computer-generated picture. The study was published in The Psychological Recordarrow-up-right (1966).

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Hommage à Paul Klee, Frieder Nake, 1965

Frieder Nake created Hommage à Paul Klee from a plotter drawing using a computer program written by himself. It is based on a painting by Paul Klee, entitled High Roads and Byroads, dated 1929.

High Roads and Byroads, Paul Klee, 1929

Nake took Klee’s exploration of proportion and the relationship between the vertical and horizontal lines of the painting as the starting point for his algorithm. Nake then generated the drawing using a pen plotter. By deliberately writing random variables into the process, Nake also allowed the computer to make certain choices within a given number of options.

Hommage à Paul Klee, 13/9/65 Nr.2, Frieder Nake, 1965
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(Dés)Ordres, Vera Molnár, 1974

Vera Molnár, one of the first women to use computers in her art practice, studied aesthetics and art history. Then she learned the early programming languages Fortran and Basic, and gained access to a computer at a research lab in Paris where she began to make computer graphic drawings on a plotter.

Disorder in the fault of a system has always evoked Molnár’s interest. She reflected on the influences that a minor implication of disorder had on regular systems and on the role of random in the process of creation.

(Dés)Ordres, Vera Molnár, 1974

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