Spatial Analysis of “Crazy Quilts”, a Class of Potentially Random Aesthetic Artefacts

Abstract

Human artefacts in general are highly structured and often display ordering principles such as translational, reflectional or rotational symmetry. In contrast, human artefacts that are intended to appear random and non symmetrical are very rare. Furthermore, many studies show that humans find it extremely difficult to recognize or reproduce truly random patterns or sequences. Here, we attempt to model two-dimensional decorative spatial patterns produced by humans that show no obvious order. “Crazy quilts” represent a historically important style of quilt making that became popular in the 1870s, and lasted about 50 years. Crazy quilts are unusual because unlike most human artefacts, they are specifically intended to appear haphazard and unstructured. We evaluate the degree to which this intention was achieved by using statistical techniques of spatial point pattern analysis to compare crazy quilts with regular quilts from the same region and era and to evaluate the fit of various random distributions to these two quilt classes. We found that the two quilt categories exhibit fundamentally different spatial characteristics: The patch areas of crazy quilts derive from a continuous random distribution, while area distributions of regular quilts consist of Gaussian mixtures. These Gaussian mixtures derive from regular pattern motifs that are repeated and we suggest that such a mixture is a distinctive signature of human-made visual patterns. In contrast, the distribution found in crazy quilts is shared with many other naturally occurring spatial patterns. Centroids of patches in the two quilt classes are spaced differently and in general, crazy quilts but not regular quilts are well-fitted by a random Strauss process. These results indicate that, within the constraints of the quilt format, Victorian quilters indeed achieved their goal of generating random structures.

Environmental Education of Young People in Carrying out Design Projects on the Basis of Literary and Musical Folklore

“…As stated in the manual (Brick, 2011), the result of -Crazy Quilt‖ technology is a two-layer material, a top layer of which is made of -irregular bits and pieces [of fabric] strewn in a seemingly disorganized fashion‖. A detailed spatial analysis of -Crazy quilts‖ is presented in the article (Westphal-Fitch & Fitch, 2013). In the manufacturing technology of -Crazy Wool‖, it is used auxiliary materials, for example, water-soluble stabilizer or interlining, spray adhesive, etc.…”

How to Lay Bricks: Local-Global Alignment Predicts Preference for Shifted Tile Patterns

“…Westphal-Fitch and Fitch (2017) found that symmetrical geometric patterns were rated significantly more attractive than random patterns. Westphal-Fitch and Fitch (2013) looked at preferences for "crazy quilts," those intended to appear haphazard and unstructured. They found that these two quilt types belong to separate classes, the first corresponding to randomness and the second to more ordered production methods.…”

Beauty for the eye of the beholder: Plane pattern perception and production.

“…Furthermore, because true randomness is rarely seen in human-generated artifacts (Graham & Field, 2007, 2008; Ross & Weiner, 1963; Westphal-Fitch & Fitch, 2013), we predicted that participants would strongly prefer the real, ordered over artificial random patterns.…”

“…The combination of production, preference ratings, and analysis of real tilings constitute a full application of Fechner’s (1871, 1876) three suggested methods. Although previous work on plane patterns has examined the memorability (Attneave, 1954), spontaneous generation (Szilagyi & Baird, 1977; Westphal-Fitch et al, 2012; Westphal-Fitch, Oh, & Fitch, 2013), preference (Westphal-Fitch et al, 2013), and spatial (Westphal-Fitch & Fitch, 2013) and symmetrical (Wichmann, 2008) properties of patterns in use, to our knowledge, this is the first attempt to apply all three of Fechner’s methods to one aesthetic phenomenon.…”