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Electronic art.
Computers are more and more becoming creative tools in music as well as in the visual arts and design. In the last few years, it has become clear that digital technology provides a platform for multimedia productions as well as a medium for new art forms. Computer Music and Computer Graphics & A...
| Clasificación: | Libro Electrónico |
|---|---|
| Autores Corporativos: | , , |
| Formato: | Electrónico Congresos, conferencias eBook |
| Idioma: | Inglés |
| Publicado: |
Oxford, Eng. ; Elmsford, N.Y. :
Pergamon Press,
�1988.
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| Colección: | Leonardo (Oxford, England). Supplemental issue ;
1988. |
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Front Cover; Electronic Art; Copyright Page; Table of Contents; EDITORIAL; Chapter 1. Perceptual Correspondences of Abstract Animation and Synthetic Sound; DYNAMICS; Bibliography; Chapter 2. Art and Education in the Telematic Culture; APPENDIX; References; Chapter 3. The Electronic Bauhaus: Gestalt Technologies and the Electronic Challenge to Visual Art; THE ISDN FOR ART: TOWARDS ANARCHITECTURE OF COMMUNICATION; ECOTECHNOLOGY:DESIGN WITHECOLOGY; THE EXPERT SYSTEMARTIST:FIFTH-GENERATIONCOMPUTER CULTURE; References and Notes; Chapter 4. Logic and Time-Based Art Practice; SYSTEMATIC CONSTRUCTION.
- LOGIC PROGRAMMINGAND IMAGE HANDLINGTHE INFERENCE SYSTEM AND STRUCTURES IN TIME; JASPER: A SAMPLE WORK; FURTHER OPPORTUNITIES; Chapter 5. Computational Art; THE CONSTRUCTION OF AN IMAGINATIVE ARTIFACT; NOTATIONAL SYSTEMS; THE ALGORITHMIC GENIUS; CONCLUSION; References; Chapter 6. Establishing a Tonic Space with Digital Color; TONIC SPACE; METHOD OF MEASURE; TOWARDS DIGITAL COLOR CONCORD; RESERVATIONS AND CONCLUSIONS; Acknowledgments; Selected Reading; Chapter 7. The Creation Station: An Approach to a Multimedia Workstation; INTRODUCTION TO THE CREATION STATION; SOME SPECIFIC DESIGN CRITERIA.
- POTENTIAL PROGRAMMING OBSTACLESINTRODUCTION TO OBJECT-ORIENTED PROGRAMMING LANGUAGES AND OBJECTIVE-C; PROGRAMMING IN OOPLS; THE CREATION STATION BASICS; THE EDITOR AND EDITORUI; CONCLUSION; Bibliography; Chapter 8. Computer Music Languages . . .and the Real World; COMPUTER MUSIC LANGUAGES; PROPOSAL FOR CLASSIFICATION; CLASSIFICATION FOR PROGRAMMING LANGUAGES; CLASSIFICATION FOR MUSIC LANGUAGES; CONCLUSIONS; References and Notes; Further Reading; Chapter 9. Computer Graphics and Animationas Agents of Personal Evolution in the Arts; THE CHARACTERISTICS OF 'COMPUTER ART'
- THE CONSTRAINTSOF COMPUTER GRAPHICS TECHNOLOGYTHE CREATIVE ACT AS PERSONAL EVOLUTION; THECHARACTERISTICS OF CREATIVE PROCESS; THE COMPUTER AS AN EVOLUTIONARY AGENT; References; Chapter 10. Storing Art Images in Intelligent Computers; THE STORAGE PROBLEM; RECOVERING IMAGES FROM STORAGE; PROVIDING IMAGE INTELLIGENCE TO THE COMPUTER; ECONOMY RESULTING FROM INTELLIGENT IMAGE STORAGE; CONCLUSION; Acknowledgement; References and Notes; Chapter 11. The Making of a Film with Synthetic Actors; SCENARIO; CREATION OF THE ACTORS; ANIMATING THE HUMAN BODY; ANIMATING THE HANDS; ANIMATING A HUMAN FACE.
- REALISTIC ASPECTSSYNTHETIC CAMERAS AND LIGHTS; References and Notes; Chapter 12. Towards a Universal and Intelligent MIDI-Based Stage System: A Composer/Performer's Testimony; ROBOTICS IN SYNCHOROS; SYNCHOROS IN THE CONYINUITY; THE CURRENT SYNCHOROS SYSTEM; METHODOLOGY:A NEW MUSIC-MACHINE RELATIONSHIP; INTERDEPENDENCE OF THE MUSICAL LEVELS; DEVELOPMENT OF THE SYSTEM; Chapter 13. Geometric Image Modelling of the Musical Object; THE PATTERN, THE RHYTHM AND THE IMAGE; GRAPHIC REPRESENTATION OF MUSICAL KNOWLEDGE; GRAPHIC SPECTRAL REPRESENTATION OF THE MUSICAL PHRASE.