Structure in Art Practice

  • Ernest EdmondsEmail author
Part of the Springer Series on Cultural Computing book series (SSCC)


This article charts the personal development of a pioneer of computer art who began that work more than fifty years ago when he used a computer for the first time to perform an art task. It describes his generative time-based art, later thinking behind his interactive art employing image recognition and his formal structural approach to colour.


  1. Cornock S, Edmonds EA (1973) The creative process where the artist is amplified or superseded by the computer. Leonardo 6:11–15CrossRefGoogle Scholar
  2. Edmonds EA (1988) Logic and time-based art practice. Leonardo Electron Art 21(Supplement):19–20CrossRefGoogle Scholar
  3. Edmonds EA (1989) Vers Vidéo Constructs. Mesures Art International 3, Mesures, LiègeGoogle Scholar
  4. Edmonds EA (1993) Knowledge-based systems for creativity. In: Gero JS, Maher M-L (eds) Modeling creativity and knowledge-based creative design. Erlbaum, New Jersey, USA, pp 259–271Google Scholar
  5. Edmonds EA (2002) Structure in art practice: technology as an agent for concept development. Leonardo 35(1):65–71CrossRefGoogle Scholar
  6. Edmonds EA, Dixon J (2001) Constructing inter-relationships: computations for interaction in art. In: Gero JS, Maher M-L (eds) Modeling creativity and knowledge-based creative design, Sydney UniversityGoogle Scholar
  7. Fels S, Mase K (1998) Iamascope: a musical application for image processing. In: Proceedings of the third international conference for automatic face and gesture recognition (FG’98)Google Scholar

Copyright information

© Springer-Verlag London Ltd., part of Springer Nature 2018

Authors and Affiliations

  1. 1.Institute for Creative TechnologiesDe Montfort UniversityLeicesterUK

Personalised recommendations