Visual calculating in shape grammars aligns with art and design, bridging the gap between seeing (Coleridge's “imagination”) and combinatoric play (Coleridge's “fancy”). In Shapes of Imagination, George Stiny runs visual calculating in shape grammars through art and design—incorporating Samuel Taylor Coleridge's poetic imagination and Oscar Wilde's corollary to see things as they aren't. Many assume that calculating limits art and design to suit computers, but shape grammars rely on seeing to prove otherwise. Rules that change what they see extend calculating to overtake what computers can do, in logic and with data and learning. Shape grammars bridge the divide between seeing (Coleridge's “imagination, or esemplastic power”) and combinatoric play (Coleridge's “fancy”). Stiny shows that calculating without seeing excludes art and design. Seeing is key for calculating to augment creative activity with aesthetic insight and value. Shape grammars go by appearances, in a full-fledged aesthetic enterprise for the inconstant eye; they answer the question of what calculating would be like if Turing and von Neumann were artists instead of logicians. Art and design are calculating in all their splendid detail.
Best known as Mr. Sulu, helmsman of the Starship Enterprise™ and captain of the Starship Excelsior, George Takei is beloved by millions as part of the command team that has taken audiences to new vistas of adventure in Star Trek®—the unprecedented television and feature film phenomenon. From the program’s birth in the changing world of the 1960s and death at the hands of the network to its rebirth in the hearts and minds of loyal fans, the Star Trek story has blazed its own path into our recent cultural history, leading to a series of blockbuster feature films and three new versions of Star Trek for television. The Star Trek story is one of boundless hope and crushing disappointment, wrenching rivalries and incredible achievements. It is also the story of how, after nearly thirty years, the cast of characters from a unique but poorly rated television show have come to be known to millions of Americans and people around the world as family. For George Takei, the Star Trek adventure is intertwined with his personal odyssey through adversity in which four-year-old George and his family were forced by the United States government into internment camps during World War II. Star Trek means much more to George Takei than an extraordinary career that has spanned thirty years. For an American whose ideals faced such a severe test, Star Trek represents a shining embodiment of the American Dream—the promise of an optimistic future in which people from all over the world contribute to a common destiny.
Visual calculating in shape grammars aligns with art and design, bridging the gap between seeing (Coleridge's “imagination”) and combinatoric play (Coleridge's “fancy”). In Shapes of Imagination, George Stiny runs visual calculating in shape grammars through art and design—incorporating Samuel Taylor Coleridge's poetic imagination and Oscar Wilde's corollary to see things as they aren't. Many assume that calculating limits art and design to suit computers, but shape grammars rely on seeing to prove otherwise. Rules that change what they see extend calculating to overtake what computers can do, in logic and with data and learning. Shape grammars bridge the divide between seeing (Coleridge's “imagination, or esemplastic power”) and combinatoric play (Coleridge's “fancy”). Stiny shows that calculating without seeing excludes art and design. Seeing is key for calculating to augment creative activity with aesthetic insight and value. Shape grammars go by appearances, in a full-fledged aesthetic enterprise for the inconstant eye; they answer the question of what calculating would be like if Turing and von Neumann were artists instead of logicians. Art and design are calculating in all their splendid detail.
The hardest changes are the ones you have no choice’s in!! Found my self on the sweet end of a bad deal. I wasn’t only given money, and every thing you can buy with it, but the free benefits that went with it. What trouble could there be in making money? The humdrum life of a nine to five was easy to want to give up, but not like this! These first memories are of how it all started off badly with the amount that would have made a great nest egg towards a little place in the woods where I could just fish my life away. With a good woman next to my side I would make a family and be a grandfather by fifty. The first thing I needed to do was fmd that woman, but the property, and learn how to fish. When I went from alone to not enough room it was so different, but not bad either. What kind of screwed it up was to many people knowing about it just at the same time. I would have never been seen in these areas alone afraid that some one would see me and I would loose the only job I got. Now to think about it I would have been better off with not placing that first bet. Well hells bells I did and the things in that business will never be the same again. Thank god that some of the scum that was there is gone now but it will only slow down the flow of want to be “s”. When you don’t have them you want them, when you have them they aren’t what you asked for. The though that more then one is a blessing? There was fun in the learning of that lesson that cost even more then just sweat and tears. “Who would think that the one that screwed you would end up where she did in the end!” Sir George Brandon
Have you ever had questions about events in some ones life that affected you and you never ask? As we, Mariette and I were returning home from PA one evening and we had visited Barbara Bunting on the old farm, I ask Sis (that's what we call Mariette) "how did Dad find that farm". This 300 acre farm was in the middle of no where, about halfway between Springboro and Albion in rural PA. Sis, being the oldest of us 5 kids, surly would know about the move but she didn't. Another thing I had questions about was Mother and Dads meeting and their courtship in California where they were married. Again she had no idea. As you know, being young children, you were never interest in stuff like that and later you had your own group of friends and still not interested. Then you meet the love of your life and nothing else was important to you. Then kids, job and married life and time slips by and then you lose one parent and a short time later both are gone. They took all the life experiences and stories with them. I had questions for my Father and Mother that can never be answered by them so I have decided to write this book. Have my children ask me those questions, no. Do they want to sit and listen to me tell them my life's stories, no. Will they have questions when we are gone, most likely!
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Drawing on Palladio's original published legacy of approximately 40 designs, the authors attempt to reveal the rigorous geometric rules by which Palladio conceived these structures. Using a computer, they test each rule in every possible application.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
LIFE, ART, AND LETTERS OF GEORGE INNESS BY GEORGE INNESS, Jr. ILLUSTRATED WITH PORTRAITS AND MANY REPRODUCTIONS OF PAINTINGS WITH AN INTRODUCTION BY ELLIOTT DAINGERFIBLD NEW YORK THE CENTURY CO. 1917 Copyright, 1917, by THE CENTCTRY Co. Published, October, 1917 GEORGE INNBSS Painted by Goorgo I DEDICATE THIS BOOK TO MY DEAR WIFE JULIA GOODRICH INNESS WHO HAS FILLED MY LIFE WITH HAPPINESS AND WHOSE HELP AND COUNSEL HAVE MADE THIS WORK POSSIBLE PREFACE What I would like to give you is George Inness as he was, as he talked, as he lived not what I saw in him or how I interpreted him, but him and hav ing given you all I can remember of what he said and did I want you to form your own opinion. My story shall be a simple rendering of facts as I remember them in other words, I will put the pig ment on the canvas and leave it to you to form the picture. INNESS, JE. ACKNOWLEDGMENTS I wish to acknowledge the courtesy of the follow ing persons and institutions who have been of great assistance in furnishing me with the material for this book Mrs, J. Scott Hartley, Mr. James W. Ells worth, Mr. Thomas B. Clarke, Mr. Victor Harris, Mr. Martin A. Byerson and Mr Ralph Cudney The Metropolitan Museum of Art and M. Knoedler Co., New York City, The Art Institute of Chicago. I wish also to make acknowledgment of the services of my friend, Leize R. Godwin, whose wise counsel has made the task of writing this book a pleasure INTRODUCTION Biography is always interesting when true, and valuable in the same degree. It takes on a new char acter when written by oneself in the form of mem oirs, yet is seldom fully successful, because of the hu man temptation to suppress real and interesting facts, or, whensufficient effrontery or courage if it be courage exists to tell everything, the reader is likely to be offended, even if interested. In this way the memoirs of Cellini might have been more valuable, though less interesting, if another had set down the truths of this mans inner life and char acter. It is almost, if not quite, impossible for one to analyze ones own soul and write out for public gaze the secrets hidden there. It shocks the sensitive spirit and creates a wound not to be borne therefore, as it seems to me, all biography treads the broad high way of external facts and passing events, leaving the deep, still pools, which reflect all the spiritual and emotional being, untroubled. In this condition of things we must be content with what we can get, being assured that whatever we can preserve of the life and XX INTRODUCTION impulses of a great man will be of value to the world. It does not follow that intimacy gives one the privi lege of interpretation, but at least it assures us a measure of truth, which increases its richness in the proportion of sympathy brought to the task, because sympathy begets insight. Without sympathy vir tually all observation is blind, and no one quality in mans nature is so potent in removing the scales from true vision. We do not know what we should have had if George Inness had written his own biography. Ec centric it certainly would have been, with slight at tention paid to those externals which are of interest to the general reader for he was the most impersonal of men. He was never interested in himself as a man, though he was interested in the artistic man He believed in himself as an artist very profoundly, and his mind, which was most alert, was ever ddv ing into or solving problems connected with what he called the principles of painting. Of this sort of thing we should have had a great deal, more indeed than any of us could have understood, because he was not always coherent. To himself his reasoning was very clear indeed, he valued the results of these men tal debates greatly, many times writing them down. What has become of these writings I do not know, but no doubt they were written in such a vagrant, Ks zii INTRODUCTION jointed way that they could not be pieced together by another...
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.