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By George Stiny

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Additional info for Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts

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The meaning of the other productions is similar. The productions are applied simultaneously to each occurrence of U, R, or D in an input to the interpretation algorithm and then to each successively generated sequence until a sequence containing at least sixteen characters is generated. The first sixteen characters of this sequence is the output of the interpretation algorithm. Intuitively, the interpretation algorithm begins with a simple sequence that is developed into successively more complicated sequences.

250. 26 Receptors interpreted and evaluated in some "standard" way, then these aspects would not be included in its description; if the performance is to be interpreted and evaluated in some "avant-garde" way, then it may be appropriate for these aspects to be included in its description. Indeed, when the performance begins and when it ends as well as what sounds between the beginning and the end are part of the performance are purely a matter of convention. 3, is also a matter of convention. Similarly, some of the aspects seen in viewing a picture — the picture frame, shadows on the picture — may or may not be included in its description.

Goodman argues that knowledge about the pictures which is obtained by means other than "merely looking" at them, especially knowledge about the authenticity of the pictures, is important aesthetically. My knowledge of the difference between the two pictures... instructs me to look at the two pictures differently. Now, even if what I see is the same .. [this knowledge] indicates to some extent the kind of scrutiny to be applied now, the comparisons and contrasts to be made in imagination, and the relevant associations to be brought to bear.

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