Ten Questions Concerning Generative Computer Art

McCormack, Jon; Bown, Oliver; Dorin, Alan; McCabe, Jonathon; Monro, G. P.; Whitelaw, Mitchell

doi:10.1162/leon_a_00533

Cited by 46 publications

(25 citation statements)

References 8 publications

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“…This gap is reduced through the development of applications that make algorithms interactive, such as sketch-based interfaces that incorporate a pen or brush metaphor that lets users to manipulate pixels with ease [2,14,18,21]. Jacobs et al [19] explore this technique in their procedural illustration tool Para, providing a drawing environment for artists that includes interactive brushes with unique and customizable designs and styles, specifically adapting techniques (including symmetries and particle systems) from procedurally-generated art [15,25]. Their expert evaluations support the usefulness of such a software system for artists to gain control of algorithms.…”

Section: Brush and Canvas Interactionmentioning

confidence: 99%

Data Brushes: Interactive Style Transfer for Data Art

Dubey

Otto

Forbes

2019

2019 IEEE VIS Arts Program (VISAP)

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Figure 1: A series of style transfer data brushes applied to an image from Kelley's Airportraits project. a shows the original image without any styling, b shows the image styled with the Bruises brush (Lupi and King), c uses the Hennessy brush (Lupi, Maeda, and King), d is styled using our Flatland brush (generated from an image analyzed by Tufte), e is styled using a brush generated from one of Lupi's experimental scrapbook pieces, f showcases styling with the data brush based on Lupi's Data Items, and g demonstrates the result of layering multiple data brushes (including brushes created from visualizations by Minard).

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Section: Brush and Canvas Interactionmentioning

confidence: 99%

Data Brushes: Interactive Style Transfer for Data Art

Dubey

Otto

Forbes

2019

2019 IEEE VIS Arts Program (VISAP)

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“…Nevertheless, Grasl (2012) claims that emergence is not needed to build a valuable SG that reproduces an extensive corpus of designs. In fact, creativity may be given by combinatorial processes, or ultimately, by the human user of the system (McCormac et al, 2014).…”

Section: Sgs As Toolsmentioning

confidence: 99%

Shape grammars as design tools: an implementation of a multipurpose chair grammar

Garcia

Leitão

2018

AIEDAM

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This paper presents a multipurpose chair grammar and its implementation in the design tool ChairDNA. This tool is oriented for the exploration of design alternatives in the early concept phase of the chair design process. This work addresses two shortcomings within the research area of shape grammars (SGs), namely, the lack of implementation of SGs applied to design domains, and the lack of practical applications in real-life design scenarios. To address these problems, a methodology is proposed for the implementation of a SG (more specifically, a set grammar) into a tool, comprising the translation of the grammar into user-interface elements oriented for design practitioners. By using the proposed tool, the user can add/delete chair components and edit shape parameters, while visualizing the effects on a three-dimensional digital model presented in a variety of CAD applications. Compared with other SG implementations, ChairDNA uses an approach that keeps under control the combinatorial explosion of rule applications, which simplifies the use of the tool by designers that do not have experience in SGs. The generative potential of the tool is demonstrated by generating chairs of different types, and its usability and utility in aiding the designer are evaluated by design students and design practitioners.

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“…These naturally points out that if a human uses any AI-powered system with explorative intentions, her experience inevitably becomes personal as long as the state space of the aforementioned system is big enough and the means to navigate such state space are provided to the human. This framework could be very naturally transferred to the artistic experience especially in the context of generative art that fundamentally values creative process (McCormack et al 2014). Further we give two examples of how text generation system or music generation system can be explored and become a source of personal experience, but before we have to mention some human-specific restrictions that have to be taken into account to make such experience genuinely interesting for humans.…”

Section: (Iii)mentioning

confidence: 99%

I Feel You: What makes algorithmic experience personal?

Yamshchikov

Tikhonov

2018

Electronic Workshops in Computing

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Since artificial neural networks are excelling in stylization of visual, textual and acoustic objects, we discuss the potential of such technologies in context of human-to-machine interactions in general and in an artistic context specifically. We discuss a paradigm of an uncanny-valley that was originally proposed for human-robot interaction and look at it at a new angle working with algorithms rather than with robots. We propose an exploration framework for human-algorithm interaction and illustrate basic principles of such interactions with two case studies on the verge of art and computer science. Finally, we discuss how exploration paradigm outlines the vector of further humanalgorithm collaborations.Artificial intelligence. Generative art. Data exploration. Human-algorithm interaction.

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Ten Questions Concerning Generative Computer Art

Abstract: In this paper we pose ten questions we consider the most important for understanding generative computer art. For each question, we briefly discuss the implications and suggest how it might form the basis for further discussion.

Cited by 46 publications

References 8 publications

Data Brushes: Interactive Style Transfer for Data Art

Data Brushes: Interactive Style Transfer for Data Art

Shape grammars as design tools: an implementation of a multipurpose chair grammar

I Feel You: What makes algorithmic experience personal?

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