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Titlebook: Computers in Art, Design and Animation; John Lansdown,Rae A. Earnshaw (Head of Computer Gr Book 1989 Springer-Verlag New York Inc. 1989 Co

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書目名稱Computers in Art, Design and Animation
編輯John Lansdown,Rae A. Earnshaw (Head of Computer Gr
視頻videohttp://file.papertrans.cn/235/234660/234660.mp4
圖書封面Titlebook: Computers in Art, Design and Animation;  John Lansdown,Rae A. Earnshaw (Head of Computer Gr Book 1989 Springer-Verlag New York Inc. 1989 Co
描述The collection of papers that makes up this book arises largely from the joint activities of two specialist groups of the British Computer Society, namely the Displays Group and the Computer Arts Society. Both these groups are now more than 20 years old and during the whole of this time have held regular, separate meetings. In recent years, however, the two groups have held a joint annual meeting at which presentations of mutual interest have been given and it is mainly from the last two of these that the present papers have been drawn. They fall naturally into four classes: visualisation, art, design and animation-although, as in all such cases, the boundaries between the classes are fuzzy and overlap inevitably occurs. Visualisation The graphic potential of computers has been recognised almost since computing was first used, but it is only comparatively recently that their possibilities as devices for the visualisation of complex. and largely ab- stract phenomena has begun to be more fully appreciated. Some workers stress the need to be able to model photographic reality in order to assist in this task. They look to better algorithms and more resolution to achieve this end. Other
出版日期Book 1989
關(guān)鍵詞Computer Art; animation; complexity; computer; computer animation; computer graphics; rendering; simulation
版次1
doihttps://doi.org/10.1007/978-1-4612-4538-4
isbn_softcover978-1-4612-8868-8
isbn_ebook978-1-4612-4538-4
copyrightSpringer-Verlag New York Inc. 1989
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ssibilities as devices for the visualisation of complex. and largely ab- stract phenomena has begun to be more fully appreciated. Some workers stress the need to be able to model photographic reality in order to assist in this task. They look to better algorithms and more resolution to achieve this end. Other978-1-4612-8868-8978-1-4612-4538-4
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Generative Techniques in Graphical Computer Art: Some Possibilities and Practices
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John Lansdown,Rae A. Earnshaw (Head of Computer Gr
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Book 1989mely the Displays Group and the Computer Arts Society. Both these groups are now more than 20 years old and during the whole of this time have held regular, separate meetings. In recent years, however, the two groups have held a joint annual meeting at which presentations of mutual interest have bee
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The Visualisation of Structural Complexity: Some Thoughts on the 21st Anniversary of the Displays Gr revolution and has painfully absorbed the changes entailed in habits of work and thought. At the micro level, the Displays Group has seen and influenced the life cycles of at least three main display technologies: refresh, storage and raster. What can we learn from this experience and what do the next 21 years hold?
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Tessellation and Image Generation by Electronic Kaleidoscope and Colour Table Modification of Video microcomputer was used to produce kaleidoscopes and images bordered with repeated subimages. These were displayed on a monitor with a number of colour table modifications. Screen photographs in black and white and in colour provided the basis for tesselations using repeated prints.
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https://doi.org/10.1057/978-1-349-95238-0s, forms and images. When an art style is taken up and used by a large number of artists there will be felt a marked influence in the culture they live in—for example, baroque art in Europe. As a result of this, original work by artists will widely influence the design of artefacts.
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