capable of producing perpetually changing music. Brian Eno is reported to have said: I think our grandchildren will probably look at us in wonder and say: 'You mean you used to listen to exactly the same thing over and over again?[17] It's an idea that clearly relates to current ambitions within generative art_to create a constantly evolving form, a form that exhausts its potential for development as a result of this process. Rules are unavoidable for this kind of art because continuous decisions on the further development of particular stages have to be taken which, in turn will influence what follows. The specific rules necessary here are to be understood in terms of value-free systems for algorithmic process control. An algorithm is a finite list of well-defined instructions . For each problem within a class of problems, an algorithm, after going through many steps, will finally arrive at a solution by implementing the instructions one after the other [18]. If then, a complex set of rules such as that provided by an algorithm is to be the basis for generating form, it begs the question of what requirements must be met in order to lend expression to a form. Strictly speaking there are two different and

partial aspects to be addressed here. First of all, generally accepted rules have to be found by which forms and colours can be generated (see Bense and Cohen). Secondly a system for the continuous change and variation of the forms to be generated needs to be devised which will take the first set of rules into account (see Conway). Against this background, the artistic fascination with generative methodology concentrated henceforth on continuous processes. The technology used plays a major role. It substantially determines both the possibilities and the extent of the systematic application of rules as was shown with all the work presented so far (cube synthesizer or computer, for example). The Internet offers ideal conditions for the generation of art by continuous processes, providing an interface by which many people can simultaneously work on a project. In addition, it opens an almost inexhaustible pool of new forms and subject matter for collective access. What is remarkable is that despite the rapid spread of this medium since the 1990s and the concomitant idea of democratisation and de-individualization of a process-governed form, no fundamentally new artistic positions