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Extra resources for Development of the Attic Black-Figure, Revised edition (Sather Classical Lectures)
31 Computers & Art Second Edition At present, relatively few artists design or write programs, but as more intuitive, visually-oriented programming languages become available this could change, enabling more of them to contribute to the growing body of explicit drawing knowledge. This knowledge, in turn, could facilitate the development of more ‘intelligent’ support systems and, more importantly, might bring us closer to an understanding of what it is that makes one artist different from another.
In this way Rose’s development parallels that of a child between the ages of 18 months and five years (Rose, however, was developed in five months not five years). Unlike a child, Rose did not learn how to draw; Rose was programmed. This does not mean that Rose’s drawings have not been surprising and unpredictable. The complexity and undeterministic nature of the processes modelled means that it is impossible fully to anticipate their results. This is one reason why implementation in an active medium is so instructive.
2002) re-move. org> Accessed 22 Jan. 2002. 23 Louvet, J-P. (2002) The discovery of fractals. html> Accessed 22 Jan. 2002. 24 McCorduck, P. (1991) Aaron’s Code: Meta-Art, Artificial Intelligence and the Work of Harold Cohen. New York: W. H. Freeman & Company. 25 McCullough, M. (1996) Abstracting Craft: The Practiced Digital Hand. Cambridge, MA: MIT Press, p 78 26 ibid p 80 27 Moss, R. (2002) Shared Drawing. html> Accessed 22 Jan. 2002. 28 Rawson, P. (1969) Drawing: The Appreciation of the arts.