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Themesicon: navigation pathGenerative Toolsicon: navigation pathComputer Art

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re-assessment of ideas on computer art: reactions in ‹real time.› The complexity of switching, by using tactile and visual sensors, serves not just to control and trigger certain functions. In his description from 1990, it is seen that the system possesses two functional modes. In one of them, the machine alone decides what type of interaction, from among the range of possible sequences, will be running. In the other mode, there is a human ‹teammate,› an ‹operator› who takes control. The computer is used as a switch in this mode of operation, but in the first mode, the complexity of the human reaction is determined and interpreted within an environment of a group of machines. The second mode was exclusively a transition phase for Krueger in 1990 until the technology was so far developed that complex ways of integration became possible through the use of the machine alone.

C. Software Art – Computer Art

Now, in a third phase, are we experiencing a renaissance of computer art as software art? [53] Will it once again be the art of the programmer that will be


fed back into a contemporaneously developed idea of artistic creation on the basis of a code at the festivals of activist artistic activity? There is again less of an impetus coming from art academies than from other professions, such as software development (Antoine Schmitt), and media layout and design (W. Bradford Paley). This connection possesses an Archimedean point in the movement related to free software, which has had the greatest influence on the present-day scene of the artist-programmer. [54] Along with this, there have been accompanying debates over copyrights, concepts of artwork, the role of the artist, and software code and how these relate to the legal system and the arts. With all these other concerns, the computer art scene also has a political and critical element, which has become the main theme of the software developed by Adrian Ward, for example. The works presented here share a conceptual aspect which can clarify where the differences with the earlier works reside. [55] In contrast to the works of Nees and Krueger, both works show a high degree of self-referencing. In these works, which do not simply rely on pseudo-random generated graphics, the degree

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