Perceptual Principles and Computer Graphics
(Eurographics Association, 1999) May, J.
Until comparatively recently, the major problems in computer display technology were caused by the difficulty of making anything recognisable at all. Eighty character-width displays, with eight or nine brilliant green lines per character, slow to respond and slow to decay, somehow enabled people to use their vast new computers with their kilobytes of memory. The pace of change should really astonish us, as we contemplate flat, bright and crisp LCD screens that require separate graphics processors and megabytes of video memory chips just to display our favourite desktop images. It now seems possible for our technological artefacts to display almost anything in as much detail as we would like, whether from a high resolution photographic image or, via skilfully implemented algorithms, by photorealistic rendering from data. In the course of this rapid development, the major problems have themselves changed: now we must ask ourselves what it means for our displays to be recognisable, and what is it in the display that needs to be recognised?
Active Storytelling
(Eurographics Association, 1999) Glassner, A.
People love to exchange stories. Stories provide a context for the events, feelings, ideas, and relationships that make up the fabric of our daily lives. When we describe an important experience in our life to another person, we often shape it in the form of a story. Stories are a means of communication. We are on the threshold of a revolutionary change in how people will communicate with each other and the environment. A global wireless communications network, coupled with computational devices that know where they are and are in contact with the network, will knit together individuals and groups in ways we have never seen before. These devices will employ speech recognition and synthesis, algorithms for vision understanding and graphic synthesis, and algorithms to extract meaning fromtext, images, and sounds. When these devices mature, they will be small, portable, wireless, and ubiquitous. They will have a deep impact on our cultures, and our stories.
The Digital Michelangelo Project
(Eurographics Association, 1999) Levoy, Marc
Recent improvements in laser rangefinder technology, together with algorithms developed at Stanford for combining multiple range and color images, allow us to reliably and accurately digitize the external shape and reflectance of many physical objects. As an application of this technology, I and a team of 30 faculty, staff, and students from Stanford University and the University of Washington spent the 1998-99 academic year digitizing the sculptures and architecture of Michelangelo. During this time, we scanned the David, the Unfinished Slaves, and the St. Matthew, all located in the Galleria dell’Accademia in Florence, the four allegorical statues in the Medici Chapel, also in Florence, and the architectural settings of both museums. In the months ahead we will process the data we have collected to create 3D digital models of these works. The goals of this project are scholarly and educational. Our sponsors are Stanford University, Interval Research Corporation, and the Paul G. Allen Foundation for the Arts. In this extended abstract and invited talk, I will outline the technological underpinings, logistical challenges, and possible outcomes of this project.

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