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Themesicon: navigation pathGenerative Toolsicon: navigation pathSoftware Art
Net Art Generator (Sollfrank, Cornelia), 1999

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technical university in Milan and organiser of the "Generative Art" international conferences, also describes generative art as a tool that allows the artist or designer to synthesise "an ever-changing and unpredictable series of events, pictures, industrial objects, architectures, musical works, environments, and communications." [12] The artist could then produce "unexpected variations towards the development of a project" in order to "manage the increasing complexity of the contemporary object, space, and message." [13] And finally, the Codemuse web site also defines generative art as a process with parameters that the artist should experiment with "until the final results are aesthetically pleasing and/or in some way surprising." Generative art and generative design are–as these quotes show–mainly concerned with the results that generative processes produce. They involve software as a pragmatic-generative tool or aid with which to achieve a certain (artistic) result without questioning the software itself. The generative processes that the software controls are used primarily to avoid intentionality and produce unexpected, arbitrary and inexhaustible diversity. Both the n_Gen Design


Machine, Move Design's entry to the Helsinki Read_Me Festival 2003, and Cornelia Sollfranks’ «Net Art Generator[14] which has been generating net art at the touch of a button since 1999, are ironic commentaries on what is often (mis)taken for generative design. [15] insert_coin and walser.php extend beyond such definitions of generative art or generative design insofar as, in comparison to more result-orientated generative design (and also in comparison to many interactive installations of the 1990s, which hid the software in black boxes), they are more concerned with the coded processes that generate particular results or interfaces. Their focus is not on design, but on the use of software and code as culture–and on how culture is implemented in software. To this end, they develop 'experimental software', a self-contained work (or process) that deals with the technological, cultural, and social significance of software–and not only by virtue of its capacity as tool with which arbitrary interfaces are generated. In addition, the authors of 'experimental software' are rather concerned with artistic subjectivity, as their use of various private languages shows, and less with

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