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Article 5214 of comp.ai.philosophy:
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>From: erwin@trwacs.fp.trw.com (Harry Erwin)
Newsgroups: comp.ai.philosophy
Subject: Re: Intelligence, awareness, and aesthetics
Message-ID: <561@trwacs.fp.trw.com>
Date: 23 Apr 92 11:44:24 GMT
References: <1992Apr20.191345.27706@javelin.sim.es.com> <1992Apr20.194614.6814@mp.cs.niu.edu> <1992Apr22.150023.11104@psych.toronto.edu> <1992Apr22.192830.37313@spss.com>
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markrose@spss.com (Mark Rosenfelder) writes:

>In article <1992Apr22.150023.11104@psych.toronto.edu> christo@psych.toronto.edu 
>(Christopher Green) writes:
>>I believe there was a set of computer-produced "Mondrians" in the 1960s
>>that was indistinguishible from real Mondrians to many art critics. Then
>>again, using Mondrian makes it pretty easy for the robo-painter, doesn't
>>it.  I can't find a reference right now, but it's a topic that turns up
>>pretty regularly in philosophical aesthetics.

>Hofstadter reproduces a few of the artificial Mondrians in _Metamagical
>Themas_.  He makes the point that imitating an existing style is a much
>simpler task than creating a new one.  Creating a fake Mondrian does
>not require the genius of Mondrian.

This issue is of no little interest to the archeological community. S. E.
van der Leeuw has evidence that "knowing the white space" of a community,
culture, or industry's conceptual models is an effective way of predicting
where it will _not_ be innovative. As long as an artist does not explore
outside the ruleset of his community, he can be replaced by a machine.

Cheers,

-- 
Harry Erwin
Internet: erwin@trwacs.fp.trw.com



