Computational Aesthetics 08
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Editorial The International Symposium on Computational Aesthetics in Graphics, Visualization, and Imaging, has now been running annually since 2005. Computational Aesthetics bridges the analytic and synthetic by integrating aspects of computer science, philosophy, psychology, and the fine, applied & performing arts. It seeks to facilitate both the analysis and the augmentation of creative behaviour. CAe also investigates the creation of tools that can enhance the expressive power of the fine and applied arts and furthers our understanding of aesthetic evaluation, perception and meaning. In 2008 the event was organized by INESC and took place in Lisbon, Portugal and featured a collection of papers that followed the general philosophy of the conference series. We have chosen four of these papers as a representative sample of the areas that are close to the heart of the subject matter that CAe seeks to explore. The authors have been given time to explore these themes further and produce papers that go beyond the initial offerings published in the conference proceedings and include a minimum of 30% original material. In ‘Balancing the expected and the surprising in geometric patterns’ the author is inspired by the ‘Op Artists’ of the 1960s, particularly Bridget Riley’s work. He analyses these works and comments on the perceptual effects in these patterns. In the second paper, ‘Categorizing art: comparing humans and computers’, the authors tackle the difficult subject of trying to categorize artwork and performing computational experiments to explain the categorization from low-level appearance information in the image. The third paper, ‘Automatically Mimicking Unique Hand- Drawn Pencil Lines’ proposes an algorithm that mimics lines drawn by humans. The goal in this work is to produce an arbitrary, unique line, without repetition that can substitute for computer generated lines. In the fourth paper, ‘Improving Scans of Black and White Photographs by Recovering the Print Maker’s Artistic Intent’, the author examines the aesthetic decisions made by a print maker in producing a print from a negative and then attempts to reproduce these digitally. The research also extends this technique to produce a method of restoring a print by combining scans of different versions of the same image. In these days of world recession, humans are in great need of aesthetic content in their lives and we hope that this sampling of the work done under the banner of computational aesthetics will inspire more cooperation between arts and science. Douglas Cunningham’s career has focused on integrating perception and computer graphics. He received his Ph.D. in cognitive psychology in 1997 from Temple University, where he specialized in perception. After working for 2 years in applied perception at Logicon, he moved to Germany in 1999 to work for Heinrich H. B ¨ ulthoff at the Max Planck Institute for Biological Cybernetics. In 2006 he moved to the University of T ¨ ubingen to study under Wolfgang Straßer, where he received his Habilitation in 2007. Starting in October 2009, he will be a guest professor for informatics at the Technical University of Cottbus. Victoria Interrante is an associate profes- sor in the Department of Computer Science and Engineering at the University of Min- nesota, working in the fields of computer graphics, visualization and virtual environ- ments. Broadly speaking, her research fo- cuses on the application of insights from visual perception to the design, implemen- tation, and evaluation of novel methods for effectively communicating scientific data and information through computer-generated images. Interrante received the Presidential Early Career Award for Scientists and Engineers in 1999 and was a 2001–2003 McKnight Land Grant Professor at the U of M. She is a senior member of ACM and IEEE, and an associate editor of the ACM Transactions on Applied Perception. Brian Wyvill graduated from the University of Bradford, Uk with a Ph.D. in computer graphics in 1975. As a post-doc he worked at the Royal College of Art and helped make some animated sequences for the Alien movie. He moved to Canada in 1981 where he has been working in the area of implicit modeling and animation, sometimes with his brother Geoff Wyvill (University of Otago) with whom he devised the first implicit surface polygonizer and later the BlobTree. He has worked on two short movies shown at the SIGGRAPH electronic theatre, and is currently interested in the design of an implicit modelling system to build artistic models. He is also interested in sketch based modeling and NPR and enjoys combining these areas of research. Brian recently took up an appointment as Professor and Canada Research Chair at the University of Victoria, British Columbia. Douglas Cunningham, Victoria Interrante, Brian Wyvill The University of Victoria, Department of Computer Science, Victoria, Canada E-mail address: [email protected] (B. Wyvill) 17 July 2009; accepted 18 July 2009 ARTICLE IN PRESS Contents lists available at ScienceDirect journal homepage: www.elsevier.com/locate/cag Computers & Graphics 0097-8493/$ - see front matter & 2009 Elsevier Ltd. All rights reserved. doi:10.1016/j.cag.2009.07.001 Corresponding author. Tel.: +403 220 6009. Computers & Graphics 33 (2009) 474
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Transcript of Computational Aesthetics 08
ARTICLE IN PRESS
Computers & Graphics 33 (2009) 474
Contents lists available at ScienceDirect
Computers & Graphics
0097-84
doi:10.1
journal homepage: www.elsevier.com/locate/cag
Editorial
The International Symposium on Computational Aesthetics in In 2006 he moved to the University of Tubingen to study under
Graphics, Visualization, and Imaging, has now been running annuallysince 2005. Computational Aesthetics bridges the analytic andsynthetic by integrating aspects of computer science, philosophy,psychology, and the fine, applied & performing arts. It seeks tofacilitate both the analysis and the augmentation of creativebehaviour. CAe also investigates the creation of tools that can enhancethe expressive power of the fine and applied arts and furthers ourunderstanding of aesthetic evaluation, perception and meaning.In 2008 the event was organized by INESC and took place inLisbon, Portugal and featured a collection of papers that followedthe general philosophy of the conference series. We have chosenfour of these papers as a representative sample of the areas thatare close to the heart of the subject matter that CAe seeks toexplore. The authors have been given time to explore thesethemes further and produce papers that go beyond the initialofferings published in the conference proceedings and include aminimum of 30% original material.
In ‘Balancing the expected and the surprising in geometric
patterns’ the author is inspired by the ‘Op Artists’ of the 1960s,particularly Bridget Riley’s work. He analyses these works andcomments on the perceptual effects in these patterns. In thesecond paper, ‘Categorizing art: comparing humans and computers’,the authors tackle the difficult subject of trying to categorizeartwork and performing computational experiments to explainthe categorization from low-level appearance information in theimage. The third paper, ‘Automatically Mimicking Unique Hand-
Drawn Pencil Lines’ proposes an algorithm that mimics lines drawnby humans. The goal in this work is to produce an arbitrary,unique line, without repetition that can substitute for computergenerated lines. In the fourth paper, ‘Improving Scans of Black and
White Photographs by Recovering the Print Maker’s Artistic Intent’,the author examines the aesthetic decisions made by a printmaker in producing a print from a negative and then attempts toreproduce these digitally. The research also extends this techniqueto produce a method of restoring a print by combining scans ofdifferent versions of the same image.
In these days of world recession, humans are in great need ofaesthetic content in their lives and we hope that this sampling ofthe work done under the banner of computational aesthetics willinspire more cooperation between arts and science.
� Corresponding author. Tel.: +403 220 6009.
Douglas Cunningham’s career has focusedon integrating perception and computergraphics. He received his Ph.D. in cognitivepsychology in 1997 from Temple University,where he specialized in perception. Afterworking for 2 years in applied perception atLogicon, he moved to Germany in 1999 towork for Heinrich H. Bulthoff at the MaxPlanck Institute for Biological Cybernetics.
93/$ - see front matter & 2009 Elsevier Ltd. All rights reserved.
016/j.cag.2009.07.001
Wolfgang Straßer, where he received his Habilitation in 2007.Starting in October 2009, he will be a guest professor forinformatics at the Technical University of Cottbus.
Victoria Interrante is an associate profes-sor in the Department of Computer Scienceand Engineering at the University of Min-nesota, working in the fields of computergraphics, visualization and virtual environ-ments. Broadly speaking, her research fo-cuses on the application of insights fromvisual perception to the design, implemen-tation, and evaluation of novel methods for
effectively communicating scientific dataand information through computer-generated images. Interrantereceived the Presidential Early Career Award for Scientists andEngineers in 1999 and was a 2001–2003 McKnight Land GrantProfessor at the U of M. She is a senior member of ACM and IEEE,and an associate editor of the ACM Transactions on AppliedPerception.
Brian Wyvill graduated from the Universityof Bradford, Uk with a Ph.D. in computergraphics in 1975. As a post-doc he workedat the Royal College of Art and helped makesome animated sequences for the Alienmovie. He moved to Canada in 1981 wherehe has been working in the area of implicitmodeling and animation, sometimes withhis brother Geoff Wyvill (University of
Otago) with whom he devised the firstimplicit surface polygonizer and later the BlobTree. He hasworked on two short movies shown at the SIGGRAPH electronictheatre, and is currently interested in the design of an implicitmodelling system to build artistic models. He is also interested insketch based modeling and NPR and enjoys combining these areasof research. Brian recently took up an appointment as Professorand Canada Research Chair at the University of Victoria, BritishColumbia.
Douglas Cunningham, Victoria Interrante, Brian Wyvill �
The University of Victoria, Department of Computer Science, Victoria,
Canada
E-mail address: [email protected] (B. Wyvill)17 July 2009; accepted 18 July 2009
