Generative Choreography: Animating in Real-Time Dancing Avatars

Antunes, Rui Filipe; Leymarie, Frederic Fol

doi:10.1007/978-3-642-29142-5_1

Cited by 9 publications

(22 citation statements)

References 4 publications

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“…Generative choreography (Antunes and Fol Leymarie, 2012;Crnkovic-Friis and Crnkovic-Friis, 2016) and creative productions of sculptures (Lehman et al, 2016) have also relied on the expressive potential of deep neural networks.…”

Section: The Spread Of Deep Creation In the Artsmentioning

confidence: 99%

Deep Creations: Intellectual Property and the Automata

Deltorn

2017

Front. Digit. Humanit.

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The rapid progress of deep neural network architectures is allowing both to automate the production of artworks and to extend the domain of creative expression. As such, it is opening new ground for professional and amateur artists alike. A major asset of these new computer processes is their capacity to derive, from a training phase, a generative model from which new artifacts can be produced. This attribute allows for a wide range of novel applications. New music or paintings in the style of famous artists can be produced at the click of a button, or combined to form new artworks. New graphical compositions can be "hallucinated" by the deep algorithmic models to produce striking, unexpected, visual forms. By the same token, the dependence on preexisting, protected, artworks lays the ground for potential zones of friction with the rights holders of the source data that helped shape the generative model. This articulation, between the popular creative movement initiated by the deep neural architectures and the preexisting rights of the authors, leads to a confrontation between the present legal framework for the protection of artistic creations and the new modalities offered by these new technological objects. The present work will address the conditions of protection of creations generated by deep neural networks under the main copyright regimes.

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Section: The Spread Of Deep Creation In the Artsmentioning

confidence: 99%

Deep Creations: Intellectual Property and the Automata

Deltorn

2017

Front. Digit. Humanit.

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“…Equating Klastrupʼs interpretative framework with diegetic processes, we can say that, in CEs, diegesis and mimesis appear combined. 4 Echoing Haylesʼ gap between the material processes, at the electronic level, and the interpretation of those processes, with CEs" the characters rendered visible represent the internal data structures in an apparent mimetic process; however, their "second reality," as Caillois would put it [9], the realm where their actions are interpreted, is provided by the interpretative framework, the shared story where these actions make sense.…”

Section: Actors and Networkmentioning

confidence: 99%

“…As discussed earlier, to consider the subtext we need to consider the contextual map and to do so we need to scrutinize the actors forming the network of relationships. Using the articulation of this concept and our previous 4 Diegesis is a mode of narration where a storyteller relates the experiences of the characters. Since Plato, this form of narration has been opposed to mimesis, in which the storytelling process illustrates the experiences of the characters by means of actions.…”

Section: System Stories: a Worldness Narrativementioning

confidence: 99%

“…The second example, Vishnuʼs Dance of Life and Death [4], serves as a counterexample. This is used to exaggerate and illustrate the gap that exists between the material processes occurring in the software system and what can be rendered visible to the audience.…”

Section: Case Studiesmentioning

confidence: 99%

“…Here, the CE functions as the main mechanism driving the agentsʼ movements and actions on stage. When designing Vishnuʼs Dance of Life and Death (Vishnuʼs Dance) [4], our motivation was to comment on ALife with a work where a virtual ecosystem provided context, content, and dynamics to the artwork. In Hindu mythological tradition, Vishnu is known as the "Preserver of the Universe."…”

Section: Vishnuʼs Dance Of Life and Deathmentioning

confidence: 99%

See 2 more Smart Citations

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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