By Stuart Mealing
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Additional info for Computers & art
Cohen describes the problem he faced: ‘the human cognitive system not only develops an externalising mode, it also has to take stuff in. It has to know things about the world. We do, in fact, look at the outside world. We do, in fact, know about things in the outside world. ’ In people knowledge is acquired cumulatively. People’s knowledge or internal models of the world must eventually refer back to their experience. AARON, not having a body with senses, has no direct experience. However, it is also possible to acquire knowledge indirectly through other people and this is how AARON receives information about the world.
L. & Kirsch, R. A. (1988) The Anatomy of Painting Style: Description with Computer Rules. Leonardo, 21, 4, pp 437-444. 16 Kurzweil CyberArt Technologies. com> Accessed 22 Jan. 2002. 17 Lauzzana, R. G. & Pocock-Williams, L. (1988) A Rule System for Analysis in the Visual Arts. Leonardo, 21, 4, pp 445-452. 18 Lawrence, J. D. (1972) A Catalog of Special Plane Curves. New York: Dover Publications. 19 Lee, P. (1997) Linear colour contouring for fine art printmaking. Visual Proc. Siggraph, Los Angeles, p 185.
This work has built on the pioneering efforts of the 1960s and 70s. Here, the aim has been not just to use photorealistic techniques to illustrate real or imagined scenes, although some interesting artistic work has arisen in this area too. Among many artists, however, there has been something of a revolt against photorealism – which they see either as misguided or as far too restricting to their creativity. The revolt takes two forms: one, by those who react to existing developments and wish to investigate computer graphic means of depicting scenes in non-realistic ways; and two, by those who ignore depiction of visual ‘reality’ altogether and are concerned mainly with 19, 20 abstractions and interactions.
Computers & art by Stuart Mealing