Showing papers in "Leonardo in 1983"

Shock of the New

Abstract: the shock of new robert hughes. dpsi past exam papers who pushed humpty dumpty and other notorious nursery tale mysteries bsg simulation quiz 2 questions and answers cisco it essentials chapter 12 test answers 1994 audi 100 bulb socket manual rutherford and son 1st edition 2013 acura rdx engine russian rightists and the revolution of 1905 electrical wireman examination question paper moon spotlight arenal and monteverde literacy test answer key the man of my dreams curtis sittenfeld automatic vs manual transmission racing 2010 hyundai accent owners manual sleeping beauty vampire slayer twisted tales 2 maureen mcgowan daywater an adaptive decision support system for urban stormwater management digger place 2800 perkins engine workshop manual model workforce solutions nonprofit registration spring 2014 perspectives in modern chemical spectroscopy softcover reprint of the original 1st edition 1990 filing a motion for change of venue in dissolution glencoe mcgraw hill spanish answers discovering special triangle teacher answer key club car golf cart service manuals download mandate politics tandberg 550 mxp user manual bksb tutor guide english maths vle revent rack oven manual 726 my two holidays a hanukkah and christmas story inside space machines lifeguard scenario questions and answers suzuki m13a engine specs tool and manufacturing engineers handbook knowledge base xmp3 radio manual classe owners manual answer machine massey ferguson to35 service repair manual a journal for jordan a story of love and honor math makes sense 6 answer key unit 7 alcatel user guide walter benjamin selected writings volume 1 1913 1926 connect accounting 100 homework answers mathematics solution of class 5 bd apexvs geometry 2 semester answer key biological aspects of radiation protection proceedings of the international symposium kyoto octobe gate exam papers with solutions free download toshiba dp6570 service manual guided reading group activities middle powers and g20 governance online bmw 745 manual

Engineering Philosophy—The Third Culture?

Abstract: The Times for 29th May 1867 carried on its correspondence pages letters from Earl Granville and Lord Taunton warning of the decline of British manufacturing industry and the need to establish industrial (technical) education along the lines of the Grandes Ecoles already established in France and on the Continent generally. Lord Taunton also called for the Government of the day to hold an official inquiry into industrial education on the Continent and wrote that it “should tell the people of England authoritatively what are the means by which the great States are attaining an intellectual preeminence among the industrial classes and how they are making this bear on the rapid progress of their national industries.”

A new measure of 'good taste' in visual art

Abstract: 95%. The middle item constitutes a difficult item, with an average proportion of correct answers of 60%. The bottom item is an example of middling difficulty, with an average proportion of correct answers of 79%. These proportions are for a sample of 111 British university students without any special artistic

Stylistic evolution in european music

Abstract: An evolutionary theory of change in the arts is described. Successive artists hypothetically must increase the arousal potential or impact value of their art works in order to counter habituation or boredom in the audience. Within any style, this is done by engaging in deeper regression (alteration in consciousness). This leads to increases in primary process content in the works of art produced. When this method becomes too difficult, stylistic change occurs and primary process content declines. Theoretical hypotheses were tested by obtaining ratings of musical themes by 252 British, French, German and Italian composers born between 1490 and 1909. Results were closely in accord with predictions except for the series of Italian composers. Results of a statistical analysis of cross-national stylistic influences are presented.

The cognitive basis of aesthetic experience

Abstract: This paper outlines a psychological theory of aesthetic experience. The theory is based upon the role of representational conflict and the natural process of resolving such conflict during mental growth in childhood. It proposes that aesthetic experience in adults re-creates the type of mental and emotional activity that is typical of childhood mental growth. Works of art provide the experience of mental growth and the emotional responses accompanying this growth, long after the initial process of understanding the world has been completed. The framework for mental representation and the resolving of representational conflicts comes from the field of cognitive psychology and the developmental theory of Piaget. This paper draws upon cognitive psychology to outline a theory of aesthetic experience [1]. One of the central ideas of cognitive psychology is that the mind actively represents the external world through abstract symbols. These symbols, often called mental representations and schemas, have been the subject of a great deal of recent theoretical and experimental work. Questions addressed relate to how symbols are formed in the process of experiencing the world; in what type of code or codes they are stored as memory; how they influence our subsequent experiences of the world; and how they are related within the mind as knowledge of the world. Since art has traditionally been considered a symbolic representation of some aspect of the world, it should not be surprising that the insights of cognitive psychology about the process and structure of such representations should be closely related to questions about the psychological role of art and aesthetic experience. Experimental methodology has enabled psychologists to observe, indirectly, the formation of a mental representation. In one such experiment, Posner and Keele took a pattern of dots, called the 'archtype', and by successively transforming the pattern through the use of a computer, generated a set of patterns which were variations upon the archtype [2]. People in an experiment were shown a set of these variations but were not shown the original archtype. Later, these same people were shown a second set of variations which included variations actually seen before ('old' patterns) and variations never seen before ('new' patterns). Included in this second set was the archtype, which they had never seen, but which represented the relationships between the dots in the patterns which they had

Computer Art: Artificial Intelligence and the Arts

Abstract: The author briefly reviews the recent development of Computer Art. He considers some of the aesthetic issues raised, including play with human control/noncontrol, interest in sets of possibilities rather than any particular manifestation, the blurring of the distinction between object and process and the reduction of the barrier between computer artists and viewers of their works. Future trends for Computer Art are considered, in particular the artificial intelligence (Al) potentialities of computers for processing information in a way related to that done by humans. An example from the author’s interactive computer video piece illustrates one of these potentialities.

Flat-Sphere Perspective

Abstract: In this paper a new system of visual representation, Flat-Sphere Perspective, is developed. With Flat-Sphere Perspective, an image of the entire visual space around an observer can be represented on a flat surface. The system integrates in a coherent and continuous image the many instantaneous views a human observer perceives as he turns his head. This new perspective system furnishes the contemporary artist with a new representational format that corresponds more closely to the geometrical and perceptual principles governing visual perception than any other system hitherto devised.

The Oxford companion to twentieth-century art

Abstract: The Oxford Companion to Twentieth Century Art provides readers at every level with a wealth of material and information on the art of our time. No other reference book or guide to twentieth-century art covers so wide a range of subjects, or supplies so much detail, as this one-volume assemblage, based on previously scattered information from inaccessible histories, monographs, and widely dispersed exhibition catalogs. Complementing The Oxford Companion to Art, this new Companion treats in far greater depth the artists, ideas, movements and trends of painting, sculpture, and the graphic arts of this century up to the mid 1970s. While it contains mainly entries on individual artists, the contributors also include articles on movements and schools, styles and new technical terms, ranging from Dada and Surrealism to Body Art and Computer Art. It offers separate accounts of art in the United States, Britain, and in the major European countries, as well as articles by leading authorities on the art and artists of Africa, Australia, Canada, Latin America, Mexico, South Africa, and the USSR. The contributors concentrate particularly on the aims and aesthetic theories of individual artists and groups. Including 300 carefully-chosen illustrations--nearly half in color--and a selective bibliography, The Oxford Companion to Twentieth-Century Art will guide students of art and general readers intelligently through the exuberant jungle of contemporary art.

Determining the Preferred Viewpoint in Linear Perspective

Abstract: The basic theory of linear perspective is reviewed, and it is shown that a perspective picture implies the existence of a unique point in space which is, on optical grounds, the preferred viewpoint of the picture. The concepts of the visible, terrestrial, and sensible horizons are then compared, and it isfound that the horizon in a picture can give the vertical position of the viewpoint. The outside knowledge or assumptions which are necessary in order completely to determine the preferred viewpoint are then considered. The assumptions used here are based on common knowledge of the three-dimensional shapes and orientations of pictured objects and knowledge of the picture-making processes. A step-by-step procedure is then given forfinding the location of the preferred viewpoints of one-, twoand three-point perspectives. It is found that a three-point perspectiveprovides more information about the viewpoint, with fewer assumptions, than either of the other two cases. Finally, the reasons why alternate viewpoints may be just as acceptable as the optically preferred one are discussed.

Gombrich on Art Historical Explanations

Abstract: This article outlines the major themes of Gombrich’s account of art historical explanations, and contrasts his to several other well known contemporary approaches. An analysis of his concept of schemata’ is used to explain his move in Art and Illusion/rom consideration of art telling stories to naturalistic art. Using his contrast between the meaning and significance of a picture, the difference between his approach and the historicist writings of Leo Steinberg and Clement Greenberg is presented. Gombrich is mistaken, it is argued, to imply—as he seems to do—that such historicist accounts necessarily lead to the total abandonment of objective standards of critical judgment. In fact, those accounts explicitly presuppose something like his notion of a canon, an ongoing tradition of art making. Finally, his critique of abstract art is interpreted in relation to the contemporary cultural conditions to which his work is one very important response.

Generative Systems Versus Copy Art: A Clarification of Terms and Ideas

Abstract: Generative Systems was a program established at the Art Institute of Chicago in 1970 in response to social change brought about in part by the computer-robot communications revolution. The program, which brought artists and scientists together, was an effort at turning the artist’s passive role into an active one by promoting the investigation of contemporary scientific-technological systems and their relationship to art and life. Unlike copier art, which was a simple commercial spin-off. Generative Systems was actually involved in the development of elegant yet simple systems intended for creative use by the general population. Generative Systems artists attempted to bridge the gap between elite and novice by directing the line of communication between the two. thus bringing first generation information to greater numbers of people and bypassing the entrepreneur.

The Surface of Mars

Abstract: 1. Introduction 2. Overview 3. Impact craters 4. Volcanism 5. Global structure and tectonics 6. Canyons 7. Channels, valleys and gullies 8. Lakes and oceans 9. Ice 10. Wind 11. Poles 12. The view from the surface 13. Climate change 14. Implications for life 15. Summary Index.

On the horizon: picture perception and gibson's concept of information

Abstract: The visual perception of space has long been considered a paradox. Traditional theory introduced the analogy between the eye and the camera, considering the retinal image as a kind of picture. The problem of visual perception therefore seemed to be equivalent to the problem of picture perception; namely, how we recover three dimensions from a two-dimensional image. The pictorial depth cues, such as relative size, overlapping, linear and aerial perspective, were thought to help but, given the impoverished and essentially ambiguous nature of the retinal image, the traditional theorists were forced to postulate some process of intellectual supplementation on the part of the observer.

Environment-Sensing Artworks and Interactive Events: Exploring Implications of Microcomputer Developments

Abstract: Art that intends to explore contemporary technological developments ideally would use the new technologies themselves in that exploration. The author describes his art, which explores various computer capabilities including the ability to interact intelligently with humans, the ability to sense and respond to environmental characteristics of the world such as time and temperature, and the ability to synthesize and recognize human speech.

Art and ambiguity

Abstract: Ambiguity occurs in various art forms: in literature, in music and in the visual arts. In this article we focus on ambiguity in the visual arts. We distinguish ambiguity from other related perceptual possibilities such as indeterminacy, paradoxicality and anamorphism. Ambiguous works are shown to be a powerful challenge to two traditional theories concerning the identity of artworks: (1) The subjectivist view that the work is identical with the viewer's experience; and (2) The identification of artworks with material objects. The relevance of some recent studies in the philosophy of art and in artificial intelligence is discussed and, finally, the implications of visual ambiguity for aesthetic evaluation are considered. Ambiguity occurs recognizably in various art forms: in literature, in music and in the visual arts. Interestingly divergent views have been expressed concerning the aesthetic value, or disvalue, of ambiguity in art. Thus Monroe Beardsley, discussing 'qualities of style' in literature, notes: 'Bad style, as critics discuss it, might then be tentatively described in these terms: the diction and syntax of a discourse are such as to produce an incoherence between the primary and secondary levels of meaning, or such as to produce ambiguity or obscurity"

The Mathematics and Computer Graphics of Spirals in Plants

Abstract: This is a study of the pattern known as spiral phyllotaxis-literally, "leaf-arrangement", but applied to the arrangement of seeds, florets, petals, scales, twigs and so on-and which is very widespread in plants. A number of stages in the refinement of model-making are recorded. In particular, the model illustrated in the literature on the subject indicating uniform growth is taken a step further in generality to indicate non-uniform growth. The intention has been to arrive at a wholly visual statement. Andyet the mathematical approach is integral to this end. The study of flower forms becomes a study of the relation between the circle and the golden ratio. A computerised drawing system was used to draw forms that are algebraically defined. This solved a technical problem, but also gave me a glimpse of the enormous scope opened up by this electronic tool. To draw, for example, a simple equi-angular spiral (as found in snail shells) is difficult and time-consuming by traditional means, but elementary by computer. This is a study of what I call the "green spiral", the spiral phyllotaxis-literally, "leaf arrangement", but applied to the arrangement of seeds, florets, petals, scales, twigs, and so on-and which is very widespread in plants. I began by painting an idealised daisy based on the pattern shown in Fig. 1. It is found in Islamic art and in Escher's artwork. The following are its principles of construction: On a circle of any radius twelve smaller and identical circles may be drawn such that they touch. They will bear an exact ratio [1] in size with their host circle. And then an exactly similar necklace of circles can be drawn to touch the first-inside the first or outside. Each circle nests between two circles of a neighbouring necklace and bears an exact ratio [2] in size with circles of a neighbouring necklace. This ratio of increased size remains uniform and the pattern may be extended forever outwards, or forever inwards. It is a pattern of growth. This pattern of uniform growth is that of a geometric series e.g. 1, 2, 4, 8, 16, ..., or 5, 15, 45, 135, .... In general si = ksi_l for some fixed k, giving si = s0k. The patterns found in plants, unlike the static regular lattices of crystalline structures, must exhibit members of a sequence at different stages of growth. The pattern in Fig. 1 offers a closepacking of twelve identical sequences growing uniformly. Spiral and helical phyllotaxis is an archetypal arrangement studied in the patterns of sequential branching around plant stems. Pine cones, daisies, sunflowers, pineapples and cacti are some of the clearest examples. Twigs, leaves, fruits or florets may constitute the elements of the sequence. One possible gestalt of Fig. 1 is the pattern of opposing spirals, twelve in each direction. Analogous spirals are seen in daisies (Fig. 2). However, the spirals seen in plants differ in number clockwise to anti-clockwise [3]! Indeed the numbers thus exhibited are consecutive pairs taken from the celebrated Fibonacci series [4]: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, .... The nth term of the series is the sum of the two previous terms,f =fn +f,-2; fo = 0,f = 1. The cone of a redwood presents to the eye a pattern of 3 X 5 "helico-spirals". The daisy and sunflower offer 21 x 34 and 34 X 55. Therefore, returning to the drawing board: about a single pole 21 X 34 spirals were drawn (programme 1) (Fig. 3). Each spiral has the form r=ab?, a logarithmic spiral. Over equal angular increments the spiral grows by a fixed proportion. It is also called the exponential spiral or the proportional spiral or the *Artist/mathematician, 42 Hemingford Road, London N.1, England. (Received 25 June 1981) Fig. 1. Touching Circles. A pattern of symmetry and uniform growth. equi-angular spiral. The last name may be explained like this: At any point on the spiral, the angle between the tangent (the momentary direction of the spiral) and the direction to the "centre" of the spiral remains the same. It is the spiral found in snail shells. The uniform rate of growth is determined by the constant b. Making b small tightens the spiral, degenerating to a circle when b = 1. The spiral approaches a straight ray when b becomes large. In order for a differing number of spirals in each direction to give rise to an array of approximately regular and tessellating rhombi, each set is given a different and appropriate value for b. This pattern, however, gives rise only to uniform growth. The seeds go on growing by the same ratio without limit. Clearly no sunflower does this. The seeds must slow and cease enlargement, and yet maintain packing. Are the Fibonacci spirals lost as this happens? Intriguingly, no. What seems to happen [5] is that the ratios switch over from 8 X 13 to 13 X 21, or from 21 X 34 to

The scientific study of artistic creativity

Abstract: This paper attempts to show that problems associated with artistic creativity are amenable to conceptual analysis within the framework of academic and experimental psychology. It outlines at least three forms offlexibility which may be characteristic of the artist. First, artists appear able to access primitivefeelings and memories which are preserved in their unconscious. Second, artists appear able to access perceptual modes and alternate between physical-sensory and object information. This enables them to grasp the worldfrom a new vantage point. Third, artists canfunctionally separate stimulus input ('seeing as' mode) from motor output ('seeing that' mode) which makes it possible to recreate their new perceptions or images in a concrete work. The fact that these last two skills can be described in the language of experimental psychology suggests that they are amenable to empirical investigation. Experimental psychologists and psychological aestheticians may discover during the next few years just how much they share in common. The former possess rigorous experimental paradigms and a broad theoretical framework which relates the person to the environment. The latter have a rich collection of stimulus materials and access to the people who produce them. Scientific aesthetics has generally avoided the study of artistic creativity, focusing instead on spectator reactions and preferences [1-3]. This emphasis on processes within the spectator can be traced back to Fechner's early research on aesthetic preference and judgment [4]. He developed a variety of techniques for measuring preference which are still in use today, such as the "method of choice". Modern researchers have not studied artistic creativity because of misgivings about the possibility of stimulating such activity under controlled laboratory conditions [3]. A more cogent reason is that a comprehensive theory of artistic creativity has still to be developed. Such a theory should emerge from the interaction of perception and cognitive psychology with experimental aesthetics and psychodynamic psychology. The basic goal of this paper is to indicate some areas where the ideas and principles of psychology can contribute to a scientific theory of artistic creativity. This theory will address artistic processes in general and will not be used to explain the qualities of a particular artwork or the development of an individual artist. Thus, the differences between a scientific theory of creativity and either art historical scholarship or the more clinically oriented psychoanalytic view must be delineated. A more specific goal of this paper is to consider how scientific psychology can address the uniqueness of artistic creativity. Does it reside in the artist grasping a scene in a new way, in the artist's ability to recreate that scene or image in a concrete world, or in the spectator's appreciation of the work? A psychological theory of artistic creativity need not, of course, conflict with the results of art historical scholarship. Art historians trace stylistic and iconographic developments across different historical periods and within the careers of individual artists and schools. They bridge the gap between the visual and the verbal, translating visual and technical innovation into clear and precise language. Psychological aestheticians share with art historians an interest in the work as a whole. However, while art historians stress the role of composition, colour or line in determining the success of a work, psychologists emphasize other structural qualities such as complexity and orderliness [1, 5]. Psychologists also focus on the interaction of the individual with the work of art. Traditionally, researchers have inquired as to how the spectator interprets and emotionally *Psychologist, Division of Life Sciences, Scarborough College, University of Toronto, West Hill, Ontario MIC IA4, Canada. responds to the work [6]. The challenge remains to explore how the work takes shape in the artist's mind and unfolds materially