标题: Artificial Life Art Composition for Cinema Cinema Beings [打印本页] 作者: 彬彬 时间: 2011-12-28 09:14 标题: Artificial Life Art Composition for Cinema Cinema Beings 1. Artificial Beings Designers
The uniqueness of Galatema is that it is an ecosystem populated
by artificial beings whose world is not seen as a result of the
work, but whose collaborative works produce arts (images,
sounds, movies. The first "creative creatures" of the world are
Galatema Painting Beings.
These artificial beings are self-organized to create vivid paintings
in motion (Paint) and also to try to interpret our world (through a
webcam, or images, videos, etc.) to propose an adaptive artificial
view. Another important category of artificial beings in the
Galatema system is Eye Beings. These are designed to "see" and
"read". They see the world they are in, but also see our world
(with pictures from all sources) and read texts in all languages.
Their role is ***cial: they are the ones that establish
communication between the worlds (real and artificial), and
between Cinema Beings. They transmit images, and seek to
interpret words and texts.
These images and videos, which are later forwarded to Painting
Beings and other Cinema Beings, will be the subject of the first
matter images for films produced by the Galatema system. Cut
Beings are artificial creatures whose task is to make the montage
of the film. They can work in real time, pointing out the correct
Eyes Being and putting them to work. They can also make a
metric montage for one or many created films after producing a
series of numbers in time and collaboration with Eyes Beings.
2. Relative Works
Barbara Lattanzi has written excellent texts on film and has
created computational and experimental tools, but to better
understand Cinema Beings’ achievements, we must look at the
work of Jim Andrews in regard to dbCinema. dbCinema is an
online graphic synthesizer that can produce real-time painterly
cinema. We can compare his work with some experiments made
by Lev Manovich (especially The Soft Cinema).
Other interesting work is that of Ian Lobb which attempts to
explain how generative film might form a cinematic language. We
can also mention the excellent work done at MIT Media Fabrics
on Interactive Cinema by Glorianna Davenport.
3. An Evolving World
All Cinema Beings are self-organized and can operate
independently. Constantly changing and evolving, the artificial
world cinema remains controllable by the user, who can impose a
number of***les, including scenario ins***ctions. The problem of
the scenario, which can be regarded as fundamental in classical
cinema, is here strongly deflected by Cinema Beings (whose
understanding is not easy), and is used here more as the starting
frame of the real thread rather than a hypothetical history.
The important thing to understand here is that Cinema Artificial
Beings are a creative community, where every being lives in
complex relationships with others, but where none of them has the
role of director. Galatema works on the basis of a genetic
algorithm that tries to meet certain criteria throughout the process
of making the film. Cinema Beings are like autonomous beings.
Operating in conjunction with our real world through images,
videos and sounds, they must apply***les to self-organize and
produce interpretations of what they see.
Figure 1. Picture of Cinema Beings in Action .
4. Experimentations
The Cinema Beings first experiment was to test a simplified
version of the system, named Galaboids, which was mainly
focused on the behaviours of Reynolds' Boids applied to Painting
Beings. Then, a first complete film, named "Galaone" was
released in late 2010 (Figure 1). This is the first realization of
fully autonomous Cinema Beings, a film created by an ecosystem
of artificial beings.
References
ANDREWS, JIM. About dbCinema Flash ***shes. (2009 essay).
AUMONT, JACQUES. Matière d'Images. (Editions de la Différence.
2009)
DAVENPORT, GLORIANNA. Improvisational Media Fabrics: Take One .
2003
DELEUZE, GILLES. Cinema I. Continuum (march 19, 2005)
LATTANZI, BARBARA. Cinema Software and Audience as ins***ment.
New Media Caucus, (98th College Art Association Conference,
Feb.11, 2010)
LIORET, ALAIN. Being Paintings. Siggraph 2005.
LOBB, IAIN. Generative Cinema and Dialogue. University of
Plymouth. (2003).
MANOVICH, LEV. Soft Cinema: Navigating the Database. (The MIT
Press, 2005)
METZ, CHRISTIAN. Langage et Cinéma, Larousse. Paris 1971.