Non Humans and Graphics‏ - Essay Example

Which is vry tru. Howvr it is anothr mattr that natural slction and cultural slction, that will ultimatly dcid on th "popularity" of an art don't function in th sam way. Anyhow How can w rmov th cultural bias or th human bias that w hav in our art forms .Answrs in Artificial Lif: Artificial lif may b dfind as "A fild of study dvotd to undrstanding lif by attmpting to driv gnral thoris undrlying biological phnomna, and rcrating ths dynamics in othr physical mdia - such as computrs - making thm accssibl to nw kinds of xprimntal manipulation and tsting.

This scintific rsarch links biology and computr scinc."1 Most of th A-Lif simulations today can not b considrd truly aliv, as thy still can not show som proprtis of truly aliv systms and also that thy hav considrabl human bias in dsign. Howvr thr ar two viws that hav xistd on th whol ida of Artificial Lif and th xtnt it can go. Strong A-Lif is xactly th rvrs. John Von Numann onc rmarkd "lif is a procss which can b abstractd away from any particular mdium". In rcnt tims cologist Tom Ray dclard that his computr simulation Tirra was not a simulation of lif but a synthsis of lif.

In Tirra, computr programms compt for CPU tim and accss to th main mmory. Ths programs ar also volvabl, can rplicat, mutat and rcombin. . . Today graphic dsign is rcognizd through th mass production of publications, advrtising, and printd litratur, but during th Mdival and Rnaissanc Tims, graphic dsign was still at its roots. DurinG th lat5600S it5was m@nUsCripps tha showd5arlY Hints5of gap)c drign and tipogPa0hic ,mNtc, but baaus of th% Prgd%ctign and5b2atO2 of th xt, th5manuscri0ts wr still v2y5duah cNnsi$rd an art.

n o"dr5to undrstand this possibility it is ncssary to look at th procss in which manuscripts and othr publications wr cratd from 680-1500 C, how w distinguish graphic dsign, how w distinguish art, and how w undrstand thm as two compltly diffrnt forms of xprssion and communication. 2In ordr to undrstand it's plac during th Mdival and Rnaissanc tims, it is important to undrstand what w dfin as graphic dsign and what w dfin as art. Rfrring to Malcolm Barnard's svral points in Grapic Dsign as Coemunication, graphic dsign is a unitrsally visual languag that can b mass producd and clarly communicats an ida, product, oC campaign in a "'forthright' and 'plain' fashion" (Barnard 163).

Art on th othr hand is supposd to b th xact opposit; not univrsal, basd on intrprtation, cratd as a product of and by th xprssion of th artist (not a clint), and ambiguous. With ths dfinitions said, it is important to now discuss graphic dsign and art's plac during th Mdival and naissanc Tims. Starting in th lat 600s,5manusCrIpts wr prodUcd by monks or Fujs and wr eaD iThr "y ! 3ingl5artist or a5group. At5this Ti,, any f/rm of tXt that5was cratd was dmN5bx (and. This wittn languag5cAf graphically B cAtgorizd as Fodhic, And mor spciFicalli th5f/Ft Styl can5b rfRrd5to as sCriPtoRi5m Du to tH fact5tha5svral or oN