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<p>Die Seite wurde neu angelegt: „== Reference == Miguel Carvalhais: <a href="/index.php?title=Towards_a_model_for_artificial_aesthetics" title="Towards a model for artificial aesthetics">Towards a model for artificial aesthetics</a>. In: <a href="/index.php?title=Generative_Art_2010" title="Generative Art 2010">Generative Art 2010</a>. == DOI == == Abstract == This paper proposes …“</p> <p><b>Neue Seite</b></p><div>== Reference ==<br /> Miguel Carvalhais: [[Towards a model for artificial aesthetics]]. In: [[Generative Art 2010]]. <br /> <br /> == DOI ==<br /> <br /> == Abstract ==<br /> This paper proposes the development of an analytical model, and associated<br /> terminology, for computational aesthetic artifacts. Faced with the growing presence<br /> and the widespread usage of computational media, studying how they quantitatively<br /> transform previous media by remediation and the qualitative transformations induced<br /> by their procedural and computational properties, we try to grasp the creative<br /> potential and the uniqueness of computational media and to develop a framework for<br /> their practice.<br /> <br /> As a starting point we resort to Espen Aarseth’s typology for cybertexts, studying its<br /> adequacy for the analysis of ergodic visual and audiovisual systems and adapting it<br /> with new variables and associated possible values. The model is then tested in a set<br /> of samples representative of diverse approaches to procedural art, design and other<br /> contemporary clusters of activity. A control analysis is developed to assert the<br /> usability and usefulness of the model, its capability for objective classification and<br /> our own analysis.<br /> <br /> We demonstrate the partial adequacy of Aarseth’s model for the study of artifacts<br /> beyond text-based systems and expand it to better suit the objects in study. The<br /> resulting model produces a good description of the pieces, clustering them logically,<br /> reflecting stylistic and procedural affinities between systems that, if studied from their<br /> physical or sensorial properties or from their surface structures alone, would<br /> probably not be found to be very similar. The similarities revealed by the model are<br /> structural and procedural, attesting the importance of computational characteristics<br /> for the aesthetic enjoyment of the pieces. We also verify our initial conjectures about<br /> the importance of procedurality, not only in the development and implementation<br /> stages of the works but also as conceptual grounding and aesthetic focus in artistic<br /> creation and appreciation, as an aesthetic pleasure in itself.<br /> <br /> == Extended Abstract ==<br /> <br /> == Bibtex == <br /> <br /> == Used References ==<br /> [1] Aarseth, Espen J. Cybertext: Perspectives on Ergodic Literature. Baltimore,<br /> Maryland: The Johns Hopkins University Press, 1997.<br /> <br /> [2] Barratt, Krome. Logic and Design: in Art, Science &amp; Mathematics. Guilford,<br /> Connecticut: Design Books, 1980. 1989.<br /> <br /> [3] Whitelaw, Mitchell. “Synesthesia and Cross-Modality in Contemporary<br /> Audiovisuals.” Senses &amp; Society 3. 3 (2008): 259-276.<br /> <br /> [4] Strickland, Stephanie. “Quantum Poetics: Six Thoughts.” Media Poetry: An<br /> International Anthology. Ed. Eduardo Kac. Bristol: Intellect, 2007. 25-44.<br /> [5] Wolfram, Stephen. A New Kind of Science. Champaign, Illinois: Wolfram Media,<br /> 2002.<br /> <br /> [6] Rucker, Rudy. The Lifebox, the Seashell, and the Soul: What Gnarly<br /> Computation Taught Me About Ultimate Reality, the Meaning of Life, and How to Be<br /> Happy. New York: Thunder&#039;s Mouth Press, 2005.<br /> <br /> [7] Nenadić, Oleg, and Michael Greenacre. “Correspondence Analysis in R, with<br /> Two- and Three-dimensional Graphics: The ca Package.” Journal of Statistical<br /> Software 20. 3 (2007).<br /> <br /> [8] Schubiger, Caroline. “Interaction Design: Definition and Tasks.” Total<br /> Interaction: Theory and Practice of a New Paradigm for the Design Disciplines. Ed.<br /> Gerhard M. Buurman. Basel: Birkhäuser, 2005. 341-351.<br /> <br /> <br /> == Links ==<br /> === Full Text === <br /> http://www.generativeart.com/on/cic/GA2010/2010_27.pdf<br /> <br /> [[intern file]]<br /> <br /> === Sonstige Links ===</div>

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