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== Reference ==
[[Philip Galanter]]: [[Complexity, Neuroaesthetics, and Computational Aesthetic Evaluation]]. In: [[Generative Art 2010]].

== DOI ==

== Abstract ==
Human artistic creativity typically includes a self-critical aspect that guides innovation
towards a productive end. It seems likely that truly creative computers in the arts will
require a similar ability to make aesthetic evaluations. Attempts to build such
systems, however, have so far mostly failed.

Part of the challenge is understanding the actual mechanisms that underlie
aesthetics as experienced by humans. To date scientific progress towards such
understanding has been incomplete. Nevertheless some useful contributions include
suggested theories from the field of evolutionary psychology, models of human
esthetics from psychologists such as Arnheim, Berlyne, and Martindale, various
empirical studies of human aesthetics, and a growing literature in the nascent field of
neuroaesthetics.

A common thread found in all of the above is the notion of complexity as applied to
the aesthetic perception of art objects and events. It is suggested here that notions
of complexity regarding art have lagged the new paradigms offered by complexity
science, and that a more contemporary conception of complexity can integrate and
improve older theories of aesthetics. This may be where the path to improved
computational aesthetic evaluation begins.

== Extended Abstract ==

== Bibtex ==

== Used References ==
[1] Galanter, P., Truth to Process – Evolutionary Art and the Aesthetics of Dynamism, in
International Conference on Generative Art. 2009, Generative Design Lab, Milan
Polytechnic: Milan, Italy.

[2] Galanter, P., The Problem with Evolutionary Art Is, in Applications of Evolutionary
Computation, Pt Ii, Proceedings, C. DiChio, et al., Editors. 2010, Springer-Verlag Berlin:
Berlin. p. 321-330.

[3] Galanter, P., Computational Aesthetic Evaluation: Past and Future, in Creativity and
Computers, J. McCormack and M. d'Inverno, Editors. in press, Springer: Berlin.

[4] Todd, P.M. and G.M. Werner, Frankensteinian Methods for Evolutionary Music
Composition, in Musical networks: Parallel distributed perception and performance, N.
Griffith and P.M. Todd, Editors. 1998, MIT Press/Bradford Books: Cambridge, MA.

[5] Feldman , D.P. and J. Crutchfield A Survey of “Complexity Measures”. 1998, Santa Fe
Institute: Santa Fe.

[6] Shannon, C.E., A mathematical theory of communication. The Bell System Technical
Journal, 1948. 27(3): p. 379--423.

[7] Kolmogorov, A.N., Three approaches to the quantitative definition of information.
Problems in Information Transmission, 1965. 1: p. 1-7.

[8] Solomonoff , R.J., A formal theory of inductive inference, Part I and Part II.
Information and Control, 1964. 7: p. 1-22, 224-254.

[9] Chaitin, G.J., On the length of programs for computing finite binary sequences Journal
of the ACM, 1966(13): p. 547-569.

[10] Gell-Mann, M., What is complexity? Complexity – John Whiley and Sons, 1995. 1(1):
p. 16-19.

[11] Birkhoff, G.D., Aesthetic measure. 1933, Cambridge, Mass.,: Harvard University
Press. xii, 1 p., 2 l., 3-225, 1 p.

[12] Scha, R. and R. Bod, Computationele Esthetica. Informatie en Informatiebeleid, 1993.
11(1): p. 54-63.

[13] Bense, M., Aesthetica; Einführung in die neue Aesthetik. 1965, Baden-Baden,: Agis-
Verlag. 348 p.

[14] Moles, A.A., Information theory and esthetic perception. 1966, Urbana,: University of
Illinois Press. 217.

[15] Berlyne, D.E., Aesthetics and psychobiology. 1971, New York,: Appleton-Century-
Crofts. xiv, 336 p.

[16] Martindale, C., K. Moore, and J. Borkum, Aesthetic Preference: Anomalous Findings
for Berlyne's Psychobiological Theory. The American Journal of Psychology, 1990. 103(1): p.
53-80.

[17] Martindale, C., K. Moore, and K. Anderson, The Effect Of Extraneous Stimulation On
Aesthetic Preference. Empirical Studies of the Arts, 2005. 23(2): p. 83-91.

[18] Martindale, C., Relationship of preference judgements to typicality, novelty, and mere
exposure. Empirical Studies of the Arts, 1988. 6(1): p. 79-96.

[19] Martindale, C., Cognition and consciousness. The Dorsey series in psychology. 1981,
Homewood, Ill.: Dorsey Press. xiii, 462 p.

[20] Martindale, C., The pleasures of thought: A theory of cognitive hedonics. Journal of
Mind and Behavior, 1984. 5(1): p. 49-80.

[21] Martindale, C., Cognitive psychology : a neural-network approach. 1991, Pacific
Grove, California: Brooks/Cole Publishing Company. xxi, 282 p.

[22] Skov, M. and O. Vartanian, Introduction - What is neuroaesthetics?, in
Neuroaesthetics - Foundations and frontiers in aesthetics, M. Skov and O. Vartanian, Editors.
2009, Baywood Pub.: Amityville, N.Y. p. iv, 302 p.

== Links ==
=== Full Text ===
http://www.generativeart.com/on/cic/GA2010/2010_31.pdf

[[intern file]]

=== Sonstige Links ===

Complexity, Neuroaesthetics, and Computational Aesthetic Evaluation - Versionsgeschichte

Gbachelier: Die Seite wurde neu angelegt: „== Reference == Philip Galanter: Complexity, Neuroaesthetics, and Computational Aesthetic Evaluation. In: Generative Art 2010. == DOI == == Abst…“