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Shader Integration: Merging Shading Technologies on the Nintendo
    Gamecube
From rssfeeds@jmason.org  Thu Oct  3 12:24:10 2002

URL: http://www.newsisfree.com/click/-4,8494551,159/
Date: 2002-10-03T05:50:07+01:00
Rendering polygons is not as easy as it used to be, the reason being the vast
amount of different rendering techniques, methods and algorithms available. Not
only is choosing the right ones a problem, even worse, all that are selected
need to work together. There are some algorithms which simply do not work
together, and in that case, only one may be used whilt the other one needs to
be replaced witha more compatible method. This feature explores how Factor 5
approached the problem when developing Rogue Leader for Gamecube.

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Mathematics film-festival in October in Berkeley
From rssfeeds@jmason.org  Thu Oct  3 12:24:22 2002

URL: http://boingboing.net/#85516333
Date: Not supplied
All through October, Berkeley's Mathematical Sciences Research Institute is
hosting Cinemath, a mathematics film festival:
Permutations and Configurations: A Calculated Cinema
In this avant-garde subset of Cinemath, we explore films that have been
constructed using mathematical concepts both simple and complex- geometric
permutations, musical frameworks, even topography are among the strategies
that have been employed to compose and sequence film frames. Filmmakers
such as Oskar Fischinger and Walther Ruttmann created some of the earliest
avant-garde films by multiplying, dividing, and otherwise transforming
abstract images- including spirals, rectangles, and circles to produce
dynamic rhythms and harmonies. Today such visual music and motion graphics
are the currency of digital graphics. Anthony McCall's film performances
such as Line Describing a Cone create 3-D geometric shapes into which the
viewer can literally step. We also explore films by pioneers of
machine-generated and computer-produced animation (Norman McLaren, James
and John Whitney, Stan Vanderbeek) as well as works by contemporary
animators who use the computer to either generate or pattern images (Larry
Cuba, Paul Glabicki, James Otis). Peter Kubelka, Taka Iimura, and Standish
Lawder use the frame as the unit with which they create editing patterns,
while Kurt Kren and Paul Sharits reckon on arithmetic systems to variously
calculate compositional or editing patterns. Bette Gordon, Hollis Frampton,
and Bruce Elder figure in algorithms, group theory, and set theory to
graphically enliven the frame or to structure their films. While no
mathematical knowledge is required to enjoy these films, we count on you to
try to calculate the mathematical systems employed!
Link[1] Discuss[2] (_Thanks, Jef[3]!_)
[1] http://www.msri.org/20thanniversary/cinemath.html
[2] http://www.quicktopic.com/boing/H/Adiw2xL5kw8ug
[3] http://www.acme.com