5,992 research outputs found

    Procedural Generation of Aesthetic Patterns from Dynamics and Iteration Processes

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    Aesthetic patterns are widely used nowadays, e.g., in jewellery design, carpet design, as textures and patterns on wallpapers, etc. Most of the work during the design stage is carried out by a designer manually. Therefore, it is highly useful to develop methods for aesthetic pattern generation. In this paper, we present methods for generating aesthetic patterns using the dynamics of a discrete dynamical system. The presented methods are based on the use of various iteration processes from fixed point theory (Mann, S, Noor, etc.) and the application of an affine combination of these iterations. Moreover, we propose new convergence tests that enrich the obtained patterns. The proposed methods generate patterns in a procedural way and can be easily implemented on the GPU. The presented examples show that using the proposed methods we are able to obtain a variety of interesting patterns. Moreover, the numerical examples show that the use of the GPU implementation with shaders allows the generation of patterns in real time and the speed-up (compared with a CPU implementation) ranges from about 1000 to 2500 times

    Orchestrating Game Generation

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    The design process is often characterized by and realized through the iterative steps of evaluation and refinement. When the process is based on a single creative domain such as visual art or audio production, designers primarily take inspiration from work within their domain and refine it based on their own intuitions or feedback from an audience of experts from within the same domain. What happens, however, when the creative process involves more than one creative domain such as in a digital game? How should the different domains influence each other so that the final outcome achieves a harmonized and fruitful communication across domains? How can a computational process orchestrate the various computational creators of the corresponding domains so that the final game has the desired functional and aesthetic characteristics? To address these questions, this article identifies game facet orchestration as the central challenge for AI-based game generation, discusses its dimensions and reviews research in automated game generation that has aimed to tackle it. In particular, we identify the different creative facets of games, we propose how orchestration can be facilitated in a top-down or bottom-up fashion, we review indicative preliminary examples of orchestration, and we conclude by discussing the open questions and challenges ahead

    Methodological framework and design process for applying evolutionary simulation to musical interactions

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    This paper focuses on a methodological framework where the creative design process evolves through iterative cycles. The design process undertakes a complex network of tasks for integrating two domain models: dynamical simulation and musical interaction. The framework accounts for engi-neering technical and compositional affordances to accom-modate evolving behaviors to be expressed in real time per-formance interplay. This is illustrated with a case study of simulated swarms of heterogeneous agents. Highly integrat-ed parallel work streams are elucidated with sub-process elicitation in simulation, system integration and software engineering, composition, and performance. Framework formalization draws upon the established RAD model with significant modification to present the extended version that can be multi-threaded for concurrent creative processes. Two landmarks of 20th century music automation are drawn diachronically to frame the technical discussion in a social context of listening practice, developed by modeling crea-tive process and testing musical assumptions. Revisited cannon is redirected from bygone exemplars to ongoing practice, illuminating three baseline requirements for a methodological framework: interdisciplinary platform archi-tecture, complex systems model of music creation, and agile listening. Concluding theses on second order listening and interdisciplinary architecture summarize the proposed methodological framework addressing contextual listening and technical culture

    An Investigation of the Digital Sublime in Video Game Production

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    This research project examines how video games can be programmed to generate the sense of the digital sublime. The digital sublime is a term proposed by this research to describe experiences where the combination of code and art produces games that appear boundless and autonomous. The definition of this term is arrived at by building on various texts and literature such as the work of Kant, Deleuze and Wark and on video games such as Proteus, Minecraft and Love. The research is based on the investigative practice of my work as an artist-programmer and demonstrates how games can be produced to encourage digitally sublime scenarios. In the three games developed for this thesis I employ computer code as an artistic medium, to generate games that explore permutational complexity and present experiences that walk the margins between confusion and control. The structure of this thesis begins with a reading of the Kantian sublime, which I introduce as the foundation for my definition of the digital sublime. I then combine this reading with elements of contemporary philosophy and computational theory to establish a definition applicable to the medium of digital games. This definition is used to guide my art practice in the development of three games that examine different aspects of the digital sublime such as autonomy, abstraction, complexity and permutation. The production of these games is at the core of my research methodology and their development and analysis is used to produce contributions in the following areas. 1. New models for artist-led game design. This includes methods that re-contextualise existing aesthetic forms such as futurism, synaesthesia and romantic landscape through game design and coding. It also presents techniques that merge visuals and mechanics into a format developed for artistic and philosophical enquiry. 2. The development of new procedural and generative techniques in the programming of video games. This includes the implementation of a realtime marching cubes algorithm that generates fractal noise filtered terrain. It also includes a versatile three-dimensional space packing architectural construction algorithm. 3. A new reading of the digital sublime. This reading draws from the Kantian sublime and the writings of Deleuze, Wark and De Landa in order to present an understanding of the digital sublime specific to the domain of art practice within video games. These contributions are evidenced in the writing of this thesis and in the construction of the associated portfolio of games

    Pembangkitan Pola Simetri p2mm dari Simulasi Sistem Dinamik

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    Pola simetri p2mm adalah wallpaper group yang mempunyai simetri rotasi , refleksi terhadap sumbu-x dan sumbu-y, dan translasi terhadap sumbu-x dan sumbu-y. Dalam artikel ini, pola simetri p2mm berwarna dibangkitkan melalui sebuah simulasi sistem dinamik diskrit menggunakan aplikasi Matlab, dengan terlebih dahulu melakukan analisis terhadap syarat dan pemilihan pada fungsi dinamiknya. Dalam pembangkitan pola p2mm ini, setiap titik pada bidang dijadikan sebagai titik awal pada iterasi sistem dinamik diskrit, dan jumlah iterasi yang dihasilkan menentukan warna pada titik tersebut. Dengan menggunakan beberapa kombinasi nilai-nilai parameter pada fungsi dinamik, diperoleh variasi pola-pola p2mm yang menarik dan estetis

    GenoMus: Representing Procedural Musical Structures with an Encoded Functional Grammar Optimized for Metaprogramming and Machine Learning

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    We present GenoMus, a new model for artificial musical creativity based on a procedural approach, able to represent compositional techniques behind a musical score. This model aims to build a framework for automatic creativity, that is easily adaptable to other domains beyond music. The core of GenoMus is a functional grammar designed to cover a wide range of styles, integrating traditional and contemporary composing techniques. In its encoded form, both composing methods and music scores are represented as one-dimensional arrays of normalized values. On the other hand, the decoded form of GenoMus grammar is human-readable, allowing for manual editing and the implementation of user-defined processes. Musical procedures (genotypes) are functional trees, able to generate musical scores (phenotypes). Each subprocess uses the same generic functional structure, regardless of the time scale, polyphonic structure, or traditional or algorithmic process being employed. Some works produced with the algorithm have been already published. This highly homogeneous and modular approach simplifies metaprogramming and maximizes search space. Its abstract and compact representation of musical knowledge as pure numeric arrays is optimized for the application of different machine learning paradigms.FEDER/Junta de Andalucia A.TIC.244.UGR20 Spanish GovernmentEuropean Commission PID2021-125537NA-I0

    Procedural Generation of Artistic Patterns Using a Modified Orbit Trap Method

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    In the literature, we can find various methods for generating artistic patterns. One of the methods is the orbit trap method. In this paper, we propose various modifications of a variant of the orbit trap method that generates patterns with wallpaper symmetry. The first modification relies on replacing the Picard iteration (used in the original method) with the S-iteration known from the fixed point theory. Moreover, we extend the parameters in the S-iteration from scalar to vector ones. In the second modification, we replace the Euclidean metric used in the orbit traps with other metrics. Finally, we propose three new orbit traps. The presented examples show that using the proposed method, we are able to obtain a great variety of interesting patterns. Moreover, we show that a proper selection of the orbit traps and the mapping used by the method can lead to patterns that possess a local fractal structure.Natural Science Foundation of China grant number 6206204

    The Experience of Dynamic Lighting

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    The experience of the dynamic flux in daylighting is a complex relation between experiential and perceptual modalities, spatial presence of lighting qualities, and the architectural situation for the experience. In architectural practice, the understanding of daylight influx is key to the design of daylight openings and the experience of spatial form. However, current developments in light-emitting diodes (LED) light sources and adaptive software control systems allow for an enhanced correlation between daylight and artificial lighting, where the variations of the daylight are dynamically supplemented by variations in the artificial lighting. It is recommended that a particular type of Observational Instrument is developed, which situates detailed experiential investigations into the design potentials of integration of natural and artificial lighting and thereby enables differentiated dynamic lighting design in architecture

    A Memetic Analysis of a Phrase by Beethoven: Calvinian Perspectives on Similarity and Lexicon-Abstraction

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    This article discusses some general issues arising from the study of similarity in music, both human-conducted and computer-aided, and then progresses to a consideration of similarity relationships between patterns in a phrase by Beethoven, from the first movement of the Piano Sonata in A flat major op. 110 (1821), and various potential memetic precursors. This analysis is followed by a consideration of how the kinds of similarity identified in the Beethoven phrase might be understood in psychological/conceptual and then neurobiological terms, the latter by means of William Calvin’s Hexagonal Cloning Theory. This theory offers a mechanism for the operation of David Cope’s concept of the lexicon, conceived here as a museme allele-class. I conclude by attempting to correlate and map the various spaces within which memetic replication occurs
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