Mathematical Models used in Aesthetic Evaluation
Guest Editors: Gary Greenfield and Penousal Machado
By sampling across the broad spectrum of mathematical models currently being
used by researchers in visual arts and music, this special issue will chronicle
the state of the art when algorithmically evaluating works of art on the basis
of their aesthetic content.
Despite its long history, the problem of automating aesthetic evaluation remains
a difficult and challenging one. In the 1930s, G..D. Birkhoff first proposed
using M = O/C, where O is order and C is complexity, to evaluate "pleasing
polygons" and "elegant vases". In the 1960s, Max Bense led a movement to use
information theory to "obtain a vector or scalar measurement of the aesthetics
of a work of art." In the 1970s, Stiny and Gips introduced shape grammars as a
means for algorithmically specifying aesthetics in painting and sculpture. In
the 1990s, in response to the growing popularity of evolutionary computation,
researchers began to investigate mathematical models for aesthetic evaluation
within the context of generative art systems. That is, they began to study how
to identify visual and audio material that might be of aesthetic interest to
humans when a prohibitively large number of compositions needed to be evaluated.
This special issue will focus on current efforts to investigate a wide variety
of mathematical models under the umbrella of algorithmic aesthetics for
automating aesthetic evaluation within different problem domains. Submissions
should be in accord with the general guidelines for submissions to the Journal
of Mathematics and Art (see Instructions for Authors).
Deadline for Submissions: August 1, 2011; early submissions appreciated.
Send submissions to: ggreenfi@richmond.edu as an email attachment.
For more information, contact Penousal Machado at machado@dei.uc.pt.
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