(modifiable within the predetermined framework) of all attractors. In contrast to the application-oriented examples mentioned above, there is a smaller number of artists for whom rules and instructions play a central role in artistic endeavour [software art][22]. For them it is not a case of applying foreign systems and rules in order to free the form from the individual, but rather to define the system of rules itself as a work of art. "dot-walk"[23] from socialfiction.org raises regimentation to an art form by giving instructions for a walk through a city. These instructions correspond to an algorithm and can be traced back to a simple computer programme: //Classic.walk Repeat [ 1 st street left 2 nd street right 2 nd street left ] The psychogeographical project "dot.walk" supplies instructions (software) on how to use a city (hardware). In principle, however, this artistic position offers no compelling case for involvement with programmed software, providing instead a general reflection on rules and their use. The artistic interest in this case is concentrated on the instruction. In conclusion we can say that generative methodology was adopted across genres and over a wide time span. The middle years of the last century

witnessed the emergence of artistic approaches in which this method was seen not only as an aid, but also as an integral part of artists' work. The method itself however was not central in their view, but, recognised as the principle suited to the realisation of their artistic goals, was used accordingly. At the same time, computer artists were involved in searching for ways of generating forms. With the spread of the Internet, a tool was available which carried the principle of generation within itself. It was appropriated into all areas of artistic creation and offered new dimensions in representation, distribution and interdisciplinary co-operation. From this, many areas of application were discovered in which the generative method could be used. Along with all these application-oriented uses, the rules involved, as well as their programming, began to attract the interest of artists. What was of interest now was not the rule as a means to create form, but rather the rule as such. On the basis of the works referred to here, we can say that as a principle, generative art justifies from within itself the necessity of its being generative.