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May 1, birth-place: London United Kingdom death date: April 27, died in: Summary Harold Cohen was a British artist who lived in California since until his death in Biography Radar engineer in the Royal Air Force.

Biography of Harold Cohen

Diploma in Fine Art in Midcareer retrospective at Whitechapel Gallery, London. Tapestry commissioned by British Petroleum Company. Visiting professor in fine art at the University of California, San Diego. Head of the department of fine art until A rule-based system that Cohen develops over many versions into one of the most powerful, if not the most powerful expert system of all times.

Cohen demonstrates the Turtle. Late s Aaron draws abstract images. Cohen is inspired by petroglyphs in Chantal Valley, Southern California. Floral structures and humanoid figures.

Perhaps the first element that every human being perceives at birth: During the 'sixties he represented Great Britain in the Venice Biennale, Documenta 3, the Paris Biennale, the Carnegie International and many other important international shows. Without any recent drawings, Aaron is no longer in operation. Therefore, the programme must have features that are very similar to the human cognitive system. In , he was keynote speaker at two conferences in the UK on Cognition and Creativity, one at Edinburgh University and the other at Loghbboro University. The first robot in human history to paint original art. Erasure at Hanmi Gallery Seoul.

And at a higher level, of course AARON had to decide , using rules similar in form but different in content, what the "left-arm-posture" was going to be. The first robot in human history to paint original art.

Harold Cohen's AARON Paint System Image - 1985

Grew out of investsigations about the nature of "represenation. I tell it what it knows, and IT decides what to do. In simple terms, Harold believed that if his ideas about art were meaningful then his computer programs and robots would generate meaningful works of art.

If his ideas about art were inconsistent or flawed, then his computer programs and robots would produce less than acceptable works of art. Every unique painting that appears on your screen will be different from those that appear on the many copies of AARON running on computers around the world.

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It's a lot more interesting than screen savers that always look the same. Perhaps the first element that every human being perceives at birth: Like any draughtsman who dares to sketch a living model, Aaron took time to get the stroke right.

Harold Cohen (artist)

By the mids, Aaron had sufficient spatial understanding to interpret three dimensions; therefore his figures had an interior scene as background. It was also around this time that Cohen decided to teach Aaron to work with colours. Previously, the drawings were done by the drawing machine or printed on plotters, and Cohen would insert colour by hand.

So, there was no way to talk about colours with the machine. Later, the main problem was that my program was smart enough to do the drawings, but I had to come over and colour the drawing afterwards. The program does not have eyes, so it could not have the same visual feedback system that a human being colourist has. Once it makes marks in colour, it has an impeccable memory of what was there. Aaron went through several phases, just like any artistic entity. Cohen decided to compose the context of the human figures with some plants and flowers.

Next, this flora grew, gained prominence, while people disappeared from the scene. Thus, the drawings became representations of nature.

Delving into coding: the art of Harold Cohen, Studio International.
Delving into coding: the art of Harold Cohen.
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Later, the vegetation was no longer recognisable; the organic settings became non-figurative patterns. In a way, Cohen made the program go back to his origins, to the abstraction that distinguished him as a painter early on in his career. The artist believed that both painting and visual representation had an internal logic that did not appear on the surface of the plane, being anterior to what is seen on the canvas or screen. In an unprecedented way, Cohen attained this veiled structure and deciphered the logic of painting through his coding.

Pigment ink on canvas, computer generated image, x cm. In the last few years of his life, Cohen once again changed tactics. On that occasion, in addition to showing works totally done by his digital other self, Aaron, he made the program create patterns on only one plane so that he himself would once again paint on top.

Cohen recalls that he had missed the tactile feeling of painting. Like a classical painter, he set up a inch monitor as if using an easel and then chose colours with his fingertips to finalise the Aaron-generated drawing. Wakl in Rio, The works that resulted from this digital interaction were to be his last. Cohen once wondered if one day he could be the first artist to produce new artworks after his own death.

It was meant to be a joke, but he soon realised how serious and delicate the idea was: It would be nice if it could figure out the implications of what it does so well and so reliably, and move on to new definitions, new art.

Harold Cohen: New Paintings

Biography of Harold Cohen

Harold Cohen (artist)

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