Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts

234 Pages·1979·30.77 MB·English

by  George Stiny

ALGORITHMIC AESTHETICS
*
ALGORITHMIC AESTHETICS
Computer Models for Criticism and Design
in the Arts
GEORGE STINY
AND
JAMES GIPS
UNIVERSITY OF CALIFORNIA PRESS
BERKELEY LOS ANGELES LONDON
University of California Press
Berkeley and Los Angeles, California
University of California Press, Ltd.
London, England
ISBN 0-520-03467-8
Library of Congress Catalog Card Number: 77-73505
Copyright © 1978 by The Regents of the University of California
Printed in the United States of America
To Jan and Pat
*" v
Contents
Acknowledgments
PARTI: INTRODUCTION
1 Introduction 3
2 The Structure of Criticism Algorithms
and Design Algorithms 8
2.1 The Structure of Criticism Algorithms 10
2.2 The Structure of Design Algorithms 12
2.3 Discussion 14
2.4 Approaches in Criticism and Design 14
PART II: RECEPTORS
3 Receptors 19
3.1 Receptors in Criticism Algorithms 19
3.2 Examples of Receptors and Descriptions . . .. 20
3.2.1 Written Literature 20
3.2.2 Oral Literature 20
3.2.3 Performances of Instrumental Music 21
3.2.4 Pictures 22
3.2.5 Multimodality Art Forms 23
3.3 Detail in Descriptions 24
3.4 The Conventionality of Description 25
3.5 Copies, Performances, and Forgeries 27
3.6 A Note on the Use of Descriptions in
Design Algorithms 30
3.7 Receptors in Design Algorithms 30
viii Contents
PART III: AESTHETIC SYSTEMS
4 The Structure of Aesthetic Systems 35
5 Interpretation 38
6 Interpretation: Constructive and Evocative
Modes of Understanding 42
6.1 Aesthetic Systems Based on the
Constructive Mode of Understanding 43
6.2 Aesthetic Systems Based on the
Evocative Mode of Understanding 52
6.3 Aesthetic Systems Based on Both the
Constructive and Evocative Modes of
Understanding 57
6.4 Summary 61
7 Interpretation: Expression, Representation,
Transparency, and Form 62
7.1 Expression 62
7.1.1 Expression and the Artist 63
7.1.2 Expression and the Observer 65
7.1.3 Expression as Communication 66
7.1.4 Expression in Terms of the Work of Art Itself . 70
7.2 Representation 73
7.2.1 Representation Based on the
Constructive Mode of Understanding 74
7.2.2 Representation Based on the Evocative
Mode of Understanding 77
7.2.3 Discussion 78
7.3 Transparency 79
7.3.1 Transparency in Pictures 81
7.3.2 Transparency in Literature 88
7.4 Form . 90
7.4.1 Form and the Evocative Mode
of Understanding 92
7.4.2 Form and the Constructive Mode
of Understanding 93
7.4.3 Discussion 95
7.4.4 Significant Form 96
8 Evaluation 100
8.1 The Evaluation Algorithm and
the Comparison Algorithm 100
8.2 Possible Evaluation Algorithms 101
Contents ix
8.3 The Evaluation Algorithm E 103
z
8.4 The Evaluation Algorithm E and the
z
Constructive Mode of Understanding 104
8.4.1 Unity and Variety 107
8.4.2 Algorithmic Information Theory 109
8.5 The Evaluation Algorithm E and the
z
Evocative Mode of Understanding 115
8.6 The Evaluation Algorithm E and Both
z
the Constructive and Evocative Modes
of Understanding . 117
8.7 Evaluation Algorithms Based on
Time and Space Complexity 119
8.8 Transitivity and Comparability
in Aesthetic Systems 120
9 An Aesthetic System for Nonrepresentational
Geometric Pictures 123
9.1 Generative Specifications 124
9.1.1 Shape Grammars 128
9.1.2 Selection Rules 131
9.1.3 Coloring Rules 133
9.1.4 Limiting Shapes 135
9.2 Shape-Color-Occurrence Tables 135
9.3 The Four Algorithms of the
Aesthetic System 139
9.4 Anamorphism I-VI 141
9.5 Bridgework I-VI 145
9.6 Discussion 145
9.7 Alternative Aesthetic Systems 152
10 Some Other Possible Aesthetic Systems 154
10.1 Birkhoffs Aesthetic Measure 155
10.2 Schenker's Theory of Tonality 162
10.3 Propp's Morphology of the Folktale 166
10.4 Cavallius's Analysis of Velazquez's
Las Hilanderas 168
10.5 Computer Art and Music 170
10.5.1 Knowlton's MINI-EXPLOR 170
10.5.2 Mathews's Music V 172
10.6 Discussion 174
11 Combining Aesthetic Systems 175
11.1 Combining Aesthetic Systems by
Concatenating Interpretations 175
11.2 Combining Aesthetic Systems by
Universalization 178