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Books on the topic 'Computer generated images'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Magnenat-Thalmann, Nadia, and Daniel Thalmann, eds. Computer-Generated Images. Springer Japan, 1985. http://dx.doi.org/10.1007/978-4-431-68033-8.

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2

Ihaddaden, Youcef. CGI: Computer generated images. Films for the Humanities & Sciences, 2005.

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3

Bigand, André, Julien Dehos, Christophe Renaud, and Joseph Constantin. Image Quality Assessment of Computer-generated Images. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73543-6.

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4

Cartwright, Paul. Realisation of computer generated integral three dimensional images. De Montfort University, 2000.

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5

Smarandache, Florentin. Hieroglyphs & diagrams: Computer-generated outer-art : composed, found, changed, modified, alternated computer-programmed images. F. Smarandache, 2006.

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6

Magnenat-Thalmann, Nadia. Computer-Generated Images: The State of the Art Proceedings of Graphics Interface '85. Springer Japan, 1985.

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7

Napleton, Steven. The technological and aesthetic impact of computer-generated images on the Hollywood cinema. University of East London, 2000.

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8

Huber, Dieter. Klones: Computergenerierte Fotoarbeiten = computer generated photographs. Verlag für Moderne Kunst, 1997.

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9

Osipenko, Georgiy. Computer-oriented methods of dynamic systems. INFRA-M Academic Publishing LLC., 2023. http://dx.doi.org/10.12737/1912470.

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The methods of studying the global properties of dynamic systems based on the construction of a symbolic image of this system are considered. A symbolic image is an oriented graph, which is an approximation to a dynamical system and is constructed by discretizing the phase space. The symbolic dynamics generated by the oriented graph reflects the dynamics of the system under study. The symbolic image is a tool of theoretical research and the basis of computer-oriented methods for the numerical study of nonlocal properties of dynamical systems. Meets the requirements of the federal state e

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10

D, Phillips James, and Ames Research Center, eds. A computational method to model radar return range in a polygonally based, computer-generated-imagery simulation. National Aeronautics and Space Administration, Ames Research Center, 1986.

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11

Hubbell, Gerald R. Scientific Astrophotography: How Amateurs Can Generate and Use Professional Imaging Data. Springer New York, 2013.

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12

Oge, Marques, ed. Handbook of video databases: Design and applications. CRC Press, 2003.

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13

Computer-Generated Images. Island Press, 1986.

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14

Vetter, Thomas, and Mirella Walker. Computer-Generated Images in Face Perception. Oxford University Press, 2011. http://dx.doi.org/10.1093/oxfordhb/9780199559053.013.0020.

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15

Bigand, André, Julien Dehos, Christophe Renaud, and Joseph Constantin. Image Quality Assessment of Computer-generated Images: Based on Machine Learning and Soft Computing. Springer, 2018.

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16

Weiler. Creating with Code: A Fun Exploration of Computer-Generated Images and Machine Learning. Orange Loop Press, 2021.

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17

Computer-Generated Images: The State of the Art (Proceedings of Graphics Interface 85). Springer, 1985.

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18

The colourful world of computer-generated images, visual interaction and visual communication: Computer graphics in practice ; technology transfer bridging research to new products, sciences and applications on the global market. Europ. Wirtschafts-Verl., 2004.

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19

Walley, Jonathan. Cinema Expanded. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938635.001.0001.

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Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art,

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20

CGI: The Art of the 3d Computer-Generated Image. Harry N. Abrams, 2004.

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21

Matsushima, Kyoji. Introduction to Computer Holography: Creating Computer-Generated Holograms as the Ultimate 3D Image. Springer, 2020.

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22

Carroll, Noël. Philosophy and the Moving Image. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190683306.001.0001.

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Philosophy and the Moving image is a collection of articles by Noël Carroll involving many of the ways in which the moving image – including cinema, television, video, and computer generated imagery – can intersect with philosophy. These intersections can include discussions of movies that do philosophy outright, and movies that illustrate philosophical themes as well as discussions various philosophical issues that moving-image practices can provoke. The book shows that movies make contact with many of the established branches of philosophy, including metaphysics, epistemology, philosophical

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23

Holliday, Christopher. The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.001.0001.

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The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different exam

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24

Parfitt-Brown, Clare. An Australian in Paris. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.005.

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Reviewers of Baz Luhrmann’sMoulin Rouge!(2001) often claimed to be bombarded, overloaded, or pathologically infected by the film’s rapid-fire imagery and eclectic cultural references. This chapter explores these visceral experiences of spectatorship, focusing on the film’s dance sequences. It argues that in these sequences, choreography and digital technology (including computer-generated imagery and editing) combine to allow spectators to physically experience on-screen bodies that are historically and culturally complex, distant, and “other.” Alison Landsberg’s notion of “prosthetic memory”

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25

Moving media storage technologies: Applications & workflows for video and media server platforms. Focal Press, 2011.

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26

Cohan, Steven. Monstrous Hollywood. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190865788.003.0005.

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This chapter is the mirror image of the previous one. It looks at narratives about has-been female stars in the context of the studio system’s demise during the 1950s and 1960s. These somewhat later backstudios depict the agency and sexuality of an older female star, who no longer has the safe haven of the studio to control or at least cushion her excessive behavior, as a “monstrous” perversion of femininity. In these films the mature female star personifies the incoherence of the Hollywood brand as a result of the studio system’s implosion, just as her excessive figure is treated as its cause

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27

Digital Media Processing for Multimedia Interactive Services: Proceedings of the 4th European Workshop on Image Analysis for Multimedia Interactive Services. World Scientific Publishing Co Pte Ltd, 2003.

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28

Digital Media Processing for Multimedia Interactive Services: Proceedings of the 4th European Workshop on Image Analysis for Multimedia Interactive Services ... University of London, Uk 9 - 11 April 2003. World Scientific Publishing Company, 2003.

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29

Rawlinson, Jules. A Requiem for Edward Snowden. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450566.

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A Requiem for Edward Snowden is a 50-minute audio-visual work by Matthew Collings and Jules Rawlinson which addresses surveillance, data privacy, loss of faith, moral choice, and personal sacrifice in an environment where we are totally reliant on electronic communication and daily routines; and in which our privacy is routinely compromised. The work is performed by a chamber trio comprising violin, cello and clarinet, with live electronics and live visuals. The work is multi-layered and textured, both sonically and visually, and includes computer generated, fixed-media and live captured image

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30

Deb, Sagarmay. Multimedia Systems and Content-Based Image Retrieval. Information Science Publishing, 2003.

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31

Sexton, Jamie. Music, Sound and Multimedia: From the Live to the Virtual. Music and the Moving Image. Edinburgh University Press, 2007.

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32

Music, Sound and Multimedia: From the Live to the Virtual (Music and the Moving Image). Edinburgh University Press, 2008.

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33

Music, Sound and Multimedia: From the Live to the Virtual (Music and the Moving Image). Edinburgh University Press, 2008.

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34

(Editor), Borko Furht, and Oge Marques (Editor), eds. Handbook of Video Databases: Design and Applications. CRC, 2003.

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