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Books on the topic 'Object dimension'

Author: Grafiati
Published: 11 March 2023

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1

Object engineering: The fourth dimension. Wokingham, England: Addison-Wesley Pub. Co., 1994.

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2

Forman, Ira R. Putting metaclasses to work: A new dimension in object-oriented programming. Reading, Mass: Addison-Wesley, 1999.

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3

1948-, Jain Anil K., and Flynn P. J, eds. Three-dimensional object recognition systems. Amsterdam: Elsevier, 1993.

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4

Desideri, Fabrizio, and Giovanni Matteucci, eds. Dall'oggetto estetico all'oggetto artistico. Florence: Firenze University Press, 2006. http://dx.doi.org/10.36253/88-8453-386-4.

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Does such a thing as an "aesthetic" object exist? And if so, how can it be defined? This book, with no less than 23 contributions, emerging from a Seminar on Aesthetics and a Convention of the Italian Philosophical Society, seeks to answer these questions, exploring the concept of the aesthetic object as distinct from the artistic object. The first section is theoretical and attempts to identify what are the aesthetic properties of an object as opposed to the physical or semantic. This is followed by a historical-aesthetic section, where the question is explored in terms of its theoretical effects within the coils of contemporary aesthetics. Finally, there is a third part devoted to grasping the object-dimension in certain occasions of contemporary art.
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5

Lowe, David G. Three-dimensional object recognition from single two-dimensional images. New York: Courant Institute of Mathematical Sciences, New York University, 1986.

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6

Halliday, Ron. UFOs: The Scottish dimension. Stirling: Scottish Paranormal Press, 1997.

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7

Passa, Chiara. Chiara Passa: Object oriented space : viaggio nelle dimensioni invisibili dello spazio = journey into the invisible dimensions of space. Roma: Gangemi editore SpA international, 2019.

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8

Bastuscheck, C. Marc. Object recognition by 3-dimensional curve matching. New York: Courant Institute of Mathematical Sciences, New York University, 1986.

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9

Suk, Minsoo, and Suchendra M. Bhandarkar. Three-Dimensional Object Recognition from Range Images. Tokyo: Springer Japan, 1992. http://dx.doi.org/10.1007/978-4-431-68213-4.

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10

M, Bhandarkar S., ed. Three-dimensional object recognition from range images. Tokyo: Springer-Verlag, 1992.

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11

Suk, Minsoo. Three-Dimensional Object Recognition from Range Images. Tokyo: Springer Japan, 1992.

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12

Pietro, Bellasi, Campione Francesco Paolo, and Museo della Permanente (Milan, Italy), eds. Skin dimension: Viaggio con Swatch in piccoli mondi. Milano: Mazzotta, 1997.

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13

Dimensions: A casebook of alien contact. London: Souvenir Press, 1988.

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14

Vallee, Jacques. Dimensions: A casebook of alien contact. Chicago: Contemporary Books, 1988.

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15

Vallee, Jacques. Dimensions: A casebook of alien contact. London: Sphere, 1990.

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16

The ontology of physical objects: Four-dimensional hunks of matter. Cambridge [England]: Cambridge University Press, 1990.

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17

Hoiem, Derek. Representations and techniques for 3D object recognition and scene interpretation. San Rafael, Calif. (1537 Fourth Street, San Rafael, CA 94901 USA): Morgan & Claypool, 2011.

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18

Murtagh, Kevin Michael. An object-oriented approach to three dimensional animation. Toronto: University of Toronto, Dept. of Computer Science, 1985.

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19

Kushi, Michio. Other dimensions: Exploring the unexplained. Garden City Park, N.Y: Avery Pub. Group, 1992.

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20

Kushi, Michio. Other dimensions: Exploring the unexplained. Garden City Park, N.Y: Avery Pub. Group, 1992.

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21

Heller, Mark. The ontology of physical objects: Four-dimensional hunks of matter. Cambridge: Cambridge University Press, 2008.

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22

Stolz, Christel. Spatial dimensions and orientation of objects in Yucatec Maya. Bochum: N. Brockmeyer, 1996.

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23

E, Sherrod Earnest, North Carolina Agricultural and Technical State University. Electrical Engineering Dept., and Langley Research Center, eds. The development of two-dimensional object identification techniques: Final report. Greensboro, NC: North Carolina Agricultural and Technical State University, Electrical Engineering Dept., 1989.

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24

E, Sherrod Earnest, North Carolina Agricultural and Technical State University. Electrical Engineering Dept., and Langley Research Center, eds. The development of two-dimensional object identification techniques: Final report. Greensboro, NC: North Carolina Agricultural and Technical State University, Electrical Engineering Dept., 1989.

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25

Lepetit, Vincent. Monocular model-based 3D tracking of rigid objects. Boston, MA: NOW Publishers, 2005.

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26

Dawson, K. M. Implicit model matching as an approach to three-dimensional object recognition. Dublin: Trinity College, Department of Computer Science, 1991.

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27

Vallee, Jacques. Dimensions: A casebook of alien contact. San Antonio: Anomalist Books, 2008.

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28

J, Tarr Michael, and Bülthoff Heinrich H, eds. Object recognition in man, monkey, and machine. Cambridge, Mass: MIT Press, 1998.

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29

Ikeuchi, Katsushi, and Daisuke Miyazaki. Digitally archiving cultural objects. New York: Springer, 2008.

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30

Lindup, Cynthia. An examination of the strategies/methods children employ when engaged in the 'making' of a 3 dimensional object, then'drawing' the object on to 2 dimensional surface. [Guildford]: [University of Surrey], 1995.

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31

Three-Dimensional Object Search, Understanding, and Pose Estimation with Low-Cost Sensors. [New York, N.Y.?]: [publisher not identified], 2015.

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32

United States. National Aeronautics and Space Administration., ed. On three dimensional object recognition and pose-determination: An abstraction based approach. Ann Arbor, MI: Space Automation & Robotics Center, 1990.

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33

Jean-Luc, Dugelay, Baskurt Atilla 1960-, and Daoudi Mohamed Ph D, eds. 3D object processing: Compression, indexing, and watermarking. Hoboken, NJ: J. Wiley & Sons, 2008.

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34

Pernice, Manfred. Die dritte Dimension: Plastiken, Konstruktionen, Objekte : Bestandskatalog der Skulpturenabteilung Manfred Pernice. Frankfurt am Main: Portikus, 2002.

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35

La cuarta dimensión: Origen, historia y destino de la humanidad. México, D.F: Océano, 1998.

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36

Cassirer, Manfred. Dimensions of enchantment: The mystery of UFO abductions, close encounters and aliens. London: Breese Books, 1994.

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37

Desfray, Phillipie. Object Engineering: The Fourth Dimension. Addison Wesley Longman, 1994.

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38

Putting Metaclasses to Work: A New Dimension in Object-Oriented Programming. Reading, Massachusetts: Addison-Wesley, 1998.

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39

Developmental Dimension in Instructed Second Language Learning: The L2 Acquisition of Object Pronouns in Spanish. Bloomsbury Publishing Plc, 2014.

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40

Developmental Dimension in Instructed Second Language Learning: The L2 Acquisition of Object Pronouns in Spanish. Bloomsbury Publishing Plc, 2013.

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41

Seiler, Hansjakob. Apprehension: Language, Object, and Order, Part 3 : The Universal Dimension of Apprehension (Language Universals Series, Vol 1). John Benjamins Pub Co, 1986.

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42

Blacklock, Mark. Conditions of Emergence. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198755487.003.0002.

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Chapter 1 describes the disparate conditions for the emergence of higher-dimensioned space as a cultural object. It gives an account of Immanuel Kant’s original work on space, and particularly his thoughts on the dimensionality of space, considering this formulation ‘foundational’ for the nineteenth-century novel. Reading scholarly discussion in British periodicals it identifies the persistent use of analogy as a rhetorical device for explaining the ideas of dimensionality. It identifies, too, the fact that geometry itself is a model of the more abstract form that is space, alerting us to a structural shift between domains early in the life cycle of the fourth dimension, as it leaves geometry—a domain of pure thought—to enter space, a phenomenon of the physical world. It also considers Henry More’s notion of ‘spissitude’, an earlier iteration of the fourth dimension.
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43

Graves, Margaret S. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190695910.003.0001.

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The introduction outlines the art of the object in medieval Islam and introduces several of the book’s key concepts. It aligns architecture and the plastic arts, and shows how points of commonality between these “arts of the third dimension” are drawn allusively in the medieval Islamic context, relying not on direct morphological likeness but on indirect models of representation. It also discusses the implications of miniaturization and draws distinctions between the allusive artworks under discussion and representational objects like architectural maquettes or votive models. The introduction tackles head-on the unique issues of medieval Islamic portable artworks: the mobility of the objects and the problems this raises for traditional taxonomies, the role of the art market in the formation of the extant corpus, and the reductive effects of museum display and photographic reproduction on objects that were originally designed to be held and moved in the hands.
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44

Wiedermann, Julius. 500 3D Objects (500 3D objects). Taschen, 2003.

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45

500 3D Objects (500 3D objects). Taschen, 2002.

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46

Les objects fractals: Forme, hasard et dimension. Flammarion, 2010.

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47

Ney, Alyssa. The World in the Wave Function. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190097714.001.0001.

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What are the ontological implications of quantum theories, that is, what do they tell us about the fundamental objects that make up our world? How should quantum theories make us reevaluate our classical conceptions of the basic constitution of material objects and ourselves? Is there fundamental quantum nonlocality? This book articulates several rival approaches to answering these questions, ultimately defending the wave function realist approach. Wave function realism is a way of interpreting quantum theories so that the central object they describe is the quantum wave function, interpreted as a field in an extremely high-dimensional space. According to this approach, the nonseparability and nonlocality we seem to find in quantum mechanics are ultimately manifestations of a more intuitive, separable, and local picture in higher dimensions.
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48

Lauser, Andrea, Antonie Fuhse, and Peter J. Bräunlein. Material Culture and (Forced) Migration: Materialising the transient. Edited by Friedemann Yi-Neumann. UCL Press, 2022. http://dx.doi.org/10.14324/111.9781800081604.

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Material Culture and (Forced) Migration argues that materiality is a fundamental dimension of migration. During journeys of migration, people take things with them, or they lose, find and engage things along the way. Movements themselves are framed by objects such as borders, passports, tents, camp infrastructures, boats and mobile phones. This volume brings together chapters that are based on research into a broad range of movements – from the study of forced migration and displacement to the analysis of retirement migration. What ties the chapters together is the perspective of material culture and an understanding of materiality that does not reduce objects to mere symbols. Centring on four interconnected themes – temporality and materiality, methods of object-based migration research, the affective capacities of objects, and the engagement of things in place-making practices – the volume provides a material culture perspective for migration scholars around the globe, representing disciplines such as anthropology, sociology, contemporary archaeology, curatorial studies, history and human geography. The ethnographic nature of the chapters and the focus on everyday objects and practices will appeal to all those interested in the broader conditions and tangible experiences of migration.
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49

Schonberg, Edith, C. Marc Bastuscheck, and Jacob T. Schwartz. Object Recognition by 3-Dimensional Curve Matching. Creative Media Partners, LLC, 2015.

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50

Van Hulle, Dirk. Genetic Criticism. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192846792.001.0001.

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As a method to study literary writing processes, genetic criticism is also a reading strategy. The idea behind this book is to introduce this strategy to a broader audience, from undergraduate students and interested readers to early career researchers and literary critics. A work of literature sometimes seems to hit a nerve, but it is more challenging to pinpoint exactly why it ‘works’. This book therefore starts from a basic principle: knowing how something was made can help us understand how and why it works. This strategy is at the basis of many disciplines, including art history. By means of X-ray technology or hyperspectral imaging, it is possible to look at a painting as a multilayered object with not only spatial dimensions but also a temporal one. This temporal dimension is the core of the reading strategy explored in this book.
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