Research on interactive color design method of cultural creative product driven by group consensus

Aiming at assisting the color design of cultural creative product and outputting color schemes that correspond to multi-user image preference effectively, an interactive color design method driven by group consensus was proposed in this paper. Firstly, the triangular fuzzy number was used to quantitatively descript users' image preference and a consensus degree model of group users' image preference was constructed. By studying the process and basic principles of interactive genetic algorithms, the interactive evolution operation for cultural creative product color design was then implemented based on the group consistency of decision-making combined with the triangular fuzzy number, which can help generate cultural creative product color schemes that satisfy group consensus and satisfaction. Next, the color aesthetic measure model was used to rank and select the final product color design schemes. Finally, taking the color design of terracotta warriors' statue as an example, it is verified that the proposed method can effectively integrate the image preference of group users, and assist designers to better conduct cultural creative product color design with the consistent results of multi-user decisions.

A ‘certain hand’ and its margin of error

Suppose we consider an independent artist tolerance allows for a ‘margin of error’ as an aesthetic measure, it follows that its innate implication must impact on any, and all artworks, its intervention and the effects of its making. Seeing this independent tolerance, strangely, intersecting with a certain drawing and its erring in doing, this writing considers the link between error and an enduring measure of the artist’s hand and reconsiders its indexical relation to the artist. The inquiry begins with a reflection on Katharina Hinsberg’s (1999) Nulla dies sine linea ('No Day without a Line'), where error and a detached automated approach to drawing is emphasized. Going on, brings into the discussion Warhol’s ‘blotted line’, which prefigures a notion of a ‘failure of reproduction’ and the production of its effects. Elaborating, on Hinsberg’s subjective resistance and Warhol’s failure of reproduction, the discussion brings on board Christopher Wool’s, and Wade Guyton’s technical execution and erring. Marked by craft, tools and by decisions about tools, Wool’s and Guyton’s work resolutely embraces the hand encumbering the reasoning of the mind’s judgements and the use and fidelity of machined methods of reproduction. Wool’s roller, stamp, stencil, and Guyton’s skewed digital technologies, their operational error and technical failure take the mind and the hand back together, and demonstrate that perhaps the trace of the artist’s hand, no matter how dispassionate, ironic or vacuous of meaning stubbornly remains a drawing’s most compelling message.

Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?

The author examines the notion of informational aesthetics. The origin of aesthetics lies in Epicurus’s notion of aesthesis and the integration of artistic activity within ethics and the ‘good life’—as in the aesthetic theory and practice of the East. The debasement of the word ‘aesthetic’ reflects the increasing alienation of beauty from imagination. The fragmentation of art now packaged as media objects in our digital world is the legacy of this alienation. The author retraces the history of the concept of information aesthetics developed in the 1960s by Birkhoff, Bense and Mole and which sought to marry mathematics, computation and semiotics with artistic activity, based on Birkhoff’s aesthetic measure, and to bridge the gap between science and the humanistic imagination. The failure of the cognitive school is attributed to the limitations of its data-driven view of art itself as an affordance of perception (Arnheim). The roles of algorithmically generated art and of Computational Aesthetic Evaluation (CAE) are assessed. An appeal is made to the more fertile conceptual ground of information civilization—an idea developed by Professor Kun Wu. The author introduces the concept of digital iconography and applies it to Renaissance masterpieces such as Raphael’s School of Athens and Leonardo’s Mona Lisa. In conclusion, Informational Aesthetics is identified as a future discipline for the Philosophy of Information.

Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?

The author examines the notion of informational aesthetics. The origin of aesthetics lies in Epicurus’s notion of aesthesis and the integration of artistic activity within ethics and the ‘good life’—as in the aesthetic theory and practice of the East. The debasement of the word ‘aesthetic’ reflects the increasing alienation of beauty from imagination. The fragmentation of art now packaged as media objects in our digital world is the legacy of this alienation. The author retraces the history of the concept of information aesthetics developed in the 1960s by Birkhoff, Bense and Mole and which sought to marry mathematics, computation and semiotics with artistic activity, based on Birkhoff’s aesthetic measure, and to bridge the gap between science and the humanistic imagination. The failure of the cognitive school is attributed to the limitations of its data-driven view of art itself as an affordance of perception (Arnheim). The roles of algorithmically generated art and of Computational Aesthetic Evaluation (CAE) are assessed. An appeal is made to the more fertile conceptual ground of information civilization—an idea developed by Professor Kun Wu. The author introduces the concept of digital iconography and applies it to Renaissance masterpieces such as Raphael’s School of Athens and Leonardo’s Mona Lisa. In conclusion, Informational Aesthetics is identified as a future discipline for the Philosophy of Information.

Design characteristics and aesthetics in evolutionary design of architectural forms directed by fuzzy evaluation

This paper deals with design characteristics-oriented approach to architectural design based on the combination of three methods – recognition, generation, and evaluation. Design characteristics are understood as a set of specific features which constitute a discriminant of a class of architectural forms. The Biederman recognition-by-components theory is used to recognize the design structure. An evolutionary algorithm, which serves as a generative tool, is driven by the fuzzy evaluation based on Birkhoff's aesthetic measure. Phenotypes of architectural objects are seen as configurations of Biederman's basic components essential for visual perception. Genotypes of these objects are represented by graphs with bonds, where nodes represent object components, node bonds represent component surfaces, while graph edges represent relations between surfaces. Graph evolutionary operators, that is, crossover and mutation, are defined in such a way that they preserve characteristic features seen as design requirements specified for designed objects. The fitness function is determined by the fuzzy evaluation of designs based on Birkhoff's aesthetic measure for polygons adapted for three-dimensional solids. The approach is illustrated by examples of designing objects with the use of a fuzzy evaluation mechanism, which takes into account both aesthetic criteria and the degree to which design requirements corresponding to object characteristic features are satisfied.

Methods for assessing the aesthetic quality indicators of systems, products and technologies in ergodesign

It is shown that the real measure of the aesthetic value of systems, products and technologies, in contrast to the general measure, is in constant development, reflecting the corresponding changes in the aesthetic tastes and perceptions of consumers. It is substantiated that a full aesthetic measure is formed on the basis of a real aesthetic measure, taking into account the universally valid aesthetic and cultural values that characterize the aesthetic ideals of society in the field of culture, art, artistic design, ergonomics and design. The variants of the interaction of ergonomists and designers at various stages of ergodesign are considered. The nomenclature of aesthetic indicators of the quality of systems, products and technologies, such as the integrity of the composition, the rationality of the organization of form, artistic expressiveness, is given. Recommendations are developed on procedures for expert evaluation, aesthetic properties of systems, products and technologies using the theory of odd sets.