In the field of generative art and design, design concepts are represented as code. This generative code functions as DNA does in nature. It uses artificial life to generate a multiplicity of possible artworks, artificial events, architectures and virtual environments. In the generative approach the real artwork is not merely a product, such as an image or 3D model. The generative artwork is an Idea-Product.

The application of artificial-life principles for artistic use has its origins in the early works of Sommerer and Mignonneau, Sims and Latham. Most of these works are based on simulated evolution and the determination of fitness according to aesthetics. Of particular interest is the use of evolving expressions, which were first introduced by Sims. The author documents refinements to the method of evolving expressions by Rooke, Ibrahim, Musgrave, Unemi, himself and others. He then considers the challenge of creating autonomously evolved artworks on the basis of simulated aesthetics.

This paper discusses the aims and goals of artificial evolution in relation to two of the founding features of A-Life: how to characterize the domain of the possible and the criterion of lifelikeness. It is argued that artificial evolution should aim to understand the evolution of organizations and that this will bring about a better understanding of possible evolutions that could have taken place on Earth.

This juxtaposition of autobiographical statements written in 1933 by Aleksandr Drevin and Nadezhda Udal'tsova, together with an introduction to their artistic careers and a select chronology designed to place them in the context of their times, is intended to show how early twentieth-century Russian art evolved in parallel to Western thought and artistic practice, taking into account contemporary developments in non-Euclidean geometry, physics, mathematics, the laws of perspective and the awareness of the impossibility of “realistically” representing spatial forms on a flat surface, which,

The widespread problem of visual illiteracy prevents people from perceiving the aesthetic quality of their surroundings. This inability represents a barrier to full participation by the public in debates over the kinds of cities they want to live in, and yet the physical qualities of the environment strongly affect the social and psychological well-being of its inhabitants. This article argues that art educators have an important role in fostering the awareness, understanding and appreciation of urban aesthetics.

The Cornell Box serves as a visual emblem of the divide between arts and sciences first articulated by C.P. Snow over 40 years ago. To historians of American art, “Cornell Box” refers to the shadow boxes of Joseph Cornell; in the world of computer graphics the Cornell Box is the evaluative environment in which the Cornell University Program of Computer Graphics refined its radiosity rendering algorithms. Considering both boxes with reference to the perceptual thought of James J.