@inproceedings{Durand:2002:AID,
  optnote = {},
  optorganization = {},
  author = {Fr\'{e}do Durand},
  optkey = {},
  optannote = {},
  optseries = {},
  editor = {Adam Finkelstein},
  url = {http://graphics.csail.mit.edu/~fredo/PUBLI/NPAR02/},
  address = {New York},
  localfile = {papers/Durand.2002.AID.pdf},
  publisher = {ACM Press},
  doi = {http://doi.acm.org/10.1145/508530.508550},
  optmonth = {},
  citeseer = {http://citeseer.nj.nec.com/535806.html},
  optcrossref = {},
  booktitle = NPAR2002,
  optstatus = {OK},
  optvolume = {},
  optnumber = {},
  title = {{A}n {I}nvitation to {D}iscuss {C}omputer {D}epiction},
  abstract = {This paper draws from art history and perception to place computer
              depiction in the broader context of picture production. It
              highlights the often underestimated complexity of the interactions
              between features in the picture and features of the represented
              scene. Depiction is not always a unidirectional projection from a
              3D scene to a 2D picture, but involves much feedback and influence
              from the picture space to the object space. Depiction can be seen
              as a pre-existing 3D reality projected onto 2D, but also as a 2D
              pictorial representation that is superficially compatible with an
              hypothetic 3D scene. We show that depiction is essentially an
              optimization problem, producing the best picture given goals and
              constraints.We introduce a classification of basic depiction
              techniques based on four kinds of issue. The spatial system deals
              with the mapping of spatial properties between 3D and 2D
              (including, but not restricted to, perspective projection). The
              primitive system deals with the dimensionality and mappings
              between picture primitives and scene primitives. Attributes deal
              with the assignment of visual properties such as colors, texture,
              or thickness. Finally, marks are the physical implementations of
              the picture (e.g. brush strokes, mosaic cells). A distinction is
              introduced between interaction and picture-generation methods, and
              techniques are then organized depending on the dimensionality of
              the inputs and outputs. },
  year = {2002},
  pages = {111--124},
}