Digital Alchemy: Matter and Metamorphosis in Contemporary Digital Animation and Interface Design

The recent proliferation of special effects in Hollywood film has ushered in an era of digital transformation. Among scholars, digital technology is hailed as a revolutionary moment in the history of communication and representation. Nevertheless, media scholars and cultural historians have difficulty finding a language adequate to theorizing digital artifacts because they are not just texts to be deciphered. Rather, digital media artifacts also invite critiques about the status of reality because they resurrect ancient problems of embodiment and transcendence.In contrast to scholarly approaches to digital technology, computer engineers, interface designers, and special effects producers have invented a robust set of terms and phrases to describe the practice of digital animation. In order to address this disconnect between producers of new media and scholars of new media, I argue that the process of digital animation borrows extensively from a set of preexisting terms describing materiality that were prominent for centuries prior to the scientific revolution. Specifically, digital animators and interface designers make use of the ancient science, art, and technological craft of alchemy. Both alchemy and digital animation share several fundamental elements: both boast the power of being able to transform one material, substance, or thing into a different material, substance, or thing. Both seek to transcend the body and materiality but in the process, find that this elusive goal (realism and gold) is forever receding onto the horizon.The introduction begins with a literature review of the field of digital media studies. It identifies a gap in the field concerning disparate arguments about new media technology. On the one hand, scholars argue that new technologies like cyberspace and digital technology enable radical new forms of engagement with media on individual, social, and economic levels. At the same time that media scholars assert that our current epoch is marked by a historical rupture, many other researchers claim that new media are increasingly characterized by ancient metaphysical problems like embodiment and transcendence. In subsequent chapters I investigate this disparity

A system for modelling deformable procedural shapes.

This thesis presents a new procedural paradigm for modelling. The method combines the benefit of compact object descriptions found in procedural modelling along with the advantage of the ability to interact in real-time as is found with interactive modelling techniques. The three main components to this paradigm are geometry generators (the creation of basic object shapes), selectors (the specification of a selection volume), and modifiers (the object transformation functions). The user interacts in real-time with the object, and has complete control over the object formation process. Interaction is stored within appropriate nodes in a creation-history list which can be replayed or partially replayed at any time during the creation process. The parameters associated with each interaction are stored within the node, and are available for editing at any time during the creation process. The concepts presented here remove the problems that most modelling software have, in that the arbitrary editing of object parameters is destructive, in the sense that changing the parameter of one node may cause the object to behave unpredictably. This takes place in real-time, rather than off-line. In some cases real-time interaction is made possible by trading visual quality vs. speed of rendering. This results in the object being rendered at a lower quality, and therefore decisions on whether the object parameters need adjustment may be predicated upon a poor representation of the object. The work presented herein attempts to bridge the divide between the two approaches by providing the user with a powerful and descriptive procedural modelling language that is entirely generated through real-time interaction with the geometric object via an intuitive user interface. The main contributions of this work are that it allows: Procedural objects are specified interactively. Modelling takes place independently of representation (meaning the user does not base their modelling on the (mesh) representation, but rather on the shape they see). Changes to the object are coherent and non-destructive

Assessing the impact of computer use on landscape architecture professional practice: efficiency, effectiveness, and design creativity

Landscape architects claim that computers are efficient and effective presentation tools. However, to date, no one has evaluated the impact of computer use on the nature and quality of design in a practice setting. To further explore this issue, a trial was conducted with landscape architecture students in which they worked in conventional, mixed and digital media. Results indicated that although computer use was efficient in some tasks, the nature of the design process did not yield itself effectively yet to complete computerization. In addition, to assess the impact of computer use more broadly on office practice today, a survey was conducted of over 100 Chapter Executive Members of the American Society of Landscape Architects in the United States of America.Survey results indicated that computer use has permeated all areas of landscape architecture practice, and that it has genuinely improved drawing quality and capability. However, it has not significantly impacted the artistic or creative aspects. Few respondents believed the computer can improve these facets of the profession or that traditional practice methods will be totally replaced by the computer.The results suggest that academic and professional sectors of landscape architecture must help educate existing professionals to fully grasp the benefits of current and emerging computer technologies and to prepare the future professionals for an increasingly digital practice

Semiannual report, 1 October 1990 - 31 March 1991

Research conducted at the Institute for Computer Applications in Science and Engineering in applied mathematics, numerical analysis, and computer science is summarized

Research and technology, 1987

Three broad goals were presented by NASA as a guide to meet the challenges of the future: to advance scientific knowledge of the planet Earth, the solar system, and the universe; to expand human presence beyond the Earth into the solar system; and to strengthen aeronautics research and technology. Near-term and new-generation space transportation and propulsion systems are being analyzed that will assure the nation access to and presence in space. Other key advanced studies include large astronomical observatories, space platforms, scientific and commercial payloads, and systems to enhance operations in Earth orbit. Longer-range studies include systems that would allow humans to explore the Moon and Mars during the next century. Research programs, both to support the many space missions studied or managed by the Center and to advance scientific knowledge in selected areas, involve work in the areas of atmospheric science, earth science, space science (including astrophysics and solar, magnetospheric, and atomic physics), and low-gravity science. Programs and experiment design for flights on the Space Station, free-flying satellites, and the Space Shuttle are being planned. To maintain a leadership position in technology, continued advances in liquid and solid propellant engines, materials and processes; electronic, structural, and thermal investigations; and environmental control are required. Progress during the fiscal year 1987 is discussed

Association of Architecture Schools in Australasia

"Techniques and Technologies: Transfer and Transformation", proceedings of the 2007 AASA Conference held September 27-29, 2007, at the School of Architecture, UTS

History of Computer Art

A large text presents the history of Computer Art. The history of the artistic uses of computers and computing processes is reconstructed from its beginnings in the fifties to its present state. It points out hypertextual, modular and generative modes to use computing processes in Computer Art and features examples of early developments in media like cybernetic sculptures, video tools, computer graphics and animation (including music videos and demos), video and computer games, pervasive games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than is usual in such histories. From October 2011 to December 2012 the chapters have been published successively in German (The English translation started in August 2013 and was completed in June 2014)

Fractals in Geoscience and Remote Sensing

Abstract not availableNA-NOT AVAILABL

Realistic Hair Simulation: Animation and Rendering

International audienceThe last five years have seen a profusion of innovative solutions to one of the most challenging tasks in character synthesis: hair simulation. This class covers both recent and novel research ideas in hair animation and rendering, and presents time tested industrial practices that resulted in spectacular imagery