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Introduction

Introduction to Generative Design

Generative design has become increasingly relevant as designers change how they create

and develop designs. With generative design, designers have the power to discover new and

more creative ways to eliminate fixed results. It is one of the newest art and visual creation

concepts that uses computers, data, and math to transform modern images (Westerveld, 2021).

Unlike traditional approaches, where human designers make aesthetic decisions, generative

design uses computer-generated alternatives instead of people's creativity. Designing with rules

and data is a strength beyond the limitations of working with hands. By establishing boundaries

and laws, creators can design a space where complex and ever-changing images constantly

develop (Arriagada & Ibáñez, 2020). This dynamic nature makes the result itself more intricate.

The main differences in the migration story are the generation of design and the

traditional parts, which are components of standard structures which use manual input and

predefined templates or elements. It gives adopters some positions of representing visuals as

these can reproduce complicated human stories well. With further developments in technology,

generative design becomes an indispensable part of shaping the future of visual information

networking (Hughes et al., 2021). It becomes precious for visual artists and designers whose duty

is to showcase dense stories like the Iranian migration, which stems from a complex experience.

Generative design allows us to describe people's history moving from one place to another as

Graphic visualizations.

Relevance to Iranian Migration

Migration is a multifaceted aspect of human life that involves various dimensions, such

as economic opportunities, political instability, and social unrest. People leave their homes,
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families, and even attractive settings for better prospects or to escape bad situations (Birewar,

2021). Iranian migration narratives are complex and demand historical and contemporary

examination in the context of traditionally major countries, relative geographic positioning, and

contemporary sociopolitical successes (Barberá-Tomás et al., 2019). Generative design, which

uses data to capture the essence of human emotions, is a powerful tool for exploring various

travel experiences (Sabie et al., 2020).

Personal circumstances, histories, and reactions to world politics are the main

determining factors in Iranian migration stories. Generative design allows creators to highlight

these details incredibly well due to its nature as a platform through which various perspectives

and life stories related to Iranian refugees can be accentuated (Westerveld, 2021). This method

aids expression, overcomes linguistic obstacles, and universalizes the Iranian migration

experience. To make migration stories more accessible to a broader readership and facilitate

learning, it is necessary to simplify them by visualizing them (Birewar, 2021). By placing

migration in a broader reference frame and delving into the aspects of the Iranian movement, this

study aims to shed light on how movements can cause transformation for human beings.

Limitations of Generative Design

Stephen Eskilson reminds us that generative design is a young phenomenon and,

therefore, discusses the inherent potential of this phenomenon more aspirationally than

realization. Recent projects have given glimpses of what can be achieved if the gap between

aspiration and reality improves universal application. Eskilson’s (2023) comment allows critical

thinking about generative design limitations since the field still struggles with problems. These

limitations could include algorithmic biases, ethical issues, or the requirement for better

methodologies. My study was also constrained to the range of reliability and accuracy of visual
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representations generated through generative design. Data could unintentionally create

distortion/misinterpretations in the resulting designs, leading to an imbalanced portrayal of

migration experiences. Ethical issues regarding privacy and cultural sensitivity must be taken

seriously to maintain a responsible representation of human stories. The methodological

problems can affect the validity of the results, which in turn requires homologous procedures for

validation to ensure the integrity of the research. Overcoming these obstacles rests on evaluating

designs, comparing the outputs with actual data, and adhering to ethical norms to warrant the

credibility of research conclusions. There are specific challenges that need to be addressed as far

as the field’s evolution and practical integration into design processes are concerned (Sabie et al.,

2020). Eskilson’s insight can be a reminder that although generative design holds excellent

promises, its application remains very much in progress. It is critical for designers and

researchers always to be “discerning” while deploying this emerging technology.

Benefits of the Study

Researcher Benefits

The improvements and new uses of this study will help improve design creation. The

study improves understanding by creating stories about moving. Design helps this area by

showing how it can be used to tell better stories about Iranian people moving from one place to

another. This study is the first to show how generative design can be increased, showing how

hard feelings and important human happenings (Westerveld, 2021). The study could also gain

school trust by improving design theory and practice. Such projects illustrate how generative

design could narrate tales of changing locales, igniting academic discourses about new ways to

tell stories (Sabie et al., 2020). This research allows future students and workers to improve these

results and gives designers other options for creating dynamic imagery.
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Audience Benefits

Emotional visual stories can be a powerful tool to help viewers better understand Iranian

migration. Using generative design, viewers can be taken on a journey beyond just watching and

delve into the lives of those moving (Sabie et al., 2020). This can help people with varying

knowledge about Iranian migration engage in discussions and empathize with each other's

experiences. Design tools can generate stories that Improve accessibility for people to understand

what it is like to relocate to a new place and connect with those going through similar situations

(Arriagada & Ibáñez, 2020). Through these stories, viewers can learn more about Iranian

migration's struggles, triumphs, and cultural dynamics and develop greater compassion for the

people involved.

Importance

Iran has a rich history and plays a significant role in the Middle East. Therefore, it is

crucial to understand the migration stories of Iranians, as these stories are influenced by factors

such as culture, history, and international politics. By understanding these stories, we can gain a

broader perspective of what is happening in the region (Arriagado & Ibanez, 2020). Migration

can be a complex and challenging experience, affecting an individual's sense of identity,

community, and belonging. Thus, it is essential to comprehend the effects of migration to

establish appropriate rules and actions that cater to the needs of migrants (Hughes et al., 2021).

In the case of Iranians, their migration is deeply connected to their history of survival during

hard times. Sharing their stories can help others understand their experiences better and enable us

to show more empathy towards migrants.

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Value

Sabie et al. (2020) conducted a study that showcased the value of generative design in

sharing and discussing migration stories. The study found that generative design effectively

captures and represents migration narratives through vibrant imagery, breaking down language

barriers and fostering interaction, mutual understanding, and compassion. This unique design

method helps convey complex stories and migrate tales across cultures. It employs colors and

emotions, creating engaging stories to which people with different backgrounds can relate.

Graphic design is essential in storytelling, allowing one to narrate stories visually and

generate emotion and understanding. Despite being old, Lupton's (2017) "Design is Storytelling"

remains solid ground for the statement that graphic design is necessary for telling a story as it

provides practical methods and technologies. With the use of examples, case studies, and

exercises, Lupton demonstrates in detail how graphic design elements like typography, color,

layout, and image can be strategically used to convey thematic narratives, stirring the audience’s

emotions and the ability to engage them (Westerveld et al., 2021). Through visual storytelling

techniques, Lupton's book provides designers with a complete toolkit for creating

communicative stories and their variety of nuances for a better audience understanding of

graphic design.

Moreover, the historical ties of graphic design to mass production are the basis of this

genre's broad audience. Born as the correlation of industrialization, graphic design plays a

significant role in designing the visual presentation of information and communication for all

(Birewar, 2021). The emergence of the internet and the growth of digital technologies have also

transformed the field of graphic design by giving voice to people from diverse backgrounds to

use visual communication and create it. Increased accessibility has also made the exchange and
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spread of stories through design easier, thereby making it possible for cultures worldwide to

understand one another better (Hughes et al., 2021). Hence, graphic design serves as a

storytelling tool and a democratizing medium for visual communication.

Due to design and AI biases, content curation is important. Data and patterns help

generative design systems develop new material automatically. The AI processes highly reflect

the biases in the original data and those of the society. Thus, the outcomes will reinforce societal

stereotypes or marginalize specific populations (Kirk et al., 2021). Evading these hazards

requires a content curation process. Designers could work with diverse and inclusive samples for

training generative design models to reduce output biases (Harris et al., 2023) argue that the

generative design is a revolutionary methodology that propagates compassion and calls into

question immigration stereotypes, forcing thinkers to review their beliefs. Alternate storytelling

strategies may become meaningful if conventional methods do not adequately give finesse to

migrants' feelings. Generative design might be a bridge that passes cultural boundaries and

engages every individual in a discussion enabled by cross-cultural communication, thus

establishing a broad context for thinking about migration experiences without artificial

intelligence (AI) being constrictive (Hughes et al., 2021). It obviate barriers and builds

community, which then makes storytelling a reality.

Need

Generative design is a modern solution that can effectively bridge the gap between

traditional writing and the dynamic, ever-changing aspects of the moving experience. With

generative design, we can provide an immersive and exciting storytelling experience that goes

beyond still pictures and gives a glimpse into the developments of migration stories through

time. This approach successfully reaches contemporary audiences who prefer interactive and
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visual storytelling. Therefore, generative design is essential in handling the gap between

migration stories and traditional storytelling methods. Brewer (2021) states that such an

approach can help reduce the gaps and provide a more compelling vision of migration stories.

Conclusion

The introduction of this study proposes an investigative stage where generative design

intersects with stories of Iranian immigrants. To ensure authenticity, interviews were done with

Iranians in the US using Zoom platform, which raised genuine experiences. These first-person

narratives represent a significant source of information for the study and give remarkable clarity

to the challenges, aspirations, and ways of looking at the world that Iranian immigrants faced,

which become a cornerstone for the investigation at the intersection of design and the narratives

of immigrants. Through design, it is possible to reveal the problematic emotional dimension of

cultural differences that arise when people migrate. This study will benefit both scientists and

viewers, contributing to the dynamic field of design that aims to simplify life while providing

more insights into the experiences of Iranian immigrants. The sections of this study will feature

moving stories, describe how design can offer a new perspective, help people empathize with the

struggles of others, and dispel common stereotypes to promote a better understanding of the

complex and multifaceted nature of Iranian immigration.

Chapter 1: Influences

Introduction

This generative design study focuses on visionary artists and designers. They have left a

mark through their innovative use of technology and creativity. The selected participants—Refik

Anadol, Rafael Lozano-Hemmer, David Lobser, Stephanie Dinkins, Vera Molnár, and Casey

Reas- bring a new approach to generative design. Rather than being organized chronologically or
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alphabetically, the presenting sequence is carefully selected to share stories of historical places

and themes. These artists are pioneers in generative design, using technology to create artwork.

AI, machine learning, interactive exhibitions, and 3D printing will be discussed. Casey Reas

divides generative art into the Mainframe, Studio, and Internet/Blockchain phases. This

classification shows how technological accessibility has changed and affected art. Each artist

contributes to the dynamic composition of generative design at the interface of art, technology,

and society, advancing the journey.

Refik Anadol

Refik Anadol is a well-known media artist who uses data as color and AI to transform it.

His art breaks through the limitations of architecture by enabling surrounding structures to work

together with technology in projecting hallucinations. In his 2020 TED Talk titled "Art in the

Age of Machine Intelligence," Anadol shares insights into how he works and what inspires his

work. Anadol began his artistic career in Istanbul and was influenced by the movie "Blade

Runner," which led him to technology and AI (Anadol, 2020). Anadol raises thought-provoking

questions about the memory of machines, dreaming, and instinctive connections.

Anadol suggests that AI is collaborative, and computers' intelligence benefits from

people. He implies that machines might dream, hallucinate, or present human dreams. The

transformative potential of AI in preserving and understanding history can be compared to the

movie "Blade Runner." In 2014, Anadol established a studio with architects, scientists, and

storytellers. Anadol developed wind-data paintings and kinetic sculptures, such as "Bosphorus"

(see Figure 1), demonstrating his interest in merging the virtual with the tangible.
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Figure 1 Bosphorus: Data Sculpture

Anadol's art transcends mediums, and his pioneering projects, such as "Archive

Dreaming" and "Machine Hallucination," leverage machine learning and artificial intelligence to

transform cultural archives and photo collections into exciting interactive experiences. Anadol's

poignant "Melting Memories," fashioned on the colorful canvas of Alzheimer's illness, pays

homage to memory, showing its vulnerability. Anadol's next endeavor, a graphic illustration of 30

years, aims to engage the audience intensely (Anadol, 2019). This interactive simulation

provokes reflection on shared knowledge, and AI informs how cognition can be improved. Refik

Anadol's TED Talk reveals how an artist who applies technology, data, and AI to increase the

scale of creative representation thinks. His work challenges preconceptions and encourages

innovation in generative art by investigating the evolving connection between people and

machines.
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Rafael Lozano-Hemmer and "Encode/Decode"

Rafael Lozano-Hemmer is a renowned artist from Mexico and Canada. His work

combines technology and art in unique ways. One of his notable works from 2020 is called

"Signify." This interactive installation uses generative typography based on the essay of a critical

Jamaican British scholar, Stuart Hall. Hall's essay suggests that audiences passively receive and

actively interpret media messages based on their social contexts. "Signify" projects animated

letters that slowly form sentences from Hall's essay, creating a living typographical space. The

installation is interactive, and the movement of the typography is determined by the individuals

tracking their bodies. This immersive experience combines Hall's text and the participants'

movements. The artwork is done using generative software and a tracking PC system that is

affected by the various lights and dimensions of the projected space.

TouchDesigner was used by the artist "Lozano-Hemmer" to assemble "Encode/Decode,"

a project showcasing the artist's skill at integrating software and artistic creation. TouchDesigner

is a visual development tool that helps designers/artists generate interactive and lifelike

multimedia content. This makes it possible to include various media elements through a node-

configured interface. The artworks have been displayed in museums as prestigious as the Beall

Center for Art + Technology at the University of California Irvine and Casa de México España in

Madrid. It is an essential aspect of the "Computational Poetics" exhibition that combines art and

technology. "Encode/Decode" profoundly influences its viewers and can be considered one of the

most influential and interactive means for conveying meaning. Lozano-Hemmer's art is a

reminder that technology and art are the creative of the world.

David Lobser and “Vessel”

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However, the team, formed by SVA resident David Lobser, with a recognizable style,

aims to be one of the generative art subcategories. Vessel installation uses a fused deposition

model in additive design. He makes his technology. Lobser operates on a MakerBot typewriter,

writing the primal G-Code from JavaScript rather trustworthy scripts aimed to replicate exactly

polygonal shapes due to the high popularity of those types of 3D printers. Introducing this

equilibrium disorder causes uncertainty and random miracles, strengthening the process and

leading to one supreme outcome. The fact that not all prehistoric examples show this does not

mean anything either, but rather, Lobser's variation accentuates the complexity of generative art

and proves its authenticity. In contrast to the usual modeling process in three dimensions, Lobser

begins with an effortless spiral surface, and he gradually completes making the object by adding

layers of complexity. He is not here for the sake of perfect geometrical copies. What he wants to

do is to unleash a spirit of innovation. After all, what Lobser chooses to highlight is the

groundbreaking of this project and the uncontrollability of the outcome. This is done so that the

artist eliminates overlapping and defined shapes to create room for unexpected outcomes that are

also part of generative art.

In “Vessel,” Lobser does not resort recreation of perfectly smooth surfaces; she arranges

several messy parts to add humorous features to Makerbot and thus generates the forms from the

tight textual webbings to the bird’s nests. As for this, this playful manner ensures that every

result is different with great and exciting variety. Lobser can be defined by the successful

utilization of the experimental approach revealed in the "Vessel" visual outcomes, as each

operation brings unpredictable results and adds while exposing authenticity. An essential part of

how a viewer perceives the world is Lobser's enthusiasm for unforeseen events and the feeling of

novelty that comes with them. In 2015, Lobser's "Vessel" showed that artistic beauty could be
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found in the clash between intentional experimentation, generative processes, and unintended

discoveries, often perceived as incompatible with traditional artists' methods.

Stephanie Dinkins and “Secret Garden”

Stephanie Dinkins has already become one of the most well-known contemporary artists

who works in different art forms, including photography, installations, AI programs, and

interactive installations dedicated to identity, visibility, and all the social concerns within the

black experience. Dinkins’s art has grown exponentially; he has done many different kinds of art,

from photography, installation, AI, web X, interactive installations, and more. In one of her

central projects, she describes a "Secret Garden"- a site that explores the lives and histories of

black women throughout. This installation considers the circumstances of black women who

passed through a perilous journey, including the slavery period, developing lands, traveling

places, and speculating the future. Dinkins said that just as bricks construct walls that tell

narratives encompassing generations now, these stories, as told in 2021, make them happen.

They are how these beings can fight against oppression and live in communities then.

"Secret Garden" challenges the ownership and belonging narratives on the stage because

the women keeping silent perform separately. The project also prompts the viewers to think

about the characters narrating and then highlights how everyone is interconnected and how we

all add to one collective story (Dinkins, 2021). Dinkins's innovative use of technology creates a

platform for listeners in the installation, establishing a community through which the communal

aspect is embraced (2021). Harnessing interactive installations and web XR, Dinkins drives

viewers to engage with various effects as they move in the intermediate and virtual worlds.

Blending AI and traditional media creates a cost-effective way of telling a story where viewers
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become active participants rather than passive spectators. This approach builds a lively dialogue

between ideas and, through the transmedia, imbues art with an inherent aura of inspiration.

Vera Molnar and Her Pioneering Role

Vera Molnár was one of the first female pioneers who used computers in their art

practice. She received her degree in fine arts from the Hungarian University of Fine Arts in 1947,

within the discipline range of aesthetics and art history. She began to draw the journey she had

taken as she progressed. In the sixties, she switched to non-representational forms and clavis talis

paintings. It was in 1968 that she started to utilize a computer to print out her first set of

algorithmic drawings. Molnár co-founded two influential groups in France during this period: in

1960, Groupe de Recherche d’Art Visuel was formed, and in 1962, Art et Informatique appeared,

which connected telling pictures and imagination. Molnár was doubly connected as a bridge

uniting art and science.

Her work was characterized by generic designs, where simple geometric figures and

themes received creative mesh in intuition and precision. Molná́r's legacy is not only the creation

of artworks but also his involvement in artist research groups that, in addition to the

amalgamation of art and technology, he contributed to it. In the early stages of programming

languages like Fortran and BASIC, Molnár became one of the central figures. Vera Molnár’s

impact on the art world is exemplified by her inclusion in major exhibitions, such as the 2010

MoMA showcase “On-Line: “Looking at the 20th Century: From Our Collection,” another

retrospective exhibition 2015. The 2015 exhibition was titled “Regarding the Infinite | Drawings

1950–87.” As a risk-taker with a pioneering spirit and pedantic interest in utilizing creative

technology in shape-shifting art, Molnár’s realization helped shape the further development of

this field.
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Casey Reas and the Role of Randomness

During an interview with the Le Random team, Casey Reas, an artist and co-founder of

Processing & Feral File, shared insights on the historical generations of digital generative art.

The digital generative art organization Le Random contextualizes and enhances notable

generative artists' work. The 1950s – 1980 generation was divided into three principal eras, with

generation one referred to as the Mainframe Era (Bauman). This era was responsible for

exceptional achievements in computer science and identifying underlying patterns of innovation.

Mainframe computers appeared during this period, and many early generative artists were

mathematicians, engineers, or scientists. With the cheap availability of computers such as Apple

II, Commodore 64, and Commodore Amiga, the transition from research labs to artist studios

became more prominent. Generation 2, the Studio Era, spanned from the 1990s to 2014, when

there was a revolutionary change as computers entered artists’ studios. According to Bauman

2023, essential tools like HyperCard and Director software in 1987 facilitated generative work.

Hypercard is a Macintosh software that allowed users to create interactive multimedia "stacks,"

developed in 1987. Adobe Director, initially developed by Macromedia and later acquired by

Adobe, was a multimedia application authoring platform. Generative art’s evolution was heavily

influenced by the era of CD-ROM and overlooked artists within the Flash community, including

LIA and Dextro.

Generation 3 (2015 – Today), known as the Internet and Blockchain Era (a period (2015–

today) marked by a surge in blockchain-based art and decentralized services, witnessed a rise in

Internet services. Bauman (2023) argues that this period was a separate search for decentralized

and blockchain-based art, demonstrating the continuous development of generative art.

Throughout these generations, Reas talked about the challenge of defining artists according to
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their backgrounds, stressing the contrast between people initially trained as mathematicians or

scientists and those who later entered this sphere. He emphasized the importance of people such

as Manfred Mohr and Vera Molná, who facilitated integrations between art and technology. The

discussion also touched on some overlooked artists; “Concerning this, Reas mentioned such less-

known names as Robert Hodgin, Karsten Schmidt, Marius Watz, Karl Sims, and Zach

Lieberman.” Notably, artists from the Flash time had little support, and many turned to

commercial or industry jobs (Bauman, 2023). NFTs were recognized for offering opportunities to

contemporary artists, allowing them to make a living solely through their art.

Conclusion

This investigation of generative art has focused on visionary artists and designers whose

groundbreaking combination of technology and creativity left a profound mark. With their

contribution, Refik Anadol, Rafael Lozano-Hemmer, David Lobser, Stephanie Dinkins, Vera

Molnár, and Casey Reas may bring distinctive points of view to reshape generative design.

Historical content and thematic connections are woven into a narrative without adherence to

conventional chronological or alphabetical constraints in the curated order. The selected pioneers

in the field use AI, machine learning interactive exhibits, and 3D printing to rethink artistic

creation. Casey Reas’s description of the Mainframe, Studio, and Internet/Blockchain eras

defines the development trend between generations regarding technological availability. Thus,

each artist helps create a vibrant, generative cloth while managing to be at an intersection of arts,

technology, and society.

Chapter 2: Emotions, Memories, and the Generative Canvas of Iranian Migration

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Introduction

Emotions in Iranian Migration Stories

Memories as a Narrative Element

Generative Design as a Visual Language

Intersections of Emotions, Memories, and Generative Design

Conclusion

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Appendix (if needed)