Relevant bibliographies by topics / Photography, Computer Art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Photography, Computer Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Photography, Computer Art"

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Durusoy, Murat. "In-Game Photography: Creating New Realities through Video Game Photography." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 42–47. http://dx.doi.org/10.47659/m4.042.art.

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Computers and photography has had a long and complicated relationship throughout the years. As image processing and manipulating capabilities advanced on the computer front, photography re-birthed itself with digital cameras and digital imaging techniques. Development of interconnected social sharing networks like Instagram and Twitter feeds the photographers’/users’ thirst to show off their momentaneous “been there/seen that – capture the moment/share the moment” instincts. One other unlikely front emerged as an image processing power of the consumer electronics improved is “video game worlds” in which telematic travellers may shoot photographs in constructed fantasy worlds as if travelling in real life. While life-like graphics manufactured by the computers raise questions about authenticity and truthfulness of the image, the possible future of the photography as socially efficient visual knowledge is in constant flux. This article aims to reflect on today’s trends in in-game photography and tries to foresee how this emerging genre and its constructed realities will transpose the old with the new photographic data in the post-truth condition fostering for re-evaluation of photography truth-value. Keywords: digital image, lens-based, photography, screenshot, video games
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Xiong, Xiao Jie. "Research on the Application of Computer Virtual Image Technology in Artistic Photography." Advanced Materials Research 846-847 (November 2013): 1355–58. http://dx.doi.org/10.4028/www.scientific.net/amr.846-847.1355.

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The principles of using computer parallel calculation method carries out in-depth analysis and research for computer art photography virtual imaging technology, and carries out image processing experiments for the artistic image rendering, we can get better art photography image processing effect. Combined with photography image virtual image mathematical model, this paper designs a computer program of photography image art rendering, and carries out art rendering for a landscape painting, we can get ideal art modification effect. Finally, this paper begins to calculated results for the parallel computing of art photography rendering, the calculation is found that the parallel computing is less time-consuming than general algorithm and with the increase of pixel time-consuming increased gently, it doesnt appear large fluctuations. For an image of the same resolution to carry on data processing, the general algorithm takes 55 seconds to complete the task. For parallel computing, it needs to3 seconds to complete, greatly saving time and computer resources, and providing the theory reference for the development of artistic photographys virtual image technology
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Schiller, Devon, and Cedric Kiefer. "Augumenting The Physiognomic Gaze Across Space and Time: A Conversation with onformative." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 54–65. http://dx.doi.org/10.47659/m4.054.art.

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Augmented photography can be used in the digital arts to over-code upon real-world environments with computer-generated data, in order to translate stimuli across sensory modalities, and thereby extent or increase our faculties for perceiving spatial and temporal relations. Because of this media-specific affordance, the augmentation of the photographic medium may have especial application for the “physiognomic gaze,” a way of doing “form interpretation” or “nature knowing” based on the physical behaviors and psychological phenomena of the human face, head and body. The innovativeness of such technological prosthetics becomes manifest how new ways are generated to both perceive and to know those experiences that were previously unseeable or otherwise unsensable. Here, I converse with Cedric Kiefer (co-founder and creative lead) of the onformative studio for digital art and design in Germany about their works Meandering River (2017), Pathfinder (2014) and Google Faces (2013). And we explore how onformative uses the augmented photograph in their digital artworks to extend the physiognomic gaze, bringing data not visible to the naked eye into the senseable sphere, to offer the audience different perspectives about space and time. Keywords: augmented photography, computer-generated data, digital art and science, onformative, physiognomic gaze
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Whitlock, Richard. "Perspective and Memory in Photographic Images." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 81–85. http://dx.doi.org/10.47659/m4.081.art.

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Digital imaging may have tied us to the computer keyboard, but it allows us to recuperate for photography the freedom and control that painters and draughtsmen have always had when reconstructing space on a flat surface. Angles of vision can be explored beyond the normal reach of the human eye or the camera lens. For the last few years I have concentrated in particular on the application of orthographic projection to photographic images, both moving and still. I have found that removing the conventional perspective has the effect of defamiliarising and enriching what we see: objects seem to pass directly into memory not as images but as realities. Keywords: augmentation, augmented photography, de-perspective, expanded view, moving picture, photography
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Forgács, Éva. "“This Is the Century of Light”: László Moholy-Nagy’s Painting and Photography Debate in i 10, 1927." Leonardo 50, no. 3 (June 2017): 274–79. http://dx.doi.org/10.1162/leon_a_01425.

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The emergence in the 1920s of the idea that photography could be a full-fledged form of artistic expression—rather than mere mechanical imaging—led artists and art experts alike to wrestle with the question: What exactly constitutes art? Photography now challenged painting, both figurative and abstract, and as photography’s many previously unsuspected potentials were revealed and explored, artists and experts felt an urgency to articulate photography’s relationship to the concept of art. Invested in photography and ever the advocate of a new innovative medium and genre, László Moholy-Nagy wanted to hear what some of the most respected artists and experts of the time had to say about photography, and so in 1927 he moderated a debate on the subject of “painting and photography” in the journal Internationale Revue i 10.
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Kahraman, Ayşe. "YENİ MEDYADA ÇAĞINDA AKILLI TELEFONLARDA FOTOĞRAF." e-Journal of New World Sciences Academy 15, no. 4 (October 31, 2020): 233–41. http://dx.doi.org/10.12739/nwsa.2020.15.4.d0263.

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With combining new media and technology, there has emerged a different field. So, it has been made hard to determine the definition and scope of the new media. Constant change and development of technological opportunities also affect communication processes. Besides, the origin of the new media is computer-based; it has become desktop publishing programs, smart tablets, and manipulations on photos. The merging of photography and new media art has become one of the most popular areas via technology and the internet. This article gives information about the formation, development, and technologies of photography in smartphones in the new media age. The study aims to provide information about what is photography, photography as a form of art, the art of new media, technological migration from the camera to the mobile phone, photographs on smartphones from new media tools, advances in science and technology, and how photography is continuously increasing. It is thought that the study may contribute to the field literature to be under a single roof.
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Guesdon, Céline. "Toward a New Kind of Image: Photosynthegraphy." Leonardo 39, no. 3 (June 2006): 193–97. http://dx.doi.org/10.1162/leon.2006.39.3.193.

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The author presents a new way of creating images that taps into new interrogations of images. The link between art and technology lies at the heart of her research. She uses a prototype camera that makes it possible to generate a 3D mesh starting from a single photograph. She presents various photographic creations begun during earlier studies in order to explain how her work leads to the perception of photography as volume-images.
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Dorofeeva, Yuliya, and Aleksey Moiseev. "Systematization of theory and methodology for teaching advertising and portrait photography based on the Russian experience." E3S Web of Conferences 210 (2020): 18112. http://dx.doi.org/10.1051/e3sconf/202021018112.

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This article aims at systematizing the key methods, principles, and approaches that underlie the proprietary integrated methodology for teaching advertising and portrait photography. Summarizing the authors’ wealth of educational expertise and successful experiments in teaching photography in Russia has become the primary objective of this article. The main research methods we employed were as follows: comparative analysis and pedagogical experiment (ascertaining, searching, educational). Findings: Essential aspects of the proprietary integrated methods of teaching advertising and portrait photography have been described; the global and domestic experience of teaching photography has been summarized. The proprietary integrated methods for teaching advertising and portrait photography has been tested by the authors in the systems of higher education, secondary vocational education, and continuing professional education in various fields and areas: design, computer graphics, art photography / photo art, the history, theory, techniques, and technology of photography, including advertising and portrait photography. The following institutions have become the main testing platforms: GOU VO MO Moscow State Regional University, the Arts and Design School under ANO VO Business and Design Institute, the School of ANOO VO Russian University of Cooperation under the Central Union of Consumer Societies of the Russian Federation (Centrosoyuz of Russia). The article suggests a classification of the aspects essential for advertising and portrait photography, provides recommendations for how to teach these types of photography, along with featuring the statistics on successful/failed students’ assignments and providing examples of copyrighted photographs taken for magazines.
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Benjamin, Bruce. "Eighteenth Daniel C. Baker, Jr, Memorial Lecture Art and Science of Laryngeal Photography." Annals of Otology, Rhinology & Laryngology 102, no. 4 (April 1993): 271–82. http://dx.doi.org/10.1177/000348949310200405.

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Photography of the pharynx, larynx, and trachea has exercised the ingenuity of laryngologists and photographers for 100 years. There have been many successful methods. The most reliable and versatile modern system uses a 35-mm single frame, single lens reflex camera with Hopkins telescopes and a synchronized, automatic exposure, computer-controlled, remote electronic flash generator. The technique described, which has been used by the author for many years, not only allows excellent visualization and reliable documentation, but yields consistently reproducible photographs under all conditions.
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Zawojski, Piotr. "Fotografia i film w praktyce artystycznej oraz propozycjach teoretycznych Davida Hockneya." Artium Quaestiones 31, no. 1 (December 20, 2020): 101–22. http://dx.doi.org/10.14746/aq.2020.31.4.

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In his diverse works, David Hockney has used, and still uses, various media, which in some periods of his activity gained leading significance, while in the following they were abandoned or temporarily abandoned. But no matter what medium in the given period was the main form of creativity, the focus of his interest has always been the issue of image and imaging. The article is devoted to the practice and theoretical recognition of photography, which was a kind of introduction to experiments with a moving image. The author refers to the artist's numerous publications on the theory and history of image and imaging (including Secret Knowledge, History of Images, On Photography). Photography led to Hockney's audiovisual realizations. This is a kind of repetition of the natural evolution and developmental progression of the media, also, and perhaps above all, in the technological dimension. The article is divided into three parts. In the first part, the author presents Hockney as a practitioner and theoretician, in whose activities both these activities are closely intertwined. This is a sign of the times: practice and theory are equally important, awareness of the medium, or artistic and aesthetic self-awareness of artists, is an expression of the spirit of the era in which an intuitive approach to art today seems inefficient, not to say impossible. Hockney appears to be an exemplary artist, who is extremely conceptual in his artistic practice as a consequence of his research on the history of art and a constantly developed set of his own theoretical findings. He is an artist discursively commenting not only on his work as an artist in many media (painting, drawing, graphics, set design, photography, film, computer graphics), but also an art and media theoretician reflecting on the fate of images in a changing media landscape. The second part of the article is devoted to the reconstruction of Hockney's theoretical reflections on photography and the analysis of his photographic projects. First of all, experimental Polaroid compositions created in the early eighties, named by the artist joiners, as well as photographic collages and photographic images realized in the later periods of the British artist's work. The third part considers digital movies, as Hockney calls them, audiovisual realizations referring to both his previous photographic works and experimental video films in which multi-camera systems are used.
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Dissertations / Theses on the topic "Photography, Computer Art"

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Rowell, Spencer. "An exploration of pathography within phototherapy : an analysis of the photographic self-portrait." Thesis, London Metropolitan University, 2017. http://repository.londonmet.ac.uk/1264/.

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This thesis presents and develops an advanced method of self-exploration for artists. The method, which incorporates the process of self-representation, enables a more authentic identification of the psyche of the artist to be created. The objective of the research is to develop a restorative and valid therapeutic process that artists can apply to achieve further authenticity in terms of the work that they conduct. The process that is developed as a product of this research is an advancement of ‘pathography’, a term used by Sigmund Freud in 1910 in the final chapter of Leonardo da Vinci and a Memory of His Childhood, to describe the psychoanalytic study of an artist through the works produced by the artist. The specific method employed in the research involved myself as artist creating a photographic self-portrait, sharing this image with two psychoanalytic psychotherapists, who each then responded with their written analysis of the image. This led to the creation of a series of twenty-four images, informed by the written interpretations provided by the analysts, at approximate intervals of once a month over two years. This method allows the interaction of artist, artworks and analysts to develop dynamically. This collaborative process where the written word is generated from the viewing of visual information, allows patterns or themes relevant to the research to be identified. The research findings contribute to the existing body of knowledge by revisiting of ‘pathography’ and developing a new method within phototherapy, and, in doing so, provide a material progression in the context of the artist as a photographer. Recommendations are also made in respect of the implementation of this new method. Guidance is provided for researchers who wish to further investigate this area, particularly in terms of the research processes that can be adopted. I conclude that making photographic self-portraits in this way can be a restorative and valid therapeutic process.
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Walton, Elizabeth. "TRUTHS, REALITIES AND THE EASILY TRANSMITTED IMAGE." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3922.

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By the documenting and examining things that are often overlooked in everyday life, I try to find the beauty of these objects, of people, their lives and their homes. I am interested in the current technology and the influence of the easily transmitted image. What is the truth and reality of the images shared by the current youth culture because of the use of camera phones, digital image takers, and the constant image transmissions through online social networking venues such as My Space and FaceBook? The current digital image is no longer a precious object as it was in the past. The easy accessibility of technology and the growing popularity of an affordable camera have made these images a common object, easily replaced. It is my interest or concern with this technology that led me to my final body of work, images of this youth culture.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Meintjes, Anthony Arthur. ""From digital to darkroom"." Thesis, Rhodes University, 2001. http://hdl.handle.net/10962/d1007418.

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McQuade, Patrick John Art College of Fine Arts UNSW. "Visualising the invisible :articulating the inherent features of the digital image." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43307.

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Contemporary digital imaging practice has largely adopted the visual characteristics of its closest mediatic relative, the analogue photograph, In this regard, new media theorist Lev Manovich observes that "Computer software does not produce such images by default. The paradox of digital visual culture is that although all imaging is becoming computer-based, the dominance of photographic and cinematic imagery is becoming even stronger. But rather than being a direct, "natural" result of photo and film technology, these images are constructed on computers" (Manovich 2001: 179), Manovich articulates the disjuncture between the technical processes involved in the digital image creation process and the visual characteristics of the final digital image with its replication of the visual qualities of the analogue photograph. This research addresses this notion further by exploring the following. What are the defining technical features of these computer-based imaging processes? Could these technical features be used as a basis in developing an alternative aesthetic for the digital image? Why is there a reticence to visually acknowledge these technical features in contemporary digital imaging practice? Are there historic mediated precedents where the inherent technical features of the medium are visually acknowledged in the production of imagery? If these defining technical features of the digital imaging process were visually acknowledged in this image creation process, what would be the outcome? The studio practice component of the research served as a foundation for the author's artistic and aesthetic development where the intent was to investigate and highlight four technical qualities of the digital image identified through the case studies of three digital artists, and other secondary sources, These technical qualities include: the composite RGB colour system of the digital image as it appears on screen; the pixellated microstructure of the digital image; the luminosity of the digital image as it appears on a computer monitor, and the underlying numeric and (ASCII based) alphanumeric codes of the image file which enables that most defining feature of the image file, that of programmability, Based on research in the visualization of these numeric and alphanumeric codes, digital images of bacteria produced through the use of the scanning electron microscope, were chosen as image content for an experimental body of work to draw the conceptual link between these numeric and alphanumeric codes of the image file and the coded genetic sequence of an individual bacterial entity.
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Magneson, Mary Bergshneider. "Objects and Images." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/808.

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I create to emphasize the aesthetic or beauty of an object. When I begin a work, I feel the influence of the many photos I am constantly looking at and analyzing. I look at how light affects color, how light defines form, and how patterns are created by repeated shapes. I try to reproduce the things I see, but with dramatic impact by enlarging shapes and emphasizing colors. While my paintings are about pure aesthetics, my books are social commentary.
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Iancu, Laura. "Afterthoughts." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2527.

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The Afterthoughts project is composed of five photographic collages. The assemblages presented are documentations and transformations of various kinds of visual elements into compositions connected by a common aesthetic. They are shown on computer screens and animated, gently going through an array of micro-movements; a cinematic articulation of once still images. This exhibition format was chosen because it underlines the partnership between the machine, which I need, and me, as a well-trained human, that it requires. It also allows for a discourse around technology, particularly image editing software and recording devices, as technê, and as the rapport of a person in possession of such tools with the world. The images depict animal-like imaginations. Whether they are ghosts of the past or specters of the future is unclear but they are, unmistakingly, on display for an audience. Ultimately they belong to a personal mythology and are pixel proof of my search for the hidden beings cohabiting my thoughts, for the animals and the specific ontological terrain they inhabit; fading, disappearing, removed from everyday experiences, yet haunting, restless and lurking as fantasies. This work is fueled by a certain urgent need of preserving but also reconstructing nature, of embalming it representationally in the dead-alive museal looking exhibits trapped in the small confines of little dioramas. My hope is that underneath the surfaces, the flamboyancy, the modern baroque and surrealist techniques one can find deep non/organic life and allow for fascination to pulsate through.
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Premeaux, Benjamin. "Forgotten Memories." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/84.

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Memories are experiences that are removed from our present time and space. The images I create are also removed; they are of a specific time and place, an instant or series of instances captured. The work I have produced in this program is an amalgamation of two artistic media, photography and paint. I choose to layer images to emphasize the complexity of experiences and to illustrate a sense of time. The combination of a mechanical and a handmade object emphasizes the intricacy of our experiences. What is revealed is a combination of color and image that creates multiple compositions within the whole. Layering paint with photography and sculpture allows me to continue to experiment and explore the variety of media that I find most interesting. I draw inspiration from many artists including Jackson Pollack, Willem DeKooning, Richard Diebenkorn, the Starn Twins, David Hockney and Frida Kahlo.These influences and my own interpretations are what makes my work my own.
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Azaiez, Ilhem. "Picturalité et logique numérique : entre mental et matériel." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H322.

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L’intégration des technologies numériques au sein de ma pratique artistique précédemment inscrite dans une tradition picturale de type peinture à l’acrylique sur toile a pour vocation d’élargir le champ de cette pratique picturale et ce, par le recours aux procédés de la photographie et de la retouche informatique d’image. Opter pour un travail pictural avec des outils numériques permet de progresser vers une image hybride entre photo et peinture. L’œuvre peut alors juxtaposer des genres et des techniques identifiables : photographie et peinture numérique. C’est ainsi à travers ces différents médiums que j’interroge la forme peinture entre matérialité de la tradition et du métier et l’aspect plus conceptuel de l’image numérique. La peinture et la photographie ont aujourd’hui recours à de nouvelles possibilités grâce au numérique. Ces nouvelles technologies engendrent d’autres gestes ainsi que de nouvelles modalités au niveau de la création plastique. Une nouvelle image apparaît, au croisement de plusieurs niveaux : matériel et mental, visible et invisible. Ainsi le choix de l’ordinateur pour renouveler la pratique picturale et repenser la création, s’est incontestablement révélé plus riche de possibilités que prévu
The integration of digital technologies within my artistic practice previously included in a pictorial tradition of acrylic painting on canvas aims to expand the scope of this picturial practice by using methods of photography on computer-based image editing. Opting for a pictorial work with digital tools makes progress towards an hybrid image between photo and painting. Such work can then juxtapose genres and identifiable techniques : photography and digital painting. Thus through these fifferent mediums, I am questionning painting between the materiality of the tradition and the art from one hand and the more conceptual aspect of the digital image from the other hand. Painting and photography are now benefiting from new advantages gained from digital technologies. Thse new technologies create new actions as well as new arrangements for the plastic creation. A new image is appearing at the intersection of several orientations : mental and material, visible and invisible. Therefore the choice of computers to renew the pictorial practice and rethink creation has undoubtedly revealed richer opportunities than expected
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McGeehan, Shane. "Altered States." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430818059.

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Miyoshi, Akihiko. "Art and authenticity /." Link to online version, 2005. https://ritdml.rit.edu/dspace/handle/1850/1106.

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Books on the topic "Photography, Computer Art"

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Bamberg, Matthew. Digital Art Photography For Dummies. New York: John Wiley & Sons, Ltd., 2005.

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Digital art photography for dummies. Hoboken, N.J: Wiley, 2006.

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Aaland, Mikkel. Photoshop elements 4 solutions: The art of digital photography. Indianapolis, IN: Wiley, 2006.

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Theoriegeschichte der Photographie. München: W. Fink, 2006.

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Digital photo art: New directions. New York: Pixiq, 2012.

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Giordan, Daniel. The art of Photoshop. Indianapolis, Ind: Sams, 2003.

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Rönnblom, Anders F. Metalheart: The frontline of digital art. London: Laurence King, 2001.

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Michael, Tanzillo, ed. Lighting for animation: The art of visual storytelling. Burlington, MA: Focal Press is an imprint of the Taylor & Francis Group, an Informa business, 2016.

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The art of iphoneography: A guide to mobile creativity. Asheville: Pixiq, 2012.

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Štrba, Annelies. Aya. Zurich: Scalo, 2002.

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Book chapters on the topic "Photography, Computer Art"

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Maschner, Herbert D. G., Víctor Manuel López-Menchero Bendicho, Miguel Ángel Hervás Herrera, Jeffrey Du Vernay, Aurelia Lureau, and James Bart McLeod. "At the Intersection of Art, Architecture and Archaeology: 3D Virtualization and Contemporary Heritage." In Proceedings e report, 34–40. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.08.

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We are at a global transition where disciplines from art to computer engineering intersect in the realm of global digital heritage. This has been facilitated by the development of desktop high-speed computing, inexpensive photogrammetry software, and digital photography. These technologies, and the tools to make them useful both in the lab and on the web, require the appropriate integration of technical skill, artistic license, archaeological background knowledge, and architectural realities.
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"COMPUTER MANIPULATION." In Photography Foundations for Art and Design, 89–95. Routledge, 2004. http://dx.doi.org/10.4324/9780080473727-40.

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Blaney, Aileen. "Food Photography, Pixelated Produce, and Cameraless Images." In Advances in Electronic Government, Digital Divide, and Regional Development, 276–88. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1862-4.ch017.

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In today's screen saturated culture, perceptions of food are overwhelmingly formed by images circulated via the internet and mobile. The Facebook game FarmVille is the subject of Kheti Badi (Shah, 2015), a photographic artwork reflexively engaging with the contemporary scenario of ‘post-photography'. The work comprises not of photographs taken with a traditional camera but of screenshots of a farm and its holdings as displayed in Farmville; the highly compressed jpegs cropped and resized to the point of destabilizing visual coherence are depictions not of pastoral landscapes but of computer vision and the programmable character of photography. While photography remains an instrument for recording material realities, its power extends toward feeding back into the very processes through which science and technology modify food production. This chapter explores how Kheti Badi, through a series of hyper artificial and un-photographic images, shows the constructed nature of both what we put our hands on in the supermarket and see in advertising's dreamscapes.
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Goldstein, Donald H., and Patrick Getty. "The illustration of dinosaur tracks through time." In The Evolution of Paleontological Art. Geological Society of America, 2021. http://dx.doi.org/10.1130/2021.1218(16).

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ABSTRACT Dinosaur tracks have been illustrated since they were first found. The earliest illustrations depicted dinosaur tracks as the work of mythical beings. With the advent of scientific inquiry into dinosaur tracks in the nineteenth century, natural explanations were sought for the fossil tracks. Illustrations of the period were relatively realistic but were influenced by then-current beliefs and were constrained by the artists’ skills and by what scientists considered salient. In the mid-nineteenth century, the first photographs were used for the scientific study of fossil tracks. Photography eliminated some limitations of artistic talent and showed complete specimens, not just aspects that were deemed salient. The ability to compare and name similar tracks from disparate authors and places became easier. Advances in photography, laser scanning, optical scanning and lidar, and the ability to manipulate images with computers, have enabled the modern synthesis of illustrating dinosaur tracks, which combines many types of images. With each advance and the adoption of newer technologies, the older methods have not been retired. Rather, we have continued to see new uses for old methods and an integration of illustrative styles.
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Thomson-Jones, Katherine. "Digital Realism." In Image in the Making, 100–122. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197567616.003.0006.

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In this chapter, I acknowledge that a study of the digital image would not be complete without a discussion of realism. The widespread concern about whether to trust digital images is tied up, for many art and media theorists, with particular accounts of realism (e.g., Rodowick 2007). The notion of realism is a complex one, and this chapter provides some important theoretical background on one central kind; namely, the kind had by traditional photographs. This prepares the way for a discussion of digital “photorealism” as it is derived from traditional “photographic realism.” Through an analysis of “live-action animated” films, I develop an account of photorealism and its effect on the viewer’s experience of the composite—i.e., part recorded, part computer-generated—shot.
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García-Mato, David, Javier Pascau, and Santiago Ochandiano. "New Technologies to Improve Surgical Outcome during Open-Cranial Vault Remodeling." In Spina Bifida - New Perspectives and Clinical Applications [Working Title]. IntechOpen, 2020. http://dx.doi.org/10.5772/intechopen.94536.

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Current approaches for the surgical correction of craniosynostosis are highly dependent on surgeon experience. Therefore, outcomes are often inadequate, causing suboptimal esthetic results. Novel methods for cranial shape analysis based on statistical shape models enable accurate and objective diagnosis from preoperative 3D photographs or computed tomography scans. Moreover, advanced algorithms are now available to calculate a reference cranial shape for each patient from a multi-atlas of healthy cases, and to determine the most optimal approach to restore normal calvarial shape. During surgery, multiple technologies are available to ensure accurate translation of the preoperative virtual plan into the operating room. Patient-specific cutting guides and templates can be designed and manufactured to assist during osteotomy and remodeling. Then, intraoperative navigation and augmented reality visualization can provide real-time guidance during the placement and fixation of the remodeled bone. Finally, 3D photography enables intraoperative surgical outcome evaluation and postoperative patient follow-up. This chapter summarizes recent literature on all these technologies, showing how their integration into the surgical workflow could increase reproducibility and reduce inter-surgeon variability in open cranial vault remodeling procedures.
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Wahbeh, Wissam. "From Spherical Photogrammetry to 3D Modeling." In Advances in Media, Entertainment, and the Arts, 96–115. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0029-2.ch005.

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The introduced research is about 3D modeling technique that can be considered as an assembly point of photography, topography, photogrammetry, and computer graphics. The chapter present survey methods based on spherical panoramas produced by image stitching techniques, which are proved efficient in order to obtain a high metric quality. It is an interactive survey system to generating 3D models of architectural structures and urban scenes. Photogrammetric fundamentals are applied using two different approaches to obtain the 3D model: the first one is by using texture-mapping techniques in the way of creating the virtual models; while the second is by using parametric visual programing process.
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Bernes, Jasper. "The Feminization of Speedup." In The Work of Art in the Age of Deindustrialization. Stanford University Press, 2017. http://dx.doi.org/10.11126/stanford/9780804796415.003.0005.

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Engaging debates around the status of unpaid reproductive labor, this chapter investigates Bernadette Mayer’s multifarious project Memory, which is simultaneously a performance, a conceptual work, an installation, and an epic poem. In attempting to document, down to the smallest detail, every aspect of her life for thirty days—using photographs, audio recordings, and written notation—Mayer effectively demonstrates the subsumption of the entirety of life by the protocols and routines of work as well as the transformation of the relationship between unpaid reproductive work and feminized wage labor. Mayer’s “total” artwork, which merges different technologies into a single apparatus, prefigures the reorganization of office work around the personal computer, a technology that has probably done more than anything else to ensure that work and home life are unified by enabling white-collar workers to accomplish tasks from home and, in that sense, never leave work.
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Rouse, William B. "Failures of Complex Organizations." In Failure Management, 67–102. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198870999.003.0004.

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This chapter addresses failures in the photography market (Kodak and Polaroid), computer market (Digital and Xerox), and communications market (Motorola and Nokia). Multi-level analyses are used to provide comparisons across case studies. It briefly reviews how these types of companies anticipate and manage failures. The notion of “creative destruction” is elaborated. These insights are used to foreshadow later discussions of failure management.
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Copeland, Jack. "Introduction." In Colossus. Oxford University Press, 2006. http://dx.doi.org/10.1093/oso/9780192840554.003.0006.

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The story of the Enigma cipher machine and its defeat by the Bletchley Park codebreakers astounded the world. This book describes Bletchley’s success against a later and more advanced German cipher machine that the British codenamed Tunny (see photograph 28). How Bletchley Park broke Tunny has been a closely guarded secret since the end of the war. Unlike Enigma, which dated from 1923 and was marketed openly throughout Europe, the ultra-secret Tunny was created by scientists of Hitler’s Third Reich for use by the German Wehrmacht. Tunny was technologically more sophisticated than Enigma and—theoretically—more secure. From 1942 Hitler and the German High Command in Berlin relied increasingly on Tunny to protect their communications with Army Group commanders across Europe. The Tunny network carried the highest grade of intelligence. Tunny messages sent by radio were first intercepted by the British in June 1941. After a year-long struggle with the new cipher, Bletchley Park had its first successes against Tunny in 1942. Broken Tunny messages contained intelligence that changed the course of the war, saving an incalculable number of lives. Central to the Bletchley attack on Tunny was Colossus, the world’s first large-scale electronic digital computer. The first Colossus was built during 1943 by Thomas H. Flowers and his team of engineers and wiremen, a tight-knit group who worked in utmost secrecy and at terrific speed. The construction of the machine took them ten months, working day and night, pushing themselves until (as Flowers said) their ‘eyes dropped out’. The racks of complex electronic equipment were transferred from Flowers’ laboratory at Dollis Hill in London to Bletchley Park, where Colossus was reassembled. Despite the fact that no such machine had previously been attempted, the computer was in working order almost straight away and ready to begin its fast-paced attack on the German messages. The name ‘Colossus’ was certainly apt. Colossus was the size of a room and weighed approximately a ton. By the end of the war in Europe there were ten Colossi. The computers were housed in two vast steel-framed buildings—a factory dedicated to breaking Tunny. There are photographs of some of the Colossi in the centre of the book.
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Conference papers on the topic "Photography, Computer Art"

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Song, Xia. "The Application of Computer Post-Processing Technique in the Abstract Photography Art Expression." In 2015 International Conference on Education Technology, Management and Humanities Science (ETMHS 2015). Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/etmhs-15.2015.296.

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Jiang, Bin, Jiachen Yang, and Houbing Song. "Protecting Privacy From Aerial photography: State of the Art, Opportunities, and Challenges." In IEEE INFOCOM 2020 - IEEE Conference on Computer Communications Workshops (INFOCOM WKSHPS). IEEE, 2020. http://dx.doi.org/10.1109/infocomwkshps50562.2020.9162649.

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McCann, John. "Paintings, photographs, and computer graphics are calculated appearances." In IS&T/SPIE Electronic Imaging. SPIE, 2012. http://dx.doi.org/10.1117/12.914967.

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Wang, Xiangwen, Peng Peng, Chun Wang, and Gang Wang. "You Are Your Photographs." In ASIA CCS '18: ACM Asia Conference on Computer and Communications Security. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3196494.3196529.

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Murray, Naila. "PFAGAN: An Aesthetics-Conditional GAN for Generating Photographic Fine Art." In 2019 IEEE/CVF International Conference on Computer Vision Workshop (ICCVW). IEEE, 2019. http://dx.doi.org/10.1109/iccvw.2019.00415.

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Kaufman, John, Allan E. W. Rennie, and Morag Clement. "Reverse Engineering Using Close Range Photogrammetry for Additive Manufactured Reproduction of Egyptian Artefacts and Other Objets d’art." In ASME 2014 12th Biennial Conference on Engineering Systems Design and Analysis. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/esda2014-20304.

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Photogrammetry has been in use for over one hundred and fifty years. This research considers how digital image capture using a medium range Nikon Digital SLR camera, can be transformed into 3D virtual spatial images, and together with additive manufacturing (AM) technology, geometric representations of the original artefact can be fabricated. The research has focused on the use of photogrammetry as opposed to laser scanning (LS), investigating the shift from LS use to a Digital Single Lens Reflex (DSLR) camera exclusively. The basic photogrammetry equipment required is discussed, with the main objective being simplicity of execution for eventual realisation of physical products. As the processing power of computers has increased and become widely available, at affordable prices, software programs have improved, so it is now possible to digitally combine multi-view photographs, taken from 360°, into 3D virtual representational images. This has now led to the possibility of 3D images being created without LS intervention. Two methods of digital data capture are employed and discussed, in acquiring up to 130 digital data images, taken from different angles using the DSLR camera together with the specific operating conditions in which to photograph the objects. Three case studies are documented, the first, a modern clay sculpture, whilst the other two are 3000 year old Egyptian clay artefacts and the objects were recreated using AM technology. It has been shown that with the use of a standard DSLR camera and computer software, 2D images can be converted into 3D virtual video replicas as well as solid, geometric representation of the originals.
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Shomin, Michael, and Jonathan Fiene. "Teaching Manipulator Kinematics by Painting With Light." In ASME 2011 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/detc2011-47670.

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In this paper, we examine the creation and benefits of a new teaching platform to introduce and reinforce the key concepts of robotic manipulators in an introductory-level robotics course. This system combines a vintage PUMA 260 six-degree-of-freedom robotic arm with modern control circuitry and a Matlab API. The API operates as a servo controller for the robot, thereby allowing students to apply their knowledge of inverse kinematics to a real manipulator arm. To further motivate the exploration of manipulators, we have developed an open-ended project where students engage in the art of three-dimensional light painting. To facilitate this activity, a tricolor LED has been affixed to the end-effector of the robot. With a digital SLR camera, we take a long-exposure photograph as the robot is driven through a trajectory, effectively painting a picture with the end effector. We have also developed a method to quickly assemble pseudo-long-exposure photographs and videos using an inexpensive video camera. We believe this novel setup and project are an effective way to engage and motivate students to learn the underlying math and dynamics of robotic manipulators.
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MacDonald, Eric, Edward Burden, Jason Walker, Jonathan Kelly, Brett Conner, Clark Patterson, Austin Schmidt, and Andrew Bader. "Spatial Frequency Analysis for Improved Quality in Big Area Additive Manufacturing (BAAM)." In ASME 2017 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/imece2017-70630.

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Process control in 3D printing (also known formally as Additive Manufacturing - AM) has largely been absent even in production systems. Simultaneously, computer vision has become more accessible with open source libraries (e.g. OpenCV, used successfully for traversing the state of California in an autonomous vehicle to win a DARPA Grand Challenge). 3D printing is particularly well suited to be enhanced by computer vision as fabrication is layer wise and predictable assuming correct operation. Big Area Additive Manufacturing (BAAM) — operating at significantly larger scales than traditional 3D printing — stands to benefit given the higher throughput of material (hundreds of pounds per hour) and the associated high costs of errant fabrication. Furthermore, minimum feature sizes in BAAM, such as individual layers, are sufficiently large to be analyzed with standard photography. With computer vision, sophisticated algorithms can be applied to identify problems early in the process that are not normally manifest until after process completion. Subtle and latent defects can be remediated before the onset of permanent damage or at a minimum the process can be aborted to avoid significant material loss. Fourier analysis can provide a useful perspective of the spatial periodicity of the layers of exposed surfaces during fabrication and this spectral information can inform the process of surface roughness, delamination, and deposition consistency in a data efficient manner. The large layer thickness of BAAM allow for Fourier analysis to be performed with standard photography. This paper explores the implementation and advantages of a low cost computer vision system that leverages OpenCV libraries operating on a Raspberry Pi Linux computer with simple yet high resolution photography — driven by the hypothesis that quality and yield of open source BAAM hardware can be dramatically enhanced.
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Khayan, Atiporn, and Paween Khoenkaw. "Automatic Pencil Sketch Landscape Image Generation From Photograph." In 2021 Joint International Conference on Digital Arts, Media and Technology with ECTI Northern Section Conference on Electrical, Electronics, Computer and Telecommunication Engineering. IEEE, 2021. http://dx.doi.org/10.1109/ectidamtncon51128.2021.9425746.

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Arthan, Sudarat, Kaewarin Jandum, and Kreangsak Tamee. "Exploring Tourist Behavior from Social Media Using Geotagged Photographs." In 2021 Joint International Conference on Digital Arts, Media and Technology with ECTI Northern Section Conference on Electrical, Electronics, Computer and Telecommunication Engineering. IEEE, 2021. http://dx.doi.org/10.1109/ectidamtncon51128.2021.9425761.

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