从艺术创作环境看艺术教育发展方向

艺术教育和艺术创作是同一个范畴内的两个概念,他们之间具有必然的因果关系。一个国家的文化艺术实力是否强大,艺术创作所呈现的整体状态是其重要的评判参照,而这一切理应和艺术教育有着必然的联系。只有艺术教育遵循良性发展轨迹,艺术创作才能实现真正的强大,而这种艺术也才可能成为永恒。国家形象意识的体现是艺术呈现的可能状态而并非必然的归属,艺术教育应该有其自身规律性,探索这种规律性并合理引导和利用是艺术教育值得为之尝试和努力的方向。     

A cognitive framework for robot guides in art collections

A basic goal in human–robot interaction is to establish such a communication mode between the two parties that the humans perceive it as effective and natural; effective in the sense of being responsive to the information needs of the humans, and natural in the sense of communicating information in modes familiar to humans. This paper sets the framework for a robot guide to visitors in art collections and other assistive environments, which incorporates the principles of effectiveness and naturalness. The human–robot interaction takes place in natural language in the form of a dialogue session during which the robot describes exhibits, but also recommends exhibits that might be of interest to the visitors. It is also possible for the robot to explain its reasoning to the visitors, with a view to increasing transparency and consequently trust in the robot’s suggestions. Furthermore, the robot leads the visitors to the location of the desired exhibit. The framework is general enough to be implemented in different hardware, including portable computational devices. The framework is based on a cognitive model comprised of four modules: a reactive, a deliberative, a reflective and an affective one. An initial implementation of a dialogue system realising this cognitive model is presented. main ontology.     

Robot Head Motion Control with an Emphasis on Realism of Neck–Eye Coordination during Object Tracking

Important aspects of present-day humanoid robot research is to make such robots look realistic and human-like, both in appearance, as well as in motion and mannerism. In this paper, we focus our study on advanced control leading to realistic motion coordination for a humanoid’s robot neck and eyes while tracking an object. The motivating application for such controls is conversational robotics, in which a robot head “actor” should be able to detect and make eye contact with a human subject. Therefore, in such a scenario, the 3D position and orientation of an object of interest in space should be tracked by the redundant head–eye mechanism partly through its neck, and partly through its eyes. In this paper, we propose an optimization approach, combined with a real-time visual feedback to generate the realistic robot motion and robustify it. We also offer experimental results showing that the neck–eye motion obtained from the proposed algorithm is realistic comparing to the head–eye motion of humans.     

Witness and presence in the work of Pierre Huyghe

The relation between “presence” and “representation” is an age-old topic in the arts, but it is further complicated in our time of advanced media conditions. Pierre Huyghe is one artist who has consistently addressed questions of presence and representation throughout his artistic oeuvre, including the role of the witness within it. Considering the sophistication of Huyghe’s work with regard to the riddle of presence in the realm of contemporary means of representation, the artist’s work is taken as a case study for a broad range of artists exploring related topics within the arts and the media. This paper argues that art that interrogates the question of presence within the context of contemporary media culture—from Marina Abramović to Stelarc, Jeffrey Shaw to Julia Scher—asks for being interpreted through presence theories developed within the field of media studies in addition to methods of art theory and criticism. Accordingly, Huyghe’s work is productively related to one such theory, namely the YUTPA model by Caroline Nevejan, which theorizes the interrelated concepts of natural, mediated, and witnessed presence.     

The study of path error for an omnidirectional home care mobile robot

The first objective of this research was to develop an omnidirectional home care mobile robot. A PC-based controller controls the mobile robot platform. This service mobile robot is equipped with an “indoor positioning system” and an obstacle avoidance system. The indoor positioning system is used for rapid and precise positioning and guidance of the mobile robot. The obstacle avoidance system can detect static and dynamic obstacles. In order to understand the stability of a three-wheeled omnidirectional mobile robot, we carried out some experiments to measure the rectangular and circular path errors of the proposed mobile robot in this research. From the experimental results, we found that the path error was smaller with the guidance of the localization system. The mobile robot can also return to its starting point. The localization system can successfully maintain the robot’s heading angle along a circular path.     

Surveying the literature on technoscience art: from pioneer stories to collaborations between artists,scientists and engineers as the object of study

The aim of this article is to describe, analyse and categorize the literature on technoscience art in general and technoscience art collaborations in particular. I argue that the literature could be characterized by three thematic traditions: pioneer stories, writing aiming at mapping and categorizing, as well as those problematizing and contextualizing the field. Given that earlier research on technoscience art collaborations primarily consists of art historical and anthropological and ethnographic studies, I further discuss the relation between these approaches and intend to provide a connection between them. Whereas art historical studies are more concerned with issues concerning art history as a discipline, ethnographic studies tend to be more concerned with challenges faced by interdisciplinarity. Finally, I discuss the role of artistic research and art practice in future studies on the topic and emphasize the diversity of the literature on technoscience art, as well as the understanding of technoscience art collaborations as an interdisciplinary effort.     

Space art: aesthetics design as psychological support

The purpose of this article is to explore the possibilities of art and design in the context of space development. The focus is the effects of arts on feelings, how to enjoy arts as a creator (Ono expressed together with “Art for psychological support”, the paper presented at European Space Agency (ESA), Tools for psychological support during exploration missions to Mars and Moon, Noordwijk, The Netherlands, 2007), supporting the idea of Joseph Beuys that “every human being is an artist” (Art into society, society into art. First published in English in Caroline Tisdall, ICA, London, p 48, 1973). Expression with arts is helpful to find our real selves. When humans create arts, their inner feelings will appear. Art therapy works in this way (Ono in Expressive arts therapy—drawing, clay, music, drama, and dance, Seishinshobo, Japan, 2005). Artistic expressions effect positively the human well-being. This work hypotheses that also in outer space artistic expression will be able to improve astronauts’ quality of life. The topics approached in this article are: (1) Space Art; (2) Psychology and Space Art; (3) Lunar Zen Garden Habitat; (4) Astronaut′s Art.     

Opinion helpfulness prediction in the presence of “words of few mouths”

This paper identifies a widely existing phenomenon in social media content, which we call the “words of few mouths” phenomenon. This phenomenon challenges the development of recommender systems based on users’ online opinions by presenting additional sources of uncertainty. In the context of predicting the “helpfulness” of a review document based on users’ online votes on other reviews (where a user’s vote on a review is either HELPFUL or UNHELPFUL), the “words of few mouths” phenomenon corresponds to the case where a large fraction of the reviews are each voted only by very few users. Focusing on the “review helpfulness prediction” problem, we illustrate the challenges associated with the “words of few mouths” phenomenon in the training of a review helpfulness predictor. We advocate probabilistic approaches for recommender system development in the presence of “words of few mouths”. More concretely, we propose a probabilistic metric as the training target for conventional machine learning based predictors. Our empirical study using Support Vector Regression (SVR) augmented with the proposed probability metric demonstrates advantages of incorporating probabilistic methods in the training of the predictors. In addition to this “partially probabilistic” approach, we also develop a logistic regression based probabilistic model and correspondingly a learning algorithm for review helpfulness prediction. We demonstrate experimentally the superior performance of the logistic regression method over SVR, the prior art in review helpfulness prediction.     

粉笔画艺术风格模拟

目的 对不同艺术风格的模拟和绘制是非真实感绘制技术的主要任务之一,目前非真实感绘制技术已对油画、水彩画、中国书法等国内外艺术风格进行了模拟,然而对粉笔化艺术风格的模拟方法并不多见。本文提出了一种基于滤波扩散和线积分卷积（LIC）的粉笔画艺术风格绘制技术。方法 首先输入2维目标图像,通过对目标图像二值化处理、边缘提取操作,获得连续、光滑的边缘信息,并采用滤波扩散技术对边缘图像进行扩散处理,模拟粉笔画中笔划的毛糙效果,同时通过采用图像增强方法增强了笔划的细节信息;其次,由于真实粉笔画在创作时,粉笔颜料黏附在图像局部区域,形成具有方向的笔刷纹理效果,算法通过在目标图像中添加白噪声,基于线积分卷积LIC产生具有方向的粉笔画笔刷纹理,并通过形态学膨胀处理获得粉笔画的笔划纹理,模拟出粉笔画中笔划的笔触特征。再次,真实的粉笔画艺术效果往往在黑板、木材等材质中创作,算法将产生的笔刷纹理图像、色彩信息以及边缘图像通过图层映射方法,映射到黑板材质等输入背景图像中,产生最终的粉笔画艺术效果图像。结果 通过对输入2维图像进行实验,模拟出具有粉笔画艺术效果的结果图像,突出了粉笔画的线条细节信息和笔划艺术特征。结论 提出了一种粉笔画艺术效果模拟算法,非真实感绘制领域的有效补充,算法简单有效,能模拟出真实的粉笔画艺术效果,增强了艺术表现力。     

论景观艺术设计学科教学研究

景观艺术设计是一门建立在广泛的人文与艺术学科和自然学科基础上的应用性学科。学科的发展正处于探索阶段,从学科观念、学科性质、学科目标到学科实践主体范围均缺少系统性,明确性和指向性,本文就该学科的学科特点、学科理念以及景观艺术设计实践主体进行了系统的论述。     

Curve Fitting in Architecture

It used to be popular to draw geometric figures on images of paintings or buildings, and to propose them as an “analysis” of the observed work, but the tradition lost some credit due to exaggerated (golden section) interpretations. So, how sure can an art or mathematics teacher be when he wants to propose the profile of a nuclear plant as an example of a hyperboloid, or proportions in paintings as an illustration of the presence of number series? Or, if Gaudi intended to show chain curves in his work, can the naked eye actually notice the difference between these curves and parabolas? The present paper suggests applying the “least squares method”, developed in celestial mechanics and since applied in various fields, to art and architecture, especially since modern software makes computational difficulties nonexistent. Some prefer jumping immediately to modern computer machinery for visual recognition, but such mathematical overkill may turn artistic minds further away from the (beloved!) tradition of geometric interpretations.     

High-speed laser localization for a restaurant service mobile robot

Nowadays, service robots have become very popular. The objective of this work was to develop a restaurant service mobile robot. This service mobile robot can transfer dishes around the restaurant. It can also show customers to an unoccupied table. The efficiency of the restaurant service can be increased with this robot. This service mobile robot is equipped with a “laser positioning system.” The laser positioning system is used for rapid and precise positioning and guidance of the mobile robot.     

视觉艺术教育的首要问题——“睁开”我们的眼睛

中国长期的审美习惯是头脑优先,用大脑先来审视是否合理。长期以来人的大脑总是顽固地企图统治眼睛,这种情况下,眼睛的判断完全失去真实性。闭着眼睛的艺术扮演着政治、社会问题的救世主而不再是精神的产物。避开艺术产生的主体谈艺术的创造是不现实的,形而上的。尤其是在视觉艺术教育中会把学生引向迷茫。"观察"训练会使学生对事物形态有意识的产生发现。     

动画场景设计及其美术风格设定

场景设计是一种集艺术创作和图景绘制为一体的艺术造型活动。但它既不同于环艺设计,也并非单纯的绘景,在动画中肩负着刻画人物性格、拖动故事情节发展、为剧情冲突作好铺垫等重要使命,是一种服务于动画的时空造型艺术。自动画电影产生之日起,美术风格就是其艺术魅力和创作质量的重要影响因素,它在动画电影发展的各个时期中都发挥着关键性的创作养分作用。     

Present state and future of Intelligent Space—Discussion on the implementation of RT in our environment—

In the latest advances in network sensor technology and state-of-the-art mobile robots, artificial intelligence research can be employed to develop autonomous and distributed monitoring systems. “Intelligent Space” is a platform on which we can easily implement advanced technologies to realize smart services for humans. We have developed and reported a vision system based on color information, a hand-over scheme networking multicameras, a human-following mobile robot system, a path generator based on human-watching, etc. Here, I will summarize the present state of intelligent space, and try to describe the future from the viewpoint of system integration. We are now introducing RT (robot technology) to develop intelligent-space as an actual standard platform which could be approved by the robotics community. I will discuss how to use RT in our intelligent space, and show our new results. This work was presented in part at the 11th International Symposium on Artificial Life and Robotics, Oita, Japan, January 23–25, 2006     

You, robot: on the linguistic construction of artificial others

How can we make sense of the idea of ‘personal’ or ‘social’ relations with robots? Starting from a social and phenomenological approach to human–robot relations, this paper explores how we can better understand and evaluate these relations by attending to the ways our conscious experience of the robot and the human–robot relation is mediated by language. It is argued that our talk about and to robots is not a mere representation of an objective robotic or social-interactive reality, but rather interprets and co-shapes our relation to these artificial quasi-others. Our use of language also changes as a result of our experiences and practices. This happens when people start talking to robots. In addition, this paper responds to the ethical objection that talking to and with robots is both unreal and deceptive. It is concluded that in order to give meaning to human–robot relations, to arrive at a more balanced ethical judgment, and to reflect on our current form of life, we should complement existing objective-scientific methodologies of social robotics and interaction studies with interpretations of the words, conversations, and stories in and about human–robot relations.     

A Human-Robot Collaborative Reinforcement Learning Algorithm

This paper presents a new reinforcement learning algorithm that enables collaborative learning between a robot and a human. The algorithm which is based on the Q(λ) approach expedites the learning process by taking advantage of human intelligence and expertise. The algorithm denoted as CQ(λ) provides the robot with self awareness to adaptively switch its collaboration level from autonomous (self performing, the robot decides which actions to take, according to its learning function) to semi-autonomous (a human advisor guides the robot and the robot combines this knowledge into its learning function). This awareness is represented by a self test of its learning performance. The approach of variable autonomy is demonstrated and evaluated using a fixed-arm robot for finding the optimal shaking policy to empty the contents of a plastic bag. A comparison between the CQ(λ) and the traditional Q(λ)-reinforcement learning algorithm, resulted in faster convergence for the CQ(λ) collaborative reinforcement learning algorithm.     

Elephant fish and GPS

Elephant fish and GPS is an attempt to reflect on data flux, and artistic practice considered as a way to implement an experience specific to a flux. Sonification is particularly well suited to this type of implementation. As such, it leads us to question the nature of this type of experience, the position of the person who is faced with the artistic object, and the position and function of the artist. It allows us to query the status of devices produced by such an artistic practice and the status of what is, traditionally, called a “work of art”. The approach is derived from neither the study of specific artistic projects that could be considered as examples from which a general model could be extrapolated, nor, conversely, that of the enunciation of models illustrated by concrete references. The intention is not to categorize practice or behavior. It is rather an approach that seeks to shift concepts and ways of thinking through progressive analogies aimed at critically questioning the notion of experience in a transition from “object” based logic to “flux” or “field”, based logic, coming from an aesthetic perspective.     

杨家埠砖雕艺术的研究

当今的艺术形态正不断从传统中吸取营养,而传统的民间艺术也以它独特的审美性体现出浓厚的乡土气息和久远的文化发展历史;随着社会的巨变,传统的民间手工艺术也在这种日新月异的变化中自然而然的进行着改变。本文通过充分的调查研究,史料考证,从杨家埠砖雕的历史渊源、艺术特点等方面为切入点,分析研究杨家埠砖雕的文化内涵、艺术价值及发展前景。     

Artistic communication for A-life and robotics

In research concerning communication between machine and man and involving artificial life and robotics today, the realization of sensitive communication produced by introducing an artistic interface is receiving considerable attention. In this paper, we discuss artistic human-like communication research, including the artificial life and robotics research which would become necessary with an increasing need for man-machine communication. I have consulted an artist involved with this theme, a critic in media art, a scientist, and a biologist. Their research will be introduced from their own view points, and will cover artificial intelligence work capable of communicating with humans. This work was presented, in part, at the Third International Symposium on Artificial Life and Robotics, Oita, Japan, January 19–21, 1998