Similarity is studied here in the context of human perception and is hence defined as the perception of ‘likeness’ based on Piaget (1967) AU89: The in-text citation "Piaget (1967)" is not in the reference list. Please correct the citation, add the reference to the list, or delete the citation. ’s explanation. In other words, the term is employed for the entities that are alike. Accordingly, difference is defined as the perception of ‘unlike’ (Piaget, 1967 AU90: The in-text citation "Piaget, 1967" is not in the reference list. Please correct the citation, add the reference to the list, or delete the citation. ), and is employed for the dissimilar entities in the array of similar entities. In particular, the perception of all constituent entities of a repetitive pattern is considered as the perception of similarity, while appearance of any unlike entity in the pattern is considered as the perception of difference.
Published in Chapter:
The Pattern of Repetition and the Quest for Creativity
Manalee Sunil Nanavati (Oxford Brookes University, UK)
Copyright: © 2016
|Pages: 27
DOI: 10.4018/978-1-5225-0029-2.ch019
Abstract
A common application of parametric design is observed in the field of generative processes. Offering the possibility of incorporation of variety along with multiplicity, parametric has presented new ways of creatively employing such repetitive patterns. However, the application of this creativity is often restricted up to formal characteristics, with a complete neglect of perceptual qualities of the composed space. In this reference, the chapter primarily questions whether creativity is only applicable to the formal attributes of the repetitive pattern in parametric design; and further aims to examine how parametric design can undertake a repetitive pattern to simultaneously achieve remarkable creativity in its formal as well as perceptual attributes. This aim is addressed here by proposing a particular approach of assemblage; an approach that can enable the designer to visualise the constant interaction between organizational qualities and perceptual qualities of the composition; and in turn to achieve the desired attribute of the compositional whole.