Generative art is post-conceptual art that has been created (in whole or in part) with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator. "Generative art" often refers to algorithmic art (algorithmically determined computer generated artwork) and synthetic media (general term for any algorithmically generated media), but artists can also make generative art using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, and tiling. Generative algorithms, algorithms programmed to produce artistic works through predefined rules, stochastic methods, or procedural logic, often yielding dynamic, unique, and contextually adaptable outputs—are central to many of these practices. == History == The use of the word "generative" in the discussion of art has developed over time. The use of "Artificial DNA" defines a generative approach to art focused on the construction of a system able to generate unpredictable events, all with a recognizable common character. The use of autonomous systems, required by some contemporary definitions, focuses a generative approach where the controls are strongly reduced. This approach is also named "emergent". Margaret Boden and Ernest Edmonds have noted the use of the term "generative art" in the broad context of automated computer graphics in the 1960s, beginning with artwork exhibited by Georg Nees and Frieder Nake in 1965: A. Michael Noll did his initial computer art, combining randomness with order, in 1962, and exhibited it along with works by Bell Julesz in 1965. The terms "generative art" and "computer art" have been used in tandem, and more or less interchangeably, since the very earliest days. The first such exhibition showed the work of Nees in February 1965, which some claim was titled "Generative Computergrafik". While Nees does not himself remember, this was the title of his doctoral thesis published a few years later. The correct title of the first exhibition and catalog was "computer-grafik". "Generative art" and related terms was in common use by several other early computer artists around this time, including Manfred Mohr and Ken Knowlton. Vera Molnár (born 1924) is a French media artist of Hungarian origin. Molnar is widely considered to be a pioneer of generative art, and is also one of the first women to use computers in her art practice. The term "Generative Art" with the meaning of dynamic artwork-systems able to generate multiple artwork-events was clearly used the first time for the "Generative Art" conference in Milan in 1998. The term has also been used to describe geometric abstract art where simple elements are repeated, transformed, or varied to generate more complex forms. Thus defined, generative art was practiced by the Argentinian artists Eduardo Mac Entyre and Miguel Ángel Vidal in the late 1960s. In 1972 the Romanian-born Paul Neagu created the Generative Art Group in Britain. It was populated exclusively by Neagu using aliases such as "Hunsy Belmood" and "Edward Larsocchi". In 1972 Neagu gave a lecture titled 'Generative Art Forms' at the Queen's University, Belfast Festival. In 1970 the School of the Art Institute of Chicago created a department called Generative Systems. As described by Sonia Landy Sheridan the focus was on art practices using the then new technologies for the capture, inter-machine transfer, printing and transmission of images, as well as the exploration of the aspect of time in the transformation of image information. Also noteworthy is John Dunn, first a student and then a collaborator of Sheridan. In 1988 Clauser identified the aspect of systemic autonomy as a critical element in generative art: It should be evident from the above description of the evolution of generative art that process (or structuring) and change (or transformation) are among its most definitive features, and that these features and the very term 'generative' imply dynamic development and motion. (the result) is not a creation by the artist but rather the product of the generative process - a self-precipitating structure. In 1989 Celestino Soddu defined the Generative Design approach to Architecture and Town Design in his book Citta' Aleatorie. In 1989 Franke referred to "generative mathematics" as "the study of mathematical operations suitable for generating artistic images." From the mid-1990s Brian Eno popularized the terms generative music and generative systems, making a connection with earlier experimental music by Terry Riley, Steve Reich and Philip Glass. From the end of the 20th century, communities of generative artists, designers, musicians and theoreticians began to meet, forming cross-disciplinary perspectives. The first meeting about generative Art was in 1998, at the inaugural International Generative Art conference at Politecnico di Milano University, Italy. In Australia, the Iterate conference on generative systems in the electronic arts followed in 1999. On-line discussion has centered around the eu-gene mailing list, which began late 1999, and has hosted much of the debate which has defined the field. These activities have more recently been joined by the Generator.x conference in Berlin starting in 2005. In 2012 the new journal GASATHJ, Generative Art Science and Technology Hard Journal was founded by Celestino Soddu and Enrica Colabella jointing several generative artists and scientists in the editorial board. Some have argued that as a result of this engagement across disciplinary boundaries, the community has converged on a shared meaning of the term. As Boden and Edmonds put it in 2011: Today, the term "Generative Art" is still current within the relevant artistic community. Since 1998 a series of conferences have been held in Milan with that title (Generativeart.com), and Brian Eno has been influential in promoting and using generative art methods (Eno, 1996). Both in music and in visual art, the use of the term has now converged on work that has been produced by the activation of a set of rules and where the artist lets a computer system take over at least some of the decision-making (although, of course, the artist determines the rules). In the call of the Generative Art conferences in Milan (annually starting from 1998), the definition of Generative Art by Celestino Soddu: Generative Art is the idea realized as genetic code of artificial events, as construction of dynamic complex systems able to generate endless variations. Each Generative Project is a concept-software that works producing unique and non-repeatable events, like music or 3D Objects, as possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an artist / designer / musician / architect /mathematician. Discussion on the eu-gene mailing list was framed by the following definition by Adrian Ward from 1999: Generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually (although not strictly) automated by the use of a machine or computer, or by using mathematic or pragmatic instructions to define the rules by which such artworks are executed. A similar definition is provided by Philip Galanter: Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art. Around the 2020s, generative AI models learned to imitate the distinct style of particular authors. For example, a generative image model such as Stable Diffusion is able to model the stylistic characteristics of an artist like Pablo Picasso (including his particular brush strokes, use of colour, perspective, and so on), and a user can engineer a prompt such as "an astronaut riding a horse, by Picasso" to cause the model to generate a novel image applying the artist's style to an arbitrary subject. Generative image models have received significant backlash from artists who object to their style being imitated without their permission, arguing that this harms their ability to profit from their own work. The emergence of text-to-image generative AI systems has expanded debates over authorship, copyright, and artistic labor. The main issues in these debates include the eligibility of AI-generated outputs for copyright protection and the legal and ethical questions of using existing copyrighted works as training data for generative AI systems. == Types == === Music === Johann Kirnberger's Mu
System appreciation
System appreciation is an activity often included in the maintenance phase of software engineering projects. Key deliverables from this phase include documentation that describes what the system does in terms of its functional features, and how it achieves those features in terms of its architecture and design. Software architecture recovery is often the first step within System appreciation.
Transderivational search
Transderivational search (often abbreviated to TDS) is a psychological and cybernetics term, meaning when a search is being conducted for a fuzzy match across a broad field. In computing the equivalent function can be performed using content-addressable memory. Unlike usual searches, which look for literal (i.e. exact, logical, or regular expression) matches, a transderivational search is a search for a possible meaning or possible match as part of communication, and without which an incoming communication cannot be made any sense of whatsoever. It is thus an integral part of processing language, and of attaching meaning to communication. In NLP (Neuro-linguistic programming), a transderivational search (Bandler and Grinder, 1976) is essentially the process of searching back through one's stored memories and mental representations to find the personal reference experiences from which a current understanding or mental map has been derived. By the end of 1976, Grinder and Bandler had combined Satir’s and Perls’ language patterns and Erickson’s hypnotic language and use of metaphor with anchoring to create new processes that they called collapsing anchors, trans-derivational search, changing personal history, and reframing. A psychological example of TDS is in Ericksonian hypnotherapy, where vague suggestions are used that the patient must process intensely in order to find their own meanings, thus ensuring that the practitioner does not intrude his own beliefs into the subject's inner world. == TDS in human communication and processing == Because TDS is a compelling, automatic and unconscious state of internal focus and processing (i.e. a type of everyday trance state), and often a state of internal lack of certainty, or openness to finding an answer (since something is being checked out at that moment), it can be utilized or interrupted, in order to create, or deepen, trance. TDS is a fundamental part of human language and cognitive processing. Arguably, every word or utterance a person hears, for example, and everything they see or feel and take note of, results in a very brief trance while TDS is carried out to establish a contextual meaning for it. === Examples === Leading statements: "And those thoughts you had yesterday..." the human mind cannot process hearing this phrase, without at some level searching internally for some thoughts or other that it had yesterday, to make the subject of the sentence. "The many colors that fruit can be" likewise starts the human mind considering even if briefly, different fruit sorted by color. "You did it again, didn't you!" This everyday manipulative use of TDS usually sends the recipient looking internally for some "it" they may have done for which blame is being fairly given. Regardless of whether such a matter can be identified, guilt or anger may result. "There has been pain, hasn't there" the mind of a patient suffering an illness will find it very hard or impossible to hear or answer this sentence without conducting internal searches to verify whether this is true or not, or to find an example if so. "You'd forgotten something [or: some part of your body], hadn't you?" the mind usually checks through the various things, or parts of the body, on hearing this, seeing if each in turn has been forgotten. Textual ambiguity: "Do you remember line dancing on the steps?" Without sufficient context, some statements may trigger TDS in order to resolve inherent ambiguity in the interpretation of a posed question. Do I remember a bygone fad called "line dancing on the steps"? Do I remember personally engaging in dancing in the past? Do I remember my routine practice dancing by focusing on the steps of the dance? Do I tend to forget about dancing when I am standing on steps? "Penny-wise and pound the table dance to the beat of a different drummer". The mixing of cliché and stock phrases may trigger TDS in order to reconcile the discrepancies between expected and actual utterances in sequence. Although TDS is often associated with spoken language, it can be induced in any perceptual system. Thus Milton Erickson's "hypnotic handshake" is a technique that leaves the other person performing TDS in search of meaning to a deliberately ambiguous use of touch.
Phase congruency
Phase congruency is a measure of feature significance in computer images, a method of edge detection that is particularly robust against changes in illumination and contrast. == Foundations == Phase congruency reflects the behaviour of the image in the frequency domain. It has been noted that edgelike features have many of their frequency components in the same phase. The concept is similar to coherence, except that it applies to functions of different wavelength. For example, the Fourier decomposition of a square wave consists of sine functions, whose frequencies are odd multiples of the fundamental frequency. At the rising edges of the square wave, each sinusoidal component has a rising phase; the phases have maximal congruency at the edges. This corresponds to the human-perceived edges in an image where there are sharp changes between light and dark. == Definition == Phase congruency compares the weighted alignment of the Fourier components of a signal A n {\displaystyle A_{\rm {n}}} with the sum of the Fourier components. P C ( t ) = max ϕ ¯ ∑ n A n cos ( ϕ n ( t ) − ϕ ¯ ) ∑ n A n {\displaystyle PC(t)=\max _{\bar {\phi }}{\frac {\sum _{\rm {n}}A_{\rm {n}}\cos(\phi _{\rm {n}}(t)-{\bar {\phi }})}{\sum _{\rm {n}}A_{n}}}} where ϕ n {\displaystyle \phi _{\rm {n}}} is the local or instantaneous phase as can be calculated using the Hilbert transform and A n {\displaystyle A_{\rm {n}}} are the local amplitude, or energy, of the signal. When all the phases are aligned, this is equal to 1. Several ways of implementing phase congruency have been developed, of which two versions are available in open source, one written for MATLAB and the other written in Java as a plugin for the ImageJ software. Given the different notations used for its formulation, a unified version has been recently presented, where a methodology for the parameter tuning is also presented. == Advantages == The square-wave example is naive in that most edge detection methods deal with it equally well. For example, the first derivative has a maximal magnitude at the edges. However, there are cases where the perceived edge does not have a sharp step or a large derivative. The method of phase congruency applies to many cases where other methods fail. A notable example is an image feature consisting of a single line, such as the letter "l". Many edge-detection algorithms will pick up two adjacent edges: the transitions from white to black, and black to white. On the other hand, the phase congruency map has a single line. A simple Fourier analogy of this case is a triangle wave. In each of its crests there is a congruency of crests from different sinusoidal functions. == Disadvantages == Calculating the phase congruency map of an image is very computationally intensive, and sensitive to image noise. Techniques of noise reduction are usually applied prior to the calculation.
Celia (virtual assistant)
Celia is an artificially intelligent virtual assistant developed by Huawei for their latest HarmonyOS and Android-based EMUI smartphones that lack Google Services and a Google Assistant. The assistant can perform day-to-day tasks, which include making a phone call, setting a reminder and checking the weather. It was unveiled on 7 April 2020 and got publicly released on 27 April 2020 via an OTA update solely to selected devices that can update their software to EMUI 10.1. Huawei had initially referred to the new assistant in late 2019 by having announced that there would be an English version of their already 2018 Chinese speaker assistant—Xiaoyi—to be released into the European markets. Due to the on-going China–United States trade war, the company's newly released smartphones were left without any Google services, including the loss of Google Assistant. This subsequently led to the development and release of Celia. AI technology is integrated into the software of Celia, which allows it to translate text using a phones camera and to identify everyday objects — similar to that of Google Lens. == Features == Celia has many features that are similar to that of its rivals: the Google Assistant and Siri. It can be triggered by the words, 'Hey Celia' or be summoned by pressing and holding down on the power button. The default search engine for Celia is Bing, but this can be changed in settings. Celia can make calls, check the agenda, send a message, show the weather, set alarms and control home appliances. The assistant also has the ability to integrate itself with the stock apps of the EMUI software and toggle with the device's settings, such as by turning on the flashlight and playing multimedia content, but with the users command. With the AI that is installed in Celia, it can identify food, everyday objects and translate text using the phones camera. In China, Chinese Xiaoyi packs with an LLM model called PanGu-Σ 3.0 AI on HarmonyOS 4.0 major upgrade improvements from Celia, making the assistant smarter and more advanced compared to when it was launched in 2020 on EMUI handsets in China and internationally, surpassing Apple and Google by the being the first in the AI industry, with a dedicated AI system framework of APIs on the latest operating system that evolves to a complete large dedicated AI software stack called Harmony Intelligence of Pangu Embedded variant model and MindSpore AI framework with Neural Network Runtime on OpenHarmony-based HarmonyOS NEXT base system to replace the dual framework system with a single frame HarmonyOS 5.0 version by Q4 2024, first introduced on June 21, 2024, in Developer Beta 1 preview release at HDC 2024. == Availability by country and language == Currently, Celia is available only in German, English, French and Spanish, and has been released in Germany, the UK, France, Spain, Chile, Mexico and Colombia. Huawei has said, that there will be more regions and languages to come. == Compatible devices == Celia only became available with the EMUI 10.1 update that was released in April, which means that a limited number of devices are compatible with it. More devices will be added to the list throughout the coming months as Celia's availability increases. The current list is shown below: === Huawei P series === Huawei P50 (Pro) Huawei P40 (Lite, Pro & Pro+) Huawei P30 (Pro) === Huawei Mate series === Huawei Mate 40 Huawei Mate 30 (Lite, Pro & RS Porche Design) Huawei MatePad Pro Huawei Mate 20 (Pro, 20X 4G, 20X 5G and RS Porche Design) Huawei Mate X & Xs === Huawei Nova series === Huawei Nova 6 (Nova 6 5G & Nova 6 SE) Huawei Nova 5 (Nova 5 Pro, Nova 5i Pro & Nova 5Z) Huawei Nova Y60 === Huawei Enjoy series === Huawei Enjoy 10S == Issues == Technology news website Engadget has noted that when saying, 'Hey Celia', out aloud in the presence of an iPhone, Siri will respond along with Celia; this is apparently because 'Celia' sounds similar to 'Siri'.
Quantum robotics
Quantum robotics is an interdisciplinary field that investigates the intersection of robotics and quantum mechanics. This field, in particular, explores the applications of quantum phenomena such as quantum entanglement within the realm of robotics. Examples of its applications include quantum communication in multi-agent cooperative robotic scenarios, the use of quantum algorithms in performing robotics tasks, and the integration of quantum devices (e.g., quantum detectors) in robotic systems. == Introduction == The free-space quantum communication between mobile platforms was proposed for reconfigurable quantum key distribution (QKD) applications using unmanned aerial vehicle (UAVs, a.k.a. drones) in 2017. This technology was later advanced in various aspects in mobile drone and vehicle platforms in several configurations such as drone-to-drone, drone-to-moving vehicle, and vehicle-to-vehicle systems. Some research has contributed to low-size, low-weight, and low-power quantum key distribution systems for small-form UAVs, the characterization of a polarization-based receiver for mobile free-space optical QKD, and optical-relayed entanglement distribution using drones as mobile nodes. The topic of free-space quantum communication between mobile platforms, initially developed to meet the need for free-space QKD and entanglement distribution using mobile nodes, was brought into the robotics domain as an emerging interdisciplinary mechatronics topic to investigate the interface between quantum technologies and the robotic systems domain. The main advantage of such integrated technology is the guaranteed security in communication between multi-agent and cooperative autonomous systems. Other advances are anticipated. == Quantum entanglement == According to quantum mechanics, entanglement occurs when more than one particle become connected. If the state of one particle changes then it will instantly change the state of other particles regardless of their distance. Entangled sensors do the same kind of work and achieve strong sensitivity. A group of quantum robots can measure magnetic fields, gravitational fields and other physical properties using entangled sensors with high rate of accuracy. Again the connection of one robot to other is increased (become strong) by quantum entanglement. == Quantum teleportation == Quantum teleportation is the transfer of quantum information (not physical objects). This is used in case of multi robot process. One robot is programmed with a complex quantum update. Then that robot can teleport that complex quantum information (the update) to other robots. This teleportation or communication is very secure because all the work is done in quantum state. == Kinematics == Quantum computing has been proposed as being optimal for calculating inverse kinematics values. == Alice and Bob robots == In the realm of quantum mechanics, the names Alice and Bob are frequently employed to illustrate various phenomena, protocols, and applications. These include their roles in QKD, quantum cryptography, entanglement, and teleportation. The terms "Alice Robot" and "Bob Robot" serve as analogous expressions that merge the concepts of Alice and Bob from quantum mechanics with mechatronic mobile platforms (such as robots, drones, and autonomous vehicles). For example, the Alice Robot functions as a transmitter platform that communicates with the Bob Robot, housing the receiving detectors.
Dynamic Graphics Project
The Dynamic Graphics Project (commonly referred to as DGP) is an interdisciplinary research laboratory at the University of Toronto devoted to projects involving computer graphics, computer vision, human computer interaction, and visualization. The lab began as the computer graphics research group of Department of Computer Science Professor Leslie Mezei in 1967. Mezei invited Bill Buxton, a pioneer of human–computer interaction (HCI) to join. In 1972, Ronald Baecker, another HCI pioneer joined, establishing DGP as the first Canadian university group focused on computer graphics and human-computer interaction. According to csrankings.org, the DGP is the top research institution in the world for the combined subfields of computer graphics, HCI, and visualization. Since then, DGP has hosted many well known faculty and students in computer graphics, computer vision and HCI (e.g., Alain Fournier, Bill Reeves, Jos Stam, Demetri Terzopoulos, Marilyn Tremaine). DGP also occasionally hosts artists in residence (e.g., Oscar-winner Chris Landreth). Many past and current researchers at Autodesk (and before that Alias Wavefront) graduated after working at DGP. DGP is located in the St. George campus of University of Toronto in the Bahen Centre for Information Technology. DGP researchers regularly publish at ACM SIGGRAPH, ACM SIGCHI and ICCV. DGP hosts the Toronto User Experience (TUX) Speaker Series and the Sanders Series Lectures. == Notable alumni == Bill Buxton (MS 1978) James McCrae (PhD 2013) Dimitris Metaxas (PhD 1992) Bill Reeves (MS 1976, Ph.D. 1980) Jos Stam (MS 1991, Ph.D. 1995)