By George Stiny
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Extra info for Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts
If the text of a speech performance is used as its description, information on the recitation itself would be lost. The text of the recitation would be an appropriate description for a critique of what is said independent of how it is said. The text of the recitation would not indicate the speaker's intonation, inflection, timing, accent, and so forth. Hence, use of the text as the description of a speech performance would be inappropriate for critical comment on the recitation. A description of the speech performance as a sequence of phonemes uttered by the speaker would be more appropriate for critical comment on the recitation itself.
Cavallius, Velazquez' Las Hilanderas (Uppsala, 1972), pp. 12-17. S 24 Receptors descriptions over time. This description would be a direct symbolic encoding of the outputs of the microphone and the television camera. More complicated receptors for multimodality art forms can be imagined. For example, the description of the performance of a play might be the script (including stage directions) of the play. 3 Detail in Descriptions Theoretically, it is always possible to obtain a description of an object that contains at least as much sensory detail about the object as is available to a human observer.
The output of the universal computing algorithm is the output of the specified algorithm for the given input. For an introductory exposition of universal computing algorithms see M. Minsky, Computation: Finite and Infinite Machines (Englewood Cliffs, N. , 1967), pp. 132-145 or B. Trakhtenbrot, Algorithms and Automatic Computing Machines (Boston, 1963), pp. 80-85. Interpretation: Constructive and Evocative Modes of Understanding conventions encoded by the interpretation algorithm are usually narrow.
Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts by George Stiny