THOUGHT AS DESIGN | PENSAMENTO ENQUANTO DESIGN

experimentadesign 2001

arrabida | pensamento enquanto design | thought as design

lisbon 2001

roman verostko

brief bio

Roman Verostko USA, Artist. Born: 1929. Verostko who received the 1994 Golden Plotter First Prize has been shown in art and technology exhibitions on four continents including Genetic Art - Artificial Life at Linz (1993) and ARTEC 95 Biennial (Nagoya, Japan). A past Board Member of the Inter-Society for Electronic Art and Program Director for the Fourth International Symposium on Electronic Art, Roman has published articles and lectured internationally on the subject of Art and Algorithm. Recent work includes an algorithmic mural spanning 40 feet at the University of St. Thomas in St. Paul, Minnesota. An active artist since 1950, he exhibited his first electronic work in New York in 1967. Later, with the advent of PCs, he experimented with coded procedure and exhibited his first algorist work in 1984 at the Minneapolis College of Art and Design. He soon found that pen plotters, the drawing machines used by architects, could execute his 'form-generating' instructions. With his own algorithmic scores (coded instructions) he improvised procedures for plotting with both ink pens and paint brushes. By 1987 he presented his first exhibition of algorithmic works on paper as Robotic Drawings and Paintings. Now he saw clearly that algorithmic form generators operated, by analogy, like biological processes. His paper on 'Epigenetic Painting: Software as Genotype', presented at the First International Symposium on Electronic Art (Utrecht, 1988), identified the analogues between algorithmic form generators and biological epigenesis. Through years of refinement he has achieved a mature body of work fully created with original code. Megan Bates, reviewing a recent show, hailed Verostko as «clearly a master of the programming language he uses» in Arizona Republic, 2/1/2001). After years of experience as a practicing artist his 'algorithmic' art occupies the intersection of art and information where coded procedure and the finished work of art merge. His work, committed to investigating this intersection in both theory and practice, includes series of works honouring innovators in the history of information theory. Works include a limited edition honouring George Boole for his 1847 volume on the 'Derivation of the laws'; an edition of Illuminated Universal Turing Machines to honour Alan Turing for his 1936 paper 'On computable numbers'; and electronic sculptures in homage to Norbert Wiener for his pioneer work on the human-machine dialectic in Cybernetics, 1948). Computer art exhibitions include: 'Algorithmic Fine Art: 20 Years of Experimental Work, 2001, ASU Computing Commons Gallery (Arizona USA); SIGGRAPH 1997; ISEA 94, 93, 92; Computerkunst 2000, 98, 94 (Germany); The New York Digital Salon, 2001, 1996, 95, 93; TISEA (Sidney, 1992); SICAF (Seoul, 1992): Dada Data: Developing Media Since 1970 (Baltimore, 1991); Interface: Art & Computer} (N.Y. 1991); El Art, Finland (1991); The Technological Imagination: Machines in the Garden of Art (Minneapolis, 1989); CRASH, Wright Museum (1988).

EXPERIMENTADESIGN

ASA Art and Technology

Roman Verostko USA, Artist. Born: 1929. Verostko who received the 1994 Golden Plotter First Prize has been shown in art and technology exhibitions on four continents including Genetic Art - Artificial Life at Linz (1993) and ARTEC 95 Biennial (Nagoya, Japan). A past Board Member of the Inter-Society for Electronic Art and Program Director for the Fourth International Symposium on Electronic Art, Roman has published articles and lectured internationally on the subject of Art and Algorithm. Recent work includes an algorithmic mural spanning 40 feet at the University of St. Thomas in St. Paul, Minnesota. An active artist since 1950, he exhibited his first electronic work in New York in 1967. Later, with the advent of PCs, he experimented with coded procedure and exhibited his first algorist work in 1984 at the Minneapolis College of Art and Design. He soon found that pen plotters, the drawing machines used by architects, could execute his 'form-generating' instructions. With his own algorithmic scores (coded instructions) he improvised procedures for plotting with both ink pens and paint brushes. By 1987 he presented his first exhibition of algorithmic works on paper as Robotic Drawings and Paintings. Now he saw clearly that algorithmic form generators operated, by analogy, like biological processes. His paper on 'Epigenetic Painting: Software as Genotype', presented at the First International Symposium on Electronic Art (Utrecht, 1988), identified the analogues between algorithmic form generators and biological epigenesis. Through years of refinement he has achieved a mature body of work fully created with original code. Megan Bates, reviewing a recent show, hailed Verostko as «clearly a master of the programming language he uses» in Arizona Republic, 2/1/2001). After years of experience as a practicing artist his 'algorithmic' art occupies the intersection of art and information where coded procedure and the finished work of art merge. His work, committed to investigating this intersection in both theory and practice, includes series of works honouring innovators in the history of information theory. Works include a limited edition honouring George Boole for his 1847 volume on the 'Derivation of the laws'; an edition of Illuminated Universal Turing Machines to honour Alan Turing for his 1936 paper 'On computable numbers'; and electronic sculptures in homage to Norbert Wiener for his pioneer work on the human-machine dialectic in Cybernetics, 1948). Computer art exhibitions include: 'Algorithmic Fine Art: 20 Years of Experimental Work, 2001, ASU Computing Commons Gallery (Arizona USA); SIGGRAPH 1997; ISEA 94, 93, 92; Computerkunst 2000, 98, 94 (Germany); The New York Digital Salon, 2001, 1996, 95, 93; TISEA (Sidney, 1992); SICAF (Seoul, 1992): Dada Data: Developing Media Since 1970 (Baltimore, 1991); Interface: Art & Computer} (N.Y. 1991); El Art, Finland (1991); The Technological Imagination: Machines in the Garden of Art (Minneapolis, 1989); CRASH, Wright Museum (1988).
		EXPERIMENTADESIGN
		ASA Art and Technology