28 Ιανουαρίου 2021
23 Ιουνίου 2020
GLOSSERY OF TERMS
GLOSSERY OF TERMS
1-bit color -The lowest number of colors per pixel in which a graphics file can be stored. In 1-bit color, each pixel is either black or white.
8-bit color/grayscale -In 8-bit color, each pixel is has eight bits assigned to it, providing 256 colors or shades of gray, as in a grayscale image.
24-bit color -In 24-bit color, each pixel has 24 bits assigned to it, representing 16.7 million colors. 8 bits – or one byte – is assigned to each of the red, green,
and blue components of a pixel.
32-bit color – A display resolution setting that is often referred to as true color and offers a color palette of over 4 billion colors or 2^(3)^(2).
Additive Colors – Red, Green, and Blue are referred to as additive colors. Red+Green+Blue=White.
Algorithm -The specific process in a computer program used to solve a particular problem.
Aliasing -An effect caused by sampling an image (or signal) at too low a rate. It makes rapid change (high texture) areas of an image appear as a
slow change in the sample image. Once Aliasing occurs, there is no way to accurately reproduce the original image from the sampled image.
Analog -Analog transmitted data can be represented electronically by a continuous wave form signal. Examples of analog items are traditional photographed
images and phonograph albums.
Anti-Aliasing – The process of reducing stair-stepping by smoothing edges where individual pixels are visible.
Application -A computer software program designed to meet a specific need.
Binary -A coding or counting system with only two symbols or conditions (off/on, zero/one, mark/space, high/low). The binary system is the basis
for storing data in computers.
Bit – A binary digit, a fundamental digital quantity representing either 1 or 0 (on or off).
Bitmap(BMP) -An image made up of dots, or pixels. Refers to a raster image, in which the image consists of rows or pixels rather than vector coordinates.
Channel – One piece of information stored with an image. True color images, for instance, have three channels-red, green and blue.
Chroma – The color of an image element (pixel). Chroma is made up of saturation + hue values, but separate from the luminance value.
CMYK (Cyan, Magenta, Yellow, Black) -One of several color encoding system used by printers for combining primary colors to produce a full-color image. In
CMYK, colors are expressed by the “subtractive primaries” (cyan, magenta, yellow) and black. Black is called “K” or keyline since black, keylined text appears on
this layer.
Compression – The reduction of data to reduce file size for storage. Compression can be “lossy” (such as JPEG) or “lossless” (such as TIFF LZW). Greater
reduction is possible with lossy compression than with lossless schemes.
Continuous Tone – An image where brightness appears consistent and uninterrupted. Each pixel in a continuous tone image file uses at least one byte each for
its red, green, and blue values. This permits 256 density levels per color or more than 16 million mixture colors.
Digital vs. analog information – Digital data are represented by discrete values. Analog information is represented by ranges of values, and is therefore less
precise. For example, you get clearer sound from an audio CD (which is digital) than from an audiocassette (which is analog). Computers use digital data.
Desktop Publishing – Describes the digital process of combining text with visuals and graphics to create brochures, newsletters, logos, electronic slides and
other published work with a computer.
Digital – A system or device in which information is stored or manipulated by on/off impulses, so that each piece of information has an exact or repeatable
value (code).
Digitization – The process of converting analog information into digital format for use by a computer.
Dithering – A method for simulating many colors or shades of gray with only a few. A limited number of same-colored pixels located close together are seen as
a new color.
Download – The transfer of files or other information from one piece of computer equipment to another.
DPI (Dots Per Inch) -The measurement of resolution of a printer or video monitor based on dot density. For example, most laser printers have a resolution of
300 dpi, most monitors 72 dpi, and most PostScript imagesetters 1200 to 2450 dpi. The measurement can also relate to pixels in an input file, or line screen
dots (halftone screen) in a pre-press output film.
Driver – software utility designed to tell a computer how to operate an external device. For instance, to operate a printer or a scanner, a computer
will need a specific driver.
Firewire – A very fast external bus that supports data transfer rates of up to 400 MBPS. Firewire was developed by Apple and falls under the IEEE
1394 standard. Other companies follow the IEEE 1394 but have names such as Lynx and I-link.
FTP (File Transfer Protocol – An abbreviation for File Transfer Protocol and is a universal format for transferring files on the Internet.
GIF File Format – Stands for Graphic Interchange Format, a raster oriented graphic file format developed by CompuServe to allow exchange of
image files across multiple platforms.
Gigabyte (GB) -A measure of computer memory or disk space consisting of about one thousand million bytes (a thousand megabytes). The actual value is
1,073,741,824 bytes (1024 megabytes).
Gray Scale – A term used to describe an image containing shades of gray as well as black and white.
Halftone Image – An image reproduced through a special screen made up of dots of various sizes to simulate shades of gray in a photograph. Typically used for
newspaper or magazine reproduction of images.
Hue -A term used to describe the entire range of colors of the spectrum; hue is the component that determines just what color you are using. In
gradients, when you use a color model in which hue is a component, you can create rainbow effects.
Image Resolution – The number of pixels per unit length of image. For example, pixels per inch, pixels per millimeter, or pixels wide.
Import – The process of bringing data into a document from another computer, program, type of file format, or device.
Jazz Drive – A computer disk drive made by Iomega that enables users to save about 1000 megabytes or 1Gigabyte of information on their special
disks.
JPEG (Joint Photographic Experts Group) -A technique for compressing full-color bit-mapped graphics.
Kilobyte – An amount of computer memory, disk space, or document size consisting of approximately one thousand bytes. Actual value is 1024
bytes.
Lossless compression – Reduces the size of files by creating internal shorthand that rebuilds the data as it originally were before the compression.
Thus, it is said to be non-destructive to image data when used.
Lossy compression – A method of reducing image file size by throwing away unneeded data, causing a slight degradation of image quality. JPEG is a
lossy compression method.
Mask – A defined area used to limit the effect of image-editing operations to certain regions of the image. In an electronic imaging system, masks
are drawn manually (with a stylus or mouse) or created automatically–keyed to specific density levels or hue, saturation and luminance values in the
image. It is similar to photographic lith masking in an enlarger.
Megabyte (MB) – An amount of computer memory consisting of about one million bytes. The actual value is 1,048,576 bytes.
Moire – A visible pattern that occurs when one or more halftone screens are misregistered in a color image. Multimedia – This involves the combination of two
or more media into a single presentation. For example, combining video, audio, photos, graphics and/or animations into a presentation.
Network – A group of computers connected to communicate with each other, share resources and peripherals.
Palette – A thumbnail of all available colors to a computer or devices. The palette allows the user to chose which colors are available for the
computer to display. The more colors the larger the data and the more processing time required to display your images. If the system uses 24-bit
color, then over 16.7 million colors are included in the palette.
Pixel (PICture ELement) -The smallest element of a digitized image. Also, one of the tiny points of light that make up a picture on a computer screen.
PNG (Portable Network Graphics) – pronounced ping. A new standard that has been approved by the World Wide Web consortium to replace GIF because
GIF uses a patented data compression algorithm. PNG is completely patent and license-free.
PostScript – A page description language developed by Adobe Systems, Inc. to control precisely how and where shapes and type will appear on a page.
Software and hardware may be described as being PostScript compatible.
RAM – Random Access Memory. The most common type of computer memory; where the CPU stores software, programs, and data currently being used.
RAM is usually volatile memory, meaning that when the computer is turned off, crashes, or loses power, the contents of the memory are lost. A large amount
of RAM usually offers faster manipulation or faster background processing.
Raster – Raster images are made up of individual dots; each of which have a defined value that precisely identifies its specific color, size and place within the
image. (Also known as bitmapped images.)
Render – The final step of an image transformation or three-dimensional scene through which a new image is refreshed on the screen.
Resize – To alter the resolution or the horizontal or vertical size of an image. Resolution – The number of pixels per unit length of image. For example, pixels per
inch, pixels per millimeter, or pixels wide.
RGB – Short for Red, Green, and Blue; the primary colors used to simulate natural color on computer monitors and television sets. Saturation – The degree to
which a color is undiluted by white light. If a color is 100 percent saturated, it contains no white light. If a color has no saturation, it is a shade of gray.
Software – Written coded commands that tell the computer what tasks to perform. For example, Word, PhotoShop, Picture Easy, and PhotoDeluxe
are software programs
Subtractive colors – Transparent colors that can be combined to produce a full range of color. Subtractive colors subtract or absorb elements of
light to produce other colors.
TIFF (Tagged Image File Format) -The standard file format for high-resolution bit-mapped graphics. TIFF files have cross-platform compatibility.
TWAIN – Protocol for exchanging information between applications and devices such as scanners and digital cameras. TWAIN makes it possible for
digital cameras and software to “talk” with one another on PCs.
Unsharp Masking – A process by which the apparent detail of an image is increased; generally accomplished by the input scanner or through
computer manipulation.
USB (Universal Serial Bus) -The USB offers a simplified way to attach peripherals and have them be recognized by the computer. USB ports are about 10
times faster than a typical serial connection. These USB ports are usually located in easy to access locations on the computer.
Virtual Memory -Disk space on a hard drive that is identified as RAM through the operating system, or other software. Since hard drive memory is often less
expensive than additional RAM, it is an inexpensive way to get more memory and increase the operating speed of applications.
WYSIWYG – What You See Is What You Get. Refers to the ability to output data from the computer exactly as it appears on the screen.
Δεν επιτρέπεται σχολιασμός στο GLOSSERY OF TERMS
1) Video lectures – 15 hours of video in c. 10 minute blocks on:
flat part recognition, deformable part recognition, range data
and stereo data 3D part recognition, detecting & tracking
objects in video,
and behaviour recognition. There are also about 8 hours of introductory
image processing videos.
2) CVonline – organising about 2000 related topics in imaging & vision,
including some elementary neurophysiology and psychophysics.
Most content is in wikipedia now, but the index is independent.
3) CVonline supplements:
list of online and hardcopy books
list of datasets for research and student projects
list of useful software packages
list of over 300 different image analysis application areas
4) Online education resources of the Int. Assoc. for Pattern Recognition
5) HIPR2 – Image Processing Teaching Materials with JAVA
6) CVDICT: Dictionary of Computer Vision and Image Processing
See more details of these below .
Best wishes, Bob Fisher
================================================================
1) video lectures – 15 hours of video in c. 10 minute blocks.
See: http://homepages.inf.ed.ac.uk/rbf/AVINVERTED/main_av.htm
Including PDF slides, links to supplementary reading, a drill
question for each video
The site contains a set of video lectures on a subset of computer
vision. It is
intended for viewers who have an understanding of the nature of
images and some
understanding of how they can be processed. The course is more like
Computer Vision 102, introducing a range of standard and acccepted
methods, rather than the latest research advances.
Similarly, there are are about 8 hours of introductory image
processing lectures at:
http://homepages.inf.ed.ac.uk/rbf/IVRINVERTED/main_ivr.html
with similar resources
================================================================
2) CVonline is a free WWW-based set of introductions to topics in
computer vision.
http://homepages.inf.ed.ac.uk/rbf/CVonline/
Because of the improvements in the content available in Wikipedia,
it is now possible to find content for more than 50% of CVonline’s
2000 topics.
CVonline groups together the topics into a sensible topic
hierarchy, but tries
to exploit the advancing quality and breadth of wikipedia’s content.
================================================================
3) CVonline has a variety of supplemental information useful to
students and researchers,
namely lists of:
online and hardcopy books:
http://homepages.inf.ed.ac.uk/rbf/CVonline/books.htm
datasets for research and student projects:
http://homepages.inf.ed.ac.uk/rbf/CVonline/Imagedbase.htm
useful software packages:
http://homepages.inf.ed.ac.uk/rbf/CVonline/SWEnvironments.htm
list of over 300 different image analysis application areas:
http://homepages.inf.ed.ac.uk/rbf/CVonline/applic.htm
================================================================
4) The education resources of the Int. Assoc. for Pattern Recognition
http://homepages.inf.ed.ac.uk/rbf/IAPR/
contain many links to Tutorials and Surveys, Explanations, Online Demos,
Datasets, Books, Code for:
Symbolic pattern recognition, Statistical pattern recognition,
Machine learning,
1D Signal pattern recognition and 2D Image analysis and computer vision.
================================================================
5) HIPR2: free WWW-based Image Processing Teaching Materials with JAVA
http://homepages.inf.ed.ac.uk/rbf/HIPR2/
HIPR2 is a free www-based set of tutorial materials for the 50 most commonly
used image processing operators. It contains tutorial text, sample results
and JAVA demonstrations of individual operators and collections.
================================================================
6) CVDICT: Dictionary of Computer Vision and Image Processing
http://homepages.inf.ed.ac.uk/rbf/CVDICT/
This are the free view terms A..G from the the first version of the
Dictionary, published by John Wiley and Sons. (Note there there a second
edition currently on sale).
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21 Ιουνίου 2020
10 Μαΐου 2020
corona flowers #1: Video Art Miden : Confession
[youtube https://www.youtube.com/watch?v=xCd-fw2YVzI&w=560&h=315]
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24 Απριλίου 2020
New secrets of Vermeer’s Girl with a Pearl Earring
New secrets of Vermeer’s Girl with a Pearl Earring to be revealed online next week
Mauritshuis museum’s detailed technical examination uncovers new findings on the Dutch artist’s brushwork, pigments and technique
GARETH HARRIS
23rd April 2020 11:08 BST
Girl with a Pearl Earring (around 1665) made up of images from the research project Girl in the Spotlight Photo: Sylvain Fleur
The results of an extensive technical examination of Johannes Vermeer’s Girl with a Pearl Earring (around 1665) will be announced early next week, giving new insights into how the Dutch artist painted one of the most famous works in the world. On 28 April, the Mauritshuis in The Hague will unveil a web page detailing the new findings, throwing new light on Vermeer’s brushwork, the use of pigments, and how he “built up” the painting in different layers.
An international team of conservators, scientists and researchers spent two weeks in early 2018 studying the painting in a specially constructed glass studio at the Mauritshuis, enabling members of the public to follow the forensic analysis.
The research project, known as The Girl in the Spotlight, was led by the Mauritshuis’s paintings conservator Abbie Vandivere who worked with specialists at several other institutions including the Rijksmuseum in Amsterdam and the Delft University of Technology. The painting was last examined in 1994 during a conservation treatment.
Vandivere outlines in a blog the purpose and processes of the initiative, saying: “Which materials did Vermeer use, and where did they come from? Which techniques did Vermeer use to create subtle optical effects? What did the painting look like originally, and how has it changed?” The research involved non-invasive imaging and scanning techniques, digital microscopy and paint sample analysis.
The blog contains a wealth of detail on the canvas, pigments, oil and other materials Vermeer used to create the work. In a section called “Watching Paint Dry”, she writes: “How did Vermeer make the paint that was used in the Girl with a Pearl Earring? Like most 17th-century Dutch artists, he used oil paint.” The binding medium used to paint the work is linseed oil, made from the seeds of the flax plant, she says
“The slow drying speed of oil paint allowed Vermeer to blend colours together in the Girl with a Pearl Earring, and to manipulate his paint after he applied it. To achieve the subtle blending from light to shadow, for example the translucent skin on the edge of her cheek, he used a soft dry brush to blend the wet paint after he applied it,” writes Vandivere.
In another section, she describes zooming into the surface of the painting through a microscope lens. “Our eye is drawn to the pearl, not only because it is the painting’s namesake, but because Vermeer placed it at the centre of the composition. Did you know that it might not be a pearl at all? Costume and jewellery specialists believe that it’s too big to be real. Perhaps Vermeer exaggerated it a little to make it more of a focal point of the painting… At high magnification, you can see that Vermeer painted the pearl with only a few brushstrokes of lead white.”
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20 Ιανουαρίου 2020
18 Νοεμβρίου 2019
Hand creation and bones setup with 3ds max 2018
[youtube https://www.youtube.com/watch?v=eLjQNkMeEDE&w=560&h=315]
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9 Μαΐου 2018
18 Απριλίου 2018
case studies
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“Tin Rhythm” by Celena Tang DDA Interactive Arts BFA from DDA Pratt on Vimeo.
INTERACTIVE VOICE-VISUAL INSTALLATION-DDA PRATT
Hyesoo Chang “Uncertainty Principle of the Invisible” MFA Thesis 2017 from DDA Pratt on Vimeo.
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6 Ιουλίου 2017
13 Φεβρουαρίου 2017
7 Φεβρουαρίου 2017
ANN HAMILTON
Ann Hamilton
Ann Hamilton
The installation tropos, like all of Ann Hamilton’s works, is a sensory experience. Created as a site-specific installation in 1993 for Dia Center for the Arts in New York City, tropos refers to the idea of tropism, meaning a natural tendency, or a living being’s proclivity to respond to stimuli in a specific way, such as a plant that grows towards light.
The installation is made primarily from horse hair—a vast landscape of varying shades of hair from the tails of horses covers the entire floor of the 5,000-square foot space. Hamilton altered the floor beneath the hair with poured concrete, the effects of which are subtle shifts in the floor’s topography beneath the hair, which becomes clear only when a visitor walks across the room. Further on into the interior of the space, Hamilton has placed a small metal table, at which a seated attendant works diligently to burn the printed words from a book as smoke rises from the seared text. Muted, but audible, is a distant voice struggling to articulate words, which remain unintelligible for the most part. A final, subtle aspect of troposis the sealed unity of the room, an effect created by Hamilton’s use of translucent glass in the windows; light beams in, yet sight to the outside is precluded. Like many of Hamilton’s large-scale works, tropos was created by hand through the collaborative efforts of many individuals, both at FWM and Dia Center for the Arts. The community that evolves from labor-intensive production is an important component of Hamilton’s methodology and artistic practice.
Hamilton created a second project with FWM in 1994, after the completion of tropos. A limited edition multiple encased in a glass and wood vitrine, her Untitled project is a collar fabricated from linen and horse hair. Strands of horse hair were used to embroider a 16th century-style alphabet on the inside of the collar. The unfinished ends of the embroidered hair pass through to the exterior of the collar, forming a swirling, circular mass of hair. The object recalls historic relics—an Elizabethan ruff, for example—yet remains connected to sensory experience through its assumed placement around a person’s throat with the letters of the alphabet resting near the voice box. Untitled references a relationship between the rapid growth of literacy and a gradual devaluation of non-verbal knowledge, such as that learned and experienced in the body.
In September 2016, Hamilton will debut habitus, a project that will continue her longstanding exploration of textiles and culminate in three parts: an exhibition at FWM, an installation at an offsite location, and an innovative publication. Acknowledging both individual and communal relationships to fabric, Hamilton will draw upon the history of textiles in Philadelphia as well as personal narratives in crafting this multifaceted work. Ultimately, this project will place fabric, a material typically understood through touch, within a larger social and literary context, illuminating the generative possibilities as well as the tensions that arise from the interplay between text and physicality, between written and embodied experiences.
Bio
American, born 1956, lives in Columbus, Ohio
Ann Hamilton studied textile arts at the University of Kansas, where she completed her BFA in 1979. She went on to earn an MFA from Yale University in sculpture in 1985. Her varied background in the visual arts informs her artistic practice, which takes the form of installations, videos, objects, and performance. Hamilton’s work has been the subject of numerous solo exhibitions, including the Irish Museum of Modern Art (2002), Musèe d’Art Contemporain in Lyon, France (1997), and the Museum of Modern Art, New York (1994). In 1999, Hamilton was selected to represent the United States at the Venice Biennale. Her honors include the National Medal of Arts (2014), a John D. and Catherine T. MacArthur Fellowship (1993), The Louis Comfort Tiffany Foundation Award (1990), and a Guggenheim Memorial Fellowship (1989).
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23 Ιανουαρίου 2017
31 Δεκεμβρίου 2016
7 Δεκεμβρίου 2016
Byzantine and Christian Museum of Athens
photo © vbouzas
Image: “One Hundred Fish Fountain,” 2005, ninety-seven bronze fish of seven different forms, suspended with stainless steel wire from a metal grid © Bruce Nauman
Computer Art > Multimedia Art > New Media
- art that uses digital technologies as a tool
- art that uses digital technologies as its own medium
Technical History of Digital Art
- limited to military, academic, and consumer cultureo As We May Think by army scientist Vannevar Bush imagined the
first computero Men, Machines and the World Apart by Norbert Wiener - 1946 – ENICA the University of Pennsylvania created the first digital computer
- 1961 – Theodor Nelson coined the terms Hypertext and and Hypermedia to describe texts in which images and sounds could be linked
- 1964 – RAND Corporation (Cold War think tank) conceptualized the internet as a communication network without central authority that could be safe from a nuclear attack
- 1968 – Douglas Engelbart from the Stanford Research Institute created came up with the idea of bitmapping, windows, and direct manipulation through a mouse
o Bitmapping: each pixel of a computer screen is a assigned on/off (0-1). The computer screen could then be divided into a grid of pixels that create a 2D image - 1970’s – Alan Kay of the Xerox Parc in Palo Alto, CA developed the GUI (graphical user interface), and the “desktop” metaphor popularized bu Apple in 1983
Evolution of Digital Art
- developed in connection to Dada and Fluxus: conceptual art has challenged the traditional notions of the art work, audience, and artist
- 1984 – William Gibson coined the term “cyberspace” in his novel Neruomancer
- 1990’s – Digital art began making it’s way into museums and galleries
- digital arts festivals
o ICC (Tokyo, Japan)o ZKM (Karlsruhe, Germany)o Ars Electronica (Linz, Austria)o Transmediale (Berlin, Germany) o SIGGRAPH (Los Angeles, USA)
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21 Νοεμβρίου 2016
15 Νοεμβρίου 2016
Rolf Julius and more
[youtube https://www.youtube.com/watch?v=GETVbJabvzE]
[youtube https://www.youtube.com/watch?v=IMMikHkTy_I]
http://westernvinyl.com/artists/rolf-julius
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http://www.inbetweennoise.com/works/symbolcymbal/
03.
http://www.inbetweennoise.com/works/gradual-small-fires-and-a-bowl-of-resonant-milk/
[youtube https://www.youtube.com/watch?v=9kJD9Rm05jM]
http://musicsongsplayer.com/artist/Robert-Filliou
[youtube https://www.youtube.com/watch?v=LjjPL-t9AYM]
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background noise
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6 Νοεμβρίου 2016
01. the walt diseny strbrd
A storyboard is a sequence of images and words drawn together on a page to form a plausible narrative.
Storyboards are routinely used in the movie making business to ‘preview’ a movie before a single shot is taken. Not only does a storyboard allow for a dress rehearsal of the final product but by the very fact of being posted on the wall,it elicits early feedback and encourages quick, painless editing, leading to significant savings in time and resources.
Disney was a storyboarding freak!
A storyboard is an apt metaphor for how we make sense of our own life history. Storyboarding can be used to sense emergent patterns in our own life story and to envision the life experiences that we wish to welcome into our future.
Try storyboarding the past and future events in your Life!
Disney
Storyboard Inventor: Walter Elias Disney
http://www.youtube-nocookie.com/embed/kgmhoQnQZNY
02. strbrd and 3d space
—- mechanical flipbook
Mark Rosen and Wendy Marvel, Mechanical Flipbook. Photo by Luke Neve for Kinetica
[vimeo 48901714 w=500 h=281]
01 HORSEINMOTION from Wendy Marvel on Vimeo.
03.strboarding interactivity
**
the origins of storyboard are in the film history , where a series of panels roughly depicts snapshots from an intented film sequence in porder to get the idea across about the eventual scene. Similarly, for inreractive system design, the storyboards provide snapshots of interface at particular points in the interaction.
Evaluating customers or user imprassions of the storyboards can determine relatively quickly if the design is heading in the right direction.
students examples-
tvscreen
-movie svreen- theatre-tv
the perception of the scale- the tv-human scale-phycological implications-being with another.
-how the action happens in z axis.
–
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