By Stuart Mealing
Pcs and Art offers insightful views at the use of the pc as a device for artists. The methods taken fluctuate from its old, philosophical and functional implications to using machine expertise in artwork perform. The participants contain an paintings critic, an educator, a training artist and a researcher. Mealing appears to be like on the capability for destiny advancements within the box, either the creative and the computational elements of the sector.
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Pcs and Art offers insightful views at the use of the pc as a device for artists. The ways taken range from its ancient, philosophical and useful implications to using laptop expertise in paintings perform. The participants contain an paintings critic, an educator, a training artist and a researcher.
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Extra resources for Computers and Art (2008)
1. Experience Our experience of a scene is multi-sensory and accumulated over time. For these reasons no single sense has been implemented. The senses most pertinent to representation are sight and touch. These experience only the surface properties of objects. Thus it is assumed that over time we can access the three-dimensional shape of all surfaces in a scene independently of a fixed view point. For this reason Rose’s ‘sensory’ input is in the form of three-dimensional computer models of surfaces.
7 Boden, M. A. (1990) The Creative Mind: Myths and Mechanisms. London: Weidenfeld and Nicholson. 8 Brinck, T. (2002) Usability Glossary: collaborative drawing. txl> Accessed 22 Jan. 2002. 9 Deck, A. (2002) Icontext. html> Accessed 22 Jan. 2002. 10 Elkins, J. (1994) Art History and the Criticism of Computer-Generated Images. Leonardo, 27, 4, pp 335-342. 11 Frauenfelder, M. (1998) Do-It-Yourself Darwin. Wired, 6, 10. 12 Gips, J. (1999) Computer Implementation of Shape Grammars. Invited paper, Workshop on Shape Computation, MIT.
Modern AI and drawing development As we have seen, research on drawing has had a fruitful relationship with AI, being influenced by the insights into perception and behaviour given by the early connectionist and symbolic AI paradigms. These early techniques were characterised by a fixed information processing architecture designed by the computer programmer. Without further intervention the programmes performance is 36 completely determined by the authored computer programme. ’ AI researchers’ concern with developing logical information processing solutions to tasks contributed to the poor performance of early AI when applied to the changeable nature of real world tasks.
Computers and Art (2008) by Stuart Mealing