Evolutionary Art exploits the process of evolution to create an artwork which continually changes according to an evolutionary algorithm.
In common with natural selection and animal husbandry, the members of a population undergoing artificial evolution modify their form or behaviour over many reproductive generations in response to a selective regime.
In interactive evolution the selective regime may be applied by the viewer explicitly by selecting individuals which are aesthetically pleasing. Alternatively a selection pressure can be generated implicitly, for example according to the length of time a viewer spends near a piece of evolving art.
Equally, evolution may be employed as a mechanism for generating a dynamic world of adaptive individuals, in which the selection pressure is imposed by the program, and the viewer plays no role in selection.
Generative art is a system oriented art practice where the common denominator is the use of systems as a production method. To meet the definition of generative art, an artwork must be self-contained and operate with some degree of autonomy. The workings of systems in generative art might resemble, or rely on, various scientific theories such as Complexity science and Information theory. The systems of generative artworks have many similarities with systems found in various areas of science. Such systems may exhibit order and/or disorder, as well as a varying degree of complexity, making behavioral prediction difficult. However, such systems still contain a defined relationship between cause and effect.
An artist or creator will usually set down certain ground-rules or formulae and/or templates materials, and will then set a random or semi-random process to work on those elements. The results will remain somewhat within set limits, but may also be subject to subtle or even startling mutations. The idea of putting the art making process in the place of a pre-generated artwork is a key feature in generative art, highlighting the process-orientation as an essential characteristic. Generative artists have explored processes of physical and biological systems in artistic context.
Generative art can also evolve in real-time, by applying feedback and generative processes to its own created states. A generative work of art would in this case never be seen to play in the same way twice. Different types of graphical programming environments, are used in real-time for generative audiovisual artistic expressions for instance in the Demoscene and in VJ-culture.
Artificial intelligence and automated behavior have introduced new ways of seeing generative art. The term behavior is particularly useful when describing generative qualities in art because of the associations to biology and evolution.
The term generative art does not describe any art-movement or ideology. It’s a method of making art. The term refers to how the art is made, and does not take into account why it was made or what the content of the artwork is.
Artworks, in Generative Art, can be identified in the creative processes and not only in the results. Also because the results of each generative process are endless variations belonging to the same idea. Generative Art create an artificial DNA able to generate individuals of the same species.
Alan Kay got together with an evolutionary biologist (Julian Lombardi), a grid-computing guru (David P. Reed), a Web 1.0 wunderkind (Mark McCahill), a Squeak developer (Andreas Raab) and 3D worldmaker (David Smith). The result has been a collaboration that can only be described as Copernican.
Del libro de la AA
Un clasico sobre la arquitetura “que se hace sola”, listo para descargar, a trozos.
