ARTWORKS, VIDEOS AND PREFORMANCES (in progress)
at
25TH GENERATIVE
ART CONFERENCE, GA2022
Vallicelliana Library, December 13, Rome
Adam Fung, Nick Bontrager
USA, School of Art, Texas Christian University
PRINCIPLES OF DESTRUCTION (EMERGENCE)
Anna Ursyn, Stuart Smith
enerativeartmetaverse.comUSA, School of Art and Design, University of Northern Colorado
Computer Science and Music, U Mass, Lovell
URBAN CODES
Arne Eigenfeldt
Canada, School the Contemporary Arts Simon Fraser University
Vancouver
A WALK TO MERYTON
Celestino Soddu
Italy, Generative Art & Design Lab, Argenia
ABDUCTION FROM BORROMINI.
GENERATIVE INTERPRETATION OF THE FA ADE
OF ORATORIO DEI FILIPPINI
Nathan Matteson, Nicholas Kersulis
USA, School of Design, College of Computing and Digital Media, DePaul University, Chicago IL; Otis College of Art and Design, Los Angeles CA
GOOD-FOR-NOTHING (WORKING-CLASS ITALIAN GENTLEMAN #1) AND GOOD-FOR-NOTHING (WORKING-CLASS ITALIAN GENTLEMAN #2)
Mark Zanter
USA, Marshall University, School of Music
THE USE OF MARKOV CHAINS IN EX MACHINA
Dragana Ciric
Serbia,
Independent Scholar/Scientist, PI, Founder and Architect / unit [d]., GENERATIVE DESIGN
PRINCIPLES AND ALGORITHMIC THINKING IN ARCHITECTURAL PLAN VARIATIONS: HUMAN TO
MACHINE APPROACH
Chin-En Keith Soo
New Zealand, University of Waikato, Department of Design
( CO - WARE )
Curtis L Palmer
Canada, Edmonton, Alberta
THE BLACK HOLE AT THE CENTRE OF THIS ORB
IS A RHOMBIC DODECAHEDRON
Davide Prete, Sergio Picozzi
USA, University of the District of Columbia
The Catholic University of America
GENERATIVE DESIGN OF LATTICE
STRUCTURES FOR 3D PRINTED SCULPTURES
Hans Dehlinger
Germany, Department of Product Design, Universit t Kassel
IMAGE FROM FIBONACCI
GENERATIVE ART SERIES: FIB_D2_ROT-2016
Vasilis Agiomyrgianakis, Haruka Hirayama
Department Audio & Visual Arts, Ionian University, Corfu, Greece
Hokkaido Information University, Ebetsu, Japan
ACTS FOR TELEMATIC PAINTING AND LIVE CODING
Jeff Morris
USA, School of Performance, Visualization, and Fine Arts,
Texas A&M University, College Station, Texas
SNAKE IN THE LABYRINTH
Sławomir Wojtkiewicz
Poland, Bialystok University of Technology, Faculty of Architecture
THE CONSTRUCTION
Yan Bello M ndez
Spain, Creative Founder & AI Expert. SpaceMinds SL, Madrid
AN AGILE - MULTIDISCIPLINARY APPROACH AND INNOVATIVE
TOOLKIT TO CATALYSE GENERATIVE CREATIVITY AND CHANGE
Beata Oryl, Michał Garnowski
Poland, Stanisław Moniuszko Academy of Music in Gdańsk
ALBION INTERMEDIA PROJECT
Enrica Colabella, Celestino Soddu, Kathryn Ricketts
Italy, Generative Art & Design Lab, Argenia
Canada, University of Regina
NATURALNESS SILENCE
Guillaume Rochais
France, ACCRA, Universit de Strasbourg
SURFING THE AUDIO WAVE: A7
A CUSTOM GENERATIVE VJING SOFTWARE
FOR VISUAL IMPROVISATION
Jonatas Manzolli, Alexandre Zamith, Daniela Gatti,
Mariana Baruco Andraus, Manuel Falleiros
Brazil, Department of Music,
Institute of Arts, Int. Nucl. Sound Studies (NICS) UNICAMP, Campinas
JARDIM DAS CARTAS: GENERATIVE AND INTERACTIVE INSTALLATION
IN MIXED REALITY FOR MUSIC AND DANCE
Kathryn Ricketts, Angela Ferraiolo, Arne Eigenfeldt
Canada, University of Regina, Simon Fraser University
USA,, Sarah Lawrence Collage
BLOMSTER
Philip Galanter
USA, School of Performance, Visualization & Fine Art
Texas A&M University, College Station
SYMBIOTIC CHROMATICS
OPENING XXV GENERATIVE ART CONFERENCE
Twenty-five years ago, a small group of scholars, creatives, and experts in Design and Art were together at the Polytechnic University of Milan, invited by Celestino and Enrica, for the first Generative Art conference. Their experiences were different but all related to the possibility of managing, through computer and other technologies, the creative processes inherent not only in art but also in architecture, design, poetry, music, and graphics. This first meeting defined the use of the term "Generative Art" coined for this first conference and already used in teaching approach at Politecnico di Milano. Its meaning defined not a specific technique or technology but a philosophical logic approach, that involved all participants in their creative activity. In the 1960s, it would have been called a meta-design approach, but in 1998, when digital technology had passed its first steps even as a support for human creativity, the term Generative Art became an explicit way of calling a creative work.This, with the help of various and multiple computer and traditional techniques, defined the prerequisites for working not for a single result but for a possible multiplicity of results, all unique but all in tune with the author's vision. Author thus regained its own identity and recognizability. In parallel, there was a common vision of the possibility of mass-producing unique objects with available numerically controlled industrial technologies.
The participants to this first conference. together with other friends like Decio Gioseffi, Paolo Alberto Rossi and Edoardo Benvenuto, agreed with us to go ahead and define Generative Art as a newborn child that had to be respected and preserved from those who wanted to mystify it or accumulate it only to production techniques.
Indeed, it is no coincidence that those who, in the following years, attempted to appropriate the term Generative Art were people who were giving a definition of it as a possible technique and writing manuals about it. Today there is a need to revive the primitive definition of Generative Art and to work together so that Generative Art continues to indicate a logical poetic approach capable of giving a boost to the creativeness and to the revaluation of the author and his recognizability.
Now, please, enter in the 25th Generative Art exhibition. Then use the W, A, S and D key, or the arrows to walk into the exhibition.
Celestino Soddu and Enrica Colabella
Founders and Chairs of Generative Art Conferences