Generative photography
The Generative Photography is showing since the mid-1960s, existing direction of artistic photography, the images produced primarily by computer. It developed out of the attempt to use the means of the emerging computer technology to enable a new area of creative aesthetics with its graphics. Max Bense was the pioneer of this new conception, and Gottfried Jäger introduced the term generative photography for this artistic program of a new visual language in 1968 .
History and theory
Counter-images of generative photography at that time were the predominant conceptions of subjective photography according to Otto Steinert and total photography as described by Karl Pawek .
Generative photography emerged from practical and theoretical precursors: experimental photography since the beginning of the 20th century, an apparatus-based art as a result of the development from the kaleidoscope to the computer and an aesthetic theory whose beginnings are determined by rational and metaphysical attempts to explain the beautiful . In connection with the theory of generative photography, terms such as information aesthetics and numerical aesthetics were coined to describe the theoretical foundations of this photographic art direction. Another theoretical basis, the so-called generative grammar represents the Chomsky postulated. All of this formed the intellectual and conceptual background for generative photography. The so-called generative aesthetics is by Max Bense thus a generation aesthetics .
In 1968, works of generative photography were shown for the first time in an exhibition at the Bielefelder Kunsthaus. The participating artists Kilian Breier (1931–2011), Pierre Cordier (born 1933), Hein Gravenhorst and Gottfried Jäger , initiator and namesake of the exhibition, deliberately avoided any kind of reproduction of photographic reality in their works. The exhibited works showed chemigrams , luminograms and images created by pinhole diaphragms such as those used in pinhole cameras. This created a non-figurative and abstract photographic imagery. Due to its proximity to number, system and program, generative photography formed the transition to computer-aided art.
The hallmark of generative photography is a methodical approach in the sense of a scientific experiment. Individual design elements such as point of light, light trail, pattern, color scheme and photo-technical parameters such as exposure time, depth of field , graininess had an influence on the composition of the picture . In the process, new artistic processes in the border area of photography were used on the basis of self-constructed apparatus and specially developed computer programs . Current works on generative photography increasingly include digital components in their program.
Individual evidence
- ↑ Otto Steinert (ed.): Subjective photography. An illustrated book of modern European photography, Bonn, 1952.
- ^ Karl Pawek: Total photography. The optics of the new realism, Freiburg i. Br., 1960.
- ^ Jeannine Fiedler, Bauhaus Archive (ed.): Photography at the Bauhaus, exhibition cat., Berlin, 1990.
- ↑ Herbert W. Franke, Gottfried Jäger: Apparative Art. From kaleidoscope to computer, Cologne, 1973.
- ↑ Max Bense: Projects of Generative Aesthetics, in: ders., Aesthetica. Introduction to the new aesthetics, Baden-Baden, 1965, pp. 333–338.
- ↑ Helmar Frank: Information aesthetics basic problems and first application to the mime pure, Quickborn, 1968.
- ^ Siegfried Maser: Numerical Aesthetics. Stuttgart / Bern, 1970.
- ^ Noam Chomsky: Syntactic Structures, the Hague, 1957, German: Structures of Syntax, the Hague, 1973.
- ↑ Bense, Aesthetica, p. 335.
- ^ Kunsthaus Bielefeld: Generative Photography, exhibition and leaflet with texts by Herbert W. Franke and Gottfried Jäger, Bielefeld, 1968.
- ↑ Gottfried Jäger: Generative Photography: A Systematic, Constructive Approach, in: Leonardo (Berkeley / Oxford), Vol. 19, 1/1986, pp. 19-25.
- ^ Georg Nees: Generative Computergrafik, Berlin / Munich, 1969.
- ↑ Gottfried Jäger: Generative Photography: A Systematic, Constructive Approach, in: Leonardo, 1986, pp. 19-25.
- ↑ Gottfried Jäger: Generative Photography I – III, in: ders. Photo aesthetics. On the theory of photography, texts from the years 1965–1990, Munich, 1991.
- ↑ Karl Martin Holzhäuser (digital montages), Gottfried Jäger (Generative Images): Realer Schein, exhibition cat., Epson Kunstbetrieb, Düsseldorf, 2008.