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The term "generative 3D modelling" describes a different paradigm for describing shape. The main idea is to replace 3D objects by object-generating operations: A shape is described by a sequence of processing steps, rather than the triangles which are the result of applying these operations. Shape design becomes rule design.
Procedural modeling is an umbrella term for a number of techniques in computer graphics to create 3D models and textures from sets of rules that may be easily changed over time. [1] L-Systems , fractals , and generative modeling are procedural modeling techniques since they apply algorithms for producing scenes. [ 2 ]
Unlike previous algorithmic art that followed hand-coded rules, generative adversarial networks could learn a specific aesthetic by analyzing a dataset of example images. [12] In 2015, a team at Google released DeepDream, a program that uses a convolutional neural network to find and enhance patterns in images via algorithmic pareidolia.
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.
Generative design, one of the four key methods for lightweight design in AM, is commonly applied to optimize structures for specific performance requirements. [25] Generative design can help create optimized solutions that balance multiple objectives, such as enhancing performance while minimizing cost. [26]
Grasshopper is primarily used to build generative algorithms, such as for generative art. [ 2 ] [ 3 ] Many of Grasshopper's components create 3D geometry. [ 4 ] Programs may also contain other types of algorithms including numeric, textual, [ 5 ] audio-visual [ 6 ] and haptic applications.
Computer-generated imagery (CGI) is a specific-technology or application of computer graphics for creating or improving images in art, printed media, simulators, videos and video games.
Criticising Lopes however, Juliff and Cox argue that Lopes continues to privilege interface and user at the expense of the integral condition of code in much computer art. Arguing for a more nuanced appreciation of coding, Juliff and Cox set out contemporary creative coding as the examination of code and intentionality as integral to the users ...