2. 1 Relationships Between Computing and Aesthetic Appreciation Jeff Angell

3. 2 Topics That Will Be Covered Brief definition of static, dynamic data structures Overview of Deliverable #1 Process of mapping a data structure to a specific 2-D painting or drawing The “feel” of the final product Examples in art, film, and games

4. 3 Static and Dynamic Data Structures Static (i.e. arrays, entity-relationship diagrams) Dynamic (i.e. finite-state machines, pointers) By now, you’ve probably had enough definitions of these…

5. 4 Static and Dynamic Data Structures One Person’s DefinitionDefinition

6. 5 Overview of Deliverable #1 Mapping a FSM of a microwave to architecture of a horse barn

7. 6 Overview of Deliverable #1 General Contents Semantic network for source (microwave FSM) and target (horse barn) Diagram of microwave FSM Semantic network connection between source and target Show plan view of target (created horse barn)

8. 7 Overview of Deliverable #1 Semantic Network for Microwave

9. 8 Overview of Deliverable #1 Semantic Network for a Horse Barn

10. 9 Overview of Deliverable #1 Microwave FSM

11. 10 Overview of Deliverable #1 Connection Between the Two

12. 11 Overview of Deliverable #1 Common States Microwave StatesBarn and Horse States WaitingStanding and/or walking in barn Full Power Stallion choice Half PowerPony choice Set TimeSet distance DisabledIf gate door is open, disable EnabledIf gate door is closed, enable OperationRun/Gait with horse WaitingBack to stall

13. 12 Overview of Deliverable #1 Horse Barn States StateDescription StandingWaiting for user to choose type of horse. Display shows mock time on wall of barn. PonyChosen by user, represented by smaller horse. StallionChosen by user, represented by larger horse. Set DistanceUser inputs the distance he/she wishes to travel on the track with the horse. DisabledIf door is open, user can’t go anywhere because they don’t want to let the other horse out! EnabledIf door is closed, then user can proceed to travel around track. TrackUser gets on horse, ride.

14. 13 Process of Mapping a Data Structure to 2-D Art The semantic network is the most important step for creating a “reproducible” piece of art based on the qualities of the image. The semantic network for the 2-D image may be composed of the underlying structures and substructures. To find this…

15. 14 Process of Mapping a Data Structure to 2-D Art Categorize the type of image style (i.e. abstract, mimetic, surreal) Break the image down into visual components - objects and transitions Regroup the components according to common properties (i.e. color, shape, texture, etc)

16. 15 Process of Mapping a Data Structure to 2-D Art Let’s try this for a basic example, but first…

17. Please Note: This presentation may include art that depicts nudity, sexual acts, and/or violent material. If you object to looking at such artwork, please react accordingly. I invite all of your ideas regarding this type of fantasy art.

18. 17 A Simple Example to Map Object (Face, Eyes, Nose, etc) Object (Butterfly) Transition (Wave shape) Object (Water) Category: “Surrealistic Nature”

19. 18 A Simple Example to Map Face “on” the water Connected by wave pattern Butterfly “on” face Connected by waves, visual layering Water “under” butterfly Connected by visual layering Face/Eyes/Nose Butterfly Water * This hierarchy allows one to build the semantic network to use as a metaphor for a data structure.

20. 19 The “Feel” of the Final Product Sketches Example works Integrate a unique “dream-like” experience for the user

21. 20 Examples in Art and Film Film - The CellThe Cell Painting - H.R. Giger, DiMaccio, BeksinskiH.R. GigerDiMaccioBeksinski Photography - Joel-Peter WitkinJoel-Peter Witkin Video games - AliceAlice

22. 21 Summary of Topics Covered Brief definition of static, dynamic data structures Overview of Deliverable #1 Process of mapping a data structure to a specific 2-D painting or drawing The “feel” of the final product (dream-like) Examples of inspiring visuals

23. “Those who shrink back reflexively, and who do not gather themselves to plunge forward again, miss the point, and the awesome wonder of it all is left for the rest of us to ruminate over, and marvel at.” - James Cowan on the shock value of H.R. Giger’s art