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    <description>recent bookmarks from Vaguery</description>
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    <title>[2502.07386] Parametric type design in the era of variable and color fonts</title>
    <dc:date>2026-05-25T11:59:44+00:00</dc:date>
    <link>https://arxiv.org/abs/2502.07386</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Parametric fonts are programatically defined fonts with variable parameters, pioneered by Donald Kunth with his MetaFont technology in the 1980s. While Donald Knuth's ideas in MetaFont and subsequently in MetaPost are often seen as legacy techniques from the pre-graphical user interface (GUI) era of type design, recent trends like variable fonts suggest a resurgence of certain principles. This paper explores a modern type design process built on parametric design principles, specifically using MetaPost. The author created two variable fonts with this method and released them under a free, open-source license. The paper details the methodology, workflow, and insights gained from this process.
]]></description>
<dc:subject>LaTeX typography parametrization graphic-design rather-interesting to-understand aesthetics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://arxiv.org/abs/2502.06871">
    <title>[2502.06871] FlavorDiffusion: Predicting Food Pairings and Chemical Interactions Using Diffusion Models</title>
    <dc:date>2025-04-16T22:29:20+00:00</dc:date>
    <link>https://arxiv.org/abs/2502.06871</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[The study of food pairing has evolved beyond subjective expertise with the advent of machine learning. This paper presents FlavorDiffusion, a novel framework leveraging diffusion models to predict food-chemical interactions and ingredient pairings without relying on chromatography. By integrating graph-based embeddings, diffusion processes, and chemical property encoding, FlavorDiffusion addresses data imbalances and enhances clustering quality. Using a heterogeneous graph derived from datasets like Recipe1M and FlavorDB, our model demonstrates superior performance in reconstructing ingredient-ingredient relationships. The addition of a Chemical Structure Prediction (CSP) layer further refines the embedding space, achieving state-of-the-art NMI scores and enabling meaningful discovery of novel ingredient combinations. The proposed framework represents a significant step forward in computational gastronomy, offering scalable, interpretable, and chemically informed solutions for food science.
]]></description>
<dc:subject>aesthetics machine-learning cooking rather-interesting neural-networks generative-models to-write-about to-understand</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:ac546774254f/</dc:identifier>
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<item rdf:about="https://unrealnature.wordpress.com/2019/06/05/essential-to-survival/">
    <title>Essential to Survival | Unreal Nature</title>
    <dc:date>2022-07-27T11:15:06+00:00</dc:date>
    <link>https://unrealnature.wordpress.com/2019/06/05/essential-to-survival/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[[line break added] On a wall in the Department of Geography at the University of California at Los Angeles (UCLA) for example, is a large air photograph mosaic of the Los Angeles urban region produced by the Fairchild aerial photography company in the 1960s. At various places the 4 x 3 feet print has been worn away by countless fingers indicating locations familiar to visitors and students.

… To view the world from above seems to be an innate human ability that is activated when we are very young. From the moment a child first picks up an object and tries to turn it in its hands, it begins to develop the skills to rotate first the micro-environment — things that are smaller than the body — and, with time, the macro-environment.

… We transfer that early ability to feel an object in our hands to seeing from different angles the room in which we sit, the house in which we live, our neighborhood and eventually anywhere we go and even places we merely glimpse in a picture or conjure out of listening, reading or imagining.

]]></description>
<dc:subject>aesthetics photography embodied-cognition art to-read</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:091c5cf135e2/</dc:identifier>
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<item rdf:about="https://sarahendren.substack.com/p/four-words-for-the-art-you-love-part?r=8nxo&amp;s=r">
    <title>four words for the art you love, part 2 - by Sara Hendren</title>
    <dc:date>2022-05-20T16:42:35+00:00</dc:date>
    <link>https://sarahendren.substack.com/p/four-words-for-the-art-you-love-part?r=8nxo&amp;s=r</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[In the same spirit of kids giving haircuts, this project is deployed as a what if question—it’s meant to suggest a possible future (again, that’s the strong principle of probity) while also defamiliarizing the status quo. This project could, yes, be an earnest initiative from your local gardening advocates, or a top-down project from your region’s city planners. But rolling out an idea like this as a bureaucratic thing—an initiative—automatically invites skepticism, pushback, and limited debate only among people who already care about the issue, whether for or against. As a social practice art project, this work has a wily joyousness about it: a form of culture that is both useful and expressive at once, and one that gets into the public eye as a prototype to think differently about the norms holding up the way things are. Lots of HOAs would get in a snit about some rogue gardener bucking convention. But an artist might galvanize a community with this lucid reframing of the world around you: an invitation to turn extant green space, now a site of useless, endless mowing, into raucous and beautiful front-lawn food.

]]></description>
<dc:subject>aesthetics art-criticism rather-interesting social-dynamics contemporary-art activism cultural-norms</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:d7a55dbd77cd/</dc:identifier>
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<item rdf:about="https://uncontemporaryreview.com/?p=490">
    <title>“Your Life is Your Work of Art: On John Dewey’s Art as Experience” by Lindsay Lerman - The Review of Uncontemporary Fiction</title>
    <dc:date>2022-04-05T19:11:32+00:00</dc:date>
    <link>https://uncontemporaryreview.com/?p=490</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[The challenge for all of us, not just “professional thinkers” or “critics” or whatever, is to be receptive. To understand our imaginative capacities and make them grow. Or, to put it in plain, if New Age-adjacent terms: the challenge is to really let the fact of life’s interconnectivity unfurl within us and our lives. And our understanding of whatever we find, whatever we accomplish, whatever we know must be held lightly and attentively, like a living creature. None of this is easy. Here’s where I think Dewey gives us an incomplete picture. (It’s on us to do the work of completing it, as it should be.) 

But the fact remains that we can’t be snug in our certainty and have esthetic experiences. It’s a question of receptivity—receptivity to the vast and dynamic indeterminacy of life. And certainty is not often receptive. ♦

]]></description>
<dc:subject>life-o'-the-mind pragmatism aesthetics imagination experience philosphy-in-practice a-mangle-maybe</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:b1136a0a1d59/</dc:identifier>
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<item rdf:about="https://crookedtimber.org/2021/11/11/old-photographs-and-the-what-might-have-been-of-the-nativist-imagination/">
    <title>Old photographs, and the “what might have been” of the nativist imagination — Crooked Timber</title>
    <dc:date>2021-11-28T12:51:03+00:00</dc:date>
    <link>https://crookedtimber.org/2021/11/11/old-photographs-and-the-what-might-have-been-of-the-nativist-imagination/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[So much as there is pleasure, then, at looking at these scenes, there’s also an implicit melancholic nostalgia that carries a conservative, indeed reactionary, charge. “We” see what we have been denied by “them” and notice the ugliness, the physical loss, and the replacement of the decently dressed and apparently disciplined white burghers by the motley betrackied population of today. Wasn’t it lovely? we find ourselves asking, perhaps especially if we are ourselves white and of advancing years. For some of us, politically committed, well read, highly educated, what we know about the world and history and our sentiment about other losses (the divorce from Europe, for example) is sufficient to break this photographic reverie. But it is easy to see that for others this postcard image of the past and its unrealized future has a stronger hold.

]]></description>
<dc:subject>the-uses-of-history aesthetics past-is-a-foreign-country get-a-passport rather-good consider:the-bottleneck-of-imagery</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.openhumanitiespress.org/books/titles/realist-magic/">
    <title>Open Humanities Press– Realist Magic</title>
    <dc:date>2021-09-03T13:36:52+00:00</dc:date>
    <link>http://www.openhumanitiespress.org/books/titles/realist-magic/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Object-oriented ontology offers a startlingly fresh way to think about causality that takes into account developments in physics since 1900. Causality, argues, Object Oriented Ontology (OOO), is aesthetic. In this book, Timothy Morton explores what it means to say that a thing has come into being, that it is persisting, and that it has ended. Drawing from examples in physics, biology, ecology, art, literature and music, Morton demonstrates the counterintuitive yet elegant explanatory power of OOO for thinking causality.

]]></description>
<dc:subject>object-oriented-ontology philosophy aesthetics to-read causality</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:34346b9da612/</dc:identifier>
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<item rdf:about="https://jvns.ca/blog/2020/08/08/handwritten-font/">
    <title>An attempt to make a font look more handwritten</title>
    <dc:date>2021-06-25T09:34:50+00:00</dc:date>
    <link>https://jvns.ca/blog/2020/08/08/handwritten-font/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[I’m actually not super happy with the results of this experiment, but I wanted to share it anyway because it was very easy and fun to play with fonts. And somebody asked me how to do it and I told her I’d write a blog post about it :)

]]></description>
<dc:subject>typography noise opentype experiment aesthetics rather-interesting to-write-about consider:in-browser</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:3a0104f2d283/</dc:identifier>
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<item rdf:about="https://arxiv.org/abs/1904.02579">
    <title>[1904.02579] Can a Robot Become a Movie Director? Learning Artistic Principles for Aerial Cinematography</title>
    <dc:date>2021-06-17T21:57:11+00:00</dc:date>
    <link>https://arxiv.org/abs/1904.02579</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Aerial filming is constantly gaining importance due to the recent advances in drone technology. It invites many intriguing, unsolved problems at the intersection of aesthetical and scientific challenges. In this work, we propose a deep reinforcement learning agent which supervises motion planning of a filming drone by making desirable shot mode selections based on aesthetical values of video shots. Unlike most of the current state-of-the-art approaches that require explicit guidance by a human expert, our drone learns how to make favorable viewpoint selections by experience. We propose a learning scheme that exploits aesthetical features of retrospective shots in order to extract a desirable policy for better prospective shots. We train our agent in realistic AirSim simulations using both a hand-crafted reward function as well as reward from direct human input. We then deploy the same agent on a real DJI M210 drone in order to test the generalization capability of our approach to real world conditions. To evaluate the success of our approach in the end, we conduct a comprehensive user study in which participants rate the shot quality of our methods. Videos of the system in action can be seen at this https URL.
]]></description>
<dc:subject>robotics dromes machine-learning aesthetics learning-by-watching rather-interesting consider:representation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:2b5912f590ad/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:dromes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:machine-learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:learning-by-watching"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:consider:representation"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://link.springer.com/article/10.1007/s11097-021-09742-1">
    <title>How artworks modify our perception of the world | SpringerLink</title>
    <dc:date>2021-05-28T13:52:59+00:00</dc:date>
    <link>https://link.springer.com/article/10.1007/s11097-021-09742-1</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content-related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. Attention to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences.

]]></description>
<dc:subject>aesthetics philosophy to-read</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:5bed79d77f86/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-read"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.bookhistoria.com/blog/no-mere-foppery-a-defense-of-rainbow-bookshelves">
    <title>No Mere Foppery: A Defense of Rainbow Bookshelves — Allie &quot;Book Historia&quot; Alvis</title>
    <dc:date>2021-03-07T15:15:46+00:00</dc:date>
    <link>https://www.bookhistoria.com/blog/no-mere-foppery-a-defense-of-rainbow-bookshelves</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[   Every few months it flares up again: Rage Against Rainbow Shelves. In the pandemic age of bookshelf-as-Zoom-backdrop, the most recent subject of this fury has been none other than National Youth Poet Laureate Amanda Gorman, who has given a number of interviews in front of her technicolor shelves.
]]></description>
<dc:subject>aesthetics cultural-norms social-signals heuristics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:d0c3de198459/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-signals"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:heuristics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.sunypress.edu/p-6778-hyperthematics.aspx">
    <title>Hyperthematics</title>
    <dc:date>2020-10-29T00:34:57+00:00</dc:date>
    <link>http://www.sunypress.edu/p-6778-hyperthematics.aspx</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[In this innovative work, Marc M. Anderson presents an account of value and value creation, which both defines value and introduces a method to manipulate value practically. Using this new methodology, Anderson first explores where value lies in experience, both human and otherwise, uncovering tendencies in human action and the natural world that create and destroy value. From that analysis, he generates practical principles to be applied in creating value in any region or discipline of human experience, at any scale, including corporate organization and product design, economics, the sciences, the arts, urban and architectural design, and sustainable development. He tests this methodology by focusing on the organization and production of commercial corporations in particular, suggesting ways to rethink and transform organization, product creation, and the contemporary currency system. He considers the implications for the many intersections of corporate production with human life, from urban planning, medicine, and food production to pornography, weaponry, and environmental engagement, with corresponding suggestions for transformation toward value. Throughout, Hyperthematics examines complexity, the nature of objects, the inevitable future intermingling of science and ethics, and assumptions driving the contemporary culture wars.
]]></description>
<dc:subject>books philosophy cultural-theory aesthetics to-read not-in-library-tho</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:ef39283e6426/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-theory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-read"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:not-in-library-tho"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.sunypress.edu/p-6879-american-aesthetics.aspx">
    <title>American Aesthetics</title>
    <dc:date>2020-10-29T00:22:27+00:00</dc:date>
    <link>http://www.sunypress.edu/p-6879-american-aesthetics.aspx</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Although there are distinctly American artists—Walt Whitman, Herman Melville, Grandma Moses, Thomas Hart Benton, and Andy Warhol, for example—very little attention has been devoted to formulating any distinctively American characteristics of aesthetic judgment and practice. This volume takes a step in this direction, presenting an introductory essay on the possibility of such a distinctly American tradition, and a collection of essays exploring particular examples from a variety of angles. Some of the essays in this collection extend pragmatist and process insights about the important place aesthetics has in molding and assessing experience. Other essays examine the place of American aesthetics in relation to such particular forms of art as painting, literature, music, and film. Three essays attend to the aesthetic aspects of a flourishing life. In each of the essays, American aesthetics is understood to arise out of deeply felt personal, historical, and cultural backgrounds. Consequently, not only are such relatively abstract notions as harmony, fit, elegance, proportion, and the like involved in aesthetic judgment, but also religious, political, and social factors become embroiled in aesthetic discernment. Thus the ongoing pattern of American aesthetics is shown to be distinguishable from such other varieties of aesthetic thought as analytic aesthetics, New Criticism, and postmodern approaches to aesthetics.
]]></description>
<dc:subject>aesthetics philosophy to-read not-in-library-tho</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:90fb019fcfe2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-read"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:not-in-library-tho"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://philpapers.org/rec/NGUGAT-2">
    <title>C. Thi Nguyen, Games and the art of agency - PhilPapers</title>
    <dc:date>2019-07-06T11:31:03+00:00</dc:date>
    <link>https://philpapers.org/rec/NGUGAT-2</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. I suggest that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game-play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end.
]]></description>
<dc:subject>games philosophy aesthetics rather-interesting the-mangle-as-art the-mangle-in-practice agency to-write-about consider:pedagogic-exercises consider:coding-kata consider:introspection</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:27f45166e8f1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-mangle-as-art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-mangle-in-practice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:agency"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-write-about"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:consider:pedagogic-exercises"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:consider:coding-kata"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:consider:introspection"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.redblobgames.com/articles/curved-paths/">
    <title>Curved Paths</title>
    <dc:date>2019-03-24T11:50:36+00:00</dc:date>
    <link>https://www.redblobgames.com/articles/curved-paths/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Piecewise circular curves are used in manufacturing, robotics, and highway engineering, but I haven’t found many online references for them. As with circular arcs, piecewise circular curves can handle offsets, distances, and interpolation. Here are some papers I used to learn about circular arcs, biarcs, and piecewise circular curves:

]]></description>
<dc:subject>game-design mathematics constraint-satisfaction engineering-design rather-interesting aesthetics the-mangle-in-practice representation plane-geometry parametrization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:1d9267b8429a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:game-design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:mathematics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:constraint-satisfaction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:engineering-design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-mangle-in-practice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:representation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:plane-geometry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:parametrization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://fronkonstin.com/2018/05/15/the-pleasing-ratio-project/">
    <title>The Pleasing Ratio Project | Fronkonstin</title>
    <dc:date>2019-03-03T16:34:08+00:00</dc:date>
    <link>https://fronkonstin.com/2018/05/15/the-pleasing-ratio-project/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Although my experiment is absolutely inspired in Fechner’s one, there is a important difference: I can explore a bigger set of ratios doing an A/B test. This makes this one a bit richer.

The experiment has also some interesting technical features:

the use of shinydashboard package to arrange the App
the use of shinyjs package to add javaScript to refresh the page when use choose to play again
to save votes in a text file
to read it to visualize results
Will I obtain the same results as Fechner? This is a living project whose results will change over the time so you can check it regularly.
]]></description>
<dc:subject>aesthetics experiment web-design rather-interesting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:ceadd505a20b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:experiment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:web-design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=FBn6VgoF3fE">
    <title>Computer based design of Islamic geometric patterns - YouTube</title>
    <dc:date>2019-01-18T11:51:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=FBn6VgoF3fE</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Computer based design of Islamic geometric patterns]]></description>
<dc:subject>lecture islamic-art plane-geometry generative-models algorithms aesthetics history compass-and-straightedge-constructions</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:b7b4199f856e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:lecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:islamic-art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:plane-geometry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:generative-models"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:algorithms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:compass-and-straightedge-constructions"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://theamericanscholar.org/a-pleasure-to-read-you">
    <title>The American Scholar: A Pleasure to Read You - Arthur Krystal</title>
    <dc:date>2019-01-05T13:22:48+00:00</dc:date>
    <link>https://theamericanscholar.org/a-pleasure-to-read-you</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Something, I fear, goes missing when the historical particularity of style is dropped from the curriculum. That aesthetic exchange whereby writers strive to outdo their precursors (vividly traced by Harold Bloom and W. Jackson Bate) has taken a back seat to more socially pressing concerns. Although serious writers continue to write good books, interesting books, unusual books, literature itself is now viewed primarily as a cultural artifact defined by limitations of sex, race, and class. It acts more as a critique of society than as a gloss on previous work. To take a well-worn example: Joseph Conrad’s Heart of Darkness is invariably seen as a racial and colonialist work of fiction. No one is saying that the story is not well told. Nonetheless, it is bad in a way that is more important than the ways it is good.

More recently, the novelist Jesmyn Ward, writing in The New York Times Book Review, gracefully extolled the virtues of The Great Gatsby while focusing on Gatsby’s exclusionary status as though it were the novel’s most important feature: “the idea most invisible to [her] as a young reader [was] that the very social class that embodied the dream Gatsby wanted for himself was predicated on exclusion. That Gatsby was doomed from the start. He’d been born on the outside; he would die on the outside.” But what reader past the age of 14 doesn’t get this? It’s not that Ward is wrong; it’s just that harping on James Gatz’s displacement conveniently lines up with our culture’s need to condemn privilege.

I may be overreaching, but this emphasis on the socioeconomic aspect of the novel suggests that we’re in danger of losing a category of pleasure. If what is most important in a book is its attitude toward imperialism or class or injustice, then we automatically consign good writing to secondary status. Gatsby is great not because James Gatz is an interloper who exposes class prejudice, but because Fitzgerald learned from Conrad (as well as from Booth Tarkington, Sherwood Anderson, and Compton Mackenzie). Wanting to be a great writer, he had to be his own writer, and with Gatsby, he aspired to “write something new—something extraordinary and beautiful and simple + intricately patterned.” And part of the pleasure of reading Gatsby is discovering where and how he differed from the writers he admired.

]]></description>
<dc:subject>models-and-modes literary-criticism literature performance-measure social-construction-of-social-constructions to-write-about fads-and-well-not-really-fads-but-maybe-fallacies aesthetics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:fc053e03bbb5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:models-and-modes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:literary-criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:literature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:performance-measure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-construction-of-social-constructions"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-write-about"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:fads-and-well-not-really-fads-but-maybe-fallacies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://arxiv.org/abs/1811.08759">
    <title>[1811.08759] Using AI to Design Stone Jewelry</title>
    <dc:date>2018-12-11T12:54:14+00:00</dc:date>
    <link>https://arxiv.org/abs/1811.08759</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Jewelry has been an integral part of human culture since ages. One of the most popular styles of jewelry is created by putting together precious and semi-precious stones in diverse patterns. While technology is finding its way in the production process of such jewelry, designing it remains a time-consuming and involved task. In this paper, we propose a unique approach using optimization methods coupled with machine learning techniques to generate novel stone jewelry designs at scale. Our evaluation shows that designs generated by our approach are highly likeable and visually appealing.
]]></description>
<dc:subject>generative-art design aesthetics rather-interesting performance-measure to-write-about user-centric-design</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:57e10cab6a2c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:generative-art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:performance-measure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-write-about"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:user-centric-design"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://twitter.com/alexjc/status/1054279796417552384">
    <title>Alex J. Champandard on Twitter: &quot;Neural approaches to style transfer struggle with certain types of art, e.g. crisp yet smooth brush-strokes 🖋️. It's likely a combination of factors, including using models pre-trained on natural images. 📷 In this </title>
    <dc:date>2018-11-01T09:36:17+00:00</dc:date>
    <link>https://twitter.com/alexjc/status/1054279796417552384</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Neural approaches to style transfer struggle with certain types of art, e.g. crisp yet smooth brush-strokes . It's likely a combination of factors, including using models pre-trained on natural images. ]]></description>
<dc:subject>generative-art neural-networks rather-interesting aesthetics the-mangle-in-practice to-write-about</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:9970c64afdce/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:generative-art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:neural-networks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-mangle-in-practice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-write-about"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.artnome.com/news/2018/8/8/why-love-generative-art">
    <title>Why Love Generative Art? — Artnome</title>
    <dc:date>2018-10-04T10:47:01+00:00</dc:date>
    <link>https://www.artnome.com/news/2018/8/8/why-love-generative-art</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Over the last 50 years, our world has turned digital at breakneck speed. No art form has captured this transitional time period - our time period - better than generative art. Generative art takes full advantage of everything that computing has to offer, producing elegant and compelling artworks that extend the same principles and goals artists have pursued from the inception of modern art.

]]></description>
<dc:subject>generative-art criticism have-read to-write-about aesthetics philosophy-of-art posthumanism-and-responsibility</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:4898b104bab0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:generative-art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:have-read"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-write-about"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy-of-art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:posthumanism-and-responsibility"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://amechanicalart.blogspot.com/2018/09/what-is-doctor-who.html">
    <title>Morphosis: What is Doctor Who?</title>
    <dc:date>2018-09-20T11:35:52+00:00</dc:date>
    <link>http://amechanicalart.blogspot.com/2018/09/what-is-doctor-who.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[All this is a roundabout way of saying: I have some specific hopes for the new female Who. It certainly seems to me that many of the reactionaries who greeted the news of her casting with howls of outrage were only partly motivated by misogyny (though of course they were motivated by that); they were trying, with the hysterical volume of their complaining, to rally to the defence of class itself as a defining feature of British self-identity. It will be interesting to see how Whittaker and her scriptwriters take the character, and to what extent the role can be reconfigured to escape this particular straitjacket.
]]></description>
<dc:subject>aesthetics cultural-norms fiction literary-criticism science-fiction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:a12fbce8dfe9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:fiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:literary-criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:science-fiction"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://d.rip/mikerugnetta/posts/RHJvcFBvc3QtMzM0NA==">
    <title>Drip - Mike Rugnetta</title>
    <dc:date>2018-09-20T11:30:54+00:00</dc:date>
    <link>https://d.rip/mikerugnetta/posts/RHJvcFBvc3QtMzM0NA==</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[In part one of this essay, we discussed goods labeled “tactical” and the apparent reference intended by those objects. Our conclusion was, roughly, that tactical objects allow wearers / users to perform an association (a perhaps defensible one) with the armed services and various first responder personnel: police forces, and so on. 

We also uncovered a fundamental tension present in many tactical goods: try as they might to denote a particular lifestyle or occupation, these objects largely connote them. In surveying the array of tactics-based products, one may behold multitudinous visual metaphors for lifestyles focused on service and preparedness but may notice the lack of a material association with those lifestyles, or the people who practice them. In short, we came to understand aspects of tactics-things as pure fashion. 

But the ‘authenticity’ of the objects is not under question here. Rather (or really: in result), we ask how a person may ~become~ “tactical” or “a tactician” through the purchase and use of these items. In this second and final installment of a Half Baked study concerning A Material Semiotics of Tacticality we’ll discuss what tactics are and how the tactical-as-such can be seen in tactical goods. We’ll discuss the ethics of the tactical system of objects, and that system’s seepage into various locales. 

]]></description>
<dc:subject>delightful humor cultural-norms aesthetics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:beb2e15a833a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:delightful"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:humor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://arxiv.org/abs/1501.00719">
    <title>[1501.00719] Lessons I learned from Richard Stanley</title>
    <dc:date>2017-09-26T12:15:22+00:00</dc:date>
    <link>https://arxiv.org/abs/1501.00719</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[I will share with the reader what I have learned from Richard Stanley and the ways in which he has contributed to research in combinatorics conducted by me and my collaborators.
]]></description>
<dc:subject>domino-tiling aesthetics mathematical-recreations festschrift combinatorics enumeration rather-interesting to-write-about</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:f28a50d14975/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:domino-tiling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:mathematical-recreations"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:festschrift"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:combinatorics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:enumeration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-write-about"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://arxiv.org/abs/1709.02252">
    <title>[1709.02252] A Geometric Approach to Harmonic Color Palette Design</title>
    <dc:date>2017-09-23T14:03:24+00:00</dc:date>
    <link>https://arxiv.org/abs/1709.02252</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[We address the problem of finding harmonic colors, this problem has many applications, from fashion to industrial design. In order to solve this problem we consider that colors follow normal distributions in tone (chroma and lightness) and hue. The proposed approach relies in the CIE standard for representing colors and evaluate proximity. Other approaches to this problem use a set of rules. Experimental results show that lines with specific parameters angles of inclination, and distance from the reference point are preferred over others, and that uncertain line patterns outperform non-linear patterns.
]]></description>
<dc:subject>color-theory rather-interesting define-your-terms graphic-design aesthetics numerical-methods computer-science algorithms nudge-targets consider:looking-to-see consider:performance-measures</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:4de08662162d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:color-theory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:define-your-terms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:graphic-design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:numerical-methods"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:computer-science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:algorithms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:nudge-targets"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:consider:looking-to-see"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:consider:performance-measures"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://hudsonreview.com/2017/05/humboldts-new-world-landscape/#.WW7x_NUrLrc">
    <title>Humboldt’s New World Landscape | The Hudson Review</title>
    <dc:date>2017-07-23T11:57:45+00:00</dc:date>
    <link>http://hudsonreview.com/2017/05/humboldts-new-world-landscape/#.WW7x_NUrLrc</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Church must have felt, in reading these lines, as if Humboldt were addressing him directly. In fact, as my italics attempt to suggest, he was sketching what would become Church’s quintessential subject and theme: the torrid zones of the Amazon and Orinoco, the snowcapped volcanoes of the Andes, and all those gigantic panoramas of inexhaustible fecundity and diversity that were to Humboldt at the very center of the Creation. He went on, even more explicitly, “Are we not justified in hoping that land­scape painting will flourish with a new and hitherto unknown brilliancy when artists of merit shall . . . [venture], far in the interior of continents, in the humid mountain valleys of the tropical world, to seize, with the genuine freshness of a pure and youthful spirit, on the true image of the varied forms of nature?”

]]></description>
<dc:subject>aesthetics social-networks history criticism art influence-and-the-anxiety-thereof</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:9784b281267d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-networks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:influence-and-the-anxiety-thereof"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://arxiv.org/abs/1409.0499">
    <title>[1409.0499] Drawing Graphs within Restricted Area</title>
    <dc:date>2017-05-10T11:09:48+00:00</dc:date>
    <link>https://arxiv.org/abs/1409.0499</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[We study the problem of selecting a maximum-weight subgraph of a given graph such that the subgraph can be drawn within a prescribed drawing area subject to given non-uniform vertex sizes. We develop and analyze heuristics both for the general (undirected) case and for the use case of (directed) calculation graphs which are used to analyze the typical mistakes that high school students make when transforming mathematical expressions in the process of calculating, for example, sums of fractions.
]]></description>
<dc:subject>graph-layout constraint-satisfaction multiobjective-optimization computational-geometry parametrization to-write-about aesthetics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:4199d4e5eedb/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:graph-layout"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:constraint-satisfaction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:multiobjective-optimization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:computational-geometry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:parametrization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-write-about"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://arxiv.org/abs/1701.03329">
    <title>[1701.03329] A Data-Oriented Model of Literary Language</title>
    <dc:date>2017-02-07T11:51:06+00:00</dc:date>
    <link>https://arxiv.org/abs/1701.03329</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[We consider the task of predicting how literary a text is, with a gold standard from human ratings. Aside from a standard bigram baseline, we apply rich syntactic tree fragments, mined from the training set, and a series of hand-picked features. Our model is the first to distinguish degrees of highly and less literary novels using a variety of lexical and syntactic features, and explains 76.0 % of the variation in literary ratings.
]]></description>
<dc:subject>digital-humanities rather-interesting feature-construction feature-extraction natural-language-processing aesthetics to-write-about nudge-targets consider:looking-to-see</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:56605dfb5e78/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:digital-humanities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:feature-construction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:feature-extraction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:natural-language-processing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-write-about"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:nudge-targets"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:consider:looking-to-see"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://open_nsfw.gitlab.io/">
    <title>Image Synthesis from Yahoo's open_nsfw</title>
    <dc:date>2016-10-28T09:13:12+00:00</dc:date>
    <link>https://open_nsfw.gitlab.io/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[I remember proposing almost this exact conjecture to Cosma Shalizi and D. Eric Smith, sitting in the garden at SFI in about 2000. It makes me happy to see it coming into existence. I certainly never got around to it.]]></description>
<dc:subject>image-processing generative-art generative-models deep-learning aesthetics looking-to-see the-posthuman-aesthetic</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:a14f34b3c458/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:image-processing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:generative-art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:generative-models"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:deep-learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:looking-to-see"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-posthuman-aesthetic"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://thenewinquiry.com/blogs/marginal-utility/the-overload/">
    <title>The overload – The New Inquiry</title>
    <dc:date>2016-05-09T11:06:09+00:00</dc:date>
    <link>http://thenewinquiry.com/blogs/marginal-utility/the-overload/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Using social media that implements an algorithmically curated feed reinforces for users that they shouldn’t be expected to deliberate over any desires or guide their own information-search processes. Such platforms teach users helplessness. Staging information overload deliberately helps with the lessons. The point is to make the surrender pleasurable, as Will Davies suggests here. As with the “sublime” in aesthetic theory, we are overloaded with information so that we can enjoy being overpowered.

]]></description>
<dc:subject>via:vielmetti corporations social-media advertising crowds marketing aesthetics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:9c03a092774a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:vielmetti"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:corporations"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:advertising"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:crowds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:marketing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://arxiv.org/abs/1508.06576">
    <title>[1508.06576] A Neural Algorithm of Artistic Style</title>
    <dc:date>2015-12-12T11:48:32+00:00</dc:date>
    <link>http://arxiv.org/abs/1508.06576</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[In fine art, especially painting, humans have mastered the skill to create unique visual experiences through composing a complex interplay between the content and style of an image. Thus far the algorithmic basis of this process is unknown and there exists no artificial system with similar capabilities. However, in other key areas of visual perception such as object and face recognition near-human performance was recently demonstrated by a class of biologically inspired vision models called Deep Neural Networks. Here we introduce an artificial system based on a Deep Neural Network that creates artistic images of high perceptual quality. The system uses neural representations to separate and recombine content and style of arbitrary images, providing a neural algorithm for the creation of artistic images. Moreover, in light of the striking similarities between performance-optimised artificial neural networks and biological vision, our work offers a path forward to an algorithmic understanding of how humans create and perceive artistic imagery.
]]></description>
<dc:subject>generative-art deep-learning neural-networks aesthetics not-multiscale-enough nudge-targets consider:doing-it-right</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:75d206919188/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:generative-art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:deep-learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:neural-networks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:not-multiscale-enough"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:nudge-targets"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:consider:doing-it-right"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://unrealnature.wordpress.com/2015/06/17/not-newness/">
    <title>Not-Newness | Unreal Nature</title>
    <dc:date>2015-06-22T11:26:08+00:00</dc:date>
    <link>https://unrealnature.wordpress.com/2015/06/17/not-newness/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[The purest expression of this is ‘Beauties of the Common Tool’ (Fortune, July 1955). A pair of $1 pliers, a crate opener, tin snips, a trowel and an adjustable wrench are photographed with immaculate plainness and reproduced one to a page, larger than life. Bold and simple, they are unchanging monuments to pragmatic design and manual work. Robert Frank helped to source the tools and construct a makeshift set-up in Evans’s studio on York Avenue. Each tool was balanced on a thin rod over a white background. On an 8×10 camera the exposures were around two and a half minutes with a small aperture. Proceedings would stop if a passing train vibrated the place. Frank was amazed at the perfect results: “I learned what it was to make a simple photograph.” The final prints were then retouched to remove all shadows.

]]></description>
<dc:subject>photography art-criticism aesthetics the-mangle-in-practice cultural-practice</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:f1a540c72034/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art-criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-mangle-in-practice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-practice"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://unrealnature.wordpress.com/2015/04/27/style-is-a-fraud/">
    <title>Style Is a Fraud | Unreal Nature</title>
    <dc:date>2015-05-05T12:33:27+00:00</dc:date>
    <link>https://unrealnature.wordpress.com/2015/04/27/style-is-a-fraud/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[… de Kooning, after telling us that “in art, one idea is as good as another,” gives a brief catalogue of trembling — Michelangelo, who “starts to tremble,” down to Cézanne, who “was always trembling but very precisely” — and then devoted the middle of his talk to the tyranny of an art with one idea: “Art should not have to be a certain way.” “Style is a fraud. I always felt that the Greeks were hiding behind their columns. It was a horrible idea of [Theo] van Doesburg and [Piet] Mondrian to try to force a style.” “To desire to make a style is an apology for one’s anxiety.”

]]></description>
<dc:subject>aesthetics engineering-criticism art the-mangle-in-practice style suggestive-and-apropos-of-everything</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:4d0e1b3884b4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:engineering-criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-mangle-in-practice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:style"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:suggestive-and-apropos-of-everything"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://unrealnature.wordpress.com/2015/04/26/only-what-is-concealed/">
    <title>Only What Is Concealed | Unreal Nature</title>
    <dc:date>2015-05-05T12:30:42+00:00</dc:date>
    <link>https://unrealnature.wordpress.com/2015/04/26/only-what-is-concealed/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Undoubtedly, the painter goes to the museum and there gleans a certain awareness of the reality of painting: he knows painting, but his painting does not know it; his painting knows that painting is impossible, unreal, unrealizable. Whoever asserts literature in itself asserts nothing. Whoever looks for it looks for only what is concealed; whoever finds it finds only what is on this side of literature or, what is worse, beyond it. That is why, finally, it is non-literature that each book pursues as the essence of what it lives and wants passionately to discover.]]></description>
<dc:subject>salient art aesthetics making the-mangle-in-practice</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:f52c65ef1a58/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:salient"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:making"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-mangle-in-practice"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://alistapart.com/blog/post/variable-fonts-for-responsive-design">
    <title>Variable Fonts for Responsive Design · An A List Apart Blog Post</title>
    <dc:date>2015-02-10T12:30:33+00:00</dc:date>
    <link>http://alistapart.com/blog/post/variable-fonts-for-responsive-design</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Choosing typefaces for use on the web today is a practice of specifying static fonts with fixed designs. But what if the design of a typeface could be as flexible and responsive as the layout it exists within?

]]></description>
<dc:subject>typography engineering-design aesthetics programming fonts rather-interesting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:9ac17c972028/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:typography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:engineering-design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:programming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:fonts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://arxiv.org/abs/1501.01891">
    <title>[1501.01891] From art to geometry: aesthetic and beauty in the learning process</title>
    <dc:date>2015-02-01T22:43:02+00:00</dc:date>
    <link>http://arxiv.org/abs/1501.01891</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Starting from the concept that knowledge comes as element of mediation between the convergent thinking, founded on experience, and the divergent thinking, placed in the perceptive, intuitive, creative dimension, in this paper we want to present an idea for developing an educational path combining the concept of beauty and some historical notes. It is possible to use this dissertation as a starting point to conceive a geometric laboratory that drawing inspiration from artistic works, get to create geometric shapes provided with fascinating symmetries
]]></description>
<dc:subject>symmetry aesthetics generative-art rather-interesting psychology learning-by-doing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:75a36b47c2cf/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:symmetry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:generative-art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:learning-by-doing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://arxiv.org/abs/1412.1897">
    <title>[1412.1897] Deep Neural Networks are Easily Fooled: High Confidence Predictions for Unrecognizable Images</title>
    <dc:date>2014-12-14T23:18:38+00:00</dc:date>
    <link>http://arxiv.org/abs/1412.1897</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Deep neural networks (DNNs) have recently been achieving state-of-the-art performance on a variety of pattern-recognition tasks, most notably visual classification problems. Given that DNNs are now able to classify objects in images with near-human-level performance, questions naturally arise as to what differences remain between computer and human vision. A recent study revealed that changing an image (e.g. of a lion) in a way imperceptible to humans can cause a DNN to label the image as something else entirely (e.g. mislabeling a lion a library). Here we show a related result: it is easy to produce images that are completely unrecognizable to humans, but that state-of-the-art DNNs believe to be recognizable objects with 99.99% confidence (e.g. labeling with certainty that white noise static is a lion). Specifically, we take convolutional neural networks trained to perform well on either the ImageNet or MNIST datasets and then find images with evolutionary algorithms or gradient ascent that DNNs label with high confidence as belonging to each dataset class. It is possible to produce images totally unrecognizable to human eyes that DNNs believe with near certainty are familiar objects. Our results shed light on interesting differences between human vision and current DNNs, and raise questions about the generality of DNN computer vision.
]]></description>
<dc:subject>deep-learning machine-learning stress-testing via:cshalizi via:many somebody-been-reading-my-mind-again aesthetics the-mangle-in-practice nudge-targets consider:that-second-part-they-didn't-do-yet</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:11a06b47ba3d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:deep-learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:machine-learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:stress-testing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:cshalizi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:many"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:somebody-been-reading-my-mind-again"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-mangle-in-practice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:nudge-targets"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:consider:that-second-part-they-didn't-do-yet"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://lombardi.cs.arizona.edu/index.html">
    <title>Lombardi Spring Embedder</title>
    <dc:date>2014-11-20T22:34:21+00:00</dc:date>
    <link>http://lombardi.cs.arizona.edu/index.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Presented here is a new method of graph visualization, inspired by the style of the American artist Mark Lombardi. This method has two characteristics that differ from regular graph drawings: straight edges are replaced by circular arcs and the arcs around a vertex are evenly spaced out.

The objectives of this approach are to improve readability and engagement of graph drawings. Initial user feedback strongly indicates the aesthetic appeal of this style of drawing, with some associated keywords being “more natural”, “balloon animals”, “blobby”, “cute and cuddly”, in contrast with the traditional straight-line realizations, which were more “jagged” and “angular”.

The workings of our algorithm at core are simple. We randomly place vertices on a canvas, assign forces to them, and perform a physics simulation. This causes vertices to orient themselves in such a way that balances out the forces acting on them, often producing a visually appealing layout.

]]></description>
<dc:subject>via:cshalizi graph-layout algorithms visualization simulation rather-interesting aesthetics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:6226588e2b27/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:cshalizi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:graph-layout"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:algorithms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:simulation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.aesthetics-online.org/articles/index.php?articles_id=65">
    <title>Art’s Abject Other or the “New Cool”? Should Philosophy Rethink the Art/Craft Dichotomy?</title>
    <dc:date>2014-11-16T23:09:15+00:00</dc:date>
    <link>http://www.aesthetics-online.org/articles/index.php?articles_id=65</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Few philosophers of art today concern themselves much with craft. For some it may be because “craft” is associated with amateurism and craft fairs. Others may believe that Collingwood put craft in its place long ago as a narrow means-end process. Of course, many art critics, theorists, and historians also continue to view craft as art’s lowly other. And even some craft institutions have come to treat studio craft as “the art form that dare not say its name,” e.g., the American Craft Museum dropping “craft” from its name in 2002 to become a Museum of Arts and Design.[1]
]]></description>
<dc:subject>art craft false-dichotomies philosophy aesthetics criticism the-mangle-in-practice materiality emergence posthumanism-I-guess?</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:45e06bb564e1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:craft"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:false-dichotomies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-mangle-in-practice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:materiality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:emergence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:posthumanism-I-guess?"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://medium.com/message/lets-talk-about-margins-14646574c385">
    <title>Let’s talk about margins — The Message — Medium</title>
    <dc:date>2014-09-07T11:52:36+00:00</dc:date>
    <link>https://medium.com/message/lets-talk-about-margins-14646574c385</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Text printed on the best paper with no margins or unbalanced margins is vile. Or, if we’re being empathetic, sad. (For no book begins life aspiring to bad margins.) I know that sounds harsh. But a book with poorly set margins is as useful as a hammer with a one inch handle. Sure, you can pound nails, but it ain’t fun. A book with crass margins will never make a reader comfortable. Such a book feels cramped, claustrophobic. It doesn’t draw you in, certainly doesn’t make you want to spend time with the text.

]]></description>
<dc:subject>books book-design typography layout aesthetics right-and-proper those-deaf-to-a-crucial-grammar</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:c120737bb0ba/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:book-design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:typography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:layout"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:right-and-proper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:those-deaf-to-a-crucial-grammar"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://author-zone.com/serif-readability-myth/">
    <title>The Serif Readability Myth - Author-Zone</title>
    <dc:date>2014-08-30T14:21:48+00:00</dc:date>
    <link>http://author-zone.com/serif-readability-myth/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[So before you go around claiming that serif typefaces are easier to read than sans-serif typefaces, you might want to do a little checking around. The embarrassing truth is, there’s no solid research to back up that claim. In fact, for many kinds of messages, it’s essential that you not use serifs (road signs, for example). The serif-readability myth is just one of many myths you (and I) have accepted as true, that simply isn’t.

]]></description>
<dc:subject>typography legibility received-wisdom aesthetics modernity-and-efficiency book-design amusing-and-yet</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:6c4409dbc882/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:typography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:legibility"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:received-wisdom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:modernity-and-efficiency"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:book-design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:amusing-and-yet"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://variancecharts.com/">
    <title>Variance Charts</title>
    <dc:date>2014-03-21T09:17:20+00:00</dc:date>
    <link>https://variancecharts.com/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Variance empowers engineers, designers, journalists, scientists, and analysts to build elegant bespoke data graphics for the web, using only HTML & CSS. Our intuitive, markup-based grammar emphasizes clear, practical graphics and serves as the foundation for a wide range of visualizations.]]></description>
<dc:subject>via:chl visualization library html5 css3 aesthetics nice</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:7602bdad6dd8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:chl"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:library"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:html5"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:css3"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:nice"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://arxiv.org/abs/1402.6712">
    <title>[1402.6712] Complex Beauty</title>
    <dc:date>2014-03-13T21:50:19+00:00</dc:date>
    <link>http://arxiv.org/abs/1402.6712</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Complex systems and their underlying convoluted networks are ubiquitous, all we need is an eye for them. They pose problems of organized complexity which cannot be approached with a reductionist method. Complexity science and its emergent sister network science both come to grips with the inherent complexity of complex systems with an holistic strategy. The relevance of complexity, however, transcends the sciences. Complex systems and networks are the focal point of a philosophical, cultural and artistic turn of our tightly interrelated and interdependent postmodern society. Here I take a different, aesthetic perspective on complexity. I argue that complex systems can be beautiful and can the object of artification - the neologism refers to processes in which something that is not regarded as art in the traditional sense of the word is changed into art. Complex systems and networks are powerful sources of inspiration for the generative designer, for the artful data visualizer, as well as for the traditional artist. I finally discuss the benefits of a cross-fertilization between science and art.
]]></description>
<dc:subject>complex-systems aesthetics philosophy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:f3e75268c299/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:complex-systems"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://unrealnature.wordpress.com/2013/12/26/the-voice-in-question/">
    <title>The Voice In Question | Unreal Nature</title>
    <dc:date>2014-01-01T12:50:15+00:00</dc:date>
    <link>http://unrealnature.wordpress.com/2013/12/26/the-voice-in-question/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[In direct contrast to this, the words delivered by a documentary voice-over are, traditionally, public or collective utterances, and, to return to Cavalcanti’s distinction between the ‘rationality’ of sound and voice as opposed to the ‘emotional stimulus’ provided by images, the words introduce, interpret or explain images that might otherwise, in a multitude of ways, remain incoherent. The ostensible purpose of the ‘voice of God’ model is to absent personality and any notion of the internal monologue, to generalize, to offer an omniscient and detached judgment, to guide the spectator through events whilst remaining aloof from them. As Mary Ann Doan elaborates, ‘it is precisely because the voice [in a documentary] is not localizable, because it cannot be yoked to a body, that it is capable of interpreting the image, producing the truth.’ What consequently occurs when a documentary narration falters, stops or acknowledges its inadequacy, as occurs in both Nuit et brouillard and The Battle of San Pietro, is that the personal, subjective potential of that voice-over is unexpectedly permitted to surface, a rupturing of convention that forces a reassessment of the text/narration relationship and how that relationship impinges on the effect a film has on the spectator.

]]></description>
<dc:subject>film criticism aesthetics consider:scientific-publication world's-foremost-unreliable-narrator</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:4db84bb60e09/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:consider:scientific-publication"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:world's-foremost-unreliable-narrator"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://unrealnature.wordpress.com/2013/12/27/modern-masters-of-communication/">
    <title>Modern Masters of Communication | Unreal Nature</title>
    <dc:date>2014-01-01T12:46:41+00:00</dc:date>
    <link>http://unrealnature.wordpress.com/2013/12/27/modern-masters-of-communication/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[… Artists have known for a long time that the most interesting connections in things involve areas of low, or ambiguous, information, so-called “gaps” in recognition. This is the time of involvement, of participation by the viewer, in a work of art. The process of learning itself demands that initially one must be confronted with something one does not understand. René Magritte wrote: “People who look for symbolic meanings fail to grasp the inherent poetry and mystery of the image. No doubt they sense this mystery, but they wish to get rid of it. They are afraid. By asking ‘What does this mean?’ they express a wish that everything be understandable. But if one does not reject the mystery, one has quite a different response. One asks other things.

This view is exactly opposite to the one that a student of communication receives at university, yet it is the very basis of communication. Modern masters of information, such as the CIA and many politicians, know full well that real power lies in what is not said, in what is not spoken, and survival depends on making statements that are as multifaceted and ambiguous as permissible. Disclosing information, “communication” as most people know it, can mean sure disaster as far as these people are concerned. Yet the broadcast media, the students of media, and many video artists continue to operate under the old models, creating more and more boring works.

]]></description>
<dc:subject>philosophy aesthetics consider:scientific-research innovation exploration-and-exploitation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:fa6aa02ec58e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:consider:scientific-research"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:innovation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:exploration-and-exploitation"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://unrealnature.wordpress.com/2013/12/31/without-nouns-and-transitive-verbs/">
    <title>Without Nouns and Transitive Verbs | Unreal Nature</title>
    <dc:date>2014-01-01T12:31:54+00:00</dc:date>
    <link>http://unrealnature.wordpress.com/2013/12/31/without-nouns-and-transitive-verbs/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[That those who condemn abstract art generally do so in advance of experience is shown by the completeness with which they condemn. To hold that one kind of art is invariably superior or inferior to another kind is to judge before experiencing. The whole history of art is there to demonstrate the futility of rules of preference laid down beforehand — the impossibility of anticipating the outcome of aesthetic experience. The critic doubting whether abstract art could ever transcend decoration — as Daniel Kahnweiler does — is on ground as unsure as the Hellenistic connoisseur would have been who doubted whether the mosaic medium could ever be capable of more than merely decorative derivations of encaustic panel painting. Or as Joshua Reynolds was in rejecting the likelihood of the pure landscape’s ever occasioning works as noble as those of Raphael. As long as art, and the judging of it, have not been reduced to a science anything and everything remain possible in it.

It has never been more essential than today to keep in mind the precariousness of all assumptions about what art can and cannot do. If the practice of ambitious painting and sculpture continues in our time it is by flouting almost every inherited notion of what is and is not art. If certain works by Picasso as well as Mondrian are worthy of being considered pictures, and certain works by Brancusi and Gonzalez as well as Pevsner, sculpture, then it is despite all preconceptions and assumptions, and only because actual experience has told us so. And I don’t think we have more reason to doubt, by and large, what it tells us than what it told his contemporaries about Titian.

]]></description>
<dc:subject>criticism meaning-in-art cultural-norms consider:meaning-in-science aesthetics philosophy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:f1a393a42184/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:meaning-in-art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:consider:meaning-in-science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://robinrendle.com/essays/a-visual-lexicon/">
    <title>Robin Rendle › A Visual Lexicon</title>
    <dc:date>2013-12-23T15:38:06+00:00</dc:date>
    <link>http://robinrendle.com/essays/a-visual-lexicon/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[I believe we ought to consider how these errors have been rooted not in tools or workflows, not in browser bugs or frameworks. Instead they are intertwined with our ancient, almost pre-historic issues with reading and writing. But due to the explosive growth of these responsive, modular systems, we now require new words with which to see.

My only hope is that we find better ways to share them.]]></description>
<dc:subject>via:adrianh typography web-design essay cultural-norms aesthetics visual-language</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:194a1102c357/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:adrianh"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:typography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:web-design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:essay"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:visual-language"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://unrealnature.wordpress.com/2013/11/28/between-apertures/">
    <title>Between Apertures | Unreal Nature</title>
    <dc:date>2013-11-30T12:47:11+00:00</dc:date>
    <link>http://unrealnature.wordpress.com/2013/11/28/between-apertures/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[… Now, obviously, in the process of fixing meaning, not every explanation is valid. This is where the role of the expert anthropologist comes in and where methodologies need to be devised, legitimated, and enforced. For, if a nonprofessional explanation is dismissed here, it is not so much because it lacks insight or theoretical grounding, as because it escapes anthropological control; it lacks the seal of approval from the anthropological order. In the name of science, a distinction is made between reliable and nonreliable information. Anthropological and nonanthropological explanations may share the same subject matter, but they differ in the way they produce meaning. The unreliable constructs are the ones that do not obey the rules of anthropological authority, which a concerned expert like Evans-Pritchard skillfully specifies as being nothing else but “a scientific habit of mind.” Science defined as the most appropriate approach to the object of investigation serves as a banner for every scientific attempt to promote the West’s paternalistic role as subject of knowledge and its historicity of the Same.

]]></description>
<dc:subject>philosophy-of-science system-of-professions aesthetics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:7f62ca8103a2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy-of-science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:system-of-professions"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://unrealnature.wordpress.com/2013/11/26/being-disconcerted/">
    <title>Being Disconcerted | Unreal Nature</title>
    <dc:date>2013-11-28T12:43:40+00:00</dc:date>
    <link>http://unrealnature.wordpress.com/2013/11/26/being-disconcerted/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[To impute a position or line to a critic is to want, in effect, to limit  his freedom. For a precious freedom lies in the very involuntariness of aesthetic judging: the freedom to be surprised, taken aback, have your expectations confounded, the freedom to be inconsistent and to like anything in art as long as it is good — the freedom, in short, to let art stay open. Part of the excitement of art, for those who attend to art regularly, consists, or should, in this openness, in this inability to foresee reactions. You don’t expect to like the busyness of Hindu sculpture, but on closer acquaintance become enthralled by it (to the point even of preferring it to the earlier Buddhist carving). You don’t, in 1950, anticipate anything generically new in geometrical-looking abstract painting, but then see Barnett Newman’s first show. You think you know the limits of 19th-century academic art, but then come across Stobbaerts in Belgium, Etty and Dyce in England, Hayez in Italy, Waldmueller in Austria, and still others. The very best art of this time continues to be abstract but the evidence compels you to recognize that below this uppermost level success is achieved still, by a far higher proportion of figurative than of abstract painting. When jurying you find yourself having to throw out high-powered looking abstract pictures and keeping in trite-looking landscapes and flower pieces. Despite certain qualms, you relish your helplessness in the matter, you relish the fact that in art things happen of their own accord and not yours, that you have to like things you don’t want to like, and dislike things you do want to like. You acquire an appetite not just for the disconcerting but the state of being disconcerted.

]]></description>
<dc:subject>this-is-true-for-science-as-well criticism aesthetics philosophies-of-practice the-mangle-in-practice</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:ecdfdfe05109/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:this-is-true-for-science-as-well"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophies-of-practice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-mangle-in-practice"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://unrealnature.wordpress.com/2013/11/24/the-space-of-our-minds/">
    <title>The Space of Our Minds | Unreal Nature</title>
    <dc:date>2013-11-27T12:14:36+00:00</dc:date>
    <link>http://unrealnature.wordpress.com/2013/11/24/the-space-of-our-minds/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[[line break added to make this easier to read online] Is this not, after all, the way we see? We do not see the qualities of a thing but its totality; its look. We attend to aspects of its appearance that we like or dislike, and then, as did the painters of old, we make our own fable of its reality in the space of our minds. But perspective denies this. The effect of bringing precision to the category of space — or perhaps, simply, the concern to think space, separating out spatial perception from our global intuition of reality — fosters an equally futile precision in all aspects of external appearance. In a word, the analysis of sensory qualities replaces the intuition of a fundamental unity. The relation of the image to the model it imitates is reduced to that between a definition, or concept, and a thing. An art of the manifest gives way to conceptual speculation, certainty gives way to hypothesis forever in search of ultimate confirmation. This is the dilemma of perspective, and suddenly that of art itself. Able to render the multiple aspects of a thing, art is, in a sense, the harbinger of reality; but it also, immediately, loses track of reality.

]]></description>
<dc:subject>aesthetics perception cognition models-and-modes history art-criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:36e81c14f3bb/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:perception"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cognition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:models-and-modes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art-criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://unrealnature.wordpress.com/2013/11/08/the-unpossessible/">
    <title>The Unpossessible | Unreal Nature</title>
    <dc:date>2013-11-21T13:02:54+00:00</dc:date>
    <link>http://unrealnature.wordpress.com/2013/11/08/the-unpossessible/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[There were always heresiarchs within modernism itself: I am thinking of the socially and psychologically utopian Joyce of Finnegans Wake; Marcel Duchamp, who abandoned painterly modernism as an infantile disorder; John Cage, who began with a severe testing of Western music’s most intransigent parameter, timbre, and a systematic corruption of high capitalism’s indispensable instruments, the piano and the orchestra; William Carlos Williams, who sustained for a lifetime an investigation into the unconsecrated poetics of language at large, of whom Gertrude Stein said, with perfect accuracy, that literature was not his métier.

]]></description>
<dc:subject>modernism art art-history aesthetics philosophy-of-art models-and-modes quotes interesting all-that-is-solid-melts-into-air</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:dfee5a92cff7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:modernism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art-history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy-of-art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:models-and-modes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:quotes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:all-that-is-solid-melts-into-air"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://arxiv.org/abs/1308.6368">
    <title>[1308.6368] Incremental Grid-like Layout Using Soft and Hard Constraints</title>
    <dc:date>2013-08-31T10:21:58+00:00</dc:date>
    <link>http://arxiv.org/abs/1308.6368</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[We explore various techniques to incorporate grid-like layout conventions into a force-directed, constraint-based graph layout framework. In doing so we are able to provide high-quality layout---with predominantly axis-aligned edges---that is more flexible than previous grid-like layout methods and which can capture layout conventions in notations such as SBGN (Systems Biology Graphical Notation). Furthermore, the layout is easily able to respect user-defined constraints and adapt to interaction in online systems and diagram editors such as Dunnart.
]]></description>
<dc:subject>graph-layout visualization algorithms aesthetics performance-measure</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:71bc9704870b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:graph-layout"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:algorithms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:performance-measure"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://thehairpin.com/2013/08/how-to-enjoy-art-as-a-human-being/">
    <title>How to Enjoy Art as a Human Being | The Hairpin</title>
    <dc:date>2013-08-13T12:30:21+00:00</dc:date>
    <link>http://thehairpin.com/2013/08/how-to-enjoy-art-as-a-human-being/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Double down. Don’t accept apologies. Don’t believe in rehabilitation. People never change. Trust no one. Assume the worst. Let years go by.

]]></description>
<dc:subject>aesthetics advice</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:6aa4aab6896a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:advice"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://arxiv.org/abs/0912.0537">
    <title>[0912.0537] Steinitz Theorems for Orthogonal Polyhedra</title>
    <dc:date>2013-07-24T11:01:30+00:00</dc:date>
    <link>http://arxiv.org/abs/0912.0537</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[We define a simple orthogonal polyhedron to be a three-dimensional polyhedron with the topology of a sphere in which three mutually-perpendicular edges meet at each vertex. By analogy to Steinitz's theorem characterizing the graphs of convex polyhedra, we find graph-theoretic characterizations of three classes of simple orthogonal polyhedra: corner polyhedra, which can be drawn by isometric projection in the plane with only one hidden vertex, xyz polyhedra, in which each axis-parallel line through a vertex contains exactly one other vertex, and arbitrary simple orthogonal polyhedra. In particular, the graphs of xyz polyhedra are exactly the bipartite cubic polyhedral graphs, and every bipartite cubic polyhedral graph with a 4-connected dual graph is the graph of a corner polyhedron. Based on our characterizations we find efficient algorithms for constructing orthogonal polyhedra from their graphs.
]]></description>
<dc:subject>computational-geometry visualization algorithms nudge-targets graph-layout aesthetics what-happens-if</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:7e87cd379d45/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:computational-geometry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:algorithms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:nudge-targets"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:graph-layout"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:what-happens-if"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://arxiv.org/abs/1009.0579">
    <title>[1009.0579] Lombardi Drawings of Graphs</title>
    <dc:date>2013-07-24T10:54:28+00:00</dc:date>
    <link>http://arxiv.org/abs/1009.0579</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[We introduce the notion of Lombardi graph drawings, named after the American abstract artist Mark Lombardi. In these drawings, edges are represented as circular arcs rather than as line segments or polylines, and the vertices have perfect angular resolution: the edges are equally spaced around each vertex. We describe algorithms for finding Lombardi drawings of regular graphs, graphs of bounded degeneracy, and certain families of planar graphs.
]]></description>
<dc:subject>visualization graph-theory graph-layout aesthetics algorithms nice</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:710918c9af8a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:graph-theory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:graph-layout"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:algorithms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:nice"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.netmagazine.com/interviews/mark-boulton-designing-websites-using-content-out">
    <title>Mark Boulton on designing websites using 'content out' | Interview | .net magazine</title>
    <dc:date>2013-06-07T12:25:20+00:00</dc:date>
    <link>http://www.netmagazine.com/interviews/mark-boulton-designing-websites-using-content-out</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[At present, Boulton told us that there are scenarios that contradict this argument and favour fixed designs, such as iOS apps. "We know the screen sizes and we can fix the layout. In fact, some of the behaviours of touchscreen devices help us in that regard – swiping whole screens rather than scrolling." But, he added that as the delivery of content via web technology increases, the more fractured the display of that content will become: "Your TV, refrigerator or watch all would have a different 'canvas', and responsive web design starts us on a path to shed some thinking of how we create flexible, adaptive layouts. But this only works if we start thinking of responsive web design as a shift in thinking,and not as a few tools to allow us to create websites for iPhones and iPads. It's more than that."

]]></description>
<dc:subject>web-design grids graphic-design aesthetics the-sculpture-in-the-marble via:trek</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:cbe84f0cc84f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:web-design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:grids"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:graphic-design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-sculpture-in-the-marble"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:trek"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://ascii.textfiles.com/archives/3786">
    <title>What a Wonder is a Terrible Monitor « ASCII by Jason Scott</title>
    <dc:date>2012-12-08T19:12:04+00:00</dc:date>
    <link>http://ascii.textfiles.com/archives/3786</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[The vector lines, which are created by aiming a beam DIRECTLY AT YOUR EYES only to be stopped by a coated piece of glass, have a completely different feel. The phosphor glows, the shots look like small stars floating across the glass, and a raster line is not to be seen. It’s an entirely different experience, and the teenagers at MAGfest had never seen it before, and unfortunately, it is well on its way out.]]></description>
<dc:subject>via:deusx emulation aesthetics simulation-is-already-here-we-call-it-authenticity</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:8c0c0c021b37/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:deusx"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:emulation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:simulation-is-already-here-we-call-it-authenticity"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://experimentalphilosophy.typepad.com/experimental_philosophy/2011/10/mere-exposure-to-bad-art-experiment-results.html">
    <title>Experimental Philosophy: Mere Exposure to Bad Art: Experiment Results</title>
    <dc:date>2011-10-25T12:34:49+00:00</dc:date>
    <link>http://experimentalphilosophy.typepad.com/experimental_philosophy/2011/10/mere-exposure-to-bad-art-experiment-results.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["We conclude from these results that mere exposure will not always produce an increase in liking for paintings. This puts pressure on Cutting’s conclusions that canon formation is simply a function of cultural exposure, and that quality is not playing a role in artistic judgement."]]></description>
<dc:subject>aesthetics cultural-assumptions matters-of-taste art experiment</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:2b80d91319fd/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-assumptions"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:matters-of-taste"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:experiment"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://arxiv.org/abs/1108.5508">
    <title>[1108.5508] A Pattern Measure</title>
    <dc:date>2011-10-10T11:13:37+00:00</dc:date>
    <link>http://arxiv.org/abs/1108.5508</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["In this paper we propose numerical measures for evaluating the aesthetic interest of simple patterns. The patterns consist of elements (symbols, pixels, etc.) in regular square arrays. The measures depend on two characteristics of the patterns: the number of different types of element, and the number of symmetries in their arrangement. We define two complementary composite measures L and C for the degree of pattern in a design, and compute them here for 2x2 and 6x6 arrays. The results distinguish simple from high-variation cases. We suspect that the measure L corresponds to the degree that human beings intuitively feel a design to be "interesting", so this model would aid in quantifying the visual connection of two- dimensional designs with viewers. The other composite measure C based on these numerical properties characterizes the extent of randomness of an array. Combining symbol variety with symmetry calculations allows us to employ hierarchical scaling to count the relative impact of different levels of scale. By identifying substructures we can distinguish between organized patterns and disorganized complexity. The measures described here are related to verbal descriptors derived from work by psychologists on responses to visual environments."]]></description>
<dc:subject>cognition aesthetics experimental-psychology nudge-targets learning-by-watching</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:c4bb4c3b2387/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cognition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:experimental-psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:nudge-targets"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:learning-by-watching"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.geckostone.com/">
    <title>Gecko Stone Tessellated Interlocking Pavers, LightweightConcrete Houses, Architectural Design, Imagineering</title>
    <dc:date>2009-06-14T23:27:01+00:00</dc:date>
    <link>http://www.geckostone.com/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["Let your feet experience some real relief with these truly interlocking, tessellated concrete pavers. Each paver is part of a one piece puzzle.
Make your own with a quality polyurethane mold. No prior experience is necessary. Each mold comes complete with instructions on casting, coloring, curing, and installation."
]]></description>
<dc:subject>sprawlette tile design making architecture gardening aesthetics Escher</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:6a7849ad1486/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:sprawlette"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:tile"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:making"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:gardening"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:Escher"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://bibliophagist.com/?p=38">
    <title>Some preliminary notes on the aesthetic merits of interesting catalogues. at Bibliophagist</title>
    <dc:date>2008-04-28T13:05:16+00:00</dc:date>
    <link>http://bibliophagist.com/?p=38</link>
    <dc:creator>Vaguery</dc:creator><dc:subject>books catalog collecting lists miscellanies aesthetics exploration</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:58f34bc6dd8a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:catalog"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:collecting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:lists"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:miscellanies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:exploration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.smfr.org/robots/">
    <title>BEAM Robots</title>
    <dc:date>2007-05-16T11:20:26+00:00</dc:date>
    <link>http://www.smfr.org/robots/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Simon Fraser's BEAM robotic projects
]]></description>
<dc:subject>robotics make hacking hardware electronics design adaptation dynamic aesthetics autonomy</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:4d608d465fce/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:robotics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:make"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:hacking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:hardware"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:electronics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:adaptation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:dynamic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:autonomy"/>
</rdf:Bag></taxo:topics>
</item>
</rdf:RDF>