Philip Galanter

• Texas A&M University

The author has previously theorised generative art using notions from complexity science such as order/disorder relationships, compressibility, and Gell-Mann and Lloyd’s effective complexity. Subsequent work further developing the author’s notion of complexism has demonstrated that deep learning artificial intelligence used for generative art fits...

The work presented in this paper investigates the potential of tangible interaction to setup algorithmic rules for creating computational models. The research proposes a workflow that allows designers to create complex geometric patterns through their physical interaction with design objects. The method aims to address the challenges of designers i...

This paper presents a method for translating physical interaction with design objects into parametric relationships. A framework of the method is created to automate the generation of parametric equations as modeling constraints. The prototypes developed for this work link digital models with their physical counterparts to create a hybrid and tangi...

This paper discusses the development of an interactive and a responsive Tangible User-Interface (TUI) for parametric and Building Information Modeling (BIM) applications. The prototypes presented in this paper utilizes physical computing systems to establish a flexible and intuitive method to engage digital design processes.The prototypes are hybri...

Interdisciplinary studies that would create deep connections between science and the arts and humanities face the daunting task of bridging two diametrically opposed worldviews. The clash of the modernist Enlightenment values of science with the postmodern sceptical values of the humanities came to a dramatic height with the Sokal Hoax and so calle...

Interdisciplinary studies that would create deep connections between science and the arts and humanities face the daunting task of bridging two diametrically opposed worldviews. The clash of the modernist Enlightenment values of science with the postmodern sceptical values of the humanities came to a dramatic height with the Sokal Hoax and so calle...

This chapter shows that generative computer art is in fact a subset of the larger field of generative art. It is seen that generative art can leverage virtually any kind of system, not just computers, and that it in fact is as old as art itself. The key element in generative art is the use of an external system to which the artist cedes partial or...

This work uses Houdini to explore methods of generating and rendering landscapes stylized to mimic the artwork of artist Eyvind Earle (1916-2000). I present general guidelines and procedural characterizations of various trees, a forest, cliffs, mountains, an ocean, and waves. I developed methods for matching the shapes of the objects, relying on no...

XEPA anticipates a future where machines form their own societies. Going beyond mere generative art, machines will exhibit artistic creativity with the addition of artistic judgment via computational aesthetic evaluation. In such a future our notions of aesthetics will undergo a radical translation. The XEPA intelligent sculptures create animated l...

This paper proposes an information sharing model of artificial bee colony for locating multiple peaks in dynamic environments. The concept of niching is implemented by using a hybridized approach that combines a modified variant of the fitness sharing ...

Programmer and artists have invented a broad range of generative systems that create art and music. These powerful systems sometimes produce results that surprise their human collaborators, but the surprises are not always welcome or useful. Machine creativity needs a computational self-critical function that can guide generative systems toward val...

Programmer and artists have invented a broad range of generative systems that create art and music. These powerful systems sometimes produce results that surprise their human collaborators, but the surprises are not always welcome or useful. Machine creativity needs a computational self-critical function that can guide generative systems toward val...

This chapter is an edited conversation on the topic of computational evaluation of artistic artefacts. The participants were Harold Cohen, Frieder Nake, David Brown, Jon McCormack, Paul Brown and Philip Galanter. It began at the Dagstuhl seminar on computers and creativity, held in Germany in 2009 and continued over a period of several months via e...

There is a fundamental philosophical split between the modern culture of science and the postmodern culture of the humanities. This cultural estrangement is, among other things, the underlying cause for the lack of acceptance of art-science and technology-based art in the mainstream art world. However, in the last two decades the study of complexit...

Computational evolutionary art has been an active practice for at least 20 years. Given the remarkable advances in that time in other realms of computing, including other forms of evolutionary computing, for many a vague feeling of disappointment surrounds evolutionary art. Aesthetic improvement in evolutionary art has been slow, and typically achi...

How many experiences do we miss -- either through inattention or our own limitations -- when walking through the woods or diving with scuba mask and flippers? All around us, animals communicate and perceive with senses quite different from our own that have evolved from particular needs. Just as humans have employed technology to overcome limitatio...

Artists have always learned from nature. A new generation of artists is adapting the very processes of life to create exciting new works. But art is more than the creation of objects. It is also a progression of ideas with a history and a correspondence to the larger culture. The goal of this chapter is to take a step back from the details of the t...

In this paper an attempt is made to offer a definition of generative art that is inclusive and provides fertile ground for both technical and art theoretical development. First the use of systems is identified as a key element in generative art. Various ideas from complexity theory are then introduced. It is noted that systems exist on a continuum...

On September 26, 1999, a musical performance, taking place at McGill University, was transmitted to an audience at New York University, over the Internet. While Internet streaming audio technologies have been in use for several years, what made this event unique was the audience's experience of uninterrupted, intermediate quality, multichannel audi...

Current desktop computing systems support color graphics as a matter of course, and many support 24-bit color at an affordable price. But as artists and other media producers have found, having a 24-bit color card and monitor is only the first step towards a useful digital imaging system. On a typical desktop computer, simply scanning an image and...

In previous papers I've discussed complexity theory as a context for generative art theory. This paper extends that discussion to consider the lessons learned from generative art about the cultural conflict between science and the humanities. It is argued that generative art is uniquely positioned to negotiate between science and the humanities, an...

There is a close relationship between computational creativity in the arts and generative art. Prior work is summarized here as to how complexity theory can serve as a theoretical context for generative art. This is extended to show how complexity theory can also illuminate discussions regarding computational creativity. Another prior proposal is a...

Fine artists looking to use computers to create generative works, especially those artists inclined towards abstraction, often face an uncomfortable choice in the selection of software tools. On the one hand there are a number of commercial and shareware programs available which implement a few techniques in an easy to use GUI environment. Unfortun...

The Interactive Telecommunications Program is a well known professional master's program for artists interested in new media, and is part of the Tisch School of the Arts...informally known as the "NYU Film School". ITP graduates are very much in demand, and can be found in creative leadership positions throughout the multimedia industry. For two ye...