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Unlike a child, Rose did not learn how to draw; Rose was programmed. This does not mean that Rose’s drawings have not been surprising and unpredictable. The complexity and undeterministic nature of the processes modelled means that it is impossible fully to anticipate their results. This is one reason why implementation in an active medium is so instructive. There follows three examples of how Rose has reproduced some commonly observed characteristics peculiar to children’s drawing: Figures 4 and 5 show Rose’s input experience and output drawing of a human figure.

He was struck by the fact that these rock pictures seemed evocative to him even though he had no knowledge of who created them or why. ’. AARON’s first phase was an attempt to capture this evocative power. Cohen was aware that drawing is not a simple process of copying what is in front of us. He saw it as a more complicated process of regenerating what we know about what is in front of us. Before approaching the problem of declarative (what) ‘knowledge’, Cohen had to instil in AARON procedural (how) ‘knowledge’.

5 McCorduck, Pamela (1990) AARON’s Code, Meta-Art, Artificial Intelligence, and the Work of Harold Cohen. New York: W. H. Freeman and Company. p46. 6 See ref 2. 7 See ref 4, p 124. 8 bid, p125. 9 ibid 4, p 124. 10 See ref 5, p 82. 11 bid, p 86. 12 Kurzweil, Raymond. The Age of Intelligent Machines. T. Press, 1990. p 368. 13 Spiller & Jürg eds. Paul Klee Notebooks Volume 1, The Thinking Eye. London: Lund Humphries Publishers Limited, 1961. 14 Marr, D. & Nishihara, H. Representation and Recognition of the Spatial Organisation of Three-dimensional Shapes.

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All about file IO in C++ by Yordanov I.

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