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Kerry Mitchell

Kerry Mitchell is an American artist known for his algorithmic and fractal art, which has been exhibited at the Nature in Art Museum, The Bridges… 
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Related topics

Related topics

5 relations

Broader (1)

Algorithmic art
Fractal artIterationMandelbrot setUltra Fractal

Papers overview

Semantic Scholar uses AI to extract papers important to this topic.
2010
2010
REGULATION OF HEAVY VEHICLE ENGINE BRAKE NOISE IN AUSTRALIA
Engine brake noise is a long standing issue both in Australia and overseas with it being generally accepted that it is the… 
Review
2008
Review
2008
The Cinema Effect: Illusion, Reality, and the Moving Image
This volume offers an in-depth exploration of contemporary moving-image art, examining the ways in which "the cinematic" has… 
2003
2003
The USWRP Workshop on the Weather Research Needs of the Private Sector
Abstract Private sector meteorology is a rapidly growing enterprise. It has been estimated that the provision of weather… 
Review
2003
Review
2003
AN OVERVIEW OF THE AUSTRALIAN ROAD FREIGHT TRANSPORT INDUSTRY
This paper provides an overview of the Australian road freight transport industry. Key findings are: growth of the road freight… 
2003
2003
High Voltage Interfaces for CMOS/DMOS Technologies
This paper adapts low voltage integrated circuit (IC) design techniques to create integrated high voltage interfaces. Effective… 
2001
2001
Family Programming for Incarcerated Parents
Abstract The current exploratory study was undertaken to investigate the needs, as perceived by the offender, of families with… 
1998
1998
The Origins of State-Level Differences in the Public Provision of Higher Education: 1890-1940
In recent years, the publicly controlled sector has accounted for about 67 percent of all students in four-year institutions of… 
1997
1997
Applying Mobile Code to Distributed Systems
Use of mobile code can make distributed systems and the abstractions they provide more exible to build and use. Richer… 
1993
1993
The Rise And Rise Of Kerry Packer
1990
1990
Identity, place, power and the 'text' : Kerry's Dale and the "monster" house
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