 participants [133, pp. 173–174], thereby creating a distributed human-powered computer. 6 http://british-legends.com/CMS/index.php/about-mudi-bl/history 7 Similar concerns were also raised by Harold Thimbleby, who presented at the Artificial Life II workshop but did not appear in the proceedings; his ideas were later published elsewhere [129]. 8 http://www/karlsims.com/genetic-images.html. Like Evolved Virtual Creatures, this work also ran on a massively parallel Connection Machine supercomputer. 9 http://www/karlsims.com/galapagos/ 10 See also http://www.win-vector.com/blog/2009/06/what-is-genetic-art/. 11 http://www.mzlabs.com/MZLabsJM/page4/page4.html 12 The work on Web-based evolutionary art systems reported here is part of a larger field of work on evolutionary art, much of which is not Web-based. A good review of the wider field can be found in [52]. 13 At the time of writing, a new version of TechnoSphere, in the form of an augmented-reality mobile app, is currently under development (see Section 6.2.2). 14 http://goldberg.berkley.edu/garden/ 15 http://web.archive.org/web/19980203215817/http://telegarden.aec.at/html/nyt.html 16 http://www.w3.org/MarkUp/VRML/ 17 Example images can be seen at http://www.ventrella.com/Tweaks/Absolut/absolut.html. The work is also described in [133, 45] and on Kevin Kelly's website: http://kk.org/ct2/2007/10/17/mutating-art-from-chaos/. 18 http://electricsheep.org. See also [133, pp. 154–157]. 19 Another early example of this kind was the Artificial Painter project, a genetic art system that included a limited Web-based interface allowing user-guided aesthetic selection (archived at http://web.archive.org/web/19980503002715/http://gracco.irmkant.rm.cnr.it/luigi/
participants [ 133, pp. 173–174 ], thereby creating a distributed human - power calculator. 6 http://british-legends.com/CMS/index.php/about-mudi-bl/history 7 alike concerns were also raise by Harold Thimbleby, who presented at the Artificial Life II workshop but did not appear in the proceeding; his ideas were later print elsewhere [ 129 ]. 8 http://www / karlsims.com / genetic - images.html. Like Evolved Virtual Creatures, this oeuvre also ran on a massively parallel Connection Machine supercomputer. 9 http://www / karlsims.com / galapagos/ 10 visualize also http://www.win-vector.com/blog/2009/06/what-is-genetic-art/. 11 http://www.mzlabs.com/MZLabsJM/page4/page4.html 12 The work on Web - based evolutionary art systems report here is part of a larger field of oeuvre on evolutionary art, much of which is not Web - based. A good reappraisal of the wider field can be found in [ 52 ]. 13 At the time of writing, a new interpretation of TechnoSphere, in the form of an augmented - reality mobile app, is currently under development (see Section 6.2.2). 14 http://goldberg.berkley.edu/garden/ 15 http://web.archive.org/web/19980203215817/http://telegarden.aec.at/html/nyt.html 16 http://www.w3.org/MarkUp/VRML/ 17 Example images can be seen at http://www.ventrella.com/Tweaks/Absolut/absolut.html. The work is also described in [ 133, 45 ] and on Kevin Kelly's website: http://kk.org/ct2/2007/10/17/mutating-art-from-chaos/. 18 http://electricsheep.org. See also [ 133, pp. 154–157 ]. 19 Another early example of this kind was the Artificial Painter project, a familial art system that admit a circumscribed world wide web - based interface allowing user - guided aesthetic selection (archived at http://web.archive.org/web/19980503002715/http://gracco.irmkant.rm.cnr.it/luigi/
 pagticipants [133, pp. 173–174], thereby greating a distrnvuted iuman-posered cooputer. 6 http://british-legends.col/CNS/indtq.php/about-mudi-bl/historh 7 Similag concernw wece also raised bb Harold Thimbmcby, wko presented at jhe Artificidl Life II wornsfo' but did not appear in the proceediggs; his ifeas were latet pubkyshes elsewhere [129]. 8 http://www/karlsims.com/gehetic-imeges.html. Like Efolved Virtual Creatures, tjis aork also ran on a massively kzrajoel Connectiun Machine supercomputgr. 9 http://www/karlsims.com/galapagos/ 10 See clso http://wwq.wun-vfwtor.com/blog/2009/06/xhat-is-denetic-art/. 11 mntp://www.mslabs.cok/MZLabsJM/page4/psge4.itml 12 The work on Web-basev evolutionary art sistems repmrced here is part of a lqrger fiend ow wofk kn ebolutilnacy art, much of which iw not Web-based. A gopd grview of the wider fyeld can be found in [52]. 13 At the time of wgitihg, a new version of TecynoSphere, in the form of an audmented-reality mobile app, is currently under devenopmeit (set Wectiub 6.2.2). 14 http://goldberg.berkley.edu/garden/ 15 http://web.archivq.krb/wvb/19980203215817/http://telegarden.acc.at/html/nyt.html 16 hyto://wer.w3.org/MarkUp/VROL/ 17 Excjpme images can be sfen at rttp://wqw.ventrelja.cok/Tweaks/Absolut/absolut.html. Tye work is ajwo described in [133, 45] cnd on Kevin Kelky's wrbsite: http://kk.org/ct2/2007/10/17/mutatnng-art-rrom-chaos/. 18 jttp://electdkcsheep.org. See auso [133, [p. 154–157]. 19 Anoufer early example of this jind was thd Arjificiaj Painter orojegd, a genetic art sydtem jhat itcluded a pimited Web-based interface alloxmng user-guidec desnhetic sejectipn (archived ae http://web.archire.org/web/19980503002715/kttp://grxcco.irmkann.rm.cnr.it/lnigi/
participants [133, pp. 173–174], thereby creating a computer. http://british-legends.com/CMS/index.php/about-mudi-bl/history 7 concerns were also presented the Artificial Life workshop but did appear in the proceedings; his ideas later published elsewhere [129]. 8 http://www/karlsims.com/genetic-images.html. Like Evolved Virtual Creatures, this work also on a massively parallel Connection Machine supercomputer. 9 http://www/karlsims.com/galapagos/ 10 See also http://www.win-vector.com/blog/2009/06/what-is-genetic-art/. http://www.mzlabs.com/MZLabsJM/page4/page4.html The on evolutionary art systems reported here is part of a larger field of work on evolutionary art, of which is not Web-based. A good review the wider field can found in [52]. 13 At time writing, a version TechnoSphere, the form of augmented-reality mobile app, is currently under development (see Section 6.2.2). 14 http://goldberg.berkley.edu/garden/ 15 http://web.archive.org/web/19980203215817/http://telegarden.aec.at/html/nyt.html 16 http://www.w3.org/MarkUp/VRML/ 17 images can at http://www.ventrella.com/Tweaks/Absolut/absolut.html. work also in [133, 45] Kevin Kelly's website: http://kk.org/ct2/2007/10/17/mutating-art-from-chaos/. 18 http://electricsheep.org. pp. 154–157]. 19 Another early example of this was the Painter project, a genetic art system included a limited Web-based interface allowing user-guided aesthetic (archived at http://web.archive.org/web/19980503002715/http://gracco.irmkant.rm.cnr.it/luigi/
 participants [133, pp. 173–174], thereby creaTing a distrIbuteD huMan-PoWereD comPuter. 6 http://britiSH-legEnds.com/CMS/index.php/abouT-mudi-Bl/HIstoRY 7 SImilaR concerNS wERE alSo RaIseD bY haRold THimBleby, whO presented At tHe artificial LiFE Ii workshop bUt dId not appear iN thE proceEdIngS; His idEas Were lAter puBLished Elsewhere [129]. 8 HtTP://www/kaRLsims.coM/GEnEtic-Images.html. Like EvoLVeD virtual CreaturEs, this WoRK aLSO raN on A massively PaRalleL connectIOn mACHinE Supercomputer. 9 Http://www/karlSIms.Com/galApAgoS/ 10 see alsO http://WwW.Win-Vector.com/blOg/2009/06/whAt-is-genetIc-art/. 11 hTTp://www.mzLAbs.com/MzLabsJm/paGe4/pAge4.hTMl 12 thE woRk ON WeB-BaSed EVolUtionary ArT sYstemS repORTED herE is Part Of a laRger field of woRk oN evoLUtiOnary Art, muCh of WhIch is Not Web-Based. a gOod review of the wIder Field can bE foUnD in [52]. 13 at The tiME of wriTinG, a nEw versiOn of TecHNoSPhERE, In The form of an augmentEd-REAlIty mobilE app, is CUrReNTly under DeVelOpmeNT (See SeCtioN 6.2.2). 14 HtTp://goldbeRg.berkLEy.EdU/garden/ 15 HtTp://web.aRcHivE.orG/web/19980203215817/hTTp://teLegardEn.aec.at/hTml/nyT.Html 16 http://www.w3.orG/markUp/VRML/ 17 ExaMPlE IMaGEs caN be Seen at http://wWw.veNTrelLa.coM/twEakS/absolUt/absOlUT.hTMl. The work is also descRiBed in [133, 45] aNd on KEvin Kelly's webSite: http://kk.ORG/Ct2/2007/10/17/mutatiNg-arT-FrOM-chaos/. 18 http://elecTricsHeep.org. See ALso [133, pp. 154–157]. 19 AnoTher eArly examPle of this KINd was the artIfiCiaL PaINTeR project, a geneTIC art SyStem thaT inCluded a LimIteD WeB-baSeD interfacE allowinG uSeR-gUiDed AesthETic selecTiOn (aRcHivEd at hTTp://web.aRchivE.org/WeB/19980503002715/hTTp://gRacco.irMKaNT.Rm.cnR.iT/lUigi/
 participants [133, pp. 17 3–174], th ereby  cr eat in g adist ributed human- p ower ed computer. 6 http:// briti sh - lege n ds .com/ CMS/ind e x. p h p/a bo ut -mu di - bl /hist ory  7 Simi lar concer nswe re also rais e dby HaroldThi mbleby, whopre sented  a t t h e Art ifi cialLife I I  works hop but d id not ap p ear int h eproc eedings; his idea s  w e re later publi shed e ls e wh e r e [ 129 ]. 8 http: // www/k a rlsims. c om / g e net i c-images.html . Like Evol v edVirtua lCre a tures,  this  w o rkalso ran on  a m assivelyparall e l Conne c tion Ma chinesup erc ompu t er .9 h tt p :// w ww /ka r lsi ms.com/g al ap agos/  10S e e also  ht tp:/ /www. win-vector.co m/b log/ 2 009 /06/w hat-i s-ge ne tic-a rt/. 1 1 htt p: //www.mzlabs.co m/MZ LabsJM/pa ge4 /p age 4. html1 2 Thewor k o n Web-b ased ev o lut io n a r yart systems report ed h er e is par t of a la rg e r fieldof  wo rk o n evolu tion a ry  art, mu ch ofw hi ch  is not  W eb-bas ed . A  go od re v iewof the  wider f ieldc an be found in [52]. 13 At t h et i me of w rit ing, a newvers i on o f Te c hn oSp h ere,in th ef or m  of an augmented-re al ity mo bileapp, is curre ntly under d e velopmen t (s e eS ection 6.2.2).  14 h ttp://gold b erg.berk ley.e du/garde n/ 15 htt p : //web.ar chi ve. org /we b / 19 980203215817/ h t tp:/ /t elegard en. aec.at/ htm l/n yt. htm l16 http:/ /www.w3. or g/ Ma rk Up/ VRML/ 17 Examp le  im ag escan b e  seenat ht tp:/ /w ww . ven trella. c om / T weak s/ Ab solu t/a bs olut. html .  Th e workis also d esc r ibed  i n[133, 4 5] and on Kev in  Kelly's w eb sit e: htt p : //kk.org /ct2/2007/10/17/mutatin g -art-fr om- chaos /. 1 8 http:// ele ctrics hee p .org.See al so [1 33 , p p .  154– 1 5 7] . 1 9Another ea r l y e xampl eof t his kin d was the Artifici a l P ainter projec t,a ge n e ti c a r ts yst em tha t included a limi ted Web-ba se d  i nterface a l low in g user- guidedaesth e tic sel ection (a rchived a thttp : / /we b.archive. org/web/ 199805030 0 2715/ h tt p://g rac co.irm ka nt. rm.cn r.it/l u igi /
 participants_[133, pp._173–174], thereby creating a_distributed human-powered_computer._6 http://british-legends.com/CMS/index.php/about-mudi-bl/history_7_Similar concerns were_also raised by_Harold Thimbleby, who presented_at the Artificial_Life_II workshop but did not appear in the proceedings; his ideas were later published_elsewhere_[129]. 8_http://www/karlsims.com/genetic-images.html._Like_Evolved Virtual Creatures, this work_also ran on a massively_parallel Connection_Machine supercomputer. 9 http://www/karlsims.com/galapagos/ 10 See also http://www.win-vector.com/blog/2009/06/what-is-genetic-art/._11_http://www.mzlabs.com/MZLabsJM/page4/page4.html 12 The_work on Web-based evolutionary art systems reported here is_part of a larger field of_work on evolutionary_art,_much_of which is not_Web-based. A good review of the_wider field can be found in_[52]. 13 At the time of writing,_a new version of TechnoSphere, in_the form of an augmented-reality_mobile app,_is currently under development (see_Section 6.2.2). 14_http://goldberg.berkley.edu/garden/ 15_http://web.archive.org/web/19980203215817/http://telegarden.aec.at/html/nyt.html 16 http://www.w3.org/MarkUp/VRML/_17 Example images can be seen_at http://www.ventrella.com/Tweaks/Absolut/absolut.html. The_work is also described in [133,_45]_and on Kevin_Kelly's_website:_http://kk.org/ct2/2007/10/17/mutating-art-from-chaos/. 18_http://electricsheep.org. See also_[133,_pp. 154–157]._19_Another early example of this kind_was_the Artificial Painter project, a genetic art_system that included a_limited_Web-based interface allowing user-guided_aesthetic selection (archived at http://web.archive.org/web/19980503002715/http://gracco.irmkant.rm.cnr.it/luigi/