Evolutionary and Biologically Inspired Music, Sound, Art and by Juan Romero, James McDermott, João Correia (eds.)

By Juan Romero, James McDermott, João Correia (eds.)

This e-book constitutes the refereed court cases of the 3rd foreign convention on Biologically encouraged tune, Sound, artwork and layout, Evo MUSART 2014, held in Granada, Spain, in April 2014, co-located with the Evo* 2013 occasions Euro GP, Evo COP, Evo BIO and Evo Applications.

The eleven revised complete papers awarded have been rigorously reviewed and chosen from 30 submissions. They disguise a variety of issues and alertness areas.

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Extra info for Evolutionary and Biologically Inspired Music, Sound, Art and Design: Third European Conference, EvoMUSART 2014, Granada, Spain, April 23-25, 2014, Revised Selected Papers

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Et al. ) EvoWorkshops 2004. LNCS, vol. 3005, pp. 409–418. Springer, Heidelberg (2004) 10. : Learning to colour greyscale images. The Interdisciplinary Journal of Artificial Intelligence and the Simulation of Behaviour – AISB Journal 1(2), 209–219 (2002) 11. : Fitness functions for ant colony paintings. In: Proceedings of the 4th International Conference on Computational Creativity, pp. 32–39 (2013) 12. : Photogrowth: non-photorealistic renderings through ant paintings. H. ) Genetic and Evolutionary Computation Conference, Philadelphia, PA, USA, July 7-11, pp.

Computer Graphics Forum 24(2), 283–290 (2005) 21. : An interactive artificial ant approach to non-photorealistic rendering. , Tari, Z. ) GECCO 2004. LNCS, vol. 3102, pp. 188–200. Springer, Heidelberg (2004) 22. : Integrating drawing tools with behavioral modeling in digital painting. , Nahrstedt, K. ) ACM Multimedia Workshops, pp. 39–42. ACM Press (2000) 23. : Playing in the pheromone playground: Experiences in swarm painting. , et al. ) EvoWorkshops 2005. LNCS, vol. 3449, pp. 527–532. Springer, Heidelberg (2005) 24.

However, graph structure is only one factor in phenotype generation, so two phenotypes with the same graph structure will still be different. 1, initially the “block creatures” method of Sims [14] was implemented as the way of interpreting the graph generated from the genome string. As is well known, Sims was able to evolve “biomorphic” creatures with characteristics strikingly reminiscent of real biology. However he was not able to get the system to evolve creatures with morphologies like those he was able to easily devise by hand, including a tree, a multi-segmented, multi-legged figure, and a human-like figure, despite these morphologies needing a maximum Balancing Act: Variation and Utility in Evolutionary Art 35 of only 3 nodes and 6 edges.

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