Libri: "Computer-Generated work"

1

Blossom, John. Content nation: Surviving and thriving as social media changes our work, our lives, and our future. Indianapolis, IN: Wiley Technology Pub., 2009.

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2

Blossom, John. Content nation: Surviving and thriving as social media changes our work, our lives, and our future. Indianapolis, IN: Wiley Technology Pub., 2009.

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3

Blossom, John. Content nation: Surviving and thriving as social media changes our work, our lives, and our future. Indianapolis, IN: Wiley Technology Pub., 2009.

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4

1967-, Cummings Robert E., e Barton Matt, a cura di. Wiki writing: Collaborative learning in the college classroom. Ann Arbor, Mich: University of Michigan Press, 2008.

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5

T, Yehuda Radday, e G. M. Leb. An Analytical, Linguistic, Key-work-in-context Concordance to the Book of Genesis (The Computer-generated Bible). The Edwin Mellen Press Ltd, 1996.

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6

Leb, G. M., e Yehuda T. Radday. An Analytical, Linguistic, Key-work-in-context Concordance to Esther, Ruth, Canticles, Ecclesiastes, Lamentations (The Computer-generated Bible). The Edwin Mellen Press Ltd, 1996.

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7

Tenney, James. Computer Music Experiences, 1961–1964. A cura di Larry Polansky, Lauren Pratt, Robert Wannamaker e Michael Winter. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038723.003.0003.

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Abstract (sommario):

James Tenney reflects on his experiences with computer music during the period 1961–1964. He recalls arriving at the Bell Telephone Laboratories in September 1961 with a number of what he calls musical and intellectual baggage, including various instrumental compositions reflecting the influence of Anton von Webern and Edgard Varèse; a dissatisfaction with all purely synthetic electronic music that he had heard up to that time, particularly with respect to timbre; and a growing interest in the work and ideas of John Cage. He left in March 1964 with six tape compositions of computer-generated sounds and a far better understanding of the physical basis of timbre, among others. Tenney goes on to discuss some of his compositions using computer-generated sounds, such as Analog #1: Noise Study, Four Stochastic Studies and Dialogue, Stochastic String Quartet, Ergodos I and Ergodos II, and Phases. He also describes his rise-time experiment on tone.

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Holliday, Christopher. The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.001.0001.

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The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different examples, The Computer-Animated Film: Industry, Style and Genre argues that this international body of work constitutes a unique genre of mainstream cinema. It applies, for the very first time, genre theory to the landscape of contemporary digital animation, and identifies how computer-animated films can be distinguished in generic terms. This book therefore asks fundamental questions about the evolution of film genre theory within both animation and new media contexts. Informed by wider technological discourses and the status of animation as an industrial art form, The Computer-Animated Film: Industry, Style and Genre not only theorises computer-animated films through their formal properties, but connects elements of film style to animation practice and the computer-animated film’s unique production contexts.

9

Julesz, Bela. Dialogues on Perception. The MIT Press, 1994. http://dx.doi.org/10.7551/mitpress/2398.001.0001.

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An elucidation of ideas and insights generated by the paradigm of "early vision," presented in the form of dialogues. Renowned for his work in depth perception and pattern recognition, Bela Julesz originated the techniques—involving computer-generated random-dot stereograms, cinematograms, and textures—that resulted in the subfield of human psychology called "early vision." In this book, Julesz elucidates the ideas and insights generated by this exciting paradigm in a series of dialogues between Julesz the naif and Julesz the scientist. These playful, personal, deeply informed dialogues, though challenging, are never beyond the reach of the general scientific reader interested in brain research. Among the topics covered are stereopsis, motion perception, neurophysiology, texture and auditory perception, early vision, visual cognition, and machine vision. Julesz's work on early vision and focal attention is the basis of the discussions, but he is equally at ease recounting his debate with John Searle and describing his interactions with Salvador Dali. He also addresses creativity, mathematics, theories, metascientific questions, maturational windows, and cortical plasticity, relates his current work to past findings and ideas, and considers how some strategic questions can be solved with existing tools.

10

Morris, Peter, e Edward James. A Critical Word Book of the Pentateuch (The Computer-generated Bible). The Edwin Mellen Press Ltd, 1995.

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Miller, Leta E. Family Matters (2002–2009). University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038532.003.0007.

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This chapter studies Kernis's music in the years 2002–2009. If in the 1990s Kernis's works had been stimulated, to a large degree, by public happenings, those of the first decade of the twenty-first century drew primarily on private experiences—the most important being the birth of his twins and the death of his parents. At the time of his twins' birth, Kernis was in the midst of writing a choral work for the Dale Warland Singers, a three-movement composition, The Wheel of Time, and the Dance. In addition to the personal events that stimulated Kernis's change in direction during this period, he also instituted alterations to his working methods and his artistic representation. While he was composing Garden of Light, Kernis began to use the computer to help him sort through preliminary ideas. However, he found that the computer-generated output could also prove frustrating.

12

Anderson e Forbes. A Key-word-in-context to the Pentateuch (The Computer-generated Bible). The Edwin Mellen Press Ltd, 1996.

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13

Morris, Peter, e Edward James. A Critical Word Book of Leviticus, Numbers, Deuteronomy (The Computer-generated Bible). The Edwin Mellen Press Ltd, 1996.

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14

Carroll, Noël. Philosophy and the Moving Image. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190683306.001.0001.

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Philosophy and the Moving image is a collection of articles by Noël Carroll involving many of the ways in which the moving image – including cinema, television, video, and computer generated imagery – can intersect with philosophy. These intersections can include discussions of movies that do philosophy outright, and movies that illustrate philosophical themes as well as discussions various philosophical issues that moving-image practices can provoke. The book shows that movies make contact with many of the established branches of philosophy, including metaphysics, epistemology, philosophical psychology, ethics, political philosophy, and the philosophy of the arts, specifically music and dance. The book also includes essays on the history of the philosophy of motion pictures, discussing the work of Balász, Eisenstein, Cavell, and Danto.

15

Raddy, Yehuda T. An Analytical, Linguistic, Key-word-in-context Concordance to the Book of Judges (The Computer-generated Bible). The Edwin Mellen Press Ltd, 1996.

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16

Creighton, Peggy Milam. School Library Infographics. ABC-CLIO, LLC, 2015. http://dx.doi.org/10.5040/9798216011255.

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Find out how you can increase the impact of your school library instruction, promotion, and organization with the utilization of infographics created with do-it-yourself tips found within this guidebook. Infographics have become increasingly popular educational tools for visually conveying ideas and information—in class projects, in daily lessons, and for promoting school and library programs. This book—the only one of its kind—helps you create your own computer-generated visuals for your class and library using common software platforms and free web-based applications. A perfect primer for educators with little or no technological savvy, this resource features charts, tables, screenshots, bars, and graphs for making infographics easy to reproduce and create. Author Peggy Milam Creighton discusses the benefits of utilizing visuals with students and provides tips and strategies for creating your own graphics for various educational settings. The reference is organized into three topics: how to create infographics with Microsoft software such as Word, Excel, and PowerPoint; how to use graphics to support school library programs; and why using these visual-based learning tools is important. The work features easy-to-use tutorials, lesson plans, and project ideas for students.

17

Rawlinson, Jules. A Requiem for Edward Snowden. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450566.

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A Requiem for Edward Snowden is a 50-minute audio-visual work by Matthew Collings and Jules Rawlinson which addresses surveillance, data privacy, loss of faith, moral choice, and personal sacrifice in an environment where we are totally reliant on electronic communication and daily routines; and in which our privacy is routinely compromised. The work is performed by a chamber trio comprising violin, cello and clarinet, with live electronics and live visuals. The work is multi-layered and textured, both sonically and visually, and includes computer generated, fixed-media and live captured imagery, manipulated in real-time. This output makes an original contribution to performance practice knowledge about audiovisual ‘comprovisation’ (fixed composition with open or improvised elements) using audio-visual narratives of surveillance and sousveillance. In addition, it makes an original contribution in terms of experimenting with distributed agency in respect of sound-image production. Collings and Rawlinson worked in the studio together in a series of twelve day-long sessions over an initial period of 6 weeks to develop a set of prototype audio-visual sketches that could be arranged for the full ensemble. These sketches explored cryptographic treatment of live camera input, masking, displacement and distortion together with representations of data, networks, street-level surveillance and drone footage. These studio sessions focused on the opportunities that each of these offered for combination and manipulation and for congruence and contrast with the audio part. For example, visual congruence might be demonstrated by threaded clusters of computergenerated strokes responding to audio feature tracking and represent the slow, detuned glissandi of the string part. The main outputs from this work are seven performances in Edinburgh, Glasgow, Aberdeen and Utrecht, a digital release on Denovali Records, and contributions to an international conference in Edinburgh and a national conference in Aberdeen.

18

Lithuanian photography '98: A juxtaposition of traditional and computer-generated works : a catalog of the 27th annual Lithuanian photography exhibition in USA. Stickney, Ill: Galerija, 1998.

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19

Wornalkiewicz, Władysław, e Roman Szarawara. Wspomaganie projektowania systemów informatycznych zarządzania. Poltava Institute of Economics and Law of the Open International University of Human Development "Ukraine", 2023. http://dx.doi.org/10.36994/978-966-388-689-3-2023-414.

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Most users of management software packages don't realize how much effort analysts, designers, programmers, and installers put into creating these solutions. Due to the rapid progress of information technologies, the software and computer hardware of the used systems become outdated quite quickly. After some time, both manufacturing and service enterprises face the dilemma of modernizing the systems in use, including switching to a newer version of the package. But sometimes, as a result of the analysis, it turns out that the amount of necessary changes exceeds 40%. So, should you adapt one of the off-the-shelf versions or perhaps build your own custom cyber-resistant system? The proposed study guide for students, and not only, of "Management, logistics and administration" specialties corresponds to the education of IT system designers in the fields of activity, especially in enterprises, which are so needed in practice. The first part of the manual presents individual examples of computerized control systems as a perspective on the construction of various applications. The second part introduces the reader to a set of tools that help create new and implemented solutions in information technology and engineering. Of particular note is the instruction on how to use the UML language in the creation of flowcharts so that structural sequences of source codes for software solutions can be automatically generated from them. It is worth adding that a valuable addition to this work is a more detailed explanation of the concepts and presentation of formulas, especially in the field of econometrics, which are necessary in the modeling of algorithms of economic phenomena.

20

Burrow, Colin. Imitating Authors. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198838081.001.0001.

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Imitating Authors analyses the theory and practice of imitatio (the imitation of one author by another) from early Greek texts right up to recent fictions about clones and artificial humans. At its centre lie the imitating authors of the English Renaissance, including Ben Jonson and the most imitated imitator of them all, John Milton. Imitating Authors argues that imitation is not simply a matter of borrowing words, or of alluding to an earlier author. Imitators learn practices from earlier writers. They imitate the structures and forms of earlier writing in ways that enable them to create a new style which itself could be imitated. That makes imitation an engine of literary change. Imitating Authors also shows how the metaphors used by theorists to explain this complex practice fed into works which were themselves imitations, how those metaphors changed, and how they have come to influence present-day anxieties about imitation human beings and artificial forms of intelligence. It explores relationships between imitation and authorial style, its fraught connections with plagiarism, and how emerging ideas of genius and intellectual property changed how imitation was practised. Imitating Authors includes detailed discussion of authors who imitated (notably Virgil, Lucretius, Petrarch, Cervantes, Ben Jonson, Milton, Pope, Wordsworth, Mary Shelley, and Kazuo Ishiguro) and of the theory of imitating authors in Plato, Cicero, Quintilian, Longinus, Castiglione, the Ciceronian controversies of the sixteenth century, in legal and philosophical discourses of the Enlightenment, and in recent discussions about computer-generated poems.

Libri sul tema "Computer-Generated work"

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