![]() ![]() And yet, compared to art created by the machine, traditional art appears to be natural. We discover it by projection and interpretation only. Nowhere in nature do we encounter works of art, and it is only after art had become an important facet of human culture that we discovered aesthetics in nature. Now, art has always been artificial, and it is ridiculous to assume anything different. Supposedly, he was implicitly referring to artificial intelligence. When Bense used the combination of art as a purely human activity and art produced by computer, he implied that there was a very real possibility of having something like an artificiality of a second order. The word “art” itself carries this connotation. It is obviously unnecessary to stress the fact that art is human-made, i.e. The latter he called artificial art (künstliche Kunst) thus, he coined a new concept. Max Bense, the philosopher who had arranged the show, felt obliged to cool down the disturbance by stressing a distinguishing line between art as a purely human activity and art produced by computer. Was this supposed to be art, if it was true that a computer had produced the works? To what extent was the computer the creator? To a considerable degree, the audience consisted of artists from the Stuttgart area. In February 1965 when the first exhibit of computer art opened at the study gallery at the University of Stuttgart, Germany, showing a small selection of plotter drawings by Georg Nees, uneasy feelings emerged among the audience. ![]() 14 December 2020.Frieder Nake looks at how information and the computer have opened up the discourse on aesthetics, reality, and the nature of art. Black, "Bresenham's algorithm", inĭictionary of Algorithms and Data Structures, Paul E. If you have suggestions, corrections, or comments, please get in touch ![]() I happily agreed, and they printed it in 1965." A person from the IBM Systems Journal asked me after I made my presentation if they could publish the paper. It was a year in which no proceedings were published, only the agenda of speakers and topics in an issue of Communications of the ACM. When I returned to Stanford in Fall 1962, I put a copy in the Stanford comp center library.Ī description of the line drawing routine was accepted for presentation at the 1963 ACM national convention in Denver, Colorado. Programs in those days were freely exchanged among corporations so Calcomp (Jim Newland and Calvin Hefte) had copies. was in production use by summer 1962, possibly a month or so earlier. A Calcomp plotter had been attached to an IBM 1401 via the 1407 typewriter console. Bresenham wrote, "I was working in the computation lab at IBM's San Jose development lab. Reprinted in Interactive Computer Graphics, Herbert Freeman ed., 1980, and Seminal Graphics: Pioneering Efforts That Shaped The Field, Rosalee Wolfe ed., ACM SIGGRAPH, 1998. Bresenham, Algorithm for Computer Control of a Digital Plotter, IBM Systems Journal, 4(1):25-30, 1965. It may help with dithered lines or checking for obstacles. It marks all the squares a line passes through, not just the least error squares. Jack Bresenham, Ambiguities in incremental line rastering, IEEE Computer Graphics and Applications, 7(5):31-43, May, 1987.Įugen Dedu's implementation of a Bresenham-based supercover line algorithm. The long dimension is incremented for each pixel, and the fractional slope is accumulated.īresenham discusses implementation issues and design choices, such as arise drawing lines beginning at either end point of a line or approximating a circle with a polygon, in ![]() Bresenham's algorithm Bresenham's algorithmĪn efficient algorithm to render a line with pixels. ![]()
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