Grawlixes and the Self Assessment Manikin (SAM) test

The Self-Assessment Manikin (SAM) is a non-verbal pictorial assessment technique that directly measures the pleasure, arousal, and dominance associated with a person's affective reaction to a wide variety of stimuli. 

by P.J.Lang

see also

http://irtel.uni-mannheim.de/pxlab/demos/index_SAM.html

https://www.sciencedirect.com/science/article/abs/pii/0005791694900639

image src; Affective Norms for 4900 Polish Words Reload 

Kamil Imbir 2016

https://www.researchgate.net/publication/304673602_Affective_Norms_for_4900_Polish_Words_Reload_ANPW_R_Assessments_for_Valence_Arousal_Dominance_Origin_Significance_Concreteness_Imageability_and_Age_of_Acquisition

Huge Harry and the Institute of Artificial Art

http://www.iaaa.nl/hh/LBfilm.html 


 http://www.npodoc.nl/documentaires/series/npo-doc-exclusief/2015/huge-harry.html


Remko Scha (1945-2015)

Ideal Flow

The art and science of early computational models by Aldo Giorgini

A project by Esteban Garcia Bravo and Tim McGraw - Purdue University

Simulating is a way of learning and deeply understanding natural phenomena. In the mid 1960s, scientists started to use computers to visualize complex mathematical models to further understand the behavior of large bodies of water. At Purdue University, Aldo Giorgini created algorithms to simulate turbulence and other water perturbations beginning in 1967 as part of his research at the School of Civil Engineering. The resulting visual outputs awoke Giorgini's inner artist and motivated him to incorporate the computer-based water simulations as the base for his compositions. This research analyzed primary sources (manuscripts, software documentation and artifacts) found at Giorgini's estate and revisited Giorgini's contribution developing a WebGL interactive application.

from;http://snebtor.org/idealflow/index-b.html

Digital Muscle Control Drawings (Visual Art by Computer-Controlled Human Gestures)

from the Institute of Artificial Art Amsterdam

http://iaaa.nl/MuscleControl/index.html

This project involves a collaboration between the Department of Visual Art and the Department of ArtiFacial Expression. It produces automatic drawings by means of computer-controlled human gestures. The techniques developed for the project ArtiFacial Expression are used here to control the movements of the hands of a human person who has a piece of paper in one hand and a drawing pen in the other.

  
          First public demonstration
Art Academy, 's Hertogenbosch. Studium Generale, Change Your Mind. April 12, 1995.

straight lines: not touching; Sol Lewitt

Wall Drawing #45 (1970)

Straight lines 10" (25 cm) long, not touching, covering the wall evenly.

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Wall Drawing #65 (1971)

Lines not short, not straight, crossing and touching, drawn at random, using four colors, uniformly dispersed with maximum density, covering the entire surface of the wall.

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Wall Drawing #152 (1973)

Three-part Drawing:

1st Wall: Straight horizontal lines.

2nd Wall: Not straight horizontal lines.

3rd Wall: Broken horizontal lines.

The lines are about two inches (5 cm) apart.

from; http://radicalart.info/concept/LeWitt/index.html

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The artists conceives and plans the wall drawing.

 It is realized by draftsmen. (The artist can act as his own draftsman.)

The plan, written, spoken or a drawing, is interpreted by the draftsman.
There are decisions which the draftsman makes, within the
plan, as part of the plan.

 Each individual, being unique, given the same instructions would carry them out differently. He would understand them differently.
The artist must allow various interpretations of his plan.

The draftsman perceives the artist's plan, then reorders it to his own
experience and understanding.
The draftsman's contributions are unforeseen by the artist,
even if he, the artist, is the draftsman.

 Even if the same draftsman  followed the same plan twice, there would be two different works of art.

 No one can do the same thing twice.
The artist and the draftsman become collaborators in making  the art.
Each person draws a line differently and each person  understands words differently.
Neither lines nor words are ideas.  They are the means by which ideas are conveyed.
The wall drawing is the artist's art, as long as the plan is not violated.

If it is, then the draftsman becomes the artist and the drawing would be his work of art, but that art is a parody of the original concept.
The draftsman may make errors in following the plan without compromising the plan.

 All wall drawings contain errors. They are part of the work.
The plan exists as an idea but needs to be put into its optimum form.

 Ideas of wall drawings alone are contradictions of the idea of wall drawings.
The explicit plans should accompany the finished wall drawing.
They are of importance. (from Art Now, vol. 3, no. 2, 1971.)

http://www.franklinfurnace.org/research/projects/flow/lewitt/lewittf.html

conditional drawing

From conditionaldesign.org
http://conditionaldesign.org/workshops/in-de-knoop/

KNOTS:

First Step:
The first player draws a line.
The other players draw a line that goes over
and under the last drawn line.


In Turns:
The player elongates his/her line on both ends.
The elongations have to go over and under a line
of another player and may not go over the line of 
the same color twice in a row.

When a line can no longer be elongated, it is
considered dead for the rest of the game When
both ends of a line have died, the player may
place a new line.

the conditional design manifesto
http://conditionaldesign.org/manifesto/