Artificial evolution for computer graphics
Proceedings of the 18th annual conference on Computer graphics and interactive techniques
Evolutionary Art and Computers
Evolutionary Art and Computers
ECAL '01 Proceedings of the 6th European Conference on Advances in Artificial Life
Mimetic variations on stigmergic swarm paintings
EA'07 Proceedings of the Evolution artificielle, 8th international conference on Artificial evolution
The T. albipennis sand painting artists
EvoApplications'11 Proceedings of the 2011 international conference on Applications of evolutionary computation - Volume Part II
Robot paintings evolved using simulated robots
EuroGP'06 Proceedings of the 2006 international conference on Applications of Evolutionary Computing
A platform for evolving controllers for simulated drawing robots
EvoMUSART'12 Proceedings of the First international conference on Evolutionary and Biologically Inspired Music, Sound, Art and Design
Photogrowth: non-photorealistic renderings through ant paintings
Proceedings of the 14th annual conference on Genetic and evolutionary computation
Generating colored 2-dimensional representations of sleep EEG with the KANTS clustering algorithm
Proceedings of the 14th annual conference companion on Genetic and evolutionary computation
Designing metrics for the purpose of aesthetically evaluating images
Computational Aesthetics'05 Proceedings of the First Eurographics conference on Computational Aesthetics in Graphics, Visualization and Imaging
Swarmic sketches and attention mechanism
EvoMUSART'13 Proceedings of the Second international conference on Evolutionary and Biologically Inspired Music, Sound, Art and Design
Swarmic paintings and colour attention
EvoMUSART'13 Proceedings of the Second international conference on Evolutionary and Biologically Inspired Music, Sound, Art and Design
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We investigate evolutionary methods for using an ant colony optimization model to evolve “ant paintings.” Our model is inspired by the recent work of Monmarché et al. The two critical differences between our model and that of Monmarché's are: (1) we do not use an interactive genetic algorithm, and (2) we allow the pheromone trail to serve as both a repelling and attracting force. Our results show how different fitness measures induce different artistic “styles” in the evolved paintings. Moreover, we explore the sensitivity of these styles to perturbations of the parameters required by the genetic algorithm. We also discuss the evolution and interaction of various castes within our artificial ant colonies.