Patient Zer0: creating online generative art during the COVID-19 Pandemic

Patient Zer0 is an interactive generative artwork, designed around the poem “In Memory of Anyone Unknown to Me” by Elizabeth Jennings and created during the first confinements imposed by the COVID-19 pandemic in 2020. While it has been showcased in several online exhibitions, this article details and analyses, for the first time, the artwork's algorithmic approach, as well as its aesthetics, the different media components, and the artist's intentions behind their inclusion and combination. In line with Springgay's, Irwin's, and Kind's a/r/tography, a recent creative research method is presented here, a/r/cography, which is complemented by a phenomenological dimension, as the author experienced the events from a physical, intellectual, and emotional perspective, in isolation, while at home in Portugal. The whole process was documented in a digital journal, which not only supported the underlying research but also documented the artwork variants and evolution. Patient Zer0 was entirely coded in Processing.js.info:eu-repo/semantics/publishedVersio

Generative video art

Generative art is historically and widely used for the production of abstract images and animations, each frame corresponding to a generation or iteration of the generative system, which runs within the aesthetic boundaries defined by its author. But rather than being limited to image or sound synthesis, generative systems can also manipulate video samples and still images from external sources, and include vectors that can be mapped to the concepts of shot, sequence, rhythm and montage. Furthermore, generative systems need not be limited to the visual plane and can also render audio, either through sound synthesis or by manipulating sound samples. And in this case, since the output is a constant and uninterrupted audio-visual stream, is it not possible to speak of generative video art, as it becomes indistinguishable from its modern-day video art digital counterparts? Within this perspective, this article traces back the historical roots of generative video art, and proposes a theoretical model for generative video art systems, as a creative intersection of two artistic genres, often seen as disjoint.info:eu-repo/semantics/publishedVersio

Design, inovação e estratégias naturais : aplicações de princípios biomiméticos e biofílicos em projetos criativos

Trabalho de Conclusão de Curso (graduação)—Universidade de Brasília, Instituto de Artes, Departamento de Design, Habilitação em Programação Visual e Projeto de Produto, 2018.A Biomimética consiste na emulação consciente da natureza, a qual é considerada como modelo, medida e mentora, a partir de uma perspectiva formal, processual e sistêmica. A Biofilia corresponde ao vínculo inato entre ser humano e meio natural. Tendo em vista tais pressupostos, o Projeto de Programação Visual e o Projeto de Produto destinaram-se à aplicação de princípios naturais ao campo do Design. Ambos abarcaram três etapas gerais: 1) análise paramétrica de 40 produtos pré-existentes; 2) elaboração de espiral do Design para Biologia, brainstorming, matriz de conceitos biológicos, matriz SWOT, Business Model Canvas, painéis visuais, mapas mentais e sketches; e 3) geração de alternativas, construção em substrato físico e prototipagem digital. Sendo assim, empreendeu-se o estudo de organismos – Hippocampus, Phycodurus eques, Victoria amazonica – e de geometria vegetal, caracterizados por padrões biomórficos, sistemas complexos e estruturas modulares resistentes. Resultaram desses procedimentos metodológicos: identidade visual generativa Biosense; sistema interativo em Processing e Arduino; peças de mobiliário e ambiente multifuncional. Também se discutiu a relevância do enfoque interdisciplinar como recurso de inovação do designer, notadamente os aportes da natureza, onde especificidades e adaptações foram testadas evolutivamente.Biomimicry is the conscious emulation of nature, which is considered as a model, measure and mentor, from a formal, procedural and systemic perspective. Biophilia corresponds to the innate connection between humans and natural environment. In this study, the Graphic and Product Designs were combined with natural principles, developed in three main stages: 1) parametric analysis of 40 pre-existing products; 2) Spiral of Design to Biology, brainstorming, biological concepts matrix, SWOT matrix, Business Model Canvas, visual panels, mind maps, sketches; and 3) creation of physical models and digital prototyping. Thus, the study of organisms - Hippocampus, Phycodurus eques, Victoria amazonica - and botanical geometry was carried out. The research evidenced common characteristics such as biomorphic patterns, complex systems and resistant modular structures. As a result of these methodological procedures were obtained: generative visual identity; Processing and Arduino interactive system; furniture elements and interior design. The relevance of an interdisciplinary approach as a resource of innovation for designers is discussed, notably the contributions of natural models, where systems, processes and preferences have been tested evolutionarily.Le Biomimétisme est l’émulation consciente de la nature, considérant ses principes comme modèle, étalon et maître, d’une perspective formelle, processuelle et systémique. La Biophilie correspond à la connexion innée entre l’être humain et l’environnement naturel. Compte tenu de ces hypothèses, le projet de Design Graphique et de Design de Produit ont apliqués des principes naturels au domaine créatif. Les deux ont étés devellopés en trois étapes principales: 1) analyse paramétrique de 40 produits préexistants; 2) conception de Spirale du Design à la Biologie, brainstorming, matrice de concepts biologiques, matrice SWOT, Business Model Canvas, panneaux visuels, cartes mentales, esquisses; et 3) création de modèles physiques et de prototypage numérique. Ainsi, l'étude des organismes – Hippocampus reidi, Phycodurus eques, Victoria amazonica – et de la géométrie végétale a été réalisée. La recherche a mis en évidence des particularités partagées telles que la configuration biomorphique, les systèmes complexes et des structures modulaires résistantes. À la suite de ces procédés méthodologiques ont été obtenus: identité visuelle générative Biosense; système interactif Processing et Arduino; meubles et design d’intérieur. La pertinence d'une approche interdisciplinaire en tant que ressource d'innovation pour les designers a été discutée, notamment les contributions des modèles naturels, où les systèmes, les processus et les préférences ont été testés évolutivement

Parameter Search for Aesthetic Design and Composition

PhDThis thesis is about algorithmic creation in the arts – where an artist, designer or composer uses a formal generative process to assist in crafting forms and patterns – and approaches to finding effective input parameter values to these generative processes for aesthetic ends. Framed in three practical studies, approaches to navigating the aesthetic possibilities of generative processes in sound and visuals are presented, and strategies for eliciting the preferences of the consumers of the generated output are explored. The first study presents a musical interface that enables navigation of the possibilities of a stochastic generative process with respect to measures of subjective predictability. Through a mobile phone version of the application, aesthetic preferences are crowd-sourced. The second study presents an eye-tracking based framework for the exploration of the possibilities afforded by generative designs; the interaction between the viewers’ gaze patterns and the system engendering a fluid navigation of the state-space of the visual forms. The third study presents a crowd-sourced interactive evolutionary system, where populations of abstract colour images are shaped by thousands of preference selections from users worldwide For each study, the results of analyses eliciting the attributes of the generated outputs – and their associated parameter values – that are most preferred by the consumers/users of these systems are presented. Placed in a historical and theoretical context, a refined perspective on the complex interrelationships between generative processes, input parameters and perceived aesthetic value is presented. Contributions to knowledge include identified trends in objective aesthetic preferences in colour combinations and their arrangements, theoretical insights relating perceptual mechanisms to generative system design and analysis, strategies for effectively leveraging evolutionary computation in an empirical aesthetic context, and a novel eye-tracking based framework for the exploration of visual generative designs.Engineering and Physical Sciences Research Council (EPSRC) as part of the Doctoral Training Centre in Media and Arts Technology at Queen Mary University of London (ref: EP/G03723X/1)