George Stiny and James Gips. Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts. University of California Press, 1978.  Home/Search   Document Not in Database   Summary   Related Articles   Check

....may be an instruction for any kind of procedure. For the artist or composer this means that any kind of algorithmic inquiry on the nature of form is possible. The artist uses the computer program as any other tool. More mechanical, and less organic, procedures for creating art and form also exist [48, 49]. These formal methods tend to capture pattern based generation of art using tools familiar to the computer scientist, such as production rules and automata. Maeda s Aesthetics Computation Group [50] focuses on interactive demonstrations of this bridge area, often using Java applets for the ....

George Stiny and James Gips. Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts. University of California Press, 1978.

....may be an instruction for any kind of procedure. For the artist or composer this means that any kind of algorithmic inquiry on the nature of form is possible. The artist uses the computer program as any other tool. More mechanical, and less organic, procedures for creating art and form also exist [32, 26]. These formal methods tend to capture pattern based generation of art using tools familiar to the computer scientist such as production rules and automata. Maeda s Aesthetics Computation Group [17] focuses on interactive demon3 strations of this bridge area, often using Java applets for the ....

George Stiny and James Gips. Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts. University of California Press, 1978.

....Representation refers to the content of the design art work (design) which may be actual, idealized or imagined, while form refers to the totality of the shape and the structure, organization and composition of an object. Representation and form are the most easily identifiable properties. Stiny and Gips (1978) later proposed another category called transparency which refers to cases where the reactions to art works (designs) depend on not only their representations, but also on what the representations may evoke via association with other elements such as emotions, experiences or ideas. Although these ....

Stiny, Gips, 1978, "Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts", University of California Press, Berkeley, LA.

....words, structures that cannot bear the load or that are simply not realistic. This causes the finite element analysis program to abort. Our current solution is to patch up such structures by adding bracing members. A representation that guarantees viable offspring would be better. Shape grammars (Stiny and Gips, 1978) offer an alternative representation and have been used by Cagan and Mitchell. In the future, we plan to investigate the influence of various program parameters on the results, which include the penalty weights for overstressing and understressing, the probability of crossover and mutation, and ....

Stiny, G. and Gips, J. (1978). Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts. University of California Press, Berkeley and Los Angeles, California.

....that use knowledge extracted from experts or from existing designs, will implicitly capture some aesthetic judgment. This, however, is not sufficient to support all aesthetic concerns in design. Three proposals for the incorporation of aesthetic criteria in computational tools were proposed by Stiny and Gips (1978), Makkuni (1987) and Minai (1989) A review of these proposals reveals that they are limited to one view of aesthetic judgment. A view that will be referred to as rationalism. This paper proposes a model of design that extends the support for aesthetic judgment in two ways. First, it adds ....

....and modify them locally to satisfy given requirements, it can hardly satisfy any holistic requirement. Incorporation of aesthetics in design. The new model extends several computational models of aesthetics in design that have been previously proposed, of which three are briefly reviewed. Stiny and Gips (1978) implemented an architecture that supports a rationalistic aesthetic judgment. Their approach was based on a grammatical representation of designs. They proposed that the aesthetic value of an object could be based on the object s entropy, where entropy is defined as the length of a computer ....

Stiny, G. and Gips, J. (1978). Algorithmic Aesthetics: Computer Models For Criticism and Design in The Arts. University of CAlifornia Press, Berkeley, CA.

....understood as graphs. A typical example is depicted on the following page. This example will be used for a more detailed discussion subsequently. 2.2 Graph Objects in Architectural Design The recent scientific literature yields an extremely inhomogeneous impression of the area. The early book [SG78] has set the stage for shape grammars in architecture. There are a score or more approaches like the one in [Bro94] which sound quite promising, but do not provide any precision. An extreme example is [Lee94] which announces the formal basis . but does not contain any formalism. In contrast, ....

....domain, languages which satisfy T 1 n T 2 6= are of a particular importance. It may also be of a special interest to consider languages with a certain rate of letters from T 1 n T 2 in terminal words. 3. 2 Graph Grammars The area of graph grammars is quite rich (cf. KR90] e.g. and [SG78] GLK94] for shape grammars) First, one needs to specify whether the generation process should be based on node replacements or edge replacement (or even hyperedge replacements) The Fabel application does no govern this decision in any way. Throughout this paper, we deal with node ....

G. Stiny and J. Gips. Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts. University of California Press, 1978.

....useful representation. Shape grammars were introduced into the architectural literature as a formal method of shape generation. They provide a recursive method for generating shapes and are similar to phrase structure grammars, but defined over alphabets of shapes and generate languages of shapes (Stiny and Gips, 1978). A set of grammatical rules map one shape into a different shape. These rules define the set of possible mappings or transformations. More formally, a shape grammar is the quadruple (V t ; Vm ; R; I) Where V t is a set of terminal shapes or terminals and Vm a set of nonterminal shapes or ....

Stiny, G. and Gips, J.: 1978, Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts, University of California Press, Berkeley and Los Angeles, California.

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Stiny, G. and Gips, J. (1978). Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts, Unversity of California Press, Berkeley and Los Angeles, California.

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