TAILIEUCHUNG - SHAPE GRAMMARS AND THE GENERATIVE SPECIFICATION 'OF PAINTING AND SCULPTURE

The essays that follow adopt and adapt, explore and expand an approach to the medieval art object that Madeline Caviness has dubbed “triangulation.” The pioneering role of Professor Caviness in pursuing critical and theoretical goals provides the a priori condition for this volume. The endeavor is devoted to the methodology that Caviness first proposed in an article in 1997, more consciously developed in her book Visualizing Women in the Middle Ages: Sight, Spectacle, and Scopic Economy in 2001, and subsequently articulated as a diagram in her e-book Reframing Medieval Art: Difference, Margins, Boundaries in This project is. | Paper 128 SHAPE GRAMMARS AND THE GENERATIVE SPECIFICATION OF PAINTING AND SCULPTURE George stiny 4220 8th Street Los Angeles California 90005 and James Gips Computer Science Department Stanford University Stanford California Paper Submitted to IFIP Congress 71 in Area 7 Sciences and Humanities Models and Applications for the Arts Language of Presentation English This paper discusses a new approach to design and analysis in the visual arts. It is the original work of the authors and has not been published previously in any form. Please address all correspondence to George stiny. Paper 128 SHAPE GRAMMARS AND THE GENERATIVE SPECIFICATION OF PAINTING AND SCULPTURE Abstract 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 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 specification al simplicity and visual complexity. In design based on generative specifications the artist chooses structural and material relationships and then determines algorithmically the resulting works of art. SHAPE GRAMMARS AND THE GENERATIVE SPECIFICATION OF PAINTING AND SCULPTURE In this paper we present 1 a definition of shape grammars 2 a formalism based on these grammars for the complete generative specification of a class of paintings or sculptures and 3 a discussion of the implications of these specifications for aesthetics and design theory. Generative specifications can be used in the analysis and aesthetic evaluation of the paintings or sculptures they define. In design based on generative specifications the artist chooses .

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