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An Application of the Computer in Art

IP.com Disclosure Number: IPCOM000128533D
Original Publication Date: 1975-Dec-31
Included in the Prior Art Database: 2005-Sep-16
Document File: 7 page(s) / 28K

Publishing Venue

Software Patent Institute

Related People

Ruth Leavitt: AUTHOR [+4]

Abstract

The computer is used as a tool in achieving plastic deformation of design. Included are the theory of plastic deformation and the formulas for the implementation of the computer algorithm. * This work is supported, in part, by a grant from the National Endowment for the Arts. **Jay Leavitt, Associate Professor, University of Minnesota Computer Science Department.

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This is the abbreviated version, containing approximately 15% of the total text.

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THIS DOCUMENT IS AN APPROXIMATE REPRESENTATION OF THE ORIGINAL.

An Application of the Computer in Art

by

Ruth Leavitt and Jay Leavitt

Computer, Information, and Control Sciences Department 114 Main Engineering Institute of Technology University of Minnesota Minneapolis, Minnesota 55455 The Plastic Deformation of Design:

Technical Report 75-4 DfvT~f~,rFeburary 1975

Cover design courtesy of Ruth and Jay Leavitt THE PLASTIC DEFORMATION OF DESIGN: AN APPLICATION OF THE COMPUTER IN ART

By

Ruth Leavitt* and Jay Leavitt**

Abstract

The computer is used as a tool in achieving plastic deformation of design. Included are the theory of plastic deformation and the formulas for the implementation of the computer algorithm. * This work is supported, in part, by a grant from the National Endowment for the Arts.

**Jay Leavitt, Associate Professor, University of Minnesota Computer Science Department.

Definitions

We shall employ three terms in a particular sense. Picture will denote the final form of a work. Each work will begin initially as a design. The design is composed of a repeated unit - the pattern.

We shall employ three terms in a particular sense. Picture will denote the final form of a work. Each work will begin initially as a design. The design is composed of a repeated unit - the pattern.

Introduction

There is no final solution in form; thus form demands unending performance and invites constant reconsideration. [1] Scientists and artists alike have observed that change is a constant phenomonon in nature. However, it is not simply the fact that things change which is of interest, but how they change. Historically, artists have considered numerous techniques for achieving variation in design. During the period before 1940, design was taken from images in

University of Minnesota Page 1 Dec 31, 1975

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An Application of the Computer in Art

real life. But after that time there was adopted a new definition of reality. Design was expressed in terms of form and color. The expression 'concrete art' represented these new ideas and is the foundation for.the work we are doing now. The art historian, Werner Haftmann, describes the artists' view of the world after 1940: The new scientific view of the world, in which substance is identified with energy, space with time, and finitude with infinity has profoundly influenced the modern artist. He believes that the new scientific concepts, such as sub-atomic. structures, the field of energy which has taken the place of matter, and dynamic energy which has taken the place of things, require that he should contemplate not the finished outside forms of nature, but its dynamic energies, its active essence... In the veins of a tree he sees a diagram of growth, in the cracks of a rock a diagram of disintegration. The grooves in the sand dunes are nature's own way of transposing the winds action into a

>drawing, and the delicate patterns in the sand of a river-bed are a precise translation of the proce...