The Immediacy of the Artist's Mark in Shape Computation

Leonardo ◽  
2010 ◽  
Vol 43 (4) ◽  
pp. 330-339
Author(s):  
Jacquelyn A. Martino
Keyword(s):  
Shape Grammar ◽  
Computational System ◽  
Design Language ◽  
Artistic Process ◽  
Shape Computation

This paper contributes to the area of computation in the production of artistic form. The author-artist describes a computational system in the form of a curvilinear, parametric shape grammar. Based on an analysis of over 3,000 entries in her traditionally hand-drawn sketchbooks, she describes the grammar that synthesizes drawings in the design language of her evolving style and serves as a tool for self-understanding of her artistic process.

Entelechy revisited: On the generative specification of John Portman’s architectural language

2016 ◽  
Vol 45 (4) ◽  
pp. 623-648 ◽  
Author(s):  
Heather Ligler ◽  
Athanassios Economou
Keyword(s):  
Theoretical Basis ◽  
Domestic Work ◽  
Design Principles ◽  
Shape Grammar ◽  
Ongoing Study ◽  
Social Aspects ◽  
Original Design ◽  
Shape Computation ◽  
Architectural Language

John Portman’s work attracts significant commentary, although the focus is typically on the commercial and social aspects of his work as opposed to the actual designs and their related architectural implications. The obvious place to start unpacking his contribution is in his widely recognized and published commercial portfolio, yet he maintains that his design principles are found in his personal domestic work. Here, his 1964 residence Entelechy I is analyzed to inform the development of a parametric shape grammar that generates the original design as well as a series of variations. The goal of this research is to engage Portman’s architectural philosophy and constructively assess his claims of its implicit relationship to his work to date. Key rules suggesting his principles and anticipating his ongoing architectural contribution are outlined. The structure provided by shape computation, involving both shape rules and rule schemas, is positioned as the theoretical basis for an ongoing study of transformations within Portman’s language.

The Investigation on the Influence of Cultural Consideration in Shape Segmentation

2012 ◽  
Vol 201-202 ◽  
pp. 920-923
Author(s):  
Yu Wu
Keyword(s):  
Reliable Method ◽  
Shape Grammar ◽  
Cultural Considerations ◽  
Shape Segmentation ◽  
Shape Computation ◽  
Cultural Consideration ◽  
Related Approach ◽  
The Way

Shape grammar has been used widely to analyze and generate designs by its computation and generation ability. In shape computation, shape segmentation is very crucial for choosing constituents and the change of the constituents always causes the change of the shape rules totally. However previous research on shape segmentation cannot provide a reliable method to segment the shape into constituents when calculating with shape. In this study, we propose a culture related approach that can help designer deciding the constituent in shape segmentation. We investigate cultural considerations that embedded in the artifact and explore how these cultural considerations can help determining the constituent and the way to segment the shape. A case study is conducted to demonstrate how the cultural considerations can be used to provide cultural hints to choose the constituents in shape segmentation.

scholarly journals Exploiting lattice structures in shape grammar implementations

2018 ◽  
Vol 32 (2) ◽  
pp. 147-161 ◽  
Author(s):  
Hau Hing Chau ◽  
Alison McKay ◽  
Christopher F. Earl ◽  
Amar Kumar Behera ◽  
Alan de Pennington
Keyword(s):  
Three Dimensional ◽  
Real Life ◽  
General Purpose ◽  
Three Dimensions ◽  
Shape Grammar ◽  
Shape Grammars ◽  
Bezier Curves ◽  
Bézier Curves ◽  
Computation Process ◽  
Shape Computation

AbstractThe ability to work with ambiguity and compute new designs based on both defined and emergent shapes are unique advantages of shape grammars. Realizing these benefits in design practice requires the implementation of general purpose shape grammar interpreters that support: (a) the detection of arbitrary subshapes in arbitrary shapes and (b) the application of shape rules that use these subshapes to create new shapes. The complexity of currently available interpreters results from their combination of shape computation (for subshape detection and the application of rules) with computational geometry (for the geometric operations need to generate new shapes). This paper proposes a shape grammar implementation method for three-dimensional circular arcs represented as rational quadratic Bézier curves based on lattice theory that reduces this complexity by separating steps in a shape computation process from the geometrical operations associated with specific grammars and shapes. The method is demonstrated through application to two well-known shape grammars: Stiny's triangles grammar and Jowers and Earl's trefoil grammar. A prototype computer implementation of an interpreter kernel has been built and its application to both grammars is presented. The use of Bézier curves in three dimensions opens the possibility to extend shape grammar implementations to cover the wider range of applications that are needed before practical implementations for use in real life product design and development processes become feasible.

Dante Alighieri

2018 ◽  
Author(s):  
Paolo Bartoloni
Keyword(s):  
Dante Alighieri ◽  
The Political ◽  
Giorgio Agamben ◽  
Artistic Process ◽  
Body And Soul ◽  
Forms Of Life ◽  
The Aesthetic

The Italian poet Dante Alighieri (1265–1321) is invoked several times in the work of Giorgio Agamben, often in passing to stress a point, as when discussing the political relevance of désoeuvrement (KG 246); to develop a thought, as in the articulation of the medieval idea of imagination as the medium between body and soul (S, especially 127–9); or to explain an idea, as in the case of the artistic process understood as the meeting of contradictory forces such as inspiration and critical control (FR, especially 48–50). So while Agamben does not engage with Dante systematically, he refers to him constantly, treating the Florentine poet as an auctoritas whose presence adds critical rigour and credibility. Identifying and relating the instances of these encounters is useful since they highlight central aspects of Agamben’s thought and its development over the years, from the first writings, such as Stanzas, to more recent texts, such as Il fuoco e il racconto and The Use of Bodies. The significance of Agamben’s reliance on Dante can be divided into two categories: the aesthetic and the political. The following discussion will address each of these categories separately, but will also emphasise the philosophical continuity that links the discussion of the aesthetic with that of the political. While in the first instance Dante is offered as an example of poetic innovation, especially in relation to the use of language and imagination, in the second he is invoked as a forerunner of new forms of life. Mediality and potentiality are the two pivots connecting the aesthetic and the political.

Arguing for Design Thinking Interventions as a Form of Artistic Interventions

2016 ◽  
Vol 10 ◽  
pp. 40-47
Author(s):  
Ulla Johansson Sköldberg ◽  
Jill Woodilla
Keyword(s):  
Organizational Change ◽  
Design Thinking ◽  
Organizational Innovation ◽  
Frame Of Reference ◽  
Full Potential ◽  
Artistic Process ◽  
Theoretical Frame ◽  
Artistic Interventions ◽  
Innovation And Change ◽  
Empirical Material

Drawing on data from two projects where artists used their artistic competence as organizational change facilitators, we argue for a theoretical coupling of the discourse(s) of design thinking to research streams within art-and-management. The artistic dimension of design, the practice perspective and the artistic process should be considered if we are to understand the full potential of design thinking for companies. This paper describes two artistic intervention projects that highlight valuable ways artists can contribute to organizational innovation and change.  We begin with the theoretical frame of reference and a short methodological statement, followed by the empirical material.  In the analysis section we point to ways in which such interventions are similar to ones led by designers when we consider the designer’s process as individualized and contextualized.  Finally, we draw conclusions.

IMAJINASI KE IMAJINASI VISUAL FOTOGRAFI

2017 ◽  
Vol 12 (2) ◽  
pp. 91
Author(s):  
Edial Rusli
Keyword(s):  
Creative Process ◽  
Single Unit ◽  
Digital Images ◽  
Visual Image ◽  
Construction Process ◽  
Multiple Images ◽  
Artistic Process ◽  
Visual Imagination ◽  
Human Thought ◽  
The Media

AbstrakImaji visual fotografi merupakan media rekam visual yang objektif dan representatifkebenarannya dalam merekam suatu realitas. Revolusi teknologi menyebabkan perubahandari teknologi fotografi analog sebagai salah satu media yang menyatakan kebenaran ataubukti dan sebagai media yang representatif kebenarannya ke teknologi digital yang dapatmemungkinkan untuk merekayasa gambar digital melalui perangkat lunak. Teknologi digitaltelah menjadikan kebenaran dalam sebuah foto tidak lagi absolut. Akhirnya fotografi sebagaialat perekam imaji yang representatif kebenarannya semakin diragukan. Karena semakin sulituntuk membedakan foto asli atau palsu, bahkan sebuah foto asli bisa saja dikatakan sebagaihasil manipulasi. Penciptaan imajinasi visual fotografi ini dihasilkan dari suatu olah daya pikirmanusia. Dalam proses tersebut dibutuhkan suatu kreativitas dari penggabungan imaji-imajisebelumnya atau sekarang ini untuk diimajinasikan. Pemaknaan akan bergeser dari imaji visualfotografi menjadi imaji visual fotografi yang baru. Proses artistik imajinasi visual ini diciptakandengan didasarkan pada artistik yang berdasarkan imajinasi, artistik berdasarkan imajinasi danartistik didasarkan pada kombinasi antara kenyataan dan imajinasi. Penciptaan Imajinasi visualfotografi merupakan daya untuk mengonstruksi ataau menggabungkan kembali dari berbagaiimaji-imaji atau foto- secara imajinatif dan kreatif dengan persepsi yang menyertainya untukmenjadi imaji baru yang utuh, logis, dan mungkin terjadi dengan menggunakan teknik danefek fotografi. Proses mengonstruksi membutuhkan suatu kemampuan berimajinasi untukmenggabungkan dan menyatukannya untuk menjadi satu kesatuan (unity) yang utuh dalam satupermukaan gambar/imaji secara ekspresif dan imajinatif melalui proses estetis yang kreatifberdasarkan ciri personal penciptanya. Dengan demikian, hasil dari proses konstruksi tersebutsudah tidak tampak lagi imaji sebelumnya dan pemaknaannya sudah bergeser menjadi karyaimaji dengan pemaknaan baru.AbstractImage to Photography Visual Imagination. Visual image of photography is a visual recordingmedia which is objective and representative in revealing the truth when recording a reality. Thetechnology revolution led to the change in photography, from analog photographic technologyas one of the media for promoting truth or evidence and as media representing truth to thedigital technology which allow people to manipulate digital images through software. Digitaltechnology has made the truth in a photograph is no longer absolute. In the end, photographyas an images recording tool representing truth is doubted. It is getting harder and moredifficult to distinguish the original or fake photo, even an original photo can be said as aresult of manipulation.The creation of visual imagination photography is produced by thepower of human thought. The process requires a creativity of merging the previous or recentimages to imagine. The meanings will be shifted from visual image photography into a newvisual image photography. Visual imagination of the artistic process is created on the basisof artistic imagination, artistic imagination and artistic are based on a combination of realityand imagination.The creation of visual photography imagination is a power to construct orrecombine from multiple images or pictures imaginatively and creatively with the perceptionto be a whole new image, logical, and may occur with the use of techniques and photographiceffects. The process of constructing requires an ability of imagining to combine and unitethem into a single unit as a unity which is intact on s single surface of the picture/image,expressively and imaginatively through an aesthetic creative process based on the personalcharacteristics of the creator. By doing so, the construction process will no longer visible onthe former image and the meaning will shift into an image with a new meaning.

ДО ПИТАННЯ ПРО ОСОБЛИВОСТІ ТЕАТРАЛЬНО-КРИТИЧНОГО ПРОЦЕСУ В УКРАЇНІ 1920-х РОКІВ

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Editorial Policy ◽  
Freedom Of Speech ◽  
Professional Status ◽  
Short Term ◽  
Artistic Process ◽  
The Press ◽  
Theater Criticism ◽  
Ideological Attitudes ◽  
Theatrical Criticism ◽  
Political Realities

Досліджуються закономірності розвитку театральної критики на тлі культурно-мистецького процесу та складних суспільно-політичних реалій 1920-х років. В Україні у першій пол. 1920-х рр. мав місце спонтанний вихід багатьох нових видань, для яких характерна несистематична поява, короткотривалість існування та нечітка редакційна політика. На відміну від політизованої преси ІІ пол. 1920-х рр. періодика І пол. 1920-х рр. не завжди відповідала ідеологічним настановам влади. Це обумовлено ситуацією у країні, невпорядкованою системою друку та, відповідно, відносною свободою слова. Зосереджено увагу на зміні мистецьких орієнтирів, вагомості та професійному стані театральної критики ІІ пол. 1920-х рр. у порівнянні з попереднім періодом. Адже саме тоді відбувається активізація представників різних поколінь театральних критиків. Ключові слова: театральна критика, 1920 роки, суспільно-політичні реалії, періодичні видання. The objectives of the article are to study the patterns of the theatrical criticism development against the turbulent cultural and artistic process and the complex of socio-political realities of the 1920 s. In Ukraine in the 1st half of the 1920 s there was a spontaneous output of many new publications, which are characterized by a non-systematic appearance, short-term existence and a rather fuzzy editorial policy in Ukraine in the first half of the 1920 s. Unlike the politicized press of the 2 nd half of 1920 s, periodicals of the 1st half of the 1920 s not always corresponded to the ideological attitudes of the authorities. This was due to the situation in the country, the disorderly system of the press and, accordingly, the relative freedom of speech. The article also focuses on the changing of artistic guidelines, the weight and professional status of theater criticism of the 2 nd half of 1920 s, compared with the previous period. It is at this time that the representatives of different generations of theater critics become more active. Key words: theater criticism, 1920-s, socio-political realities, periodicals.

Ada Design Language Developers Matrixr

1990 ◽  
Vol X (8) ◽  
pp. 34
Author(s):  
Judy Kerner
Keyword(s):  
Design Language
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