Calculated Abstraction

Collected by Rainer Kohlberger

[calculatedabstraction]

A biased illustrated essay on generative algorithms written by Anders Hoff.

[blushingcheekymonkey]

jaka bonča - albers (1995)

[exasperated-viewer-on-air]

John Carter - Archipelago. 2012

ink, gouache and crayon on paper

50 cm x 50 cm

[esculturasetc]

Carlos Cruz-Diez

Color Aditivo, 2015

Edition of 150

30 x 30 cm

[calculatedabstraction]

Mass Black Implosion A selection of scores by avant-garde composers are reproduced at 1:1 scale. A line is ruled from every original note to an arbitrarily chosen point as a proposition for a new composition, in which every note is played at once, as a moment of consolidation and singular impact.

Marco Fusinato

[calculatedabstraction]

György Ligeti’s Artikulation

[garadinervi]

(from) Kazimir Malevich, Suprematizm. 34 risunka (Suprematism: 34 Drawings), UNOVIS, Vitebsk, 1920

(via MoMA)

[calculatedabstraction]

Paul Shartis’s scores for his film Declarative Mode

[garadinervi]

Iannis Xenakis: Composer, Architect, Visionary, featuring essays by Ivan Hewett, Carey Lovelace, Sharon Kanach, and Mâkhi Xenakis, The Drawing Center, 2010

[crumbargento]

Filmstudie

Directed by Hans Richter - 1926 - (3'30 min)

[two-track-mind]

Vera Molnar, Slow Movement Roundabout, 1957

[topcat77]

Sol Lewitt

Wall Drawing No.273 4th Wall, 1975

[wowgreat]

Casey Reas

[garadinervi]

Peter Struycken, Computer Structures 1-1a, 2a, 3a, 4, Offset lithographs on board, 1969

(via)

[yama-bato]

Hans Richter, Rhythm 21, 1921©Hans Richter Estate

https://www.youtube.com/watch?v=FYPb8uIQENs

[prostheticknowledge]

Manfred Mohr

Short video from the Carroll / Fletcher Gallery looks at the career of the pioneering computer artist:

Since the late 1950s, Manfred Mohr, a pioneer of generative and computer art, has been making rigorously minimal paintings and drawings. His work is stringently conceptual, but with an elegant lyricism which belies its formal underpinnings.

During the 1960s, Mohr’s practice evolved from abstract expressionism towards a more hard-edged geometric painting. By 1968, in pursuit of a ‘real rational art’ he had begun to develop a ‘programmed expressionism’ in which algorithms were used to generate art that formalised his vision in a new, logical way.

Unfortunately, I cannot embed the video in this post, but you can view the short video at the Carroll / Fletcher website here

[bamjournal]

Edwin van der Heide

Donaueschinger Musiktage, Donaueschingen, Germany, 2012