Rae Earnshaw

John Vince

The very word "digital" has acquired a status that far exceeds its humble dictionary definition. Even the prefix digital, when associ ated with familiar sectors such as radio, television, photography and telecommunications, has reinvented these industries, and provided a unique opportunity to refresh them with new start-up companies, equipment, personnel, training and working practices - all of which are vital to modern national and international economies. The last century was a period in which new media stimulated new job opportunities, and in many cases created totally new sectors: video competed with film, CDs transformed LPs, and computer graphics threatened traditional graphic design sectors. Today, even the need for a physical medium is in question. The virtual digital domain allows the capture, processing, transmission, storage, retrieval and display of text, images, audio and animation without familiar materials such as paper, celluloid, magnetic tape and plastic. But moving from these media to the digital domain intro duces all sorts of problems, such as the conversion of analog archives, multimedia databases, content-based retrieval and the design of new content that exploits the benefits offered by digital systems. It is this issue of digital content creation that we address in this book. Authors from around the world were invited to comment on different aspects of digital content creation, and their contributions form the 23 chapters of this volume.

Digital Content Creation

John Lansdown

The collection of papers that makes up this book arises largely from the joint activities of two specialist groups of the British Computer Society, namely the Displays Group and the Computer Arts Society. Both these groups are now more than 20 years old and during the whole of this time have held regular, separate meetings. In recent years, however, the two groups have held a joint annual meeting at which presentations of mutual interest have been given and it is mainly from the last two of these that the present papers have been drawn. They fall naturally into four classes: visualisation, art, design and animation-although, as in all such cases, the boundaries between the classes are fuzzy and overlap inevitably occurs. Visualisation The graphic potential of computers has been recognised almost since computing was first used, but it is only comparatively recently that their possibilities as devices for the visualisation of complex. and largely ab stract phenomena has begun to be more fully appreciated. Some workers stress the need to be able to model photographic reality in order to assist in this task. They look to better algorithms and more resolution to achieve this end. Others-Alan Mackay for instance-suggest that it is "not just a matter of providing more and more pixels. It is a matter of providing congenial clues which employ to the greatest extent what we already know.

Computers in Art, Design and Animation

David F. Rogers

In the third paper in this chapter, Mike Pratt provides an historical intro duction to solid modeling. He presents the development of the three most freqently used techniques: cellular subdivision, constructive solid modeling and boundary representation. Although each of these techniques devel oped more or less independently, today the designer's needs dictate that a successful system allows access to all of these methods. For example, sculptured surfaces are generally represented using a boundary represen tation. However, the design of a complex vehicle generally dictates that a sculptured surface representation is most efficient for the 'skin' while constructive solid geometry representation is most efficent for the inter nal mechanism. Pratt also discusses the emerging concept of design by 'feature line'. Finally, he addresses the very important problem of data exchange between solid modeling systems and the progress that is being made towards developing an international standard. With the advent of reasonably low cost scientific workstations with rea sonable to outstanding graphics capabilities, scientists and engineers are increasingly turning to computer analysis for answers to fundamental ques tions and to computer graphics for present~tion of those answers. Although the current crop of workstations exhibit quite impressive computational ca pability, they are still not capable of solving many problems in a reasonable time frame, e. g. , executing computational fluid dynamics and finite element codes or generating complex ray traced or radiosity based images. In the sixth chapter Mike Muuss of the U. S.

Theory and Practice

Computer Graphics Techniques

"Advances in computer technology and developments such as the Internet provide a constant momentum to design new techniques and algorithms to support computer graphics. Modelling, animation and rendering remain principal topics in the filed of computer graphics and continue to attract researchers around the world." This volume contains the papers presented at Computer Graphics International 2002, in July, at the University of Bradford, UK. These papers represent original research in computer graphics from around the world and cover areas such as: - Real-time computer animation - Image based rendering - Non photo-realistic rendering - Virtual reality - Avatars - Geometric and solid modelling - Computational geometry - Physically based modelling - Graphics hardware architecture - Data visualisation - Data compression The focus is on the commercial application and industrial use of computer graphics and digital media systems.

Advances in Modelling, Animation and Rendering

This volume presents state-of-the-art research from a wide area of subjects brought about by the digital convergence of computing, television, telecommunications and the World-Wide Web. It represents a unique snapshot of trends across a wide range of subjects including virtual environments; virtual reality; telepresence; human-computer interface design; interactivity; avatars; and the Internet. Both researchers and practitioners will find it an invaluable source of reference.

Digital Media: The Future

Although the computer's life has been relatively short, it has brought about an information revolution that is transforming our world on a scale that is still difficult to comprehend. This digital convergence is shaping society, technology and the media for the next millennium. Areas as diverse as home banking and shopping over the Internet; WWW access over mobile phone networks; and television systems such as Web TV which combine on-line services with television. But convergence is not just about technology. It is also about services and new ways of doing business and of interacting with society. Digital convergence heralds the 'Information Revolution'. Edited by John Vince and Rae Earnshaw this important new book on Digital Convergence: The Information Revolution is an edited volume of papers, bringing together state-of-the-art developments in the Internet and World Wide Web and should be compulsory reading for all those interested in and working in those areas.

Digital Convergence: The Information Revolution

Judith R. Brown

Mikail Jern

Shows how visualizations can be created, from simple 2D to the latest virtual reality. CD gives examples ranging from basic charting and graphing to more advanced video, animation and volume visualization techniques.

Using Computer Graphics to Explore Data and Present Information

Visualization

Brian Wyvill

This volume presents the proceedings of the 7th International Confer ence of the Computer Graphics Society, CG International '89, held at the University of Leeds, UK, June 27-30, 1989. Since 1982 this confer ence has continued to attract high-quality research papers in all aspects of computer graphics and its applications. Originally the conference was held in Japan (1982-1987), but in 1988 was held in Geneva, Switzerland. Future conferences are planned for Singapore in 1990, USA in 1991, Japan in 1992, and Canada in 1993. Recent developments in computer graphics have concentrated on the following: greater sophistication of image generation techniques; advances in hardware and emphasis on the exploitation of parallelism, integration of robotics and AI techniques for animation, greater integ ration of CAD and CAM in CIM, use of powerful computer graphics techniques to represent complex physical processes (visualization), advances in computational geometry and in the representation and modelling of complex physical and mathematical objects, and improved tools and methods for HC!. These trends and advances are reflected in this present volume. A number of papers deal with important research aspects in many of these areas.

Proceedings of CG International ’89

New Advances in Computer Graphics

Andries Van Dam

Richard Guedj

Rae Earnshawand John A. Vince --_. . _----- 1 Introduction The USPresident's Information Technology Advisory Committee (PITAC)recently advised the US Senate of the strategic importance of investing in IT for the 21st century, particularlyin the areas of software,human-computer interaction, scalable information infrastructure, high-end computing and socioeconomic issues [1]. Research frontiers ofhuman-computer interaction include the desire that interac tion be more centered around human needs and capabilities, and that the human environment be considered in virtual environments and in other contextual infor mation-processing activities. The overall goal is to make users more effective in their information or communication tasks by reducing learning times, speeding performance, lowering error rates, facilitating retention and increasing subjective satisfaction. Improved designs can dramatically increase effectiveness for users, who range from novices to experts and who have diverse cultures with varying educational backgrounds. Their lives could be made more satisfying, their work safer, their learning easier and their health better.

Frontiers of Human-Centered Computing, Online Communities and Virtual Environments

Daniel Thalmann

Peter Excell

Susan Liggett

This open access book details the relationship between the artist and their created works, using tools such as information technology, computer environments, and interactive devices, for a range of information sources and application domains. This has produced new kinds of created works which can be viewed, explored, and interacted with, either as an installation or via a virtual environment such as the Internet. These processes generate new dimensions of understanding and experience for both the artist and the public’s relationships with the works that are produced. This has raised a variety of interdisciplinary opportunities and issues, and these are examined. The symbiotic relationship between artistic works and the cultural context in which they are produced is reviewed. Technology can provide continuity by making traditional methods and techniques more efficient and effective. It can also provide discontinuity by opening up new perspectives and paradigms. This can generate new ideas, and produce a greater understanding of artistic processes and how they are implemented in practice. Tools have been used from the earliest times to create and modify artistic works. For example, naturally occurring pigments have been used for cave paintings. What has been created provides insight into the cultural context and social environment at the time of creation. There is an interplay between the goal of the creator, the selection and use of appropriate tools, and the materials and representations chosen. Technology, Design and the Arts - Opportunities and Challenges is relevant for artists and technologists and those engaged in interdisciplinary research and development at the boundaries between these disciplines.

Technology, Design and the Arts - Opportunities and Challenges

Huw Jones

A.J. Crilly

This volume is based upon the presentations made at an international conference in London on the subject of 'Fractals and Chaos'. The objective of the conference was to bring together some of the leading practitioners and exponents in the overlapping fields of fractal geometry and chaos theory, with a view to exploring some of the relationships between the two domains. Based on this initial conference and subsequent exchanges between the editors and the authors, revised and updated papers were produced. These papers are contained in the present volume. We thank all those who contributed to this effort by way of planning and organisation, and also all those who helped in the production of this volume. In particular, we wish to express our appreciation to Gerhard Rossbach, Computer Science Editor, Craig Van Dyck, Production Director, and Nancy A. Rogers, who did the typesetting. A. J. Crilly R. A. Earnshaw H. Jones 1 March 1990 Introduction Fractals and Chaos The word 'fractal' was coined by Benoit Mandelbrot in the late 1970s, but objects now defined as fractal in form have been known to artists and mathematicians for centuries. Mandelbrot's definition-"a set whose Hausdorff dimension is not an integer" -is clear in mathematical terms. In addition, related concepts are those of self-similarity and sub-divisibility. A fractal object is self-similar in that subsections of the object are similar in some sense to the whole object.

Fractals and Chaos

The convergence of IT, telecommunications, and media is changing the way information is collected, stored and accessed. This revolution is having effects on the development and organisation of information and artefact repositories such as libraries and museums. This book presents key aspects in the rapidly moving field of digital convergence in the areas of technology and information sciences. Its chapters are written by international experts who are leaders in their fields.

Digital Convergence - Libraries of the Future

Algorithms provide the basic foundation for all computational processes. This volume presents algorithms at the foundational level and also at the various levels between this level and the user application. Some of these algorithms are classical and have become well established in the field. This material is therefore a rich source of information and is still relevant and up to date. The basic primitives of computer graphics have remained unchanged: lines, circles, conics, curves and characters. This volume contains reference material in all these areas. The higher levelsof contouring and surface drawing are also well covered. Developments in hardware architectures have continued since the first printing, but the basic principles of hardware/software trade-offs remain valid. This reprint is being published as a Study Edition to make the material more accessible to students and researchers in the field of computer graphics andits applications. The continuing popularity of the original book demonstrates the value and timeliness of its contents.

NATO Advanced Study Institute directed by J.E. Bresenham, R.A. Earnshaw, M.L.V. Pitteway

Fundamental Algorithms for Computer Graphics

This book presents an overview of the technical underpinnings in the field of digital media. This includes theory, imaging, big data, interaction, and the research and development that is needed in order to make digital media interfaces more natural and easy to use. Grant funding sources for R & D are detailed and current priority areas are summarized. Developments in the relevant commercial areas are also reviewed. This is Professor Earnshaw’s fifth book in the series on digital media and its applications and creative uses. These books explain the significance and importance of digital media and how it has developed and advanced.They also explore the impact digital media is having on a range of domains including art and design, the creative industries, visual analytics, big data, and digital humanities.The convergence of IT, telecommunications and media is bringing about a revolution in the way information is being collected, stored, accessed and distributed. Digital media is expected to play an increasing role in these processes. State of the art digital technologies are increasingly utilized in order to deliver to the user requirements and also to be effective and efficient in this delivery, given the increasing demands by users and other third parties involved in the content creation and service delivery pipeline. Research and Development in Digital Media will be invaluable for readers that want a summary of the technical research and development aspects of digital media, how such work is being funded, and the kind of changes in digital media provision that may result.

Rae Earnshaw

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