Graphics Reference
In-Depth Information
Figure 2. Anna Ursyn, Fragile Balance (© 2004, A. Ursyn. Used with permission)
patterns. Algorithmically determined artwork fits
in the very essence of these images; it indicates
technological impact on our surroundings and
links the beauty of man-made technical products
and the aesthetics of painting.
Purposefully distorted objects and simplified
shapes may be projected as visual symbols, acting
as both objects' features and signs. One has an op-
tion of choosing artistic means of expression, such
as colors and signs, from infinite possible ways of
representation, and thus causing that the artwork
becomes an ambiguous, open work with a loose
relation between its signs and their meanings. The
artwork is interpreted by the viewers according to
knowledge they share with the artist as the sender of
the message. The semiotician and writer Umberto
Eco (1979) argues that traditional or 'classical' art
was in an essential sense unambiguous, while the
ambiguity of modern art as an open work is associ-
ated with its high degree of formal innovation. In
most cases art education brings students to create
conventional and unambiguous images; this was
intended to happen to my student Lena who one
day in kindergarten received an F for coloring a
blank apple blue. Now she writes, “The blue apple
became my inner trademark of someone who is
proud to be an outcast; I look at the world with a
unique sense of knowing. It is good to be different
and I take pride that I'm not like everyone else.”
In the domain of music, double articulation of
multiple notes or sounds may support their con-
tinuous transition. For example, Robert Samuels
