Sztuka generatywna

A Little-Known Story about a Movement, a Magazine, and the Computer’s Arrival in Art: New Tendencies and Bit International, 1961–1973, red. M. Rosen, D. Fritz, M. Gattin, P. Weibel, The MIT Press/Karlsruhe: ZKM, Cambridge, MA 2011.

Abriszewski K., Poznanie, zbiorowość, polityka. Analiza Teorii Aktora-Sieci Bruno Latoura, Universitas, Kraków 2008.

Alexander C., Język wzorców. Miasta, budynki, konstrukcja, tłum. A. Kaczanowska, K. Maliszewska, M. Trzebiatowska, Gdańsk 2008.

Alexander S., Space, Time, and Deity, Macmillan, London 1920.

Anderson C., Długi ogon. Ekonomia przyszłości – każdy konsument ma głos, tłum. B. Ludwiczak, Media Rodzina, Poznań 2008.

Anderson C., The End of Theory: The Data Deluge Makes the Scientific Method Obsolete, „Wired” 06.2008, https://www.wired.com/2008/06/pb-theory/ [dostęp 25.04.2014].

Arnheim R., Entropy and Art; an Essay on Disorder and Order, University of California, Berkeley 1971.

Arns I., Read_me Run_me, Execute_me: Software and its Discontents, or: It’s the Performativity of Code, Stupid, [w:] Readme 100: Temporary Software Art Factory, red. O. Goriunova, Hartware-Medien-Kunst-Verein, Dortmund 2005.

Arte programmata, catalogue, May 15–30th 1962, Negozio Olivetti, Milano 1962.

Ascott R., Telematic Embrace. Visionary Theories of Art, Technology, and Consciousness, edited and with an essay by E. A. Shanken, University of California Press, Berkeley, Los Angeles, London 2003.

Ascott R., The Construction of Change, „Cambridge Opinion” 41 (Modern Art in Britain) 1964.

Bachman C. W., The Programmer as Navigator, „Communications of the ACM”, November 1973, vol. 16, no. 11.

Bentley P. J., The Meaning of Code, [w:] Code – The Language of our Time. Ars Electronica 2003, red. G. Stocker, C. Schöpf, Hatje-Cantz Verlag, Ostfildern-Ruit 2003.

Bertin J., Semiology of Graphics: Diagrams, Networks, Maps, tłum. W. J. Berg, The University of Wisconsin Press, Medison 1983.

Bill M., The mathematical way of thinking in the visual art of our time, [w:] The visual mind, red. Michele Emmer, The MIT Press, Cambridge, MA 1993.

Bińczyk E., (Post)konstruktywizm na temat technonauki, „Avant: pismo awangardy filozoficzno-naukowej” 2013, 4/1.

Bochner M., The Serial Attitude, „Artforum”, December 1967, vol. 6, no 4.

Boden M. A., Edmonds E. A., What is generative art?, „Digital Creativity”, March 2009, 20 (1–2).

Boden M. A., The Creative Mind: Myths and Mechanisms, Routledge, London, New York 2004.

Bomba R., Narzędzia cyfrowe jako wyznacznik nowego paradygmatu badań humanistycznych, [w:] Zwrot cyfrowy w humanistyce. Internet/Nowe Media/Kultura 2.0, red. A. Radomski, R. Bomba, E-naukowiec, Lublin 2013.

Bouleau C., The painter’s secret geometry; a study of composition in art, Hacker Art Books, New York 1963.

Bown O., Generative and Adaptive Creativity: A Unified Approach to Creativity in Nature, Humans and Machines, [w:] Computers and Creativity, red. J. McCormack, M. d’Inverno, Springer, Berlin, Heidelberg 2012.

Bown O., McCormack J., Kowaliw T., Ecosystemic methods for creative domains: niche construction and boundary formation, „IEEE Symposium Series on Computational Intelligence – SSCI”, April 11–15, 2011.

Branzi A., Learning from Milan: design and the second modernity, The MIT Press, Cambridge, MA 1988.

Broad C. D., The Mind and its place in nature, Kegan Paul, London 1925.

Broug E., Islamic geometric patterns, Thames & Hudson, London 2008.

Brown P., From System Art to Artificial Life: Early Generative Art at the Slade School of Fine Art, [w:] White Heat Cold Logic: British Computer Art 1960–1980, red. P. Brown, C. Gere, N. Lambert, C. Mason, The MIT Press, Cambridge, MA 2009.

Brown P., Notes Towards a History of Art, Code and Autonomy, [w:] Evolution Haute Couture. Art and Science in the Post-biological Age. Part 2: Theory, red. D. Bulatov, BB NCCA, Kaliningrad 2013, http://www.paul-brown.com/caseva.pdf [dostęp 28.11.2014].

Burnham J., Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of This Century, George Braziller, New York 1968.

Burnham J., Real Time Systems, „Artforum” 1969, vol. 8, no 1.

Burraston D., Edmonds E., Cellular Automata in Generative Electronic Music and Sonic Art: Historical and Technical Review, „Digital Creativity” 2005, 16 (3).

Bush V., As We May Think, „Atlantic Monthly”, July 1945, https://www.theatlantic.com/magazine/archive/1945/07/as-we-may-think/303881/ [dostęp 26.11.2014].

Cariani P., Emergence and Artificial Life, [w:] Artificial Life II, SFI Studies in the Sciences of Complexity, red. C. Langton i in., Addison-Wesley, 1991.

Cariani P., Emergence and Creativity, Emoção Artificial 4.0, São Paolo, Brazil, 2008, http://www.cariani.com/CarianiNewWebsite/Publications_files/CarianiItauCultural2008-Emergence.pdf [dostęp 27.06.2014].

Cawthon N., Vande Moere A., The Effect of Aesthetic on the Usability of Data Visualization, [w:] IEEE International Conference on Information Visualisation (IV’07), IEEE, Zurich, Switzerland 2007.

Celiński P., Bio/imaginaria, [w:] Bio-techno-logiczny świat. Bio art oraz sztuka technonaukowa w czasach posthumanizmu i transhumanizmu, red. P. Zawojski, 13muz, Szczecin 2015.

Celiński P., Media wyobrażone, [w:] Mindware. Technologie dialogu, red. Piotr Celiński, Lublin 2012, http://www.mindware.wspa.pl/index.php/book/read/#path=2#chapter=4#page=0 [dostęp 25.07.2014].

Celiński P., Postmedia. Cyfrowy kod i bazy danych, Wydawnictwo UMCS, Lublin 2013.

Chun W. H. K., Programmed Visions: Software and Memory, The MIT Press, Cambridge, MA 2011.

Cohen H., Coloring without seeing: A problem in machine creativity, 1999, http://aaronshome.com/aaron/publications/colouringwithoutseeing.pdf [dostęp 17.03.2014].

Cohen H., Parallel to Perception: Some Notes on the Problem of Machine-Generated Art., „Computer Studies” 1973, IV–3/4.

Computers and Creativity, red. J. McCormack, M. d’Inverno, Springer, Berlin, Heidelberg 2012.

Cope D., Virtual Music: Computer Synthesis of Musical style, The MIT Press, Cambridge, MA 2001.

Couldry N., Media w kontekście praktyk, tłum. A. Strzemińska, „Kultura Popularna” 2010, nr 1 (27).

Cox G., Generator: the Value of Software Art, [w:] Issues in Curating, Contemporary Art and Performance, red. J. Rugg, M. Sedgwick, Bristol, Intellect Books, Chicago 2007, https://www.academia.edu/10519081/Generator_about_Generative_Art_and_or_Software_Art [dostęp 8.01.2014].

Cox G., McLean A., Speaking Code, Coding as Aesthetic and Political Expression, The MIT Press, Cambridge, MA 2012.

Cox G., McLean A., Ward A., Coding praxis: Reconsidering the aesthetics of code, [w:] Read_Me: Software Art and Culture, red. O. Goriunova, A. Shulgin, Digital Aesthetics Research Centre, University of Aarhus, 2004.

Cramer F., Concepts, Notations, Software, Art, 2002, http://www.netzliteratur.net/cramer/concepts_notations_software_art.html [dostęp 7.01.2014].

Crutchfield J. P., The Calculi of Emergence: Computation, Dynamics, and Induction, „Physica D – Special issue on constructive complexity and artificial reality archive”, Aug. 1, 1994, vol. 75, issue 1–3.

Crutchfield J. P., What Lies Between Order and Chaos?, [w:] Art and complexity, red. J. L. Casti, A. Karlqvist, Elsevier, Amsterdam, London 2003.

Crutzen C., Kotkamp E., Object Orientation, [w:] Software Studies: A Lexicon, red. M. Fuller, The MIT Press, Cambridge 2008.

Csíkszentmihályi M., Creativity: Flow and the Psychology of Discovery and Invention, Harper Perennial, New York 1996.

Csíkszentmihályi M., Przepływ. Psychologia maksymalnego doświadczenia, tłum. M. Wajda-Kacmajor, Moderator, Taszów 2005.

Csuri C., Shaffer J., Arts, computers, and mathematics, [w:] Proceedings of the December 9–11, 1968, fall joint computer conference, part II. ACM, New York 1968.

Cucker F., Manifold Mirrors: The Crossing Paths of the Arts and Mathematics, Cambridge University Press, Cambridge 2013.

Cybernetic Serendipity. The Computer and the Arts, red. J. Reichardt, Studio International, London 1968.

Database aesthetics: art in the age of information overflow, red. V. Vesna, University of Minnesota Press, Minneapolis 2007.

Dawkins R., Ślepy zegarmistrz, Państwowy Instytut Wydawniczy, Warszawa 1994.

Dorin A., McCabe J., McCormack J., Monro G., Whitelaw M., A framework for understanding generative art, „Digital Creativity” 2012, vol. 23, no 3–4.

Dorin A., McCormack J., First Iteration/Generative Systems (Guest Editor’s Introduction), „Leonardo” 2001, 34/3.

Draves S., Reckase E., The Fractal Flames Algorithm, 2007, http://flam3.com/flame_draves.pdf [dostęp 14.04.2014].

Dunne A., Hertzian Tales: Electronic Products, Aesthetic Experience and Critical Design, RCA CRD Research Publications, Royal College of Art, London 1999.

Dunne A., Raby F., Design Noir: The Secret Life of Electronic Objects, Birkhäuser, Basel 2001.

Emmeche C., Køppe S., Stjernfelt F., Explaining Emergence: Towards an Ontology of Levels, „Journal for General Philosophy of Science”, 1997/28.

Filiciak M., Media, wersja beta, Wydawnictwo Naukowe Katedra, Warszawa 2013.

Flake G. W., The Computational Beauty of Nature: computer explorations of fractals, chaos, complex systems, and adaptation, The MIT Press, Cambridge, MA 1998.

Fleder D., Hosanagar K., Blockbuster Culture’s Next Rise or Fall: The Impact of Recommender Systems on Sales Diversity, „Management Science”, May 2009, vol. 55, issue 5.

Flusser V., On the Word Design: An Etymological Essay, „Design Issues”, Autumn 1995, 11.3.

Franke H. W., Computer Graphics – Computer Art, Phaidon, New York 1971.

Fritz D., Notions of the Program in 1960s Art – Concrete, Computer-generated and Conceptual Art. Case study: New Tendencies, [w:] Art++, red. D.-O. Lartigaud, Orléans: Editions HYX (Architecture – Art contemporain – Cultures numériques) 2011.

Fry B., Visualizing Data. Exploring and Explaining Data with the Processing Environment, O’Reilly Media, Sebastopol, CA 2007.

Fuller M., Behind The Blip: Essays on the Culture of Software, Autonomedia, New York 2003.

Fuller M., Introduction, the Stuff of Software, [w:] Software Studies: A Lexicon, red. M. Fuller, The MIT Press, Cambridge, MA 2008.

Fuller M., Media Ecologies. Materialist Energies in Art and Technoculture, The MIT Press, Cambridge, MA 2005.

Fuller M., Softness: zapytywalność, ogólny intelekt, metodologie sztuki w software, tłum. T. Karłowicz, [w:] Kulturowe kody technologii cyfrowych, red. P. Celiński, Wyższa Szkoła Przedsiębiorczości i Administracji w Lublinie, Lublin 2011.

Galanter P., Against Reductionism: Complexity Science, Complexity Art, and Complexity Studies, „PhysicaPlus – Online Magazine of the Israel Physical Society” 2010, (13), http://philipgalanter.com/downloads/physicaplus.pdf [dostęp 16.06.2014].

Galanter P., Complexism and the Role of Evolutionary Art, [w:] The Art of Artificial Evolution, red. J. Romero, P. Machado, Springer, Berlin 2007.

Galanter P., Truth to Process – Evolutionary Art and the Aesthetics of Dynamism, [w:] Generative Art 2009 GA2009, XII generative Art Conference 15–17 December 2009, red. C. Soddu, Milan 2009, http://www.generativeart.com/on/cic/GA2009Papers/p20.pdf [dostęp 15.02.2014]

Galanter P., What is Complexism? Generative Art and the Cultures of Science and the Humanities, [w:] International Conference on Generative Art, Generative Design Lab, red. C. Soddu, Milan Polytechnic, Milan, Italy 2008, http://philipgalanter.com/downloads/ga2008_what_is_complexism.pdf [dostęp 22.09.2014].

Galanter P., What is generative art? Complexity theory as a context for art theory, [w:] Proceedings of the Sixth International Conference, Exhibition and Performances on Generative Art and Design, red. C. Soddu, Milan 2003, s. 3, http://philipgalanter.com/downloads/ga2003_what_is_genart.pdf. [dostęp 12.12.2013]

Galloway A., Protocol: How Control Exists After Decentralization, The MIT Press, Cambridge, MA 2004.

Galloway A., Thacker E., The Exploit: A Theory of Networks, University Of Minnesota Press, Minneapolis 2007.

Gardner M., Mathematical Games – The fantastic combinations of John Conway’s new solitaire game „life”, „Scientific American”, October 1970, 223, http://web.stanford.edu/class/sts145/Library/life.pdf [dostęp 18.04.2014].

Gell-Mann M., Regularities and Randomness: Evolving Schemata in Science and the Arts, [w:] Art and complexity, red. J. L. Casti, A. Karlqvist, Elsevier, Amsterdam, London 2003.

Gell-Mann M., What is complexity?, „Complexity” 1995, vol. 1, no 1.

Giaccardi E., Fischer G., Creativity and Evolution: A Metadesign Perspective, „Digital Creativity” 2008, 19:1.

Giaccardi E., Metadesign As An Emergent Design Culture, „Leonardo” 2005, 38:4.

Gitelman L., Raw Data Is an Oxymoron, The MIT Press, Cambridge, MA 2013.

Gombrich E. H., The Sense of Order: A Study in the Psychology of Decorative Art, 2nd ed., Phaidon Press, Oxford 1994.

Gould S. J., Wonderful Life: The Burges Shale and the Nature of History, Norton, New York 1989.

Greenberg C., Jackson Pollock: Inspiration, Vision, Intuitive Decision, „Vogue”, April 1967, no 1.

Gwóźdź A., Technologie widzenia, czyli media w poszukiwaniu autora: Wim Wenders, Universitas, Kraków 2004.

Haacke H., Condensation Cube, „Leonardo” 2003, vol. 36.

Hansen M., Bodies in Code: Interfaces with New Media, Routledge, London 2006.

Hargittai I., Hargittai M., Symmetry: a unifying concept, Shelter Publications Inc., Bolinas, CA 1994.

Harris J., Beauty in Data, [w:] New Challenges for Data Design, red. D. Bihanic, Springer-Verlag, London 2015.

Hayles N. K., My Mother Was a Computer: Digital Subjects and Literary Texts, University of Chicago Press, Chicago 2005.

Hayles N. K., Narratives of Artificial Life, [w:] Future Natural, red. G. Robertson, M. Mash, L. Tickner, J. Bird, B. Curtis, T. Putnam, Routledge, London 1996.

Hayles N. K., W stronę ucieleśnionej wirtualności, „Sztuka i Filozofia” 2012, 41.

Helmreich S., Silicon Second Nature: Culturing Artificial Life in a Digital World, University of California Press, Berkeley 1998.

Hertlein G., Twelfth Annual Computer Art Exposition, „Computers and People”, 1974/8.

Hiperteksty literackie. Literatura i nowe media, red. P. Marecki, M. Pisarski, Ha!art, Kraków 2011.

Hoduń D., Nieobecność i Negatywność. Odejmowanie według J. F. Lyotarda, „DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu” 2011/12.

Holland J. H., Emergence: From Chaos to Order, Perseus Publishing, Cambridge, MA 1998.

Holland J. H., Adaptation in natural and artificial systems: an introductory analysis with applications to biology, control, and artificial intelligence, University of Michigan Press, Michigan 1975.

Huhtamo E., WEB STALKER SEEK AARON: Reflections on Digital Arts, Codes, and Coders, [w:] Code – The Language of our Time. Ars Electronica 2003, red. G. Stocker, C. Schöpf, Ostfildern-Ruit: Hatje-Cantz Verlag, 2003.

Huws U., Nature, Technology and Art: The Emergence of a New Relationship?, „Leonardo” 2000, vol. 33.

Jacob C. J., Hushlak G., Boyd J. E., Nuytten P., SwarmArt: Interactive art from swarm intelligence, „Leonardo” 2007, 40 (3).

Jacob F., Gra możliwości. Esej o różnorodności życia, tłum. M. Kunicki-Goldfinger, PIW, Warszawa 1987.

Januszkiewicz K., Naturalne procesy formotwórcze, matematyka i architektura, „Archivolta”, 2013/2.

Kac E., Introduction. Art that Looks You in the Eye: Hybrids, Clones, Mutants, Synthetics, and Transgenic, [w:] Signs of Life. Bio Art and Beyond, red. E. Kac, The MIT Press, Cambridge, MA, London 2007.

Kant I., Krytyka władzy sądzenia, tłum. J. Gałecki, Wydawnictwo Naukowe PWN, Warszawa 2004.

Kay A., Goldberg A., Personal Dynamic Media, „Computer” 1977, 10 (3).

Kerckhove D de., Inteligencja otwarta. Narodziny społeczeństwa sieciowego, tłum. A. Hildebrandt, Mikom, Warszawa 2001.

Kluszczyński R. W., Od konceptualizmu do sztuki hipermediów. Rozważania na temat modelu sytuacji estetycznej w sztuce multimedialnej, [w:] Piękno w sieci. Estetyka a nowe media, red. K. Wilkoszewska, Universitas, Kraków 1999.

Kluszczyński R. W., Społeczeństwo informacyjne. Cyberkultura. Sztuki multimediów, Rabid, Kraków 2001.

Kluszczyński R. W., Sztuka interaktywna. Od dzieła instrumentu do interaktywnego spektaklu, WAiP, Warszawa 2010.

Kluszczyński R. W., Od sztuki ekosystemów do refleksji krytycznej. Wstęp do analizy twórczości Christy Sommerer i Laurenta Mignonneau, [w:] Wonderful Life. Laurenta Mignonneau + Christy Sommerer, red. R. W. Kluszczyński, Centrum Sztuki Współczesnej, Gdańsk 2012.

Knuth D. E., Literate Programming, „The Computer Journal” 1984, 27 (2).

Knuth D. E., Sztuka programowania. Tom I–VI, tłum. K. Diks, A. Malinowski, WNT, Warszawa 2002–2007.

Kurosu M., Kashimura K., Apparent usability vs. inherent usability, [w:] Proceeding of the ACM CHI ’95 Conference Companion on Human Factors in Computing Systems, ACM Press, New York 1995.

Kurzweil R., Nadchodzi osobliwość. Kiedy człowiek przekroczy granice biologii, tłum. E. Chodakowska, A. Nowosielska, Kurhaus Publishing, Warszawa 2013.

Kusahara M., Transition of Concept of Life in Art and Culture from Automata to Network, [w:] Art@Science, red. C. Sommerer, L. Mignonneau, Springer, Vienna 1998.

Lakoff G., Johnson M., Metafory w naszym życiu, tłum. T. Krzeszowski, Wydawnictwo Naukowe PWN, Warszawa 2011.

Langton C., Artificial Life, [w:] The Philosophy of Artificial Life, red. M. A. Boden, Oxford University Press, Oxford 1996.

Langton C., Computation at the edge of Chaos: Phase-Transitions and Emergent Computation, „Physica D.” 1990, 42.

Langton C., Studying artificial life with cellular automata, „Physica D: Nonlinear Phenomena” 1986, 22 (1–3).

Lanier J., Połowa manifestu, [w:] Nowy renesans. Granice nauki, red. J. Brockman, tłum. P. J. Szwajcer, A. Eichler, Wydawnictwo CiS, Warszawa 2005.

Laposky B., Oscillons: Electronic Abstractions, „Leonardo” 1969, 2 (4).

Lash S., Urry J., The End Of Organized Capitalism, Polity, Cambridge 1987.

Latour B., Dajcie mi laboratorium a poruszę świat, przeł. K. Abriszewski, Ł. Afeltowicz, „Teksty Drugie” 2009, 1–2.

Lengyel I., Epstein I. R., Modeling of Turing Structures in the Chlorite – Iodide – Malonic Acid – Starch Reaction System, „Science” 1991, vol. 251, no 4994.

Lévi-Strauss C., Myśl nieoswojona, tłum. A. Zajączkowski, Wydawnictwo KR, Warszawa 2001.

Levin G., Statement of Objectives, MIT Graduate School Application, 1997, http://www.flong.com/texts/essays/essay_mit_application/ [dostęp 12.03.2014].

Levine J., Generative practice. The State of the art, „Digimag, Digicult”, 2010/57, http:// http://www.digicult.it/digimag/issue-057/generative-practice-the-state-of-the-art/ [dostęp 12.02.2014].

Lévy P., Collective Intelligence – Mankind’s Emerging World In Cyberspace, Basic Books, New York 1997.

Lewes G. H., Problems of Life and Mind, vol. 2, Trübner & Co., London 1875.

LeWitt S., Paragraphs on Conceptual Art, „Artforum”, Summer V/10, 1967.

Lima M., Information Visualization Manifesto, 2009, http://www.visualcomplexity.com/vc/blog/?p=644 [dostęp 10.01.2015].

Lima M., Observations on the Manifesto, 2009, http://www.visualcomplexity.com/vc/blog/?p=662 [dostęp 12.01.2015].

Lima M., The Book of Trees: Visualizing Branches of Knowledge, Princeton Architectural Press, New York 2014.

Lima M., Visual Complexity: Mapping Patterns of Information, Princeton Architectural Press, New York 2011.

Lippard L., Six Years: The Dematerialization of the Art Object from 1966 to 1972, University of California Press, Berkeley 1997.

Livio M., The golden ratio: the story of phi, the world’s most astonishing number, Broadway Books, New York 2002.

Lovink G., Zero Comments. Blogging and Critical Internet Culture, Routledge, London, New York 2007.

Löwgren J., Stolterman E., Thoughtful Interaction Design. A Design Perspective on Information Technology, The MIT Press, Cambridge, MA 2007.

Lyotard J.-F., Filozofia i malarstwo w epoce eksperymentu, [w:] Postmodernizm. Antologia przekładów, red. R. Nycz, Wydawnictwo Baran i Suszczyński, Kraków 1998.

Lyotard J.-F., Wzniosłość i awangarda, tłum. M. Bieńczyk, „Teksty Drugie” 1996, 2/3.

Maeda J., Creative Code: Aesthetics+ Computation, Thames & Hudson, London 2004.

Maeda J., Design by Numbers, The MIT Press, Cambridge, MA 2001.

Maeda J., The Laws of Simplicity. Design, Technology, Business, Life, The MIT Press, Cambridge, MA 2006.

Maeda J., How art, technology and design inform creative leaders, TED Global 2012, https://www.ted.com/talks/john_maeda_how_art_technology_and_design_inform_creative_leaders#t-754872 [dostęp 22.02.2015].

Mandelbrot B., The Fractal Geometry of Nature, W. H. Freeman, San Francisco 1983.

Manfred Mohr: Broken Symmetry, red. W. Herzogenrath, B. Nierhoff, I. Lähnemann, Kunsthalle Bremen, Bremen 2007.

Manovich L., Abstraction and Complexity, 2004, http://manovich.net/content/04-projects/044-abstraction-and-complexity/41_article_2004.pdf [dostęp 20.07.2014].

Manovich L., Data Visualization as New Abstraction and Anti-Sublime, 2002, http://manovich.net/content/04-projects/040-data-visualisation-as-new-abstraction-and-anti-sublime/37_article_2002.pdf [dostęp 29.03.2014].

Manovich L., Database as symbolic form. „Convergence: The International Journal of Research into New Media Technologies” 1999, 5 (2).

Manovich L., Język nowych mediów, tłum. P. Cypryański, WAiP, Warszawa 2006.

Manovich L., Media Visualization: Visual Techniques for Exploring Large Media Collections, 2011, http://manovich.net/content/04-projects/069-media-visualization-visual-techniques-for-exploring-large-media-collections/66-article-2011.pdf [dostęp 25.04.2014].

Manovich L., Software Takes Command, Bloomsbury Academic, New York 2013.

Manovich L., The Anti-Sublime Ideal in Data Art, 2002, http://www.manovich.net/DOCS/data_art.doc [dostęp 26.01.2015].

Manovich L., The Science of Culture? Social Computing, Digital Humanities, and Cultural Analytics, 2015, http://manovich.net/content/04-projects/088-cultural-analytics-social-computing/cultural_analytics_article_final.pdf [dostęp 25.04.2014].

Marino M. C., Critical Code Studies, 2006, www.electronicbookreview.com/thread/electropoetics/codology [dostęp 27.04.2014].

Marter J. M., Alexander Calder, Cambridge University Press, Cambridge 1991.

Mateas M., Procedural Literacy: Educating the New Media Practitioner, [w:] Beyond Fun, red. D. Davidson, ETC Press, Pittsburgh, PA 2008, http://press.etc.cmu.edu/node/205 [dostęp 30.04.2014].

Mayer-Schönberger V., Cukier K., Big Data. Rewolucja, która zmieni nasze myślenie, pracę i życie, tłum. M. Głatki, MT Biznes, Warszawa 2014.

McCabe J., Cyclic Symmetric Multi-Scale Turing Patterns, 2010, http://www.jonathanmccabe.com/Cyclic_Symmetric_Multi-Scale_Turing_Patterns.pdf [dostęp 17.04.2014].

McCorduck P., Aaron’s code: meta-art, artificial intelligence, and the work of Harold Cohen, W. H. Freeman, New York 1991.

McCormack J., Bown O., Dorin A., McCabe J., Monro G., Whitelaw M., Ten Questions Concerning Generative Computer Art, „Leonardo”, April 2014, vol. 47, no 2, http://users.monash.edu/~jonmc/research/Papers/TenQuestionsLJ-Preprint.pdf [dostęp 12.12.2013].

McCormack J., Dorin A., Art, emergence and the computational sublime, [w:] Second Iteration: conference on Generative Systems in the Electronic Arts, red. A. Dorin, CEMA, Melbourne, Australia 2001, http://www.csse.monash.edu.au/~jonmc/research/Papers/art-2it.pdf [dostęp 16.06.2014].

McCormack J., Dorin A., Innocent T., Generative Design: a paradigm for design research, [w:] FutureGround. Proceedings of the Design Research Society International Conference at Monash University, 17–21 November, 2004, red. D. Durling, J. Redmond, A. De Bono, Monash University Press, Melbourne 2004, http://users.monash.edu/~jonmc/research/Papers/genDesignFG04.pdf [dostęp 26.02.2014].

McCormack J., Representation and Mimesis in Generative Art: Creating Fifty Sisters, [w:] Proceedings of xCoAx 2013, Bergamo, Italy, 27–28 June 2013.

McCormack J., The Evolution of Sonic Ecosystems, [w:] Artificial Life Models in Software (Second Edition), red. M. Komosinski, A. Adamatzky, Springer, Berlin 2009, http://users.monash.edu/~jonmc/research/Papers/ALMIS2McCormack.pdf [dostęp 16.11.2014].

Mill J. S., System logiki dedukcyjnej i indukcyjnej, tłum. C. Znamierowski, PWN, Warszawa 1962.

Mirzoeff N., Watching Babylon: The War in Iraq and Global Visual Culture, Routledge, New York 2005.

Mitchell K., The Fractal Art Manifesto, 1999, http://www.kerrymitchellart.com/articles/manifesto/fa-manifesto.html [dostęp 22.05.2014].

Mohr M., Artist’s Statement, The Rave Webmuseum’s Spotlight Gallery, Manfred Mohr Retrospective Exhibition, 2000, http://www.emohr.com/tx101.html [dostęp 15.03.2014].

Mohr M., Manfred Mohr, [w:] Artist and Computer, red. R. Leavitt, Harmony Books, New York 1976, s. 95, http://www.atariarchives.org/artist/sec27.php [dostęp 21.05.2014].

Molnar V., Toward Aesthetic Guidelines for Paintings with the Aid of a Computer, „Leonardo”, Summer 1975, vol. 8, no 3.

Monedero J., Parametric Design. A Review and Some Experiences, „Automation in Construction” 2000, 9 (4).

Montfort N., Baudoin P., Bell J., Bogost I., Douglas J., Marino M. C., Mateas M., Reas C., Sample M., Vawter N., 10 PRINT CHR$(205.5+RND(1)); : GOTO 10, The MIT Press, Cambridge, MA 2013.

Montfort N., Bogost I., Racing the Beam: The Atari Video Computer System, The MIT Press, Cambridge, MA 2009.

Morgan L. C., Emergent Evolution, Williams and Norgate, London 1923.

Morowitz H., The Emergence of Everything: How the World Became Complex, Oxford University Press, New York 2002.

Nagel E., The Structure of Science: Problems in the Logic of Scientific Explanation, Routledge & Kegan Paul, London 1961.

Neumann von J., The Theory of Self Replicating Automata, University of Chicago Press, Urbana and Chicago 1966.

New Challenges for Data Design, red. D. Bihanic, Springer-Verlag, London 2015.

Noll A. M., Human or Machine: A Subjective Comparison of Piet Mondrian’s ‘Composition with Lines’ (1917) and a Computer-Generated Picture, „The Psychological Record”, 1966/16.

Noll A. M., Patterns by 7090, Bell Telephone Laboratories Technical Memorandum, MM-1234-14, August 28, 1962, http://noll.uscannenberg.org/Art%20Papers/BTL%201962%20Memo.pdf [dostęp 11.05.2014].

Noll A. M., Art Ex Machina, „IEEE Student Journal” 1970, vol. 8, no 4.

Noll A. M., The Digital Computer as a Creative Medium, „IEEE Spectrum” 1967, vol. 4, no 10.

Ożóg M., Transgresje panoptykonu. Nadzór w dobie technologii cyfrowych, „Kultura Współczesna” 2009, nr 2 (60).

Ożóg M., Życie w postbiologicznym świecie. Metodologia i praxis sztucznego życia w twórczości Christy Sommerer i Laurenta Mignonneau, [w:] Wonderful Life. Laurenta Mignonneau + Christy Sommerer, red. R. W. Kluszczyński, Centrum Sztuki Współczesnej, Gdańsk 2012.

Papert S., The Children’s Machine: Rethinking School in the Age of the Computer, Basic Books, New York 1993.

Parikka J., Media Ecologies and Imaginary Media: Transversal Expansions, Contractions, and Foldings, „The Fibreculture Journal” 2011, issue 17, http://fibreculturejournal.org/wp-content/pdfs/FC17_FullIssue.pdf [dostęp 28.11.2014].

Paul C., Digital Art, Thames & Hudson Ltd., London 2015.

Paul C., Public Cultural Production Art(Software), [w:] Code – The Language of our Time. Ars Electronica 2003, red. G. Stocker, C. Schöpf, Ostfildern-Ruit: Hatje-Cantz Verlag, 2003.

Pearson M., Generative Art: a practical guide using Processing, Manning Publications Co., Shelter Island, NY 2011.

Pearson M., Novelty Waves: A Short Book About Digital Art, Leanpub ebook, 2014.

Pedoe D., Geometry and the Visual Arts, Dover Publications, New York 1983.

Pisarski M., Xanadu. Hipertekstowe przemiany prozy, Ha!art, Kraków 2013.

Popper F., Art of the Electronic Age, Thames & Hudson Ltd., London 1993.

Porczak A., conFIGURING the CAVE (1996) Jeffrey Shaw, [w:] Klasyczne dzieła sztuki nowych mediów, red. P. Zawojski, Instytucja Kultury Katowice – Miasto Ogrodów, Katowice 2015.

Posavec S., Lupi G., Dear Data: A friendship in fifty-two Postcards, Particular Books/Penguin Press, London 2016.

Posavec S., The Art & Craft of Portraying Data, [w:] New Challenges for Data Design, red. D. Bihanic, Springer-Verlag, London 2015.

Pousman Z., Stasko J. T., Casual Information Visualization: Depictions of Data in Everyday Life, „IEEE Transactions on Visualization and Computer Graphics” 2007, 13 (6), IEEE Press.

Prusinkiewicz P., Lindenmayer A., The Algorithmic Beauty of Plants (The Virtual Laboratory), Springer-Verlag, New York 1990.

Radomski A., Digital Storytelling. Kilka słów o wizualizacji wiedzy w humanistyce, [w:] Zwrot cyfrowy w humanistyce. Internet/Nowe Media/Kultura 2.0, red. A. Radomski, R. Bomba, E-naukowiec, Lublin 2013.

Readings in Information Visualization. Using Vision to Think, red. S. K. Card, J. D. Mackinlay, B. Shneiderman, Morgan Kaufmann, San Francisco, CA 1999.

Reas C., Fry B., Processing: a programming handbook for visual designers and artists, The MIT Press, Cambridge, MA 2007.

Reas C., McWilliams C., LUST, Form+Code in Design, Art, and Architecture, Princeton Architectural Press, New York 2010.

Reas C., Process Compendium 2004–2010, Berlin: Gallery [DAM], 2010, https://drive.google.com/file/d/0B9h469--G5OwOGVfVmUxZUQ5VzA/view [dostęp 22.02.2014].

Reichardt J., The Computer in Art, Studio Vista Limited, London 1971.

Reynolds C., Flocks, herds and schools: A distributed behavioral model, [w:] SIGGRAPH’87: Proceedings of the 14th annual conference on Computer graphics and interactive techniques, ACM 1987.

Rittel H. W., Webber M. W., Dilemmas in a General Theory of Planning, „Policy Science”, 1973/4.

Robinson D., Function, [w:] Software Studies: A Lexicon, red. M. Fuller, The MIT Press, Cambridge, MA 2008.

Rockman A., Mezei L., The Electronic Computer as an Artist, „Canadian Art.” 1964, 11.

Ronald E. M. A., Sipper M., Engineering, emergent engineering, and Artificial Life: Unsurprise, unsurprising surprise, and surprising surprise, [w:] Artificial Life VII, red. M. A. Bedau, J. S. McCaskill, N. H. Packard, S. Rasmussen, The MIT Press, Cambridge, MA 2000.

Ronald E. M. A., Sipper M., Capcarrère M. S., Design, observation, surprise! A test of emergence, „Artificial Life” 1999.

Ross D. A., Em D., The Art of David Em: 100 Computer Paintings, Bookthrift Co., New York 1988.

Rossiter N., Organised Networks: Media Theory, Creative Labour, New Institutions, NAi Publishers, Rotterdam 2006, http://www.nedrossiter.org/wp-content/uploads/2009/08/Organized_Networks.pdf [dostęp 26.09.2014].

Rostkowska A., Co z tą abstrakcją?, „Dwutygodnik.com. Strona kultury”, 8/2009, 11, http://www.dwutygodnik.com/artykul/400-co-z-ta-abstrakcja.html [dostęp 10.07.2014].

Rubinowicz P., Chaos jako porządek wyższego rzędu w wybranych trendach współczesnej architektury, „przestrzeń i FORMA”, 2011/16, http://www.pif.zut.edu.pl/pif-16_pdf/A-03_Rubinowicz.pdf [dostęp 27.03.2014].

Schäfer M. T., Bastard Culture! How User Participation Transforms Cultural Production, Amsterdam University Press, Amsterdam 2011.

Schmitt G., Information Architecture. Basis and Future of CAAD, Birkhäuser, Basel 1999.

Schön D., The Reflective Practitioner, Temple-Smith, London 1983.

Schwab M., Early Computer Art and the Meaning of Information, 2004, http://www.seriate.net/Early_Computer_Art.pdf [dostęp 11.05.2014].

Shanken E., Life as We Know It and/or Life as It Could Be: Epistemology and the Ontology/Ontogeny of Artificial Life, „Leonardo” 1998, vol. 31, no 5.

Shiffman D., Learning processing. A beginner’s guide to programming images, animation, and interaction, Morgan Kaufmann Series, Elsevier, 2008.

Shiffman D., The Nature of Code: Simulating Natural Systems with Processing, Selfpublished/ CC, 2012.

Shin J., Yoon J., Toward Genetic Aesthetics: Mutation of Bio Information and Generative Art System, [w:] GA2014. Proceedings of XVII Generative Art Conference, red. C. Soddu, Enrica Colabella, Domus Argenia Publisher, Milan 2014.

Sims K., Genetic Images, „Centre Georges Pompidou Revue Virtuelle Notebook” 1993, 5, http://www.karlsims.com/genetic-images.html [dostęp 6.10.2014].

Slavin K., How algorithms shape our world, TED Global 2011, https://www.ted.com/talks/kevin_slavin_how_algorithms_shape_our_world/transcript [dostęp 29.11.2014].

Snow C. P., Dwie kultury, tłum. T. Baszniak, Prószyński i S-ka, Warszawa 1999, s. 140.

Software Studies: A Lexicon, red. M. Fuller, The MIT Press, Cambridge, MA 2008.

Solaas L., Towards The Edge Of Chaos: An Interview With Leonardo Solaas, „Digimag Magazine” 2010, issue 51, http://www.digicult.it/digimag/issue-051/towards-the-edge-of-chaos-an-interview-with-leonardo-solaas/ [dostęp 24.05.2014].

Sommerer C., Mignonneau L., Modeling Complexity for Interactive Art Works on the Internet, [w:] Art and complexity, red. J. L. Casti, A. Karlqvist, Elsevier, Amsterdam, London 2003.

Sommerer C., Mignonneau L., Wonderful Life: interaktywna sztuka Sommerer & Mignonneau [w:] Wonderful Life. Laurenta Mignonneau + Christy Sommerer, red. R. W. Kluszczyński, Centrum Sztuki Współczesnej, Gdańsk 2012.

Specht R., Pojęcie wzniosłości w filozofii Kanta, „Studia z Historii Filozofii” 2013, vol. 4, no 2.

Stafaner M., Process and Progress: A Practitioner’s Perspective on the How, What and Why of Data Visualization, [w:] New Challenges for Data Design, red. D. Bihanic, Springer-Verlag, London 2015.

Standing G., Prekariat: Nowa niebezpieczna klasa, tłum. P. Kaczmarski, M. Karolak, Wydawnictwo Naukowe PWN, Warszawa 2014.

Sterling B., Cover Story: Design fiction, „Interactions” 2009, vol. 16, issue 3, s. 20–24; Derek Halesa, Design fictions an introduction and provisional taxonomy, „Digital Creativity” 2013, vol. 24, issue 1.

Takagi H., Interactive evolutionary computation: Fusion of the capabilities of EC optimization and human evaluation, „Proceedings of the IEEE” 2001, 89 (9).

Tamblyn C., Computer Art as conceptual art, „Art Journal” 1990, vol. 49, no 3 (Fall).

Taylor G. D., When the Machine Made Art. The Troubled History of Computer Art, Bloomsbury Academic, New York, London 2014.

Taylor R. P., Fractal Expressionism – Where Art Meets Science, [w:] Art and complexity, red. J. Casti, A. Karlqvist, Elsevier, Amsterdam 2003.

Taylor R. P., Micolich A. P., Jonas D., Fractal Analysis of Pollock’s Drip Paintings, „Nature”, June 3, 1999, vol. 399.

Tenhaaf N., As Art Is Lifelike: Evolution, Art and the Readymade, „Leonardo” 1998, vol. 31, no 5.

Terzidis K., Algorithms for Visual Design Using the Processing Language, Wiley Publishing, Inc., Indianapolis 2009.

Thacker E., Biomedia, University of Minnesota Press, Minneapolis, London 2004.

Thacker E., What Is Biomedia?, „Configurations” 2003, 11.

The Art of Artificial Evolution, red. J. Romero, P. Machado, Springer, Berlin 2007.

Thompson D. W., On Growth and Form, Cambridge University Press, Cambridge 1917.

Todd S., Latham W., Evolutionary Art and Computers, Academic Press, London 1992.

Tractinsky N., Aesthetics and apparent usability: empirically assessing cultural and methodological issues, [w:] Proceedings of the ACM CHI 97 Human Factors in Computing Systems Conference, ACM Press, New York 1997.

Tractinsky N., Katz A. S., Ikar D., What is Beautiful is Usable, „Interacting with Computers” 2000, 13 (2).

Tufte E. R., Envisioning Information, Graphics Press, Cheshire, CT 1990.

Tufte E. R., PowerPoint is evil, „Wired” 2003, 11 (9), https://www.wired.com/2003/09/ppt2/ [dostęp 12.01.2015].

Tufte E. R., The Cognitive Style of PowerPoint, Graphics Press, Cheshire, CT 2003.

Tufte E. R., The Visual Display of Quantitative Information, Graphics Press, Cheshire, CT 1983.

Tufte E. R., Visual Explanations: Images and Quantities, Evidence and Narrative, Graphics Press, Cheshire, CT 1997.

Turing A. M., The Chemical Basis of Morphogenesis, „Philosophical Transactions of the Royal Society of London”, Series B, Biological Sciences 1952, vol. 237.

Turk G., Generating Textures on Arbitrary Surfaces Using Reaction-Diffusion, „Computer Graphics” 1991, vol. 25, no 4.

Ullman E., 21st: Elegance and Entropy, 1997, http://www.salon.com/1997/10/09/interview_9/ [dostęp 30.04.2014].

Ullman E., The Myth of Order, „Wired Magazine”, 04.01.99, http://www.wired.com/1999/04/y2k [dostęp 3.04.2015].

Vande Moere A., Towards Designing Persuasive Ambient Visualization, „Issues in the Design & Evaluation of Ambient Information System Workshop” 2007.

Verostko R., Algorithmic Art: Composing the Score for Visual Art, 1994, http://www.verostko.com/algorithm.html [dostęp 2.05.2014].

Viégas F. B., Wattenberg M., Timelines – Tag clouds and the case for vernacular visualization, „Interactions” 2008, 15 (4).

Viégas F. B., Wattenberg M., van Ham F., Kriss J., McKeon M., Many Eyes: A Site for Visualization at Internet Scale, „IEEE Transactions on Visualization and Computer Graphics”, NovDec 2007, 13 (6).

Watz M., Algorithm Critique and Computational Aesthetics, prezentacja na Eyeo Festival 2012, https://vimeo.com/46903693 [dostęp 8.04.2014].

Watz M., All Your Vectors Are Belong To Us, Artist statement from solo show at TM51, Oslo, September 2013, http://www.scribd.com/doc/210709757/20131013-Marius-Watz-All-Your-Vectors-Are-Belong-to-Us [dostęp 12.12.2013]

Weibel P., The Post-media Condition, [w:] AAVV, Postmedia Condition, cat., Centro Cultural Conde Duque, Madrid 2006, http://www.metamute.org/editorial/lab/post-media-condition [dostęp 24.05.2014].

Weinstone A., Avatar Bodies. A Tantra for Posthumanism, University of Minnesota Press, Minneapolis, London 2004.

Weiser M., The Computer for the 21st Century, „Scientific American. Special Issue on Communications, Computers, and Networks”, September 1991.

Whitelaw M., Metacreation: Art and Artificial Life, The MIT Press, Cambridge, MA 2004.

Whitelaw M., System stories and model worlds: A critical approach to generative art, [w:] Readme 100: Temporary Software Art Factory, red. O. Goriunova, Hartware-Medien-Kunst-Verein, Dortmund 2005.

Willers B., Show, don’t tell, [w:] New Challenges for Data Design, red. D. Bihanic, Springer-Verlag, London 2015.

Wolfram S., A New Kind of Science, Wolfram Media, Champaign, IL 2002.

Wolfram S., Cellular Automata as Models of Complexity, „Nature” 1984, 311.

Youngblood G., Expanded Cinema, P. Dutton & Co., New York 1970.

Zawojski P., Cyberkultura. Syntopia sztuki, nauki i technologii, POLTEXT, Warszawa 2010.

Zawojski P., Rzeczywistość bio-techno-logiczna. Dylematy sztuki oraz kultury w epoce posthumanizmu i transhumanizmu, [w:] Bio-techno-logiczny świat. Bio art oraz sztuka technonaukowa w czasach posthumanizmu i transhumanizmu, red. P. Zawojski, 13muz, Szczecin 2015.

Zwrot cyfrowy w humanistyce. Internet/Nowe Media/Kultura 2.0, red. A. Radomski, R. Bomba, E-naukowiec, Lublin 2013.