Artificial Nature: Immersive World Making

Wakefield, Graham; Ji, Haru Hyunkyung

doi:10.1007/978-3-642-01129-0_68

Cited by 9 publications

(19 citation statements)

References 7 publications

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“…It is up to the artists to play with this space of freedom creatively. A few instances exist where artists use the ecosystem dynamics to sonify their works [90,79,248]. I will expand on their work and use this methodology to animate communities of humanoid characters in dancing (Chapt.…”

Section: Hypothesis #1mentioning

confidence: 99%

“…The artefacts produced owe much to contemporary art forms, such as video and installation art. Challenging the dichotomy of interior/exterior, works such as Artificial Natures [248], Pandemic [83], and Eden [158], acknowledge this difference and try to integrate the audience phenomenologically in the virtual and tangible spaces. These works combine the CE with sophisticated techniques of computer vision to capture the audience's location in a subtle way.…”

Section: The Artistic Practice Using Cesmentioning

confidence: 99%

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On Computational Ecosystems in Media Arts

Antunes

2016

Leonardo

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DECLARATIONI hereby declare that I composed this thesis entirely myself and that it describes my own research.Rui Filipe Nicolau Lima Antunes 10th of October, 2013 2 This research is an exploration of issues surrounding the artistic production of Computational Ecosystems. A Computational Ecosystem is a system of agents designed to emulate, in the computer, biological systems where autonomous individuals are organized in a hierarchical food chain and interact by trading units of energy. This thesis maps out this field and examines the modes of production and functions of these systems. The central claim is focused on how the narratives normally associated with these systems and their functioning are two complementary, but separate entities. By virtue of considering these separately the computational ecosystem is argued to be an abstract generative engine for heterogeneity, spontaneity, and even novelty. It is contended that the set of methods of production developed by exploratory artists using these artefacts might be instrumentalized as generative methods for the animation of general purpose non-player characters in virtual worlds.

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Section: Hypothesis #1mentioning

confidence: 99%

Section: The Artistic Practice Using Cesmentioning

confidence: 99%

On Computational Ecosystems in Media Arts

Antunes

2016

Leonardo

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“…In some cases, the Gtypes are directly sonified or visualized. Wakefield and Ji, for instance, produce sounds from the transcription of the Gtypes [28]. In other cases, the dynamics itself has been deemed interesting enough to be visualized or sonified; for example, the sonifications produced by Eldridge and Dorin result from the actions and status of the agents in the virtual space [11].…”

Section: Evolutionary Art and Computational Ecosystemsmentioning

confidence: 99%

“…In other cases, the dynamics itself has been deemed interesting enough to be visualized or sonified; for example, the sonifications produced by Eldridge and Dorin result from the actions and status of the agents in the virtual space [11]. This is a healthy avenue of artistic practice (e.g., [22,26,15,28,24]). …”

Section: Evolutionary Art and Computational Ecosystemsmentioning

confidence: 99%

On Writing and Reading Artistic Computational Ecosystems

Antunes

Leymarie²,

Latham

2015

Artificial Life

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We study the use of the generative systems known as computational ecosystems to convey artistic and narrative aims. These are virtual worlds running on computers, composed of agents that trade units of energy and emulate cycles of life and behaviors adapted from biological life forms. In this article we propose a conceptual framework in order to understand these systems, which are involved in processes of authorship and interpretation that this investigation analyzes in order to identify critical instruments for artistic exploration. We formulate a model of narrative that we call system stories (after Mitchell Whitelaw), characterized by the dynamic network of material and conceptual processes that define these artefacts. They account for narrative constellations with multiple agencies from which meaning and messages emerge. Finally, we present three case studies to explore the potential of this model within an artistic and generative domain, arguing that this understanding expands and enriches the palette of the language of these systems.

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“…Another project that incorporates Stam's method is Wakefield and Ji's Artficial Nature. This project uses computer vision techniques to allow participants to interact with a 3D fluid representation through the movement of their bodies [Wakefield and Ji 2009]. Other fluid simulation methods, such as [Guay et al 2011], are optimized for real-time interaction in video games.…”

Section: Fluid Simulationmentioning

confidence: 99%

Generative fluid profiles for interactive media arts projects

Forbes

Höllerer

Legrady

2013

Proceedings of the Symposium on Computational Aesthetics

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This paper presents a real-time, interactive fluid simulation and vector visualization technique that can be incorporated in media arts projects. These techniques-referred to collectively as the Fluid Automata system-have been adapted for various configurations, including mobile applications, interactive 2D and 3D projections, and multi-touch tables, and have been presented in a number of different environments-both academic and artistic-including galleries, conferences, and a virtual reality research lab. We describe specific details about the fluid simulation component, which, by changing a small number of parameters, allows users to quickly generate a vast number of "fluid profiles" and thus to explore a wide range of aesthetic possibilities that are easy to incorporate into media arts projects. In particular, we present this fluid simulation (and accompanying visual representation) as an example of how media artists can create novel versions of existing visualization techniques in order to emphasize variability, experimentation, and interactivity.

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Artificial Nature: Immersive World Making

Cited by 9 publications

References 7 publications

On Computational Ecosystems in Media Arts

On Computational Ecosystems in Media Arts

On Writing and Reading Artistic Computational Ecosystems

Generative fluid profiles for interactive media arts projects

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