Aesthetics, Art, Evolution

McCormack, Jon

doi:10.1007/978-3-642-36955-1_1

Cited by 13 publications

(6 citation statements)

References 19 publications

(15 reference statements)

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“…In the classic myth, Narcissus fell in love with his own image when this appeared reflected on the still waters of a lake, making him so obsessed and in love with his own reflected image that he forgot the world around himself. Evolutionary art seems to be somehow narcotized with its obsession with its own methodologies and processes (something already pointed out by McCormack in [157]). …”

Section: Narcissus and The Lakementioning

confidence: 99%

“…In his recent paper for EvoMusArt, one of the leading artists of this movement, Jon McCormack, expresses his frustration with the marginal place that Evolutionary art occupies in the art world. In his words, 'the art world quickly grew tired of evolutionary art only a few years after it began and had little or no interest since' [157]. One of the reasons for this, McCormack suggests, is the lack of articulation between the practice of EvoArt and theoretical art.…”

Section: Aestheticsmentioning

confidence: 99%

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On Computational Ecosystems in Media Arts

Antunes

2016

Leonardo

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DECLARATIONI hereby declare that I composed this thesis entirely myself and that it describes my own research.Rui Filipe Nicolau Lima Antunes 10th of October, 2013 2 This research is an exploration of issues surrounding the artistic production of Computational Ecosystems. A Computational Ecosystem is a system of agents designed to emulate, in the computer, biological systems where autonomous individuals are organized in a hierarchical food chain and interact by trading units of energy. This thesis maps out this field and examines the modes of production and functions of these systems. The central claim is focused on how the narratives normally associated with these systems and their functioning are two complementary, but separate entities. By virtue of considering these separately the computational ecosystem is argued to be an abstract generative engine for heterogeneity, spontaneity, and even novelty. It is contended that the set of methods of production developed by exploratory artists using these artefacts might be instrumentalized as generative methods for the animation of general purpose non-player characters in virtual worlds.

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Section: Narcissus and The Lakementioning

confidence: 99%

Section: Aestheticsmentioning

confidence: 99%

On Computational Ecosystems in Media Arts

Antunes

2016

Leonardo

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“…It should come as no surprise that, despite public reaction to the sale of Portrait of Edmond Belamy, these are well explored issues (see e.g. [7,8,9,10,11,12,13,14,15,16,17,18,19,20]). It is worth revisiting them for two reasons: firstly to encapsulate more than half a century of discussion around computer created art, and secondly, to see if recent advances in Machine Learning techniques, such as Deep Learning and GANs, change any of the well established research and commentary in this area.…”

Section: Introduction: Belamy's Revengementioning

confidence: 99%

Autonomy, Authenticity, Authorship and Intention in Computer Generated Art

McCormack

Gifford

Hutchings

2019

Lecture Notes in Computer Science

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0000−0001−6328−5064] , Toby Gifford [0000−0002−9902−3362] , and Patrick Hutchings [0000−0001−8680−6969]Abstract. This paper examines five key questions surrounding computer generated art. Driven by the recent public auction of a work of "AI Art" we selectively summarise many decades of research and commentary around topics of autonomy, authenticity, authorship and intention in computer generated art, and use this research to answer contemporary questions often asked about art made by computers that concern these topics. We additionally reflect on whether current techniques in deep learning and Generative Adversarial Networks significantly change the answers provided by many decades of prior research.

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“…However, a question that emerges from the above considerations is what type of agents has the capacity for these aesthetic perceptions? According to recent theoretical works, mainly in the realm of evolutionary biology, this question may find its answer in non-human agency (see, e.g., Prum, 2012 ; Killin, 2013 ; McCormack, 2013 ).…”

Section: Discussionmentioning

confidence: 99%

Aesthetic perception and its minimal content: a naturalistic perspective

Xenakis

Arnellos

2014

Front. Psychol.

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Aesthetic perception is one of the most interesting topics for philosophers and scientists who investigate how it influences our interactions with objects and states of affairs. Over the last few years, several studies have attempted to determine “how aesthetics is represented in an object,” and how a specific feature of an object could evoke the respective feelings during perception. Despite the vast number of approaches and models, we believe that these explanations do not resolve the problem concerning the conditions under which aesthetic perception occurs, and what constitutes the content of these perceptions. Adopting a naturalistic perspective, we here view aesthetic perception as a normative process that enables agents to enhance their interactions with physical and socio-cultural environments. Considering perception as an anticipatory and preparatory process of detection and evaluation of indications of potential interactions (what we call “interactive affordances”), we argue that the minimal content of aesthetic perception is an emotionally valued indication of interaction potentiality. Aesthetic perception allows an agent to normatively anticipate interaction potentialities, thus increasing sense making and reducing the uncertainty of interaction. This conception of aesthetic perception is compatible with contemporary evidence from neuroscience, experimental aesthetics, and interaction design. The proposed model overcomes several problems of transcendental, art-centered, and objective aesthetics as it offers an alternative to the idea of aesthetic objects that carry inherent values by explaining “the aesthetic” as emergent in perception within a context of uncertain interaction.

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Aesthetics, Art, Evolution

Cited by 13 publications

References 19 publications

On Computational Ecosystems in Media Arts

On Computational Ecosystems in Media Arts

Autonomy, Authenticity, Authorship and Intention in Computer Generated Art

Aesthetic perception and its minimal content: a naturalistic perspective

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