To see the other types of publications on this topic, follow the link: Photography, Computer Art.
Journal articles on the topic 'Photography, Computer Art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Photography, Computer Art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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
2
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.
Full textAbstract:
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
3
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.
Full textAbstract:
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
4
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.
Full textAbstract:
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
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Temkin, Daniel. "Light Pattern: Writing Code with Photographs." Leonardo 48, no. 4 (August 2015): 375–81. http://dx.doi.org/10.1162/leon_a_01091.
Full textAbstract:
This paper explores the author’s Light Pattern project, a programming language where code is written with photographs rather than text. Light Pattern explores programming languages as the most direct conduit between human thinking and machine logic. It emphasizes the nuance, tone and personal style inherent in all code. It also creates an algorithmic photography structured by the programs one writes, but not ultimately computer-generated. The paper looks at connections to both hobbyist/hacker culture (specifically esolangs) and to art-historical impulses and movements such as Fluxus and Oulipo.
12
Bochen, Zhang. "Research on the integration of photographic images and photography art based on 3D virtual reality technology." Concurrency and Computation: Practice and Experience 31, no. 10 (October 8, 2018): e4749. http://dx.doi.org/10.1002/cpe.4749.
Full text
13
Cabezos-Bernal, Pedro M., Pablo Rodriguez-Navarro, and Teresa Gil-Piqueras. "Documenting Paintings with Gigapixel Photography." Journal of Imaging 7, no. 8 (August 21, 2021): 156. http://dx.doi.org/10.3390/jimaging7080156.
Full textAbstract:
Digital photographic capture of pictorial artworks with gigapixel resolution (around 1000 megapixels or greater) is a novel technique that is beginning to be used by some important international museums as a means of documentation, analysis, and dissemination of their masterpieces. This line of research is extremely interesting, not only for art curators and scholars but also for the general public. The results can be disseminated through online virtual museum displays, offering a detailed interactive visualization. These virtual visualizations allow the viewer to delve into the artwork in such a way that it is possible to zoom in and observe those details, which would be negligible to the naked eye in a real visit. Therefore, this kind of virtual visualization using gigapixel images has become an essential tool to enhance cultural heritage and to make it accessible to everyone. Since today’s professional digital cameras provide images of around 40 megapixels, obtaining gigapixel images requires some special capture and editing techniques. This article describes a series of photographic methodologies and equipment, developed by the team of researchers, that have been put into practice to achieve a very high level of detail and chromatic fidelity, in the documentation and dissemination of pictorial artworks. The result of this research work consisted in the gigapixel documentation of several masterpieces of the Museo de Bellas Artes of Valencia, one of the main art galleries in Spain. The results will be disseminated through the Internet, as will be shown with some examples.
14
Jäger, Gottfried. "Concrete Photography: (In-Between) Light Image and Data Image." Leonardo 51, no. 2 (April 2018): 146–54. http://dx.doi.org/10.1162/leon_a_01350.
Full textAbstract:
The author discusses his works of concrete photography contributed to the Peter C. Ruppert Collection, Concrete Art in Europe after 1945, in the Museum im Kulturspeicher Würzburg. He discusses Concrete Photography as a form of nonrepresentational photography in which the medium itself moves away from its classical role of representing the external world to take on a strict self-referential role, in between both traditional light-images and images of the digital world.
15
Berce, Françoise. "Les Collections Iconographiques de la Direction du Patrimoine." Art Libraries Journal 15, no. 1 (1990): 22–25. http://dx.doi.org/10.1017/s0307472200006611.
Full textAbstract:
La Direction du Patrimoine is the successor of the Commission des Monuments historiques, which from its inception in 1837 was responsible for identifying, compiling an inventory of, and restoring, historic buildings. During the 19th century, this meant, in effect, medieval ecclesiastical structures and sites. From the beginning the Commission was careful to safeguard its papers, including drawings and plans of specific buildings; a number of volumes illustrating the nation’s architectural heritage were published in the second half of the 19th century; drawings, and photographs, were commissioned, and a library was assembled. From the 1860s the Commission employed photographers on its staff and efforts were made to record those buildings for which the state was responsible. The documentary resources which accumulated became known as the Bibliothèque des Monuments historiques. Recent decades have witnessed the devolution of the management of historical monuments, while the documentary collections are being cared for, exploited, and developed in a wider context, embracing secular, industrial, vernacular, and modern architecture, as well as art, photography itself, and artefacts from everyday life, to provide the broadest possible documentation of the French cultural heritage. A computer system is used, and many photographic images are being transferred to videodisc.
16
Zhao, Lei. "Edge Fusion Algorithm of Art Photography Image Based on Affine Transformation." International Journal of Arts and Technology 12, no. 4 (2020): 1. http://dx.doi.org/10.1504/ijart.2020.10034878.
Full text
17
Zhao, Lei. "Edge fusion algorithm of art photography image based on affine transformation." International Journal of Arts and Technology 12, no. 4 (2020): 301. http://dx.doi.org/10.1504/ijart.2020.112646.
Full text
18
Pinkel, Sheila. "Early Phenomenological Light Works." Leonardo 53, no. 2 (April 2020): 213–19. http://dx.doi.org/10.1162/leon_a_01575.
Full textAbstract:
Making visible the invisible in nature and culture has been the focus of the author's work since 1973. In the early 1970s, experimental approaches were being explored in art and photography. At that time, the author investigated imaging possibilities using a range of approaches, from making photographic images without a camera or enlarger to using light-sensitive emulsions, Xerox machines, and computer and X-ray technology available in the 1970s in order to explore the potential for light to make visible form in nature. Unexpectedly, this exploration also resulted in social content that was the outcome of the author's work, the exhibition Multicultural Focus. This period was the beginning of the artist's ongoing investigation into the transformative potential of light.
19
Tyurina, Anastasia. "Scanning Electron Microscope: Transmigration of Scientific Photography into the Domain of Art." Leonardo 51, no. 5 (October 2018): 507–8. http://dx.doi.org/10.1162/leon_a_01406.
Full textAbstract:
The author’s visual art project is concentrated in the specific area of scientific photography of the Scanning Electron Microscope (SEM), which has expanded the boundaries of observation and representation of the micro world since it was introduced to scientific research in the mid-1960s. Like a number of other artists who have preceded the author, she investigates how to interpret scientific images captured by the SEM as aesthetic forms. In particular, the author considers microscale drops of water from different aquatic systems after evaporation. She does so in an attempt to discover morphological features of the patterns related to water contamination and thus continue in the lineage of artists’ attempts to turn scientific photography into a creative art form.
20
Manczak, Aleksandra. "Photography and Textile Art: Tapestry in the Form of a Triptych." Leonardo 20, no. 1 (1987): 27. http://dx.doi.org/10.2307/1578207.
Full text
21
Fernandes, Carlos M. "Pherographia: Drawing by Ants." Leonardo 43, no. 2 (April 2010): 107–12. http://dx.doi.org/10.1162/leon.2010.43.2.107.
Full textAbstract:
This paper addresses the hypothetical relationship of photography and so-called pheromone maps created by an artificial life system that simulates an ant colony and causes its activity to evolve based on the contours of images. Pheromone—used by ants to communicate via the environment—is also simulated, and from the communication and interaction of the swarm with the environment (an image) there results a kind of drawing made with the simulated pheromone. Since ants are able to detect the edges of the image, the outcome is a sketch that resembles the original image, as with old camera obscura drawings. This text explores the observable traits shared by the photographic process and the swarm's pheromone maps. The theme is discussed in the context of the emergent artificial art research field; recent theoretical advances that link swarm intelligence and cognitive sciences are also addressed.
22
da Silva, Renato Rodrigues. "The Fotoformas of Geraldo de Barros: Photographic Experimentalism and the Abstract Art Debate in Brazil." Leonardo 44, no. 2 (April 2011): 152–60. http://dx.doi.org/10.1162/leon_a_00120.
Full textAbstract:
Geraldo de Barros produced a series called Fotoformas, consisting of photographic experiments that pioneered abstractionism in Brazil. Since the mid-1990s, this series has been presented in various retrospective exhibitions and publications. The predominant critical interpretation of the work has linked it with Concrete Art, downplaying Barros's participation in the Bandeirante Photography and Cinema Club (FCCB), an amateur association. This article rethinks his engagement in both circuits, demonstrating that the artist created the Fotoformas in dialogue with this photo-club. The author also analyzes Barros's experimental approach, which was based on the inscription of indexical marks on the images to deny the constraints of the camera, with the emphasis instead on process and interdisciplinary artistic practice. Thus, he created an alternative to Brazilian abstractionism, which focused mostly on formal aspects.
23
Bray, Anne. "The Community Is Watching, and Replying: Art in Public Places and Spaces." Leonardo 35, no. 1 (February 2002): 15–21. http://dx.doi.org/10.1162/002409402753689263.
Full textAbstract:
The author describes her public-art projects and installa-tions, in which she has em-ployed various combinations of video, photography, audio, sculpture and performance, often in collaboration with artist Molly Cleator. The pieces spectacularize unresolved conflicts between the artists regarding what is personally truthful as compared to what society dictates, especially concerning the “three deviants”: women, art and nature. The artists question who defines these related realities and how. The author has also offered hundreds of artists a forum called L.A. Freewaves, a media arts organization and festival working in traditional and nontraditional venues throughout Los Angeles, in an effort to disseminate community-empowering public art widely.
24
Amathes, Pyrrhon, and Paul Christodoulides. "Interpreting Locked Photographic Data: The Case of Apollo 17 Photo GPN-2000-00113." Designs 5, no. 1 (February 8, 2021): 8. http://dx.doi.org/10.3390/designs5010008.
Full textAbstract:
Photography can be used for pleasure and art but can also be used in many disciplines of science, because it captures the details of the moment and can serve as a proving tool due to the information it preserves. During the period of the Apollo program (1969 to 1972), the National Aeronautics and Space Administration (NASA) successfully landed humans on the Moon and showed hundreds of photos to the world presenting the travel and landings. This paper uses computer simulations and geometry to examine the authenticity of one such photo, namely Apollo 17 photo GPN-2000-00113. In addition, a novel approach is employed by creating an experimental scene to illustrate details and provide measurements. The crucial factors on which the geometrical analysis relies are locked in the photograph and are: (a) the apparent position of the Earth relative to the illustrated flag and (b) the point to which the shadow of the astronaut taking the photo reaches, in relation to the flagpole. The analysis and experimental data show geometrical and time mismatches, proving that the photo is a composite.
25
Güldenpfennig, Florian, Wolfgang Reitberger, Eva Ganglbauer, and Geraldine Fitzpatrick. "Duography in the Classroom." International Journal of Mobile Human Computer Interaction 6, no. 3 (July 2014): 51–67. http://dx.doi.org/10.4018/ijmhci.2014070104.
Full textAbstract:
The potential of mobile devices to support learning has been explored for some time; however, little attention has been paid to arts education and the active creation of content on mobile devices as a facilitator of learning experiences. Further, new features of mobile phones such as dual cameras open new possibilities for supporting learning in creative contexts. In this paper, the authors investigate ‘duography', a novel kind of ‘two-sided' photography, for mobile phones in an art class. The study involves 17 adolescents, and their art teacher, over the course of 12 weeks. The objective is to convey creative competencies by means of the affordances of new mobile phones. The authors analyse a rich set of student created ‘two-sided photos' to unpack the potential of this novel learning tool for technology-mediated art education. The authors illustrate how duography can mediate creative engagement by providing a frame for reflective discussions and negotiations on different perspectives and multiple meanings of artefacts. The authors conclude with a set of strategies for designing mobile teaching tools for arts education.
26
Latto, Richard, and Bernard Harper. "The Non-Realistic Nature of Photography: Further Reasons Why Turner Was Wrong." Leonardo 40, no. 3 (June 2007): 243–47. http://dx.doi.org/10.1162/leon.2007.40.3.243.
Full textAbstract:
The authors discuss the limitations of photography in producing representations that lead to the accurate perception of shapes. In particular, they consider two situations in which the photographic representation, although an accurate reproduction of the geometry of the two-dimensional image in the eye, does not capture the way human vision changes this geometry to produce a three-dimensionally accurate perception. When looking at a photograph, the viewer's uncertainty of the camera-to-subject distance and the fact that, unnaturally, a photograph presents almost exactly the same view of an object to the two eyes result in substantially distorted perceptions. These most commonly result in a perceived flattening and fattening of the 3D shape of the object being photographed.
27
Catravas, P., K. Bubriski, M. D. Frey, M. E. Hagerman, B. Cohen, J. J. McGee, and S. S. Bowser. "NanoGrande: Electron Microscopy Education and Outreach Through a Collaboration of Scientists and Artists." Microscopy Today 21, no. 2 (March 2013): 42–46. http://dx.doi.org/10.1017/s1551929513000023.
Full textAbstract:
NanoGrande is the culmination of an art-science effort that brought undergraduate students and faculty from science, engineering, and the visual arts together with professional microscopists of the Capital District Microscopy and Microanalysis Society for electron microscopy education and outreach. Students from two independent undergraduate courses, an advanced photography course and a microscopy laboratory course, collaborated on the project. The participants represented a wide range of majors, including chemistry, biology, electrical engineering, computer engineering, mechanical engineering, bioengineering, psychology, neuroscience, sociology/social sciences, history, and the visual arts. Emphasis was placed on both the scientific and the artistic aspects of the imaging process. The creation of electron microscopy images that were at the same time scientifically meaningful and visually compelling depended critically on communication of insights and ideas between paired students. The collaboration generated an art-science exhibition, NanoGrande, that has been presented to over four-thousand K through 12 students.
28
Lozhkin, Leonid D., Andrey A. Voronoi, Alexander A. Soldatov, Alexander A. Kuzmenko, Lyudmila N. Filimonova, Maxim Yu Ponamorev, and Irina V. Andronova. "Determining the color of a multi-colored object with relatively large dimensions." Physics of Wave Processes and Radio Systems 24, no. 1 (May 6, 2021): 98–104. http://dx.doi.org/10.18469/1810-3189.2021.24.1.98-104.
Full textAbstract:
The use of standard instruments (colorimeters) when measuring the color coordinates and chromaticity of multicolored objects and having relatively large dimensions is practically impossible. This is due to the fact that ordinary colorimeters, no matter what method is implemented in them, are designed to determine the color of a specific point of the measured object. This article discusses a method for determining the color of a multicolored and relatively large object, for example, a car, color photography, art painting, etc. Let us call this method computer colorimetry. A practical solution to this method can be used in such areas of the national economy, as, for example, repainting a car after damage to certain parts ofthe body with damage to the paintwork, automatic control and video surveillance of forest and peatland areas to detect fires, intheexamination of the authenticity of documents and works of art, and other areas of the national economy.
29
Piene, Otto. "Art-and-Technology: Recent Efforts in Materials and Media." MRS Bulletin 17, no. 1 (January 1992): 18–23. http://dx.doi.org/10.1557/s0883769400043190.
Full textAbstract:
To avoid misinterpretation, the term “art-and-technology” should be hyphenated because we are looking at an integrated art form which developed, roughly, during the past 70 years (since Naum Gabo's virtual volume, Kinetic Construction, Berlin, 1920). Art-and-technology results from “incorporated” contributions of art, science, and technology or, better, from artists, scientists, and engineers (plus industry, business, government, etc.). Although art-and-technology has frequently been bad-mouthed or even pronouned “dead” by advocates and practitioners of pure art as well as science and technology, it is alive and well and enjoying more vitality, variety, and expansion than ever before. It is currently the only expanding field in the arts; it feeds vitally into technology and industry—most visibly in entertainment but it also provides stimulus beyond fun to areas of science and engineering where “art applications” have abounded since the advent of photography and its vast consequent uses in science.We can claim an eloquent tradition for art-and-technology in ancient historic, cultural manifestations such as the Egyptian pyramids and their “environmental” scale or the Greek theater with its elaborate stage machines. We are aware of elements of that tradition when we observe contemporary art-and-technology such as sky and space art (Figures 1 and 2), computer-generated virtual reality, performance with medical inquiry and medical apparatus, and art concepts inspired by molecular biology (Figure 3). Emphasis of search—whether artistic/expressive, conceptual/philosophical, or inquisitive/scientific—depends on taste and motivation. However, Leonardo is an undisputed idol to both artists and scientists.
30
Zabusky, Norman J. "Fluids in Motion: Inspiration and Realization for Artists and STEMists." Leonardo 48, no. 2 (April 2015): 138–46. http://dx.doi.org/10.1162/leon_a_00831.
Full textAbstract:
The author examines contemporary work in fluids in motion and demonstrates strong connections between visual art and science resulting from innovative technology. In one burgeoning domain—falling liquid drops impacting solid surfaces and liquid pools—it is valuable to compare how artists and scientists describe their goals and their use of high-speed photography to capture and measure events. The author also examines the use of devices to create still images, animations and objects: computers/software for simulation, visualization and 3D printing; installations at focal locations. Finally, he examines the utilization of digital technology by artists, educators, museums and galleries for innovative and interactive displays.
31
Wade, Nicholas. "Eye-Conographs." Art & Perception 2, no. 1-2 (2014): 3–10. http://dx.doi.org/10.1163/22134913-00002023.
Full textAbstract:
Icons are pictorial images that are eye-cons: they provide distillations of objects or ideas into simple pictorial shapes. They create the impression of representing that what cannot be presented. Iconography can refer to representations of people, and it has been applied to visual artists and scientists: their portraits are often reproduced in histories of art and science. Until the nineteenth century, artists were mostly represented in pigment (paintings) and scientists on paper (engravings). After the birth of photography, both have been captured by the camera and more recently manipulated by computer. Eye-conographs are ‘perceptual portraits’ of artists and scientists; they combine facial features with the styles and phenomena with which the artists and scientists are associated.
32
Vasudevan, Krishnan. "Oppositional Designs: Examining How Racial Identity Informs the Critical Design of Art and Space." Communication, Culture and Critique 12, no. 1 (March 1, 2019): 90–109. http://dx.doi.org/10.1093/ccc/tcz001.
Full textAbstract:
AbstractThis study develops upon recent scholarship about subversive design that emerged in response to hegemonic structures such as capitalism, by introducing how racial identity informs disruptive design practices. Based upon a two-year ethnography with nine black artists during a period of racial unrest, this study presents how their experiences as black Americans informed distinctive, critical design dispositions. The participants’ deeply personal and labor-intensive design processes were both technical and political processes that involved intense prototyping, research and self-reflection. Their designs resulted in oppositional films, photography exhibits and paintings that contested racial metonymy through visceral and visual discourses that present black identities and histories within a more complex racial language. The participants also designed empathic spaces where oppositional discourses could take root and that supported communal healing, mourning and celebration. The ethnographic accounts of this study offer a meaningful way to engage and bridge scholarship about race, design and oppositional art.
33
Gonzales-Day, Ken. "Analytical Photography: Portraiture, from the Index to the Epidermis." Leonardo 35, no. 1 (February 2002): 23–30. http://dx.doi.org/10.1162/002409402753689272.
Full textAbstract:
The current abundance of scholarship concerning the technological development of photography has coexisted with a proportionate absence of recent critical analysis of photographic images. Given photography's long-standing embrace of technological advances, even predating the portable camera or roll film, this article revisits some early uses of scientific photography in order to clarify the impact of digital technology on contempo-rary photographic practice. The author uses scientific photogra-phy and photographic archives as the groundwork for photo-graphic experiments into what might be called analytical photography. The essay con-cludes with a reconsideration of the photographic portrait.
34
Snider, Madison. "The Bully Pulpit: trolling the trolls with polysemous monstrosity." Communication, Culture and Critique 14, no. 2 (March 8, 2021): 220–36. http://dx.doi.org/10.1093/ccc/tcab004.
Full textAbstract:
Abstract The photography of Haley Morris-Cafiero partakes in a larger feminist response to the vitriol of online misogyny that implicates the current moderation environment of online social platforms. This analysis illuminates Morris-Cafiero’s work of transgressive feminist art, using the body as a means for subverting the gaze of online misogyny and fat-shaming and presenting it anew. Morris-Cafiero uses self-portraiture to remark on the subject of online harassment as both the recipient and the sender. Bringing gendered histories of monstrosity into conversation with contemporary gendered online harassment, this article argues that the work of The Bully Pulpit exemplifies a new conception of polysemous monstrosity through which to understand the presentation of self, both for the artist and her trolls.
35
Konstantinov, N. A., E. A. Konstantinova, and A. U. Urbushev. "Petroglyphs of Mount Dyalbak, Eastern Altai." Archaeology, Ethnology & Anthropology of Eurasia 48, no. 3 (October 4, 2020): 59–69. http://dx.doi.org/10.17746/1563-0110.2020.48.3.059-069.
Full textAbstract:
This study focuses on a petroglyph site of Mount Dyalbak in the northeastern part of Balyktuyul village, in the Ulagansky District, Altai Republic. Images are engraved mostly on horizontal planes of the Devonian limestone of which the mountain slope is composed. We give a detailed description of the documentation methods. Photography was carried out under the oblique natural light, though certain areas of the planes were photographed using fl ash. Engravings were copied mostly on a tablet computer. On the basis of visual observations, the condition of planes with petroglyphs is described, conclusions regarding the principal threats are given, and measures aimed at the preservation of the site are proposed. Rocks and planes with engravings are described in detail. Most images date to the Early Middle Ages. Their motifs and characters have numerous parallels in Central Asian art. There are scenes of hunting, armed fi ghting, and separate pictures of bows and quivers, relating to the cult of weapons and militarism. Two depicted warriors are holding spears with banners. Images of animals include those of mountain goats, reindeer, and boars. Some motifs are unusual: yurts and a pair of Siberian stags, male and female, related to the fertility cult. Some images, such as that of a chariot, date to the Late Bronze Age, while others, like those engraved on a separate small stone, are recent.
36
Akhiyar, Dinul, Vivi Nila Sari, and Abulwafa Muhammad. "Analysis and Development of Marketing for the Creative Industry of West Sumatra Based on E-Commerce with the Concept of Customer Relationship Management (Crm) (Analisa Dan Pengembangan Pemasaran Industri Kreatif Sumatera Barat Berbasis E-Commerce Dengan K." Jurnal KomtekInfo 6, no. 2 (November 19, 2019): 144–54. http://dx.doi.org/10.35134/komtekinfo.v6i2.53.
Full textAbstract:
West Sumatra is an area in Indonesia that has many Creative Industries, this is the reason the government places representatives of the Ministry of Creative Industries in this region. This is done to foster, oversee and develop the Creative Industries that exist today. The Creative Industries that exist today are very diverse there are 15 fields that are very potential to be developed in Indonesia, Advertising (Advertising), Architecture, Art Goods Market, Crafts (Craf), Design, Video, Film, Photography, Interactive Games (Games), Music , Performing Arts (Showbiz), Publishing and Printing, Computer and Software Services, Television and Radio (Broadcasting), Research and Development (R&D), Culinary. Of the 15 creative industries in Indonesia for the West Sumatra region there are 9 sub-sectors of potential creative industries, namely, fashion, culinary, handicraft, music, performing arts, photography, design, animation, and film, but not all creative industry sectors it is developing so that it has an impact on the marketing of its products. For this reason, it is necessary to analyze and develop the marketing of creative industries in West Sumatra that prioritizes the concept of Customer Relationship Management (CRM) so that marketing concepts that have the potential to increase marketing of creative industry products will be known. Especially now that the Provincial Government is developing the Halal Tourism Industry, of course in this field there a re very many opportunities for the development of the Creative Industries
37
Zídek, Karel, Tomáš Koubek, David Procházka, and Marcel Vytečka. "Assistance System for Traffic Signs Inventory." Acta Universitatis Agriculturae et Silviculturae Mendelianae Brunensis 63, no. 6 (2015): 2197–204. http://dx.doi.org/10.11118/actaun201563062197.
Full textAbstract:
We can see arising trend in the automotive industry in last years – autonomous cars that are driven just by on-board computers. The traffic signs tracking system must deal with real conditions with data that are frequently obtained in poor light conditions, fog, heavy rain or are otherwise disturbed. Completely same problem is solved by mapping companies that are producing geospatial data for different information systems, navigations, etc. They are frequently using cars equipped with a wide range of measuring instruments including panoramic cameras. These measurements are frequently done during early morning hours when the traffic conditions are acceptable. However, in this time, the sun position is usually not optimal for the photography. Most of the traffic signs and other street objects are heavily underexposed. Hence, it is difficult to find an automatic approach that can identify them reliably. In this article, we focus on methods designed to deal with the described conditions. An overview of the state-of-the-art methods is outlined. Further, where it is possible, we outline an implementation of the described methods using well-known Open Computer Vision library. Finally, emphasis is placed on the methods that can deal with low light conditions, fog or other situations that complicate the detection process.
38
Lehmuskallio, Asko, Jukka Hӓkkinen, and Janne Seppӓnen. "Photorealistic computer-generated images are difficult to distinguish from digital photographs: a case study with professional photographers and photo-editors." Visual Communication 18, no. 4 (March 4, 2018): 427–51. http://dx.doi.org/10.1177/1470357218759809.
Full textAbstract:
There are strict guidelines on photoediting in newsrooms and serious professional repercussions for any failure to adhere to them, while computer-generated imagery is increasingly used in other areas of visual communication. This article presents empirical research on the ability of professional photographers and editors to distinguish photographs from photorealistic computer-generated images by looking at them on a screen. The results show clearly that those studied ( N = 20) are unable to distinguish one from another, suggesting that it is increasingly difficult to make this distinction, particularly since most viewers are not as experienced in photography as those studied. Interestingly, the participants continue to share a conventional understanding of photography that is not in line with current developments in digital photography and digital image rendering. Based on their findings, the authors suggest there is a need for developing a particular visual literacy that understands the computational in digital photography and grounds the use of digital photography among particular communities of practice. When seeing photographs on screens, journals, exhibitions, or newspapers, viewers might actually be looking at computer-generated simulations, and vice versa.
39
Cascella, Daniela. "Carl Michael von Hausswolff." Organised Sound 13, no. 1 (February 29, 2008): 21–29. http://dx.doi.org/10.1017/s1355771808000046.
Full textAbstract:
AbstractFor over twenty years, Swedish artist Carl Michael von Hausswolff (born 1956 in Linköping) has been giving shape to a range of works which push the boundaries of sound experimentation and reach out into installation art, photography, video, performance and curating projects. Stemming from his experiments with tape and investigations into EVP (Electronic Voice Phenomena) throughout the 1980s and 1990s, and setting up a number of ongoing collaborations with artist Leif Elggren and with a wide range of experimental musicians in the collective, site-specific sound installation freq_out, von Hausswolff's work spans the undefined territory between sound and the visual arts – he has done so, also by organising exhibitions such as the 2nd Göteborg Biennial in 2003. His audio production, using devices such as oscillators, tone generators, microphones attached to electricity circuits, is inextricably linked to his visual and conceptual research, always addressing issues of borders, interior/exterior, liminal states and hidden fluxes of energies. At the forefront of international experimentation, his work has been featured in some of the most important exhibitions and museums in the world, and his audio pieces have been published by the most remarkable avant-garde labels.
40
de Lautour, Reuben. "Inaudible Visitors: Theories of sound reproduction in the studio practice of Pierre Schaeffer." Organised Sound 22, no. 2 (July 12, 2017): 161–71. http://dx.doi.org/10.1017/s1355771817000073.
Full textAbstract:
In this article I explore the relationship of theories of sound reproduction formulated in the decades between the two world wars with the studio practice of Pierre Schaeffer. I argue that the 1920s–1930s was a period of significance for sound-based arts, and compare it to analogous defining moments in cinema and art photography. After examining the legacy of this period, I turn to one specific moment from Schaeffer’s early studio experiments with musique concrète in April 1948, showing how the theories of sound reproduction formed in the earlier time period informed practical decisions in Schaeffer’s working methods at a critical time when his ideas about the sound object were forming. Schaeffer’s studio practice and, to an extent, his theories of listening thus carry traces of this prior sonic culture. Considering the decisive influence of Schaeffer’s writings and teaching on later generations and developments in electroacoustic music, I speculate on the proliferation of these ideas beyond Schaeffer’s immediate circle, focusing in particular on soundscape composition. The title of this article is a reference to James Lastra’s ‘invisible auditor’, a term he coined to characterise the approach to sound reproduction discussed in this article (Lastra 2000: 159).
41
Gavrilova, Olga Viktorovna. "Using graphics editors as a means of developing students' creative abilities." Uchenyy Sovet (Academic Council), no. 5 (April 22, 2021): 384–93. http://dx.doi.org/10.33920/nik-02-2105-06.
Full textAbstract:
This article discusses a very well-known and frequently used technique for an implementation of a variety of artistic projects - a collage created by means of information technology. The article tells about using collage in higher education for teaching graphics, in particular, raster editors. Graphics editors such as Adobe Photoshop or GIMP are included in the Computer Science and Information Technology program. Students get the opportunity to create graphic images regardless of their prior art education. The introduction of the topic "Creating a collage by means of a raster editor" introduces a creative element into IT disciplines and develops the student's associative thinking at the level of brain functioning. As a rule, raster editors are used to edit an image, not to create it. Therefore, preparation for these classes encourages students to search for the necessary visual material on the Internet. In order to obtain more personal images, a deep study of photography techniques is required. It is also useful to study the history of photo and film collages, their texture and structure. The scope of the collage use is various. This is psychology, teaching foreign languages and, of course, fine arts. Advertising posters that we see in large numbers in the media and transport are also collages. The article traces the history of collage creation from ancient Egyptian history to modern advertising products. It is especially interesting to study the time when collage became a conscious technique. This is a great layer of avant-garde art.
42
Chen, Shiqi, Huajun Feng, Dexin Pan, Zhihai Xu, Qi Li, and Yueting Chen. "Optical Aberrations Correction in Postprocessing Using Imaging Simulation." ACM Transactions on Graphics 40, no. 5 (October 31, 2021): 1–15. http://dx.doi.org/10.1145/3474088.
Full textAbstract:
As the popularity of mobile photography continues to grow, considerable effort is being invested in the reconstruction of degraded images. Due to the spatial variation in optical aberrations, which cannot be avoided during the lens design process, recent commercial cameras have shifted some of these correction tasks from optical design to postprocessing systems. However, without engaging with the optical parameters, these systems only achieve limited correction for aberrations. In this work, we propose a practical method for recovering the degradation caused by optical aberrations. Specifically, we establish an imaging simulation system based on our proposed optical point spread function model. Given the optical parameters of the camera, it generates the imaging results of these specific devices. To perform the restoration, we design a spatial-adaptive network model on synthetic data pairs generated by the imaging simulation system, eliminating the overhead of capturing training data by a large amount of shooting and registration. Moreover, we comprehensively evaluate the proposed method in simulations and experimentally with a customized digital-single-lens-reflex camera lens and HUAWEI HONOR 20, respectively. The experiments demonstrate that our solution successfully removes spatially variant blur and color dispersion. When compared with the state-of-the-art deblur methods, the proposed approach achieves better results with a lower computational overhead. Moreover, the reconstruction technique does not introduce artificial texture and is convenient to transfer to current commercial cameras. Project Page: https://github.com/TanGeeGo/ImagingSimulation .
43
Saryana, I. Made, Anis Raharjo, and Amoga Lelo Octaviano. "Desain Ilustrasi Foto Pada Baju Kaos Dengan Media Fotografi Digital Pendukung Pariwisata Budaya Di Pura Tanah Lot Dan Taman Ayun." Mudra Jurnal Seni Budaya 33, no. 1 (March 6, 2018): 154. http://dx.doi.org/10.31091/mudra.v33i1.313.
Full textAbstract:
Penelitian ini bertujuan untuk mengembangkan industri kreatif dengan menerapkan fotografi digital melalui pengembangan produk instan dengan desain ilustrasi foto pada baju kaos. Pemilihan Obyek wisata Pura Tanah Lot Tabanan dan Pura Taman Ayun Badung Bali, dijadikan obyek penelitian karena obyek wisata tersebut selalu ramai dikunjungi wisatawan. Pengumpulan data dilakukan dengan observasi, wawancara dan studi pustaka. Data yang diperoleh dari hasil observasi dan wawancara dianalisis dengan menggunakan metode penciptaan seni, sehingga hasil análisis dapat dijadikan pedoman atau konsep dasar dalam pengembangan produk sovenir baju kaos. Penelitian ini dilakukan dengan (1) Mengidentifikasi berbagai jenis sovenir baju kaos yang dijual pada kawasan obyek wisata Tanah Lot Tabanan dan Pura Taman Ayun Badung Bali, baik dari bahan, desain ilustrasinya serta teknik pembuatannya. (2) Menganalisis harga, tingkat penjualan, serta bahan, desain ilustrasinya dan teknik pembuatannya. (3). Melakukan eksperimen desain ilustrasi foto dengan fotografi digital dan pengolahan melalui komputer. (4) Pembuatan ilustrasi foto dan menerapkannya dengan fotografi dan sablon digital pada baju kaos.This research started with observation of several tourism destinations in Bali such as Tanah Lot in Tabanan and Taman Ayun Badung. The observation is that by taking pictures of tourists and then selling it on photo printed paper, profit margins are minimized. Furthermore, selling t-shirts as souvenirs on which the design is lacking in representation of the location show restricted and minimized monetization capabilities. Based on these observations, the researcher intends to conduct research while creating an innovative product which is capable of representing the aforementioned locations. Through implementation of digital photography and patternization modalities, designed photos can instantaneously be printed on the t-shirt, and automatically it may be worn by tourists. This technique can prove to have drastic impact upon the profit margins of vendors in comparison to conventional modalities. The aim of the research is to develop creative industry by applying digital photography through the development of instant product through creative design on t-shirts. The option to choose Tanah Lot and Taman Ayun temples because these toruism objects are of the most favorite tourism destinations steadily receive visitation from many tourists from all around the world. This research focuses on (1) The identification of T-shirts as souvenirs sold in Tanah Lot temple in Tabanan and Taman Ayun temple in Badung, based on fabric, lllustration design and the production techniques. (2) Price analysis, seeling rank, fabric, illustration design and production techniques; (3) To conduct experimental photography llustration design through digital photography and computer-driven image processing; (4) The production of photo llustration and digital patterns on t-shirts. Data collection is taken based on observation, interviews and library research. The data is analyzed using art creation method therefore it can be used as guidance or a basic concept in developing t-shirts as souvenirs
44
Nahid, Abdullah-Al, Mohamad Ali Mehrabi, and Yinan Kong. "Histopathological Breast Cancer Image Classification by Deep Neural Network Techniques Guided by Local Clustering." BioMed Research International 2018 (2018): 1–20. http://dx.doi.org/10.1155/2018/2362108.
Full textAbstract:
Breast Cancer is a serious threat and one of the largest causes of death of women throughout the world. The identification of cancer largely depends on digital biomedical photography analysis such as histopathological images by doctors and physicians. Analyzing histopathological images is a nontrivial task, and decisions from investigation of these kinds of images always require specialised knowledge. However, Computer Aided Diagnosis (CAD) techniques can help the doctor make more reliable decisions. The state-of-the-art Deep Neural Network (DNN) has been recently introduced for biomedical image analysis. Normally each image contains structural and statistical information. This paper classifies a set of biomedical breast cancer images (BreakHis dataset) using novel DNN techniques guided by structural and statistical information derived from the images. Specifically a Convolutional Neural Network (CNN), a Long-Short-Term-Memory (LSTM), and a combination of CNN and LSTM are proposed for breast cancer image classification. Softmax and Support Vector Machine (SVM) layers have been used for the decision-making stage after extracting features utilising the proposed novel DNN models. In this experiment the best Accuracy value of 91.00% is achieved on the 200x dataset, the best Precision value 96.00% is achieved on the 40x dataset, and the best F-Measure value is achieved on both the 40x and 100x datasets.
45
Nicholson, Paul T. "Three-dimensional imaging in archaeology: its history and future." Antiquity 75, no. 288 (June 2001): 402–9. http://dx.doi.org/10.1017/s0003598x00061056.
Full textAbstract:
Whilst digital cameras and computer graphics are starting to be used in archaeological recording, stereoscopic photography tends to be overlooked. This technique has been used successfully in three recent projects and could be beneficial as a means of 3D photographic recording.
46
Ione, Amy. "Darwin's Camera: Art and Photography in the Theory of Evolution by Phillip Prodger. Oxford University Press, 2009. 320 pp., illus. Hardcover. ISBN-10: 0195150317; ISBN-13: 978-0195150315." Leonardo 44, no. 1 (February 2011): 78–80. http://dx.doi.org/10.1162/leon_r_00151.
Full text
47
Edis, Jonathan, David Macleod, and Robert Bewley. "An archaeologist's guide to classification of cropmarks and soilmarks." Antiquity 63, no. 238 (March 1989): 112–26. http://dx.doi.org/10.1017/s0003598x00075621.
Full textAbstract:
The classification of man-made features recorded on aerial photographs depends on a combination of morphological comparison and functional interpretation. Here, a computer-based method of morphological recording and classification is described, and its advantages argued. It has special relevance in England, where the Monument Protection Programme needs to assess the relative value and importance of many thousands of buried archaeological sites that are known only from the evidence of aerial photography.
48
Amirshahi, Seyed Ali, Gregor Uwe Hayn-Leichsenring, Joachim Denzler, and Christoph Redies. "Evaluating the Rule of Thirds in Photographs and Paintings." Art & Perception 2, no. 1-2 (2014): 163–82. http://dx.doi.org/10.1163/22134913-00002024.
Full textAbstract:
The rule of thirds (ROT) is one of the best-known composition rules used in painting and photography. According to this rule, the focus point of an image should be placed along one of the third lines or on one of the four intersections of the third lines, to give aesthetically pleasing results. Recently, calculated saliency maps have been used in an attempt to predict whether or not images obey the rule of thirds. In the present study, we challenged this computer-based approach by comparing calculated ROT values with behavioral (subjective) ROT scores obtained from 30 participants in a psychological experiment. For photographs that did not follow the rule of thirds, subjective ROT scores matched calculated ROT values reasonably well. For photographs that followed the rule of thirds, we found a moderate correlation between subjective scores and calculated values. However, aesthetic rating scores correlated only weakly with subjective ROT scores and not at all with calculated ROT values. Moreover, for photographs that were rated as highly aesthetic and for a large set of paintings, calculated ROT values were about as low as in photographs that did not follow the rule of thirds. In conclusion, the computer-based ROT metrics can predict the behavioral data, but not completely. Despite its proclaimed importance in artistic composition, the rule of thirds seems to play only a minor, if any, role in large sets of high-quality photographs and paintings.
49
Araújo, Tiago, Paulo Chagas, João Alves, Carlos Santos, Beatriz Sousa Santos, and Bianchi Serique Meiguins. "A Real-World Approach on the Problem of Chart Recognition Using Classification, Detection and Perspective Correction." Sensors 20, no. 16 (August 5, 2020): 4370. http://dx.doi.org/10.3390/s20164370.
Full textAbstract:
Data charts are widely used in our daily lives, being present in regular media, such as newspapers, magazines, web pages, books, and many others. In general, a well-constructed data chart leads to an intuitive understanding of its underlying data. In the same way, when data charts have wrong design choices, a redesign of these representations might be needed. However, in most cases, these charts are shown as a static image, which means that the original data are not usually available. Therefore, automatic methods could be applied to extract the underlying data from the chart images to allow these changes. The task of recognizing charts and extracting data from them is complex, largely due to the variety of chart types and their visual characteristics. Other features in real-world images that can make this task difficult are photo distortions, noise, alignment, etc. Two computer vision techniques that can assist this task and have been little explored in this context are perspective detection and correction. These methods transform a distorted and noisy chart in a clear chart, with its type ready for data extraction or other uses. This paper proposes a classification, detection, and perspective correction process that is suitable for real-world usage, when considering the data used for training a state-of-the-art model for the extraction of a chart in real-world photography. The results showed that, with slight changes, chart recognition methods are now ready for real-world charts, when taking time and accuracy into consideration.
50
Cooperstein, Shana. "Imagery and Astronomy: Visual Antecedents Informing Non-Reproductive Depictions of the Orion Nebula." Leonardo 47, no. 2 (April 2014): 129–34. http://dx.doi.org/10.1162/leon_a_00715.
Full textAbstract:
The author analyzes the visual similarities between early astronomy images and advanced practices such as produced by the Hubble Space Telescope (HST). While 19th-century images generally were supposed to match what an observer could see if s/he were standing behind the telescope, HST public outreach images are not based on any such match, yet such images resemble photographs that do aim to represent what we see. This paper attempts to explain the insistence on producing images that appear to represent visible phenomena. Emphasizing the ways in which non-reproductive photographs deploy conventions that were originally utilized in reproductive photography, the paper seeks to add to the existing literature concerning the non-reproductive capacities of photography.