Abstract
The problem confronting any contemporary artist wishing to use technology is in the relationship between algorithmic and creative processes. This relationship is traditionally a conflicting one, with the artist trying to bend and adapt to the rigour and exactness of the computational process, while aspiring for an unbounded freedom of expression. Software for creative applications has typically looked to artforms and processes from non-computational media as its primary source of inspiration and metaphor (e.g. the photographic darkroom, cinema and theatre, multi-track tape recording, etc.).
Any “novelty,” … will be tested before all else for its compatibility with the whole of the system already bound by the innumerable controls commanding the execution of the organism’s projective purpose. Hence the only acceptable mutations are those which, at the very least, do not lessen the coherence of the teleonomic apparatus, but rather further strengthen it in its already assumed orientation or (probably more rarely) open the way to new possibilities. Jacques Monod, Chance and Necessity [17, p. 119]
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McCormack, J. (2008). Evolutionary L-systems. In: Hingston, P.F., Barone, L.C., Michalewicz, Z. (eds) Design by Evolution. Natural Computing Series. Springer, Berlin, Heidelberg. https://doi.org/10.1007/978-3-540-74111-4_10
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