SBART 2.4: breeding 2D CG images and movies and creating a type of collage

Unemi, Tatsuo

doi:10.1109/kes.1999.820180

Cited by 19 publications

(19 citation statements)

References 2 publications

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“…Latham used this paradigm to evolve three-dimensional shapes, which were transcribed from the genotype with the help of a transcription grammar defining shapes and affine transformations; inspired in Koza's GP [134], Sims bred and evolved Lisp expressions combining mathematics with primitives of image manipulation to synthesize imagery. Other authors followed exploring this methodology [211,240] in a style Whitelaw has christened as Breeding [251]. Lewis describes around 200 references of different works in a multitude of uses, from producing simple imagery to cartoon characters or architectures [144].…”

Section: Embryonic Expressionmentioning

confidence: 99%

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: Embryonic Expressionmentioning

confidence: 99%

On Computational Ecosystems in Media Arts

Antunes

2016

Leonardo

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“…His Galapagos 10 is an L-system based In-teractive Evolutionary Computation (IEC) system that allows visitors to create their own graphic art through their interaction. Tatsuo Unemi developed SBART (Simulated Breeding ART) [13,14], an IEC graphics system open to public. SBART uses GP to create mathematical equations for calculating each pixel value and its (x, y) coordinates.…”

Section: Evolutionary Designmentioning

confidence: 99%

“…1. While in [14,15] the mathematical equations are used to calculate both the pixel value and its coordinates, in GenTP only the height will be calculated. The (x, y) coordinates will be dictated by the matrix position occupied by the height value.…”

Section: Genetic Terrain Programmingmentioning

confidence: 99%

Modelling Video Games’ Landscapes by Means of Genetic Terrain Programming - A New Approach for Improving Users’ Experience

Frade

Vega

Cotta

2008

Lecture Notes in Computer Science

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Abstract. Terrain generation algorithms have an important role in video games: they can provide a realistic scenario for the game experience, or can help keep the user interested in playing by providing new landscapes each time he plays. Nowadays there are a wide range of techniques for terrain generation, but all of them are focused on providing realistic terrains, often neglecting other aspects (e.g., aesthetic appeal or presence of desired features). This paper proposes a new technique, Genetic Terrain Programming, based on evolutionary design with GP to allow game designers to evolve terrains accordingly to their aesthetic feelings or desired features. The developed application produces Terrains Programs (TPs) that will always generate different terrains, but consistently with the same features (e.g. valleys, lakes). This characteristic will allow game designers to endow games with programs capable of generating different coherent landscapes each time users run the game.

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“…In consideration of the above, we realized a System called AVICE that generates movements through Interactive Evolutionary Computation (1EC) [3,2,1]. AVICE Supports the user creativity in designing motions, which is empirically shown.…”

Section: Introductionmentioning

confidence: 99%

AVICE: Evolving Avatar’s Movernent

Wakaki

Iba

2003

Genetic and Evolutionary Computation — GECCO 2003

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Abstract. In recent years, the widespread penetration of the Internet has led to the use of diverse expressions over the Web. Among them, many appear to have strong video elements. However, few expressions are based on human beings, with whom we are most familiar. This is deemed to be attributable to the fact that it is not easy to generate human movements. This is attributable to the fact that the creation of movements by hand requires intuition and technology. With this in mind, this study proposes a system that supports the creation of 3D avatars' movements based on interactive evolutionary computation, as a system that facilitates creativity and enables ordinary Users with no special skills to generate dynamic animations easily, and as a method of movement description.

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SBART 2.4: breeding 2D CG images and movies and creating a type of collage

Cited by 19 publications

References 2 publications

On Computational Ecosystems in Media Arts

On Computational Ecosystems in Media Arts

Modelling Video Games’ Landscapes by Means of Genetic Terrain Programming - A New Approach for Improving Users’ Experience

AVICE: Evolving Avatar’s Movernent

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