Computer Art Vs. Human Art

There Is No Difference between Computer Art and Human Art (+Video)

Sam Dresser | July 20, 2016

In December 1964, over a single evening session in Englewood Cliffs, New Jersey, John Coltrane and his quartet recorded the entirety of A Love Supreme. This jazz album is considered Coltrane’s masterpiece – the culmination of his spiritual awakening – and sold a million copies. What it represents is all too human: a climb out of addiction, a devotional quest, a paean to God.
Five decades later and 50 miles downstate, over 12 hours this April and fuelled by Monster energy drinks in a spare bedroom in Princeton, New Jersey, Ji-Sung Kim wrote an algorithm to teach a computer to teach itself to play jazz. Kim, a 20-year-old Princeton sophomore, was in a rush – he had a quiz the next morning. The resulting neural network project, called deepjazz, trended on GitHub, generated a buzz of excitement and skepticism from the Hacker News commentariat, got 100,000 listens on SoundCloud, and was big in Japan.

[Click on link to view video] "Emily Howell is a computer program. A 1990s creation of David Cope, now a professor emeritus at the University of California at Santa Cruz, ‘she’ was born out of Cope’s frustrating struggle to finish an opera of his own. (Howell’s compositions are performed by human musicians.)" Source: https://aeon.co/ideas/there-is-no-such-thing-as-computer-art-it-s-all-just-art

"Gilles Tran – Blowing in the wind" Source: http://www.widewalls.ch/computer-generated-art-10-artworks/

<more at https://aeon.co/ideas/there-is-no-such-thing-as-computer-art-it-s-all-just-art; related articles and links: http://www.mckinsey.com/business-functions/business-technology/our-insights/four-fundamentals-of-workplace-automation (Four fundamentals of workplace automation. November 2015) and http://www.sciencedirect.com/science/article/pii/009784939190040O (Some aesthetic questions on computer-based art and design. Harold J. McWhinnie. Computers & Graphics. Volume 15, Issue 1, 1991, Pages 139-142. doi:10.1016/0097-8493(91)90040-O. [Abstract: This paper will report on an exhibition held in 1988 in Baltimore on the use of the computers in the arts. It will review work of significant artists who were in the show and will address some of the philosophical questions that seem to pertain to the use of the computer as a design apprentice. This work will be discussed also in relation to the growing interest in multi-media presentations that use the microcomputer as a way to present a variety of realities or possible worlds to students in school. Aesthetic questions and educational implications will be discussed in detail.])>