NA SENDA DA IMAGEM A Representação ea Tecnologia na Arte

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Hwang, T and Ullman, D: 1994 Recognizing features from freehand Sketches, Computers in Engineering- 1994 Vol. 1, ASME. Jordão, JA and Glinert, EP: 2000, Calligraphic Interfaces: towards a new generation of interactive systems, Jorge J A, Glinert E P (guest editors), Computers & Graphics, Vol. 24, No. 6, pp. 817. Kato, O, Iwase, H, Yoshida, M and Tanahshi, J: 1982, Interactive Hand-Drawn Diagram Input System, Proc. IEEE Conference on Pattern Recognition and Image Processing (PRIP 82), Las Vegas, Nevada, pp. 544-549. Igarashi, T, Matsuoka, S and Tanaka, H: 1999, Teddy: A sketching interface for 3D freeform design, SIGGRAPH 99 Conference Proceedings, pages 409–416. Igarashi, T, Matsuoka, S and Tanaka, H: 1999, Teddy: “A sketching interface for 3D freeform design, In Proceedings of SIGGRAPH 99, pp. 409– 416. 1, 2, 5, 9. Jordão, L, Perrone, M, Costeira, J and Santos- Victor, J: 1999, Active Face and Feature Tracking, VisLab-TR 08/99, International Conference on Image Analysis and Processing, Venice, Italy. Nielsen, M, Störring, M, Moeslund, TB and Granum, E: 2003, A Procedure For Developing Intuitive And Ergonomic Gesture Interfaces For Man-Machine Interaction, Aalborg University, Laboratory of Computer Vision and Media Technology, Denmark. Pratini, E: 2001, The 3D Sketchmaker Project, University of Brasília, Brazil. Karpenko, O, Hughes, JF and Raskar, R: 2002, Free-form sketching with variational implicit surfaces, Eurographics, Saarbrucken, Germany. Schkolne, S: 1999, Surface Drawing: The Perceptual Construction of Aesthetic Form, M.S. thesis, Computer Science, Caltech, USA. Schkolne, S, Pruett, M and Schröder, P: 2002, Drawing with the Hand in Free Space - Creating Organic 3D Shapes with Gesture in a Semi-Immersive Environment, Computer Science Department, Caltech. Turner, A, Chapman, D and Penn, A: 2000, Sketching space, Computers & Graphics, Vol. 24, No. 6, pp. 869 – 879, Elsevier. Sutherland van E: 1963, Sketchpad: A manmachine graphical communication system, In AFIPS Spring Joint Computer Conference, pages 329--346, 1963. Zeleznik, RC, Herndon, KP and Hughes, JF: 1996, Sketch: AnInterface for Sketching 3D Scenes, SIGGRAPH '96 Conference Proceedings, ACM, Vol. 30, No. 4, pp. 163 – 170. 63 Copyright © ARTECH 2004 – 1º Workshop Luso-Galaico de Artes Digitais 12 de Julho de 2004, FC - UL
64 Copyright © ARTECH 2004 – 1º Workshop Luso-Galaico de Artes Digitais 12 de Julho de 2004, FC - UL
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Organização: ACTAS Faculdade de C
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Os trabalhos do Artech 2004 decorre
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CONSÓRCIO DO PROJECTO @RTEC - Arte
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“Tecnologias em Ambientes Virtuai
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Compor com as novas tecnologias No
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duas obras escritas para Pollini 6
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isso, que, em meados dos anos 80,
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Referências Adorno, Theodor W. (19
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Breve Biografia Prof. Doutor Mário
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Abstract The artnouveau Project - o
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SESSÃO TÉCNICA 1: NET ARTE E CULT
Page 24 and 25: contexto de la creación del softwa
Page 26 and 27: La mirada crítica construida desde
Page 28 and 29: Algunas referencias THE INFOMIXER h
Page 30 and 31: na construção de uma cabana, esta
Page 32 and 33: elementos transportáveis, móveis)
Page 34 and 35: As imagens passam a ser utilizadas
Page 36 and 37: plano especificamente artís tico,
Page 38 and 39: eleza, criando assim uma métrica p
Page 40 and 41: British critic Lawrence Alloway v ,
Page 42 and 43: public the performance could not be
Page 44 and 45: i Rachel Greene, Internet Art. New
Page 46 and 47: creadores integrales que gracias a
Page 48 and 49: de ellas, y más evidente, es el al
Page 50 and 51: soporte papel que trata de imitar e
Page 52 and 53: REFERENCIAS DE ARTISTAS Y ESCUELAS
Page 54 and 55: por propia definición es incapaz d
Page 56 and 57: este espacio tiene como base algo m
Page 58 and 59: completa del entorno. Dicho de otra
Page 60 and 61: propio sistema de creación, adapta
Page 62 and 63: amplificación estereofónicos, y d
Page 64 and 65: 54 Copyright © ARTECH 2004 - 1º W
Page 66 and 67: An Evolution on Free Hand Form Gene
Page 68 and 69: interface onto virtual objects. The
Page 70 and 71: Fig. 8. Calculating normals. The no
Page 72 and 73: B. User Interface Feedback Fig. 15.
Page 76 and 77: Tipografia Dinâmica e Interactiva
Page 78 and 79: sinónimos dos três momentos do ei
Page 80 and 81: VECTOR IDENTIDADE ( letra T; pictog
Page 82 and 83: Dispositivo este, que sendo sem fio
Page 84 and 85: B. Implementação A estrutura da i
Page 86 and 87: Esta questão remeteu novamente par
Page 88 and 89: UMA LITERATURA HIPERTEXTUAL ? Resum
Page 90 and 91: Richard Zenith, na Introdução :
Page 92 and 93: Eric A. Havelocck, A REVOLUÇÃO DA
Page 94 and 95: An Authoring Tool for Digital Story
Page 96 and 97: latest MPEG-4 systems specification
Page 98 and 99: E. Personalization of the Authoring
Page 100 and 101: The Content Browser is based on a c
Page 102 and 103: 4. Virtual character model It contr
Page 104 and 105: Real-Move um Software para Espacial
Page 106 and 107: som como tendo origem no lado errad
Page 108 and 109: ocorrer. Este tipo de espaços acú
Page 110 and 111: valores gravados para cada altifala
Page 112 and 113: - Filtragem do som em função da d
Page 114 and 115: SESSÃO TÉCNICA 3: NOVAS EXPERIÊN
Page 116 and 117: humanas [2]-[3]. É ainda ma is adm
Page 118 and 119: microscópio que permite ouvir micr
Page 120 and 121: VI. NUCLEART - PINTANDO COM ADN Dur
Page 122 and 123: Attack of the Clones” de G. Lucas
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de baixo custo, por forma a que est
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direcção. O Conductor's Jacket (F
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Vários fabricantes comercializam h
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das fontes sonoras deverá ser trat
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eficazes e acessíveis, do mesmo mo
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implementation in Section V, the re
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Four centuries of history, the rest
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VI. RESULTS Material created throug
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128 Copyright © ARTECH 2004 - 1º
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Ser Sónico - Performance Sonora em
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cénico, mas também como forma de
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musical, o resultado sonoro e a sua
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Interacting with Light Nancy Diniz
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just used the function to “tell
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G. Rotation Fig. 8. Diagram of the
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Fig. 15. Viewpoint 2 gesture 2-5-4-
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879, Elsevier. Sutherland van E: 19
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TRABALHOS EM EXPOSIÇÃO
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Blowout é um mapa para um territó
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PROJECTO LITHIUM Arlete Castelo “
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ÍNDICE DE AUTORES Aneiros, Maria D
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ARTECH 2004 1.º Workshop Luso -Gal
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NA SENDA DA IMAGEM A Representação ea Tecnologia na Arte

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