Those names in order of decreasing highbrowness and increasing financial viability.
Either way, it means, more or less, “using algorithms to make pretty things instead of your hands” which I like to think about as designing artists as an artform. If you’ve seen a CGI film in the last 20 years, you’ve seen techniques that approach 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.
Examples of praxis
Discretization in Geometry and Dynamics has some sweet mathematical graphics. See the various sub-projects. There are also image collections:
The goal of the Bridges Organization is to foster research, practice, and new interest in mathematical connections to art, music, architecture, education and culture.
populist procedural design is lead by the computer games people, e.g. the procedural design reddit.
runme is also an echo from another time:
…a software art repository, launched in January 2003. It is an open, moderated database to which people are welcome to submit projects >they consider to be interesting examples of software art.
(mostly) textual state of the art: emily short
Praxis yourself why don’t you?
I praxis myself
- pattern machine, my live electronic AV ensemble (see also my soundcloud)
- feral, my generative iphone app for imaginary mechanicotropical jungles
Maybe I should also do generative art with neural networks.
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Boulanger-Lewandowski, Nicolas, Yoshua Bengio, and Pascal Vincent. 2012. “Modeling Temporal Dependencies in High-Dimensional Sequences: Application to Polyphonic Music Generation and Transcription.” In 29th International Conference on Machine Learning. http://arxiv.org/abs/1206.6392.
Bown, Oliver. 2009. Ecosystem Models for Real-Time Generative Music: A Methodology and Framework. Ann Arbor, MI: MPublishing, University of Michigan Library.
———. 2011. “Experiments in Modular Design for the Creative Composition of Live Algorithms.” Computer Music Journal 35 (3): 73–85. https://doi.org/10.1162/COMJ_a_00070.
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Ha, David, Andrew Dai, and Quoc V. Le. 2016. “HyperNetworks.” September 27, 2016. http://arxiv.org/abs/1609.09106.
Holtzman, S. R. 1981. “Using Generative Grammars for Music Composition.” Computer Music Journal 5 (1): 51–64. https://doi.org/10.2307/3679694.
Lomas, Andy. 2014. “Cellular Forms: An Artistic Exploration of Morphogenesis.” In SIGGRAPH Studio, 1–1. ACM Press. https://doi.org/10.1145/2619195.2656282.
Monro, Gordon. 2009. “Emergence and Generative Art.” Leonardo 42 (5): 476–77. https://doi.org/10.1162/leon.2009.42.5.476.
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Sorensen, Andrew, and Henry Gardner. 2010. “Programming with Time: Cyber-Physical Programming with Impromptu.” In ACM Sigplan Notices, 45:822. ACM Press. https://doi.org/10.1145/1869459.1869526.
Steedman, Mark J. 1984. “A Generative Grammar for Jazz Chord Sequences.” Music Perception: An Interdisciplinary Journal 2 (1): 52–77. https://doi.org/10.2307/40285282.
Whitelaw, Mitchell. 2005. “System Stories and Model Worlds: A Critical Approach to Generative Art.” Readme 100: 135–54. http://art.runme.org/1140026085-5226-0/system_stories.pdf.
———. 2006. Metacreation: Art and Artificial Life. The MIT Press.
———. 2010. “Space Filling and Self-Constraint: Critical Case Studies in Generative Design.” Architectural Theory Review 15 (2): 157–65. https://doi.org/10.1080/13264826.2010.495451.
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