If you have ever looked at a fantastic adventure or science fiction movie, or an amazingly complex and rich computer game, or a TV commercial where cars or gas pumps or biscuits behaved liked people and wondered, “How do they do that?”, then you’ve experienced the magic of 3D worlds generated by a computer. 3D in computers began as a way to represent automotive designs and illustrate the construction of molecules. 3D graphics use evolved to visualizations of simulated data and artistic representations of imaginary worlds. In order to overcome the processing limitations of the computer, graphics had to exploit the characteristics of the eye and brain, and develop visual tricks to simulate realism. The goal is to create graphics images that will overcome the visual cues that cause disbelief and tell the viewer this is not real. Thousands of people over thousands of years have developed the building blocks and made the discoveries in mathematics and science to make such 3D magic possible, and The History of Visual Magic in Computers is dedicated to all of them and tells a little of their story. It traces the earliest understanding of 3D and then foundational mathematics to explain and construct 3D; from mechanical computers up to today’s tablets. Several of the amazing computer graphics algorithms and tricks came of periods where eruptions of new ideas and techniques seem to occur all at once. Applications emerged as the fundamentals of how to draw lines and create realistic images were better understood, leading to hardware 3D controllers that drive the display all the way to stereovision and virtual reality.

Data science addresses the need to extract knowledge and information from data volumes, often from real-time sources in a wide variety of disciplines such as astronomy, bioinformatics, engineering, science, medicine, social science, business, and the humanities. The range and volume of data sources has increased enormously over time, particularly those generating real-time data. This has posed additional challenges for data management and data analysis of the data and effective representation and display. A wide range of application areas are able to benefit from the latest visual tools and facilities. Rapid analysis is needed in areas where immediate decisions need to be made. Such areas include weather forecasting, the stock exchange, and security threats. In areas where the volume of data being produced far exceeds the current capacity to analyze all of it, attention is being focussed how best to address these challenges. Optimum ways of addressing large data sets across a variety of disciplines have led to the formation of national and institutional Data Science Institutes and Centers. Being driven by national priority, they are able to attract support for research and development within their organizations and institutions to bring together interdisciplinary expertise to address a wide variety of problems. Visual computing is a set of tools and methodologies that utilize 2D and 3D images to extract information from data. Such methods include data analysis, simulation, and interactive exploration. These are analyzed and discussed.

This is the first book in a three-part series that traces the development of the GPU. Initially developed for games the GPU can now be found in cars, supercomputers, watches, game consoles and more. GPU concepts go back to the 1970s when computer graphics was developed for computer-aided design of automobiles and airplanes. Early computer graphics systems were adopted by the film industry and simulators for airplanes and high energy physics—exploding nuclear bombs in computers instead of the atmosphere. A GPU has an integrated transform and lighting engine, but these were not available until the end of the 1990s. Heroic and historic companies expanded the development and capabilities of the graphics controller in pursuit of the ultimate device, a fully integrated self-contained GPU. Fifteen companies worked on building the first fully integrated GPU, some succeeded in the console, and Northbridge segments, and Nvidia was the first to offer a fully integrated GPU for the PC. Today the GPU can be found in every platform that involves a computer and a user interface.

This scientific work focuses on computer-aided computational models in architecture. The author initially investigates established computational models and then expands these with newer approaches to modeling. In his research the author integrates approaches to analytical philosophy, probability theory, formal logic, quantum physics, abstract algebra, computer-aided design, computer graphics, glossematics, machine learning, architecture, and others. For researchers in the fields of information technology and architecture.

A behind-the-scenes history of computer graphics, featuring a cast of math nerds, avant-garde artists, cold warriors, hippies, video game players, and studio executives. Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created Sketchpad, the first true computer animation program. Sutherland noted: “Since motion can be put into Sketchpad drawings, it might be exciting to try making cartoons.” This book, the first full-length history of CG, shows us how Sutherland's seemingly offhand idea grew into a multibillion dollar industry. In Moving Innovation, Tom Sito—himself an animator and industry insider for more than thirty years—describes the evolution of CG. His story features a memorable cast of characters—math nerds, avant-garde artists, cold warriors, hippies, video game enthusiasts, and studio executives: disparate types united by a common vision. Sito shows us how fifty years of work by this motley crew made movies like Toy Story and Avatar possible.

Jessica Bruderis a reporter for theOregonian.Her writing has also appeared in theNew York Times,theWashington Post,and theNew York Observer.She lives in Portland, Oregon.

This is the second book in a three-part series that traces the development of the GPU, which is defined as a single chip with an integrated transform and lighting (T&L) capability. This feature previously was found in workstations as a stand-alone chip that only performed geometry functions. Enabled by Moore’s law, the first era of GPUs began in the late 1990s. Silicon Graphics (SGI) introduced T&L first in 1996 with the Nintendo 64 chipset with integrated T&L but didn’t follow through. ArtX developed a chipset with integrated T&L but didn’t bring it to market until November 1999. The need to integrate the transform and lighting functions in the graphics controller was well understood and strongly desired by dozens of companies. Nvidia was the first to produce a PC consumer level single chip with T&L in October 1999. All in all, fifteen companies came close, they had designs and experience, but one thing or another got in their way to prevent them succeeding. All the forces and technology were converging; the GPU was ready to emerge. Several of the companies involved did produce an integrated GPU, but not until early 2000. This is the account of those companies, the GPU and the environment needed to support it. The GPU has become ubiquitous and can be found in every platform that involves a computer and a user interface.

Scientific visualization has always been an integral part of discovery, starting first with simplified drawings of the pre-Enlightenment and progressing to present day. Mathematical formalism often supersedes visual methods, but their use is at the core of the mental process. As historical examples, a spatial description of flow led to electromagnetic theory, and without visualization of crystals, structural chemistry would not exist. With the advent of computer graphics technology, visualization has become a driving force in modern computing. A Concise Introduction to Scientific Visualization – Past, Present, and Future serves as a primer to visualization without assuming prior knowledge. It discusses both the history of visualization in scientific endeavour, and how scientific visualization is currently shaping the progress of science as a multi-disciplinary domain.

This third book in the three-part series on the History of the GPU covers the second to sixth eras of the GPU, which can be found in anything that has a display or screen. The GPU is now part of supercomputers, PCs, Smartphones and tablets, wearables, game consoles and handhelds, TVs, and every type of vehicle including boats and planes. In the early 2000s the number of GPU suppliers consolidated to three whereas now, the number has expanded to almost 20. In 2022 the GPU market was worth over $250 billion with over 2.2 billion GPUs being sold just in PCs, and more than 10 billion in smartphones. Understanding the power and history of these devices is not only a fascinating tale, but one that will aid your understanding of some of the developments in consumer electronics, computers, new automobiles, and your fitness watch.

This is the first book to offer a comprehensive overview for anyone wanting to understand the benefits and opportunities of ray tracing, as well as some of the challenges, without having to learn how to program or be an optics scientist. It demystifies ray tracing and brings forward the need and benefit of using ray tracing throughout the development of a film, product, or building — from pitch to prototype to marketing. Ray Tracing and Rendering clarifies the difference between conventional faked rendering and physically correct, photo-realistic ray traced rendering, and explains how programmer’s time, and backend compositing time are saved while producing more accurate representations with 3D models that move. Often considered an esoteric subject the author takes ray tracing out of the confines of the programmer’s lair and shows how all levels of users from concept to construction and sales can benefit without being forced to be a practitioner. It treats both theoretical and practical aspects of the subject as well as giving insights into all the major ray tracing programs and how many of them came about. It will enrich the readers’ understanding of what a difference an accurate high-fidelity image can make to the viewer — our eyes are incredibly sensitive to flaws and distortions and we quickly disregard things that look phony or unreal. Such dismissal by a potential user or customer can spell disaster for a supplier, producer, or developer. If it looks real it will sell, even if it is a fantasy animation. Ray tracing is now within reach of every producer and marketeer, and at prices one can afford, and with production times that meet the demands of today’s fast world.