You can also download the full ebook of the proceedings of Generative
Art conference 2019
INDEX
INDEX and OPENING
PAPERS
Celestino Soddu
Italy
Argenia Association
Alex Lobos
USA
Rochester Institute of Technology, Dept. of Industrial Design
Applying Generative
Systems to Product Design
Angela Ferraiolo
USA
Sarah Lawrence College, Bronxville, New York
The Regeneration of
the Earth After Its Destruction by the Capitalist Powers
Arne Eigenfeldt, Kathryn Ricketts
Canada
School for the Contemporary Arts Simon Fraser University, Vancouver;
Faculty of Education, University of Regina, Regina
Unauthorised:
Collaborating with a Performer Collaborating with Creative Systems
Christopher Fry
UK
University of Westminster, Westminster School of Art, College of Design,
Creative and Digital Industries
Visuality and the
haptic qualities of the line in generative artworks
CL Fisher
Canada
Centennial College, Toronto, Fine Arts Studio Program
Finland, Turku AMK, Arts Academy
Generative Art and
Community Curation: A Proof of Concept
Daniel Bisig
Switzerland
Zurich University of the Arts, Institute for Computer Music and Sound
Technology
Tuning Shapes and
Bending Timbres – Experimenting with Smart Materials for Musical Purposes
Dejan Grba, Philippe Kocher
Singapore, Switzerland
Nanyang Technological University, School of Art, Design and Media,
Interactive Media;
Zurich University of the Arts
STUDY 7/0: Error-Generated Spatiotemporal Animation
Dimitris Gourdoukis, Christina
Moschopoulou
Greece
Aristotle University of Thessaloniki, School of Architecture
High Resolution
Architecture: Ornament as a Generative Force
Enrica Colabella
Italy
Argenia Association
Gaëtan Robillard
France
University Paris 8, AIAC laboratory, INREV team
Max Bense as a Visionary, a Dialectic of Programmed Images
Guillermo Bernal
USA
Massachusetts Institute of Technology, Media Lab
Paper Dreams:
Real-Time Human and Machine Collaboration for Visual Story Development
Hrysovalanti Fereniki Maheras
Canada
York University, Department of Computational Art
An electronic
orchestra as an ode to happiness
Jeff Morris
USA
Texas A&M University, Department of Performance Studies
Libero Acerbi
Italy
Manuel A. Báez
Canada
Carleton University, Azrieli School of Architecture and Urbanism
Marie-Pascale Corcuff
France
Ecole Nationale Supérieure d’Architecture de Bretagne (ENSAB), Groupe de
Recherche sur l’Invention et l’Evolution des Formes (GRIEF)
Self-Organization and Generativity
Meltem Büşra Önal, Erhan Karakoç
Turkey
IstanbulKulturUniversity, Istanbul Technical University
Innovative Approaches
To Organic Architecture: Nature-Inspired Architectural Design
Monika Karwaszewska
Poland
The Stanislaw Moniuszko Academy of Music in Gdansk, Faculty of Choral
Conducting, Church Music, Arts Education, Eurhytmics and Jazz
Nicolas Reeves, David St-Onge, Guillaume Crédoz, Vincent Cusson,
Pierre-Yves Brèches
Canada, Lebanon
University of Quebec in Montreal, School of Design; École de Technologie
Supérieure, Dept.of Mechanical Engineering; Architect, Bits To Atoms; McGill
University, Schulich School of Music; Independent Researcher, Mathematics
Point d’Origine from
Mende to Chambord: The paths of an evolutive design process
Nikolaus Bezruczko
USA
Department of Clinical Psychology, Chicago School of Professional
Psychology
Psychometric equating
methods ease fitness function dilemma in generative art
Paul G. Mezey
Japan, Canada, Hungary
Kyoto University, Advanced Future Studies, Yukawa Inst; Memorial
University; Eotvos Univ. Budapest
Analogies In Arts and
Science: Shape Studies and Artful Molecules
Peter Beyls
Belgium
College Ghent, The School of Arts
Computing with Living
Components
Philip Galanter
USA
A&M University, Department of Visualization
Confusions and
Corrections: Complexism and Generative Art Theory
Philippe Kocher, Daniel Bisig, David Inauen
Switzerland
Zurich University of the Arts, Institute for Computer Music and Sound
Technology
Playing the Piano:
Understanding Algorithmic Music Through Interaction
Ricardo Andres Diaz Rincon, Javier M. Reyes, Paola-J Rodriguez-C
Colombia
Universidad del Valle, Camaleón Research Group
An approach to
Generative Art from Brain Computer Interfaces
Rita Moubarak, Jean Pierre El Asmar
Lebanon, Notre Dame University, Department of Design, Department of
Architecture
Ruşen Eroğlu
Turkey
Istanbul Technical University, Department of Informatics, Architectural
Design Computing Graduate Program
An Alternative Solution for Architectural Spaces
Sever Tipei
USA
University of Illinois, Computer Music Project and National Center for Supercomputing
Applications
Manifold Compositions
and the Evolving Entity
Silvija Ozola
Latvia
Riga Technical University
Slawomir Wojtkiewicz
Poland
Technical University of Bialystok, Faculty of Architecture
Susannah Hays
USA
University of California Berkeley; with: the Intropy=Entropy Institute,
San Francisco CA; Stephen W. Porges, Atlantic Beach, FLA; Susannah Hays, Santa
Fe
A Generative Art of
Our Own Evolutionary Making
Suzanne Gold, Kelly Lloyd, Michal Lynn Shumate
USA, UK, Italy Hair Club,
Baltimora, London, Bomarzo
Lather Rinse Repeat:
The Iterative Practice and Pedagogy of Hair Club
Umberto Roncoroni
Perú
Universidad de Lima, Faculty of Communication
Using the Inka's
Calculator for Generative Art
Yeşim Okur, Erhan Karakoç
Turkey
Istanbul Kültür University Department of Architecture
Interactive
Architecture: The Case Studies on Designing Media Façades
Yiannis Papadopoulos, Luis Torrao, Stefanos Zannis and Agelina Vakali
UK, Greece
University of Hull - U.K. & Zannis Studio - Athens, Greece
An Alternative
Virtual Odyssey
POSTERS, ARTWORKS and
INSTALLATIONS
Alessandro Violi
Italy
Angela Ferraiolo
USA
Sarah Lawrence College, Bronxville, New York
The Regeneration of
the Earth After Its Destruction by the Capitalist Powers
Catherine Griffiths
USA
University of Southern California, School of Cinematic Arts
Automata I & II:
Generative art as a language of the socio-political
Chad M. Eby
USA
University of Kentucky, School of Art & Visual Studies
Gavin O’Brien
New Zealand
Otago Polytechnic, Te Kura Matatini ki
Art and Design: The
Unique and the UniformvTopic
Raitis Ozols
Latvia
University of Latvia, Department of Mathematics
Rowan Simmons, Mark Apperley, Chin-En kEiTH Soo
New Zealand
Faculty of Computing and Mathematical Science, University of Waikato
Tatsuo Unemi
Japan
Soka University, Department of Information Systems Science
LIVE PERFORMANCES
Arne Eigenfeldt, Kathryn Ricketts
Canada
School for the Contemporary Arts Simon Fraser University, Vancouver;
Faculty of Education, University of Regina, Regina
Beata Oryl, Robert Turło
Poland
The Stanislaw Moniuszko Academy of Music in Gdansk; Academy of Fine Arts
in Gdansk, Faculty of Graphics Department
Faculty of Choral Conducting, Church Music, Arts Education, Eurhytmics
and Jazz
Enrica Colabella,
Celestino Soddu, Nicola Baroni, Kathryn Ricketts
Italy
Jeff Morris
USA
Texas A&M University, Department of Performance Studies
The Persistence of Elusion: Hard and Soft Dances —
Machine Learning Glitch Version
Kathryn Ricketts
Canada
University of Regina, Saskatchewan
The making of
Land(ing), a provocation towards place and space
Nicola Baroni
Italy
Conservatorio di
Bologna
Piotr Rojek
Poland
The Karol Lipinski Academy of Music in Wroclaw, Faculty of Instrumental
Free Improvisation on
a Pergolesi’s Themes
Slawomir Wojtkiewicz
Poland
Technical University of Bialystok, Faculty of Architecture
OPENING
XXII GENERATIVE ART CONFERENCE
Twenty-two years ago, the Generative Art conference
held its first event at the Politecnico di Milano, organized by the Generative
Design Lab. The digital era took its first steps.
Today everything changed. The rapid development of
technology has led the majority of people to use digital media on a daily
basis. But it also led to a development based essentially on technology and not
on widespread digital culture.
The Generative Art conference has existed for
twenty-two years but a few years ago there was still someone who tried to make
us understand what Generative Art is, claiming to do so with an approach dated,
still based on cataloguing into "objective" categories and without
considering the thousands of works that had been presented at the GA conference
in the previous decade.
These type of attempts to catalogue Generative Art,
which however have continued until today, committed a serious error of
approach, which appears immediately clear as these definitions speak of
Generative Techniques, inserting Generative Art in the category of techniques i.e. computer art, evolutionary art, robotic
art, and interactive art, Most of these definitions of Generative Art was made without
considering that, on the contrary, Generative Art is not a technique but a
peculiar scientific approach to creativity. It is a revolution compared with
the "objective" approach of problem solving and optimization where
technique is predominant on the poetic of the artist.
This attempt to define Generative Art as a technique
has an explicit purpose: it tends to maintain the supremacy of the anonymous on
the subjective vision, but above all the supremacy of technology on the
subjective interpretative logics, even in art.
What emerges progressively from the works presented in
these 22 years is that Generative Art is a peculiar approach to creativity able
to rediscovers the author. Each author uses different “techniques”, most of
them directly created by the same author, but the peculiarity is the subjective
approach in defining the own vision and the related generative path. Finally, after almost a century of collective
dominance and disappearance of subjectivity, the recognizability and
appreciation of the artist's vision finds a central role in the papers and
generative artworks presented to GA conferences. The generative structure stems
from the ability to insert subjective interpretation into machines, or rather
to use machines to enhance the uniqueness of each artist's vision.
Everything is changing, and digital culture opens up
new possibilities. Today, the need to conquer new spaces of complexity has led
to the rediscovery of the uniqueness of individual logical approaches. This is
called singularity in the last AI systems. It opens new horizons to the ability
of Artificial Intelligence to be in line with a possible relationship between
man and machine. AI is moving from a merely instrument of pre-packaged services
toward advanced tool with the ability to answer to possible unpredictable
requests.
Not only. At least in the advanced approach, the axiomatic
concept of optimisation, understood as an objective standard to be achieved in
the AI response to requests, has been overtaken. The concept of adaptivity
understood as the search for the possible within a subjectively identified and
"unique" logical vision, with respect to possible parallel visions,
become the future.
Generative Art finds in this new wave its peculiarity.
The future of Generative Art is to free itself from having to be catalogued in
categories belonging to the techniques used to achieve it. Instead, it becomes
the bearer of what, today, is not only a rediscovery but also an innovation of
digital civilization: the identity of the author, of the artist, of the
multiplicity of interpretative logics capable of creating not only culture but
a pertinent response to the request for complexity.
So let's not talk more about what Generative Art is,
there are more than a thousand texts and experiments presented in these 22
years at Generative Art that tell us about it, but let's ask ourselves what the
future of Generative Art is. And let's start from the work done in these 22
years by the participants of the GA meetings.
The GA conference has opened the doors to many
scientific works and experiments, to different theoretical approaches that
have, every year, generated even hard debates. What appears after more than two
decades is precisely the re-emergence of subjective visions, of the
multiplicity of ideas based on the logical interpretation of the world around
us. This appears even if these subjective visions are, very often, hidden
because of the current overestimation of technology as a "collective
work", each subjective logic emerges and conquers its space as it is the
only chance to successfully face the complexity of the context that surrounds
us.
The future of Generative Art therefore does not depend
on identification in possible techniques, in the use of advanced technologies,
but is concentrated in:
1. To
support the new course of AI by managing the complexity of these systems
through the "singularity" directly connected to logics based on
interpretative visions, to the author-artist who defined them. The aim is to
create a new man-machine relationship that is not axiomatic but interlocutory
and "cultural".
2. Rediscovering
the role of the author-artist because the Generative Art results are multiple,
different and sometimes unexpected but always linked to a logical
interpretative vision of an artist, an author, a software designer. The
production of variations by machines tells, with complexity and progressive
relevance, the idea of an artist.
The machines can therefore work partially autonomously
but, within the machines, we will finally find the author, his recognizability
and identity, and his ability to give us answers not only objective and
optimized but complex, different, unexpected, certainly more relevant and more
useful to choose how to broaden our vision of the world.
Celestino Soddu and Enrica Colabella
Chairs of Generative Art annual conferences since 1998