Breed
Breed (1995-2007) is a computer program that uses artificial evolution to grow very detailed sculptures. The purpose of each growth is to generate by cell division from a single cell a detailed form that can be materialised. On the basis of selection and mutation a code is gradually developed that best fulfils this “fitness” criterion and thus yields a workable form. The designs were initially made in plywood. Currently the objects can be made in nylon and in stainless steel by using 3D printing techniques. This automates the whole process from design to execution: the industrial production of unique artefacts.
Computers are powerful machines to harness artificial evolution to create visual images. To achieve this we need to design genetic algorithms and evolutionary programs. Evolutionary programs allow artefacts to be “bred”, rather than designing them by hand. Through a process of mutation and selection, each new generation is increasingly well adapted to the desired “fitness” criteria. Breed is an example of such software that uses Artificial Evolution to generate detailed sculptures. The algorithm that we designed is based on two different processes: cell-division and genetic evolution.

Fifty Sisters, Series of fifty evolved digital plant images
Fifty Sisters is comprised of fifty 1m x 1m images of computer synthesised plant-forms, algorithmically “grown” from computer code using artificial evolution and generative grammars. Each plant-like form is derived from the primitive graphic elements of oil company logos.

Ai Beetles
THIS NEXT NATURE POST-CAMOUFLAGE AI BEETLE IS INVISIBLE FOR THE ELECTRONIC EYE. THE PATTERNS ARE GENERATED WITH NEURAL NETWORKS AND EVOLUTIONARY ALGORITHMS TO FOOL AND MISLEAD ARTIFICIAL INTELLIGENCE ENABLED SYSTEMS. MY AIM IS TO DEVELOP A CONTEMPORARY RAZZLE DAZZLE STYLE CAPABLE OF MESSING UP LABELLING AND METADATA SYSTEMS. IT LOOKS LIKE A BEETLE FOR US BUT IS SEEN AS E.G. A HONEYCOMB FOR AN AI.
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Blueprint
Blueprint embraces the relationship and parallels between art and science, creating compositions through the mathematical principles of logic that underpin life. Exploring analogies between DNA and computer code, UVA have created the Blueprint series; works that pair genetics and code as the blueprints of artificial and natural systems. As the work slowly changes over time, patterns fluctuate between varying degrees of complexity. Blueprint uses the basic concepts of evolution to create an ever-transitioning image. With cells literally transferring their genes to their adjoining others, colour flows like paint across the canvas. Drawing up a unique colourful composition every minute, Blueprint presents the unlimited outcome that results from a single algorithm; a single set of rules.

The Interactive Plant Growing
Interactive Plant Growing is an installation that deals with the principle of the growth of virtual plant organisms and their change and modification in real time in 3D virtual space. These modifications of pre-defined “artificially living plant organisms” are mainly based on the principle of development and evolution in time. The artificial growing of program-based plants expresses the desire to discover the principle of life as defined by the transformations and morphogenesis of certain organisms. Interactive Plant Growing connects the real-time growing of virtual plants in the 3D space of the computer to real living plants, which can be touched or approached by human viewers.

ELECTRIC SKIN

The Electric Skin explores the possibility of creating a wearable that extends the functionality of the skin to sense electromagnetic fields (mostly within the radio spectrum) and translate that information into touch sensation. The wearable consists of two main functional parts: 1) A matrix of omnidirectional antennas that act as sensors and probes and 2) corresponding electrodes that stimulate the skin of the wearer. Through this artificial “skin” or “exoskeleton”, the wearable changes our experience, perception, and understanding of space and movement, and in doing so, our interactions. The project speculates on the possible co-evolution of man and technology and draws attention to the role of environmental influence on our own bodily development and behavior.

Infranet
Infranet is a generative artwork realized through a population of artificial lifeforms with evolutionary neural networks, thriving upon open geospatial data of the infrastructure of the city as their sustenance and canvas. Born curious, these agents form spatial networks through which associations spread in complex contagions. In this city as organism, the data grounds an unbounded, decentralized, open-ended, and unsupervised system. Non-human beings flourish in this environment by learning, discovering, communicating, self-governing, and evolving. The invitation is to witness, through immersive visualization and sonficiation of this complex adaptive system, how a new morphologic landscape emerges as a possible but speculative city.

last breathe

Robert Wun is a luxury fashion label, aimed to create ingenious garments with sophistication visions, to inspire independent individuals with originality beliefs. The chaos between Nature and artificial forms the centre of the design ethos, through resourcing in the novelty nature and the revolutionary artificial world, Robert Wun believe in such contradiction, promising ideas will be generated through the process of perplexity. Dictating the new ‘futuristic’ through innovative manufacturing yet with uncompromising attention to traditional values. Creating the harmony by combining enlightening ideas with sophistication craftsmanship, brining in a new dimension to luxury garments and also to the young London fashion industry.

Джон Маккормак
Eden – an evolutionary sonic ecosystem

Eden is an interactive, self-generating, artificial ecosystem. A cellular world is populated by collections of evolving virtual creatures. These creatures move about their environment, making and listening to sounds, foraging for food, encountering predators and possibly mating with each other. Over time, creatures evolve to fit their landscape. Eden has four seasons per year and each year lasts 600 Eden days. One Eden year passes by in about fifteen minutes of real time. A simple physics dictates only three basic types of matter in the Eden world: rocks, biomass and sonic creatures.

オラファー·エリアソン
اولافور الياسون
奥拉维尔·埃利亚松
אולאפור אליאסון
Олафур Элиассон
The cubic structural evolution
Al centro del lavoro di Eliasson c’è la considerazione di come percepiamo e viviamo il mondo. Spesso fabbrica fenomeni dall’aspetto naturale (come la luce del sole, l’acqua corrente o la nebbia) in ambienti artificiali come una galleria d’arte. Questi fenomeni fabbricati coinvolgono direttamente i sensi del suo pubblico e sollecitano riflessioni su come viviamo le cose. Eliasson ha descritto questo effetto come la capacità di “vedere se stessi vedendo”. Il progetto di evoluzione strutturale cubica 2004 è un’opera d’arte partecipativa in cui gli spettatori contribuiscono alla costruzione di un mondo Lego. È un lavoro in cui Eliasson incoraggia un livello di coinvolgimento molto diretto. Gli spettatori sono in grado di guidare attivamente la loro esperienza del lavoro mentre prende forma organicamente per tutta la durata della sua installazione.