You can also download the full ebook of the proceedings of Generative Art conference 2019









Celestino Soddu


Argenia Association

Subjectivity in Machine


Alex Lobos      


Rochester Institute of Technology, Dept. of Industrial Design           

Applying Generative Systems to Product Design


Angela Ferraiolo


Sarah Lawrence College, Bronxville, New York

The Regeneration of the Earth After Its Destruction by the Capitalist Powers


Arne Eigenfeldt, Kathryn Ricketts


School for the Contemporary Arts Simon Fraser University, Vancouver; Faculty of Education, University of Regina, Regina

Unauthorised: Collaborating with a Performer Collaborating with Creative Systems


Christopher Fry           


University of Westminster, Westminster School of Art, College of Design, Creative and Digital Industries

Visuality and the haptic qualities of the line in generative artworks


CL Fisher


Centennial College, Toronto, Fine Arts Studio Program

Finland,  Turku AMK, Arts Academy

Generative Art and Community Curation:  A Proof of Concept


Daniel Bisig


Zurich University of the Arts, Institute for Computer Music and Sound Technology

Tuning Shapes and Bending Timbres – Experimenting with Smart Materials for Musical Purposes


Dejan Grba, Philippe Kocher   

Singapore, Switzerland

Nanyang Technological University, School of Art, Design and Media, Interactive Media;

Zurich University of the Arts

STUDY 7/0: Error-Generated Spatiotemporal Animation


Dimitris Gourdoukis,  Christina Moschopoulou


Aristotle University of Thessaloniki, School of Architecture

High Resolution Architecture: Ornament as a Generative Force


Enrica Colabella


Argenia Association

Numbering, where trees move


Gaëtan Robillard


University Paris 8, AIAC laboratory, INREV team        

Max Bense as a Visionary, a Dialectic of Programmed Images


Guillermo Bernal


Massachusetts Institute of Technology, Media Lab

Paper Dreams: Real-Time Human and Machine Collaboration for Visual Story Development


Hrysovalanti Fereniki Maheras


York University, Department of Computational Art

An electronic orchestra as an ode to happiness


Jeff Morris


Texas A&M University, Department of Performance Studies           

Gaming Concepts for Analysing Techniques and Aesthetics in Bytebeat Performance: The Technology Tree, the Tier List, and the Overpowered


Libero Acerbi


Transformations in Art


Manuel A. Báez


Carleton University, Azrieli School of Architecture and Urbanism

Diluvio: Teatro delle Ombre


Marie-Pascale Corcuff


Ecole Nationale Supérieure d’Architecture de Bretagne (ENSAB), Groupe de Recherche sur l’Invention et l’Evolution des Formes (GRIEF)

Self-Organization and Generativity


Meltem Büşra Önal, Erhan Karakoç


IstanbulKulturUniversity, Istanbul Technical University

Innovative Approaches To Organic Architecture: Nature-Inspired Architectural Design


Monika Karwaszewska


The Stanislaw Moniuszko Academy of Music in Gdansk, Faculty of Choral Conducting, Church Music, Arts Education, Eurhytmics and Jazz

Intermedial Score – Structural Filiations in the Context of Music-Literature Relations as well as Musical and Visual relations


Nicolas Reeves, David St-Onge, Guillaume Crédoz, Vincent Cusson, Pierre-Yves Brèches

Canada, Lebanon       

University of Quebec in Montreal, School of Design; École de Technologie Supérieure, Dept.of Mechanical Engineering; Architect, Bits To Atoms; McGill University, Schulich School of Music; Independent Researcher, Mathematics

Point d’Origine from Mende to Chambord: The paths of an evolutive design process


Nikolaus Bezruczko


Department of Clinical Psychology, Chicago School of Professional Psychology

Psychometric equating methods ease fitness function dilemma in generative art


Paul G. Mezey

Japan, Canada, Hungary

Kyoto University, Advanced Future Studies, Yukawa Inst; Memorial University; Eotvos Univ. Budapest

Analogies In Arts and Science: Shape Studies and Artful Molecules


Peter Beyls


College Ghent, The School of Arts

Computing with Living Components


Philip Galanter


A&M University, Department of Visualization

Confusions and Corrections: Complexism and Generative Art Theory


Philippe Kocher, Daniel Bisig, David Inauen


Zurich University of the Arts, Institute for Computer Music and Sound Technology

Playing the Piano: Understanding Algorithmic Music Through Interaction


Ricardo Andres Diaz Rincon, Javier M. Reyes, Paola-J Rodriguez-C


Universidad del Valle, Camaleón Research Group

An approach to Generative Art from Brain Computer Interfaces


Rita Moubarak, Jean Pierre El Asmar

Lebanon, Notre Dame University, Department of Design, Department of Architecture

Brand Identity Design and Re-Design Between Resilience and Resistance: Identity, sustainable identity design and the role of generative grammar


Ruşen Eroğlu


Istanbul Technical University, Department of Informatics, Architectural Design Computing Graduate Program

An Alternative Solution for Architectural Spaces


Sever Tipei


University of Illinois, Computer Music Project and  National Center for Supercomputing Applications

Manifold Compositions and the Evolving Entity


Silvija Ozola


Riga Technical University

Generative Transformation of Latvian Urban Space: “Blue” and “Green” Structures In The Planning and The Landscape of Cities’ Historical Centres


Slawomir Wojtkiewicz


Technical University of Bialystok, Faculty of Architecture

The art inside an architecture. Generative design system as a tool, and local architecture, as an inspiration in the shaping of the contemporary meaning of architecture in a village landscape context


Susannah Hays


University of California Berkeley; with: the Intropy=Entropy Institute, San Francisco CA; Stephen W. Porges, Atlantic Beach, FLA; Susannah Hays, Santa Fe

A Generative Art of Our Own Evolutionary Making


Suzanne Gold, Kelly Lloyd, Michal Lynn Shumate

USA, UK, Italy  Hair Club, Baltimora, London, Bomarzo

Lather Rinse Repeat: The Iterative Practice and Pedagogy of Hair Club


Umberto Roncoroni


Universidad de Lima, Faculty of Communication

Using the Inka's Calculator for Generative Art


Yeşim Okur, Erhan Karakoç


Istanbul Kültür University Department of Architecture

Interactive Architecture: The Case Studies on Designing Media Façades


Yiannis Papadopoulos, Luis Torrao, Stefanos Zannis and Agelina Vakali

UK, Greece

University of Hull - U.K. & Zannis Studio - Athens, Greece

An Alternative Virtual Odyssey





Alessandro Violi


Design for textile prints


Angela Ferraiolo


Sarah Lawrence College, Bronxville, New York

The Regeneration of the Earth After Its Destruction by the Capitalist Powers


Catherine Griffiths


University of Southern California, School of Cinematic Arts

Automata I & II: Generative art as a language of the socio-political


Chad M. Eby


University of Kentucky, School of Art & Visual Studies

Drift Mirror


Gavin O’Brien

New Zealand

Otago Polytechnic, Te Kura Matatini ki

Art and Design: The Unique and the UniformvTopic



Raitis Ozols


University of Latvia, Department of Mathematics

Art and equations


Rowan Simmons, Mark Apperley, Chin-En kEiTH Soo

New Zealand

Faculty of Computing and Mathematical Science, University of Waikato



Tatsuo Unemi


Soka University, Department of Information Systems Science

Love of Evolutionary Shrimp







Arne Eigenfeldt, Kathryn Ricketts


School for the Contemporary Arts Simon Fraser University, Vancouver; Faculty of Education, University of Regina, Regina



Beata Oryl,  Robert Turło


The Stanislaw Moniuszko Academy of Music in Gdansk; Academy of Fine Arts in Gdansk, Faculty of Graphics Department

Faculty of Choral Conducting, Church Music, Arts Education, Eurhytmics and Jazz



Enrica Colabella, Celestino Soddu, Nicola Baroni, Kathryn Ricketts


Numbering. Where Trees move


Jeff Morris


Texas A&M University, Department of Performance Studies

The Persistence of Elusion: Hard and Soft Dances — Machine Learning Glitch Version

Divining Rod


Kathryn Ricketts


University of Regina, Saskatchewan

The making of Land(ing), a provocation towards place and space



Nicola Baroni


Conservatorio di Bologna

Kobane for Ipercello


Piotr Rojek


The Karol Lipinski Academy of Music in Wroclaw, Faculty of Instrumental

Free Improvisation on a Pergolesi’s Themes


Slawomir Wojtkiewicz


Technical University of Bialystok, Faculty of Architecture





Twenty-two years ago, the Generative Art conference held its first event at the Politecnico di Milano, organized by the Generative Design Lab. The digital era took its first steps.

Today everything changed. The rapid development of technology has led the majority of people to use digital media on a daily basis. But it also led to a development based essentially on technology and not on widespread digital culture.


The Generative Art conference has existed for twenty-two years but a few years ago there was still someone who tried to make us understand what Generative Art is, claiming to do so with an approach dated, still based on cataloguing into "objective" categories and without considering the thousands of works that had been presented at the GA conference in the previous decade.

These type of attempts to catalogue Generative Art, which however have continued until today, committed a serious error of approach, which appears immediately clear as these definitions speak of Generative Techniques, inserting Generative Art in the category of techniques  i.e. computer art, evolutionary art, robotic art, and interactive art, Most of these definitions of Generative Art was made without considering that, on the contrary, Generative Art is not a technique but a peculiar scientific approach to creativity. It is a revolution compared with the "objective" approach of problem solving and optimization where technique is predominant on the poetic of the artist.


This attempt to define Generative Art as a technique has an explicit purpose: it tends to maintain the supremacy of the anonymous on the subjective vision, but above all the supremacy of technology on the subjective interpretative logics, even in art.


What emerges progressively from the works presented in these 22 years is that Generative Art is a peculiar approach to creativity able to rediscovers the author. Each author uses different “techniques”, most of them directly created by the same author, but the peculiarity is the subjective approach in defining the own vision and the related generative path.  Finally, after almost a century of collective dominance and disappearance of subjectivity, the recognizability and appreciation of the artist's vision finds a central role in the papers and generative artworks presented to GA conferences. The generative structure stems from the ability to insert subjective interpretation into machines, or rather to use machines to enhance the uniqueness of each artist's vision.


Everything is changing, and digital culture opens up new possibilities. Today, the need to conquer new spaces of complexity has led to the rediscovery of the uniqueness of individual logical approaches. This is called singularity in the last AI systems. It opens new horizons to the ability of Artificial Intelligence to be in line with a possible relationship between man and machine. AI is moving from a merely instrument of pre-packaged services toward advanced tool with the ability to answer to possible unpredictable requests.


Not only. At least in the advanced approach, the axiomatic concept of optimisation, understood as an objective standard to be achieved in the AI response to requests, has been overtaken. The concept of adaptivity understood as the search for the possible within a subjectively identified and "unique" logical vision, with respect to possible parallel visions, become the future.


Generative Art finds in this new wave its peculiarity. The future of Generative Art is to free itself from having to be catalogued in categories belonging to the techniques used to achieve it. Instead, it becomes the bearer of what, today, is not only a rediscovery but also an innovation of digital civilization: the identity of the author, of the artist, of the multiplicity of interpretative logics capable of creating not only culture but a pertinent response to the request for complexity.


So let's not talk more about what Generative Art is, there are more than a thousand texts and experiments presented in these 22 years at Generative Art that tell us about it, but let's ask ourselves what the future of Generative Art is. And let's start from the work done in these 22 years by the participants of the GA meetings.


The GA conference has opened the doors to many scientific works and experiments, to different theoretical approaches that have, every year, generated even hard debates. What appears after more than two decades is precisely the re-emergence of subjective visions, of the multiplicity of ideas based on the logical interpretation of the world around us. This appears even if these subjective visions are, very often, hidden because of the current overestimation of technology as a "collective work", each subjective logic emerges and conquers its space as it is the only chance to successfully face the complexity of the context that surrounds us.


The future of Generative Art therefore does not depend on identification in possible techniques, in the use of advanced technologies, but is concentrated in:

1.         To support the new course of AI by managing the complexity of these systems through the "singularity" directly connected to logics based on interpretative visions, to the author-artist who defined them. The aim is to create a new man-machine relationship that is not axiomatic but interlocutory and "cultural".

2.         Rediscovering the role of the author-artist because the Generative Art results are multiple, different and sometimes unexpected but always linked to a logical interpretative vision of an artist, an author, a software designer. The production of variations by machines tells, with complexity and progressive relevance, the idea of an artist.


The machines can therefore work partially autonomously but, within the machines, we will finally find the author, his recognizability and identity, and his ability to give us answers not only objective and optimized but complex, different, unexpected, certainly more relevant and more useful to choose how to broaden our vision of the world.


Celestino Soddu and Enrica Colabella

Chairs of Generative Art annual conferences since 1998