Cognition and the visual arts
Letter Spirit: esthetic perception and creative play in the rich microcosm of the Roman alphabet
Fluid concepts and creative analogies
Letter spirit (part one): emergent high-level perception of letters using fluid concepts
Letter spirit (part one): emergent high-level perception of letters using fluid concepts
The Communication Bottleneck in Knitwear Design: Analysis and Computing Solutions
Computer Supported Cooperative Work
Dynamic Memory: A Theory of Reminding and Learning in Computers and People
Dynamic Memory: A Theory of Reminding and Learning in Computers and People
The Architecture of Cognition
Transformations in Design: A Formal Approach to Stylistic Change and Innovation in the Visual Arts
Transformations in Design: A Formal Approach to Stylistic Change and Innovation in the Visual Arts
Letter spirit (part two): modeling creativity in a visual domain
Letter spirit (part two): modeling creativity in a visual domain
Visual style: Qualitative and context-dependent categorization
Artificial Intelligence for Engineering Design, Analysis and Manufacturing
Formalizing abstract characteristics of style
Artificial Intelligence for Engineering Design, Analysis and Manufacturing
Computing harmony with PerLogicArt: perceptual logic inspired collaborative art
C&C '11 Proceedings of the 8th ACM conference on Creativity and cognition
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Analyses of styles in design have paid little attention to how people see style and how designers use perceptions of style to guide designing. Although formal and computational methods for analyzing styles and generating designs provide impressively parsimonious accounts of what some styles are, they do not address many of the factors that influence how humans understand styles. The subtlety of human style judgments raises challenges for computational approaches to style. This paper differentiates between a range of distinct meanings of “style” and explores how designers and ordinary people learn and apply perceptual similarity classes and style concepts in different situations to interpret and create designed artifacts. A range of psychological evidence indicates that style perception is dependent on knowledge and involves the interaction of perceptual recognition of style features and explanatory inference processes that create a coherent understanding of an object as an exemplar of a style. This article concludes by outlining how formal style analyses can be used in combination with psychological research to develop a fuller understanding of style perception and creative design.