Computational aesthetics in dystopian visualization: an integrated approach using python programming and adobe photoshop's generative features

Year 2025, Volume: 6 Issue: 3, 211 - 224, 30.09.2025

Ozan Bebek , Kevser Kübra Kırboğa , Mehmet Coşar

https://doi.org/10.5281/zenodo.15971532

Abstract

This study aims to investigate how fundamental geometric shapes and digital tools can be integrated to create visually compelling representations of dystopian and post-apocalyptic themes, focusing on expanding the boundaries of digital art by combining traditional artistic practices with algorithmic design methods. Using Python programming and Adobe Photoshop's "Generative Image" feature (Beta version 25.11), five fundamental geometric shapes were generated and transformed into thematic visualizations through a two-phase methodological approach. Initially, the shapes were designed using Python's Matplotlib and NumPy libraries and programmed with algorithms containing random variables, establishing the foundation of structured randomness and algorithmic patterns controlled by the artist. Subsequently, these base shapes were enhanced and restructured through Photoshop's advanced generative tools, guided by specific thematic keywords such as "dystopian pattern," "post-apocalyptic scenario," and "hopelessness," resulting in a total of fifteen visuals comprising three variations for each geometric shape. The findings highlight the effective integration of basic design principles with advanced generative technologies, resulting in visually striking artworks that encapsulate dystopian aesthetics while effectively reflecting themes of isolation, decay, and technological domination through elements such as chaotic urban landscapes, fragmented architectures, and alien world terrains. This research contributes to existing work in algorithmic design and digital visualization while being associated with theoretical frameworks such as Jean Baudrillard's concept of hyperreality, Donna Haraway's union of human-machine-nature, and Walter Benjamin's critiques of modern urban life, demonstrating that generative art functions not only as an aesthetic tool but also as a platform for social and philosophical criticism, illustrating how art evolves into new narrative forms in the digital age and suggesting its capacity to expand artistic boundaries and redefine modes of expression.

Keywords

Algorithmic design , Digital visualization , Dystopian aesthetics , Generative art , Python programming

Ethical Statement

This research does not require ethical committee approval. There is no conflict of interest in the study. All authors have contributed equally to the preparation and writing of this article.

Supporting Institution

No funding support was received.

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