Course "Algorithmic Art & Artificial Intelligence"       IAAA       

"No matter how complex, profound and fecund a work of art — or even the whole realm of art — may be, it is incomparably simpler than life. So the theory of art is really a prolegomenon to the much greater undertaking of constructing a concept of mind adequate to the living actuality."

Susanne Langer: Mind: An Essay on Human Feeling, Vol. I, p. 244.
Baltimore and London: The Johns Hopkins University Press, 1967.

Style Simulation

 


Style Simulation in Kinetic Art

Jean Tinguely: Méta-Malevich Series (15 pieces), 1954;
Méta-Kandinsky Series (5 pieces), 1956.


   

Méta-Malevich: Front / Back


   
Méta-Kandinsky I (Wundermaschine)


     

Méta-Malevich: Snapshot / Multiple Exposure


"I am an artist of movement. Initially I did painting but I got blocked there, I found myself stuck. I was handicapped by the whole history of art and the Ecole des Beaux Arts. I got hung up in the pictures, on the pictures – finally all I could do is wait until they were tired; I could never find their end. So I decided to introduce movement. I started from Constructivist elements, taken from the vocabulary of the Russian Suprematist painter Malevich, and from Kandinsky and Arp and a few others. I re-used their elements and set them in motion. I was trying to get away from the imperative, the power of these artists, also from Mondrian. I began to use movement simply to make a re-creation. It was a way of re-doing a painting so that it would become infinite – it would go on making new compositions by means of the physical and mechanical movements that I gave it."


Jean Tinguely in a radio conversation, Radio Télevision Belge (RTB), Brussels, 13 December 1982.
[Pontus Hulten: Jean Tinguely.
A Magic Stronger than Death. New York: Abbeville Press, 1987, p. 350.]


". . . puisque le tableau ne se laisse pas terminer, il n'y a qu'à le rendre interminable. Interminable parce que mis en mouvement, et par là perpétuellement recombiné, jamais plus le même, jamais plus "pétrifié" en lui-même. (. . .) Le principe de mise en œuvre sera simple. On peut le résumer ainsi: j'hésitais entre plusieurs configurations, le mouvement va me les donner toutes. Il suffira de découper dans la tôle des formes simples, et de les faire tourner indépendamment en les plaçant sur des axes entraînés par un moteur."

Michel Conil Lacoste: Tinguely. L'Énergétique de l'Insolence.
Vol. I, p. 14. Paris: Éditions de la Différence, 1989.







(Andere projecten van Tinguely komen aan de orde in de pagina over Kinetische Kunst en de pagina over Automatic Expressionism.)

 
    


Opgave 1 (Kunstgeschiedenis): Zoek uit of de Méta-Malevitch en Méta-Kandinsky moto-reliëfs gebaseerd zijn op specifieke schilderijen van Malevitch resp. Kandinsky; zo ja, welke; zo nee, wat voor generalisatie/abstractie is hier gepleegd.

[Resultaat tot dusver (Maja Brouwer, 2002): Een preliminair onderzoek lijkt uit te wijzen dat Malevich nooit werken gemaakt heeft die bestaan uit witte strepen op een zwarte achtergrond. Blijft de vraag of de patronen van de Méta-Malevich schilderijen letterlijk aan concrete voorbeelden ontleend zijn.]


Opgave 2 (Algorithmic Art): Maak computer-simulaties van de Méta-Malevitch's en Méta-Kandinsky's (en eventueel van andere soortgelijke werken), en integreer die in een Méta-Tinguely-programma. Zorg dat het programma gebaseerd is op een expliciet mathematisch model. Beschrijf en motiveer dat programma in een begeleidend essay.

 


Style Simulation in Digital Image Generation


Style simulation in classical chance art

A. Michael Knoll: Mondriaan.
Manfred Mohr: Klee

 

Style simulation with the Stiny & Gips Shape Grammar

Joan L. Kirsch and Russell A. Kirsch: "The Structure of Paintings: Formal Grammar and Design," Environment and Planning B: Planning and Design, 13 (1986), pp. 163-176.

T. W. Knight, "Transformations of the Meander Motif on Greek Geometric Pottery," Design Computing 1 (1986): 29-67.

Joan Kirsch, Russell Kirsch and Sanford Ressler: "Computers Viewing Artists at Work," Proceedings of Syntactic and Structural Pattern Recognition, March, 1987.

Joan L. Kirsch and Russell A. Kirsch: "The Anatomy of Painting Style: Description with Computer Rules", Leonardo, Vol. 21, No 4 (December 1988).

Joan L. Kirsch and Russell A. Kirsch: "Storing art images in intelligent computers", Proceedings of the First International Symposium on Electronic Art, Netherlands, September 1988, published as Leonardo, Electronic Art Supplemental Issue, pp. 47-54, 1988, and also as Leonardo, Vol 23, No 1, (1990), pp. 99-106. [Simulaties van Diebenkorn en Miró.]

Joan L. Kirsch and Russell A. Kirsch: "Computer grammars for the syntactical analysis of paintings", in I. Lavin (Ed.) World Art: Themes of Unity in Diversity, Acts of the 26th International Congress of the History of Art, Pennsylvania State University Press, University Park, PA, 1989.

Russell A. Kirsch: "The History of Art History in the 21st Century, as Viewed from Computer Science: 20-20 Hindsight from the Year of the Same Name," Visual Resources, Vol VI, 1990, pp. 267-278.

Russell A. Kirsch: "Using Computers to Describe Style," In: Steven M. Freers (ed.): American Indian Rock Art, Vol 22 (1998), pp. 153-160.

Style simulation in contemporary web art

Mondriaan

Er staan veel Mondriaan-algoritmes online die allemaal nogal inadequaat zijn.

Als uw browser JavaScripts uitvoert, staat hierboven een plaatje dat werd gegenereerd door een JavaScript programmaatje van Jules Vleugels (Informatica, Universiteit van Utrecht). Vergeleken met andere algoritmes is deze relatief stijlgetrouw. Je kunt de code bekijken in de html-header. Reload de pagina om een nieuw plaatje te zien te krijgen.

Andere "Mondriaan-algoritmes":

Thomas Castro: Do It Yourself Mondriaan, 2000.
P.J. Doland: Interactive Mondrian Simulator, 2002.
ptank.com: Mondrian Machine (slecht).
Cindy Tsutsumi, Travis McElhany, Jamie Moore: Build your own Mondrian, 2000.

Specific Mondrian pieces coded in HTML:

Similar algorithms about other artists:

Edward Cossette: Line Form Color. (<5k entry 2001, based on Elsworth Kelly.)

Heather Champ: Random Rothko, 2000.
 

Opgave 3 (Kunstkritiek) Analyseer een aantal van de bovenstaande algoritmes in vergelijking met de oorspronkelijke gesimuleerde werken.

Opgave 4 (Algorithmic Art) Schrijf simulaties die interessanter en stijlgetrouwer zijn dan de hierboven vermelde. Leg uit.


Style simulation in architecture.


H. Buelinckx, "WrenÕs language of City church designs: a formal generative classification," Environment and Planning B: Planning and Design 20 (1993): 645-676.

S-C Chiou and R. Krishnamurti, "The grammar of Taiwanese traditional vernacular dwellings," Environment and Planning B: Planning and Design 22 (1995): 689-720.

F. Downing and U. Flemming, "The bungalows of Buffalo," Environment and Planning B: 8 (1981): 269- 293.

José Duarte: Shape Grammar for Álvaro Siza's patio houses in Malagueira. Ph. D. Thesis Project, MIT.

U. Flemming, "More than the sum of its parts: the grammar of Queen Anne houses," Environment and Planning B: Planning and Design 14 (1987): 323-350.

U. Flemming, "Syntactic Structures in Architecture," in M. McCullough, W. J. Mitchell, and P. Purcell, eds., The Electronic Design Studio (The MIT Press, Cambridge, 1990), pp. 31-47.

G J. Gibbs, "Sincerity of Design: Irving J. GillÕs California Houses," Environment and Planning B: Planning and Design (forthcoming).

N. L. R. Hanson and A. D. Radford, "On Modelling the Work of the Architect Glenn Murcutt," Design Computing (1986): 189-203.

T. W. Knight, "The generation of Hepplewhite-style chair back designs," Environment and Planning B: Planning and Design 7 (1980): 227-238.

H. Koning and J. Eizenburg: "The Language of the Prairie: Frank Lloyd Wright's Prairie Houses," in Environment and Planning B: Planning and Design 8, 1981.

A. I. Li, "A 12th century Chinese building manual: descriptions and a shape grammar," Thresholds 17 (1998): 25-30.

A. I. Li, "Expressing Parametric Dependence in Shape Grammars, with an Example from Traditional Chinese Architecture," Proceedings of the fourth conference of the Association of Computer Aided Architectural Design Research in Asia (CAADRIA), Shanghai (1999), pp. 265-274.

L. March, "Rulebound unruliness," Environment and Planning B: Planning and Design 23 (1996): 396.

L. March, "Architectonics of proportion: a shape grammatical depiction of classical theory," Environment and Planning B: Planning and Design 26 (1999): 91-100.

J. Rollo, "Triangle and t-square: the windows of Frank Lloyd Wright," Environment and Planning B: Planning and Design 22 (1995): 75-92.

S G. Stiny, "Ice-ray: a note on Chinese lattice designs," Environment and Planning B 4 (1977): 89-98.

G. Stiny and W. J. Mitchell, "The Palladian grammar," Environment and Planning B 5 (1978): 5-18.

G. Stiny and W. J. Mitchell, "The grammar of paradise: on the generation of Mughul gardens," Environment and Planning B 7 (1980): 209-226.

 

 



References Shape Grammar

C. Carlson, R. McKelvey, and R. Woodbury, "An introduction to structures and structure grammars," Environment and Planning B: Planning and Design 18 (1991): 417-426.

J. Gips, Shape Grammars and their Uses (Birkhauser, Basel, 1975).

Terry Knight's Shape Grammar Site

T. W. Knight, "Color grammars: designing with lines and colors," Environment and Planning B: Planning and Design 16 (1989): 417-449.

T. W. Knight, "Designing with Grammars," in G. N. Schmitt, ed., Computer-Aided Architectural Design (Verlag Viewag, Weisbaden, 1992), pp.33-48.

T. W. Knight, "Color Grammars: the Representation of Form and Color in Design," Leonardo 26 (1993): 117-124

T. W. Knight, "Shape grammars and color grammars in design," Environment and Planning B: Planning and Design 21 (1994): 705-735.

T. W. Knight, "Designing a Shape Grammar" in J. S. Gero and F. Sudweeks, eds., Artificial Intelligence in Design Ō98 (Kluwer Academic Publishers, 1998), p. 514.

T. W. Knight, "Shape grammars: six types," Environment and Planning B: Planning and Design 26 (1999): 15-31.

R.G. Lauzzana and L. Pocock-Williams: "A Rule System for Aesthetic Research in the Visual Arts," in Leonardo 21, No. 4, 1988.

G. Stiny, Pictorial and Formal Aspects of Shape and Shape Grammars (Birkhauser, Basel, 1975).

G. Stiny and J. Gips, "Shape Grammars and the Generative Specification of Painting and Sculpture," in C. V. Freiman, ed., Information Processing 71 (North Holland, Amsterdam, 1972), pp. 1460-1465.

G. Stiny and J. Gips, Algorithmic Aesthetics (University of California Press, Berkeley, CA, 1978)

G. Stiny, "Two exercises in formal composition," Environment and Planning B 3 (1976): 187-210.

G. Stiny: "Introduction to Shape and Shape Grammars," Environment and Planning B, 7, 1980.

G. Stiny, "Kindergarten grammars: designing with FroebelÕs building gifts," Environment and Planning B 3 (1980): 409-462.

T M. Tapia, From Shape to Style. Shape Grammars: Issues in Representation and Computation, PhD Thesis, Department of Computer Science, University of Toronto, Toronto, Canada (1996).

M. Tapia, "A visual implementation of a shape grammar system," Environment and Planning B: Planning and Design 26 (1999): 59-73.

Y. Wang and J. P. Duarte, "Synthesizing 3D forms: shape grammars and rapid prototyping," Workshop on Generative Design, Artificial Intelligence in Design Ō98 Conference, Lisbon, Portugal, 1998), pp. 7-18.