http://de.evo-art.org/index.php?action=history&feed=atom&title=Being_Kasimir_MalevichBeing Kasimir Malevich - Versionsgeschichte2026-04-30T18:29:40ZVersionsgeschichte dieser Seite in de_evolutionary_art_orgMediaWiki 1.27.4http://de.evo-art.org/index.php?title=Being_Kasimir_Malevich&diff=2578&oldid=prevGbachelier: Die Seite wurde neu angelegt: „== Reference == Artemis Moroni: Being Kasimir Malevich. In: Generative Art 2003. == DOI == == Abstract == Recently, evolutionary art systems have be…“2014-12-27T14:29:02Z<p>Die Seite wurde neu angelegt: „== Reference == Artemis Moroni: <a href="/index.php?title=Being_Kasimir_Malevich" title="Being Kasimir Malevich">Being Kasimir Malevich</a>. In: <a href="/index.php?title=Generative_Art_2003" title="Generative Art 2003">Generative Art 2003</a>. == DOI == == Abstract == Recently, evolutionary art systems have be…“</p>
<p><b>Neue Seite</b></p><div>== Reference ==<br />
Artemis Moroni: [[Being Kasimir Malevich]]. In: [[Generative Art 2003]]. <br />
<br />
== DOI ==<br />
<br />
== Abstract ==<br />
Recently, evolutionary art systems have been suggested to simulate some kind of creativity in computers. Here, a reflection on computational creativity is presented, mentioning classic and historical aspects and showing results of evolutionary art systems. Strong and weak features of these kind of systems are approached.<br />
<br />
== Extended Abstract ==<br />
<br />
== Bibtex == <br />
<br />
== Used References ==<br />
[1] Boden, M. “Creativity and artificial intelligence”, Elsevier Science: Artificial Intelligence 103 pp. 347 – 356, 1998.<br />
<br />
[2] Turing, A. M. “Computing Machinery and Intelligence”, Mind, Vol. 59, pp. 433 – 460, 1950.<br />
<br />
[3] Todd, P. M. & Werner, G. M. “Frankensteinian Methods for Evolutionary Music Composition” em Griffith, N. & Todd, P. M. (eds) Musical Networks: Parallel Distributed Perception and Performance, Cambridge: The MIT Press, 1999.<br />
<br />
[4] Sims, K. “Interactive Evolution of Equations for Procedural Models”, The Visual Computer, 9: 466 – 476, 1993.<br />
<br />
[5] Moroni, A., Von Zuben, F.J. & Manzolli, J., “ArTbitration: Human-Machine Interaction in Artistic Domains”, Leonardo, 35(2), pp. 185 – 188, 2002b.<br />
<br />
[6] Baluja, S., Pomerleau, D. & Jochem, T. “Towards automated artificial evolution for computer generated images”, Connection Science, 6(2 – 3), 325 – 354, 1994.<br />
<br />
[7] Gibson, P. M. & Byrne, J. A. “NEUROGEN, musical composition using genetic algorithms and cooperating neural networks”, London: Proceedings of the IEE Second International Conference on Artificial Neural Networks, pp. 309 – 313, 1991.<br />
<br />
[8] Malevich, K. http://www.ibiblio.org/wm/paint/auth/malevich/sup/malevich.black-square.jpg, 1913.<br />
<br />
[9] Bentley, P. & Corne, D. (eds.) Creative Evolutionary Systems. San Francisco: Morgan Kaufmann, 2002.<br />
<br />
[10] Dawkins, R. The Blind Watchmaker. London: Penguin Books, 1991.<br />
<br />
[11] Dartnall, T. (ed.) Artificial Intelligence and Creativity: an Interdisciplinary Approach. Dordrecht: Kluwer, 1994.<br />
<br />
[12] Boden, M. “Creativity and artificial intelligence”, Elsevier Science: Artificial Intelligence 103 pp. 347 – 356, 1998.<br />
<br />
<br />
== Links ==<br />
=== Full Text === <br />
http://www.generativeart.com/on/cic/papersGA2003/a30.htm<br />
<br />
[[intern file]]<br />
<br />
=== Sonstige Links ===</div>Gbachelier