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Download e-book for iPad: Aesthetic Computing by Paul A. Fishwick

By Paul A. Fishwick

ISBN-10: 026206250X

ISBN-13: 9780262062503

In Aesthetic Computing, key students and practitioners from paintings, layout, laptop technological know-how, and arithmetic lay the rules for a self-discipline that applies the idea and perform of paintings to computing. Aesthetic computing explores the best way artwork and aesthetics can play a job in numerous parts of desktop technological know-how. considered one of its pursuits is to switch desktop technological know-how through the appliance of the wide variety of definitions and different types regularly linked to making paintings. for instance, constructions in computing could be represented utilizing the fashion of Gaudi or the Bauhaus university. This is going past the standard definition of aesthetics in computing, which generally refers back to the formal, summary traits of such structures—a attractive evidence, or a sublime diagram. The members to this publication speak about the wider spectrum of aesthetics—from summary characteristics of symmetry and shape to rules of artistic expression and pleasure—in the context of desktop technology. the belief in the back of aesthetic computing is that the sphere of computing can be enriched if it embraces all of aesthetics. Human-computer interplay will benefit—"usability," for instance, may perhaps seek advice from enhancing a user's emotional state—and new versions of studying will emerge. Aesthetic Computing techniques its topic from numerous views. After defining the sector and putting it in its historic context, the e-book appears at paintings and layout, arithmetic and computing, and interface and interplay. Contributions diversity from essays at the paintings of visualization and "the poesy of programming" to discussions of the aesthetics of arithmetic all through historical past and transparency and reflectivity in interface layout. individuals: James Alty, Olav W. Bertelsen, Jay David Bolter, Donna Cox, Stephan Diehl, Mark d'Inverno, Michele Emmer, Paul Fishwick, Monica Fleischmann, Ben Fry, Carsten Görg, Susanne Grabowski, Diane Gromala, Kenneth A. Huff, John Lee, Frederic Fol Leymarie, Michael Leyton, Jonas Löwgren, Roger F. Malina, Laurent Mignonneau, Frieder Nake, Ray Paton, Jane Prophet, Aaron Quigley, Casey Reas, Christa Sommerer, Wolfgang Strauss, Noam Tractinksy, Paul Vickers, Dror Zmiri

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Example text

Inquire about what initially appeared to be exotic ways to encode formal knowledge. This is a challenge not only for computer scientists, however, but also for artists, who should be encouraged to consider the computer, and computing practices, as subject material as well as raw material. This suggestion may strike some artists as a modernist era agenda; however, as a tool or a subject, the computer with its mathematical foundation creates significantly higher complexity than paint, palette knife, or chisel ever could.

4 ‘‘Above’’ this level are indefinitely many others, at each of which a formalism is syntactically and semantically defined so that various operations can be coherently interpreted in terms of some domain. Examples are typical programming languages, but also drawing and painting systems. Input is mapped to output in a coherent way: in a spell-checking system, errors are mapped to correct spellings (we hope); in the paint program, perhaps stylus John Lee 38 pressure is mapped to line width, or movement to line development.

4 ‘‘Above’’ this level are indefinitely many others, at each of which a formalism is syntactically and semantically defined so that various operations can be coherently interpreted in terms of some domain. Examples are typical programming languages, but also drawing and painting systems. Input is mapped to output in a coherent way: in a spell-checking system, errors are mapped to correct spellings (we hope); in the paint program, perhaps stylus John Lee 38 pressure is mapped to line width, or movement to line development.

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Aesthetic Computing by Paul A. Fishwick


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