TAILIEUCHUNG - "Shape Grammars and the Generative Specification of Painting and Sculpture"

Whether you are soliciting competitive bids or negotiating a sole-source contract, you should describe your project and your expectations in writing. Use a request for proposals (RFP) to review the overall purpose of the project, including which sculptures are involved. State who will supervise the project, what the expected timetable is, and what the proposal deadline is. Outline the type and extent of insurance the conservator will be expected to carry, and spell hout any special circumstances the bidders should know about. The clear objectives you established as you began your search will be helpful at this stage | Shape Grammars and the Generative Specification of Painting and Sculpture by George Stiny and James Gips. Presented at IFIP Congress 71 in Ljubljana Yugoslavia. Selected as the Best Submitted Paper. IFIP stands for International Federation for Information Processing Published in the Proceedings C V Freiman ed. Information Processing 71 Amsterdam North-Holland 1972 1460-1465. Republished in O R Petrocelli ed. The Best Computer Papers of 1971 Auerbach Philadelphia 1972 125-135. This is the version reproduced below. 6 Shape Grammars and the Generative Specification of Painting and Sculpture by George Stiny and James Gips A method of shape generation using shape grammars which take shape as primitive and have shape specific rules is presented. A formalism for the complete generative specification of a class of non-representational geometric paintings or sculptures is defined which has shape grammars as its primary structural component. Paintings are material representations of two-dimensional shapes generated by shape grammars sculptures of three-dimensional shapes. Implications for aesthetics and design theory in the visual arts are discussed. Aesthetics is considered in terms of specificational simplicity and visual complexity. In design based on generative specifications the artist chooses structural and material relationships and then determines algorithmically the resulting art objects. We present a formalism for the complete specification of families of non-representational geometric paintings and sculptures. Formally defining the specification of an art object independently of the object itself provides a framework in which theories of design and aesthetics can be developed. The specifications introduced are algorithmic and made in terms of recursive schemata having shape grammars as their basic formal component. This represents a departure from previous mathematical approaches to the visual arts 1 2 which have been informal rather than effective and except for

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