Abstract
The paper provides a personal view of the implications of computational concepts and technologies on art practice. It draws upon 40 years of such practice by the author. As the title implies, the paper concentrates on the themes of structure within the artwork, time-based art, correspondences between different media that the computer enables, and interaction with the audience. The paper draws a line from Malevich to present day art employing computation.
Highlights
Few would dispute the role of Cézanne as the father of the early 20th century revolution in visual art
His insight into art practice is especially interesting to me: The technique of any art consists of a language and a logic [1]
My work and the significance of digital technology in its composition, is an example of an art form closely entwined with the creation of new constructs and the techniques that enable them to be realised
Summary
Few would dispute the role of Cézanne as the father of the early 20th century revolution in visual art. My work and the significance of digital technology in its composition, is an example of an art form closely entwined with the creation of new constructs and the techniques that enable them to be realised. One such example is the introduction of time, a significant new element in visual art.
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