The definitions and taxonomies of Margaret Boden and Philip Galanter are used in this study to explore the interaction between the artist and the artwork that takes place during the creation of generative art. In this study, digital examples of generative art that enable media translations are featured through the works of Escher and Sol Lewitt in order to comprehend the algorithmic structure of these works. The production relations are attempted to be described by Boden, Galanter, and Bense's descriptions of generative art, which also highlight the information aesthetics or algorithmic aesthetics that permit this.

This research, which is the second section of my master's thesis called "Type Generating the Smooth Society," is also a cornerstone of my methodological approach. Understanding the user relationship encompassing the common, artificial intelligence-supported generative models that are currently on the increase requires a study of production relations in generative art systems. In order to assure the viability of a further understanding of the issues that have arisen around generative AI and authorship, the goal of my model is to illustrate the objective, mathematized, generative process between the creator and the artwork by a model.