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Not all alternatives are likely to be physically implemented, but at this point of the work, there was a concern to investigate the potential of random values that could be altered for the generation of forms. Analyzing figure 3, it is possi- ble to highlight one of the most basic characteristics of dynamic systems, the dependence on the initial conditions of the systems. If the system starts with a lot of amplitude between the stitches (at the top of the image) it becomes difficult to be produced, because the variation between the possible stitches and the distance between them creates many empty spaces. Likewise, when the distance between the stitches is very small (at the bottom of figure 3), the The initial design of the algorithm is based on random behavior, this first experi- ment was important in order to understand the intrinsic positions necessary for a doily form and the dynamic potentials of the code. We fixed the parameters of distance from the first row, then the distance between rows, and the number of stitches per row to be used. We then established the limit of seven rows for the study of the graphic qualities of the images. As observed in figure 3.

Figure 3 Not all alternatives are likely to be physically implemented, but at this point of the work, there was a concern to investigate the potential of random values that could be altered for the generation of forms. Analyzing figure 3, it is possi- ble to highlight one of the most basic characteristics of dynamic systems, the dependence on the initial conditions of the systems. If the system starts with a lot of amplitude between the stitches (at the top of the image) it becomes difficult to be produced, because the variation between the possible stitches and the distance between them creates many empty spaces. Likewise, when the distance between the stitches is very small (at the bottom of figure 3), the The initial design of the algorithm is based on random behavior, this first experi- ment was important in order to understand the intrinsic positions necessary for a doily form and the dynamic potentials of the code. We fixed the parameters of distance from the first row, then the distance between rows, and the number of stitches per row to be used. We then established the limit of seven rows for the study of the graphic qualities of the images. As observed in figure 3.

Related Figures (8)

Jesigned algorithms that generate lace patterns ready for production. Even hough Kenning focused on the digital development of patterns and not neces- sarily their materialization, the algorithm designed by her seems to produce eady to go” patterns, which is the same case of Veronika’s work, see figure .. In our experiment, we use the cellular automata method that generates yatterns with some level of abstraction that demand interpretation, validation, nd some input from the lacemaker at the materialization phase. There are deci- sion-making moments when the lacemaker is fabricating a pattern. For exam- )le, the lacemakers can choose how many stitches to connect to the previous ‘ow, they can choose to materialize each row from the start to the end or to see the rows as a unique spiral. The overall idea is to understand that what the ilgorithm produces is a suggestion and not a “ready to manufacture” pattern. \nother difference in our experiment is the graphic pattern. We chose to work vith symbols, because of that, it is only possible to see the translation of digital sraphics to physical form if the pattern is materialized.
Jesigned algorithms that generate lace patterns ready for production. Even hough Kenning focused on the digital development of patterns and not neces- sarily their materialization, the algorithm designed by her seems to produce eady to go” patterns, which is the same case of Veronika’s work, see figure .. In our experiment, we use the cellular automata method that generates yatterns with some level of abstraction that demand interpretation, validation, nd some input from the lacemaker at the materialization phase. There are deci- sion-making moments when the lacemaker is fabricating a pattern. For exam- )le, the lacemakers can choose how many stitches to connect to the previous ‘ow, they can choose to materialize each row from the start to the end or to see the rows as a unique spiral. The overall idea is to understand that what the ilgorithm produces is a suggestion and not a “ready to manufacture” pattern. \nother difference in our experiment is the graphic pattern. We chose to work vith symbols, because of that, it is only possible to see the translation of digital sraphics to physical form if the pattern is materialized.
personal understanding of the output image generated by the code. to be close as possible to the algorithm stitches distribution (top of figure 2.b.), the second one (bottom of figure 2.b.) is a piece with few alterations from the lacemaker which decided to connect loose groups of stitches to the previous row. The lack of information generated by the image purposely instigates the lacemaker’s creativity because there are creative decisions to be made by the lacemaker. In this production method, the lacemaker and artist decides the algorithm behavior logic, the algorithm gives back an output in form of images, and then, again, the lacemaker materializes the final piece following his/her personal understanding of the output image generated by the code.
personal understanding of the output image generated by the code. to be close as possible to the algorithm stitches distribution (top of figure 2.b.), the second one (bottom of figure 2.b.) is a piece with few alterations from the lacemaker which decided to connect loose groups of stitches to the previous row. The lack of information generated by the image purposely instigates the lacemaker’s creativity because there are creative decisions to be made by the lacemaker. In this production method, the lacemaker and artist decides the algorithm behavior logic, the algorithm gives back an output in form of images, and then, again, the lacemaker materializes the final piece following his/her personal understanding of the output image generated by the code.
‘or the second phase of the experiment, we worked with the CA method, which vas explained previously. As the analysis of all stitches in the system requires a ot of computing resources, we established a logic that dialogs with the concept f the Game of Life by John Conway (Gardner 1970). We established a neigh- orhood where the stitch will observe the states of its neighbors and decide vhat it will become. This neighborhood can be parameterized by the code, and ve can work with the entire piece as a single neighborhood, or by dividing the ircular piece by the number of desired neighborhoods. Of course, there is a imit, avery high number of neighborhoods will not make sense for the division f parts of the doily. As in John Conway’s Game of Life, stitches must choose ne state, but we work with three states instead of two, a stitch can choose etween being a chain stitch, single crochet, or double crochet, this decision lepends on the logic below.
‘or the second phase of the experiment, we worked with the CA method, which vas explained previously. As the analysis of all stitches in the system requires a ot of computing resources, we established a logic that dialogs with the concept f the Game of Life by John Conway (Gardner 1970). We established a neigh- orhood where the stitch will observe the states of its neighbors and decide vhat it will become. This neighborhood can be parameterized by the code, and ve can work with the entire piece as a single neighborhood, or by dividing the ircular piece by the number of desired neighborhoods. Of course, there is a imit, avery high number of neighborhoods will not make sense for the division f parts of the doily. As in John Conway’s Game of Life, stitches must choose ne state, but we work with three states instead of two, a stitch can choose etween being a chain stitch, single crochet, or double crochet, this decision lepends on the logic below.
» Chain stitch: if the number of neighbors as Single Crochet or Double Croche’ is greater than % of the neighborhood;
» Chain stitch: if the number of neighbors as Single Crochet or Double Croche’ is greater than % of the neighborhood;
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DesignGenerative designComputational Art
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