UC New Media Research Directory
Barsky, Brian A.
February 22nd, 2007 under Faculty, Uncategorized

Professor of Computer Science and Affiliate Professor of Optometry and Vision Science at the University of California at Berkeley; member, the Joint Graduate Group in Bioengineering, an interdisciplinary and inter-campus program, between UC Berkeley and UC San Francisco.

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Brian A. Barsky

Brian A. Barsky’s research interests include computer aided geometric design and modeling, interactive three-dimensional computer graphics, visualization in scientific computing, computer aided cornea modeling and visualization, medical imaging, and virtual environments for surgical simulation.

He is a co-author of the book An Introduction to Splines for Use in Computer Graphics and Geometric Modeling, co-editor of the book Making Them Move: Mechanics, Control, and Animation of Articulated Figures, and author of the book Computer Graphics and Geometric Modeling Using Beta-splines. He has published 120 technical articles in this field and has been a speaker at many international meetings.

He has been working in spline curve/surface representation and their applications in computer graphics and geometric modeling for many years. He is applying his knowledge of curve/surface representations as well as his computer graphics experience to improving videokeratography and corneal topographic mapping, forming a mathematical model of the cornea, and providing computer visualization of patients’ corneas to clinicians. This has applications in the design and fabrication of contact lenses, and in laser vision correction surgery. His current research, called Vision-Realistic Rendering is developing new three-dimensional rendering techniques for the computer generation of synthetic images that will simulate the vision of specific individuals based on their actual patient data using measurements from a instrument a Shack-Hartmann wavefront aberrometery device.



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poem by Nari
Code may be mysterious, cryptic, and in a sense unknowable, but it is, as Ted Warnell’s “Lascaux Symbol.ic” reminds us, made. Analogizing the cave painting to code, “Lascaux” reminds us that the hand — craft, skill, technical expertise — comes in between code and surfaces of inscription, here the wall of the cave. Code may in a general sense be opaque and legible only to specialists, much like a cave painting’s sign system, but it has been inscribed, programmed, written. It is conditioned and concretely historical. Whether or not non-human agents have had a 'hand' in its formulation, code remains not only a constructing force but also that which is constructed.
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