代码艺术实践：生成式Processing教程

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生成式艺术是一种创新的艺术表达形式，它利用计算机程序和算法生成独特的视觉作品，将传统艺术创作与现代技术相结合。"生成式艺术：实践指南"是一本由Marius Watz和Matt Pearson合著的书籍，通过Processing编程语言提供了深入的实践指导。该书旨在帮助读者探索这个领域的可能性，通过编写代码创造出富有创意且动态的艺术图案。这本书分为两部分（第II章），作者们首先从理论层面介绍生成式艺术的基础概念，包括生成算法、随机性在艺术中的应用以及如何利用数据驱动的设计方法。这使得读者能够理解生成艺术背后的逻辑和科学原理。在实践部分，读者将跟随作者的脚步，学习如何在Processing环境中编写代码来创造自己的艺术作品。章节6可能着重于核心技术和示例，如迭代、递归、噪声函数等，这些都是生成艺术作品的关键工具。书中还包含了许多实用案例，展示了如何通过不同的代码实现各种风格的图形，如抽象几何、自然形态甚至是艺术史上经典的复现。特别值得一提的是，书中部分内容受到Creative Commons (Attribution-NonCommercial 3.0) 许可证的保护，这意味着读者可以在非商业用途下自由分享和学习源代码，但复制、存储或传播整本书必须得到版权方Manning Publications Co. 的事先许可，对于引言、第一章和全书中的源代码尤其如此。此外，书中还讨论了如何合法地使用生成式艺术中的图像资源，确保遵循版权法规定。 "生成式艺术：实践指南"是一本不仅限于艺术家，也适合对编程和数字艺术感兴趣的读者，它鼓励创新思维，推动了跨学科的交流，让艺术创作变得更加开放和个性化。无论是想要提升编程技能还是寻求新的艺术表达方式，这本书都是一个理想的起点。

xv xv

about this book

If this book were to be just a collection of recipes for you to follow, to produce certain aesthetically

pleasing results, it would be missing the point—not to mention hugely arrogant. The appreciation

of art is entirely subjective, so if I were to declare that there is a right way to go about creating

art, I would be in need of a slap.

Similarly, this isn’t a book about “design.” With design, the intention is to produce a visual that

produces the same response in everyone who sees it—the intention (such as “street,” “retro,” or

“subtle”) should be mostly unambiguous. With art, you’re still aiming to produce a response, but

if that response is different in different people that doesn’t matter. It’s fine for one person to like

a piece while another sneers. Even better, if one viewer loves the work, we would hope another

might hate it. If we can foster such an extremity of reaction, it’d be a measure of success. Perhaps

the only cardinal sin of art is to be boring.

This book is peppered throughout with stills from my own generative works, most of them relating

to whatever topic is under discussion, but others are just randomly thrown in as a breather.

Source code for many of these images can be downloaded from http://abandonedart.org and

from the publisher’s website at www.manning.com/GenerativeArt. It is also published under a

Creative Commons license, so you’re welcome to take these works and deconstruct them, adapt

them, mash them up, and destroy them. But, importantly, you’re also entitled to think they’re

rubbish. It wouldn’t bother me too much if you did—that isn’t the purpose of the book.

I would hope that even if you hated every single piece of artwork within these pages, you may

still get something from the book, if only the inspiration to do something better. In this way, even

bad art can be good, as it is only the very worst that can inspire an extreme reaction. To not

produce any reaction at all is to fail as an artist.

If there is one thing I want to get across with this book, it’s a style of programming rather than

a rulebook for achieving certain types of results. I want to explore how programmers can open

themselves to more artistic flurries, a way of freeing the brain to get creative with code.

The roadmap for this approach is as follows: The first part of the book, “Creative Coding,” sets the

scene and teaches all the necessary prerequisites. Chapter 1 looks at the concept of generative

art from a few different angles; then, in chapter 2, we get up to speed with Processing, a simple

programming language that will be our main tool for the rest of the book.

Within these pages, you’ll learn how to begin experimenting with generative art. We’ll explore

tools and algorithms and creative approaches, and look at ways you can take ideas and

develop them further. But there is one thing you won’t learn from this book, and that is how to

be an “artist.”

xviii

From the standpoint of Taoist philosophy natural forms are not made but grown,

and there is a radical difference between the organic and the mechanical.

Things which are made, such as houses, furniture, and machines, are an assemblage

of parts put together, or shaped, like sculpture, from the outside inwards.

But things which grow shape themselves from within outwards—they are not

assemblages of originally distinct parts; they partition themselves, elaborating their

own structure from the whole to the parts, from the simple to the complex.

”

Alan Watts, 1958

Alan Watts (1915–73), English philosopher and Zen monk, was a Buddhist in a very 1960s sense.

He was a master of theology, a priest, and the author of more than 20 books on Zen philosophy.

He also experimented with psychedelic drugs, both on a personal level and in laboratory trials.

He had plenty to say on the subject of creativity and technology but never, as far as I know, said

anything specifically on the subject of generative art.

In the above quote, he’s talking about the incongruity between the natural world and the

manmade, separating creation into the organic and the mechanical. This concept of organic

growth, whereby forms are constructed “from within outwards” describes this book’s topic rather

well; but in such a clear bilateralism, how can we say that a work of computer programming

belongs to the world of the organic rather than the mechanical?

Generative art is neither programming nor art, in their conventional sense. It’s both and neither

of these things. Programming is an interface between man and machine; it’s a clean, logical

discipline, with clearly defined aims. Art is an emotional subject, highly subjective and defying

definition. Generative art is the meeting place between the two; it’s the discipline of taking

strict, cold, logical processes and subverting them into creating illogical, unpredictable, and

expressive results.

Generative art isn’t something we build, with plans, materials, and tools. It’s grown, much like a

flower or a tree is grown; but its seeds are logic and electronics rather than soil and water. It’s an

emergent property of the simplest of processes: logical decisions and mathematics. Generative

art is about creating the organic using the mechanical.

introduction: the organic

vs. the mechanical

“

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