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Studying the Role of 3D Computer Simulation in Generating Photorealistic Images
Abstract and Figures
This paper presents part of a interdisciplinary research work done for master degree at the Faculty of Visual Arts and Design of the University of Tehran. The objective of this research was to study and analyze photorealistic computer-generated images and bring 3D Computer Graphics into Photography realm.
2-1-2 Cinema and Zuse’s Machine
2-1-4 Baudrillard and Simulation
2-1-5 Virtual World
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Presenting the latest technological developments in arts and culture, this volume demonstrates the advantages of a union between art and science. Electronic Visualisation in Arts and Culture is presented in five parts:
• Imaging and Culture
• New Art Practice
• Seeing Motion
• Interaction and Interfaces
• Visualising Heritage
Electronic Visualisation in Arts and Culture explores a variety of new theory and technologies, including devices and techniques for motion capture for music and performance, advanced photographic techniques, computer generated images derived from different sources, game engine software, airflow to capture the motions of bird flight and low-altitude imagery from airborne devices.
The international authors of this book are practising experts from universities, art practices and organisations, research centres and independent research. They describe electronic visualisation used for such diverse aspects of culture as airborne imagery, computer generated art based on the autoimmune system, motion capture for music and for sign language, the visualisation of time and the long term preservation of these materials. Selected from the EVA London conferences from 2009-2012, held in association with the Computer Arts Society of the British Computer Society, the authors have reviewed, extended and fully updated their work for this state-of-the-art volume.
This book explores the ideas of key thinkers and media practitioners who have examined images and icons of war and terror. Icons of War and Terror explores theories of iconic images of war and terror, not as received pieties but as challenging uncertainties; in doing so, it engages with both critical discourse and conventional image-making. The authors draw on these theories to re-investigate the media/global context of some of the most iconic representations of war and terror in the international 'risk society'. Among these photojournalistic images are: • Nick Ut's Pulitzer Prize winning photograph of a naked girl, Kim Phuc, running burned from a napalm attack in Vietnam in June 1972; • a quintessential 'ethnic cleansing' image of massacred Kosovar Albanian villagers at Racak on January 15, 1999, which finally propelled a hesitant Western alliance into the first of the 'new humanitarian wars'; • Luis Simco's photograph of marine James Blake Miller, 'the Marlboro Man', at Fallujah, Iraq, 2004; • the iconic toppling of the World Trade Centre towers in New York by planes on September 11, 2001; and the 'Falling Man' icon - one of the most controversial images of 9/11; • the image of one of the authors of this book, as close-up victim of the 7/7 terrorist attack on London, which the media quickly labelled iconic. This book will be of great interest to students of media and war, sociology, communications studies, cultural studies, terrorism studies and security studies in general.
This book looks at the convergent nature of technology and its relationship to the field of photogrammetry and 3D design. This is a facet of a broader discussion of the nature of technology itself and the relationship of technology to art, as well as an examination of the educational process. In the field of technology-influenced design-based education it is natural to push for advanced technology, yet within a larger institution the constraints of budget and adherence to tradition must be accepted. These opposing forces create a natural balance; in some cases constraints lead to greater creativity than freedom ever can – but in other cases the opposite is true. This work offers insights into ways to integrate new technologies into the field of design, and from a broader standpoint it also looks ahead, raising further questions and looking to the near future as to what additional technologies might cause further disruptions to 3D design as well as wonderful creative opportunities.
When I was a boy, back in the 1960s, my father took me to the university computer center. I saw core memory that took up a huge, desk-size module. One bit was a donut-shape magnet, one millimeter across, that I could have held between thumb and forefinger. This represented the fundamental unit of the human artifact that Alan Turing referred to as a “universal machine.”1 Since then, one bit of storage has shrunk to dimensions so vanishingly small it seems more idea than object. Computers have become devices at once ubiquitous and practically invisible. Microprocessors hide in plain sight in cars and kitchens. Digital communications span the globe. The personal computer and the internet are only the most obvious sites of computational technology. Every medium bears its mark, as do the clothes we wear and the food we eat. It permeates our society, yet we are oddly oblivious to it. For a while, everything new and wonderful was “digital”—now the term elicits little more than a yawn, the consumer's ultimate revenge. Like the fish in the Zen koan, we swim but do not know the meaning of water.
A 3D model defines the structural attributes of its subject. By itself, this is not enough to produce a convincing representation. To make it more realistic, material attributes are needed. Materials define what the structure is made of. These attributes are stored in what is called a shader. Shaders are programs that interact with the renderer at render time to determine how the different objects in a scene react to lighting and each other. Shaders are embedded in CG applications and are used by artists to specify the appearance of the objects they make.