generative methods applied to art and design. Architecture In 1987 Celestino Soddu created the artificial DNA of Italian Medieval towns able to generate endless 3D models of cities identifiable as belonging to the idea. In 2010, Michael Hansmeyer generated architectural columns in a project called "Subdivided Columns – A New Order (2010)". The piece explored how the simple process of repeated subdivision can create elaborate architectural patterns. Rather than designing any columns directly, Hansmeyer designed a process that produced columns automatically. The process could be run again and again with different parameters to create endless permutations. Endless permutations could be considered a hallmark of generative design. Literature Writers such as Tristan Tzara, Brion Gysin, and William Burroughs used the cut-up technique to introduce randomization to literature as a generative system. Jackson Mac Low produced computer-assisted poetry and used algorithms to generate texts; Philip M. Parker has written software to automatically generate entire books. Jason Nelson used generative methods with speech-to-text software to create a series of digital poems from movies, television and other audio sources. In the late 2010s, authors began to experiment with neural networks trained on large language datasets. David Jhave Johnston's ReRites is an early example of human-edited AI-generated poetry. Live coding Generative systems may be modified while they operate, for example by using interactive programming environments such as SuperCollider, Fluxus and TidalCycles, including patching environments such as Max/MSP, Pure Data and vvvv. This is a standard approach to programming by artists, but may also be used to create live music and/or video by manipulating generative systems on stage, a performance practice that has become known as live coding. As with many examples of software art, because live coding emphasizes human authorship rather than autonomy, it may be considered in opposition to generative art. Theories Philip Galanter In the most widely cited theory of generative art, in 2003 Philip Galanter describes generative art systems in the context of complexity theory. In particular the notion of Murray Gell-Mann and Seth Lloyd's effective complexity is cited. In this view both highly ordered and highly disordered generative art can be viewed as simple. Highly ordered generative art minimizes entropy and allows maximal data compression, and highly disordered generative art maximizes entropy and disallows significant data compression. Maximally complex generative art blends order and disorder in a manner similar to biological life, and indeed biologically inspired methods are most frequently used