Generative Art and Computational Creativity

Session 3 focus on the grammars and programming of generative systems. Some examples of programes developed by authors and musicians were mentioned, such as David Cope’s EMI software, which receives inputs of classic music composers and reproduces the same style – https://en.wikipedia.org/wiki/David_Cope

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EMI Webste – http://artsites.ucsc.edu/faculty/cope/experiments.htm

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Another interesting example of generative poetry, but non-digital, was Raymond Quesneau «Cent Mille Milliard de poèmes», who was influenced by the surrealist movement and the automatic writing and who produced a few sonets that were edited in strips of verses, making possible the re-composition of the verses, and multiple versions of poems. He founds OULIPO Ouvroir de littérature potentielle, a loose gathering of (mainly) French-speaking writers and matematicians who seek to create works using constrained writing techniques

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Principles and Processes of Generative Literature, by Jean Pierre Balpe – http://www.dichtung-digital.de/2005/1/Balpe/

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Kinetic Engine is a realtime generative music system that has been in development since 2005. It has been used as an extended instrument within an improvising ensemble, as a networked performance ensemble, as an interactive installation, and as an independent performance system under the composer’s control. The first two versions were solely concerned with polyphonic rhythmic organisation using multi-agents. Version 3 introduced an evolutionary algorithm for the evolution of a population of rhythms, in realtime, based upon the analysis of music provided. Version 4 explored melodic organisation, again using multi-agents, while the most recent version adds a third order Markov model for harmonic generation.

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The resources of session 3 give links examples of compositions, such as the Illiac Suite, the first musical composition for traditional instruments that was made through computer by Lejaren Hiller and Leonard Isaacson.

More info: http://www.musicainformatica.org/topics/illiac-suite.php

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“Turbulence: an interactive museum of unnatural history”, by Jon McCormack. Jon McCormack is an australian artist – http://jonmccormack.info/artworks/. The work was developed from 1990-1994 using custom software for evolving L-systems developed by the artist. The form and animation were evolved using a type of interactive genetic algorithm. This is a short excerpt from the work.

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Interactive Plant Growing, une oeuvre de Christa Sommerer et Laurent Mignonneau - https://youtu.be/JXX7JNFD2X8

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Fractal Growér – L-System rules and gramar – http://cs.unm.edu/~joel/PaperFoldingFractal/paper.html

 

Book «The Algorythmic Beauty of Plants» – http://algorithmicbotany.org/papers/abop/abop.pdf

 

Jean Pierre Balpe generative literature - https://youtu.be/WaPbU6zjj2A

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Michael Hansmeyer is an architect and programmer who explores the use of algorithms and computation to generate architectural form - https://www.ted.com/speakers/michael_hansmeyer​

Inspired by cell division, Michael Hansmeyer writes algorithms that design outrageously fascinating shapes and forms with millions of facets. No person could draft them by hand, but they’re buildable — and they could revolutionize the way we think of architectural form.

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In probability theory, a Markov model is a stochastic model used to model randomly changing systems where it is assumed that future states depend only on the current state not on the events that occurred before it (that is, it assumes the Markov property). Generally, this assumption enables reasoning and computation with the model that would otherwise be intractable. For this reason, in the fields of predictive modelling and probabilistic forecasting, it is desirable for a given model to exhibit the Markov property (https://en.wikipedia.org/wiki/Markov_model)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Key Chords – guitar chords and progression – http://www.drumbot.com/projects/key_chords/

 

Casey Reas talks about how to draw with code. For Casey Reas, software is the most natural medium to work with. He uses code to express his thoughts—starting with a sketch, composing it in code, and witnessing the imagery that it ultimately creates. We visit his studio to see how he uses color to convey emotion and how his programming language Processing is closing the gap between software and object.

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Soar is a general cognitive architecture for developing systems that exhibit intelligent behavior. Researchers all over the world, both from the fields of artificial intelligence and cognitive science, are using Soar for a variety of tasks. It has been in use since 1983, evolving through many different versions to where it is now Soar, Version 9 – https://soar.eecs.umich.edu/

 

GOAL is an agent programming language for programming cognitive agents. GOAL agents derive their choice of action from their beliefs and goals. The language provides the key building blocks for designing and implementing cognitive agents. The language elements and features of GOAL allow and facilitate the manipulation of an agent’s beliefs and goals and to structure its decision-making. The language provides an intuitive programming framework based on common sense notions and basic practical reasoning – https://goalapl.atlassian.net/wiki/

 

SARL – General-purpose Agent-Oriented Programming Language – http://www.sarl.io/

 

JADE – JAVA Agent DEvelopment Framework – is an open source platform for peer-to-peer agent based applications – http://jade.tilab.com/

 

The Art of Twitter Art – https://www.theatlantic.com/technology/archive/2015/02/the-art-of-twitter-art/385365/

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