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Screen Space Reconfigured
Screen Space Reconfigured is the first edited volume that critically and theoretically examines the many novel renderings of space brought to us by 21st century screens. Exploring key cases such as post-perspectival space, 3D, vertical framing, haptics, and layering, this volume takes stock of emerging forms of screen space and spatialities as they move from the margins to the centre of contemporary media practice. Recent years have seen a marked scholarly interest in spatial dimensions and conceptions of moving image culture, with some theorists claiming that a 'spatial turn' has taken place in media studies and screen practices alike. Yet this is the first book-length study dedicated to on-screen spatiality as such. Spanning mainstream cinema, experimental film, video art, mobile screens, and stadium entertainment, the volume includes contributions from such acclaimed authors as Giuliana Bruno and Tom Gunning as well as a younger generation of scholars.
Screen Space Reconfigured
Screen Space Reconfigured is the first edited volume that critically and theoretically examines the many novel renderings of space brought to us by 21st century screens. Exploring key cases such as post-perspectival space, 3D, vertical framing, haptics, and layering, this volume takes stock of emerging forms of screen space and spatialities as they move from the margins to the centre of contemporary media practice. Recent years have seen a marked scholarly interest in spatial dimensions and conceptions of moving image culture, with some theorists claiming that a 'spatial turn' has taken place in media studies and screen practices alike. Yet this is the first book-length study dedicated to on-screen spatiality as such. Spanning mainstream cinema, experimental film, video art, mobile screens, and stadium entertainment, the volume includes contributions from such acclaimed authors as Giuliana Bruno and Tom Gunning as well as a younger generation of scholars.
State of the Art in Computer Graphics
Today one of the hardest parts of computer aided design or analysis is first modeling the design, then recording and verifying it. For example, a typical vehicle such as a tank, automobile, ship or aircraft might be composed of tens of thousands of individual parts. Many of these parts are composed of cylinders, flats, and simple conic curves and surfaces such as are amenable to modeling using a constructive solid geometry (CSG) approach. However, especially with the increasing use of composite materials, many parts are designed using sculp tured surfaces. A marriage of these two techniques in now critical to continued development of computer aided design and analysis. Further, the graphical...
Movies and Methods
VOLUME 2: "Movies and Methods," Volume II, captures the developments that have given history and genre studies imaginative new models and indicates how feminist, structuralist, and psychoanalytic approaches to film have achieved fresh, valuable insights. In his thoughtful introduction, Nichols provides a context for the paradoxes that confront film studies today. He shows how shared methods and approaches continue to stimulate much of the best writing about film, points to common problems most critics and theorists have tried to resolve, and describes the internal contraditions that have restricted the usefulness of post-structuralism. Mini-introductions place each essay in a larger context ...
Practical Global Illumination with Irradiance Caching
Irradiance caching is a ray tracing-based technique for computing global illumination on diffuse surfaces. Specifically, it addresses the computation of indirect illumination bouncing off one diffuse object onto another. The sole purpose of irradiance caching is to make this computation reasonably fast. The main idea is to perform the indirect illumination sampling only at a selected set of locations in the scene, store the results in a cache, and reuse the cached value at other points through fast interpolation. This book is for anyone interested in making a production-ready implementation of irradiance caching that reliably renders artifact-free images. Since its invention 20 years ago, th...
Screens
Media screens--film, video, and computer screens--have increasingly pervaded both artistic production and everyday life since the 1960s. Yet the nature of viewing artworks made from these media, along with their subjective effects, remains largely unexplored. Screens addresses this gap, offering a historical and theoretical framework for understanding screen-reliant installation art and the spectatorship it evokes. Examining a range of installations created over the past fifty years that investigate the rich terrain between the sculptural and the cinematic, including works by artists such as Eija-Liisa Ahtila, Doug Aitken, Peter Campus, Dan Graham, VALIE EXPORT, Bruce Nauman, and Michael Sno...
Screen/Space
Projected-image art occupies an increasingly important place in the contemporary art-world. But does the projected image have its own specificity, beyond the histories of experimental film and video on the one hand, and installation art on the other? What is a projected image, and what is the history of projected-image art? These questions and others are explored in this thoughtful collection of nine essays by leading international scholars of film and projected-image art. Clearly structured in three sections – "Histories," "Screen," "Space" -- the book argues for recognition of the projected image as a distinctive category in contemporary art, which demands new critical and theoretical approaches. The contributors explore a range of interpretive perspectives, offering new insights into the work of artists including Michael Snow, Carolee Schneemann, Pipilotti Rist, Stan Douglas, Gillian Wearing, Tacita Dean, Jane and Louise Wilson, amongst others. The Introduction supplies a concise summary of the history of projected-image art and its interpretation, and there is a focus throughout the book on detailed analysis of individual artworks.
Image and Identity
What do images of the body, which recent poets and filmmakers have given us, tell us about ourselves, about the way we think and about the culture in which we live? In his new book A Body of Vision, R. Bruce Elder situates contemporary poetic and cinematic body images in their cultural context. Elder examines how recent artists have tried to recognize and to convey primordial forms of experiences. He proposes the daring thesis that in their efforts to do so, artists have resorted to gnostic models of consciousness. He argues that the attempt to convey these primordial modes of awareness demands a different conception of artistic meaning from any of those that currently dominate contemporary critical discussion. By reworking theories and speech in highly original ways, Elder formulates this new conception. The works of Brakhage, Artaud, Schneeman, Cohen and others lie naked under Elder’s razor-sharp dissecting knife and he exposes the essence of their work, cutting deeply into the themes and theses from which the works are derived. His remarks on the gaps in contemporary critical practices will likely become the focus of much debate.
Technospaces
Science and technology have had a profound effect on the way humans perceive space and time. In this book, an international team of authors explore themes of depth and surface, of real and conceptual space and of human/machine interaction. The collection is organized around the concept of Technospace--the temporal realm where technology meets human practice. In exploring this intersection the contributors initiate debate on a number of important conceptual questions: Is there a clear distinction between the real spaces of the body or the city, and the conceptual space of virtual reality?How are real and metaphorical spaces of electronic cultures quantified and regulated? Is there an ethics of technospace?Historically, the reception of new technologies has been invested with romantic idealism on the one hand and panic on the other. The authors argue that in order for utopian dreams to be tempered by ethical, humanistic needs, we have an urgent need to reveal, reflect upon and evaluate technospace and our relationship to it.
Interactive 3D Graphics in Windows®
Interactive 3-D Graphics in Windows is a hands-on book which uses a component software approach to help Visual C++ programmers quickly and easily develop windows-integrated, interactive 3-D graphics applications. The book includes JOEY, a 3-D user interface toolkit which addresses interaction issues not dealt with in the Microsoft User Interface Style Guide. JOEY provides a 3-D user interface, 3-D tools OLE Linking and Embedding and OLE automation within the MFC framework so that the application programmer can focus on application functionality. Using this book and JOEY, an experienced Visual C++ programmer can create an interactive 3-D application in a few hours. Roy Hall and Danielle Forsyth are the founders of Crisis in Perspective, Inc. in Portland, Oregon. Crisis in Perspective develops modeling systems for architects and building professionals which facilitate modeling and animation in the same way that word processors facilitate written document design; powerful, flexible, and extensive modeling systems for people that do not yet know exactly what they want to build.
