Creative computing and the generative artist

Abstract

This article addresses the research agenda of creative computing from the perspective of a generative artist/composer, someone for whom processes of software creation and art creation inseparably intertwine. Using his audiovisual composition Clonal Colonies (2011) as a case study, the author addresses the dynamic of generative artistic creation when it is a process of discovery and dialog with artistcreated, often unpredictable software systems. He provides technical specifics regarding his use of his Variable-Coupled Map Networks approach for music and his Brownian Doughnut Warper visual algorithm. Finally, he proposes a set of principles applicable to the creation of generative artwork, considers how tools and systems could better support such work, and proposes that creative computing research also focus on helping creatives surmount the fundamental personal challenges encountered in creative work of all types.

Evolutionary generation of game levels

“…As a result, this process fits with in the definition of creative computing discussed by LIU [11] whereby there are "programs that can enhance human creativity without necessarily being creative themselves". Similarly, this as an example of coevolution, enabled by feedback, which has been considered as an essential element of creative artistic and technical development [63]. The initial intention of using genetic algorithms as a generative system led to the conclusion that a simplistic fitness function was not sufficient to produce creative outcomes, which then resulted in reflective process between developer and game designer that led quickly to a pragmatic alternative that draws upon elements of cellular automata that produces usable and stimulating outcomes.…”