Regularity and Randomness in Bridget Riley's early Op Art
Inhaltsverzeichnis
Reference
Neil A. Dodgson: Regularity and Randomness in Bridget Riley's early Op Art. In: Douglas W. Cunningham, Victoria Interrante, Paul Brown, Jon McCormack (Eds.): Eurographics Workshop on Computational Aesthetics, 2008. 107-114
DOI
http://dx.doi.org/10.2312/COMPAESTH/COMPAESTH08/107-114
Abstract
I investigate the trade-off between regularity and randomness in Bridget Riley's early Op art, focusing on White Discs 2 (1964) and Fragment 6/9 (1965). I build on this to investigate the trade-off more generally. I analyse these two works and undertake three experimental investigations based on my observations. I first consider different types of randomness and the effect they have on the generated artwork. I then look at whether the introduction of randomness can be left to the computer or needs the artist's direction. For best æsthetic effect, there is some evidence that the choices made are not truly random. Finally, I consider how much randomness needs to be added to a regular pattern in order to produce a work that balances regularity and randomness in an aesthetically pleasing way. There is evidence that around two-thirds of the pattern needs to be retained.
Extended Abstract
Bibtex
@inproceedings{Dodgson:2008:RRB:2381333.2381352, author = {Dodgson, Neil A.}, title = {Regularity and Randomness in Bridget Riley's Early Op Art}, booktitle = {Proceedings of the Fourth Eurographics Conference on Computational Aesthetics in Graphics, Visualization and Imaging}, series = {Computational Aesthetics'08}, year = {2008}, isbn = {978-3-905674-08-8}, location = {Lisbon, Portugal}, pages = {107--114}, numpages = {8}, url = {http://dx.doi.org/10.2312/COMPAESTH/COMPAESTH08/107-114, http://de.evo-art.org/index.php?title=Regularity_and_Randomness_in_Bridget_Riley's_early_Op_Art }, doi = {10.2312/COMPAESTH/COMPAESTH08/107-114}, acmid = {2381352}, publisher = {Eurographics Association}, address = {Aire-la-Ville, Switzerland, Switzerland}, }
Used References
CORPORATE Adobe Systems Inc., PostScript language reference manual (2nd ed.), Addison-Wesley Longman Publishing Co., Inc., Boston, MA, 1990 http://dl.acm.org/citation.cfm?id=102723&CFID=588525319&CFTOKEN=29804931
COXETER H. S. M.: The role of intermediate convergents in Tait's explanation for phyllotaxis. Journal of Algebra 20 (1972), 167-175.
Andrew S. Glassner, Principles of Digital Image Synthesis, Morgan Kaufmann Publishers Inc., San Francisco, CA, 1994 http://dl.acm.org/citation.cfm?id=527570&CFID=588525319&CFTOKEN=29804931
HIRST D.: Valium. http://www. liongalleries.com/newsite/hirst/damien_hirst_ valium_2000.htm, 2000. Accessed 12 March 2008.
MOORHOUSE P.: A dialogue with sensation: the art of Bridget Riley. In Bridget Riley, Moorhouse P., (Ed.). Tate Publishing, 2003, pp. 11-27.
RILEY B.: Artwork in the Tate collection. http://www.tate.org.uk/servlet/ArtistWorks? artistid=1845, 1961-2003. Accessed 11 March 2008.
VOGEL H.: A better way to construct the sunflower head. Mathematical Biosciences 44 (1979), 179-189.
Links
Full Text
http://www.cl.cam.ac.uk/~nad10/pubs/cae08.pdf
Sonstige Links
http://dl.acm.org/citation.cfm?id=2381333.2381352&coll=DL&dl=GUIDE&CFID=588525319&CFTOKEN=29804931