In evolutionary art, initially generated art is put through an iterated process of selection and modification to arrive at a final product, where it is the artist who is the selective agent.

Alternatively a selection pressure can be generated implicitly, for example according to the length of time a viewer spends near a piece of evolving art.

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He searches for enough order to be recognizable and enough chaos to break out of ordinary forms. What I enjoy the most is the complex and intricate results you can get from a set of simple rules.

In 2010, Michael Hansmeyer generated architectural columns in a project called Subdivided Columns A New Order (2010).

The piece explored how the simple process of repeated subdivision can create elaborate architectural patterns.

Rather than designing any columns directly, Hansmeyer designed a process that produced columns automatically.

The process could be run again and again with different parameters to create endless permutations, a hallmark of generative design.

Then a computer or less commonly, a human follows those rules to produce new works.

Generative artists leverage modern processing power to invent new aesthetics instructing programs to run within a set of artistic constraints, and guiding the process to a desired result.

For an exceptionally practical guide to coding your own generative art, we recommend The Nature of Code.

The process allows for more artificial serendipity the happy accidents and novel ideas that normally take time to stumble upon.

In this striking example of Computational Architecture, a grotto set was designed for Mozarts opera.

Hansmeyer used generative design to help create the grotto set for Mozarts opera in the image above.

The design process strikes a balance between the expected and the unexpected, between control and relinquishment.

While the processes are deterministic, the results are not foreseeable.

Muqarnas are elaborate ornamental vaultings, and some of the earliest and most impressive examples of a rule-based architectural design.

Using advances in computational design and digital fabrication, Hansmeyer invites us to revisit these typologies.

His generative art process allows him to create objects of exceptional breadth and depth; endless permutations of designs with a richness of detail that can once again evoke marvel, curiosity and bewilderment of these traditional architectural wonders.

In Platonic Solids below, Hansmeyer takes the most primitive forms, the platonic solids, and repeatedly employs one single operation the division of a forms faces into smaller faces until a new form is produced.

With the inclusion of such systems as symmetry, pattern, and tiling one can view generative art as being old as art itself.

This view of generative art also includes 20th century chance procedures as used by Cage, Burroughs, Ellsworth, Duchamp, and others.

Cecilia Di Chio from the book Applications of Evolutionary Computation.

Generative Art Example: Anders Hoff Anders Hoff (a.k.a.

Twitter) is a generative artist who is fascinated by patterns.

He often finds it useful to start with a highly organized structure and to then look for ways to gradually disrupt it.

This is part of his project Inconvergent, which explores the complex behavior that emerges from systems with simple rules.

He searches for enough order to be recognizable and enough chaos to break out of ordinary forms.

What I enjoy the most is the complex and intricate results you can get from a set of simple rules.

Windows 10 Generative Art Software