This Deliverable is due Wednesday, February 16, and has three parts:<\/p>\n
“Generative art refers to any art practice where the artist uses a system, such as a set\u00a0<\/em>of natural language rules, a computer program, a machine, or other procedural invention, which is set into motion with some degree of autonomy contributing to or\u00a0<\/em>resulting in a completed work of art.”\u00a0<\/em>\u2014 Philip Galanter<\/p>\n (1 hour.<\/em>) For this deliverable, you will read two texts. In a blog post, you will then write brief<\/em>\u00a0(50-word) responses to two questions, which are below. The two texts are:<\/p>\n Kate Compton<\/strong>‘s article appears in its [complete] original\u00a0here<\/a>, but I only ask that you read the section near the bottom which begins, “Aesthetics: the toughest challenge<\/em>“, where she discusses\u00a0oatmeal<\/strong><\/em>. I have uploaded a PDF of this excerpt for you\u00a0here:\u00a0kate-compton-oatmeal<\/a><\/strong><\/p>\n Philip Galanter<\/strong>‘s article\u00a0appears as Chapter 5\u00a0(pages 146-175) in\u00a0A Companion to Digital Art<\/em>, Edited by Christiane Paul,\u00a02016 by John Wiley & Sons, Inc.\u00a0This PDF\/eBook is available\u00a0at<\/a>:<\/p>\n Question 1A.<\/strong>\u00a0Be sure to have read the first 20 pages of “Generative Art Theory” by Philip Galanter (p.146-166). In your own words, and in just a few sentences, discuss\u00a0an example of something you like which\u00a0exhibits\u00a0effective complexity.\u00a0<\/em>(It doesn’t have to be something made by people.)\u00a0Where does your selection sit between\u00a0total order<\/em>\u00a0(e.g. crystal lattice) and\u00a0total randomness<\/em>\u00a0(e.g. gas molecules, white noise,\u00a0static)? Include\u00a0an image<\/strong> which illustrates\u00a0your selected thing.<\/p>\n Question 1B.<\/strong>\u00a0Quickly skim\u00a0the remaining 10 pages of Galanter’s article, in which he outlines nine different problems with generative art (The Problem of Authorship; The Problem of Intent;\u00a0The Problem of Uniqueness; The Problem of Authenticity;\u00a0The Problem of Dynamics; The Problem of Postmodernity; The Problem of Locality, Code, and Malleability; The Problem of Creativity;\u00a0The Problem of Meaning). Select\u00a0one<\/em>\u00a0of these problems for which you yourself feel some sort of internal conflict or personal stake. Discuss your internal conflict. Which side of the argument do you come down on?<\/p>\n Please be sure to:<\/p>\n (30 minutes.<\/em>) For each of the following three computational artists, spend a solid 5 minutes (each) looking at their generative projects:<\/p>\n Now:<\/em><\/p>\n (6 hours.<\/em>) Write a program that presents an ever-changing, imaginative \u201clandscape.\u201d Populate your landscape with features that are suitable for your concept: trees, buildings, vehicles, animals, people, food items, body parts, hairs, seaweed, space junk, zombies, etc.<\/p>\n Give consideration to the depth of variation in your landscape: after how much time does your landscape become predictable? How might you forestall this as long as possible? How can you generate a landscape that is both coherent and engaging?<\/p>\n Consider: foreground, middle-ground, and background \u201clayers\u201d; variation at the macro- scale, meso-scale, and micro-scale; natural and human-made features; utopia, dystopia, and heterotopia; the immersive use of motion parallax; and the potential for surprise through the placement of infrequent features.<\/p>\n This assignment asks you to bring forth a world from your imagination. Alternatively, you may create an accurate computational representation of a very real place\u2014and generate \u201cmore\u201d of it.<\/p>\n Here are some suggestions for possible variations to stimulate thinking. This list is not exhaustive.<\/em><\/p>\n Now:<\/em><\/p>\n\n
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\n2. Looking Outwards #02: Generative Art Deep Dive<\/h3>\n
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\n3. Generative Landscape<\/h3>\n
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\nexample, it might appear to scroll by<\/em> (as if you were looking out the window of a train); or approach<\/em> from a first-person point of view (as if you were driving, or riding a roller coaster), or slide underneath<\/em> (as if you were looking out of a glass-bottomed airplane). Consider a moving or even roving camera, capable of rotation as well as translation.<\/li>\n\n