Casey REAS

⚡️NEW⚡️Computational Art B.A. Degree @ UCLA Computational Art at UCLA is for students who want to make creative work with code, systems, data, interaction, and emerging technologies...

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@halecar2 yes, thank you. i always like to think of harold 🪞

You made me think of Harold Cohen: "Images create conditions for recognition and interpretation... They are records of acts of cognition." He also states: "Works complicate the opposition between human creativity and technological mediation. AARON does not replace artistic agency; it reveals how structured, rule-based processes underpin all acts of image-making. The use of randomness illustrates this point. Randomness is not introduced to produce surprise but to sustain engagement. This in turn, makes each decision contingent and responsive rather than predetermined. The resulting drawings, though made by a machine, evoke the rhythms of human gesture and attention, suggesting that meaning can emerge from structured interaction rather than from conscious intention alone.

Most variations don’t open new directions. A software sketchbook accumulates dead ends alongside discoveries. The important skill is not generating variation, because software can do that endlessly. It is recognizing which results contain energy and which do not.

Writing code as an artist requires technical fluency, but that's only the beginning. The more significant challenge is developing computational intuition: a sensibility for the aesthetic consequences of algorithms and for the ways systems respond to changes.

A blank code editor invites as much possibility as a blank page in a sketchbook. It is a place to begin without knowing where the work will end.

My approach has been both to create entirely new artworks and to revisit foundational works from earlier in my career, evolving them into new series. For example, Phototaxis is a new version of Tissue, and Pre-Process evolves software originally developed for the Process series.

Works released 2021+ as generative art registered on the blockchain in series of 50 to 1,000, are fundamentally different. Rather than collecting the complete software, each work in a series is a single "slice" of its larger potential software, constrained by a random seed.

Each software work was capable of producing an effectively unlimited range of images. Every time the software was launched, it would begin differently and move through unique yet recognizable states over days, weeks, months...

My work has been collected as software since 2005. Until 2021, the software was collected as application files distributed on physical media—first CDs and later SD cards.

@JordanLyall Thank you for sharing! Congratulations!

Celebrating our 20th anniversary!

@D_the_Designer Not right now, it's all in person. There's more information through the link

@REAS Do they offer any part of it remotely?

⚡️NEW⚡️Computational Art B.A. Degree @ UCLA Computational Art at UCLA is for students who want to make creative work with code, systems, data, interaction, and emerging technologies...

2001: "On display is @golan Levin’s latest project using computer algorithms to generate characters for languages that imaginary civilizations might have… [@REAS] created a computer program that randomly generated lines & curves of various colors." From The Daily Sentinel, Dec 9, 2001. Below: Alphabet Synthesis Machine by Golan Levin, 2001 & Path / Path Prints by Casey Reas, 2001

@thefunnyguysNFT @Greekdx @travess Oh! It is!

@Greekdx @travess It's a great one

05_16_26_Pixel_Rug_01_THANK_YOU by @travess 🙏

Welcome to SoSoftTube, a home for Social Software videos on YouTube. We’re launching with three videos from the first SOURCE: Generative Art Lecture Series, featuring Operator, Mitchell F. Chan, and Martin Grasser. A collection of conversations around code, computation, and the evolving culture of software as a medium. 📺 │ ═════╪═════ │ 💻───⚡───📡 │ 🧠──┼──🧠 │ 🌱

@lovidlovid i stopping initiating long email exchanges about /resolution/ years ago. i increase the rez to 300 dpi while maintaining "hard edges" so the file is visually identical but technically high. but, maybe that's not as good for analog work; my work was hard-edge pixels 72dpi

@REAS do we just save as 150dpi and avoid the confrontation?

the amount of times I am asked to provide high res images for a VIDEO STILLS of 4:3 videos that are 480X720 at 72dpi or something like that is astounding. we're pre-res baby

Truly honored to be mentioned by @manovich in his recent mapping of digital art history. The mid-90s era is so often the "missing link" between the early pioneers and today’s generative art it is deeply validating to see my work recognized in this historical canon.

Untitled Film Still 3.19 2019/2023 Image (color) 1/1 Digital: 4800 × 4800 pixels Physical: Dye-sublimation on metal, 16 × 16 inches