Morakot Ketklao was born in November 1971 in Pitsanuloke, province in the north part of Thailand. Many of the artists listed have focused on the use of the computer (or other rule-based systems) to produce mostly static visual forms. Although it's true that their work is a foundation for a great deal of today's digital art (and generative art in particular), I think it's important to recognize how the influences on digital art broadened as the computer became increasingly capable of rendering animated sequences (in the 1970s) and real-time graphics (in the 1980s). For me, the artistic potential of this time-based and responsive new medium Brakhage), kinetic art (e.g. Calder, Lye), and audiovisual instrument design (e.g. Thomas Wilfred, Harry Partch). Of the artists mentioned in the above lists, I have drawn the most inspiration from Yaacov Agam, who truly was creating interactive paintings, and John Whitney, for the breadth and courage of his attempts to relate sound and image through computation. We find precedent in the work of Hans Haacke, Sol LeWitt, Yves Klein, Jean Tinguely, Herman de Vries (Dutch artist), Jan Schoonhoven (Dutch artist), Peter Struycken (Dutch computer artist), Panamarenko, Joseph Beuys, Guiseppe Penone, James Lee Byars, Donald Judd, Duane Hanson. Romanticism, Modernism, the works from the 1970s and 80s.
In our software applications we describe the laws of an artificial nature that evolves new, living, unlimited worlds of phenomena. A program that shows something of the amazing power of creation, has something of the sublime about it. What Romantic painting could only portray figuratively, we can let the observer actually experience with artificial-life techniques. It is also somewhat inherent to algorithmic art and software art that you are looking at (or navigating through) abstract worlds of color. This is acceptable now, because Modernism opened up the abstract domain. Software art explores and realizes this potential further with the new possibilities that computers can offer.
The 1960s artists that we have mentioned, are important because they gave a new impulse to algorithmic art and generative art in general. In their work they used descriptions, recipes, repetitive actions, chance operations, machines, concepts, mathematical, and scientific methods. With their more or less objective and systematic approach, some of them react against the subjectivity of expressionism while others commented on the production and perception of art in the reality of the consumption society, industrialism, and the mass-media.
