Visuality and the haptic qualities of the line in generative art

The line has an important and particular relationship with the generative artwork distinct from other elements such as the ‘pixel’, ‘voxel’ or the ‘points’ that make up point clouds. The line has a dual nature as both continuous and discrete which makes it perhaps uniquely placed to straddle the analog and digital worlds. It has a haptic or felt quality as well as an inherent ambiguity that promotes a relatively active interpretive role for the audience. There is an extensive history of the line in generative systems and artworks, taking both analog and digital forms. That it continues to play an important role, alongside other more photographically inspired ‘perceptual schemas’, may be a testament to its enduring usefulness and unique character. This paper considers the particular affordances and the ‘visuality’ of the line in relation to generative artworks. This includes asking how we might account for the felt quality of lines and the socially and culturally constructed aspects that shape our relationship with them. It asks whether, in what has been described as a ‘post digital’ or even ‘post post digital’ world, the line may offer a way to re-emphasise a more human scale and a materiality that can push back, gently, against other more dominant perceptual schemas. It also asks what generative art can learn from drawing theory, many of the concerns of which parallel and intersect with those of generative art

The simultaneity of complementary conditions:re-integrating and balancing analogue and digital matter(s) in basic architectural education

The actual, globally established, general digital procedures in basic architectural education,producing well-behaved, seemingly attractive up-to-date projects, spaces and first general-researchon all scale levels, apparently present a certain growing amount of deficiencies. These limitations surface only gradually, as the state of things on overall extents is generally deemed satisfactory. Some skills, such as “old-fashioned” analogue drawing are gradually eased-out ofundergraduate curricula and overall modus-operandi, due to their apparent slow inefficiencies in regard to various digital media’s rapid readiness, malleability and unproblematic, quotidian availabilities. While this state of things is understandable, it nevertheless presents a definite challenge. The challenge of questioning how the assessment of conditions and especially their representation,is conducted, prior to contextual architectural action(s) of any kind

What the eye does not see: visualizations strategies for the data collection of personal networks

The graphic representation of relational data is one of the central elements of social network analysis. In this paper, the author describe the use of visualization in interview-based data collection procedures designed to obtain personal networks information, exploring four main contributions. First, the author shows a procedure by which the visualization is integrated with traditional name generators to facilitate obtaining information and reducing the burden of the interview process. Second, the author describes the reactions and qualitative interpretation of the interviewees when they are presented with an analytical visualization of their personal network. The most frequent strategies consist in identifying the key individuals, dividing the personal network in groups and classifying alters in concentric circles of relative importance. Next, the author explores how the visualization of groups in personal networks facilitates the enumeration of the communities in which individuals participate. This allows the author to reflect on the role of social circles in determining the structure of personal networks. Finally, the author compares the graphic representation obtained through spontaneous, hand-drawn sociograms with the analytical visualizations elicited through software tools. This allows the author to demonstrate that analytical procedures reveal aspects of the structure of personal networks that respondents are not aware of, as well as the advantages and disadvantages of using both modes of data collection. For this, the author presents findings from a study of highly skilled migrants living in Spain (n = 95) through which the author illustrates the challenges, in terms of data reliability, validity and burden on both the researcher and the participants

Motion sequence analysis in the presence of figural cues

Published in final edited form as: Neurocomputing. 2015 January 5, 147: 485–491The perception of 3-D structure in dynamic sequences is believed to be subserved primarily through the use of motion cues. However, real-world sequences contain many figural shape cues besides the dynamic ones. We hypothesize that if figural cues are perceptually significant during sequence analysis, then inconsistencies in these cues over time would lead to percepts of non-rigidity in sequences showing physically rigid objects in motion. We develop an experimental paradigm to test this hypothesis and present results with two patients with impairments in motion perception due to focal neurological damage, as well as two control subjects. Consistent with our hypothesis, the data suggest that figural cues strongly influence the perception of structure in motion sequences, even to the extent of inducing non-rigid percepts in sequences where motion information alone would yield rigid structures. Beyond helping to probe the issue of shape perception, our experimental paradigm might also serve as a possible perceptual assessment tool in a clinical setting.The authors wish to thank all observers who participated in the experiments reported here. This research and the preparation of this manuscript was supported by the National Institutes of Health RO1 NS064100 grant to LMV. (RO1 NS064100 - National Institutes of Health)Accepted manuscrip

Learning to Infer Graphics Programs from Hand-Drawn Images

We introduce a model that learns to convert simple hand drawings into graphics programs written in a subset of \LaTeX. The model combines techniques from deep learning and program synthesis. We learn a convolutional neural network that proposes plausible drawing primitives that explain an image. These drawing primitives are like a trace of the set of primitive commands issued by a graphics program. We learn a model that uses program synthesis techniques to recover a graphics program from that trace. These programs have constructs like variable bindings, iterative loops, or simple kinds of conditionals. With a graphics program in hand, we can correct errors made by the deep network, measure similarity between drawings by use of similar high-level geometric structures, and extrapolate drawings. Taken together these results are a step towards agents that induce useful, human-readable programs from perceptual input

The DAB model of drawing processes

The problem of automatic drawing was investigated in two ways. First, a DAB model of drawing processes was introduced. DAB stands for three types of knowledge hypothesized to support drawing abilities, namely, Drawing Knowledge, Assimilated Knowledge, and Base Knowledge. Speculation concerning the content and character of each of these subsystems of the drawing process is introduced and the overall adequacy of the model is evaluated. Second, eight experts were each asked to understand six engineering drawings and to think aloud while doing so. It is anticipated that a concurrent protocol analysis of these interviews can be carried out in the future. Meanwhile, a general description of the videotape database is provided. In conclusion, the DAB model was praised as a worthwhile first step toward solution of a difficult problem, but was considered by and large inadequate to the challenge of automatic drawing. Suggestions for improvements on the model were made