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== Used References ==
 
== Used References ==
 +
Aguilar, C., & Lipson, H. (2008). A robotic system for interpreting images into painted artwork.
 +
Paper presented at the International Conference on Generative Art.
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Arnheim, R. (1974). Art and visual perception: a psychology of the creative eye (New,
 
Arnheim, R. (1974). Art and visual perception: a psychology of the creative eye (New,
 
expanded and revised ed.). Berkeley: University of California Press.
 
expanded and revised ed.). Berkeley: University of California Press.
  
 
Bense, M. (1965). Aesthetica; Einführung in die neue Aesthetik. Baden-Baden,: Agis-Verlag.
 
Bense, M. (1965). Aesthetica; Einführung in die neue Aesthetik. Baden-Baden,: Agis-Verlag.
 +
 +
Bentley, P. and Corne, D. (2002). An introduction to creative evolutionary systems, in P.
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Bentley and D. Corne (eds), Creative Evolutionary Systems, Morgan Kaufmann, Academic
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Press, San Francisco, CA, San Diego, CA, pp. 1 – 75.
  
 
Berlyne, D. E. (1960). Conflict, arousal, and curiosity. New York,: McGraw-Hill.
 
Berlyne, D. E. (1960). Conflict, arousal, and curiosity. New York,: McGraw-Hill.
  
 
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Berlyne, D. E. (1971). Aesthetics and psychobiology. New York,: Appleton-Century-Crofts.
 +
 +
Birkhoff, G. D. (1933). Aesthetic measure. Cambridge, Mass.,: Harvard University Press.
 +
 +
Brooks, Hopkins, Neumann & Wright. "An experiment in musical composition." IRE
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Transactions on Electronic Computers, Vol. 6, No. 1 (1957).
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http://notnot.home.xs4all.nl/breed/BREEDinfo.html
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Collier , G.L., Why Does Music Express Only Some Emotions? A Test Of A Philosophical
 
Theory. Empirical Studies of the Arts, 2002. 20(1): p. 21-31.
 
Theory. Empirical Studies of the Arts, 2002. 20(1): p. 21-31.
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Coney , J. and C. Bruce Hemispheric Processes In The Perception Of Art. Empirical Studies
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Cooper, J.M. and P.J. Silvia Opposing Art: Rejection As An Action Tendency Of Hostile
 
Aesthetic Emotions. Empirical Studies of the Arts, 2009. 27(1): p. 109-126.
 
Aesthetic Emotions. Empirical Studies of the Arts, 2009. 27(1): p. 109-126.
  
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Coney , J. and C. Bruce Hemispheric Processes In The Perception Of Art. Empirical Studies
+
Datta, R., Joshi, D., Li, J., & Wang, J. Z. (2006). Studying aesthetics in photographic images
−
of the Arts, 2004. 22(2): p. 181-200.
+
using a computational approach. Computer Vision - Eccv 2006, Pt 3, Proceedings, 3953,
 +
288-301.
  
−
Dorin, A. (2005). Enriching Aesthetics with Artificial Life. In A. Adamatzky & M. Komosinski
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[[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. http://www.csse.monash.edu.au/~aland/PAPERS/enrichAestheticsWWW.pdf
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York: Bloomsbury Press.
 
York: Bloomsbury Press.
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Feist , G.J. and T.R. Brady Openness To Experience, Non-Conformity, And The Preference
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2007. 25(2): p. 209-217.
 
2007. 25(2): p. 209-217.
  
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Paper presented at the International Conference on Generative Art, Milan, Italy.
 
Paper presented at the International Conference on Generative Art, Milan, Italy.
  
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Galanter, P. (2003). What is Generative Art? Complexity theory as a context for art theory.
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Aktuelle Version vom 7. Januar 2015, 18:33 Uhr

Reference

Philip Galanter: Aesthetic Evaluation: Automated Fitness Functions for Evolutionary Art, Design, and Music. In: Proceeding of the fifteenth annual conference companion on Genetic and evolutionary computation conference companion GECCO 2013, 1005-1038.


DOI

Abstract

Computational Aesthetic Evaluation:

Computer systems capable of making normative judgments related to questions of beauty and taste in the arts

Type 1 - Simulate, predict, or cater to human notions of beauty and taste.

Type 2 - Meta-aesthetic exploration of all possible emergent machine aesthetics in a way disconnected from human experience.

Extended Abstract

Bibtex

Used References

Aguilar, C., & Lipson, H. (2008). A robotic system for interpreting images into painted artwork. Paper presented at the International Conference on Generative Art.

Arnheim, R. (1974). Art and visual perception: a psychology of the creative eye (New, expanded and revised ed.). Berkeley: University of California Press.

Bense, M. (1965). Aesthetica; Einführung in die neue Aesthetik. Baden-Baden,: Agis-Verlag.

Bentley, P. and Corne, D. (2002). An introduction to creative evolutionary systems, in P. Bentley and D. Corne (eds), Creative Evolutionary Systems, Morgan Kaufmann, Academic Press, San Francisco, CA, San Diego, CA, pp. 1 – 75.

Berlyne, D. E. (1960). Conflict, arousal, and curiosity. New York,: McGraw-Hill.

Berlyne, D. E. (1971). Aesthetics and psychobiology. New York,: Appleton-Century-Crofts.

Birkhoff, G. D. (1933). Aesthetic measure. Cambridge, Mass.,: Harvard University Press.

Brooks, Hopkins, Neumann & Wright. "An experiment in musical composition." IRE Transactions on Electronic Computers, Vol. 6, No. 1 (1957).

http://notnot.home.xs4all.nl/breed/BREEDinfo.html

Coleridge, S. T., Coleridge, H. N., Coleridge, J. T., & Woodring, C. (1990). Table talk. Princeton, N.J.: Princeton University Press

Collier , G.L., Why Does Music Express Only Some Emotions? A Test Of A Philosophical Theory. Empirical Studies of the Arts, 2002. 20(1): p. 21-31.

Coney , J. and C. Bruce Hemispheric Processes In The Perception Of Art. Empirical Studies of the Arts, 2004. 22(2): p. 181-200.

Cooper, J.M. and P.J. Silvia Opposing Art: Rejection As An Action Tendency Of Hostile Aesthetic Emotions. Empirical Studies of the Arts, 2009. 27(1): p. 109-126.

Datta, R., Joshi, D., Li, J., & Wang, J. Z. (2006). Studying aesthetics in photographic images using a computational approach. Computer Vision - Eccv 2006, Pt 3, Proceedings, 3953, 288-301.

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. http://www.csse.monash.edu.au/~aland/PAPERS/enrichAestheticsWWW.pdf

Dutton, D. (2009). The art instinct : beauty, pleasure, & human evolution (1st U.S. ed.). New York: Bloomsbury Press.

Draves, S. (2005). The electric sheep screen-saver: A case study in aesthetic evolution. Applications of Evolutionary Computing, Proceedings, 3449, 458-467.

Emerson, R. W. (1979). Nature, addresses, and lectures (2d ed.). New York: AMS Press.

Feist , G.J. and T.R. Brady Openness To Experience, Non-Conformity, And The Preference For Abstract Art. Empirical Studies of the Arts, 2004. 22(1): p. 77-89.

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Fogel, L. J. (1999). Intelligence through simulated evolution : forty years of evolutionary programming. New York: Wiley.

Galanter, P. (2003). What is Generative Art? Complexity theory as a context for art theory. Paper presented at the International Conference on Generative Art, Milan, Italy.

Galanter, P. (2010). Complexity, Neuroaesthetics, and Computational Aesthetic Evaluation. Paper presented at the International Conference on Generative Art, Milan, Italy.

Galanter, P. (2010). The problem with evolutionary art is..., in C. DiChio, A. Brabazon, et al (eds), Applications of Evolutionary Computation, Pt Ii, Proceedings, Vol. 6025 of Lecture Notes in Computer Science, Springer-Verlag Berlin, Berlin, pp. 321–330.

Galanter, P. (2012 in press). Computational Aesthetic Evaluation: Past and Future. In J. McCormack & M. d'Inverno (Eds.), Computers and Creativity. Berlin: Springer. (see http://philipgalanter.com for a copy)

Gedeon, T. s. (2008). Neural network for modeling esthetic selection. Lecture Notes in Computer Science, 4985 LNCS(PART 2), 666-674.

Gell-Mann, M., & Lloyd, S. (1996). Information measures, effective complexity, and total information. Complexity, 2(1), 44-52.

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