DOCSLIB.ORG

25 Jahre Ars Electronica

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
25 Jahre Ars Electronica Literatur: Preisträger in der Filmsparte – Computeranimation – visual effects Literatur: Literatur : Literatur: Literatur (2) : Literatur: Literatur (2) : Blick, Stimme und (k)ein Körper – Der Einsatz 1987: John Lasseter, Mario Canali, Rolf Herken Cyber society – Mythos und Realität der Maschinen, Medien, Performances – Theater an Future cinema !! / Jeffrey Shaw, Peter Weibel Ed. Gary Hill / Selected Works Soundcultures – Über elektronische und digitale Kunst als Sendung – Von der Telegrafie zum der elektronischen Medien im Theater und in 1988: John Lasseter, Peter Weibel, Mario Canali u. Anerkennungen s.r. Informationsgesellschaft / Achim Bühl der Schnittstelle zu digitalen Welten / Kunst und Video / Bettina Gruber, Maria Vedder Intermedialität – Das System Peter Greenaway Musik / Hg. Marcus S. Kleiner, A. Szepanski 25 Jahre ars electronica Internet / Dieter Daniels VideoKunst / Gerda Lampalzer interaktiven Installationen / Mona Sarkis Tausend Welten – Die Auflösung der Gesellschaft Martina Leeker (Hg.) Yvonne Spielmann Resonanzen – Aspekte der Klangkunst / 1989: Joan Staveley, Amkraut & Girard, Simon Wachsmuth, Zdzislaw Pokutycki, Flavia Alman, Mario Canali, Interferenzen IV (zur Radiokunst) Liveness / Philip Auslander im digitalen Zeitalter / Uwe Jean Heuser Perform or else – from discipline to performance Videokunst in Deutschland 1963 – 1982 Arquitecturanimación / F. Massad, A.G. Yeste Hg. Bernd Schulz John Lasseter, Peter Conn, Eihachiro Nakamae, Edward Zajec, Franc Curk, Jasdan Joerges, Xavier Nicolas, TRANSIT #2 (zur Radiokunst) Rasender Stillstand / Paul Virilio Ein Überblick als Gedächtnistheater Motohiro Hayasaka, William Latham The Society of Text – Hypertext, Hypermedia, Jon McKenzie Ulrike Rosenbach / Videkunst, Foto, Aktion / Look at me – VIDEO – 25 Jahre Videoästhetik sound : space / Bernhard Leitner Art Telecommunication / Heidi Grundmann Geschwindigkeit und Politik / Paul Virilio and the Social Construction of Information / Multimodal Discourse – The modes and media Performance, feministische Kunst (wichtige Refernzen zur timeline) Cybernetics of Cybernetics / Heinz von Foerster 1990: Mario Sasso & Nicola Sani, Robert Lurye, Philippe Andrevon, Flavia Alman & Angelica Nascimento, Radiokultur von morgen / Hg. Johanna Dorer, Fluchtgeschwindigkeit / Paul Virilio Edward Barrett of contemporary communication / Gunther Video – 20 Jahre später – Eine Zwischenbilanz Simulation und Wirklichkeit – Design . Film . Der Anfang von Himmel und Erde hat keinen Gerhard Pakesch, Paul Coudsi, William Latham, Alan Norton, Karl Sims, Christiane Geoffroy, Rebecca Allen, Alexander Baratsits Revolutionen der Geschwindigkeit / Paul Virilio Medien-Theologie – Das Werk Vilém Flussers / Kress & Theo van Leeuwen Kunstforum Bd. 77/78 Architektur . Naturwissenschaften . Ökologie . Namen / Heinz von Foerster Denis Muren, John Lasseter, Jeff Kleiser, Diana Walczak, Eihachiro Nakamae, Steve Goldberg Die Ästhetik des Erscheinenden (1995/P15) / Der negative Horizont – Bewegung, Elektronische Medien in Kunst und Wissenschaft Elizabeth Neswald Alles jetzt! – Die Mediatisierung / Gerhard Objekt : Video / G. Hattinger, P. Assmann Ökonomie . Psychologie / Angela Schönberger Noise Gate / Granular Synthesis 1991: Karl Sims, James Duesing, Yoichiro Kawaguchi, Rashel B de F, Jean Luc Faubert, Maurice Benayoun, Roy Ascott !! Geschwindigkeit, Beschleunigung / Paul Virilio Kunst im Kontext von Software und komplexen Maschinen Peter Claridge, Boris S. Dolgovesor, Herve Huitric, Monique Nahas, Nancy Kato, Mike McKenna & Bob Kultur – über alle? gegen alle? für alle? Johann Lischka Computerkulturtage Linz – ORF Videonale Videokunst / Lydia Haustein Zur Kunst formalen Denkens / R. E. Burkard, performative installation / Hg. Angelika Nollert Die Sehmaschine / Paul Virilio M. Wagner, H. Fabris, I. Mörth u.a. Cyber_Reader – Critical writings for the digital topographie II: Untergrund – Videoinstallationen Fernseh-Design / Gunther Rambow u.a. Wolfgang Maass, Peter Weibel (Hg.) Sabiston, Simi Nallaseth, Eduard Oleschak, Michel Tolson, Pascal Vuong, Jason White & Richard Wright Der reine Krieg / Paul Virilio & Sylvére Lotringer ... perform _ or else - from discipline to performance (JM) cyber-moderne – medienevolution, globale era / Ed. by Neil Spiller in der Wiener U-Bahn Christian Mikunda sonic graphics – seeing sound / Matt Woolman 1992: Karl Sims, Charlie Gunn & Delle Maxwell, Cécile Babiole, Bériou, Dennis Muren & Mark A. Z. Dippé & Die Beschleunigung der Bilder in der netzwerke und die künste der kommunikation / Nam June Paik – Fluxus – Video / Wulf Die Spiele des Realen und des Virtuellen Music vs motion – FLIPS 5 Steve Williams, Matthew Brunner, Mario Martin Buendia, Jéróme Estienne & Xavier Duval, Fantome, Keith Chronokratie / Peter Weibel Ausgangsidee und Archiv - Recherche und Vernetzung: Gerhard Dirmoser Manfred Faßler Herzogenrath (Beitrag) / Edmond Couchot geometrie der Töne / Guerino Mazzola Hunter, Xavier Nicolas & Jerzy Kular, Alan Norton, Marc Raibert & Leg Laboratory Das Tempo-Virus / Peter Borscheid Qualitätssicherung und Zusatzbetrachtungen: Attila Kosa Deanimated / Martin Arnold Stuff it – the video essay in the digital age / Geometry of sound / Bernhard Leitner 1993: Pascal Roulin, Mark Malmberg, Darrin Butts, Bériou, George Barber, Jules Bister, Jos Claesen & Dauer-Simultaneität-Echtzeit / Kunstforum 151 Übersetzung (englische Ausgabe): Aileen Derieg Anton Roebben, Philippe Gassie & Bruno Simon, Industrial light & Magic, Eku Wand Katalog: Walter Pamminger Ed. By Ursula Biemann Musiktheorie / Semiotik Crossings – Musik zum Hören u. Sehen / 1994: Dennis Muren & Mark Dippé, Marc Caro, Maurice Benayoun, Eric Coignoux, Bériou, Peter Callas, Elektroakustik Cathrin Pichler Klangkunst / Akademie der Künste – Berlin Die Finanzierung erfolgte ohne Gelder der Kulturverwaltung Cassidy J. Curtis, Eric Darnell & Collery, Yoichiro Kawaguchi, Sabine Mai & Frank Pröscholdt, John Tonkin, Wahrnehmungstheorie zur der larsen effekt / OK Linz Stand der Einarbeitung 06/2004 Hideo Yamashita & Eihachiro Nakamae, Thomas Zancker, Tamás Waliczky Architektur Norbert Wiener Erstpräsentation 05/2004 TransPublic Linz 1995: Bob Sabiston & David Atherton, Thomas Bayrle, Steve Williams, Gayle Ayers & Dough Sutton, Dough Technoculture-Diskurs Version 1.3 D Kingsbury & Jeff Thingvold, Chuck Gamble, George Murphy, Violet Suk & Martin Koch, Francois Launet, Strukturalismus (Diskurs) Silvio Levy & Tamara Munzner, Franck Magnant, Jon McCormack, Medialab, Ben Stassen, Demetri Tanztheorie Musiktheater-Sicht Systemtheorie / System-Diskurs Hinweise/Anmerkungen und Anforderung des Files: Terzopoulos, Alexei Tylevich body research Selbstorganisationstheorie Symboltheorien des Wissens 25 akustische „Sicht“ [email protected] / G. Dirmoser Waltherstr. 2 – 4020 Linz 1996: John Lasseter, Marc Caro & Jean-Pierre Jeunet, Michel Gondry & Pierre Buffin, Philippe Billion, Dromologie Christian Boustani, John Clyne, James Duesing, ILM, Pierre Lachapelle, Arnauld Lamorlette, Denise Minter & Zeittheorien Performance-Sicht (II) Formalwissenschaften Tim Johnson Theaterwissenschaft Komplexitätstheorie Für Studienzwecke(Überarbeitungen) wird das Original-PowerPoint-File zur Verfügung gestellt. 1997: Scott Squires, Chris Wedge, Jim Mitchell, Stefen Fangmeier, Larry Lamb, Anna Henckel-Donnersmarck, Sicht der Musik Choreographie-Sicht Plazierungen im Internet, Ausdrucke und die Verteilung in Papierform (4x A0 oder A1) sind erwünscht. Michèle Cournoyer, Taku Kimura, Raquel Coelho, Carlos Saldanha, Michel Gondry, Stephen Weston, 26 Tanzsicht Francois Vogel, Marine Poirson & Lionel Richerand Moviephon – optoakustischer Stereophonie (PV) auditive Sicht Diverse Musikprojekte (John Klima) (CP) Dank an: H.W. Franke, Boris Nieslony, Astrit Schmidt-Burkhardt, TransPublic, Stadtwerkstatt, Servus, MEXX, Wandler (Klangbeeinflussung) 1986 (Richard Teitelbaum) 1998: Robert Legato, Liang-Yuan Wang, Christophe Hery & Habib Zargarpour, Rob Coleman, Tamás Waliczky, Musikalisches Bruckner- G. Lischka, Udo Wid, Ruth Schnell, Georg Ritter, Rainer Zendron, Christa Schneebauer, Gitti Vasicek, Kazuma Morino, Joey Lessard, Thierry Prieur & Pascal Roulin, Nobuo Takahashi, Yan Breuleux & Alain (K&K Experimentalstudio) (1980/K124) Elektronische Hilfsmittel (2000/P58) Set von Geschwindigkeitssicht Mikrofone und Lautsprecher Experiment (1979/K25) Martin Sturm, Walter Pamminger, Sabine Zimmermann, Walter Ebenhofer, Lioba Reddeker, Kurt Kladler, Thibault, Laurence Leydier, Steven Stahlberg, Nobuto Ochiai, Constantin Chamski, Julien Dajez, Stefan Installation für Ballett. Technoinstrumenten Lydia Haustein, Bernhard Cella, Gerhard Fröhlich, Josef Lehner, Franz Reitbauer, Magarete Jahrmann, Interaktion mit Licht (1979/K09) (P. Mühlfriedel, G. Sinfonisches Bruckner- Smith, Violet Suk & Martin Koch, Yves le Peillet, Nelson Max, Diana Walczak & Jeff Kleiser, Sebastien Larrue, (1997/K305) Siehe auch: Sicht der Behinderung Verbindung zw. Code und MP3, RealAudio Klangenvironment Margit Knipp, F.E. Rakuschan, G. Harringer, Manuel Schilcher, Willi Mayrwöger, Eva & Attila Kosa, Florian Brody, (C. Möller) (1995/P132) Markeffsky, L. Schaumann) Mark Stetson, Jan Pinkava, Kaori Saito, Tom Bertino, Charles Gibson, Denis Muren, Phil Tippett & Craig Computergenerierte Siehe auch: Transportsicht choreografischen Prozessen (1979/K25) The virtual cage (1994/P131) (PRIX) G. Hattinger, Dieter Mersch, Oliver Schürer, Isabell Muhr, Helmut Stadlmann, Tim Otto Roth, Josef Nemeth, Energie AG TänzerInnen (2003/K303) (Scott deLahunta) digital music Environmentkonzert
Load more

Recommended publications
  • A Cast of Thousands
    :: 3Dgate.com - Your Source For All That Is 3D :: 1/23/02 10:36 AM A Cast of Thousands ILM Reveals Six Techniques for Creating Artificial Crowds. by Chris Tome On the day Star Wars Episode One: The Phantom Menace opened at movie theaters, many companies in California's Silicon Valley gave their employees the day off. Even banks and insurance companies, it seems, fell under All images © Lucasfilm Ltd & TM. All rights reserved. Digital George Lucas' spell. work by ILM. One organization that might not have so been happy was the Screen Actors Guild. After all, it's not easy to get digital actors to pay their yearly dues. And make no mistake about it, The Phantom Menace is chock full of non-union thespians. The movie swarms with them—from humanoids to droids to alien swamp creatures. Notwithstanding prominent CG life forms such as Jar Jar Binks and Boss Nass (the subject of last month's in-depth character study), most of the film's artificial actors appear in crowd scenes. Concocted by the ingenious team at Industrial Light & Magic (ILM), these sequences present an utterly convincing cast of thousands, even when the actual number of flesh-and-blood actors onscreen is no more than a dozen, and sometimes none at all. How did they pull it off? In more ways than you can shake a light saber at. Some didn't even involve computers, such as the attentive audience of painted Q-Tips that fill the stadium bleachers during the pod race on the planet Tattooine. Digital technology did fill the stadium grounds and aisles, however, where a throng of animated human and alien figures was emitted by a Maya-based particle system that calculated their paths on the fly using artificial intelligence.
    [Show full text]
  • 3Dfx Oral History Panel Gordon Campbell, Scott Sellers, Ross Q. Smith, and Gary M. Tarolli
    3dfx Oral History Panel Gordon Campbell, Scott Sellers, Ross Q. Smith, and Gary M. Tarolli Interviewed by: Shayne Hodge Recorded: July 29, 2013 Mountain View, California CHM Reference number: X6887.2013 © 2013 Computer History Museum 3dfx Oral History Panel Shayne Hodge: OK. My name is Shayne Hodge. This is July 29, 2013 at the afternoon in the Computer History Museum. We have with us today the founders of 3dfx, a graphics company from the 1990s of considerable influence. From left to right on the camera-- I'll let you guys introduce yourselves. Gary Tarolli: I'm Gary Tarolli. Scott Sellers: I'm Scott Sellers. Ross Smith: Ross Smith. Gordon Campbell: And Gordon Campbell. Hodge: And so why don't each of you take about a minute or two and describe your lives roughly up to the point where you need to say 3dfx to continue describing them. Tarolli: All right. Where do you want us to start? Hodge: Birth. Tarolli: Birth. Oh, born in New York, grew up in rural New York. Had a pretty uneventful childhood, but excelled at math and science. So I went to school for math at RPI [Rensselaer Polytechnic Institute] in Troy, New York. And there is where I met my first computer, a good old IBM mainframe that we were just talking about before [this taping], with punch cards. So I wrote my first computer program there and sort of fell in love with computer. So I became a computer scientist really. So I took all their computer science courses, went on to Caltech for VLSI engineering, which is where I met some people that influenced my career life afterwards.
    [Show full text]
  • BCIS 1305 Business Computer Applications
    BCIS 1305 Business Computer Applications BCIS 1305 Business Computer Applications San Jacinto College This course was developed from generally available open educational resources (OER) in use at multiple institutions, drawing mostly from a primary work curated by the Extended Learning Institute (ELI) at Northern Virginia Community College (NOVA), but also including additional open works from various sources as noted in attributions on each page of materials. Cover Image: “Keyboard” by John Ward from https://flic.kr/p/tFuRZ licensed under a Creative Commons Attribution License. BCIS 1305 Business Computer Applications by Extended Learning Institute (ELI) at NOVA is licensed under a Creative Commons Attribution 4.0 International License, except where otherwise noted. CONTENTS Module 1: Introduction to Computers ..........................................................................................1 • Reading: File systems ....................................................................................................................................... 1 • Reading: Basic Computer Skills ........................................................................................................................ 1 • Reading: Computer Concepts ........................................................................................................................... 1 • Tutorials: Computer Basics................................................................................................................................ 1 Module 2: Computer
    [Show full text]
  • Silicon Graphics® 230 Visual Workstation with Vpro™ Graphics Silicon Graphics 230 Visual Workstation for Windows® Silicon Graphics 230L Visual Workstation for Linux®
    Datasheet Silicon Graphics® 230 Visual Workstation with VPro™ Graphics Silicon Graphics 230 Visual Workstation for Windows® Silicon Graphics 230L Visual Workstation for Linux® Exceptional Graphics Performance at Features Benefits Unprecedented Prices Silicon Graphics VPro graphics subsystem Provides unprecedented application and The Silicon Graphics 230 visual workstation includes OpenGLon a Chip™ implementation, system performance; fully OpenGL® 1.2 provides professional graphics performance at accelerated geometry pipeline, and conformant and accelerated professional texture mapping capabilities a remarkably low price. Affording customers an unparalleled technical, creative, and scientific Aggressive system price Delivers high-performance workstation graphics capabilities to technical and tool for visualization, Silicon Graphics 230 creative professionals at an extremely incorporates state-of-the-art Intel® architectures affordable price with Silicon Graphics visualization subsystems, Integrated transform and lighting Allows more realistic object behaviors setting a new standard for graphics application and character animation, as well as performance for Windows and Linux operating significantly more complex 3D modeling systems. As the entry system into the Silicon Intel based system utilizing industry- Incorporates renowned SGI graphics Graphics family of visual workstations, the 230 standard architecture and components capabilities in a cost-effective, reliable, offers amazing reliability, flexibility, and and flexible system that is easy to performance at a truly unbelievable price. This upgrade, maintain, and support combination of high-performance graphics and Single Intel Pentium® III processor Provides superior computing performance computing power for markets such as digital featuring fast on-die 256KB Level 2 Advanced Transfer Cache content creation, MCAD/MCAE, scientific visualization, and EDA has never been more Flexible, intelligently designed system Easy, toolless access for upgrade, accessible.
    [Show full text]
  • 25 Years of Ars Electronica
    Literature: Winners in the film section – Computer Animation – Visual Effects Literature: Literature : Literature: Literature (2) : Literature: Literature (2) : Blick, Stimme und (k)ein Körper – Der Einsatz 1987: John Lasseter, Mario Canali, Rolf Herken Cyber Society – Mythos und Realität der Maschinen, Medien, Performances – Theater an Future cinema !! / Jeffrey Shaw, Peter Weibel Ed. Gary Hill / Selected Works Soundcultures – Über elektronische und digitale Kunst als Sendung – Von der Telegrafie zum der elektronischen Medien im Theater und in 1988: John Lasseter, Peter Weibel, Mario Canali and Honorary Mentions (right) Informationsgesellschaft / Achim Bühl der Schnittstelle zu digitalen Welten / Kunst und Video / Bettina Gruber, Maria Vedder Intermedialität – Das System Peter Greenaway Musik / Ed. Marcus S. Kleiner, A. Szepanski 25 years of ars electronica Internet / Dieter Daniels VideoKunst / Gerda Lampalzer interaktiven Installationen / Mona Sarkis Tausend Welten – Die Auflösung der Gesellschaft Martina Leeker (Ed.) Yvonne Spielmann Resonanzen – Aspekte der Klangkunst / 1989: Joan Staveley, Amkraut & Girard, Simon Wachsmuth, Zdzislaw Pokutycki, Flavia Alman, Mario Canali, Interferenzen IV (on radio art) Liveness / Philip Auslander im digitalen Zeitalter / Uwe Jean Heuser Perform or else – from discipline to performance Videokunst in Deutschland 1963 – 1982 Arquitecturanimación / F. Massad, A.G. Yeste Ed. Bernd Schulz John Lasseter, Peter Conn, Eihachiro Nakamae, Edward Zajec, Franc Curk, Jasdan Joerges, Xavier Nicolas, TRANSIT #2
    [Show full text]
  • Garrett Smith, John Scheele and David Morin Ron Burdett, Bill
    Downloaded at SMPTE Member on 2013-10-11 from IP 108.23.17.102 @ SMPTE All Rights Reserved 2013, 122:46-53. doi: 10.5594/j18314 located on the World Wide Web at: SMPTE Mot. Imag. J Garrett Smith, John Scheele and David Morin http://journal.smpte.org/content/122/6/46.citation The online version of this article, along with updated information and services, is Curtis Clark, David Reisner, David Stump, Ron Garcia, Lou Levinson, Al Barton, Ron Burdett, Bill Feightner, Gary Demos, Don Eklund, Eric Rodli, Steve Schklair, Report from the American Society of Cinematographers Technology Committee Report from the American Society of Cinematographers Technology Committee By: Curtis Clark, ASC; David Reisner; David sion in the color grading. Even though many current projectors Stump, ASC; Ron Garcia, ASC; Lou Levinson; and monitors display only 10 bits, preserving 16-bit wide-gamut Al Barton; Ron Burdett; Bill Feightner; Gary color in the ACES master effectively preserves the creative con- Demos; Don Eklund; Eric Rodli; Steve Schklair; tent for future display devices that will be able to display great- Garrett Smith; John Scheele; David Morin er bit-depth images containing significantly improved contrast, along with higher resolution and increased image brightness. (Affiliations (as requested): David Reisner, D-Cinema Consulting) Another crucial advance regarding the importance of 4K is the abil- ASC Technology Committee Officers ity (and need) to differentiate the effect of grater spatial resolution Chair: Curtis Clark, ASC from image sharpness.
    [Show full text]
  • SOFTIMAGE|XSI Setup Guide Was Written by Maggie Kathwaroon, John Woolfrey; Edited by Edna Kruger and John Woolfrey; and Formatted by Luc Langevin
    SOFTIMAGE®|XSI™ Version 1.0 Setup Guide For IRIX and Windows NT systems a The SOFTIMAGE|XSI Setup Guide was written by Maggie Kathwaroon, John Woolfrey; edited by Edna Kruger and John Woolfrey; and formatted by Luc Langevin. Special thanks to Sammy Nelson, Greg Smith, Raonull Conover, Bruce Priebe, and Marc Villeneuve for their assistance in assuring the technical integrity of this guide. © 1998–2000 Avid Technology, Inc. All rights reserved. SOFTIMAGE and Avid are registered trademarkss of Avid Technology, Inc. mental ray and mental images are registered trademarks of mental images GmbH & Co. KG in the U.S.A. and/or other countries. FLEXlm is a registered trademark of GLOBEtrotter Software Inc. All other trademarks contained herein are the property of their respective owners. The SOFTIMAGE|XSI application uses JScript and Visual Basic Scripting Edition from Microsoft Corporation. This document is protected under copyright law. The contents of this document may not be copied or duplicated in any form, in whole or in part, without the express written permission of Avid Technology, Inc. This document is supplied as a guide for the Softimage product. Reasonable care has been taken in preparing the information it contains. However, this document may contain omissions, technical inaccuracies, or typographical errors. Avid Technology, Inc. does not accept responsibility of any kind for customers’ losses due to the use of this document. Product specifications are subject to change without notice. Printed in Canada. Document No. 0130-04619-01 0400 Contents Contents Introduction . .5 Online Help . .6 System Requirements . .7 Before You Begin . .9 Installation Checklist.
    [Show full text]
  • SIGGRAPH 2007 Computer Animation Festival Final Report 3/26/2008
    SIGGRAPH 2007 Computer Animation Festival Final Report 3/26/2008 SIGGRAPH 2007 Computer Animation Festival Final Report Paul Debevec USC Institute for Creative Technologies SIGGRAPH 2007 Computer Animation Festival Chair [email protected] Last Update: March 26, 2008 This document presents the final report for the SIGGRAPH 2007 Computer Animation Festival. It provides relevant information about decisions made and work executed for the various aspects of putting on the show, and suggestions for improvements for future years. If you have any questions about this report – especially if you are in the process of organizing a SIGGRAPH Computer Animation Festival or similar event yourself – please feel free to contact me at [email protected]. Paul Debevec, USC ICT Page 1 SIGGRAPH 2007 Computer Animation Festival Final Report 3/26/2008 Contents Chairing a successful SIGGRAPH Computer Animation Festival was enormously rewarding but a huge amount of work. It required recruiting a skilled and dedicated CAF committee and anticipating, planning, and executing hundreds of tasks efficiently and effectively. This document describes the most significant tasks with an eye toward helping future CAF chairs learn from both the successes and lessons learned from putting on the SIGGRAPH 2007 Computer Animation Festival. The organization is as follows: Writing the Call for Participation ....................................................................................... 4 Setting the submission deadline.....................................................................................
    [Show full text]
  • John Carmack Archive - .Plan (1999)
    John Carmack Archive - .plan (1999) http://www.team5150.com/~andrew/carmack March 18, 2007 Contents 1 January 6 1.1 Jan 10, 1999 ............................ 6 1.2 Jan 29, 1999 ............................ 11 2 March 14 2.1 Mar 03, 1999 ........................... 14 2.2 First impressions of the SGI visual workstation 320 (Mar 17, 1999) ............................. 15 3 April 18 3.1 We are finally closing in on the first release of Q3test. (Apr 24, 1999) ............................. 18 3.2 Apr 25, 1999 ........................... 20 3.3 Interpreting the lagometer (the graph in the lower right corner) (Apr 26, 1999) ...................... 23 3.4 Apr 27, 1999 ........................... 25 3.5 Apr 28, 1999 ........................... 26 3.6 Apr 29, 1999 ........................... 26 3.7 Apr 30, 1999 ........................... 27 1 John Carmack Archive 2 .plan 1999 4 May 28 4.1 May 04, 1999 ........................... 28 4.2 May 05, 1999 ........................... 29 4.3 May 07, 1999 ........................... 29 4.4 May 08, 1999 ........................... 29 4.5 May 09, 1999 ........................... 30 4.6 May 10, 1999 ........................... 31 4.7 May 11, 1999 ........................... 32 4.8 May 12, 1999 ........................... 35 4.9 Now that all the E3 stuff is done with, I can get back to work... (May 19, 1999) ...................... 37 4.10 May 22, 1999 ........................... 38 4.11 May 26, 1999 ........................... 40 4.12 May 27, 1999 ........................... 41 4.13 May 30, 1999 ........................... 41 5 June 45 5.1 Whee! Lots of hate mail from strafe-jupers! (Jun 03, 1999) . 45 5.2 Jun 27, 1999 ........................... 47 6 July 52 6.1 AMD K7 cpus are very fast. (Jul 03, 1999) ........... 52 6.2 Jul 24, 1999 ...........................
    [Show full text]
  • Understanding the Linux Kernel
    Understanding the Linux Kernel Daniel P. Bovet Marco Cesati Publisher: O'Reilly First Edition October 2000 ISBN: 0-596-00002-2, 702 pages Understanding the Linux Kernel helps readers understand how Linux performs best and how it meets the challenge of different environments. The authors introduce each topic by explaining its importance, and show how kernel operations relate to the utilities that are familiar to Unix programmers and users. Table of Contents Preface .......................................................... 1 The Audience for This Book .......................................... 1 Organization of the Material .......................................... 1 Overview of the Book .............................................. 3 Background Information ............................................. 4 Conventions in This Book ........................................... 4 How to Contact Us ................................................. 4 Acknowledgments ................................................. 5 1. Introduction .................................................... 6 1.1 Linux Versus Other Unix-Like Kernels ............................... 6 1.2 Hardware Dependency .......................................... 10 1.3 Linux Versions ................................................ 11 1.4 Basic Operating System Concepts .................................. 12 1.5 An Overview of the Unix Filesystem ................................ 16 1.6 An Overview of Unix Kernels ..................................... 22 2. Memory Addressing ............................................
    [Show full text]
  • All, Our Principal Source of Revenue and Our Most Effective Way of Telling the World What We're About
    FRO M THE PRESIDENT The Academy Awards telecast is probably the most-watched annual program in the world. That fact notwithstanding, the Board of Governors spent a lot of time during the second quarter of this year, trying to set policies that will help the downward-ticking ratings of our broadcast. It is, after all, our principal source of revenue and our most effective way of telling the world what we're about. The Awards Review Committee, chaired by Public Relations Branch Governor Marvin Levy, spent three long meetings discussing the show and how to shorten it; the Awards Rules Committee, chaired by Music Branch NARRATIVE GOLD MEDAL WINNER JESSICA SHARZER Governor Charles Bernstein, spent equally MAKES HER WAY TO HER SEAT IN THE GOLDWYN THEATER long hours pursuing the same goal, particu­ larly by reducing the number of special awards such as the Thalberg and Hersholt E leven film students from eight U.S. universities presented on recent shows. took home Saul Bass-designed Student Academy At the June meeting the Board accepted Awards at the 29th annual competition in June. three major changes that will, we hope, have Arriving in Los Angeles on a Wednesday, the win­ a salutary effect. ners spent the rest of the week meeting each other and First, the Board voted to require the pro­ Academy staff, chatting with cinematographers at the ducer of the show to bring it to a close ASC and directors at the DGA, and meeting Academy before midnight on the East Coast. That governors at a dinner at the Beverly Hills Hotel before would make it no more than a three-and-a­ settling down to business at the Sunday awards half-hour show.
    [Show full text]
  • A Survey of Visibility for Walkthrough Applications
    412 IEEE TRANSACTIONS ON VISUALIZATION AND COMPUTER GRAPHICS, VOL. 9, NO. 3, JULY-SEPTEMBER 2003 A Survey of Visibility for Walkthrough Applications Daniel Cohen-Or, Member, IEEE, Yiorgos L. Chrysanthou, Member, IEEE, Cla´udio T. Silva, Member, IEEE, and Fre´do Durand Abstract—Visibility algorithms for walkthrough and related applications have grown into a significant area, spurred by the growth in the complexity of models and the need for highly interactive ways of navigating them. In this survey, we review the fundamental issues in visibility and conduct an overview of the visibility culling techniques developed in the last decade. The taxonomy we use distinguishes between point-based and from-region methods. Point-based methods are further subdivided into object and image-precision techniques, while from-region approaches can take advantage of the cell-and-portal structure of architectural environments or handle generic scenes. Index Terms—Visibility computations, interactive rendering, occlusion culling, walkthrough systems. æ 1INTRODUCTION ISIBILITY determination has been a fundamental problem Z-buffer algorithm is then usually used to obtain correct Vin computer graphics since the very beginning of the images. field [5], [83]. A variety of hidden surface removal (HSR) Visibility culling starts with two classical strategies: algorithms were developed in the 1970s to address the back-face and view-frustum culling [35]. Back-face culling fundamental problem of determining the visible portions of algorithms avoid rendering geometry that faces away from the scene primitives in the image. The basic problem is now the viewer, while viewing-frustum culling algorithms avoid believed to be mostly solved and, for interactive applications, rendering geometry that is outside the viewing frustum.
    [Show full text]