Artistic potentialities of digital error.

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Up to this point, the idea of ​​a computational autonomy is questionable and has not reached a consensus by the scientific community. Since the beginning of computation and data analysis in the XIX century, Ada Lovelace have structured an idea that legitimize the machine to create diverse compositions, however, Lovelace considers that it would not be possible for the machine to “originate” nothing that was not programmed in advance. (LOVELACE, 1842). The possibility of a computational autonomy is officially considered on the XX century, namely by the well-known scientist Alan Turing, who shows opposition to the statements of Lovelace.

Alan Turing believes that the now re-programmable computer could simulate human intelligence if it were programmed enough for that purpose. In this sense, the mathematician encouraged the inclusion of pseudo-random algorithms on computer programming (TURING, 1950). These are currently defined as stochastic processes: sets of algorithms that allow making seemingly random decisions, but that are calculable through mathematical probability. These were, on the one hand, one of the bases for the integration of computational art, as the device began to be explored as an assistant to creativity from its random results — which seem to simulate human creativity. On the other hand, the experimental methodology of the artists implied one of the great problems of the computational art: the artist stopped recognizing its own output. …

Vera Moreira

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