By Carolyn L. Kane

These days, we take with no consideration that our machine screens—and even our phones—will exhibit us pictures in vivid complete colour. electronic colour is a basic a part of how we use our units, yet we by no means provide a proposal to the way it is produced or the way it got here about.


Chromatic Algorithms finds the attention-grabbing historical past at the back of electronic colour, tracing it from the paintings of some fabulous laptop scientists and experimentally minded artists within the past due Sixties and early ‘70s via to its visual appeal in advertisement software program within the early Nineties. blending philosophy of know-how, aesthetics, and media research, Carolyn Kane indicates how progressive the earliest computer-generated colours were—built with the large postwar number-crunching machines, those first examples of “computer artwork” have been so great that artists and machine scientists looked them as psychedelic, even progressive, harbingers of a higher destiny for people and machines. yet, Kane indicates, the explosive development of private computing and its accompanying desire for off-the-shelf software program ended in standardization and the slow last of the experimental box within which machine artists had thrived.


Even so, the distance among the intense, daring presence of colour onscreen and the expanding abstraction of its underlying code keeps to entice artists and architects from a variety of fields, and Kane attracts on their paintings to pose interesting questions on the relationships between paintings, code, technology, and media within the twenty-first century.

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Chromatic Algorithms: Synthetic Color, Computer Art, and Aesthetics after Code by Carolyn L. Kane

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