Note on 3D Graphics Technology a Piece of Paper Is Two‐Dimensional
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Using Typography and Iconography to Express Emotion
Using typography and iconography to express emotion (or meaning) in motion graphics as a learning tool for ESL (English as a second language) in a multi-device platform. A thesis submitted to the School of Visual Communication Design, College of Communication and Information of Kent State University in partial fulfillment of the requirements for the degree of Master of Fine Arts by Anthony J. Ezzo May, 2016 Thesis written by Anthony J. Ezzo B.F.A. University of Akron, 1998 M.F.A., Kent State University, 2016 Approved by Gretchen Caldwell Rinnert, M.G.D., Advisor Jaime Kennedy, M.F.A., Director, School of Visual Communication Design Amy Reynolds, Ph.D., Dean, College of Communication and Information TABLE OF CONTENTS TABLE OF CONTENTS .................................................................................... iii LIST OF FIGURES ............................................................................................ v LIST OF TABLES .............................................................................................. v ACKNOWLEDGEMENTS ................................................................................ vi CHAPTER 1. THE PROBLEM .......................................................................................... 1 Thesis ..................................................................................................... 6 2. BACKGROUND AND CONTEXT ............................................................. 7 Understanding The Ell Process .............................................................. -
3D Graphics Fundamentals
11BegGameDev.qxd 9/20/04 5:20 PM Page 211 chapter 11 3D Graphics Fundamentals his chapter covers the basics of 3D graphics. You will learn the basic concepts so that you are at least aware of the key points in 3D programming. However, this Tchapter will not go into great detail on 3D mathematics or graphics theory, which are far too advanced for this book. What you will learn instead is the practical implemen- tation of 3D in order to write simple 3D games. You will get just exactly what you need to 211 11BegGameDev.qxd 9/20/04 5:20 PM Page 212 212 Chapter 11 ■ 3D Graphics Fundamentals write a simple 3D game without getting bogged down in theory. If you have questions about how matrix math works and about how 3D rendering is done, you might want to use this chapter as a starting point and then go on and read a book such as Beginning Direct3D Game Programming,by Wolfgang Engel (Course PTR). The goal of this chapter is to provide you with a set of reusable functions that can be used to develop 3D games. Here is what you will learn in this chapter: ■ How to create and use vertices. ■ How to manipulate polygons. ■ How to create a textured polygon. ■ How to create a cube and rotate it. Introduction to 3D Programming It’s a foregone conclusion today that everyone has a 3D accelerated video card. Even the low-end budget video cards are equipped with a 3D graphics processing unit (GPU) that would be impressive were it not for all the competition in this market pushing out more and more polygons and new features every year. -
Energy-Efficient VLSI Architectures for Next
UNIVERSITY OF CALIFORNIA Los Angeles Energy-Efficient VLSI Architectures for Next- Generation Software-Defined and Cognitive Radios A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Electrical Engineering by Fang-Li Yuan 2014 c Copyright by Fang-Li Yuan 2014 ABSTRACT OF THE DISSERTATION Energy-Efficient VLSI Architectures for Next- Generation Software-Defined and Cognitive Radios by Fang-Li Yuan Doctor of Philosophy in Electrical Engineering University of California, Los Angeles, 2014 Professor Dejan Markovic,´ Chair Dedicated radio hardware is no longer promising as it was in the past. Today, the support of diverse standards dictates more flexible solutions. Software-defined radio (SDR) provides the flexibility by replacing dedicated blocks (i.e. ASICs) with more general processors to adapt to various functions, standards and even allow mutable de- sign changes. However, such replacement generally incurs significant efficiency loss in circuits, hindering its feasibility for energy-constrained devices. The capability of dy- namic and blind spectrum analysis, as featured in the cognitive radio (CR) technology, makes chip implementation even more challenging. This work discusses several design techniques to achieve near-ASIC energy effi- ciency while providing the flexibility required by software-defined and cognitive radios. The algorithm-architecture co-design is used to determine domain-specific dataflow ii structures to achieve the right balance between energy efficiency and flexibility. The flexible instruction-set-architecture (ISA), the multi-scale interconnects, and the multi- core dynamic scheduling are also proposed to reduce the energy overhead. We demon- strate these concepts on two real-time blind classification chips for CR spectrum anal- ysis, as well as a 16-core processor for baseband SDR signal processing. -
Alternative Perspectives 3.1
Alternative Perspectives 3.1 Chapter 3: ALTERNATIVE PERSPECTIVES Extending Our Understanding of the Relationships Among Devices In the previous chapter, the grain at which we looked at input devices was fairly coarse, especially if our orientation is the user and usage, and not the technology. If we want to probe deeper, characterizing devices as "mice”, "tablets" or "joysticks" is not adequate. While useful, they are not detailed enough to provide us with the understanding that will enable us to make significant improvements in our interface designs. The design space of input devices is complex. In order to achieve a reasonable grasp of it, we have to refine the grain of our analysis to something far finer than has hitherto been the case. In the sections which follow, we explore some of the approaches to carving up this space in ways meaningful to the designer. If design is choice, then developing a more refined taxonomy will improve the range of choice. And, if the dimensions of the resultant taxonomy are appropriate, the model that emerges will afford better choices. As a start, let us take an example. It illustrates that - even at the top level - the dominant mouse, joystick, trackball ... categorization is not the only way to carve up the "pie." Figure 1 shows a caricature of four generic devices: a touch screen a light pen a touch tablet a tablet with a stylus. Haptic Input 14 September, 2009 Buxton Alternative Perspectives 3.2 (a) (b) (c) (d) Figure 1: Analogy and relationships among different devices The devices characterized in this figure possess some important properties that help us better understand input technologies in context. -
Real-Time Graphics Architecture P
4/18/2007 Real-Time Graphics Architecture Lecture 4: Parallelism and Communication Kurt Akeley Pat Hanrahan http://graphics.stanford.edu/cs448-07-spring/ CS448 Lecture 4 Kurt Akeley, Pat Hanrahan, Spring 2007 Topics 1. Frame buffers 2. Types of parallelism 3. Communication patterns and requirements 4. Sorting classification for parallel rendering (with examples) CS448 Lecture 4 Kurt Akeley, Pat Hanrahan, Spring 2007 1 4/18/2007 Frame Buffers Raster vs. calligraphic Raster (image order) dominant choice Calligraphic (object order) Earliest choice (Sketchpad) E&S terminals in the 70s and 80s Works with light pens Scene complexity affects frame rate Monitors are expensive Still required for FAA simulation Increases absolute brightness of light points CS448 Lecture 4 Kurt Akeley, Pat Hanrahan, Spring 2007 2 4/18/2007 Frame buffer definitions What is a frame buffer? What can we learn by considering different definitions? CS448 Lecture 4 Kurt Akeley, Pat Hanrahan, Spring 2007 Frame buffer definition #1 Storage for commands that are executed to refresh the display Allows for raster or calligraphiccalligraphic display (e. g. Megatech) “Frame buffer” for calligraphic display is a “display list” OpenGL “render list”? Key point: frame buffer contents are interpreted Color mapping Image scaling, warping Window system (overlay, separate windows, …) Address Recalculation Pipeline CS448 Lecture 4 Kurt Akeley, Pat Hanrahan, Spring 2007 3 4/18/2007 Frame buffer definition #2 Image memory used to decouple the render frame rate from the display -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Simulating Humans: Computer Graphics, Animation, and Control
University of Pennsylvania ScholarlyCommons Center for Human Modeling and Simulation Department of Computer & Information Science 6-1-1993 Simulating Humans: Computer Graphics, Animation, and Control Bonnie L. Webber University of Pennsylvania, [email protected] Cary B. Phillips University of Pennsylvania Norman I. Badler University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/hms Recommended Citation Webber, B. L., Phillips, C. B., & Badler, N. I. (1993). Simulating Humans: Computer Graphics, Animation, and Control. Retrieved from https://repository.upenn.edu/hms/68 Reprinted with Permission by Oxford University Press. Reprinted from Simulating humans: computer graphics animation and control, Norman I. Badler, Cary B. Phillips, and Bonnie L. Webber (New York: Oxford University Press, 1993), 283 pages. Author URL: http://www.cis.upenn.edu/~badler/book/book.html This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hms/68 For more information, please contact [email protected]. Simulating Humans: Computer Graphics, Animation, and Control Abstract People are all around us. They inhabit our home, workplace, entertainment, and environment. Their presence and actions are noted or ignored, enjoyed or disdained, analyzed or prescribed. The very ubiquitousness of other people in our lives poses a tantalizing challenge to the computational modeler: people are at once the most common object of interest and yet the most structurally complex. Their everyday movements are amazingly uid yet demanding to reproduce, with actions driven not just mechanically by muscles and bones but also cognitively by beliefs and intentions. Our motor systems manage to learn how to make us move without leaving us the burden or pleasure of knowing how we did it. -
Real-Time Rendering Techniques with Hardware Tessellation
Volume 34 (2015), Number x pp. 0–24 COMPUTER GRAPHICS forum Real-time Rendering Techniques with Hardware Tessellation M. Nießner1 and B. Keinert2 and M. Fisher1 and M. Stamminger2 and C. Loop3 and H. Schäfer2 1Stanford University 2University of Erlangen-Nuremberg 3Microsoft Research Abstract Graphics hardware has been progressively optimized to render more triangles with increasingly flexible shading. For highly detailed geometry, interactive applications restricted themselves to performing transforms on fixed geometry, since they could not incur the cost required to generate and transfer smooth or displaced geometry to the GPU at render time. As a result of recent advances in graphics hardware, in particular the GPU tessellation unit, complex geometry can now be generated on-the-fly within the GPU’s rendering pipeline. This has enabled the generation and displacement of smooth parametric surfaces in real-time applications. However, many well- established approaches in offline rendering are not directly transferable due to the limited tessellation patterns or the parallel execution model of the tessellation stage. In this survey, we provide an overview of recent work and challenges in this topic by summarizing, discussing, and comparing methods for the rendering of smooth and highly-detailed surfaces in real-time. 1. Introduction Hardware tessellation has attained widespread use in computer games for displaying highly-detailed, possibly an- Graphics hardware originated with the goal of efficiently imated, objects. In the animation industry, where displaced rendering geometric surfaces. GPUs achieve high perfor- subdivision surfaces are the typical modeling and rendering mance by using a pipeline where large components are per- primitive, hardware tessellation has also been identified as a formed independently and in parallel. -
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Video Games and the Mobilization of Anxiety and Desire
PLAYING THE CRISIS: VIDEO GAMES AND THE MOBILIZATION OF ANXIETY AND DESIRE BY ROBERT MEJIA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Kent A. Ono, Chair Professor John Nerone Professor Clifford Christians Professor Robert A. Brookey, Northern Illinois University ABSTRACT This is a critical cultural and political economic analysis of the video game as an engine of global anxiety and desire. Attempting to move beyond conventional studies of the video game as a thing-in-itself, relatively self-contained as a textual, ludic, or even technological (in the narrow sense of the word) phenomenon, I propose that gaming has come to operate as an epistemological imperative that extends beyond the site of gaming in itself. Play and pleasure have come to affect sites of culture and the structural formation of various populations beyond those conceived of as belonging to conventional gaming populations: the workplace, consumer experiences, education, warfare, and even the practice of politics itself, amongst other domains. Indeed, the central claim of this dissertation is that the video game operates with the same political and cultural gravity as that ascribed to the prison by Michel Foucault. That is, just as the prison operated as the discursive site wherein the disciplinary imaginary was honed, so too does digital play operate as that discursive site wherein the ludic imperative has emerged. To make this claim, I have had to move beyond the conventional theoretical frameworks utilized in the analysis of video games. -
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