관련 자료

FIBERBOTSMIT Media Lab

FIBERBOTS is a digit­al fab­ric­a­tion plat­form fus­ing cooper­at­ive robot­ic man­u­fac­tur­ing with abil­it­ies to gen­er­ate highly soph­ist­ic­ated mater­i­al archi­tec­tures. The plat­form can enable design and digit­al fab­ric­a­tion of large-scale struc­tures with high spa­tial res­ol­u­tion lever­aging mobile fab­ric­a­tion nodes, or robot­ic “agents” designed to tune the mater­i­al make-up of the struc­ture being con­struc­ted on the fly as informed by their envir­on­ment.
Some of nature’s most suc­cess­ful organ­isms col­lab­or­ate in a swarm fash­ion. Nature’s build­ers lever­age hier­arch­ic­al struc­tures in order to con­trol and optim­ize mul­tiple mater­i­al prop­er­ties. Spiders, for instance, spin pro­tein fibers to weave silk webs with tun­able loc­al and glob­al mater­i­al prop­er­ties, adjust­ing their mater­i­al com­pos­i­tion and fiber place­ment to cre­ate strong yet flex­ible struc­tures optim­ized to cap­ture prey. Oth­er organ­isms, such as bees, ants and ter­mites cooper­ate to rap­idly build struc­tures much lar­ger than them­selves.

https://www.media.mit.edu/projects/fiberbots/overview/

FIBERBOTS: Design and Digital Fabrication of Tubular Structures Using Robot Swarms

Rap­idly increas­ing demands to enhance speed and safety for on-site and site-spe­cif­ic con­struc­tion drive the need to devel­op col­lab­or­at­ive and autonom­ous sys­tems. Such sys­tems gen­er­ally involve the use of ret­ro­fit­ted gantry and robot arm sys­tems, which have size con­straints and are com­pu­ta­tion­ally com­plex to use in col­lab­or­a­tion with oth­er machines. This paper describes an altern­at­ive multi-robot sys­tem built from the ground up to enable col­lab­or­at­ive and site-spe­cif­ic con­struc­tion. The strategy sim­pli­fies design work­flows while sim­ul­tan­eously main­tain­ing struc­tur­al, envir­on­ment­al, and robot dynam­ic con­straints. This sys­tem of ‘swarm fab­ric­at­ors’ enables robot­ic agents to oper­ate in par­al­lel, digit­ally fab­ric­at­ing inde­pend­ent tubu­lar forms. Each robot con­trols its pos­i­tion allow­ing the sys­tem to effect­ively ‘grow’ a large-scale woven archi­tec­ture. The robots fab­ric­ate by pulling fiber and res­in from ground-based stor­age and wind­ing a com­pos­ite around their own bod­ies. Addi­tion­al sec­tions of a com­pos­ite tube are appen­ded upon each oth­er, start­ing from a base. The sys­tem relies on an envir­on­ment­ally informed flock­ing-based strategy to design the struc­ture and inform the robots’ tra­ject­or­ies.

https://link.springer.com/chapter/10.1007/978–3-319–92294-2_22

Es Devlin to design interactive Poem Pavilion for Dubai Expo 2020

Brit­ish set design­er Es Devlin has been chosen to cre­ate the UK Pavil­ion at the Dubai Expo 2020, with a per­form­at­ive struc­ture that will use arti­fi­cial intel­li­gence to write poems.

Called the Poem Pavil­ion, the struc­ture will be the first UK Pavil­ion cre­ated by a female design­er. It will fea­ture an illu­min­ated “mes­sage to space” made up of numer­ous AI-gen­er­ated poems, which the Expo’s anti­cip­ated 25 mil­lion vis­it­ors will be invited to con­trib­ute to.
The 20-metre-high, cone-shaped pavil­ion will be made up of rows of pro­trud­ing slats that extend out­wards from one cent­ral point to form a cir­cu­lar facade. Poems lit up in LEDs will scroll across the facade.

Edmond De Belamy

https://obvious-art.com/assets/img/aedmond.png
The shad­ows of the demons of com­plex­ity awaken by fam­ily are haunt­ing me.
Everything was so simple back then.
Exhib­i­tion : Chrisite’s New York
Own­er : Anonym­ous
Auc­tionned Price : 432 000$
https://obvious-art.com/edmond-de-belamy.html

Christie’s sells AI-cre­ated art­work painted using algorithm for $432,000
2018년 10월 29일 기사

An art­work cre­ated by Par­is-based art col­lect­ive Obvi­ous using arti­fi­cial intel­li­gence has been sold at Christie’s auc­tion house in New York for nearly half a mil­lion dol­lars.

The AI paint­ing, titled Por­trait of Edmond de Belamy, sold for for $432,000 (£337,000) – more than 40 times the estim­ated selling price of $7,000 to $10,000.

Christie’s became the first auc­tion house to put an art­work gen­er­ated by an algorithm under the ham­mer, when the abstract por­trait was sold by the company’s New York branch.

Frieder Nake

Frieder Nake belongs to the found­ing fath­ers of (digit­al) com­puter art. He pro­duced his first works in 1963. He first exhib­ited his draw­ings at Galer­ie Wendelin Nied­lich in Stut­tgart in Novem­ber 1965. His early work was influ­enced by Max Bense’s Inform­a­tion Aes­thet­ics. Until 1969, he went through a suc­ces­sion of increas­ingly com­plex pro­grams, from machine lan­guage to PL/I. His main work phases are iden­ti­fied by the col­lec­tion of pro­grams, com­pArt ER56 (1963–65), Walk-through-ras­ter (1966), Mat­rix mul­ti­plic­a­tion (1967/68), Gen­er­at­ive aes­thet­ics I (1968/69). He declared not to con­tin­ue pro­du­cing com­puter art in 1971 when he pub­lished the note, There should be no com­puter art in page, the Bul­let­in of the Com­puter Arts Soci­ety. His reas­ons were mainly of polit­ic­al ori­gin: He did not see how he could act­ively con­trib­ute to com­puter art and, at the same time, be a polit­ic­al act­iv­ist against cap­it­al­ism. He resumed pub­lish­ing on com­puter art in the mid 1980s with the break-down of the rad­ic­al left. With the start in 1999 of pro­ject »com­pArt: a space for com­puter art«, Nake returned to his roots as a the­or­eti­cian, writer, cre­at­or, and teach­er in the domain of digit­al art and way bey­ond. He is head of »com­pArt: Cen­ter of Excel­lence Digit­al Art«.

Frieder Nake has been a full pro­fess­or of com­puter sci­ence at the Uni­ver­sity of Bre­men, Ger­many, since 1972. Since 2005, he has also been teach­ing at the Uni­ver­sity of the Arts, Bre­men. His teach­ing and research activ­it­ies are in com­puter graph­ics, digit­al media, com­puter art, design of inter­act­ive sys­tems, com­pu­ta­tion­al semi­ot­ics, and gen­er­al the­ory of com­put­ing. Nake was rep­res­en­ted at all import­ant inter­na­tion­al exhib­i­tions on com­puter art. He has pub­lished in all the areas men­tioned above, with a pref­er­ence for com­puter gen­er­ated images.

The draw­ings were not very excit­ing. But the »prin­ciple« was!“ (Nake 2004/2005).

http://dada.compart-bremen.de/item/agent/68


Source work: Photo by Frieder Nake 2005
Source work: Photo by Frieder Nake 2005


4차산업혁명시대 예술과 기술의 미래’ 토론회

한겨레 신문 기사 ‘AI의 창작활동’, 예술의 위기인가 지평 확대인가
2018년 11월 25일 기사

b036497501df13bd773513a53cb3aac5_1540202061_679.jpg
Image may contain: text
Image may contain: 4 people
https://www.libraryonroad.kr/view/program_special/2931/
11월15일 이화여대에서 열린 ‘4차산업혁명시대 예술과 기술의 미래’ 토론회에서 미학자 진중권(오른쪽) 동양대 교수가 프리더 나케의 컴퓨터 예술작품을 소개하고 있다. 수학자 프리더 나케는 소프트웨어 프로그램이 예술을 창작할 수 있다는 생각으로 일련의 작업을 해온, 컴퓨터 예술의 선구자다.
11월15일 이화여대에서 열린 ‘4차산업혁명시대 예술과 기술의 미래’ 토론회에서
미학자 진중권(오른쪽) 동양대 교수가 프리더 나케의 컴퓨터 예술작품을 소개하고 있다.
수학자 프리더 나케는 소프트웨어 프로그램이 예술을 창작할 수 있다는 생각으로 일련의 작업을 해온,
컴퓨터 예술의 선구자다.

인공지능이 미술품을 창작하는 환경에서 예술과 창작 활동의 의미는 어떻게 달라지게 될까? 인공지능이 예술품을 만든다는 것은 인간의 고유한 능력으로 여겨져온 창의성에 대한 도전인가, 아니면 사진기술처럼 예술 영역을 새롭게 확장하는 도구의 등장인가. 최근 인공지능이 인간 수준의 예술품을 만드는 상황이 벌어지면서 인공지능 환경에서 예술의 본질에 대한 질문이 움트고 있다.

지난달 미국 뉴욕 크리스티 경매에서 최초로 입찰이 이뤄진 인공지능 오비어스가 만든 작품 ‘에드몽 드 벨라미’. 화가의 서명 대신 오른쪽 아래에 작품 생성 알고리즘이 적혀 있다.
지난달 미국 뉴욕 크리스티 경매에서 최초로 입찰이 이뤄진
인공지능 오비어스가 만든 작품 ‘에드몽 드 벨라미’.
화가의 서명 대신 오른쪽 아래에 작품 생성 알고리즘이 적혀 있다.

Dennis, a realtime generated 3D video

http://www.dennis.video/

Den­nis is a music video with music from popcorn_10 pro­duced by Always & Forever. It’s a gen­er­at­ive 3D exper­i­ence whose every move­ment responds to the song’s finest details. Each frame is cre­ated in real time with code—nothing is pre-rendered. An inter­act­ive cam­era allows you to explore the scenes, which are cre­ated pro­ced­ur­ally every time you press play. You’ll nev­er see the same video twice.

AsiaHaptics 2018

http://asiahaptics.org/

Asi­aHaptics is a new type of inter­na­tion­al con­fer­ence for the haptics fields, fea­tur­ing inter­act­ive present­a­tions with demos. Asi­aHaptics wel­comes all attendees related to or inter­ested in haptic hard­ware, human haptic per­cep­tion, and oth­er haptic applic­a­tions, from not only Asia but also all over the world. The third con­fer­ence, Asi­aHaptics 2018, will take place dur­ing Nov. 14 – 16, 2018 at CON­VENSiA con­ven­tion cen­ter, Song­do inter­na­tion­al busi­ness dis­trict, South Korea.

수행01

  1. 배경 패턴 만들기
    1. Draw에서 학습한 그리기 함수들을 사용하자
    2. for loop을 사용하여 1의 내용이 반복적으로 나타나도록 하자
  2. 화면에 그림을 불러오기
  3. 선택한 글꼴을 적용하여 화면에 문자열을 출력하기
  4. 위치, 크기, 각도를 바꾸어 여러 번 나타나는 요소 만들기
    1. 해당 요소를 그리는 함수를 작성하자
    2. 함수가 매개변수를 사용하도록 하자
    3. 좌표 전체를 움직이는 함수들을 사용하자
  5. 상호작용성을 가지도록 하기
    1. 마우스나 키보드의 입력을 받아 반응하게 하자

Art that Imitates Art: Computational Creativity and Creative Contracting

Com­pu­ta­tion­al creativity—a sub­do­main of arti­fi­cial intel­li­gence con­cerned with sys­tems that rep­lic­ate or assist human cre­at­ive endeavors—has been the sub­ject of aca­dem­ic inquiry for dec­ades. Now, with recent improve­ments in machine learn­ing tech­niques and the rising pop­ular­ity of all things AI, com­pu­ta­tion­al cre­ativ­ity is a medi­um for crit­ic­ally and com­mer­cially suc­cess­ful works of art. From a 2016 Rem­brandt to Jukedeck’s instant music (or muzak?), AI-assisted and AI-driv­en works are a real­ity. This raises mind-bend­ing ques­tions about the nature of cre­ativ­ity, the rela­tion­ship between the artist and the view­er, even the exist­ence of free will. For many law­yers, it also raises a more imme­di­ate ques­tion: who owns all of this art?
Cyber­law Clini­cians Jess Fjeld and Mason Kortz dis­cuss copy­right in AI-gen­er­ated works, the need for a shared under­stand­ing of what is and isn’t up for grabs in a license, and how for­ward-think­ing con­tracts can pre­vent AI developers and artists from hav­ing their rights decided by our (often notori­ously back­wards-look­ing) leg­al sys­tem.

https://cyber.harvard.edu/events/2018/luncheon/05/Fjeld_Kortz

A Legal Anatomy of AI-generated Art: Part I

By Jes­sica Fjeld and Mason Kortz
21 Novem­ber 21, 2017

Creative AI: On the Democratisation & Escalation of Creativity | creative.ai

View story at Medium.com

We live in times, where sci­ence fic­tion authors are strug­gling to keep up with real­ity. In recent years, there has been an explo­sion of research and exper­i­ments that deal with cre­ativ­ity and A.I. Almost every week, there is a new bot that paints, writes stor­ies, com­poses music, designs objects or builds houses: Arti­fi­cial Intel­li­gence sys­tems per­form­ing cre­at­ive tasks?

Our research star­ted by won­der­ing about this phe­nomen­on and play­fully exper­i­ment­ing with it. This lead to an in-depth invest­ig­a­tion, of what we call “Cre­at­iveAI”. This doc­u­ment is the first chapter of our adven­ture into Cre­at­iveAI, aim­ing at estab­lish­ing a back­story and lan­guage we can use to talk about this intric­ate sub­ject. Our ini­tial intu­ition was, that cre­ativ­ity is a cent­ral force through­out human his­tory — and is cur­rently evolving in inter­est­ing ways. In our attempt to under­stand this phe­nomen­on, we think about cre­ativ­ity and tech­no­logy in a struc­tured way. We focus on emer­ging cre­ation pat­terns, Assisted Cre­ation and Gen­er­at­ive Cre­ation, and argue that they are lead­ing to the Demo­crat­iz­a­tion and Escal­a­tion of Cre­ativ­ity.

The goal of this pro­ject is to find a set of guid­ing prin­ciples, meta­phors and ideas that inform the devel­op­ment of a Cre­at­iveAI prax­is, new the­or­ies, exper­i­ments, and applic­a­tions. To explore this space, we invest­ig­ate his­tory and tech­no­logy, con­struct a nar­rat­ive and devel­op a vis­ion for a future where Cre­at­iveAI helps us raise the human poten­tial.

INDEX

  1. Cre­ativ­ity
  2. Assisted Cre­ation
  3. Gen­er­at­ive Cre­ation
  4. Con­clu­sion
  5. Authors & Acknow­ledg­ments
  6. Ref­er­ences