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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300 North Z eeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 TOWARDS A FRAMEWORK FOR CRITICALLY UNDERSTANDING COMPUTER GENERATED IMAGERY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Erika Ce'sar Galvao, B.A., M.A.E. *£* * 1* * 1# The Ohio State University 1995 Dissertation Committee: Approved b Dr. Kenneth Marantz Advisor Dr. Terry M. Barrett Department of Art Education Dr. Wayne Carlson UMI Number: 9544565 UMI Microform 9544565 Copyright 1995, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 ©Copyright by / Erika Cesar Galvao 1995 PLATE I - Computer Generated Image - Work Untitled by©Eiika Galvao, 1995 Com amor aos meus pais, minha irma, meus sobrinhos e meu marido. ACKNOWLEDGEMENTS Apart from all the many relatives, friends, and colleagues who helped make this research paper a reality, I owe a special thanks to my advisor Dr. Kenneth Marantz. His wise advice was always of a vital help. I would also like to thank the students, faculty, and staff members of The Advanced Computing Center for the Arts and Design at The Ohio State University, particularly Dr. Carlson and Barbara Heifer for their continuous help. This study would not have been accomplished without the support and encouragement of many important people, such as my parents, my sis­ ter and her family, my fiance Andrew Ralph Hinkle, Grandmaster Choon Mo Yang and his students. My gratitude to Dr. Terry M. Barrett for his insightful thoughts, his friendship and his support during all this time. For their financial aid throughout the past years, I thank my government and the CNPq- Conselho Nacional de Desen- volvimento Cientifico e Tecnologico of Brazil. CURRICULUM VITA February 15,1961................................... Born - Uberlandia, M.G. BRASIL 1980.......................................................... Bachelor in Art Education Universidade Federal de Uberlandia Uberlandia, Minas Gerais - Brasil 1982.......................................................... Bachelor in Fine Arts Universidade Federal de Uberlandia Uberlandia, Minas Gerais - Brasil 1991........................................................... Master in Art Education specializing in Computer Graphics Thesis: “The Relevance of Doing Criticism of Computer Art Works” The Ohio State University Columbus, Ohio USA FIELDS OF STUDY Major Field: Art Educationi (areas of interest: art criticism and computer graphics) TABLE OF CONTENTS DEDICATION ii ACKNOLEDGEMENTS iii CURRICULUM VITA iv LIST OF FIGURES ix LIST OF PLATES xi CHAPTER PAGE I- INTRODUCTION 1 1.1 Background to the Problem 1 1.2 Statement of Problem 2 1.3 Methodology 5 1.4 Limitations of this Study 6 1.5 Purpose and Importance of Study 8 ffl- THE IMPORTANCE ART AND AESTHETIC EXPERIENCE 10 3.1 Aesthetic Experiences 10 3.2 Art 13 II- UNDERSTANDING COMPUTERS, COMPUTER GRAPHICS, AND COMPUTER ART 16 3.1 Computer Art 22 3.2 Computer as Subject Matter, as a Tool, and as a Medium 23 v 3.2.1 Computer as a Subject Matter 23 3.2.2 Computer as a Tool 24 3.2.3 Computer as a Medium 25 3.3 Input, Output, Hardware, Software and Painting Systems 26 3.3.1 The Conceptual Computer - CPU 28 3.3.2 Hardware and Output 29 3.3.3 The Graphic Display 30 3.3.4 Pixels 33 3.3.5 Raster Graphics 33 3.3.6 Frames and Frame-buffer 34 3.3.7 Software and Input 37 3.3.8 Interaction Software: Computer 46 User Interface IV- SOCIAL CHANGES - THE IMPACT OF COMPUTERS IN SOCIETY 48 4.1 The Age of Information 54 4.2 Digital Imaging 58 4.2.1 Mutability and Manipulation 60 4.3 Art and Technology 62 V- THE PROCESS OF CREATING COMPUTER GENERATED IMAGERY 64 5.1 Process as art 64 5.2 Image Processing Software and Digital Data 71 5.3 Monadic and Dyadic Image Processing 80 5.3.1 Scaling 80 5.3.2 Scroll or Translation 81 5.3.3 Rotation 81 5.3.4 Flips 81 5.3.5 Ripple 86 5.3.6 Sobel 86 5.3.7 Anamorph 86 5.3.8 Emboss 89 5.3.9 Rndball 89 5.4 Dyadic Image Process 92 5.4.1 Matte Compositing 92 vi 5.4.2 Multiplication 92 5.4.3 OR 92 5.4.4 AND 93 VI- AESTHETIC CONCERNS AND CRITERIA 98 6.1 Technology, Aesthetic Questions, and Art Education 98 6.2 Some Criteria for Looking at a C.G. Image 103 6.2.1 Software Quality (Painting and Rendering Software) 103 6.2.2 Rendering Features and Surface Details 103 6.3 Contextualization and Provenance 105 6.4 Credibility 107 6.5 Algorithmic Forms, Patterns and Geometry 107 6.6 Originality 108 6.6.1 Clarification of Terms 108 6.6.2 Reproductions 108 6.6.3 Originals 110 6.6.4 Prints and Transparencies 112 VII- THE IMPORTANCE OF DOING ART CRITICISM 115 7.1 Clarification of Terms 115 7.1.1 Appreciation 115 7.1.2 Criticism 115 7.2 Types of Art Criticism 116 7.3 The Goals of Art Criticism 118 7.4 Three Stages of an Art Critical Performance 119 7.4.1 Description 119 7.4.2 Interpretation 120 7.4.3 Judgement or Evaluation 125 7.5 Multiple Interpretations 125 VIE- LOOKING AND SEEING 127 8.1 Looking vs. Seeing 127 8.2 Physical Properties 130 8.3 Subject Matter and Content 131 8.4 Intellectual and Emotional Art 135 vii 8.5 Viewer Perspectives 137 8.6 Illusionary and Formal Properties 138 IX - KNOWLEDGE-BASED, KNOWLEDGE-TRANSFER AND KNOWLEDGE-SEEKING STRATEGIES 142 9.1 Clarification of Terms 143 9.1.1 Knowledge Base 143 9.1.2 Knowledge-seeking Strategies 143 9.1.3 Knowledge Transfer 144 9.2 Linkages between Knowledge-base and Knowledge-seeking Strategies 145 9.3 Art Knowledge 147 X- THE FRAMEWORK 149 GLOSSARY 158 SUGGESTED READINGS 162 viii LIST OF FIGURES FIGURES PAGE FIG.l - Relationship to CPU and Peripherals 29 FIG.2 - The CRT’s electron gun 32 FIG.3 - Electron Beam writing a pattern of pixels to a raster display - 32 FIG.4 - Frame Buffer Representation 35 FIG.5 - Display of image on the monitor 35 FIG.6 - The “virtual or methaphorical desktop” is represented on 47 the computer screen as a chain of windows, menus, and other icons. FIG .7 - Addictive Colors - Mixtures of Light 78 FIG.8 - Substractive Colors - Mixture of Pigments 78 FIG.9 - RGB / CYMK Colors 79 FIG. 10 - Examples of Rotation 83 FIG. 11 - Examples of Translation 85 FIG. 12- Example of Ripple and Sobel 87 FIG. 13 - Exaamples of Anamorph 88 ix FIG. 14 - Examples of Emboss 90 FIG. 15 - Examples of Rndball 91 FIG. 16 - Example of AND 93 FIG. 17 - Example of Multiplication 94 x LIST OF PLATES PLATES PAGE Plate I - Work Untitled by Erika Galvao ii Plate II - Graphical representation of the tools visible 82 in the c Adobe Photoshop software Plate III - Visual representation of FORM 134 Plate IV - TOWARDS A FRAMEWORK (graphical representation) 157 xi CHAPTER I INTRODUCTION 1.1 - BACKGROUND TO THE PROBLEM The impact of computers on the art of the last twenty years is just starting to be recognized and appreciated (Rutsky, 1991). Lewell (1993) remind us that although the use of computers to create and operate digital images has only developed in the last decades, it has already revolutionized art and graphic design. The expensive graphics first produced by a few inno­ vative computer artists have been replaced by highly sophisticated and cost- effective paintings, drawings, and models that can be created and adjusted by pressing a few buttons. Computer graphics are now used all over the world in a wide diversity of fields, from television to medicine. Computers have affected our daily lives in a great many ways, and computer graphics are used in many areas. More applications are being found all the time. Some of the current applications of computer graphics are found in graphic design, illustrations, digital painting systems, designing graphics systems, 1 fine arts, television and film (production of visual effects and commercials), cartoon animations, simulations, scientific visualization (scientific projects) laser and holographic works, and so on. Nowadays, there is probably noth­ ing that better exemplifies the rapid advances made in computer output than the field of computer graphics.
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