Artistic Robotic Painting Using the Palette Knife Technique

This paper presents a novel robotic painting system able to create artworks using the palette knife technique. The implementation of this method with a robotic system is particularly challenging, since the robot needs to precisely manipulate the palette knife to pick up and release the color on the canvas. The painting system comprises a 6-DOF collaborative robot, a camera to acquire the information on the color position, and several algorithms for the artistic rendering of the images and for the planning of the trajectories that the robot has to follow. During the painting process the user can modify multiple parameters: both software, for example, stroke position and orientation, and hardware, for example, palette knife inclination and height, to obtain different stroke effects. Finally, the experimental results are discussed by analyzing the artworks painted by the novel robotic system.

Beautiful Perception and its Object. Mendelssohn’s theory of mixed sentiments reconsidered

Complex aesthetic perception, according to Mendelssohn’s writings between 1755 and 1771, is most alluring if it showcases a breach in the order of perfection. With this, Mendelssohn introduces a shift in our understanding of the artistic act of imitation: Artistic semblance is always lacking, and a painting that does not point to this fact is, in fact, displeasing. This is also the main reason why we enjoy non-beautiful art: in the artistic rendering of an unpleasant ‘object’ we focus on the artistic act itself, on its formal features, and its effects on us as the perceiver. Thus, a representation that evokes the mixed feelings of pleasure, appreciation, and rejection is superior to ‘pure’ beauty, in that it better refers us to higher forms of perfection: the perfection of the perceiving and creative subject (hence, including both artist and audience). It is the nagging, near-painful impression of mixed sentiments that, according to Mendelssohn, guides our self-perfection, the highest aim of all human endeavors.

Three-Dimensional Alternatives to Lithic Illustration

Although alternatives have become available, pen and ink drawings of stone tools dominate archaeological publications. Despite the existence of a conventional illustration framework, the work produced by illustrators can be inconsistent and hinges on skill level and time commitment. Discussions going back to the 1880s critically question the use of illustrations for the purpose of scientific publication. Alternatives, such as laser scanning and photogrammetric modeling, are now available for displaying lithics. These alternatives can remove the subjectivity involved in artistic rendering, creating replicable results, regardless of who is collecting the data. In addition to creating more regularized and objective representations, there are a significant number of analytical and other benefits to adopting novel imaging techniques to depict stone tools in publications. A set of three-dimensional (3D) models are presented here to demonstrate the capabilities of laser scanning and, potentially, photogrammetric modeling as replacements for lithic illustration.

Kim Chi-Ha'sHanAnthropology and Its Challenge to Catholic Thought

The Korean anthropology ofhanremains an untapped resource for envisioning Roman Catholic soteriologies within a globalizing context.Hanrefers to the deep wounds of the violated that are imbued with energy that will cause either creation or destruction. One means by which Catholic theologians can engagehanis through the writings of Korean poet Kim Chi-Ha (b. 1941). Kim's works,Groundless Rumors: The Story of a Sound, Torture Road—1974,andChang Il-Dam, provide evocative and challenging images ofhanand how God works for the salvation of both sinned-against and sinner in this world. Kim's artistic rendering ofhanin his works challenges Catholic soteriology to attend as thoroughly to salvation for the “sinned-against” as to salvation for sinners.

A Natural Image Pointillism with Controlled Ellipse Dots

This paper presents an image-based artistic rendering algorithm for the automatic Pointillism style. At first, ellipse dot locations are randomly generated based on a source image; then dot orientations are precalculated with help of a direction map; a saliency map of the source image decides long and short radius of the ellipse dot. At last, the rendering runs layer-by-layer from large size dots to small size dots so as to reserve the detailed parts of the image. Although only ellipse dot shape is adopted, the final Pointillism style performs well because of variable characteristics of the dot.