View allAll Photos Tagged generativeart
By maxwell71
This was created in a class at Brunswick Acres Elementary School in New Jersey. It is exhibited online at the Kids Art Museum Artsonia:
www.artsonia.com/museum/gallery.asp?exhibit=390273
Thanks to Suzanne Tiedemann for organising this.
darkSky, (2009)
Tiffany Holmes
April 4 – 26, 2009
12x12, MCA Chicago
Photography © Museum of Contemporary Art, Chicago
Photographer, Nathan Keay
Dress me up, For SHOWstudio. Interactively apply/remove clothing in 360 degrees.
A SHOWstudio project by Nick Knight, see www.showstudio.com for full credits. The model is Liberty Ross.
By shrikant2
This was created in a class at Brunswick Acres Elementary School in New Jersey. It is exhibited online at the Kids Art Museum Artsonia:
www.artsonia.com/museum/gallery.asp?exhibit=390273
Thanks to Suzanne Tiedemann for organising this.
Redrawing photos with a partially random particle system.
Made with Processing
View more: MY WEBSITE | BEHANCE | INSTAGRAM | TWITTER
Ah. Progress. It is now possible to set the background color in Structure Synth. Amazing.
Produced by Structure Synth V 0.4
(http://structuresynth.sf.net/)
set maxobjects 160000
{ a 0.3 sat 0.5 } grinder
set background #fff
rule grinder {
36 * { rz 10 y 0.1 } 36 * { ry 10 z 1.2 b 0.99 h 12 } xbox
}
rule xbox {
{ s 1.1 } grid
{ b 0.7 color #eee a 0.2 } box
}
rule xbox {
{ s 1.1 } grid
{ b 0.7 color #fff a 0.3 } box
}
Abstract re-interpretations of landscape photographs. Produced using a modified Hough transform implemented in Processing and Photoshop: www.cutsquash.com/2014/03/hough-colour-swirls/
I collect accidental generative art created by my computer. This piece reappropriates part of Final Cut Pro.
The term "collective memory" denotes the aggregate of memories, knowledge, and data that a social group holds, which is intrinsically linked to the group's identity. The term "collective memory" in English and its French counterpart "la mémoire collective" emerged in the latter half of the 19th century. Maurice Halbwachs, a philosopher and sociologist, further developed this concept in his 1925 work, «Les cadres sociaux de la mémoire». Both expansive and intimate social collectives can create, disseminate, and inherit collective memory.
Contrary to the term "collective memory," which is somewhat ambiguously defined yet generally accepted, the notion of "collective memories" is inherently problematic. Memories are the results of the individual acts of recollection, making the idea of "collective memories" paradoxical. Сontemporary diffusion models utilize vast amounts of often unidentified data, including historical and personal old photographs, vintage postcards, and other kinds of publicly circulating images. These models may be seen as involved in the prompts-driven singular acts of remembrance, producing images that paradoxically represent "collective memories," something otherwise unfeasible and ultimately, non-existent.
Self-Drawing Code,
Python and PIL
See more info on my blog
www.underground-flash.com/2013/07/self-drawing-code_24.html
Source Code is now available
github.com/KristinHenry/selfDrawingCode
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More of my artwork can be found in my online portfolio
and some prints are available
Hex Translator build 2021.02.27A
Input:
The first thing I want to be done is to get that piece of crap out of my ring! Don’t just get him out of the ring, get him out of the WWF! Because I proved, son, without a shadow of a doubt, you ain’t got what it takes anymore! You sit there and you thump your bible, and you say your prayers, and it didn’t get you anywhere. Talk about your psalms, talk about John 3:16... Austin 3:16 says I just whipped your ass!
(“Stone Cold” Steve Austin promo after winning King of the Ring tournament in 1996 by beating Jake “The Snake” Roberts)
Length: 415
Top vacancies: 3, 1, 1
Unique colors: 269
91.57% solid
7.95% special
This is an "Inference", a generative art creation based on one of my photographs from the Davis Mountains. The software is currently under development. More information can be found at www.inferencelens.com. View the image at its largest size to see get the full impact of the interpretation.
Check out: my Abstract Set. Go to matre.com/abstracts for print availability. These look great on canvas and can be printed up to six-feet wide.
Ported a colour sorting algorithm to use on photographs, see more details here: www.cutsquash.com/2014/03/photo-colour-sorting/
By maxwell71
This was created in a class at Brunswick Acres Elementary School in New Jersey. It is exhibited online at the Kids Art Museum Artsonia:
www.artsonia.com/museum/gallery.asp?exhibit=390273
Thanks to Suzanne Tiedemann for organising this.
The term "collective memory" denotes the aggregate of memories, knowledge, and data that a social group holds, which is intrinsically linked to the group's identity. The term "collective memory" in English and its French counterpart "la mémoire collective" emerged in the latter half of the 19th century. Maurice Halbwachs, a philosopher and sociologist, further developed this concept in his 1925 work, «Les cadres sociaux de la mémoire». Both expansive and intimate social collectives can create, disseminate, and inherit collective memory.
Contrary to the term "collective memory," which is somewhat ambiguously defined yet generally accepted, the notion of "collective memories" is inherently problematic. Memories are the results of the individual acts of recollection, making the idea of "collective memories" paradoxical. Сontemporary diffusion models utilize vast amounts of often unidentified data, including historical and personal old photographs, vintage postcards, and other kinds of publicly circulating images. These models may be seen as involved in the prompts-driven singular acts of remembrance, producing images that paradoxically represent "collective memories," something otherwise unfeasible and ultimately, non-existent.
Non-lieu ("non-place" or "nonplace" in English) is a concept, introduced by French anthropologist Marc Augé. It describes transient spaces where people maintain anonymity and which lack the cultural or historical significance to be considered true "places" in anthropological terms. Augé contrasts this concept with "anthropological places," which are spaces that reinforce identity and facilitate meaningful social interactions among individuals with shared cultural references. Non-places, however, do not serve as meeting points or foster a sense of community. In essence, a non-place is an area we pass through rather than inhabit, where individuals remain detached, unnamed, and lonely.