In the present paper we discuss a visualization and authoring tool that enables users to visualize and analyze a collection of artworks. The user’s goal is to identify those items within the collection with similarities that can suggest an item’s membership to a series. We describe not only how the tool assists in the creation of series, but also how it helps to compare several series in parall...

The Prinzhorn Collection preserves and exhibits thousands of visual artworks by patients who were diagnosed to suffer from mental disease. From this collection, we analyzed 1,256 images by 14 artists who were diagnosed with dementia praecox or schizophrenia. Six objective statistical properties that have been used previously to characterize visually aesthetic images were calculated. These prope...

Understanding how aesthetic preferences are shared among individuals, and its developmental time course, is a fundamental question in aesthetics. It has been shown that semantic associations, in response to representational artworks, overlap more strongly among individuals than those generated by abstract artworks and that the emotional valence of the associations also overlaps more for represe...

This paper presents a computational model of creativity that attempts to capture within a social context an important aspect of the art and design process: the search for novelty. The computational model consists of multiple novelty-seeking agents that can assess the interestingness of artworks. The agents can communicate to particularly interesting artworks to others. Agents can also communica...

Tate has a small but growing collection of software-based artworks. From the outset basic preservation procedures, like testing equipment, backing up hard-drives and assets or thoroughly documenting the hardware and software were put in place, but it was clear that these procedures would need revising over time and as our experience grew. Tate’s earliest softwarebased artwork was created in 200...

We define Interactive Digital Artworks as Information Technology intensive systems for which spectators are involved in the production of the artistic output. We propose a novel framework for classification of interactive digital artworks built on the critical revision and refinement of previous work. Our approach is based on the input-process-output view of Information Systems. The classificat...

It has been shown previously that liking and valence of associations in response to artworks show greater convergence across viewers for representational than for abstract artwork. The current research explored whether the same applies to the semantic content of the associations. We used data gained with an adapted unique corporate association valence measure, which invited 24 participants to g...