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Author: Michel Bret Publisher: Springer ISBN: Category : Computers Languages : en Pages : 312
Book Description
The images produced by means ofcomputers have invaded our daily lives. One has but to see the "identification logos" of most television broadcasts or some advenisement "spots" to be convinced of this. This proves that the synthesis ofimages has reached maturity. The progress that has been made in the last few years allows one to predict the use ofrealistic illustrations in more and more domains ofapplication. It is thus understandable that more and more people seek to understand how these images are produced. Such a person may be an amateur who likes to understand in a general way the processing involved, or he may be a computer scientist who wants to develop some new application using graphics procedures. This book by Michel Bret meets these desires by giving a complete overview of the techniques of image synthesis by computer. The different stages of the creation of a numerical image are explained in detail, and they are accompanied by descriptions of the most modem methods. Thus the geometrical models that are described go from those with plane polygonal facets, via surfaces of all types, to systems of panicles. Visualization is treated in complete detail, and due attention is given to all the various roads that lead to a realistic image: simple projections on the basis of wire-frame models, the elimination of hidden pans, and fmally the modelling oflight and its effects.
Author: Michel Bret Publisher: Springer ISBN: Category : Computers Languages : en Pages : 312
Book Description
The images produced by means ofcomputers have invaded our daily lives. One has but to see the "identification logos" of most television broadcasts or some advenisement "spots" to be convinced of this. This proves that the synthesis ofimages has reached maturity. The progress that has been made in the last few years allows one to predict the use ofrealistic illustrations in more and more domains ofapplication. It is thus understandable that more and more people seek to understand how these images are produced. Such a person may be an amateur who likes to understand in a general way the processing involved, or he may be a computer scientist who wants to develop some new application using graphics procedures. This book by Michel Bret meets these desires by giving a complete overview of the techniques of image synthesis by computer. The different stages of the creation of a numerical image are explained in detail, and they are accompanied by descriptions of the most modem methods. Thus the geometrical models that are described go from those with plane polygonal facets, via surfaces of all types, to systems of panicles. Visualization is treated in complete detail, and due attention is given to all the various roads that lead to a realistic image: simple projections on the basis of wire-frame models, the elimination of hidden pans, and fmally the modelling oflight and its effects.
Author: Nadia Magnenat-Thalmann Publisher: Springer Science & Business Media ISBN: 4431680608 Category : Computers Languages : en Pages : 413
Book Description
Image Synthesis: Theory and Practice is the first book completely dedicated to the numerous techniques of image synthesis. Both theoretical and practical aspects are treated in detail. Numerous impressive computer-generated images are used to explain the most advanced techniques in image synthesis. The book contains a detailed description of the most fundamental algorithms; other less important algorithms are summarized or simply listed. This volume is also a unique handbook of mathematical formulae for image synthesis. The four first chapters of the book survey the basic techniques of computer graphics which play an important role in the design of an image: geometric models, image and viewing transformations, curves and surfaces and solid modeling techniques. In the next chapters, each major topic in image synthesis is presented. The first important problem is the detection and processing of visible surfaces, then two chapters are dedicated to the central problem of light and illumination. As aliasing is a major problem in image rendering, the fundamental antialiasing and motion blur techniques are explained. The most common shadow algorithms are then presented as well as techniques for producing soft shadows and penumbrae. In the last few years, image rendering has been strongly influenced by ray tracing techniques. For this reason, two chapters are dedicated to this important approach. Then a chapter is completely dedicated to fractals from the formal Mandelbrot theory to the recursive subdivision approaches. Natural phenomena present a particularly difficult challenge in image synthesis. For this reason, a large portion of the book is devoted to latest methods to simulate these phenomena: particle systems, scalar fields, volume density scattering models. Various techniques are also described for representing terrains, mountains, water, waves, sky, clouds, fog, fire, trees, and grass. Several techniques for combining images are also explained: adaptive rendering, montage and composite methods. The last chapter presents in detail the MIRALab image synthesis software.
Author: Inge Hinterwaldner Publisher: MIT Press ISBN: 0262549646 Category : Computers Languages : en Pages : 393
Book Description
A new conceptualization of the relationship between the systemic and the iconic in real-time simulations that distinguishes among four levels of forming. Computer simulations conceive objects and situations dynamically, in their changes and progressions. In The Systemic Image, Inge Hinterwaldner considers not only the technical components of dynamic computer simulations but also the sensory aspects of the realization. Examining the optic, the acoustic, the tactile, and the sensorimotor impressions that interactive real-time simulations provide, she finds that iconicity plays a dominant yet unexpected role. Based on this, and close readings of a series of example works, Hinterwaldner offers a new conceptualization of the relationship between systemic configuration and the iconic aspects in these calculated complexes. Hinterwaldner discusses specifications of sensorialization, necessary to make the simulation dynamic perceivable. Interweaving iconicity with simulation, she explores the expressive possibilities that can be achieved under the condition of continuously calculated explicit changes. She distinguishes among four levels of forming: the systems perspective, as a process and schema that establishes the most general framework of simulations; the mathematical model, which marks off the boundaries of the simulation's actualization; the iconization and its orientation toward the user; and interaction design, necessary for the full unfolding of the simulation. The user makes manifest what is initially latent. Viewing the simulation as an interface, Hinterwaldner argues that not only does the sensorially designed aspect of the simulation seduce the user but the user also makes an impact on the simulation—on the dynamic and perhaps on the iconization, although not on the perspectivation. The influence is reciprocal.
Author: Jacob Gaboury Publisher: MIT Press ISBN: 0262361809 Category : Computers Languages : en Pages : 323
Book Description
How computer graphics transformed the computer from a calculating machine into an interactive medium, as seen through the histories of five technical objects. Most of us think of computer graphics as a relatively recent invention, enabling the spectacular visual effects and lifelike simulations we see in current films, television shows, and digital games. In fact, computer graphics have been around as long as the modern computer itself, and played a fundamental role in the development of our contemporary culture of computing. In Image Objects, Jacob Gaboury offers a prehistory of computer graphics through an examination of five technical objects--an algorithm, an interface, an object standard, a programming paradigm, and a hardware platform--arguing that computer graphics transformed the computer from a calculating machine into an interactive medium. Gaboury explores early efforts to produce an algorithmic solution for the calculation of object visibility; considers the history of the computer screen and the random-access memory that first made interactive images possible; examines the standardization of graphical objects through the Utah teapot, the most famous graphical model in the history of the field; reviews the graphical origins of the object-oriented programming paradigm; and, finally, considers the development of the graphics processing unit as the catalyst that enabled an explosion in graphical computing at the end of the twentieth century. The development of computer graphics, Gaboury argues, signals a change not only in the way we make images but also in the way we mediate our world through the computer--and how we have come to reimagine that world as computational.
Author: Gérard Hégron Publisher: MIT Press (MA) ISBN: Category : Computers Languages : en Pages : 240
Book Description
Image Synthesisbrings together all the basic techniques needed for the production of computer images. Specifically designed to be a practical tool for the user of computer graphics systems, it provides a library of correct algorithms and offers an original set of methodological procedures that will enable a user to solve problems from the particular to the most general level. The book examines the three major classes of image synthesis - curve generation, zone filling, and geometric processing - providing the fundamentals for any image synthesis system. It presents a systematic review of the algorithms needed for each class of problem, highlighting the advantages and disadvantages of each; the algorithms have been written in a descriptive language, allowing the user to program them in whatever language he or she desires. Despite the wide variety of algorithms presented, Hegron draws them together into two unifying procedures, which he discusses in great detail: curve generation based on Bresenham's methods, and contour following. Because these two techniques can be applied to such a diversity of problems, they provide the user with a systematic basis for a software package. Gerard Hegron is a research scientist in the National Institut of Research in Computer Science and Automatic Control (INRIA, France).
Author: Francois Laruelle Publisher: MIT Press ISBN: 0983216959 Category : Philosophy Languages : en Pages : 302
Book Description
A rigorous new thinking of the photograph in its relation to science, philosophy, and art, so as to discover an essence of photography that precedes its historical, technological, and aesthetic conditions. If philosophy has always understood its relation to the world according to the model of the instantaneous flash of a photographic shot, how can there be a “philosophy of photography” that is not viciously self-reflexive? Challenging the assumptions made by any theory of photography that leaves its own “onto-photo-logical” conditions uninterrogated, Laruelle thinks the photograph non-philosophically, so as to discover an essence of photography that precedes its historical, technological and aesthetic conditions. The Concept of Non-Photography develops a rigorous new thinking of the photograph in its relation to science, philosophy, and art, and introduces the reader to all of the key concepts of Laruelle's “non-philosophy.”
Author: Bernd Girod Publisher: Springer Science & Business Media ISBN: 1475731868 Category : Computers Languages : en Pages : 475
Book Description
Traditionally, say 15 years ago, three-dimensional image analysis (aka computer vi sion) and three-dimensional image synthesis (aka computer graphics) were separate fields. Rarely were expert
Author: Aa. Vv. Publisher: Mimesis ISBN: 8869770753 Category : Fiction Languages : en Pages : 170
Book Description
This book contains a series of reflections on the theme of temporalities in cinema in the world of art. They do so interweaving various paths, and various structures, in order to arrive at different destination points. Which temporalities, one may wonder. On the boundary between cinema and contemporary art, where boundaries actually no longer exist, the idea of temporality is affected by paths opened up in historical moments which are actually so recent as to be simply in front of our eyes. Video, for example, derived from television, has since been “overtaken” by the digital evolution, yet does not relinquish its domestic function: it re-creates itself in new forms. The same also applies to cinema. Art is certainly not limited to this, but, since it is determined by its technical form, in this it continually finds essence and continuity: thus a temporality emerges which is determined by technology and by technological change. Just as with the temporality determined by the spectator’s viewing experience, it reveals itself as being, in part, the personal essence of the subject. Therefore they are extended temporalities, since they are determined by the unique and unrepeatable combination of the length as predicted by the creator of the work, and the unpredictable time management of the observer of the work, sometimes bored, thoughtful, concentrated, patient... An extendable temporality.
Author: Michel Bret
Author: Michel Bret
Author: Nadia Magnenat-Thalmann
Author: Inge Hinterwaldner
Author: Jacob Gaboury
Author: Gérard Hégron
Author: Francois Laruelle
Author: Charles R. Taylor
Author: Andrew S. Glassner
Author: Bernd Girod
Author: Aa. Vv.