Narrow Results

The paper stresses the universal role that Cellular Nonlinear Networks (CNNs) are assuming today. It is shown that the dynamical behavior of 3D CNN-based models allows us to approach new emerging problems, to open new research frontiers as the generation of new geometrical forms and to establish some links between art, neuroscience and dynamical systems.

Chaos was historically discovered with the Lorenz attractor in 1963. Several artworks, created before that date, by post-war artists such as Fontana, Crippa, Mathieu and Tobey, seem to anticipate forms and shapes typically shown by chaotic systems. In this paper, we juxtapose these masterpieces with some strange attractors of dynamical system theory in a timeline leading to the question whether artists discovered chaos before scientists.

In this paper, the idea of using simple robots and nonlinear dynamics based devices is strengthened in order to create an interactive platform to generate artistic patterns incorporating the concept of relating kinematic art with immaterial art paradigm.

Bold color images from telescopes act as extraordinary ambassadors for research astronomers because they pique the public’s curiosity. But are they snapshots documenting physical reality? Or are we looking at artistic spacescapes created by digitally manipulating astronomy images? This paper provides a tour of how original black and white data, from all regimes of the electromagnetic spectrum, are converted into the color images gracing popular magazines, numerous websites, and even clothing. The history and method of the technical construction of these images is outlined. However, the paper focuses on introducing the scientific reader to visual literacy (e.g. human perception) and techniques from art (e.g. composition, color theory) since these techniques can produce not only striking but politically powerful public outreach images. When created by research astronomers, the cultures of science and visual art can be balanced and the image can illuminate scientific results sufficiently strongly that the images are also used in research publications. Included are reflections on how they could feedback into astronomy research endeavors and future forms of visualization as well as on the relevance of outreach images to visual art. (See the color online PDF version at http://dx.doi.org/10.1142/S0218271817300105; the figures can be enlarged in PDF viewers.)

This short note describes a development of the traditional Pythagorean tree fractal that produces three-dimensional structures based on cubes rather than squares. Adding a 90° rotation at each bifurcation encourages three-dimensional growth, creating increasingly artistic shapes as the branching angle decreases.

The professional painting industry has experienced a dramatic breakthrough with the rapid expansion of computer science and technology. In the current digital era, digital painting art is extending the more significant creative space to add new content. Digital painting is the modern trend of mainstream painting presented to the public as a new generation of visual art. Creativity may show up, and new techniques of creating art can arise infinitely with the assistance of computer intelligence technology. This article explains how computer image processing is used in the production of art. The report offers a painting technique based on Image Rendering (IR), which does not rely on human expertise in the past, and a color image is turned into a photo with a painting effect automated. Image-based rendering is a novel way in which computer graphics and picture processing are drawn and combined with the requirement to build geometric models, get information from the input image simply by interpolating views, deforming images, and reconstructing the desired action. This article proposes the indirect use of picture processing technology and computer technology to produce oil painting. It will investigate the application of contemporary digital picture technology in order not only to maintain traditional tastes, and to keep pace with the pace of the times, to create traditional optimization.

PINO is a small-sized, low-cost humanoid robot developed for research. The salient feature of PINO is the use of low-cost components, extensive esthetic design, the disclosure of technical information under GNU General Public Licensing, the use of evolutionarly computing methods to generate stable walking patterns, and numerious commerical developments. In fact, PINO is the first biped humanoid robot that was sold as a commercial product. Currently, PINO-II is on the market with various improved aspects of PINO. This article describe ideas behind PINO, and how it was developed and transferred into the industrial sector.

Research on the opportunity recognition stage in the process of entrepreneurships is still in an early stage. This paper is covering the possibility of art as being one of the inspirational sources for entrepreneurs. Once aware of it, an unavoidable observation seems to be: innovative entrepreneurs love art. But is this true? And if it is true what can be the reasons for entrepreneurs to love art? This paper will address these questions by analyzing the data from a project with nine entrepreneurs and nine artists followed by interviews of 14 art-loving entrepreneurs and managers.

From the perspective of the planning and development of Guangdong-Hong Kong-Macao Greater Bay Area, we aim to establish art majors in schools, colleges, graduate schools, and companies. Five indicators are obtained through systematic analysis and research on the curriculum of art of colleges in Guangdong Province. Methods such as literature review and comparative analysis are adopted. The result shows that the opening rate of art majors in Guangdong undergraduate colleges is high, but the majors are not diverse. As the number of students between majors varies greatly, some majors are not chosen. The employment of graduates is concentrated in Guangdong Province. The degree of professional relevance is higher than that of the national average, and there is strong demand in the job market. For the mission of inheriting and promoting the culture and art, the goals of culture and leisure, and the development needs of the Greater Bay Area, the art majors should be freely offered and coordinated as follows: (1) the number of enrollment for art majors should be changed from “market concentration” to “planned decentralization”, (2) the training of professionals should change from “minority” to “popularization”, and (3) the setting of art majors should be changed from “discipline” and “In the planned catalog” to “future development and internationalization”.

Mathematics is an art as old as civilization. Most of the time hidden and respected, sometimes appearing in bright light, mathematicians have always had a privileged role in society, as problem solvers, guardians of an art, deeply attached to values of intellectual freedom and opinion challenge. “The essence of mathematics lies in its freedom”, said Georg Cantor. But mathematicians are also accountable to society, which is in need of keeping a link to its most singular and respected science, especially at a time of algorithmic transformation. I was lucky enough to experience the role of mathematician as a public spokesperson, advocating for mathematical sciences as both an art and a technology creator. Later, as a member of Parliament, then head of the Scientific Parliamentary Office, I experienced the intensity and complexity of science in politics, at a time when public action needs to rest on science and when human factors are more challenging than ever.

The objective of this chapter is a holistic view of aesthetics, ethics, and neuroaesthetics. After a few introductory case studies, aesthetics is systematically introduced as a philosophical subdiscipline. This perspective is then expanded from aesthetics to neuroaesthetics. Using various art forms as well as current media formats, the aspects of beauty and ugliness are discussed, and aesthetic properties are expanded to include ethical implications. These can be expressed through ideals of beauty and the compulsion for body transformation. This perspective is then expanded from aesthetics to neuroaesthetics. From this point of view of art, the so-called golden ratio will play a central role. It is shown how representations affect people and what ethical implications are associated with the effects. Therefore, this chapter first has to look at art from the perspective of neuroaesthetics and then consider the ethical aspects of the beautiful and the ugly. The considerations lead to a brief discussion of Socrates’s three sieves.

Art in general perception is something that transcends our notion of reality. In view of the earliest findings in Paleolithic sites, their abstract appearance and sometimes ceremonial context increased their status of a secret language. Even the first figurative cave paintings remained in the context of an encoded semantic whole. The highly symbolic value of art seemed invulnerable. It was just the claim for mimesis in Greek antiquity (Plato) that urged artists to “realistically” depict what can be seen — as to stay in track of eternal messages behind. This devaluated the artistic oeuvre to a purely imitating craft and had to overcome at once several inherent obstacles. First, that reality (the phenomenal world) is in general only a pale reflection of what lays behind (Platonic ideas) and second, that the human eye, unlike the human mind, cannot penetrate to more than ephemeral impressions. Moreover, it mixed up reality with what we are able to see (i.e., visual perception), thus supposing a pinpoint representation of the world by our senses. Aristotle was the first to qualify art as picturing more than we usually are meant to see, filling the gap between the sensual and the spiritual world. Aristotelian aesthetics includes concepts of reduction and selection of composition and emotion, thus a summarized view within any performance of poetics or painting. And it took centuries to close the gap between natural and aesthetic perception or art. Life sciences in the 20th century discovered the evolutionary basis of sensory perception as being highly biased and organized, concept as emotion-driven and thus, mentally equipped as well. This sets a new approach in our understanding of perception, art, and aesthetics as an ongoing communication in process on common bases. Art may cooperate or disagree but never can cut the nexus with its perceptual prejudices and substrate.

Can neurosciences explain art? No, but it can help us to understand why some images are more memorable and, thus, more successful than others. This chapter aims to identify certain factors that may influence the artistic success of photographic images. These factors are discussed within the contexts of basic neuropsychological concepts, visual perception, and visual memory. A new computational and neuroscientifically based model, the predictive coding theory, provides a powerful frame-work for integrating social and individual factors that influence aesthetic experience and activity. A case study of Dorothea Lange’s iconic photograph Migrant Mother demonstrates the importance of identifiable factors that influence and determine a photograph’s potential success. We are convinced that a future systemic approach will enable the complementary integration of neuroscientific, perceptual, cognitive, emotional, and sociopsychological insights through the framework of predictive coding theory with socioscientific, art-theoretical, and art-historical as well as neuro- and behavioral-economical models.