Landscapes in transition : local perceptions of indigenous and European settlement changes along the Victorian coast

Around the world coastal areas are witnessing dramatic changes due to the consequences of the growth of human settlements. Rapid urban expansion in coastal settlements due to ‘life style migration’ impacts negatively on environmental coastal amenities that are the driving factor behind the attraction of these areas. The Victorian Coast in Australia is under stress, with the growth pattern of coastal settlements in a sprawling linear fashion resulting in devastating effects on the natural coastal environment, biodiversity and the loss of cultural heritage. The Victorian coast is rich in history, and the coastal towns are often described in literature as places with ‘sense of place’, or referred to as place character. This place character has been formed over many years with the interaction between social histories and natural environments woven together across time. This paper reviews the transition of the landscapes along the Great Ocean Road coastal region, and ask the question how can a potential Generative Plan be developed to establish a process to keep the place character of coastal towns. The proposed plan considers the interrelationships of nature and people as fundamental to forming place character, from the time of Indigenous habitation before European settlement, to the current day of rapid increased developments scattered along this coast.

Generative Temporal Planning with Complex Processes

Autonomous vehicles are increasingly being used in mission-critical applications, and robust methods are needed for controlling these inherently unreliable and complex systems. This thesis advocates the use of model-based programming, which allows mission designers to program autonomous missions at the level of a coach or wing commander. To support such a system, this thesis presents the Spock generative planner. To generate plans, Spock must be able to piece together vehicle commands and team tactics that have a complex behavior represented by concurrent processes. This is in contrast to traditional planners, whose operators represent simple atomic or durative actions. Spock represents operators using the RMPL language, which describes behaviors using parallel and sequential compositions of state and activity episodes. RMPL is useful for controlling mobile autonomous missions because it allows mission designers to quickly encode expressive activity models using object-oriented design methods and an intuitive set of activity combinators. Spock also is significant in that it uniformly represents operators and plan-space processes in terms of Temporal Plan Networks, which support temporal flexibility for robust plan execution. Finally, Spock is implemented as a forward progression optimal planner that walks monotonically forward through plan processes, closing any open conditions and resolving any conflicts. This thesis describes the Spock algorithm in detail, along with example problems and test results.

A generative design system based on evolutionary and mathematical functions

Previous work by Professor John Frazer on Evolutionary Architecture provides a basis for the development of a system evolving architectural envelopes in a generic and abstract manner. Recent research by the authors has focused on the implementation of a virtual environment for the automatic generation and exploration of complex forms and architectural envelopes based on solid modelling techniques and the integration of evolutionary algorithms, enhanced computational and mathematical models. Abstract data types are introduced for genotypes in a genetic algorithm order to develop complex models using generative and evolutionary computing techniques. Multi-objective optimisation techniques are employed for defining the fitness function in the evaluation process.

Creative design and the generative evolutionary paradigm

Design as seen from the designer's perspective is a series of amazing imaginative jumps or creative leaps. But design as seen by the design historian is a smooth progression or evolution of ideas that they seem self-evident and inevitable after the event. But the next step is anything but obvious for the artist/creator/inventor/designer stuck at that point just before the creative leap. They know where they have come from and have a general sense of where they are going, but often do not have a precise target or goal. This is why it is misleading to talk of design as a problem-solving activity - it is better defined as a problem-finding activity. This has been very frustrating for those trying to assist the design process with computer-based, problem-solving techniques. By the time the problem has been defined, it has been solved. Indeed the solution is often the very definition of the problem. Design must be creative-or it is mere imitation. But since this crucial creative leap seem inevitable after the event, the question must arise, can we find some way of searching the space ahead? Of course there are serious problems of knowing what we are looking for and the vastness of the search space. It may be better to discard altogether the term "searching" in the context of the design process: Conceptual analogies such as search, search spaces and fitness landscapes aim to elucidate the design process. However, the vastness of the multidimensional spaces involved make these analogies misguided and they thereby actually result in further confounding the issue. The term search becomes a misnomer since it has connotations that imply that it is possible to find what you are looking for. In such vast spaces the term search must be discarded. Thus, any attempt at searching for the highest peak in the fitness landscape as an optimal solution is also meaningless. Futhermore, even the very existence of a fitness landscape is fallacious. Although alternatives in the same region of the vast space can be compared to one another, distant alternatives will stem from radically different roots and will therefore not be comparable in any straightforward manner (Janssen 2000). Nevertheless we still have this tantalizing possibility that if a creative idea seems inevitable after the event, then somehow might the process be rserved? This may be as improbable as attempting to reverse time. A more helpful analogy is from nature, where it is generally assumed that the process of evolution is not long-term goal directed or teleological. Dennett points out a common minsunderstanding of Darwinism: the idea that evolution by natural selection is a procedure for producing human beings. Evolution can have produced humankind by an algorithmic process, without its being true that evolution is an algorithm for producing us. If we were to wind the tape of life back and run this algorithm again, the likelihood of "us" being created again is infinitesimally small (Gould 1989; Dennett 1995). But nevertheless Mother Nature has proved a remarkably successful, resourceful, and imaginative inventor generating a constant flow of incredible new design ideas to fire our imagination. Hence the current interest in the potential of the evolutionary paradigm in design. These evolutionary methods are frequently based on techniques such as the application of evolutionary algorithms that are usually thought of as search algorithms. It is necessary to abandon such connections with searching and see the evolutionary algorithm as a direct analogy with the evolutionary processes of nature. The process of natural selection can generate a wealth of alternative experiements, and the better ones survive. There is no one solution, there is no optimal solution, but there is continuous experiment. Nature is profligate with her prototyping and ruthless in her elimination of less successful experiments. Most importantly, nature has all the time in the world. As designers we cannot afford prototyping and ruthless experiment, nor can we operate on the time scale of the natural design process. Instead we can use the computer to compress space and time and to perform virtual prototyping and evaluation before committing ourselves to actual prototypes. This is the hypothesis underlying the evolutionary paradigm in design (1992, 1995).

Generative and evolutionary models for design

The paper describes three design models that make use of generative and evolutionary systems. The models describe overall design methods and processes. Each model defines a set of tasks to be performed by the design team, and in each case one of the tasks requires a generative or evolutionary design system. The architectures of these systems are also broadly described.

Submission to Brisbane City Council : Draft Brisbane Economic Development Plan

As with any strategic planning process, evidence-based estimates are needed to plan effectively for the future. Comments below are based upon data drawn from the Brisbane Long Term Infrastructure Plan (Department of Local Government, Planning, Sport and Recreation, 2005) and the Brisbane Long Term Planning Economic Indicators (National Institute of Economic and Industry Research, 2005), as these are cited as the underpinning research for the economic plan. This submission focuses on one critical aspect of the strategic plan — the relationship between population growth, employment growth, and infrastructure provision. While the focus of the strategic plan is on the changes which would occur within Brisbane, it is important that consideration of predicted changes in surrounding local government areas be also carried out.

Generative systems as relational bridges

Generative media systems present an opportunity for users to leverage computational systems to make sense of complex media forms through interactive and collaborative experiences. Generative music and art are a relatively new phenomenon that use procedural invention as a creative technique to produce music and visual media. These kinds of systems present a range of affordances that can facilitate new kinds of relationships with music and media performance and production. Early systems have demonstrated the potential to provide access to collaborative ensemble experiences to users with little formal musical or artistic expertise. This paper examines the relational affordances of these systems evidenced by selected field data drawn from the Network Jamming Project. These generative performance systems enable access to unique ensemble with very little musical knowledge or skill and they further offer the possibility of unique interactive relationships with artists and musical knowledge through collaborative performance. In this presentation I will focus on demonstrating how these simulated experiences might lead to understandings that may be of educational and social benefit. Conference participants will be invited to jam in real time using virtual interfaces and to view video artifacts that demonstrate an interactive relationship with artists.

Fellowship plan and conceptual framework

This document is written to provide: (1) a brief plan of the intended directions of the ALTC program ‘A Pedagogy of Supervision in the Technology disciplines’; and (2) an overview of existing research outcomes which are likely to be of interest to the technology disciplines, including some cross disciplinary research and some focussed specifically on some part of the technology field.

Generative Music editorial

An issue on generative music in Contemporary Music Review allows space to explore many of these controversies, and to explore the rich algorithmic scene in contemporary practice, as well as the diverse origins and manifestations of such a culture. A roster of interesting exponents from both academic and arts practice backgrounds are involved, matching the broad spectrum of current work. Contributed articles range from generative algorithms in live systems, from live coding to interactive music systems to computer games, through algorithmic modelling of longer-term form, evolutionary algorithms, to interfaces between modalities and mediums, in algorithmic choreography. A retrospective on the intensive experimentation into algorithmic music and sound synthesis at the Institute of Sonology in the 1960s and 70s creates a complementary strand, as well as an open paper on the issues raised by open source, as opposed to proprietary, software and operating systems, with consequences in the creation and archiving of algorithmic work.

Realistic yet humanitarian? The comprehensive plan of action and refugee policy in Southeast Asia

The 1989 Comprehensive Plan of Action (CPA) has recently been described as a successful example of how to manage large protracted refugee flows. However, this article revisits the circumstances surrounding the CPA used to resolve the prolonged Indo-Chinese refugee crisis to highlight that part of its development was linked to the fact that Southeast Asian states refused to engage with proposed solutions, which did not include repatriation for the majority of the Indo-Chinese asylum seekers who were deemed to be ‘non-genuine’1 ( UNGA, 1989a) refugees. This resulted in the CPA often forcibly repatriating ‘non-genuine’ refugees, particularly near the end of its program. This article reviews the CPA in order to assess whether its practices and results should be repeated.

The educational affordances of generative media in arts education

Network Jamming systems provide real-time collaborative media performance experiences for novice or inexperienced users. In this paper we will outline the theoretical and developmental drivers for our Network Jamming software, called jam2jam. jam2jam employs generative algorithmic techniques with particular implications for accessibility and learning. We will describe how theories of engagement have directed the design and development of jam2jam and show how iterative testing cycles in numerous international sites have informed the evolution of the system and its educational potential. Generative media systems present an opportunity for users to leverage computational systems to make sense of complex media forms through interactive and collaborative experiences. Generative music and art are a relatively new phenomenon that use procedural invention as a creative technique to produce music and visual media. These kinds of systems present a range of affordances that can facilitate new kinds of relationships with music and media performance and production. Early systems have demonstrated the potential to provide access to collaborative ensemble experiences to users with little formal musical or artistic expertise.This presentation examines the educational affordances of these systems evidenced by field data drawn from the Network Jamming Project. These generative performance systems enable access to a unique kind of music/media’ ensemble performance with very little musical/ media knowledge or skill and they further offer the possibility of unique interactive relationships with artists and creative knowledge through collaborative performance. Through the process of observing, documenting and analysing young people interacting with the generative media software jam2jam a theory of meaningful engagement has emerged from the need to describe and codify how users experience creative engagement with music/media performance and the locations of meaning. In this research we observed that the musical metaphors and practices of ‘ensemble’ or collaborative performance and improvisation as a creative process for experienced musicians can be made available to novice users. The relational meanings of these musical practices afford access to high level personal, social and cultural experiences. Within the creative process of collaborative improvisation lie a series of modes of creative engagement that move from appreciation through exploration, selection, direction toward embodiment. The expressive sounds and visions made in real-time by improvisers collaborating are immediate and compelling. Generative media systems let novices access these experiences with simple interfaces that allow them to make highly professional and expressive sonic and visual content simply by using gestures and being attentive and perceptive to their collaborators. These kinds of experiences present the potential for highly complex expressive interactions with sound and media as a performance. Evidence that has emerged from this research suggest that collaborative performance with generative media is transformative and meaningful. In this presentation we draw out these ideas around an emerging theory of meaningful engagement that has evolved from the development of network jamming software. Primarily we focus on demonstrating how these experiences might lead to understandings that may be of educational and social benefit.