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

USA, 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 FAÇADE

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, Universität 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 Méndez

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, Université 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