Sculplexity: Sculptures of Complexity using 3D printing

We show how to convert models of complex systems such as 2D cellular automata into a 3D printed object. Our method takes into account the limitations inherent to 3D printing processes and materials. Our approach automates the greater part of this task, bypassing the use of CAD software and the need for manual design. As a proof of concept, a physical object representing a modified forest fire model was successfully printed. Automated conversion methods similar to the ones developed here can be used to create objects for research, for demonstration and teaching, for outreach, or simply for aesthetic pleasure. As our outputs can be touched, they may be particularly useful for those with visual disabilities.Comment: Free access to article on European Physics Letter

Honor and Destruction: The Conflicted Object in Moral Rights Law

In 1990, the Copyright Act was amended to name visual artists, alone among protected authors, possessors of moral rights, a set of non-economic intellectual property rights originating in nineteenth-century Europe. Although enhancing authors\u27 rights in a user-oriented system was a novel undertaking, it was rendered further anomalous by the statute\u27s designated class, given copyright\u27s longstanding alliance with text. And although moral rights epitomize the legacy of the Romantic author as a cultural trope embedded in the law, American culture offered little to support or explain the apparent privileging of visual artists over other authors. What, if not a legal or cultural disposition toward visual artists, precipitated the enactment of a moral rights statute like the Visual Artists Rights Act of 1990 (\u27\u27VARA )? This Article demonstrates that the answer is less related to authorship concerns than would reasonably be surmised from a doctrine premised on the theory that a creative work embodies the author\u27s honor, personhood, and even soul

Multiphase procedure for landscape reconstruction and their evolution analysis. GIS modelling for areas exposed to high volcanic risk

This paper – focussed on the province of Naples, where many municipalities with a huge demographic and building density are subject to high volcanic risk owing to the presence of the Campi Flegrei (Phlegrean Fields) caldera and the Somma-Vesuvius complex – highlights the methodological-applicative steps leading to the setting up of a multiphase procedure for landscape reconstruction and their evolution analysis. From the operational point of view, the research led to the: (1) digitalisation, georeferencing and comparison of cartographies of different periods of time and recent satellite images; (2) elaboration and publication of a multilayer Story Map; (3) accurate vectorisation of the data of the buildings, for each period of time considered, and the use of kernel density in 2D and 3D; (4) application of the extrusion techniques to the physical aspects and anthropic structures; (5) production of 4D animations and film clips for each period of time considered. A procedure is thus tested made up of preparatory sequences, leading to a GIS modelling aimed at highlighting and quantifying significant problem areas and high exposure situations and at reconstructing the phases which in time have brought about an intense and widespread growth process of the artificial surfaces, considerably altering the features of the landscape and noticeably showing up the risk values. In a context characterised by land use conflicts and anomalous conditions of anthropic congestion, a diagnostic approach through images in 2D, 3D and 4D is used, with the aim to support the prevention and planning of emergencies, process damage scenarios and identify the main intervention orders, raise awareness and educate to risk, making an impact on the collective imagination through the enhancement of specific geotechnological functionalities of great didactic interest

Soft thought (in architecture and choreography)

This article is an introduction to and exploration of the concept of ‘soft thought’. What we want to propose through the definition of this concept is an aesthetic of digital code that does not necessarily presuppose a relation with the generative aspects of coding, nor with its sensorial perception and evaluation. Numbers do not have to produce something, and do not need to be transduced into colours and sounds, in order to be considered as aesthetic objects. Starting from this assumption, our main aim will be to reconnect the numerical aesthetic of code with a more ‘abstract’ kind of feeling, the feeling of numbers indirectly felt as conceptual contagions’, that are ‘conceptually felt but not directly sensed. The following pages will be dedicated to the explication and exemplification of this particular mode of feeling, and to its possible definition as ‘soft thought’

Architectural authorship in generative design

The emergence of evolutionary digital design methods, relying on the creative generation of novel forms, has transformed the design process altogether and consequently the role of the architect. These methods are more than the means to aid and enhance the design process or to perfect the representation of finite architectural projects. The architectural design philosophy is gradually transcending to a hybrid of art, engineering, computer programming and biology. Within this framework, the emergence of designs relies on the architect- machine interaction and the authorship that each of the two shares. This work aims to explore the changes within the design process and to define the authorial control of a new breed of architects- programmers and architects-users on architecture and its design representation. For the investigation of these problems, this thesis is to be based on an experiment conducted by the author in order to test the interaction of architects with different digital design methods and their authorial control over the final product. Eventually, the results will be compared and evaluated in relation to the theoretic views. Ultimately, the architect will establish his authorial role

A New 3D Tool for Planning Plastic Surgery

Face plastic surgery (PS) plays a major role in today medicine. Both for reconstructive and cosmetic surgery, achieving harmony of facial features is an important, if not the major goal. Several systems have been proposed for presenting to patient and surgeon possible outcomes of the surgical procedure. In this paper, we present a new 3D system able to automatically suggest, for selected facial features as nose, chin, etc, shapes that aesthetically match the patient's face. The basic idea is suggesting shape changes aimed to approach similar but more harmonious faces. To this goal, our system compares the 3D scan of the patient with a database of scans of harmonious faces, excluding the feature to be corrected. Then, the corresponding features of the k most similar harmonious faces, as well as their average, are suitably pasted onto the patient's face, producing k+1 aesthetically effective surgery simulations. The system has been fully implemented and tested. To demonstrate the system, a 3D database of harmonious faces has been collected and a number of PS treatments have been simulated. The ratings of the outcomes of the simulations, provided by panels of human judges, show that the system and the underlying idea are effectiv

The beauty of the mammalian vascular system

Beauty is a characteristic of objects that provides a perceptual experience of pleasure. In nature, aesthetic appreciation thereof has given rise to the mathematical search for good series (e.g. the Fibonacci series) and proportions (e.g. the Golden proportion) as important elements of beauty. In 1928 the mathematician George David Birkhoff introduced a formula for aesthetic measurement of an object. Birkhoff equation defines the aesthetic value as the amount of order divided by the complexity of the product. These two features can be measured easily in poetry, music, painting, architecture, etc. In the fine arts, it is the artist who manipulates both these features, but how does nature manage order and complexity in living organisms or their parts? Here we show how Birkhoff equation, applied to the mammalian vascular system of eight representative animals, results in new insights into the organization of the animal vascular system. We found that order and complexity are highly correlated in the mammalian vascular system (_R^2^_=0.9511). Accordingly, in nature both features are not independently managed in the manner of artists. We found significant differences among the Birkhoff aesthetic values in the mammalian arterial system, whereas no such differences exist in the venous system. We anticipate our approach to be useful in the study of morphogenesis and evolution of tree-like structures, employing the Birkhoff aesthetic value as a simple tool for conducting such studies

The Jurisprudence of Transformation: Intellectual Incoherence and Doctrinal Murkiness Twenty Years After Campbell v. Acuff-Rose Music

Examining recent judicial opinions, this Article analyzes and critiques the transformative-use doctrine two decades after the U.S. Supreme Court introduced it into copyright law in Campbell v. Acuff-Rose Music. When the Court established the transformative-use concept, which plays a critical role in fair-use determinations today, its contours were relatively undefined. Drawing on an influential law-review article, the Court described a transformative use as one that adds “new expression, meaning or message.” Unfortunately, the doctrine and its application are increasingly ambiguous, with lower courts developing competing conceptions of transformation. This doctrinal murkiness is particularly disturbing because fair use is a key proxy for First Amendment interests in copyright law. This Article traces the evolution of transformative use, analyzes three key paradigms of transformative use that have gained prominence in the post-Campbell environment, and offers suggestions for a jurisprudence in which transformative use is a less significant component of the fair-use analysis