The new conception of the work thus marked the change of a paradigm that had been, in some ways, unalterable for centuries: the sacredness of the work-viewer dynamic was violated, and between the two a flowing interaction was born, a perceptive dance of the process of experiencing creativity. Color, shape and space became subjective variables in the experiential context, and the works were fresh and inviting as never before.
Everywhere one looked, the world was awakening from the tragedy and hardship that the two world wars had produced. Nevertheless, the terrible scars and memories of their aftermath had created a powerful desire for rebirth and a great enthusiasm toward science, which was making exciting breakthroughs, opening extraordinary new horizons. Technology, for the first time in human history was becoming a part of ordinary people’s everyday lives and, little by little, changing society, along with the ways people lived. It is understandable how, in a world where television was slowly finding a place in every home, art too would be affected by this wind of change, and artists were increasingly attracted to the idea of experimentation, exploring what the new technologies had to offer them.

In those same years, in the meantime, somewhere in the world, someone had the absurd and shocking idea of turning the creative process on its head. Until then it had always been a human activity, from painting to sculpture, from collage to performance, human artists had always been the creators of the work of art as it was known until that time…until the first forms of generative art appeared. The idea was that the work of art could grow out of the action of a machine, such that the creative process became substantially an automatic act, in which man had no role, other than that of preparing the machine to produce the creation. The first forms of generative art were linked more than anything else to commonly used scientific machinery and, for that reason, the first generative artists came from the world of science and the laboratory.
Art and science, which for long centuries have fought each other, had finally arrived at an agreeable sort of marriage; creative and emotional humanity was wedded to the rational, calculating machine and the child born of this union was a completely new form of art in which man was not the sole, unquestioned protagonist but had to divide the glory with the technological element, the machine.

Obviously, the Sixties were very important also for the discovery of a great number of tools that, from then on, would become more and more central to the history and life of humankind. With electronics came the computer, which created a new and violent wave of technological development that, as we can easily see, had a significant impact on every aspect of daily life and, unexpectedly, also influenced the art world by introducing new and interesting paths of generative art in which artists used computers to produce works. From that time on, the protagonists were what we now know as algorithms.