http://science.sciencemag.org/content/sci/201/4359/899.2.full.pdf

Phenomenology of perception.

The theory of affordances

The cultural origins of human cognition

Keywords: a Vocabulary of Culture and Society

인공고관절의 세라믹 볼 헤드의 기계적 안정성 평가를 위한 3 차원 유한요소 해석

Applying evolutionary methods to the generation of music and art is a relatively new field of enquiry. While there have been some important developments, it might be argued that to date, successful results in this domain have been limited. Much of the present research can be characterized as finding adhoc methods that can produce subjectively interesting results. In this paper, it is argued that a stronger overall research plan is needed if the field is to develop in the longer term and attract more researchers. Five ‘open problems' are defined and explained as broad principle areas of investigation for evolutionary music and art. Each problem is explained and the impetus and background for it is described in the context of creative evolutionary systems.

Open problems in evolutionary music and art

This interdisciplinary volume introduces new theories and ideas on creativity from the perspectives of science and art. Featuring contributions from leading researchers, theorists and artists working in artificial intelligence, generative art, creative computing, music composition, and cybernetics, the book examines the relationship between computation and creativity from both analytic and practical perspectives. Each contributor describes innovative new ways creativity can be understood through, and inspired by, computers. The book tackles critical philosophical questions and discusses the major issues raised by computational creativity, including: whether a computer can exhibit creativity independently of its creator; what kinds of creativity are possible in light of our knowledge from computational simulation, artificial intelligence, evolutionary theory and information theory; and whether we can begin to automate the evaluation of aesthetics and creativity in silico. These important, often controversial questions are contextualised by current thinking in computational creative arts practice. Leading artistic practitioners discuss their approaches to working creatively with computational systems in a diverse array of media, including music, sound art, visual art, and interactivity. The volume also includes a comprehensive review of computational aesthetic evaluation and judgement research, alongside discussion and insights from pioneering artists working with computation as a creative medium over the last fifty years. A distinguishing feature of this volume is that it explains and grounds new theoretical ideas on creativity through practical applications and creative practice. Computers and Creativity will appeal to theorists, researchers in artificial intelligence, generative and evolutionary computing, practicing artists and musicians, students and any reader generally interested in understanding how computers can impact upon creativity. It bridges concepts from computer science, psychology, neuroscience, visual art, music and philosophy in an accessible way, illustrating how computers are fundamentally changing what we can imagine and create, and how we might shape the creativity of the future. Computers and Creativity will appeal to theorists, researchers in artificial intelligence, generative and evolutionary computing, practicing artists and musicians, students and any reader generally interested in understanding how computers can impact upon creativity. It bridges concepts from computer science, psychology, neuroscience, visual art, music and philosophy in an accessible way, illustrating how computers are fundamentally changing what we can imagine and create, and how we might shape the creativity of the future.

/pdf/computers-and-creativity-38q66mcaz9.pdf

Computers and Creativity

Generative design offers new modes of aesthetic experience based on the incorporation of system dynamics into the production of artifact and experience. In this paper, we review a number of processes that can be explored by designers and suggest how design as a discipline can benefit from this research. These processes include self-organization, swarm systems and ant colonies, evolution, and generative grammars. We give example applications of these processes to creativity and design.

/pdf/generative-design-a-paradigm-for-design-research-15d7a1xpsb.pdf

Generative Design: A Paradigm for Design Research.

L-Systems have traditionally been used as a popular method for the modelling of spacefilling curves, biological systems and morphogenesis. In this paper, we adapt string rewriting grammars based on L-Systems into a system for music composition. Representation of pitch, duration and timbre are encoded as grammar symbols, upon which a series of re-writing rules are applied. Parametric extensions to the grammar allow the specification of continuous data for the purposes of modulation and control. Such continuous data is also under control of the grammar. Using non-deterministic grammars with context sensitivity allows the simulation of Nth-order Markov models with a more economical representation than transition matrices and greater flexibility than previous composition models based on finite state automata or Petri nets. Using symbols in the grammar to represent relationships between notes, (rather than absolute notes) in combination with a hierarchical grammar representation, permits the emergence of complex music compositions from a relatively simple grammars.

Grammar-based music composition

Implicit surfaces obtained by convolution of multi-dimensional primitives with some potential function, are a generalisation of popular implicit surface models: blobs, metaballs and soft objects. These models differ in their choice of potential function but agree upon the use of underlying modelling primitives, namely, points. In this paper a method is described for modelling and rendering implicit surfaces built upon an expanded set of skeletal primitives: points, line segments, polygons, arcs and planes. An analytical solution to the convolution is described. This solution offers a more accurate and robust representation of the resultant implicit surface than previous methods. An algorithm for ray-tracing the surfaces formed through convolution of any combination of these primitives is also outlined.

Jon McCormack

Papers

Open problems in evolutionary music and art

Computers and Creativity

Generative Design: A Paradigm for Design Research.

Grammar-based music composition

Creating and Rendering Convolution Surfaces