A practice of painting : living with the reception and generation of image on the visual threshold

Merged with duplicate record 10026.1/718 on 13.20.2017 by CS (TIS)My work as an artist takes an image on a journey beginning with a photographic source image and ending in a painted image, passing through the remembered, imagined and perceived. It is important for me that the images in my work are encountered physically through the materials constituting the surface of the painting and mentally through the 'language' of images. Each viewer uniquely completes the image's journey of becoming a painting. My paintings explore and realise the materiality of an image through the layering of paint, varnish, pebbles, gravel and found objects. Through the activity of painting these 'textured' images acquire particular material, photographic and ocular traits. The primary concerns of my painting practice are how the 'material image' arrests and textures our sensations, the reading of images and the implications of those experiences for ourselves, as receptors, repositories and generators of images. An exhibition of paintings with the above title constitutes the findings of this practice driven research, which together with the definitions and critical reflections contained in this accompanying text, form my PhD thesis. The first stage of making a painting is to identify one's materials. The materials I have chosen to use in this text, which explores, defines and locates my 5 year enquiry into a practice of painting, are: my practical research itself (my paintings); the work and voices of other painters working in a similar field; three primary and many secondary texts. The three primary texts I used were: Eye and Mind, by Maurice Merleau-Ponty (Merleau-Ponty M in Johnson, A. G. (1993) pp.121-149); Closure, by Hilary Lawson (Lawson, H. 2001); and Francis Bacon: Sensation and Painting, by Giles Deleuze (Deleuze, G. 2003). This text begins with 15 reproductions of the paintings forming the exhibition, followed by a framing statement. The text then describes the evolution of the practical research through the creation of the individual paintings. My practical research under went four stages of development; these are evidenced in the curation of the exhibition and in the structure of this text. During these stages of my practice's development four central themes emerged - image, meaning, material and layering. Finally the text reflects on "A Practice Of Painting" using the four central themes of my practice together with the themes identified in the three primary texts. The voices and images of the painters float alongside the body of the text as an illustration of the visual dialogue between my own work and theirs. The text closes with a final reflection and appendices containing my own surveys of the three primary texts. My painting practice is primarily concerned with the different modes of image reception and generation. ''It is a very, very close and difficult thing to know why some paint comes across directly onto the nervous system and other paint tells you the story in a long diatribe through the brain. "(Bacon in Deleuze, G. (2003), p.35)Dartington College of Art

Computer-assisted animation creation techniques for hair animation and shade, highlight, and shadow

制度:新 ; 報告番号:甲3062号 ; 学位の種類:博士(工学) ; 授与年月日:2010/2/25 ; 早大学位記番号:新532

Interactive Video Game Content Authoring using Procedural Methods

This thesis explores avenues for improving the quality and detail of game graphics, in the context of constraints that are common to most game development studios. The research begins by identifying two dominant constraints; limitations in the capacity of target gaming hardware/platforms, and processes that hinder the productivity of game art/content creation. From these constraints, themes were derived which directed the research‟s focus. These include the use of algorithmic or „procedural‟ methods in the creation of graphics content for games, and the use of an „interactive‟ content creation strategy, to better facilitate artist production workflow. Interactive workflow represents an emerging paradigm shift in content creation processes used by the industry, which directly integrates game rendering technology into the content authoring process. The primary motivation for this is to provide „high frequency‟ visual feedback that enables artists to see games content in context, during the authoring process. By merging these themes, this research develops a production strategy that takes advantage of „high frequency feedback‟ in an interactive workflow, to directly expose procedural methods to artists‟, for use in the content creation process. Procedural methods have a characteristically small „memory footprint‟ and are capable of generating massive volumes of data. Their small „size to data volume‟ ratio makes them particularly well suited for use in game rendering situations, where capacity constraints are an issue. In addition, an interactive authoring environment is well suited to the task of setting parameters for procedural methods, reducing a major barrier to their acceptance by artists. An interactive content authoring environment was developed during this research. Two algorithms were designed and implemented. These algorithms provide artists‟ with abstract mechanisms which accelerate common game content development processes; namely object placement in game environments, and the delivery of variation between similar game objects. In keeping with the theme of this research, the core functionality of these algorithms is delivered via procedural methods. Through this, production overhead that is associated with these content development processes is essentially offloaded from artists onto the processing capability of modern gaming hardware. This research shows how procedurally based content authoring algorithms not only harmonize with the issues of hardware capacity constraints, but also make the authoring of larger and more detailed volumes of games content more feasible in the game production process. Algorithms and ideas developed during this research demonstrate the use of procedurally based, interactive content creation, towards improving detail and complexity in the graphics of games

Outdoor Dynamic 3-D Scene Reconstruction

Existing systems for 3D reconstruction from multiple view video use controlled indoor environments with uniform illumination and backgrounds to allow accurate segmentation of dynamic foreground objects. In this paper we present a portable system for 3D reconstruction of dynamic outdoor scenes which require relatively large capture volumes with complex backgrounds and non-uniform illumination. This is motivated by the demand for 3D reconstruction of natural outdoor scenes to support film and broadcast production. Limitations of existing multiple view 3D reconstruction techniques for use in outdoor scenes are identified. Outdoor 3D scene reconstruction is performed in three stages: (1) 3D background scene modelling using spherical stereo image capture; (2) multiple view segmentation of dynamic foreground objects by simultaneous video matting across multiple views; and (3) robust 3D foreground reconstruction and multiple view segmentation refinement in the presence of segmentation and calibration errors. Evaluation is performed on several outdoor productions with complex dynamic scenes including people and animals. Results demonstrate that the proposed approach overcomes limitations of previous indoor multiple view reconstruction approaches enabling high-quality free-viewpoint rendering and 3D reference models for production

Reflectance Transformation Imaging (RTI) System for Ancient Documentary Artefacts

This tutorial summarises our uses of reflectance transformation imaging in archaeological contexts. It introduces the UK AHRC funded project reflectance Transformation Imaging for Anciant Documentary Artefacts and demonstrates imaging methodologies

THE REALISM OF ALGORITHMIC HUMAN FIGURES A Study of Selected Examples 1964 to 2001

It is more than forty years since the first wireframe images of the Boeing Man revealed a stylized hu-man pilot in a simulated pilot's cabin. Since then, it has almost become standard to include scenes in Hollywood movies which incorporate virtual human actors. A trait particularly recognizable in the games industry world-wide is the eagerness to render athletic muscular young men, and young women with hour-glass body-shapes, to traverse dangerous cyberworlds as invincible heroic figures. Tremendous efforts in algorithmic modeling, animation and rendering are spent to produce a realistic and believable appearance of these algorithmic humans. This thesis develops two main strands of research by the interpreting a selection of examples. Firstly, in the computer graphics context, over the forty years, it documents the development of the creation of the naturalistic appearance of images (usually called photorealism ). In particular, it de-scribes and reviews the impact of key algorithms in the course of the journey of the algorithmic human figures towards realism . Secondly, taking a historical perspective, this work provides an analysis of computer graphics in relation to the concept of realism. A comparison of realistic images of human figures throughout history with their algorithmically-generated counterparts allows us to see that computer graphics has both learned from previous and contemporary art movements such as photorealism but also taken out-of-context elements, symbols and properties from these art movements with a questionable naivety. Therefore, this work also offers a critique of the justification of the use of their typical conceptualization in computer graphics. Although the astounding technical achievements in the field of algorithmically-generated human figures are paralleled by an equally astounding disregard for the history of visual culture, from the beginning 1964 till the breakthrough 2001, in the period of the digital information processing machine, a new approach has emerged to meet the apparently incessant desire of humans to create artificial counterparts of themselves. Conversely, the theories of traditional realism have to be extended to include new problems that those active algorithmic human figures present

Interactive public "art-chitecture": engaging the city and its inhabitants

The era of technology, media and consumerism that exists in contemporary cities has diminished the opportunities to offer society direct encounters and personal dialogues with the urban realm. This has caused the visual sense to predominate over the rest of our senses, turning society into pure spectators in the city. Taste, sight, smell, sounds, touch and balance are all senses that need to be ordered, translated and processed by perception at the time we confront a place. The architectural space should be perceived with all senses in the emotional experience of it. Architectural Categories, such as shadows, lights, colors, textures, and materials, that complement architectural form, should be combined in the space for the purpose of impacting the perceptual process in humans and transcending their memory. Supporting the idea of a tactile rather than a visual city, this thesis attempts to analyze form and architectural categories to materialize a temporal "Art-chitectural" urban object adaptable to a variety of public situations. The exploration seeks to offer citizens different ways to perceive and experience urban spaces, while encouraging social participation and interaction through sensations, contemplation and physical engagement. The "Art-chitectural" object has been developed and tested through digital imaging and physical models; these evaluations confirmed the endless applications and basis for actual materialization

Geometries of Light and Shadows, from Piero della Francesca to James Turrell

This chapter addresses the problem of representing light and shadow in the artistic culture, from its uncertain beginnings, related to the studies on conical linear perspective in the Fifteenth Century, to the applications of light projection in the installations of contemporary art. Here are examined in particular two works by two artists, representing two different conceptual approaches to the perception and symbolism of light and shadow. The first is the so-called Brera Madonna by Piero della Francesca, where the image projected from a luminous radiation is employed with a narrative purpose, supporting the apparently hidden script of the painting and according to the artist\u2019s own speculations about perspective as a means to clarify the phenomenal world. The second is one of James Turrell\u2019s Dark Spaces installations, where quantum electrodynamics interpretation of light is taken into account: for Turrell, light is physical and thus can shape spaces where the visitors, or viewers, can \u201csee themselves seeing.\u201d In his body of work, perceptual deceptions are carefullyproduced by the interaction of the senses with his phenomenal staging of light and darkness, but a strong symbolic component is always present, often related to his own speculative interests. In both cases, light and shadow, through their geometries, emphasize both phenomenal and spiritual contents of the work of art, intended as a device to expand the perception and the knowledge of the viewer