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Books on the topic 'Three-dimensional form'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Linton, Harold. Color model environments: Color andlight in three-dimensional form. New York: Van Nostrand Reinhold, 1985.

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2

Watson, Jini Kim. The new Asian city: Three-dimensional fictions of space and urban form. Minneapolis: University of Minnesota Press, 2011.

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3

Neudecker, Mariele. Mariele Neudecker. Budapest: Pépinìere Foundation, 1993.

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4

Neudecker, Mariele. Mariele Neudecker. Colchester: Firstsite, 1999.

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5

The books of Anselm Kiefer 1969-1990. London: Thames and Hudson, 1991.

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6

Oldenburg, Claes. Large-scale projects. London: Thames and Hudson, 1995.

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7

Philippe, Bruneau. Sculpture: The great art of antiquity from the eighth century B.C. to the fifth century A.D. Köln: Taschen, 1996.

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8

Hix, H. L. Kyoung Ae Cho. Winchester: Telos, 2003.

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9

Beckman, Paul. Paul Beckman: Meubel/sculptuur = furniture/sculpture : 5.7.1997-8.3.1998. [Rotterdam]: Museum Boijmans Van Beuningen, 1997.

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10

Beckman, Paul. Paul Beckman: Meubel/sculptuur = furniture/sculpture : [catalogue of an exhibition heldat the Museum Boijmans Van Beuningen, Rotterdam] 5.7.1997-8.3.1998. Rotterdam: Museum Boijmans Van Beuningen, 1998.

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11

Brancusi, Constantin. La Colonne sans fin. Paris: Centre Georges Pompidou, 1998.

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12

Stephen, Cox. Stephen Cox: Dulwich Picture Gallery. London: Michael Hue-Williams Fine Art Ltd, 1997.

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13

Michael, Compton, and British Council, eds. Stephen Cox: Sixth Indian Triennale, New Delhi, 22 February - 21 March 1986. London: The British Council, 1986.

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14

1921-, Finn David, ed. Egyptian sculpture: Cairo and Luxor. Austin: University of Texas Press, 1989.

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15

Davey, Grenville. Grenville Davey. Stuttgart: Edition Cantz, 1994.

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16

Davey, Grenville. Grenville Davey. Amsterdam: De Appel, 1991.

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17

Gallery, Tate, ed. Stephen Cox. London: Tate Gallery Publications, 1986.

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18

Davey, Grenville. Grenville Davey. Bern: Kunsthalle, 1992.

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19

Stephen, Cox. Stephen Cox: Scultura. Firenze: Galleria Carini, 1987.

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20

Davey, Grenville. Grenville Davey. London: Chisenhale Gallery, 1992.

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21

1921-, Finn David, and British Museum, eds. Egyptian sculpture: Cairo and Luxor. London: British Museum Publications, 1990.

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22

Cox, Stephen. Stephen Cox: We must always turn south : sculpture 1977-85. Bristol: Arnolfini, 1985.

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23

Marjorie, Allthorpe-Guyton, and Lisson Gallery, eds. Grenville Davey. London: Lisson Gallery, 1989.

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24

Bashkatov, Alexander. Modeling in OpenSCAD: examples. ru: INFRA-M Academic Publishing LLC., 2019. http://dx.doi.org/10.12737/959073.

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The tutorial is an introductory course to the study of the basics of geometric modeling for 3D printing using the programming language OpenSCAD and is built on the basis of descriptions of instructions for creating primitives, determining their properties, carrying out transformations and other service operations. It contains a large number of examples with detailed comments and description of the performed actions, which allows you to get basic skills in creating three-dimensional and flat models, exporting and importing graphical data. Meets the requirements of the Federal state educational standards of higher education of the last generation. It can be useful for computer science teachers, students, students and anyone who is interested in three-dimensional modeling and preparation of products for 3D printing.

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25

Frink, Elisabeth. Elisabeth Frink: Sculpture, drawings, etchings. Glasgow: Compass Gallery, 1990.

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26

Frink, Elisabeth. Elisabeth Frink: Sculpture and drawings 1952-1984. London: Royal Academy of Arts, 1985.

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27

Frink, Elisabeth. Elisabeth Frink. Nottingham: Djanogly Art Gallery, 2001.

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28

Thompson, Jerry L. Closeup: Lessons in the art of seeing African sculpture : from an American collection and the Horstmann Collection. New York: Center for African Art, 1990.

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29

Gallery, Compass, ed. Elisabeth Frink: Sculpture, drawings, etchings. Glasgow: Compass Gallery, 1990.

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30

Thompson, Jerry L. Closeup: Lessons in the art of seeing African sculpture from an American collection and the Horstmann collection. New York: Center for African Art, 1990.

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31

Frink, Elisabeth. Elisabeth Frink: Recent sculpture and drawings. London: Fischer Fine Art, 1989.

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32

Frink, Elisabeth. Elisabeth Frink: 1930 - 1993. London: Beaux Arts, 1997.

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33

Frink, Elisabeth. Elisabeth Frink: Etchings, lithographs and screenprints 1965-1988. London: Lumley Cazalet Ltd, 1989.

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34

National Museum of Women in the Arts (U.S.), ed. Elisabeth Frink: Sculpture and drawings, 1950-1990. Washington, D.C: National Museum of Women in the Arts, 1990.

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35

Frink, Elisabeth. Elisabeth Frink: Recent sculpture and drawings 5 October - 9 November 1989. London: Fisher Fine Art, 1989.

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36

Frink, Elisabeth. Elisabeth Frink: Sculpture and drawings, 1952-1984. London: Royal Academy of Arts, 1985.

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37

1940-, Hickey Dave, Mitchell-Innes & Nash., and Annely Juda Fine Art, eds. The barbarians. New York: Mitchell-Innes & Nash, 2002.

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38

1941-, Noever Peter, and Österreichisches Museum für Angewandte Kunst, eds. Chris Burden: Beyond the limits = jenseits der Grenzen. Wien: MAK-Österreichisches Museum für angewandte Kunst, 1996.

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39

Burden, Chris. Chris Burden: Un livre de survie. Paris: Blocnote Éditions, 1995.

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40

Uttal, W. R. Visual Form Detection in Three-dimensional Space. Psychology Press, 2013. http://dx.doi.org/10.4324/9780203781166.

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41

Luecking, Stephen. Principles of Three-Dimensional Design: Objects, Space and Meaning. Prentice Hall, 2002.

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42

Principles of Three-Dimensional Design: Objects, Space and Meaning. Prentice Hall, 2002.

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43

Making Geometry: Exploring Three-Dimensional Forms. Floris Books, 2012.

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44

Monaghan, M., and S. Adhya. Three dimensional echocardiography. Oxford University Press, 2011. http://dx.doi.org/10.1093/med/9780199599639.003.0003.

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Three-dimensional (3D) echocardiography allows the real-time acquisition of volumes containing entire cardiac structures. The analysis of 3D volumes does not require any assumptions as to the shape of structures.3D echocardiography is more accurate than two-dimensional (2D) in the assessment of left ventricular (LV) volumes, mass, and function, and is comparable to cardiac magnetic resonance imaging. This makes it an ideal modality for measuring LV function particularly when this will determine significant interventions such as implanting of cardioverter/defibrillators, biventricular pacing, and the commencement and continuation of cancer chemotherapy. 3D echocardiography makes it easy to visualize valves and define pathological mechanisms. 3D assessment of dyssynchrony, myocardial strain, and stress imaging are attractive.However, 3D echocardiography is limited by the need for specialist software and lower spatial and temporal resolution when compared to 2D echocardiography.

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45

Faletra, Francesco F., Laura A. Leo, Tiziano Moccetti, and Mark J. Monaghan. Three-dimensional echocardiography. Edited by Frank Flachskampf. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780198784906.003.0088.

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Three-dimensional echocardiography (3DE) certainly represents one of the major innovations of the last decades. Nowadays, 3DE has achieved a well-established role in many fields of cardiovascular diseases. This chapter discusses the contribution of 3DE towards a more precise quantitative assessment of cardiac chambers, in refining the diagnosis of structural heart diseases, and in guiding catheter-based structural heart disease procedures. The last section discusses the evolving role of a novel imaging system that specifically fuses fluoroscopy and two/three-dimensional echocardiography on one screen and represents a new exciting approach to image guidance for structural heart disease interventions.

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46

McKee, Francis, Maite Lores, and Eszther Barbarczy. Mariele Neudecker. firstsite, 1999.

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47

Bruno, Nicola. The Three-Dimensional Necker Cube. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0114.

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The Necker cube is a widely known example of a reversible figure. Perceptual reversals were first observed in engravings of crystals by the Swiss geologist Louis Albert Necker in 1832. Although Necker’s engravings were not exactly of regular cubes, the figure as it is used now can be perceived in two alternative arrangements of a three-dimensional (3D) cube. Although less widely known than the popular two-dimensional version, the 3D Necker cube is a surprisingly rich model for psychophysical investigation. This chapter summarizes relevant main results and their implications for diverse theoretical issues such as the definition of visual illusions, the role of global three-dimensional interpretations in the integration of local sensory signals, and the exploratory and multisensory nature of perceptual processes.

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48

DeLucia, Patricia R. Three-Dimensional Müller-Lyer Illusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0015.

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Since its introduction in 1889, the Müller-Lyer illusion has incited numerous studies and explanations. Most rely on two-dimensional stimuli such as line drawings, subject to the criticism that illusions are restricted to impoverished, artificial stimuli and have little relevance to understanding of ordinary perception. The three-dimensional Müller-Lyer illusion occurs with familiar solid objects and moving observers and has been used to evaluate misapplied constancy theories, perception–action dissociations, and level of processing. The occurrence of illusions in real-world contexts, and in two-dimensional displays upon which people rely increasingly, makes them essential to understand and predict. The three-dimensional Müller-Lyer illusion has significant theoretical and practical implications and continues to be an important concern for visual science.

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49

Adriani, Gotz, Zdenik Felix, Tony Stooss, and Peter Schjeldahl. The Books of Anselm Kiefer 1969-1990. Thames and Hudson Ltd, 1991.

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50

Bruggen, Coosje Van, Coosje van Bruggen, and Claes Oldenburg. Claes Oldenburg and Coosje Van Bruggen. Thames & Hudson Ltd, 1995.

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