The author presents a method for identifying the sequence of stages of the creative process in painting, specifically an artist's decisions about such parameters as genre, composition, color structure, etc. The method is based on the calculation of the coefficients of informativity relating to the distribution (and hence, entropy) of the artist's works over the above parameters. Using this method, 240 paintings by three famous Russian artists (Pavel

The Genetic Sculpture Park seeks to engage artists and observers in a creative dialogue and to empower novices in the creation of complex computer-graphic models. Each visitor to the park experiences a unique set of sculptural forms and takes part in a cooperative conversation with the computer to produce more aesthetically pleasing designs. Inspired by Darwin's theory of evolution, the project uses genetic algorithms to allow visitors to “breed” forms tailored to their individual sense of aesthetics.

In this article, the author gives an overview of SBART 2.4, an interactive system used to create abstract two-dimensional images, collages and movies. The system, one of the successors of Karl Sims's system, runs on a small computer that uses a function to calculate the color value of each pixel as a genotype. All of the ranges and domains are three-dimensional vectors. The system utilizes a multi-field user interface to enhance the diversity of production and has optional facilities that allow the creation of collages of external images or short movies.

In this article, the authors analyze the process of humanmachine interaction in the context of artistic domains, as a framework for exploring creativity and producing results that could not be obtained without such interaction. “ArTbitration” denotes a process aimed at improving users' aesthetic judgment involving evolutionary computation and other computational intelligence methodologies. The authors interpret it as an interactive, iterative optimization process.

The origin of this paper lies in the fundamental question of how complexity arose in the course of evolution and how one might construct an artistic interactive system to model and simulate this emergence of complexity.

The authors explore the creation of artificial universes that are expressible through music and internally comprehensible as complex systems. The semiotic approach this paper presents could also allow the development of new tools of investigation into the complexity of artificial-life systems. Through codification systems using musical language, it is possible to understand the patterns that the global dynamics of cellular automata produce and to use the results in the musical domain. In the authors' approach, music can be considered the semantics of complexity.

Progress in the scientific understanding and simulation of natural evolutionary mechanisms may be creating the basis for a new stage in evolution: the coming of artificial beings and artificial societies. Culture itself, aesthetics and intelligence are coming to be seen as the emergent, self-organizing qualities of a collectivity, evolved over time through both genetic and linguistic evolution. This paper sketches the development of hybrid digital worlds, in which artificial beings are able to evolve their own cultures, languages and aesthetics.