Most of us think of computer graphics as a relatively recent invention, enabling the spectacular visual effects and lifelike simulations we see in current films, television shows, and digital games. In fact, computer graphics have been around as long as the modern computer itself, and played a fundamental role in the development of our contemporary culture of computing. In Image Objects, Jacob Gaboury offers a prehistory of computer graphics through an examination of five technical objects—an algorithm, an interface, an object standard, a programming paradigm, and a hardware platform—arguing that computer graphics transformed the computer from a calculating machine into an interactive medium.
Gaboury explores early efforts to produce an algorithmic solution for the calculation of object visibility; considers the history of the computer screen and the random-access memory that first made interactive images possible; examines the standardization of graphical objects through the Utah teapot, the most famous graphical model in the history of the field; reviews the graphical origins of the object-oriented programming paradigm; and, finally, considers the development of the graphics processing unit as the catalyst that enabled an explosion in graphical computing at the end of the twentieth century.
The development of computer graphics, Gaboury argues, signals a change not only in the way we make images but also in the way we mediate our world through the computer—and how we have come to reimagine that world as computational.
5 有用 Urpflanzeee 2024-01-05 19:16:05 丹麦
很有意思的计算机史研究。CG研究问题范式的转换(从消除hidden lines,如何表征渲染复杂物体,到如何提升运算速度等),被缩放到对于“数码物”的考古学讨论。RAM(屏幕与存储的同构),Utah teapot(物与属性的分离),sketchpad(图像作为关系和交互系统)和GPU(并行计算的逻辑)作为CG史上里程碑式的“Objects”,其意义远非作为一种算法或用具,而是牵连着我们当今理解计算... 很有意思的计算机史研究。CG研究问题范式的转换(从消除hidden lines,如何表征渲染复杂物体,到如何提升运算速度等),被缩放到对于“数码物”的考古学讨论。RAM(屏幕与存储的同构),Utah teapot(物与属性的分离),sketchpad(图像作为关系和交互系统)和GPU(并行计算的逻辑)作为CG史上里程碑式的“Objects”,其意义远非作为一种算法或用具,而是牵连着我们当今理解计算和世界的本体论转换。尽管如此,这些用于模仿和模拟的复杂且相互竞争的技术,以及其内嵌的社会和文化背景,早已在硬件和软件的标准化中被黑箱和扁平化了。我们习以为常的视觉图像,则是作为image objects作为现代技术瓦解数码/物理边界的一个窗口,与计算机图形的历史紧紧交织在了一起。 (展开)
0 有用 osparope 2024-01-16 01:50:39 荷兰
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1 有用 月面的成色 2024-01-25 09:00:24 美国
intro+ch 1 & 2 Underscoring the technical materialities of computer graphics. 看之前以为会有对digital objects的哲学思考,但书名中的objects指的是最直接明了的“物体”。书中很多有趣的技术细节,但如果能够更凝练地(以及更抽象地)写会更好。正文前两章以赖立论的前提都有一些问题,有点过于强调computat... intro+ch 1 & 2 Underscoring the technical materialities of computer graphics. 看之前以为会有对digital objects的哲学思考,但书名中的objects指的是最直接明了的“物体”。书中很多有趣的技术细节,但如果能够更凝练地(以及更抽象地)写会更好。正文前两章以赖立论的前提都有一些问题,有点过于强调computationality的特殊性而忽视了intermediality。 (展开)
0 有用 张寓言 2023-02-11 13:59:12 美国
一本关于犹他大学的计算机图像趣闻录
0 有用 日示 2025-07-25 17:13:32 浙江
很有意思的一本书,从史料来看可能就是一部计算机图形学史,但是从思考逻辑来看算是一个很有趣的观点。本质上cg不仅是改变了一种我们看世界的方式,而是已经成为了我们观看世界的所有种种。生活的一切已然是“黑箱化”的被渲染的成果,我们纷繁复杂的体悟世界的手段也在计算机的标准化结构下显得单调而invisible了,从这一角度切入,并从本体层面勾勒出后人类的思考。