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== Reference ==
[[Alan Dorin]] (2005). [[Enriching Aesthetics with Artificial Life]]. In A. Adamatzky & M. Komosinski (Eds.), Artificial life models in software (pp. 415-431). London: Springer-Verlag.

== DOI ==

== Abstract ==
Artificial Life is studied largely as a means of furthering our understanding of
biology and of complex adaptive systems in general. Whilst it has demonstrated
potential in a number of fields, in particular as a means of solving engineering
problems, Artificial Life techniques have also been applied by some in the art
community. The field promises to continue to enrich artistic practice and our approach
to contemporary aesthetics, even as its initial flash of popularity wanes. It is this
continued application to aesthetics which the present paper begins to address.
The techniques of art based in Artificial Life form a subset of generative art. This
is an artistic practice which adopts an aesthetic of process. By this it is meant that
although the final outcome of a work may depend for its appeal on the aesthetics of an
image, sound, sculpture or other form, the process which generates it is also significant.
The generative artist is responsible for setting up initial conditions and a process to act
upon them. The work which unfolds is the result of this series of changes. This is
analogous to a biological phenotype (usually an organism and its behaviour) being the
result of the physical and chemical interactions which govern its development from a
genotype (its genetic material as stored in DNA). Hence, there are conceptual
connections between generative art and Artificial Life as well as practical ones.
Generative/process-based art is no longer treated as a fresh field for aesthetic
exploration. Fascination with its possibilities seemed to fade sometime after its heyday
in the late 1960’s. This of course was the time of the Cybernetic Serendipity exhibition
in London, Jack Burnham’s text Beyond Modern Sculpture and much other activity
linking art and computer technology in innovative ways. Recently artists involved in
Artificial Life have re-trodden some of the ground cleared by their predecessors in
cybernetic art, and have cleared some new space for themselves. Now that Artificial
Life is also unfashionable, perhaps a serious assessment of its past and future
contributions can be made whilst side-stepping the hype which initially accompanied
the field.

The first section below begins by discussing the sense of wonder people often
feel whilst contemplating nature or simple physical systems. This is then related to the
tradition of the sublime in aesthetics. The paper then discusses means of employing
Artificial Life techniques to explore the computational sublime such that a
computational system emulating the physical world’s capability to generate complexity
and novelty might be devised.

== Extended Abstract ==

== Bibtex ==

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== Links ==
=== Full Text ===
http://www.csse.monash.edu.au/~aland/PAPERS/enrichAestheticsWWW.pdf

[[intern file]]

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