Generative Art
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Fake warning:
Real image of a trail used as base for Adobe's AI based generative fill that replaces the path with a creek and the sky was also replaced.
A few samples generated by text prompts with Adobe Firefly Generative AI.
Quite impressive software, the limits of real vs. Generative photography are quickly fading away...
An example of Photoshop AI Generative Fill capabilities using my image in my previous post: flic.kr/p/2oHXJMH
Not great, but pretty impressive considering the level of effort on my part. I'm impressed by the program's ability to match the mood, color, and overall composition vibe of the image.
An early morning photograph of the Arapuni power station. It was a very fogy morning which added to the image nicely!
The hydro-power station was completed in 1929 and was the first hydro station built on the Waikato river. But in the end became one of many hydro dams along the length of the river.
Because the original photo was framed quite tight on the left hand edge, I used the new Photoshop Beta generative fill to add extra 'territory' to the left hand edge and was impressed with the results.
I used Photoshop's generative fill feature on this photo in which several inches were ciipped from one of its wings. Can you detect which wing?
I'm glad I didn't delete the image, as I had many others with the same flaw.
A few samples generated by text prompts with Adobe Firefly Generative AI.
Quite impressive software, the limits of real vs. Generative photography are quickly fading away...
The original image before cropping and processing. The images modified with Photoshop Generative Fill are below.
Created using the Fractal Science Kit fractal generator. See www.fractalsciencekit.com/ for details.
I used Photoshop's generative fill tool to remove branches at the bottom & to replace the sky.
My original photo for reference:
www.flickr.com/photos/163940733@N02/53148893673/in/datepo...
A few samples generated by text prompts with Adobe Firefly Generative AI.
Quite impressive software, the limits of real vs Generative photography are fading away quicky...
Camera: Minolta X-300
Lens: Minolta 50mm F1.7
Filter: Hoya Red(25A)
Film: Ilford HP5+
Processing and Scanning: Gulabi Photo Lab, Glasgow
Post Processing: Photoscape X
A few samples generated by text prompts with Adobe Firefly Generative AI.
Quite impressive software, the limits of real vs. Generative photography are quickly fading away...
With Adobe Photoshop adding generative AI to its software, one will never quite know what in a photo is real or not anymore. Granted, you'd be suspicious of many of these - but this is the beta version. In six months it'll be largely flawless. The image has embedded metadata that indicates it was AI modified, but not many people know how to look at the metadata. To make these objects I simply chose a space and typed in the object I wanted. How many AI created objects can you find? Or maybe easier, what's real in here?
generative winds
notation through the ages…
infinite stanzas
*in explore
“...all music was generative before the invention of notation, around the year 1000[CE]. And a generative tradition endured until the middle of the 19th century, when the invention of recording allowed people to hear a piece of music over and over in the same static form. Generative music is actually a return to an earlier way of listening, in which each experience was unique and transient.”
Brian Eno
NYT, 2024
Before my wife and I were dancers, we were listeners. Our youth had been immersed in a soundtrack of swing and jazz--our parents music--until Carl Perkins and Bill Haley came out of nowhere and kicked the door down.
In junior high, we were taught the tedious dance etiquette of the box step. And also that proper posture and spacing and decorum were to be maintained at all times.
Subliminally, we were learning that dance music was bland and unimaginative. Safe. It was simply a permission to go out onto a dance floor and do the socialization shuffle.
So it went until my wife and I became empty-nesters. And then a very unexpected thing happened: We discovered that, as studies have shown, the music you will always return to is the music from when you were about twelve years old.
Eventually we began attending jazz festivals; four days and nights of live bands and soloists. As listeners, we did not know how to dance and were too self-conscious to try. But then we began to notice, as we sat in our seats or at a table spontaneously swaying, tapping, whooping, clapping, that out on the dance floor virtually no one was dancing to the actual music.
Completely oblivious to any sense of rhythm or tempo or phrasing, most partners were either shuffling in place, or working conscientously on the basic step patterns learned at their lessons, or doing some personally choreographed set piece over and over again, or consulting about which figure to try next so that neither would be surprised.
Live jazz is a generative music. It frames a theme, passes the theme around for a while from soloist to soloist for their personal interpretations and variations and improvisations, and eventually returns to the opening theme before wrapping things up. Everything, including tempo, can be up for grabs, and become esoteric to the extent that, for a listener, it can be almost impossible to know what to expect next. When the night is right and things get really atmospheric, a listener has a very good chance of hearing things they will never, under any circumstances, hear again.
So, if an adept listener can get caught up in generative live jazz, what would be the chances that there was a way to do partnered dance to such music. Spontaneously. Interpretively. On a dime. Like the music, no two dances ever exactly the same. To experience that transcendence when you and your partner are no longer just dancing to the music, you have become the music. To touch for even the briefest of moments that apogee of all dance: Musicality.
Turns out, the chances are pretty good. Graceful spontaneity is possible with nimble feet and fewer than ten stand-alone moves linked in any combination. Maybe a hundred possibilities in the first iteration. If that doesn’t seem like enough, consider the trumpet: Heaven to Hell in three valves. But that is not the story here.
The story here is that bristlecones are exceptional ‘listeners’. And, they have been dancing generatively for millennia. They have a musicality beyond casual calculation. Their ‘music’ is the wind.*
Every branch of a bristlecone has in the neighborhood of ninety needle bundles per inch. Each bundle location is capable of morphing into a branch of that branch; etc, etc, etc. That is a lot of potential moves; both stand-alone and linked. Probably as close to infinite options through incomprehensible time as any living thing ever gets. Fractal. It is why if you have seen one bristlecone...you have seen one bristlecone.
The ‘music’ in this photo comes in over the far ridge in waves; visibly shaping the clouds into universal symbols of sound. All the trees dance to the same music, but no two are expressing it in even remotely the same way. They are not solemn pine sentries all in a row. Maybe more like exuberant. Raucous even. Born to be wild.
Generative wind, generative music, generative dance, musicality. It is a spontaneous live performance. An unremitting riff. And when it is over, nothing exactly like it will ever be seen again.
*yes, this would be a generative transition (with, hopefully, a touch of musicality)
Bonus: Ronan the Sea Lion Is Probably Better Than You at Keeping a Beat - The New York Times
Live visuals made with processing. wormy thingy with
sound reactive colors. It was the first attempt to get
sound reacting working in linux using PD to analyse the signal and send it via osc to processing. Unfortunatelly it isn't as precise i i was expecting... one day i'll get it right... one day i'll...
more info there : www.yesyesnono.co.uk/?miam=7