Computer Vision has consistently been a prominent subject among programmers. It is a principal catalyst in the AI sector today, emerging as a viable option in the healthcare business and enhancing security. However, this reading not only provides a historical context to Computer Vision being the cold, technical niche used by military and mainstream industry; it has now become an accesible tool for artists, paving the way for an increased integration between computers and artists. This seems especially applicable in the modern day, when the lines separating engineering and art are becoming increasingly hazy and anyone can create interactive, visually stunning experiences.
The recurring theme in the reading is how artists have used Computer Vision to to build interactive exhibits that engage spectators in real time. Myron Kruger’s “VideoPlace” is a fitting example of this, turning a cold, impersonal technology to something deeply human-centered: using full-body interactions as a dynamic input to create immersive environments. In Computer Engineering, this is closely tied to the evolving user interfaces, which today powers technologies like motion sensors and gesture-based controls in gaming (Like VR).
Regarding the difference between Computer and Human Vision, one important difference between computers and humans is that computers use algorithms to understand images, but human vision is intuitive and contextual. The computer can “see” what “we” want it to by using techniques like frame differencing, background removal, and brightness thresholding, but these approaches are frequently inflexible, periodic and task-specific in contrast to the flexible nature of human vision. Another key difference is the number of input channels in human and computer vision. Humans take multiple inputs like colors, contrast, visual acuity and so on to make a cohesive perception, while computers only take a limited input based on the task they are intended to perform.
In interactive art, this rigidity in Computer Vision can actually be useful as it helps in simplifying the interaction to specific movements or gestures, allowing for a clearer, more focused experience for the viewers. However, as seen in the case of “Sorting Daemon” by David Robesky, such automated systems can profile people, leading to intrusive monitoring and raise other ethical concerns. As Computer Vision technology develops further, it is imperative to guarantee accountability, equity, and transparency in its application.