Artificial Life Needs a Real Epistemology
Proceedings of the Third European Conference on Advances in Artificial Life
Natural-Born Cyborgs: Minds, Technologies, and the Future of Human Intelligence
Natural-Born Cyborgs: Minds, Technologies, and the Future of Human Intelligence
Open problems in evolutionary music and art
EC'05 Proceedings of the 3rd European conference on Applications of Evolutionary Computing
Aesthetic evolutionary algorithm for fractal-based user-centered jewelry design
Artificial Intelligence for Engineering Design, Analysis and Manufacturing
Non-photorealistic Rendering Using Genetic Programming
SEAL '08 Proceedings of the 7th International Conference on Simulated Evolution and Learning
Proceedings of the 11th Annual Conference Companion on Genetic and Evolutionary Computation Conference: Late Breaking Papers
Environments for Sonic Ecologies
Proceedings of the 2007 EvoWorkshops 2007 on EvoCoMnet, EvoFIN, EvoIASP,EvoINTERACTION, EvoMUSART, EvoSTOC and EvoTransLog: Applications of Evolutionary Computing
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Art, it was once said, is anything you can get away with. So it is not surprising that evolutionary approaches to music and art research are challenging our notions of what is classified as "Art" and who is the "creator" of this work. The relatively new field of Evolutionary Music and Art (EMA) falls within the spectrum of Evolutionary Computing. If EC is a relatively young discipline, then EMA is even more so, if we consider Richard Dawkins' "Blind Watchmaker" software (1986) as the epoch in this field.1 Dawkins' goal was to demonstrate the power of evolution as a design algorithm, one that could design complexity without the need for an explicit designer. It did not take long for people interested in creativity and aesthetics to grasp the significance of this idea and how it might be used to create a new class of art and design: one that was evolved rather than directly created.