Algorithmic Art: Exploring Visual Intelligence through Algorithmic Art

By Fouad Sabry

What is Algorithmic Art

Algorithmic art or algorithm art is art, mostly visual art, in which the design is generated by an algorithm. Algorithmic artists are sometimes called algorists.

How you will benefit

(I) Insights, and validations about the following topics:

Chapter 1: Algorithmic art

Chapter 2: Fractal art

Chapter 3: Generative art

Chapter 4: Software art

Chapter 5: Computer art

Chapter 6: Procedural generation

Chapter 7: Procedural modeling

Chapter 8: Scenery generator

Chapter 9: Generative design

Chapter 10: Artificial intelligence art

(II) Answering the public top questions about algorithmic art.

(III) Real world examples for the usage of algorithmic art in many fields.

Who this book is for

Professionals, undergraduate and graduate students, enthusiasts, hobbyists, and those who want to go beyond basic knowledge or information for any kind of Algorithmic Art.

• Language: English
• Publisher: One Billion Knowledgeable
• Release date: May 5, 2024

Book preview

Chapter 1: Algorithmic art

The term algorithmic art refers to a form of art, most often visual art, in which the design of the piece is generated by an algorithm. Algorists is a term that is sometimes used to refer to algorithmic artists.

Algorithmic art, also known as computer-generated art, is a subset of generative art (art that is generated by an autonomous system) and is related to systems art. Algorithmic art also goes by the name computer-generated art (influenced by systems theory). One form of algorithmic art is referred to as fractal art.

According to Roman Verostko, Islamic geometric patterns are created with the help of algorithms, just like the paintings of the Italian Renaissance, which make use of mathematical techniques, in particular linear perspective and proportion.

Georg Nees is responsible for producing some of the earliest examples of computer-generated algorithmic art that is currently known, Frieder Nake, A.

Michael Noll, Manfred Mohr and Vera Molnár in the early 1960s.

The plotter, which was commanded by a computer, was used to create these works of art, as a result, they were examples of computer-generated art rather than digital art.

Writing the program was the creative act that went into it, which outlined the steps that needed to be carried out in a particular order by the plotter.

In 1970, in response to the societal shift brought about in part by the revolution in computer-robot communications, Sonia Landy Sheridan founded a program at the School of the Art Institute of Chicago called Generative Systems.

In order for a piece of artwork to be considered algorithmic art, its creation must include a process that is based on an algorithm that was devised by the artist, according to one school of thought. In this context, the term algorithm refers to a simple, step-by-step recipe for the design and possibly the execution of a work of art. This recipe may contain computer code, functions, expressions, or other forms of input that ultimately determine the form that the work of art will take.

In the sense that the computer is responsible for all of the work, computer art and fractal art are not the same thing. The work is carried out on a computer, but only in accordance with the artist's specific instructions. After starting a computer, allowing it to run unattended for one hour is recommended. No new works of art will have been produced by the time you return.

The term algorist is applied to digital artists who are involved in the production of algorithmic art.

if (creation && object of art && algorithm && one's own algorithm) {

return * an algorist *

} else {

return * not an algorist *}

Cellular automata can be used to generate artistic patterns that have the appearance of being generated at random, or they can be used to modify images such as photographs by repeatedly applying a transformation such as the stepping stone rule (to give an impressionist style), until the desired artistic effect is achieved. Cellular automata can also be used to generate music that has the appearance of being generated at random.

The status of software as a metaphor for the very concept of metaphor makes it unique. It encapsulates a logic of general substitutability, as well as a logic of ordering and creative, animating disordering, in its role as a universal imitator and machine. Joseph Weizenbaum has made the case that computers have become metaphors for effective procedures, which refers