resonances & affinities between generative art and oulipian writing


generative art
oulipo (workshop of potential literature)

Anticipatory Plagiarisms of Generative Art

Dadaist Poetry (Tristan Tzara) 1920
Aleatoric Music (John Cage) 1951
Happenings (Allan Kaprow) 1959
Cut-Up Method (Brion Gysin & William Burroughs) 1959
Instruction-Based Drawing (Sol LeWitt) 1960s
ALAMO [workshop for literature assisted by mathematics & computers] (Paul Braffort, Jacques Roubaud) 1980

Generative Art

n+7 generator (Jean Lescure, spoonbill.org)
The Postmodernism Generator (Andrew C. Bulhak, Josh Larios)
SCIgen (Jeremy Stribling, Max Krohn, Dan Aguayo)
Go Sand Gold [Genesis 1:3 remix] (Curt Cloninger)

[graphic design]
Mapmaker (Josh Davis, Jemma Gura)
n-Gen (Move Design) | [static example]

Synesthetic Bubblegum Cards (Curt Cloninger)
time().mt_rand (noemata)

Generative Music 1 (Brian Eno)

[abstract visuals]
Vitaflo: Version 8 (Brent Gustafson)
Articulate (Casey Reas)
Substrate * Intersection Aggregate (Jared Tarbell)

amoebaAbstract01_variant (Marius Watz) [user as co-author]
Grafik Dynamo (Kate Armstrong, Michael Tippett)
[noosphere as co-author]

Letting Matter Matter / Letting Language Speak

Language is a material.
In Defense of an Oulipian John Cage.

How To Foreground Constraints In The Art Itself

1. Just make constraints, not art.
2. Write a long artist statement.
3. Shift the focus from product to process.
4. Fake it! (Canada Dry)
5. Make art where the process is intrinsic to the work itself.

Further Research

selected artist sites
additional resources
contact: curt at lab404.com