Registered: Nov 2004
Thanks for the link to the ICCS2004.
I ask these questions not just for experimenting and the quest of mastery in my art, but also because of my fascination and sense of wonder in the whole phenomena. It seems to go to the core of discovering computation at "the edge of chaos": How do we recognize and then in turn learn to generate that Class IV edge of behavior?
What I liked about Taylor's approach was his analyzing Pollock's paintings using the D factor throughout Pollock's own development of his technique (which varied over his periods) and how it related to visual preferences of his viewers (maybe neural sensing of beauty). Intuitively, this seems to parallel Christopher Alexander's 15 pattern principles of harmony-seeking computation.
But to my biological eye, there remains some inherent qualities that are different in the beauty of Class II and Class IV patterns.
As a thought experiment, I would love a tool akin maybe to Andy Wuensche's Z parameter, or Langdon's lamda... I would paint a painting informed by some collision-based logic fitness function produced by the simple program of my vision, brain, body and materials. Then I could turn around and analyze the painting to see if I am approaching that Class IV transition. And if so, where is it and what shape grammars, attractors and trajectories produce it?
I liked the boldness of the Journeys in Non-classical Computation by Susan Stepney et al (May 2004): "How can we hold a system at the edge, far from equilibrium, to perform useful computations? How can we make it self-organized to the edge?"
But then, of course, there is the humility of irreducibility. Yet more and more, if I integrate Rudy Rucker and Semir Zeki... seeking the gnarl becomes the (an) artist's la forza d'Arte.
Report this post to a moderator | IP: Logged