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A place for computing visual meaning : the broadened drawing-scape

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dc.contributor.advisor George Stiny. en_US Gün, Onur Yüce en_US
dc.contributor.other Massachusetts Institute of Technology. Department of Architecture. en_US 2017-01-12T18:17:43Z 2017-01-12T18:17:43Z 2016 en_US 2016 en_US
dc.description Thesis: Ph. D. in Design and Computation, Massachusetts Institute of Technology, Department of Architecture, 2016. en_US
dc.description This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections. en_US
dc.description Cataloged from student-submitted PDF version of thesis. en_US
dc.description Includes bibliographical references (pages 439-447). en_US
dc.description.abstract Meaning is the essence. It is the primary reason for us to keep doing things. Meaning is both significance and the endless unfolding of significance. Visual Meaning is fundamental for visual arts and design processes. One draws, paints, sculpts, throws sponges on the wall, dips one's own body into paint and crawls on the ground or codes to create lines, spots or fields (Knight), all of which are then looked into, perceived and iterated. Vision is so important that Alberti's eye becomes a godly creature with wings that flies among thunderstorms, Kepler's eye becomes a perfect machine through which stars and galaxies leaks (Alpers), Vermeer's eye becomes the ultimate light filter and depicter. Finally Stiny's eye establishes a "unique computational theory: Shape Grammars" (Knight and Stiny). And all this happens in a series of places (Casey), as one wanders through streams of creative visual processes along one's humaning (Ingold). Once I portray the moment of visual discovery as an encounter, the artists and the designer as encounterers and the computer as the counter, I ask: can the ultimate counter [the computer] provide true encounters for creative visual processes? Computing visual meaning -- it really possible? I unfold these questions by introducing a visual-making apparatus around which all scientifically separated players, the encounter, the encounterer and the counter become interwoven in one place. Visual-making, similar to living, requires us to twist, bend, embrace and abandon. The human-be-comput-ing tree grows to introduce a novel model for drawing and painting, for humaning. An uncommon place for discovering and computing visual meanings, the Broadened-Drawing Scape, emerges. en_US
dc.description.statementofresponsibility by Onur Yüce Gün. en_US
dc.format.extent 454 pages en_US
dc.language.iso eng en_US
dc.publisher Massachusetts Institute of Technology en_US
dc.rights M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission. en_US
dc.rights.uri en_US
dc.subject Architecture. en_US
dc.title A place for computing visual meaning : the broadened drawing-scape en_US
dc.type Thesis en_US Ph. D. in Design and Computation en_US
dc.contributor.department Massachusetts Institute of Technology. Department of Architecture. en_US
dc.identifier.oclc 966449307 en_US

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