Introduction to Optimization The Binary Genetic Algorithm The Continuous Parameter Genetic Algorithm Applications An Added Level of Sophistication Advanced Applications Evolutionary Trends Appendix Glossary Index.

https://cdn.preterhuman.net/texts/science_and_technology/nature_and_biology/Bioinformatics/Practical%20Genetic%20Algorithms%20-%20Randy%20L.%20Haupt,%20Sue%20Ellen%20Haupt.pdf

Practical Genetic Algorithms

How is it possible to think new thoughts? What is creativity and can science explain it? And just how did Coleridge dream up the creatures of The Ancient Mariner? When The Creative Mind: Myths and Mechanisms was first published, Margaret A. Boden's bold and provocative exploration of creativity broke new ground. Boden uses examples such as jazz improvisation, chess, story writing, physics, and the music of Mozart together with computing models from the field of artificial intelligence to uncover the nature of human creativity in the arts, science and everyday life. The second edition of The Creative Mind has been updated to include recent developments in artificial intelligence, with a new preface, introduction and conclusion by the author. It is an essential work for anyone interested in the creativity of the human mind.

The creative mind: myths and mechanisms

We survey the research on interactive evolutionary computation (IEC). The IEC is an EC that optimizes systems based on subjective human evaluation. The definition and features of the IEC are first described and then followed by an overview of the IEC research. The overview primarily consists of application research and interface research. In this survey the IEC application fields include graphic arts and animation, 3D computer graphics lighting, music, editorial design, industrial design, facial image generation, speed processing and synthesis, hearing aid fitting, virtual reality, media database retrieval, data mining, image processing, control and robotics, food industry, geophysics, education, entertainment, social system, and so on. The interface research to reduce human fatigue is also included. Finally, we discuss the IEC from the point of the future research direction of computational intelligence. This paper features a survey of about 250 IEC research papers.

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Interactive evolutionary computation: fusion of the capabilities of EC optimization and human evaluation

This paper describes a novel system for creating virtual creatures that move and behave in simulated three-dimensional physical worlds. The morphologies of creatures and the neural systems for controlling their muscle forces are both generated automatically using genetic algorithms. Different fitness evaluation functions are used to direct simulated evolutions towards specific behaviors such as swimming, walking, jumping, and following.A genetic language is presented that uses nodes and connections as its primitive elements to represent directed graphs, which are used to describe both the morphology and the neural circuitry of these creatures. This genetic language defines a hyperspace containing an indefinite number of possible creatures with behaviors, and when it is searched using optimization techniques, a variety of successful and interesting locomotion strategies emerge, some of which would be difficult to invent or built by design.

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Evolving virtual creatures

In this critique of current reading research and practice, the author contends that the extreme ambiguity of English spelling-sound correspondence has confined reading science to an insular, Anglocentric research agenda addressing theoretical and applied issues with limited relevance for a universal science of reading. The unique problems posed by this "outlier" orthography, the author argues, have focused disproportionate attention on oral reading accuracy at the expense of silent reading, meaning access, and fluency, and have significantly distorted theorizing with regard to many issues-including phonological awareness, early reading instruction, the architecture of stage models of reading development, the definition and remediation of reading disability, and the role of lexical-semantic and supralexical information in word recognition. The dominant theoretical paradigm in contemporary (word) reading research--the Coltheart/Baron dual-route model (see, e.g., J. Baron, 1977; M. Coltheart, 1978) and, in large measure, its connectionist rivals--arose largely in response to English spelling-sound obtuseness. The model accounts for a range of English-language findings, but it is ill-equipped to serve the interests of a universal science of reading chiefly because it overlooks a fundamental unfamiliar-to-familiar/novice-to-expert dualism applicable to all words and readers in all orthographies.

On the Anglocentricities of current reading research and practice: the perils of overreliance on an "outlier" orthography.

Part 1: personal view, structure of book system - overview of system winsom - geometry and algorithms for "what I can see", lighting and rendering, texture, tay-tracer interactive graphics - picture style and hardware, interactive graphics software, view manipulation, interaction animation - preview, final ESME and graphics programming - high level language, function image output - screen hard copy. Part 2 Art specific: art overview form design mutator animation conclusion.

Evolutionary Art and Computers

One of the most interesting--if frustrating--aspects of charting the history of computer art is trying to understand the intersections of specific technologies and artistic experimentation. It is rarely as clear-cut as a simple linear influence of one to the other, partly because artists are able to envision all kinds of possibilities that technology might enable them to realize in some kind of form, but as they do so, the technology is itself shaped, especially in terms of how it is perceived by others. Do artists find a way to give technologies an aesthetic outlet, or do some technologies possess--or facilitate--a characteristic aesthetic that finds its expression through specific artists? Certainly, in the history of computer art it would seem that particular aesthetics, technologies, and artists are closely intertwined in certain periods. This intertwining of art, technology, and ideas stolen from the natural world has never been so arguably merged as the period in the history of computer art from 1980 to 1993. We take as the defining start of this period the initial work of Mandelbrot on fractals that became known as the Mandelbrot set and led to his famous illustrated art-science book The Fractal Geometry of Nature. In 1993, this first highly creative period in evolutionary computer art came to an end with major publications by pioneers Karl Sims, Stephen Todd, and William Latham.

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The emergence and growth of evolutionary art: 1980--1993

While the games industry is moving towards procedural content generation (PCG) with tools available under popular platforms such as Unreal, Unity or Houdini, and video game titles like No Man’s Sky and Horizon Zero Dawn taking advantage of PCG, the gap between academia and industry is as wide as it has ever been, in terms of communication and sharing methods. The authors have worked on both sides of this gap and in an effort to shorten it and increase the synergy between the two sectors have identified three design pillars for PCG using mixed-initiative interfaces. The three pillars are respect designer control, respect the creative process and respect existing work processes. Respecting designer control is about creating a tool that gives enough control to bring out the designer’s vision. Respecting the creative process concerns itself with having a feedback loop that is short enough, that the creative process is not disturbed. Respecting existing work processes means that a PCG tool should plug in easily to existing asset pipelines. As academics and communicators, it is surprising that publications often do not describe ways for developers to use our work or lack considerations for how a piece of work might fit into existing content pipelines.

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Towards Friendly Mixed Initiative Procedural Content Generation: Three Pillars of Industry

Artists through history have used many different methods to invent new forms, shapes and images. Picasso and Braque invented cubism and Jackson Pollock started action painting. These methods in art historical terms are called art styles. Often several artists will share a particular art style. For example, Malevich, Tatlin and Rodchenko all worked in a Russian constructivist style. This means they all used a similar method for inventing new shapes, forms and images. When an art style is taken up and used by a large number of artists there will be felt a marked influence in the culture they live in—for example, baroque art in Europe. As a result of this, original work by artists will widely influence the design of artefacts.

Form synth: the rule-based evolution of complex forms from geometric primitives

In this paper two swarm intelligence algorithms are used, the first leading the `attention' of the swarm and the latter responsible for the tracing mechanism. The attention mechanism is coordinated by agents of Stochastic Diffusion Search where they selectively attend to areas of a digital canvas (with line drawings) which contains (sharper) corners. Once the swarm's attention is drawn to the line of interest with a sharp corner, the corresponding line segment is fed into the tracing algorithm, Dispersive Flies Optimisation which `consumes' the input in order to generate a `swarmic sketch' of the input line. The sketching process is the result of the `flies' leaving traces of their movements on the digital canvas which are then revisited repeatedly in an attempt to re-sketch the traces they left. This cyclic process is then introduced in the context of autopoiesis, where the philosophical aspects of the autopoietic artist are discussed.

The autopoetic artist is described in two modalities: gluttonous and contented. In the Gluttonous Autopoietic Artist mode, by iteratively focussing on areas-of-rich-complexity, as the decoding process of the input sketch unfolds, it leads to a less complex structure which ultimately results in an empty canvas; therein reifying the artwork's `death'. In the Contented Autopoietic Artist mode, by refocussing the autopoietic artist's reflections on `meaning' onto different constitutive elements, and modifying her reconstitution, different behaviours of autopoietic creativity can be induced and therefore, the autopoietic processes become less likely to fade away and more open-ended in their creative endeavour.

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William Latham

Papers

Evolutionary Art and Computers

The emergence and growth of evolutionary art: 1980--1993

Towards Friendly Mixed Initiative Procedural Content Generation: Three Pillars of Industry

Form synth: the rule-based evolution of complex forms from geometric primitives

Swarmic autopoiesis and computational creativity