William Latham
Biographic Data
| ID | 1072454 |
|---|---|
| NAME | William Latham |
| GIVEN NAMES | William |
| FAMILY NAME | Latham |
| SIGNATURE | LATHAM W |
| AFFILIATIONS | Goldsmiths College, University of London, United Kingdom |
| ORCID | 0000-0002-8430-222X |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
A Machine Learning Application Based on Giorgio Morandi Still-Life Paintings to Assist Artists in the Choice of 3D Compositions
The authors present a system built to generate arrangements of threedimensional models for aesthetic evaluation, with the aim being to support an artist in their creative process. The authors explore how this system can automatically generate aesthetically pleasing content for use in the media and design industry, based on standards originally developed in master artworks. They then demonstrate the effectiveness of their process in the context of…
Exhibiting Mutator VR
Organic Art (William Latham and Stephen Todd, 1987) was reincarnated by the same authors with programmer and artist Peter Todd as Mutator2 (2013); Mutator2 was transitioned into VR as Mutator VR (2016) with programmer and artist Lance Putnam. The authors describe the graphics and audio systems of these works, particularly the procedural generation and visual effects and the creative exploitation of these effects within an art installation. The au…
Two Decades of Evolutionary Art Using Computational Ecosystems and Its Potential for Virtual Worlds
We analyse works of digital art that use a technique from artificial life (ALife) called computational ecosystems (CEs). These are systems running on computers where agents are organized in a hierarchical structure (of a food-chain) and trade token units (of energy and biomass) as a way of promoting community dynamics. We analyse a collection of forty (40) papers communicating works developed in the last two decades. We classify each of these wor…
The Emergence and Growth of Evolutionary Art - 1980-1993
One of the most interesting-if frustrating-aspects of charting the history of computer art is trying to understand the intersections of specific technologies and artistic experimentation. It is rarely as clear-cut as a simple linear influence of one to the other, partly because artists are able to envision all kinds of possibilities that technology might enable them to realize in some kind of form, but as they do so, the technology is itself shap…
The Emergence and Growth of Evolutionary Art - 1980-1993
One of the most interesting-if frustrating-aspects of charting the history of computer art is trying to understand the intersections of specific technologies and artistic experimentation. It is rarely as clear-cut as a simple linear influence of one to the other, partly because artists are able to envision all kinds of possibilities that technology might enable them to realize in some kind of form, but as they do so, the technology is itself shap…
The Emergence and Growth of Evolutionary Art - 1980-1993
One of the most interesting-if frustrating-aspects of charting the history of computer art is trying to understand the intersections of specific technologies and artistic experimentation. It is rarely as clear-cut as a simple linear influence of one to the other, partly because artists are able to envision all kinds of possibilities that technology might enable them to realize in some kind of form, but as they do so, the technology is itself shap…
Two Decades of Evolutionary Art Using Computational Ecosystems and Its Potential for Virtual Worlds
We analyse works of digital art that use a technique from artificial life (ALife) called computational ecosystems (CEs). These are systems running on computers where agents are organized in a hierarchical structure (of a food-chain) and trade token units (of energy and biomass) as a way of promoting community dynamics. We analyse a collection of forty (40) papers communicating works developed in the last two decades. We classify each of these wor…
Exhibiting Mutator VR
Organic Art (William Latham and Stephen Todd, 1987) was reincarnated by the same authors with programmer and artist Peter Todd as Mutator2 (2013); Mutator2 was transitioned into VR as Mutator VR (2016) with programmer and artist Lance Putnam. The authors describe the graphics and audio systems of these works, particularly the procedural generation and visual effects and the creative exploitation of these effects within an art installation. The au…
A Machine Learning Application Based on Giorgio Morandi Still-Life Paintings to Assist Artists in the Choice of 3D Compositions
The authors present a system built to generate arrangements of threedimensional models for aesthetic evaluation, with the aim being to support an artist in their creative process. The authors explore how this system can automatically generate aesthetically pleasing content for use in the media and design industry, based on standards originally developed in master artworks. They then demonstrate the effectiveness of their process in the context of…
Computer Science (4 works) · Aesthetic Perception and Analysis (3 works) · Art (3 works) · Visual arts (3 works) · Artificial Intelligence (2 works) · Generative grammar (2 works) · Human–computer interaction (2 works) · Music Technology and Sound Studies (2 works) · Programming language (2 works) · Aesthetics (1 work)