Color Plates

154

COLOR PLATE 1 The output from the simple LISP functions 1-9. (Casti, p. 21.)
(Reprinted from Sims, K. "Artificial Evolution for Computer Graphics." Computer
Graphics 25(4) (1991): 319-328. © , ACM Inc. by permission.)
 Art and Complexity 155

COLOR PLATE 2 A parent with 19 mutations. (Casti, p. 21.) (Reprinted from Sims, K.
"Artificial Evolution for Computer Graphics." Computer Graphics 25(4) (1991): 319-
328. © , ACM Inc. by permission.)
156

(round(log(*y (color-grad{round(*abs (round

(log(*y(color-grad(round(*y(log(invert y) 15.5))
x)3.1 1.86#(0.95 0.7 0.59) 1.35))0.19)x))(log
(invert y)15.5))x)3.1 1.9#(0.95(0.7 0.35)1.35))
0.19)x)

COLOR PI-ATE 3 (a) Evolved phenotypes and their corresponding genotypes. (Casti, p.
21.) (Reprinted from Sims, K. "Artificial Evolution for Computer Graphics." Computer
Graphics 25(4) (1991): 319-328. © , ACM Inc. by permission.)
 Art and Complexity 157

(rotate-vector(log(*y(color-grad(round(*(abs
(round(log #(0.01 0.67 0.86)0.19) x))(hsv-to-
rgb(bump(if x 10.7 y)#(0.94 0.01 0.4)0.78#(
0.18 0.28 0.58)#(0.4 0.92 0.58)10.6 0.23
0.91)))x)3.1 1.93#(0.95 0.7 0.35)3.03))-0.03
x#(0.76 0.08 0.24))

COLOR PLATE 3 (b) Evolved phenotypes and their corresponding genotypes. (Casti, p.
21.) (Reprinted from Sims, K. "Artificial Evolution for Computer Graphics." Computer
Graphics 25(4) (1991): 319-328. © , ACM Inc. by permission.)
158

COLOR PLATE 3 (c) Evolved phenotypes and their corresponding genotypes. (Casti, p.
21.) (Reprinted from Sims, K. "Artificial Evolution for Computer Graphics." Computer
Graphics 25(4) (1991): 319-328. © , ACM Inc. by permission.)
 Art and Complexity 159

COLOR PLATE 4 VERBARIUM web page. (Sommerer, p. 85.;

160

COLOR PLATE 5 VERBARIUM Web siteexample page. (Sommerer, p. 85.)

 Art and Complexity 161

COLOR PLATE 6 Life Spacies Ilgraphical user interface (GUI). The upper-left window
is used to type messages and thus create creatures, and the upper-right window is used
to place the cursor and release text characters to feed the creatures. (Sommerer, p. 85.)
162

COLOR PLATE 7 "Life Spacies II"—user as she creates and feeds creatures on the
GUI and watches them interact with other creatures on the large projection screen.
(Sommerer, p. 85.)
 Art and Complexity 163

COLOR PLATE 8 Complex interaction among Life Spacies II creatures. (Sommerer, p.

85.)

~M^\-'m^-
^^r^
'Q:'i^'

ff .i:.:-f
^ ^ %
': .:5^''^'". ' U -^ > J.^^^. ^:"'

COLOR PLATE 9 Blue Poles: Number 11, 1952 (enamel and aluminum paint on canvas,
210cm by 486.8cm) was painted by Pollock in 1952 (The National Gallery of Australia,
Canberra, Australia). (Taylor, p. 117.) (© 2002 The PoUock-Krasner Foundation/Artists
Rights Society (ARS), New York.)
164

COLOR PLATE 10 A comparison of the patterns made by seaweed (top) and those
within a 45.9cm by 69.6cm section of Full Fathom Five (bottom). Full Fathom Five (oil
on canvas, 129.2cm by 76.5cm) was painted by Pollock in 1947 (The Museum of Modern
Art, New York). The seaweed was photographed by R.P. Taylor. (Taylor, p. 117.) ((c)
2002 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York.)
 Art and Complexity 165

.^s.

COLOR PLATE 11 A comparison of the patterns made by tree roots (top) and those
within a 195.6cm by 294.1cm section of Pollock's painting Number 32, 1950 (bottom).
The tree roots were photographed by R.P. Taylor. (Taylor, p. 117.) ( © 2002 The Pollock-
Krasner Foundation/Artists Rights Society (ARS), New York.)
166

COLOR PLATE 12 Photographs of a 6.6cm by 10cm section of snow on the ground

(top), a 3300cm by 5000cm section of forest (middle) and a 165cm by 250cm section of
Pollock's One: Number 31, 1950 (bottom). The photographs of the snow and forest were
taken by R.P. Taylor. The painting One: Number 31, 1950 (oil and enamel on canvas,
269.5cm by 530.8cm) was painted by Pollock in 1950 (The Museum of Modern Art, New
York). (Taylor, p. 117.) ( © 2002 The Pollock-Krasner Foundation/Artists Rights Society
(ARS), New York.)
 Art and Complexity 167

COLOR PLATE 13 Water Birds (oil on canvas, 66.4cm by 53.8cm) was painted by
Jackson Pollock in 1943 (The Baltimore Museum of Art, Baltimore). (Taylor, p. 117.)
(© 2002 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York.)
168

COLOR PLATE 14 A comparison of (top) the black anchor layer and (bottom) the com-
pletepattern consisting of four layers (black, brown, white and gray on a beige canvas)
for the painting Autumn Rhythm: Number 30, 1950. Autumn Rhythm: Number 30, 1950
(oil on canvas, 266.7cra by 525.8cm) was painted by Pollock in 1950 (The MetropoHtan
Museum of Art, New York). (Taylor, p. 117.) ( © 2002 The Pollock-Krasner Founda-
tion/Artists Rights Society (ARS), New York.)
 Art and Complexity 169

COLOR PLATE 15 A drip painting of unknown origin (61cm by 89cm) painted on

masonite hard-board using aluminum, enamel and oil paints (Glenn Day, Texas). (Taylor,
p. 117.)