Ernest Edmonds (born 1942, London, England) is a British artist, a pioneer in the field of computer art and its variants, algorithmic art, generative art, interactive art, from the late 1960s to the present. His work is represented in the Victoria and Albert Museum, as part of the National Archive of Computer-Based Art and Design.
Ernest Edmonds is a pioneer of digital art. In 2017 he received the ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement In Digital Art.[ citation needed ] He also is an international expert on Human-Computer Interaction who specialises in creative technologies for creative uses. In 2017 he received the ACM SIGCHI Lifetime Achievement Award for the Practice of Computer Human Interaction.[ citation needed ] He was one of the first to predict the value of iterative design and a very early advocate of iterative design methods and Agile software development.[ citation needed ] He founded the ACM Creativity and Cognition Conference series and was part of the founding team for the ACM Intelligent User Interface conference series.[ citation needed ]
Edmonds studied Mathematics and Philosophy at Leicester University. He has a PhD in logic from the University of Nottingham, is a Fellow of the British Computer Society, and a Fellow of the Institution of Engineering and Technology.[ citation needed ] He has nearly 300 refereed publications in the fields of human-computer interaction, creativity and art and was a pioneer in the development of practice-based PhD programmes. Ernest Edmonds is Emeritus Professor of Computational Art at De Montfort University, Leicester, UK.[ citation needed ]
Edmonds’ art is in the constructivist tradition and he first used computers in his art practice in 1968. [1] [2] He first showed an interactive work with Stroud Cornock in 1970. [3] [4] He first showed a generative time-based computer work in London in 1985. [5] He has exhibited throughout the world, from Moscow to LA. The Victoria and Albert Museum, London, holds some of his artwork and is collecting his archives within the National Archive of Computer Based Art and Design.
In 2014, Edmonds curated a seminal historical exhibition, Automatic Art, [6] at GV art gallery, London. [7] [8]
Ernest Edmonds, De Montfort University Gallery Leicester UK
Constructs, Colour, Code: Ernest Edmonds 1967–2017
Ernest Edmonds, Conny Dietzschold Gallery, Sydney
Transformations: Digital Prints from the V&A collection, Royal Brompton Hospital, UK
Light Logic. Site Gallery, Sheffield, UK
Selected New Acquisitions. Victoria and Albert Museum, London
Intuition and Integrity, Kinetica, London; Lighthouse, Brighton; Lovebytes, Sheffield, Phoenix, Leicester
Transformations: Digital Prints from the V&A collection, Great Western Hospital, Swindon, UK
Visualise Poetry, Language, Code, Cambridge, UK
Grid Gallery, Vivid festival, Sydney
When Ideas Become Form—20 Years, Conny Dietzschold Gallery, Sydney
Cities Tango, Conny Dietzschold Gallery, Sydney and ISEA, Belfast
Ernest Edmonds and Alf Loehr, Conny Dietzschold Gallery, Sydney
Speculative Data and the Creative Imaginary, National Academy of Sciences Gallery, Washington DC
ColorField Remix, WPA\C Experimental Media Series (performance), Corcoran Gallery of Art, Washington DC
White Noise, Australian Centre for the Moving Image, Melbourne
Ernest Edmonds and David Thomas, Conny Dietzschold Gallery, Sydney
Minimal Approach… Concrete Tendencies, Tin Sheds Gallery, University of Sydney
Australian Concrete Constructive Art, Conny Dietzschold Gallery, Sydney
SIGGRAPH Art Exhibition, Los Angeles
GRAPHITE Art Exhibition, Singapore
Sonar2004Festival, Barcelona
Global Echos. Mondriaanhuis, Amersfoort
Constructs & Reconstructions, Loughborough University
2000: Relativities, Bankside Gallery, London, and tour
Galerie Jean-Mark Laik, Koblenz Science in the Arts—Arts in Science, Hungarian Academy of Fine Arts, Budapest
Digital Arts, The Mall Gallery, London
Friends of Mesures. Vervier and Antwerp
SISEA, Groningen—collaborative performance
Avant Garde 1990, Manege, Moscow
Art Creating Society. Museum of Modern Art, Oxford
Heads and Legs. Liege (one-person) including a collaborative performance
Constructivism versus Computer. Galerie FARO, World Trade Centre, Rotterdam
Re-Views: Contemporary systematic and constructive arts. The Small Mansion Arts Centre, London
Null-Dimension. Galerie New Space, Fulda (and 1989, Gmunden, Austria)
Duality and Co-existence. Exhibiting Space, London (one-person).
2nd International Drawing Biennale. Middlesbrough Art Gallery, Cleveland, and tour
Cognition and Control. Midland Group Gallery, Nottingham
Digital art refers to any artistic work or practice that uses digital technology as part of the creative or presentation process. It can also refer to computational art that uses and engages with digital media.
Interactive art is a form of art that involves the spectator in a way that allows the art to achieve its purpose. Some interactive art installations achieve this by letting the observer walk through, over or around them; others ask the artist or the spectators to become part of the artwork in some way.
Generative art refers to art that in whole or in part has been created with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator.
Computer art is any art in which computers play a role in production or display of the artwork. Such art can be an image, sound, animation, video, CD-ROM, DVD-ROM, video game, website, algorithm, performance or gallery installation. Many traditional disciplines are now integrating digital technologies and, as a result, the lines between traditional works of art and new media works created using computers has been blurred. For instance, an artist may combine traditional painting with algorithm art and other digital techniques. As a result, defining computer art by its end product can thus be difficult. Computer art is bound to change over time since changes in technology and software directly affect what is possible.
Frieder Nake is a mathematician, computer scientist, and pioneer of computer art. He is best known internationally for his contributions to the earliest manifestations of computer art, a field of computing that made its first public appearances with three small exhibitions in 1965.
Manfred Mohr is a German artist considered to be a pioneer in the field of digital art. He has lived and worked in New York since 1981.
Digital poetry is a form of electronic literature, displaying a wide range of approaches to poetry, with a prominent and crucial use of computers. Digital poetry can be available in form of CD-ROM, DVD, as installations in art galleries, in certain cases also recorded as digital video or films, as digital holograms, on the World Wide Web or Internet, and as mobile phone apps.
Electronic literature or digital literature is a genre of literature encompassing works created exclusively on and for digital devices, such as computers, tablets, and mobile phones. As electronic literature uses games, images, sound, and links, these writings cannot be easily printed, or cannot be printed at all, because elements crucial to the text are unable to be carried over onto a printed version.
Lillian F. Schwartz is an American artist considered a pioneer of computer-mediated art and one of the first artists notable for basing almost her entire oeuvre on computational media. Many of her ground-breaking projects were done in the 1960s and 1970s, well before the desktop computer revolution made computer hardware and software widely available to artists.
Algorithmic art or algorithm art is art, mostly visual art, in which the design is generated by an algorithm. Algorithmic artists are sometimes called algorists.
Georg Nees was a German academic who was a pioneer of computer art and generative graphics. He studied mathematics, physics and philosophy in Erlangen and Stuttgart and was scientific advisor at the SEMIOSIS, International Journal of semiotics and aesthetics. In 1977, he was appointed Honorary Professor of Applied computer science at the University of Erlangen Nees is one of the "3N" computer pioneers, an abbreviation that has become acknowledged for Frieder Nake, Georg Nees and A. Michael Noll, whose computer graphics were created with digital computers.
Sue Thomas is an English author. Writing since the late 1980s, she has used both fiction and nonfiction to explore the impact of computers and the internet on everyday life. In recent years her work has focused on the connections between life, nature and technology.
Systems art is art influenced by cybernetics, and systems theory, that reflects on natural systems, social systems and social signs of the art world itself.
Martin Rieser is Professor of Digital Creativity in the Institute of Creative Technologies, in De Montfort University, Leicester.
Sachiko Kodama is a Japanese artist. She is best known for her artwork using ferrofluid, a dark colloidal suspension of magnetic nano-particles dispersed in solution which remains strongly magnetic in its fluid. By controlling the fluid with a magnetic field, it is formed to create complex 3-dimensional shapes as a "liquid sculpture".
Chris Heaphy is a New Zealand artist who is based in Auckland. His work explores cultural issues with a greater focus on the relationship between Māori and Pākehā due to the artist's background.
Sha Xin Wei is a media philosopher and professor at the School of Arts, Media + Engineering in the Herberger Institute for Design and the Arts + Ira A. Fulton Schools of Engineering at Arizona State University. He has created ateliers such as the Synthesis Center at Arizona State University, the Topological Media Lab at Concordia University, and Weightless Studio in Montreal for experiential experiments and experimental experience.
María Mencía is a Spanish-born media artist and researcher working as a Senior Lecturer at Kingston University in London, United Kingdom. Her artistic work is widely recognized in the field of electronic literature, and her scholarship on digital textuality has been widely published. She holds a Ph.D. in Digital Poetics and Digital Art at the Chelsea College of Arts of the University of the Arts London and studied English Philology at the Complutense University of Madrid.
Museums and Digital Culture (2019) is an interdisciplinary book about developments in digital culture with respect to museums. It is edited by Tula Giannini and Jonathan P. Bowen, who are also the authors of 12 chapters. The book is part of the Springer Series on Cultural Computing, edited by Ernest Edmonds. The book was launched at the EVA London 2019 Conference.
Paul Brown is an artist with an interest in the combination of art and technology, who has been based in England and Australia.
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