Aesthetic Computing by Paul A. Fishwick

By Paul A. Fishwick

In Aesthetic Computing, key students and practitioners from artwork, 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 several components of computing device technology. certainly one of its targets is to switch machine technology by way of the applying of the big variety of definitions and different types generally linked to making paintings. for instance, constructions in computing can be represented utilizing the fashion of Gaudi or the Bauhaus institution. This is going past the standard definition of aesthetics in computing, which most of the time refers back to the formal, summary features of such structures—a attractive facts, or a chic diagram. The participants to this booklet speak about the wider spectrum of aesthetics—from summary traits of symmetry and shape to rules of artistic expression and pleasure—in the context of machine technology. the belief at the back of aesthetic computing is that the sphere of computing might be enriched if it embraces all of aesthetics. Human-computer interplay will benefit—"usability," for instance, may perhaps seek advice from bettering a user's emotional state—and new versions of studying will emerge. Aesthetic Computing methods its topic from quite a few views. After defining the sector and putting it in its historic context, the booklet appears at paintings and layout, arithmetic and computing, and interface and interplay. Contributions variety from essays at the artwork of visualization and "the poesy of programming" to discussions of the aesthetics of arithmetic all through background and transparency and reflectivity in interface layout. members: 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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Drawing on the Artist Within. New York: Simon and Schuster, Inc. Emmer, Michele, ed. 1993. The Visual Mind: Art and Mathematics. Cambridge, MA: MIT Press. Essl, Georg. 2002. ’’ PhD dissertation, Princeton, NJ: Princeton University. Ferguson, Claire, and Ferguson, Helaman. 1994. Mathematics in Stone and Bronze. Meridian Creative Group. Fishwick, Paul. 1995. Simulation Model Design and Execution: Building Digital Worlds. Prentice Hall. Paul Fishwick 24 Fishwick, Paul. 2002a. ’’ Leonardo 35(4): 383–90.

His focus on symbol systems and languages gives him a natural affinity with computing; still, in introducing his theory in 1968, Goodman wrote a chapter section entitled ‘‘Analogs and Digits’’ only mentioning computing in passing, nor does he discuss it much in his later work. We explore his work, then, in the hope of finding clues to the nature of computing as a topic for aesthetic treatment. Although our objective is by no means to definitively establish Goodman’s precise views, but rather to use his writings as a starting point, it will be useful to sketch his position as clearly as we can at the outset.

A number of experimental computer-machine interfaces and immersive environments, many developed by artists, now exist, but none is in large-scale production, nor do any yet achieve the jazz ensemble’s seamless integration of human and tool in group work. The deep desire to achieve this kind of seamless and multimodal integration can be seen in Roger F. Malina 44 various initiatives in ubiquitous, pervasive, and wearable computing; clearly the computer is only just beginning to enter the biological age.

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