Julesz bela (9 Ergebnisse)

Zustand: New.

Zustand: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

24 x 21 cm. Zustand: Gut. XXI, 276 Seiten Innen sauberer, sehr guter Zustand. Leineneinband rot mit Titeldruck auf Rücken und aufgeklebtem Nummernzettel. Die üblichen Bibliotheks-Markierungen mit Stempeln und Einträgen. DH-25-09B Sprache: Deutsch Gewicht in Gramm: 908.

Zustand: Poor. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. Book contains pencil markings. In poor condition, suitable as a reading copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,1200grams, ISBN:0226415279.…

Zustand: Poor. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. Book contains pencil markings. In poor condition, suitable as a reading copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,1150grams, ISBN:0226415279.…

Zustand: as new. Cambridge, Mass. : MIT Press, 2006. Hardcover. Dustjacket. xviii, 406 pp. color illustrations. 22,5x22 cm. 3-D glasses inserted in pocket. - This volume is a facsimile edition of the 1971 publication by Chicago University Press. This classic work on cyclopean perception has influenced a generation of vision researchers, cognitive scientists, and neuroscientists and has inspired artists, designers, and computer graphics pioneers. Here Bela Julesz traced the visual information flow in the brain, analyzing how the brain combines separate images received from the two eyes to produce depth perception. Julesz developed novel tools to do this: random-dot stereograms and cinematograms, generated by early digital computers at Bell Labs. These images, when viewed with the special glasses that came with the book, revealed complex, three-dimensional surfaces; this mode of visual stimulus became a paradigm for research in vision and perception. This reprint edition includes all 48 color random-dot designs from the original, as well as the special 3-D glasses required to view them. Foundations of Cyclopean Perception has had a profound impact on the vision studies community. It was chosen as one of the one hundred most influential works in cognitive science in a poll conducted by the University of Minnesota's Center for Cognitive Sciences. Many copies are permanently borrowed from college libraries; used copies are sought after online. Now, with this facsimile of the 1971 edition, the book is available again to cognitive scientists, neuroscientists, vision researchers, artists, and designers. Condition : as new copy. ISBN 9780262101134. Keywords : NEUROSCIENCES.…

Zustand: New. Contains papers presented at the workshop Partioning Data Sets held at DIMACS in April 1993. This work covers the main paradigms of the field of cluster analysis methods and algorithms. It contains topics including partitioning problems arising from multitarget tracking and surveillance and from computer and human vision. Editor(s): Cox, I.J.; Hansen, Pierre; Julesz, Bela. Series: Series in Discrete Mathematics & Theoretical Computer Science. Num Pages: 408 pages. BIC Classification: PBK; PBT; UN. Category: (P) Professional & Vocational. Dimension: 230. Weight in Grams: 942. . 1995. Hardback. . . . . Books ship from the US and Ireland.…

orig.cloth Minor rubbing. VG., dustwrapper. Textual illustrations. 24x18cm, xxi,276 pp., One stereopticon 707 inserted in pocket. "Renowned for his work in depth perception and pattern recognition, Bela Julesz originated the techniques of computer-generated random-dot stereograms, cinematograms and textures, which resulted in a 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 and deeply informed dialogues, illustrated with many of Julesz's own demonstrations, are challenging, but never beyond the reach of the general scientific reader interested in problems of brain research. They cover stereopsis, motion perception, neurophysiology, texture and auditory perception, early vision, visual cognition and machine vision. While Julesz's work on early vision and focal attention is the backbone of the dialogues, he is equally at ease recounting his debate with John Searle or describing his interactions with Salvador Dali. Among the general topics addressed in the dialogues are creativity, the role of mathematics in psychobiology, the role of theories, metascientific questions and the importance of maturational windows and cortical plasticity. Julesz also relates his current work with past findings and ideas and addresses strategic questions that can be solved with existing tools" - Publisher's description. Minor rubbing. VG., dustwrapper.…

12 pp.; 28 x 21.6 cm; loose leaves; black-and-white; edition size unknwon; unsigned and unnumbered; photocopy / xeroxed Exhibition brochure / checklist published in conjunction with show held May 1 - July 23, 1993. Curated by Jean-Noël Herlin, with research by Karen Bubb and Sarah Wagner. Selected artists include Jean-Noël Herlin, Karen Bubb, Sarah Wagner, Wolfgang Paalen, Tom E. Lewis, Joseph Cornell, Laurence Vail, A. Raymond Katz, Irving Kriesberg, Yves Tanguy, Piet Mondrian, Fernand Léger, Claude Bentley, David Smith, Matta, Jean Follett, Pablo Picasso, Marcel Duchamp, Robert Brownjohn, Ivan Chermayeff, Thomas Geismar, George Brecht, Jim Dine, Claes Oldenburg, Jim Davis, Elaine de Kooning, William T. Wiley, Frank Stella, Man Ray, Red Grooms, Michael Todd, Ay-o, George Ortman, Nam June Paik, Harry Soviak, Arni Hendin, Thomas Downing, Gerald Oster, Reginald Neal, Dakota Daley, Nicholas Quennell, Bela Julesz, Michael Noll, Dan Flavin, Louise Nevelson, Peter Saul, Lila Katzen, Elaine Sturtevant, Kim MacConnel, Liliana Porter, Mel Bochner, Lawrence Weiner, Eleanor Antin, Jean Dubuffet, Yoko Ono, Larry Bell, Marilyn Levine, Larry Rivers, Susan Weil, Arman, Dorothea Rockburne, Robert Rauschenberg, Robert Kushner, Lynda Benglis, Marcia Hafif, Joan Miró, Karole Armitage, Beverly Naidus, Meret Oppenheim, Ronnie Cutrone, Keith Haring, Michael Graves, Judith Shea, Gordon Matta Clark, James Lee Byars, Louise Lawler, and Izhar Patkin, and many others. Materials presented drawn largely from the Jean-Noël Herli Archive. "Exhibition invitations? I've seen a few. Any working art critic inevitably acquires an extensive knowledge of this genre of printed ephemera. Heralding gallery and museum shows, invitations flood the mailbox, crowd the desk and all too often accumulate so intractably on the kitchen counter as to seem part of the decor. You can't live with them, and until the show is over, you can't throw them out. Still, life without such art-world byproducts would be a lot more difficult. Not only do they convey the important facts -- the who, when and where -- of shows that need to be seen. They're also advertisements bent on seducing us into attendance by being clever, eye-catching or provocative -- although sometimes they nip interest in the bud. (There's probably no art lover with mailing-list credentials who hasn't held up some gallery announcement and said, "Forget it!") Invitations are style statements in a minor key, ancillary artworks of a collective sort. Designed by artists, by graphic designers, by art dealers and museum curators -- usually a combination of the above -- they are the advance guard for the real thing. Their merit is judged in the very act of reading one's mail." -- Roberta Smith, "Art Invitations As Small Scraps Of History," New York Times, May 16, 1993. Very Good. Light edge wear. Contents clean and unmarked.…