Computer Aesthetics: New Art Experience, or The Seduction of the Masses

 

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Abstract/Summary/Introduction:

  • In the early twentieth century, Modern artists, notably Suprematists, Cuba-Futurists and Constructivists, rejected scientific perspective and descriptive art [1]. Although this dismissal of the world of appearances in art was never accepted by the general public, Modernism evolved from that rejection.

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References:
    1. Malevich, Kasimir “Suprematist Manifesto Unovis” (excerpted and translated), in Programs and Manifestoes on 20th Century Architecture, ed. Ulrich Conrads, MIT, Cambridge Massachusetts 1975, p. 87.
    2. Kirsh, J. L. “When Will Computer Art be Taken Seriously?,” Digitalk, Winter 1985, pp. 2-6.
    3. Prince, Patric, “Artists and Computers: A Retrospective,” IEEE Computer Graphics and Applications, Vol 6, No. 8, August 1986.
    4. Kerlow, Isaac Victor, “The Computer as an Artistic Tool,” Byte, September 1984, pp. 189-206.
    5. Lauzzana, Ray, “The Machine as Medium,” Computer Graphics, Vol 2, No. 6, 1979, pp. 37-39.
    6. Mezei, Leslie “Computer Art,” Arts Canada Vol 25, August 1968 pp. 13-18.