The principal objective of archaeology is to reconstruct in all possible ways the life of a community at a specific physical location throughout a specific time period. Distinctly separate layers of soil provide evidence for a specific time period. Discovered artefacts are most frequently used to date the layer. An artefact taken out of context is virtually worthless; hence the correct registration of the layer in which they were uncovered is of great importance. The most popular way to record temporal relationships between stratigraphic layers is through the use of the 2D Harris Matrix method. Without accurate 3D spatial recording of the layers, it is difficult if not impossible, to form new stratigraphic correspondences or correlations. New techniques for archaeological recording, reconstruction, visualisation and interpretation in 3D space are described in these works and as a result software has been developed. Within the developed software system, legacy stratigraphy data, reconstructed from archaeological notebooks can be integrated with contemporary photogrammetric models and theodolite point data representations to provide as comprehensive a reconstruction as possible. The new methods developed from this research have the capability to illustrate the progression of the excavation over time. This is made possible after the entry of only two or more strata. Sophisticated, yet easy-to-use tools allow the navigation of the entire site in 3D. Through the use of an animation-bar it is possible to replay through time both the excavation period and the occupation period, that is to say the various time periods in antiquity when human beings occupied these locations. The lack of complete and consistent recording of the soil layers was an issue that proved to be an obstacle for complete reconstruction during the development of these methods. A lack of worldwide archaeological consensus on the methods of stratigraphic recording inhibited development of a universal scientific tool. As a result, new recording methods are suggested to allow more scientific stratigraphic reconstruction.

Direct interaction in virtual environments can be realized using relatively simple hardware, such as standard webcams and monitors. The result is a large gap between the stimuli existing in real-world interactions and those provided in the virtual environment. This leads to reduced efficiency and effectiveness when performing tasks. Conceivably these missing stimuli might be supplied through a visual modality, using sensory substitution. This work suggests a display technique that attempts to usefully and non-detrimentally employ sensory substitution to display proximity, tactile, and force information. We solve three problems with existing feedback mechanisms. Attempting to add information to existing visuals, we need to balance: not occluding the existing visual output; not causing the user to look away from the existing visual output, or otherwise distracting the user; and displaying as much new information as possible. We assume the user interacts with a virtual environment consisting of a manually controlled probe and a set of surfaces. Our solution is a pseudo-shadow: a shadow-like projection of the user's probe onto the surface being explored or manipulated. Instead of drawing the probe, we only draw the pseudo-shadow, and use it as a canvas on which to add other information. Static information is displayed by varying the parameters of a procedural texture rendered in the pseudo-shadow. The probe velocity and probe-surface distance modify this texture to convey dynamic information. Much of the computation occurs on the GPU, so the pseudo-shadow renders quickly enough for real-time interaction. As a result, this work contains three contributions: a simple collision detection and handling mechanism that can generalize to distance-based force fields; a way to display content during probe-surface interaction that reduces occlusion and spatial distraction; and a way to visually convey small-scale tactile texture.

To arrive at a definition of the new CAD, the thesis is divided into four chapters, accompanied by a conclusion, permitting an analysis of the current CAD situation and the technology available today or in the near future. This analysis leads to the definition of a work station adapted to design so as to bridge the existing gaps.$ sp4$ / The first chapter consists of an introduction which illustrates the approaches that were used to complete this thesis. Several methods and analyses support the development of approaches upon which future research into the philosophy of design using new computer tools should be based. / The second chapter lists the computer peripherals which determine the features of a computer work station. Without its peripherals, the computer is simply a giant calculator. It is therefore important to address this subject in depth when creating a work station adapted to design. / The third chapter covers the description of current CAD and the manner in which the data are classified according to their use. Following a summary of the history of CAD and the evolution of generations of systems, this chapter describes today's CAD from the point of view of the user, that is, by the data he uses. / The fourth chapter of the thesis describes the progress of a project using the process of continuous design. This chapter looks at the interrelation that exists between the stages in order to show the usefulness of the computer as a design tool. Significant interest has been shown in a new stage: the formalization of the project, which makes the link between the drawing stage and the preproject stage. / The conclusion of this thesis puts the current CAD situation into perspective in order to pave the way for the development of new CAD, better adapted to architects and designers and allowing them to finally conceive their projects on computer.

No description available.

No description available.

This thesis demonstrates the effects of applying lighting principles developed for 3D computer graphics production to well-known historical 2D paintings. The visual analysis and cinematographic direction is derived from the iterative review-critique- review process used in production of 3D animated films and the imposition of a narrative purpose for re-lighting. This thesis focuses on five of the important fundamentals of lighting design, adapted and defined by Pixar Animation Studios Director of Photography Sharon Calahan in “Storytelling Through Lighting: A Computer Graphics Perspective.” The results are 2D images that are easily recognizable as adaptations from the original paintings, but that communicate a distinctly different visual impression. Each re-lit painting serves as an example of the lighting principle employed and offers a unique viewpoint on a well-known artwork.

Thesis (M.F.A.)--Rochester Institute of Technology, 1988. / Includes bibliographical references (leaves 48-49).

Thesis (M.F.A.)--Rochester Institute of Technology, 1989. / Includes bibliographical references (leaves 45-46).

Thesis (M.A.)--York University, 2005. Graduate Programme in Communication and Culture. / Typescript. Includes bibliographical references (leaves 125-130). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR19676

Thesis (M.S.)--Berkeley, California, University of California, 1985. / Cover title. "October 1986." Includes bibliography.