By George Stiny
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Extra info for Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts
A receptor for musical performances would naturally contain a microphone as its transducer. Various algorithms could be linked to a microphone to produce various descriptions of musical performances. In the simplest case, the description could be a sequence of numbers indicating the amplitudes of the acoustic signal, sensed 2 A. , Speech Understanding Systems (Amsterdam, 1973). G. M. White, "Speech Recognition: A Tutorial Overview," Computer, vol. 9, no. 5 (1976). 22 Receptors by the microphone, at small, discrete, uniform intervals of time.
Applying the productions to this sequence results in the sequence *RDURDU Applying the productions again results in the sequence * RDUDUDUURRDUDUDUUR This sequence is the first sequence produced that has at least sixteen characters. The output of the interpretation algorithm is the first sixteen characters of this sequence, namely the URDdescription * RDUDUDUURRDUDUD Thus, the aesthetic system contains the interpretation <*RR, *RDUDUDUURRDUDUD>. Finally, consider the input * RRDURRDURRDURRD to the interpretation algorithm.
In both cases, the input component gives the information that can be used by the interpretation algorithm to construct the description of the object. The reference algorithm determines whether an interpretation refers to an object in terms of the description of the object. In an aesthetic system based on the constructive mode of understanding, the reference algorithm makes this decision by checking to see if the output component of an interpretation is identical to the description of the object.
Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts by George Stiny