Creative coding: Difference between revisions

Revision as of 08:47, 29 January 2023

Revision as of 16:24, 30 January 2023

Line 4:

== History ==

Using programming to create art is a practice that started in the 1960s. In later decades groups such as Compos 68<ref>{{Cite web|title=Compos 68 - Monoskop|url=https://monoskop.org/Compos_68|access-date=2020-06-10|website=monoskop.org}}</ref> successfully explored progrmamingprogramming for artistic purposes, having their work exhibited in international exhibitions. From the 80s onward expert programmers joined the [[demoscene]], and tested their skills against each other by creating "demos": highly technically competent visual creations.

Recent exhibitions and books, including Dominic Lopes' ''A Philosophy of Computer Art'' (2009) have sought to examine the integral role of coding in contemporary art beyond that of Human Computer Interface (HCI).<ref>{{cite book|last1=Lopes|first1=Dominic|title=A Philosophy of Computer Art|date=2009|publisher=Routledge|___location=London|isbn=0415547628}}</ref> Criticising Lopes however, Juliff and Cox argue that Lopes continues to privilege interface and user at the expense of the integral condition of code in much computer art. Arguing for a more nuanced appreciation of coding, Juliff and Cox set out contemporary creative coding as the examination of code and intentionality as integral to the users understanding of the work.<ref>{{cite journal|last1=Toby Juliff|first1=Travis Cox|title=The Post-display condition of contemporary computer art|journal=eMaj|date=April 2015|volume=8|url=https://emajartjournal.com/2015/04/14/toby-juliff-travis-cox-the-post-display-condition-of-contemporary-computer-art/|accessdate=31 May 2016|archive-url=https://web.archive.org/web/20160629221917/https://emajartjournal.com/2015/04/14/toby-juliff-travis-cox-the-post-display-condition-of-contemporary-computer-art/|archive-date=29 June 2016|url-status=dead}}</ref>