[其它] Artificial Life Art Composition for Cinema Cinema Beings

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发表于 2011-12-28 09:14:40 |只看该作者 |倒序浏览

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.

PACIOLI, LUCA. Divine Proportion. Ed Abaris Books. 2010