Visual Time

Visual Time offers a rare consideration of the idea of time in art history. Non-Western art histories currently have an unprecedented prominence in the discipline. To what extent are their artistic narratives commensurate with those told about Western art? Does time run at the same speed in all places? Keith Moxey argues that the discipline of art history has been too attached to interpreting works of art based on a teleological categorization—demonstrating how each work influences the next as part of a linear sequence—which he sees as tied to Western notions of modernity. In contrast, he emphasizes how the experience of viewing art creates its own aesthetic time, where the viewer is entranced by the work itself rather than what it represents about the historical moment when it was created. Moxey discusses the art, and writing about the art, of modern and contemporary artists, such as Gerard Sekoto, Thomas Demand, Hiroshi Sugimoto, and Cindy Sherman, as well as the sixteenth-century figures Pieter Bruegel the Elder, Albrecht Dürer, Matthias Grünewald, and Hans Holbein. In the process, he addresses the phenomenological turn in the study of the image, its application to the understanding of particular artists, the ways verisimilitude eludes time in both the past and the present, and the role of time in nationalist accounts of the past.

Visual effects (VFX) are one of the most complicated components of feature film and television creation. With advancements in such technologies as Ray Tracing and Virtual Reality, the visual quality of the real-time rendering engine is now rivaling feature film. Real-time rendering requires years of programming experience with advanced understanding in math and physics. As the power of the real-time rendering engine improves, so too do the interfaces for VFX creation. With limited technical understanding, artists can create VFX with the push of a button and tug of a slider. As powerful as the interfaces are, they can only expose a portion of the true potential of the rendering engine. Artists are limited by their understanding of the engine interface. Real Time Visual Effects for the Technical Artist is written for digital artists to explain the core concepts of VFX, common in all engines, to free them from interface bounds. Features: Introduces the reader to the technical aspects of real-time VFX Built upon a career of more than 20 years in the feature film VFX and the real-time video game industries and tested on graduate and undergraduate students Explores all real-time VFX in four categories: in-camera effects, in-material effects, simulations, and particles This book is written to complement undergraduate- or graduate-level courses focused on the fundamentals of modern real-time VFX. Chris Roda is a Technical Art instructor at the Florida Interactive Entertainment Academy (FIEA), a graduate degree program in interactive, real-time application development at the University of Central Florida. Early in his career, Chris was a visual effects artist in the film and television industries where he contributed visual effects for films such as Spider-Man, Titanic, and The Fifth Element. Before coming to FIEA, Chris was a CG Supervisor at Electronic Arts, where he worked on video game titles such as NCAA Football and Madden NFL Football. In addition to teaching, Chris works on generating tools and pipelines for the creation of immersive experiences: the amalgamation of the narrative of films, the interactivity of video games, and the immersion of theme parks.

This book treats visual feedback control of mechanical systems, mostly robot manipulators. It not only deals with image processing techniques and robot control schemes but also covers the latest investigation of the design of the visual servo mechanism based on modern linear and nonlinear control theory, the adaptive control scheme, fuzzy logic, and neural networks. New concepts for utilizing visual sensory information for real-time manipulator control are derived and the performances are evaluated through simulations and/or experiments.The contributors to this book are robotics specialists from all over the world. The book gives a practical perspective on visual servoing to researchers, engineers, and students working in this area.

The cardiovascular deconditioning, dehydration, and other physiological changes that occur as a result of prolonged exposure to the zero g space environment raise some questions about the applicability of much previous research which has shown that spacecraft atmosphere reentry accelerations pose no appreciable physiological or performance problems for the astronauts. This report deals with whether or not peripheral visual response time changes during +Gz acceleration following fourteen days of bedrest as well as what effect prolonged bedrest has upon this response.

This comprehensively updated and expanded revision of the successful second edition continues to provide detailed coverage of the ever-growing range of research topics in vision. In Part I, the treatment of visual physiology has been extensively revised with an updated account of retinal processing, a new section explaining the principles of spatial and temporal filtering which underlie discussions in later chapters, and an up-to-date account of the primate visual pathway. Part II contains four largely new chapters which cover recent psychophysical evidence and computational model of early vision: edge detection, perceptual grouping, depth perception, and motion perception. The models discussed are extensively integrated with physiological evidence. All other chapters in Parts II, III, and IV have also been thoroughly updated.

In the past decade, the field of comparative cognition has grown and thrived. No less rigorous than purely behavioristic investigations, examinations of animal intelligence are useful for scientists and psychologists alike in their quest to understand the nature and mechanisms of intelligence. Extensive field research of various species has yielded exciting new areas of research, integrating findings from psychology, behavioral ecology, and ethology in a unique and wide-ranging synthesis of theory and research on animal cognition. The Oxford Handbook of Comparative Cognition contains sections on perception and illusion, attention and search, memory processes, spatial cognition, conceptualization and categorization, problem solving and behavioral flexibility, and social cognition processes including findings in primate tool usage, pattern learning, and counting. The authors have incorporated findings and theoretical approaches that reflect the current state of the field. This comprehensive volume will be a must-read for students and scientists who want to know about the state of the art of the modern science of comparative cognition.