A Cultural History of Computer Graphics

1. Auflage 2025
ISBN: 978-1-041-08815-8
Verlag: CRC Press

Buch, Englisch, 312 Seiten, Format (B × H): 210 mm x 280 mm

A Cultural History of Computer Graphics presents a fundamentally new approach to analyzing digital images aesthetically through the example of 3D computer graphics (CG). While numerous methods for creating digital imagery have long existed, the advent of AI-generated content is causing a rise in debates and conflict. It is becoming increasingly difficult to differentiate digital photographs, CG, and AI images, and yet, because these types of images carry different cultural or even political implications, it is becoming increasingly important to do so. In response to the need of new methods to culturally decode digital imagery, this book starts from the production process and describes computer graphics as an independent method of expression, containing a specific ideological concept of realism. Through this study, it becomes clear that a particular understanding of the world is inscribed in computer graphics software development and consequently the image creation process, and it becomes necessary to perceive production aesthetically, hence there is a focus on production aesthetics. In its own unique way, every digital imaging method embodies its own sense of the world. This book will be of great interest to researchers of computer graphics, 3D image generation, and the cultural history of computer-generated imagery.

Zielgruppe

Academic, Postgraduate, and Undergraduate Advanced

Autoren/Hrsg.

Scheler, Carolin

Fachgebiete

• Mathematik | Informatik EDV | Informatik Professionelle Anwendung Digitale Animation
• Geisteswissenschaften Kunst Kunstformen, Kunsthandwerk Installations-, Aktions-, Computer- und Videokunst
• Mathematik | Informatik EDV | Informatik Professionelle Anwendung Digitales Video
• Geisteswissenschaften Kunst Kunstgeschichte Kunstgeschichte: 20./21. Jahrhundert Pop Art, Minimalismus

Inhaltsverzeichnis

Acknowledgements. Preface. Part 1: Introduction. 1 Methodology and Structure of the Study. 2 Introductory Overview. Part 2: The Computer as a Creative Partner – The Early Developments of Computer Graphics at the Massachusetts Institute of Technology. 3 Ivan E. Sutherland’s Sketchpad and the Birth of the ‘Universal’ Computer Drawing. 4 Parallel Developments – The Computer in the Fine Arts and Design of the 1960s. 5 Steven A. Coons – A New Confluence Between Man and Machine. Part 3: University of Utah – The Cradle of Contemporary 3D Computer Graphics. 6 A Common Goal – 3D Computer Graphics Between Credibility and Realism. 7 Opacity, Light, and Animation – A Strategy for Realizing the Common Goal. Part 4: Realism in US Visual Culture. 8 Pixar’s Realism – Edwin Catmull as a Bridge Between Production Aesthetics and Visual Aesthetics. 9 The Tangibility of Things – Feeling and Precision in Painting. Part 5: Retrieving 3D Computer Graphics’ Lost ‘Context of Meaning’. 10 Technological Progress and Image Practice in the United States. 11 On the Cultural-Historical Background of Synthetic Imaging. Conclusion. A Brief Outlook – What About AI? Figures. Film Index. Bibliography. Glossary. Index. Organizational Chart of the Historiography.

Über Autor(innen)

Carolin Scheler is a researcher in the fields of digital visual culture, media archaeology, and animation studies, currently planning a postdoctoral research project. Her educational background is in the practical field of 3D animation and cultural theory, which she studied at the University of Applied Sciences and Arts Hanover, Germany, and the Ohio State University, USA. From 2015 to 2018 she worked as a research assistant at the University of Applied Sciences and Arts Hanover in the Department of Media, Information, and Design. During the same period, she was also a research assistant at the Institute of Fine Arts and Art History at the University of Hildesheim, where she later earned her doctorate in the Department of Cultural Studies and Aesthetic Communication in 2022. As part of the Research Training Group ‘Aesthetic Practice’ her scholarly work was funded by the German Research Foundation in the years from 2019 to 2022. Since 2022, Carolin Scheler has been a lecturer in cultural theory at the University of the Arts Bremen in the Department of Art and Design. She has also been working as a lecturer at the University of Applied Sciences and Arts Hanover in the Department of Media, Information, and Design since 2018. At these universities, she teaches in the field of digital media studies, animation theory, art theory, humor theory, and academic writing as well as supervising BAs and MAs.