Design by Evolution: Advances in Evolutionary Design (Natural Computing Series)
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Evolution is Nature’s design process. The natural world is full of wonderful examples of its successes, from engineering design feats such as powered flight, to the design of complex optical systems such as the mammalian eye, to the merely stunningly beautiful designs of orchids or birds of paradise. With increasing computational power, we are now able to simulate this process with greater fidelity, combining complex simulations with high-performance evolutionary algorithms to tackle problems that used to be impractical.
This book showcases the state of the art in evolutionary algorithms for design. The chapters are organized by experts in the following fields: evolutionary design and "intelligent design" in biology, art, computational embryogeny, and engineering. The book will be of interest to researchers, practitioners and graduate students in natural computing, engineering design, biology and the creative arts.
have resulted from a combination of natural causes and intelligent intervention. For instance, one may argue that natural evolutionary mechanisms, while operating as claimed by mainstream scientists, do not account fully for life on earth, and that intelligence has guided (added information to) evolutionary processes. Note that information may have entered continually, and that there may have never have been a discrete design event. To conclude that a natural event reﬂects intelligent design, one
structures (begging the question of how to deﬁne “biological structure”) that have existed (begging the question of how to determine all structures of entities that have ever lived) or might have existed (begging the question of how to determine what might have lived), how will an algorithm eﬃciently locate the points in the sample space with the property “bidirectional rotary motor-driven propeller”? No approach other than exhaustive exploration of the sample space for points with the property
wish to produce such a computer designed object, then it must form a physical whole. If the model is to be feasible as sculpture there can be no loose cells, or groups of cells that do not connect to the rest. When the morphogenetic system was eventually operational, we made protracted experiments with randomly composed genotypes, in order to see which phenotypes this would produce. By doing a large number of samples we realised how huge the room for possible forms of manifestation was, and 2 We
sculptures was executed manually in plywood. The tracing, sawing and gluing was a time-consuming technique and in any case, we wanted an industrial procedure. It was not possible to produce such complex forms via computer controlled Rapid Prototyping techniques until the end of the nineties. Only with the arrival of the SLS (Selected Laser Sintering) technology did it become possible to computerise the whole line from design to execution. A second series of nine samples was realised with this
cycle, and k is the iteration number of the point being colored. The palette used in this chapter uses the color-cycle 6 Evolutionary Exploration of Complex Fractals 127 values: Ar = 0.019, AG = 0.015, AB = 0.011 (a slowly changing palette). The phase-shift values were set to BR = BG = BB = 0.8 so that the ﬁrst color, for k = 0, is a uniform gray. Thus, when the cosine waves that control each color are in phase, the color is some shade of gray. Since the parameters A∗ controlling speed diﬀer,