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This chapter shows that generative computer art is in fact a subset of the larger field of generative art. It is seen that generative art can leverage virtually any kind of system, not just computers, and that it in fact is as old as art itself. The key element in generative art is the use of an external system to which the artist cedes partial or total control. This understanding moves generative art theory into discussions focused primarily on systems, their role, their relationship to creativity and authorship, system taxonomies, and so on. The chapter also considers a series of problems in generative art theory. It is notable that, for the most part, these problems equally apply to both digital and non‐digital generative art; to generative art past, present, and future; and to ordered, disordered, and complex generative art.

The goal of this book is twofold. On the one hand we want to offer a discussion of some of the more important properties of the nominal projection, on the other hand we want to provide the reader with tools for syntactic analysis which apply to the structure of DP but which are also relevant for other domains of syntax. In order to achieve this dual goal we will discuss phenomena which are related to the nominal projection in relation to other syntactic phenomena (e.g. pro drop will be related to N-ellipsis, the classification of pronouns will be applied to the syntax of possessive pronouns, N-movement will be compared to V-movement, the syntax of the genitive construction will be related to that of predicate inversion etc.). In the various chapters we will show how recent theoretical proposals (distributed morphology, anti-symmetry, checking theory) can cast light on aspects of the syntax of the NP. When necessary, we will provide a brief introduction of these theoretical proposals. We will also indicate problems with these analyses, whether they be inherent to the theories as such (e.g. what is the trigger for movement in antisymmetric approaches) or to the particular instantiations. The book cannot and will not provide the definitive analysis of the syntax of noun phrases. We consider that this would not be possible, given the current flux in generative syntax, with many new theoretical proposals being developed and explored, but the book aims at giving the reader the tools with which to conduct research and to evaluate proposals in the literature. In the discussion of various issues, we will apply the framework that is most adequate to deal with problems at hand. We will therefore not necessarily use the same approach throughout the discussion. Though proposals in the literature will be referred to when relevant, we cannot attempt to provide a critical survey of the literature. We feel that such a survey would be guided too strongly by theoretical choices, which would not be compatible with the pedagogical purposes this book has. The book is comparative in its approach, and data from different languages will be examined, including English, German, Dutch (West-Flemish), Greek, Romance, Semitic, Slavic, Albanian, Hungarian, Gungbe.

Computer technology provides new conditions and possibilities for art creation and research, and also expands the forms of artistic expression. Computer-created art has thus become one of the important forms of art. In this paper, we proposed a novel method of generating abstract paintings. We used the public painting dataset WikiArt and designed a K -Means algorithm that automatically finds the optimal K value to perform color segmentation on these images, and divide the picture into different color blocks. We proposed the concept of the collection of color block (CoCB), which records all color block information of the segmented image and serves as an intermediate vector for the generation of abstract painting. We extracted the CoCB as an empirical sample and used a learning model based on deep learning to automatically generate brand-new CoCBs. We then converted the CoCBs into an abstract painting, so that the generated abstract painting also followed certain aesthetic rules. Experiments showed that the resulting abstract painting have great visual impact, and some of them have been installed as decorations in public and private spaces, as well as art institutions. Also, some artists and designers have used the results in their work.

This article situates the preparation of teachers to teach in culturally and linguistically complex classrooms in international contexts. It investigates long-term social and institutional effects of professional development and documents processes that facilitate teachers' continued learning. Data from a decade-long study of U.S. and South African teachers supported a model of generative change that explained how professional development could be internalized by teachers, subsequently serving as a heuristic to help them organize their individual programs of instruction. Drawing primarily on two case studies, this article documents teachers' development of generative knowledge and illustrates how they drew on that knowledge in thinking about students and teaching. The results were to facilitate generative thinking on the part of their students as well.

The Final Volume of the Groundbreaking Trilogy on Agent-Based Modeling In this pioneering synthesis, Joshua Epstein introduces a new theoretical entity: Agent_Zero. This software individual, or \"agent,\" is endowed with distinct emotional/affective, cognitive/deliberative, and social modules. Grounded in contemporary neuroscience, these internal components interact to generate observed, often far-from-rational, individual behavior. When multiple agents of this new type move and interact spatially, they collectively generate an astonishing range of dynamics spanning the fields of social conflict, psychology, public health, law, network science, and economics. Epstein weaves a computational tapestry with threads from Plato, Hume, Darwin, Pavlov, Smith, Tolstoy, Marx, James, and Dostoevsky, among others. This transformative synthesis of social philosophy, cognitive neuroscience, and agent-based modeling will fascinate scholars and students of every stripe. Epstein's computer programs are provided in the book or on its Princeton University Press website, along with movies of his \"computational parables.? Agent_Zero is a signal departure in what it includes (e.g., a new synthesis of neurally grounded internal modules), what it eschews (e.g., standard behavioral imitation), the phenomena it generates (from genocide to financial panic), and the modeling arsenal it offers the scientific community. For generative social science, Agent_Zero presents a groundbreaking vision and the tools to realize it.

Different analyses of complex cardinal numerals have been proposed in Generative Grammar. This article provides an analysis of these expressions based on the Strong Minimalist Thesis, according to which the derivations of linguistic expressions are generated by a simple combinatorial operation, applying in accord with principles external to the language faculty. The proposed derivations account for the asymmetrical structure of additive and multiplicative complexes and for the instructions they provide to the external systems for their interpretation. They harmonize with those of coordinate nouns, and thus offer a unified Minimalist account of their core properties. Firstly, the empirical problem addressed is stated. Secondly, the theoretical framework is presented. Thirdly, Minimalist derivations for additive and multiplicative complexes are provided. Fourthly, the proposed derivations are contrasted with derivations not relying on the Strong Minimalist Thesis. Lastly, consequences for linguistic theory are identified as well as questions open to further inquiry.

Generative art can be used for creating complex multisensory and multimedia experiences within predetermined aesthetic parameters, characteristic of the performing arts and remarkably suitable to address Moholy-Nagy's \"Theatre of Totality\" vision. In generative artworks the artist will usually take on the role of an experience framework designer, and the system evolves freely within that framework and its defined aesthetic boundaries. Most generative art impacts visual arts, music, and literature, but there does not seem to be any relevant work exploring the cross-medium potential, and one could confidently state that most generative art outcomes are abstract and visual, or audio. It is the goal of this article to propose a model for the creation of generative performances within the \"Theatre of Totality's\" scope, derived from stochastic Lindenmayer systems, where mapping techniques are proposed to address the seven variables addressed by Moholy-Nagy: light, space, plane, form, motion, sound, and man (\"man\" is replaced in this article with \"human,\" except where quoting from the author), with all the inherent complexities.

First Published in 1997.The present study examines the relation between two types of structural Case on the one hand, and the interpretation of NPs on the other.The author argues that there are two types of structural Case, to wit weak D-structural and strong S-structural Case.

Endocentric Structuring of Projection-free Syntax puts forward a novel theory of syntax that rigidly adheres to the principle of Minimal Computation, in which a number of traditional but extraneous stipulations such as referential indices and representational labels/projections are eliminated. It specifically articulates the overarching hypothesis that every syntactic object is composed by recursive, phase-by-phase embedding of the endocentric structure {H, α}, where H is a head lexical item and α is another syntactic object (order irrelevant). The proposed mechanism achieves both theory-internal simplicity and broad empirical coverage at the same time, advancing a radically reduced conception of endocentricty/headedness while deriving a number of empirically grounded constraints on human language.