If you’ve seen any reality zoo/wild-life program you’ll recognize this. Five minutes into the show you’re confronted with a wounded, magnificent animal, held in captivity so its caretakers can nurture and feed it. And inevitably, after three commercial breaks, they release it, teary-eyed, back into the wild.
Choices, the core of generative art, the code making decisions instead of the artist. The artist relinquishing control.
What is choice?
Recently, during an online discussion about generative art, determinism, emergence, and the like, I felt like we were running in circles. The problem seemed to be different interpretations of “predictability” and it’s relationship to determinism.
From my very first steps with processing, I’ve always been fascinated by the division of space, volumes and surfaces. In retrospect, many of my constructs can be seen as explorations of this theme.
All images created by giving text prompts to the ML assistance tool, Midjourney (Terms of Service).
I’ve spend some time delving into my shelves to collect the books that shaped my creative coding practices. Some of them I wholly internalized, others merely served as a source for a useful snippet or two. I present them here as a nebulous cloud, not as a curriculum, because that’s the way I experienced them. …
Spaghetti code is great! For many of us writing creative coding in Processing, starting with a simple idea and progressively adding layer and layer of complexity and functionality is a familiar workflow. It’s also a source of unexpected emergent features, what others would call bugs or mistakes *eyeroll*. The tangled messes we code…
This year, I was given a most wonderful Father’s Day gift, a draft, technical pen on tracing paper, that my father made in 1960 as part of his graduation as a “technisch ingenieur”, industrial engineer.
Ages ago, 2006 or so, I came across a small book, Pamphlet Architecture 27: Tooling by Benjamin Aranda and Chris Lasch. It described several generative, parametric systems. One of the recipes is shown here, cracking. In this post we’ll build a generative system in Processing to explore the idea.
The last few months, I spent quite some time in one-on-one conversations on Twitter and Instagram with people looking for help on something they want to try with creative coding. Often, these conversations start with the same questions, what courses to follow, what books to read, what learning path to follow?
Signed distance functions (sdf) are a staple of shader and raytracing code. This article shows a way to abuse sdfs for fun and profit*.
*mileage may vary
One of the most useful skills in creative coding is reading all kinds of data and files. And reading Wavefront .obj files in Processing is definitely one of the more fun applications.
Is there more to generative art than wallpaper generators?
Excerpt from Lamia by John Keats
Part of the raw data-visualizations made for a video artwork Sievert Rising by Frederik De Wilde
Counters coded for the Creative Coding Playground at the Vooruit, Ghent, a celebratory piece for its 100th birthday.
Complexity, evolution, homeostasis
