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Index:
Personal presentation;
Index:
Index:
Index:
Index:
Personal presentation; Presentation of the problem; Some definitions; Proposal; State of the Art;
Index:
Personal presentation; Presentation of the problem; Some definitions; Proposal; State of the Art; Methodology;
Index:
Personal presentation; Presentation of the problem; Some definitions; Proposal; State of the Art; Methodology; First experiences;
Index:
Personal presentation; Presentation of the problem; Some definitions; Proposal; State of the Art; Methodology; First experiences; Future work;
Index:
Personal presentation; Presentation of the problem; Some definitions; Proposal; State of the Art; Methodology; First experiences; Future work; References;
Personal
presentation
Some
definitions Generative
art
refers
to
any
art
practice
where
the
artist
uses
a
system
that
operates
with
some
degree
of
autonomy,
and
contributes
to
or
results
in
a
completed
work
of
art.
Systems
may
include
natural
language
instructions,
biological
or
chemical
processes,
computer
programs,
machines,
self-organizing
materials,
mathematical
operations,
and
other
procedural
inventions.
[1]
[1]
Galanter,
P.
(2003).
What
is
generative
art?
Complexity
Theory
as
a
Context
for
Art
Theory.
New
York:
Interactive
Some
definitions
Understood
as
accesses
dynamic
process,
the
interface
promotes
a
complex
reading
of
the
image
as
a
sensible
/
intelligible,
inaugurating
a
hybrid
view
in
its
own
way,
and
recurrent
in
the
process.
Understood
as
god
of
passages,
the
interface
is
both
the
journey
and
arrival
at
the
totalized
image
of
subjectivity,
based
on
an
enlarged
specularity
is
not
based
in
reality
nor
exhausted.
Finally,
the
interface
as
an
access
to
a
work
of
art,
extends
the
notion
of
work
and
artist,
articulating
that
access
the
process
of
formation
of
subjectivity
and
its
understanding
of
reality.
[2]
[3] S, C. (2010). O que um Interface? Da Entificao Identificao do Interface enquanto Complexo Mediador. Lisboa:
Proposal Open environments are subject to change in unpredictable ways, as applications may arrive, evolve, or disappear. In order to validate components in such environments, it can be useful to build simulation environments which reflect this highly unpredictable behavior. [3]
[3] Einar Broch Johnsen, Olaf Owe, Arild B. Torjusen. Validating Behavioral Component Interfaces in Rewriting Logic. Fundam.
First experiences
First
experiences
(a)
concert
with
laptopers; (b)
I
had
little
control
over
the
piece; (c)
system
very
predictable; (d)
sound
input; (e)
direct
relationship
with
the
sound;
First
experiences
(a)
concert
with
orchestra; (b)
I
had
more
control
over
the
piece; (c)
unpredictable
system; (d)
sound
input; (e)
had
no
direct
relationship
with
the
sound;
First
experiences
(a)
concert
with
laptopers; (b)
difficult
to
control
over
the
piece; (c)
unpredictable
system; (d)
sound
input; (e)
OSC
messages
from
the
musicians (f)
ultrasound sensors input (g)
had
no
direct
relationship
with
the
sound;
Future
work
Develop the interface; Improve the hole system; Share the work.
References
Galanter,
P.
(2003).
What
is
generative
art?
Complexity
Theory
as
a
Context
for
Art
Theory.
New
York:
Interactive
Telecommunications
Program,
New
York
University. S,
C.
(2010).
O
que
um
Interface?
Da
Entificao
Identificao
do
Interface
enquanto
Complexo
Mediador.
Lisboa:
Universidade
Nova
de
Lisboa Barbosa,
A.
(2006).
Displaced
Sound
Scapes:
Computer-suported
cooperative
work
for
music
applications.
Barcelona:
Universistat
Pompeu
Fabra Todd,
S.
&
Latham,
W.
(1992).
Evolutionary
Art
and
Computers.
Academic
Press. Jeabra,
T.
(2002).
Discriminate,
generative
and
Imitative
Learning.
Massachusetts
Institute
of
Technology Maeda,
J
(2005).
Creative
Code:
Aesthetics
and
Computation.
London:
Thames
&
Hudson Fry,
B.
(2004).
Computational
Information
Design.
Massachusetts
Institute
of
Technology Michael
L.
(2001).
A
Generative
Theory
of
Shape
(Lecture
Notes
in
Computer
Science).
New
York:
Springer
Verlag
Manovich,
L.
(2008)
Software
Takes
Command
Mcluhan,
H.M.
(1964).
Understanding
Media:
The
Extensions
of
Man.
New
York:
The
New
American
Library
References
Walter,
B.
(2008).
"The
Work
of
Art
in
the
Age
of
Technical
Reproduction."
Belknap
Press
Hansen,
M.B.N.
(2006).
Bodies
in
Code:
Interfaces
with
Digital
Media.
New
York:
Routledge DeWitt,
T.
(1978).
Visual
music:
Searching
for
an
aesthetic.
Leonardo,
Vol.20
pags
115-122. Levin,
G.
(2000)
Painterly
interfaces
for
Audivisual
Performance.
Massachusetts
Institute
of
Technology Sommerer,
C.
&
Mignonneau,
L.
(1998).
ART
@
SCIENCE.
New
York:
Springer
Verlag. Sommerer,
C.
&
Lakhmi,
C.
&
Mignonneau,
L.
(2008).
The
Art
and
Science
of
interface
and
Interaction
Design.
New
York:
Springer
Verlag
Whitney,
J.
(1980).
Digital
Harmony
on
the
Complementary
of
Music
and
Visual
Art.
Byte
Books,
Peterborough
Mc
Graw-Hill. Dawkins,
R.
(2006).
The
Selfish
Gene.
New
York:
Oxford
University
Press Whitelaw,
M.
(2004).
Metacreation,
Art
and
Artificial
Life.
Cambridge:
MIT
Press
Maes,
P.
(1994).
Learning
Interface
Agents.
Proceedings
of
the
1994
International
Symposium
on
Next
Generation
Computer
Interfaces,
MITI
Friend-21
Conference,
Tokyo,
Japan,
February.
Gerstner,
K.
(1986).
The
Forms
of
Color:
The
interaction
of
Visual
Elements.
Cambridge:
MIT
Press.
Obrigada!