论惠山手捏戏文的审美特征

无锡惠山手捏戏文是中国传统戏剧表演艺术和民间泥塑艺术融合而成的交叉艺术结晶,以戏文人物为表现对象,而前期又以昆曲为主。泥塑艺人们巧妙地运用昆曲表演的艺术技巧,根据泥塑的特点,灵活地抓住最具代表性的情节和人物动作,惟妙惟肖地表现出剧目内容的精彩瞬间,形成了惠山手捏戏文独特的审美特征。     

Q版卡通人物的计算机辅助生成方法

通过分析Q版卡通人物的几何特征和视觉特点,提出一种基于图像的计算机仿真方法,根据用户输入的人物照片和关键特征点对人物进行变形和卡通风格化,以模拟艺术家绘制的具有夸张效果的Q版卡通形象,提出基于抛物样条的局部放大算法,该算法能有效解决人物头部变形问题,增强可视性。该方法所需参数少,算法简单,易于控制,适合漫画制作和数字娱乐等领域的应用。     

高职高技能型计算机仿真技术类人才培养探索

依据市场需求,结合高职院校（以本校为例）的专业及课程设置情况,对本校图形图像专业（计算机仿真技术方向）进行教学改革,设置以项目为载体、以“工作室”为基础的创新课程体系．达到培养高职高等技能型计算机仿真技术类人才目标。     

职业教育计算机教学中存在的问题及对策

目前我国经济发展速度相对较快、大多数企业都实现了计算机办公,对于高技能的计算机人才需求增多。但是由于多数职业院校还是以传统教学在讲授计算机课,不能有效地发挥学生的主体性,积极性,特别是对于实践性比较强的计算机课。因此,本文着重介绍旨在提高学生实践操作能力的计算机教学模式。     

新形势下高职计算机基础教改的探索与实践

根据新形势下高职计算机基础教学的特点,学生的计算机水平和不同专业的特点,开展分层次分类教学、同时采用网络教学与课堂教学相结合的教学模式、推行形成性考核、不断提升学生信息素养,推动计算机教学向"培养高技能应用型人才"的方向发展,为学生适应市场打下坚实的基础。     

新媒体艺术与叙述性小探

本文从概念、历史、现状与发展趋势方面研究当代新媒体艺术的关键概念——叙述性,取世界各地有影响力的艺术家作品为例,讨论了关注新媒体艺术叙述性的重要性,辨证地寻找新媒体艺术与高速发展的电脑高科技的合理关系。     

Visualizing a real forest

The authors collaborated with computer scientists, psychologists, artists, and others to create a highly realistic, computer-generated walkthrough of an existing forest. Funded by the US Department of Agriculture (USDA) Forest Service, this work supported current experiments at the University of Arizona's Department of Psychology. Researchers hope to determine the level of realism needed in computer-generated visualizations or animations of natural scenes for humans to reach conclusions about the virtual environment similar to those they would have reached by experiencing the actual site. The plan is to compare subjects' responses to actual, video taped, and photographed walkthroughs, and computer simulated walkthroughs     

Hardware then and now

Computer hardware has evolved from huge machines requiring rooms full of equipment and highly skilled operators to computers on a chip that are accessible to an ever-increasing circle of users. Below, photos of ENIAC and Intel's newest single board computer (held by one of its youngest users) suggest the extent of that evolution.     

基于软考的高职电子商务专业计算机类课程的设置

对目前电子商务专业人才的就业岗位进行分析,结合软考的电子商务技术员和电子商务设计师的考核目标,提出电子商务专业的培养方案,并就计算机类课程在电子商务专业中的设置进行研究,对课程体系、课程内容方面提出具体的实施方案,力求达到培养面向工作一线的高技能应用型人才。     

高职微机组装与维修课程教学改革研究

微机组装与维修是一门实践性、即时性都很强的课程。针对目前的教学现状,应该整合课程内容,引入新的教学模式,加强实践教学环节,建立丰富的教学资源,突破传统的考试方式,实现高职教学“培养高技能人才”的教学目的,进而满足计算机维修行业对专业人才的需求。     

Surface Capture for Performance-Based Animation

Creating realistic animated models of people is a central task in digital content production. Traditionally, highly skilled artists and animators construct shape and appearance models for digital character. They then define the character's motion at each time frame or specific key-frames in a motion sequence to create a digital performance. Increasingly, producers are using motion capture technology to record animations from an actor's performance. This technology reduces animation production time and captures natural movements to create a more believable production. However, motion capture requires the use of specialist suits and markers and only records skeletal motion. It lacks the detailed secondary surface dynamics of cloth and hair that provide the visual realism of a live performance. Over the last decade, we have investigated studio capture technology with the objective of creating models of real people that accurately reflect the time-varying shape and appearance of the whole body with clothing. Surface capture is a fully automated system for capturing a human's shape and appearance as well as motion from multiple video cameras to create highly realistic animated content from an actor's performance in full wardrobe. Our system solves two key problems in performance capture: scene capture from a limited number of camera views and efficient scene representation for visualization     

Visual Intelligence: The First Decade of Computer Art (1965-1975)

Current technology provides today's computer artists with the means to almost unlimited creativity, but pioneers in the field had to overcome some formidable obstacles.     

Cyber performances,technical and artistic collaboration across continents

Our objective was to verify whether modern computer network and audiovisual technologies can enable collaborative work between performing artists when they are distributed across large distances and what the requirements and limitations are. Such distributed collaborative environments will bring new opportunities both for the artists and the audience.We describe our experiences gained from laboratory experiments and during cyber performances at APAN meetings that took place in Korea and Taiwan.     

Computer/Art?Depolarization and Unification

Western society tends to separate individuals into the archetypal roles of artist and scientist. With computer graphics tools, artists can integrate these roles and produce unique artwork.     

Aesthetic considerations unique to interactive multimedia

Using early multimedia art pieces often resembled reading paragraphs ripped out of Shakespeare and handed to you at random. The mistakes in plot and composition made by beginning writers and artists can find new power to convey incoherence when automated by a computer. What are the compositional issues? How about basic hypermedia structures and their aesthetic effects? What should be random, and what must be deterministic, if you wish to be more artist than noise generator? We address some of the issues based on our own experience as multimedia artists     

Recognition‐Difficulty‐Aware Hidden Images Based on Clue‐Map

Hidden images contain one or several concealed foregrounds which can be recognized with the assistance of clues preserved by artists. Experienced artists are trained for years to be skilled enough to find appropriate hidden positions for a given image. However, it is not an easy task for amateurs to quickly find these positions when they try to create satisfactory hidden images. In this paper, we present an interactive framework to suggest the hidden positions and corresponding results. The suggested results generated by our approach are sequenced according to the levels of their recognition difficulties. To this end, we propose a novel approach for assessing the levels of recognition difficulty of the hidden images and a new hidden image synthesis method that takes spatial influence into account to make the foreground harmonious with the local surroundings. During the synthesis stage, we extract the characteristics of the foreground as the clues based on the visual attention model. We validate the effectiveness of our approach by performing two user studies, including the quality of the hidden images and the suggestion accuracy.     

The student's construction of artistic truth in digital images

Images that clearly present a constructed physical truth, like digital images, remind us to question the reality factor of any image. Because many digital images appear to be photographic, or photographic-like, the medium forces artists to revisit what a photograph, and consequently a digital image, represents. In turn, this rethinking influences how students in computer art see reality and truth when they create digital imagery. Embracing this question, some digital artists have constructed visual narratives that appear photographic, yet lack the physical world referent that their images imply. Since the late 1980s and early 1990s, when this kind of construction became popular, many digital artists have grappled with how to identify the truth in their images. This study describes how some advanced digital art students resolved this conflict by defining their own artistic truths.     

The perils of creating a class Web site: it was the best of times,it was the …

This article explains the visual and computing demands of Web-site authoring in a junior level, undergraduate honors course at a large public university. We argue that the students in this course—highly literate and skilled in the production of conventional printed academic writing—performed much like basic writers when challenged with acquiring a broad set of new visual and computer literacy skills. We argue for the value of the illustrated essay as a halfway point for connecting our expectations of Web site authoring to students’ previous experiences with the production of printed academic discourse.     

Limitations of the computer as a tool for the fine artist

This paper proposes that the commercial nature of currently available graphic computer systems inclines their use by fine artists toward limited applications. The repeated and fictive nature of commercial imagery is described. A brief phenomenology of the graphic computer is offered, and on-going awareness of the form and social context of the machine is recommended.     

Anamorphic 3D geometry

An anamorphic image appears distorted from all but a few viewpoints. They have been studied by artists and architects since the early fifteenth century. Computer graphics opens the door to anamorphic 3D geometry. We are not bound by physical reality nor a static canvas. Here we describe a simple method for achieving anamorphoses of 3D objects by utilizing a variation of a simple projective map that is well-known in the computer graphics literature. The novelty of this work is the creation of anamorphic 3D digital models, resulting in a tool for artists and architects.