Re-purposing Heterogeneous Generative Ensembles with Evolutionary Computation

Generative Adversarial Networks (GANs) are popular tools for generative modeling. The dynamics of their adversarial learning give rise to convergence pathologies during training such as mode and discriminator collapse. In machine learning, ensembles of predictors demonstrate better results than a single predictor for many tasks. In this study, we apply two evolutionary algorithms (EAs) to create ensembles to re-purpose generative models, i.e., given a set of heterogeneous generators that were optimized for one objective (e.g., minimize Frechet Inception Distance), create ensembles of them for optimizing a different objective (e.g., maximize the diversity of the generated samples). The first method is restricted by the exact size of the ensemble and the second method only restricts the upper bound of the ensemble size. Experimental analysis on the MNIST image benchmark demonstrates that both EA ensembles creation methods can re-purpose the models, without reducing their original functionality. The EA-based demonstrate significantly better performance compared to other heuristic-based methods. When comparing both evolutionary, the one with only an upper size bound on the ensemble size is the best.Comment: Accepted as a full paper for the Genetic and Evolutionary Computation Conference - GECCO'2

Complex Adaptive Systems & Urban Morphogenesis:

This thesis looks at how cities operate as Complex Adaptive Systems (CAS). It focuses on how certain characteristics of urban form can support an urban environment's capacity to self-organize, enabling emergent features to appear that, while unplanned, remain highly functional. The research is predicated on the notion that CAS processes operate across diverse domains: that they are ‘generalized' or ‘universal'. The goal of the dissertation is then to determine how such generalized principles might ‘play out' within the urban fabric. The main thrust of the work is to unpack how elements of the urban fabric might be considered as elements of a complex system and then identify how one might design these elements in a more deliberate manner, such that they hold a greater embedded capacity to respond to changing urban forces. The research is further predicated on the notion that, while such responses are both imbricated with, and stewarded by human actors, the specificities of the material characteristics themselves matter. Some forms of material environments hold greater intrinsic physical capacities (or affordances) to enact the kinds of dynamic processes observed in complex systems than others (and can, therefore, be designed with these affordances in mind). The primary research question is thus:   What physical and morphological conditions need to be in place within an urban environment in order for Complex Adaptive Systems dynamics arise - such that the physical components (or ‘building blocks') of the urban environment have an enhanced capacity to discover functional configurations in space and time as a response to unfolding contextual conditions?   To answer this question, the dissertation unfolds in a series of parts. It begins by attempting to distill the fundamental dynamics of a Complex Adaptive System. It does so by means of an extensive literature review that examines a variety of highly cited ‘defining principles' or ‘key attributes' of CAS. These are cross-referenced so as to extract common features and distilled down into six major principles that are considered as the generalized features of any complex system, regardless of domain. In addition, this section considers previous urban research that engages complexity principles in order to better position the distinctive perspective of this thesis. This rests primarily on the dissertation's focus on complex urban processes that occur by means of materially enabled in situ processes. Such processes have, it is argued, remained largely under-theorized. The opening section presents introductory examples of what might be meant by a ‘materially enabling' environment.   The core section of the research then undertakes a more detailed unpacking of how complex processes can be understood as having a morphological dimension. This section begins by discussing, in broad terms, the potential ‘phase space' of a physical environment and how this can be expanded or limited according to a variety of factors. Drawing insights from related inquiries in the field of Evolutionary Economic Geography, the research argues that, while emergent capacity is often explored in social, economic, or political terms, it is under-theorized in terms of the concrete physical sub-strata that can also act to ‘carry' or ‘moor' CAS dynamics. This theme is advanced in the next article, where a general framework for speaking about CAS within urban environments is introduced. This framework borrows from the terms for ‘imageability' that were popularized by Kevin Lynch: paths, edges, districts, landmarks, and nodes. These terms are typically associated with physical or ‘object-like features' of the urban environment – that is to say, their image. The terminology is then co-opted such that it makes reference not simply to physical attributes, but rather to the complex processes these attributes enable. To advance this argument, the article contrasts the static and ‘imageable' qualities of New Urbanism projects with the ‘unfolding' and dynamic qualities of complex systems - critiquing NU proponents as failing to appreciate the underlying forces that generate the environments they wish to emulate. Following this, the efficacy of the re-purposed ‘Lynchian' framework is tested using the case study of Istanbul's Grand Bazaar. Here, specific elements of the Bazaar's urban fabric are positioned as holding material agency that enables particular emergent spatial phenomena to manifest. In addition, comparisons are drawn between physical dynamics unfolding within the Bazaar's morphological setting (leading to emergent merchant districts) and parallel dynamics explored within Evolutionary Economic Geography).   The last section of the research extends this research to consider digitally augmented urban elements that hold an enhanced ability to receive and convey information. A series of speculative thought-experiments highlight how augmented urban entities could employ CAS dynamics to ‘solve for' different kinds of urban optimization scenarios, leading these material entities to self-organize (with their users) and discover fit regimes. The final paper flips the perspective, considering how, not only material agency, but also human agency is being augmented by new information processing technologies (smartphones), and how this can lead to new dances of agency that in turn generate novel emergent outcomes.   The dissertation is based on a compilation of articles that have, for the most part, been published in academic journals and all the research has been presented at peer-reviewed academic conferences. An introduction, conclusion, and explanatory transitions between sections are provided in order to clarify the narrative thread between the sections and the articles. Finally, a brief ‘coda' on the spatial dynamics afforded by Turkish Tea Gardens is offered

Interactive Technologies for the Public Sphere Toward a Theory of Critical Creative Technology

Digital media cultural practices continue to address the social, cultural and aesthetic contexts of the global information economy, perhaps better called ecology, by inventing new methods and genres that encourage interactive engagement, collaboration, exploration and learning. The theoretical framework for creative critical technology evolved from the confluence of the arts, human computer interaction, and critical theories of technology. Molding this nascent theoretical framework from these seemingly disparate disciplines was a reflexive process where the influence of each component on each other spiraled into the theory and practice as illustrated through the Constructed Narratives project. Research that evolves from an arts perspective encourages experimental processes of making as a method for defining research principles. The traditional reductionist approach to research requires that all confounding variables are eliminated or silenced using methods of statistics. However, that noise in the data, those confounding variables provide the rich context, media, and processes by which creative practices thrive. As research in the arts gains recognition for its contributions of new knowledge, the traditional reductive practice in search of general principles will be respectfully joined by methodologies for defining living principles that celebrate and build from the confounding variables, the data noise. The movement to develop research methodologies from the noisy edges of human interaction have been explored in the research and practices of ludic design and ambiguity (Gaver, 2003); affective gap (Sengers et al., 2005b; 2006); embodied interaction (Dourish, 2001); the felt life (McCarthy & Wright, 2004); and reflective HCI (Dourish, et al., 2004). The theory of critical creative technology examines the relationships between critical theories of technology, society and aesthetics, information technologies and contemporary practices in interaction design and creative digital media. The theory of critical creative technology is aligned with theories and practices in social navigation (Dourish, 1999) and community-based interactive systems (Stathis, 1999) in the development of smart appliances and network systems that support people in engaging in social activities, promoting communication and enhancing the potential for learning in a community-based environment. The theory of critical creative technology amends these community-based and collaborative design theories by emphasizing methods to facilitate face-to-face dialogical interaction when the exchange of ideas, observations, dreams, concerns, and celebrations may be silenced by societal norms about how to engage others in public spaces. The Constructed Narratives project is an experiment in the design of a critical creative technology that emphasizes the collaborative construction of new knowledge about one's lived world through computer-supported collaborative play (CSCP). To construct is to creatively invent one's world by engaging in creative decision-making, problem solving and acts of negotiation. The metaphor of construction is used to demonstrate how a simple artefact - a building block - can provide an interactive platform to support discourse between collaborating participants. The technical goal for this project was the development of a software and hardware platform for the design of critical creative technology applications that can process a dynamic flow of logistical and profile data from multiple users to be used in applications that facilitate dialogue between people in a real-time playful interactive experience

ICS Materials. Towards a re-Interpretation of material qualities through interactive, connected, and smart materials.

The domain of materials for design is changing under the influence of an increased technological advancement, miniaturization and democratization. Materials are becoming connected, augmented, computational, interactive, active, responsive, and dynamic. These are ICS Materials, an acronym that stands for Interactive, Connected and Smart. While labs around the world are experimenting with these new materials, there is the need to reflect on their potentials and impact on design. This paper is a first step in this direction: to interpret and describe the qualities of ICS materials, considering their experiential pattern, their expressive sensorial dimension, and their aesthetic of interaction. Through case studies, we analyse and classify these emerging ICS Materials and identified common characteristics, and challenges, e.g. the ability to change over time or their programmability by the designers and users. On that basis, we argue there is the need to reframe and redesign existing models to describe ICS materials, making their qualities emerge

Designing Playful Systems

Play is a common, yet elusive phenomenon. Many definitions of play and explanations for its existence have been brought forward in various disciplines such as psychology, anthropology, ethology and in the humanities. As an activity apparently serving no other purpose than itself, play can be simply considered a pleasant pastime. Yet its equation with fun has been challenged by artists and scholars alike. Being in a playful state does not warrant extrinsic motivation or being conscious of an external purpose. However, play creates meaning, and scientists are pursuing functional explanations for it. These conflicting observations are contributing to the ambiguity of play and they raise questions about the limits of complexity that present discourses are able to reflect. This thesis presents a comprehensive, transdisciplinary approach to describe and understand play, based on systems-theory, constructivism, cybernetics and practical exploration. Observing play in this way involves theoretical analysis, reflection and critique as well as the practice of design, development and artistic exposition. By constructing, re-contextualising and discussing eight of my own projects, I explore the distinction between theory and practice through which playful systems emerge. Central to my methodology is the concept of distinctions as a fundamental method of observation. It is introduced itself as a distinction and then applied throughout, in order to describe and discuss phenomena of play from a wide range of different perspectives. This includes paradoxical, first-person and conflicting accounts and it enables discourses that cross disciplinary boundaries. In summary, the three interrelated contributions to knowledge in my research project are: I contribute to the emerging field of game studies through a comprehensive systems-theoretical description on play. I also provide a methodology in which theory and practice inform each other through mutual observation, construction, reflection and critical evaluation. Finally, I present eight projects, including a playful system developed in a speculative approach that I call anthroponeutral design. These results represent a novel transdisciplinary perspective on play that offers new opportunities for further research

Music in Evolution and Evolution in Music

Music in Evolution and Evolution in Music by Steven Jan is a comprehensive account of the relationships between evolutionary theory and music. Examining the ‘evolutionary algorithm’ that drives biological and musical-cultural evolution, the book provides a distinctive commentary on how musicality and music can shed light on our understanding of Darwin’s famous theory, and vice-versa. Comprised of seven chapters, with several musical examples, figures and definitions of terms, this original and accessible book is a valuable resource for anyone interested in the relationships between music and evolutionary thought. Jan guides the reader through key evolutionary ideas and the development of human musicality, before exploring cultural evolution, evolutionary ideas in musical scholarship, animal vocalisations, music generated through technology, and the nature of consciousness as an evolutionary phenomenon. A unique examination of how evolutionary thought intersects with music, Music in Evolution and Evolution in Music is essential to our understanding of how and why music arose in our species and why it is such a significant presence in our lives