to create complex generative art. This view is at odds with the earlier information theory influenced views of Max Bense and Abraham Moles where complexity in art increases with disorder. Galanter notes further that given the use of visual symmetry, pattern, and repetition by the most ancient known cultures generative art is as old as art itself. He also addresses the mistaken equivalence by some that rule-based art is synonymous with generative art. For example, some art is based on constraint rules that disallow the use of certain colors or shapes. Such art is not generative because constraint rules are not constructive, i.e. by themselves they don't assert what is to be done, only what cannot be done. Margaret Boden and Ernest Edmonds In their 2009 article, Margaret Boden and Ernest Edmonds agree that generative art need not be restricted to that done using computers, and that some rule-based art is not generative. They develop a technical vocabulary that includes Ele-art (electronic art), C-art (computer art), D-art (digital art), CA-art (computer assisted art), G-art (generative art), CG-art (computer based generative art), Evo-art (evolutionary based art), R-art (robotic art), I-art (interactive art), CI-art (computer based interactive art), and VR-art (virtual reality art). Questions The discourse around generative art can be characterized by the theoretical questions which motivate its development. McCormack et al. propose the following questions, shown with paraphrased summaries, as the most important: Can a machine originate anything? Related to machine intelligence - can a machine generate something new, meaningful, surprising and of value: a poem, an artwork, a useful idea, a solution to a long-standing problem? What is it like to be a computer that makes art? If a computer could originate art, what would it be like from the computer's perspective? Can human aesthetics be formalized? What new kinds of art does the computer enable? Many generative artworks do not involve digital computers, but what does generative computer art bring that is new? In what sense is generative art representational, and what is it representing? What is the role of randomness in generative art? For example, what does the use of randomness say about the place of intentionality in the making of art? What can computational generative art tell us about creativity? How could generative art give rise to artifacts and ideas that are new, surprising and valuable? What characterizes good generative art? How can we form a