Utente:Lydia Tuan/Generative Literature: differenze tra le versioni

Versione delle 10:17, 6 giu 2019

Versione delle 10:20, 6 giu 2019

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== History ==

A definition and history of generative art is often the preferred reference for describing the origins of generative literature.<ref>{{Cita web|url=http://hybridpedagogy.org/what-is-generative-literature-introducing-the-generative-literature-project/|titolo=What is Generative Literature? Introducing “The Generative Literature Project”|autore=Mia Zamora and Matt Jacobi|data=2015-07-19|lingua=en|urlarchivio=https://web.archive.org/save/http://hybridpedagogy.org/what-is-generative-literature-introducing-the-generative-literature-project/|dataarchivio=2019-06-06|urlmorto=no}}</ref><ref>{{Cita pubblicazione|autore=Daniel C. Howe and A. Braxton Soderman|anno=2009|titolo=The Aesthetics of Generative Literature: Lessons from a Digital Writing Workshop|rivista=Hyperrhiz: New Media Cultures|volume=|numero=6|lingua=en|doi=10.20415/hyp/006.e04|url=http://hyperrhiz.io/hyperrhiz06/essays/the-aesthetics-of-generative-literature-lessons-from-a-digital-writing-workshop.html}}</ref> According to generative [[Artista|artist]] and [[Critica artistica|critic]] [[Philip Galanter]], generative art gained popularity in the late [[XX secolo|twentieth century]], as a result of, in part, the computational possibilities offered via computers, which gave generative art a new platform.<ref name=":6" /><ref name=":7" /> [[Storia dell'arte|Art historian]] [[Grant D. Taylor]] notes that [[computer art]]’s introduction in [[1963]] sparked outrage, mostly from non-computer artists who feared that the longevity of [[Poesia|written poem]], being “communication from a particular human being” and “one last refuge for human beings” would be at risk in the computer age.<ref name=":0">{{Cita libro|autore=Grant D. Taylor|curatore=Francisco J. Ricardo|titolo=When the Machine Made Art: The Troubled History of Computer Art|collana=International Texts in Critical Media Aesthetics|anno=2014|editore=Bloomsbury|città=New York|lingua=en|pp=5-6|volume=8}}</ref>

[[Arte digitale|Computer art]] was often seen as “another example of the vulgarization of science, where besotted artists, dallying with the latest scientific and technological media, produced what was tantamount to science as [[kitsch]],” paralleling the fascination of computer art with [[Modernismo|modernist]] responses to the development of [[Scienza fondamentale|pure sciences]] in the [[Novecento (disambigua)|early twentieth century.]]<ref name=":0" /> Prior to the mainstream acceptance of computer poetry as art in 1990s, people had hoped that machines would fail, having coveted art as a “refuge from the onslaughts of our whole machine civilization.”<ref name=":0" /> The stigma attached to computer art was voiced by artists such as [[Paul Brown]], who lambasted the use of computers in art as the “kiss of death”<ref name=":0" /> to describe computer artists who were rejected from galleries once it was revealed to curators and directors that computers played a role in their work’s creation.