Generative Art Research Articles

AI Generated Art.

Human-robot interaction (HRI) through the practice of different types of art is bringing to the table new perspectives on innovative interactions where the cooperation between artists and robots not only deliver original works of art but also novel communication mechanisms beyond spoken and written-based forms. Generative art, that is, artworks mediated by the interaction with computers in codes and art generated by artificial intelligence (AI), are having a profound impact in different fields of the arts, including visual arts, performative arts, music and literature. This research proposes to establish some fundamental logics behind the interaction between artists and AI-art generators in order to advance in the understanding of how the intersection of art and technology can transform the ways in which humans relate to robots and its impacts in the arts, the artistic community and their identities and community building.

Influence of Fresh Water on Microbubble Generation in an Airlift Column Applied to Aquaculture: Extraction Capacity

Bubble flows consist a liquid phase and a gaseous phase dispersed as bubbles. They occur in nature and in many industrial applications, such as oil transportation in pipelines and steam generators for power generation. Due to large difference in density between gas and liquid, the flottability force causes bubbles to rise, which in turn can generate overall motion and agitation in liquid. This use of gravity as a flow driver, which is specific to disperse phase systems, is used in process engineering (bubble columns and gasosiphon) to sparingly promote mixing and exchange between gas and liquid. In many applications, bubbles are used to agitate a liquid in order to promote mixing and transfers. This work is devoted to study of hydrodynamics of a bubble column. Experimentally, we have determined properties fluctuations of velocities inside the aquarium of rising homogeneous bubbles for different bubble sizes and vacuum rates. The interfacial area between gas and liquid phase is a crucial factor for mass transfer in bubble columns. The molecular exchange between a given volume of gas and water can be enhanced by formation of smaller bubbles, leading to a larger gas-liquid interface. This work presents the various physical phenomena that apply to bubbles, as well as associated dimensionless numbers. A state art of Micro-Bubble Generators (MBG) is then presented, presenting systems using various phenomena such as cavitation, electrolysis, or shear.

POST-POSTMODERN: ARTS AND TRENDS

This article considers post-postmodern arts and trends in their diversity. The starting point of the research is the comparison of postmodern and post-postmodern in the art environment. Postmodern paradoxically limits the redundancy, not allowing sufficient displaying of the special features of an art object. Post-postmodern arts provide a possibility to overcome the lack and danger of events and the self-happening of a human being. Object-oriented ontology (OOO) by Graham Harman, performatism by Raoul Eshelman, metamodernism by Timotheus Vermeulen and Robin van den Akker, digimodernism by Alain Kirby, post-postmodern understanding of architecture by Tom Turner, etc. are intellectual trends, which comprehends peculiarities of postmodern and post-postmodern art in particular. OOO displays, that post-postmodern art is rather theatrical that literal and even post-postmodern literature becomes theatrical. The renouncement from an overestimation of both form and function in art, especially in architecture, allows to designate a weird formalism as an actual art position. Since the article deals with the art of living through, the greatest attention is paid to architecture as an exemplary art. This explains the appeal to works that research architecture, including the theories of architects themselves such as Peter Zumthor or Juhani Palasmaa or creating architectural art objects by writers. On the other hand, post-postmodern writers such as David Foster Wallace or Dave Eggers create theatrical literary works, which are often filmed. Performatism as a direction developing post-millennial generative anthropology is the basis for the researching of generative art as the most unpredictable and close to the spontaneity of living through as a moving to attract objects, including art objects. This article develops this approach by researching of moving from self-performance to self-happening as an art of demeanor, a mode of being. Thus, post-postmodern art in its diversity appears as art a human being living through.

‘Contemporary Classicism’ Copy of a Copy: Appropriating Classical Statues as Conceptual Readymades

Conceptual readymades – a contemporary artist’s use of a classical work selected as a key point of reference taken out of time – have developed in recent years as part of contemporary art’s appropriation of Greco-Roman statuary. This investigation argues that a contemporary artist’s use of the classical does not represent ‘copies’ but cultural readymades. Contemporary digital and sculptural work foregrounding the classical sheds light on the parallel phenomenon whereby Roman re-interpretations of Greek sculpture may have been equivalent to contemporary classicism. Contemporary case studies featuring digital media, generative art, and sculpture are approached both from the perspective of what they can reveal about contemporary art’s use of the classical and what contemporary art’s use of classical sculpture can suggest about Roman reinterpretations as cultural readymades. Remade as part of contemporary art, classical sculpture is uniquely positioned as an accessible point of reference with which to comment on our own time by concurrently reframing the past.

Մարտիրոս Սարյանի «Գիսաստղը»

Martiros Saryan’s "Fairy Tales and Dreams" series, in terms of the subject matter, pictorial language and aesthetic views, fully corresponds to the art of the younger generation of Russian Symbolism. The artist’s work of that period is characterized by mysterious plots, “wandering” images and recurring themes, giving rise to various interpretations. Such is "Comet", created in 1907. The key to the symbolism of this work is semantic analysis of the one-eyed figure and that of the gazelle, which are central to the composition. Some of Saryan’s notes and the parallels with the symbolistic thinking of the time, allow us to conclude that the gazelle symbolizes Nature as the Creator, while the one-eyed figure embodies Poet with universal knowledge. Martiros Saryan’s "Comet" asserts the unbreakable bond between Nature and Man, the artist's love and respect for nature and faith in man.

Artificial intelligence in artistic practices

The article considers methods of involving artificial intelligence in artistic practices. Based on the analysis of ways to use this technology in visual arts and music, the basic principles of working with artificial intelligence technology are identified, including: imitation of historical art, implemented in projects The Next Rembrandt and Choral; generative art, which is found in the works “Hyperbolic Composition І” and “Hyperbolic Composition ІІ” of S. Eaton and also in the AIVA program (Artificial Intelligence Virtual Artist). The importance of the mechanisms of neurobiology in the process of working with artificial intelligence on the example of the project “Neural Zoo” of S. Crespo, Iamus program, in which the development of musical material is based on the principle of evolution, is stated. In the application Endel and in the opera “Emotionally intelligent” Artificially Intelligent Brainwave Opera» of E. Perlman, a neural network is used to read information about the human condition and its further processing for modification into a sound landscape or image. The development of artificial intelligence and its use in artistic practices opens up new opportunities, expanding both the field of authors of artistic content and attracting new audience. This phenomenon provokes many issues, including: the ability to think artificially of artificial intelligence, the ability to create works of art without human intervention, as well as issues related to copyright.

The simultaneous existence of modernist and neo-avant-garde tendencies in nonconformist art of Ukraine in the 1980s

In the early 1980s, the nonconformist art movement in Odesa, which had been developing since the mid-1950s, was widened by a new generation of artists. Their art searches differed significantly from their senior colleagues, which led to the formation of a separate movement within nonconformism, which later became known as APTART. The differences were mainly in the worldview of artists, aesthetics, themes, artistic techniques. The art of the new generation was closer to the Western neo-avant-garde, while their older colleagues tended toward modernism. The presence of two different well-defined movements within the nonconformism, a phenomenon in itself countercultural to official culture, distinguished the artistic process in Odesa in the 1980s from other cities in Ukraine. It is these features of the artistic life of that time, still insufficiently covered and analysed. The text considers the part of the work of the Odesa APTART artists, which the most clearly displays the elements of neo-avant-garde aesthetics, that, accordingly, affected the artistic means: acts, performances happenings; the differences between the two groups of artists belonging to the nonconformist subculture were analysed. Specific acts, works of the APTART artists opposed to the background of creative activity of their colleagues are considered. The stages of the APTART artists’ creativity development are traced. Within the disclosure of the research theme, the text highlights the processes of nonconformist artistic life in the main cities of Ukraine, traces parallels to similar phenomena in world art. Due to the experience of recent researches, the terms that directly affect the subject of the paper are specified: nonconformism, informal art, avant-garde, modernism, neo-avant-garde.

Refined cut selection for benders decomposition: applied to network capacity expansion problems

In this paper, we present a new perspective on cut generation in the context of Benders decomposition. The approach, which is based on the relation between the alternative polyhedron and the reverse polar set, helps us to improve established cut selection procedures for Benders cuts, like the one suggested by Fischetti et al. (Math Program Ser B 124(1–2):175–182, 2010). Our modified version of that criterion produces cuts which are always supporting and, unless in rare special cases, facet-defining. We discuss our approach in relation to the state of the art in cut generation for Benders decomposition. In particular, we refer to Pareto-optimality and facet-defining cuts and observe that each of these criteria can be matched to a particular subset of parametrizations for our cut generation framework. As a consequence, our framework covers the method to generate facet-defining cuts proposed by Conforti and Wolsey (Math Program Ser A 178:1–20, 2018) as a special case. We conclude the paper with a computational evaluation of the proposed cut selection method. For this, we use different instances of a capacity expansion problem for the european power system.

Cruxes for visual domain sonification in digital arts

ABSTRACT Two main types of human perception are seeing and hearing. They play a central role in everyday life, scientific research, and also fine arts. Especially in the visual arts, linking the auditory and the visual realms is not uncommon. However, when it comes to linking the visual domain with the audio domain, the possibilities there are less addressed. Therefore, in this paper, we conceptualize the so-called cruxes for sonification of the visual domain. These are hierarchically structured transformations of the main elements in both domains, starting at the physics level, then extending to the physiological level, and finally to the artistic level. They offer a strong basis for creative sonification efforts and are intended for computer-based (generative) art production. In brief, this paper shows that sonification has a strong potential for artistic sonic creations, where scientific basis can play an important role, when linking the visual, acoustic, and physiological domains.

Combination of certainty and uncertainty: Using FusionGAN to create abstract paintings

In the study of generative art, it is relatively easy at present to achieve a high degree of certainty or uncertainty. However, the combination of certainty and uncertainty has always been an area of difficulty in generative art. In this paper, we present a novel FusionGAN system to automate the generation of abstract paintings. These generated abstract paintings combine the factors of certainty and uncertainty. First, we collect an APdataset consisting of three parts: abstract paintings drawn by artists, sketches, and abstract paintings generated by other neural network methods. We then train the proposed FusionGAN system on the collected dataset to learn the expression of abstract paintings. Corresponding to the two-step operation of the combination of certainty and uncertainty in the artist’s creation, the proposed FusionGAN system is also divided into two steps for the generation of abstract paintings. More specifically, the first step is the basic structure establishment, which corresponds to the fundamental certainty element in the painting creation. The second step is the realization of details, which integrates the uncertain details based on the basic structure. The experimental results achieved by our system in abstract painting generation enrich the diversity of artistic creation and have been recognized by art institutions, with some results displayed on their websites.

Quilting Voices

Quilting Voices

Parabolic subgroups acting on the additional length graph

Let $A\neq A_1, A_2, I_{2m}$ be an irreducible Artin--Tits group of spherical type. We show that periodic elements of $A$ and the elements preserving some parabolic subgroup of $A$ act elliptically on the additional length graph $\mathcal{C}_{AL}(A)$, an hyperbolic, infinite diameter graph associated to $A$ constructed by Calvez and Wiest to show that $A/Z(A)$ is acylindrically hyperbolic. We use these results to find an element $g\in A$ such that $\langle P,g \rangle\cong P* \langle g \rangle$ for every proper standard parabolic subgroup $P$ of $A$. The length of $g$ is uniformly bounded with respect to the Garside generators, independently of $A$. This allows us to show that, in contrast with the Artin generators case, the sequence $\{\omega(A_n,\mathcal{S})\}_{n\in \mathbb{N}}$ of exponential growth rates of braid groups with respect to the Garside generating set, goes to infinity.

A Step-by-Step Procedure to Perform Preliminary Designs of Salient-Pole Synchronous Generators

This paper presents a straightforward step-by-step procedure to design salient-pole synchronous generators, starting with its main specifications and finishing with all necessary data to put it on production. As most of the electricity is generated by synchronous generators, the design of these machines remains an interesting subject, but, although it is important, it is difficult to find a complete step-by-step procedure in the literature. The proposed procedure can be followed by an electrical engineer or student and, distinctively from most papers and books, all steps are presented. Such a procedure is based on analytic calculations, eventually relying on finite element simulation to verify if everything is all right and to adjust some design parameters. All calculations have been chosen to keep the design as simple as possible; otherwise, it would not be possible to present all steps and procedures. Therefore, it can be used for beginners in the art of design-synchronous generators, applied to obtain an initial design, or be adopted by any electrical engineering course, not only aiming to be an introductory electrical machine design course but mainly to enhance the students’ comprehension of synchronous machines. The results have been compared with finite element simulation, presenting very small differences.

Designing Color Symmetry in Stigmergic Art

Color symmetry is an extension of the symmetry imposed by isometric transformations and indicates that the colors of geometrical objects are assigned according to the symmetry properties of these objects. A color symmetry permutes the coloring of the objects consistently with their symmetry group. We apply this concept to bio-inspired generative art. Therefore, the geometrical objects are interpreted as motifs that may repeat themselves with a symmetry-consistent coloring. The motifs are obtained by design principles from stigmergy. We discuss the design procedure and present visual results.

Development of EEG Data-driven Generative Art Application for Real-time and Dynamic Interaction

Generative art is produced by procedural techniques. It has obtained a lot of attention since the beginning of computer graphics. Many works of art are inspired by nature, among which phyllotaxis is as well. It is a combination of mathematics and the beauty of nature. Not only can it be seen everywhere in nature, but also often appear in man-made objects, becoming part of culture or religion. This paper presents the development of an interactive generative art application that is created from a phyllotaxis pattern by using the user’s Electroencephalogram (EEG) data. When people are using it, it will allow them to more easily relax and achieve the function of art therapy. We tried to use EEG data to make an interactive installation art that creates phyllotaxis patterns that are projected on the wall. Everyone has a different state, the generated patterns are also different from person to person, which creates interesting interactive contents. In addition, sound can also be changed by EEG data to become dynamic and real-time contents.

Creative Partnerships with Technology: How Creativity Is Enhanced Through Interactions with Generative Computational Systems

This paper discusses emerging creative practices that involve interacting with generative computational systems, and the effect of such cybernetic interactions on our conceptions of creativity and agency. As computing systems have become more powerful in recent years, real time interaction with intelligent computational processes and models has emerged as a basis for innovative creative practices. Examples of these practices include interactive digital media installations, generative art works, live coding performances, virtual theatre, interactive cinema, and adaptive processes in computer games. In these types of activities computational systems have assumed a significant level of agency, or autonomy, that provoke questions about shared authorship and originality that are redefining our relationship with technologies and prompting new questions about human capabilities, values and the meaning of productive activities.

A Generative Framework of Generativity

Several frameworks exist to describe how procedural content can be understood, or how it can be used in games. In this paper, we present a framework that considers generativity as a pipeline of successive data transformations, with each transformation either generating, transforming, or pruning away information. This framework has been iterated through repeated engagement and education interactions with the game development and generative art communities. In its most recent refinement, it has been physically instantiated into a deck of cards, which can be used to analyze existing examples of generativity or design new generative systems. This Generative Framework of Generativity aims to constructively define the design space of generative pipelines.

Analyzing Utilization of Biomass in Combined Heat and Power and Combined Cooling, Heating, and Power Systems

Nowadays, ever-increasing energy demands and the depletion of fossil fuels require efficient and environmentally friendly technologies for energy generation. In this context, energy systems integration makes for a very strong proposition since it results in energy saving, fuel diversification, and the supply of cleaner energy. To this end, it is of the utmost importance to realize the current developments in this field and portray the state of the art of renewable generation in integrated energy systems. This review evaluates the utilization of bioenergy in cogeneration and trigeneration systems. The statistical reports of bioenergy and combined heat and power deployments in 28 countries of the European Union are discussed. Then, the most common research objectives of biomass-fueled combined heat and power systems are classified into three primary performance analyses, namely, energy and exergy analysis, thermo-economic optimization, and environment assessment. The influencing parameters of biomass utilization on each type of assessment are discussed, and the basic principles for carrying out such analyses in energy systems are explained. It is illustrated that the properties of feedstock, selection of appropriate conversion technology, associated costs with the biomass-to-bioenergy process, and sustainability of biomass are the primary influencing factors that could significantly affect the results of each assessment.

Exploring Software Security Test Generation Techniques: Challenges and Opportunities

Ensuring the security of the software has raised concerns from the research community which triggered numerous approaches that tend to eliminate it. The process of ensuring the security of software includes the introduction of processes in the Software Development Life Cycle where one of them is testing after the software is developed. Manually testing software for security is a labor-intensive task. Therefore, it is required to automate the process of testing by generating test cases by automated techniques. In this paper, we review various software security test case generation approaches and techniques. We try to explore and classify the most eminent techniques for test case generation. The techniques are summarized and presented briefly to covers all researches work that has been done in the targeted classification. Moreover, this paper aims to depict the sound of security in the current state of the art of test case generation. The findings are summarized and discussed where the opportunities and challenges are revealed narratively. Although the paper intends to provide a comprehensive view of the research in test case generation, there was a noticeable lack in the test case generation from the security perspectives

Registers of Disinhibition: Transferred Autonomy and Generative Systems in Artistic Research

This exposition is a presentation of an artistic method that incorporates generative technologies in artistic intervention. The autonomy of the generative system is analysed not as an isolated capability of a technical object but as a specific configuration between the autonomous operations of the system’s creator, the system itself, and the individuals related to the system. The notion of transferred autonomy is proposed to emphasise this interrelated nature of an entity’s autonomy. In this way, a generative system is positioned in a broader socio-economic and cultural context. To make this interpretation productive in relation to artistic practice, interventionist tactics need to be reconsidered as well. The presented method uses an opinion poll format. The opinion poll is interpreted as a basis for collective individuation enabled by generative processes. The conventional opinion poll format is deformed and reconstructed according to an assemblage of enunciation, enunciative recursion, disinhibition, and individuation. Rather than being a scientific, generalising and analytic method, it becomes an artistic generative, interventionist medium. Two related projects are presented: ‘Happy Space’ (2016) and ‘Midscape’ (2018). Each describes the specific way in which generative art techniques are adopted and developed. The former presents a case study based on a survey of working and living conditions, hybridising an opinion poll with a procedural genesis of three-dimensional environments. The latter explores the levels on which generative technologies can facilitate the dynamics of structures conceived in the previous project. These dynamics are encapsulated in installation elements, opening a dialogue between physical and social dimensions.