고유번호: http://www.riss.kr/link?id=A106288966

제목: 프로그램 미술의 논리와 한계 : 계산된 창의성

저자명: 박평종 (Park Pyungjong )

학술지명: 美學·藝術學硏究

권호사항: 제57권 

수록면: 89-112 

발행처: 한국미학예술학회

발행년도: 2019. 

등재정보: KCI 

기타사항: 

초록: 

The purpose of this study is to examine the meaning of experimental art using computer programs and algorithms and to examine the possibilities and limitations of artistic practice. I would like to call the program-based art, which is defined as the core of the device, arbitrarily called ‘Program Art’. 'Program Art' means literally produced art based on the program. The program is designed to produce results in accordance with predefined rules, and its principles are deterministic and predictable. Therefore, the art that relies on the program conflicts with the main principle of art creation. It seems to harm ‘creativity’, the most universal virtue required for works of art.

However, the works of William Latham and Karl Sims, which use evolutionary algorithms, are further reinforced with ‘indeterminism’ and ‘unpredictability’. Objects produced through artificial evolution show new forms that did not exist in the past. Here, the program chooses the most improvable form. At this time, the artist can not predict what form the program will have. The creative possibilities of program art relies on these ‘indeterminacy’ and ‘unpredictability’.

If creativity is the ability to produce new, valuable ideas that have not existed in the past, the work the program produces can be creative. However, novelty must be perceived as valuable to humans in order to have creativity. This requires a comprehensive judgment of human beings, including philosophy, aesthetics, psychology, and history. In this respect, ‘program art’ does not intensify human exclusion but rather promotes active participation of human beings. Under this condition, program art can open up new areas that artistic practices of the past could not reach.