Finding Meaning in Digital Imagery
Buch, Englisch, 316 Seiten, Format (B × H): 158 mm x 237 mm, Gewicht: 612 g
ISBN: 978-0-387-94148-6
Verlag: Springer
cross-disciplinary perspectives of its participants. For example, Marc de Mey, a psychologist, used threedimensional computer graphic ren dering to reconstruct Masaccio's Trinity, in order to understand this early Renaissance painter's use of perspective; Thomas Hubbard, a photo journalist, engaged the entire audience in interactive image analysis; or Robert Williams, a computer scientist and musician, who performed Mussorgsky's Pictures at an Exhibition on a com puter assisted classical guitar, demonstrating a guitarist's ability to translate simple gestures for enhanced sonic expression. Each paper in this proceedings is a point on the perceptual hori zon. Together they form a Gestalt that organizes the visual land scape, highlighting reconverging paths of art, science, and technology toward a future Renaissance. Just as the fifteenth century Renais sance painter reinvented the technology of perspective to organize and represent images, future Renaissance communicators will rein vent computer technology to help us better understand visual reality. This conference would have not been successful without support from a few dedicated individuals. Specifically, I would like to thank Jean Coppola (conference coordinator), the NYC ACM SIGGRAPH board of directors, Dr. Carol Wolf (Chair, Computer Science Depart ment), Kenneth Norz (Assistant Dean), Dr. Susan Merritt ( Dean, School of Computer Science and Information Systems), and the di rector and staff of Pace University's Downtown Theater. 1.1 REFERENCES [1] Barlow, H., Blackmore,C., and Weston-Smith, M. (Eds.) (1990). Images and Understanding. Cambridge:Cambridge University Press.
Zielgruppe
Research
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Fachgebiete
Weitere Infos & Material
1 Editor’s Introduction.- 1.1 References.- 2 Lipstick on the Bulldog.- 2.1 Introduction.- 2.2 A Few Definitions.- 2.3 Why Collaboration is Hard to Do.- 2.4 Process, Tools, Product.- 2.5 Strategists or Service Bureaus.- 2.6 Education.- 2.7 Common Ground.- 3 Photographic Interpretation.- 3.1 Introduction.- 3.2 Questions and Answers.- 4 Cognitive Origins of Graphic Productions.- 4.1 Introduction.- 4.2 Pictographs and Symbols.- 4.3 Pictorial Space and Pictorial Devices.- 4.4 Conclusions.- 4.5 Acknowledgements.- 4.6 References.- 5 Automating Procedures for Generating Chinese Characters.- 5.1 Introduction.- 5.2 The Case for Chinese Characters.- 5.3 Introduction to Chinese Characters.- 5.4 Current Software Capabilities.- 5.5 The Path Based Bezier Curve Approach.- 5.6 References.- 6 Multimedia Representational Aids in Urban Planning Support Systems.- 6.1 Introduction.- 6.2 Challenges to Urban Planning Support Systems.- 6.3 Addressing the Challenges: Representational Aids.- 6.4 Input Aids.- 6.5 Output Aids.- 6.6 Application of Representational Aids: Rantoul, Illinois.- 6.7 Conclusions.- 6.8 Acknowledgements.- 6.9 References.- 7 Gesture Translation:Using Conventional Musical Instruments in Unconventional Ways.- 7.1 Introduction.- 7.2 The Need for Something Better.- 7.3 Gesture Translation.- 7.4 The Current System.- 7.5 An Example.- 7.6 Related Work.- 7.7 Limitations and Future Work.- 7.8 Conclusion.- 7.9 References.- 8 Visualization for Personal Information Systems.- 8.1 Introduction.- 8.2 Personal Information Systems.- 8.3 Personal Knowledge Space.- 8.4 Discussion.- 8.5 Summary and Future Research.- 8.6 References.- 9 Blazon Computer Graphic Notation.- 9.1 Overview and Background.- 9.2 Basic Terms and Definitions.- 9.3 The Marshalling of Arms.- 9.4 Summary of Blazon.- 9.5References.- 10 Masaccio’s Bag of Tricks.- 10.1 Introduction.- 10.2 The Perspective and Plan of Masaccio’s Trinity.- 10.3 Convincing Realism or Subtle Rhetoric Tricks?.- 10.4 Conclusion.- 10.5 Acknowledgements.- 10.6 References.- 11 Is Alligator Skin More Wrinkled Than Tree Bark?.- 11.1 Introduction.- 11.2 Benefits of This Research.- 11.3 Primary versus Secondary Properties of Objects.- 11.4 How to Think About Texture.- 11.6 Experiments on the Categorization of Texture Words.- 11.7 Conclusion.- 11.8 References.- 12 Variability and Universality in Human Image Processing.- 12.1 Introduction.- 12.2 Background.- 12.3 An Information Oriented Model for Understanding Imagery.- 12.4 References.- 13 Aesthetics and Nature.- 13.1 Introduction.- 13.2 Scientific Visualization as a Coherent Window into a (Fragmented) World.- 13.3 Spatial and Temporal (Dis)continuities.- 13.4 The Multiple Roles of the Visualization Expert.- 13.5 Case Studies.- 13.6 Conclusion.- 13.7 References.- 14 Crossroads in Virtual Reality.- 14.1 Introduction.- 14.2 The Meanings of Virtual Reality, Virtual Worlds, Virtual Environments.- 14.3 VR Projection Images Do Not Re-Present, They Tele-Present.- 14.4 References.- 15 Audio Display from the Simple Beep to Sonification and Virtual Auditory Environments.- 15.1 Introduction.- 15.2 Motivations for the Use of Audio.- 15.3 Auditory Perception.- 15.4 Auditory Scene Analysis.- 15.5 Detectability and Masking.- 15.6 The Psychology of Everyday Listening.- 15.7 Approaches and Applications of Audio Displays.- 15.8 Displaying Abstract Data: Sonification and Auralization.- 15.9 Virtual Auditory Worlds.- 15.10 Future Research.- 15.11 Implementation Issues.- 15.12 Conclusions.- 15.13 References.- 16 Contibutors.
