As a computer artist, you are both the artist and tool-maker, requiring not just artistic expression and visual design but also mathematical and technological expertise. Works not only represent themselves but the process by which a computer artist has chosen to create them - they author not just specific works, but families of them.
Much of generative art's aesthetics descend from the designig of these art-domains through parameterisation, mathematical rendering, animation and complex, chaotic system design. This way of creating has been at odds with the art world which often sees media art's departure from the natural, observed world as a departure from life, from the epistemic virtues of observation, of the reality revealed and accessible through the efforts of artists and naturalists.
But information art presents an oppertunity to diverge from this human centric view, to present the world outside of what we presume to know, outside of our organic reality.
Through combining drawing and coding, can we develop art that is both empathetic as well as outside our comprehension? Work that is both observable and unobservable? Human and Universal?
In his 2019 conference paper, Batchelor outlines the theoretical and practical steps we could take to unite these polar opposite disciplines, arguing that they are actually far closer to eachother than we commonly think...
[Below are a selection of digital paintings using the computer system outlined in the paper.]