1A. The particular frames were from the animated film Kotonoha no Niwa, which I specifically selected for its applauded visuals and realistic, beautiful rendering of nature on an illustrative media. Relevant to the overall backdrop and atmosphere of the movie, as well as particularly these selected scenes are what I perceive as dynamic intersections of order and randomness on the effective complexity curve: the randomness from the excessive motion of uncontrolled, unpredictable rainfall, and their interaction with the ordered, immobile existence of buildings and other rooted structures in both nature, and from human infrastructure.
1B. While growing up both as an amateur and as an artist, I’ve been exposed to The Problem of Meaning multiple times, more often in recent years as I have almost been trained to think that, in a professional setting, most works I am to output are instinctively met with the question of purpose. Why did you make this? What does this mean? How does this affect yourself or society? As per my stance, I grew to realize that ultimately, these introspective questions are perhaps cursory food for thought for myself as I prioritize and solidify my own artistic intent. As Galanter applies this to generative art saying how a generative system may just be pragmatic and create products without intrinsic meaning, I too accept this viewpoint–and arguably, this may be one of the charms of generative art after all, that it can have no explicit meaning.