The computational generative patterns in Indonesian batik

The paper discusses the terminology behind batik crafting and showed the aspects of self-similarity in its ornaments. Even though a product of batik cannot be reduced merely into its decorative properties, it is shown that computation can capture some interesting aspects in the batik-making ornamentation. There are three methods that can be exploited to the generative batik, i.e.: using fractal as the main source of decorative patterns, the hybrid batik that is emerged from the acquisition of L-System Thue-Morse algorithm for the harmonization within the grand designs by using both fractal images and traditional batik patterns, and using the random image tessellation as well as previous tiling algorithms for generating batik designs. The latest can be delivered by using a broad sources of motifs and traditionally recognized graphics. The paper concludes with certain aspects that shows how the harmony of traditional crafting and modern computation could bring us a more creative aspects of the beautiful harmony inherited in the aesthetic aspects of batik crafting

Driven by Compression Progress: A Simple Principle Explains Essential Aspects of Subjective Beauty, Novelty, Surprise, Interestingness, Attention, Curiosity, Creativity, Art, Science, Music, Jokes

I argue that data becomes temporarily interesting by itself to some self-improving, but computationally limited, subjective observer once he learns to predict or compress the data in a better way, thus making it subjectively simpler and more beautiful. Curiosity is the desire to create or discover more non-random, non-arbitrary, regular data that is novel and surprising not in the traditional sense of Boltzmann and Shannon but in the sense that it allows for compression progress because its regularity was not yet known. This drive maximizes interestingness, the first derivative of subjective beauty or compressibility, that is, the steepness of the learning curve. It motivates exploring infants, pure mathematicians, composers, artists, dancers, comedians, yourself, and (since 1990) artificial systems.Comment: 35 pages, 3 figures, based on KES 2008 keynote and ALT 2007 / DS 2007 joint invited lectur

An Attempt to Update Edward Dembowski’s Philosophy of Creation

The article mainly discusses Edward Dembowski's philosophy of creation in connection with his Hegelian influences, leftist associations and the ongoing discussion in nineteenth century romantic polish philosophy. The nineteenth century, with its German Idealism and French tendency to act in the name of social rights, had introduced new ideas to work with during harsh historical times. Dembowski, amongst other Poles, was the closest to constructing a coherent metaphysical system for the philosophy of creation (filozofia twórczości). In the paper, I try to show a part of his intellectual evolution, stretching from defining philosophy as knowledge itself in the form of a Hegelian system, through his critique of Hegel's and Cieszkowski's systems, up to his own established system – the philosophy of creation and its social connections. I also speculate about which of his philosophical ideas can remain relevant today

The Fractal archive

None provided