The Living Thing / Notebooks :

Generative art, creative coding, procedural design

Those names in order of decreasing highbrowness and increasing financial viability.

how to draw Doug.

Ruben Bolling knows evolutionary design when he sees it.

See also all the other related articles.

Either way, it means, more or less, “using algorithms to make pretty things.” If you’ve seen a CGI film in the last 20 years, you’ve seen this. Flocking, L-systems, agents, evolutionary systems, a-life, pattern formation and so on. My interest here reflects my High Art, pontifical sensibility. But video games are totes sick too.

Missing from here: prehistory of such art, early software art and pre-computer algorithmic art. Check out a better source such as Neil Jenkins’ excellent garden of forking paths for some pointers.

Examples of praxis

General

Praxis yourself why don’t you?

I praxis myself

Maybe I should also do generative art with neural networks.

General reading

Refs

BoEd09
Boden, M. A., & Edmonds, E. A.(2009) What is generative art?. Digital Creativity, 20(1-2), 21–46. DOI.
BoBV12
Boulanger-Lewandowski, N., Bengio, Y., & Vincent, P. (2012) Modeling Temporal Dependencies in High-Dimensional Sequences: Application to Polyphonic Music Generation and Transcription. In 29th International Conference on Machine Learning.
Bown09
Bown, O. (2009) Ecosystem models for real-time generative music: A methodology and framework. . Ann Arbor, MI: MPublishing, University of Michigan Library
Bown11
Bown, O. (2011) Experiments in modular design for the creative composition of live algorithms. Computer Music Journal, 35(3), 73–85.
BoMc10
Bown, O., & McCormack, J. (2010) Taming nature: tapping the creative potential of ecosystem models in the arts. Digital Creativity, 21(4), 215–231. DOI.
BoMK11
Bown, O., McCormack, J., & Kowaliw, T. (2011) Ecosystemic methods for creative domains: Niche construction and boundary formation. In 2011 IEEE Symposium on Artificial Life (ALIFE) (pp. 132–139). DOI.
Brow03
Brown, P. (2003) Generative computation and the arts. Digital Creativity, 14(1), 1–2. DOI.
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Collins, N. (2006) Towards Autonomous Agents for Live Computer Music: Realtime Machine Listening and Interactive Music Systems.
DMMM12
Dorin, A., McCabe, J., McCormack, J., Monro, G., & Whitelaw, M. (2012) A framework for understanding generative art. Digital Creativity, 23(3-4), 239–259. DOI.
Garc01
Garcia, R. A.(2001) Growing sound synthesizers using evolutionary methods. Proceedings of ALMMA 2002 Workshop on Artificial Models for Musical Applications, 99–107.
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McCormack, J. (2004) Generative modelling with timed L-systems. In Proceedings of the First International Conference on Design, Computing and Cognition (Vol. 4, pp. 157–175). Cambridge, USA: Kluwer Academic Publishers
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McCormack, J. (2009) The Evolution of Sonic Ecosystems. In Artificial life models in software. Springer-Verlag New York Inc
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McCormack, J. (n.d.) Enhancing Creativity with Niche Construction.
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McCormack, J., & Bown, O. (2009) Lifes what you make: Niche construction and evolutionary art. Applications of Evolutionary Computing, 528–537.
MBDM13
McCormack, J., Bown, O., Dorin, A., McCabe, J., Monro, G., & Whitelaw, M. (2013) Ten Questions Concerning Generative Computer Art. Leonardo, 47(2), 135–141. DOI.
Monr09
Monro, G. (2009) Emergence and Generative Art. Leonardo, 42(5), 476–477. DOI.
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Rohrmeier, M. (2011) Towards a generative syntax of tonal harmony. Journal of Mathematics and Music, 5(1), 35–53. DOI.
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Steedman, M. J.(1984) A Generative Grammar for Jazz Chord Sequences. Music Perception: An Interdisciplinary Journal, 2(1), 52–77. DOI.
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Whitelaw, M. (2003) Morphogenetics: generative processes in the work of Driessens and Verstappen. Digital Creativity, 14(1), 43–53. DOI.
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Whitelaw, M. (2005) System stories and model worlds: A critical approach to generative art. Readme, 100, 135–154.
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Whitelaw, M. (2006) Metacreation: Art and Artificial Life. . The MIT Press
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